#((for the specific title they were interviewing for at least))

[rawliverandgoronspice]

On one hand, ToTK not getting game of the year is great.

On the other hand, good god I can't imagine how MAD the fandom and Nintendy are.

Honestly, I think this, combined to the way Aonuma was treated when he did receive the (again, in my opinion well-deserved) award, which was utterly unnacceptable --both for him and for any gamedev who just wanted more than 30 seconds to celebrate their insane achievements in an otherwise very hard year-- might lead to some degree of animosity between the two entities moving forward. Maybe they will move past that, but I don't know a single person in the industry who are happy about how this all went down --from ignoring the open letter about Palestine to refusing to acknowledge the layoffs bleeding talent and leaving them out to dry in a year of record profits, the commodification of gamedev achievements as a platform for more ads and more desperate and gross flirting with Hollywood... A bunch of people are also assuming the 30 seconds rule was explicitely put into place to prevent devs from talking about either topic during their speeches given the amount of buildup and controversies surrounding the event before it even started (I am one of those people), but that it then ended up hitting Aonuma just as much as anyone else might have worsened everybody's relationship to the event...

[plutoswritingplanet]

Vicarious (Homelander x Female!Reader) pt.1

a/n: guys... you can't tell me y'all weren't expecting this. Title from the song "Vicarious" by Tool. Really wanted this to be a one shot, but as usual, I have shit to say. Will be Cross-Posted on AO3 as soon as they open the site back up.

Warnings: Nothing Explicit YET, some sexist remarks and creepy behavior from the man of the hour, Questionable Corporate Ethics, Set Before The Events Of The Show, Reader is written to be Plus Size.

Summary: Sidekick projects have been scraped completely after numerous accidents, but as a viral video of your hero work makes rounds through the public, you're forced to take part in a six moths program, that will forever change your life, as well as Homelander's

PT.2 Pt.3 Pt.4 Pt.5

It all started with a video. An insignificant, minute-long nothing posted to TikTok by an account, that up until then, made short edits specifically of A-Train and some B-list no-name hero. Quickly, it gained traction, making rounds throughout the app, bleeding over to other services, all the way to national television. First, an independent local station, soon picked up by a Vaught-affiliated one. Normally, that's where it would've stayed. Stillwell would extend an offer of a chance at an interview, alongside one of the Seven. But for some unknown reason, that small piece of nothing climbed all the way up to the floor eighty-two of Vaught Tower.

Well, to be quite honest, Stillwell knew exactly why she was in this situation. After a very messy graduation speech at a small college, Homelander lost almost twenty points with a young adult demographic. It would've been an easy fix, if not for the delicate nature of the breached subject, and Madelyn knew, this sudden interest in a nobody from nowhere, who, coincidentally, fit the demographic perfectly, was anything but a happy accident. It was a test, both for Homelander, and for her.

Which is why, Madelyn Stillwell and Homelander, the Homelander, the most American supe to ever exist, are cooped up in your living room, glancing about the modest decor, as you pour iced tea into three glasses with tacky fruit print all over them.

You've refused every single invitation, every single Vaught representative that knocked on your door. Your inbox was flooded with emails, your phone number was blowing up two, three times a day. And yet, your answer remained the same. You were not interested in a collaboration, thank you for the opportunity, please leave me alone.

That wouldn't fly, not with Madelyn, who, pushed by the constant nagging from the upper levels of the Tower, decided a more direct approach was the right one. So, she dragged herself into this… Well, to be quite honest, bum-fuck-nowhere, and brought her star pupil with her. No one would refuse working with Homelander himself, after all. At least that's what they both thought.

-I appreciate the effort - there's a practiced, borderline bored intonation in your voice, and Homelander's hands flex on his thighs - But I've already talked with, um, Jerry? From HR? The answer is still no.

Your house is small, but cozy, with sunshine pouring through the windows, reflecting onto the beaded curtain hanging in the doorway to your kitchen. An artist's home, through and through. Homelander hates it, hates the ordinariness of it all. He was so much above all this, sitting on your worn down couch physically hurt him. And the smell. The smell was the worst part. Reheated lasagna, mixing with a lingering aftertaste of cigarette smoke, and an undercurrent of weed, that almost made him retch. If it weren't for that damned video, you would be nothing more, than another brainless ant under his boot.

-Well, we - Madelyn offers her best, brilliant smile, gesturing to herself and Homelander - are very passionate about discovering new talent.

Your mouth twitches into a knowing smile, and for just a second Homelander feels flames of intrigue rising in his chest. Not for long, though, because you recline back into an armchair, taking a sip of the iced tea, and his eyes flash to the way your throat moves as you swallow. You could be hot, he concludes. Young, and with a truly spectacular rack. But there was something off about you, like you were constantly on the verge of dying from boredom, some invisible weight always on your shoulders. No amount of fake smiles and high-end makeup could cover that up.

He'd fuck you. If you'd beg him.

-We want to offer you a new, revised contract - Stillwell extends her hand with a rather thick binder of papers, and you hesitate for a moment, before reaching over. - Hopefully, it will make you reconsider.

You don't even show them the decency of looking through it, placing it on the table instead, and Homelander feels an itch form itself in the corners of his eyes. Stillwell looks taken aback as well, her brilliant smile faltering for just a second. You on the other hand, take another sip of your drink, before placing it right in the middle of the contract, the moisture from the ice creating a wet circle in the paper.

Your heartbeat is even, it doesn't pick up even a smidgen, when you look between Stillwell and America's Greatest Hero, who is slowly but surely growing annoyed by your persistent indifference.

-Thank you, but I already said no - you repeat, and this time, Homelander shifts on the couch.

-And why not? - he asks, tension entering his voice in a way, that makes Madelyn squirm - Countless supes, with much more impressing powers than you, I might add, would kill to be in your place.

"To work with me" goes unsaid, but he can see in your eyes, you read it from thin air of superiority engulfing him. Annoyingly perceptive. You nod your head slowly, before turning away from them, looking out of the window of your living room. There's a small patch of grass, and a second house, so similar to yours, but at the same time, completely different. Your chin sticks out in its direction, and Homelander follows with his eyes.

There are paper butterflies stuck to the windows, cut out clumsily, most likely by children's hands.

-My neighbour, Missus Johnson - you explain - She lives there, with her three kids. Her husband died in a fire caused by your friend, Lamp Lighter.

Madelyn stills, Homelander raises an eyebrow.

-I can afford this house, only because my mother signed an NDA, after The Deep sank my father's fishing boat. - again, your heart stays completely unaffected - Accidentally, of course.

-I was not aware… - Madelyn starts, and it's hard to decipher whether she's talking to you, or Homelander.

Someone at the research department is going to have a very unpleasant evening.

-That's alright - you interrupt her with a raised hand and a small smile - This whole neighborhood is filled with similar cases. And I'm very, very attached to this place.

Why, Homelander couldn't tell. For all he knew, this was some shit hole, right in the suburbs outside New York. Not even the half decent ones. A forgotten by everyone, dying piece of land, that housed insignificant humans, who would never amount to anything, you included. He lived in a lavish apartment, inside a miracle of modern architecture. Who wouldn't want the same?

-And - there's something new entering your tone of voice - If I'm going to betray everything I stand for, I need to give something back to those people. Does your contract reflect that?

Madelyn bites the inside of her cheek, her scrutinizing gaze making your skin itch. Still, she sighs after a moment, excusing herself with that same, practiced expression she uses on every shareholder. Homelander follows her out, nodding his goodbye to you, but before he can leave this dump, Madelyn stops him with a hand pressed against his chest. She gives him one look, makes him aware that his job isn't over, and he can feel the muscles of his face twitch.

So, obediently, he lingers in your doorway, taking a few calming breaths, before facing you once more.

You've changed positions, your armchair abandoned in favor of sitting by the window, one leg bent in a way, that shows quite a nice view of your calf, your long skirt pooling around you. Homelander's eyes trail up with mild interest, and he indulges in his X-ray vision. He's just being curious, nothing more.

Your underwear is, well, for the lack of a better word, plain. The bra seems to be slightly ill fitted, digging into the sides of your breasts, making them almost spill from under your pits, and Homelander swallows thickly at the sight. There are little, pink hearts on your panties. The colors are dull and washed out from frequent use, and the once frilly lace is starting to fray at the edges.

Apparently Vaught's compensation was not sufficient for you to buy some decent undergarments.

-Do you want something to eat? Drink? - you ask from your place by the window, and Homelander is snatched back to reality - Do you even need food?

The bluntness of the question startles him, makes him feel defensive, but Madelyn wanted results, so he puts on a mask of his trained smile, and crosses the room. Back straight like an arrow, he looks wildly out of place between all the linens and cushions. He doesn't look at you, trapping your smaller form in the confinement of the window, as he watches over the neighboring house.

-I'm not hungry - he shoots down your offer with a wave of his hand - I've already eaten.

A lie, but he'd never stoop low enough to take any leftovers, especially from you. Still, the offer seems nice. He does like being pampered, even if it's with lackluster things. Your eyes linger on his boyish smile, another practiced thing, and Homelander shifts focus to your heartbeat once again.

-Alright then - your voice sounds indifferent as ever - Well, if you don't mind, I'm going to make some dinner for myself.

He offers a small nod, and watches you from his position by the window, as you slip past him. It does require quite a lot of manoeuvering, but you manage to stand without touching him. He has to admit, watching you balance, as you try to avoid him, was amusing. Still, your heart beats calmly, and, not wanting to be left on his own, Homelander follows you to your kitchen. The beads of the courtain drum delicately over the bronze eagles on his shoulders.

The fridge is buzzing something awful. He can see just how run down the inside mechanism is, the hinges squeaking unbearably, as you reach for a box of reheatable spaghetti. There's cheep beer inside, a moldy lemon, a carton of milk pretty close to expiring, and a half-used bottle of spicy ketchup. Homelander doesn't even recognize these brands, they're not sponsored by Vaught, that's for sure.

Cheap, tasteless, basically offering no nutritional value.

-Would you step back for a second? - he asks, already wrenching himself between you and that pathetic excuse of a meal.

Again, your body sways to avoid touching him, and for some unknown reason, he finds it very amusing.

Then, you watch with a raised eyebrow, as he turns towards your spaghetti, a red sheen overtaking his eyes. An unbearably hot beam shoots out, making the insides of the plastic packaging sizzle. Finally, that gets him a reaction, as you gasp and reel back, colliding with the barely functional fridge. Your heart does a flip inside your chest, and Homelander soaks up your shock like a man starved.

Only when the red fizzles out of his gaze do you dare to move, approaching him slowly, your eyes bearing into him in a way that is frankly uncomfortable.

He turns to you with another one of his charming smiles, trying to handle this sudden scrutiny in as flippant a way as possible.

-I had no idea you can control the intensity of your lazer - you admit, voice slightly breathless.

-Pretty neat, huh? - perhaps he's fishing for more attention, but he doesn't care, because your eyes light up for just a moment in sheer wonder.

-Super cool, actually.

Yeah. Yeah, that's fucking right, he is super cool. And your heart is beating so much faster, and finally you're looking at him as if he's more than just some guy, some living advertisement you're determined to ignore.

And then your eyes shift, eyebrows furrowing ever so slightly, as you zero in on his shoulder. Something akin to a wave of amusement flickers across your expression, and to his general surprise, Homelander wants to know what's the cause of this shift. Your lips pull back into a smile, teeth peaking at him in all their glory. He can almost imagine them running down his skin, before he pushes the thought back all together, as the lower portion of his suit becomes slightly too tight for comfort.

-Well, thank you for saving the spaghetti - your eyes hold a spark of amusement - My hero.

Okay, alright, he's hard. There's no point denying it. However annoying and insignificant you were moments before, your quip goes straight to his loins, burning enough, for him to consider just how mad Stillwell would be, if he'd have a taste of this newly discovered talent.

If he stands any closer to you, he might find out, because this special little moment you two have shared, is crudely interrupted by Madelyn clearing her throat. Homelander nearly jumps back, you however barely turn your head, reaching for your spaghetti and arming yourself with a fork.

-I've spoken to my supervisor - Stillwell announces, clearly peeved by the way you start chewing on the noodles - A new version of the contract will be emailed to you as soon as possible. Hopefully it will be satisfactory.

-Thank you, Miss Stillwell - you answer with an inclination of your head.

With that, Madelyn nods her goodbye at you, refusing to shake your hand, which does amuse you, you're not going to lie. Homelander however, goes all out, capturing your fork-weilding arm, his fingers sneaking around your wrist like a bracelet. Or a shackle. Then, you watch with a confused arch to your eyebrows, as he brings you closer, until his lips press onto the protruding knuckles. Now that, admittedly, gets your heart going. You were not an easily embarrassed person, not by a long shot, but you could feel blood rushing towards your face all the same.

He has to hold his breath, as he kisses your hand in that charming, gentleman way he's seen in old movies. The smell of pasteurized tomato sauce blows in his direction, like a direct assault on his senses. Still, he needed something that would make you swoon. If everything failed, he knew how to be intimidating, but for now, perhaps he wanted to try something different. Something that would yield much more pleasant results, for the both of you. Mostly for him, let's be honest.

Madelyn asks him to stay back, spy on you throughout the night, and he begrudgingly agrees, if only to mask the fact, that he would do so of his own volition, had she not brought it up. And as such, he floats into the rapidly cooling air, disappearing into the darkening sky, where you wouldn't be able to see him even if you tried. He could see you however, and hear you, and he was about to make the most of the situation.

He spends the whole evening just watching you exist within your space. Normally, it would piss him off beyond belief. You weren't doing anything scandalous, anything that could warrant his attention. And yet, as he floats on, in time lowering himself just slightly, to get a better view, he just can't seem to look away. The spaghetti is gone in approximately fifteen minutes, as you inhale the supermarket food, walking around the living room, the kitchen, getting a few bites on the porch even. You seem so utterly unfazed by the events of the past hour, like you haven't just had America's Greatest Superhero try to convince you to work with him. It's honestly insulting, this lack of reaction.

Then, finally, he can hear a distinct ping of a new email come from your laptop, and you sit down on the couch with a small huff. Your eyes move, your lips twitch, and then he hears your heart stop in your chest. As if working on autopilot, your hand travels up, covers your mouth in shock, and you lean back against the worn-down sofa, eyes glued to the screen illuminating your face in a blue-ish light.

-...fuck… - you whisper, and despite himself Homelander floats even closer to your window.

Finally, he has the chance to peak over the curtain. To sneak into the backstage of the award winning production of your defenses, and see what goes on in those bored eyes of yours, when they're not guarded. And what he sees makes his suit feel much too tight, his body too warm. Quite an unusual thing to get so worked up about, but he's the goddamned Homelander, he can get hard whenever he fucking wants. And so, as saliva gathers on his tongue, he presses himself against the tiles on your roof, all the warmth of the day soaking into his skin through the thick material of his suit.

With a shaky hand you reach over towards your phone, putting in a number and pressing the call button, before standing straight from the couch, almost knocking the laptop over.

-Hey, what's up? - someone says on the other end of the line, and Homelander tries to focus more on the words flowing from the receiver.

-Oh, you gotta sit down for that one - you warn with an anxious chuckle, taking the familiar place by the window.

With your free hand you reach up to open the window all the way. Then, Homelander sees your fingers slip between the pillows and pull out a rather beaten up pack of cigarettes.

Naughty, naughty, he thinks, watching you produce a lighter from that same hiding place.

-Alright, I'm sat like never before.

The voice sounds vaguely female, although the shitty quality of your phone makes it hard to decipher. Your lips pull back into a toothy grin, and you blow out the smoke through the window. It curls upwards and dissipates into the air, right above the roof, where Homelander swallows thickly around a coughing fit.

-You will not believe who visited me today…

-The ICE - the voice deadpans, and you snort around another huff of smoke.

-Pretty fucking close, let me tell you - he doesn't appreciate the joke, not at all - Fucking Homelander.

The line goes completely quiet for a moment, and with every second your grin seems to be growing.

-Deadass?

-Yup - your lips purse, and Homelander zeroes in on the expression - Flew in all Star's Spangled Glory with some Vaught big fish. They tried to convince me to join the Seven.

-And obviously you said yes, because what the fuck else do you do in that situation?

Your grin slowly fades away, and you lean your forehead on the window frame.

-You didn't?

-I didn't.

Again, it's quiet.

Homelander shifts a bit in his position, adjusting against the warmed up tiles of the roof, his X-ray vision bearing into you. Out of curiosity, he looks deeper, eyes floating over your insides. You're relatively healthy. Some vitamin deficiencies, but nothing too serious. And despite that nasty habit lodged between your fingers, your lungs are clear, at least for now. There's a softness to your body, your muscles barely visible, as if you're just another gray human. Oh, and there's a bit of an eyesight problem forming, not enough to warrant glasses, but that shouldn't take long, considering your lifestyle.

-The contract they gave me was really good, you know - you muse to the phone, your leg dangling from the windowsill - Six months of working under Homelander, a Sidekick kinda situation.

-I thought they scraped the Sidekick program - the person on the other side wonders - Too many casualties or something.

-Yeah, well I guess they want to bring it back.

-Why did you say no then? I'm sure they pay is gigantic.

Again, you smile. This one much more reserved, bordering on sad. There's that strange kind of exhaustion settling into your bones again, same one Homelander noticed when he first saw you. Your shoulders slump forward, and you curl into yourself between the cushions.

-It was, it was… - you mutter - But I needed something more, for the neighborhood, ya know?

Your caller hums softly in understanding, and Homelander feels like something is passing him by. Some unspoken fact, that you and your friend find obvious.

-And - you hesitate, eyes flickering towards the laptop, your heart beat picking up ever so slightly - They sent me a revised contract. And it's fucking good. Really fucking good. It could help this entire place get back on its feet.

-But you still don't want to - the voice says for you, without judgement.

-No - you sigh - I really, really don't.

-Say no then - your friend supplies, and once again Homelander feels a flame of annoyance start to burn within him - No one else knows about the contract, there will be no expectations.

Slowly, you nod your head, clearly relieved by the way your friend reacted to the news. Homelander however, caught you right where he needed you. That's your lever. Not seduction, not intimidation, just plain, stupidly human guilt.

-Thank you - you whisper into your phone, finally smiling again - Oh, wanna know one more thing?

-Obviously.

-Homelander's wearing a padded suit.

Something's stuck in his throat, as he reels back from his position. Before he can stop himself, his eyes begin to glow red, because how the fuck did you know?

-Okay, that's bullshit.

-Unless his shoulder dislocated in the middle of talking, then no, it's definitely not bullshit.

Your friend gives out a choked laugh, one which you mirror with your own. If Homelander wasn't so utterly flabbergasted by your (correct) observation, he would've stopped to appreciate the sound. As it stands, however, he pushes himself off your roof, a couple of broken pieces falling off of the tiles. And then he's up in the air, cutting through the winds, headed straight for the Tower, leaving you in the comfort of your insignificant, smelly home.

The contract is leaked before the sun is up.

You're awoken to thousands of news articles flooding your timeline, all listing the truly wonderful and selfless points in the fated email. With a white face, you read them all, the speculations, the theories, the angry comments about you being chosen without an actual casting, while all those up and coming supes are busting their asses in auditions.

Soon enough, you're visited by every neighbour possible, congratulating, thanking you. A barbecue is set in the street, as a way of celebration, and you want to throw your phone, and subsequently yourself into the nearest river.

Madelyn Stillwell sends you an email, scheduling a meeting at the Vaught Tower. No need for pleasantries at this point, you stare at the bare bones invitation. "We eagerly await the start of our partnership" looks back at you, mocking your resolve. And thus, the end of your life as you know it begins.

"Project Delinquent"

The words are printed in an ugly, corporate font, and they stare back at you, outlining the mold you're supposed to fit in, in such a perfect way, it actually, almost makes you retch. True, during high school you were quite the little rebel, but people grown and learn, and seeing your character be watered down to that simple word, does send a wave of nausea through your insides. Even if this is hell of your own making, even if you're ready to swallow it all down with a smile, there's a pang of humiliation stinging your heart.

The armchair in Stillwell's office is uncomfortably narrow. It barely has enough room to accommodate your hips, and you wonder if this design is intentional. There is a growing ache in your calves, as you sit so close to the edge, you can't fully relax into your position, balancing on your feet instead. The armrests dig into your sides, and the way the sun is shining through the gigantic windows of the office, is shaping this charade of a meeting into an overstimulating nightmare. Still, you endure. For all the wonderful benefits enclosed in your contract, the charity work Vaught is going to supply.

Or at least, that's what you keep telling yourself, stuck between the marketing department representatives and a literal Devil of a woman.

Madelyn Stillwell doesn't know what to make out of you. Your files were filled with all sorts of questionable activity, especially around the college area. It's honestly a miracle you've managed to get your degree, and attend all those silly little demonstrations at the same time. Your criminal record has been wiped clean, weeks before you even agreed to sign the contract, just in case any leaks would find their way into the media. Leaks that were not orchestrated by Madelyn, of course.

High school rebellion was almost too easily marketable, Madelyn decided to focus on that part of your life as much as possible, her vision slowly coming to fruition. All she needed, really, was cooperation. And while you seemed to be mostly receptive to her ideas, she needed to make sure Homelander was on his best behavior. Which, well… Could go sideways in the worst way imaginable, but Stillwell tried to have some faith in her best superhero.

The idea of releasing details of your contract to the public, was a stroke of genius, she did not expect from Homelander, and she made sure he was thoroughly rewarded. With him, it was always better to choose the hands-on approach, unfortunately. With you, however, ideals were the key. Whatever feeling of solidarity you harbored towards your neighborhood, provided a leverage relatively easy to control. Still, as Stillwell looked you over, crammed into her office in your, frankly, lousy attire, she couldn't help but be just a tad worried about your compliance.

-…And then - the marketer continues with a dramatic gasp - Homelander comes in. America's Greatest Hero, offers you a mentorship. And you…

You look up at the representative with a rather sour expression. They have to work on that too. Media training was crucial. You won't be able to sell anything, if you keep grimacing like that all the damned day.

-… Are starstruck - your mouth twitches - You strike up a deal, selfless. A rebel with a heart of gold. Finally, you can make some real change happen, so you push aside your anti-corporate values, to discover, that Vaught is so much more, than you could possibly imagine.

It's hard not to laugh, and you swallow thickly, biting your lip, as a middle-aged woman you don't recognize gets up from the couch, and makes her way to the wall opposite of your torture chair. There, tucked in a corner and hidden under a black cloth, stands a mannequin, roughly your size. With a flourish you find utterly out of place, the woman tugs at the cape, and as it falls to the floor, so does your stomach. You can't hold it in any longer. A rough snort of laughter rips out of your nose, and you cover your mouth instantly.

-That better be a laugh of delight - Ashley, a ginger menace, mutters under her breath, and Stillwell turns to you with a tight expression on her face.

-Something the matter?

-I mean - you take a deep, grounding breath, tying your amusement in the back of your throat - I knew it's going to be skimpy, but this is…

You look around the room, seeing various stages of corporate outrage, and then you lock eyes with Homelander. Stillwell insisted on his participation in the meeting, as the both of you are supposed to work closely together, and throughout the whole ordeal, he looked borderline ready to die of boredom. Now, however, his eyebrows lift in a curious manner, as he takes in the, to be completely honest, horrendous costume, and your full figure. Something dangerously close to disgust twists your features, as he shamelessly drags his eyes all over your body.

Who would've thought America's Sweetheart was a fucking creep?

Rolling your eyes, you get up from the cursed armchair, your knees cracking loudly. Crossing the room, you take a closer look at the clothing, or rather, lack there of. Torn fishnets, plaid tennis skirt, and a corset top, made out of some leather-like material. Truly, a fetishists wet dream. Your fingers sample the fabric of the skirt. Surprisingly stiff, it seems to beg for a wardrobe malfunction. With a frown pulling down your lips, you lift the material up, and as expected, find no safety shorts underneath.

Homelander watches you intently, as you inspect the costume. Just the thought of your soft body in this skimpy, corporate bastardization of a rock star, makes heat rise in the lower part of his stomach. With every disapproving pull of your, and don't quote him on that, perfect lips, he's more and more convinced this whole charade is just an early birthday present. He'll have to thank Stillwell. Or better not, because as soon as he throws her a sidelong glance, he discovers, she's already looking at him. With a rather tense expression at that.

He feigns innocence, almost raises his hands in mock defeat, but decides against it at the last second. You're still watching him, torn between inspecting the costume, and shooting disgruntled looks in his direction.

Then, as if pulled by some invisible force, your hand sneaks to the front of the corset, fingers closing over the full cup, where your breast will soon reside. You give the mock leather two squeezes, and a high-pitched laugh wheezes out of your lips. Homelander's head nearly snaps with how fast he turns to look at Stillwell, confusion clear on his face.

She's looking at you cautiously. He knows that expression all too well, he's seen it multiple times during their partnership. She's calculating, with bated breath, just how much of a problem you'll inevitably become. How to turn it around in the company's favor, how to steer you in the right direction, should the need arise.

But then, you clap your hands, still giggling quietly, and turn to the designer, who's been watching your reaction with a growing distaste.

-That's one hell of a push-up bra - you comment with a raised eyebrow - My tits will fly straight out of this, if I even think about moving my arms.

Now, that's something Homelander would love to see, and you note his leering face with an uncomfortable shift in your posture.

-Your physique has to be god-like. There's no shame in a little padding - the designer answers simply, and your eyes glimmer with amusement.

-Oh, I bet - your eyes float for just a second in Homelander's direction, and he wonders if lasering you down right now would be too harsh of a reaction.

The image had to be kept up, however, and he deflects your blatant provocation with a bright smile. Or rather, it would've been a bright smile, if his cheek didn't twitch in a way, that portrayed exactly how forced his pleasantries are.

-There will be a press conference, seven PM sharp, where you'll be introduced to the public - Ashley informs you, her eyes glued to her tablet - Homelander will give a welcoming speech, explain that you're a temporary member of The Seven. Then, you'll need to say a couple of words. We'll send you the talking points ASAP.

-Right… - you mutter, not particularly thrilled by the idea of public speaking.

Stillwell looks over her shoulder towards Homelander, giving him an expectant, raised eyebrow. Slowly, he moves from his spot by the window, hand extended in a greeting, teeth flashing in a smile. Your eyes involuntarily shift towards his rather sharp canines, and for the first time, since you've signed the contract, you truly feel uneasy. His eyes are almost unnaturally blue, a perfect, American shade, that glimmers just a tad too dangerously. There's no need for super senses, he can feel your nerves in the very air you breathe.

-Welcome to The Seven - his voice is smoother than you've ever heard before - Fireball.

Wait a god-damned minute.

Confusion covers all previous feelings, and to Homelander's growing annoyance, you leave him with his hand extended, in favor of turning towards Stillwell.

-That's not my name - you point out, and Madelyn nods her head in a practiced expression of understanding.

-Due to some copyright intricacies, we can't let you use Smirnoff - she explains.

You suck in a deep breath through your teeth, looking back towards the costume. A moment's hesitation, you close your eyes as you breathe out, and once again Homelander feels as if he's able to peak under a carnival mask you carefully placed upon yourself. He lifts it just enough, sees the way muscles on your neck twitch. Your jaw sets in a way, that is slowly becoming intoxicating, and then you turn back to him.

-I'm honored - your voice is hollow, locked far away in the column of your throat, and you don't have enough strength to even attempt a smile.

That's alright, he has enough charm for the both of you, his imposing stature pushing towards you, as his arm sneaks around your shoulders.

Fuck, you're warm. He can feel the heat of your skin seeping into his costume. There's a vaguely familiar smell clinging to your form, mixing with the scent of cigarette smoke. Jasmine flowers, he concludes, and absent-mindedly remembers a rather large bush growing in your backyard. He wonders, if you'd let him fuck you, if he showed up with a bouquet at your door. Women seemed to like those, and although you didn't strike him as the most romantic person, he's positive he could charm his way into your pants.

-I'll show you to your room, sweetheart - perhaps he's laying it on a bit heavy with the nickname.

He can hear Stillwell's heart jump, and he immediately knows, he's going to have to sit through a stern talk later today. You, on the other hand, wrench your head to the side, disgruntled with this new form of familiarity. Your entire body goes tense, and you try to wriggle yourself further away from him. On instinct, his fingers dig into your shoulder, a mockery of a friendly expression, and with just a small fragment of his true strength, he pushes you forward, out of Stillwell's office.

He can do whatever he wants, and Madelyn is getting awfully pushy with guarding you from him. You're just a temporary toy to satisfy the higher-ups. A six months worth of an experiment, that he's forced to be a part of. After your contract is up, Vaught won't care whether you live or die, and you bet your rather ample ass, he's going to exploit that to the fullest. Not only is it borderline insulting, to deny him life's simple pleasures, it's pathetic.

-Nervous about the press? - he asks in a light tone, his jaw clicking softly, when your slide out of his grasp as soon as the doors close.

The casualness of this question throws you in a bit of a loop, but with a couple of rapid blinks, you're back to normal, letting him lead you towards the elevator.

-Public speaking isn't my best asset - you mumble.

Homelander presses the call button of the elevator, then leans against the wall, watching you with a strange twinkle in his eye.

-Sounds like someone's not a people person - he notes, wiggling his finger at you in a manner that is confusingly playful.

-I am a people person - you defend yourself, albeit a bit awkwardly - Just… Not when there's a lot of people.

He laughs at that, a practiced, almost theatrical bark that's as fake as his hairdo. All you have the strength to do, is flash him half of a smile. Thankfully the elevator pings before any more small-talk is required, and you slip into the confined space, standing in the corner. His eyes roam freely all over your body, a shameless act that makes your guts twist, makes the already small space of the elevator even more stuffy. And then, he enters after you, pressing a button to the right floor, and taking a spot much too close to you, than what's necessary.

You suppose it's one of the things you'll have to get used to. This constant invasion of your personal space. Perhaps, if it were someone else, someone that wasn't as empty as you, those actions would've been more intimidating than annoying. Alas, as you watch his chest rise and fall in steady rythm, out of the corner of your eye, his actions remind you of a petulant, spoiled child, rather than America's Greatest Hero. "I can't play with this toy? And what if I do this?" For just a second you entertain the idea of gentle parenting Homelander, and the thought makes the corner of your mouth twitch.

-Something the matter? - he asks, tension sneaking into his friendly tone.

-Just happy to be here, sir - you answer, and he knows it's a blatant lie, another one of your snarky provocations.

Doesn't matter for now, there will be a time to teach you some manners.

The elevator arrives at the right floor, and you bolt out of your place as soon as the doors slip open. Homelander follows closely behind, before closing the distance in a couple of long steps. Then, he's in front of you, and you nearly collide with his form, as he suddenly comes to a stop, in front of a pair of large doors. "Fireball" is etched into a small plack, and you throw the offending piece of metal a withering glance.

-That's your stop, sweetheart - he comments, and once again, you grimace at the nickname - Take a look inside, I'm sure it will blow your socks right off.

Why is he talking to you like you're a fucking child all of a sudden, you'll never understand. The door clicks softly, as you open it, revealing your living space for the next six months. The sight chokes a laugh out of you, because truly, the ammount of "punk" memorabilia is staggering.

-Does cocaine addiction come with the package, or…?

He doesn't even react to your joke, and you don't blame him. For all his creepiness and fake interest, he doesn't strike you as the funniest person on earth. There are guitars hanging over a rather large bed, there's a pristine stop sign next to them, which you suppose is meant to look rebellious. The usage of leopard print is tacky at best, and you truly start to wonder if they even consulted someone out of the corporation to design the space. Most likely no, wouldn't want to waste resources on such a small project.

-Fireball - Homelander's voice is barely above a whisper, but it makes your heart jump all the same.

He's standing so closely behind you, you can feel the warmth of his breath at the back of your neck, but for some unnknown reason, you can't force yourself to move. Instead, you feel him take a deep breath trough his nose, his chest brushing against your back. Your eyes stay glued to a drum set, pushed against a gigantic window. Light reflects off of the cymbals, in your mind you're already playing it, far away from this nightmare of a superhero.

-I'll see you at the press conference - Homelander's hand clasps itself over your shoulder, squeezing a couple of times, as if testing the softness of your body - Don't even think about being late, young lady.

You don't know when he dissapears, as you stand there, frozen. One foot over the threshold of your room, breathing shallow and borderline panicked. It could've been seconds, could've been hours, until your head finally snaps to the side. He's not there anymore, you're alone in the corridor, and as you slam the door closed behind you, something you've only suspected before becomes abundantly clear.

There is something deeply wrong with Homelander.

[miiilowo]

Highlights / Notable info from the second Scott Cawthon Dawko interview for people who don't want to watch it

MISC/START OF INTERVIEW

- scott says the 1 thing he'd wanna go back and change/fix the past 10 years is FNAF world; said a lot of weird/bad decisions were made going into it, that he didn't like the graphics and it Could Have been a good game but he doesn't like it overall & he may consider making an improved sequel

- he was scared to hand FNAF over to steel wool but he thinks he got lucky w/ them

- refuses to play both FNAF VR games because they genuinely scare him too much; didn't want to beta test them (funny)

- he very much knows the fandom prefers pure horror and the supernatural but cant resist leaning into scifi stuff

- doesn't like the names burntrap and glitchtrap and they were supposed to be temporary

SECURITY BREACH

- half blames covid splitting up steel wools workforce for the games lack of quality and delays

- says his "vision of the game" was misaligned with steel wool, that he had a "very specific story in mind" for security breach and it didnt pan out like he wanted

- he takes fault for it, saying he conveyed it in a bad way; "I was trying to tell steel wool to do specific things throughout the game, put specific items in specific places, have specific characters do certain things, meanwhile not TELLING them what the story plot was. Because in my head, I was thinking 'Okay, when people find this, they'll connect this to this to this & it will all be revealed, and I thought I could do that without telling steel wool the story plot. That didn't work out very well because they got all of these pieces, and they thought it was their job to connect them in a way that made sense. And so really what you ended up having were the same pieces telling completely different stories...I don't blame them for that, I blame myself for that, because what I should have done was gone 'hey, heres the story, the pieces are here, here's how theyre supposed to connect'."

- burntrap originally even supposed to move; just supposed to see something you saw in between machinery or in corners, that you werent supposed to know his purpose even though he used to have a very specific one (that the fandom doesnt know)

- he knows it didnt turn out like anyone wanted & thats why they made the RUIN dlc, he hopes it redeemed security breach

- he said hes learned from that mistake with security breach and things should be better in the future

- he cannot share any thoughts on the mimic

- he likes vanny a lot, shes one of his favorites and he thinks that shes underutilized and should get more spotlight in the future

THE BOOKS

- process is 'he has an idea, he proposes it to the writers, they flesh it out'

- he likes bunny call the most, and that it's not entirely made up; he took his family to a summer camp. 2 older kids 2 babies. one of the things you could sign up for was a 'panda call' . a very 'deceiving title', he says. early in the morning, a bunch of the camp counselors dressed as killer clowns would come into your cabin and scare the kids to wake them up early and drag them off to do their daily activities (?????????????????????????????????????????????????????????????????????????????) and he knew this was the case, & before it happened he started to sort of feel bad that he signed up his two youngest kids for it so he crept outside in the dark and 'started listening for screams' early in the morning. 'somewhere in the dark in these trees theres clowns and theyre coming for my cabin'

- acknowledges the fazgoo is weird and bad.

- the 'creature on the cover of blackbird is my sleep paralysis demon' (quite literally)

- says his least favorite story is the guy getting pregnant with springtrap's baby and that he Doesnt Know What He Was Thinking, that he swears he 'wasnt trying to pick on matpat'

- he says theres potential for the books to be adapted into shorts goosebumps style, but hes afraid it might be 'too much' and oversaturate the franchise

THE MOVIE

- he says a big issue was that there was material thats difficult to translate to the big screen; the nuance of the antagonists being that the animatronics are possessed by the spirits of innocent children, and he wanted to preserve the innocence of the victims while also having the horror and the kills, and thats a big part of why several screenplays got scrapped; he was more picky/cautious about that than anything else

- says the victims are sort of like 'confused, scared animals backed into a corner, who believe that adults are out to get them' & thats part of why they kill people + the manipulation from william afton

- he likes the movie overall but thinks specific things could be improved and they aim to do that with the second movie, but doesn't want to dwell on those shortcomings too much

- hes perfectly happy with critics hating it but the fanbase loving it & that was his goal for it

- when the movie began showing in theatres he said: 'i told myself i wasnt gonna go online i wasnt gonna read any reviews i had already told everybody at blumhouse and i told my legal team DONT talk to me DONT call me DONT email me DONT send me charts DONT send me facts or figures i dont want hear ANYTHING', saw 1 negative review on accident then started reading all of them immediately before the 2nd showing even happened

- 'for a couple of hours there i was distraught, i thought it was a complete disaster' (based off the initial negative critic reviews, before learning how much the fans loved it)

SECOND MOVIE

- Not giving away many details, but following the same formula; 1st movie based on 1st game, 2nd movie based on 2nd game, etc

- Thinks people will like it, that the setup for the 1st movie was the hardest part but now that they have that launch pad to go off of and hes really fond of what they have planned

- Emma Tammi is also directing the second one

INTO THE PIT GAME

- was originally just supposed to be a short novelty game, but they made something really good and he encouraged them to keep going & its turned into a full-fledged game

- he says its going to be a very 'unique experience' and that everyone will like it a lot

- says working with megacat (studio for the game) has been 'weird but good', that theyll vanish for several months and return with a bunch of info

SPINOFFS, GENERAL FRANCHISE STUFF, FUTURE PLANS

- Would want to work on a game based off of Fetch and that he thinks it'd be really cool

- Says he feels like he's sort of lost touch with the fanbase as things have gotten bigger

- Wants to have a better structure for managing a twitter page, official news feed, etc., wants more management than just Himself because it'd better service the fanbase

- He says theres another game planned with steel wool (not the mimic game) way down the line that hasnt been announced yet

- Making more choose-your-adventure fnaf book stuff

- He's 'very careful' with collaborations because he wants to preserve the fact its fnaf and he doesnt want it to be distorted or tainted, & even if he really really likes a game he won't do a collab if the vibes are mismatched, but he's a little more open to things like that now (but we have FNAF X DBD now! yay)

THE BOX.

- (paraphrased) His process for a lot of the lore in games is that he'll come up with half of a mystery and then come up with an answer as things progress, that he feels something is there and he makes the path for that thing to be revealed

- 'but sometimes when things progress the roads that have been put in place arent the same roads that were there before'

- he had something planned for the box. the progression of the story did not allow for the reveal of whats in the box

- he never pursued whats in the box. and he will never know whats in the box.

[eretzyisrael]

by Matti Friedman

The failure of Holocaust education has been most sharply observed by the writer Dara Horn, particularly in a prescient essay for The Atlantic last spring and before that in a 2021 book, People Love Dead Jews. After visiting numerous museums and speaking to educators who teach Holocaust curricula, she concludes in the essay, “The bedrock assumption that has endured for nearly half a century is that learning about the Holocaust inoculates people against antisemitism. But it doesn’t.” 

By turning the Holocaust into a generic story about prejudice, Horn argues, Holocaust education left its recipients without any understanding of the specific problem facing Jews—or even much sympathy for real Jews in the present. 

This was the argument she made half a year before the Hamas attack of October 7 and its aftershocks, when any doubts about the accuracy of Horn’s hypothesis were put to rest. The well-meaning donors who’ve footed the astronomical bill for museums, memorials, classes, and films should ask for their money back.

The confusion between knowledge of the how and of the why is illustrated, inadvertently, in the figure of one of the experts interviewed in Evil on Trial, Omer Bartov, a Holocaust historian at Brown who describes himself as a “historian of genocide.” Bartov, who is Israeli, belongs to Israel’s most unfortunate export category—namely, academics who find a home for themselves on an increasingly unhinged Western left by reassuring their comrades that their dark fantasies about Israel are sane. Barely a month after October 7, Bartov wrote a New York Times op-ed accusing Israel of “crimes against humanity” and warning of a possible “genocide” in Gaza, taking the two key terms first invented to describe the Nazis and deploying them against Jews. Then, after visiting one of the college encampments where Zionists are cast as malevolent global villains, he reassured an interviewer from Democracy Now! that he’d seen nothing amiss and that antisemitism on American campuses “does not exist in any significant form.” The protesters may be trafficking in lurid stories of Jewish evil, but the Holocaust professor thinks that this time the stories are true.Prisoner shoes on display at the Auschwitz-Birkenau concentration camp, Oświęcim, Poland. (via Alamy)

One of the blithe assumptions of Holocaust narrative has always been that no one would identify with the Nazis, but this is wrong. They’re villains, to be sure, but also strong figures, men of action. Just as the best character in Schindler’s List is the Nazi commandant played by Ralph Fiennes, the best character in Evil on Trial is Adolf Hitler, acted with deranged energy in the reenactment scenes by Károly Kozma. When I finished the series on Netflix, I saw that I could continue to Hitler’s Circle of Evil, then to Hitler: A Career, and then to five other movies with title screens featuring Nazis. All of this manages not only to bestow upon the Nazis a kind of dark glamor but also to reassure everyone that if you don’t have a red band on your arm and a skull on your hat, you’re fine. 

The Jews, on the other hand, tend to be mostly absent as real characters. They occasionally appear to be marched away with their hands up or shot into ditches in their underwear. But we don’t get a sense of who they are, or why their difference—and particularly their stubborn refusal to adopt whatever ideology is current—has repeatedly turned them into figures of hate. 

The liberal West may believe itself to be post-Christian, but it’s still the world created by an ideological system that co-opted Judaism and then developed a furious resentment toward its continued existence, thus establishing a civilizational pattern that seems destined to repeat forever.

If Holocaust stories treat Jews as props, they miss understanding what the Jews think about what’s happening to them. And what they think is worth consideration, not just out of courtesy.

Judaism is a religion with a very long memory, and Jewish texts include stories of oppression and extermination stretching back to Pharaoh in the Book of Exodus. Europe’s Jews saw the threat as a continuum that didn’t start or end with Hitler. They knew he was a symptom of the problem, not the problem itself. It is this insight, unlike the details of SS hierarchy or the sadism of Dr. Mengele, that has the power to help us make sense of the world we see right now. 

[butterflydm]

more WoT s3 spec - what we know vs what we're guessing at

I've been poking at what we know about s3 vs what we can reasonably guess, so I wanted to break that down a bit.

So there are a few things we know just about the structure of how the show has worked so far: we know they shoot in blocks of two episodes each and that each of those blocks is going to have the same director for both episodes. Because of this info, we can make some guesses at where specific episodes may land. We also have some casting info (wotseries.com being a great resource here).

They tend to have a major reveal in the fourth episode - Nynaeve being incredibly powerful in the One Power in 1x04; Selene being Lanfear in 2x04.

What we know for certain:

Rhuidean & the Waste will appear (Rand & Egwene's storyline).

Tanchico will appear (Nynaeve & Elayne's storyline).

The Two Rivers will appear (Perrin's storyline).

Rand and Perrin will each get focus episodes akin to Nynaeve having "What Might Be" and Egwene having "Eyes Without Pity" in s2.

We have four episode titles: "To Race The Shadow"; "A Glimpse of Crimson"; "Goldeneyes"; and "He Who Comes With The Dawn".

Sea Folk are confirmed for S3.

Potential leaks include:

Mat, Min, and Thom all being part of Nynaeve & Elayne's storyline in Tanchico. Big change for Mat & Min, but matches canon for Thom. And since show-onlys have only seen Thom with Mat and Rand, it would make sense to use Mat to re-introduce us to him.

Reports of the actresses reported to be playing Morgase and Elaida seen at a castle which is almost certainly in Caemlyn (Andoran banners spotted), most likely for the first or second episode due to the timing.

An actress playing Maigran (one of the Aiel from the Rhuidean glass columns sequence) is listed under the director who is being used for eps 3 and 4.

An actress has been cast to play an older version of Latra and I really like @wheeloftimeofficial's idea that we'll see her as the ancient Aes Sedai who establishes Rhuidean in the glass column memories, especially since the younger actress also has s3 listed on her CV.

We have (unofficially) confirmed castings for Faile & Galad.

Hints we've gotten from interviews & bts info:

In an interview filmed before the actors' strike, Daniel mentions Lan having some really good relationship scenes with Nynaeve, so we know that there's interaction between those characters before their plotlines separate, implying that we will not begin with everyone already all off on their separate journeys, like they were in 2x01.

Also from Daniel, it's implied that there are training scenes between Lan and Rand (could happen at any point, since Lan is likely to be in Rand's storyline the entire season).

From what Josha has said, the show will be pivoting to a more familial relationship between Egwene and Rand next season (which matches the book timing).

Rafe made a point of mentioning that Elayne healing Rand was to flag to the audience that this was a relationship to pay attention to (which implies we'll get at least some movement on that relationship in s3).

Josha also says that there is "way more togetherness" for Two Rivers' characters in s3 than in s2.

In an unrelated interview on screenrant, Rima Te Waita (Sheriam) mentioned that she will not be in s3 but, if s4 is greenlit, she will be in s4.

Josha and Ayoola posted some cute instas of each other after finishing up the South Africa shooting stint near Cape Town, which might be a hint towards our potential AviRand interactions (could also just be the actors being cute!).

Guesses based on book & show knowledge:

It seems likely to me that Gawyn & Galad will be introduced in the same episode as Morgase and Elaida, which I am tentatively going to guess will be episode 2.

I think that Verin, Alanna & their Warders are going to be getting out of Cairhien as quickly as possible. And that they are pretty conveniently set up to head to their TSR storyline.

I am pretty torn about when the coup will happen! I feel like it happening this season feels pretty much a lock because there really isn't any more "White Tower storyline" until the coup happens, and they do already have the set made. But it could either happen pretty early on or fairly late in the season. Maybe episode five? That lets us meet Elaida in episode 2, gives her and possibly Gawyn & Galad time to get to the White Tower, maybe we get some scenes of her politicking in the WT in episode 4, with the trigger being pulled in episode 5 or 6. But another possibility is that the coup happens right away, while all those Sisters are still in Cairhien and we see Liandrin take the lead on something like stilling Siuan and Leane, which would put the White Tower in chaos before Elaida even arrives. There are at least two Black Ajah Sisters in Cairhien, after all, and Liandrin likes to act extra-judicially, and she might want to try to make sure that Siuan is taken care of before anyone has a chance to out her (Liandrin) as Black Ajah. But there is also a chance that it might happen in the finale, so that we can parallel Moiraine & Siuan's 'downfalls'. So really this one is a wildcard for me. It isn't really directly tied to any other specific events in TSR, so it can happen whenever.

We will get the glass columns in episode 3 or 4. In the books, it happened as soon as Rand landed in the Waste, basically, but the show could potentially do Cold Rocks Hold first, depending on how Rand is getting to the Waste. I used to lean towards it happening in ep3, but after learning the leak about Mat being in Tanchico, it made me wonder about ep4, maybe, as that could potentially lead to Mat going through the doorways (just speculation with zero leaks or spoilers to back it up but I like it a lot lol) from Tanchico to Rhuidean either at the end of ep4 or the start of ep5, leaving Nynaeve & Elayne's storyline and going to Rand & Egwene's.

I do keep thinking about Josha saying that the Two Rivers' kids would have "way more togetherness" than in s3, which seems difficult if they all separate by or after ep2 and then don't reunite the entire season. I guess technically it would be true because they don't reunite in s2 until the final moments of 2x08 but feels somewhat underwhelming to mention, lol.

I do still suspect that we're getting Lanfear & Moiraine with the doorway at the end of the season.

So, a tentative outline. Now we leave behind the more solid leaks and knowledge and enter into the wild speculations. Please check out @markantonys' recent post too, she's got some fun speculations!

3x01: To Race the Shadow

"Way more togetherness" between the Two Rivers group than in s2, so says Josha. This is also where we have to be getting the Lan & Nynaeve romantic scenes that Daniel keeps hyping up, lol.

Moiraine and Rand are going to be arguing about his next plans.

Something will happen that makes them realize that Something Is Up in Tanchico -- this might be a first Dream from Egwene that leads them in the direction of the museum? Which also leads to her talking to Amys, which is why she decides to go with Rand instead of going with Nynaeve & Elayne. The big question for me is if they are going to Tanchico because of Liandrin or if they go for other reasons and then run into Liandrin also being there to get the same thing that they're getting.

Now Mat may go into a doorway here as speculated by @markantonys (the room of curiosities) but for this specific outline, I'm going to say that he doesn't, and instead he chooses to go with Elayne & Nynaeve because he's running away from Rand (after the Stabbening). This pulls in something that Mat tries to do a lot in the books but gives him a new motivation that fits his show character.

I think Lanfear is going to warn Rand about the rest of the Forsaken being free but potentially also send Liandrin to Tanchico to try to get the, uh, plot token for her potential use in the future (a girl needs a back-up plan).

Lanfear talking to Rand might be another thing that Rand and Moiraine argue about.

Rand and Egwene are going to have their official 'break-up' and then we'll see their more platonic relationship develop over the course of the season. I also feel like we have to have at least a scene or two with Rand and Elayne to establish them feeling Some Kind of Way about each other, to build on that moment from 2x08.

3x02: A Glimpse of Crimson

Good episode title for a Red Ajah & Andor episode!

I'm going to guess that Rand & co are going to be stopping in Caemlyn (my feelings are similar to @markantonys about us potentially getting a garden introduction between Egwene & Gawyn here, and then having Rand & Egwene meet Elaida & Morgase (and Galad?). Elaida will have her Foretelling about Rand and freak herself out.

Our group hears the rumors about the Two Rivers, and Perrin decides to go investigate. The question is how is Rand going to get to the Waste from Caemlyn? I don't feel like they would introduce Portal Stones as a one-off if they haven't done it before, so I think there's a chance that Loial might go with Rand instead of Perrin, as Perrin doesn't need to go through the Ways to get to the Two Rivers (of course, then they would need to change how the battle resolves in 3x07).

(alternatively: there's always the Lanfear express, I guess, lol)

This could also be when Elayne, Nynaeve, & Mat arrive in Tanchico, and their introduction to the city is our B plot. I don't think they would throw all the plots at them at once and I feel like just introducing Thom first would be a good start for the first episodes in Tanchico.

3x03: Unknown

Rand & co arrive in the Waste, but I'm going to send them to Cold Rocks Hold for now, instead of straight to Rhuidean. This gives Rand and Aviendha time to bond, Rand and Moiraine time to fight, Rand and Lan time to train together, and gives the audience a chance to get to know the Aiel culture in a bit more of a relaxed setting. Then we get an attack by Shadowspawn and Rand gets the reminder that the other Forsaken have been let free and don't share Ishamael and Lanfear's feelings about him.

Another plot will be in Tanchico, involving Nynaeve, Elayne, and Mat investigating, running into Min and/or Egeanin or Tuon taking Egeanin's role. This may be where we get our early encounters with Moghedien (she Compels one or more of our characters to spill the beans to her about their plans) and potentially where she reveals herself to Liandrin & co as one of the Chosen and takes control of their group after playing servant for part of the episode.

We also have Perrin & co arriving in the Two Rivers and getting the lay of the land. This could be a fairly emotional episode for Perrin, due to memories of Laila's death. Maybe when Perrin says goodbye to Laila (putting his ring on her grave/memorial?) and potentially our first sighting of Faile.

3x04: Unknown

Rand goes to Rhuidean and into the glass columns. This is the main plot of the episode and Rand's focus episode of the season.

We get the history of the Aiel here, and learn about Rand's ancestors.

Subplot: Aviendha is told that she is destined to be a Wise One (maybe she accidentally channeled during the fight at Cold Rocks Hold?) and deals with idea that she has to leave behind being a Maiden.

Our Tanchico B-plot leads to Mat entering through the twisted doorway in the museum, For Reasons, and getting his prophecies. Maybe this same plotline leads to Elayne and Nynaeve finding dream ter'angreal, and to Tuon/Egeanin realizing that Elayne and Nynaeve are channelers, and potentially learns that all sul'dam are, and then leaves our main plotline at this time.

3x05: Unknown

When Rand leaves the glass columns, he finds Mat hanging on the tree outside, and saves his life (we've gotten a few different pieces of foreshadowing about Mat being hanged, so I feel like it will happen at some point). Mat says he was just in Tanchico.

We catch up with Perrin in the Two Rivers, with him learning to move past his grief as he gets to know Faile.

Because we've already done Cold Rocks Hold, this means that Rand & co can go straight to Alcair Dal at this point.

Aviendha and Rand bond over their lives being dictated by being able to use the One Power and not having any choices about their future.

On the way to Alcair Dal, we meet the traders, who are hiding Lanfear and Asmodean in their ranks, and Lanfear sees that Rand is getting closer to Aviendha and Does Not Approve.

Nynaeve and Elayne worry about where Mat has disappeared to and experiment with the dream ter'angreal that they recently discovered in the museum (might only be one: the twisted stone ring, so that channeling isn't needed for it), and run into Birgitte in the dream. She gives them a warning but they realize that this is the same place that Egwene was talking about in 3x01 and are excited that they might be able to communicate with her.

3x06: Unknown

Another journey into TAR for Nynaeve (maybe a successful contact with Egwene?), and she encounters Birgitte again, but Moghedien too, and this leads to Birgitte getting ripped out of TAR and bonded by Elayne to save her life.

Moiraine tells Rand that he needs to go to Tear, to fulfill more of the prophecies, but Rand is resistant.

The Two Rivers ramps up for the battle.

This would also be a good spot for the coup, imo.

3x07: Goldeneyes

The Battle of the Two Rivers. Potentially Perrin's focus episode as well, as he comes into his own as a leader. I think that it would be good to push any confirmed Perrin/Faile romance forward into the future, so they will still just have some vibes for now.

We get some pieces moving into place for the other storylines: Rand arrives at Alcair Dal; Nynaeve and Elayne make plans to return to the museum.

3x08: He Who Comes With The Dawn

Desperate to get through to Rand and worrying that he is focusing on the Aiel instead of being the Dragon Reborn, Moiraine went back to Rhuidean to try to use the doorway, as when Mat talked about his experiences there, she recognized what he was talking about and wants answers of her own.

Rand announces himself at Alcair Dal, drawing the attention of Lanfear, who makes her pitch to him that We Could Rule Together, worrying that she's losing her hold over him after seeing him getting closer to Aviendha. She tells him about Asmodean and about him potentially teaching Rand so that he can reach his potential.

Inside the doorway, Moiraine gets answers that she doesn't like about Rand and Lanfear (sort of merging her going into the doorway in Tear with her going into the silver rings).

On the Tanchico side of things, we have our big Tanchico encounter between Nynaeve and Moghedien, which results in Nynaeve breaking her block. Nynaeve and Elayne escape Tanchico on a Sea Folk ship, heading towards Tear, potentially bringing Min & Thom along with them.

After talking with Lanfear, Rand is let out of his 'bubble' at Alcair Dal as Couladin declares that HE is the Car'a'carn and he will prove it by leading the Aiel to conquer the wetlands (setting up s4 to be a combo of TFoH/LoC, with a hint of TDR with the destination being Tear instead of Cairhien). Rand realizes that the fake dragons on Couladin's arms were put there by Asmodean and goes after him -- Asmodean Skims back to Rhuidean and he and Rand battle, and Lanfear arrives, puts the block on Asmodean and offers him up as a teacher to Rand. Moiraine takes advantage of Lanfear's focus on Rand to yeet both of them into the doorway while channeling, based on the knowledge that she learned inside, melting the doorway. We see in the Tanchico storyline that the other doorway melts at the same time, leaving them no exit.

And I agree with @markantonys that possibly the most effective stinger would be the reveal that Tuon is the DotNM, but if there is no Tuon in this season, we could have it be a Forsaken (Sammael) setting up shop in Tear, to set the scene for the upcoming season.

It is a lot more cliffhanger-y than our previous season finales and I'm sure that my thoughts on it will change as we get closer and learn more spoilers, but that is my wild speculation for this specific week!

[batsplat]

This line made me sooooo insaneeeeee

BUT ITS TRUE

they did not expect it from each other

You mention that after sepang 2015 that marc refused to take it lying down and retaliated, would you say that one some level vale expected him to just take it?

And also could you please recount events in which marc also waged mind warfare on other people after the divorce™ I think that the psychological aspects of his style are so incredibly interesting like how in le mans, bezzechi kind of crashed out and how viñales mentioned in post race interview how " when he heard marc's bike he knew it was over"

Thank you for your very valuable contributions to motogpblr, you enrich the experiences of all

right. right! following on from this post... fair warning: 'what was valentino's plan in sepang 2015' and 'what mind games has marc cooked up over the years' are two questions that don't exactly lend themselves to concise responses, though I've done my best to edit this down to a somewhat more palpable length. so *cracks knuckles*. let's do this

first off, sepang 2015. yes, marc did very much refuse to lie down and, yes, he did instead very much retaliate. I'm not sure if I'd say valentino expected marc to 'take it' exactly, though the hope would have been that it would a) make him more cautious around valentino, b) throw him off-balance, and c) make him more error prone. I mean, certainly you'd have to assume he didn't expect marc to react like that because.... well. otherwise, why would valentino have done it? yes, he has repeatedly alluded to having wanted race direction or dorna or whoever to step in, but those guys infamously aren't particularly proactive. and, let's just pretend for a second here that marc really had been plotting to ruin valentino's title - what are you going to do about it if you're the ones responsible for enforcing the rules? even after sepang, when it was reasonable to suggest marc had been messing with valentino in that race specifically, there was only so much they could do. sure, the main reason they didn't penalise marc was because he'd crashed and had in essence already been penalised. but if you want a more drastic penalty, then you're going to have to show that marc is doing something emphatically illegal. I mean, it's not like race direction penalised valentino when he was racing jorge in what can only be described as a cheerfully malicious manner in motegi 2010, at a time when jorge was close to sealing that year's title and the two of them were racing for *squints at notes* p3. they can't actually stop you from being a little shit, you know

this line of argument might be ascribing too much rationality to valentino's actions - maybe he was hoping race direction would do something. it's worth pointing out that one of valentino's later comments (from march 2016) to my reading suggests that valentino had already spoken to race direction several races before sepang about marc's behaviour, but they didn't listen to him. the sepang presser then constitutes an attempt to publicly force their hand... except it still wasn't enough. and a part of valentino surely must have already known it was going to go wrong after saturday's qualifying. the incidents during the practise sessions that weekend weren't particularly egregious, but they involved two riders who were both clearly willing to play games with each other (including in some towing-related shenanigans). crucially it's not really the type of thing that would happen if one rider had been spooked so badly they're making sure to ride on eggshells around the other bloke. at the end of the day, valentino thought he could unnerve and disorientate and unsettle marc - and if you're being generous you could say he at least picked the right target. marc had broadly demonstrated he could be unsettled that year, which jorge had very much not

if you're being less generous you could say 'but it's crazy he's doing this to the bloke who isn't even his title rival'. which is the whole problem from valentino's perspective - he simply couldn't engage jorge in direct combat (and again, this does make it more remarkable he even got it to valencia given one of his big big strengths in title fights was being completely neutralised). jorge has been involved in plenty of great battles over the years, but his 2015 title was won purely on raw pace and having just enough tracks where he was fast and it wasn't raining for things to work out in his favour. it was marc who valentino was continually getting into fights with, whether at argentina or assen or silverstone or... well, even phillip island, valentino fights marc a hell of a lot more than he does jorge. which makes for a weird championship in a lot of ways, but also makes it a bit inevitable that valentino ends up disproportionately focused on a bloke who isn't actually his title rival

if you want to be even less generous, you can say it was a rather radical misread of marc's character from a man who (any conspiracy theories aside) has always seemed to understand marc pretty well. like, this is the thing right, obviously hindsight is 20/20 and all that but can you really imagine any universe in which marc hadn't done something roughly along the lines of what he did that weekend? in a way, this is probably the bit that bothers me the most about the whole thing, just feels like it couldn't have ever achieved what valentino intended it to. I can excuse breaking the heart of the kid who hero worships you, but I draw the line at being kind of dumb

the way I'd break it down is by looking at why he was in a headspace in which he wasn't making good choices, and then consider what his actual thought process (however irrational) might have been. so on the one hand, you've got all the contributing factors that explain the poor decision-making process, that explain why he wasn't thinking clearly. on the macro level, you have the arc of his career and what this title meant to him and how it fits into his desire to win on his own terms and prove everyone wrong and all of that. you have the pressures of that specific season and how it had gradually gotten more and more intense post-assen, the influence of the people around him and how they had allowed/contributed to him getting increasingly distracted from the actual riding as the season went on. this factor obviously includes the man who actually presented valentino with the phillip island telemetry and had seemingly been badmouthing marc for more than two years. you have the arc of valentino's relationship with marc, his belief that marc was a sore loser who only played nice with valentino while he was winning and who valentino thought he had been more than generous to in response to marc's lack of composure earlier that season. this eventually coalesced into a mental list of all the times that year valentino felt marc had fought him differently than he would anyone else, from argentina to assen to silverstone to misano to, of course, phillip island. you have the compressed time scale - four days from the race at phillip island to the presser in sepang, at a time at which valentino will have been at his most exhausted and spent after the travails of first motegi and then phillip island at the closing stages of the toughest season of his career. it's this that creates the sense of urgency, the need to do something now to stop the opportunity from slipping away. and then, of course, on the micro level you have the actual details of the supposed conspiracy that relied on the specifics of how the race at phillip island ended up unfolding... of tyre management and seagull murder and fluctuating lap times and suspicious late race pace and a perfect last lap

which, okay, I think it's fairly obvious that valentino wasn't thinking clearly. but he still must have been intending the presser to do something, something that was different from what it actually ended up doing. now, the way this works in my head is that valentino basically did the equivalent of pressing a big red button labelled 'chaos'. if you do what he does in the presser, that's the inevitable outcome, right: you're ensuring this entire weekend is going to be a complete mess. in theory, you're the one person who's had the chance to mentally prepare yourself for that mess, because you're the person who's pressing the button. you're hoping everyone else will be off-balance, distracted... to some extent it's less about wanting to intimidate marc per se (bad idea!) and more about making sure he has other stuff to worry about. maybe you're hoping marc's going to make some mistakes, crash in ways that aren't caused by a movement on your part that looks suspiciously like a kick, be a little out of it all weekend. I mean, marc did have a tendency to hit the deck when under pressure that year. the hope is at the very least he's going to be a little more cautious, so worried about ruining his reputation that he's not going to attack you too hard. basically, hope he does anything other than what he actually ended up doing, aka throwing himself at you again and again in the race in a sort of agonised fury that paid no consideration whatsoever to his reputation, ruined or otherwise

this is where the sepang 2004 parallel is at its most instructive to me. you're giving everyone something to talk about and you know it's going to be the centre of attention that weekend and you just kind of have to hope that the chaos ends up creating an opportunity. and, for a hot second there, it did look like valentino might have been onto something. he qualified on the front row for only the fifth time that season (y'know his qualifying actually got a fair bit better in 2016, presumably because he just wanted to maximise the number of awful vibes pressers) and he outqualified jorge for only the second time that season (again I don't mean to be rude but, jorge, how the fuck did you almost lose that title what were you DOING). it's pretty unfortunate that the very start of the sepang race played out in the exact perfect way to allow dani and jorge to escape while marc and valentino started divebombing each other. this is the thing right, there are lots of ways that race could have unfolded and it basically could not have gone any worse - and it's helped make valentino's initial decision to blow shit up age particularly horrendously

the other underlying explanation is a somewhat more opaque one. people want to feel good about themselves, they want to have a positive sense of identity along several different metrics like self-worth and moral virtue and so on. it doesn't feel good to lose, and it especially doesn't feel good to lose if you've tried really, really, really hard. a lot of sports psychology is about the challenge of managing vulnerability. there is something inherently vulnerable about competing in the public eye: you are trying hard to win but there is always the possibility that you will lose. if you lose with other people watching, you are making your inadequacy public knowledge. this is why athletes search for explanatory mechanisms - maybe they make a public show of how they weren't actually trying hard, about how they don't actually care that much, or maybe there's something they can blame like the machinery or injury or the team not being on their side or whatever. maybe there's someone to blame. a narrative of sabotage allows you to preserve belief in both your own ability and your own self-worth; it is the perfect explanatory mechanism. and to some extent, this type of thing is necessary - you're not going to be able to compete well unless you have high self-belief to the point of delusion, which means you do have to tell yourself all kinds of things to keep the faith. but paradoxically, these explanatory mechanisms are also incredibly dangerous, because you cannot compete to the fullest extent of your ability if you are not throwing yourself into what you are doing in your entirety, without any restraint or self-defence. you have to be open to experiencing the pain of defeat in its rawest form to be at your best. you have to be willing to go to those infamous 'dark places' within yourself to win. the moment you are thinking about how you will explain your defeat, chances are you've already lost

but hey, I've never competed in a motorbike race before, what would I know of the psychology of it all? let's get the words of someone who should know a little more than me:

Looking back, what I said about wanting a bike that could win at Welkom, well, that was a way of boosting morale, an attempt at wishful thinking. You can't demand something like that. And even if you get it, there's no certainty you'll win. But then again, we riders always say all sorts of things. Sometimes we believe what we say, even when it sounds crazy, other times we're just being hopeful and, still at other times, it's all an exercise in self-delusion. We try to convince ourselves of something, because ultimately, every time you step on the track, words don't matter, and it's just you, the bike and your opponents. In fact, that's the only time you really have a clear picture of things. When you're actually on the track, racing against your opponents. That's when you know where you are and where the others stand. You know how your bike is doing and how those of your opponents are faring. That's the moment of clarity. Then, you can say whatever you like to everyone else: your chief mechanic, your mum, your girlfriend, the press... but, deep down, you know the truth and you know it with crystal-clear clarity. You can tell people you fell because the bike didn't follow the trajectory it was supposed to follow, or tell them that you're actually really fast, but the bike simply isn't. Inside you, however, you know the truth. You know you fell off because you made a mistake, or because your opponent is simply faster than you. And the opposite is also true. Deep down, you know whether your victories were deserved. You know if you won races on the turns, when it's down to your ability as a rider, or on the straightaways, when it's all about the power of the engine. You know the others are looking to make excuses when they say you beat them just because the bike was better. I always knew the truth behind each of my victories, and behind each of my defeats, too. I knew exactly why and how I won or lost. And so, at the end of 2003, after winning everything in sight with the Honda, I was certain I could win with another bike. But, of course, until I actually did it, I couldn't be truly certain. Thus, I set off on my journey, in search of that place where certainty meets truth.

(sidebar: I find it funny how the bit about straight line speed reads like just an extremely obvious dig at casey in his ducati days but, published in 2005, your honour he's innocent)

what valentino describes in that passage is the awful, inescapable secret at the heart of all competition: at the end of the day, you do know. you can only do so much to protect yourself from the truth. you have to tell yourself a story, even if it's crazy, engage in all manner of self-delusion to throw yourself into the field of battle again and again and again - where inevitably you are going to lose, again and again and again. any great athlete has to start out at least a little delusional, for there is something inherently insane about thinking you will be one of the very best in the world in your field. eventually, much of that delusion may turn to reality for the chosen few, but the delusion never completely goes away because there is always more to win and always more losing to do along the way. when the delusion stops, so does your career. valentino's endless capacity for storytelling and self-delusion is inherent to his success - he would not have been as good as he was if he had not found all these stories to tell himself, all these reasons to believe, to keep motivating him, to wring special performances out of himself when he needed them most. he told stories that were ridiculous until he turned them into reality. if valentino were anyone other than the person who killed his tenth title in sepang, he would not have won the other nine in the first place

and yet, chances are, valentino already had lost headed into sepang. chances are, he knew as much. chances are, he chose the kindest possible story to make sense of it all. at the very least, what he wanted to do was expose the truth as he saw it - make sure that everyone in the world knew what marc had done to him even if it didn't end up saving his title campaign. but in exposing one truth, at the same time he managed to obscure a different one. because in the end, certainty never did meet truth in 2015, because we'll always have a question mark about what would have happened if valentino hadn't said what he had said in that press conference, what would have happened if marc had reacted differently, what would have happened if race direction hadn't handed out penalty points or if marc hadn't been so hurt and angry he was unwilling to take risks against jorge in valencia. yes, of course it's likely that jorge would have won anyway, but we don't know that. it's 2006 all over again, isn't it? there's a likely winner, there's maybe somebody who should be winning, but there's never any certainty. that's why we line up on sunday, or so the cliche goes. the main lasting success of that press conference is that it has cast a shadow over the whole championship - not just in the sense of making the whole thing unpleasant to think about, but in the more literal sense of concealing the realities of that title fight, of generating ambiguity as to how it all might otherwise have played out under more 'normal' circumstances

except, of course, valentino has told us himself that he does know the truth about all of his victories and defeats. of course he knows jorge was faster than him that year, which is why he wasn't trying to win that title on pace. by any reasonable standard, there's no shame to that, not at that stage of his career and not against that level of opposition. there's plenty of ways in which valentino was the stronger rider that year, still, somehow, and enough sliding doors moments that would have given valentino just enough points and granted him a completely deserved title. but of course it was still frustrating, and it was frustrating to be reminded constantly in the paddock - including by marc - of how jorge was the faster of the two of them. valentino knew he couldn't beat jorge on pace, which is why he never tried to, but it still wasn't easy. it still required him to just... put away his ego, ignore all the snide remarks about his speed, ignore marc's digs and jorge's cockiness, and just devote himself to winning the title in the only way he could. that's the heart of 2015: it's all about valentino suppressing his worse instincts right until the moment he doesn't. it's the pressure, it's all the blows his ego has taken that year...

and of course, it's also marc. at the end of the day, it'll always come back to that - the fact that marc had made himself into someone who had the power to genuinely hurt valentino and how he then managed to make himself a target of valentino's suspicions (topic for another post). going into sepang, valentino already knew that more likely than not he was going to lose the title, and he decided he blamed marc. at the very latest during the race, he knew he was almost certainly going to lose the title, and now he definitely blamed marc. that's how it goes, isn't it... valentino's reasons for saying what he said in the press conference were complicated, but marc's actions then proceeded to simplify everything. any uncertainty, for valentino, was removed by that race. it was stripped away even further, if possible, by how marc approached the valencia race and his decision that he wasn't going to risk anything - not when it could help valentino. their whole tragedy, of course, is that if you had placed valentino in marc's shoes that weekend at sepang, he would have done the exact same thing

which is unfortunately as smooth a transition as I can come up with to stop discussing valentino's psyche and starting discussing marc's. let's talk mind games

the first point that's worth stressing is this: most of the mental pressure that riders exert on each other happens on the track. I think this is where 'mind games' becomes a bit of a tricky term, because inherently the connotation there is that you're doing something a little sneaky, a little underhanded to get under the skin of your opponent. but valentino has said it himself: you need to be performing on-track for any of this to work. and it goes beyond that - the on-track performances are key in determining what kind of psychological pressures you are exerting on your opponent. ideally, this is a symbiotic relationship where, as valentino puts it, the off-track 'work' that makes the opponents 'suffer' is used to... well, just back up what you're doing on the track, to make sure they're getting the message. to just play with them a little in a way that is conducive to bringing about further on-track success

so, in the interest of not getting bogged down in semantic debates about what exactly counts as playing 'mind games', I'm going to throw out the term for now. I think it's interesting in itself that this phrase is how people refer to that kind of behaviour, something about how it comes across as just a little derogatory, a little suspect... but we're going to ignore that. it's completely useless to discuss 'mind games' as this kind of ethereal higher-plane tactic that only happens in press conference rooms and on three hour long podcasts, as if it's somehow disconnected from the reality of what's actually happening on-track. (on-track behaviour is also at times referred to as mind games - but less frequently, and it tends to be used more for behaviour in non-race sessions.) it's also a bit of a sleight of hand: there's not anything inherently more 'honest' or 'straightforward', anything less 'psychological', about deliberately bullying someone on the track versus saying something snide about them to the media. what we are interested in here is the question of mental pressure, how riders exert it on other riders, and how riders go about working on the suppression of their rivals. basically, for a more fun term, think of anything you'd consider to be psychological warfare and go from there (the ask does actually specify mind warfare, which feels like a happy middle ground)

and just to reiterate this, the vast majority of the psychological work valentino himself did on his opponents - including in ways that marc has gone on to emulate - was done on the track. a race like laguna seca 2008, which relies so heavily on tactics and valentino's assessment of casey as a person and what message valentino decided to send casey that day... well, it may have had its effects reinforced off-track, but fundamentally that's still a heavily 'psychological' victory that enraged and unnerved casey through what valentino was doing during the race. and if you're assessing valentino's 'mental game' while leaving out laguna 2008, you really might as well not bother

so what we're looking at here isn't going to be exhaustive, but it's still going to hopefully cover most of the major aspects in a way that gives a sense of that integration between the off- and on-track. now, coming up with a list of examples isn't all that easy, because first of all... man, marc's been around for a long time by now... if we recounted every minor incident with another rider, we'd still be here by the time twenty to thirty years have passed and valentino finally gives marc a call. second of all, marc does undeniably leave less of a paper trail than valentino. partly he has objectively gotten himself involved in fewer feuds (though I'd argue there are also circumstance-related factors there), partly he's also been warier of how he approaches this kind of thing as a direct result of sepang 2015, and partly it's just a question of personal style

valentino tries to suffocate you with the paper trail, leveraging his skills at manipulating the media to make your life unpleasant, to throw distractions in your direction, at times to make sure you are overwhelmed by the frenzy and the noise and the chaos. all this, obviously, he does in addition to making your life on-track as miserable as possible. marc prefers a slightly quieter approach, maybe an indirect dig here or there, a habit of letting you know on the track if he's decided he has a problem with you. which means that a lot of what people consider marc's 'mind games' basically go something like this: a) rider does something to piss marc off (this can just be 'beating him'), b) marc does something dubious to them on-track, c) rider complains about marc, and finally d) marc goes ?? idk why they're saying all that but not really my problem :) and goes along his way

but that does make it a little tougher to actually provide a good overview of what he's doing - because, at the end of the day, I too can only be so certain that he's attempting to fuck with rivals. that's the nice effect of it, right, you get these statements from other riders where they're complaining about marc and broadly speaking I do believe them when they say he's being a little shit again... but it's a little harder to prove that this is his intention. which means they also end up engaging in a form of shadowboxing, where they think he's messing with them and they say he's messing with them but it feels kind of one-sided and silly and like maybe they're simply imagining things. which must be just... incredibly annoying. god

in a way, the best proof we have that marc regularly fucks with his opponents is that everyone in the paddock is more or less agreed in their belief that he is constantly engaging in psychological warfare. you've got other riders saying that marc is continually dabbling in 'mind games', you've got journalists on their podcasts saying that marc is always messing with people and is an awful teammate to everyone who isn't his brother etc etc, and you kind of assume they'd be the ones to know. though, if anything, this can mean they sometimes have a tendency to overshoot, which is how we got endless speculation at the start of this year on whether marc was lying to people or sandbagging or whatever when he was busy adapting to a new bike. sepang isn't irrelevant here - marc became more closed off and private and secretive and circumspect about his real feelings as a direct result of how bad that whole experience was for him. sometimes it feels calculated to unnerve his competitors, and sometimes it does seem more about just protecting himself. but that's the thing, right - if you acquire a reputation for "mind games", then people will think you're fucking with them even when you're not. which can be useful! but, as should be obvious, it demonstrates that just because somebody is accusing marc of engaging in gamesmanship, doesn't mean it's actually true (which is also of course the case for valentino)

^'who's most likely to play mind games in a press conference?' winning here! alex rins hands on hips we will get to you in a bit

all that being said, we do have plenty of fairly clear examples of the ways marc tries to fuck with his opponents, so let's get to those. here are the elements I'll focus on: 1) an explanation of how the on-track exertion of psychological pressure works, in races as well as outside of them, 2) intra-team dynamics, and 3) some specific examples of how the on-track and off-track tactics are integrated. again, far from exhaustive - the examples are supposed to be more akin to illustrating marc's approach rather than definitively listing every instance in which marc has exhibited a particular behaviour. the streamlined approach, if you will

so, let's start with the actual racing. the aspect you bring up in the ask: the intimidation. bez doing his sad little crash out of p2 in the le mans sprint, maverick thinking it's so extremely over the moment marc came too close in the main race. I've edited this section down a lot to avoid getting too into the weeds here, but let's just give the brief sparknotes version of how this intimidation works:

speed: if you are not capable of performances that unnerve your opponents, obviously you will not unnerve your opponents. no shit. marc's sheer pace is terrifying in its own right... it makes you wonder if that cushy gap you have to him is quite as cushy as it looked a lap ago. how often he seems to be able to access something special, how it piles on pressure in the context of a title battle to know that he is fast pretty much everywhere. the speed does a lot of his work for him in the intimidation department, nothing fancy required

circumstance: so, say you've got an alien behind you. not to name any names... but there are some aliens where, if they are having a good weekend, they wouldn't be behind you in the first place. that doesn't mean the alien can't still be plenty scary... but when they're at their best, they're dominating out front and so are less 'threatening' when they're sitting on your rear tyre. when things aren't going their way in a given weekend, you maybe don't have quite so much reason to be worried. marc (similarly to valentino) is a lot more flexible in how he wins his races - which might mean he's looking very ominous from say p5 at the end of the first lap. there's less possibility of respite, less chance that if he qualified badly, he has the decency to still be slow come sunday. if you find yourself on the same bit of track as marc... that's probably not great news for you in any weekend

aggression: the obvious one. marc isn't as afraid to crash as everyone else is, he's willing to go for it if he's given half a chance - which he never fails to remind people of. he said it about half a dozen times at le mans this year, including with his competitors in the same room. convenient when you have such an immutable character trait you couldn't do anything about even if you wanted to, which also just happens to make you terrifying to fight with. sometimes he mixes up this rhetoric a bit - e.g. in 2016 after his messy 2015 he did talk plenty about his newfound maturity. still, not bad if his opponents are constantly reminded of how unyielding he is... which is of course part of the reason why he bangs on about it so much

(on the flip side, while it is obviously in his best interest to barely say a word against hard racing because it would make him come across as a massive hypocrite, marc has this nice little habit of reframing his opponent's moves as just not being particularly sensible in that situation. look at how he talked about the pecco portimao crash this year - sure, it's a racing incident, but it also wasn't "necessary" to fight like this for fifth/sixth place given pecco had a championship to consider. pecco's move was "too optimistic" - and, my favourite bit, he would "learn" from what had happened. which is nicely condescending, and a good way for marc to criticise aggression in a more circumspect manner: don't call your opponent dangerous, call them an idiot instead)

tactics: linked to the second point - part of the reason why valentino instantly recognised himself in marc and has always acknowledged what a clever and tactically astute rider he is. the other aliens to varying degrees tended to prefer the 'start fast and fuck off' approach to winning races. by contrast, it's hard to really pinpoint what an 'average' race win would look like for either valentino or marc. they are capable of the 'dominate out front' victory (marc historically more so than valentino), but they also have a bunch of other ways of winning races that all produce their own psychological effects on their opponents. to give a few brief examples, you've got the 'stalking and studying' approach, closely tailing opponents and gradually ramping up the pressure while you analyse where they're strong and where they're weak before eventually making your move. you've got the 'comeback ride', which is frustrating in how it means the field is basically never guaranteed a break from these assholes - this is all about relentlessness and generating a sense of inevitability. you've also got the 'fucking around before fucking off' approach, where you get involved in a scrap for much of the race and it looks like you and your opponent(s) are on equal footing... before suddenly pulling the pin and disappearing off into the sunset. there might be good reasons for marc and valentino to stick around that don't just amount to 'playing with their food' (though there is that too) like tyre preservation or figuring out grip levels in the wet or whatever. nevertheless, it's intensely demoralising for the competition, because it almost feels like the whole thing was a lie, an illusion of a fair fight... they've been tricked into thinking they had a hope of emerging victorious. obviously, all these different ways of winning are also investments for the future, so that next time your opponents are in xyz situation you generate uncertainty and doubt and preemptive frustration in their minds, as they wonder whether they can really get the better of you this time

now, obviously a lot of this is just about marc's natural strengths as a rider - but the point is that these operate on the psychological level as well... and you can gently encourage this with a little bit of extra off-track 'work'. what you say about your own aggressive riding, what you say about your opponents' aggressive riding, any impression you want to reinforce in the minds of your competitors. there's a lot of long-term reputation management involved here. (a little more about these reputations in the context of argentina 2015 in this post.) most of the 'intimidation' happens on-track, and it's also a result of deliberate riding choices that aren't just about winning any given race. of course, it's helpful if you are particularly adaptable to different race situations, if your flexibility allows you to reinforce the impression that you are always a threat. if successful, you can make sure your opponent is already mentally beaten by the time they know you're coming for them. (I'm not personally massively a fan of the term, but this kind of thing is what generally counts as the 'aura' an athlete has.) ideal, really - to be so intimidating your opponents can't even put up a proper fight

then, of course, there's the stuff that happens outside of races but in practise and qualifying instead. a perfect opportunity to be a dick to others on-track without the stresses of a race. which means... well, look, we can't ignore marc's habit of sitting on other riders' rear tyres when they're attempting to hook together a fast lap. the towing thing radically escalated when the honda was at its least competitive post-2020, but marc was definitely very much already at it before that. (incidentally, one of the cuntiest things he has ever said was when he pointed out in 2019 that he was leading so many laps in the actual races that he wasn't getting much chance to study the other riders there.) nobody really needs me to list every single towing-related controversy marc has involved himself in over the course of his career, but it might be a good idea to get the thoughts of somebody who knows a thing or two about fucking with his rivals. valentino himself has gotten the towing treatment a few times over the years courtesy of marc, and both pre- and post-sepang his stance has generally been 'listen it's a dick move but smart play, gotta hand it to him'. take this from catalunya 2019:

and y'know, he gets to the heart of the whole matter rather nicely -thanks to the local marc marquez understander for logging in years before the discourse about it became such a big thing. marc follows other riders around because it's a great way to study them and he also does it because he knows it's extremely annoying. it's annoying both because you know you're helping out another rider who you don't want to be helping out, and because it is just quite distracting to have someone that close to you, being able to hear their engine, etc etc. one thing that changed after 2019 was how necessary it was for marc to do this... marc went crazy with it at a time when it was often the only way he could put together a decent lap (and also because it played into the strengths of the honda, for a given value of the word 'strengths' - he's spoken a fair few times this year about how he finds it harder to follow other bikes on the ducati) (not for lack of trying). but valentino is also spot on in that marc is excellent at choosing his victims, how marc understands you have to pick someone who needs to put a good lap together and has no choice but to drag you along with them

I mean, think about why he just couldn't seem to leave poor pecco alone for a while there. first of all, pecco is fast, and marc clearly feels quite comfortable following him around. secondly, pecco tended to put himself in positions where he really needed a good lap because he'd gotten himself stranded in q1 or only had one more shot at a lap or whatever. plus he was fighting for championships, so he couldn't afford to fuck marc over out of sheer spite. thirdly, pecco has been fighting for titles for the past few seasons, making him one of the riders to beat. which means that marc was motivated to a) study him, and b) fuck with him - both of which were investments for a future in which he could fight pecco properly. makes complete sense! insanely irritating if you're the victim, which is half the point. also helps that pecco very obviously found the whole thing frustrating and tiring and really hated being asked about it, but also was equally obviously adverse to kicking up too much of a fuss about it for various reasons. the perfect victim

on the flip side, marc has been known in the past to be quite careful about who he is giving a tow, like for instance this from brno 2014 (ironically the first race that year marc did not win):

The two front row slots for the Ducatis were a problem for Rossi, dropping the Movistar Yamaha rider down to seventh, and the start of the third row. Rossi joked darkly about Marquez’s strategy, claiming that he was giving the Ducatis a tow to put them in between him and his main rivals. “For sure he is clever,” Rossi said. “He doesn’t pull Jorge, me or Dani, always a Ducati.” Marquez laughed at the suggestion, admitting only half of Rossi’s accusations. He certainly didn’t look for Ducatis to give a tow, but he would not give one to his rivals, he said. “It’s your decision to close the gas,” Marquez told the press conference. “If it’s Dani, Jorge, or Valentino behind me, for sure I will close the gas, but if it is another rider, it doesn’t matter.” That is in itself an admission of just how little competition Marquez sees. He is prepared to give anyone a tow, except for the other factory Honda and the two factory Yamahas. In effect, he is dismissing the threat from any other riders. Harsh, but fair.

and, y'know, if it were so easy then everyone would do it. you need a certain level of skill to actually pull off the towing bit, which marc is clearly very good at. you also need to have a good feel for picking your moments, who to bully, when to slot in behind them, all that kind of thing. and, lastly, you also need the sheer power of shamelessness on your side. which, that should more or less cover it... there are some real gems like mugello 2019 where marc accused ducati of ordering pirro to shadow him and then played a complicated game of chicken to catch a tow from dovi and snag pole, or mugello 2021 where marc was so determined to follow vinales through q1 that he was even alert enough to dive back into the pits with him as vinales tried to get rid of the small train of guys following him... but overall, I think valentino did a pretty good job at summing up the main points for me, so let's leave the towing discourse at that. returning to catalunya 2019, obviously it is also extremely valentino that he then had a sneaky little look at the honda's dashboard 'just out of curiosity'. truly a meeting of the greats, those two, we'll never find their like again

let's move on to intra-team fuckery - which is all about suppression of rivals. your first job is to beat your teammate, and the first arena of trying to fuck with your opponents is what happens within the team. my general assumption here is that marc's particular approach is less inspired by valentino and more just the result of his natural competitive instincts (which, to be clear I do think is true for much of the tactics described in this post). it's also not something... I know the ask specifies post-2015, but I don't think it's something that changed after sepang, except insofar as marc had won the most important teammate war of his career and didn't need to be quite as aggressive towards dani any more. given the continuity between the intra-team situation pre- and post-2015, I'm not going to make much of a distinction here and just rattle through some details about the intra-team dynamic from the start of marc's time in the premier class

so, the first bit of context that has to be acknowledged: a lot of the dani/marc war wasn't really fought between the two of them directly. both of them had... well, rather drama-happy managers, who a) were willing to do a lot of the mudslinging on the behalf of their charges, and b) were pursuing agendas of their own to establish themselves within the honda hierarchy. I think it's fair to say that not all of what they were getting up to was necessarily just about acting in the best interest of their riders - and it is an internal power struggle that could've had pretty disastrous consequences for marc in particular. here's a longer write up I quite like about the situation within honda in 2013, which came to a bit of a head with the phillip island fiasco (when marc was disqualified as a result of failing to change bikes early enough). just a few excerpts (though again I'd recommend reading the whole thing):

(gabbarini is pecco's crew chief these days by the way, small world.) so obviously a lot of this is kind of dumb, not least because marc came very close to losing that year's title to a yamaha rider as a result of all this behind the scenes bullshit. it also is just the kind of thing that happens when you lock a bunch of big egos into a small space within a competitive environment - and is a nice little insight into the early year machinations that were going on as marc and his team attempted to establish themselves within honda. which they did in part by pushing through key personnel changes that replaced anyone too closely associated with the old regime... and there's also the less pressing but interesting question of whether (as casey believes) marc's team pushed casey out the door because they felt 'threatened'. this sort of backroom manoeuvring is part of the game, albeit an unsavoury one, and great athletes do have a tendency to be ruthless in asserting themselves within team environments

of course, by 2014 marc was asserting himself ever more on the track. dani might not have yet fully accepted the number two status, but he was increasingly pushed into a position where he knew he had to play along, to not kick up too much of a fuss in his own best interest. did that perhaps play a role in how all those 2013 complaints about marc's aggressive riding - not least when it caused dani to crash in aragon and effectively ended his title bid - died down a little in the following years? who's to say! of course, marc has been pretty open in admitting his abrasive approach to the teammate dynamic, which he was kind enough to shed some light on more recently in marc marquez all in. I assume pretty much everyone reading this will have watched marc marquez all in, but for reference I've still included a transcript of the relevant bits of marc marquez all in. here's marc talking about the teammate relationship:

Dani and I, now we get along great, and he's an amazing person. But in 2013, 2014, there was a lot of tension. He was the king, the number one. People listened to what he said in the box. Everyone expected something from him... The team was focused on him. And out of nowhere comes this kid. A kid in his first year after Moto2. And well, first race and... boom. Second race, boom. And it's a hard pill to swallow. [...] I've never been a nice teammate. I've always liked to... You've got to make your teammate's life impossible, if you can.

and dani's take:

Those years there was a lot of tension because we were fighting for the same thing. He knew about my potential. That's why he always tried to stick to me, so I had no space to really take off. [...] He's very competitive. That's his strong suit, how competitive he's always been with everything.

and then at the end of that segment, marc says the following:

It is true that after 2015, 2016, everything calmed down, and we had a good, normal teammates relationship. After a while, I think you learn to accept the situation, right? It happens, and I'm sure it'll eventually happen to me too.

which I suppose is a fairly diplomatic way of saying the relationship got better when marc had won the war and dani had to 'accept' his lot in life. the king is dead long live the king, etc etc. intra-team competition is perfectly natural, but of course that doesn't mean all riders approach that dynamic in the same way. dani's "I had no space to really take off" is a nice way of putting it I feel, how he talks about marc 'sticking' to dani, marc's determination to just continually work away at his teammate... to suppress him, to smother him, to ensure that not only was marc winning the war but he would keep winning the war. marc made that team his own and he ensured that dani's continued presence in that team was happening on marc's terms. a job very well done

marc is also remarkably open in describing one of the specific tactics he utilised to achieve the desired effect in suppressing his teammate. in marc marquez all in, he admits to intentionally giving misleading bike feedback when it could give himself an advantage over dani:

But back then we had a great bike, everyone worked well. So if a replacement piece worked for him, I didn't like it, "This doesn't work. I want this one. I want this replacement piece, since I'm leading it. I want it. Don't give him this." "You want to try it?" "Yeah, sure." But I didn't want to.

now, listen, I'm sure this kind of thing does happen. that being said. marc, come on, not everyone is engaging in this degree of underhanded behaviour wherein you're intentionally hampering your teammate's efforts to improve the bike just to ensure you continue to have an edge over them. let's make a casey stoner comparison, given that I am legally obligated to mention him in most of my posts. he is actually relevant here though, as dani's pre-marc teammate and the bloke who would have more likely than not been marc's teammate if he hadn't retired. casey talks a bit in his autobiography about working with pedrosa at honda, mentioning how it was nice to have a teammate with a similar pace so they could actually develop the bike together. he also says this:

I never felt threatened by a teammate because I have never had one that I felt was consistently quicker than me and throughout my career our biggest competition always came from outside the garage. Still, I have great respect for Dani, our partnership was a fruitful one and I think we worked really well together to help Honda build their best ever bike in the RC213V.

while I do quite like the implication that casey would have felt 'threatened' by any teammate who could match him, I think it's fair to say that this is a pretty different approach from what marc's describing above. of course, casey could be misleading us... but, call me naive or gullible or whatever, I really just don't think casey was pulling that kind of shit on his teammates. I'd go so far as to say that this kind of thing is maybe not quite as widespread as marc portrays it as being. it might also be worth quickly bringing in casey's thoughts on such a combative style of teammate relationship (from 2009):

probably for the best we never got to see how that particular teammate dynamic would have played out! also, luckily enough, we do actually have somebody who can corroborate that casey and marc behaved differently as teammates. let's get the thoughts of dani himself (april 2023, so after marc marquez all in had been released):

“At least in the team we were in, HRC, it was like this: the one who goes the fastest is the number 1, the one who chooses the parts and the one who determines the direction a bit. “When [Marc] arrived, I was in that position and with the races and the championships he took that position and decided in his own way. When I was directing more the evolution of the bike I had the parts first and I never thought in [my] own way.  “My way has always been to do the best for the team, and if I have the best parts to make the bike the best, I'm not thinking about my rival right next door, but about Yamaha, Ducati... whoever the rival was, because I consider myself part of the brand. Later he had that other way of doing it.  “I don't think I was missing [the same way as Marquez], because my way of being was that one. For example, before Marc came in, with Casey Stoner, he never played that game either."

so, yeah, maybe not completely universal behaviour. I don't know, I do find it kind of charming that marc has this very 'ah well everyone does it' attitude. now quite honestly I personally would not admit to this sort of behaviour even in confessional amazon prime documentaries - and it's fascinating what kinds of things he has a filter about and at what times he just decides to be, uh, very candid. I mean, I suppose this is a nice way of publicly forewarning any teammate who isn't your brother that you're going to try and make their life miserable. so that's something. anyway, marc did obviously win the internal war - which is the kind of thing that does matter if you're trying to impose your will on bike development... even if you're just doing so to fuck with your teammate. so by 2016 you reportedly had a situation where marc's direction was being followed to the extent that it harmed all the other honda riders:

But Pedrosa claims he had no input in the decision, and is now paying the price of having to compete on a bike built around Marquez’s preferences. The 30-year-old also said that he knew he would be in for a difficult time in 2016 as early as the Valencia test last November. "In the end we didn't have many specs [of engines], but out of the ones we had I wouldn't have chosen the current one,” Pedrosa admitted. "When we picked the bike I already knew things would be very hard. I already knew how the bike handled in November. But it is what it is. The choice of bike that we have was [Marquez's], I had nothing to do with it. For the moment, he's ahead and he deserves to be. He likes the bike, he adapts better to it, while I struggle more. That's obvious, you can see it in the results and in the way we ride." Pedrosa said the poor performance of Honda’s satellite bikes this season in comparison to previous years was yet further evidence of how the RC213V has been designed around Marquez’s needs. Cal Crutchlow’s sixth place at Catalunya has been the best result for a Honda rider besides Marquez and Pedrosa of the campaign so far. “You have to think of the team, not only about yourself,” Pedrosa added. “If you look at the rest of the Hondas, they are a lot further behind than two or three years ago, when you had [Stefan] Bradl or [Alvaro] Bautista finishing fourth or fifth. Now they are 10th and further [back]. So we have to try to get the other teams to work too."

obviously, to some extent teams following the lead rider and prioritising their feedback is completely natural and even wise - they're the one who is winning for you. it does also end up being a bit of a self-perpetuating cycle that makes the rider already winning more likely to continue winning, which helps explain why these riders are even so invested in their internal bickering. all that being said, of course it's worth noting that different riders conceptualise that teammate relationship differently, and the extent of intra-team cooperation can vary drastically. marc has a very particular understanding of that relationship when he is paired with anyone who is not his brother - one that is generally speaking pretty far along the combative end of the scale

unfortunately, we never really got to see how bad the whole marc and jorge (also not the easiest of teammates) situation could have gotten. in 2018, their relationship was definitely better than say 2013, but also jorge was still perfectly happy to criticise marc - whether after argentina, or that whole aragon incident they had

(marc did call jorge afterwards to check in on him, which jorge did appreciate.) but jorge never had the pace in his honda days to threaten marc, so nothing really got going between the two of them. if memory serves, the closest we ever got was catalunya 2019, where they had a bit of a coming together in practise - incidentally the first (and in retrospect only) weekend that season where jorge had potentially dangerous pace

But Lorenzo’s apology seemed to clear the air. Marquez explained that once he “was calmer” and the fear of dropping outside the all-important top ten had subsided, he could see the #99’s point of view. Marquez also noted how he was twice penalised in 2018 for similar actions to Lorenzo’s in FP3. He then pointed out how neither his team-mate, nor Joan Mir, who blocked the reigning world champion at one point during the Mugello weekend, were punished. Speaking to Spanish journalists after Saturday’s press conference, Marquez, said, “He [Lorenzo] apologised to me, because he was in the middle of turn three. While people can say it's only free practice, it was the third one, in which the last laps are like qualifying. “I was so angry because I knew that my lap was the one to enter Q2 directly. In the end I finished ninth, the worst classification of the year. It’s clear that last year I was twice in the middle of the track and on both occasions I was penalised. At Mugello I came across [Joan] Mir, we touched and everything and then at the end of FP3 it happened again with Lorenzo. But this happens... When it does everyone has to be judged equally. There is no difference. He simply apologised. Logically [after the session finished] I was calmer and I understood, because no rider waits in the middle of the track – or at least I hope they don’t."

obviously, this isn't like, a big deal, but in the moment it was one of those 'oooh maybe this'll go somewhere' incidents and the eternal drama enthusiasts in the commentary box were talking about it at the start of the race. like I said, that was jorge's first honda weekend where he was showing actual pace, so it felt like this might be building to something. except then, uh, jorge decided to skittle all of marc's rivals in one go in the race itself and somewhat hilariously managed to just miss marc. and then jorge got injured again the next race and it all just kinda fizzled out after that, so we never really got to find out what dramatics could have been possible there

and that's it as far as teammates prime!marc had in the premier class go. childhood rival pol espargaro took on the mantle for two years in 2021-22, at a time in which there was much kerfuffle about honda's development direction and whether they'd followed marc's path for too long. espargaro did attempt to assert himself in that team and they did try to develop the bike in a way that suited all the riders better rather than just marc, which *gestures at honda post-2020* worked insofar as marc also ended up in the trenches. that being said, pol was never a particularly serious threat to marc - aside from that one race to start off 2022, which maybe prompted a little bit of needle from marc (based on what the podcasts™ were saying at the time in any case) but nothing dramatic - so, y'know, that was kind of that. in those two years plus the year where marc had joan mir as his teammate, of course you can go into the weeds and dig out minor disagreements... but apart from the conversations around development direction and how marquez-centric honda should be going forward, it's just a bit of a different vibe when you're beefing for pee one million or who gets to be the leader of that year's crash rankings. of course, if you really want to stop marc from tormenting you, maybe you should just try being his literal brother. pecco, if you want any more useful advice like that: I offer very reasonable rates, just give me a call and we can hash something out

so, we've covered how the on-track stuff works and looked at the intra-team dynamic - what's next? time to explore a little more how marc goes about unsettling his rivals, how he attempts to give himself the decisive edge over his opponents... and also, what purpose this all serves when it comes to his own psychology. intimidating rivals typically has another underlying goal: it's about motivating yourself. it's about proving to your rivals just how far you'll go to beat them while proving as much to yourself in the same breath

again, at times we're a little light in terms of an actual paper trail of this intimidation... given that marc does like to take on the role of the aggressor in on-track disputes, often he doesn't even have to be the one to comment - and instead the onus is on his rivals to voice their dissent. there's also the issue that marc did have a paucity post-2015 in terms of 'serious title threats over the course of multiple seasons' - which, I don't know, this does feel like a thing somehow, you just don't really build feuds in a single season. even valentino, known feud enjoyer, always needed a little longer to really get something going. looking at marc's career, obviously you do have dovi, with whom he had a very cordial rivalry between 2017 to 2019... but the only year in which dovi was a serious title threat was in the first year of that rivalry, in 2017. after dovi's poor results in the first half of 2018, that title bid was essentially dead on arrival, and the 2019 title fight generously lasts until catalunya when jorge skittled the field minus marc. there's a couple marc rivalries with young challengers that looked like they were just about to kick off after 2019... but, well, we'll never find out how those would have played out. and it might be worth pointing out that in his prime, valentino's disagreements with riders who weren't serious threats to him winning titles didn't really go beyond what marc had going on with assorted other riders from 2016 to 2019. it's a bit of an open question if you want to attribute marc's lower number of feuds primarily to his actual personality and how it differs from valentino's, or whether you think it just reflects their respective competitive situations. the boring answer is that it's probably a combination of both of those things

that being said, obviously you can engage in a wee spot of psychological warfare without it escalating to feud level. now, let's get the obvious out of the way: marc and valentino were still very much at it post-2015. of course they continued to be deeply invested in their attempts to undermine and mess with each other. but, let's be honest, they're their own special little thing and it's just going to derail this post if I pay too much attention to them. there's a certain level of feuding where it becomes increasingly detached from any sort of actual competitive calculus and is more about a fraught relationship between two people who have managed to severely hurt each other. that being said, it's worth pointing out that marc was perfectly capable of using that feud to spur himself on. for the easiest evidence of that, just look at some of his misano performances... in 2017, valentino had just nerfed himself out of the title fight, whereas in 2019 he was no longer a serious threat to marc on-track. and yet despite how valentino wasn't the on-track rival marc should be concerning himself with, in both cases marc ended up using his valentino-related rage to find that little bit extra within himself in order to steal the victory

^from the marc (+ dovi) race rec post

there's plenty to be said about the misano 2019 qualifying incident, but let's set aside the specifics for now (though, speaking of towing-related drama, marc had again during fp3 shadowed valentino around the track, which... why are you hounding this man in misano of all places, marc). the whole kerfuffle certainly didn't hurt marc's race performance, and it's fair to say he seemed particularly thrilled with that victory. obviously, these were pretty pointed celebrations, very in your face, big fuck you to the nation of italy and valentino rossi specifically. celebrations like this are important in both what they're signalling to the enemy and what they're signalling to yourself. if there's one thing you can learn from valentino, it's that a celebration is a public message, and can function as a statement of sorts about what the victory 'meant'. what's the story you're telling with your victory? what do you want to take away from this race? what do you want your opponents to take away from it?

misano that year had come after marc's struggles in last lap duels, with the two races directly preceding it featuring last lap losses to dovi and alex rins respectively. now, on the one hand it's not always catastrophic on a psychological level to be constantly losing last lap duels... because in marc's case they did help reinforce just how dangerous he was, where even at his weaker tracks he would hound his rivals until the very end. on the other hand, obviously it's preferable to have a reputation for winning last lap duels as opposed to losing them - not least because it adds to how intimidating you are when you are locked in another last lap duel. valentino of course had a reputation for being lethally effective in that sort of situation, and it's nicely helpful if your enemies assume they're fucked when you're in their postcode with around three laps to go. I discussed this dynamic a little bit in how it relates to the sete rivalry here and here, which links back to the discussion of how you exert psychological pressure on the track. some relevant excerpts, plus some of my race notes:

marc is obviously more than capable of adopting similar tactics in his racing, but the sete rivalry still holds up as a really good demonstration of the kind of rewards you can reap through a steady diet of psychological intimidation. this is why it's so important to keep an edge over your rivals: you want them to be haunted by the ghosts of all your past on-track encounters whenever you're fighting to the point where it's detrimental to their actual riding. anyway, let's quickly check who marc was actually fighting with during the last lap of misano 2019, and whether that might have had anything to do with why marc was so thrilled to get the victory. oh, the rookie revelation of 2019 and the guy marc quickly identified as the big big threat of the future, you say? poor little fabio quartararo who still hadn't won a race yet, but who marc managed to dramatically deny on two separate occasions that year on the final lap? getting in early on the mission of building up some crucial psychological baggage, are we now?

obviously, and pretty tragically, this future investment on marc's part has ended up being completely irrelevant (unless yamaha wants to do something so so crazy for me and build a functioning bike before marc's hair goes grey), but equally obviously none of us knew that at the time. and fabio was able to take away some positives from the misano experience:

“I knew he would try something, but you never know with Marc,” said the Frenchman. “He can overtake and pull away because I really don’t know if he really saved his tyre. “The good thing was I could overtake him back, and this going home gives me a lot of confidence, to say ‘he’s a seven-time world champion, but we can overtake him’. So, he’s a human like us.”

because that's what it's all about, isn't it. giving the opposition the impression that you're not even human - and, even if fabio is saying the experience gave him 'a lot of confidence', imagine how much more confidence he would've gotten if he'd won. also, check out fabio's comment about not knowing whether marc had been saving his tyre. that's why the 'fucking about before fucking off' approach to races is so effective: because of how it generates uncertainty, it generates doubt, it makes your rivals wonder even during races whether there's a chance you're just toying with them

we do have a bit of a sample size issue here when it comes to assessing marc's celebrations, in that his two last lap duels with fabio came a) in valentino's backyard, and b) when marc sealed that year's title. it means that if the celebrations seem excessive, there's still other plausible explanations for why marc was so happy to get one over the rookie that aren't related to trying to bully fabio into submission for as long as he still could. did marc really use them as a way of reminding everyone, including fabio, including himself, of who's really in charge? again, you'll have to draw your own conclusions

I'm doing my best not to cover anything that's happening this year too much, since this is the stuff I'm assuming people reading are basically familiar with. but of course, if we're talking 'pointed celebrations' then there's also a few from this year that stand out. this isn't to say that marc's joy at his ducati successes have been anything other than genuine, that he isn't happy or relieved or revitalised by his current season... but, well, part of being revitalised is also being back in the game where fighting for titles is concerned. take the jerez celebrations, ecstatic in spite of losing a tight battle, openly loved and adored by his home crowd. look at how he's done his thing repeatedly this year of engaging with all these crowds, getting them to celebrate with him specifically. a cynic might say it's a way of reminding his opponents that they might be winning right now... but they should never forget who the crowds have really come to see. which would be charmingly valentino of him. while marc (probably wisely) never went too far in mimicking valentino's unique style of celebrations, he is an avid enough student to understand the importance of the theatre of victory. like in his third ever premier class race (from the jerez post):

racing is one thing, but it's always important to consider how you're reacting in both defeat and victory. like valentino before him, marc prefers not to openly show his rage. like valentino, more often than not he will be publicly magnanimous in defeat. like valentino, he's not adverse to twisting in the blade a little further in victory. like valentino, he's very much aware of when a camera is watching him. with marc, you can also observe how determined he is to appear unaffected and unbothered by the effects of sepang 2015 on his public image (except in displays of very carefully managed vulnerability like marc marquez all in). there's plenty of examples of this, but most relevant here is how marc concerns himself with not being openly affected by fans booing him. take blowing kisses to the misano 2017 crowd after his warm up crash... which, looking at his post-race presser comments, whatever he may say clearly (and understandably) did bother him. likewise, see the glee of the misano 2019 celebrations. with those celebrations, he's trying to tell you that not only does it not bother him that they're booing, but instead he relishes it. the more they do this, the more he will win

one more case study before we wrap this post up, this time using a specific rival to illustrate some of his more common tactics and how the spats he gets himself involved in generally play out. said rival is alex rins, who especially in 2019 had emerged as one of marc's prime challengers. now, before we talk about any disagreements between those two, I do have to mention that rinsy has a bit of history with the marquez family (this from 2016):

in the end, dani stayed on for another year and was replaced by another ageing spaniard marc felt confident he'd have the measure of while rinsy signed for suzuki - so it's very unlikely marc had to play any active role in blocking him from taking the seat. that being said, obviously the main takeaway is the bad blood stemming from alex marquez's moto3 title campaign and how alzamora organised that team around the younger marquez. god knows how rins felt about this by 2019, but I doubt he'd just forgotten about it. there's also this from 2020, which to me reads as a little dismissive about someone who was your teammate in moto3? I don't know, judge for yourself:

anyway, back to marc. the 'biggest' incident between the pair of them was a coming together in qualifying at brno 2019 (one of the all time great qualifying performances from marc by the way, well worth a watch):

During qualifying at Brno, cameras picked up the end of a tense tussle between MotoGP champion Marc Marquez and Suzuki's Alex Rins. The pair were caught putting some close passes on each other before pulling into pit lane, where they continued to 'duel' - until Marquez reached out with his arm to put some space between their machines. Marquez then over swapped to slick tyres and romped to pole position on the drying track, with Rins claiming sixth on the grid. "It's a tricky thing because for sure [Marc] is now one step in front of everybody. He put the slick tyres and he was super-fast. But I think he has no respect for the other riders. He is riding on his way," said Rins. "I will explain to you what happened: On Corner 5, he went a little bit wide and behind him was Miller and me. When he went wide, he looked back and saw Jack and me. Jack passed him, but then he went back onto the line and sincerely he disturbed me. I was pushing. I was not super-fast, but I was pushing. "So on the next left corner I tried to do my line. He opened a little a bit the door and I go in. I touched him, but I think it's his fault; if he is riding slow he needs to open the door and that's it. But anyway, then on the last corner he braked super-hard to overtake me [back]. Then when we were coming into the box I was in front of him and I go straight and he has no space to go by my side. If I was him, I would cut the gas…" "I ran wide at Turn 5 and Jack overtook me because I checked behind and I only saw him, so I tried to follow Jack because I know he had good pace. Then I went a bit too wide and there was a small space, but enough and [Rins] ran into me…" said the Repsol Honda star. “The funny thing was when we entered the box and the tyre wall was there [in front of me] and I didn’t have the space [to get through] because he was going that way. I don’t know if that was intentional or not, but for me it wasn’t important. I lose zero time on these sort of things.” Told Rins had said he had no respect for other riders, Marquez responded: “Of course I don’t agree with this, it is his opinion." "It's not the first time," Rins had explained earlier. "Everybody knows Marquez and everybody knows that he has an incredible talent, but also what happened in FP1 with Vinales was more-or-less the same. Marc loves to play this game and try to get in the head of other riders. But in my case I'm really calm. I just tell the truth and that's it." Asked if he thought he needed to try and get into Marquez's head, Rins responded: "No, I don't think so…. For sure if I'm fighting for the world championship with him I will try to do something, but he's 80 points in front of me - maybe he's scared, I don't know!" Austin winner Rins, who has fallen in the last two races, is fourth in the world championship.

their most significant race clash was in silverstone 2019, where alex got the better of marc in a very dramatic last lap duel. I've heard journalists make vague reference to marc not taking that loss particularly well, though... again. hard to actually pin him down on a lot of this! but we do have more extensive comments rinsy provided in early 2020 to work with, and he at least seems to agree with that assessment:

"Marc is so good at these mental things, he plays a lot with all the riders," Rins told the official MotoGP website. "For example in Brno last year, I was on a fast lap, he looked behind at me and opened the line a little bit, but not too much. I was on the dry line and I touched him. I lost my lap, but I continued pushing. Then in the last chicane he overtook me so closely, we were so close to a crash, and then he went into pit lane. From that moment, I said to myself, Marc is considering me as a rival." Rins - who declared "Marquez has no respect for other riders" immediately after the incident - got his revenge in the form of a thrilling last-corner victory pass on Marquez a few weeks later at Silverstone. "Marc is the man to beat and the rivalry is so high," Rins said. "More in 2019, because I shared more moments on track with him. For sure whenever he finishes just in front of me, I'm a bit angry, I want to beat him. But also for him. I remember when I beat him in Silverstone he was so, so angry." Rins added: "I like this because it means that I'm doing a good job. Marc is an incredible rider, winning a lot of races and championships, and if he thinks of me as a rival, it means I'm there fighting him." Rins took two wins on his way to a best-yet fourth in the 2019 MotoGP standings.

now, yeah... the problem is that this is all very much hearsay (but no more so than plenty of similar comments valentino's rivals made about him!) and rinsy could just be lying about this or misinterpreting it or whatever. we are very low on actual evidence for the stuff he says here. if you watch silverstone 2019 and the aftermath, you will not see a marc who visibly looks angry - of course you won't, because he almost never looks visibly angry. unfortunately, we don't have the chance to grill alex on why exactly he was left with this impression. at the end of the day, like with valentino, when it comes to evaluating the honesty of a lot of these character references you will just have to make up your own mind. like with valentino, some of these men will either be exaggerating the extent of the harm or just straight up making shit up. then again, like with valentino, the number of people who do seem to have the impression marc was fucking with them maybe suggests that there is something to these allegations

just a few things to note here... to highlight some of the common features that tend to crop up in these marc incidents:

there's the accusation of lack of respect towards other riders - valentino is the one who most infamously made that accusation in the aftermath of argentina 2018, but of course he's far, far from alone in making comments along those lines. marc certainly has a tendency towards being... uncompromising in his approach, shall we say, which can at times lean towards treating his competitors mainly as obstacles and inconveniences

the anger that's being attributed to marc. which he doesn't tend to directly express towards his competitors off the track! but if he is angry, it may instead... seep into how he approaches instances where they share space on-track, as well as affect his general demeanour towards them

there's rinsy suggesting marc is known for playing these games, that he does it a lot, and he's also known for being very good at them... which again is often something we only hear about indirectly, but of course it's interesting if that's the general paddock consensus

there's also rinsy's insistence that marc's games don't bother him at all - he's just calmly noting that marc's engaging in them! again, it's quite hard when you're familiar enough with valentino's oeuvre to not be slapped in the face with the similarity in some of the rhetoric their rivals use. doesn't mean all of these different dynamics are directly analogous, but it does speak to how determined the rivals in question tend to be in... y'know. telling themselves that they're above the whole thing. unfortunately, sometimes it is just very, very hard to be unaffected... and sometimes you're already losing by talking about it, because it shows you've been thinking about it

which, check out marc's response. 'oh, obviously I don't agree I lack respect' 'ah, I lose zero time on these things' (for another example of him using similar language, you could of course look to his comments about bez last year in valencia). this is marc's go-to - he generally quite likes to deny the existence of a problem, makes it sound like the whole thing is very one-sided... he keeps his distance and can maintain his poise and this veneer of neutrality, where he is not causing any drama. maybe the other guy's just imagining things! that's really not marc's problem, is it now

lastly, you've got this notion of marc messing with other riders selectively, and specifically doing it when he's identified you as a potential threat. again, maybe you think alex is reading too much into it! but equally, it's worth noting that we have as much evidence for marc messing with rinsy as we do for, say, valentino messing with casey in practise sessions in 2006 (as casey's autobiography claims). it would have been completely competitively reasonable for marc to identify alex rins as one of his primary threats in the future... and it would also not be hugely surprising if marc wanted to maintain a psychological edge over him

incidentally, at 2020 jerez rins and marc had another little run in during a practise session - where alex was left 'visibly frustrated' after marc was slowing down on the racing line while rinsy was completing a flying lap, which he ended up having to back out of. this denied rinsy direct entry into q2 (though marc didn't end up being penalised for it). of course, marc's jerez race reached an unhappy conclusion and rins was too injured to even start it, and after that they've never been even remotely close to fighting for a championship. though there's still a little bit of needle between the pair of them, mainly resulting from how rinsy ended up joining lcr honda in 2023 after suzuki departed the scene. there's marc's reasonably innocent comments in 2022, on a day in which rinsy won another last lap duel for the victory in phillip island:

"I will not give any advice," said Marquez. "For me it is another opponent. It’s good that joining Honda is one world champion [Joan Mir] and one rider that is winning races with another manufacturer.  "Like this we will see exactly the level. I’m working really hard for the 2023 project with Honda and they are working really, really hard too. I don’t say I wish [him] the best. Let’s just go and see. He is another opponent, if not it would be fake’."

or here, take this from before mugello 2023, again mostly innocuous:

By contrast, Marquez believes Mugello is one of Rins’ best tracks and he wasn’t surprised to see the COTA winner at the sharp end. “No [I’m not surprised], because Rins, even with Suzuki, had 5-6 circuits where he is very fast and then others where he struggles more. Normally here with Suzuki, he was very fast and very consistent,” said Marquez, whose only premier-class win at Mugello was back in 2014. “He is really good in fast corners so, for example, in Le Mans he was struggling more than me and here he is very fast. It is good for Honda and Honda riders that someone is faster because like this you have more chance to look and compare the things.”

love being told I have "5-6 circuits" where I'm very fast. or take rinsy's innocent surprise that marc didn't end up winning at the sachsenring, and how he suggests it was maybe because of all the pressure marc had been feeling:

"It's hard, it tastes very bad to me because Marc has a fucking talent and it's not being easy at all,” Rins was quoted by DAZN. “But hey, in the end you have to turn the tables, you have to win, you have to build a winning bike. "Damn, I thought that Marc would also win in Germany. What happened? I don't know, I have no idea. Pressure, extra pressure, I have no idea.”

and then, of course, there was always that little hint of tension that came as a result of rinsy being honda's only race winner that year, at marc's beloved cota of all places... which became a bit of a discourse point (not always propagated by rinsy) to say that, hey, maybe the honda wasn't so bad after all... anyway, here's what marc said when rinsy signed for yamaha:

Repsol Honda rider Marquez was asked about Rins’ departure and answered: “I had an interview, they asked me about this rumour. I said ‘I don’t think so’ because Rins won a race and he said ‘it’s a good bike’.  “So I didn’t expect this move. But then the day after! I’m happy for him, it’s a good move, he’s moving from a satellite team to a factory team. Yamaha has power and energy from the past.”

marc had said 'surely not' but then the very next day he was left shocked and taken aback! he'd thought rinsy loved the bike so much! he'd thought rinsy felt it was actually a good bike! he'd thought rinsy would never want to leave! how unexpected this whole thing was to him!

(there was also talk about rinsy's unhappiness at how honda treated him and his development feedback - but as there is less than zero evidence marc had anything to do with that, let's leave it there)

did marc really behave differently towards alex rins because he saw him as a threat? probably! possibly? probably! but he hasn't really felt the need to say as much. sometimes, you can fuck with people by staying silent, and sometimes you can fuck with them just because you have a reputation for mind games - which marc, like valentino, has acquired over the years. ideally, your on-track plus off-track presence gets to the point where you don't really need to do anything and can let your opponents engage in shadowboxing while you can spend your time in more useful ways. think of that excellent clip from motogp unlimited where poor joan mir complains about marc's towing, freaks out when he realises the press has said he's complained about marc's towing, and then goes to explain to marc how he hadn't actually complained about marc's towing. and marc, with the air of a man who has been high on painkillers for the past week and hasn't given joan much thought beyond contemplating how well he'd pair with potatoes, graciously accepts this explanation - which joan is painfully, obviously relieved by. marc wasn't playing any 'mind games' in this clip, he was just standing there. but sometimes that's all you've got to do! call it a good return on prior investment. (partly this is also just a result of the status the sheer extent of marc and valentino's successes provides them and, relatedly, their power and influence within the sport.) here, from one of oxley's books:

Once you've established a reputation for trickery, you can confuse people without doing anything. At this year's [2009] German GP Casey Stoner accused Rossi of attempting to confuse his rivals by scrubbing the white sidewall paint from his front slick; the paint denoting Bridgestone's softer compound tyres. In fact Bridgestone had run out of white paint (no, really), but the reality didn't matter because Stoner was sat on the grid, convinced Rossi was playing tricks when he should've been getting himself in the zone, focusing on his race.

that's the ideal, right: you don't even have to do the dirty work yourself because it's the reputation doing the work for you. marc inspires a similar effect on riders, where he just gets them to the point where they're spending way too much time hyper-analysing whatever he's doing at any given moment. which means that he doesn't actually need to be trying to fuck with anyone for the effect to still be the same. free and easy, what's not to love

so, that's it, more or less. all the on-track stuff, from 'how to build up an intimidating presence 101', to just being extremely annoying in non-race sessions, to trying to mess with your teammate, to more generally how you go about handling disputes with other riders. managing your motivation, their motivation, everyone's motivation. of course marc's not quite scaled the heights (yet) of cursing another rider to never win another race again - which, hey, nobody's perfect, but I think he's built together a fairly decent resume for himself! there's plenty more stuff you could get into here, c.f. 'everything that's been going on with ducati internal politics this year'... but this post is more than long enough, and you can follow all that stuff while it's actually happening. a few more related topics I've deigned outside of the scope of this post include how he generally manages perceptions of himself and his performance potential in ways that aren't targeted at any specific rival, for instance how he talks about his injury and has a tendency to change his tune depending on what's convenient at any given time, or how in the past he managed perceptions of the competitiveness of his honda package. likewise, I also haven't discussed the actual success rate of these tactics: let's not forget that trying to fuck with your rivals doesn't... always produce the effects you want it to. (sometimes just in kind of dumb ways, like I get messing with the rookie sensation but please try not to crash when catching a tow, marc. "marc clearly tried to get into fabio's head and I think he hit his head himself quite big." "so, I think it's karma. fabio's on pole and I hope marc is uninjured of course. but he tried to get in his head because he knows fabio is fast." not ideal!) but, hey, the most important thing is he's trying hard and having fun. or something

because that's the thing, right. when you are attempting to exert psychological pressure on your opponents, when you're trying to weaken your rivals, inevitably this also has an effect on you. there are athletes who prefer to completely ignore their opponents and act as if they are essentially competing on their lonesome. neither valentino nor marc fall into this category. as a result, how you behave towards your rivals inevitably also becomes at least in part about motivating yourself. you are attempting to focus your mind in some way - whether it is to see your rival as an enemy or to simply distance yourself from them or otherwise. you may even be minded to treat your rival particularly warmly, knowing they are less likely to give you grief if you have ensured the interpersonal relationship has remained amicable... maybe even looking for a slight psychological edge if they are not sufficiently motivated to beat you. maybe that too is about managing your reputation and drawing a line under past unfriendlier rivalries, to distinguish your most beloathed rival from all the others. you may need to find a way to keep the fire within going, to reinvigorate yourself even in periods of relative competitive tranquillity by giving yourself something to be angry at, a reason to fight and to win out of spite... finding reasons to care, again and again and again. celebrating with exuberance not just because you are genuinely filled with joy but also because you need to be filled with joy - so that you can find it within yourself to keep fighting. there's never just one brain involved in the arena of psychological warfare. to succeed in sports the first person you have to play mind games on, after all, is yourse- *gets taken out by sniper rifle*

[project-sekai-facts]

After seeing the fun fact about Becoming Potatoes, I now wonder how far back does the process of one event is from conceptualizing it to fully releasing it. Is it months? Years? I know development and planning can be long but how far back are things planned for Proseka's events in spesifics.

i have an extra fun fact about that song that i don't think i've mentioned before: it's the only song to never have a teaser before it's released in-game, probably because there was no point in it since the vocaloid version had been released months prior. annoyingly, neru never did a corocoro producer interview, so it's basically impossible for us to know what exactly went down in the development of that song.

here's some stuff i can tell you about event planning and such (most is song related lol bc there's far less interviews with the writers):

in an old Q&A around the 1st anniversary, the writers said it takes around 6-12 months to complete an event after conception

in the same question, they said they immediately have to prepare a summary after commissioning so they can pass it on, suggesting the commissioning stage comes first

i know i usually don't mention leaks but these aren't leaks anymore. back in early 2023 around the time of Little Bravers, the song titles and producers for commissions up until Samsa leaked. The producers for Hug and Regulus also leaked 1-2 months in advance. p sure there used to be a staff leaker LOL but at least they confirmed the comms are finished a fair amount in advance

for early events though, some accounts make it sound like vocaPs were being commissioned like years in advance. PinocchioP, Oster Project, NayutalieN did not receive a story summary.

NayutalieN also said that he was contacted very early on in development, only being shown character designs for MMJ. He literally says that "nothing had been decided and he was fed more details as they were finalised". and later in his interview mentions that the "omoi no kakera" lyric was not an intentional reference [to what is known as wish pieces on EN], since those didn't even exist yet.

Syudou says that Jackpot Sad Girl was made in 2020, not very long before the launch of the game, so there's a little less time there.

Surii said he was commissioned ~6 months before launch, so around a year before Pale Color ran. It's also worth noting that he was given story details at this point in time, meaning Pino/Oster/NayutalieN were commissioned before this point.

The designs were completed in early 2019 according to CGWorld's prsk feature, so we can assume that the vocaPs who weren't given story details were commissioned around this time

The story has a planned ending and has had this since early development. The overall story has always been decided but only as an outline, more specific details and the actual events are written as the game goes one.

However certain details, such as Mafuyu running away, were planned in advance.

Apparently it takes about a week to get to the final draft of an event story, after going through checks with other staff and re-drafting (same source as the "specific details" link)

Additionally: card art. According to that 1st anniversary q&a i mentioned earlier, the art team takes two months or more per card. might be longer now because of the higher art quality. The art team sometimes bases set themes off the commission (such as Hitsuji ga Ippiki & kiuan set), or off the event story, which again gives us an indicator of how far in advance this stuff is finished.

[kmgkmg]

KISS ON THE TRAIN - CHWE HANSOL

word count: 0.7k...

pairing: hansol x gn!reader

synopsis: you and your boyfriend hansol are riding the train home, how will the commute go?

genre/s: fluff, non-idol!au, bf!hansol, established relationship, domestic

warnings: slightly suggestive

rating: pg-13

a/n: no editing done :O just in my feels for vernon! title is from the song kiss on the train by araya!!

“No, I can’t kiss you innocently, babe.” Hansol whines as he rests his head on your shoulder.

“And why’s that?” You laugh, amused at your boyfriend’s unexpected clinginess. 

You were both seated on the train, waiting for the doors to close again. Several days ago, Hansol stumbled across a video detailing a film festival taking place in your city and excitedly bought tickets for the two of you. You didn’t take much convincing to go, you loved movies as much as him seeing the films together was just the icing on top. But, the video failed to mention that the festival was an 80 minute train ride from your place and that there were about six different events taking place today. So, nearly four hours after the festival finished, you and Hansol were still crammed on the train. You asked him for a quick peck on the lips, needing to recharge after the long day but he firmly shook his head no. 

“I mean, unless you want me to makeout with you on the train…” He trails off, not moving his body an inch from yours. His fingers were softly entwined with yours. 

“Hansol Vernon Chwe!” You jokingly scold, “A simple kiss is all I asked for. The rest…well we can do that when we’re back home.” You finish, squeezing his hand that was interlocking with yours. 

Hansol shifts from his position next to you and stares into your eyes, “You mean it? I thought you would be angry with how crowded the commute back is.”

“Why would I be angry with you? I mean sure it’s hot and musty right now, but you couldn’t have predicted that. Plus, the movie festival had so many up and coming BIPOC directors. It was nice to see such a wide range of films! I mean the way that they’re breaking genres is inspirational, right? Especially that last one, Fireworks from Space? That one totally reminded me of Sorry to Bother You with LaKeith Stanfield.” 

Hansol listens intently to your ramble, happy that you enjoyed the festival as much as he did. He loves your shared passion for movies. He loves the way your eyes lit up — without fail — whenever you were excited about something. Sure, he’s dated his fair share of people, but never someone as big of a cinephile as him. 

“Fireworks from Space was super underrated! Y/N, I can’t believe we were two of the only ten people that went to that showing. And I definitely see what you mean by it resembling Sorry to Bother You. I think it also has similar aspects to Wes Anderson’s cinematography with the attention to detail, specifically symmetry.”  Hansol went on an equally long tangent, relieved that you weren’t upset with him. 

“Yes! I think I read in the interview with Director Jeon that he was heavily influenced by Anderson’s movie The French Dispatch when storyboarding for Fireworks from Space.” You elaborate, having your stomach loudly rumble at the end of your sentence. 

Before you could play it off, Hansol was scavenging through his bag trying to find anything to curb your hunger. 

“Hansol, I’m fine, really!” You tap his leg, trying to get him to stop his rummaging. 

“No, here at least eat this to tide you over. Then we can pick up some takeout at that Korean place a block from our place on the way home, yeah?” Hansol was holding a granola bar in front of you. He already opened the plastic packaging and was waiting for you to take a bite. 

“Wait, so a quick peck is too much to ask for but you’ll feed me?” You frowned. 

Without batting an eye, Hansol leaned in, rubbing your leg with his free hand and kissed you deeply. Each time he kissed you, you felt as if single handedly knocked the wind out of you and gave you air simultaneously. Nearly half a year of dating him and he still left you a mess. 

“There. Now eat, Y/N.” He instructed, holding the granola bar up to your face once again. 

“O-okay, but I can feed myself.” You replied, taking the snack from his grip. 

He returned to his original position of resting his head on your shoulder, satisfied with himself.

You watched several films, but the scene that just played out was undoubtedly the most memorable of the night.

[nariism]

i don’t dance!

pair. pro-player!ushijima x PR manager!reader

content: fluff, reader is his VERY TIRED PR manager who really deserves a raise, weak attempts at humour, no pronouns used for reader

synopsis. you need to teach ushijima how to waltz

wc: 2.2k

a/n: i eat the “teach me how to dance” trope up for breakfast, lunch and dinner. (also yes i absolutely did use a high school musical song as the title who’s gonna stop me)

ushijima wakatoshi is what people typically refer to as emotionally unavailable.

he just doesn’t have the time to worry about trivial things like romance or feelings or anything of the sort. not while he’s trying to keep up with his rigorous training schedule on top of countless interviews and photo shoots that you, his wonderful PR manager, generously offer to help him prepare for.

it’s no surprise that this man - 6 feet and almost 4 inches of pure heart throb material - has yet to find a partner worth keeping around. not that he hadn’t had one night stands, per say, but being emotionally available for a committed relationship isn’t something he has on his mind right now.

although he isn’t exactly the type to be nitpicky about this kind of stuff, he does come off as cold if you don’t know him well enough (unintentionally, of course). people who he welcomes into his life simply find him too busy or too severe in his mannerisms to form proper relationships. thus, his friend group is kept tight, extending almost exclusively to members of the japanese national team.

ushijima keeps to himself and minds his own business. he doesn’t speak until spoken to, unless he has some opinion about other volleyball players you have to thwart. he doesn’t make a fuss about insignificant things. he respects his elders and works hard in every aspect of his life that involves his career. words are kept short and to the point, never sugar coated and he certainly never lies.

he specifically remembers one scenario in which an adoring fan had come up to him after a game while you were distracted with the press, and they had confessed their undying love to him much to his horror.

“could you leave me alone?” he had told them bluntly when they asked if he could please dm them on twitter, and you nearly died on the spot when the cameras all turned to the pair behind you. it was a horribly busy week for you, playing the role of damage control all while ushijima remained completely indifferent to the storm that was brewing on social media around his name and how he was trending for two whole days after the fact.

thankfully, the fan had gratefully accepted a bouquet of flowers ‘courtesy of ushijima’ (which he also almost vehemently denied online before you smacked him upside the head), and all was forgiven. it even made him trend for a couple days longer, but this time with everyone singing his praises. he should give you more credit where it’s due, because being a PR manager for someone so terrible at smiling for the camera is like hell on earth.

you had told him once that it was important to keep a good rapport with his fans, even if they were more forward with their advances than he was used to back in high school. he looked at you funny until you continued: “i’m not saying you should go off and date anyone who confesses to you, but could you at least be a little nicer?!” sounding extremely exasperated.

he didn’t even end up agreeing with you, too distracted by the way your lips moved while you scolded him to pay you his full attention.

“tonight’s the gala. everyone will be there.”

“i know.”

“so why,” you hiss out the words through grit teeth, jaw tense as you pinch the bridge of your nose, “are you standing outside my house when you should be getting ready?”

he’s silent for a moment. you glance up to make sure he’s actually still standing there being stupidly handsome and that you’re not just dreaming he is. ushijima averts his gaze awkwardly, hands in his pockets as he contemplates whether or not he should say what’s on his mind and risk having you slam the door in his face in frustration.

(it’s happened before; once, when he told you he was the top reply on a post for asking what “smash” means and why everyone was commenting it under all his instagram photos. you slammed the door in his face then, too, but he could still hear you erupt into laughter from the other side much to his confusion.)

you’re looking at him expectantly, with a brow raised and your lips pursed as you wait for an explanation.

“it’s a gala.”

you close your eyes and take a deep breath, patience wearing thin. “i know, wakatoshi. i just said that.”

“it’s a gala, so...” he huffs, “i have to dance, don’t i?”

you look up again at his words, confusion written all over your face. you’re in the middle of getting ready yourself, dressed to the nines. not as his date, of course, though he’d asked you.

(“what did you just say?”

“why can’t you just come with me? it would save you the trouble of getting the extra ticket. it’s not like i’m taking anyone else.”

“i can’t- that’s-... it’s unprofessional.”

“oh. i see.”)

you take the opportunity to scrutinize his outfit, as your eyes always end up doing. you’re always observing him closely, hoping and praying he doesn’t do or say something that will get him cancelled. in his defense, he’s gotten better at keeping his mouth shut when he knows you’re sitting there stressed to all hell about what you’ll need to apologize for on his behalf that week.

not that he would ever admit it out loud, but he likes the attention a little bit. enjoys being fussed over, since he spends most of his time isolated save for the members of his team. and it’s not like you’re very secretive about your judgment of him. it’s your job, for one, but there’s an undeniable and genuine worry in your eyes every time he says something he shouldn’t. he thinks it’s fine that he indulges in your presence just a bit, especially since people have found him intimidating his whole life. it’s nice to talk to someone who isn’t afraid to stand up to him once in a while.

you sigh quietly. “yes, you’ll have to dance. why?” you open the door wider for him, a gesture he’s familiar with equating to come in. “you’re not planning on bailing ‘cause of that, are you?”

he watches as you retreat further into your house, probably to fix your hair one last time before you head out early. you always arrive to these sorts of events earlier than he does, and always in a separate car. you were insistent that he arrive either alone or with his own date, since it would reduce the risk of scandals questioning your seemingly close relationship with each other.

close is not the word either you nor ushijima would use to describe your feelings toward one another. sure, you were the one helping to manage his schedule even though the job description did not at all entail that, and you’re the one keeping him in line with the media. he even has you over sometimes for dinner after an especially long day. but no, you’re not close. work acquaintances at best.

“no, i’m not bailing,” he tells you as he trails behind, following you to the mirror in the hallway - the one hung up above a high table littered with trinkets from past events and some photos of you and your friends and family. you look at him with a quizzical expression through the mirror.

“then?”

he stands rigidly behind you. the thought that it feels strangely domestic with you getting ready in front of him like this crosses his mind, and makes him grossly warm and fuzzy inside.

“i don’t know how to dance.”

you pause in your ministrations, hair that you meant to pin up falling back over your eyes as you stare at him with bewilderment. “you what?”

“i don’t know how to dance,” he repeats, though you heard him perfectly fine the first time.

“you... don’t know how to... dance...” you sound out the sentence slowly, hoping that you possibly misheard him. to your horror, he only nods in confirmation.

in your one year, three months and twenty-two days of working with ushijima, how could it have never once dawned on you that this 6 foot monster of a volleyball player doesn’t know how to do something as elegant as a waltz?

it’d never been a problem before. most events don’t include anything of the sort, and all the events you do attend with ushijima are to give out awards or give esteemed recognition to MVPs. but for a christmas gala, there will definitely be booze and partying and absolutely dancing involved.

for a second, he thinks you’ll keel over and place your head into your hands on the table like you usually do in these situations, or that you’ll start muttering curse words to yourself, or maybe you’ll scold him some more for never learning. but much to his (pleasant) surprise, you just laugh. and laugh. and keep laughing, until there are tears in your eyes. his poor heart can’t take it.

“what?” he asks, almost sounding offended. but his expression is still stone cold as you look back up at him, turning to face him this time. his breath hitches when the action causes a whiff of your expensive body spray to waft in his direction.

“i just wasn’t expecting you to say that,” you muse. he knows what you really mean is that you’re surprised he isn’t here causing trouble for you before this event like he always does, complaining like a child that he doesn’t see the point of attending. “why didn’t you just say so? it’s easy. i’ll show you.”

he stares at you momentarily while you stand there, hand outstretched as an offer to take it. he half expects you to yank it back and laugh in his face, more cruelly this time, but you just smile at him with the slightest tilt of your head. you sound so genuine that any hesitation left in his body melts away, and he awkwardly accepts your hand and waits for your guidance.

he’s stiff as a board as you pull his hands where they need to go, one resting on your hip and the other hanging in the air for you to take. “i’ll teach you how to lead first, okay?” he can only nod in response. you step forward once with your left, urging him to step back with your timing. then you’re shuffling over, gliding along the floor with ushijima trying his damndest to follow along, and then your feet meet again in a different spot.

he grunts quietly in concentration, watching your movements carefully and clumsily trying to catch up. it’s a simple enough motion, but he’s too big and it feels clunky to do this for the first time. you seem deeply amused by his confusion, and he glares at you quickly before his eyes are back on the floor.

“now you try. we can go slow,” your voice is soft. encouraging. so unlike your usual stern demeanor with him. “step forward.”

ushijima does so obediently, sliding his left forward to the best of his memory.

“good. now your right goes to the side and the left follows.”

he listens to you again, but his gait is much larger than you anticipated, and your back hits the table behind you with a gentle thud. he mutters something along the lines of an apology, but he seems too focused to realize the compromising position he’s put you in. you smile at him anyways, rotating around 90 degrees to give you more space to move.

“now again in the opposite direction.”

“this is too complicated.”

“this is the easiest motion...”

“i don’t like it.”

“you gonna keep complaining or are you going to dance with me?”

he stops in his tracks, boring into you with intensity in his eyes. you watch his adam’s apple bob up and down as he swallows. “...what’s wrong?”

ushijima just shakes his head, and then his feet are moving again as he tugs you along clumsily. “nothing. but maybe you should be my dance partner for the rest of tonight.” you raise a brow at him in question, even though you can feel the heat rising in your face and all the way to the tips of your ears. he clears his throat, looking away. “wouldn’t want any bad press about my terrible dancing,” he quickly adds.

this gets a laugh out of you. “as your PR manager, i don’t think that’s the kind of negative press i’m supposed to be getting you out of.”

“and as a friend?”

another laugh, a little breathless. “yeah, yeah. fine. as your friend i’ll make sure no one knows how awful you are at this.”

he blinks down at you, unsure if he’s ever seen you so relaxed before. you’re always so high-strung about work and keeping his name clear. there’s a softness gracing your face right now and he doesn’t know how to handle himself or his racing heart.

okay, yeah. maybe he can try and be a little nicer to his fans to see you like this more often.

EXTRA:

© ALABOADOA 2023 — please do not translate or post my works to other platforms.

[arlh0e]

Almost (sweet music)

Part: 2/? “I would do it again”

Part one here

Rating: Mature (smut at times but not rn)

Warnings: Hozier x fem!reader, angst, post-break up, sulking, long-distance, yearning, title from a Hozier lyric

Summary: You and Andrew have been broken up for a few months, you still talk regularly, but you’re beginning to understand why he thought that seperating for the duration of the tour was a good idea. You miss him dearly, but its comforting that he’ll be home soon and you’ll be able to spend time together when he comes home for the holidays.

You were so happy to be home, and after the day you had at work, all you really wanted to do was text Andrew and tell him about the idiots you work with, more specifically the fact that none of them wanted to do their job and so all of the extra work fell on you.

He hadn’t responded to the message you had sent him at lunch, so you assumed that he was busy doing an interview or a sound check before his show tonight.

He was understandably busy, but you still felt a pang of hurt at the fact that he wasn’t responding. You hadn’t heard his voice since the last time the band was staying in a hotel, which had been weeks ago. With all of the traveling, they had just been sleeping on the bus because they were never anywhere longer than a day.

You wondered how he felt about it. The utter lack of privacy on that bus had to be stressful, especially for someone like him, who enjoyed his time alone as much as he did.

Sit down on your bed and reach for your laptop, opening up youtube to check and see if there were any more interviews with him that had been posted.

You knew it was slightly obsessive that you had seen just about every interview that he had done since he left, but you really did miss him. Watching him talk about his music, if nothing else talking to someone else about it helped fill the void in your chest that had been left there by his lack of presence, even if just for an hour.

You imagined that this is how some of his fans acted with his content. Did they obsessively search for new interviews and consume every piece of media that he was a part of? You were sure they did, he was magnetic. His personality just drew you in, making you want impossibly more of him by the second. Maybe it was because of his kindness, or his passion, or maybe it was just because he was pretty, but you couldn’t blame the fans who you had seen sob at his concerts just from being so close to him.

You were pretty sure that you’d likely be in the same boat when he came to perform in Dublin. He had already promised you backstage access for all three shows because he knew how much you loved watching him perform.

If you were being honest, part of what you was kind of confused as to how this arrangement with Andrew was supposed to work. You knew that at least for the time being, you weren’t together, and yet, nothing about the fundamentals of your relationship with him had changed.

You were still painfully in love with him, as was he with you. You both still ached to be with each other and to talk as much as possible, he literally couldn’t wait until he got home and so he invited you to his shows so he could spend time with you before then.

It was incredibly frustrating. Having to go from being able to talk to him and see him whenever you wanted to wondering if it was appropriate to text or call was borderline infuriating even.

And every so often you couldn’t help the thought from passing through your mind that he could be sleeping with other people while he was on tour. With no official relationship status, he could do whatever he wanted. And you couldn’t even be mad about it, but that didn’t stop you from wanting to rip your hair out at the thought.

You hadn’t gotten up the courage to ask him about any of it, but most of your conversations had been about how you were doing at home. Or how Elwood was behaving for his parents. He never talked about how the tour was going or how he was feeling or what he was doing, and it was feeding into the idea that maybe he was doing so on purpose. Maybe this break up wasn’t for your benefit but so that he could do whatever (and whoever) he wanted while he was away without fear of consequences.

***

The Dublin shows really could not come soon enough. You really weren’t sure of when his flight was supposed to land, but you knew he had a 2 day gap between his last show and the next show in Dublin, so you were almost positive that he was already on his flight back.

You caught yourself quite frequently checking the house across the street to see if his car was in the driveway yet, or if a light was on.

You were practically buzzing with how excited you were to see him. It had been months, and just being in his presence again would be so refreshing for you.

You had decided to take a shower to get your mind off of things, or at least distract yourself from staring longingly at his house from your window.

The playlist you put on (titled “the hoziest”) was compiled of all of Andrew’s music in order of your favorites of his, though there wasn’t a single song of his that you disliked, songs like in a week and work song just made you so happy to listen to.

When you’re done in the shower, you take your time going through your night time routine, skincare, fancy pajamas, the works. Knowing that you’d be seeing Andrew soon had sent you on a spiral the last few days.

Which was ridiculous of course, seeing as how this man had literally seen you doubled over, puling your guts out with your face in a toilet from alcohol poisoning on multiple occasions (you tend to get carried away) but you still found yourself wanting to look your best for when he saw you again.

Once done, you pick your phone up off of the counter, turn your music off and walk back to your bedroom while scrolling through instagram, looking at things your friends had posted and watching reels, not bothering to look up from your phone as you made your way to your closet to hang your towels.

“You know, my offer to let you sing in the band still stands, we’d be performing in a week every night if it sounded like that.” You froze.

You knew who the voice belonged to, and you almost forgot a half second thought you were hallucinating.

Did you really miss him that badly that you were hearing his voice when he wasn’t really there?

You turned around to look in his direction. Andrew’s lanky frame was laying comfortably in your bed, his torso propped up against the bed frame, smiling at you.

You blinked once. Twice. You were sure that the confusion you felt was evident on your face, but you weren’t sure if he was actually there or if you were half asleep and imagining all this. You were almost certain that he’d disappear.

“Hey?”you offered up in confusion. You had come to the conclusion that he was actually here but you were still wondering why. And how. “I could’ve sworn I locked the door, how did you get in here?”

“Hi, I missed you too.” He laughs. The sound is quite refreshing after all this time, soft melody that graced every inch of your being. “It was, I tried knocking but you didn’t answer and I still have a key if thats alright.”

Thinking back on it, you never had asked for the spare key you had given him back. And knowing him, this was all quite fitting of a homecoming surprise. You looked over to the bedside table, a bouquet of your favorite flowers was there, sitting in a glass vase of yours, a vase that wasn’t there before. Your heart melted at the thought.

Though it didn’t make up for everything that had happened or how lonely you had felt without him here, you were glad to see that he was at least trying.

“Hmm, I dont know, I do seem to remember a promise of groveling for my forgiveness when you got home.” You raise an eyebrow at him with a smile and a small laugh, while you cross your arms over your chest and lean against the doorframe of your closet.

“And here I thought I’d be able to get out of it.” He smiles and stands to make his way over to you. His hands snake their way around your waist, resting firmly at the small of your back while he looks down at you. “I missed you terribly, my love.”

You just continue with your sly smirk, cocking your head while looking up at him, silently telling him that this was not the agreement in full. He laughs in return and slowly sinks to his knees in front of you. “Im so sorry, darling.” He plants a kiss on the bit of exposed skin below your shirt. “Won’t you forgive me?”

Your hands move to tangle in his hair, lightly tugging him away from your mid drift, moving his face so that his eyes come in contact with yours while you smile down at him.

“Sweet boy, you’re going to have to try much harder than that.”

Smut in the next chapter! consider yourself warned!!!!!

[where-dreams-dwell]

**Speculation for Francesca's Season plotline** Sorry this is so freaking long and spoilers for the show and books ahead ....

Francesca's love story can still retain the key emotional beats, motivations and character growth from her book even with Michaela Stirling in place of Michael, so no one should panic regarding that. Here's how...

Original plot: Inheritance and titles

Michael is torn up that he inherits the Earldom, estate and money when John dies; he feels that he has gotten everything at the expense of a man he saw as his brother. The idea of also ‘inheriting’ his brother’s wife (whom he is secretly in love with) horrifies him and so he flees the country for 4 years. This absence allows Francesca time and space to grieve John and for her to continue acting as the Countess, living in comfort and peace while she rebuilds her life.

Solution: Ally John to the rescue!

The writers should clarify that there is literally no one still living who could inherit the title and estate. Only child of an only child for the last 100 years kind of thing, and all possible cousins by marriage etc are also dead. Have the estate guy from Season 3 come in and inform Fran that he has conducted extensive interviews and there is literally no one living who could inherit the estate, so they will have to honor John's very strange provision in his will. John has specified in his will that the title will pass to whomever Michaela marries, as his cousin and the last of the Kilmartin’s - her father was his fathers younger twin bother. Bridgerton the show has established that women cannot inherit but they can manage an estate (Lord Deblings wife will act for him as he travels, the Mondridge's son inherits not his mother, one of the female Featherington's will inherit the estate once they have a son and act as 'the mother of the lord') so John cannot pass the title to Francesca upon his death but he can pass to to Michaela's possibly future spouse.

(He could also have put in a provision like the Featherington's that Fran would act as the Earl until their child reaches their majority, but as he dies childless this isn't an issue)

This way Michaela will still feel the guilt for inheriting everything from John, plus the men who will pursue her for the title will make her flee the country to escape marriage. In her mind she can not only escape marriage to someone who wants the title, but in practice it will allow Francesca to remain acting as the Countess. As Michaela is in love with Fran already this is a kind gesture of ‘the least I can do is not take all that away from her after she just lost John’ plus she just cant be around her as she mourns John and turns to Michaela for comfort.

Bonus plot point; Michaela is a lesbian and she confessed this to John when they were children as they grew up together as siblings! Therefore in passing the estate to her John in practice gives her the title. He knew she would never marry a man, or be able to marry a woman and so this is his way of passing the title to her. This gives Michaela the same guilt at inheriting everything (everyone is claiming my life is in many way better off after my cousin died but I would give it all up for John being alive again) and allows her journey during Fran's season to be to focus on accepting what John has done for her.

Original plot: Infertility and motherhood

Francesca deeply loved John and mourned him for years. She struggled with infertility while they were married, thought she was pregnant after he died and then lost their child soon after. As she is now a widow she mourns the loss of the only piece of John she had left, and the idea of being a mother. She eventually decided to try and remarry specifically because she wanted to be a mother.

Solution: Accepting the loss of biological motherhood

Francesca still struggles with infertility throughout her marriage with John and loses her baby just after John’s death. She decides to remarry to become a mother, and part of her growth is allowing herself to want this and take steps to become a mother. However part of her struggle as she falls in love with Michaela is the idea of never having biological children of her own. Through Michaela and coming to terms with the reality of loving a woman, Fran comes to embrace motherhood by another route: adoption, wardship, sponsoring etc.. Infertility is still a huge part of Frans character arc and journey, but this version tells the story of people who are truly never able to have their own children, whether by personal infertility or the constraints of biology. But Fran and Michaela (and people like them) can still be parents, they can still build families, and sometimes even loosing out on something you love is worth it when you find true happiness with another.

Frans season could end with her and Michaela taking in a baby or young child of a friend as their ward, and becoming mothers together.

Original plot: More than one great love

John and Francesca were deeply in love; Fran's journey in her book is unique in the Bridgerton siblings in that she gets two great loves. She has to come to terms with loving again, not only allowing herself to look for passion and love but to accept it when she does find it.

Solution: Bisexuality vs Lesbianism

Completely ignore that little moment at their wedding where the writers and directors implied that she didn’t like the kiss with John and was later instantly attracted to Michaela. Francesca's journey is the struggle of allowing herself to love again, ergo she must have a first love to compare against. Fran should be written as Bisexual not as a Lesbian - she had true and deep love with John, and her journey with Michaela is to 1) discover that she is also attracted to and able to fall in love with women, and 2) that she is allowed to fall in love again. Francesca needs to come to the realization that this second love shouldn't be compared to the first and that it doesn't diminish it; she did love John and she can love Michaela, and one doesn't invalidate the other.

This would also touch on such great points about bisexual awareness and erasure; people truly can be attracted to both genders, and it doesn't have to be an either-or decision. These loves can and often are equally rewarding and true across genders and shouldn't be seen as one being 'experimenting' or a 'mistake' until you settle down with the other. Also it would solve the issue that the writers have (hopefully) inadvertently created; by making Francesca have a moment of attraction for Michaela at her wedding to John; if they write her as bisexual and having been attracted to Michaela throughout her marriage then it reinforces the harmful stereotype of 'bisexuals are never faithful because they are attracted to everyone'. Removing this and making no further mention of it would be in everyone's best interests.

This will allow great Mother-Daughter bonding between Violet and Fran. Violet struggled to initially understand Fran and John as a couple, but came to accept and champion their love. As Violet is being set up for a great '2nd act' love of her own, by the time Fran starts to struggle with allowing herself to want her new partner Violet will be able to provide real advice and support for her in that regard. How a second great love can be different but only because you yourself are different and one can't truly be compared to the other. It will also allow a degree of healing from Violet's handling of Fran+John, as she is perhaps the only person who will understand Fran continuing to mourn John long after his death.

Original plot: Michael's return and Francesca's future

In the book Michael returns to 'do his duty' and marry, and its only when he comes back after 4 years of little to no contact that he realizes he is still in love with Francesca. Fran also realizes she dearly wishes to be a mother and won't give up on that dream, so is looking for a husband to enable this to happen.

Solution; Michaela is chasing Fran

Francesca and Michaela have been in loose contact the whole time, mainly regarding the estate but also helping one another deal with he loss of John. One huge advantage is that women are able to write to one another freely with no worry of scandal, and so they become distant pen pals through the years. When Francesca decides that motherhood is important to her and she is going to find a husband so she can become one, Michaela rushes back home to England. She has no interest in marrying but she will be there for Fran.

Michaela knows she is still deeply in love with Fran but 1) there is no indication that Fran would or could ever feels the same and 2) Fran desperately wants children, which is something Michaela can never give her. Kind of like Simon from S1 only this time it wont be overcome by talking about your trauma. So Michaela comes back to England to truly hep Fran find a husband, justifying this as due to being in love with Fran and will never marry, its likely Michaela will leave the estate to Fran's child. So she should at least see who is a contender and help Fran choose the father of her child.

Original Plot: Michael's devotion while refusing to act on his love

Michael has been in love with Francesca for 6-ish years by the start of their story; 2 while she was married to John and the 4 years since his death. Not only has he not acted on that love since his cousins death, he doesn't even when Fran decides she wants to remarry for children. This is due to his loyalty to John and his guilt over loving his wife and now widow; even when they reconnect and he worships and adores her, he is not going to properly 'act' upon this love by proposing marriage as that would feel like a betrayal to John.

Solution; Daphne to the rescue

We still have the guilt and loyalty to John and Michaela not feeling comfortable pursuing the woman she loves because of it. However later on, once an attraction has been first stablished maybe, this can be expanded to Michaela feeling guilt that being with her will not give Francesca what she was claimed she dearly wants; children. Michaela will not properly act on their feeling's for one another, and maybe when Francesca is starting to embrace there romance Michaela can be the on to pull back and tell Fran she should still look for a husband. Fran would have to convince her that this is what she wants and that Michaela can make her happy.

This would also be a great way to bring in Daphne for a quick scene in Season 6(?), as she added so much to S2! Daphne could discover this struggle and share her own issues with having children with Fran; how she initially thought she wouldn't be able to have children with Simon and even after realizing they were both deeply in love she had to come to terms with never being a mother. This would also be a fantastic opportunity to address Daphne's awful actions in S1; She could reveal that she did not handle to loss well, and that in truth she had not properly accepted a life without children and so when the possibility of them was there she acted cruelly, something she regrets to this day. She took her pain and anger at having to give up children because of Simon out on him once it was revealed they were still possible. So her advice to Fran is totally be sure biological children are something she could live without. Because resenting the person who made you give up a dream will quickly poison your love and it is hard to come back from that. But she does also understand loving someone enough to give up on a dream.

Original Plot: Seduced into marriage, not realizing you're in love

Michael follows Francesca back to Scotland and proposes a business marriage so she can have a child and remain the Countess. After getting lost in a storm they start an intimate affair for several weeks while Fran thinks over his offer of marriage; she is torn over her attraction to Michael as this was never supposed to be part of her 2nd marriage and it feels like a betrayal of her first love. Eventually Michael cracks and tells Fran if she won't marry him then she must leave as he can't watch her marry another. He confesses his love and Fran agrees to marry him because she likes him and he's her friend and she enjoys sleeping with him. Its only after he suddenly falls ill after their marriage that she realizes she has fallen in love again, and truly embraces that risk for the reward of being with him.

Solution: M won't be a side piece and F needs to make a decision

As there is no need to rush to Scotland to tell Fran about Colins wedding this can al take place in London during the season. Michaela proposes a relationship while Fran looks for a husband; they can have fun together but when Fran wants to marry Michaela will stand back. Fran is the one who starts to think she doesn't want this arrangement to end and that she has proper feelings for Michaela, which still feels like a betrayal to Johns memory. She doesn't think there are romantic feelings from Michaela, just passion, and so she isn't realizing that she herself is falling in love.

This would also give great opportunities for double jealously for both women, as both are being actively pursued.

As Fran falls more in love though she starts to think about staying with Michaela, how they could run the Earldom together and live as if they were married. She will just take a husband but have a lover on the side as many men do. Michaela is the one who pushes Fran away, as she is focused on giving Fran her dream of children and marriage, neither of which are an option with her. Eventually, during an argument over one of Francesca's suitors Michaela confesses to loving Fran since the moment they met; not only is she feeling guilty about this due to John's memory but she couldn't forgive herself if she was the reason Fran gave up on her dream of motherhood. Michaela tells Fran she should leave her and go find a husband as Michaela can't give her the life she wants. Then when Fran proposes the secret lover route Michaela is devastated, as she will not be a mistress, even for the woman she loves. It would be agony to see Fran with another so Fran can't have her cake and eat it too; if she marries, their relationship will be over.

This could be when Fran has to truly think about what she should be giving up with this relationship and to have those heart to hearts with Daphne and Violet. Can she embrace a second great love and risk her heart again, and can she make pace with never having biological children?

In the time she has been thinking this over Michaela has fallen seriously ill; learning that she is close to death Fran races to her and realizes she does love Michaela. This is how she felt abut John and she is already mourning losing another great love; if that's how she feels, shouldn't she do anything to keep it?

Upon reaching Michaela it becomes clear she isn't as seriously ill as reported but there is no going back for Fran now. She confesses her love too and convinces Michaela that there are other forms of motherhood that will satisfy her. She won't regret loving her and can make her peace with everything she will have to give up for this relationship as long as she gets to be with Michaela.

So most of the main themes and character journeys which Francesca and Michael(a) go on throughout their love story are still open to being portrayed. Most of these plots are ready to go, just needing some adapted structure to make them work. Though it came out of left field and with no warning, that doesn't mean its not going to work.

This can still be a gorgeous story of longing and loss, and finding love where you least expect it.

[absolutehomosexuals]

After all the backlash we received, we decided to expand our opinion on BG3's approach to companions's sexual orientations – or lack thereof, along with the not so mysterious reason behind this choice.

TLDR: Playersexuality was a marketing choice, due to the creator's own admission. Given the lack of a canon sexuality for any of the companions, our interpretations are just as valid as yours.

No matter how many arguments we make for our case, both times we analyzed a BG3 character's behaviour on the matter of their sexuality, many of the answers we received were fixated on the same rhetoric: "Larian planned for every character to be pansexual".

We're going to look into this matter specifically, to see what Larian stated precisely and what the reasoning behind that choice is.

We want to dig deeper into one of the infamous interviews* with Larian Studio's writers (Corcoran and Law) and narrative designer (Welch) that always gets brought up when someone dares to interpret any companion as anything but pansexual/bisexual.

The title speaks for itself already: Larian always took player's opinions and preferences for the game heavily into consideration when designing BG3, and never tried to hide this, making this feature of their writing and designing process a badge they wear proudly.

One example we can think of is quoted very early in the article: Halsin's role being expanded to a romance option after fans expressed their attraction to the druid.

But let's see what the interview actually says about the companions.

The question we're going to examine focuses on the MC's identity being the focal point of this feature.

So what do the interviewees have to say on this matter? What is the main thing they took into account when making this choice?

Law immediately expands on what the interviewer hinted at. Her main interest is being true to DnD's inherent sense of freedom and self expression, allowing the player to make every choice they desire to live their gaming experience as close to their fantasies as possible.

Of course she also brings the idea of all companions being pansexual to the table: but not only she attributes it to their "values", an argument that feels icky to say the least, implying that being attracted to all genders is a value, a moral principle, rather than a neutral characteristic some people have – but her main focus clearly seems to be not limiting the player's imagination to design choices.

Corcoran also centers his answer around player's freedom being the default of Larian's designing process, stating that assigning their characters "fixed roles" (like a game-impacting sexuality?? as if sexuality is a "role", ffs.) makes the game less dynamic. Yet again, what matters the most in the writers' view is allowing the player to portray their own story however they see fit.

Welch's answer is the only one that detaches itself from the other two's perspective, concentrating on how sexuality interacts with each character's identity. The "player-sexuality" that is so hated as a concept in the BG3 fandom is ironically quoted as the design choice for every companion's sexual orientation.

All three answers help us to draw a single conclusion: the companions' sexualities were taken into account as a consequence of the design choice to give the player as little limits as possible, rather than as a character trait that is independent from Tav and that expands each character's being as a person.

Of course, we don't think that this conclusion is absurd, from a marketing point of view especially: videogames that came out some time before BG3 confirmed that players dislike feeling "limited" in their romance options.

We can think of examples like Cyberpunk 2077, whose fans are still furious because of Judy's romance being available only to female V's, or Dragon Age Inquisition, whose canonically gay character Dorian made some female fans very upset by the impossibility to romance him if your character isn't male.

And surely these aren't the only games that left gamers unsatisfied by this design choice. These situations made the same point we got from this interview: players want to be free to fantasize about whatever character they like and to feel less limited as possible by any character's traits.

So Larian is right, players much prefer to be free to romance whoever they like with every MC they want.

After all, it's glaring that the game doesn't focus on representing bi/pansexuality as an authentic trait that the companions share.

Some characters tell the players about their past relations involving only people of their same sex, like Astarion and Minthara, while others don't talk about/never had any relationship at all, like Lae'zel and Shadowheart, and Gale has never been with anyone besides Mystra. Halsin is the only exception in this matter.

Little to no effort was put in making all the different companions feel truly attracted to both sexes. Most of the time, the only representation of this "identity" depends, of course, on the Tav the player decides to make only.

What does this mean for our argument then?

If anyone's free to imagine "their" companions to be whatever they want them to be, because this is the liberty that was intended to be available to any player, then how is reading someone like Astarion as gay, like Lae'zel as lesbian or like Gale as straight any different than imagining all of them as bi/pan? If this is the spirit of the game, to let anyone act out their dream campaign without any limits, then everyone's personal reading on the companion's sexual orientations is equally worthy of respect.

*https://gaymingmag.com/2023/08/how-community-feedback-has-shaped-baldurs-gate-3/

If a character being homosexual for example is what we see being more consistent with their story, their experiences and their expression of themselves... it wouldn't be true to Larian's project, the same one that allows a lot of you to see every companion as pansexual, to aggressively deny us the possibility to share this theory with others that may enjoy it and prefer it.

[emotionallychargedtowel]

Chu chu chu*; or, intimate scene tips from the Kiseki cast

(Note: See reblogs for another pairing that used the same strategy and for super helpful info from @nibupei; also this post has been edited to replace the screenshots with slightly better versions)

I don't usually watch a lot of BL-related stuff on youtube, but I've still got a bad case of Kiseki brainrot and there's a bonkers amount of Kiseki-related material on there and a remarkably high proportion of it has English subs, so I've been perusing it. I saw something I found really interesting in one interview that I thought was worth sharing here, particularly since I'm sure there are others who, like me in most instances, don't typically look for BL info there. According to the title, the interview is related to a photobook, I assume one made for/about the series. You can find it here if you want to check it out for yourself. The part I talk about below starts around the 7:44 mark. A big thank you to the fan who subbed this for the rest of us, who as you can see from the watermark goes by abbyloveslove.

The thing that caught my attention was about Nat Chen's and Louis Chiang's process for intimate scenes. I'm always a total nerd about this kind of information, especially with regard to Taiwanese BL folks since people in the industry there have developed such a strong tradition of effective practices. The gist is this: prior to filming scenes involving kissing, you have to do blocking, check lighting, and so forth, so you have to get in position as if you were kissing your scene partner. But it's not actually necessary to kiss them and, in Louis's view at least, it would be counterproductive to do it at that point. So Louis and Nat came up with a substitute action. They'd do sort of mimed smooches, but with their own special a Taiwan-specific sound effect.

It's a bit hard to tell who's speaking here, what with the image quality. So I'll specify who's talking when. Speaking of which, these are just screenshots of a rather blurry video so apologies for any and all aesthetic shortcomings.

So, first Nat's speaking...

then Louis...

(he does a little shimmy here that's hard to capture in a still image)

and Nat again.

And then Louis sums it up.

After watching this I noticed that in one of the behind-the-scenes bits that are strung together into one long thing on Viki, you can actually hear someone going "chuchuchu." It's hard to tell who's speaking because of the angle and some staff wearing masks but I think it might actually be their director in that instance.

So there's your intimate scene nerd moment for today. Chu chu chu.

*Per @nibupei in the reblogs, this should actually be Romanized as "jiū." I recommend checking out their response in full. Just putting this here because some folks are still interacting with the original post who might find their notes illuminating.

[cbrownjc]

The first part of my next fanfic in The Forgotten Years series, which I am writing with @faerywhimsy, is now done. Please check it out over on AO3.

Title: Half-Forgotten Dreams

Pairings: Armand/Daniel, Daniel/Louis (past), Armand/Louis (past), Armand/Daniel/Louis (past), Lestat/Louis (past)

Summary: Though his interview with Louis is now at its end, Daniel continues to regain memories of his past that reveal things he’s not prepared to face.

End of Season Two — Show Canon with Book Canon Elements — Daniel’s POV

ACT I (of II) —  14,443 words — Mature

Warning: This story might contain possible spoilers for the end of Season Two (as it references later books in the series). If that is something you may want to avoid, please wait to read this story later. 

* * *

Excerpt:

Al Shafar Tower, Dubai, United Arab Emirates, June 30, 2022, 1:08 a.m.

“And so now? The only thing before me now is to go on, night after night. Detached. Unchangeable. Empty.” 

Once again, Daniel listened to the recording of the final words spoken by Louis just a few hours before.

After all the drama, twists and turns, and painful remembrances and revelations, Daniel Molloy’s interview with the vampire Louis de Pointe du Lac was now over. Finished. 

Once he had spoken those final words, Louis had quietly risen from his chair in the sitting room and disappeared down a hallway, without so much as another word to Daniel. 

The Vampire Armand, too, had only paused for a few moments after Louis had departed before taking his leave as well, also without a word to Daniel.  

It was late, and Daniel was already way past when he should have already gone to bed. He was feeling drowsy and his Parkinson’s tremors were always worse at night when he was tired and still awake at such an hour. 

However, the fact that the interview was now, officially over, didn’t feel like a relief. Or even some great unfinished accomplishment that he’d finally finished, and could cross off a bucket list. 

No. What Daniel mostly felt about it all, at the moment, was a strange sort of . . . sorrow. 

He didn’t feel celebratory about having uncovered all the hidden truths and obfuscation that had been thrown his way since the moment he walked through the door of the Dubai Penthouse. Usually when catching an interview subject trying to do such things, Daniel took an almost sadistic delight in upending the person in question, trapping them into at least facing the truth — a truth Daniel always made sure he knew as well, with facts on hand to back it up, before he did so — even if they remained loathed to admit that truth to him or themselves.

However, after all the truths that were finally revealed during Louis de Pointe du Lac’s interview, all Daniel felt about it now, was melancholy. 

Daniel Molloy wouldn’t have believed it of himself just two weeks ago but after this interview, with Louis’ final words, Daniel felt himself almost wishing he’d just let Louis hold onto the illusions he’d built around himself about everything that had happened.

Especially regarding Claudia, his never-sister and forever-daughter. Claudia, who had broken Louis’ heart, (maybe even more than Lestat had), and who was now gone forever.      

It was strange how, after everything, Daniel now felt a kind of kinship toward Louis. Even a real sense of trust now. He couldn’t say how or when it had come about, but it was there.  

Louis had never lied to him about things in the beginning with any malicious intent behind it. Once his true memories began to reveal themselves, Louis didn’t try to hide from them anymore. He faced them, despite the utter pain it caused him to do so. 

And Daniel couldn’t help but admire, and have his heart go out to Louis for that.

Which was very much not the same feelings Daniel held toward Louis’ erstwhile vampire companion Armand.

When the full truth about Armand’s role in Claudia’s fate had been revealed — specifically what acts he’d committed in the lead into her final fate — had been revealed, Daniel had listened to it all with the same cold and quiet dispassion Armand had displayed in his telling of it. 

However, underneath that, Daniel had also continued to be confused by the five-centuries-old immortal, just as he had been after both he and Louis had revealed Armand’s true identity to him after the Rashid subterfuge.     

Even before now, Daniel had wondered what Rashid’s true goal and endgame were regarding Louis — regarding all of this.

And now, after the interview was concluded, Daniel still didn’t know.

And not knowing, not having figured it out when he was now at the end of it all, continued to pick at his mind. None of it was helped by the fact that Armand had been playing a major role in all the lost memories Daniel had never known, until now, that he’d even forgotten. Events from after the failed first interview with Louis back in 1973. 

Every time Daniel closed his eyes, it wasn’t only his forever-reoccurring dream he saw behind them now. The reoccurring dream — or more accurately, nightmare —  he’d been having off and on since 2005. 

No. Now, along with that, it would also be some forgotten memory flooding back to him, returning to him, as well.

And he knew they were memories. They always felt more real, more tangible, than his dreams did. 

[ Read on AO3 ]

[herohimbowhore]

The Eruption of Mount Vesuvius: An Allegory for Ferrari

Scuderia Ferrari holds the title as the oldest and most successful Formula 1 team, having competed in every season since 1950. Where others fell away, Ferrari has remained.

If you were to ask someone to say something about Ferrari, then there’s a few way it can go.

First, is perhaps the most common. Enzo Ferrari’s famous quote that was probably true for most of us. “Ask a child to draw a car, and certainly he will draw it red.” And Enzo Ferrari was correct. The first thought when asked about a red car or more specifically, a red sports car, is Ferrari. (And Lightning McQueen)

Then, maybe another well-known quote will come to mind. “Everybody is a Ferrari fan. Even if they say they’re not, they are Ferrari fans. Even if you go to the Mercedes guys and they say ‘Mercedes is the best brand in the world,’ they are Ferrari fan.” Sebastian Vettel said this in 2016 during one of Mercedes’ most contentious internal championship battles.

During the Monaco Grand Prix in 2022, Lewis Hamilton (the face of Mercedes in F1 himself) proved Sebastian’s statement true. During an interview with an Italian newspaper, Lewis said, “I would say one thing: if I could sit down with the fans on the bleachers over there, I would support Charles. I am a Ferrari fan.”

And if you’ve been watching Formula 1 for the past few years, then you’ll think of how the once great Scuderia has become a clown show. Questionable strategies, awfully hilarious pit stops, and great drivers with their potential wasted. All of it is a common occurrence within the Scuderia that we have grown to expect as fans and are shocked when their plans actually work out.

Contextualizing Ferrari with the song Pompeii by Bastille and the eruption of Mount Vesuvius seemed like the most coherent way to understand this downward spiral from a once great and lauded team to its current form.

Pompeii is one of the most well-known sites of a major volcanic eruption and a disastrous end to a once great city. Perhaps it is the perfect allegory for Scuderia Ferrari as we know it today.

Eh, eheu, eheu

Eh, eheu, eheu

Eh, eheu, eheu

“Eh, eheu, eheu,” at first may just sound like a vocally beautiful start to a song about a tragedy forever remembered and memorialized in ash. But it is a Latin phrase, roughly translating to, “eh, alas, alas.” The phrase is an exclamation of pain, grief, and fear. It is an exclamation that many fans of the Scuderia can relate to. With every race weekend, there is fear of what may go wrong this time and grief at how badly it does go.

I was left to my own devices

Many days fell away with nothing to show

The city of Pompeii, before the eruption of Mount Vesuvius, was a wealthy city. The residents, or at least some of them, lived luxurious lives with little responsibilities.

Ferrari, on a similar note, has rested on its storied history and has enjoyed luxuries that the other teams in Formula 1 do not get.

Ferrari has competed in every season of Formula 1 since the 1950 World Championships. Due to this, they have over 1000 race entries and status as a long-standing team.

One privilege given to Ferrari is the "historic bonus" from prize money. Despite not winning the constructors' championship, Ferrari tends to get more prize money at the end of the season than the winners. Since the 2021 regulation changes, Ferrari has received $35 million. Before 2021, the LST payment was $70 million, half of which was deducted from the prize money pool.

Another privilege enjoyed by Ferrari is the power to veto rule changes that won't benefit Ferrari or the sport as a whole. Thus, giving Ferrari more power than any other team in Formula 1.

Ferrari obtained the power to veto regulation back in 1980 as a means to keep them in Formula 1. During the renegotiations of the Concorde Agreement in 2019, Ferrari was able to retain the veto power. However, a key thing to note is that the veto power is used sparingly by Ferrari. It was last used in 2015 when Ferrari vetoed the FIA's plans to introduce a €12 million engine price cap. The proposal at the time had gotten a majority vote by the teams before the veto was utilized by the Scuderia.

So, Ferrari has gotten these unique luxuries and privileges for being an integral part to Formula 1 and the history it has within the sport. But despite all of this, there is "nothing to show for it" these past few years. Since the days of Michael Schumacher at the team came to an end, the Scuderia has been on a downward spiral.

You could argue that 2007 was a good year, they won both championships, didn't they? But, were it not for McLaren's Spygate scandal and then McLaren drivers, Lewis Hamilton and Fernando Alonso, more focused on beating one another, it's highly unlikely that the championships would have gone to Ferrari.

And the walls kept tumbling down in the city that we love

Grey clouds roll over the hills bringing darkness from above

Before the eruption of Mount Vesuvius in 79 AD, there were signs signaling that the volcano's period of dormancy was coming to an end. Most notably, in 62 AD, 17 years before the eruption, there was a major earthquake that devasted Pompeii and the surrounding region. The earthquake caused damage to buildings, with some of them collapsing, and a disruption to the water supply in the city. Now, we know that it was the first indication of Vesuvius awakening. Seventeen years later, when Vesuvius erupted, Pompeii was still rebuilding from the earthquake in 62 AD and the ongoing tremors that it had endured since then.

Regardless of how much time residents of Pompeii spent rebuilding after 62 AD, they never really were able to because ongoing tremors and quakes kept the walls tumbling down.

These days, as fans and spectators of the sport, we expect to see some sort of Ferrari blunder when it comes to pit stops or strategies. Monaco 2022's double-stack pit stop that cost Charles Leclerc a win at his home race comes into mind, or maybe Austin 2023 when Charles Leclerc was put on a one-stop strategy that took him from pole position to sixth place before disqualification due to the plank, or any number of impeding penalties that Charles Leclerc and Carlos Sainz have gotten due to their team not relaying the information to them.

But just like the 62 AD earthquake in Pompeii and subsequent tremors, signs of Ferrari's downward spiral could be seen soon after the end of the Schumacher era.

We could think back to the Japanese Grand Prix in 2007 as Ferrari driver, Kimi Raikkonen, was in a championship fight with the McLaren drivers, Lewis Hamilton and Fernando Alonso. The wet weather conditions of the Grand Prix required that extreme wet weather tyres be used. However, both Kimi Raikkonen and Felipe Massa were forced to pit so the tyres could be changed after the race had started under the safety car. While Kimi was able to finish 3rd, it did put him 17 points behind in the championship.

Another major blunder shortly after the Schumacher era that comes to mind, is the 2008 Singapore Grand Prix. A highly contentious race for many different reasons. You may recall Singapore 2008 for Nelson Piquet Jr. crashing, Fernando Alonso taking the win, and the entirety of the Crashgate saga with Renault. But as Crashgate was occurring, Ferrari was doing as Ferrari does.

In 2008, it was once more a McLaren driver and a Ferrari driver battling for the championship with Lewis Hamilton and Felipe Massa, respectively. When Nelson Piquet Jr. crashed and a safety car was brought out, many drivers chose to pit as there is less time lost during the pit stop. Felipe Massa, three seconds ahead of his championship rival, Lewis Hamilton, chose to pit. But unlike Lewis Hamilton and other drivers who had decent pit stops, Ferrari released Felipe too early with the fuel hose still attached to his car. A Ferrari mechanic was dragged along with the fuel hose and Felipe had to stop at the pit lane exit to release the hose. Thankfully, the mechanic was okay, but Felipe's race was compromised and the race ended with Lewis in the championship lead.

We were caught up and lost in all of our vices

In your pose as the dust settled around us

When Mount Vesuvius erupted, material from the volcano covered the residents of Pompeii who had not been able to escape the city. A common image that comes to mind when thinking of this is the stone bodies covered in lava that cooled and retained the shape. However, as the lava cooled around the dead, the bodies decomposed until there was a void left in those shapes. Since the 1860s, archaeologists and scientists have used the negative space in the rocks to recreate replicas of bodies with plaster.

The dead of Pompeii were left in this void and stasis. As are so many of the drivers who came to Ferrari with hopes of winning with the Scuderia, wanting to bring back glory to Maranello, and do as Michael Schumacher once did.

Felipe Massa, Fernando Alonso, Sebastian Vettel.

They all joined Ferrari with hopes of winning the championship with the red team and all of them left with their dreams unfulfilled. An empty void of their potential was decaying from the inside as Ferrari continued to make endless blunders and not deliver cars that could win the championship.

But regardless of it all, nothing ever changes in the Scuderia. They're still caught up in the historic past as the dust settles and drivers with great potential leave.

Oh, where do we begin?

The rubble or our sins?

Oh, oh, where do we begin?

The rubble or our sins

The eruption of Mount Vesuvius was devasting for the city of Pompeii and the neighboring city of Herculaneum, but there were some survivors who were able to escape and relocate. Archaeologists have traced some survivors and figured out that they relocated to other cities with social and economic opportunities.

After disaster strikes, there is a question of what do we do first? Do we focus on the the physical things we can see like the rubble? Or the root causes of the disaster that we can't easily see?

Ferrari constantly treads this line of deciding what to focus on. Should they focus on the obvious with the pit stops, strategy, and car. Or the power struggles within the team and personnel.

The inner struggles within the team are endless.

Possible tensions between teammates Charles Leclerc and Carlos Sainz (which have been denied by both drivers, but instances during race weekends kind of make it seem like there is some tension - especially when it comes to qualifying orders)

The Sainz camp beefing with Charles Leclerc: Carlos' mother liking tweets about Charles not having honor, Carlos' father declaring "war" on Charles by saying that it's always Carlos that has to follow team orders and team orders are non-existent when Charles is behind.

The Lapo Elkann tweet about Santander, the Spanish bank that joined as a sponsor after Carlos Sainz joined the team

Departures of staff and Team Principal Fred Vassuer saying that Ferrari is "miles away" from a perfect structure

Ferrari has internal and external problems that they have to deal with before they can have a successful season. It's very obvious that the car isn't fast, the pit stops tend to be awful, and the strategy is rarely good, but there are also so many internal problems with fights for power in the Scuderia.

But if you close your eyes

Does it almost feel like nothing changed at all?

And if you close your eyes

Does it almost feel like you've been here before?

How am I gonna be an optimist about this?

How am I gonna be an optimist about this?

If you close your eyes

Does it almost feel like nothing changed at all?

In the four days leading to the eruption, the city of Pompeii experienced small earthquakes that continued to increase in frequency. However, as stated above, small earthquakes and tremors were commonplace in the Campania region where Pompeii was. So, for the thousands of residents, it wasn't a sign of death and destruction and life continued on as it normally did. Until Vesuvius erupted and there was nothing to be optimistic about, giving into the grief and pain.

At this point, after nearly twenty years of watching as Ferrari fumbles and destroys the hopes of its drivers and fans, it has come to be commonplace to expect the least from Ferrari. Pole positions are things of dread, double-stack pit stops are nightmare fuel, and openly fans think that drivers should leave the team if they want any chances of winning.

But yet, there is hope.

A look back to Monza 2023, when the Tifosi surrounded Charles Leclerc. The crowd sang "Leclerc bring us the Championship," having complete faith in the driver who went through the ranks from the Ferrari Driver Academy and made his way to Ferrari after just one year in Formula 1.

And it's not just the Tifosi that have faith and resilience in the face of what should be a demoralizing downward spiral from the heights of greatness with Michael Schumacher. Charles Leclerc continues to push and put the car where it shouldn't be with 4 pole positions this season. Making it the second most pole positions for a driver this season, only behind Max Verstappen's 11 pole positions. Always striving for more and not settling for being in the midfield.

The eruption of Mount Vesuvius and Scuderia Ferrari are two Italian tragedies nearly 2,000 years apart. Echoes of one another despite only having an Italian background in common.

[giriduck]

Been processing the recent Nintendo Dream Web article some more. Hot takes under the cut.

Of course Ganondorf would be sexy—just about everyone on BotW and TotK is conventionally attractive. The stated sexiness goal for Ganondorf feels really bad though—not only only because he’s the villain / antagonist of the game who also an in-universe POC, which opens a whole can of worms around fetishization, racism etc. (that many others have written about far far better than I ever could)—but it’s also jarring to hear about a design goal of maximizing sexiness in a LoZ game at all. They literally said the quiet part out loud—and that feels so weird and gross.

Thought experiment: take the excerpt below, but imagine this was about BotW Zelda.

Doesn’t that feel odd framed in that way? An interpretation would be along the lines of, “As a real departure from prior titles, we gave Princess Zelda pants in this game! The pants of a person who really takes care with their appearance: tight-fitting, to show off her curves and figure, like a real princess, whom men and women could fall in love with!” Although they never said that, it has a ring of truth to it, given this new context.

Only Zelda in BotW got to be a character with enough screen time to have real depth, because it was a story that used her as a lens to understand both her life and the world, whereas Ganondorf in TotK was (once again) treated as a disappointingly generic villain. Ganondorf’s lack of narrative development was not only a miss with regard to him as a character, but as an opportunity for some interesting, central-to-the-story / universe, world building. Given this, the interview only makes it extra disappointing that a goal was to also make him appear heroic in his art design, but the final game (as far as I’ve played, anyway) never expanded on that very interesting concept beyond a quick line mentioned in passing.

Evil for the sake of evil and/or sexy for the sake of sexy ends up being disappointingly shallow and reductive. Add in the complexities of real-world racial inequality and trauma, and this can quickly become disrespectful to players. At the very least, if the game creators were inspired by or going to potentially code characters in a way that is evocative of cultures outside of Japan, please bring in a diverse focus group to look at the content and provide feedback. As a large and influential content creator, please do the work to catch (either conscious or unconscious) harmful and frustrating stereotypes before you commit them into your final product.

I actively avoided Breath of the Wild for five years because I was so irritated by the newer Gerudo character designs—specifically the nonsensical lack of clothes and the desert high heels. I was immediately put off by what felt like a fetishy objectification of “exotic” women.

So it is extremely irritating to realize that they consciously did the same thing with Ganondorf.

Personally, Ganondorf’s character design in all his appearances throughout the franchise has been interesting to me—particularly his clothing, jewelry, and everything mentioned in the interview that he presumably would choose to wear—because it’s precious little for us to work with with regard to building our versions of this character in our minds. Accessories and clothing are a window into a character’s preferences. But in my opinion, his art design is also the least of what makes him interesting as a character. Sure, we got glimpses of his pecs and biceps in TotK, but what about his motivation? Canonical insight for why he does the things he does? His perspective on the political / power dynamics of the ancient era? Unlike Zelda in BotW, we never “rode with Ganon” to understand this essential character to the game and franchise at all.

The biggest takeaway I am feeling from the interview is that I really wish that they had spent as much care giving him depth as they had done on his character design.