#(creating new characters in an established context is hard)

[eri-pl]

Announcement: Silm Advent calendar

OK, so you know how Advent calendars work, right? I imagine it's a known thing, not only for Christians, because every chocholate making company makes them and supermarkets shove them in people's faces.

Anyway in case you don't: You have a box with 24 (or whatever amount of days depending on the year) slots, and each day you open the one with the day's date and there's a small treat in there.

So I'll be posting something like this. Every day there'll be a scheduled post (not all on the same hour) with a title "Silm Advent calendar [day]" and a "read more". And under the "read more" there'll be a small treat for y'all.

They are all already scheduled.

All treats are entirely SFW: The images are mostly kid-appropriate (some have too much fire for small kids, also: quality may vary). The texts are… if you're old enough to use Tumblr, they're age-appropriate four you. Not all would beappropriate for, say, a 7yo because sometimes there's a little violence or cursing. Some are very fluffy, some are sad or somewhat ominous. Also, they are related to the Silm, so the implications/context are sometimes much, much darker (or lighter). All potential triggers are hopefully tagged and listed, please let me know if I missed something. The quality may vary too (but hey, they're proofread, we die like Men!)(well ok they aren't proofread that well obviously. But they are proofread) which is still something.

They aren't necessarily 100% consistent with each other or other stuff I wrote, but there are some connections.

So:

Silm Advent calendar 1: Day

Warnings: teenager PoV in late Númenor and he's not even Faithful. No triggering details, but it's late Númenor.

Too young.

Too young to sail with everyone. (They really meant "not good enough", didn't they? Not good enough with the ship, with the ropes, with the sword, with the lessons, with anything. It's not like there's an age limit after all.)

The air is thick, too hot for the season and the street is black. The soot stains Zâinathôr's new shoes.

Too young to sail, not good enough to sail and to return with the glory of immortal lands. (Will they all be immortal when they come back, or just the important ones? Or just the ones who fought best against the jealous, lying "lords" who claim those lands?)

Not enough and now they're probably fighting already and Zâinathôr has to wash a damned wall like a peasant, because some traitor had vandalized it—again—with strange, wicked letters. Is it a threat? Is it a curse? Hopefully even if it is, it will befall on the broom, or on the wet cloth on it, not on Zâinathôr. He mutters luck-bringing proverbs just in case.

His life is cursed enough already. The younger son, and also the less gifted one. Too young to sail.

They'd been gone for over a month and yesterday the abandoned island shook without its king. Will they ever return home? Or will they bask in the immortal glory and leave the weak ones waiting forever?

Zigûr has stayed, but the island doesn't seem to care. Or maybe he does not care. The black smoke rises into the sky, but it changes nothing, except the state of walls and streets. Apparently the rebels don't care either.

Zâinathôr smears the watered down paint in all directions, now it's dark from the soot, but the hourglass and the curse are still visible below the black. Why do those people want everyone to die? What has anyone even do to them? Well, except killing then, but, damn, they started it! They tried to usurp the king. Zâinathôr curses them quietly, unsure if he's more angry about the murder plots or about the stubborn unreadable vandalism.

It's been over five weeks already, maybe five and a half. Hopefully when the King defeats the cowards who live in the west, the traitors would finally understand that they can't win and go away or... something. And leave Zâinathôr and his friends alone.

The street beneath his feet vibrates with a low murmur again, and he continues washing. His thoughts are already at next week's play. What should he wear?

It gets darker. Why do those damned clouds always have to appear when he needs to see clearly? Even in the dimmed light, the paint on the wall is still visible, despite all the washing. The only difference is that now large part of the wall is black.

For a moment Zâinathôr wonders again what those words mean. Something nasty, that's for sure. Better no not think about it. (The air smells of fire.)

He'll wear the sea-blue tunic. It will look better in this weather.

[backwardsbread]

Hazbin Hotel:

Lucifer X GN!Reader ✨FLUFF✨

~His wings~

(A/N: Feeling especially numb and needed some fluff in my life. Therefore I made my own✨. Enjoy!)

Warnings‼️: not proofread, lots of fluff, established relationship, slight angst?, mentions of past trauma, author is so tired.

Word count: 2k☀️

“When was the last time you did this?” A soft giggle through mumbled words as Lucifer’s wings twitched away from your touch. The king held his head in his hands, curling in on himself.

“Is it that obvious?” He asked meekly, his fear of judgment all too clear. You cooed at him, sitting up on your knees to remove his hands from his hair.

“No. Just curious.” A white lie to soothe his insecurity. His hands flop into his lap as he sighs, opting for silence. It wasn’t like he knew the answer to your question anyway.

The king was sat on the edge of his bed, back facing you as you sat behind him. His shirt was bunched at his elbows, having taken it off over his head and letting it rest on his arms. All while running soft fingers through his bottom set of wings. Like combing through tangled hair, you moved slowly and gently. Stopping to work out any parts that had reminisce of flaking keratin. Pin feathers, fresh and sensitive. New and annoying.

Lucifer didn’t bring his wings out often. They were a reminder of what he truly was and what he couldn’t avoid. A harsh representation of the past that would follow behind him. Every time he’d turn around, it would be there, despite how hard he tried to hide it. In Lucifer’s mind, why was there a need to take care of something you hate? Why nurture something that makes you grimace? That whole depressive mindset left him neglecting his wings. Hiding them away most days until the tense muscles in his back begged him to let them free.

It was just so annoying.

A tedious task to tend to. A recipe for disaster that would only open old wounds that should have been healed. However, Lucifer’s wings were part of him nonetheless. Every so often his body demanded he release his wings. A pressure in his spine made it tense and painful until he walked stiffly. One that wouldn’t be relieved until he had let his wings free for at least a few hours. Even so, his wings being out was arguably worse. Because of his negligence, his wings were atrocious. A mess of red and white feathers he didn’t dare to tend to. Twitching every so often to try and relieve the uncomfortable feeling. An ungodly amount of old feathers ready to leave and fresh ones begging for freedom.

You hum quietly as your fingers gently pick out flaking dander from the bottom set of wings. A pin feather brushes against your palm, causing you to stop and attend to it. Gently squeezing the fresh feather to free it of its prison. Convincing Lucifer to allow this wasn’t an easy task. Sure, he trusted you more than he probably should have, but that took time. Lucifer was a clumsy character. Despite being delicately created in heaven itself, he was proof that mistakes could still be made even in the most divine of places. The most beautiful of angels dropped down to banishment as punishment for his pride. He was prone to falling, and though the two of you did not have an official label, the king was smitten.

And of course he knew this. But could you blame his resistance? Every fall he had, no matter the context, had left him torn apart. His heart was wounded and scarred from the mistakes he could never regret.

Heaven must have made a mistake sending you down here with him. Hell was meant to ensure Lucifer only saw the bad and evil part of creation. Yet somehow he was ironically blessed with you.

“Stay still, Luci..” You whispered, the lightness in your voice compared to the feathers he refused to acknowledge. Lucifer didn’t even realize his fidgeting. It wasn’t that he was uncomfortable, his fidgeting was just a habit of his anxiety. And he couldn’t stop thinking of what you were to him.

“Sorry, flower.” His nickname sent a red hue to your cheeks and a warmth spreading in your chest.

Delicate, is what he described you as. He didn’t realize it could come off as an insult when first explaining that to you. You could still recall his panicked expression and rambled explanation of why he thought of you as such. ~

“Like a flower,” Lucifer tried to explain, looking like he was ready to explode. When your expression didn’t show a sign of understanding, he let out a nervous laughing wheeze.

“I-I mean-!! Oh geez. Please forgive me for my words. Let me start over,” he pleaded, in which you stayed silent to wait for his explanation. The king sucked in a deep breath in a final attempt to soothe and compose himself.

“I don’t- I mean me personally- don’t see being delicate as a bad thing. It’s not like I don’t think you can hold your own. I mean, look where we’re at– aHAH– uhm..”

Another deep breath to heal his wounding pride.

“Delicate, as I see it, is something that is intricately created. Carefully made, working on every detail to make it absolutely.. Well, perfect..”

Your heart skipped a beat. Perfect? How could someone think so despite where fate had landed you?

“Do you ever notice how flowers are everywhere and yet people refuse to step on them? People are so mesmerized at what the Earth worked so hard to create, instead of destroying these things, they preserve them. Cherish… them.. And I-I just..” Lucifer trailed off, giving a nervous smile in hopes you would understand his logic even just a little.

~Mesmerized, Cherish, Perfect.

After that moment, you thought more about your relationship with Lucifer. A mindless crush at first turned into something so much more after the nickname came about.

“Be honest with me, how much longer of this?” Lucifer questioned under his breath. You were snapped out of your memory by his voice. You leaned back to get a better view on all his wings. You purse your lips, not really able to get a good view of all three sets of wings.

“Is there any way you can.. Spread them out? Just so I can see them properly.” You ask in a soft whisper, your fingertips running down his spine, feeling his muscles tense under the touch. The king chuckles dryly, running a hand through his hair. He had hesitated, but it wasn’t like he had anything to hide at this point.

“Yeah, just.. Back up a bit. I’d hate to hit you with them.” He tried to speak in a joking manner, but a nervous tone laced his voice. You decided not to comment on it, not wanting to bring more attention to what he was clearly hesitant to talk about. Instead, you silently back up further onto the bed, pulling your hands back.

In an unintentional grand gesture, Lucifer stretched his arms up over his head, the base of his wings twitching alive. The muscles in his back tensed while his sets of wings slowly extended. His wings seemed to grow bigger than you ever imagined. You had only seen his wings curled into his back. You didn’t realize Lucifer worked consciously to keep his wings appearing as small as he could get them. With the exception of the times Lucifer had his wings on full display, you had never seen them like this. So close, close enough to see each detail and each individual feather. The top set of wings reached to the edges of the canopy above Lucifer’s king-sized bed. The bottom set brushed against the mattress below, not quite able to extend all the way, but it was enough.

And it was magnificent. Fading hues of red, almost pink feathers, creating an ombre effect with the color you could see. What you could mostly see was the bright white wings spread out perfectly for you. How could you convince Lucifer to have him sit like this for hours so you could study each feather, each crease and edge, and show them the appreciation they deserved.

“So?” Lucifer asked, his voice slightly strained from the stretch. You didn’t quite comprehend what he was asking, so you spoke freely.

“They’re beautiful..”

Your words, as simple as they were, completely catch Lucifer off guard. His body tensed, his wings instinctively curling into his back. He laughed nervously, absolutely refusing to look back and meet your gaze. Afterall, there was no way you were serious in the little comment.

“haHAH!- I mean, all angels have them- well I'm not an angel. But you know! They’re less than- I mean- they don’t really. They’re a nuisance is all. Getting in the way and all. I can’t tell you how many things I’ve broken from knocking things over with them. I mean, three sets is a lot.” There he was rambling again. In a way that was almost trying to convince you that the statement you uttered was wrong.

You couldn’t help but frown. He was so determined to make you agree with what he thought was true. That absolutely no beauty, no grace; nothing good could come of him. Nothing he could create or be would ever be good enough. He couldn’t be enough.

“Whoever convinced you that you’re so hard to love?” You asked while grabbing one of his wings and bringing it close to you.

Lucifer’s breath caught in his throat. He didn’[t know how to answer that. He just assumed– well he had never thought of it– he had but– A sort of panic raced through his system. He didn’t mean to make this oddly intimate moment about himself. He didn’t mean for you to see right through him. To see every hurt thing he was made of that he tried to hide behind silly smiles and awkward laughs. The trauma that lied in everything he was. You could sense his panic, feel the tenseness in his body as he held his own arms. Curling in on himself a bit as he tried to think of a response. Shifting closer, your arms wrapped around Lucifer’s shoulders. Nuzzling your face into his neck and pressing against his wings.

“You don’t have to answer that,” you mumbled, “I’m sorry. I didn’t mean to make you think about that.” you apologized against his skin in hopes the words would sink in and he would forgive you quicker. Your embrace wasn’t unwelcome, but it was unfamiliar. He forgot what being held like this felt like.

“Please don’t let me go.” The words escaped him before he could even comprehend them. His heart was racing, shocked at how his own voice could sound so timid and pleading. He mentally slapped himself for his foolishness, fully expecting you to laugh or pull away from him. Instead, you stole a glance up to his face.

“Okay..” You whispered gently, tightening your grip to hug him close. Lucifer let out a breath he didn’t even realize he had been holding in, his hand reaching to grab your forearm. Silence wasn’t quite common in Hell. The constant screams, chatter, and chaos kept the air busy with its noise. Yet, silence had never felt so comfortable in another's presence. At least it has been awhile since it had for the king.

You held him close, absorbing his body heat, and savoring every moment he let you near like this. You felt the fluffy feathers against his back shrink away, absorbing into his back. A silent way to bring you closer to his body, your chest pressing against his back. You breathed out a short chuckle, shifting closer to hold him.

“Hey, I’m not finished.” You whisper jokingly, pulling away from his neck for a brief moment to look over his features. He was so close and so warm. You tried to ignore your heartbeat kicking in your chest at the close proximity. You finally felt his body relax, a grin spreading across his face.

“I know, I know.. Just a little longer, flower..” He mumbled, meeting your gaze. There was a tense moment the two of you just stared into each other’s eyes. He hoped it was dim enough in the room to where you couldn’t see the golden hues spreading across his face and to his ears. You silently nod, snuggling into his neck and giving his torso another squeeze. Lucifer held your forearm, his clawed thumb brushing against your skin.

Maybe he did remember what love was meant to feel like…

[miserymet]

Tragedy - Reploid Bass AU

Was digging through my old WIPs and found this bad boy. It’s technically unfinished (because I didn’t know how to end it) but it gets the main point across and establishes the where the plot is at post MMX7. Thought it might be interesting to those who want more details on the AU.

(quick timeline context; Bass gets his memories back post mmx6, disappears off the face of the earth and shows back up again halfway through mmx7)

Summary: Zero and Bass talk about one of Bass’ many regrets. In the process, Zero tries to connect the brother he knew as Forte to the stranger wearing his face.

“I wasn’t supposed to be here.”

The words are quiet. Not soft, as nothing Zero’s brother does is soft anymore, but they lack the usual bite. It’s enough to draw Zero’s attention to where Bass now sits. 

The chair holding him is old, a mundane relic of the furniture that was commonplace over a hundred years ago. It’s a miracle that it hasn’t crumbled under the weight of its occupant, but Bass had mentioned that the entire base was designed around its mechanical residents. Perhaps its creator imagined one of his robots might need to use a chair. Even if there’s not much of a difference between sitting and standing for them.

Zero’s surprised to see that Bass has his back turned to him. His brother isn’t too keen on letting Zero out of his sight nowadays, but his gaze is firmly fixed upon the screen in front of him now. Another uncharacteristic behavior. Zero sets aside the spare parts he was examining, all interest gone, and approaches the screen that has his brother so transfixed. It casts a dim light even in the darkness of the base, but the image is clear enough.

It’s an old contact log. A few lines of text sit at the bottom of the screen and for some reason, Zero feels the need to read them aloud.

“Bass. I made a mistake. I created something that I can’t control. You’re the only robot strong enough to stop it. Please help me.” He furrows his brow as he speaks the final line. “I’m sorry.”

“Six lines. Twenty six words. A hundred and fifteen characters.” Bass mutters.

“What does it mean?” 

It’s a genuine question, and maybe that’s why Bass laughs as though it’s the stupidest thing he could have asked. Zero waits with bitter patience for his brother to finish. This is typical of Bass’ new personality. Brash, abrasive, rude, all of these words and more fit the new image Zero’s brother has made for himself. Even his name is new. “Bass.” It’s been a bit of an adjustment to say the least.

Eventually, Bass manages to pull himself out of his laughing fit. His next words are the last thing Zero expects to hear.

“These are the words that killed me.”

“…I thought I did that.” Is all Zero can say to that. Bass laughs, much quieter this time.

“In the end, yeah.” His brother leans back in his seat. “But fighting you wasn’t-, I didn’t…”

“You ‘weren’t supposed’ to?” Zero volunteers.

“…I shouldn’t have.”

Bass goes quiet, lost in whatever old memories are haunting him today. Zero can’t help but feel frustrated. He used to know what to do when Bass…when Forte was upset. Whether it was about his lost memories, his weakness, his outdated code, Zero could always help. It’s different now.

Everything’s different now.

“Do you remember what I told you about our creator? How we didn’t really get along?” Bass starts, gaze still stuck on that old log.

“Because of your penchant for rebellion, yes.”

“That was only half of it. Yeah, I disobeyed him whenever I felt like it, but he wasn’t some doting father.” His brother turns to glare at him. “He was the most selfish, stubborn, stupid old man I ever met. Full of himself, too. You would have hated him.”

“That sounds a lot like you.” Zero can’t help the bite to his words. Maybe X was right. Maybe all this is getting to him. “Where are you going with this?”

“I was loyal at first. The old man had a lot of expectations for me, and I was determined to meet them. I didn’t. No matter how hard I tried, how strong I was, it was never going to be good enough if I couldn’t beat-,”

He stops abruptly, almost letting something slip. Something important. Bass is always vague about his old memories. He’s hiding something, but Zero can’t tell if it’s because it’s too risky or because he’s hoarding all that’s left of his past. It could really be either one. Zero isn’t sure he knows Bass all that well anymore.

“The point is, I was a failure to him. So he tried to move on. Build something else.” Bass shakes his head. “I couldn’t accept that. We fought. First it was just arguments, but it escalated. Before I knew it we were trying to kill each other.”

“What did you do?” Zero asks, though he’s not sure he wants to hear the answer.

“I left.”

Oh. Zero wasn’t expecting that.

“It sounds obvious, right?” His brother rests his head against his hand, expression flat. “But I wasn’t a reploid. I didn’t have the programming X or Axl did. It wasn’t as simple as changing my career. I was leaving my creator.”

“Bass…”

He doesn’t let Zero get a word in. “I agonized over it for days. What was I if not his robot? What could I even do without him? I was practically one foot out the door already, but I couldn’t move the other one. I…cared about him.”

Zero tries to imagine it. Bass, in his original body, standing beside a vague figure. His gaze sweeps across the room and Zero sees Bass sitting on a table full of junk, swinging his legs as he speaks to his creator. What did his face look like? Was it flat and cold, speaking in an even tone about plans or progress or whatever a man like that saw fit to discuss with his creation? Or was he annoyed, brow furrowed with one dipping lower than the other and mouth pulled into a small pout? Maybe it was a face Zero had never seen before, a soft smile, a wry grin that so clearly spelled out his amusement. 

He can only imagine. When he turns back to his brother, Bass wears the grimace he’s grown so used to.

“That was how I convinced myself to leave, in the end.” He breathes an empty sigh. “If I stayed, I might have hurt him. Might have let my anger take me to far and…”

His hands move in front of him, digits curled tightly around an invisible enemy. They hang in the air for a moment and shake. Then they fall. Bass lets his head follow them.

“You came back.” Zero speaks softly, trying for a gentleness he’s never been good at. “Why?”

Bass doesn’t pick up his head. “Same reason. I cared.”

“He made a robot, couldn’t control it and called you for help.” It feels both more and less real when he says it aloud. “He called you to your death.”

“And I came. I came because I am a fucking idiot.”

Zero blinks at the harsh language. Bass is far from the composed brother he knew, but even he didn’t use that language regularly. It feels strange. Forte would never, but Bass…it fits him a little more.

“He didn’t even have to apologize. The moment he came to me for help, the moment he called me strong-,” Bass grips his head in his hands. “All my conviction disappeared. I walked into that lab, this lab-!” He throws out his hands, nearly hitting Zero, “and I died for the man that tried to kill me!”

Zero doesn’t know what to say. What can he say? This is something he’s just learned, a grief he can only imagine. Bass has lived with this knowledge since the day he got his memories back. How did he feel, waking up and knowing that he lost everything to a man long gone? How do you live with that burden? How do you keep fighting?

Bass shoots up from his chair, gaze now fixed on Zero. There’s so much behind his eyes that Zero can’t see. A world no one alive has any hope of understanding.

“I was so close to being happy! To having something other than a worthless creator who only tolerated me as long as he could use me!”

His brother takes a step forward, the light of the screen illuminating every tear that falls from his face.

“And he took that from me! You took that from me!”

“I’m sorry-“

Zero sees the punch coming. He almost dodges. It’s what every self-preservation program in him begs him to do. He doesn’t. He takes it. The punch is hard, snapping his head to the side quite painfully. He doesn’t flinch. Not even when Bass’ fist splits the synthetic skin of his cheek. All he does is look back at his brother.

Bass stands there, eyes wide and mouth open. His arm hangs in the air. He can see the grime left on his hands. Can see the tension in every part of his body. Then, it shifts. Bass drops his hand and closes his mouth. That glare returns, fierce as ever.

“Don’t pity me. It’s too late for that.”

Zero tries to find his words. “I don’t-,”

“That hit only landed because you let it.” Bass casts his gaze to the side. “Everything I do to you is because you let me. Even in this body, I’m not strong enough.”

[machinesonix]

Somehow I have made it this long without realizing that none of the screen adoptions of Dune so much as mention the Butlerian Jihad. Like I guess it's burned into my brain so hard I sort of assumed it was part and parcel of the universe. Don't get me wrong, I think that's probably the first thing you learn if you want to dive deeper into the setting, but it still hits me like if the LotR movies showed us the big flaming eyeball tower and was like ‘Oh, that's why there are bad things, but don't worry, that's just background stuff.’ Yeah, you can understand the movie, but if the story is just like Frodo vs. The Witch King you are losing out on any of the conversation about the corruptive allure of power or theological undertones. So without further ado let's pretend this is for the benefit of interested new fans roped in by the movies and not part of my desperate attempt to silence the howling specters of literary analysis that live in my blood.

The Butlerian Jihad is an event set ~10k years prior to the events of Dune in which humanity won their freedom from the machines that they had enslaved themselves to. As a result, it is a religious taboo to create a machine that thinks like a human. That's frankly the bulk of the information presented by Frank Herbert in the text without dipping into books 7+, but whether or not those are canon is frankly an enormous can of worms, which really makes sense when you consider the size of the worms. But boy howdy, Frank loved his subtext and parallelism. Everyone has a foil character, every theme is hit from multiple angles, and Villinueve has been doing an excellent job of capturing a lot of that in repeated imagery and dialogue. The Butlerian Jihad happens off camera, but it's themes are absolutely critical to the big picture.

The Butlerian Jihad was a holy war. It was not merely a rebellion against the machines, it was a crusade against them. The prohibition against thinking machines isn't just a law, it's in the pan-universal Bible. Absolute psychopath Pieter DeVries himself claps back at the Baron for insinuating he might have a use for a computer, and this is a guy who has been hired specifically for his preternatural absence of morals. Let's hold onto that idea for a minute. 

Probably my favorite scene in the first book is the one where planetologist Liet-Kynes is dying out in the desert. As the last of his strength fades to dehydration he hallucinates conversations he had with his father concerning terraforming Arakkis for human habitability. He's told that the means are not complicated. There is already enough water on the planet, the Little Makers just have it all trapped deep underground as part of the sandworm reproductive cycle. You just need to isolate enough water to start irrigating plant life, and once it's established that'll keep the water on the surface on its own. The hard part is making sure everyone on the planet is environmentally conscious enough to foster a developing ecosystem. Nobody can drink any of that water while it's being collected, because they'll just introduce it back into the water cycle where the Little Makers are. It's going to take generations, so that sort of water discipline is going to have to go above and beyond a social convention. People need to be willing to die before they'll take a sip and compromise the plan. Ghost Dad Kynes concludes that the only mechanism in the human experience to enforce this consensus is religion. 

In the context of this whole parallelism thing, you have probably noticed that the Butlerian Jihad is not the only holy war in the narrative. Paul sees a new jihad as the only way of creating a future where humans can flourish. Now you might be saying ‘Wait now, Machines. I thought the point of Paul’s holy war was to avenge Leto and disempower established power structures by taking away the control of the spice!’ And you’d be right. The thing is, without getting into spoiler territory, Dune Messiah is not going to be about how everything just gets so much better now that Paul has destroyed the economy, government, and untold billions of human lives. This isn’t the endgame. Dude can see the future and the way he does it involves looking into the past. Paul lives in a society defined by a holy war and his goal is to redefine society. 

Putting it all together you can see what I mean about the Butlerian Jihad being essential to the themes even though the story never shows us a thinking machine or a narrative beat where the absence of computers changes the outcome. It helps us see the big picture. I’ve seen a lot of dialogue lately on whether Paul is a tragic hero or a consummate villain and I’m not here to answer that, but I am here to underline the critical detail. Paul intends to be seen as a tyrant. Just like Kynes’ hallucination says, religion is the lever to make a value stick around forever. He wants to traumatize humanity to hate chosen ones and emperors the same way the machines traumatized humanity to change them forever. The Water of Life ritual doesn’t invert his values, it lets him realize these visions of war are the means, not the ends. He is absolutely not happy about it, but this is Paul’s terrible purpose. 

[zenkindoflove]

Tomorrow is my one-year anniversary returning to writing fanfic. This is going to be a bit of a sappy post reflecting on the last year and celebrating some of my wins/new things I've challenged myself to do.

October 17, 2023 is when I started to write the very first chapter of Burn Forever with Me. I had finished the ACOTAR series about two weeks before and had spent those two weeks reading all the Elucien fic I could. I could feel I had a story in me, so I set out to write it in a month thinking that would be it and I would get it out of my system.

It had been a while since I had written. From 2006-2012 I wrote fanfic very regularly across a few different fandoms. Most of those stories can't be found online anymore. I took a three year hiatus from my Big Bang Theory multichapter fic at the end of 2012, and didn't finish it until 2015 when I had a burst of motivation. I didn't write again until another burst of motivation hit me (Game of Thrones ending) and wrote another one-shot in 2019.

By this point in 2023, I kind of thought my fanfic writing days were behind me. I didn't expect this new resurgence in my life that came about because of this series/this ship. I've tried so many new things writing for this fandom and pushed my writing in directions I never anticipated.

Since last year I have... -published 441,592 words. -published 20 fics (a mix of multichapter and one-shots) -completed four multichapter long fics (huge for me because I used to abandon multichapter fics all the time in my first era) -Written for several ships, including rare pairs, not just my OTP which is all I did in the past -Created many OCs, including my focal OC Alexius. Up until now I thought I was kind of hopeless when it came to writing original characters. -Wrote fanfic for three appreciation weeks -Wrote MM smut for the first time, and lots of it. I have been reading MM smut for two decades, but did not have a calling to write for a specific ship until Eris x Alexius -Co-written two fics with @crazy-ache -pushed myself in what styles of writing I tackle, including writing epistolary for the first time as well as challenging myself to write action/fight scenes which always scared me in the past -world building in general also used to scare me and now I think it feels so much more approachable as I've been filling in SJM's holes. -I think my smut writing has evolved a lot too. While I wrote smut in the past and I think I established what my writing voice/style was for smut, I have really had the opportunity to solidify it and try it in different scenes and contexts. I feel a lot more confident than I did back then.

I wanted to highlight these because I think as writers, we are often too hard on ourselves, and it helps to put into context all of the ways we've improved if we are mindful of our progress. I definitely encourage you to sit down one day and remind yourself of all the new things you've done from your starting place. Making this list really put into context all the ways I've changed as a writer in just a year.

I still have a lot more I want to do and new challenges to face in the next year. I hope if you read this, it does help to show you that you can take long breaks and even if you take a step back from writing, you will always be a writer and it'll always be a hobby you can return to and improve your skills, no matter how long its been.

[glassbirdfeather]

Complaining about the final boss in Shadow of the Erdtree, both in terms of lore and mechanics. Spoilers for the end of Shadow of the Erdtree:

Part 1: The Lore

I think the ending is really good and foreshadowed well in it's own story. I think it is fitting and well told. But it isn't living in its own bubble. It exists in context to a previous story directly connected to it. In the context of the entirety of Elden Ring, it sucks.

If we were just dropped in the Shadow Realm and the main game didn't exist, it would be really, REALLY good. The problem arises when also having the context of who Miquella was in the base game. His motivations in the DLC retcon the motivations from the lore of the base game. And the retcon is worse. The thing that made him fascinating was that he was the only compassionate character among Marika's children, the only one who didn't care about petty power plays because he was focused on helping people and helping his sister. That it is revealed he is just as shallow and self-centered as the rest, so much as to be willing to endanger his sister in exchange for a consort after all the lore surrounding how he wanted to help her, takes away the facets that made him unique.

This may also contribute to why there are two general camps of people who like or don't like how Miquella is portrayed. There have been a couple of years between the original game and now. Memories of the original game's lore--if people even read those particular bits of item descriptions in the first place--have had time to fade.

However, I acknowledge that item descriptions in Elden Ring intentionally have author biases. It could be said that every Miquella-related item description was told from the perspective of someone bewitched. That would make a lot of sense.

So in the end, this also is a personal preference. I think that Miquella turning out to be a brat who will sacrifice his sister for his consort is much less interesting than him being motivated to do bad things for his sister.

This leads into the overlap between pure lore discussion and mechanics.

Part 2: I CAN'T FUCKING SEE

The last boss fight is shit. Part of what convinced people that the leaks were fake, not considering lore implications, is that many people looked at the attacks that were happening and judged them to be bad.

As someone with a passing understanding of editing animations and moves in a game, something that can be done with little modding skill to create a new enemy is to use existing animations and add new effects to them. People were convinced the fight was fake because of how many moves looked similar to ones from previous FromSoft bosses with lightning effects glued on. I cannot speak to the alleged copied animations in this fight, since I don't have experience with every FromSoft game, but I don't actually think reusing old bosses and animations is inherently a bad thing. The real complaint was that it looked to be both reused animations and extra effects.

Stretch new textures over existing enemies, increase the speed of their attacks, and then add events to those attacks that spawn a bunch of effects like explosions, or lightning bolts. These are all things I could do with my limited knowledge. These are the things that some mods have done, and have gotten ridiculed for. The ridicule is because doing that demonstrates a shallow understanding of what makes a fight not just hard, but fun.

I'm no master of boss design myself, but I can say with confidence that spamming incredibly long attack chains containing effects that blind the player and prevent them from seeing the next move in the chain is bad game design. Something that has been established as an unspoken but understood rule in souls-genre games is that you should be able to dodge an attack while standing point blank in front of the enemy. Whether this is by rolling, jumping, or running away, you know what's happening from seeing the start of the enemy's animation, and you should be able to escape being hit by the attack. I also argue that by this metric, Waterfowl Dance is a badly designed move, but I digress.

Waterfowl Dance is one move in an otherwise stellar boss fight.

In the DLC final fight, I. can't. see.

The screen is covered in lightning for at least 1/3rd of the battle, often making dodging a game of guess and hope. I 100% acknowledge that I was not good at that fight, and that many of the attacks that hit me were dodge-able if I'd learned them more. But some of them were chains of attacks that demanded I blindly learn a random rhythm of button presses. On account of all the lightning from the previous attack hiding the next swing.

One of the things I actually did like about the fight was the grab being a guaranteed 2HKO regardless of health values. It would have been a great gimmick on a better fight. Where I had a better probability of seeing it so I could dodge it.

I also liked the warp-in speed effects of the boss jumping in, although such warps felt very buggy.

Were the lightning effects transparent or otherwise did not obscure the battle so terribly, I wonder what kind of fight it would actually be. Maybe the attack chains only feel unreasonable to dodge to me because I cannot see what is happening in them. It is possible that the fight itself is just bad, and the lightning is, just like in a bad mod, being used as a crutch to hide a very boring, simple moveset.

But it is impossible for me, in the game's current state, to imagine how that fight might play.

Because I can't see shit.

Part 3: The Remembrance

Turning in the remembrance and a duplicate of it just to end up with a total of 3 Radahn swords I think really shows the lack of creativity under the lightning. That is what the essence of the DLC final boss distills down to: 2 variations of a sword we already have.

If the fight had been something COMPLETELY different, perhaps we would have gotten something interesting from Miquella's side of the pair. Something that bewitches a struck enemy? I don't know.

The last fight was a spectacle, but only due to all the fancy effects that it vomited everywhere. Remove them, and I suspect there exists an uninspired base.

[faeiri-tft]

PLEASE do the toontown online rant i want it so badly

this post kinda got away from me, and by "got away from me" i mean this 3000 word toontown rant is Part One. there will be a Part Two to this later in which i actually talk about the fanservers i wanted to talk about. anyway let's go

toontown online (tto) was a children's mostly-turn-based subscription MMO released in 2003. after a few years of obviously being on life support, disney gave a one-month notice that tto (and several other games) would be closing on september 19th, 2013. on the same day the game closed, the fan-run server toontown rewritten (ttr) was announced (with multiple other fanservers/fangames/reimaginings being established since), and is a few months away from outliving the original game

see, one thing about tto that allowed fanservers to crop up so quickly and easily was that it had, um, interesting choices. very interesting choices. like, "kids could use a code injector to turn their backyards into giant mashed-together nightmarescapes"-level choices

(loose video description: a rabbit toon running around a chaotic mismash of rooms, obstacles, and npcs that Should Not Be There. audio caption: Evanescence's "Bring Me To Life".)

but ok let's talk about the actual game first.

toontown online (tto)

the game starts with you creating your player character - you can pick from eventually-9 species, a couple body types, and 2 dozen preset colors. the gender code is a spaghetti nightmare but you won't learn this until the fanservers come about so don't worry about it. you're then taken to the Toontorial, which explains maybe 20% of the game's mechanics before setting you loose into the main game

the toontorial also gives you the basic "plot", such as it is: Toontown is suddenly* under attack by a bunch of boring businessrobots called the Cogs. their goal is to turn toontown into a dreary gray featureless corporate hell; their business activities are so boring that they're physically painful to be around. luckily, they can't take a joke, so the toons have figured out how to defeat them: by playing pranks on them until they laugh so hard they Explode

*originally, the game installer had a little animation giving a backstory for the Cogs' creation. this was never referenced in game, removed pretty quickly, and i think even the devs kinda forgot it existed

that's...pretty much the whole story! in that context, your toon progresses through all of toontown, helping some mostly-pretty-interchangeable shopkeepers, reclaiming buildings from the cogs, eating ice cream, etc. occasionally, the cogs would Come Up With New Tricks (read: major content update) and the toons would Find A Way To Fight Back (read: same major content update). that was the closest thing to Plot, unless you count "the devs scheduled a bunch of invasions of high-tier cogs right before the game's closure". but...i doubt most the kids really expected a Plot. mickey mouse was there

the gameplay:

the Free Account

there were two...pretty different approaches to playing toontown online. when the game launched, there was a 3-day free trial to the entire game, after which you got kicked entirely until you subscribed. at some point, this was changed so that the first area, Toontown Central (TTC), was Always Free - you could do all of that area's quests/"taskline" and limited activities, indefinitely, and in theory this would make you beg your parents for the rest of the game

i have no idea if this actually got more subscriptions or not. from what i can tell it just spawned more warrior cats

(source)

there were. a Lot of warrior cats. there were some other social activities, too, such as Fashion Shows (with your limited range of clothes) and Begging Subscribed Players To Summon Cog Buildings To TTC and Getting Chat Banned. ...however, as one of the subscription kids i didn't really interact with this side of the game, so i'm not the best person to talk about it

2. the Paid Account

mmm look at those crisp clear graphics. hell yes

a subscription account gave you access to this whole map, along with all these areas' tasklines. to progress through the game, you must complete a variety of "ToonTasks" for the Toon Resistance (it's called that. their catchphrase is "Toons of the World, Unite!". you were giving disney money for this). these reward you by increasing your max health (your "Laff Points"), slowly unlocking more combat options, and sending you to different, higher-difficulty areas of toontown

some of these tasks were...longer than others. generally, though, they all boiled down to: "just go fight some cogs"

combat:

(source)

toontown battles are turn-based: the players use their attacks ("gags") first, and then any surviving cogs attack you with, usually, office equipment and puns thereof (unless the cog is e.g. a Loan Shark, in which case they can just fucking bite you). if you defeat a cog, it explodes; if the cog defeats you, you "go sad" and are sent back to the safety of the playground, lose your gag inventory, and can't leave until you heal.

early on, most your battles are 1v1, but later on almost everything is a multiplayer 4-ish-v-4.

an...interesting feature here in the game's early days was that you could only Type Your Own Words to someone who shared their "friend code" with you IRL. otherwise, you had to use this thing:

(source)

you had a set list of phrases you could string together, which generally covered most the things you wanted to say. but it could get frustrating when you wanted to have a real conversation with your toontown friends! so...as the source above mentions, people obviously found ways around the system. turns out that if you let players move objects around their houses, they will use that to Draw Letters and pass their friend code along regardless

eventually - before the warrior cats, of course - disney presumably realized this system was pretty goofy (🥁) , so the game got a real chat, albeit one that functioned on a very strict whitelist. my favorite is that it didn't let you type numbers, however you could just say won too tree for hive etc. like. disney i really don't know what to tell you. anyway

(isn't he charming)

cogs come in levels 1-12, with levels displayed above their heads, and as you'd expect their damage output and HP increase with their level. however, the game doesn't...actually show you cog HP? instead they have a little colored light on their chest that fades from green to red until they explode. you see numbers on all the damage you do, and you see your own HP/laff, but never the cogs'. also lategame cogs are Too Tall For You To See Their Level once they line up for battle (which isn't actually that bad but it's funny). there's a formula for HP per level, but it's never mentioned in-game. i guess someone can teach it to you but then you have to watch them type "a level tin cog has won tree too health" and is that really worth it

(as you can tell i just…don't get this. "my kid is practicing arithmetic with toontown!" - marketing angle expressly denied by god. the stealth edutainment was right there)

anyway! in theory, you have seven base combat options ("gag tracks"), which combine in a variety of ways:

toon-up, which restores your teammates' health;

trap, which does guaranteed high damage but only if someone uses lure;

lure, which stuns the cogs for a few turns and is the only way to make trap work

sound, which does low damage to every cog;

throw, which does medium-high-ish damage to one cog; multiple throws combined give percentage combo damage, and hitting a lured cog will also add percentage "knockback damage";

squirt, which is exactly like throw but less damage;

and drop, which does high damage but cannot hit lured cogs, and has low accuracy unless you hit the cog with something else first

each gag track has 6 levels, which you unlock by using that gag track a bunch. you can't carry as many of the high levels with you - i mean, putting one piano in your backpack makes perfect sense, but two is just silly, right

a few years into the game's lifespan, level 7s were added - these were huge AOE that you could regain with every 500 track EXP. there was also something called "organic gags" to promote the please-log-in-every-day gardening system

every player starts with throw and squirt, and throughout the game you slowly unlock four more gag tracks. your choices are permanent: once you have your six tracks, you're locked out of the seventh forever.

in theory, all of this opens up a huge variety of combat options!

in practice, the battle strategy looks something like this:

use sound

as mentioned, almost all of lategame will be 4v4 battles, which means sound will almost always outdamage everything on earth. you don't even need four foghorns (the highest normal sound gag) to break 200 AOE damage, and the highest health a cog EVER has is 200*. and two of the boss battles can reward you with gag restocks and heals that you can use mid-battle with no consequences (other than having to grind for those rewards a bunch). and failing THAT, you can just...ration your foghorns and take 2 turns to clear a set of cogs, interspersed with healing.

(*okay there was something called "v2.0 cogs" but they were...strange, and we just used sound anyway)

sure, once level 7s were added you could use those occasionally. and you could fall back on lure+throw if you didn't want to use your sound restocks. but even then, for most of tto's existence there was something called the "knockback bug" which. well. just look at it

(link for transcript. it's tvtropes sorry)

if you are a target-audience eight-year-old this translates to "lure + throw will only do enough damage if the cogs Feel like it." like it's really just insult to injury at this point. this was the result of One misplaced variable and was not fixed until the game closed

in the tto era, if you didn't have sound, you were kinda doomed to be kicked out of every fight forever

(bonus fun fact: there were Four entire battle themes and they were 40-second midi loops. let me out)

the bosses:

each of the four cog departments has a Boss Cog. to face off against them, you have to assemble a cog disguise and collect enough merits/stock options/whatever to be allowed into the boss's office.

(pictured: your convincing disguise)

when you enter, your disguise pops off due to Reasons, and you have to fight through...a bunch of waves of normal cogs. it's basically a really long normal battle. once the minions are dealt with, you have to, inexplicably, do a live-action battle against the boss themself:

(loose video description: four toons defeating the CFO by using magnet cranes to hit him in the face with safes for 32 seconds.)

the live-action rounds aren't supposed to go this quickly, but it's still...kinda strange? certain reoccurring game areas require Parkour, but there are no battles like this outside of the Four bosses. the CFO's room is the only place you see these cranes and they have A Lot Going On. the other 3 bosses have their own unique weird mechanics. before the first boss was added we neither had nor needed the ability to Jump. it's just weird

once you've defeated the boss, you're given a reward of varying usefulness (the best/most unbalanced reward type is Unites, which are a free heal or gag restock you can do inside or outside of battle. essentially lategame toons can simply choose not to die. riv2u etc.)

and, um. then you get some more merits/stock options/whatever and do it again. and again. and again. and again. and agai

the grind:

so the thing is that tto was a subscription mmo. every addition to the game had to be measured, above all, in terms of "how can we best get kids to beg their parents to give us money." this especially shows in the suit grind:

(source/source)

you have to defeat each boss 78 times in order to get all their laff points - and as you proceed, you have to defeat an increasing amount of cogs to even be allowed into the boss (although once you max you get in for free).

by far the easiest way is to run through the designated HQ facilities - basically, cog fights interspersed with some platforming or minigames. you only collect your merits/whatever at the Very End of the facility. the only way to increase what a facility gives you is if your last battle ends during an "invasion" - a timed period where One Specific Cog replaces all street cogs, usually summoned with boss rewards.

the sellbot HQ grind isn't so bad. bossbot HQ - the endest-game HQ - frequently requires you to do an hour-long facility and on six separate occasions you have to do seven of them. if the invasion ends before your final battle, you have to sit around until someone summons another. if you lose your internet connection because it's 2008, or if your parents make you come to dinner, or if hacking or the game's general bugginess cause a server reset because you're probably in the busiest district for the invasion bonus, you have spent that Entire Hour On Nothing. the CEO (bossbot cog boss) probably also takes an hour because you and your fellow players are 10

this shit, combined with laff points locked behind gardening (time-gated), racing and golfing (multiplayer minigames with absurd requirements), and fishing (RNG-based with some fish being absurdly rare. i watched my mom fish for one every day for a month), meant that maxing a toon took Years, if you managed it ever.

it wasn't, um. it wasn't good

ok so what else is wrong with this game:

i had "aged out of the game" (lol) by the early '10s, so i'm not the best person to do a writeup of the hacking/scripting situation of those days. that said, what i'm going to do is give you a few examples, and i want you to just...look at them

(source)

(source). early '10s youtube was funny i'm trying to decide if i miss it

(source). fun thing to note here is that other players had collision, so a swarm of t-posing toons could just barricade the gag shop if they wanted to

(video description: toon who has Replaced His Head Model With An Anime Logo throwing thousands of jellybeans at everyone) (cw mild flashing just in case? and also the feather headband accessory)

i should note that the Bring Me To Life vid i started with was client-side, meaning only the player could see their technicolor hellscape. this guy's face was server-side. i do Not Think you should be able to do that

(video description: a player demonstrating use of a bot to get into the nutty river district, followed by other players using it to go to different game areas)

the above video was posted on august 17th, 2013. if you don't want to watch an Unregistered Hypercam 3 recording at about 5 frames per second, what's going on here is:

the player goes to a specific location and says a specific speedchat phrase.

a bot toon teleports to their location and provides some prompts on how to use it

the player tells the bot, via speedchat, to teleport to the (currently closed from the outside) busiest district so the player can follow

these "taxi toons" were server-sided, persisted across server resets, were made by a future fanserver dev, had younger kids referring to them as a "glitch" as if this were something that could Accidentally Happen, and stayed functional until the game closed

like...a lot of the "hacking" was just baby's first script download. this one - afaict also created by the laughing man head guy - is like...the fact that after years of no substantial game updates, someone effectively programmed their own "QOL feature" (note: not actually good for the poor mid-00s server being turned into a clown car) into a silly disney MMO and it just fucking sat there for a year is just. it's just.

i don't know what this is. this is not Playing The Game Toontown Online. this is nothing. this is everything. there are comments from 2013 on some of these videos saying stuff like "hackers killed toontown", but your game cannot have this happen if it is not already dying

and, like...it was. i'm not sure how many moderators there were by this point, but at the very end of tto, the number of active devs was One. the original devteam recently brought this up at the 20th anniversary celebration: devs just...slowly started getting pulled from the game, one at a time. there were a few updates after bossbot HQ - Field Offices, which i've basically never heard anything good about in their tto form ever; the Silly Meter, a yearly event...thing whose main function was to add unskippable dancing-inanimate-object cutscenes to your street battles; Parties, which...yknow parties were okay actually. i accept parties. but they weren't exactly a Major Game Update like the ones that had come before. in 2011 we gained the ability to Wear Hats. in 2012 the test server got some actual QOL updates that never made it to the main game; the final test server update was some maintenance in february, and then nothing for 18 months. disney was not providing enough resources to address the scripting because disney was not providing enough resources to address toontown. imagine being the last dev standing on an MMO that was older than some of its players, was losing its business model to mobile gaming, and spent most of its life falling apart at the seams. just imagine it, for a second

it couldn't have kept going, not like this.

on august 20, 2013, the closing announcement came: we had a month left of toontown online. the test server shut immediately; subscription refunds went out, and the game became actually F2P for the month; the part of the announcement that went like "we're shifting our focus to other games!" made a bunch of twelve-year-olds hate club penguin as if club penguin wouldn't also close in a few years; all the holiday events went off at once; and...

there wasn't a "thanks for playing!" popup. everyone online just got kicked, all at once. it was finally over

hey wait.

[miraculouslbcnreactions]

How do you feel about Felix?

Canon hasn't given Felix enough consistency or core elements for me to have feelings about him. Every time he shows up, he's basically a new character, meaning that I have no idea who he's supposed to be which makes it pretty hard to summon any feelings beyond confusion and occasionally annoyance.

I'm not the sort of person who delights in taking a drop of potential and shaping it into a full character in the context of fandom. I save that stuff for my original fiction. While I do a lot of fix it content, my main draw to fandom is still playing with the established characters/lore/world and so on. I want to create stories and takes on these characters that feel genuine to other fans. That's the fun and the writing challenge. I can't really do that with Felix. Canon has given me nothing solid to work with.

Let's quickly contrast him to Nino since I recently discussed how badly canon has handled Nino and how I had to do a lot of redesigning to make Nino work in my stuff. The core of my Nino redesign comes from canon because it's all firmly rooted in the fact that this guy is supposed to be Carapace, The Protector. Add in the fact that he's Adrien's best friend and Alya's boyfriend - two characters with pretty strong core characterizations - and I'm good to go. Those are strong anchors to work with!

If you removed those elements and Nino was just Adrien's best friend, then I'd probably have no idea what to do with Nino because that's a pretty nebulous role. This is Felix's problem. You can go almost anywhere with his character because nothing about him gives him a clear role in the narrative!

Does Felix care about Adrien? No idea! He's done nothing to help Adrien or make his life better, so my guess is no, but Felix is a good guy now so maybe???

Does Felix actually love Kagami? No clue, their romance is based on nothing of substance. As best I can tell, he just decided that all humans save for his mom were worthless and the show is heavily heteronormative, so he obviously wants a girlfriend and Kagami is kind of his only option unless he makes himself a sentigirlfriend. It's a very weird way to write their relationship. If I were writing this, he'd contact Kagami for some greater plan and fall in love as they worked together, but nope! We get deeply confusing insta love that starts with stalking leading to a kidnapping and ending with them together because this show is incapable of showing healthy romance!

Side note, but with how poorly they've handled Marinette and Adrien's crushes, can you imagine theses writers trying to write a setup where the male lead was actively trying to trick the female lead into loving him (which was the set-up when Felix was the lead)? I think that PV Felix would come across even worse than our current heroes do!

Is Felix okay with people using the peacock? I thought that the answer was "no," but he's happy to use the peacock for pretty mundane things, so who knows? I seriously can't tell you what Felix's attitude towards sentimonsters is. I thought that he was a freedom fighter after that moment in Strikeback where he apologized because I thought that he was apologizing to Strikeback, but now I'm thinking that he may have been apologizing to Ladybug because he was about to betray her??? I don't know, my new best guess is that he only wanted the peacock for protection and that he cares about no one outside himself and those he's deemed worthy. Most sentimonsters are just tools to him. He's basically lost all depth in this area because that would mean treating the sentimonster thing seriously and the show isn't going to do that.

Did Felix care if Gabriel destroyed the world? I don't think so. He didn't really help with Gabriel's "defeat". Felix spent the entire season knowing everything, but didn't tell anyone until it would personally benefit him. That benefit had nothing to do with a fear of Gabriel or even a desire to be a hero like one might expect since he's apparently part of the team now. We didn't even get Kagami making Felix want to be a hero who defends the world or even just a hero who helps his cousin. It was Kagami and Felix wanting to be together more openly and nothing else. Who cares about protecting the world or helping friends? We just wanna be able to go on dates and make out a bit, so can you fix that for us, LB? It's not like you've got anything else on your plate right now!

What a deeply selfish and unheroic motivation for both of our supposed heroes. Remind me, what has Kagami done to earn her miraculous? Because - as far as I can tell - she's really not suited to being a hero anymore. Season five made her look like a selfish, gullible fool.

While we're on the topic of how "heroic" Felix is, I'll also point out that, after this big reveal, Felix disappears. He doesn't help with the final fight or anything like that even though he has all the information on what was going on and a god-tier power set that could be used to free the people being controlled by the rings. Not sure if this is supposed to read as him not caring or just the writers pretending that Felix doesn't exist because letting him fight would undermine Marinette's role since Felix's powers are so much stronger than hers.

Is Felix some sort of genius mastermind? The show seems to want me to say, "yes" to this, but they've never actually written him as all that clever. Much like Lila, his plans really only work because the plot makes them work. For example, he didn't get the miraculous due to clever plotting. He got them because of shear dumb luck. Ladybug could have wielded the dog herself and he'd have been screwed. Same goes for her taking the dog back after he was done using it since he was by no means needed after they took down Risk. I still don't understand how Gabriel was able to open her summoned yo-yo or why Felix waited until the train to check if he had the real miraculous. Basically, the writers really had to warp the show's logic to make Felix's win work.

So who is Felix? No idea! The only thing I can say for certain is that he loves his mom and that's really not enough for me to work with if I want to write a Felix that feels true to canon. Almost any take on him feels true to canon at this point because he's a nothing burger. He has all of the substance of unset jello.

I was briefly excited about his character when I thought that his season four role was setting him up for something big in season five, but then he showed up in Emotion and my excitement died. What even was that episode? It's written like a mental breakdown, but it was foreshadowed in Destruction, so was it a mental breakdown or was this seriously the best plan that Felix could come up with after several weeks of plotting?

To put this in perspective, Gabriel came up with and created the Alliance rings faster than Felix came up with and created Red Moon, a sentimonster that took him all of two seconds to create. I am unimpressed.

[dearcauti0n]

i've been considering doing an AJ au but then i found out that AJC and AJPW are somehow connected and it confused me so I considered rebuilding my au lore from the ground up but then i was wondering if it was doing too much and if i should just make sense of canon i'd like some advice ^w^'

In my personal opinion, I think aus are somewhat meant to be a lot of things; whether it's changing the main story line almost entirely or adding things that you want in there to help the canon out a little. There's not really a right or wrong, as long as it stays true to the canon somehow. Okay let's yap

For example, you could literally go off the canon story entirely and base a whole oc around that canon world, just make sure for others who might wanna look into it know it's still that canon world!

For animal jam however, it's a bit more hard, but it gets easy! Then hard again— it's like a rollercoaster with barely any stops

For my au, P&F, it's a mix of both animal jam worlds (classic and play wild) because even if they're both separate and sometimes the same, they're technically more different than anything story ish wise

But I manage to combine certain elements from each game, making what I truly want from it

But it can't stay like that forever sometimes if the story gets officially updated or adds something that might ruin a plot in your story. So don't really be afraid to make changes if you're wanting to stick with more updated AJ content

Another thing I do for my au is to establish certain characters, events, and most pop-out stories I find intriguing!

I can't say much about this one since my au is still technically a WIP but it's out there.. :]

But anyways, if you're gonna go with what I do, which is use most of the canon story lines and combine it into one just with a pinch of more creativity and some original stuff, I would suggest developing the canon characters and their settings

Depending on what you wanna make for your au, the canon character could have more personality then it's original

I will have to admit, I have done that with some but I keep it close to what their personality is as possible

What I also like to add to canon characters is their own story! Especially for animal jam when you don't really get the right answers.

A good example of what I mean is Greely's adopted family!

It's not much, it barely impacts the story for Jamaa, but it impacts him and his choices later on when he grows :] which is always fun to do!

Let's see... Another thing to help get an au going is by looking at things that would inspire you!

Like other people's aus, songs, even books, hell even the canon stuff might help out!

There is a lot of "canon" animal jam stuff that a lot of people don't really know about like the comics and books for animal jam!

And yeah, there's not a lot of animal jam aus but I have seen some around here and there! Best ones I would look into art pieces for is @bootleggreely , @prztails , and @vioblu-star, they're all really cool artists with interesting stories for animal jam stuff :]

(probably forgetting a whole bunch but yet I wrote this at like 2 am)

Then there's music/songs, the reason why I mentioned such is because it helps me create a scenario in my head when I listen to them! It even help me discover some new ideas I barely knew I could develop!

Another thing to keep in mind is that you don't really have to go all the way with aus, take your time!! It helps a lot, even when you feel stressed over it. Take breaks, you don't always need to focus on animal jam stuff for the au! You don't even need to make a whole book for it, you can just do what I most of the time do and just draw out stuff you like from your stories so far! Even if people don't know the full context!!

Change is always good too! Let me tell you, when I was younger in my animal jam little brain, I had such a mess of a story, now look where it is now! A bit better!

But let's give little me around of applause for predicting Moku'ahi 👏 (this thought still scars me)

Ooo and another thing, if you ever feel doubt in yourself with writing for the au, don't worry about it! You're doing great, but if you want a second opinion or two, ask for it! I'm sure people around you would provide answers if they know animal jam and care about some of the story :] it's always okay to ask for help! Don't be like me who hides in the corner and just writes and draws a lot 🌟

At the end of the day, this is your au, your story, your art pieces, your fun

Enjoy it and always be creative :]

[novlr]

I once saw a piece of writing advice that spoke to the idea that you should start and end a chapter differently. I suppose the idea was that it helps keep the story moving along. I thought it was good advice but didn't like the post and therefore cannot find the full explanation of this point. Do you have any advice like this? For starting and ending a chapter?

As a creative writer, you’re always looking for ways to improve your craft and keep your readers engaged. One piece of advice that can help you achieve this is by starting and ending chapters differently.

This technique can help keep your story moving forward and maintain your reader’s interest, but it is not the only technique you should employ. Like any other part of your writing, it’s all about variation, and knowing what serves your story best is the most fundamental part of improving your writing’s craft.

Starting a chapter

When it comes to starting a chapter, there are several techniques you can employ to grab your reader’s attention and propel your story forward. One effective method is to begin with action, throwing your character into the middle of a scene and immediately drawing the reader in. Alternatively, you can introduce a new character to shake up the story’s dynamics or change the setting to signal a shift in the narrative.

Opening with dialogue is another great way to quickly establish the scene and provide context for the reader. You might also consider posing a question that piques their curiosity or describing a vivid sensory experience to immerse them in the moment. Ultimately, the key is to experiment with different approaches and find what works best for the chapter you’re writing.

Ending a chapter

When it comes to ending a chapter, there are several effective techniques you can use to keep your readers engaged and eager to turn the page. One popular method is to end with a cliffhanger. You can then open the next chapter with something mundane. An example of this would be the shocking entrance of someone unexpected at the end of one chapter, then opening the next chapter with the revelation that is just the goofy uncle the character hasn’t seen in a while. Alternatively, you can resolve a minor conflict, giving the reader a sense of satisfaction while still leaving larger issues unresolved to continue into the next chapter.

Another option is to introduce a new complication, presenting an obstacle or twist that raises the stakes and propels the story forward. You might also consider ending with a revelation, where a character discovers something important or experiences a significant realisation that shifts their perspective.

Creating a sense of anticipation by hinting at what’s to come in the next chapter is another effective way to keep readers engaged, or you can end with a strong image or emotion that leaves a lasting impression on the reader. Experiment using these endings with the opening examples above, and you’ll soon find that there’s a rhythm you develop that suits your writing style.

Variation is key

The key to effectively starting and ending chapters is to mix things up and keep your readers on their toes. Don’t rely on the same techniques every time; instead, experiment with different approaches to find what works best for your story. By varying your chapter beginnings and endings, you’ll create a more engaging and dynamic reading experience that will resonate with readers.

For some chapters, a clear break will work really well, like the example of a cliffhanger that opens the next chapter with something far more ordinary than the reader was expecting. But other chapters will be well served by a simple continuation of the scene. Pacing isn’t dictated on a chapter-by-chapter basis alone; it’s all about the overall arc of the story and how everything fits together. There are no hard and fast rules for how to begin and end a chapter, so in the end, it all comes down to trial and error and seeing what feels right in service of the story you want to tell.

Additional tips

In addition to the techniques mentioned above, there are a few more tips to keep in mind when starting and ending chapters. Varying your chapter lengths can help keep the pacing dynamic and prevent the story from feeling predictable (although some stories are served by consistent length, so do follow your intuition here). Using transitions, like transitional phrases or imagery, can smoothly connect the end of one chapter to the beginning of the next.

Experimenting with different techniques and reading widely to study how other authors begin and end their chapters can provide valuable inspiration and insight. And don’t be afraid to rewrite your chapter openings and endings in as many versions as you like to see what works for you.

Ultimately, trust your instincts; if a particular starting or ending technique feels right for your chapter and serves your story well, then that’s the one you should go with.

[kobebibebi]

I’ve seen your art around a few times, and it is stunning! How are you able to create such distinctive character designs (I saw the sot ones and they’re beautiful, especially Kenny)?! It’s incredible

Thank you friend :-)

OMGDHDGG#&$&-$&$&#&&$&$ HIIIIIIIII 💖💖💖💖 I LOVE UR MULTIVERSE FIC/AU <33333 UR AWSOME??????#-_?#&!;#&#&

sorry about thar,, anwyay

THANK YOU SO MUCH !!!! 😭💖💖💖

about my character designs especially for my fantasy au, i wanted to make each of the main 4 shine (and at least basically make each of them equally the main character,, tho i think i failed a bit since its obvious i liked princess kenny more lol)

in context they're all pretty important figures in the story, each leading their own faction so i think it just made sense that i would make them all have their own distinct fashion styles and vibes,

and since they're the first designs i made for this au i wanted to establish a style/vibe for each faction so i can have a guide on other characters belonging to those factions,

-like kyle's design having floral patterns and intricate clothing to show the long standing culture of the elves, i wanted to make him look the most traditional so i opted to give him A LOT of detailed patterns than he did in canon

-or a very simple and practical design for stan to show that unlike the others he (and his faction) focuses more on fighting and combat than being fashionable and presentable to the public, so i gave him simple clothing that isn't really too far from his actual canon design

-for cartman i wanted to emphasize his star motifs more and push more on his individuality as a wizard, in my au kupa keep is a freshly new faction in comparison to the elven kingdom so I really went hard on making his design focus on himself rather than his faction (which is honestly pretty in character now that i realize lol)

- and lastly princess kenny, i wanted to make a design that screams "i will go to war for her" considering her famous reputation for gaining followers simply for her looks and charms, and obviously with a very anime fantasy inspired design

im really glad i could share these 😭, i put a lot of thought, time and effort for these designs so thanks so much for asking this literally !!! i could go on for days on how i designed them 💔

(also sorry if this isn't the answer you're looking for 😔 this is the first thing i thought of lol)

but rlly tho tysm im glad to hear that especially from u oh my goodness i actually freaked out and almost screamed in my classroom when i saw this ask 😭😭

and fr tho 😭 I really love your Top 3 reasons to not open a multidimensional time rift: number one will surprise you fic💖💖💖 i genuinely read it everyday and it's also stuck in my head get them out please /j, i love it so much and you're a really amazing writer + artist and i love ur works so this ask is so awesome for me (also we're mutuals now omgg)

[genericpuff]

Since you have mentioned your own original webcomic has time travel, do you have any advice for people who want to make comics or simply write stories that deal with time travel?

Could be any kind of time travel, like time loops, characters traveling to the past/future, dealing with paradoxes, etc.

Short answer: don't LOL

Long answer: Obviously if you wanna tackle time travel, go for it, but the first and most important rule of any time travel is to establish your rules. How does the time travel work? And how will you commit to consistency?

Some basic time travel rule structures include:

Clone travelling - This is the most common form of time travel that's used the most. When you go back in time, your past self is present alongside your present self. Examples include Harry Potter and the Prisoner of Azkaban, Doctor Who, and Austin Powers.

Singular consciousness travelling - This is one I've only seen used a couple of times, and the only one I can think of off the top of my head is Life is Strange, but what I like to call 'singular consciousness travelling' is the form of time travel where instead of travelling to a point in the past, you return to a version of your past self, fully aware of the future that awaits you but 'stuck' within that past to live out the timeline in real time again. Though it's not as commonly used, it's one that will typically present less paradoxes as there are less moving parts to worry about. Prophecy storylines also use a similar philosophy to this, albeit without the literal time travel and more so 'time travel' via premonition (could we call Raven from That's So Raven a time traveller?)

Loops - This is a form of time travelling seen in media such as Groundhog Day, where a person continuously travels back to the same point in time over and over again to relive the same events until they can somehow break the loop.

There are loads more of time travel structures I could go over, but those are three of the most basic. Regardless of which structure you use, you have to be willing to commit to it. It's like choosing a writing perspective and tense, if you choose third person past tense ("he said, she said, they said"), then suddenly switching to first person present tense ("I say", "I do", "I feel") without any context to establish that switch will be jarring. Make your rules, and if you have to break them, make sure they're broken for the sake of the story (ex. if you present some sort of plot twist to reveal the 'true nature' of the time travelling plotline).

Here's a great video that goes over some different time travel plotlines from movies/books/etc.:

As for my original comic, we go for the time travel = multiverse theory approach, where any changes made to a timeline in a past state will not change that timeline's future, but rather, create a new timeline where those past changes are true and written into the script, essentially relegating every single new timeline to a parallel universe. This is essentially how it's done in Avengers: Endgame , but instead of characters abusing the laws of quantum physics to travel back in time, it's characters abusing a magical book of diary entries that are primarily used by the main character to help him control and guide his time travelling abilities. Every diary entry essentially serves as a roadmap for him to find his way back to his home timeline from which he disappears every time he jumps. Much of the story is written entirely atop a paradox, specifically the bootstrap paradox:

(because if there are gonna be paradoxes no matter what you do, may as well have fun with them!)

There's a lot more I could go into regarding that, but for the sake of sparing the handful of Time Gate readers here of spoilers, Time Gate's laws of time travel dictate that you can't really change your past, just the future for other versions of you that you create when you try to change things.

All that said, I will say that in most cases, thinking too hard about any time travel story will cause it to fall apart, because time travel is a fictional trope that relies a lot on logical sequencing of events to work. So you kind of do just have to 'let it go' and have fun with it - but having rules to stick to will make things less of a headache for everyone, especially when it comes to telling a coherent story. Even my own criticisms of LO's time travel really don't matter in the end, because LO's problems go far deeper than some cheaply-made time travel and any of the time travel problems in the story will undoubtedly be explained away as "timey wimey shit". I'll still be pissed about it, but time travel isn't real (at least not for you) so it's not worth getting too bogged down by. Just do your best to tell an entertaining and coherent story.

[abbenai]

class relations and thomas hutter in nosferatu 2024

i think this is all the nosferatu thoughts i have in my head for main.

thomas' character neatly explores ambitions and insecurities of the emerging middle class in 19th-century europe, specifically (and im paraphrasing @cafeleningrad here. tysm for the added context!) the characters live on the northern german coast, in a fictional city that appears to be a swedish colony. during this time, sweden’s overseas holdings were in economic decline, creating financial strain for many. friedrich, as a dock owner likely from old money, remains stable, whereas thomas, burdened with debt, must secure an income in a struggling town.

politically, the region is in turmoil. germany, as a unified nation, would not exist until 1871, and the decades leading up to unification were marked by instability. in response, many middle- and upper-class germans withdrew into domesticity and romanticism, deliberately ignoring the broader chaos. friedrich embodies this mindset—his rigid adherence to patriarchal structures and his fixation on an idealized home life reflect a widespread desire to impose personal order in the face of political uncertainty.

thomas' profession as a real estate agent places him in a social stratum striving for upward mobility, navigating between the working class and the aristocracy. and even still thomas is working within a system that offers little room for upward mobility unless you’re willing to go to extremes. his encounter with orlok is not just about the supernatural terror of a vampire, but also a confrontation with forces beyond his control: the economic pressures of his profession, the authority figures who hold the purse strings, and the overwhelming sense that life is far more fragile than he’s ever understood.

economic anxieties permeate the domestic sphere is thomas' mind too though. see, something interesting about thomas and ellens relationship is that it looks like ellen comes from money. her family home looks like a manor house and her childhood bedroom even looks larger than the apartment her and thomas share. the script also says they have a topiary garden which is definitely fancy.

it is kind of sweet in the way it implies a love match since ellen's marrying "below her station" in that regard but i also think this class disparity informs his insecurity in their relationship. he strives to take on a provider role and attain the same idealized domestic life and financial independence friedrich has. its not like that desire exists in a vacuum though, as vi pointed out friedrich does ask when they'll be having kids and is very generous with his money and loans to thomas which emasculates him as a provider since he hasn't reached those "benchmarks" like his friend has. there's also herr knock. "a new husband needs new wages," knock leverages thomas' financial insecurities as well as his precarious financial position to lure him into accepting a long and ultimately disastrous assignment.

until he comes face to face with ellen's tormentor, thomas struggles to balance economic realities and his desire to genuinely care for ellen. and you can see that when he initially dismisses her nightmare and sends her off to the hardings' to carry on with his assignment which he believes to be securing their future and maybe even what he expects ellen to value having come from money (nicer lodging, a midservant, the ability to support children).

thomas and ellen’s relationship is ultimately defined by this tension between love and economic survival. while their marriage appears to be a love match, thomas’ persistent struggle to provide and establish his own security renders their union fragile. his need to prove himself as a provider, exacerbated by the class disparity between them, prevents him from truly prioritizing ellen’s concerns until it is too late. ellen, in contrast, becomes the true agent of resistance, recognizing orlok’s threat not just as a supernatural menace but as an embodiment of the very forces that have already made their lives unstable. her end underscores the futility of the structures thomas has relied upon—money, property, and even marriage—leaving behind a question of whether true security or love can exist within such a system at all.

the economic underpinnings of thomas’ assignment become even more apparent when he arrives at the inn. his money holds power here, but it also isolates him. in a small community, thomas’ ability to throw around coin—whether it’s paying for a room, securing a horse, or ordering a meal—marks him as an intruder. this financial dynamic is particularly evident in how the innkeeper reacts. they are deferential because of his wealth, yet reluctant, knowing that their compliance means sending another hapless man to his doom. their hesitance is not only rooted in fear of the supernatural but also in an unspoken economic calculation: can they afford to refuse him? can they afford to lose him? thomas, in contrast, remains oblivious to these tensions, his mind singularly focused on fulfilling his commission.

thomas' interactions with orlok similarly reflect his precarious social and financial standing. thomas enters the vampire’s domain thinking he is the agent of commerce, the man negotiating the sale of an estate, the professional wielding the authority of paperwork and contracts. but orlok immediately undermines this dynamic. from the moment they meet, the count does not engage with thomas as an equal in business; instead, he toys with him, positioning him as prey long before any overt supernatural horror is revealed.

money, which has defined thomas’ sense of self and security, becomes meaningless in orlok’s world. thomas’ attempts at maintaining professional decorum fall flat against orlok’s eerie disinterest in the transactional. there is a perverse irony in how thomas, a man whose livelihood depends on property and ownership, finds himself trapped in a place where all pretense of control is stripped away. his financial ambitions, his carefully curated aspirations of upward mobility, disintegrate as he realizes he has been lured into an arrangement in which he has no power. the estate sale, which once represented his economic salvation, becomes irrelevant. the true exchange occurring in orlok’s castle is not about land or money, but about life itself—thomas’ life and ellen's life, which orlok has already deemed his for the taking.

in the face of a creature who exists outside human constructs of wealth and property, thomas’ insistence on playing the role of the aspiring bourgeois only hastens his downfall. it is not just supernatural horror that undoes him, but the crushing realization that the economic structures he has placed his faith in hold no power in the face of something ancient and inhuman.

[yamayuandadu]

Tenshō Daijin: the many guises of medieval Amaterasu (part 1)

I’ve been working on this article on and off since late 2021, and it’s the longest one I’ve published on my blog so far (some of my wikipedia contributions are bigger, but that’s a separate matter). In fact, it's so long I have to split it into two due to limitations of tumblr's post editor.

When most people speak of “Japanese mythology”, 99% of the time they effectively think just of the Kojiki and Nihon Shoki (with some night parade scrolls sprinkled in, maybe, even though that’s not really mythology, but Edo period popular entertainment). The goal of this article is to challenge this incorrect view, and to shed some light on the mythology of the Japanese “middle ages” -  roughly between the 11th and the 16th centuries. I decided to use Amaterasu as the main topic, as it’s hard to think of a better way to showcase how much mythology remains outside the general perception than using a figure who, at least at first glance, is well known as an example. From Brahma longing for a friend to Yang Guifei surviving own death, I’m sure everyone will find something new here. Myths obviously aren’t all that will be covered here, though. I’ll also discuss the theological doctrines which flourished in the middle ages, with a particular emphasis on honji suijaku, their social context, and more. You will be able to find out what rituals focused on Amaterasu had to do with Enma and Taizan Fukun, how economic woes of the Outer Shrine of Ise impacted Brahma’s role in Japan, why some secrets existed only to be deliberately revealed, and more.

Kami and Buddhism

In order to discuss the development of Amaterasu’s character and her associations with other figures through the middle ages, as well as the myths which developed as a result, I’ll first need to summarize the nature of interactions between kami and Buddhism through the Nara, Heian and medieval periods. I’m specifically saying kami, as opposed to Shinto, for reasons which will become clear later. It seems that at first the relation was rather standard as far as early interactions between Buddhism and preexisting religious traditions in areas where it was introduced go. Mark Teeuwen singles out Tibet and various kingdoms corresponding to parts of present day Myanmar as examples particularly similar, though obviously not identical, to early Japan. The parallel developments concerned the Bön faith in the former and the beliefs pertaining to the nat in the latter. The early sources appear to indicate that kami were envisioned as beings who need to strive towards enlightenment themselves. Recitation of sutras was described as a way to bring them closer to that state. However, some rather quickly started to be viewed as active protectors of Buddhism. As early as 741 Hachiman was already regarded as such, for instance. Additionally, combinative “shrine-temples” already existed in the same period too, attesting to a fusion of Buddhism and preexisting tradition.

A schematic representation of some examples of the honji suijaku from the Kasuga mandala (wikimedia commons)

A breakthrough occurred in the ninth century, with the development of honji suijaku (本地垂迹) - the theory on kami being “traces” or “emanations” (suijaku) of Buddhist figures, referred to as “original sources” (honji). Similar theories regarding Daoist figures were at times advanced by Chinese Buddhist scholars as early as in the fifth century, so it was hardly an unparalleled development, though its scope was fairly unique. By the end of the Heian period, honji suijaku became the default mode of understanding kami.

A common misunderstanding today is that honji suijaku meant exact correspondence between a single Buddha and a single kami. In reality, what it created is a “fluid pantheon”, to borrow the title of one of Bernard Faure’s books dealing with this phenomenon. Connections between specific kami and Buddhas (or bodhisattvas) certainly were often established. However, that was not all. 

Kami could be connected to other kami, and Buddhas to other Buddhas; and on top of that both groups belonged to an elaborate network which also included devas, wisdom kings, astral deities, legendary heroes and historical figures from various countries (for example Daoist immortals), and beings which defy classification altogether. In Keiran Shūyōshū (溪嵐拾葉集), the notion of honji suijaku is even extended to silkworms (their honji is Aśvaghoṣa). Multiple identifications could coexist, sometimes in the same sources. On top of that, individual figures could change classification depending on context.

The new theological ideas also lead to the formation of new myths, collectively referred to as chūsei shinwa (中世神話; “medieval mythology”). As summarized by Sujung Kim, this term encompasses both the myths which arose in the Japanese “middle ages”, the Kamakura and Muromachi periods (1185-1600), and modern study of them. A closely related, though more narrow, term is chūsei nihongi (中世日本紀), which refers specifically to reinterpretations of preexisting classical myths, for example Nihon Shoki, from the same times.

One of the primary goals of the new myths was to create a metaphorical bridge between Japan and the lands described in Buddhist literature transmitted from China, Korea and beyond. Sutras and other literature were often set in fabulous distant kingdoms or in supernatural realms. At the same time, the material reality of Buddhism tied it to local institutions and landscape. As a result, the local was imbued with a new, universal meaning.

As Mark Teeuwen put it in his article The Buddhist Roots of Japanese Nativism, medieval literature “allowed a local warlord to pose as a golden cakravartin, a local mountain to take on the guise of the cosmic Mt. Sumeru, a local deity to embody an aspect of the World Buddha, and a local rite to aspire to the universal aim of bringing salvation to all sentient beings.” At the same time, the universal gained a local dimension, making it easier to grasp and more approachable.

However, that was hardly the end, more like the beginning  - yet another prominent change which occurred over the course of the 12th and 13th centuries resulted in the formation of a new belief: select kami were in fact not emanations of secondary importance of Buddhist figures, but direct representations of enlightenment. These developments eventually culminated in what is sometimes described as “reverse honji suijaku”: Buddhas and bodhisattvas were merely manifestations of primordial kami, not the other way around.

The motivations behind the development of these ideas are not clear. While especially in the past it was commonly assumed that they represented the beginning of a “pristinely Japanese” spirituality reasserting itself against “foreign” Buddhism, most of the theologians involved were Buddhists themselves, or at least enthusiastically drew inspiration from Buddhist sources. Mark Teeuwen and Fabio Rambelli suggest they might have been motivated by a desire to take Buddhist theology to logical extremes in order to investigate the nature of reality before the emergence of the first Buddha and the current kalpa.

Furthermore, in addition to lofty theological speculation material motivations might have been at play. Many of the advocates of reverse honji suijaku might have been so-called “shrine monks”, tasked with maintaining the shrine parts of religious complexes. Possibly their need for broader recognition and greater authority made them keen on such theological reversals. This is ultimately speculative, though.

Curiously, reverse honji suijaku arguably might have led to the creation of Shinto in the modern sense. While the phrase 神道 has a long history, and it is applied to intellectual and religious movements active in the middle ages in modern literature (for example, the treatises of a certain priestly family I’ll discuss are often called “Watarai Shinto”), there is no strong evidence that it was commonly understood as shintō in the modern sense - a distinct religious tradition - predating an explicit statement in a treatise from 1419 written by the Tendai monk Rysōhen dealing with these topics. In the earliest sources the default reading was jindō, referring not exactly to a distinct system of beliefs, but rather to a “realm”of kami ultimately existing in Buddhist context. While Shinto did eventually develop into the tradition which came to define the kami, through the middle ages and the Edo period which followed, honji suijaku was the dominant paradigm, and permeated all spheres of society.

The early history of Amaterasu: sun, textiles and longing for companionship

An Edo period painting of Amaterasu emerging from the cave, by Kunisada Utagawa (wikimedia commons)

While the explanation of the basic nomenclature and a crash course in interactions between Buddhism and kami is now out of the way, before I’ll be able to move on to the impact of the medieval ideas on Amaterasu I need to briefly summarize her earlier history.

Through the article I will simply use the name Amaterasu consistently. However, it should be noted that the standard form of the name, 天照大神, in the middle ages and in the Edo period was often read not as Amaterasu Ōkami, but rather as Tenshō Daijin, in accordance with on’yomi or “Sino-Japanese” sign values. Therefore, don’t be surprised that this is the version used in titles of historical works mentioned. As a curiosity it is worth mentioning that this is actually the reading used fairly consistently in the first western source with reasonably reliable information about Amaterasu (unless I missed something even earlier), Engelbert Kaempfer's History of Japan from 1727. 

On a similar note, I generally stick to describing Amaterasu as female. However, it needs to be pointed out that through the middle ages and in the Edo period male Amaterasu is also attested, depending on the source either replacing the female version or coexisting with her. Some modern authors go as far as speculating if Amaterasu wasn’t originally seen as male prior to being redefined as female, but this is not really fully provable. The existence of a tradition according to which Amaterasu manifested in male form is already mentioned by the Tendai monk Jien (1155-1225). There are also sources providing ambiguous information about Amaterasu’s gender. In at least some cases such phenomena were a result of identification with figures either regarded as male or portrayed as androgynous in art, as I outlined in a recent article discussing the case of Amaterasu and Uho Dōji (who won’t be brought up here in any meaningful capacity, since I'm not going to focus on the Edo period). It’s not really possible to make a blanket statement on this matter, though.

Additionally it’s important to bear in mind that identification between two figures could transcend the gender of the parties involved. As you’ll see later, there were even cases of Amaterasu’s identification with a male figure actually resulting in traditions particularly strongly emphasizing her typical gender.

The Inner Shrine at Ise in 2008 (wikimedia commons)

Throughout her entire history Amaterasu has been associated with Ise and its Grand Shrine. According to the Nihon Shoki, that’s where she originally descended from heaven to earth, and where she later returned in order to be enshrined. The term “Ise Grand Shrine” actually refers to a complex centered on two major shrines, though, and only one of them, the Inner Shrine (内宮, naikū), is dedicated to Amaterasu. The kami of the Outer Shrine (外宮, gekū) is instead Toyouke.

The earliest history of Amaterasu is effectively unknowable due to lack of available sources. While she does appear both in the Kojiki and Nihon Shoki in a central role, both of these works only date to the eighth century, and their historicity is often at best dubious. When exactly was her shrine originally established is a matter of debate: supporters of treating Nihon Shoki literally argue for 4 BCE (during the reign of the legendary emperor Suinin), but historians and archeologists favor more vague dating to either the fourth, fifth or seventh century. The earliest detailed records of specific religious ceremonies at Ise can only be found in an administrative protocol compiled in 804.

Historically it was quite popular among researchers to essentially assume being a personification of the sun is all there ever was to Amaterasu’s character, and that she derives her importance entirely from her solar role. Today this view is no longer accepted quite as firmly, and it is even sometimes questioned if this was necessarily her original function, though this is ultimately neither entirely provable nor fully relevant here. 

Obviously, the classical Amaterasu also served as a royal deity presented as an ancestor of Japan’s imperial lineage. She was also treated as a symbolic source of its authority by extension of her role as a heavenly ruler commanding the kami. This is an example of the well documented phenomenon of clan kami (氏神, ujigami). However, based on archeological data Ise was not particularly important early on in Japanese history, and the area around it was sparsely populated as late as in the seventh century On top of that it would appear that, if the early texts are to be believed, emperors actually had an ambivalent relationship with her. It has been suggested that her classical position was only established during the reign of emperor Tenmu in the late seventh century, perhaps due to his personal connection to clans from the Ise area.

It’s important to stress here that on multiple occasions in history, in particular recent history, the connection between Amaterasu and emperors was channeled to nationalist and imperialist purposes. For instance, the Japanese colonial government in Korea funded the construction of a complex enshrining Amaterasu and emperor Meiji in the 1920s, and subsequently legally obliged students (among others) to attend ceremonies held there to foster loyalty. 

The Outer Shrine in 2015 (wikimedia commons)

A key moment in the early history of Amaterasu was the introduction of the kami Toyouke (豊宇; literally “abundant food”) to Ise. A legend about her arrival is preserved in the aforementioned administrative protocol from 804. According to it, Amaterasu appeared to emperor Yūryaku (second half of the fifth century, if his historicity is to be accepted) in a dream to let him know that she is distressed and lonely, and on top of that can’t receive offerings of food according to proper protocol. She explained that the only way to solve all of these problems is to bring her a kami responsible for divine food (御饌津神, miketsu kami), Toyouke, who is to be found in Hiji no Manai in the Tanba Province. Thanks to this precise guidance, the emperor was able to instantly solve the problem, and Toyouke was moved to Ise, where she symbolically took the responsibility for food offered to Amaterasu. 

Presumably, the legend contains at least a kernel of truth, and Toyouke was initially enshrined in a facility meant to fulfill a specific ritual role for the Inner Shrine, which in time grew to rival it in size and importance. Save for these details, much about the early history of Toyouke is even more unclear than in the case of Amaterasu, though. She is only mentioned in passing in the Kojiki under the name Toyoukehime no Kami (豊受姫神) in the account of the birth of Wakumusubi no Kami (和久産巣日神), one of the many kami who came into being as a result of Izanami’s death. However, this passage does not provide any information about her character, it merely states that she is Wakumusubi’s child. This tradition was of limited, if any, interest to the Outer Shrine clergy through the middle ages, as I’ll later demonstrate.

While Wakumusubi also appears in the Nihon Shoki, though with a slightly different genealogy, Toyouke is entirely absent from this work. You can find a claim on the contrary in Michael Como’s Weaving and Binding. Immigrant Gods and Female Immortals in Ancient Japan, but he essentially treats Ukemochi as identical with Toyouke and asserts the myth about Tsukuyomi killing the former is effectively about the latter. It doesn’t seem like any subsequent publications picked up this idea.

The final early source of information about Toyouke is the Tango no Kuni Fudoki (丹後国風土記; “Records of the Tango Province”). It presents her as one of eight “heavenly women” (天津乙女, amatsuotome) who at some point arrived at a spring near Mount Hiji to bathe. An old couple stole the clothes of one of them, rendering her unable to return to heaven. They subsequently ask her to become their daughter, since they have no children. She agrees, and for ten years lives with them, brewing sake which could magically heal “ten thousand ills”. The old man and woman prosper thanks to her. However, they eventually decide to tell her that she is not really their child, and should go back to heaven. She tells them that she has lived among humans for so long this is not an option for her anymore, and leaves in anger. She only calms down after reaching a different village, Nagu, where she is eventually enshrined under the variant name Toyoukanome no Mikoto (豊宇賀能売命). Due to involving a heavenly being having to stay on earth due to her clothes being stolen, this myth has been compared to the better known Hagoromo. Michael Como also argues that it might reflect the perception of Toyouke as a Daoist immortal (hence her ability to bew something akin to the fabled Daoist alchemical elixirs meant to prolong life), similarly to how the legend of Urashima Taro does. While I found his Nihon Shoki argument somewhat dubious as I said, I think this is an interesting point which warrants further study. Similar possibility about Toyouke’s character has been suggested by Bernard Faure too.

It’s also worth noting a possible reference to the Tango no Kuni Fudoki myth has been identified in a painting of the two shrines of Ise from the collection of Shōryakuji, a Buddhist temple located in Nara (seen above; screencapped from Talia J. Andrei's Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara, for educational purposes only). It depicts eight female figures standing on a cloud around a container used to make sake in the proximity of the Outer Shrine.

Amaterasu and Buddhism: the ambivalent beginnings

Early sources pertaining to Ise discussed in the previous section are invaluable when it comes to Amaterasu’s position and her connection with Toyouke, but they don’t really shed any light on the development of associations between her and Buddhist figures. Quite the opposite - they indicate that around the year 800, even basic Buddhist terms like “pagoda”, “monk” or “sutra” were considered taboo (忌み, imi) by priests of the Inner Shrine, much like these pertaining to conventional sources of religious impurity like violence, death or illness. However, Mark Teeuwen notes at the same time these very priests most likely took part in Buddhist ceremonies themselves, and there is even some evidence that in the eighth century a Buddhist temple existed in Ise.

The reasons behind the implementation of the taboo were likely largely political, rather than strictly religious. For context: in the second half of the eighth century, empress Shōtoku famously appointed Buddhist monks to various prestigious positions in the royal court. Dōkyō from the Hossō school was even temporarily elevated basically to the rank of her equal (though he eventually fell from grace). This was generally poorly received by other officials, who might have viewed it as an attempt at establishing Buddhist theocracy in place of hereditary monarchy. This in turn likely led to tensions and fueled various succession controversies in subsequent decades. Further problems, like untimely deaths or exile of various members of the imperial family, kept accumulating, and by 804 the prestige of the court was severely damaged. Furthermore, there is evidence that there were various economic conflicts of interest between the Ise clergy and local Buddhist monks.

A sixteenth century painting of emperor Kanmu (wikimedia commons)

Since the oldest source to mention the taboo is an administrative, rather than religious, text, it is not impossible that it was intended by emperor Kanmu as a way to diffuse all these social and political tensions. Mark Teeuwen suggests his goal might have been a way to restore the prestige of his family and create a center of symbolic ancestral cult which would offer him additional legitimacy independent from the Buddhist establishment residing in Nara, which was crucial for many of the previous emperors. As a lifelong student of Confucian philosophy, he likely found many models to draw from in Chinese texts. His vision of Ise was presumably that of an ancestral mausoleum.

Regardless of Kanmu’s decisions, in the long run Buddhism retained its influence in royal affairs. In fact, it was arguably this emperor himself who indirectly caused its revitalization. In 804, he sent two young monks, Saichō and Kūkai, to China. They returned with something previously largely unknown in Japan: esoteric Buddhism. The new schools they established, Tendai and Shingon, captivated the imagination of virtually all strata of society in the nascent middle ages. 

Amaterasu, too, came under esoteric Buddhist influence, and gained new roles, often completely detached from her earlier character - or at the very least from the part of it firmly tied just to the ruling family. Mark Teeuwen partially jokingly refers to this chapter in her history as an “escape” from Ise and notes that for a time she has “shaken off the imperial shackles”. There was a material aspect to these processes in addition to the purely theological considerations. In the Kamakura period, the role of warrior classes grew and the imperial court weakened. As a result, the Ise clergy - the Arakida clan of the Inner Shrine and the Watarai clan of the Outer Shrine - gained greater autonomy. The emperors weren’t able to enforce a symbolic monopoly on Ise, which therefore no longer served just as a center of ancestral cult. The downside was the loss of most of the imperial funding, which necessitated innovation to secure other sources of patronage.

The Ise taboos established earlier were not exactly abandoned, but the clergy found ways around them in order to enable Amaterasu to thrive in this new environment. A summary of the theological solution they developed is provided in Nakatomi Harae Kunge (中臣祓訓解; “Reading and Explanation of the Nakatomi Purification Formula) from the late twelfth century: “although on the surface performing ceremonies which are different from the Buddhist teachings, [Amaterasu] in essence protects the Buddhist laws.” Additionally, a myth reinterpreting one of the most famous episodes from the entire Buddhist canon, but with Amaterasu as a new protagonist, was developed to justify the taboo’s existence. I’ll discuss it in a separate section later on.

The reinvention was evidently successful. There is little evidence for widespread worship of Amaterasu in earlier periods. She was effectively little more than a royal deity. Even courtiers had limited, if any, knowledge of her. Only in the middle ages did she come to be widely recognized as a major figure in the Japanese religious landscape among all strata of society. Paradoxically it was the partial detachment from the imperial family that let Amaterasu claim a uniquely elevated position in the pantheon.

One of the best sources of evidence of Amaterasu’s newfound popularity are standardized oath formulas (起請文, kishōmon). In the Kamakura period, she came to appear in them quite frequently. She was invoked either simply as the foremost kami, or alternatively as the “lord of the land” (ie. Japan; 国主, kokushu). Either way, her purpose, much like those of other of the invoked figures, was to guarantee the oath will be upheld, and to punish those who will break it. 

The spread of Amaterasu to new audiences resulted in the rise of numerous new interpretations. That’s where the already briefly discussed idea of honji suijaku came into play.

A twelfth century painting of the Buddha Dainichi (wikimedia commons)

As I said earlier, despite the popular understanding of this term honji suijaku did not necessarily just signify correspondences between kami and buddhas. However, in Amaterasu’s case the earliest example actually does match this model. She came to be associated with the Buddha Dainichi (大日, literally “great sun”; from Sanskrit Vairocana). 

Some authors, like Bernard Faure, argue that the establishment of a link between Amaterasu and Dainichi was effectively the core of the early honji suijaku as a whole. Purportedly the belief that a connection existed between them went all the way back to the teachings of the famous monk Gyōki, active in the first half of the eighth century. The historicity of this claim is uncertain, but it was understood as historical truth in the discussed time periods, at the very least. Anna Andreeva, relying on earlier studies by Satoshi Itō, notes that it would appear Seizon’s (成尊; 1012–1074) Shingon Fuhō San'yōshō (眞言付法纂要抄; “An Abbreviated Compendium of the Transmission of Shingon Buddhism) from 1060 has a strong claim to being the oldest attested example which can be properly dated. 

While other Buddhas, such as the historical Buddha, Amida (Amitābha), Miroku (Maitreya) or Yakushi (Bhaiṣajyaguru), are obviously also present in Japanese Buddhism, historically, especially prior to the rise of Amida-centrist schools, Dainichi was by far the most important one. This is especially pronounced in Shingon, where he is recognized as the “first Buddha” (Ādi-Buddha). Dainichi’s importance coupled with his solar associations made him a suitable match for Amaterasu in the eyes of theologians. Amaterasu’s solar role is pretty widely acknowledged in Buddhist sources, and she could be labeled as a “solar deity”, nisshin (日神). She was also identified with Nittenshi (日天子), the Buddhist version of the Hindu sun god Surya. However, Nittenshi could also function as a distinct figure and had his own iconography.

A twelfth century hanging scroll showing Nittenshi in the company of attendants (Kyoto National Museum; reproduced here for educational purposes only)

The development of a connection between Amaterasu and Dainichi brought a number of changes to Ise. As an extension of it, the Inner Shrine and Outer Shrine at Ise came to be identified with the Womb Realm mandala and the Diamond Realm mandala, closely associated with him.

The Ise clergy additionally argued that the taboo observed as the shrines does not impact Amaterasu’s connection to Dainichi - rather she (and by extension Toyouke as well) represents not a mere trace of this Buddha, but “original enlightenment” (hongaku). A new systematization of kami was built around the idea: at Ise, only Amaterasu and Toyouke were regarded as belonging to the category of “kami of original enlightenment”, with other divided into “kami of inception of enlightenment” (those who had to actively embrace Buddhism) and “kami of delusion” (those who opposed it). Similar categories were employed in different areas too, though, with the head local kami, for example Suwa Daimyōjin or Sannō (山王), taking the same role as Amaterasu at Ise. While Dainichi can be considered Amaterasu’s essential honji suijaku pair, I already pointed out, it was hardly unusual for a specific figure to develop multiple connections within the honji suijaku framework, though, and this holds true for her too. 

Amaterasu, Enma and other functionaries of the underworld

Enmaten (wikimedia commons)

Next to Dainichi, Amaterasu’s best attested Buddhist “counterpart” is not a Buddha, but rather a deva, specifically Enma, the judge of the dead. While many other devas present in Japanese Buddhism largely languish in obscurity today, at least in popular perception, he is probably the most recognizable one next to the Four Heavenly Kings, so I do not think much of an introduction is needed. Even if you are not particularly interested in the history of religions, chances are you’ve seen him in one piece of media or another. 

Technically there are two distinct forms of Enma in Japanese tradition - Enmaten (焔摩天), who is more of a “classical” Hindu-style deva fairly similar in appearance to the original Yama, and the more popular Enma-ō (閻魔王; “king Enma”), styled after the bureaucratic Chinese underworld deities - but this distinction is not very important here. His rise to prominence in Japan started in the early ninth century at the latest, and by the ten century he was also joined by Taizan Fukun (東岳大帝; originally Taishan Fujun), a similar deity incorporated into Buddhism from Daoism. The latter was essentially the model for all of the other judges of the underworld: from the Buddhist kings of hell, to various local gods who took this role in the popular religion of Qing China. He might have even influenced the development of Matarajin in medieval Japan, but that’s a topic for another time.

It seems that a link between Amaterasu and Enma was initially established through an intermediary, specifically Seoritsuhime (瀬織津姫). She is identified with the king of hell in the Nakatomi Harae Kunge. While much about this text remains a mystery, in this case the logic behind the equation is quite clear - both of them were invoked during ritual purification. The means were not quite the same: Enma throws the sources of impurity into the deepest hells, while Seoritsuhime casts them into the ocean. Still, the level of similarity was sufficient to warrant establishing a connection. 

Seoritsuhime is described both as a servant of Amaterasu, and as her aramitama (荒魂), literally “rough spirit”. This term designates the wrathful, or at least impulsive, aspect of a given kami. In Nakatomi Harae Kunge Seoritsuhime as a manifestation of Amaterasu is also more specifically described as ara-tenshi (荒天子), “heavenly emperor manipulating the brutish force”.

An Edo period depiction of Taga Myōjin from the collection of Kyoto City University of Arts (via Bernard Faure's Fluid Pantheon; reproduced here for educational purposes only)

Tenshō Daijin Kuketsu (天照大神口決; “Oral Transmission Pertaining to Tenshō Daijin”), a fourteenth century theological treatise, also embraces the equation between Enma and Amaterasu. It explains that he corresponds to the form of Amaterasu associated with the Taga shrine, Taga Myōjin (多賀明神). She has a distinct iconography, and fairly consistently appears as a horsewoman on either a black or white steed (always shown frontally), with a sword in one hand and a box with a sutra in the other. The same source also equates Amaterasu with Godō Daishin (五道大神; originally Wudao Dashen), the “god of the five paths”, another king of hell. In the Nakatomi Harae Kunge, it is instead a purifying kami, Haya-Akitsuhime (速秋津比売神), “the beloved of the dragon king Nanda”, who corresponds to him, though. The passage establishing this also mentions a similar link between yet another purifying kami, Ibukidonushi, and Taizan Fukun (curiously, the explanatory line states that the river where Izanagi purified himself after fleeing from Izanami is identical with Mt. Tai, the residence of Taizan Fukun). However, the latter is also said to be the aramitama of Toyouke.

A Japanese statue of Baozhi (Kyoto National Museum; reproduced here for educational purposes only)

Tenshō Daijin Giki (天照大神儀軌; “A ritual manual [for the worship] of Tenshō Daijin”) states that Amaterasu as a judge of the dead commands eleven messengers referred to as “princes”. It’s not easy to date this text precisely, though it’s clear it was already in circulation by 1164. It claims to contain knowledge originally revealed to the legendary Chinese monk Baozhi (寶誌; 418-524), best known from a legend commonly referenced in art in which he tears his face apart to reveal the visage of bodhisattva. The text effectively redefines Ise itself as a place where the underworld officials gather, imbuing the temple complex with new meaning, detached from its older role as a center of royal ancestor cult. 

The eleven messengers listed are Zuikō Tenshi (a manifestation of Enma), Ryūgū Tenshi (dragon king Nanda), Suijin Tenshi (dragon king Batsunanda), Tenkan (“magistrate of heaven”), Chikan (“magistrate of earth”), Shimei (an underworld official), Inin Tenshi (equated with Izanagi and with Shiroku, an underworld official paired with Shimei in other sources), Kōzan Tenshi (Taizan Fukun), Godō Daishin, Kazenagashi no Kami and Okitama (a water deity equated with Suikan, “magistrate of water”). They correspond to various auxiliary shrines at Ise. Each of them is said to command a retinue of “four thousand trillion spirits”. While abstractly big entourages are quite common in medieval sources, from Michizane’s 105000 thunder god subordinates to Tenkeisei’s 84000 shikigami, even by these standards the number is unusually high.

The Enmaten mandala, with Taizan Fukun (middle of the top row) and Shimei, Godo Daishin and Shiroku (bottom row) shown among his attendants (wikimedia commons)

The lists of underworld officials serving Amaterasu show a considerable degree of overlap with these present in ritual texts Enmaten Ku (閻魔天供) and Taizan Fukun no Sai (泰山府君祭; you may know it from the story of Tamamo no Mae). Notably, Tenkan, Chikan, Suikan, Shimei and Shiroku are all members of Enma’s entourage in origin. The last two are scribes responsible for keeping track of human lifespans, but the role of the former three is not well understood. 

Another deity present both in these rituals and in Amaterasu’s entourage, Godo Daishin, is a king of hell in his own right. His origin is unclear, though the oldest sources which mention him are Chinese apocryphal episodes from hagiographies of the historical Buddha. As the “god of the five paths”, he is responsible for assigning the dead to one of the five realms of rebirth: these of gods, humans, animals, hungry ghosts or hell. Notably missing is the asura realm, which didn’t particularly catch on in East Asian Buddhism. In the oldest sources, he is portrayed as somewhat inept and after meeting the Buddha implores him to teach him how to fulfill his role better. Enmaten Ku and Taizan Fukun no Sai attained a considerable degree of popularity in the eleventh and twelfth centuries due to the spread of the bureaucratic image of hell, and many laymen sought Buddhist monks (in the case of the former ritual) and onmyōji (in the case of the latter) who could perform them. They were supposed to heal illnesses, prolong life, secure an easy birth or simply to guarantee good fortune. It’s not impossible that furnishing Amaterasu with a similar role to their central deities was meant to let her clergy from Ise capitalize on the popularity of such rituals too. The spread of the new image of Amaterasu as a judge of the dead was also likely tied to her judiciary role in the already discussed oath formulas, where she essentially acts as a supernatural enforcer of legal claims.

Hokusai's drawing of three dragon kings, including Nanda and Batsunanda (British Museum; reproduced here for educational purposes only)

The final matter that needs to be addressed here is the presence of dragon kings Nanda (難陀) and Batsunanda (跋難陀; Sanskrit Upananda) in Amaterasu’s underworld entourage. In contrast with their peers, they do not have anything to do with Enma. In Buddhist cosmology, they support the cosmic mountain Sumeru, on which the highest devas like Indra and Brahma reside.  More context on their connection to Ise is provided in the treatise Bikisho (鼻帰書), which cites the Outer Shrine priest Tsuneyoshi Watarai (度会常昌; 1263-1339) as its source. It actually states that all eight of the dragon kings are protectors of Ise, though also that only two, one blue and one white (with no names provided), can be used to represent respectively the Inner Shrine and the Outer Shrine. The connection is said to depend on their role as protectors of the Womb Realm and Diamond Realm mandalas. Multiple sources from Ise indicate they were believed to dwell under the central pillars of the Inner Shrine and the Outer Shrine, in this context additionally identified with the cosmic abode of the gods, Mount Sumeru.

Amaterasu, Toyouke and Brahma (times two)

Bonten, the Japanese version of Brahma (wikimedia commons)

While Dainichi made a natural match for Amaterasu, and the reasons behind her association with Enma, while less obvious, aren’t hard to understand either, the third Buddhist figure most commonly associated with her, Bonten, is quite surprising. This deity, the Japanese Buddhist guise of Brahma, has limited presence in popular understanding of Buddhism, but generally much like his Hindu forerunner he is portrayed as a distant deity with limited interest in everyday human affairs. And yet, in medieval Japan Brahma was identified with a figure both commonly worshiped and understood as quite active.

This tradition is documented in Tenshō Daijin Giki. It reaffirms that Amaterasu - seemingly treated as a male figure in this case - is the Japanese guise of Dainichi. However, in the “Realm of Form” - a Buddhist term referring to the world inhabited by humans and deities - he takes the guise of Bonten, and acts as the deva king of Japan. His life will last a total of 105000 years, and he will defend exactly 1000 rulers over the course of this period, before ascending to the Realm of Form to hear the preaching of Miroku. He will also help the faithful reach it.

The already discussed Tenshō Daijin Kuketsu also recognizes the equivalence between Amaterasu with Bonten, though it also furnishes her with a similar connection to the other ruler of the devas, Taishakuten (Indra), and states that both of these equations depend on the doctrine of Abhidharmakośa. Perhaps more unexpectedly, the same work also equates Amaterasu with Shōten (聖天, literally “noble god”; a Japanese form of Ganesha), specifying that this reflects a Shingon view. However, the thirteenth century scholar Ieyuki Watarai (詳細表示; 1256-1356) in his Jingi Hishō (神祇秘抄; “Secret Comments about the Deities”) mentions a different tradition in which this god’s connection with Amaterasu is less direct. He is said to be identical with a nameless “heavenly fox” (天狐, tenko) who acts as her acolyte. 

Yet another text already brought up in the previous section, Nakatomi Harae Kunge, does not equate Amaterasu with Brahma outright, but it does redefine terms from classical mythology around him. The High Plain of Heaven (高天原 Takamagahara) is said to be identical with the “First Meditation Heaven of the Realm of Form, ruled by Bonten”. Furthermore, the collective label Yaoyorozu no Kami (八百万の神; literally “eight myriad kami”) is said to encompass “Bonnō, Taishaku, the innumerable devas, the four Great Heavenly Kings, the innumerable devas of Bonnō, and eighty four thousand kami.”

The newfound interest in Brahma in the middle ages reflected an intellectual development arguably unparalleled in earlier Japanese religious tradition - a preoccupation with cosmology. 

Kojiki and Nihon Shoki obviously do deal with this topic, but the relevant sections are incredibly brief. This new discourse about cosmology was, at its core, Buddhist, but a major issue was that Japanese Buddhism was not very concerned with cosmology either. The two main sources of inspiration were, therefore, not contemporary Buddhist literature, but Chinese (mainly Daoist) texts on one hand, and accounts of Hindu cosmology, especially the Puranas, preserved in Buddhist sources on the other. Figures such as Pangu, the Three Pure Ones, Shiva or Brahma as a result attained considerable renown among Japanese theologians, who reinterpreted myths about them to suit local context, creating new narratives in the process.

A contemporary statue of Kuni no Tokotachi (wikimedia commons)

In some cases the poorly defined primeval kami from classical mythology could be incorporated into the new visions of cosmology created in the middle ages. Ame no Minakanushi from the Kojiki and Kuni no Tokotachi present both in this work and the Nihon Shoki are both well attested in that context, though references to Ame Yuzuru Hi Ame no Sagiri Kuni Yuzuru Hi Kuni no Sagiri from the Sendai Kuji Hongi can be found too. They were effectively treated as almost interchangeable, or as stages of emanation of the same entity, as documented for example in the writings of the Tendai monk Jihen (慈遍). 

Two strains of cosmological speculation, these focused on Brahma and primordial kami, were in particular enthusiastically embraced by the Outer Shrine clergy at Ise, who utilized both of them to improve the standing of Toyouke. As I mentioned before, her role, while seemingly initially relatively minor, grew with time. In many regards, she came to be presented as Amaterasu’s equal. She was furnished with an association with the moon to match Amaterasu’s solar character, for example. The first attempts at elevating Toyouke through theological speculation weren’t necessarily grand in scale. She was simply identified with other kami of similar characters every now and then, for example with Uka no Mitama. An isolated source, a letter from the early Kamakura period, appears to present her identical with Ninigi, Amaterasu’s grandson, instead, but this evidently did not stick. 

A breakthrough occurred in the late thirteenth century. The outer shrine clergy developed a view that Toyouke didn’t originate as a servant brought in to deal with Amaterasu’s loneliness and other needs, but rather a primordial kami, identical with Ame no Minakanushi or Kuni no Tokotachi. Toyouke in this guise was the foremost kami of heaven, and Amaterasu “merely” the foremost kami of earth. However, as I already pointed out, the new cosmologies which influenced this reinterpretation of Toyouke depended not only on classical mythology. Therefore, the Outer Shrine’s kami could also be identified with Brahma, or credited with controlling the proper flow of qi and thus yin and yang, following a Daoist model. Much of this theological speculation might have originated in the works of a single priest, Yukitada Watarai (度会行忠; 1236-1305), though he was far from the only contributor.

It’s worth pointing out that there was a practical material component to the theological speculation about the identity of Toyouke. Regardless of the relation of their respective kami, Inner and Outer Shrine were ultimately rivals competing for patronage. To present Toyouke as equally, if not more, important as Amaterasu was also a way to make potential donors, from shoguns to commoner pilgrims, more inclined to support the Outer Shrine. While prior to the Kamakura period Ise could securely depend on imperial funding alone, that changed with the weakening of the court. Therefore, securing new supporters was vital for their continuous activity. This remained the case through the Edo period as well, but this topic obviously goes beyond the scope of this article.

Identification of both Toyouke and Amaterasu as Brahma was not necessarily contradictory thanks to the existence of sources in which more than one Brahma appears. Nobumi Iyanaga points out that two Brahmas, Mahābrahmā Śikhin (ie. Brahma as the king of the gods) and Mahābrahmā Jyotiṣprabha (“Great Brahma of Brilliant Light”), appear in the Yamato Katsuragi Hōzanki (大和葛城宝山記), with one reflecting traditional portrayals of Brahma and the other representing a reinterpretation of an account of Vishnu as a creator figure. Both of the titles used appear in the enumeration of deities listening to the Buddha’s teachings in the Lotus Sutra. Two Brahmas also appear in the Bikisho, where “king Brahma” descends from heaven, but instantly starts longing for a friend. In response, a deity named Harama, an alternate transliteration of Brahma into Japanese, appears to him. The notion of Toyouke and Amaterasu being two Brahmas might have developed in the thirteenth century at Senkūin, a Buddhist temple closely affiliated with the Ise shrines. A text from this location dated to between 1240 and 1275 states that Toyouke, addressed as identical with Ame no Minakanushi, corresponds to Shiki Daibontennō (尸棄大梵天王; “emperor Mahābrahmā Śikhin”) and Amaterasu to Kōmyō Daibontennō (光明大梵天王; “emperor Mahābrahmā Jyotiṣprabha”). It also specifies Toyouke is male and Amaterasu female, which reflects splitting Brahma into a male-female cosmogonic pair. Nobumi Iyanaga points out the theological treatise Tenchi Reikiki (天地麗気記) goes a step further: the two deities are said to partake in intercourse. He suggests this represents a development of the motif of Brahma longing for a friend in the Bikisho. Tenchi Reikiki also states the couple personifies the Womb Realm and Diamond Realm.

A Kamakura perioid painting of Kūkai holding a vajra (wikimedia commons)

As a digression it’s worth pointing out that while the Tenchi Reikiki was only written in the Kamakura period, it was actually attributed at the time to Kūkai, who lived centuries earlier. Obviously one reason was that there’s no better way to make a treatise seem more authoritative than to claim it was written by a celebrated historical figure. However, it’s also worth pointing out that at some point a connection between Kūkai and Amaterasu developed. A tradition known from a number of works, for example Monkan’s treatise Himitsu Gentei Kuketsu (秘密源底口決) presents him as a manifestation of her. 

The Watarai theories about the nature of Toyouke and Amaterasu have originally been written down in the Kamakura period in the so-called “secret books''. This term has been used to refer to them collectively since the Edo period, when they were standardized for a relatively brief time into a “canon” of sorts. While tradition has it that there were five of them, research revealed the existence of further texts in medieval tradition, with one rediscovered in 1955, for example.  At least in theory, the individual Watarai books present information contained within as a special sort of secret, designated by the Buddhist term shōgyō (聖教; literally “sacred teachings”). Originally it referred to the teachings of the historical Buddha, or to the Buddhist canon more broadly, but in medieval Japan the term came to refer to specific kinds of knowledge transmitted by monks and other religious specialists in general.

While sometimes referred to as “secrets” in English, shōgyō were not necessarily impossible to share. Through the entire middle ages, many temples and shrines all across Japan effectively actively built their identity around making it known that they possess religious secrets worth knowing and can transfer them. Sometimes, they were intentionally “leaked” to nobles, imperial courtiers or fellow clergymen to spark interest. They were also utilized in annual “debate rituals” (論義会, rongie) held by authorities for religious scholars, who treated them as a way to hone their rhetorical skills and gain new theological insights.

The divine and the vulpine at Ise: Amaterasu, Dakiniten and Sankoshin

The Dakiniten mandala (wikimedia commons)

The topic of shōgyō is fundamentally linked with ambivalent Buddhist figures which in medieval Japan came to be associated with the notions of non-duality combining enlightenment and ignorance, such as dakinis, which commonly figured in such “secrets”. While dakinis do not appear in the cosmological myths from the Watarai books, they nonetheless did play a role in the developments pertaining to medieval Amaterasu. A link between her and the dakini par excellence, Dakiniten, developed due to their shared connection with Dainichi. Under his original name Mahavairocana, Dainichi can be portrayed as a subduer of dakinis, taking the guise of Mahakala (Makaraten) in this context. The singular Dakiniten as a result of this association could be identified with Dainichi outright, as attested in the Rinnō Kanjō Kuden (輪王灌頂口傳), dated to the late Kamakura period. 

The link between Amaterasu and Dakiniten is chiefly known from the Shingon ritual sokui kanjō (即位灌頂), “enthronement initiation”, meant for emperors freshly ascended to the throne. It was first performed for emperor Fushimi in 1287, and remained a part of ascension ceremonies all the way up to 1846. In this context, Amaterasu outright appears in the guise of Dakiniten. A similar statement can be found in Tenshō Daijin Kuketsu, which calls Dakiniten the honji of Amaterasu (it also links Dakiniten with Fujiwara no Kamatari and the rise of the Fujiwara clan, but I’ll cover that elsewhere in the future).

Keiran Shūyōshū specifies that the shinko was an appropriate form for Amaterasu because it is the only animal capable of emitting light on its own. This ability in turn reflects the fact that its body was identical with the wish-fulfilling jewel, a frequent attribute of Buddhist figures; the name is self-explanatory. Alternatively, the animal could be described as possessing three tails, each ending in a wish-fulfilling jewel. By the fourteenth century, this object was firmly associated with Amaterasu as well. This led to the development of the view that Nyoirin Kannon (如意輪観音), a form of Kannon directly linked to the wish-fulfilling jewel, was Amaterasu’s honji. The shinko similarly could be identified with this bodhisattva. Granted, so were prince Shotoku, Ryōgen and numerous other figures, but that’s a separate topic not directly relevant to this article.

A different belief developed around the shinko at Ise. Here this supernatural animal came to be identified with Sankoshin (三狐神), literally “three fox deity” or “three fox deities”. Despite the triplicity implied by the name, sources such as Tamakisan Gongen Engi (玉置山権現縁起) clearly describe Sankoshin as a singular figure who acted as the “king of the heavenly foxes” (天狐王, tenko-ō). 

It is presumed that Sankoshin's name was in origin a derivative of Miketsu no Kami (御食津神), the kami of Miketsu, the granary of the Outer Shrine. The development of Sankoshin might have started as a misreading or wordplay, with Miketsu (御馔津) transformed into the homophone mi ketsu, “three foxes” (三狐). This phrase in turn can be alternatively read as sanko, as in the case of Sankoshin.

Miketsu no Kami is otherwise associated, or outright identified, with Uka no Mitama, who is obviously not a fox, let alone three foxes; or alternatively with Toyouke, who has even less to do with these animals; you might recall she is described as a miketsu kami in the legend of her arrival in Ise. Older copies of Nakatomi Harae Kunge also affirm this equation, but later on the reference was substituted for a statement supporting the equivalence between Toyouke and Ame no Minakanushi favored by the Watarai priests.

Sankoshin in the middle ages appeared in rituals from Ise associated with the kora (originally 子良, later also 狐良). This term refers to a class of female shrine attendants associated with the Outer Shrine at Ise. Jingi Hishō asserts they were manifestations of Dakiniten, and on the basis of homophony links their name with 狐 (ko), “fox”.

Part of a hanging scroll depicting Dakiniten riding on a fox (wikimedia commons)

Elsewhere, shinko is treated as another name of Dakiniten, or alternatively of her fox mount (which lacks serpentine traits proposed by Teeuwen, but sometimes does have snakes coiling around its legs and neck). It’s also a part of her well attested epithet Shinko-ō Bosatsu (辰狐王菩薩), “Bodhisattva King of Astral Foxes”. This connection is also partially responsible for the development of another of her titles, Shindamani-ō (真陀摩尼王), “king of the wish-fulfilling jewel”. 

Being able to grant specific wishes immediately was commonly attributed to Dakiniten in the middle ages and beyond. However, due to her ambivalent perception and peripheral role between devas and demons in Buddhist theology it was commonly believed that the worldly benefits granted by her do not last and in the long run might lead to misfortune. With time, related rituals often came to be perceived negatively, often based on highly dubious reasons, as I discussed recently in another article. The ambivalent perception of Dakiniten ultimately was not unlike that of the animals she came to be associated with.

I plan to cover Dakiniten in more depth at some point, but I will only note here that her connection with foxes has a rather interesting history. Originally, dakinis were associated with jackals in India, due to their similarly unfavorable perception. When Buddhist texts dealing with this topic were transmitted to China, references to these animals posed a challenge to the translators, who were entirely unfamiliar with them. Based on context it was established that the name of a fox-like legendary animal, the yegan (野干), would make for a sensible translation. Since the yegan was described as fox-like, and since foxes in general had a major role in religion and literature of China at the time, eventually comparisons with foxes started to show up. Most notably, in the Tang period Śūraṅgama Sūtra the word dakini is provided with the gloss humei gui (狐魅鬼), something like “fox sorceress demon”. While unique, this term might have influenced the development of the image of dakinis in general, and Dakiniten in particular, in Japan.

A thirteenth century depiction of Benzaiten with entourage (wikimedia commons)

To go back to the core topic of this section, the development of a link between Amaterasu and Dakiniten had one more consequence: the establishment of a similar connection between Toyouke and closely related Benzaiten at Ise, to keep the theme of mirroring associations. This goddess is the Buddhist form of Saraswati. Today, she is best known as one of the Seven Gods of Luck, who emerged as a group in the Edo period, though her history goes further back and she enjoyed considerable popularity through the middle ages. 

Outside of Ise, it was commonly Amaterasu herself rather than Toyouke who came to be linked to Benzaiten. According to a legend which originated on Chikubu Island, Benzaiten first appeared in Japan during the reign of emperor Kinmei, and instantly announced she is a manifestation of Amaterasu. A less direct reference might be present in the already mentioned Taiheiki, where Yoshisada Nitta at one point says he heard Amaterasu at times manifests in the form of a “dragon god of the blue ocean”, which might be an allusion to a common symbol of Benzaiten. 

Benzaiten and Amaterasu could also be associated without being identified with each other. In a myth tied to the tradition of wandering blind singers (a group traditionally believed to be under her protections), she effectively replaces Ame no Uzume, and lures Amaterasu out of the cave by playing her biwa. In the Asamayama Engi (朝熊山縁起), she is addressed as Amaterasu’s mother instead, though she ultimately only plays a minor role in contrast with her daughter. The text largely revolves around Amaterasu (as noted by Anna Andreeva portrayed here as a “great conversationalist”) explaining theological matters to the monk Kūkai.

Amaterasu, Aizen and sericulture

The wisdom king Aizen (Metropolitan Museum of Art)

In addition to her links to Buddhas and devas, Amaterasu also offers an example of identification between kami and wisdom kings. They enjoy an elevated position among Buddhist figures, almost on par with Buddhas and bodhisattvas. She could specifically be identified with arguably the second most important member of this category, Aizen Myōō. Since he is regarded as a wrathful manifestation of Dainichi, the reasons appear fairly straightforward. Linking him with Amaterasu goes back at least to Eison, a long-lived thirteenth century Shingon monk. The connection additionally reflects Amaterasu’s association with the wish-fulfilling jewel. Aizen was outright identified with this object, which is actually responsible for many of his own associations. Last but not least, Aizen and his fellow wisdom king Fudō were identified with the same two mandalas as the two shrines of Ise. On this basis it was not hard to link Aizen with Amaterasu.

However, once again, association does not necessarily equal conflation. Therefore, Aizen and Amaterasu could also appear as two distinct figures in the same sources. For example, both textual and iconographic instances of a triad consisting of both of them and another wisdom king, Fudō, are known. The occasional identification between Aizen and Amaterasu is not the reason behind his appearance here. Instead he and Fudō are present because they are an archetypal Buddhist dyad used to represent duality.

The triad is a medieval reinterpretation of the cave myth which played a role in an initiation rite (灌頂, kanjō) focused on Amaterasu. In this context both of the wisdom kings take the roles of “rock cave assistants”, with Fudō corresponding to Takuhatachijihime (the mother of Ninigi and younger sister of Omoikane) and Aizen to Tajikarao (who famously opens the cave in the classical version of the myth). The opening of the cave Amaterasu hid herself in was compared to the opening of the legendary Iron Stupa, said to exist somewhere in the south of India. This event, as Buddhist treatises record, led to the reveal of esoteric knowledge to the early Mahayana thinker Nagarjuna. In Tenshō Daijin Kuketsu, it is actually Amaterasu herself who was transmitted to him by the bodhisattva Kongōsatta (Vajrasattva).

To go back to the depictions of the Amaterasu triad, another thing worth pointing out is that a unique iconographic variant of her appears in them: seated on the back of a horse, with a solar disc and scales in her hands. While at a first glance this might sound similar to already discussed Taga Myōjin, there is actually a difference: the latter is always depicted frontally, not facing left, in contrast with the other mounted form of Amaterasu.

A depiction of Memyō from the fifteenth or sixteenth century (Metropolitan Museum of Art)

However, Bernard Faure notes these paintings resemble yet another figure she could be equated with, Memyō Bosatsu (馬鳴菩薩; “horse neigh bodhisattva”). This name originally referred to the Buddhist author Aśvaghoṣa, but in this context it instead designates a sericultural deity of Chinese origin first attested in the Tang period, for example in a short text attributed to Varjabodhi. However, while the Chinese original, Maming Pusa, is male, his Japanese counterpart is generally portrayed as a female figure, especially in texts stressing her connection to Amaterasu.

A Meiji period illustration of Susanoo throwing the carcass of Ame no Fuchikoma into Amaterasu's weaving hall (wikimedia commons)

Presumably the two initially came to be associated with each other because of their shared interest in sericulture and weaving. The classical myth portraying Amaterasu as a weaver, in which Susanoo throws the carcass of the horse Ame no Fuchikoma into the room where she is engaging in this craft, has been channeled to highlight why she would be identified with a deity portrayed on horseback.

While Memyō is arguably the highest profile Chinese figure Amaterasu was identified with (unless you want to make a case for Enma but that would be a bit of a reach), it’s worth noting that there’s another such case. However, it involved a historical figure rather than a deity. While presenting Buddhist patriarchs or rulers as manifestations of Buddhas or deities was par for the course, this one strikes me as quite unique.

Yang Guifei, as depicted by Shōen Uemura (wikimedia commons)

Jindai no Maki Hiketsu (神代卷祕決) records a tradition according to which Yang Guifei, a consort of emperor Xuanzong of Tang, was a manifestation Amaterasu. It depends partially on the preexisting belief that the former did not commit suicide, but instead escaped to Japan, and came to be enshrined in the Atsuta Shrine, which on the account of its picturesque location was sometimes identified with Penglai, the land of Daoist immortals. A related legend is recorded in the sixteenth century treatise Utaishō (謡抄), which relays that the Atsuta deity (here not identified with Amaterasu) manifested in China as Yang Guifei to seduce emperor Xuanzong to distract him with a plan of invading Japan. After accomplishing this goal, she returned to her shrine.

Emperor Xuanzong wasn't exactly the conventional nemesis of Amaterasu, whether in classical mythology or in the middle ages. I'll look into the figures such a title can be applied to in in the second half of this article; due to tumblr's limits I cannot publish both halves as a single post. The bibliography will also be included in part 2.

[ghost-doodles]

Link click ep 1 thoughts

Okay before everything else I want to get out what I think the time line is of everything since I think it prevalent to whether or not Lu Guang has traveled multiple times and just kinda how link click works in general 

(also I initially wrote this the night of ep 1 I just forgot to post...ops)

So my primary theory is I wanna say I don’t think Lu Guang has traveled more than once (at most twice) and at some point something changes because I don’t think season 1 or 2 happened the same in the original timeline, Cheng Xiaoshi’s death is still tbd for the new timeline, and the bridon arc was a part of the og timeline (for the most part) and the new timeline. Now let it be known I might’ve missed smth so this timeline/theory/rant might be total shit but I need to let my brain rant anyway. 

First off I wanna say in terms of logistics it sounds like link click works on a closed timeline where you can fuck around a bit so long as the critical events take place some shape or form. I even bet that so long as the outcome of the critical event stays the same that it doesn’t completely matter how it happens. That being said if something changes then the whole following timeline changes, but I don’t think it creates alternate timelines it simple ceases to exist the original one. so essentially there isn’t a multiple time line ability where there are different time lines for every choices to be made. We know that one critical event that Lu wants to change is Cheng’s death, since in the original time line he dies. That being said I don’t think season 1 or 2 actually lead to his death…yet 

Now let’s start establishing the timeline with season 1. At this point the boys are out of college and seem to have been doing their little detective bit for a while. Lu is evidently comfortable with his powers and Cheng seem comfortable enough but clearly not on the same level, as Lu has to remind him of rules throughout the seasons and Cheng still questions certain things about whether or not he can do something with his powers. Granted some of this can be explained away as simple exposition for the audience, I also believe it is because Cheng actually hasn’t had his powers for very long (we will come back to this point). Now thanks to future context we know this is timeline 2 (T2) as Lu knows more than he lets on and for the most part seems like he was able to predict the future (present?? Fuck time travel suckksss). 

But where I think shit goes off the rails (if it isn't already in the Bridon Arc) is when Cheng text Emma’s parents. I don’t think that happened in timeline 1 (T1) and thats why Lu reacts the way he does and goes so hard to try to keep Cheng from figuring it out. If it did happen in T1 then Lu would’ve likely kept Cheng from doing it to begin with as he would know it was coming so he could avoid the whole outcome. I think in the original timeline they did the Emma case, shit went down normally, and they continued with their normal time detective shenanigans. I also think the text didn’t happen in T1 since the result of their fucking around was they learned there were other people with powers which surprised Lu just as much as anyone else. 

Anyway at this point s1 plays out and at this point T2 is fucked and Lu is playing catch up which leads to the s1 finale of him discovering others with powers. Then we go into s2 which takes place over a short period of time and more single plot heavy. Given how Lu reacts to everything at this point I think he is just as informed as everyone else as I don’t think any of s2 happened in T1. Now I think s2 does two things both for the viewers and the characters which is establishing that there are more powers than just Cheng’s and Lu’s. It also introduces the fact that Lu Guang has time traveled already.

Now with bridon ep 1 It starts by showing us what I believe is T1 which both does and doesn’t take place after season 2. I think the actions of T1, aka everyone dying takes place at a later date than the ending of season 2 but not after the events of season 2 as I said before I don’t think the events of s2 happened in the original timeline in anyway shape or form. Now I primarily think this bc at the end of s2 Lu is worried abt Cheng dying still, and that could be bc he assumed that the close call during season 2 was the timeline trying to right itself with Cheng death. So I think that chengs death is something that could is planned for the future but just hasn’t happened yet

Anyway ep 1 shows us what seems to be Lu meeting Cheng for the first time them playing basketball and it seems like Lu was initially going to go back to his present but ends up deciding to stay. Now there are two parts to this episode, the convention plot then the scammer plot. The convention plot shows us two things, one that Lu has this insanely detailed book, the second is a possible time Cheng might have gotten his powers. Now we know that if u stay in a persons body with chengs powers for more than 12 hrs then your stuck in the past, but we dont inherently know if Lu still has Chengs powers.(I personally believe he doesn’t since he is in his-selfs younger body), but how on earth is he keeping such a detailed note book then. Cause if he has Chengs powers not only did he keep that well wrapped in s1 and s2 but now were dealing with duplicates of powers, also chengs powers don’t let him see the future to keep up to date with everything that has to be in that notebook. Now from the con I have seen speculation of that supposedly being when he gets his powers in the og timeline. Personally I have no concrete thought on this but I can go either way primarily due to the fact we don’t know how the powers work completely yet. 

I think one of the biggest things about the scammer plot is the fact that not only does it take us back to the vibes of s1 but it also shows the first bit of timeline that doesn’t completely go according to Lu’s plans. Obviously he was smart enough to be precautious which lead him to saving Cheng but he wasn’t predicting it down to the minute like we’ve seen earlier and later in the show. It also helps establish how Cheng finds out abt Lu’s powers, which if he was supposed to get his own by now but hasn’t is likely Lu trying to keep the timeline in order the best he can. And for now its tbd what happens next until more eps drop

Now on one hand given everything I have typed out at ass o clock I can’t quite imagine lu Guang diving more than once because we know that bridon is the prequel to 1 and 2 which is the current timeline we are working with. If he has done this more than once then the death we see in bridon ep 1 is not the first Cheng death and Lu’s actions going back don’t inherently make sense. it very much seems like he was prepared to go back to his present so if this was dive number whatever the fuck and he wanted to go back that means he is giving up which doesn’t seem like something he would do. Also in terms of the variety of scenes with chengs death, blood patterns, and glass, it wouldn’t be the first time link click has changed smth to be a red herring. Also they might’ve just changed it in order to give different perspectives and emotions of a singular scene, I mean lu Guang was with Cheng for an hr in that room. Also if he had dived more than once I would imagine at this point he would be a bit more strict with the timeline than he has been. And in terms of Vein I have a theory that in the og timeline Vein is simply mad at them for playing time detectives and possibly being more lenient with changes. that possibly in the og timeline they didn't just go back and observe but actively changed things and some how all knowing Vein figured this out and sought to punish them. It would definitely give Lu a reason as to why he has his past and future rule. Although I can still very much see this man going on dive after dive after dive to save Cheng and we are simply watching the lasted of his escapades. So really who knows. 

once we get more eps I might try to decipher out some of their powers, with who has what and when Cheng gets his, bc im curious to see how off the rails bridons timeline becomes

[newbieecosocalistboy]

The new phenomenon of Young Men commenting "Fatherless behavior" and its deeply harmful roots in already well established Misogyny in Patriarchy:

Comments like "Fatherless behavior" under harmless videos of women and girls enjoying hobbies, expressing themselves, or simply existing—reflects the harmful impact of reactionary misogyny, "alpha male" ideologies, and incel/Redpill worldviews. These movements perpetuate a toxic framework that dehumanizes women and polices their behavior according to regressive gender norms. Below is a breakdown of the issue and its implications.

1. The Root of the Problem: Misogyny and Reactionary Ideologies

Incel and Redpill Ideologies: These movements claim to expose "truths" about gender, portraying women as objects to be controlled and evaluated, often through shallow metrics like appearance, modesty, or behavior. In these spaces, women's hobbies, creativity, or autonomy—such as gaming or cosplay—are mocked or policed as signs of rebellion against male dominance.

Alpha Coaches like Andrew Tate: Figures like Andrew Tate popularize the belief that women who enjoy "male" hobbies (e.g., gaming) or engage in expressive activities (e.g., cosplay) are acting out due to a lack of proper "male control." This mindset underpins comments like "Fatherless behavior," framing women’s joy as improper without a male's "stern hand."

Religious and Conservative Patriarchy: This ideology blames fathers for failing to "discipline" daughters who express themselves creatively or engage in public-facing hobbies. It promotes the idea that women must adhere to modesty, quietness, and submissiveness, invalidating pursuits like cosplay or gaming, particularly if they involve any degree of visible skin.

2. The "Fatherless Behavior" Insult

Underlying Assumption: The phrase "Fatherless behavior" implies that women and girls pursuing hobbies like cosplay or gaming, or dressing in ways deemed "immodest" (even if entirely normal within the context of the activity), lack male guidance to keep them "in line." It reduces their self-expression to a supposed failure of patriarchal control.

Targeting Visible Skin: The criticism often intensifies when women show even minimal skin in cosplay, despite such designs being common for both genders in many fantasy, anime, and gaming genres. Men portraying shirtless or hyper-muscular characters are typically praised, while women are accused of seeking attention or behaving inappropriately.

Double Standards: Men enjoying gaming, cosplaying, or self-expression face no comparable judgment. For instance, a man dressing as a heroic, scantily clad character is celebrated, while a woman in a similar outfit is condemned.

3. Emotional Impact on Women and Girls

Invalidation of Hobbies: Women in gaming communities or cosplay are often accused of "seeking attention" or "trying too hard," as if their interests are inherently performative rather than genuine. This erodes the joy of participating in these hobbies.

Policing of Bodies: In cosplay, women are disproportionately criticized for costumes that align with canonical designs or popular aesthetics, leading to shame around their bodies. Men rarely face equivalent scrutiny for costumes that show off their physiques.

Denial of Fun and Autonomy: Women playing video games, sharing clips, or streaming are accused of being "fake gamers" or "trying to impress men," stripping them of the right to enjoy gaming for its own sake. Similarly, women cosplaying popular characters are met with skepticism or outright hostility, as if their enjoyment requires external validation.

Emotional Exhaustion: Facing constant criticism for harmless behavior—like dressing as a favorite character, gaming, or posting lighthearted videos—can cause women to feel unwelcome, unsafe, and unmotivated to continue participating in these hobbies.

4. Societal Implications

Normalization of Harassment: Comments like "Fatherless behavior" create a toxic culture where women and girls expect criticism or harassment as the price of participating in public-facing hobbies. Over time, this drives women out of gaming, cosplay, and similar communities.

Enforcement of Double Standards: By perpetuating the idea that women must meet stricter behavioral and aesthetic standards, these ideologies reinforce gender inequality. Women are discouraged from engaging in activities deemed "male-dominated," narrowing their opportunities and potential.

Silencing Creativity and Joy: Young girls interested in cosplay, gaming, or other hobbies often withdraw due to fear of being sexualized, mocked, or harassed. This stifles their personal growth and self-expression, impacting their confidence and long-term development.

Encouragement of Toxic Male Behavior: These movements validate and reward men who degrade women online, creating environments hostile not only to women but to any form of inclusivity or equality.

5. Counter-Arguments to Misogynistic Narratives

Women Are Autonomous Beings: Women’s enjoyment of hobbies like cosplay or gaming is a reflection of their individuality, not a failure of male control. Policing their behavior reduces them to objects rather than recognizing them as full human beings.

Rejecting the Policing of Visible Skin: Cosplay often reflects existing character designs from games, comics, or anime. Criticizing women for accurately representing characters with revealing costumes ignores the creative and artistic skill involved in cosplay. The same criticism is rarely leveled at men.

Gaming Is for Everyone: The idea that gaming is inherently "male" is outdated and exclusionary. Women and girls enjoy gaming for the same reasons men do: challenge, storytelling, community, and fun.

Double Standards in Attention-Seeking: Men engage in cosplay or gaming for various reasons, including self-expression and visibility, without being accused of "seeking attention." Women deserve the same freedom without judgment or harassment.

6. Broader Harm to Women and Girls

Erosion of Safe Spaces: Communities like gaming or cosplay become unsafe for women when misogynistic ideologies dominate, leading to fewer women participating in these spaces and perpetuating male-dominated cultures.

Stunted Personal Development: Young girls internalizing this negativity may avoid exploring interests like gaming or cosplay, fearing judgment or harassment. This limits their opportunities to build skills, networks, and confidence.

Societal Regressiveness: The resurgence of traditional gender norms as a response to women’s growing independence harms everyone by reinforcing outdated stereotypes that limit both women and men.

Perpetuation of Misogyny Across Generations: When young boys see such comments normalized, they may adopt these harmful views, perpetuating cycles of sexism and discrimination.

7. How to Push Back Against This Harm

Challenge Sexism in Communities: Call out comments like "Fatherless behavior" as misogynistic and baseless. Explain how they undermine women’s autonomy and perpetuate double standards.

Support Women in Gaming and Cosplay: Amplify women’s voices and achievements in these spaces. Encourage their participation and highlight the skill, creativity, and passion they bring to these hobbies.

Educate About Gender Equity: Promote awareness about the harm caused by these ideologies and the value of inclusivity in all spaces, from gaming to cosplay.

Celebrate Women’s Contributions: Share examples of women thriving in gaming, cosplay, and other male-dominated areas to inspire and validate others.

Conclusion

The rise of misogynistic ideologies from incel culture, Redpill rhetoric, and figures like Andrew Tate has directly contributed to toxic commentary targeting women enjoying harmless hobbies like gaming or cosplay. Insults like "Fatherless behavior" not only perpetuate double standards but actively harm women and girls by invalidating their interests, undermining their autonomy, and creating hostile environments. Combating this requires collective effort to educate, advocate, and celebrate women’s rights to express themselves freely without fear of judgment or harassment.