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elliesbelle · 1 year

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nobody compares to you

chapter 6

pairing: ellie x reader

synopsis: you're in your junior year of college and at a party, you run into the girl who broke your heart: ellie williams. despite the time it took to reset your life, will you risk a broken heart again for her?

content warnings: modern college au, cursing, angst, messy lesbian relationships/situationships, loser!ellie makes an appearance for 0.5 seconds, brief and indirection mention of marijuana, mentions of death, brief mention of reader's genitals (implies that reader has a vagina, but if you headcanon reader as a trans girl w/a penis, just pretend it's a metaphorical vagina, i fully encourage it), sexual speech and content (not fully smut but there are drops of it), depictions of nudity, minors do not interact

word count: 4.6k

chapters: one, two, three, four, five, six, seven, eight, nine, ten, eleven, twelve, thirteen, fourteen

series masterlist

my masterlist

i have a ko-fi if you like my work so much that you feel compelled to tip me ♡︎

the "nobody compares to you" spotify playlist

Abigail Anderson. Pre-med student. Rugby star. A brief hook-up from freshman year.

And now approaching your frozen figure at a rather fast pace.

As your shocked face emerges from behind the football you're still holding in your hands, Abby begins to register who it was that she’d almost killed via pigskin.

“Oh, shit!” She murmurs your name as her jog comes to a stop at your feet. “I’m so sorry, my friend Jordan was being a dick. I meant to catch that.”

You let out a nervous chuckle as your trembling fingers lift the football up to her.

“Oh, it’s okay. My life definitely flashed before my eyes, but I’m alright otherwise.” You give her a smile.

She returns it with a crooked one of her own, her fingers softly brushing against yours as she takes the football from you.

“Well, you still look alive and pretty,” Abby says, tucking the ball underneath an arm. “And those were some impressive reflexes, I gotta say.”

“Just practicing in case of a zombie apocalypse.” You joke, cheeks burning ever so slightly at her calling you pretty. “We can’t all be built like Themysciran Amazons the way you are.”

“Themy-what?” Abby asks, eyebrows furrowing in confusion and chuckling.

Your face erupts in flames in embarrassment from your geeky comic book reference.

“Y-you know,” You stammer. “Like Wonder Woman. She’s from that island where it’s only women and they’re all these gorgeous, buff warriors who’ve renounced men.”

Abby laugh.

“Really? Well, thank you. You’re very cute for thinking I’m some hot warrior chick who’ll survive a zombie apocalypse.”

Before you can respond, she continues.

“How’ve you been? I haven’t seen you around much.”

“Hey, I’ve been around.” You lie. You really haven’t been. “Probably haven’t noticed being an aspiring doctor and all.”

“Still remember that, huh?” She smiles.

“Of course.” You say, returning her smile.

Freshman Year, Fall

You met Abby Anderson at the beginning of your freshman year when she was a sophomore.

Being in a new and independent environment, you did what many single freshmen do upon first arriving: scoured the dating apps.

Fresh out of a messy high school relationship, you came to college a little raw and emotionally vulnerable. You jumped into a casual relationship with a girl named Adriana within the first month of arriving on campus. After a drunken night of you and your roommate Tara recklessly swiping through your profile on a dating app, you somehow and hesitantly found yourself with a girlfriend after just two dates.

The best word you would use to describe Adriana was nice. She was a pleasant person: brought you out on cute dates, paid for your food, always held your hand. You spent the two weeks of dating her trying to convince yourself that you were as into her as she was into you. But the further you tried to force attraction for her, the less interested you became. Then she introduced you to her friend, Abby Anderson.

Abby was the kind of person that closeted gay girls would develop their first gay crush on at their initial glance. She was bold and exuded a sense of confidence & charisma that most 20-somethings haven’t achieved yet. People knew who she was when she walked around campus, whether personally or through reputation. Abby made friends quickly and kept them easily, so it was no shock that you got along very well with her when Adriana first introduced you.

You pretended at the time not to notice the way Abby looked you up and down when first laying eyes on you. It was a quick glance and she pulled it off well enough that nobody else but you had caught it. You were amused by the way that Abby had held out her hand to you upon meeting. None of Adriana’s other friends had offered a handshake, and you chuckled quietly as you introduced yourself to her.

Is she for real? A little prim and proper, you’d thought. You’d later find out it was merely her excuse to initiate physical contact.

You’d originally come over to Adriana’s dorm to meet her friends, but you’d spent most of the time talking with Abby. She was very charming, keeping you engaged in conversation as if she’d known you for months already. She would ask you questions about yourself, seeming to be genuinely interested in your responses. It was effortless to keep up a banter with her, and she had you laughing in a way Adriana hadn’t been able to elicit from you herself. You weren’t fawning over Abby the way newly-discovered gays constantly were, but you were intrigued. By the end of the hang-out, you’d already exchanged numbers and socials.

When Adriana amicably broke up with you a week later, saying that she felt as if “your heart didn’t seem quite into this” and “she’d like to see you comfortable” and “we honestly seem like we would vibe better as friends” over a phone call, you’d felt a wave of relief followed by a pang of guilt. You could tell that Adriana really didn’t feel any ill will towards you, but it did feel indecent that all you got out of the relationship was a mended heart as a result of the rebound. That, and a very interested Abby Anderson.

It didn’t take a week since your split from Adriana that Abby was flirtatiously commenting under your Instagram posts or sending you at least ten snaps on Snapchat daily or messaging you borderline thirst traps accompanied by texts that were asking for your “opinion on her gym progress.” It was a mere five days since the break-up that you were dolling yourself up a bit to go hang out with Abby in her dorm room, just the two of you.

Most of your friends playfully teased you about the position you’d placed yourself in. Hooking up with a recent ex’s friend seemed messy, but they encouraged you to put yourself out there all the same. Never having actually gone all the way with Adriana, they all hyped you up to hook up with Abby. All but one.

“You’re judging me!” You said, lightly smacking Ellie’s arm.

She chuckled, rolling her eyes at you.

“I literally didn’t say anything, dude.”

“Uh-huh, sure.” You returned her eye roll with your own before jumping off your bed to walk towards your closet.

“Just sounds like a guilty conscience to me.” She shrugged, leaning back onto your headboard.

You sighed and said, “Should I feel guilty, though?”

Ellie shrugged again nonchalantly before saying, “Not gonna tell you how to feel.”

“I just want to know your opinion!”

“It’s your love life, dude. It’s up to you, not me.”

“I know that! But what do you think I should do?”

“Make your own decisions.” She chuckled once more.

You groaned, turning away from her to continue rifling through your closet.

“You’re so fucking useless.” You complained, fingers weaving between hangers as you tried to select an outfit to see Abby later that day.

“What can I say? It’s a gift.” Ellie replied, resting the palms of her hands on the back of her head as she watched you.

Despite yourself, you giggled quietly. As you continued to browse through your wardrobe, you felt Ellie’s ocean green eyes trailing your every movement. You kept your back turned to her, hiding the flames tickling your cheeks.

You hadn’t bothered the rest of your friends about this the way you did Ellie. They’d all given their blessing for you to sleep with Abby, but Ellie? Ellie was persistent in remaining mysteriously neutral. She refused to voice any kind of personal bias. She didn’t seem disinterested, but she also withheld offering up her genuine opinion on your Abby situation. And for some reason, this bothered you. Something about her unhelpfulness compelled you to pester her about it. You knew you didn’t need Ellie’s approval. So why did it feel like you did?

Ellie watched as you picked out a short dark blue dress, spreading it out on your bed next to her. She listened to you question yourself out loud on whether you should wear fishnet stockings underneath it or just go bare. She felt the way your fingers lingered when brushing softly against hers after she handed you your silver hoop earrings laying next to her on your bedside table. She inhaled your signature lavender scent as you slowly caressed your arms and legs up and down while applying your favourite lotion.

It felt so strange, prettying yourself up for another girl while Ellie sat on your bed and watched. She and you were just friends. You’ve never been anything more than that. Why did it feel strange, then?

Are we though? Just friends?

The way you’d stare at the way her big, calloused hands moved when she’d be rolling a joint or etching in her journal. The way she observed the exact manner your lips moved every time you spoke or laughed. The way you always noticed when she’d trace that intricate arm tattoo of hers when she’d get lost in thought. The way she watched exactly how your smile would often meet your soft eyes.

Is this just friendship?

Ellie observed as you sat at your desk and carefully began applying your makeup, scooting towards the foot of your bed to better marvel at your technique. She’d begun to learn the routine you had by heart, mesmerized by how carefully and naturally your hands moved in a creative dance. She blurted out a compliment about how you were an artist for the way you did your makeup. You attempted to brush it off, but she insisted. You’re the artist here, she’d said.

After finishing applying a shade of dark red lipstick, you gave yourself one last satisfied look in your mirror. You got up and began to shake your hair out of the bun it was in, walking to the foot of your bed where both your dress and Ellie waited. You looked at your chosen attire for the night and were suddenly hit with a predicament.

“Umm, Ellie?”

“What’s up, man?”

“D-do you think you could help me with something?”

“Uh… sure?”

Your fingers fiddled with the bottom of your t-shirt. Your face flushed for what felt like the millionth time today.

“C-can you help me put my dress on?”

Ellie looked like someone dumped a bucket of ice-cold water right over her head.

“What?”

You scratched the back of your neck, a habit you’d picked up from her.

“I forgot how t-tight this dress is, and I might fuck up my makeup if I just pull it on myself. Can you help me g-get it on?”

Ellie’s face remained unreadable as she looked you up and down.

“Yeah, okay.” She said finally.

“T-thanks.” You said, nervously biting the inside of your cheek.

Normal friends do not get nervous when they ask their friends to help them get dressed.

“Just…just one second.” You said, meekly holding a finger up before turning your back to her.

As you profusely thanked past you for already putting on your desired underwear for tonight, you carefully peeled off your t-shirt and threw it to the side. Though you had your back to her, you could feel Ellie’s gaze land on the black lace bra you’d decided on earlier. When you shed your pajama shorts, her eyes then drifted onto the matching black lace panties that left very little to the imagination.

She quickly averted her stare as you turned to face her, not fully meeting each other’s eyes.

“Do you think you could—?” You gestured to your dress next to her on the bed.

“Yeah.” She said, picking it up before approaching you.

You watched her face as she lifted the dress above your head. Her tense fingers gripped the collar tightly as you raised your arms. You felt goosebumps form where her hands inadvertently brushed against your skin, lowering the dress onto your figure. As you fit your head and arms through, she pulled the dress all the way down to your thighs. You tugged your hair out from the collar and let it fall behind you when your eyes met hers.

“Uhh,” She said awkwardly. “Your lipstick…”

Your right hand flew up to your mouth.

“Oh shit, did it smudge—?”

“Yeah, a little, but it’s okay, I got it.”

“Wh—“

Before you could react any further, Ellie licked her thumb and brought it to the edge of your bottom lip. It was as though your entire body was set on fire the exact second that you felt the wetness from her finger meet the corner of your mouth. Her eyebrows furrowed as she rubbed off the small streaks of smeared lipstick. You could have sworn she could hear how loud your heart was beating in the moment, feel the way it echoed through your entire body. You felt your mouth water as your eyes fell on her tongue sticking out slightly in concentration. Someone could easily sneak into your room right now and rob you blind, the way you both remained completely encaptured in this moment.

“There,” Ellie whispered. “Got it.”

Her thumb slowly drifted from your lip to your cheek, her hand suddenly caressing your face. You were frozen in place, trying not to combust as every cell in your body danced fervently. Her ocean green irises kept darting back and forth between your eyes and your crimson lips. Both your mouths were parted, the unsaid at the tip of both your tongues, waiting for whoever was bravest to let the truth drip out.

But instead, after what felt like twenty-five years, Ellie let her hand drop from your face back to her side. She swallowed and cleared her throat, breaking eye contact with you to stare at the floor. You blinked and gulped, quickly plummeting back to reality.

“Th-thanks, El.”

“No problem, bro.”

“Bro.” Ugh. Okay, Ellie.

You were far less clothed a minute ago, and yet somehow you now were feeling much more naked than ever before.

“I-I think I left the shoes I want across the hall in Sidney’s room. Give me a sec?”

“Yeah, man. Go ahead.”

You nodded and retreated quickly out the door. As you shut it behind you, you leaned against it and clutched at your chest with both hands.

Oh god, fuck. Fuck, fuck, fuck. What the fuck. What just happened? What the fuck. Fuck.

Inside your room and unbeknownst to you, Ellie was leaning against her side of the door, quietly cursing to herself.

“Did I really just fucking do that? What the fuck, oh my fucking god. God damn it. Fuck, fuck, fuck.”

“Hey, are you okay?”

You blinked.

“Yes! Sorry, just spaced out for a second.”

You adjusted yourself under the covers to turn more towards Abby. Your previously glassy eyes met her concerned ones.

“Was it that bad?” She joked.

“No, oh my god, Abby,” You giggled, covering your face with your hands. “I think you getting me to cum twice in less than a minute speaks for itself.”

Abby smirked.

“Only twice? Wanna add a couple more to that?” She said, propping herself up on her elbow to look at you better.

“I think my pussy needs a sec before you make her see heaven again.” You replied.

“Mmm,” was all Abby said in reply, drinking in your naked figure in her bed.

The rest of the evening seemed surreal. Ellie had watched you finish getting ready, remaining mostly quiet for the rest of the time. She didn’t touch you again, almost as if she was afraid to. She’d walked you partway to Abby’s building before giving the excuse that she had some client she needed to meet. Her signature Converse stormed off without a second glance back at you. As you waved her off, you thought about how she didn’t have anything on her to sell, and you both knew it.

Throughout the entire night with Abby, though you allowed yourself to unwind and have some fun for once, your thoughts still continued to dance back incessantly to your auburn-haired friend.

“What’s on your mind, pretty girl?” Abby asked.

“Just taking a minute and being impressed by you.”

Abby laughed.

“So not that bad, huh?” She joked. “But really. What’s up?”

You pursed your lips. You liked Abby, but she did not need to know all about this “friendship” of yours with Ellie.

“Not gonna lie,” You said, quickly coming up with a lie. “I was feeling really guilty before coming here tonight. Just cause Adriana’s your friend and we just broke up.”

It wasn’t completely far from the truth. You were feeling guilty about seeing Abby after Adriana. But she wasn’t the lesbian who you couldn’t get out of your head all night.

“Mm, that does make sense.” Abby replied, understanding. “It’s true, though. What I said earlier. Adriana did say it was okay.”

Sometime after you’d arrived at Abby’s dorm and before you’d both dropped the pretense of you coming over just to “hang out,” Abby disclosed that she’d asked for Adriana’s permission to fool around with you already. You were a bit surprised, but pleasantly so. You did come here tonight with specific intentions, but it did relieve you to know that Adriana meant it when she’d expressed no ill will towards you. And it kindled a warmth in you that Abby’d gone into this prepared and still with the respect of her friend.

“No, I know,” You said, the crease between your eyebrows crinkling as you thought up a quick lie. “I just… I still like Adriana as a person and I didn’t want my wandering vagina to get in the way of your friendship with her.”

Abby suddenly guffawed, her laugh so infectious and genuine that it made you giggle in response.

“D-did you just say ‘wandering vagina,’ oh my g—” She chortled. “Never heard that before.”

You shrugged, smiling at how easily amused Abby has been turning out to be.

“You say the strangest shit, you know?” Abby said, still chuckling.

“What can I say? It’s a gift.” You replied, to which Abby smiled.

“But really though,” Abby continued. “You don’t have to worry about me and Adriana. We’re still cool; nothing’s changed in our friendship. You both told me you weren’t serious, and she’s also just someone who’s never been possessive or jealous as a person. We’re all adults here, so no need to feel guilty. I promise.”

“Yeah, that…that does help.” You said, hoping that answer would suffice for Abby.

Abby seemed like she wanted to press more but decided against it. Instead, she grabbed your hips all of a sudden and lifted you up to place you on top of her, making you straddle her waist.

“Wh—Abby!” You said, startled. Your arms instinctively flew up to cover your bare breasts, the bed covers no longer shrouding your nakedness.

Abby chuckled, reaching up to your wrists and pulling them away from your chest.

“Anyone ever tell you how cute you are when you have such a serious thinking face on?” She said.

A bashful look crossed your face as you stuttered a quiet “no” in response.

Abby smirked, dropping your wrists and placing her hands on your waist, tracing up and down your inner thighs with her thumbs. Your breath hitched and you gulped, feeling yourself instinctively grind against her.

“Well, you are.” She said. “And you’re cute, acting all shy about being naked in front of me like I wasn’t just knuckles deep inside you ten minutes ago.”

You bit your lip, partly from embarrassment and partly because Abby’s tracing of your thighs turned into squeezing.

“Y-you w-weren’t… knuckles-deep…” You stammered.

Abby chuckled, raising an eyebrow.

“Why the hell are you correcting me on how far inside of you I was anatomically?” She asked, extremely amused.

“I don’t know!” You said, flustered and rolling your eyes.

Abby chuckled, wrapping a muscular arm around your waist to keep you steady as she sat up to be at eye-level with you. With her free hand, she firmly gripped your chin between her large fingers and forced your eyes to meet hers.

“You’re very easy to fluster, you know.” She whispered.

“I-I—” was all that you could get out before Abby’s lips found yours. The sentence you’d meant to continue instead turned into a quiet shriek of surprise then into a lustful sigh that melted into the kiss.

Not ten seconds later, Abby pulled away slightly, a cocky look on her face.

“Any more anatomical complaints, then?” She murmured.

“Not at all, Dr. Anderson.” You chuckled breathlessly.

You jolted as Abby laughed again all of a sudden, grabbing both your shoulders for support.

“Was it… that funny?” You chuckled, a little confused.

“No, no, I’m sorry,” Abby said. “It’s just that—my dad was Dr. Anderson.”

“Your dad?”

“Yeah, he was a doctor.” She explained. “Before he passed, he used to be a surgeon back when my family and I lived in Utah.”

Shit, her dad. Of course.

Abby had mentioned her father to you several times already. You didn’t know much about him other than the fact that Abby completely adored the man and that he had died when she was only 16.

“Right, makes sense.” You said, wrapping your arms around her neck.

Abby’s father didn’t seem like an off-limits topic with her. In fact, you were in awe of how at peace she was with it. She seemed happy to talk about her dad, somehow able to acknowledge his passing and yet speak of him as if he was always present in a way. She didn’t make it uncomfortable to ask about him, and you often had the impression that she actually preferred it when others didn’t fuss over it. So you made sure not to.

“So no to calling you Dr. Anderson, then?” You asked.

“Well, actually,” Abby embraced your waist and pulled you closer to her body. “Kind of studying to be a doctor. Like him.”

“Wait, really?” You replied, a bit of shock in your voice. “How did I not know that?”

“Don’t really know, pretty girl,” She replied, smirking. “Got too distracted by my washboard abs to notice?”

“Oh my god, shut the fuck up.” You scoffed, smiling and rolling your eyes.

Abby chuckled before leaning into your neck to leave trails of kisses.

“Has anyone ever told you that you’re also very cute when you have a little bit of an attitude?” She asked, lifting her head up slightly in between kisses.

“Mm, I don’t know,” You sighed, pulling her further into you and trying not to grind too eagerly against her once again. “Maybe once or twice. But why don’t you remind me, Dr. Anderson?”

You heard Abby suddenly moan in your ear, almost growling, before you were suddenly thrown on your back onto the bed. Any words that meant to roll off your tongue were replaced instead with cries of pleasure as your knees were pried apart with Abby’s strong hands, her mouth finding ways to answer your question without words.

Present Day

“So still planning on becoming a surgeon, then?” You ask.

“Starting med school immediately after I graduate this year.” Abby replies.

“Wow,” You say, impressed. “That’s really soon. Are you nervous about it?”

“Hmm, not nervous, exactly,” Abby replies, thinking. “I grew up around doctor shit, so I have a tiny idea of what I’m facing. I’m choosing to stay positive about it all for now.”

“Commendable,” You smile. “How the hell have you been surviving all your pre-med shit with sports and all?”

“Hey,” She says, shrugging. “You said it yourself. I’m basically a superhero.”

You chuckle. You’ve forgotten just how confident Abby is and how attractive it was to see it in action.

“Right, of course. How could I forget?”

“You know, maybe if I really was Wonder Woman, I could attend my next class and get a coffee with you right now. If you’re not busy, that is.”

“That is not how Wonder Woman works, Abby.” You say, giggling.

“Oh, whatever.” Abby laughs, rolling her eyes. “Forgot just how much of a nerd you were, pretty girl.”

“Hey—” You start.

“YO ABS, are you gonna throw that shit back or keep flirting with hot chicks?!” A voice behind Abby calls.

Abby grunts in annoyance, turning around to face her friend Jordan who was several feet away from where you both were.

“Stop throwing like a little bitch and we wouldn’t be having this problem, dumbass!” She calls back at him, to which he replies with a playful, “Oh, fuck off!”

You watch as Abby draws back, arms flexing as she throws the football in a quick, perfect spiral towards Jordan. He catches it, but not before it makes a loud thud against his chest.

“OW, FUCK—" He shouts in pain.

“Dumbass!” She hollers in response.

You're both chuckling when she turns back to face you.

“Need to go?” You ask.

“Didn’t you hear? I’m busy flirting with hot chicks. Well, just one hot chick.”

Your purse your lips, sheepish.

“So,” She said. “Coffee?”

“Abby, you just said you had a class to get to in a bit. Also,” You gesture to your mostly-empty coffee cup still next to you in the grass. “Beat you to the punch.”

“Ah, fuck.”

“Sorry,” You chuckle. “I’ve also got class in,” You checked your phone for the time. “Around five minutes or so.”

“Wow, you really wanna avoid getting a coffee with me that bad, huh?”

“Oh, absolutely. I premeditatedly mapped out my entire class schedule this semester just so I didn’t have to hang out with you right at this moment.” You joke.

“I knew it.”

You laugh.

“Can I at least walk you to class, though?” Abby asks.

“Sure,” You replies. “But what about your class?”

“Got a bit of time; don’t worry about it.”

You smile before you gather your things together quickly. You reach for your coffee cup but it disappears suddenly before your hand is even inches from it.

“Abby!” You exclaim, jumping up onto your feet as you quickly pull your backpack on.

“What?” She questions, walking backwards while still facing you to throw your coffee cup away in a nearby trash can.

“I can’t throw away my own trash?”

“Just being helpful.” She says, shrugging.

“You can’t be both a superhero and some chivalrous lesbian knight.”

“I can do whatever I want, pretty girl.”

You feel your face getting hot once more.

“So,” She starts. “Which way is your next class?” She begins walking in the wrong direction.

“About twenty feet east of where you’re heading, silly.”

“Oh, uhh…” Abby stops in her tracks, eyebrows furrowed in concentration while processing your directions.

You laugh and roll your eyes, grabbing her arm and leading her towards the building your next class was in.

“Straley Hall, right in front of you, dummy. Remind me never to travel across the country with you.” You say.

“What kind of nerd actually says ‘east’ when giving directions!” She complains.

“That’s a perfectly normal thing to say!”

“Why are the cutest girls always the weirdest ones?” Abby says, shaking her head.

You looked away from her, trying to hide your embarrassed smile.

“How are you supposed to save people’s lives when you don’t even understand simple directions, Dr. Anderson?”

She smirks at your comment and her lips form to reply with a retort of their own.

Just a few feet down the brick college road, Ellie stands frozen on the spot. Her hands are balled up in fists and her jaw is clenched. Her ocean green eyes trail after your unknowing figure, fixating on the wide smile on your lips as you let out peals of genuine laughter and your fingers still gently caressing the bicep of golden girl and star athlete, Abigail Anderson.

author's notes:

HAHAHAHA "in case of a zombie apocalypse" get it, cause the game is set in a zomb—yeah y'all get it (sorry not really)

let's all take a brief sexy second together and imagine abby as amazon from themyscira... now let's all let out the collective horny sigh together.

thank you all for being so patient waiting for this one. life has been... yeah (if you've been keeping up with the personal stuff I've said on my blog the last week, that should add more context to what a shit my life has been recently). i've been having to push myself with writing lately cause i feel like i'm getting too into my head about it. but thank y'all so much for being supportive and all, thank you for not giving up on me!

not gonna lie, loves. i may have gotten extremely horny writing certain scenes in this and had to take multiple breaks because my mind was concocting too many distracting scenarios as a result (the ellie scene took me days to get through to write, i'm so dead serious, and the smut-adjacent abby scene almost turned into a full-fledged smut scene cause i'm such a fucking lesbian, oops, i genuinely had to restrain myself so i could write the story the way i actually have it planned out).

abby having no sense of direction at the end of the chapter is just a personal reference to me when i played tlou2 for the first time and when i was playing as abby at the very start when she's mad at owen for getting mel pregnant and trying to go after joel on her own, i got lost for like 10 minutes just going in circles in the fucking woods and snow like a moron. just wanted to be a little bit silly by creating no sense of direction!abby hehe

taglist: @lonelyfooryouonly, @elliesinterlude, @sawaagyapong, @peppesgirl, @iconsoft, @maybeidohaveadhd, @ellieswifee, @valiantllamapersonpony-blog, @nil-eena, @echostinn, @uraesthete, @softbunlvr, @cherriessxinthespring, @amitycat, @chrissyfishywissy, @yevheniiaaa, @machetegirl109, @bertandfearnie, @ximtiredx, @efam, @elliesnoviecita, @oatmilkchaii, @tayyyystan, @emothurman, @livvy-2000, @abigaillovestoread, @gold-dustwomxn, @liabadoobee, @yuckyfucky, @ximtiredx, @qtefolleunpez, @libr4sonsa

#nobody compares to you series #ellie williams #dealer!ellie #ellie x reader #ellie x you #ellie x y/n #the last of us #tlou #the last of us part 2 #tlou2 #ellie fanfiction #belle speaks #belle writes

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doctorbunny · 2 months

Text

The Jackalope Guide [spoilers for both novels]

I skimmed through the first manga, second novel, side S/W and my memories so hopefully I've not forgotten anything important [text version under cut]

Jackalopes of MILGRAM:

Novel 1

Female/described as having a "woman's voice"

Uses atashi/アタシ pronoun (pretty bog standard feminine pronoun)

Goes by "Jacka"

Requests Es call her a jackalope and not a rabbit [note: there is a Jp equivalent of the phrase "flying pig" 亀毛兎角 kimoutokaku "turtles with fur, rabbits with horns" referring to something impossible, this phrase may be linked to jackalopes]

Newer at her job (compared to other Jackalopes in the series)

Works from a branch office of MILGRAM HQ (reports back to her boss remotely via big TV)

Sadist who enjoys human bloodshed (at one point even giving a stressed out Nervous a box cutter to self harm with, just like the kind she used to use, so Sumi could see who )

Likes organising MILGRAMs with "aesthetic" (IE all of Sumi's prisoners being involved in her death)

In order to prevent information being spoiled too early uses powers to stop the prisoners breathing until they stop trying to talk

Accidentally allows Twoside to give away information too early, spoiling her own MILGRAM

Her and her MILGRAM considered failures (punishable by purging)

Her 'vessel' is chained up by another jackalope (probably youtube jackalope) at the end of the novel then purged but the person was able to escape (because she was in the Branch Office)

Current location/situation unknown (but said to be alive)

Novel 2

Male/described as having a "young man's voice"

Uses jibun/自分 pronoun (slightly unusual as a main pronoun feels kind of soldier-like)

Also goes by "Jacka"

Has run many successful MILGRAMs in the past (allowed to take risks like Torch being the Es of Novel 2)

Works at MILGRAM HQ

Takes smoke breaks after trials

Talks to boss during smoke breaks

Boss is probably Youtube Jackalope

Hates bloodshed and doesn't care about the aesthetics or drama of a MILGRAM

When Tatsumi tried to kill Torch, Jacka retaliates by using his powers to take control of Tatsumi's body and make him strangle himself

He stops when Tatsumi passes out/Torch says he doesn't want Tatsumi to die, but if not for Torch, Jacka would've killed him

Hates his job/boss

Relieved to hear that Jacka1 escaped purging

Despite working at milgram for many years, did not know there was a branch office

At the end of the novel he defects from MILGRAM, forming a collaboration with Torch and showing/taking him through the secret exit

Asks Torch how he'd feel if someone he loved was judged guilty by MILGRAM (possibly implied to be something that happened to him?)

Youtube

Male/"Speaks arrogantly"

Uses Ore-sama/オレ様 (comically self important)

Internal monologue in Side W/S uses watashi/私 (significantly less arrogant)

Only goes by Jackalope

Insulted if you call him a rabbit

Appears at the end of the first novel to punish Jacka/judge Sumi

Appears during second novel's post-trial smoke breaks (human form in milgram HQ)

Was the one to approve Torch being a guard even though he didn't think it was a good idea

Hates smoking and asks Jacka2 to not do it

Highly values the aesthetic/elegance of a MILGRAM

Wants a "pure" milgram with the fewest possible distractions in the judgement of sin

Used the same kind of memory erasure on Es that Jacka1 used on everyone

Believes Es needs to trust him for MILGRAM to work

Probably responsible for Es' barrier (the 'hypnosis' lines up with other jackalope's mind/body controlling)

Views end of 2nd novel as the worst event in milgram history

Cooks the food for the prisoners (sheds lots of fur)

#jackalope milgram #milgram #ミルグラム #jackalope #milgram novel #milgram novel spoilers

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raven-at-the-writing-desk · 4 months

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Quick world lore question; does the game ever specify what kind of potions/poisons exist in twst? Like, since it's technically a fantasy world, would things like health/stamina potions like you'd see in rpg's exist? Or would it be closer to reality, like home remedies and basic pharmaceutical stuff?

I'm only an EN player and I havent read all the pomfiore student's vignette's so if they answer this there then im sorry for the bother ; ;

Potions aren't talked about in the only Pomefiore students' vignettes! (In fact, if we're talking just strictly Labwear vignettes... Vil and Rook's don't really focus on potions at all; only Epel's sort of does.) There isn't actually a ton of lore about potions, and in the times when they do become relevant, the writing tends to focus more on the ingredients and/or the preparation process rather than what kind of potion would be produced. For example, the entire Labwear series of vignettes frequently brings up rare or dangerous plants that require the application of magic in order to safely harvest, such as the mandrake and the lantern blossom.

I wasn't able to check all vignettes (since that would be like... what, probably a few hundred at this point? If not that, then at least over 100.), but there's definitely mentions of potions with various effects. From all lab vignettes alone and combing through the main story, here's what I could glean:

transformation/transmutation potions (prologue, book 2, Beans Day, book 6, etc; this is probably the most often mentioned type of potion)

voice-changing potions (Leona Labwear vignette)

color-changing potions (Epel Labwear voice line)

plant growth potions (Epel Labwear voice line)

sleeping potions (Silver Labwear vignette)

awakening potions (Silver Labwear vignette)

magic enhancing potions (book 2)

a potion that changes one part of your body to that of an animal's (book 3)

itch-relief potion (Lost in the Book with Stitch)

potion that heals burns instantly (Jamil Labwear vignette)

On the subject of poisons, no specific kinds are mentioned as far as I'm aware. There's a Poison Refining class (Cater Labwear vignettes), but we don't really get specifics. When poisons are talked about, it's usually in reference to the Fairest Queen or the Pomefiore dorm leader being skilled in making potent poisons, or it's Kalim talking about the many attempts on his life and unnamed poison antidotes. There may be more mentioned in other places, but at this time I don't have the capacity to check every single event and vignette. If you know of any more that aren’t listed here, please let me know and I can update the list!!

It should also be noted that "potions" can also be used for other purposes. This includes creating special effects for movies (mentioned in Vil's Labwear vignettes) and enhancing the effects of skincare (book 6, Azul Ceremonial Robes, etc.).

You'll notice that the effects of these potions can also be achieved via regular spellcasting. (In fact, we see Adeuce practicing color changing magic in Floyd's Labwear vignettes + Vil using color changing magic to help himself hide from paparazzi, etc., Jack's/Malleus's/Azul's UMs also allow them to do things without the help of potions.) Because of this, I believe that potions are meant to be an alternative way of spellcasting without actually needing to use magic. This makes already prepared potions usable by mages who don't want to expend energy/build blot as well as by NON-MAGES.

Within the world of TWST, there is an occupation known as the “medical mage”, who appear to combine magic and medicine into their practice. Furthermore, what is called “Potionology” in EN is written as 魔法薬学 (literally, "magic pharmaceuticals") in JP, implying that there is, in fact, an intersection between magic and medicine. This is similar to how "technomancy" is described to be the cross between magic and technology.

In terms of a "healing potion", there are instances which show that a magic potion may heal or at least speed up the body's natural healing process. For example, in 7-68 of the main story, Baur gives Lilia something to drink to help him with the dire blow he just took. It doesn't appear to restore him to full health though, as Lilia states he still needs rest afterward. In EN, they use the term "potion" but in JP they use "薬" (kusuri), which is "medicine". Baur qualifies the character with "魔法" (maho), which is "magic", so the term he's using is "magic medicine". This is probably the closest thing to a "healing" potion that we know of in the TWST lore.

So technically, yes, TWST has "healing potions". I wouldn’t say there is one blanket cure-all potion though; based on what we know of potionology and how it’s very similar to irl chemistry classes, we can assume that there are generalized “healing potions” but that there must also be far more specialized and targeted ones, similar to medicine irl or non-enchanted or non-magic infused medicine. This is supported by Riddle mentioning a potion that instantaneously heals burns, implying that there is no “cure-all”.

I would imagine that, like transformation potions, “healing potions” would have to be highly regulated since they’re basically a drug 💀 (There would probably be OTC types too, given proper governmental approval!)

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vidavalor · 7 months

Text

Wrong Boy

What Bildad the Shuite, Mr. Dalrymple and Warlock's birthday party can tell us about what's going on in the 2.06 Final 15. Another post in a series about how "The Metatron" with Aziraphale at the end of S2 is actually Satan.

Warlock Dowling. The kid Crowley and Aziraphale took care of for a few years, believing him to be The Antichrist. Not actually The Antichrist. The wrong boy.

Warlock's 11th Birthday Party. The reason why Crowley and Aziraphale were there was to try again to stop Armageddon. Hell was supposed to show up at the party. The Devil was sending a gift to his son-- a dog. The Hell Hound. The gift, once accepted by The Antichrist, was supposed to signal the start of Armageddon.

Crowley and Aziraphale were undercover at the party in an effort to stop Warlock from encountering and naming The Hell Hound and starting the end times as a result... but The Hell Hound was late. The moment that results in them realizing they got it all wrong starts out with dialogue that is referenced again in S2-- in relation to The Meeting Ball.

Aziraphale followed Crowley out to The Bentley, mortified by having put on a terrible magic show in front of Crowley. Crowley, though, was gentle and caring in his reply. He tried to reassure Aziraphale and gas him up a bit.

Aziraphale: "That was all a bit of a disaster, I'm afraid."

Crowley: "Nonsense. You gave them a party to remember. Last one they'll ever have, mind..."

As they're sitting in The Bentley and after communicating with Hell during this scene via the radio, they realize that they fucked it up. The kid they thought was the spawn of The Devil is not actually that. Warlock is not The Antichrist. They had the wrong boy this whole time.

Nonsense. The meaning of "balderdash" and "piffle"-- the words spoken by "The Metatron" when he first arrives in 2.06. The first word of what Crowley said to Aziraphale in the "wrong boy" scene.

The gift for the "son". The Hell Hound. The Coffee.

A disaster termed "a night to remember": The Titanic.

The Titanic. Big ship, first of its kind. Hit iceberg. Was thought to be unsinkable. Turns out, it could very much sink. Angels can be tempted. They can sink-- can fall-- to the bottom of the ocean floor. Aziraphale falling is "The Titanic" of his story and the story overall.

If Warlock's birthday party = The Meeting Ball, then Crowley and Aziraphale have the "wrong boy" once again at the end of S2.

Instead of Warlock being mistaken for The Devil's son, "The Metatron" is really The Devil... who appears in the form of the closest thing Aziraphale has to a father-- The Metatron.

"My Heart Will Go On." Theme song from the film 'Titanic' and on Aziraphale's playlist for S2. Uh oh...

Then, there's this:

"It will be a night to remember!" Aziraphale, describing his then-upcoming Meeting Ball in an episode-ending bit of important dialogue while pointing Upwards, foreshadowing both Crowley going Up and Aziraphale's "going Up to get Down" that happens at the end of this Titanic hitting the iceberg. Crowley will actually wind up trying to keep most of the partygoers from not remembering as much of the events of this party as possible... ironically, since Aziraphale says "a night to remember" to Crowley in reference to the kind thing Crowley said to him about the kids being happy to remember Warlock's birthday party.

The next morning, Crowley will use dialogue that references Warlock's birthday party again... either consciously or unconsciously. Either way, it's a dialogue reference to it for us to notice... and it makes sense that Warlock's party would fit into 2.06's Final 15 here because the dialogue we're talking about is from a scene that's actually after the party... and this is all taking place after, well, a party.

The dialogue shows up here:

Crowley: "Oh, I know you. Last time I saw you, you were a giant, floating head, mind."

Welcome to the only other scene in the series in which Crowley has used "mind" at the end of a sentence but for the casual time he did post-Warlock's birthday party. It's calling our attention to the late Hell Hound not arriving at that party... in the moment that "The Metatron" has just arrived here, in the aftermath of the mirrored party.

The Devil himself is here this time.

It might also be worth noting that when Crowley and Aziraphale figure out that Warlock is the wrong boy, it's because of Crowley having just spoken to Hell via the radio in The Bentley... which is also how Satan attacked Crowley in 1.01. Those two scenes are then tied together and both of them are in play in 2.06.

The show also takes pains to call the meeting a "party" several times. Besides Aziraphale saying "we're having a ball", the character who is of The Devil and whose actions let The Devil Himself into the bookshop-- Shax-- twice refers to what's going on as "a party." When she arrives: "how sweet-- they're having a party" and, later, she corrects Mr. Brown of Brown's World of Carpets when he says that what is going on is a meeting. She tells him that it's not a meeting because they were "dancing." That it's a party is referenced several times, further drawing correlation between the climax of S2 and Warlock's 11th Birthday Party.

Crowley-- a demon-- is called upon by "The Metatron" to identify him to everyone else after every single other being in the room fails to recognize him. Every single other being in the room besides Crowley is an angel and *all* of them fail to recognize this being as The Metatron. Every one of them. How can five angels fail to recognize the leader of Heaven? Maybe because that's not actually the leader of Heaven? Maybe because The Devil had to get someone he can control-- and we've seen that he can control Crowley in 1.01-- to tell everyone else that he's The Metatron... which is exactly what happens in this scene?

Crowley identifies the being in such a way that the other angels see him as The Metatron. No one questions him. Rather hilariously, since angels who don't like Crowley are in the room, everyone just believes him and takes what he says at face value. This includes Michael, who has now done this twice-- they also did this during the Job minisode, which we'll look at in a moment.

Michael (gloriously bitchy, asking THE question): "And who are you?"

The context clues suggesting this being's fake identity that led everyone to believe it after its reveal were planted by "The Metatron" upon his arrival... and that's familiar, too. We've seen that one before... Crowley did it earlier in the season.

Remember where we saw that and another significant who are you? one before?

Here, with Sitis:

Crowley gives Sitis suggestion as to who he will appear to be to her, even if they've never met before. Who is he? He's "an old friend, here to offer some comfort." Sitis is having A Day over here and is somewhat resistant at first to influence and she's never met this being before so she naturally has this question:

She's paralleling Michael in 2.06 here. All who are you and why are you interrupting me? I'm a bit busy over here... and what did Crowley say?

"You tell me." Crowley gave her the answer he wanted and when Sitis was resistant and Crowley needed to get to the kids to save them, he influenced her so she'd help him get to who he wanted instead of standing in his way. Crowley seeks to protect the kids, obviously. He has the opposite motivation of Satan in 2.06 but the methods are the same.

Sitis falls under Crowley's suggestion at "you tell me"-- she responds normally-enough but there's enough of her reaction at the start that shows that her mind is being influenced. She gets a little quiet, her eyes widen, she's staring for a brief moment... kinda like Crowley in the chair before he speaks in after "The Metatron"'s arrival in 2.06. Crowley was in Sitis' mind and made her say back to him what he'd told her to say:

"Bildad" quite literally means "old friend" so Sitis basically regurgitates Crowley's "just an old friend" by translating it into a name in her mind. Crowley's "sure" is comedic but this is also an example of Crowley using magical influence over someone-- one of two that happens in S2. In both times, Crowley's use of it is benign in overall intent but it's still not really with the full awareness of the person he's using it on.

This kind of power when used by The Devil, though? Yikes...

The second time we see Crowley do this is with Mister Dalrymple. And what did Crowley suggest-- at Aziraphale's request-- that Mister Dalrymple do? So that Aziraphale could have time to try to lure Mister Dalrymple into his way of thinking-- though the opposite wound up being true?

Invite them to stay and have a chat... over a drink.

A chat over a wee tipple of whiskey. That moment has a paralleling friend in 2.06, too...

A chinwag over a large oat milk latte with a dash/hefty jigger of almond syrup...

Now, we're also referencing The Resurrectionist minisode in The Final 15. You know, the one where Crowley is dragged back to Hell in Edinburgh... the same place Aziraphale went to alone during S2. When asked where Aziraphale was during that time by Shax, Crowley replied that Aziraphale was:

Stocktaking. In the basement. On the surface, this is an excuse Crowley gives Shax to explain why she can't see Aziraphale through the window of the shop while Aziraphale is in Edinburgh. Shax clearly doesn't buy it and tracks down Aziraphale in The Bentley on his way back from Scotland. But this is also a metaphor on two different levels.

The first is that Crowley was dragged back to Hell in Edinburgh in 1827 and that Hell is the basement of the whole Heaven/Hell skyscraper office situation. Edinburgh is Hell is "the basement" to Crowley. While Aziraphale was there, he was working on some of his trauma related to 1827-- taking stock of what he had and where he was at in order to move forward. Aziraphale going to Edinburgh actually is Aziraphale metaphorically "stocktaking in the basement"... it's just that it also potentially foreshadows that once Shax actually gets through that door, it's the start of how Aziraphale is going to wind up doing some further stocktaking in the actual basement that is Hell.

Jump back to Sitis for a moment. Why does Sitis say "Shuite"? It's more important than it seems.

We already looked at why she says "Bildad"-- it's because of Crowley's "old friend"-- but why does she say "the Shuite"? It's not what Crowley said this time, so much as what he did-- jumping into her mind.

Remember later when Crowley uses a homophone-- "Shu-ite" and "shoes"-- and cracks this joke:

Crowley says "shoes" and Michael says "the land of Shua" but Bildad is Bildad "the Shuite" because Sitis was trying to say the other word that's a homophone for "shoes" and "Shu-a" here: "shoo."

Was there was a part of Sitis that was aware of Crowley in her mind was telling him to get out, to leave, to go... or was the fact that she had been trying to get Crowley to leave before he influenced her a factor in how she came up with his identity?

It shows that a person under suggestion by a supernatural being in Good Omens is forced to say and do whatever that being is forcing them to say or do but they might have some mild level of resistance where their words are concerned, if they can find a way to do so. Crowley was not exerting a terribly powerful influence over Sitis because he prefers to not do this at all. But The Devil himself is not going to have any such qualms... and we've been shown in 1.01 that when he takes over Crowley, Crowley really can't resist the influence. Still, he might have been trying, since The Devil needed him to speak and it was Aziraphale in the crosshairs.

And, of course, back in 2.06, The Big Damn Villain Music in the score goes insane at this moment here when "The Metatron" looks at Crowley without Aziraphale noticing-- a look that can be interpreted not just as a glare but as instructions. It's what keeps Crowley in the bookshop. It furthers the suggestion that "The Metatron" is magically influencing Crowley and since Crowley's main contribution is to identify him as The Metatron, well... casts some serious doubt over the idea that this is anybody but the one being who can exert that kind of control over Crowley-- Satan.

Now, go back to Crowley and to "...last time I saw you, you were a giant, floating head, mind."

Aziraphale doesn't totally seem to realize it but the events of the previous night letting everyone into the bookshop has, well, let everyone into the bookshop. Aziraphale thinks of the bookshop as a safe haven where Crowley's concerned and, until The Meeting Ball, it was. But Shax allowed in tipped the dominoes and now means that the bookshop is now overrun, all of Hell can get in, and Crowley's no longer safe from Satan while inside the bookshop.

"...giant, floating head, mind" isn't just about Warlock's birthday party.

It's a reference to The Devil taking over Crowley's mind in 1.01.

It's a reference to that for us and, if Crowley is able to resist at all or is trying to on some level, then it's an equivalent to Sitis saying "Shuite" in an attempt to say "shoo"-- it's a word Crowley is choosing sneaking out in the influence that Satan has over him in that moment. He's screaming wrong boy wrong boy wrong boy and he's in my mind beneath the calmer way that Satan is having him identify him to everyone as The Metatron and hoping Aziraphale will get it.

Everyone believes Crowley when he says the being before them all is The Metatron because the reveal of it makes sense with the clues laid out by what "The Metatron" has said upon his arrival. Old British white guy-sounding being? Using old language-- "balderdash", "complete piffle"? Being a smarmy, patronizing dick towards Michael? Yeah, that sounds like The Metatron... enough that everyone doesn't stop to notice what else this being says the moment he has them all convinced. Phrases like "spit spot"... the signature line of the Hell-aligned 'Mary Poppins'... but we'll look at all the 'Mary Poppins' in end of S2 in another meta.

Back to our next bit of dialogue referencing signifying the presence of The Devil in 2.06. That is "go on." Whether this is just a clue to us from the other scene or whether it's also Crowley, trying to resist the influence to try to warn Aziraphale is interpretable but, either way, when Crowley stays put and doesn't seem to notice Aziraphale silently trying to get Crowley to come with him and The Metatron, there's this dialogue:

Crowley: "Go on. Day can't get any weirder."

Weird means strange, unexpected, unnatural... Something's wrong, something's wrong, something's wrong is what Crowley's basically saying. But it's the "go on" that's the real 👀 because of what it references from earlier in the season...

Remember this?

Crowley: "Go on. Have an ox rib."

Yeah, that's a direct dialogue comparison that calls what "The Metatron" is doing with Aziraphale temptation... which means "The Metatron" is The Devil.

Gabriel showed up in S2 and what he could remember was a quote from The Book of Job-- something God said that night Crowley and Aziraphale found her speaking "to Job" (really: to them, but it's unclear if they've figured that out yet.) God warned at the beginning of S2 that Aziraphale needs to remember the Job minisode something fierce for what's to come. He's being tested. He's being tempted. The Devil shows up in 2.06 to tempt him... and it parallels the ox rib scenes by both echoing and inverting it, like the mirror that it is.

Angels actually can be tempted but that's not really what Crowley was doing in Job's cellar. The ox rib scene is actually about consent. Let's look at the start of it.

As the storm started in 2500 B.C., Crowley started pouring wine. He poured two glasses and offered Aziraphale one. Aziraphale did not take it.

Aziraphale did not take it because Aziraphale, at the time, was not interested in wine. He didn't wish to drink. "The Metatron" manipulates Aziraphale's emotions when it comes to the coffee. He preys on Aziraphale's need to be polite and on how afraid Aziraphale is of The Metatron. Aziraphale has never had any such fear of Crowley-- he hilariously was pretty direct about his distaste for wine back in Job's cellar. The Devil gets Aziraphale to take the coffee by manipulating his trauma but Satan's minister Crowley? Back in 2500 BC? He didn't push Aziraphale to drink.

The ox rib scene is actually about choice and consent. It's important to Crowley that Aziraphale feel safe with him. When Aziraphale expresses that he doesn't want to drink and doesn't want to get drunk, Crowley is fine with that and offers food instead, pointing out that you can't get drunk on food. He's a little mischievous and dry when replying that "angels can't be tempted" to Aziraphale's question of whether or not Crowley was trying to tempt him but it's because he's actually not. He's trying to have a little date with the angel, not get him to fall to Hell. He likes him. He's amused that Aziraphale is finding the offers of food and drink to be tempting-- that he's into it and wants to give something a try. There's no manipulation, just the offer of it.

It's Aziraphale's own choice to try the ox rib. He chooses to take it.

He chooses to try something new and see things a little differently and spend some time with Crowley. It's a healthy choice. It's the polar opposite of the choice Aziraphale makes when The Devil offers him the one thing he wants: a way within his control to be with Crowley forever.

The conversations at Marguerite's that Aziraphale has in S2 are interconnected. He sits at a table there separately twice-- once with Crowley and once with The Devil. Again, Crowley offers Aziraphale a glass of wine-- this time now thousands of years after Aziraphale rejected the first offer of one. Aziraphale drinks now. He and Crowley have shared a thousand bottles of wine since.

They never get to food. Aziraphale doesn't actually eat in the present at all in S2. (Which is the whole damn problem lol.) Doesn't have an eccles cake. Doesn't dine at The Ritz. No vol-au-vents at The Meeting Ball. And, at Marguerite's, he doesn't have a glass of wine and a little late lunch with Crowley. He has one sip of tea in the present for the entirety of S2 before That Damn Coffee-- to try to teach Muriel to do what Aziraphale has actually been rejecting while being in his Heavenly feelings during S2. The healthy choice is actually some food, a glass of wine, and Crowley... not a trauma-loaded coffee from The Devil.

Crowley and Aziraphale joke about temptation where each other is concerned and it's off of the scene in Job's cellar. We've seen it in Rome in 41 AD and we've seen it in the S1 finale in 2019. This is what temptation between them looks like:

They can poke fun at the idea of it because their relationship is built on the idea that they see each other as individual people who make individual choices and that Heaven and Hell don't own them. They own themselves and they choose to share themselves with one another. It's the opposite of the manipulation of temptation, which is why it both parallels how Aziraphale falls prey to The Devil-- by how he does being the opposite of what he has with Crowley-- and why it's over Crowley that Aziraphale falls in the first place... not because loving him is "bad"... for the exact opposite of that. Because loving him is good and it's not loving him to try to find a solution to their problems by saying that the people who have harmed the two of them should come first. That's the point-- no nightingales.

Aziraphale doesn't want power. He doesn't want to run Heaven-- he rejected that first attempt to tempt him by The Devil. He doesn't want to go back. He wants to stay on Earth and live his life with Crowley and he wants so much to never be apart from Crowley. The two things that Aziraphale wants most in the world are both related to Crowley-- he wants to be with him forever and he wants Heaven to admit that they fucked up and that Crowley is good.

Aziraphale already knows Crowley is good. He loves him as he is. He's just furious at Heaven and at The Metatron for what they've done to the being he loves and he's incensed at God for allowing it. Aziraphale has been an angel this whole time and, in his mind, he's been powerless to do anything to fix this. He can't stop Crowley's pain over falling-- over the fact that he still feels like he's unforgivable in the eyes of God. He can't stop him from being hurt by Hell. And Aziraphale has had that rage on simmer for 6,000 years.

His every "I forgive you" is an attempt at, since he's an angel of Heaven, trying to give Crowley what he needs and can't get from Heaven... and Crowley knows it is but he hates it because what he truly wants and needs is just Aziraphale himself. Aziraphale's love is enough.

All Aziraphale wants is for Heaven to admit they fucked up because he thinks forgiveness from God will help Crowley. He thinks it will make this better:

If Crowley were an angel again, would that stop the pain that Aziraphale can't stop? Aziraphale wonders if it might. Because he can't stop it. He's tried. He's not enough. It's a lot of pain to watch the being you love still suffer and try to do what you can to make it stop but to not be enough-- Crowley and Aziraphale both know what that feels like.

The solution is not to run away and it's not to go to Heaven. It's to just make like Gabriel and Beez and choose to live their lives together. If enough people say "nah" to Armageddon, there's no Armageddon. You can't have a war without war. Aziraphale doesn't understand that at the end of S2 yet, though, so when The Devil shows up in the form of the abusive dad who never loved him and basically says:

You know, you were right-- we need people like you. The way you live isn't a sin. I made a mistake. You could come back to Heaven and show us how to be better-- how to do things your way. You could bring your husband. We can all be a family. He can be an angel again and you'll never again have to worry that you'll lose him. You can be together forever...

This is all Aziraphale has ever wanted. The angel who was losing his mind hosting a party for the first time the night before-- one where his human friends and Gabriel mingled together and where everyone knew Crowley was his and they got to dance together like everyone else-- well, that angel is tempted as all fuck.

He falls for (falls in love with) Crowley and he falls (falls from Heaven) for Crowley.

It started, in part, with an arrival at the door. Not "The Metatron"'s arrival. Bildad's much happier, paralleling one:

This is also a note to us: remember him-- Bildad the Shuite. It's important that we do if we want to understand what comes later when a group of people, some of them angels, can't recognize who just came through the door... for the second scene in this season.

Right on cue to ask the Big Damn Question in 2500 B.C. was the first arrival at the bookshop door in S2 and the character most representing Aziraphale's inner struggles in S2... and the one who had been sent away for his own good by the point that The Devil arrives in 2.06...

Gabriel, asking THAT question: "Aziraphale, who is this?"

Aziraphale:

He. Says. He. Is. God told Aziraphale to remember this but he seems to have forgotten that he and Crowley cloaked Crowley's real identity for greater good purposes but the opposite of that could just as easily happen. He didn't really listen to the messenger God sent him-- Gabriel, whose name literally means "messenger"-- when he told Aziraphale to remember Job and so Aziraphale didn't recognize The Devil when he, like Bildad before him, came through the door.

In a sweet way, it's because he so loves Crowley that he doesn't really see him as demonic and so couldn't make a connection between Bildad and "The Metatron."

The Body Swap. Crowley and Aziraphale each pretending to be one another to survive the end of S1. They fooled everyone around them by looking like someone they, technically, are not. In both cases, they were forced into suicide by Heaven/Hell-- by getting into a bath of holy water and by stepping into flames of hellfire-- and survived it because neither of them actually were who they said they were.

Aziraphale's fall parallels the body swap plot as it's a fall of despair.

"We call it 'The Second Coming'." Aziraphale knows who was really at the door in this moment. He knows that there is no Supreme Archangel job, no promises of safety and an eternal life with Crowley. There never was. He made the wrong choice. He let his despair rule him and now the fall he thought was coming in 2500 B.C. is actually here.

Upon realizing that he's been fooled-- has played himself for a sucker, as is the case with negative thought cycles-- Aziraphale steps into the elevator.

S1-- they save each other from being killed by Heaven and Hell in methods that look like forcing them to kill themselves.

S2-- Aziraphale effectively tries to kill himself by getting into the elevator, now knowing who it is who is holding open the door.

He knows the likelihood of his memories being erased is high, which makes choosing to get into the elevator a form of suicide.

Banana, fish, gorilla, shoelace, with a dash of nutmeg. Aziraphale's mantra. His magic words. In the bookshop attack and through the end of S2, though... a banana peel thrown at Maggie. Shax referencing "the sushi." Only the banana and the fish are here.

The Bananafish. A short story by J.D. Salinger about PTSD, trauma and suicide. After some short interactions with a girl representing a daughter-like figure to the main character (Maggie, in Good Omens, who kicks off Aziraphale's S2 plot and provides his motivations throughout)-- the seemingly-fine man who is actually a traumatized war veteran suffering from PTSD suddenly and quickly succumbs to the pain he carries around and the cycle of negative thoughts he suffers and shoots himself dead.

#ineffable husbands #good omens #crowley #aziraphale #good omens meta #aziracrow #good omens 2 #good omens theory #tw ptsd #tw suicide #tw trauma #tw religious trauma

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t00thpasteface · 1 month

Note

Hey! Do you have any hawkahy fic recs?

:D first let me start by saying,

second, my biggest rec is always always always for you to just trawl around ao3 and tumblr on your own time and leave no stone unturned (or at least un-glanced-at). i'm happy to say i think there's enough stuff floating around out there where no one person's rec list is gonna cover every fic you might end up liking, so i encourage you to root around and see what hidden gems you stumble on. kudos, hits, and comments are not the be-all end-all indicator of fic quality, and there's really no way to tell if you'll like something without giving it a fair shake first.

now getting into the actual meat of it:

i can't possibly talk hawkahy fic without mentioning my wonderful friend @quordleona03 and her Sins & Virtues series, which has been ongoing since i was still in elementary school. the latest installment, All We Know, is currently holding the bronze medal for the longest mash fic on ao3 and is still being updated. if you like your fics long, angsty, and thoroughly researched, look no further than that series! she also has some unaffiliated/standalone hawkahy fics on her profile. quordle is also the archivist for the late Iolanthe, who is credited as the founding hawkahy fic writer— more on that topic is written on her memorial ao3 profile and on the S&V series page linked above. famously, in 2004, around the time S&V was first being written, the onion described erotic hawkahy fanfic as being "the worst humanity has to offer", which could only have been referring to either (or both) of these two talented authors. via the iolanthe memorial account, quordle also runs a hawkahy fic collection on ao3 and accepts submissions for it, though you may need to poke her on her main account if there's an outstanding submission you think she missed that you'd like her to look at.

other fics i recommend (mind the ratings):

Hot Under the Collar

The Touch of Your Hand

i'm afraid to come home in the dark

saying grace over an empty table

You're The Tops

Reach Out, Touch Faith

and Shearing Season was a generous gift for yours truly!

as you can probably guess from that list: my tastes are equally fluffy and smutty. i like my porn with feelings, and my feelings with porn. hawkahy is a very sweet and emotionally fraught ship that simultaneously works great as a depraved pornographic freakfest. the best fics have both in equal measure! ^_^

i also write fic! you can find me on ao3 under the name RiskyBiznu. i've only posted 6 hawkahy fics so far, but generally they lean towards comedy and i think all of them are tagged as some variant of fluff.

lastly, i'd like to also say that i am very picky and also trying to keep this list brief, so for anyone else reading: please don't take it personally if your stuff isn't on my list! plus, anyone is free to reblog this with recs of their own, as well as a link to their own stuff, if they so wish. the more the merrier!

#shebbz shoutz #ask #hawkahy #mash #we got another one lads

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familyabolisher · 1 year

Note

Do you think any of the frameworks you've developed for analyzing love in TLT could be applied to Pyrrha's relationship to cam/pal? Since Nona doesn't understand it well, it's hard for me to get a handle on how those characters relate to each other, but I was wondering where it might stand on what the series considers "perfect love," what the significance of its presence/ambiguity is, etc.

I’m really locked on to this idea of illegibility, actually, and the kind of work that gets done in Nona to problematise efforts to easily name, define, & categorise a relationship or set of relationships. I’m thinking of what Muir said here:

It’s a very strange household. And they are a found family, but I don’t think it’s a spoiler to say that in the last movement of the book Nona questions what that even means—their motives, what they all truly wanted out of each other, their pretenses: are they a family, or are they all just a psychosexual mess of roleplaying and bad meals? (The answer is yes.)

and like, her suggestion that ‘family’ can plausibly be collapsed into a ‘psychosexual mess of roleplaying’ and that the drive of Nona is less about asking whether Cam/Pal/Pyrrha/Nona ‘are’ a family as much as it’s about asking what it actually means to identify them as such; and particularly to identify them as such in a text which does very significant work elsewhere to identify ‘the family’ as a site of violence, a mechanism by which particular forms of violence can be enacted. I’m honing in on that ‘last movement of the book’ comment to say that, like—so, the two narratives in Nona (the ‘main’ narrative ie. Nona et al. on Lemuria, and the John narrative) are spliced together, right, so it makes sense to try and read them as though they’re in dialogue with one another, and the obvious entrypoint for doing so is the fact that they’re both working as an account of the ‘creation’ of Alecto; first through John literally creating her and then through Nona remembering his having done so and thus rebecoming what she had forgotten she was. What does it mean to ‘create’ Alecto?—what are the conditions that Alecto’s creation ushers in, what are the conditions that her creation does away with? The ‘last movement’ of the book is to ‘create’ Alecto for the second time—so, what does Alecto represent, and what about her ‘creation’ leads the text to ask what it means to describe something as a ‘family’ in the first place?

The reason I’m drawn to this reading of Cam/Pal/Pyrrha as like, ultimately illegible, incoherent in that we as audience cannot coherently put words to it and make sense of it in the language readily available to us, is because I think the text understands these processes of ordering, taxonomising, delineating, and categorising as tactics of fascism. This is a tension also at play in Lolita; Humbert ‘orders’ and constructs his narrative via the available tools of literary discourse and similarly constructs his ‘Lolita’ as a labyrinth of cultural references and taxonomies; but Dolores is a ‘Haze,’ Annabel Leigh is a ‘tangle of thorns,’ there exists a being who is able to remain indistinct and impenetrable in a narrative which enacts violence on her by trying to make taxonomical sense of her. Coherence and legibility are mechanisms of visibility; under fascism, to be easily made sense of can be dangerous. The first two books were all about coherence, legibility, interpellation, and the consequences of Living In A Society; what it means to ‘be’ or ‘become’ a cavalier, what the necromancer-cavalier relationship ‘means,’ what Lyctorhood ‘means,’ how these relations of hierarchised sexuality and the interpersonal relationships articulated within the normative language given to them exist to shore up conditions of imperialism. This question of ‘ordering’ goes right down to eg. enumeration (First, Second, Third, etc.) and pretty tightly contained and atomised cultural associations, and the fact that that enumeration can be traced back to Alecto—

D’you know why you’re really the First? Because in a very real way, you and the others are A.L.’s children … There would be none of you, if not for her.

—which cribs this passage, from Lolita:

‘[…] for I must confess that depending on the condition of my glands and ganglia, I could switch in the course of the same day from one pole of insanity to the other—from the thought that around 1950 I would have to get rid somehow of a difficult adolescent whose magic nymphage had evaporated—to the thought that with patience and luck I might have her produce eventually a nymphet with my blood in her exquisite veins, a Lolita the Second, who would be eight or nine around 1960, when I would still be dans la force de l’âge; indeed, the telescopy of my mind, or un-mind, was strong enough to distinguish in the remoteness of time a vieillard encore vert—or was it green rot?—bizarre, tender, salivating Dr. Humbert, practicing on supremely lovely Lolita the Third the art of being a granddad. In the days of that wild journey of ours, I doubted not that as father to Lolita the First I was a ridiculous failure.

—very evenly ties together ideas of reproduction as imperial sustention figured in the language of sexual assault. The point is: as far as the empire is concerned, processes of ordering and taxonomising are equivocal to the mechanical maintenance of conditions of fascism.

Conversely, Nona is a text about when John’s precise demarcation of the world starts to fail and people have to make sense of themselves between the cracks; from Pyrrha as both failed cavalier and failed Lyctor to Cam and Palamedes and then Paul as if not ‘failed’ then at least a new ordering of necromancer/cavalier-ism to the Tower Princes as John’s kind of scrambling effort to rearticulate hegemony post-losing all but one of his Lyctors. Regarding how we are to read Cam/Pal/Pyrrha, I think it’s pretty clear that the text understands the obligations, normative assumptions and expectations, and material consequences of normative kinship relations identified as ‘family’ as part and parcel with the social ordering of a fascistic imperial hegemony; Kiriona, Alecto, and Harrow make up the three key points of contact for this reading, though it’s pretty diffuse across the whole work. We see kinship relations as structuring imperialist hierarchies and we understand the currency of those hierarchies to be death/abuse/sexual violence/totalised control, articulated most profoundly through Kiriona; we also see the destruction of social formations as part and parcel with conquest—

Palamedes said mildly, “You know we’re conversant with the concept of family in the Nine Houses, right?” Pash seemed genuinely surprised. “Why the hell would it matter to you? [...] You don’t give a fuck about families when you’re carving them up—”

—this of course being in keeping with the general conditions of mixed cultures, mixed languages, variances on kinship structures, refugees seemingly thrown together on Lemuria. The bolstering of the social articulations of the conquerors and denaturing of the social articulations of the conquered is rendered as a tactic of conquest; ‘family’ here is figured as a cudgel of imperialism.

Diegetically, as I said, Cam + Pal + Pyrrha + Nona’s social arrangement is not ‘normative,’ neither in the fact that others on Lemuria can make easy sense of it (and thus attempt to do so by referring to peripheralised and marginalised social relations ie. sex work) nor in the fact that they can coherently make sense of themselves via the imperial taxonomy (is Pyrrha a Lyctor greatest thread in the history of forums). Nor is it normative on our end; relative to the nuclear family structure, it’s the ‘wrong’ number of parents, the ‘wrong’ configurations of gender, the ‘wrong’ configurations of blood relation (Nona is a ‘child’ but not an ‘heir’ to anything and not a blood relation of either; Cam and Palamedes as ‘parents’ are blood-related), even the ‘wrong’ overall kinship relations—I put ‘child’ and ‘parents’ in quotations there precisely because I don’t think they’re conditions uncritically reified by the narrative as much as they’re discursive gestures made for the sake of being problematised. Is Nona their ‘child’ in a text where to be the ‘child’ of someone means to be what Kiriona is to John? Is this a ‘family’ when ‘family’ is the mechanic of imperial refortification? Again, like—what does it mean to call them a family at all?

‘Family’ is a label we deploy to give legibility to relations that we are otherwise struggling to make sense of. Setting aside Paul for the moment because I don’t quite know what to do with them and probably won’t have a Take that I can confidently commit to until after Alecto—I think the kind of difficulty that the text has in articulating exactly what Cam + Pal + Pyrrha ‘had’ between them that we see in that final scene is intentional, and I think it’s best understood left that way rather than wrangled into a taxonomy that the rest of the text is v determined to critically unpack. So to answer your question, I think the ambiguity is key—one overarching theme of the series is how people can love each other and articulate that love when the language available for them to do so carries obligations of disparate power, hierarchy, serves a particular purpose that we come to understand as ethically unconscionable; whether that love has to be made sense of within hierarchy, or contravene it, or try and stake a place outside of it. Cam + Palamedes + Pyrrha become the next stage of development in the unravelling of such a discourse; to try and make coherent sense of them could all too easily mean falling back on the language that the text works to identify as socially constructed and thus as limited, and thus imposing those limitations.

#ask #tlt #nona the ninth spoilers #i have a second thing to add here but i think it works better as its own reblog so i'll circle back

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yuurei20 · 10 months

Note

Greetings! How true is that Yana is not involved in the writing of all events? Or is it only for the most recent one, Playful land? I'm a little confused.

Hello hello! Yana shares via Twitter what parts of what cards/events/stories/etc she was involved in every time something new is released, so I went through tweets from January of 2020 to November of 2023 to compare and contrast how she has described her role throughout the years, and compiled them here!

⚠️JP-server Only Visuals Spoiled Under the Cut⚠️

Vocabulary Review

・シナリオ: The English word “scenario,” this is an industry term that means “a written outline of a film, novel, or stage work giving details of the plot and individual scenes. It describes the sequence of scene changes, dialogue, and actions.” If Yana says she was in charge of the scenario for something, it is probably ok to assume that it was her project.

・原画(genga): The original artwork/initial visual concept upon which the final work was based

Ex: In this tweet Yana says she was in charge of the scenario, costume design and original card artwork for Fairy Gala.

・担当(tantou): The person in charge of something

・ディレクション: The English word “direction.”

Ex: In this tweet Yana says that she was in charge of direction for Malleus’ Birthday Jacket card.

・D-6th: This is Yana’s personal studio, which existed long before Twst and is also in charge of producing her manga (there seems to be a lot of overlap between the team that creates Black Butler and the Twst team, which she will sometimes reference in tweets). This seems to mean that there were multiple people involved in the creation process. It is unclear if she includes herself amongst the "D-6th" team, as sometimes she will specify that something was by her, something was by D-6th, or something was by both her and D-6th.

・弊社(heisha): a polite way of saying “my company,” this references Yana’s studio D-6th.

Ex: In this tweet Yana says that while she did the scenario herself, the backgrounds and prop designs were by her studio.

The Main Story

Starting with the release of part 1 of Book 3 on JP server, Yana explains that she did the scenario, original artwork for the SSR cards, directed the vignettes and was in charge of character design.

For Book 7 she says she did the scenario and original character art/character designs, while some prop designs and background visuals were done by her studio.

Card Art

For Ortho’s dorm uniform design Yana explains that both she and her studio did the original art from start to finish (she did the original concept and story for the vignette), while she alone was in charge of the before/after groovy art from start to finish for Idia’s dorm uniform card.

She did the art for Leona and Riddle’s tsumsted cards (and direction for the other cards in the series), Sebek’s dorm uniform art from start to finish and and did art direction for the cards in the 2022 New Year’s set, while costume design was done by her studio.

Rook’s Clubwear, Ortho’s Cerberus Gear, Lilia’s General card, Rollo’s card and Grim’s D100 card are all credited to both Yana and her studio.

(We got a rare comment with the release of Ortho’s Cerberus Gear where she said, “We have an artist working with us who spent almost 20 years doing backgrounds for a certain, extremely famous robot anime. She oversees a lot of the background art designing. The background for Ortho’s Cerberus Gear card, the aircraft catapult, the facility seen in the groovy art—that is all her work. It really captures the moment of take off! Professional background artists are truly amazing, capable of designing everything from S.T.Y.X.’s futuristic aircraft catapult to homages of famous watercolor masterpieces." That is one of the artists that Yana is referring to when a design is attributed to D-6th.)

Birthdays

Yana was credited with direction for the Birthday Boy series, while Ortho’s design and direction was credited to her studio.

Yana credited her studio with the Birthday Jacket designs and scenario creation, saying that she was in charge of direction for the series (with Ortho’s gear design, direction and room design all credited to her studio).

For the Broom/Bloom series Yana says that she participated in concept/costume design and was in charge of direction (with D-6th credited with the art direction and gear design for Ortho).

The art for the platinum series (including the backgrounds) is credited to the staff of D-6th, with Yana in charge of direction.

Events

Yana explains she did all the original art for all of the cards, the scenarios and direction for Beanfest, Fairy Gala and Phantom Bride (she also created the scenarios for all the vignettes).

She also created the story and did all of the card art and direction for Terror is Trending and Spectral Soiree.

For Port Fest she specified that she did the original art for Jack’s SSR and did direction for the remaining cards, crediting her studio with costume/background designs.

Yana created the scenario, character design, SSR card art (from start to finish) and did art direction for the R and SR cards of Glorious Masquerade, crediting herself and her studio with the costume/mask designs, background designs, and opening and ending screens.

She says she participated in card art direction for the R and SR cards in the Lost in the Book with Stitch event, crediting the costume designs, scenario creation, background visuals, SSR Lilia, SSR Floyd, original card art and creation to her studio.

Stage in Playfulland character design, costume design, scenario creation, card art direction, background visuals and Opening/Ending art are also all credited to her studio.

(To answer the initial question: the only difference seems to be that Playfulland is credited entirely to her studio without Yana specifying how she was involved, whereas she took credit for the scenario writing in Glorious Masquerade, Spectral Soiree and Terror is Trending. While not the first time this has happened in the game (Yana also did not specify her role in the Tamashina Mina event, attributing costume design, background visuals, the Opening/Ending, the setting/card art direction and character design only to D-6th), this was the first time it’s happened with a Halloween event.)

Novel

Yana says she was in charge of the concept, the in-novel art, cover and fold-out art in the novels, while Hioki Jun (a Twst vignette/event scenario writer) created the novel scenarios.

Comic

The artist and designer behind the 1st and 3rd comic arcs are both from Yana’s studio D-6th, doing background and card art for Twst (and work on Black Butler).

Yana says that her role is overall collaboration, character design and character creation (she says that in addition to creating the basis for Trey’s parents she also designed Riddle’s mother, including her face, but they ultimately left her in silhouette).

It is difficult to tell what Yana means by “overall collaboration," but she has shared a tweet about drawing the characters out herself for the actual artists to base their work on. (This might not apply to the artist of the Savanaclaw arc, who is not a member of D-6th)

#twstask #twstyana #twisted wonderland

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unfortunatetheorist · 10 months

Text

Is Lemony's Kind Editor in the Netflix series?

Throughout the Netflix series, Lemony has used one of his infamous literary devices which I did not notice until rewatching it for the billionth time, when I was working on The Complete Works of Contradictory Logic in ASOUE. More on that to come.

Lemony uses a rather basic device which, I believe, can actually have an ENTIRELY radical new view on the show: Lemony speaks to the camera in the second person.

This just means he uses the pronouns 'you' and 'your', etc, when talking directly to camera.

e.g. TMM: "You could pretend the Duchess of Winnipeg had arrived, and had come to throw the Baudelaires a pony party at her chateau."

However, the 'you' could refer to Lemony's Unnamed Kind Editor. There are some points which back this up:

The Kind Editor is someone who does not know the story of the Baudelaires, they only know Lemony. This is why Lemony is the one to tell them the story of ASOUE.

The Kind Editor is NOT a member of V.F.D. This is why Lemony has to explain [either himself or via other characters] different V.F.D-related things that a member would've already known.

This logic can lead to the following:

Lemony is talking to his Kind Editor, who is filming VIDEO evidence to be used in court when Lemony clears his name and the names of the Baudelaires.

This means that the characters do not physically appear in ASOUE, but rather Lemony just imagines them saying the same words before actually saying them himself. This carries on from the idea (@snicketstrange) that Lemony used the Baudelaires' notes from An Incomplete History (series) or A Series of Unfortunate Events (book canon).

In TCC, the Baudelaires discover the SAME THING filmed by the SAME PERSON - but for ATWQ. Hence the reference to 'Stain'd-by-the-Sea'...

So what's the point?

THEORY: Lemony is using typewritten and video evidence, as filmed by his Kind Editor, in order to clear the names of all 4 people; the Baudelaires and himself.

But who is this mysterious Kind Editor? Many have suggested it to be Moxie Mallahan, as she was only friends with Lemony and no-one else from V.F.D.

However, given the circumstances described, I now present an alternative solution: Beatrice Baudelaire II.

In TBL, Beatrice II is 10 years old, capable of handling a camera. It provides an uncle-niece bonding opportunity for Lemony, and Beatrice gets to know the story of her adoptive parents (from her biological uncle).

Lemony is Beatrice's only hope of finding the Baudelaires, and Beatrice is Lemony's only hope of clearing the Baudelaires' names, as Lemony knows 100% that Beatrice is not an enemy or a spy of any kind.

¬ Th3r3534rch1ngr4ph, Unfortunate Theorist/Snicketologist

#asoue #vfd #lemony snicket #a series of unfortunate events #snicketverse #asoue netflix #theory #kind editor #beatrice baudelaire #beatrice baudelaire ii #tbl #the beatrice letters #an incomplete history #duchess of winnipeg #duchess r #duchess ramona #ramona quimby

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lady-harrowhark · 2 years

Note

hello, can you explain to me in more clarity your “waxen” theory regarding Ianthe? I’m not picking up on what this implies but it’s making my brain itch.

Sort of! Totally fair question, I just don't have a lot of clarity myself in that I don't have a fully formed theory lol. There's definitely some links and parallels in verbiage that are pinging on my radar, so I do think something's funky, but I wouldn't say I'm fully on board with this yet. I'm just playing in the sandbox Tamsyn has provided us, tossing out ideas and thinking out loud. But I can go into some more detail, and add some more thoughts that have occurred to me since I posted that last night.

(Here's a link to the post in question, for context)

Anyway! So let's first lay out all the times we get someone described as some type of wax. At various points in HtN, we get the descriptions "a shoddy wax cast of some more beautiful sculpture," a "wax figure in a pink dolly dress," a "wax figure in pale purple chiffon," and "waxen face" for Ianthe. We also see that descriptor used a few other times for other people throughout the series. In GtN, Harrow's parents' bodies are called "waxy" and the first introduction of Protesilaus (as the beguiling corpse) says he was "waxen looking in the sunlight." In NtN, Kiriona's skin is said to have a "weird, waxy quality," then Naberius's skin is called "waxen" when they first meet up with Ianthe, and again a few pages later it again references the "waxen, handsome face". What I'm getting at here is that every time this sort of description is deployed, it's in reference to a dead body that's been preserved, manipulated, and is essentially masquerading as a living person... except for Ianthe.

We also know there are a multitude of times that she's described as looking like a poor copy of Coronabeth. There's that "shoddy wax cast of some more beautiful sculpture" line, her first introduction calls her a "starved shadow" of her sister ("or the first an illuminated reflection [of Ianthe]," and actually, off the top of my head I don't know that we ever see their descriptions framed that way again... I'd have to investigate this more later, but this might be the only time that Corona is described as a "better" version of Ianthe, rather than Ianthe being a "worse" version of Corona, which is interesting), there's a point where it says "The second twin was as though the first had been taken to pieces and put back together without any genius. She wore a robe of the same cloth and colour, but on her it was a beautiful shroud on a mummy," etc etc etc. I know there's more, but I'm too lazy to go pull the rest of the quotes and you get the picture by this point I'm sure. So nearly all of these situate her, at least visually, as a copy or approximation of Coronabeth, and one that doesn't quite live up to original at that.

So now let's pick apart this snippet of conversation we overhear between Silas and Ianthe at Magnus and Abigail's dinner party a bit. Ianthe says she was born via "surgical means," which I'm assuming is referring to a C-section delivery (or whatever the necromantic equivalent is) and notes that Corona is a few minutes older. Silas seems surprised (or perhaps concerned?) that they "risked intervention" and Ianthe says Corona had "removed [her] source of oxygen". At this point Silas says, "A wasted opportunity, I'd think." I had always taken this for him just being a dick and implying he wished she'd died in the womb, but coming back to it with this new angle... well. She says "Corona's birth put my survivability somewhere around definite nil." And I'm wondering if that doesn't tie to Harrow's comment about infant deaths generating "enough thanergy to take out the entire planet." Basically, could Silas have been implying that the Tridentarii's parents wasted an opportunity to use the thanergy from baby Ianthe's death to power up Corona?

Harrow says that twins are an ill omen, but the text hasn't come back to that as of yet. Given the difficulty necromancers experience with pregnancy, I'd imagine twins would could be especially dangerous and that in and of itself could be considered an ill omen. Ianthe's comments certainly suggest that their mother carried the pregnancy, although I don't think we know for certain whether she was a necromancer. I am so intensely curious about the Tridentarii's childhood and their parents; we get so many gestures towards some really twisted family dynamics, but very little in the way of concrete explanations. Particularly relevant here, I'd love to know more about their father wanting a "matched set" and how that came about. Did they intentionally plan for twins from the start? Was it only once they knew they were having twins that that became a factor? What's the significance there?

Outside of those "waxy" descriptors, Ianthe tends to be described as much more sickly looking than even other necromancers. We know that necromancers on the whole tend towards a phenotype of physical weakness, but even still, there's an emphasis on this with Ianthe beyond that. This might be due in part to narrator bias (coughGideoncough) or the direct juxtaposition between her and Coronabeth's vivaciousness, but what really jumps out at me as contributing to this effect is how frequently she's described as being colorless, pale, washed out, bloodless, pallid, anemic, etc etc etc. It very much makes me think of the way the color drains away from Colum (and even the rest of the room and the others in it) when Silas is siphoning. Silas himself is also often described as colorless ("mayonnaise uncle," "milk man") but not so much in a way that implies frailty as much as I read it as implying a stark coldness, in line with the very black-and-white moral authority he presumes to wield, a purported "purity", much different than Ianthe's colorlessness. With Ianthe, you get a sense that her palette ought to have been or perhaps was closer to Corona's, but the color's been drained away; where Corona's hair is described as golden, Ianthe's is "canned butter", for example. Almost like the life's been siphoned out, one might say.

So to kind of circle back around, do I actually think Ianthe is dead or a corpse like the other "wax" figures we've seen? Nah. Between Harrow and Palamedes, and especially Palamedes's medical necromancy, I think we would have heard about it by now if that were the case. But I do think it's entirely plausible that she's had a bit of a brush with death and that perhaps she's never quite fully come back from, and I do think she's being intentionally positioned as somewhat adjacent to death. If their parents were wanting twins from the outset, perhaps they used necromantic means to encourage the conception. Or if the pregnancy was as high-risk as I suspect it was, perhaps she'd died or nearly died at birth and been resuscitated. Their parents may have gone to extremes to keep her alive, to maintain their matched set. Given the themes of this series, I do feel it's necessary to draw a distinction between "resuscitation" and "resurrection" although they are curiously adjacent to one another. For all the text has grappled with dying and staying dead, dying and coming back, dying and choosing whether or not to return... we haven't touched on what something like a "near death experience" would look like. I'd imagine having that sort of experience, even at an incredibly young age, might lead one to be fascinated with, to use Ianthe's own words, "the place between death and life... the place between release and disappearance."

#it was making my brain itch also!#thank you for indulging my meandering rambles lol #I’ve got another ask sitting in my inbox that I’m working on too… I promise I’m not ignoring it!#tlt #tlt meta #ianthe tridentarius #nona the ninth spoilers #ask #mcdreary #two halves dead

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masterweaverx · 10 months

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End of the Month Fic Roundup

As we mourn and celebrate the end of this month, I return with my myriad collection of fics and fanfics, with the hopes that at least some of you will enjoy it. I can't do much for reality, but I can do a lot for the realms of imagination and enjoyment.

Firstly, let's go over the random seeds that I've scattered. We've got another Seeker and Sprite segment, for those of you who love teenage superheroes discovering things about themselves. And also, admittedly mostly as a crack idea, there's I'm Fed Up with Zion Ruining the Network for me, so I Recruited Gamers from Another World to Help Out my Host, where Queen Administrator gets creative in her attempts to help Taylor. Finally, I'm proud to say a certain seed has grown enough to be replanted! That's right, Conference Call: Interdimensional Teenage Princess Group Therapy is its own story, complete with TWO new updates!

Of course, I didn't spend the month working just on the oneshots. An Injection Of Chaos has a new chapter, and a fun supplemental report by the PRT. For those of you who like seeing a poor teenage girl struggle with summoning alien creatures through her phone, I present the MLP famous Derpy Hooves! I also started writing a quest in Earth Mythos, an original setting where a generation of people have to adapt to being mythical creatures in a human-designed world. I haven't moved the two updates over to AO3 yet, though I am considering it. Oh, and of course Vista of the Stars has had five chapters put up on AO3, where our intrepid young superheroine FINALLY gets a spaceship!

But finally, as I promised, we have a new chapter of Describing The Series Via References. That's right, after a full year, the RWBY memefic is back! The Vytal Tournament is here, and things are about to go off the rails hard! (I will try to make sure the next update doesn't take a year this time.)

Please remember that writers are artists too, and artists need support! Here is my Patreon if you want to support me long term, and here is my ko-fi if you want to support me short term. I really depend on this for... basically all my income. If you can't fund me monetarily, reblogs are also appreciated!

#Fanfiction #Original Fiction #Worm #Bofuri #RWBY #LLTQ #Mass Effect #Star Wars #Earth Mythos #Seeker and Sprite #IFUZRNIRGAWHOH #Conference Call: ITPGT #An Injection Of Chaos #Vista of the Stars #Describing The Series Via References #If you like my work please reblog #A larger audience brings more motivation

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cat-in-a-mech-suit · 30 days

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Transmasculinity Throughout Time: Dr James Barry

Part 2! Here we go. James Barry was the first European doctor to successfully perform a C section where both the mother and child survived, which is cool to me because I was born via C section. He was born in 1789, but lied that he was younger on documents in order to pass - people described him as young looking and soft featured with a boyish voice, but never questioned in his gender. Despite adamantly stating he was a man for his whole adult life and only being revealed as transgender after death, he is still referred to as a “a woman ahead of her time” in the Guardian in 2016 and argued to have only presented as a man to enter the male-dominated medical field. In his wikipedia page, he is only referred to by his last name, not he/him pronouns. This is another example of the transmasculine erasure done by cis feminist historians that I mentioned in my last post in this series. Instead of doing this, cis feminists, here is what you can do: accept and include transmasculine experiences as a part of feminist narratives, not in contradiction to them, and if you can’t do that, at least actually do some research on the women who were practicing medicine at the time, and acknowledge their accomplishments instead of stealing and erasing transmasculine history! To all students of history, and especially anyone who cares about queer/trans history: stop erasing trans men (and all trans and nonbinary people) and explaining us away. Come face to face with our existence. Can you do that?

Alright.

Barry was a British imperial surgeon. When he was 19, he expressed longing to be a soldier, and he later joined the British army. Eeh, I know. His official title quickly ascended to Colonel Medical Inspector. If it wasn’t for his privilege, his gender transgression would likely have not been so easily forgiven and explained away through infantilization and feminist narratives during and after his life. However, he still faced great challenges.

In his profession, he was unlike others because he spent time around and advocated for the most marginalized in society - prisoners, mentally ill, lepers, poor people, and enslaved people. He did this even though it made him vulnerable and eccentric to those around him. His bluntness and need to make change made him extremely challenged and unpopular among his fellow officers, and he survived on his professionalism and bravado alone, enduring an accusation of “conduct unbecoming of the character of an Officer and a Gentleman” for a clash with another surgeon, of which he was acquitted thereafter. He also got into a pistol duel and won against Captain Josias Cloete of the 21st Light Dragoons. Generally, he was described as both rude and unafraid to speak his mind, as well as sometimes overly polite, with a good bedside manner. People were confused by him because he didn’t fit into society, and they constantly speculated on his life and tried to diminish him and the advocacy that he did.

He was first appointed to his position and was able to keep it despite challenges to his authority because of his “close friendship” with the Governor, Lord Charles Somerset (we all know what close friendship means when historians say it). In 1824, he was slandered, put on trial, and investigated when someone said that they “detected Lord Charles buggering Dr Barry.” James Barry is an important historical example of transhomophobia. Unlike what TEHMs and their ilk believe, queer trans men in fact have been experiencing homophobia all this time. James Barry experienced the same homophobia as a cis gay man would at the time, with the additional pressure of being a trans man who had to pass as a cis man to live as himself: transhomophobia. As a queer trans man, thinking about what he must have gone through makes my stomach hurt.

In 1857, he was appointed to be the Inspector of Hospitals in Canada, and he made significant improvements to sanitation and care for prisoners and lepers during his short time in that position. He was forcibly resigned against his will after only two years, because of his supposed poor health.

Before he died of dysentery in 1865, he asked for his person to not be examined at all. His wishes were disobeyed. He was outed as trans and subsequently, his life was either erased or stolen from him and written as that of a woman. To avoid a scandal, all army records of him were locked for 100 years, until in 1958, a biography of him was written by a cis woman historian, who wrote about him as a woman pretending to be a man and erased his transness. Barry’s own doctor said after his death that “it was none of my business whether Dr. Barry was a male or a female” and suggested that he might have been intersex.

Interestingly, he was also known for an incident in which he scolded Florence Nightingale for poor sanitary practices, which she complained about after he died, saying he was “the most hardened creature I had ever met.”

#transmasculinity throughout time #transandrophobia #antitransmasculinity #transmisandry #transmasculine experiences #trans men #transmasc #examples of transandrophobia #transhomophobia #trans history #transphobia #examples of transhomophobia #homophobia #james barry

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spotlightlowlife · 6 months

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Greed is every sin

Just as openly elitist power abuser Stolas is the best villain of either series in this Helluverse, Mammon manages to be the greatest sin of all and for a similar reason, being multifaceted via many efforts made to sway our thinking, yet these two are then taken in different directions.

So much range does 'greed' have that he even encapsulates the 'sins' we have yet to meet.

Of those we have met, Ozzie, Bee and over in Pride, Lucifer, Mammon has managed to showcase actions of their sins in his own greedy way. Greed has a bit of everyone, but vise versa? Not if they're supposed to be liked.

A totally desexualised character but blamed for the sexdolls of a famous character whoes 'dayjob' is entertaining at a kinky nightclub, run by the prince of lust. Even though he markets the dolls as multipurpose, fit for everyone at a very affordable price, the sex element is his fault. The dolls were clearly a collaboration and something thought up before a reference was chosen, Ozzie catches feelings for their references and feels he should no longer able to separate business from his personal feelings, whilst Mammon manages to prosper in business in a field that isn't his.

Lust ✅

A glutton for the sake of being a glutton, no need for celebration just mindless or stress eating, which fits well as greed and gluttony often go together, taking because it's there.

There's also the deliberate fat design intended to make him more grotesque. 'Gluttony' does not need to be fat, yet the 'Gluttony' we met simply wanted the party goers indulged, however Ozzie wanted his patrons to keep it sexy and Mammon collected cash during the pageant, they did as much as eachother, only the efforts to make him piggish only took away from Bee's thing.

Gluttony ✅

Showy and performative but happy to take the backseat, is seen working and mentoring, adapts to what's new, what works and what others want but also bold enough to openly share selfish motive. As involved and inappropriate as his behaviour may seem he's all business, willing to work with those who don't like him and invest in what doesn't interest him without buckling or offsetting.

Mammon succeeds as a ruthless, confident, both proactive and passive leader who doesn't come across as someone who casually hangs with 'commoners' and whose true influence and power is unknown.

Pride ✅

Way too attentive to be lazy, but, what do people have to say about a boss who puts their feet up and fails to do what they're more than capable of doing, rather, they get others to do? Mammon supposedly 'not doing clown stuff anymore' and Fizz being 'a better clown than he ever was' as according to Ozzie are statements that means little, he wanted a prodigy, we saw imagery of training arc he showcases entertainers in order to fulfil his greed and his trade gets acknowledged. Ozzie has a seedy nightclub where those who work their or visit are expected to behave in a sexy way and Bee expects her guests to indulge, what's the difference? They meet their sin quota whilst not showing us any form of trade outside of being a host, why is Mammon condemned for as in a leading example of laziness? If we're scaling laziness, where does this leave poor, yet to be introduced Belphahor?

Relaxation pairs with recovery, research shows that the Sloth ring has the hospitals and is also responsible for 'upper' medication. Nice right? Something positive, which is where all those we are to like lean towards. That and Bee seems to be friends with her.

Sloth ✅

Spring boarding onto the next sin, Wrath, someone who has been described as attractive (by Bee) and is seen as a leader and god to the imps. It helps to be liked. This is hell where anything supposedly goes, murder is fine but not sadness, sadness isn't a sin but what else is everything, irate. Mammon was allowed to not only be big and menacing but pose a threat to someone who would be frightened of their fallout, allowed to resort to blackmail when he didn't like how things were going and allowed to vow revenge before taking off and trashing the place and maybe even killing his audience who bore witness on his way out, in a rather composed way.

Wrath ✅

Looloo land being a ripoff of Lulu land is so clearly a display of greed, especially since Looloo land is poorly maintained dispite Mammon being a perfectionist, this ripoff could easily be an example of envy, a grasp at control born from following a definitive leader who seems no leader at all, but can do what he wants because this is his realm.

Wlillingness to rip off such a superior, block effort at takedown with an impenetrable contract and still maintain (according to research) a good relationship with shows caution, calculation and willingness to fight.

Mammon even has his face on hell's currency and a banking app, yet who exactly is he supposed to be paying tax to? Lucifer, hells actual owner who doesn't seem to be a leader? Or are they answering to those 'higher up' which places Mammon in the frustrating position of second fiddle to a boss who isn't the best?

We haven't met Envy/Leviathan yet, but we have a host of main characters who live contemptuous lives and look to what others have that they don't, so envy, like wrath affects everyone, have been prominent driving forces since the start along with sadness and tragedy which aren't sins.

Envy ✅

Mammon manages to encompasses all elements of sinning even when he shouldn't really because it's by proxy as someone whose actions are portrayed as self serving and cruel with no excuses or failure to acknowledge, someone who upsets and can be harmful to those we are supposed to root for, something these series shy away from when they want us to like a character. We have a demon who succeeds in being someone you have no business getting mixed up with, in hell, a place you shouldn't want to be, where he is a crowned leader who is after your money if you're lucky.

Greed ✅

#helluva boss mammon #helluva boss critical #hazbin hotel critical #hazbin hotel lucifer #helluva boss ozzie #helluva boss beelzebub

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thecraftyninjacat · 6 months

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Mahoro, Matakara, Aladdin and the Princess

I think Episode 8 finally confirmed to me that the role of the Princess in the Aladdin allusion was actually split between Mahoro and Matakara, rather than it being one or the other. There's a reason why they're both represented by Jasmine-chan during the Nyan Nyaight Love cutaways!

Preface; imo Bucchigiri's narrative takes inspiration from both Disney's Aladdin and the original Aladdin story, so I'm going to switch the Princess's name depending on which version of her I'm referring to. So Jasmine -> Disney's Aladdin, and Badroulbadour -> 1001 Nights Aladdin.

From what I saw in the 1001 Nights Aladdin, Badroulbadour didn't have much of a personality, so it makes sense that a lot of Mahoro and Matakara's personalities were taken from Jasmine, while their roles in the story were slightly more influenced by Badroulbadour.

Mahoro: The feistier side of Jasmine. She has a sharp tongue and always speaks her mind, regardless of potential danger. Eg. Mahoro stands up to Akutaro after he gains the upper hand on both gangs, similarly to how Jasmine refuses to bow to Jafar when he becomes Sultan.

She's also regarded as pretty desirable, and has charmed several men to get them to do what she wants (something that both Jasmine and Badroulbadour do at some point to trick Jafar/the sorcerer). Arajin falls for Mahoro at first sight, similarly to how both versions of Aladdin fell for both versions of the Princess, and like Aladdin his crush on her becomes his driving motivation throughout the series. Akutaro also talks about turning her into a NG Girl and…abusing her, a la Jafar. Ik it's just to trigger Arajin but yk what I mean!

Matakara: The gentler, more naive side of Jasmine, in that he trusts/believes in Arajin...a lot more than he should, really. The main 'lying' plot point between Disney's Aladdin and Jasmine is directly implemented into Matakara and Arajin's relationship. On a surface level there's also their blue colour schemes and phonetically similar names (Asamine -> Jasmine). Near the climax of the 1001 Nights version, the sorcerer tricks Badroulbadour into giving him the lamp with the genie in it, similarly to how Akutaro manipulates Matakara into shooting himself with Ichiya. Both actions trigger a Very Bad Turn of Events that Aladdin stops/will have to stop with the help of his own genie.

Also very interesting how Ichiya has a moon motif, and Badroulbadour's name is a metaphor for female beauty meaning 'full moon of full moons'. Totally not losing my fucking mind over that no sir

Though they both fit the Princess allusion, the entire show is screaming that Matakara is Arajin's true Jasmine, and Arajin is going to realise he was what he needed all along. Honestly, it doesn't get more obvious than Episode 9.

That's not to mention how Mahoro and Matakara also have many, many parallels to each other via their relationships with Arajin. (Both visit him one-on-one at his mom's restaurant to convince him to do something and order the exact same dish, Arajin thinks of child Matakara after seeing both current Matakara and Mahoro get hurt, his meetings with both of them are juxtaposed with one another and described as a 'fated meeting' in this trailer, etc.)

Aside from that, there's also a lot of little stuff that the two have in common! (Both suck at cooking, both deeply care about their older siblings, both are cute as hell etc etc.)

(it's also pretty neat how they're technically both the respective 'princesses' of Minato Kai and Siguma, being the younger siblings of the leader/former leader of each gang!)

#bucchigiri?!#mahoro jin #matakara asamine #arajin tomoshibi #crafty speaks #you know the yaoi is good when i start to use normal grammar #gotta stop the princess talk before i make this about utena again #anywaysss here's hoping matakara and mahoro become besties and bond over their abysmal taste in men <33

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tomorrowxtogether · 3 months

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TXT on Maturing, Packing for the Act: PromiseTour, and Skin Care Essentials

Snapshot! is a Teen Vogue style series where we ask artists to take candid pics and share a glimpse of their style and beauty routines. In this installment, K-pop boy group TXT takes Teen Vogue behind the scenes at the New York stop of their Act: Promise tour.

When the members of Tomorrow X Together (TXT) aren’t attending Fashion Week — whether on the runway or in the front row — they’re jet-setting on tour. However, it's an equally chic occasion — and their latest tour, Act: Promise, is proof of that.

Across the United States tour dates, the concerts’ carefully crafted stages encapsulated the K-pop group’s five-year journey in just a few hours for fans, known as MOA, to experience together. The styling plays a major role in doing so, from their grand entrance with “Deja Vu” to their low-key looks for the youthful anthem “Cat & Dog.”

While the members — Soobin, Yeonjun, Beomgyu, Taehyun, and Hueningkai — make it look seamless on stage, touring isn’t an easy feat. Preparations for concerts may start months before in Seoul with fittings and dress rehearsals but continue until the very last outfit change backstage and even when the members are doing skin care after the show. To learn about it all and soak up the backstage buzz, Teen Vogue caught up with TXT before their sold-out show at Madison Square Garden in New York City on June 1, 2024.

Back in 2019, TXT was first introduced to the world with bright colors, playful patterns, and skinny jeans with their “Crown” music video. Now, the group is known to have a more elevated style with nods to punk and grunge aesthetics. “Because it's been some years since we debuted, I think I would describe it as a journey of growing and being mature, so we definitely see maturing changes in our aesthetics,” Taehyun tells Teen Vogue via an interpreter.

“I wouldn't say it was a radical change, but it was more like a gradual change and gradual being mature and growing. I would say after our second LP, our style definitely got a little more mature than before,” he adds, referring to their album The Chaos Chapter:Freeze, which features the hit single “0X1=Lovesong (I Know I Love You).”

On this tour, the setlist visits each of the group’s chapters, but rather than in chronological order, the arrangement and coordinating outfits explore a motif. “Each show has five sections, and each section has a distinctive theme,” Hueningkai explains. “Our look and our outfits also changed according to the theme.”

For their grand entrance, the group emerges on the stage clad in lace cloaks while wearing white trousers and gray blazers, accentuated by harnesses and chain links, combining their princely charms and pop punk sounds. Within the same section, the members make a quick outfit change to pay homage to their South Korean culture. “We have the song ‘Sugar Rush Ride’ rearranged with Korean traditional instruments, and we also dress in Korean traditional costumes,” Hueningkai says, referring to the hanbok.

The next section, marked by the hit songs “Magic” and “Trust Fund Baby,” showcases the members' more casual side. They are clad in relaxed-fit jeans and designer graphic tee shirts. Whereas they typically wear baby blue varsity jackets with bedazzled wings for this part of the show, for that weekend, the group wore New York Rangers gear, a nod to Madison Square Garden’s home team.

As the group splits up for their unit stages, the youngest members, Beomgyu, Taehyun, and Hueningkai, shed the jackets and rock out to “Quarter Life” in simple ‘fits. Meanwhile, the eldest, Soobin and Yeonjun, change into belted black and white tank tops, respectively, for their performance of “The Killa.” Promptly after the duet and before “Back For More,” they put on sparkly black jackets and rejoin the youngest members who are already wearing the same. Taehyun favors this part of the show for its versatility. “When the light gets dark, we can change the [jacket] really quick, so it gives more variations to the outfit,” he confesses.

As Taehyun notes, the members switch into a more grunge look shortly after. “We wear leather jackets for the third section where we perform ‘Puma.’ Because I think the leather jackets go very well with us all and it just gives off a really hip vibe, I like that one,” Beomgyu says.

The last look of the night comes with the encore, a time the group utilizes to engage and make more memories with MOAs. Their choice of clothing highlights this. Swapping their more extravagant costuming for more casual, fun looks, the group wears hoodies and T-shirts from their merch collection for the tour with classic blue jeans and a simple accessory or two. This look is Hueningkai’s favorite as the comfy, casual nature suits him.

When asked to describe his personal style, “hoodie and jeans” is Hueningkai’s response. His style prioritizes practicality, just like Taehyun, who adds, “I would say I like various styles, but I would say I would choose comfort over fashion.” Fitting for the early June climate in NYC, he explains, “For example, I don't wear long sleeves in hot weather.”

“Like Taehyun said earlier, I like a variety of stuff, but recently, I refer to the street fashion in the UK or Japan,” Yeonjun says. His off-stage looks this tour have consisted of chunky sneakers, layers, and baggy silhouettes for an effortless yet cool look. “I definitely refer to his style. I sometimes try to follow his style,” Hueningkai says in admiration of the eldest.

Soobin and Beomgyu lean towards a more preppy side. Both seem to have their wardrobe essentials figured out. “I like clean-cut style,” Beomgyu says. “Recently, I've been purchasing a lot of wide-leg pants.” Soobin adds, “I also like neat and clean-cut style, so most of my items are button-up shirts.”

Having a practical sense of style does have its benefits on tour. At this point, it seems like the TXT members are pros at the art of packing to be on the road for prolonged periods of time. “It doesn't take that long to pack because we're constantly on a tour,” Beomgyu says. “Sometimes I just leave my luggage packed and just add a little more items to them. For example, a few tops, a few bottoms, a few shoes. But I make sure that I do have my personal makeup tools or makeup items, like cleansers. For those things, I make sure that I do have my own stuff.”

For Hueningkai, it takes a little bit of research. “When I pack for a tour, I definitely make sure that I check the weather because you want your clothes to fit the weather there,” he explains. “For example, if you're traveling to a city where the temperature is high, you make sure you have short sleeves and really light materials.”

Yeonjun’s technique is classic for a fashion lover. “I overpack because I like clothes,” he says. “But I also make sure that there is a little bit of room, considering that you're going to shop when you go to a new city.”

The TXT members are equally sensible when it comes to picking essentials for their carry-on bags. Hueningkai, like many other K-pop idols, notes the importance of comfortable shoes when off the stage and says slippers are his must-have.

Soobin and Taehyun’s travel essentials allow them to have some fun when they can while traveling. Soobin selects a tablet, particularly one loaded with dramas. (On this tour, he chose to watch Queen of Tears.)

Staying active seems to be on the mind for Taehyun. “For me, it's a bathing suit because you stay in hotels when you're on a tour, and sometimes you find really nice swimming pools there,” he says. Similarly, his form of self-care on tour is exercise, so he says he carries a resistance band so he can work out anywhere, even in the hotel.

As for skin care, the group stresses mastering the important basics. “I've recently started to practice this, but I make sure that I wear sunscreen before going out,” Taehyun says. “So that’s my beauty tip.” Also, taking the late spring weather into account, Hueningkai adds.“For me, it's to keep hydrated, so drink a lot of water.”

While the hype and excitement of a concert may culminate before the show, it’s the youngest of the group, Hueningkai, who reminds us that a post-show routine is just as worthwhile for both artists and fans alike. “It's important to really remove your makeup thoroughly,” he says. “So I use cleansing oil — all those makeup remover items. And make sure that you moisturize your skin after that.”

#txt #tomorrow x together #240619 #article #teen vogue #soobin #yeonjun #beomgyu #taehyun #hueningkai

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