#Eugen Flamm

[lowkeyclueless5137]

You won't get this one :'3

Twst fans, do you see my vision?!

[madmanzai]

i shave him sorry

[surveryorofsignals]

National Effort To Establish Connection. (NEEC) Day 7

I'm tempted to start taking a Bayer or two for the cold. If Don wants me to keep writing each day like this amongst freezing my ears and tail off in this Godforsaken attic space if you will, cause that's really what it is. Sure we got a roof over our heads, but doesn't matter when there's no heating up here, and all the foot traffic by construction on the soon-to-start antenna on the top of the McAlpin. It'd be nice to replace that Aerial we've been using since last year then. Flamm is confident we are days away from the okeh from the DOC, so he's already getting contracting in order. The door's been open so much that that Russel's coffee has turned to Ice. Serves him right for turning the entire building into an antenna.

We wound up the phonograph for a couple plays today for DXers. Played something by Carl Fenton which someone in Yorkville picked up in "great clarity" they said when they called in. We tried to play some Jazz like Ralph Williams, but we haven't worked out how to get around distortion yet. I wonder if Eugene will play any of that when we get up and running officially? Speaking of him, me and Dickson got into conversating with him on our way up this morning. We may be getting that string player Arthur Baecht who plays in the evening over WNYC, to join his band when we actually get our callsign. Now That would be something worth hearing! If that's the type of thing we should expect to hear and people we meet, then maybe I'll stay on our 50 days are over. Let's just Stabilize for now.

[birb-tangleblog]

Do you have any fic recs for brotherhood content?

Ok so! I feel like there's a decent amount of fics that include the Brotherhood out there, but full disclosure- I'm honestly pretty picky. So I can try! Just know that this list won't be exhaustive- and reflective of my prefs! Here we go:

on broken ribs and brethren traitors - One of my favs focusing on the relationship between Hector and Adira, and the aftermath of the Great Tree falling. Emotional beats, conflict, and catharsis I wish we’d gotten in the series. I think this is one of the few fics that captures the deep familiarity and shared history that exists between these two, and the bond that endures despite their ideological differences. Shades of angst and hurt/comfort, but with enough resolution and reconciliation to end on a hopeful note.

So Pardon the Dust & words cannot say (what I want them to say) - So both of these are actually Eugene’s POV, but touch on his relationships w/ the individual members of the Brotherhood- which is smth I hadn’t realized I wanted before, but now feel like we totally missed out on. Works that focus on the ‘negative space’ between characters are fascinating to me, and both of these accomplish that as post-humous character studies of King Edmund. Very bittersweet.  

Idt this one has a title? but it’s another one by Kingrey, and its adorable. Quirin’s relationships over the years, told through pie. Short and sweet.

Roots & its sequel, Uprooted - I feel like it’s cheating to feature these, b/c I commissioned them and had some input so... ofc they appeal to me lmao, but LEGIT they are both so good. Canon-divergent AU where Hector takes Var under his wing, and a mentor/mentee bond develops between them- but done with fidelity to Hector’s character, and the abrasiveness and hard edges that make him so interesting. An elegant take on ‘Uncle’ Hector thanks to Hic’s writing, thoughtfulness, and character voice.

Looking Through a Window & its sequel, Happy Endings Exist Only in Fairytales - Ok, this one is an OG villain!Quirin fic, from 2018, with the first one being written before S2 even premiered-  this author was a VISIONARY. I know some fans might not like fic that's been jossed or made outdated by canon, and this was published before Hector appeared and when moonsonas were just a wish- but I think it holds up really well and is still intriguing. An emotional, believable, and more subdued take on Quirin turning against the crown.

brilliant d’os - A sweet missing scene set immediately after the finale, with Var doting on his dad, Hector, and Adira. Quite fluffy, it’s literally them getting pampered and taken care of, but there’s a core to it. The descriptions of breakfast in this one remind me of an old Redwall book and make me hungry...

torche à flamme noire - Same author! Less fluffy, more angsty- of the Var and Hector variety. Grittier, but there’s a touching ending and some softness to it. Slight canon-divergent AU, set during and after the finale

everything stays (but nothing's quite the same) - Technically Quirin and Varian-focused, the other Brotherhood members don’t make an appearance- but I’m including it, because it’s nice to see a character study on Quirin as a father, with him as the POV character, and how he’s processing the events of S3. Canon-compliant. I like that this one has Quirin actively striving to become a better parent and learning to be emotionally available and present for his son.

It Wasn’t Just a Dream - LEILEEEEEIIII! I almost just linked her entire Ao3 lmao, b/c she deserves a shoutout for writing so many diff takes on these 3- but I really like the ideas in this one in particular, and the mindtrap being given a lot of gravity, recovery not happening overnight, and the exp having long-term effects on H + A’s lives. Angsty, but it’s still optimistic and healing. Somft... (also note her account features some Bhood ships.)

the outsider perspective - Another oldie, from just after the S2 premiere. A short character piece that still captures Adira’s quirks and personality nicely, and holds up well.

Memories of the Brotherhood - flashbacks mixed with scenes set in the present- glimpses of their history and conflicts, with an undercurrent of eeriness. Always cool to see formats like this.

I think there are also some good fics out there that feature parts of the trio in smaller roles or as solidly-written background/supporting characters! But I’m not including those b/c I wouldn’t quite class them as “Brotherhood” content, where they’re the focus.

I tried to think back on what I’ve read, but hopefully I didn’t miss anything obvious!

[introspectivemeltdown]

Eugene S. Flamm-From Skulls To Brains (2500 Years of Neurosurgical Progress)

Found this book in my house. No idea where it came from. 

[rudyroth79]

Ion I. Cantacuzino (1908–1975), fiul actriței Maria Filotti și al inginerului Ion Cantacuzino, a jucat un rol important în cinematografia românească aflată la începuturile ei, fiind și un critic de film apreciat.

De formație medic psihiatru, a activat cu mult talent și în noua artă, regizând filme documentare și artistice. Între acestea: ”Castelul Peleș” (1941), ”Datini din străbuni” (1942), ”Războiul nostru sfânt” (1942), ”Evoluția si misiunea poporului român: din cartea vieții neamului românesc/Noi” (1942), ”Rapsodia română” (1943), ”Țara Oltului/Valea Oltului” (1943). A fost producătorul filmului ”O noapte furtunoasă (1943) după I. L. Caragiale, scenariul și regia: Jean Georgescu.

Interesant este că dorința de a face artă cinematografică a dorit să și-o perfecționeze de la cei mai buni profesioniști ai vremii sale, făcând pentru aceasta vizite în studiourile de film europene.

În cartea sa, ”Întâlniri cu cinematograful”, doctorul și cineastului Ion I. Cantacuzino relatează două astfel de vizite. Prima era în 1922 și se petrecea la Berlin pe platoruile firmei UFA. Acest studio era situat într-o grădină zoologică de lângă capitala germană, iar vizita românului fusese mijlocită de scenograful Ernst Stern, de origine român, care era unul dintre principalii scenografi ai studioului respectiv. Cantacuzino povestește în amintirile sale: ”Stern ne-a spus că lucrează la un film cu Pola Negri, intitulat Die Flamme, și ne-a invitat să participăm la luările de vederi. Așteptarea pasionatului spectator de filme ce eram a avut o decepție în fața acestei hardughii cu foarte puține instalații tehnice”, scrie Cantacuzino, prea puțin impresionat de felul în care se turna un film mut. Și continuă: ”Îmi închipuisem a vedea o mulțime de reflectoare și o armată de tehnicieni. Dar în studioul de la Zoo nu se mai turnau scene de mare montare, iar scena la care asistam se întâmpla să fie foarte restrânsă, cu o scară pe care Pola Negri, plină de temperament, o urca, certându-se cu cineva.”

Cineastul român a avut ocazia după 10 ani să viziteze un alt studio cinematografic european. De data aceasta era la Paris, la Paramount, unde el și mama lui, actrița Maria Filotti, fuseseră invitați de marea actriță Elvira Popescu, în 1932.

Ion Cantacuzino notează: ”Acum era vorba despre un studio de filme sonore. Și anii care trecuseră de la primul meu contact cu o fabrică de filme aduseseră schimbări. Capitonajul zidurilor pentru sonorizare schimbase complet înfățișarea platoului înțesat de tehnicieni ce se mișcau într-o pădure de aparate și de reflectoare.”

Criticul de film Manuela Cernat are o mare admiraţie pentru el, considerând că ”avem nevoie de astfel de modele, cu o deschidere culturală de renascentist: a fost nu doar un mare critic de film, întemeietorul istoriografiei filmului românesc, ctitorul unor instituţii ale cinematografiei noastre, dar a şi susţinut o serie de conferinţe publice, a fost şi doctor în medicină, psiholog şi psihiatru, autor de scenarii, regizor şi producător de filme şi cronicar literar”. Criticul susține că, deși istoricii și criticii îl trec adesea cu vederea, Cantacuzino poate fi aşezat fără nici un dubiu în galeria marilor interbelici: Emil Cioran, Mircea Eliade, Eugen Ionescu, Constantin Noica, Haig Acterian, Barbu Brezianu, Petru Comarnescu, Petre Ţuţea, Toma Vlădescu, Mircea Vulcănescu, Mihail Sebastian.

După al cel de-al Doilea Război Mondial, din postura de medic, Ion Cantacuzino a tratat un pacient care fusese legionar și sub acuzarea că a tăinuit autorităţilor acest lucru, în 1950, a fost arestat şi condamnat pentru ”uneltire împotriva ordinii sociale”, executând o parte din pedeapsă la Jilava, fiind eliberat cu greu la intervenţiile mamei sale, Maria Filotti. Un an mai târziu a fost rearestat şi anchetat în beciurile Securităţii ”pentru crime împotriva umanităţii”.

”Uzina de basme”, ”Întâlniri cu cinematograful”, ”Note pentru azi”, ”De amore”, ”Momente din istoria filmului românesc”, ”Jean Mihail”, ”Filmul românesc de altădată” sunt doar câteva dintre titlurile de cărţi şi studii publicate de Ion I. Cantacuzino.

Ediția princeps, 1935

Ediție 2004

”O noapte furtunoasă” după I. L. Caragiale. Scenariul și regia: Jean Georgescu. În distribuție: Alexandru Giugaru (Jupân Dumitrache), Ștefan Iordănescu-Bruno (Nae Ipingescu), Radu Beligan (Rică Venturiano), George Demetru (Chiriac), Ion Baroi (Spiridon), Maria Maximilian (Veta), Florica Demion (Zița),  Gh. Ciprian (Ghiță Țircădău), Jean Moscopol (Un armean), Cornelia Teodosiu (Cocheta), Miluță Gheorghiu (cupletistul I. D. Ionescu) ș.a. Decoruri: Ștefan Norris; Costume: Aurel Jiquidi. Muzica. Paul Constantinescu. Imaginea: Gerard Perrin. Data premierei: 22 martie 1943, Cinema ARO

Vezi: arhiva rubricii Memor de Daniela Șontică

”Cineastul Ion I. Cantacuzino, pe platourile europene de filmare” de Daniela Șontică Ion I. Cantacuzino (1908–1975), fiul actriței Maria Filotti și al inginerului Ion Cantacuzino, a jucat un rol important în cinematografia românească aflată la începuturile ei, fiind și un critic de film apreciat.

[benrleeusa]

[Eugene Volokh] Do Ordinary Speakers Have Lesser First Amendment Rights Than Newspapers Do?

I have long argued that the answer is "no" -- that the "freedom of the press" is the freedom of all to use mass communication technology (the printing press and its heirs) and not just the freedom of a particular industry (the institutional media). The Supreme Court agrees, as do most lower courts. But a few states do deny non-institutional-media speakers the same First Amendment protections that the institutional media gets; and Minnesota is one of them.

Thus, in the recent Maethner v. Someplace Safe, Inc., the Minnesota Court of Appeals held that a libel plaintiff could recover presumed damages (i.e., damages not supported by specific evidence of lost business opportunities or other harms stemming from injury to reputation) even without a showing that the defendants knew the statements were false or likely false. In Gertz v. Robert Welch, Inc. (1974), the Supreme Court held that this was not allowed when it comes to statements on matter of public concern, even when the plaintiff is a private figure. But Minnesota precedents say that this doesn't apply to speech outside the institutional media.

Here, Someplace Safe ("a nonprofit organization that provides advocacy and other services for victims of violence and domestic abuse") gave a "Survivor Award" to a woman, and published an article by the woman in which she described her "surviving domestic violence." Her ex-husband sued, saying that the article would be understood by reasonable community members as accusing him of having abused the ex-wife. The appellate court let the case go forward, reasoning partly that "[t]he media, and related concerns to protect constitutional rights under the First Amendment, were not involved."

The defendants have recently asked the Minnesota Supreme Court to review the case, and I filed an application to file an amicus brief -- with invaluable help from local counsel John Arechigo, as well as my student Jason Lawler -- on behalf of our own Dale Carpenter (formerly of the University of Minnesota), Prof. Raleigh Levine (Mitchell Hamline), Prof. Greg Sisk (St. Thomas), Scott Johnson (of the Powerline blog), and myself. In Minnesota, such an application technically seeks leave to file a brief in the case if and when the court grants review, but in practice it sometimes explains why review would be helpful. Here is the heart of what we say:

Applicants support the position of Appellants on Issue 1 set forth in the Someplace Safe petition. In their brief, they plan to argue the following:

[1.] Though this Court's precedent in libel actions, Stuempges v. Parke, Davis & Co., 297 N.W.2d 252, 258 n.5 (Minn. 1980), concludes that the Free Press Clause applies differently to media and nonmedia speakers, the U.S. Supreme Court has long held that the First Amendment protects the "press" not as an industry but as a technology­, covering all people who use the printing press and its technological descendants.

Most recently, in Citizens United v. FEC, 558 U.S. 310 (2010), the Supreme Court expressly endorsed the view that "the institutional press" has no "constitutional privilege beyond that of other speakers," id. at 352 (internal quotation marks omitted). And in the process the Court endorsed the view of five concurring and dissenting Justices in Dun & Bradstreet, Inc. v. Greenmoss Builders, Inc., 472 U.S. 749 (1985), which specifically rejected a media/nonmedia distinction in libel cases.

Indeed, the principle that nonmedia speakers are entitled to the same protection as media speakers is firmly established. In New York Times Co. v. Sullivan itself, the Court reversed an award of presumed damages against both the Times and several nonmedia defendants, applying the same "actual malice" test to both. 376 U.S. 254, 279-80 (1964). That holding in turned relied, id. at 280-82, on Coleman v. MacLennan, 98 P.281 (Kan. 1908), which noted that "the present consensus of judicial opinion is that the press has the same rights as an individual, and no more." Id. at 286. And immediately after New York Times v. Sullivan, the Court applied its holding to two nonmedia defendants. See Garrison v. Louisiana, 379 U.S. 64, 64-67 (1964) (statements made by a district attorney at a press conference); Henry v. Collins, 380 U.S. 356, 357 (1965) (statements made by an arrestee in a private letter to the sheriff and in a press release to wire services, see Henry v. Pearson, 158 So. 2d 695, 696 (Miss. 1963)).

Unsurprisingly, media and nonmedia speakers are treated equally in other areas of First Amendment law as well. In leafletting cases, the Court expressly extended the Free Press Clause to nonmedia defendants, writing, "[t]he press in its historic connotation comprehends every sort of publication which affords a vehicle of information and opinion." Lovell v. City of Griffin, 303 U.S. 444, 452 (1938). The Court likewise refused to grant to the institutional media a "constitutional right of special access to information not available to the public generally," Pell v. Procunier, 417 U.S. 817, 833 (1974) (citation omitted), or any special privileges for claims involving copyright law, labor law, and many other areas of the law. See Eugene Volokh, Freedom for the Press as an Industry or Technology? From the Framing to Today, 160 U. Pa. L. Rev. 459, 506-21 (2012) (citing the cases on this point, and discussing them in detail).

Even before the Internet age, the media/nonmedia distinction was thus condemned by the Supreme Court as creating an unsound inequality of constitutional rights. And as the Internet makes lines between professional media and nonmedia speakers are getting ever more blurred, the media/nonmedia distinction becomes especially unsound and unworkable.

[2.] Eighth Circuit caselaw likewise requires a showing of "actual malice" in such cases. "The fact that . . . Gertz involved media defendants . . . is in our view irrelevant to the question of what level of constitutional protection [the defendant's First Amendment] right is to receive." In re IBP Confidential Bus. Documents Litig., 797 F.2d 632, 642 (8th Cir. 1986). If the defendants in this case were not citizens of Minnesota, and thus removed the case to federal district court, they would have been immune from presumed damages absent a showing of "actual malice."

[3.] Every other federal circuit court to consider this issue has likewise held that the First Amendment applies equally to media and nonmedia speakers in defamation actions. "[A] First Amendment distinction between the institutional press and other speakers is unworkable." Obsidian Fin. Grp., LLP v. Cox, 740 F.3d 1284, 1291 (9th Cir. 2014) (so holding in an Internet speech case). "Any effort to justify a media/nonmedia distinction rests on unstable ground, given the difficulty of defining with precision who belongs to the 'media.'" Snyder v. Phelps, 580 F.3d 206, 219 n.13 (4th Cir. 2009), aff'd, 562 U.S. 443 (2011). See also Flamm v. Am. Ass'n of Univ. Women, 201 F.3d 144, 149 (2d Cir. 2000); Avins v. White, 627 F.2d 637, 649 (3d Cir. 1980); Garcia v. Bd. of Educ., 777 F.2d 1403, 1410 (10th Cir. 1985); Davis v. Schuchat, 510 F.2d 731, 734 n.3 (D.C. Cir. 1975).

[4.] Indeed, even Minnesota Court of Appeals cases sometimes follow the federal lead in such matters, and state that, "[w]ith matters of public concern . . . recovery of presumed damages cannot be permitted on less than a showing of the New York Times actual malice standard." State v. Turner, 864 N.W.2d 204, 209 (Minn. Ct. App. 2015) (citing Gertz); see also C.S. McCrossan v. Poucher, 1992 WL 213468, *1 (Minn. Ct. App. 1992) (nonprecedential) (citing the Gertz test as authoritative in a case involving a private figure plaintiff, a nonmedia defendant, and speech on a matter of public concern); Strauss v. Thorne, 490 N.W.2d 908, 914 n.1 (Minn. Ct. App. 1992) (Crippen, J., concurring in part, dissenting in part) (noting tension between Stuempges and Dun & Bradstreet).

[5.] Plaintiff Kurt Maethner should therefore be unable to recover presumed damages in this case absent a showing of "actual malice"—knowledge or reckless disregard that the statements were false. That is what the Court held for statements on matters of public concern, even about private figures. Gertz v. Robert Welch, Inc., 418 U.S. 323, 350 (1974). "[T]he treatment of battered women" is a matter of public concern. Diesen v. Hessburg, 455 N.W.2d 446, 450 (Minn. 1990). Likewise, "sexual abuse of children by their parents" is "certainly of public concern." Richie v. Paramount Pictures Corp., 544 N.W.2d 21, 26 (Minn. 1996). It follows that abuse of women by their spouses is, too.

Yet the court below did not require a showing of "actual malice." In this, the court followed this Court's lead in Stuempges (see Someplace Safe Pet. Add. 40), which—five years before Dun & Bradstreet—held that Gertz "applies only to media defendants." 297 N.W.2d at 258 n.5. The Stuempges decision may have reached the right result on its facts, which appeared to involve a matter of purely private concern—Dun & Bradstreet held that, in private-concern cases, a showing of "actual malice" is not required for presumed damages. But the media/nonmedia distinction that Stuempges adopted was expressly rejected by a majority of the Justices in Dun & Bradstreet, and has since then been rejected by the majority opinion in Citizens United.

We express no view on whether the ex-husband was indeed libeled by the ex-wife and by Someplace Safe; we argue only that the same First Amendment rules should be applied here as they would be to institutional media defendants.

[lowkeyclueless5137]

”God help the outcasts”(a song from hunchback of notre dame. Sung by Esmeralda by the way) Man. Eugen character(even if it’s just an adaptation of what Rollo’s younger brother could have been like) got to be really cool, man and knowing that this guy technically twisted from Esmeralda. Wonder if that means Eugen sympathetic to the poor and those less fortunate or “outcasts” like Ruggie, and possibly any other that falls into that category? Also is it okay if I ask how you draw both Rollo(this gonna be your first time drawing this guy?) and how you draw Eugen(I actually like to see how he look in both NBC and NRC uniforms) for this concept?(maybe even draw a bonus scene Eugen hugging Rollo :D. At least it look wholesome compared to *COUGH*what Rollo really capable of*COUGH*)

Hah! It's not my first time drawing the church twink >:3

Have an Eugen :3

Feat sunburn rollo bean :3

[lowkeyclueless5137]

so uhhh how many times Eugen had to escape from trouble like Esmeralda did, like using a certain handkerchief to escape by blowing into it to not only create a big cloud of smoke vanishing from the spot and somehow appearing else where(like doing all those crazy tricks Esmeralda did to well escape from Frollo at the end of the Topsy Turvy festival. Heck maybe gaining a laugh from some of the others who just happen to be seeing it) this counts from probably when he was young and had Jolly with him(probably pretending to be one of the pumpkin heads there, before Rollo himself probably found out, unless he also followed along with what his younger brother did at the time) all the way to when he is attending either noble bell college or night raven college and he had to escape trouble that way too(for example maybe in Night Raven College, helping Yuu and Jack get out of Octavinelle with the classic handkerchief[bonus if it’s the purple one with yellow stars or maybe a plain baby blue] trick so no one from Octavinelle capture them. Or the noble bell route, uhhh probably just demonstrates it in front of the night raven students at a random point in time)

Wooo! Eugen content :3

I'm also gonna take the NRC route as his cannon one, just because it gives him more opportunities to shine and grow as a character without Rollo being necessarily a major catalist(the same goes for Rollo too). :v

Now... From what I do know by reading literature depictions(dunno how international literature describes the rromi, but here at least, there are some important books with the topic we have to read and in here, they are all reffered as their old name) Is that rromi women were said to be formidable witches and even predict your future and cast enchantments on you. Hence all those tricks. They also have a quite eye catching dress-up, in terms of colors. So there is a lot of parallels to Esmeralda that work and thus, Eugen would have some of those aspects represented in one way or another.

For starters, Eugen would know all kinds of party tricks. He would make it look like magic, when in truth he uses no spells or anything, just simple eye illusions. From the dissappearing acts to pulling endless handkerchiefs out of his ear or turning a wipe into a bird. Such acts were always used to liven up the mood, but mostly to cheer up his brother after a particularly bad day.

Jolly, their goat, also knew some tricks, such as balancing things on it's head or knowing how to shake hands(hooves?) and even play dead. The goat would do those tricks mostly to make people, who don't know any better, sympathize with it and give it some extra food. Now it has to be noted that Rollo and Eugen do feed Jolly great food in reasonable amounts, but this goat doesn't get enough out of it and as such, needs to trick others behind the brothers's back for sum extra treats.

That was, of course before the accident where jolly died.

After that, it was a more sour time. Rollo attempted to firstly cheer up hs brother before dealing with his own grief over the situation. His brother was wounded after all and it was a miracle he even made it out alive. So as such, Rollo learned those tricks Eugen kept making, in hopes of making his brother return a bit to his cheery self. Rollo didn't expect to have Eugen back like nothing happened, but he wanted back to some sort of normality. And in that normality Eugen was smiling and going around getting into small shenanigans.

Now cut to NRC and Yuu first meets Eugen, who was passing by. Man was a very cheery guy and would gladly explain about the great 7 to Grim and Yuu. He does add that from where he comes, there's a historical figure known as the fair Judge. So he gives that extra insight to Yuu and Grim, just to show that the great 7 did some exceptional things that the fair judge never achieved if they got famous all around the world.

But Eugen starts with them in another order: The sea-witch, the fair queen, the king of beasts, the god of the underworld, the thorn fairy and finally, Grim brings up that he jumped over the 7th one, the one behind him. Eugen reassures that first he wanted for him to be also able to point which was which after all.

But here comes Ace and explains about the queen of hearts. And the prologue rolls similar to cannon, mostly since Eugen just got off by having his dissapearing act and Azul grounded him for the day because of causing mayhem.

Eugen again is re-meet in book 2, when he says that some Octavinelle magishift players got wounded and he had to help around with their shift changes. Azul of course wasn't happy the slightest for the sudden accidents increase. So Eugen accepts to help out Yuu and Adeuce with their investigation, if he gets to play on the Ramshackle team(Azul was a mama hen and didn't want the child™ to be hurt in a 'sport for brutes') So with this conditions, Eugen is on with the investigation team.

Rollo also sees the magishift exhibition match and cusses Draconia for this.

In book 3, Eugen got for free the notebook (the twins tease Azul about it relentlessly) And he shared it with Yuu at co-joined study dates that Adeuce and Grim dipped on. Jack was also there and he pointed out how it sounded like a sus thing. So Eugen explains how Azul even made this notebook, which was absolutely bonkers that someone poured so much effort in a guidebook to help you study.

But the anemones pop up and Jack with Yuu give Eugen a side eye like 'didn't you forget to tell us the part where we people get enslaved?'. Eugen, poor clueless Eugen, had 0 idea about this.

Of course, this stirrs up a very nasty argument with Azul. Damn the twins got some tea and popcorn cuz it was that 'mom-son' argument they had to witness.

So Eugen helps Yuu and Jack screw over Azul. He additionally gets kicked out, but he ends up sleeping at Heartslabyul since Leona didn't want to deal with 'that cephalo-punk's bastard child'.

Yuu and Grim are worse tho :'3

But they do screw over Azul. And Eugen feels like he has an apology to get from Azul. But also apologise for being a bitch too during their argument. Alas, things were said and done and nothing could be made to change them. :'3

Scarabia goes like in cannon, cuz Eugen went home and ranted to Rollo about all the adventures he had.

VDC has Eugen trying out to audition, but he gets rejected. He's a great dancer but not so great singer. :'3

Book 6 also has Eugen out of it.

And that's when we have the glorious masquerade, where it goes just like I answered a few asks ago :v

[lowkeyclueless5137]

So uhh mind if we hear more how Ortho and Eugen are total besties while their older brothers uhhh not so much(only acting like “besties” for both their younger brothers’ sake)

They do all sorts of things together, since they are also deskmates. :3

Small things from homework together, to school projects, hanging out after classes, gossiping about school events, not really something that special.

But sometimes we get smth on fire... Ya know... Just a tiny lil insignifiant thing. :3

And when in relam of possibilities they would also drag their brothers too, mostly so the 2 won't make seizures over worrying for them.

Idia and Rollo are absolutely at each other's throats. But they are more subtle about it when Ortho and Eugen are present bc they also have a comune truce to not make their younger brothers upset.

*insert one stage in playful land later*

Now Idia and Rollo are absolute besties. Even more besties than their younger brothers. Apparently comune hate for one person is what brings people together.

[lowkeyclueless5137]

you think Ortho and Eugen would still be besties had Ortho been the living brother?

ABSOLUTELY!

They are besties because 1. They are deskmates, 2. They can relate by having a worrywrath big brother, 3. They actually think the other is very cool and thus more bonding.

4. They both set on fire smth and now that is officially a bestie milestone :3

[lowkeyclueless5137]

Wait if Eugen didn’t go to Glorious Masquerade, then did he go to the stage in playful land. Well I can only imagine how many grey hairs Rollo will gain upon hearing what the actual hell happen(and possibly trigger him more of a reason to be a butthead about magic itself :|)

Oh Rollo hears about it through Idia. Like Idia sends him a message (cuz Eugen totally got his bro a phone once he gets fed up with the letters) and Rollo BOOKS IT to NRC in record time. Man is there to strangle a fox and nothing will stop him. Don't care if you had a redemption, Fellow, now shut up and accept the inevitable mass arson that will follow. U-U

The reason Idia sent a message was because Eugen and Ortho were both involved and if he with Rollo wanted to keep the 'besties' act up, Rollo had to know. Also ya know... They both have a comune enemy now so I guess they could bond over that. :v

[lowkeyclueless5137]

Guess who's the responsible adult... :'3

But since Eugen got created, I felt like this dynamic would sum up perfectly all of my ocs and yuusona :'3

I still have to work on bakugan au and my comic, yet here we are :'3

[lowkeyclueless5137]

so you think Eugen and Ortho would be friends? Like imagine them getting along but their older brothers, aka Rollo and Idia, are giving each other the stink eye

I should be a serious peep... They are classmates after all... -3-

ANYWAY!

Eugen & Ortho @ the glomasq trio+Rollo:

(On the book is written 'friends for dummies)