#I just... it's all made up! it doesn't make any sense! or have any relevance to whats real!

[dungeons-and-dragon-age]

ok sorry i'm just. ????

rant and spoilers ahead because i gotta yell into the void a little

first of and most of all. WHY does it sound like Solas front and center of everthing now??? Including both Inky's and Rook's stories/motivations???? Like okay i understand that Solas will inevitably be important in Rook's story and that's chill! We knew he was gonna play a part in this story! But why do they make it sound like half or Rook's purpose is just there to further Solas's story/character

and it quickly becomes clear that Rook will have their own unique relationship with Solas, as the Inquisitor did before them. I think what's been fun for us, too, is trying to build Rook as kind of almost a mirror of Solas.

Epler also acknowledges that the Inquisitor “obviously has a very personal relationship with Solas,” one that will need to be reckoned with in The Veilguard.

“And I'd say the Inquisitor, to some degree, feels guilty or responsible for what Solas is doing to the world. So while we're not going to get too far into details about what role they may play, they absolutely are somebody who is going to be interested and invested in the outcome of Rook's journey in The Veilguard.”

Why. are you telling us how our Inquisitor is supposed to feel about this?? When you play DAI you agree to play The Inquisitor, yes, but you don't agree to play someone who Cares About Solas. Like. Yes. I get that he is important. That much has been clear since Trespasser. And i'm ok with that! But how come you say "this is a game about Thedas and a world in conflict" and then also talk like this story is About Solas, Actually.

The other thing i absolutely do not get and do not like. At All

Those decisions are: who your Inquisitor romanced (with the options gender- and lineage-locked in the same way that they were in Inquisition), whether or not you disbanded the Inquisition, and whether you vowed to stop Solas or save him.

?????

No "who drank from the WoS"? No "who is Divine"? No "does OGB Kieran exist"? No "is Hawke alive" (Varric is there. SURELY he cares about this a lot)? No "what happened to the Mages & Templars"? No "were Wardens banned from the south"? Arent't those uh. Really Relevant Decisions???? WHY is one of the whole grand three (3) decisions that carry over if Inky wants to save Solas or not. I mean ok i guess i get it cus that was The Big Decision TM at the end of Trespasser but again. Why is that the big thing that matters. out of all the things that SHOULD matter.

There's not as many decisions you have made up to this point that have an impact on what's happening in Northern Thedas.

But it’s also part of the advantage of moving the setting up to Northern Thedas, Epler says, with the prior games in the series taking place in Southern Thedas, a significantly different region both geographically and sociopolitically.

Uh. Yeah they do. See above points and also some that i forgot probably. Northern and Southern Thedas don't operate independently from one another that's not how this works. Especially again with things like the WoS or the Divine decision. Also half our companions from the other games are from the north?? Like yes ok i know get what you mean kinda and it's true to an extent but not like this

for one, the team focused on choices that they felt they could react to meaningfully – not just a cameo or one-liner.

“There's never a sense of, ‘Oh, that decision doesn't exist.’ But maybe we don't touch on it in this particular title,”

The. Cameos and one-liners are what make it special though?? You can't say "We want those stories to be personal." and then say you're not making any of those small decisions matter. And i don't mean matter as in having A Big Impact TM but i know that a lot of us LIVE for those small tiny nods to previous decisions that make the world feel actually alive and connected. I understand that we can't have full on-screen cameos or questlines or whatever for every little tidbit but not even. idk. Background convos about what's going on in Orzammar? Gossip about Ferelden's monarch? A line from Varric about Bartrand? Dunno man. Again not to mention the Big Things like Kieran. or the Well of Sorrows consequences. Or the Divine (which. yknow. is directly relevant everywhere except maybe Tevinter??). Those were always the things that made importing a worldstate so charming! because you could see the small little impacts that you have on the world. The tiny things like the line about the pigeons in Ferelden in DA2 or a wartable mission with Wade and Herren in DAI are so so special to me

[sunderwight]

Shen Yuan who glitches in his transmigration, but the original Shen Qingqiu still dies of a qi deviation.

So the System still needs someone with narrative relevance to throw Luo Binghe into the Abyss. In a fit of desperation, it contrives circumstances after Shen Qingqiu's death to move Luo Binghe to An Ding Peak (not that difficult), and then the System makes Shang Qinghua be Luo Binghe's new scum master who casts him down.

Airplane's thrilled, really. Cultivators aren't supposed to get ulcers but damned if he doesn't come close to one anyway. Between Shen Qingqiu and then just a while later Liu Qingge both dying from qi deviations, and Shang Qinghua looking like a stiff breeze could take him out any day now, poor Mu Qingfang is also just about at his wits' end.

But it's not all bad news! On An Ding Peak, Luo Binghe actually finds himself surrounded by the kinds of people who are accustomed to being bullied by the rest of the sect. So they're pretty sympathetic to him, and it's easier for someone with basic laboring skills to advance on that peak too. His chores don't decrease too much, but he actually gets rewarded for doing them well, and no one tries to kick him out of the dorms or anything. Shang Qinghua doesn't either go out of his way to bully or praise Luo Binghe, correctly reasoning that his best shot at not getting a gruesome death is to just be a more forgettable bad guy than an abusive dirtbag or a heart-wrenching betrayal. He doesn't sabotage Luo Binghe's cultivation (no point, and it would just farm resentment later) but he also doesn't go out of his way to help him improve (not gonna arm his inevitable maybe-probably-murderer with better weapons!), so Luo Binghe's situation sees an overall improvement but not the zero-to-hero treatment he'd have got with Shen Yuan either.

When Shang Qinghua shoves Luo Binghe into the Abyss (he just full on picks him up and tosses him like a sack of beans, better to rip it off quick like a bandage), LBH is upset, but he's not especially surprised or dismayed about Shang Qinghua's part in it. Later on he'll be kind of confused, because he just assumed that of course the righteous sect cultivator would abhor the demon, but it turns out Shang Qinghua has been working for a demon since before Luo Binghe even came to the sect? But then it still kind of makes sense because a Heavenly Demon would definitely pose a risk to Mobei Jun and to Mobei Jun's rule. Shang Qinghua, he supposes, is just really loyal to his specific demon.

Luo Binghe's subsequent revenge quest is also somewhat mitigated by the Abyss actually not being that bad.

The Abyss is not actually that bad thanks to the glitched out Shen Yuan having been camping there for several years now.

So when Shen Yuan's transmigration failed it failed because he "woke up" during the process, realized where the System intended to put him, was like no way in goddamn hell am I being that guy about it, and actually kind of won the ensuing tug-of-war. The System couldn't put him in Shen Qingqiu but Shen Yuan didn't want to go back to his dead body either, so he ended up stuck in the nearest available space for lost interdimensional beings. Which was the Endless Abyss.

Luckily Shen Yuan's quasi-transmigrated imparted an equivalent cultivation level as Shen Jiu's to him, and the glitch made him able to sense and manipulate certain extra-dimensional energies, so he manifested as this weird godlike being able to manipulate and control aspects of the Abyss. So he set about transforming Airplane's Torment Nexus into a viable ecosystem (the current version would not be anything approaching sustainable were it not for divine/narrative intervention, and is constantly on the verge of destabilizing into unlivable ruin that would only be fit for some particularly hardy microorganisms).

It's still like, a monster land full of demonic creatures and terrifying phenomenon, but with Shen Yuan's assistance it becomes something more like a demonic wildlife reserve than a dimensional horror plane. Though it is still a dimensional horror plane, and Shen Yuan is its chief dimensional horror. He treats it sort of like those dungeon building or wildlife park sims, figuring out how to keep everything in balance while still preserving all the interesting parts. A lot of the extreme survival issues of the Abyss are more of a result of it being environmentally unstable than a result of its actual denizens, and once he smooths out a lot of the messy dimensional edges and creates stable vents for the fluctuating energy run-off, the demonic inhabits start behaving less like horror movie monsters and more like animals. They're still wild and dangerous and prone to killing one another, but also more cautious, and able to access enough stable resources that they can even start to be picky about what they pursue.

Turns out that a lot of creatures in the Abyss actually don't like fighting and dying and being brutally injured on a regular basis, even if they can heal from it!

Shen Yuan has even discovered that some like chin scritches (he's not terribly worried about habituating them to people, given how rarely any people actually access the Abyss, but also because he's not really all that people-ish himself these days).

This means that one of Luo Binghe's first encounters with the horrible creatures of the Abyss, is in fact a pack of wolf-like monsters thoroughly avoiding an actual fight with him. In fact most of the denizens of the Abyss just avoid him. They can smell the Heavenly Demon energy rolling off of him, and given the current abundance of alternatives to dealing with that, virtually none of the monsters actually choose to challenge him. There are still a few that will go after anything that's bleeding, but that problem stops once Luo Binghe's physiology heals his wounds, which takes like... a couple hours, max.

Despite the stories he's heard, Luo Binghe is relieved to find that the Abyss is not quite so terrible as all that. Normal survival skills suffice for seeing him through much of it. He's able to hunt for food, scavenge for tools, and even finds potable water fairly easily. After a few weeks, he also comes across a ruin which seems to be inhabited.

The being inhabiting it is plainly a god, although he demurs and refutes such assertions whenever Binghe is too frank. He's a strange being, at turns looking like some queer approximation of a human, at other times blinking and winking in and out of existence, in patterns of strange lights and oddly geometrical fire. But he's surprisingly not hostile, letting Binghe rest in his residence, and even directing him towards points of interest. Accompanying him, too, though he seems to think that Binghe doesn't notice the odd almost spiderweb-like patterns that appear on things which he's influencing. The god calls himself The Peerless One, or at least that's what Luo Binghe infers from some writings on the ruin. The Peerless One offers instruction, seemingly without thinking about it, and gets flustered at being addressed by title, so Binghe also begins to refer to him as Shizun after a while.

[astrobydalia]

Astro knowledge pt. 2

work by astrobydalia

Cancer rules hotels, motels, etc. Hotels are all about hospitality, making people feel welcomed, comfortable, provide for basic needs like a bed, food, etc. Of course this will differ based on quality and the kind of place but in general places designated to provide shelter and a place to stay are ruled by Cancer

When I learned this it made a lot of sense cause my mom has Groom in Cancer and 7th house ruler in the 4th house and she met her fs at a hotel. I know a couple who has Cancer ASC in their composite chart and they met at a hotel

Jupiter is a very unpredictable planet and a negative manifestation of it is that it can make things grow uncontrollably without reliable results. Jupiter can give blessings yes but it does not guarantee success. Those blessings are just opportunities but it's up to you what to do with them.

Astrologically, the key to success is Saturn. That's why success is so hard to obtain and it's a symbol of status or accomplishment. And yes this applies to whatever it is you consider success. Saturn is not about obtaining success in itself, it's about growth, the way we feel accomplished and successful as humans is when we feel like we've grown and flourished overtime. That's why it doesn't matter what your definition of success is, in order to get it you need to mature and go through sacrifices and lessons related to your Saturn placement.

MC/10th house = what success means to you Saturn = also related to what success means to you, but it can specifically tell you how to get it

Moon is related to wealth that's why it is exalted in Taurus!

Moon in a man's chart indicates his wife because Moon symbolizes the divine feminine. Venus is important too but ultimately a man will commit to a woman that satisfies his Moon energy. That's why it is often said that men marry someone like their moms or the way a man treats his mom is how he's gonna treat his wife

5th house rules your creative endeavors and the 11th house rules your public/clients/fanbase/etc. That's also why 11th house is related to money you make in your career (2nd from 10th). If you wanna have your own business you gotta look at both the 5th and 11th houses

Something I don't see people mention much (maybe because its obvious) is that Libra energy makes things to be balanced in itself because Libra is all about avoiding any extremes. Libra makes this to be on the "elevated" or positive side but always keeping it moderate. For example, if you have Libra ruling your money houses your income could be averagely decent, like you could make good money (cause, Venus) but you're not insanely rich either or it does not appear that you are (cause Libra also rule appearances).

Aquarius rules heavy cold winds (you know like those very heavy and erratic winds), that’s why it also rules over airports and planes. I've also seen astrologers say that back in the day, Aquarius used to rule over sailing of bigger boats which also needed heavier winds in order to move

We all know Leo rules inner child. One thing about children is that when you're a kid you kinda don't have a concept of others being their own person and having completely different lives (that's something Aquarius brings awareness to, that's why its the humanitarian), but rather kids tend to assume everyone lives the same way as they do. That's what happens with Leo astrologically, they tend to not understand or fathom or be interested in things that go beyond them or their experience. Their own perspective of life is their whole world and what they will project on everything much like the Sun project its own light into the world. In the case of very unhealthy Leo energy this can go as far as actively minimizing other's experiences and perspectives. When Leo does try to understand others, they have a tendency to circle it back to something they can relate to or is relevant to them or they can understand

There's also another side of Leo that rules teenage years since that’s the period of our lives where we are finding our identity/expression and also where we start to become more interested in romance and sex

In composite, the ASC is how the relationship started and how it generally comes across as but the 7th house is the dynamic the two people have between them, how they actually interact with each other

Both Aquarius and Pisces are the last two of the zodiac wheel and both relate to themes of evolving as human and elevating spiritually but because of this, these signs are the hardest to develop healthily and many people fail to do so. That's why you see many Aquarius and Pisces placements with a god complex or huge entitlement cause both share this sentiment of feeling 'different', more elevated or special than everyone else

Venus finds fall in Virgo bc Venus is a sex goddess, she rules abundance, sensuality, pleasure and indulgence. Virgo on the other hand is the virgin, she's minimalistic, cerebral and modest, she’s too much of a “prude” for Venus.

Since Pisces is the most empathetic sign, its opposite Virgo is one of the most unkind signs unfortunately. Pisces wants to find the beauty in all things and people (Venus exaltation) while Virgo wants to find the flaws and everything that is wrong and needs to be improved or fixed. Pisces is about accepting the "soul" of things while Virgo is attached to an idea of how things should be. That's also why Venus finds falls in Virgo because Venus is related to kindness (this does not mean Virgo Venus people are inherently unkind, this can manifest in any unhealthy virgo placement, it's just an astrological explanation)

Domicile/exaltation is not always positive. When a sign exalts a planet it means that it can enhance both its positive AND negative qualities. That's why exalted mars can manifest as toxic masculinity or why exalted Venus can manifest as textbook enabling behaviour. On the flip side, planets are its fall/debilitation are challenging placements because the positive qualities of the planet are weakened but at the same time its negative qualities can be neutralized. For example, Mercury debilitated can be less prone to pointless rambles and have a more focused intellectual approach, debilitated Venus can be less compliant, etc

The energy that rules horror astrologically is Pisces/12th house/Neptune, we usually associate it just with dreams and idolization but it actually has a creepy and twisted side to it. Neptune is all about blurring the boundaries of reality including what we judge to be good or bad (Virgo). It rules over dreams AND nightmares. Not only that but Neptune energy does not understand the difference between a dream and a nightmare. This characteristic can range from blindness to red flags all the way to having rather morbid fascinations.

Following the above, the association of 12th house with nightmares is also explained by Saturn finding its joy is this house (the so called 'bad spirit', the never-ending burdens that come to haunt you). However, as I explained earlier in the post, Saturn is the key to success so this means Saturn is the key to help you achieve your dreams (12th house)

Pisces/Neptune energy rules spirituality but at its lowest it can also be the most superficial and vain sign (again, the negative side of Venus exaltation) because Pisces also rules illusions and idolization. It can focus so much on portraying an ideal image that it does not dive deep within, wants to escape reality and live a fake ideal

In terms of performance, Leo is theoretically better at sex than Scorpio

How to read the chart of a Nation + some observations

Sun signifies the characteristic of the rulers and it also symbolizes what that country is all about if that makes sense. For example USA is Cancer Sun and they've always been known for they patriotism and how they're very attached to their past as a nation.

Moon represents the people (civilians, population, the society). The energy you will likely experience by actually spending enough time there and start integrating yourself with the people. For example New York has Aries Moon and a relative of mine who used to live there once told me jokingly "with all the hustle and normalized criminality sometimes it feels like a war zone here"

Ascendant is the general national identity they present, the first thing that comes to mind when you think about that place. I've also noticed the stereotypes of a nation a lot of times relate to its ASC. For example Canada (Toronto) is Libra ASC and they’re known for being polite and nice to everyone. Japan (Tokyo) has Virgo ASC and their known for being super diligent and clean (think Marie Kondo). USA (nation) is Sagittarius ASC and they’re known for being loud, entitled, optimistic, multicultural, a massive country, cowboys and country music, etc.

work by astrobydalia

[pygmi-cygni]

writing tip - research

research is one of the pillars of writing. a poorly researched fic, essay, short story, novel, etc is immediately apparent because of several things:

lack of depth

stagnant plot or development

confusing or inconsistent setting

it doesn't matter what genre you write, if it's original or fiction, whatever. you need to research. depending on the relevance of your writing, the depth of research may vary, but it needs to happen. you do not know everything.

Fantasy

I see a lot of writers and authors use fantasy as an excuse to avoid research. Shut the fuck up. Every good fantasy is based on a real ocurrence or social dilemma. That's why we like it so much.

'but pygmi, fantasy is made up! it isn't real!'

SHUT UP. Even if you don't realize it, your story will have elements that readers are intimately familiar with. If you flub something, it will be noticed.

Besides, just because you make stuff up doesn't mean you can be inconsistent. You'll just have to fill in the cracks with made up stuff, which will even out to being about the same amount of effort. Pick your poison, either way you're gonna feel it.

Research is not everybody's favorite. I like it, personally, I think it's like going on little side quests for knowledge. But I understand if you wanna skip all the business and get to writing your baby. No shame.

Let me give you some pointers to make sure the time you spend researching is relevant and well spend.

Lists! God I love lists. after you have outlined your story and your characters and everything, make a list of all the things you need to have a deeper understanding of. This means determining priorities. - How important is The Thing? Will it majorly affect plot or character development? Is it a focal point of the setting? If the answer is yes to any of those questions, it's important. research.

Big picture, little picture. How important is The Thing (again)?. How much detail do you need to know? Especially when it comes to royalty or a hierarchal system, I see research being misguided. There are so many nuances to royal interactions that I could give a rat's ass. Big picture, general outline. I don't need to know everything, just basic courtesy, terms of address, appropriate convo. done. but if your MC is a coroner? might wanna put more detail into that; you'll be talking about the job a lot. determine how much the element will affect your story and go from there.

Don't fudge it for the plot. You'll have a preconceived notion of a certain job description, and then research it and think 'oh that's actually boring.' Don't muddle up the rules just to fit the aesthetic. It's sloppy, and your readers will notice.

To practice researching, pick your topic and after learning a bit about it, try teaching a powerpoint to your parents or friends. if you feel comfortable enough with that knowledge to do it successfully, I'd say you have a good enough understanding.

Setting

researching location is a big one that often gets overlooked. You don't always need to memorize maps, but get a general idea of the city/country layout so when you say "they drove 20 minutes from A to B" it makes sense, rather than having a reader think "Uh, A to B is closer to four hours, wtf?"

if you are making up your city, make a list of important streets and locations in relation to each other. This will help you keep it straight and organized in your head.

Get a feel for flora and fauna. Palm trees don't grow in Alaska. Don't write an Alaskan city with palm trees.

Weather? what's it like? Let me tell you, Portland doesn't get higher than 102F. rainy, cloudy, all that stuff.

Atmospheric details really add a lot, especially if your audience is from that location. It adds another layer of relatability. Also, use weather/plants/animals to your advantage! symbolism, possible curse, all that stuff.

Eras

Oh my god stop fucking this up. Baroque, Elizabethan, Edwardian, Middle Ages ARE DIFFERENT FROM EACH OTHER. STOP SLAPPING FANCY CLOTHES ON PEOPLE AND CALLING IT THE OLDEN DAYS.

get an idea of when electricity was widespread in homes. when was the refrigerator invented? did they use the word 'hella' in 1950? this kinda stuff is important for not breaking the illusion of a time difference. If you are writing a period piece and someone is chatting with a neighbor like it's 2015, we'll have some questions.

Unless it's doctor who. you guys can do literally whatever.

Plot and Character Development

If plot and characters are poorly researched, you are limiting the opportunities for growth. In researching your MC's occupation, you may discover a cool side effect that connects to a plot device. Stagnant, stale characters can be spruced up with a more developed backstory.

All in all, research is really important for your story. regardless of how professional it is, tumblr or the new york times. Do your research. As a writer, you are representing the community in your own way. Do us proud.

xox love you

[statementlou]

.

[annabelle--cane]

this is a difficult thing to have conversations about because it provokes really strong reactions in people for completely valid and understandable reasons, so please feel free to hit da bricks on this post whenever you want, but I do want to try and analyse the jonmartin slaps. we get three across 160, 169, and 172, and a line addressing it in 173, and then it never happens or comes up again. none of them come out of nowhere, and they mostly fly under the radar until 173 because they all broadly fit the "slapping someone out of a trance in an emergency" trope, but each of them slowly decreases in urgency.

the first time, the apocalypse starts up and martin comes back to find a passed out jon, can't wake him by making noise, and strikes him in a panic. this makes sense, this is a man who has entered a supernatural coma before and martin had no idea what was going on, so of course he'd jump to something desperate.

the second time, they're in a burning building, jude arrives while jon is still mid-statement, and when making noise doesn't work martin slaps him out of it. this makes sense, they were there for jude and if jon didn't come back to himself then she likely would have hurt them, though martin knew that her powers against them were limited.

the third time, jon is getting pulled into into a repeating statement instead of coming out on his own like usual, so martin speaks once or twice to try and get his attention, and then slaps him out of it. this... again, it makes sense, jon was getting trapped, but there was no immediate peril like before, martin just got freaked out and wanted to leave quickly. he seems to get that it was harsh because he apologizes for it, but they don't linger at all, martin just starts in on them having to leave immediately.

the last time it's mentioned is when they're on night street, during what is one of their most intense arguments. jon tries to talk about the suffering of the children there for longer than he needs to in order to make a point, martin cuts him off, and he pointedly says, "thank you for not hitting me this time." it never happens or is brought up again.

to our knowledge, jon doesn't say anything about the slapping until 173. he's not a guy who's known for speaking up when things upset him, he was amiably working with daisy within about a week of her trying to kill him, so it makes sense that he would just sit with this comparatively more minor thing. however, I do think it's relevant to note that, at this point in their relationship, martin will sometimes voice his feelings and boundaries (not listening to statements, not consenting to mind reading, worrying when jon expresses discomfort with his body), while jon doesn't. from the couple of times he does talk about his feelings this season, I think that tendency comes a few places: he has a hard time being aware of his emotions at all, he doesn't know how to evaluate his emotions' importance in comparison to others', he assumes his emotions are obvious and thus people already act with full knowledge of them, and the topic is just hard to make himself talk about. from what he says in 173, I think the slaps bothered him the entire time, but he made himself be fine with it until he was upset with martin for unrelated reasons and finally let it out.

as for martin's side, I do not think the slaps came from any kind of suppressed desire to hurt or wield power over jon. we've seen him when he's angry at jon, this isn't how he acts, he gets shouty and indignant but never violent. I'd even go as far as to say he doesn't do it in 173 because he's genuinely upset at jon and the situation they're in, and it would never occur to him to deliberately inflict pain on someone he cares about to assert control over them. the connecting line between all of them is fear from something that he wants jon to help him handle. the apocalypse starts, he is stuck inside one of his worst nightmares, and he's paranoid that the web took control of him. he's someone who is "always following, never leading" (170), and he gets tunnel vision when something scares him and his "leader" isn't there.

jon did need to be pulled out of all three of those situations, and words proved insufficient, and maybe a quick jolt of pain was the only thing that could have worked, but martin doesn't seem to consider what that would feel like from jon's pov. in my experience of relationships, if there's ever an unavoidable emergency where you do actually need to cross a line that you never would otherwise, you talk about it afterwards. you do a debrief where you say "I'm really sorry about that, I didn't see another way, I'll try and be better prepared next time." they do this for problems they have later on (177, 198), but martin doesn't do that here. jon's point-of-view just doesn't seem to occur to him. when jon expresses discomfort, he drops the tactic without a word; later, when he needs to anchor jon in the panopticon, he talks him through it before it can get too far. so, it's not about a lack of care for jon's feelings.

I think it comes down to a few things: a) his occasional tendency to treat people as a means to an ends and not think about their perspective. he's so glued to putting others first most of the time that when he stops, he can't find a middle ground and forgets that other people can have feelings about his actions. b) his problems with conceiving of himself as a person of any importance who is capable of doing anything, especially of doing harm. as a concept, "hurting jon" is the thing he would least like to do in the whole world, it is his nightmare scenario and literally the culminating moment of his tragedy. he finds it almost unthinkable, so the idea that he does it casually when he's scared doesn't cross his mind. one of his central worries at this point is that jon is now so powerful that he no longer needs martin, how could he hurt someone like that? he's not anywhere near a comparable level of importance, it's not like he has his own domain that he's not aware of because jon told him about it and he immediately rejected the information. he's powerless and could never bring himself to hurt the man he loves.

I just. think it's an interesting microcosm of some of the lows of their relationship. once the problem is discovered martin instantly takes the note and doesn't put it on jon to explain himself further or assuage his guilt, they are willing and able to adapt, but it still comes from some of their bedrock flaws. martin doesn't understand that he can hurt people, and jon has such an inflated understanding of his capacity to hurt people that it sabotages his self-worth and his ability to respond to pain and displeasure.

[prokopetz]

Do you ever have a passive gripe with the way trade is represented in medieval/sci-fi/post-apocalyptic fiction? I can't shake the feeling that those are societies that have moved beyond the need for abstract currency - that such forms of trade are more a concession for the viewer to analogize trade to our world instead of offering some kind of unique barter for a world.

A medieval peasant isn't gonna want gold coins for jack because the next trade caravan is two seasons away, they'd much rather a useful tool or some extra fertilizer. Credits in science fiction universes can become worthless due to Future™️ hackers setting their bank accounts to extraordinarily high values, so extra parts for firearms and spaceships are much more useful. Caps in Fallout just make no sense in a world where food and water are few and far between!

I feel unreasonably grumpy about this and I wanted to know if you have any kind of insight to this kind of thing.

There are a couple of only partly related problems here:

1. The idea that the economies of most sci-fi and fantasy settings, as depicted, don't make any sense. This is absolutely true, because most science fiction and fantasy authors don't really think about that sort of thing – their settings only have economies to the extent that the details of those economies are relevant to the plot, which they usually aren't.

2. The idea that it doesn't make sense for currency to exist in these settings because most of them logically ought to have barter economies. The trouble with this assertion is that there's no such thing as a barter economy. Yes, you can describe what one would look like, but no civilisation which has ever actually existed has operated in this fashion. It's a made-up idea – at best, a spherical-cow approximation of how the exchange of goods and services operates in a stateless society, and at worst, complete bullshit.

Consequently, whether or not it makes sense for anything like currency to exist is going to depend on the particulars of how the setting's economy operates (i.e., all the details that that are getting glossed over in point 1, above). About the most we can say in nearly all cases is that we simply don't have enough information about a given fantasy or sci-fi setting's economic structure to know whether it makes sense to have currency or not; we can't just assume in the absence of further details that things will default to a barter economy, because – again – there's no such animal.

[abnomi]

EVERY REASON (that i can think of) AS TO WHY TURBO/KING CANDY IS NEURODIVERGENT 💥💥

i would like to make a disclaimer first and foremost about the obvious, being that Turbo/King Candy is heavily implied to have narcissistic personality disorder (NPD) and antisocial personality disorder (ASPD). Very often, characters with these disorders are portrayed as villains, and Turbo is no exception to this. There's nothing wrong with antagonistic characters having said disorders, per se, but when the only representation available for people with these conditions are found in characters you're not supposed to root for, it can be really disheartening. i won't be erasing these parts of him because i feel it would be in poor taste to gloss over those core elements of who he is, but plz keep in mind that having any kind of personality disorder doesn't make anyone inherently evil!!!🌞 your ACTIONS make you, not your brain

Also if anyone has any suggestions or other ideas for his neurodiversity, i would love to hear them! please do share!! I LOVE PSYCHOANALYZING CHARACTERS AND HEARING OTHER PEOPLE PSYCHOANALYZE THEM !!!! YAY🎉 if u agree or disagree with any of my points I'd love to discuss them further :-]

without further ado... click read more to find out…😈 be ready for a lot of reaches

💥 ADHD 💥

STIMMING

Turbo's constantly moving around in some way; he's a very expressive character! even as King Candy, he can't seem to conceal his frequent giggling. it's a big habit of his; he seems to do it involuntarily to regulate himself, including when he's nervous or uncomfortable.

he seems to display other repetitive behaviors as well, like doing his iconic thumbs-up pose, sticking out his tongue, or hopping around gleefully. he is but a jovial court jester..

i personally like to think that his phrases, "Turbo-tastic!" and "Have some candy!" are vocal stims of his, although i equally really love the interpretation that these (and the aforementioned stims) are tics :-]

another headcanon; i think it would make a lot of sense for him to have an oral fixation of some sort (ignoring the whole sigmund freud part of the term ermm...); just lots of biting, chewing, needing to have something in his mouth. It would align with the whole idea that he smokes, too

HYPERACTIVITY

we can clearly see throughout the film that Turbo has a lot of energy, made abundantly clear by his mannerisms and general behavior. he's constantly moving, using exaggerated expressions and gestures to communicate + express himself. He's one of the most animated and bouncy characters in the movie, next to Vanellope! it's silly how a character not very grounded in reality is such a threat, but i suppose that's what makes him so threatening in the first place...

another factor in this is how he is very adrenaline-seeking, craving activities that give him a rush (sugar rush...😂😂). more on that in a bit!!

HYPERFIXATION

Turbo's fixation with winning is all-consuming for him; it's an obsession. he doesn't appear to care about much else, if anything besides it. this could be interpreted as a hyperfixation for him (or special interest if ur all about that autism lifestyle), as it overtakes all of his focus and impedes every process of his mind.

it's clear that racing is much more than a passion for him, and while that fact is due to how he was programmed, it's a major character trait of his regardless that could be correlated to neurodivergence.

HYPERFOCUS

There seems to be a big theme of "all or nothing" when it comes to Turbo. he will either be fully dedicated to something or brush it aside without a second thought. it can't be denied that he fully wraps himself up in what he wants, whether it's a conflict he can't let go of or a new pursuit he's hungrily chasing after. 

ultimately, his dedication varies depending on if it is relevant to him and his interests or not, but this aspect of him still shares patterns with neurodivergent thought processes.

INSTANT GRATIFICATION

Seeing as he has a tendency to cheat in his use of code to spawn in whatever his heart desires, it can be assumed that this could do with Turbo wanting instant gratification to fill that bitter, empty void inside of him. while this could simply be brushed aside as greed and his belief that he is obligated to have access to whatever he wants, this trait is consistent with his generally dopamine-seeking behavior and wanting to be instantly rewarded by his actions. His obsession with needing to feel good directly relates to his need for another buzz, constantly after the next rush. (a sugar rush if you will☺☺☺)

ADRENALINE-SEEKING

Closely related to the previous speculation, Turbo always seems to be chasing his next high. he loves the thrill of action and being surrounded by crowds of people below him. it's why his big thing is racing! people cheer him on, he can do whatever he wants, he can go really fast and look cool..

it's possible that a big aspect of why he does this is to distract himself from any kind of pain, because pain = vulnerability. bro does NOT know how to independently cope with his own problems.. HE MAD AS HELLLLL!!! 😂😂

STRUGGLE WITH SELF CARE

(i know this is reaching but bear with me... 🐻) going off of his appearance and tendency to make poor decisions, it can be gathered that this man lacks skill in the self care department. his yellowing teeth and sunken eyes not only serve to complement his design, but also give way to the idea that he neglects himself in favor for whatever weird scheme he's up to.

of course, Turbo does prioritize himself above everyone else, but he doesn't strike me as the type to care much about how others think he smells. him being a bother to anyone isn't a concern of his. he cares about whatever gets him the most praise and attention from as many people as possible, which is winning and racing. Who cares about how clean he is when he's up on a podium holding a shiny, golden trophy, anyway?

It's likely that he had to step his game up when he went under disguise as king candy, which is why he looks well-groomed in comparison to his more corpse-like appearance. Ugly hoe. it can also be assumed that he's had more time to focus on himself because everyone loves him without question... Well, except for Vanellope, but who cares about her, right?

also, i know he makes a condescending comment to Ralph about how bad his breath smells, but it's made abundantly clear that Turbo is a massive hypocrite. his comment doesn't erase the possibility that he has suffered from such "halitosis" as well.

💥 ANXIETY 💥

GENERAL ANXIOUS BEHAVIOR

i know, i know, this could technically be chalked up to be "Turbo is nervously giggling and shit because he's scared of getting caught," but guys. g

even in the flashback scene, we can see how easily stressed he can become in an alarmingly short period of time. he is extremely insecure, therefore i am led to believe he is not only emotionally dysregulated, but also by extension, anxiety ridden.

yes, this is purely speculative, but who's to say that he wasn't like this before? being high-strung and intense are significant facets of his personality consistently portrayed throughout the film. as long as he is getting exactly what he wants, he is happy; the moment he loses even a blip of control, however, he immediately grows extremely tense.

if Turbo wasn't anxious about his disguise as King Candy before, he was anxious about how much attention he was receiving on a given day. if not that, then he'd be anxious over how he presents himself. He hates how he can't control how other people perceive him, which is why he is constantly trying to act like he's better than he is.

its why he justifies his behavior to himself, proudly making others refer to him as the "rightful ruler" of sugar rush and relishing in the attention of his countless underlings. Any secure and stable person would NOT ACT LIKE THIS!!!!😭😭😭

FIGHT OR FLIGHT

As we can see a handful of times on screen, Turbo's instinct to protect himself is very easily activated.

 his fear manifests in anger and aggression. we can see at multiple points how easy it is to upset him or fluster him; his anger is one side of the same coin, the opposite end being his fear and paranoia.

Going off of this point, have you noticed that Turbo is either satisfied or furious without much of an in-between? how the second something isn't under his manipulation, he lashes out and fights back? I'm led to believe that this is how he responds to fear (AAUAAYAUUUUGGHHH 🐡🐡🐡🐡🐡🐡🐡). This guy is so against the idea of being vulnerable, that even when afraid, he will utilize violence to regain his dominance over the situation at hand.

CONTROL + PARANOIA

Turbo's always trying to writhe or fight his way out of uncomfortable situations, unable to exist outside of his comfort zone for seconds at a time.

his defensive, paranoid, and controlling behavior are all reflections of how deeply insecure this man is. He feels such an intense need for everything to go exactly how he expects it to go that the moment he senses any kind of threat, he instantly jumps to defend himself and what he feels that he has "earned," regardless of whether there truly is a threat or not.

this could potentially be a coping mechanism for his anxiety and sense of stability; can't forget to mention how territorial he is!! he jumps to conclusions about what others' intentions are before they even get a chance to reply, as seen with his first encounter with Ralph in the movie. 

the racer is so internally discombobulated that he seeks any sense of stability on his environment, including on those around him. his sense of self is so warped that he copes with constant distraction; being under the spotlight, being actively racing, having to be showered with attention, having others make him feel good because he doesn't know how to do it for himself. he needs to feel like everything is under control, lest everything falls apart.

"...if there's ONE thing I can't abide, it's ANYTHING out of order!"

💥 NPD 💥

INFLATED SENSE OF SELF IMPORTANCE

Turbo's most in-your-face trait above all else. It's made more than crystal clear in every scene he's in that his arrogance is a determining factor in how he interacts with others. This is exactly what drives him to desperately crave admiration, to chase after others he's envious of because he thinks he is obligated to take what they have.

he seems to genuinely think he is entitled to get whatever he wants, just because he is inherently "special" or "better" than everyone else. Why else would he have made himself a king, a step above princess?

EXCESSIVE NEED FOR ADMIRATION

Turbo's self worth is COMPLETELY dependent on the opinions of children and teenagers. I think i don't need to say any more than that, but i will. (Evil).

As cartoonishly massive as his ego is, i think that it's fair to assume that Turbo has a very unstable sense of self, distorting his perception of his own worth down with it. his near-constant flaunting and need to be the best is a dead giveaway to his deeply-ridden self-doubt. The foundation of his stability is built around how "good" he is (at racing and winning), how powerful he is, whether or not he is being prioritized above everyone else, whether or not he is the absolute best, etc. etc.

The racer outright manipulates others to shower him with admiration and undeserved appreciation. He is incapable of forming a true sense of internal value, instead heavily and codependently relying on others to form it for him. if he isn't the best, he may as well just be nothing.

INTENSE JEALOUSY

He reacts so severely to what he perceives as others taking away what is rightfully his that it only goes to solidify my previous points even further. the second someone else is getting more attention than him, Turbo will bend over backwards to rip back the praise he believes he so rightly deserves.

being extremely competitive, he will one-up against anyone he thinks of as a threat, dedicating himself to taking them down to the best of his ability, and making sure they STAY down to top it all off.

INABILITY TO HANDLE CRITICISM

if we really dissect the entire one-off joke with Turbo insisting that his stolen pink castle is actually "salmon," along with all of his other domineering behaviors, we can garner that he is very persistent in how he wants others to view him. i wholeheartedly believe that this would translate into him not only being defensive over his supposed "ownership" of Sugar Rush, but also over himself and his own insecurities.

He needs to feel good about himself or else he will die and quite literally try to kill everyone.

LACK OF EMPATHY

He appears to have a fondness for making jokes in very poor taste. Turbo has a big sense of humor, but it's always at the expense of others. Be it a pun about a "fungeon," or jumping to protect himself with a joke about "hitting a guy with glasses," he has a tendency to take serious situations very lightly. It's not that he's unaware of the weight of it; he simply doesn't take it Seriously.

its admittedly impressive how he was able to feign empathy so well for Ralph; it goes to show how he is very capable of understanding that what he's doing is wrong, but ultimately does nothing to change his behavior because it doesn't impact him personally. 

i would like to honor this part of him, because even in the possible alternate path of a redemption arc, his struggle with empathy can be explored in a variety of interesting ways :-] he can understand complicated emotions and situations on an analytical level, but he doesn't feel for them unless it has to do with him specifically. (this obviously doesn't make him inherently evil, his ACTIONS make him evil)

💥 ASPD 💥

LACK OF REMORSE/GUILT

One of Turbo's core characteristics is just how far he is willing to go for his own self-interest with lack of regard for how it impacts everyone else. he has absolutely no concern for how anyone else feels besides himself, willing to go so far as to attempt to mutilate a 9-year-old to achieve his petty goals.

Turbo is shameless when it comes to how he goes about getting his way. While I'd like to believe he isn't fully incapable of feeling regret, he doesn't showcase feeling it in the movie itself. The most regret he'll feel is when he slips up and exposes himself. anything else is the fault of everyone else; he is untouchable in his eyes.

DECEITFUL TENDENCIES + LYING

Where do i even start with this one.

well, first of all, let's acknowledge the... erm, horse? in the room? 🐎😅(Please someone help me there is a horse in my room help helphel) being that Turbo went under disguise as King Candy for at least a decade. Even before this, there's a good chance that he's already had plenty of experience with lies and manipulation. i'd be willing to bet on this!!

one of his specialties is being proficient in manipulation, be it the code of games or the minds of people. theyre basically the same thing to him, anyway... I'm sure you all know the scene where he uses 16 manipulation tactics against Ralph and wins. this was Obviously not the first time he'd done this.

REPETITION OF HARMFUL BEHAVIORS

Time and time again, Turbo can't seem to help himself when it comes to poor decision-making. he never internalizes that his bad choices aren't JUST bad for others, but also for himself, continuing to escalate further and further into very dangerous behaviors until he literally dies.

Here's a list of bad decisions he has made! (at least, that we know of)

Pinning himself above his peers

Harassment + stalking

Carelessly charging through GCS with his car, endangering countless civilians

Attempting to take over a game that isn't his x2

Vehicular manslaughter

Implied mass murder + attempted murder, attempted mutilation

Mass endangerment

Breaking and entering, theft, usurpation, plagiarism

and more!!!!!!!

AND HE LEARNS FROM ABSOLUTELY NONE OF THIS!!! with some of the items listed here, he's attempted to do multiple times! Absolute buffoon.

RECKLESS DISREGARD FOR SAFETY OF SELF AND OTHERS

Considering how he was willing to charge into a game that wasn't his own with the awareness that it could permanently kill him, going as far as to recklessly crash into another car (albeit it's possible this was unintentional), it's easy to gather that he doesn't seem to consider anyone's safety at all in the spur of the moment.

IMPULSITIVITY

his impulsivity and disregard for safety both go hand-in-hand. When it gets to a certain point, Turbo's emotions will boil over and blow up in a cold rage, thus causing him to spiral and act on impulse, becoming a detrimental force to himself as well as everyone around him.

What's interesting is how much restraint he is capable of; he typically is very strategic in how he orchestrates his plans! but once he reaches his breaking point, he snaps and leaves all of his hard work behind in favor of something that calls for his immediate attention.

💥 ETC. 💥

extra tidbits i didnt have enough energy to fully delve into :-]

BPD

Fear of abandonment

Blurry sense of identity

Feelings of emptiness

Self destructive tendencies

Emotional instability

Explosive anger

ODD (oppositional defiant disorder)

He seems so infatuated with his own autonomy that he gets to the point of being resistant and defiant

Resisting against the rules of the world that he directly caused as a result of his own actions, being that one shouldn't "go Turbo."

Enjoys upsetting/getting a rise out of others. this is more speculative as i am going off of the assumption that he thinks pissing people off is funny, based on his other behavioral patterns. (cruel sense of humor, wanting to feel above others via control & manipulation, enjoyment of inflicting pain onto others)

Forcefully defends himself and refuses any kind of criticism

Lashes out when he feels slighted

Excessive persistence despite all odds, whether it's beneficial to him or not

ok bye!! thank you if you managed to read this far ^^ peace and love take care of yourself! all in all turbo is so neurodivergent ok please Okay <3 get this thing his meds

[evilkitten3]

ok so like i know the reason is just. sexism but one thing that really irks me about how the post-timeskip naruto manga handled which characters became medic nin bc it makes absolutely no sense to me

sakura's decision to train under tsunade makes sense, and i love that she got a super strength power up, so no notes there, but the other teams.... yeesh

so first off, team ten. we're told that ino decided to follow sakura into mednin land to keep being rivals with her... despite that at no point factoring into their rivalry at all beforehand. ino never showed any interest in that, nor was the yamanaka clan ever mentioned to have anything to do with healing as far as i can remember. it's like going to art school to stay with your bestie when your goal is to become a dentist. why are you there. find other ways to spend time together. it also kinda goes against her family's whole thing as. the guys who do the torture stuff. and it's barely ever relevant anyway

for team ten, i think the team medic should've been shikamaru, and i think this not just bc i think it makes more sense skill-wise (something about the way the nara clan's various shadow jutsu work just screams "you need good chakra control for this" to me), but also bc i think it would make asuma's death a thousand times more painful. bc shikamaru is a slacker. he's not learning medical ninjutsu bc he wants to, he's learning it bc someone on the team has to in order to stick together. they're all chuunin now; one of them has to be a medic. them's the rules. but he doesn't really care that much, even when he is trying to learn, and he's so used to being smart enough to not have to pay attention in lessons anyway that he's not prepared for classes that require his full focus. and then asuma dies and shikamaru is doomed to spend the rest of his fucking life wondering if he could've saved him by paying just a little more attention to those medical ninjutsu lessons (he could not have (but he'll never know for sure))

team eight makes some sense, since giving the girl who struggles with fighting the healing job isn't exactly out of nowhere, but i do feel it was the lazy choice. kiba already had a sister involved in the medical business, even if she deals more with animals, so he could've started learning from her and found that he liked it. plus kiba's goal is to be hokage, and the current hokage is a mednin, so it's not like it wouldn't support his goal. or shino could do it; would add another layer to his character. hinata works fine but. it's just not a very interesting development imo

but what really gets me is team gai. good freaking grief. out of every single team, team gai was the one with the most obvious choice. bc there was only one choice. lee can't do any kind of ninjutsu, and tenten's only real backstory is that her chakra control isn't good enough for her to be a medic nin. so it had to be neji. canon establishes that every team has to have a medic; this is a policy tsunade got passed even before she became hokage, so no way in hell is she going back on it now.

moreover, neji becoming a medical ninja - especially if hiashi encouraged it - would show some development for the hyuuga clan maybe starting to suck a bit less. bc as a medic, neji would be bound by oath to stay alive for as long as possible. imagine a world in which hizashi came back and hiashi was able to tell his brother that not only was their family starting to change, but his son had chosen a path that would prevent him from ever following in his father's footsteps. it would be the first step (of many) to show that the hyuuga clan was freeing itself from its own bullshit.

also it would've made sakura catching the zetsu pretending to be neji a thousand times funnier. like that's her coworker. they've shared shifts at the hospital together. she's seen neji drink vodka straight from a bottle and then crash on her couch after they got out of a twelve-hour surgery on the fucking dumbass chuunin who managed to step on his own boobytrap. she knows him.

[babacontainsmultitudes]

🤔 Admittedly I was a little disappointed by the reveal (but certainly not surprised the foreshadowing was heavy in this episode lol), but not actually against how Beth (and Will) seem to be playing with it thus far- which is to say that I do think it has a lot of potential, and I suspect there's more to what we're seeing).

;) Big ol' ramble below

Mostly the theory has turned me off until now (at least insofar as I've witnessed it transpire in the fandom at large) because it struck me as so painfully ironic to see Trudy, a 1950s housewife, struggle to exist under the system that she's in, fail to fit the mold assigned to her, and be denied her personhood very literally for it (this being ironic insofar as how it mimics how she would have been treated back then). This and because frankly I just think she's a lot less interesting if she's fully a robot LOL, but I'll hopefully get to that in a bit.

Not that the hints at her mechanical nature and the relevance of Tucker's background were lost on me; I can appreciate why those would contribute to a plausible, fun and I think still mostly harmless theory (now fact). However, minus one or two specific posts I've seen on the matter (namely a recent one suggesting that if Trudy is a robot Beth is probably taking inspiration from The Stepford Wives, :( sorry person who made that post I couldn't find it I wanted to credit yoouuu), I've seen the theory just about exclusively presented in a manner that, rather than explore the metaphorical and political significance of Trudy being partially or fully mechanical, at best disregards the parts of her narrative that are at their core about sexism (among other related things), and at worst negates them entirely (i.e. Trudy only thinking and acting how she does because she's a robot malfunctioning and not because the world itself is causing harm and she rightfully wants something more than the role she was forced into, Trudy not even having any real thoughts and feelings of her own, etc.). I just think it kind of sucks to shove all those important things about her aside and say "actually, there's no person suffering here, she's just a robot" and perhaps worse yet to imply that she does have thoughts and feelings but because they result in Weird™ behavior it must be a problem with her code and not at all relate to what women were subjugated to during this point in American history.

CONVERSELY I don't think Trudy being a robot (or at least partially one) at least from what Beth and Will have presented us thus far, inherently suffers from any of these issues? First and foremost because Trudy definitely appears to possess sentience, thoughts, and emotions of her own, matters which immediately complicate her degree of personhood and don't inherently box her behavior in as a bug in her programming rather than an issue with the world she's been put in, quite the opposite in fact! I think they have a very solid groundwork laid out here to make a strong statement with Trudy's narrative (and perhaps ask the question of what is really malfunctioning here), all the more so since [I pull out a Rebecca Swallows-style conspiracy board] I don't think she's entirely robotic in nature? Actually you should just read Mack's tags in this post cause he has great thoughts on the matter (of which those are just some of them), but if I can direct your attention to one thing in particular, it would be Beth's fact (I *believe* from episode 2) about Trudy never graduating high school because of her essay where she suggested that "perhaps women could one day domesticate themselves", a statement that could of course be interpreted a number of ways but ultimately threatened the patriarchal status quo enough (in suggesting women's independence) to cost Trudy her diploma. Taken on its own this fact appears to contradict the theory that Trudy has always been robotic in nature, because it doesn't really make sense that Trudy would have been set up to go through high school (or school at all really) when Tucker's intention was/is for her to be the perfect housewife. You may then suggest that Trudy's memories of this are fabricated and not actually her lived experiences, in which case firstly perhaps you should reread my earlier point on the robot theory being used to actively negate and otherwise disregard the portions of Trudy's narrative that pertain to sexism and feminism, and secondly it really doesn't make any sense to me that Tucker would implant those kind of memories into Trudy's brain? To be completely honest if she's been a robot from the very beginning (rather than someone who became a cyborg, which is what I'm trying to suggest here), then I don't see why Tucker would program her with actual sentience in the first place (suspending my disbelief here with regards to the possibility of programming sentience to begin with). It seems much more likely to me then that Trudy was not always a robot, and instead altered by Tucker to force her into a role of subordination and remedy her """imperfections""". This option is significantly more interesting to me one, because it implies that Trudy has actually lived a life up until the present, full of its own complexities and strife (and dreams, and real actual memories worth exploring, etc.), and hence is not by any means "just a robot", and second because it amplifies the hypothetical statement being made on the lives of the real living women of the era and how they were treated and seen as being "in need of fixing" for not conforming to gender roles or otherwise acting "out of line" with what was expected of them.

OKAY THIS GOT OUT OF HAND SO I'M CUTTING MYSELF OFF HERE but I wanted to my share my current thoughts what with this ending and where I'm at so hopefully that was at least interesting to whoever has chosen to read through this one okay thank you byyyyyyyyye~

[brooklynisher]

Hey all, you ever hear of Jaunty?

[x]

Do you WANT to learn more about Jaunty?

Well I dug deep, and found some things I never thought I could find. I'm really excited to share what I've found with y'all. This post is sort of a little journey of how I found Jaunty.

There's a few sections to this.

Skip to But where does Jaunty come from? If you just want answers

Is Jaunty even a real character?

Jaunty, from what I originally found, is SUPPOSEDLY a Steam Powered Giraffe character. But where have we seen this character before? Was it the comic? Was it the timeline? Maybe in a song cover? Does the band ever talk about Jaunty?

And to answer all of your questions, no! At least not that I knew of. The only source of Jaunty’s existence is here.

The Steam Powered Giraffe Wiki

So that makes this whole thing pretty complicated right? The wiki has info, and it’s not too inaccurate most of the time, but some of the lesser known/more nuanced information tends to get scuffed.

It really doesn’t help knowing that David has mentioned before that the information on the wiki wasn't that accurate.

What I’m saying is, the only proof we have for the existence of this character is on what might be one of the more unreliable sources of SPG information.

But despite that, this page is special in the fact that SUPPOSEDLY it was uploaded by Steam Powered Giraffe themselves!

[x]

However, there isn’t really much of any information on this user at all. All we know is that they founded this wiki, added a few characters and a bit of information, and then became inactive. Really our biggest reasoning for believing that this was an actual SPG member is the fact that they are the founder and have been around for a very long time.

Okay, suspicions aside, let’s see what I found about this thing.

What the wiki tells us

One, this image was touched by the founder of this wiki twice, it was uploaded in 2011, and in 2014 they protected the page, which means only the administrators can edit the page.

[x]

Both are pretty major years for SPG being the year Upgrade left the band and the year Rabbit transitioned, but there’s not many connections you can make with that.

This user was first active in 2010 and last seen in 2015 [x]

Cool dates to have, but not a lot to work with. It mainly gives us a clear vision of what SPG was looking like at the time of the creation of this page. I can see this thing being used for a special, slightly themed show.

Of course, the information the wiki alone offers is very limited, but we know two things for sure. One, this character is a robot being under the category of robots, and two, these photos were taken by Cineria.

[x]

So, here's the problem, you'd think that by having the name of the photographer, we could get far with that, but unfortunately, it is such a vague name, that there is just no way we could figure out who Cineria actually is. It really doesn't help that they don't seem to be a professional photographer. The only page I could find that connects both the name Cineria and Steam Powered Giraffe is this one.

Useless information

I started searching for stuff by reverse searching it. It wasn't really successful, as I was expecting, but I did find one thing.

A different source.

This source doesn't go anywhere must you know. The ORIGINAL site, florist.buketbunga.com is still up an active serving as an Indonesian site for selling flowers, but this very specific link is broken, and the Wayback Machine doesn't know a thing about it.

The good news is, the link title alone gives us a ton of stuff to work with! Appropriately, the last part of this link translates to "Flower Bouquet Florist Shop Address Nearest 24 Hours Online", which makes sense.

What DOESN'T make sense is everything else coming before it. Specifically the Team Fortress 2 Wiki. This made me believe that someone used these sites to create a scam link, but it's weird because somehow, it's relevant?

Yandex was able to match these images of Jaunty to this site, and what's crazier, Jaunty is in the title of the link! But it's not just Jaunty, it's the Jaunty Explorer.

I did some searching, and discovered that the Jaunty Explorer originates from a TF2 livestream charity event called Tip of the Hats! Donations can earn you medals known as the Jaunty Explorer ($10 Donations), the Jaunty Ranger ($30 Donations), and the Jaunty Mountaineer ($100 Donations). They can come in many different color variations, but here are the main ones.

[x] [x] [x]

There are TWO connections between this and SPG. One, the shared name of Jaunty, and two, hats. Steam Powered Giraffe is pretty big on hats. But, bad news, these are completely unrelated. Main reasoning? The image of Jaunty was posted to the wiki back in 2011, while Tip of the Hats as an event started back in 2013. Can't even take the "SPG was inspired by TF2" route with that.

Okay, but what even IS it?

Now we get into the visual aspect of this!

I tried to see if there was at least any way to identify what this is, but that solely relies on observational skills. There are two images of this thing, but the image with the blue background is much easier to make out.

[x]

There's a lot that's going on with the design of Jaunty. Unfortunately, I'm not smart enough to identify what half of the doodads are. This machine, whether it's an actual machine or just a prop, is definitely a one of a kind as I couldn't find anything like this.

I talked with @boneinator about this, and he was able to read the text: "STAND CLEAR!" on the top of the doors of this machine which lead him to believe that it might be a time machine of sorts.

What we both managed to agree on when it came to the design of this thing however, was that it looks like a cabinet.

Now, like I said, this thing has a one of a kind design, so it's not going to look exactly like one thing or another, but it has similar features to other things such as to this cabinet

[x]

Two longer doors on the upper half, and two smaller doors/drawers on the bottom. Is that actually what it is? I didn't know, but there is a resemblance.

One thing that's REALLY interesting about this machine is the intense amount of steam it lets out.

[x]

So it's definitely a very active machine.

But where does Jaunty come from?

Something I've been wondering is how much of this is actually connected to SPG.

Is it theirs? Is this a part of a bigger thing? Is it just associated with them?

A bigger thing. There is one example of a big SPG show that comes to mind, and it was not just them.

During their 15 Year Anniversary Livestream, the band was asked about their favorite memories. Bunny mentions that one of her favorite memories was at a show called Clockwork Vaudeville. This was one of the band's first time having a massive audience. According to her, this was a time traveling show, and they performed alongside others.

I looked into it and found that the full name of this performance is called Clockwork Vaudeville Circus Cabaret. And there, I found a little advertisement for it as well!

The Kickstarter for this show started in late 2010

I did some more searching and realized there is a bunch of video from this show out there though all these clips are recorded at random intervals. Assuming that the uploader posted these clips close to the date of the actual show, we can see that this show took place in February of 2011!

About one month after this show, this page was added to the wiki.

I checked the clips, and guess what.

[x]

Right there in the corner, there was Jaunty.

But that's not all

Not only have a found a video that contained Jaunty, I found a video that contained Jaunty in action!

[x]

Unbelievably enough, it was a video of the band performing Honeybee alongside a pole dancer. And thanks to the title, we now know that this show took place February 19, 2011

Which all this confirms 100% that Jaunty IS a time machine.

Now with all things considered, Jaunty is not necessarily an "SPG character" as in they didn't create it. It's hard to say if Jaunty is even a character at all at this point! But it does exist in their world and they actively interact with it!

Who cheered? I cracked the code!

[cripplecharacters]

How to go about writing tics? I have tics but I never know how to write them naturally, especially cause I often forget I even have them. To me it's like describing blinking or something? But I of course want the character to notably have tics, even though my internal experience of tics isn't very noticeable to me? If that makes sense?

Hello!

Jerk, California by Jonathan Friesen is a book about a character (Sam) with Tourette's syndrome, written by an author who also has Tourette's. One of the things I really appreciated about the book was that it described Sam's tics in a way that made sense with how they felt as somebody with Tourette's.

In the book, Sam's tics are generally described when they're relevant. Usually, this is either to show that he's upset/otherwise worked up about something or as a way to build tension within the narrative itself. Although it doesn't necessarily mean that Sam isn't ticcing otherwise, it came across as the tics being more noticeable in those moments -- which I felt was a nice touch.

Consider the following passage from the book:

I glance around. My muscles don't jerk, and I close my eyes. I breathe deep, and like the third runner who finally catches up, the overtakes me. Slowly at first–a hard eyeblink. But that's not enough; there's more that has to work its way out, and my teeth grind. Movement spreads to my shoulder, and soon my whole body springs to twitchy life.

Even without the rest of the context of the scene, the description of his tics is enough to convey how he's feeling in the moment.

In the more mellow portions of the book, his tics aren't generally described at all, which helps it to feel more calm.

Another thing I liked it that they're described in the same way as any other action or movement.

This is another passage from the book:

The class groans, Heather swears, and my shoulder jumps. My elbow knocks my textbook to the floor with a thump.

Although the author doesn't explicitly say that Sam is ticcing, we as readers can get that idea from the way it's described. Essentially, this is to say that you don't need to explicitly specify when something is a tic or not – your audience will generally pick up on it.

With verbal tics (Especially ones that involve speech), it can be a bit harder. There's a kind of balance you want to strike between showing the tics and still making sure that the dialogue is readable.

While discussing verbal tics that occur outside of dialogue (i.e. Not interrupting the character's speech), I'd suggest marking the tic as such through dialogue tags. Words such as "blurted" or "exclaimed" can imply an unintentional aspect to the speech.

You could also describe how the character is experiencing the tic themself (If it's from their POV).

This is another passage from Jerk, California:

"No thanks, Jace. I'll stay with Sam." "Hah!" The word fires from my mouth. I purse my lips and bite my swollen tongue, but my vocal cords are locked and there's nothing I can do. "Stay with Sam! Stay with Sam!"

If you're writing in the POV of another character, you could describe how it looks from their perspective. Though I'd be careful with this, as it can come across as mockery if it's not done well.

With verbal tics that do interrupt dialogue, be careful to ensure it's not too frequent as it can make it difficult to read. I'd also suggest using some sort of formatting to identify tics vs general dialogue.

An example could be: (Note: This is not from the book)

"You know, I don't think–hey!–that would be a good idea."

That said, you would have to establish that the character has tics beforehand (And, ideally, establish this speech pattern as such), otherwise it can look more like an interruption or something similar.

I'd definitely suggest taking a glance through some books about characters with tics, just to see the format that other authors use. There's a wide range of options out there and the book I referenced here is just one of many ways to do it.

Cheers,

~ Mod Icarus

[hollowed-theory-hall]

what's the one harry potter pairing u like that u mentioned in the tags of your hinny post?

Anonymous: Can I ask who that minor character you ship with Harry is? For some absurd reason my mind jumped to Stan Shunpike lol but it's probably not him.... Or is it?

Okay, so this is kind of a funny story. Like, my pipeline through hp pairings was a weird one. Like, I used to read a lot of Harry pairings, still do on occasion (some make more sense than others). None of them were ones I would point at and say: "that should've happened in the books"

One day, I was innocently writing a fic (canon divergence of GoF), and it was just for me, for funnsies, never posted it anywhere and not planning to. And I planned to pair Harry with someone there (honestly, I don't remember who because I didn't write the plan down) but when writing, Harry ended up with a different character. And it was so strange to me because that never happened.

Like, how do you write a ship accidentally?

But I did. I wrote Harry into a ship by accident. So I went back to the books to try and figure out why the hell would my subconscious decide that's the way to go.

I'll also preface it by all this being my subjective opinion and I do read other Harry ships in fics, this one just quickly became my favorite to write (and the only one I write). Also, I don't actually think this is a pairing that should've happened in the books, it's place is in fic and that's where I like it.

So, the character I accidentally shipped with Harry is... *drumroll*

Stan Shunpike!

Not really, it's:

Theodore Nott

Now, you might look at the name and go: "Who the fuck is that?"

And you'll be correct. Theo has 0 speaking lines in the entire book series. His name appears twice. He, himself, as a person, only appeared on page, like, 3 times in the background. The scene that gives the most information about him is other characters talking about him. He isn't even present.

That being said, I'm very good at extrapolating a lot of information from very little evidence. So allow me, to walk you through who is Theodore Nott and why I ship him with Harry.

Basic Information

So, let's start with the most basic overview before I pull out the quotes and go any deeper.

We know Theo is a Slytherin student in Harry's year. So he likely shares a dorm with Draco, Blaise, Crabbe, and Goyle.

Theo's father is both at the graveyard at the end of GoF and in the Department of Mysteries at the end of OotP, so we know he is a Death Eater. We also know Thoe's father was one of the first and closest Death Eaters to Voldemort, who waited for him during his interview with Dumbledore in 1967:

“Then if I were to go to the Hog’s Head tonight, I would not find a group of them — Nott, Rosier, Mulciber, Dolohov — awaiting your return? Devoted friends indeed...”

(HBP, page 444)

We also know the Nott family is "as pure-blooded as the Malfoys" according to JKR in an interview. We also know Theo's great-grandfather (maybe? the family relation isn't clear), Cantankerus Nott, is suspected to be the one who wrote the Pure-Blood Dictionary, the book that coined the term "Sacred 28" and made that list (which the Nott family are on).

The name Nott is potentially to be derived from the name Nótt, which is the personification of the night in Norse Mythology. So it has been theorized the Nott family have a Nordic origin. Possible, but it doesn't really matter for this post.

What does, is that he comes from a dark, Death Eater, blood-purist family similar to the Malfoys. Even so, Theo never took the Dark Mark and never joined Voldemort in the books.

Now, that we have the basic information out of the way, let's look at Theodore as a person.

All the details I could gather from the books

Alright, now we get to the fun part. That is, me going through all the relevant scenes that mention Theodore Nott and actually creating a character psychoanalysis out of basically nothing.

So, the quotes aren't organized in a particular order. I'm just going to explain Theo and then explain why all this makes me ship him with Harry.

“Well, I pity Slughorn’s taste. Maybe he’s going a bit senile. Shame, my father always said he was a good wizard in his day. My father used to be a bit of a favorite of his. Slughorn probably hasn’t heard I’m on the train, or —” “I wouldn’t bank on an invitation,” said Zabini. “He asked me about Nott’s father when I first arrived. They used to be old friends, apparently, but when he heard he’d been caught at the Ministry he didn’t look happy, and Nott didn’t get an invitation, did he? I don’t think Slughorn’s interested in Death Eaters.” Malfoy looked angry, but forced out a singularly humorless laugh.

(HBP, page 150)

This is a part of the conversation between Draco, Pansy, and Blaise, Harry overhears when he is hiding in their compartment at the beginning of HBP. I have a few things to note regarding this scene.

Firstly, throughout this conversation, Pansy, Blaise, and Draco all call each other by their first name. This shows closeness, they are all friendly and familiar enough to use their first names with each other. Theo, though, is referred to as "Nott" by all three in the compartment.

He doesn't actually sit in their compartment which is in itself a sign about how he isn't really friendly with Draco's group. Considering the group is most of his year from his house, Theo is likely very lonely, and it will be apparent from other scenes I bring up later.

Secondly, Theo's father is in Azkaban. We know Draco is bothered about his own father's predicament. He mentions it to Harry and bothers him over it, Theo doesn't though. Theo doesn't seem to be bothered by Harry or his father's incarceration.

The only conclusion I can draw from this is that the relationship between Theo and his father is not a good one.

(I know some fics like to have Lucius be abusive towards Draco, for some reason. But the books really don't back this up. Lucius loves Draco and Draco adores his father)

Theo, though, Theo seems to be the one with a very strained relationship with his father. Strained enough that he isn't bothered the man is in Azkaban. What I'm saying is that Theo's father likely abuses or mistreats him in some capacity.

If anything more was needed to complete Harry’s happiness, it was Malfoy, Crabbe, and Goyle’s reactions. He saw them with their heads together later that afternoon in the library, together with a weedy-looking boy Hermione whispered was called Theodore Nott. They looked around at Harry as he browsed the shelves for the book he needed on Partial Vanishment, and Goyle cracked his knuckles threateningly and Malfoy whispered something undoubtedly malevolent to Crabbe. Harry knew perfectly well why they were acting like this: He had named all of their fathers as Death Eaters

(OotP, page 583)

This is a scene at the end of OotP after Draco, Crabbe, Goyle and Theo's fathers were caught at the ministry and sent to Azkaban because they are Death Eaters. There are a few important notes about this scene.

The first, Hermione knows Theo, while Harry and Ron don't really. This means she likely knows him from the classes she takes and Harry and Ron don't — Arithmancy and/or Ancient Runes.

The second, he is sitting with other Death Eater children, but I don't think it's by choice. I mentioned in the previous quote how he isn't close to Draco and his crew. He sits with them here mostly because he doesn't have another choice. Theo doesn't seem to really have any friends, so he sits with the closest people he has to friends — kids he has known since he was young because their fathers were in the same circle.

The other note about this is that Crabbe, Goyle, and Draco are all mentioned as being threatening and malicious towards Harry because they don't like that their fathers are in Azkaban. Theo, though, Theo doesn't threaten Harry, he isn't part of their whisperings. As I mentioned above, he's likely happy his father is in Azkaban.

A pair of blank, white, shining eyes were growing larger through the gloom and a moment later the dragonish face, neck, and then skeletal body of a great, black, winged horse emerged from the darkness. It looked around at the class for a few seconds, swishing its long black tail, then bowed its head and began to tear flesh from the dead cow with its pointed fangs. A great wave of relief broke over Harry. Here at last was proof that he had not imagined these creatures, that they were real: Hagrid knew about them too. He looked eagerly at Ron, but Ron was still staring around into the trees and after a few seconds he whispered, “Why doesn’t Hagrid call again?” Most of the rest of the class were wearing expressions as confused and nervously expectant as Ron’s and were still gazing everywhere but at the horse standing feet from them. There were only two other people who seemed to be able to see them: a stringy Slytherin boy standing just behind Goyle was watching the horse eating with an expression of great distaste on his face, and Neville, whose eyes were following the swishing progress of the long black tail.

(OotP, page 445)

“The only people who can see thestrals,” she said, “are people who have seen death.”

(OotP, page 446)

The stringy Slytherin boy mentioned here is Theo. This scene proves that:

He takes Care of Magical Creatures

He saw someone die

Let's explore the second one for a moment. The fact Theo can see Thestrals means he watched someone die and was old enough to comprehend what he was seeing. We also know Theo's mother is dead. So it's likely the person he watched die was his mother.

I also want to draw attention to Theo's distaste towards Thestrals. He could likely see them carrying the carriages every year since 2nd year, it's not his first time seeing them. But it doesn't stop his displeasure with their sight from showing. Which says something about him. It means he likely recalls his mother and her death whenever he looks at the Thestrals. and these are memories Theo rather not experience.

We don't know how his mother died, but I'd hazard a guess it wasn't natural. After all, wizards have long life spans, they are more durable to illness and injury, and don't usually die from accidents unless very extreme or magical. And there was no epidemic of dragonpox (a disease that does tend to kill wizards) in the time since 1980 and the books. So, she was more likely killed at some point between 1985(ish) and 1991.

“No, I don’t think so, sir. I’m Muggle-born, you see.” Harry saw Malfoy lean close to Nott and whisper something; both of them sniggered, but Slughorn showed no dismay; on the contrary, he beamed and looked from Hermione to Harry, who was sitting next to her.

(HBP, pages 185-186)

First, Theo is an O student in potions since he is in the potions NEWT class, and was probably meant to be there even if Snape was the teacher.

Second, again, Theo doesn't really have friends. He sits next to Draco as the only other Slytherin in the class. Also, they share the circumstances of being sons of Death Eaters currently in Azkaban. Although both of them seem to deal with it quite differently.

Third, Theo joins Draco in making fun of Hermione's blood status, but he does not initiate it. Considering the environment he was raised in and is in, it makes sense he would make fun of it. Whether he's a blood-purist or not, he would want to keep his image considering he doesn't have many allies. Hanging out with Draco is survival, not friendship. They aren't even on a first-name basis with each other.

“Amortentia doesn’t really create love, of course. It is impossible to manufacture or imitate love. No, this will simply cause a powerful infatuation or obsession. It is probably the most dangerous and powerful potion in this room — oh yes,” he said, nodding gravely at Malfoy and Nott, both of whom were smirking skeptically. “When you have seen as much of life as I have, you will not underestimate the power of obsessive love. . . .

(HBP, page 186)

The final quote I have about Theo is from the same potions class as above. Both he and Draco are portrayed here as underestimating amortentia and its potential damage. It makes sense for their upbringing in the Wizarding World, which has no real laws or regulations regarding love potions that are seen as harmless fun more often than not.

I'll add Theo likely didn't witness a healthy romantic relationship. Considering his father is a Death Eater who is likely abusive and may or may not have killed his mother. With this as his reference to a marriage, it's clear why he'd look down on love and love potions.

Why I think Theo and Harry have potential

Okay, so now that we know who Theodore Nott is, let's talk about why I ship him with Harry.

I think Harry, in general, would get along best with a clever partner with the ability to be ruthless (Slytherins or Ron fall into this category). Because Harry isn't some golden savior; he casts unforgivables, and is very willing to poison Umbridge or Crocio Snape if he could get away with it. He needs a partner that won't be horrified by these thoughts.

Also, Theo literally never speaks on page. Even when spoken to, his reactions are silent. I think this quiet and no need to talk, the ability to be comfortable in silence, is something that would be comfortable for Harry. Harry in the books finds himself annoyed with Ron and Hermione's constant banter on occasion, so I think it fits well.

Theo would also be comfortable around Harry without a need to play a certain part. Because Harry wouldn't care about that. He would honestly rather Theo forgo the pure-blood Slytherin act.

I feel like Harry and Theo, have a good potential to understand each other. Theo lost his mother and likely experiences abuse from his father. It makes them very likely to trauma bond over their crap life and shared experience. Two out of three only ones who could see the Thestrals in the entire class.

The other thing I feel they could connect over is being lonely. Harry spent all his childhood until Hogwarts basically being on his own. Theo stayed on his own. Draco at least has his parents, he has other students he's closer to, not that he shares everything with them, but he has some support network. Theo has none. And this is something Harry knows well.

Theo, I think, wouldn't expect anything specific from Harry. He doesn't even interact with him, not to mock him, and not to idolize him, he doesn't care at all. And we know how much Harry appreciates being thought of as Harry and not as the Boy-Who-Lived. Theo would allow Harry to be himself without some mold he wants him to fit in.

The fact Theo never becomes a Death Eater, even though he was in Draco's year and his father was a Death Eater before Lucius (and in better standing than Lucius with Voldemort) is so interesting. It's somewhat surprising Theo wasn't marked. It means he didn't want to be. It means that Theo Nott didn't want to torture and kill muggleborns or blood traitors, or anyone really. And he didn't want to swear his allegiance to Voldemort. This is just a fascinating fact to me and something I enjoy considering. What life experience made him come to that conclusion? Was it just his dislike of his father that pushed him away? Could he have been another Sirius Black (Gryffindor in a Slytherin family) under slightly different circumstances? I mean, Voldemort likely wouldn't force him to become a Death Eater, but would his father? I don't know what at all went down there, but I like that potential story.

We also know he wasn't part of Umbridge's Inquisitorial Squad, even though some minor Slytherins were mentioned to be part of it. He just seems to be an actually decent guy (I don't care what Cursed Child says about him, I know he's there but I avoided almost anything to do with Cursed Child so I barely know the plot).

Finally, this is a character Harry doesn't have as much drama to get over with. Yes, sometimes I want to read overcoming drama between characters before it becomes a romance, but sometimes I want something chiller than that. And Theo is a really chill, safe, Slytherin option for Harry.

[libraryofgage]

Mermaid/Pirate Steddie Part Three

Part One | Part Two

I got side-lined by the Modern Steve in 80s Hawkins fic for a hot minute (that big boi is at, like, 73k; he hefty), but here's the next part!

As always, if you see any typos, no you didn't ;P

In the port city of Socotra, past the first big plaza and down a few side streets, is a small two-story shop with a sign that reads "C. C. Elixirs and Solutions." The shop is owned by a very nice young witch named Chrissy Cunningham who, currently, is doing her absolute best to not laugh in Eddie's face as he spins his tale of accidentally entering into courtship with a merman.

"Anyway," Eddie says, pacing in front of the counter with his hands splayed and his hair a mess, "I was wondering if you'd have anything that could help me."

Chrissy covers her mouth, swallowing down the bursts of laughter threatening to bubble up her throat. After a moment, she asks, "With what, exactly?"

Eddie turns to look at her, gesturing to the shop as a whole. "C’mon, Chrissy, you gotta have something here for me, right? Like, I don't know, a fucking manual or whatever."

"Of course I don't have a...," Chrissy trails off, frowning slightly as she looks at the storeroom door behind her. She's getting a very familiar feeling. It settles at the top of her spine like a shiver that's just waiting and waiting to happen but never does. Usually, this means something.

"Give me a second," she says, barely hearing Eddie's agreement before she heads into the back.

Her storeroom is a chaotic mess that only makes sense to Chrissy. Precarious stacks of books are randomly scattered across the floor, some of them holding plants or knickknacks on top. A few tables are filled with potion ingredients, magical artifacts that still need cataloging, half-filled notebooks, and dozens of pens. A few bookcases line the walls, and Chrissy wanders over to one of them.

She scans the spines, passing over books about fae marriage customs, common selkie family traditions, and in-depth essays analyzing Phoenix mating dances. Finally, her gaze lands on a thin, unassuming book. Its cover is made of sea-foam green leather, with waves etched into the spine instead of words. When Chrissy pulls it off the shelf, the front cover is blank. She doesn't remember getting this book, but this can happen in magic shops. Sometimes items just appear where they know they'll be needed.

Chrissy flips the book open, landing on the front page and grinning at the dedication that reads, "To all the hapless fools in love with a sea dragon's descendant. Here's to hoping you don't royally fuck it up."

Yeah, that's perfect.

She heads back to the front of the shop, immediately noticing that Eddie has placed trinkets and rocks on the counter. She recognizes a few of her protection charms (made of genuine silver, she'd like to add), some quartz of varying colors, and a ring set with a prismatic shard. Chrissy stares at the items before looking up at Eddie with a raised eyebrow.

"Stevie would love all of these," Eddie says, shrugging with absolutely no remorse or shame as he drops a coin purse onto the counter.

Chrissy sighs and digs a few coins out, ensuring they're all gold and all real by biting them before nodding. "You know, land-based magical items don't actually work on merfolk," she says, pushing the purse back to Eddie as she places the book on the counter as well. "So those protection charms and that prismatic ring won't do anything for him."

"Yeah, but they're pretty. He'll like them," Eddie insists. He then notices the book, and his eyes light up hopefully. "Did you find something?"

"Yep, seems to be exactly what you need," she says, sliding it closer to him and watching as he opens it to a random page.

"A common practice among merfolk is to collect trinkets during their pod's travels. Some trinkets won't be personally interesting to the merperson, but can be later used as courting gifts if they're relevant to the intended mate's interests or likes," Eddie reads, tilting his head slightly with a genuine interest that Chrissy usually only sees when he discusses new songs he's learned during his travels.

"Consider that one on the house. But I expect to meet this merman once you've finished your honeymoon phase," Chrissy says, pulling out a small velvet bag and placing the other items inside.

She gives it to Eddie, smiling once more when he nods, digs into his pockets, and drops another small pouch onto the counter. "Almost forgot. Here's some of that 500 year old ginseng you mentioned before," he says.

Chrissy blinks, staring at the pouch. Before she can say anything (like, for example, demanding to know how Eddie got his hands on so much of such a rare ingredient that only the most qualified of practitioners can even dream about seeing), Eddie has gathered his things and practically run out of the shop with a hurried goodbye thrown over his shoulder.

Excerpt from "The Lovelorn Fool's Guide to Merfolk Courtship"

The most important thing to know about courting merfolk is the levels of courtship, of which there are three. In order, they are:

Gift-giving: merfolk collect various trinkets throughout their life, including items they personally do not find interesting. Upon finding a potential mate, they will go through their collection and gift items they think the potential mate will like. To learn more about trinket collection, refer to Part II.

Harmonizing: unsurprisingly, singing is important to merfolk. In addition to being an enjoyable pastime, singing is another mode of communication. The ability to harmonize with a potential mate is vital, as it proves the two are well-matched. To learn more about song types, refer to Part III.

Pod Introduction: the final stage of merfolk courtship, pod introduction is the most important. Pods are sacred, and introducing a potential mate to the pod is an incredible show of trust and commitment. To learn more about pods and their structure, refer to Part IV.

Of these levels, gift-giving often takes the longest. Some merfolk give hundreds of gifts before moving to harmonizing, and others give one. Be patient and try to return each gift you receive.

While these are the levels of courtship, the actual establishment of mateship (consider this the merfolk equivalent of marriage, only it's far more permanent), involves the gifting of scales.

You can find more on this in Part V.

----

Steve stares longingly at the small window in Eddie's cabin, tracking the clouds and lingering on birds that soar by. He knows he can't be on the deck when they've docked, but scales, he's bored.

Are his guppies bored, too? Do they still play games, or are they too worried about Steve to sweep through the waters? Has Robin lost a few scales from exhaustion and stress? How quickly after hugging him is she going to kill him for being away for so long?

With a sigh, Steve drags his eyes away from the window and looks at his tail. Kelp is still wrapped around the wound, but he knows it's almost healed. He can flick his fins without hurting, and the wound has mostly scabbed over, fresh scales beginning to creep over the cut. Maybe a few more nights, and Steve will be ready to jump back into the ocean and find his pod and guppies again.

But that would mean leaving Eddie behind, and...Steve really doesn't want to do that. Because Eddie is the closest Steve has ever actually come to finding a potential mate.

He starts to sink into the water to submerge his head beneath the surface so his disgruntled and stressed air bubbles can rise from his gills. Before he can fully slide under the surface, though, Steve hears the familiar sound of Eddie's excited, hurried footsteps.

Steve perks up, gripping the edge of the tub as Eddie slams into the door, cursing at the pain as he opens it and stumbles inside. He looks at Steve immediately, his cheeks flushed and his eyes wide and a grin tugging at his lips to reveal dimples. He's carrying a small pouch in one hand and a book with a sea-foam green cover in the other.

"Stevie!" he says, kicking the door closed and walking over to the tub, "I got you stuff."

With that, Eddie crouches in front of the tub and holds the pouch out to Steve. He doesn't seem to notice how Steve's gills flutter, air pushing out in an excited, flustered pattern that would have made Robin tease him. Eddie doesn't know that, though, so Steve tries to ignore his gills and takes the pouch.

He opens it carefully, his gaze immediately caught on a ring set with a rainbow-colored stone. Steve's eyes widen, his mind swirling around the pretty color and how well it matches his tail and how it looks to be the perfect size and how it would still glitter even when Steve is deeper than the sun can reach.

He pulls the ring out, turning it over a few times before sliding it onto his left ring finger. He was right; it fits perfectly. It has a strange but ultimately harmless magic attached to it. Steve grins brightly, a small, barely noticeable hum bubbling from his throat as he looks back into the bag.

He pulls out each rock, studies them intently, and approves of their color and shimmer. With a nod, Steve places them carefully in the tub, clustering them on the left side of his tail, the side further from the door, for protection.

Finally, Steve pulls out a few of the protection charms. They're small and made of a material Steve immediately recognizes as something that tarnishes in water. He really likes them, though, and it would be a shame to not use them for something.

"Eddie," he says, looking up to see Eddie staring at him, his excited smile turning dopey.

"Yeah, sweetheart?" he asks, leaning forward and resting his arms on the tub.

Steve leans forward, taking a lock of Eddie's hair and studying it carefully. After a few seconds, he decides it's good enough. "Turn around?" he asks, his gills fluttering again when Eddie does so without question. After taking a second to calm himself, Steve asks, "Can I do your hair?"

Eddie hums, leaning his neck on the rim of the tub, giving Steve full access to his hair, the ends of which are dipping into the water. "Of course, Stevie. Whatcha wanna do?" he asks.

"It's a surprise," Steve tells him, moving some until he's partially sitting on his tail so he can properly face Eddie's hair. He places the pouch on the edge of the tub, letting it precariously balance, before running his fingers through Eddie's hair.

He's done this enough times for Max to know how to fix tangles without pulling. As he works, Steve relaxes, falling into a familiar rhythm, and starts to hum softly. It's a lullaby, one that he doesn't get to sing the guppies to sleep with anymore, but they tolerate it when he's caring for wounds or helping them scrub their tails or braiding their hair.

Steve divides Eddie's hair into sections and starts braiding. Every other inch, Steve takes one of the charms from the pouch and braids it into Eddie's hair. By the time he's done, the braid is decorated with silver charms, standing out nicely against Eddie's brown hair.

"Okay," he says, using a thin piece of kelp to tie off the braid, "It looks good."

Eddie hums, reaching back and carefully running his fingers over the braid. Steve watches, suppressing the urge to grab Eddie's hand. "Did you not like them?" Eddie asks, dropping his hand and turning around. The charms clink against each other, creating a quiet song that makes Steve's heart light and happy.

"I liked them," Steve says, pushing the pouch on the edge of the tub into Eddie's lap. "They tarnish in water, though. And their magic felt too strange. They look better on you."

"So, you gave me a gift?" Eddie asks, his smile hopeful and his eyes bright. Steve can't help returning the smile with a nod. In response, Eddie leans forward even further, like he's acting on impulse more than anything else, and presses his lips to Steve's cheek.

Steve's eyes widen, his gills burst, and his ear fins flare in response. To the untrained (human) eye, his reaction is similar to a cat puffing and bristling when faced with a threat. To the trained eye (Robin. And other merfolk, but mostly Robin), Steve's reaction is entirely common for especially flustered merfolk.

It's never happened to Steve before, and that just makes him feel more flustered. He doesn't want Eddie to see his flared fins, so he does the first thing he thinks of; Steve pushes forward and wraps his arms around Eddie's shoulders, hugging him tightly so he can't pull away. "Thanks," he mumbles, "for the gifts, I mean."

He hears Eddie laugh and feels Eddie's hands slide across his side and to his back to return the hug. "Of course, Stevie," Eddie replies, his breath warm against Steve's gills and sending a subtle shiver down Steve's spine. "I'm glad you like them."

Steve is gone. He can't imagine being away from Eddie. He can already see Eddie and the guppies meeting, and he can see Robin fucking with Eddie just to see how he reacts. Steve can see Eddie in the water with him, grinning as his hair floats around them. Steve can see Eddie and him lying together on a beach, warm on the sand and basking in the sun.

Most of all, Steve can imagine giving Eddie a necklace or bracelet of his scales. Maybe that should scare or worry him, but all Steve can feel is excited and warm, and he's more than happy to bask in that feeling for a while.

----

Tag List (the tag list is full! I wasn't able to fit everyone, so if you aren't on here, I'd suggest following #high seas steddie. I think you should still get updates on your dash if you do)

@mugloversonly, @raisedbylibrarians, @thegirlwiththelibrarybag, @savory-babby, @vankaar, @beckkthewreck, @itcanbepalped, @imfinereallyy, @finntheehumaneater, @mightbeasleep, @weekend-dreamer7

@whenindoubtb72, @troublemaker2azz, @just-a-tiny-void, @upallnightogetloki, @mxmakessense, @ellietheasexylibrarian, @haelreadsshit, @y4r3luv, @starman-jpg, @littlewildflowerkitten, @estrellami-1, @stevieschrodinger, @gaelicblue, @they-reap-what-we-sow

@5ammi90, @noodle-shenaniganery, @acrolius, @hallelujahimatheist, @rainbow-freckle, @desidrarry-wolfstarshipper, @goodolefashionedloverboi, @79chevyimpala, @aliea82, @hopefulcookieoperatorpersona, @sani-86, @queenie-ofthe-void, @goosesister, @hello-fellow-nerds, @luthienstormblessed, @xtkxkrzrizir, @potato-of-the-lord, @geekymagicalpotato, @child-of-cthulhu, @aizawa-emma, @m-owo-n, @newtstabber, @cartercaptainofthemoon, @spectrum-spectre, @a-little-unsteddie

[moonandblossoms]

For some reason, I can never understand why people supporting non-canon ships over canon ships are condescending people preferring canon ships. Like, I can never understand this at all. I don't get how every ship which is made canon by the author is always poorly written, lacking chemistry, lacking screentime, relevancy, etc. So, in this sense, every ship which is made canon is poorly written? Can't we consider any canon ship well written? Did they end up with each other with no interactions and gestures? Just because the ship you expect to become canon never became one, how come it makes the canon ships poorly written? Just because your ship never sailed?

I don't understand this. Sometimes, you might not like two people together as a ship, but you say they never made sense and also ship them with a character with whom they had no interactions at all? Or barely spoke a few sentences?

Ship whatever you want, but don't assume that only non-canon ships are valid to ship, canon ships are so boring, and tell that people only ship them because they are canon. Canon shippers do have more than just canonicity to ship two people together.

After all, we ship what we like and it's not our fault if canon ships do appeal to us. Some of them also like a fair amount of non-canon ships as well.

Just because your ship never got a space to be made into a romantic one, that doesn't mean the ship made more sense than a canon ship. Period.

[gabrielsbubblegumbitch]

Hello again! LOVE op's posts about static moth so so much they are giving me ungodly amounts of serotonin ... It's genuinely been such a joy reading your interpretations of their relationship and what makes them work the way they do. Even with the limited amount of content we have of them I believe you've nailed their respective personalities and behavior patterns spectacularly and every single post has been extremely interesting to go through and to analyze off of!

Regarding the reasons as to why Valentino likes vox as a romantic partner, I also believe part of it has to do with some of Vox's more stalkerish tendencies as well? His (not yet canon but close) Voyeurism, his constant need for control, etc.

This is more of a head canon than anything else, but I do genuinely believe Valentino enjoys the obsessive attention he can get only from Vox as it does wonders to quell his constant sense of emptiness, his subsequent feelings of abandonment, and the anxieties that follow. The fact that he knows Vox enjoys stalking him, (probably) gets off on it and is actively deriving pleasure from simply watching him go about his day may be adding to the thrill and content as well. The thing is, as generally absurd and problematic it is, this behavior seems to bring a sense of security for both Partys involved: Throughout the show during all 4 episodes that feature Valentino's presence, we have yet to see a single scene with him without at least one camera tracking his movements. They are everywhere. They follow him wherever he goes, Vox can follow him wherever he goes whenever he so chooses, even to Vals own personal quarters. They are a massive, glaring red flag and quite frankly would bring a suffocating amount of pressure and sense of captivity to any other person under the same circumstance. But Val never brings this up, so I feel he either doesn't think he's in a favourable condition to complain, or he likes the idea of Vox always having his eyes on him. For me I think it's the latter, and I think for him to act so nonchalant around vox's cameras and his potentially constant, 24/7-hour surveillance, it has to have offered him some form of comfort. It has to have made him feel good, either about himself, about the state of their relationship, or both.

(apologies for the sloppy wording, hope you have a wonderful day!)

Awww, Anon, you are so sweet! Reading your question brought me so much joy <3 I think your perspective is spot on, and I wholeheartedly agree with it. I must admit I initially omitted this aspect of their relationship from my initial response because the question specifically focused on love rather than "sexy and toxic stuff." For me, voyeurism and stalking kink are more closely related to the latter category.

That being said, Val undoubtedly enjoys having Vox's eyes always on him. Being a diva and a performer, he relishes performing for Vox, especially knowing Vox's likes all the deranged shit but desperately tries to hide it underneath his clean façade. So he’s basically like “I’m going to hit this bitch for you, Voxy. As a treat.” recognizing that Vox couldn't do it himself without tarnishing his image. In return, Val receives even more attention and admiration, perpetuating the cycle.

Since you've given me the opportunity to delve into Vox's voyeurism further, I'll add some additional insights (I've been meaning to write a proper post about it for some time now but that rabbit hole is just too deep). It's fundamentally about control, of course, and it's simply a kink. However, kinks are not merely about arousal; they involve complex psychological dynamics. People a lot smarter than me wrote a shit ton of essays about voyeurism, especially since it is a very relevant topic in the visual media era. One sentence about Lacan's interpretation of it grasps really well what I have in mind when I think about Vox:

By appropriating the other as image, the voyeur makes it an object of pleasure*, while remaining uninvolved in the other's intimacy.

It’s a parasitic relationship. A voyeur gets symbolic control over their object and it gives them the sense of being powerful. And they don’t have to offer anything themselves – no effort that is required to gain control in situations with two subjects involved, nor the vulnerability necessary in consensual relationships. They can just freely feed on others without offering anything in exchange.

Without delving too deeply into philosophy, Vox's inability to live authentically stems from his obsession with his image, his guardedness, and his need for control. This sets a lot of limitations about what he can allow himself to personalmy experience. So he derives dopamine from "stealing" others' experiences and emotions, while avoiding the effort and vulnerability required in genuine connections.

*In a broader sense, voyeuristic pleasure isn't necessarily sexual; it can manifest as the thrill some people experience from watching macabre imagery in movies, eavesdropping on neighbors' drama, or even watching overly personal vlogs.