#also i am less speculating what actually happened and more just going with the several what if's that crossed my mind today

[wonderwomemes]

Grim thoughts about the Titan, don't read if that's not your cup of tea

It's was a slow day at work so of course my mind kept going to the Titan and the people inside. Also I probably consumed too many stephen king stories, but i wonder what they are doing if they are realy still alive right now. they know that the air will last only a few more hours. At least if they are 5. Again, don't continue reading if you do not want to think about this.

I am 99% sure that if they are ''just'' lost or stuck and have to wait for rescue, and there wasn't a leak or a murder or an accident that killed them already... they must have discussed the possibility to try to save at least someone from the group. Or keep someone alive for as long as possible. Do you think it's the kid? do you think the biggest ego already killed the rest to preserve oxygen for as long as possible? Did they already suffocate because they kept arguing about it instead of trying to safe air?

What would you do? like for me it would be obvious to try to save everyone by briefly discussing it and then shutting up, holding hands, and try to wait it out. i don't know if they have a timer, if any of the equipent still works or if they are completely in the dark. but i hope they have at least one watch that is working and something to give them light.

Maybe they are floating on the surface. But still trapped and running out of air because they can not open the thing themselves.

But what if no ones is comming? Is the Father going to volunteer to get strangled first so his son might survive on the additional hours of air? Are they going to draw sticks? are they making deals and try to get saved by the money they have?

What if they find it and there is only one survivor who killed the rest? Who would it most likely be? The ceo? The father? The kid? The specialist? The billionair "adventurer"?

Maybe someone just went mad in there.

What if they survive and learn something from it? I think chances are small and even smaller for them to change for the better. And i would bet that if they get out, they will not wait for a week before they get book and movie deals to make them even richer. it's billionairs. they will monetize their horrors if they can make money from it. at least that way i will get my questions and my morbid curiosity answered.

Idk man, a lot of people have already put it into words. I don't *wish* for their death. Not like this. If anything i would wish that the sub just imploded suddenly. I hope this is what happened. A quick death for billionairs, i can live with that. The fish can eat the rich.

Most of all I'm just baffled by the hubris and enormous stupidity of every new detail we find out. I would feel similar if billionairs who paid to pet a Gorilla got thorn apart instantly. Like.. what did you expect? That somehow the whole world is playing by your rules because you can usually change the rules with your money?

Anyway. I am looking forward to when we know what happened. Because they will find them sooner or later. And i hope we get the details. Either from the news or from the movie that will be made about this. I will read the plot on Wikipedia

[nalyra-dreaming]

Hello! Love your blog - please allow me to bring back a topic to the table:

How long did Daniel spend with Louis and Armand back in the 70s? I see a lot of speculation that some version of DM takes place back then. And, it would be very dramatically compelling to have Daniel realize that he’s not just lost a night of memories (which I think is what he believes presently?) but actually several months/a whole relationship/a side of himself. However, in every new clip from the 70s thus far the trio seems to be wearing the same clothes as from the flashback in episode six. Also, I think in some official interviews it sounds like they are referring to a single event when they are talking about the first interviews. Of course, this could be a deliberate obfuscation as to not spoil anything…

I read a theory speculating that Daniel will early on in the season remember a few flashes of Armand. Specifically that after having saved him from Louis, Armand basically considered killing him. That this is what the ”I’m the quiet you’ve been longing for…” scene is about, and that this is why Daniel at some point fears Armand (as heard in the trailer). He will probably believe that Armand must have erased his memories after Louis tried to kill him (which might also be just what happened if DM doesn’t take place) as he learns of the extent of Armand’s mind ability (which could be connected to learning about the Théâtre des Vampire as they are probably hypnotizing their victims?). Listening to Louis’ and hearing his inconsistencies he will probably put two and two together and realize and help Louis realize that Armand has interfered with his mind.

If DM happened in the past, this could result in a really explosive ending in which Daniel first believes that he has finally come to understand all there is to know of the story between Louis and Armand and also of his first encounter with the two, but then as more memories comes to the surface he is faced with the realization that there’s a lot more to it.

(1/2)

Hey!

Glad you like :))

Sooooo I think that the Devil's Minion of the past will likely unfold pretty much the same as in the books, namely the hunt across the globe, and then years of relationship.

However, I do not think that will be something we will see everything of already. AND I think that both Devil's Minion and Lesmand have been mostly kept out of the "general trailer" as not to confuse the more casual viewers. So that is nothing I would go by, actually.

Daniel remembering is - contrary to Louis! - a deliberate thing (at least from Armand's side - I do believe Louis also tries to remember deliberately, but Armand probably does not really want him to, which... I get. Ahem.). Others have posted about this too, but the medicine he gets should have other effects - and the sheer presence of Fareed means there's... something going on.

I think he will continue to remember, more and more, and there is a high chance that he will remember Louis, too. Personally I think that it was not Armand who erased Daniel's memories (contrary to Louis'). This could also be the reason why for Louis some bleed through... and for Daniel they didn't. (But we'll see about that^^).

I am very sure DM did indeed happen in the past - up and until Daniel not being too healthy and wanting to be turned. And then something happened differently than in the book.

Remembering will indeed be a shock to the system for him - as you said, he more or less settled. Though his subconscious remembers. The Bosch-puzzle, the "Savage Garden" book. Set design, yes, but done on purpose. He also knows there's something that doesn't match, because he probably cannot remember where he got the bite mark.

Considering these vampires can heal these wounds... that's a visible claim. By Armand.

And yes, this is a very... insidious kind of horror. And it is a theme in the chronicles. The road to accept themselves as the monsters they are is rocky indeed.

Daniel realizing he "loved this thing" is also part of it all. (That is a quote, too^^). Daniel does not see Armand in any kind of idealized light - he sees him in his entirety. And yes, of course Armand thinks what he does best... he's not doing it out of malice. He thinks he's helping... in his own, inimitable way.

"L'amour est un monstre".

They didn't choose this headline just for Loumand on the posters :) No, as with so many things... this goes for several relationships and situations.

Armand will indeed not be able to let Daniel die, imho - but that won't be this season... I think this season will need to deal with the fallout on Louis. For Daniel and Armand that will come up still, in some kind of way.

The upcoming season will be very interesting for DM, but I doubt it will be the last - I think it will open it up, so that the truly interesting, gritty conflict can come about in the upcoming seasons :))

I for one am looking very much forward to it.

[misc-obeyme]

Okay this is a follow up to this post because I’ve had more time to think about it and I have more to say after all.

Lesson 25 round two here we go! Sorry Asmo, you’re still not in this one, just know that you’re beautiful and I love you.

Okay.

The truth is that I was just trying to find a way for what happened to be some kind of trick. And I like to hold out hope that it still is somehow, but I’m not going to speculate about it or try to prove that is somehow the case.

Instead, I want to talk about why I feel this way.

More than anything else, it feels extremely out of character for Barbatos to have such a minor reason for acting the way he has been this whole time.

If they were only setting up that whole thing in order for it to be a joke, they should have made his insults less intense or revealed it far earlier.

Don’t get me wrong. I absolutely think that Barbatos would be upset about finding he’s eighth on the list, especially after everything he’s done for Solomon. I am not at all saying that I think he didn’t have a reason to be upset or that it doesn’t make sense for his feelings to be hurt.

What doesn’t make sense is his reaction.

Barbatos has always been reserved. He never really shows strong emotions at all and in fact I think I’ve mentioned several times that this particular situation is the one exception. It stands out because it’s so unlike him. Which led me to believe that whatever his reason for being so angry was, it had to be something big.

In fact, I was so convinced that Solomon did something really terrible to Barbatos that I didn’t believe Sol when he said he couldn’t remember what it was. I was like there’s no way you don’t remember doing something so bad that it makes Barbatos act like this. That just can’t be true.

But if it really was just the list thing, then yeah. Of course Solomon doesn’t remember. He was like ??? Did I make a list?

Barbatos’s reaction is way too over the top for something so small.

I would have expected him to call Solomon out on it immediately, the moment he found the list. Because it also doesn’t seem like Barbatos to keep it a secret this whole time. Which is another reason I thought it was going to be something more dramatic.

Barbatos says some really mean things to Solomon and while it can be entertaining for a normally reserved character to do that, it also needs to have a legit reason. And this just didn’t cut it in my mind.

This reason makes Barbatos seem childish and petty which is not something he’s ever been before. (At least not that I can remember.)

So. Here’s where I get into the speculation about why this is the way they went.

Either we’re dealing with what I would consider bad writing and they legit just had the whole thing set up to make this joke OR something else is going on.

The something else could be anything at this point. I could get into theories about this being Barb from a different timeline for whom this isn’t out of character for some reason, Barb having a totally different reason but didn’t feel he could say it in front of MC, maybe I’ve been wrong all along and there aren’t two Sols but actually two Barbs (or at the very least someone masquerading as Barb).

But really, I could speculate all day and I don’t think I’ve ever been right about anything because this game is constantly throwing me for a loop.

So for now I will just say that I didn’t particularly like the big reveal here. It just felt wrong to me, for the reasons listed above. But I’m gonna roll with it now because it might not be anything more than what they’ve shown us. Which means I just gotta come to terms with it.

Personally, I much prefer when my girls aren’t fighting. Barbatos has some epic insults, but can’t he fling them at someone else? I like when Barbatos and Solomon are getting along and have their close friendship where they trust each other like in the OG. Bring it back to that!

[inconmess]

I really want to write a character study of the people in the Crimson Mirror but I am more fixed on Oscar and Cosmo at the moment cuz it has revived my interest on immortal figures and how they cope. SO back to the Grimm boys. (gonna tag all these speculations under Grimm theories if you want to look up) Also, a continuation of this post is right up here

Again, warning, long rant post.

You know… With the way it is revealed that over 87 years, Oscar has died 7 times prior to Tide and Bone, I wonder how many times he died and came back to life before Candela caught onto him cuz let's face it, no way is anyone going to know immediately after the ship incident about the side effects of the ritual. Maybe Candela does approach Cosmo and Oscar as the survivors of the ritual to know the deets but that should be about it. Even if Oscar died in the shipwreck, only Cosmo would know and the first death can be brushed off as a hallucination or close call because they are at sea.

It is during the second death that either of them knows that something is fishy but let's say due to some convenient shit it is not as easy to suspect it. Another death brushed off. But now it's a little obvious that Oscar does not come out unaffected as he starts forgetting things.

The third time is the charm and this time, his death and coming back from it was totally unexplainable because it should not be possible for him to survive the thing because let's say he was crushed to death or something more severe, but he did. That is when they actually look into what the fuck is going on more in detail because now it is obvious that something is going on in the background and that Oscar is coming back from the dead and missing memories as a consequence every single time.

It is this that sends Cosmo on full gear to research more about why this is happening and what actually happened in the ritual and how to stop this from happening because by this point, everyone has started to notice that Oscar is not aging also since the accident. (I'm placing the third death to be roundabout 10-15 years after the ship incident) I would say Candela catches onto this in his 3rd or 4th death because he comes back to life after a really impossible death situation and also isn't aging a day older from the incident, and Candela have been keeping tabs on them since the moment they mentioned a ritual, so even if Cosmo and Oscar don't tell them their discovery of Oscar and his revivification, they knock on their doors about it.

Dying 4 times over 2-3 decades have notified people that something is wrong but the 5-6 decades after with no answers kinda increases Oscar's recklessness and makes him less hopeful that he's actually going to die, that he'll live on forever without peace, Cosmo, while he's happy to have his father around him also is tired of all the lies and stories he has to spin to keep Oscar close and keeping Candela away from experimenting on the man and trying to figure out answers he can't get...

And Candela's increasing scrutiny at the fact that Oscar can't die and them using it to their advantage cuz a man who can't die sent into a undercover mission to collect information with the guarantee that he won't die? Who wouldn't want that? Or who wouldn't want to keep a close eye on an immortal man who has the secrets to unlocking how not to die?

Cosmo also essentially becomes his own inside man in Candela, making connections to keep an eye on what the higher-ups think about Oscar and what they plan to do with him in order to shield Oscar from whatever experiment they might plan to do with him.

The difficulties of having an immortal parent as you yourself grow old, afraid of leaving the parent under the shitty hands of an organization which doesn't really have a moral code when it comes to figuring out stuff and doing what they want to do and just feeling so tired and done of all the secrets you can't tell people...

And the parent in turn feeling shitty as they need to be taken care of by the child as they aren't aging and have to blend in, and even if they are tired oflife, they can't feel their age and time and again and again you hope you will die and stop being a burden, but it never happens. I wouldn't be surprised if Oscar had tried to take his own life in all this mess and it was one of his 7 deaths. I feel for both of them

[juniperhillpatient]

How’s it going @juniperhillpatient ?

I just read chapter VII of “The devil You Know”. The chapter was a roller coster and the story is really heating up. Poor Yue…

Was it truly a mere accident that Sokka’s coffin laid on top of Yue’s and Fy Lee”. He is very suspiciously close to many deaths. Toph was killed soon after she found out he and Suki were implicated in (I think it was Chan’s?) death. Speaking of Suki, it’s quite interesting when she protested how her phone wasn’t working, only for Azula to notice that it suddenly began to work again when it came time for Yue’s video to appear. Yue of course being an idvidyal that Suki has a grudge against. Via Sokka. Speaking of Yue, her POV this chapter was a gut punch. As was Katara’s in the beginning.

Also Jets’s POV drew several points about Ty Lee from his perspective. That she was smarter than she initially appeared. And that she six identical sisters. In appearance and voice.

What if Ty Lee hadn’t died at all. What if merely faked her death (by sacrificing one of her sisters) and engineered the call to Azula. Blaming Zuko for something he hadn’t actually done. From Jet’s PoV we know that Ty Lee’s parents wouldn’t actually notice if one of their daughters disappeared. Which may make it easy for Ty Lee to fake her death and switch with one of her sisters. If indeed she is one of the killers. I could just be reading into something that is’t there after all.

One of the killers expressed heartbreak over Azula. And we know that something happened between her and Ty Lee. Maybe enough to push Ty Lee into being a killer? Their’s also Mai, who may have been acting the fool this whole time. Her anger at Azula is readily apparent. My distrust of the two stems from canon. Though their actions are understandable I’ve got a thing about people betraying their friends. So their deeds at the Boiling Rock still leave a bad tastes in my mouth. Minus saving Zuko/Sokka/Suki’s lives of course.

So I like Suki and Sokka for Ghostface. With Mai coming in as a secondary suspicion. And If my theory about Ty Lee faking her death is right, she immediately jumps to #I suspect

In the end scene, where Katara is perving on Azula. Is Azula blacking out like in the first chapter? In which Zuko is taking of Azula in that moment?

And a message for Azula. “Tell your girlfriend important shit! Your brother being accused (supposedly at least) in being a killer definitely qualifies. Also don’t cheat on her”. That’s a bit fucked up. Unless you blacked out for it. Which makes Zuko’s action monumentally more fucked up. But then, every character in this story is a bit screwed in the head. But then, that’s one (though by no means the only) of the reasons we love all the ATLA main crew (Gaang+Dangerous ladies+Yue).

Also, I’m pretty sure Kiyi is Hakoda’s and Ursa’s bastard child. Does Sokka suspect which married women that Hakoda slept with (Ursa?). He’s been a big brother figure to her thus far, so maybe. Out of all the characters, I’m hoping Kiyi lives. Even more so than Azula or Katara (I know, It me saying that!). Also hopeful she doesn’t end up as one of the killers…

I enjoyed the chapter, and am greatly looking forward to next! I want to see this mystery unraveled!

Bestie I wish you could like.....watch my face journey as I read through your speculations because I had a BALL reading this!

I seriously LOVE all the theorizing & I feel like I'm interacting less than usual with readers when it comes to this story because I'm always just like -

"love the theories :))))" but also I literally CANNOT respond with anything to theories without giving away if you're close or way off LMAO

But just know. I feel so validated in putting as much thought as I do into this story (trust me it's a lot lol) & I just get SO excited about seeing the different possibilities when I get messages such as this. Just - AHH !! :)

As for Kiyi - I can go ahead & confirm that she is indeed Ursa & Hakoda's child. I don't consider this a spoiler given it is pretty much confirmed in the latest update. More on how much Sokka knows about this very soon!

Anyway - THANK YOU. Whenever I see notifications from you I get so happy because you are so thoughtful & insightful & so supportive <3

[magicwithclass]

Eladamri, lord of leaves is not bulk and has not been bulk for many years. It has been an almost twenty dollar card since late 2018. However, this card is interesting because it is actually playable in multiple formats. The card is not just playable; it is actually quite powerful in many types of decks. Even in Legacy and vintage, sometimes elf decks steal a victory and some of those decks play eladamri lord of leaves. Elves are very searable so putting one of these lords in your elf deck can really help you in a pinch. In commander, I would go so far as to say this is a staple in elf decks. The only real reason you should not run this in an elf typal deck is if you do not own a copy. Shroud is excellent protection for your entire team although elves fear board wipes more than single target removal. You would rather have shroud than have no protection but be careful as shroud means your spells cannot target your elves either. This includes equipment like lightning greaves and the boots. Mostly, eladrami is played because he offers your elves unblockability. Getting your entire team through turn after turn is an amazing ability and all it asks is that your opponent has a forest. You can even combo this guy with Yavimaya cradle of growth to ensure all your opponents have forests. Eladamri lord of leaves is to elves what lord of Atlantis is to merfolk. Would you play a merfolk deck without lord of Atlantis? Then eladamri should also have a spot in every elf deck. In fact, there are several merfolk lords very similiar to lord of Atlantis but elves only get shroud and forestwalk from this card. Eladrami spiked in early 2021. It went all the way up to nearly 140 dollars for a new mint copy at its height. Interestingly, the card declined going into 2022 and beyond but the card never returned to its 20 dollar price tag. Many reserved list cards returned to bulk after spiking in 2021 and very few cards ended up at a significantly higher price after the spike crashed. Eladamri was an exception. His card ended up about thirty dollars more than its prespike price. Does that mean this card was always undervalued? Is 50 or 60 dollars the correct price for this card? Even after elf commander decks got a tremendous boost with Voja Jaws of the conclave, eladamri did not spike again. Is that a sign the card is correctly priced. Lord of the rings had an elf theme too and still this card sat stagnant. We will see what happens after the return to lorwyn but perhaps only a buyout will lead to price changes. Eladamri just got a new card in modern horizons 3 as well so the character is not forgotten. Maybe a lore deck is a fun deck that can include this card too. In 2013, you could get a copy of eladamri for under 8 bucks. I doubt eladamri will ever be below fifty dollars again. Is this profit margin sufficient to speculate on reserved list cards? Today, you can make a 40 dollar profit per card if you got in on the low. If you sold 1000 you could pocket almost 40 thousand dollars in net profit. This is just for entertainment and this is not financial or legal advice but I am sure someone made bank on this elf. Eladamri can be your commander as well! He is a perfectly functional and decently strong mono green elf commander. There are many elf commanders in many combinations of colors, particularly, in mono green and this one holds its own in terms of playability. On edhrec, less than 7000 decks play this card at all and it only leads less than 700 commander decks. This seem too low. I can only assume people do not know the card or simply do not own a copy and are not willing to send 50 dollars. Eladamri has extensive lore. He was a resistance leader against phyrexia and he was one of the few nonplaneswakers that traveled between planes using beliefs portal. Belbe was actually his corrupted daughter tainted by phyrexia. If this card or mtg lore interests you, I would read some of the older books or some of the lore articles. He actually had a decent role in several stories.

[golvio]

Another thing about the trek towards Zora’s Domain is that almost every monster capable of using a bow is using Shock Arrows. They take advantage of how wet the rainfall’s made the ground by spamming the one enchanted weapon that’s the known weakness of the Zora, which several Zora tell you multiply times they are so sensitive to that they can’t safely handle these arrows with their bare hands.

If Calamity Ganon really wanted to dispatch Mipha as quickly as possible, he should’ve just sent Thunderblight there. The fact that he didn’t suggests two things.

First, that there might be some kind of elemental affinity required to pilot the Divine Beasts, let alone override their pilot’s permissions and hack into the controls. He functionally had no choice but to play an elementally themed matching game with which piece of himself he sent where.

Second, and this is way less likely and more speculative, he didn’t just want to defeat the pilots. He wanted to prove that even a splinter of himself was vastly better than the originals at their jobs (from a twisted perspective of “better”). Like, it wasn’t enough for him to just stunlock Mipha in place with his homebrew Cryonis rune. He had to make Waterblight Mipha, But Moreso, with a piercing spear type weapon with a superior reach to hers (A fishing spear, no less, which seems extra cruel to his aquatic opponent). Thunderblight mimics Urbosa’s classic sword-n-shield fighting style, but is also way faster and more efficient at activating his stunlocking electricity magic than her, and shows that off at every possible opportunity. Fireblight doesn’t just mimic Daruk’s shield, but can also create explosive vortexes by manipulating the oxygen he’s burning into creating blowback and enchant his own weapon, even turning his own hair into a weapon to make up for his lack of mobility and speed compared to the other Blights. And Windblight is a frickin’ anti-air laser cannon in addition to being just another aerial combatant in a realm where everyone else can fly and shoot.

He just rolls up into Vah Ruta all “I have mastered all four elements, and I’m going to prove I’m better at Water than you, the princess of the Water people! I am going to be the very best Water Boy!” If this is actually what he’s doing, then he’s not just figuratively teabagging upon the Champions’ remains, he’s also actively griefing Link, Zelda, and the communities each Champion came from.

I mean, as a vengeful ghost, this fits his MO, assuming he’s got enough marbles left that there’s more than a simple search-and-destroy algorithm happening in that ghostly, gaseous head of his. There are loads of stories of yurei, onryo, and even tatarigami not just lashing out at anyone available to receive their unresolved anger, but actively going out of their way to psychologically torment their targets as well, driving them to desperation and even death. Clambo Gambo’s not just out to destroy everything, but is also repeatedly twisting the knife to try to get his opponents to pay attention to him and keep paying attention to him for as long as he allows them to live. He’s like some kind of horrible outside-context internet troll. Only, in a world that’s completely forgotten the internet ever existed, a troll loses the luxury of self-justification through “irony” and trying to prove how much smarter and more in control they are than their marks, because all everyone else sees is a huge asshole being a real jerk for seemingly no reason.

But, also, if come TotK this specific iteration of Ganondorf doesn’t end up being the funniest motherfucker in the whole game, I’ll be a little disappointed.

[saltybogs]

Oceangate

DISCLAIMER: Not a submarine expert. Just an avid fan of learning and watching documentaries - especially Airline and other critical disaster documentaries. Also, this isn’t a set in stone explanation; it is speculation, as everything will be until the experts determine what caused the implosion.

First of all, any and all craft that are used for commercial activity are built to a standard. Every area is checked and kept within a set of parameters that have been determined based on prior accidents and their findings - something that I’ve heard referred to as the ‘autopsy approach’ to safety (taking apart the disaster and putting it back together in a way of figuring out what actually went wrong and finding ways to make sure it doesn’t happen again. It sucks, but we haven’t been ones to take the ‘worrywart’ approach to safety since one company that overdid safety aboard their ships around the time of the Titanic disaster. I’ll add links to these videos or channels at the bottom for those who are interested.)

One of the things that is common across all pressurized vessels is that the seam lines have to be smooth - the slightest fold, the slightest ripple, can be catastrophic. We’ve seen it in airlines time and time again - the skin has to be strong to keep the pressurization inside the aircraft for passenger safety, and between landing and 35,000 feet, the plane ‘breathes’ - the hull actually flexes between air pressure at ground level and the much thinner air at around 35,000 feet. It stands to reason, then, that the same would apply to submarines. (I’m not going to touch on anything in particular, because a lot of sub technology the military uses is either a.) classified b.) hard to decipher unless you’re someone who builds or maintains these subs.)

So, if the same would apply to submarines, then it stands to reason that the hull of the vessel would flex the same way that a plane does. As such, the slight ridge in the seamline of the sub (which I’ve circled) could indeed be the fail point, allowing the pressure to move past the carbon fiber barrier. When that happens in an airplane, you have what is known as explosive decompression - when the pressure inside the plane doesn’t match the pressure outside the plane, the pressure tries to escape. Similarly to popping a balloon, the air inside is more compressed than the air outside. When you pop the balloon, the air pressure inside is released, moving to a less confined space. The sub is the polar opposite - there is more pressure outside than inside, thus any failure, no matter how minute, could indeed cause the sub to implode at depth. 

I tell you that so I can say this: the Titan had gone down before, an unknown number of times. The hull had flexed and relaxed, flexed and relaxed, flexed and relaxed. This causes wear. With metal, it causes metal fatigue, which starts as micro tears in the metal that then expands into cracks and, eventually, the metal breaks. Grab a metal paperclip, straighten it, and then bend it back and forth in the middle until it snaps in half. That’s metal fatigue. Over the course of time, that can lead to flaws in the metal.  In something the size of the minivan-sized Titan, this is a critical issue.

We don’t know how well this sub was maintained. Considering the statements made by the CEO that safety was a waste after a certain point, we can assume that it wasn’t. This is a commonality among manufacturing companies (I’ve worked in several factories) - preventative maintenance is only performed when necessary, and they are willing to forego said maintenance to save money, even at the detriment of no longer being able to purchase replacement pieces because they’ve used duct tape and children’s dreams to hold the machines together for so long to meet production that replacement parts no longer exist outside of scrap yards.

I’m not saying Titan was in that bad of a shape. In fact, I don’t think it existed long enough to make it to that point. What I am saying is that even with the usual amounts of wear and tear, safety inspections that should have been done clearly weren’t, which is evidenced by the firing of the engineer who brought up the safety concerns, (and later getting sued over it as well.) This can also be seen in the way the seam line rises in the photo. This appears to be a ridge where the binding agent (glue, rivets, etc.) has failed, which would create a weak point in the hull. If so, then there’s no telling how deep the fault runs inside the hull, creating a weakness that would cause the implosion. The hull is carbon fiber. Cool. Carbon fiber is designed to be lightweight. At what was it, 1400(?) atmosphere, the carbon fiber would shatter like an egg shell beneath a car tire.

We should learn from this and enforce stricter safety protocols inside any vessel which could, at any point, carry innocent people. Bystanders who rely on the word of others and place their lives in the hands of designers, engineers, and CEOs should have that trust rewarded, and we should not have any style of disaster that is, as so many are, caused by apathy, caused by stress, caused by exhaustion from overworked and underpaid employees who probably haven’t had a day off in years. Not human error, mind you, because that, unfortunately, is inevitable. 

We have, on hand, the technology that could have, would have, saved their lives. The Boeing 777 has redundancies for its redundancies, and is, from what I’ve researched, one of the safest planes in existence. We have nuclear powered submarines that regularly carry crews for months to years at a time without failure. We have that because we have safety measures in place. The loss of life is unfortunate. However, when people have more money than sense, accidents will continue to happen.

YouTube Channels I watch that cover similar scenarios: Brick Immortar:  https://www.youtube.com/channel/UCjw9YUv4UoA3d0V_Pc6zLTQ Part-Time Explorer: https://www.youtube.com/@PartTimeExplorer BigOldBoats: https://www.youtube.com/@BigOldBoats Oceanliner Designs https://www.youtube.com/@OceanlinerDesigns Curious?: Science and Engineering https://www.youtube.com/@CuriousScienceandEngineering Mayday: Air Disaster: https://www.youtube.com/@MaydayAirDisaster Wonder: https://www.youtube.com/@WonderDocs Plainly Difficult: https://www.youtube.com/@PlainlyDifficult Dark Records: https://www.youtube.com/@DarkRecordsDocs Ask A Mortician https://www.youtube.com/@AskAMortician Fascinating Horror: https://www.youtube.com/@FascinatingHorror

[hqamore]

boreal star ✵ chapter one

people cannot outrun their past, not even the all-powerful darkling. and it so happens that his past just arrived at the palace gates.

series genre: romance & angst

series pairing: [past?] general kirigan (the darkling/aleksander) x reader

word count: 1.6k

non-english words: durak (a stupid man, a fool) & dorogaya (darling, sweetheart)

note: hope all is well! i was surprised to actually see interactions with the preview, so thank you very much. if you enjoy what you read, a comment goes a long way in terms of encouragement! if you have any questions or see any issues, i welcome pms or asks!

here’s the masterlist

when you arrived at the palace gates, a heavy guard presence and a lengthy line came into your sight. various emotions were scattered amongst the people: anticipation, dread, and hope. the line crept forward, guards tossing out several individuals in the process.

“the palace grounds are not open to visitors! if you do not have official business and papers to vet you, get lost!”

there was a pause followed by a number of sulking ravkans excusing themselves, grumbling about the sun summoner. the guards shook their heads as they continued processing each person.

when it was your turn, the guard gave you a dead look as he scanned your frame. “did you not hear what i said, little one? no papers, no entry.”

you offered him a tight smile. “i may not have any papers, but i think you’ll find the alternative plenty sufficient.”

he raised an eyebrow unconvinced. you rolled your eyes before gathering your hands in front of you. suddenly, he began floating in the air. gasps littered around you. the other guards, seeing their comrade in the air, rushed over and pointed their guns at you. as you lifted your arms in surrender, the floating guard found himself quickly acquainted with the ground again.

you hummed. “a six out of ten on the landing. what d’you think, boys?”

“arrest ‘em!” the guard huffed, straightening himself. “then, alert the king. he’ll want to see this grisha for himself.”

you extended your arms and two guards dragged you with them. “alright, alright. no need to be so rough, lads.” they were unrelenting and marched you right onto the palace grounds.

well, there’s no going back now.

✵ ✵ ✵

you stared up at the ceiling in your cell when footsteps grew closer.

“get up,” commanded a guard.

you lifted your head and gave him a once over. “and for what?”

with the jingle of keys, your cell door creaked open. one of the guards stepped in with wooden shackles. “the king will see you now.”

“oh, lovely.”

a guard pulled you up and yanked your arms behind you, securing them in the shackles.

“you guys certainly like to use force. have you tried talking to someone about it? it’s not good form to treat allies like this,” you chattered.

ignoring you, they pushed you towards the stairwell. you lagged behind them as you took in the nostalgic walls of the grand palace. not much had changed since the last time you laid eyes upon them. it was just as boring as you had remembered.

when you entered the throne room, whispers faded. a guard pushed you onto your knees before presenting you to the king. “this is the grisha we spoke of, your highness.”

the king peered down his nose, expression unchanging.

“is it true you’re grisha?” he questioned.

you looked at him with a small smirk. “would you like a demonstration, moi tsar?”

the guards around you trained their guns on you. you glanced at them unimpressed as you continued, “i mean that with all due respect. i spoke the truth when i said i was grisha. i am only here to help ravka.”

the king rubbed his goatee. “i hear you made a man float. what does that make you?”

“an etherealki.”

“a squaller then?” he speculated.

you shook your head as your smile grew. “a gravity summoner.”

hushed conversations erupted at your words, confusion reflecting in everyone’s faces. the tsar leaned forward in his seat with intrigue.

“i have never heard of such a thing,” he said.

“i do pride myself on being one of a kind,” you drawled. “surely, you would like to see a demonstration.”

he waved an attendant over. “call a heartrender.”

then, he nodded to you. “you understand, don’t you? as king, you can never be too cautious.”

you bowed your head slightly, still maintaining your smile. “i’m honored you’d think of me as a threat.”

“i would be a fool not to,” he snorted.

before the attendant could make it out of the throne room, a dulcet tone spoke from behind you.

“there’s no need, your highness,” it called, sending shivers up your spine. “i came as soon as i caught wind of an unknown grisha.”

you feel the mass of two bodies approaching the king. you tensed as a black ketfa swept past you. met with a familiar silhouette, you held your breath and redirected your attention to the ground.

“though, i am confused, moi tsar. if the issue was about grisha, why did you not call for me?”

the king waved his hand and nonchalantly said, “i wanted you to focus on training the sun summoner. this is a minor issue. no more, no less.”

“i see.” the man nodded to the corporalki who fixed his sight on you. “ivan, listen to their heart and make sure—”

you heard his talking cease once his feet faced you. there was a brief pause. you inhaled deeply before lifting your eyes to meet his. in that moment, your mind raced.

he looks the same as the day i left him... except that cockamamie hair is new. hmph, he’s still stupidly handsome but also plain stupid looking. look at him trying to piece it together.

“general?” the corporalki called, pulling you out of your thoughts.

the darkling cleared his throat and ripped his eyes away from you to look at the guards. “unchain them please. we need to see what kind of grisha they are.”

the guards unlocked your shackles, allowing you to rub your chafed wrists. you pushed yourself up and studied him for a moment. “i should get on with, ya?” you asked.

ivan glanced at his general, concern furrowing his brows at his odd behavior. he returned his focus to you and nodded, raising his hands in front of him. “if you get any ideas… well, i’m sure you’re familiar with what a heartrender can do.”

you let out a mocking laugh. “you’d be surprised at what i could do before you could even start.”

instantly, you felt an intense pressure in your chest, making your knees buckle. the corporalki smirked as blood rushed to your temple. in your struggle, you scowled at kirigan before you centered your hands. you shoved your hands down, increasing gravity’s pull on the heartrender. the pain in your heart let up once he fell to the ground. you gasped for air.

releasing him, you shakily regained your footing and breath. “do not forget, durak, i am not the enemy. you would have already perished if i were.”

slow clapping drew your attention away. the king looked overjoyed.

“that was riveting! general, what do you make of her?”

you raised an eyebrow at his statement. “are you sure? i haven’t even done the fun part. i could do more like make everyone in the room float or...” you trailed.

when you peeked at the shadow summoner, you could see his tense jaw and closed fists. his dark eyes met yours before he turned to the king with a false smile. “i’m sure they will be a valuable asset to ravka with the proper training.”

the king let out a hearty laugh, “i’m sure they will! treat them as though you would treat me, general kirigan. i have a feeling they will win me more than just expeditions across the fold.”

both grisha men bowed and pivoted towards you. kirigan clasped his hand around your forearm before pulling you away from the room. your feet stuttered as you tried to match his pace.

“either slow down or let go of me!”

relentless, he continued to stalk across the courtyard towards the little palace. you tugged away from his grasp and planted yourself with your powers. he circled to face you, rage evident in his glare.

“leave us,” he commanded. without another word, ivan left the two of you.

i suppose he wouldn’t want to do this where there are others.

while he was pacing, you stood there silently and waited for his eventual outburst.

his eyes were closed as he pinched the bridge of his nose. a heavy sigh left his lips, “where have you been, [y/n]?”

“shu han, actually. it was quite lovely and the weather was just—”

“saints! [y/n], do i look to be in a gaming mood?” he yelled.

you tilted your head and your lips quirked. “no? then, why act as if you had no idea who i was? were we not playing pretend? you seemed so into the game, general kirigan.”

he closed in on you, his gaze burning. he opened his mouth but no words left it. he gritted his teeth and turned away as his hands clenched and unclenched.

“it has been thirty years, [y/n]. why return at all?”

in a moment of confidence, you inched closer to him. your hands slid up his back, onto his shoulders. you leaned into his ear. “for you, my love.”

you let go and created space between you. he spun slowly, his features riddled with disbelief. “you still have feelings for me?”

breathy laughter escaped you. “feelings for you, darling? don’t be ridiculous. as if any of my past affections for you could bring me back to this over-glorified cage you’ve created. no, aleksander, i’m here to ruin you.”

his body tensed before an arrogant smirk set on his lips. he crept nearer. “ruin me? i’d love to see you try. you forget, dorogaya, i have an army. what do you have?”

“you. or, rather, i know how your mind works. i know your tactics, general. let’s see how you fare when i pick you apart from the inside,” you sang as you brushed past him. “now, come show me to my room.”

continue to chapter two? yes

[stellocchia]

Okay, now that I have a bit of time it’s time to analize that disaster of a custody battle stream, also known as Tommy and Wilbur visiting Las Nevadas!

As always this is gonna be quite long so I’ll put everything under the cut and remember that I’ll only be talking about the characters. Also for the dialogues the colors are: Quackity, Tommy and Wilbur

One thing that I would like to point out before we get into it is that c!Tommy is pretty much spiraling throughout this stream (he dissociates and shows his suicidal tendencies more clearly) so it’s good to keep this in mind when analizing his actions and words. 

First of all here’s Wilbur’s pov of it: Wilbur's POV

And here’s Tommy’s: Tommy's POV

I’ll be using both for this.

One thing that is immediately interesting to notice is that, despite supposedly living with Phil we mostly see Wilbur around L’Manhole.

“Have you been sewing? Knitting? That can be a dangerous sport if done too quickly” (just wanted to point out the tailor!Tommy bit)

So first of all is the confirmation that the stone never had a use beyond keeping Tommy occupied back when Wilbur asked for it. The task of gathering the stone could also have been a test on Wilbur’s part to test Tommy’s obedience considering that it was a tedious and apparently sensless task that most people would not have taken on.

Afterwards we have an interesting little bit where Wilbur demonstrates that he is still extremely knowledgable when it comes to tnt, knowing which blocks are more resistent to it and even being able to deduce that the ufo was blown up from the inside (something he’ll lie about later). 

“Someone’s a little copycat. Hey tommy someone’s a little copycat~” (in reference to what happened to Purpled’s ufo. This could be interpreted as derogatory we’ll have to see if Wilbur appreciates someone imitating his work)

Quackity’s book is then introduced, though at first Wilbur is very vague about it’s contents before straight up lying about them (saying that it said: “My dearest friend Wilbur, I’ve really missed seeing you, come to project Nevadas your best friend Quackity”), here’s the actual contents of it:

It is possible that he didn’t mention the actual content to Tommy because he was afraid Tommy would have kept him from meeting Quackity if he knew that he seemingly agreed with Wilbur’s ideology, though this is just a theory. 

Another interesting thing is that Wilbur keeps referring to Ghostbur’s resurrection site as his “tombstone” despite Tommy having already told him last time that he didn’t get one. Perhaps this is a show of Wilbur’s own fear of being forgotten or of having been inconsequential to the bigger narrative (his continued search for the confirmation that he did have a big impact would seem to point to this).

“Will, I’m accustomed to people lying to me. Just tell me: will the book, whatever is in there, bring us more primes?” (this is an interesting way for Tommy to let Wilbur know that he knows he’s lying while still trying to keep the conversation more light herted)

On their way to Las Nevadas there is an interesting instance of Wilbur standing still near a creeper instead of trying to protect himself so that Tommy has to intervene (similar instances happen multiple times throughout the stream) which could be a portrayal of his self-destructive tendencies and kinda mirrors Tommy's behaviour in exile. 

“Every person we’ve spoken to aside from say, I don’t know, Jack Manifold. Every person aside from Jack Manifold has taken a bit of a disliking to me. Oh and Phil, Phil was lovely too, and you actually! Come to think of it the 3 people I care about most, Jack Manifold, you and Phil, have been the nicest to me”

There are a few things I wanna say here: first of all there is one manipulation tactic that consists of making yourself out to be the victim in a certain situation in order to gain pity, sympathy or evoke compassion in the other and that’s what Wilbur has been doing both in this stream and in the past when mentioning that people hate him despite every single person he met (aside from Tommy himself) actually being rather kind and accomodating. This does probably come from Wilbur’s own self-hatred and his view of himself as a villain but, once again, I would like to remind you that manipulation is still manipulation even if you believe in what you’re saying. 

The second point I wanted to talk about briefly was the line about only caring about the 3 people he mentioned. Aside from how truthful he is about all 3 of them (I’m sorry but I have a hard time believing that he cares deeply for Jack Manifold when he didn’t even used to remember who he was) he also later mentions that there are other people he would like to see, basically it’s like the L’Manburg situation: just because Wilbur says he doesn’t care about something it doesn’t mean that it’s true.

“They told me it was like a small little town where Big Q sells funny potions and liquids from his van” (so from Tommy’s understanding Las Nevadas was a mix between the drug van and og L’Manburg. I wonder if we’ll find out who gave him this idea)

Little note about Wilbur throwing Linda (Tommy’s prized shovel) away twice during this stream almost casually.

“Tommy stand back. Tommy stand back” (Wilbur interposing himself between Tommy and a situation that might be dangerous, I’ll talk about this a bit later but keep it in mind)

“I’ll tell you what: it’s nice to see you out of that stupid vice president shirt. You know I never thought you were fit for that vice president thing anyway, I think that this is- this is- what- what are you like the concierge of this area? Like the cleaner?” “This is so nice!” “I don’t know what to call it Wilbur all I know is that this is my place. This is mine. I own this place”

It is interesting to note that Wilbur apparently did not think too highly of Quackity, immediately assuming he must be and employee rather then having a leading position, he even expresses that he didn’t think Quackity was fit to even be vice president. It’s also interesting to point out that Tommy gets immediately uncomfortable with where the conversation is going and splits off from the two to explore while also being extra obnoxious in an attempt to split up the fight he knew to be coming (he is always rather perceptive), to which Quackity responds only with amusement (actually humouring Tommy), while Wilbur simply ignores it for the time being. 

“If I’d known there was a place I could align myself to as quickly as this I would have done it sooner” (could be both a search for community as well as him generally prefering being aligned to a country as he comments later on that he’s not a fan of anarchy by mentioning that him and Phil don’t see eye to eye on this)

This is when Wilbur brings up Quackity’s book for the second time mentioning that he assumed it was an invite to joing Quackity in Las Nevadas, which turns out it wasn’t. 

“So that’s the invitation to work alongside you I assume, I- I accept. I accept. I’d love to come in” “Big Q I also wanted... can I move into the big- the big penis?” “*laugh* No Tommy. Wilbur, Wilbur” “Yeah?” “No? No?” “That was... that was not an invitation I’m sorry Wilbur” *Wilbur checks the book again* “That’s not an invitation. Wilbur, Wilbur, my nation will not be subject to your... unpredictability, alright? Thank you so much for coming, thank you so much for visiting Wilbur but, uhm... I don’t need any- I don’t need any extra members right now” 

So taking this conversation a bit at a time: Quackity is the first person since Wilbur has come back (aside from Tommy, but Tommy’s opinion really doesn’t matter to Wilbur) who hasn’t tried to accomodate him. He set his own rules and stuck by them not willing to budge on it at all. Also it is interesting to note that Quackity so far doesn’t seem to be interested in letting Tommy join either, only changing his demeanour later after Tommy calls Wilbur out on his lying. This change of mind could both be tied to a crack he noticed in Tommy’s loyalty to Wilbur as well as done to spite Wilbur himself. Or both really. 

“[Las Nevadas] It’s like one of those visions you have after being in the mines for several hours” (Tommy mentioning having hallucinations once again)

“No... no, you’ve got it all wrong. You’ve got it all wrong man. Okay okay, maybe, maybe I was unprdictable in the past” “But it’s really nice...” “But I’ve turned over a new leaf Quackity! I don’t lie anymore, I don’t- I don’t, you know, I don’t deceive, I know nothing about tnt anymore. I’ve forgotten everything I knew about tnt, it’s ridiculous I-” “*snicker* Ok- mmm, well... Will, well” “Is he lying Tommy?”

Also here we have a clearer example of Wilbur lying and deceiving right after asserting that he doesn’t do it anymore (he deceived Tommy on the book and lied about his knowledge on tnt) together with Tommy calling him out on it.

“This is the best place on the server! This is like heaven! Paradise!” “Quackity we can stay, right?” “You seem to like it a lot Tommy” 

Immediately afterwards there’s where Quackity seems to change his mind about letting Tommy stay while also ignoring Wilbur in the process. Again we really don’t have any definitive indication for the reason why he changes his mind, it could be because he saw how much Tommy liked it here as much as it could be to spite Wilbur. Any conclusion for either is pure speculation.

“Quackity look at me, look at me in the eyes. I. Am. Your. Servant. I am at your service. I have run countries, I’ve won elections, I’ve done everything that you will need in a leadership role, Quackity. Even not in leadership! I can- I can be, you know, assistent to president”

Another less known form of manipulation. Wilbur wants power within this new country so he offers to cover a more “subservient” position to have Quackity let his guard down so that he can achieve his role. 

“Will this is so cool!” “Tommy SHUT UP!” “Hey! What a fu- hey what a fuck?!” (a bit of Wilbur’s “affable” persona slipping away paired up with Tommy immediately noticing that that was not okay and calling Wilbur out on it)

“Wilbur listen to me: I saw what you did to L’Manburg and I’m not letting Las Nevadas have the same fate as L’Manburg. I appreciate Tommy here, I appreciate you checking this place out Wilbur but, I don’t need your services, I don’t need your presence, you’re very unpredictable” (Quackity once more standing his ground and repeating that he does not trust Wilbur in the slightest and also reaffirming that he does want Tommy there instead)

It’s interesting to notice that all throughout this exchange, while Tommy was off exploring Quackity was the one often paying attention to him while Wilbur ignored him the whole time before snapping.

“So we’re not allowed?” “Tommy, I need to talk to you Tommy” “Am I allowed? Or is it just Will?” “Well, I’d love to discuss it with you” (Quackity is the first person that actually directly addressed Tommy while ignoring Wilbur since Wilbur’s resurrection and that’s quite interesting. It could be that perhaps he noticed that Wilbur seems to consider Tommy almost like an extension of himself and that he tried to drive a wedge into that)

The next few minutes are spent with Wilbur trying to find out exactly where the confines of Las Nevadas are.

“Tommy come with me. Tommy at my side please” (addressing him like a soldier again)

There is a back and forth between Wilbur and Quackity where Quackity tries to deflect Wilbur’s question about his ownership of the adiacent forest multiple times, but Wilbur does end up finding out that it’s not Quackity’s land. (Wilbur also has a throwaway comment about that forest being Paradise in response to Tommy calling Las Nevadas that which Tommy disagrees on).

“What’s the point in capitalism without healthy competition?” (Wilbur announcing he wants to create a country next to Quackity’s)

“Wait, where are you going?” “Just over here Tommy. Stay by my side, by my side” (once again an emphasis on wanting Tommy nearby, which isn’t new)

“You know what Wilbur? You’re right: capitalism strives on competition and I’m ready for all the competition you can bring me” (Wilbur is positively giddy at this declaration, which makes me think that he does truly see this competition mostly as a game)

“Will I don’t want to start a country, I very much like that country there” *Tommy points at Las Nevadas* “With the stone-” “Tommy we- we’ll discuss this in a minute” “No...” “No no no, Tommy seems to have some concerns about building a country from the ground up” (Tommy under) “Listen, listen, guys, guys, I was over there” (Quackity over) “So how about you take Tommy’s opinion into consideration? For once, for once in your life since you’ve never done so before” (Tommy under) “Can we please listen to me? You [Quackity] are not lis- you’re not lis- you’re actually speaking over me”

This is the first one of many conversations this stream where the fight has moved from the power pissing context Wilbur and Quackity had going on to Tommy. It’s also where they starting weaponizing him more and more (his traumas as well as the other’s treatment of him) while each trying to prove that they’re better for him then the other. Of course this isn’t actually about Tommy, it’s about power once again. Quackity has undeniably noticed by now how Wilbur treats Tommy (aka as an extension of himself) together with being pissed that Wilbur challenged him on his own territory (challenging Las Nevadas which is Quackity’s most prized possession) so he decided to repay him in kind. 

From here on out Tommy seems to spiral more, standing up for himself less, looking more and more uncomfortable (especially when the other two start bringing up his traumatic experiences) and slipping back into dissociation and self-loathing behaviour.

“You showed great interest for my country Tommy and I would like to speak to you about that” “Yes” “Wilbur I don’t think you’ll hold Tommy down and make him join your country” “I have utter fate that Tommy will make the right decision” (both of them starting to put pressure on him, subtly influencing him with their wording) 

Tommy and Quackity have a chat together alone (though Wilbur is listening in). 

First thing that happens is Quackity bringing up the hotel which Wilbur implies later was done maliciously, though we don’t know if Quackity knew that the ownership of it didn’t go back to Tommy once he came back to life.

Afterwards Tommy asks Quackity about his scar. 

“If I’m gonna speak to you I want you to be honest with me, ‘cause I’ve spent quite a lot of time with people who just bullshit me, they lie to me and I’m not doing that anymore” (this is one of Tommy’s 2 priorities in life right now. What he wants can be boiled down to honesty and safety)

Quackity does explain honestly what happened, though the information that they spent their time hunting down Techno while Tommy was in exile instead of trying to help him does understandably upset Tommy quite a bit. (Also Wilbur finally makes himself a sword).

“But if this [butcher army] was while I was in exile you’re meaning to tell me that you put in all of the effort to kill Techno instead of helping me?” (...) “You know I needed help and no one came to see me” (this set back his mentality regarding exile quite a bit I’d guess. The anger is more then understandable)

Quackity doesn’t deny the accusations but he does deflect a bit saying that they can talk about it another time and that he is not Tommy’s enemy to which Tommy agrees.

“How would you like to run the official food business of Las Nevadas” (this is Quackity’s big offer for Tommy)

(Wilbur putting pressure on Tommy in the meantime)

After this Wilbur intervenes directly inquiring on wether or not they were done. Quackity tries to get in a last minute sale pitch to Tommy who is getting quite overwhelmed and asks for some time to think (which he is now given by Quackity, but not later by Wilbur)

Wilbur also expresses worry for Tommy’s safety while they’re coming back, though how sincere it is it’s unknown (I think it's at least partially sincere worry, but I doubt that's all there is to it). That said I want to say that multiple times in this stream Wilbur has seemingly shown to be protective of Tommy when it comes to Quackity, often almost treating him as if he was incapable of defending himself (as if he couldn’t 1v2 the two of them easily). For example here, even though Tommy said that he can take care of himself Wilbur immediately responds out loud with an: “okay I’m coming” and bringing out his sword.

“Listen Tommy I heard what he was saying to you man and you don’t seriously believe that do you?” (keeping the question very open so that Tommy can interject his own doubts. Also Quackity technically didn’t lie once to Tommy and, while there was a bit of deflection on his part so far he hasn’t been all that manipulative if I’m being honest)

Wilbur proceeds to tell Tommy that if he stays with Quackity he’ll be nothing more then a caterer (strongly implying that that’s not something he wants) and Tommy chimes in saying that that’s not for him.

“Listen Tommy I’m not gonna stop you but, I’ll be honest with you man, you’re all I’ve got” (set up for the guilt tripping later as well as once again putting himself in the position of the victim so that Tommy won’t leave him. Also he denies that Jack and Phil count as well because the first is too busy and he doesn’t agree with the political views of the latter)

“I wanna make a place where we can be safe for once. Tommy it’s been so long since we felt safe and man you deserve it. You’ve been through so much, you’ve done so much, Tommy you’ve changed the world! And all you’ve got to show for it is some scars and some trauma. Tommy you deserve this safety and this sanctuary and that’s why I wanna make it with you and you won’t get it over there”

Now this should sound familiar to quite a few people, mostly because it’s pretty similar to the tactic that Quackity himself uses. First identify the victim’s vulnerabilities and their desires (Tommy only wants 2 things and only one is connected to physical places so safety it is). Second relate to the victims experiences repeating that they do deserve to get what they so desperately want (check back Quackity’s conversation with Fundy if you want to see that done really well). And lastly emphasise that you’re the only one who can give them what they want.

“You know what has substance Tommy? Family. Blood” (what sparked back the canon sbi discourse)

“I haven’t- I don’t wanna make my mind now ‘cause it’s- it feels like-” “Tommy you need to make your mind now” (putting a ton of pressure onto Tommy, enough that Tommy is reminded of his time in prison)

“Tommy I love a challenge” (considering the context and the fact that this is in response to Tommy hesitating on who to join this is most definitely about him. Wilbur definitely still considers this, at least partially, part of his and Quackity’s game)

“If you pick Las Nevadas what am I gonna do? Man, what am I gonna do? I’d never hurt you. I’d never want anything bad for you Tommy” (mixing in a bit of guilt tripping with a bit of lies. Now, it’s probably not a lie that he wouldn’t want something bad for Tommy, but the thing about never hurting him? I mean, this stream is a proof of the cotrary)

“You can go with whatever you want, but just know what you’d do to me” (once again painting himself as the victim while guilt tripping Tommy)

“I put a lot of things to the side that I shouldn’t of. I prioritized the wrong things, I put revenge over humanity. I guess all I’m seeking right now is someone who’ll be honest with me and a place where I can feel safe”

Here it is, we got Tommy’s desire spelled out by him. This is what makes him so vulnerable to Wilbur’s manipulation, the fact that Wilbur knows how to pretend that he can offer this. Also the first part of this is another recognition of how unhealthy his mindset was while he was with Technoblade, which makes him saying that he betrayed Techno and feels guilty about that afterwards even more sad because he recognizes that being with Techno was not good for him but still bashes himself over leaving him even if he really didn’t have any other choice if he wanted to stay true to himself. It’s quite tragic and it’s once more a show of his self-loathing. 

“This can be a safe place for them [Techno and Tubbo]” (Wilbur is using the informations Tommy provided him in a moment of open vulnerability to manipulate him further)

Tommy then agrees to stay with Wilbur though he seems far from enthusiastic about it. He seems to believe Wilbur when he says he's gonna make a safe space for him and the people he cares about, but also seems hesitant to fully trust him.

“Big Q is gonna wish he never fucked with me” (still in regard to challenging Wilbur’s perceived ownership of Tommy)

The stream is far from over though. After that conversation between Wilbur and Tommy they start to build a stone penis over the lake and Wilbur and Quackity get in a very heated argument that leaves Tommy incredibly uncomfortable. The whole conversation consists in Wilbur and Quackity shouting at each other about things the other has done to Tommy (all traumatic for him) while Tommy makes himself smaller and shuts down. First Qauckity accuses Wilbur of emotionally manipulating Tommy (which is true), then Wilbur accuses Quackity of using the hotel against Tommy (which wasn’t actually true) and they keep going like that. 

“The one thing [the hotel] Tommy’s tried to do was a failure” (way to undermine achievements like putting Dream behind bars there... however to be exact this is a manipulation tactic known as “shaming” which consists in undermining the victim’s worth to foster feelings of inadequacy which makes them more vulnerable. It’s a tactic Wilbur has used quite often since Pogtopia)

“Great job Wilbur of doing to Tomminnit what you’ve done your entire fucking life” (Quackity does sound actually upset) 

“Don’t try to compare me to you Wilbur, me and you are not the same” (this does align to Quackity’s desire to not live in other people shadows any longer)

“Hey hey hey hey, don’t come near Tommy, don’t come near Tommy” “Will, Will, hey hey, let me speak! This is about me so let me speak! I don’t know I-” “I just don’t want him to hurt you. I just don’t want him to hurt you” “I can fend for myself. You weren’t here for a long time. I thought, I thought you [Wilbur] were gonna make me feel a little bit safer, let me tell you now either of you-” “Fellas fellas” “No shut the fuck up! I didn’t feel- that didn’t make me feel- that was weird, I didn’t- don’t do that either of you” 

Now this is both Wilbur once again babying Tommy and treating him as if he’s not capable of taking care of himself (it could be done out of sincere care, but that doesn’t make it any less patronizing) and Tommy actually standing up for himself. Tommy made himself as little as possible during their confrontation and didn’t utter a word and now he finally got a bit of confidence back to say that he didn’t like that and both of them still tried to interrupt him. And Wilbur immediately went to say that he won’t do it again, but Quackity will as if he didn’t listen to a word Tommy just said. That said after that Quackity does apologize to Tommy specifically (though how sincere that was is debatable and Wilbur also accepts the apology as well even if it wasn’t directed at him) and invites the both of them to have a tour of Las Nevadas. Tommy wanted to refuse the tour because he was already visibly overwhelmed, but Wilbur ignores him and proceeds to accept anyway. 

“Quackity I wanna say from here on, as much as we may have our disagreements here man I- we gotta leave Tommy out of this” (they don’t)

“Tommy I’ll take it back, I’m fine with you working here and still being, you know, as long as you still hang out with me and don’t leave me on my own I have no problems with you working here man” (except they both already put an incredible amount of pressure on him and Will in partucular already made him feel guilty for even considering sort of leaving him)

“At the end of the day it’s okay Tommy, you make your own decisions, but let me keep showing you around the TommyInnit res- uh, I mean the restourant” (very sneaky there Quackity. Naming things creates attachment btw) 

Btw, Quackity and Wilbur are still very tense, but they both put their differences aside in a split second to get Tommy away from the strip club, which honestly is just funny. Also once again Wilbur goes before Tommy inside the casino in case it’s dangerous.

They then gamble for a bit and Tommy bets Linda away and looses it. They then go up in the white tower. 

“This would be such a good point to just jump off and just end it. Woah” “no no no Tommy get down!” “Tommy get down from the rail” (casual reminder that Tommy is still extremely suicidal, though at least this time there was someone there to get him down)

Quackity and Wilbur have a small conversation while Tommy is still checking out the view which mostly consist in Quackity trying to find out more about the Revival Book (while feigning complete ignorance about it). 

Meanwhile while dissociating Tommy puts down some water to the side of the tower and then jumps in it while taking it away (therefore technically jumipng off, but not dying because his fall was slowed down). Quackity notices and immediately panics, while Wilbur places some water down for him so he can get back up. 

“Tommy come here, I’ve got you, I’ve always got you” (both helping and emphasizing his wish for Tommy to depend on him as much as he does on Tommy)

After that they talk for a while and Quackity brings up the conversation that he had with Wilbur which is the moment Wilbur realizes that the “You were right” in the book was referring to the pre-Pogtopia him. Also Wilbur talks about the things he’s lost (years of his life and people are the two things he mentioned). 

“There’s lots of people I wish I could see. Like I wish I could just tell them ‘I’m alive’ and apologize and also thank them” (I do think he’s sincere, but it does make me a bit sad that Tommy was not in the list of people who deserved an apology in Wilbur’s mind)

After that Quackity seems to take an interest in Wilbur’s plans specifically, but, before he can investigate further, Tommy gives him his own answer and declines his offer of manning the restaurant saying that that life is not for him, it’s too relaxed (Wilbur's reaction to it is also worth notice). 

“I don’t wanna run a food stand. Wilbur gets things done” (sorry to Tommy here, but, genuinely, when’s the last time Wilbur got something done without Dream’s or Tommy’s help?)

After this they get back on the topic of the Revive Book and Wilbur reveals that Dream is the one who brought him back. He also admits that he wants to thank Dream for saving him and describes him as his “hero” again. Quackity himself reveals that he has been visiting Dream.

“Oh who cares about Ghostbur?” “Don’t fucking say- don’t- he killed Ghostbur” (once again Tommy should not be here for this conversation considering how triggering the subject is for him)

“I can’t believe- you’re like a misinformed parent, you’re just wrong” (Tommy both pointing out that Wilbur is wrong and admitting that that’s due to a lack of information)

“The prison is not just this thing, this dandelion. No no no, the prison-” “How are you back then Tommy? If you died” “Dream killed me to prove a point. That he- (continues under) he’s omnipotent, he’s got this God complex” “Quackity I need to get in there”

Once again not letting Tommy speak even if Wilbur himself asked the question, though this time it may be because if he listened to Tommy’s story and his experience with Dream he would realize that there are some incongruences between the version of Dream he created in his mind and the real Dream. Between his hero and Tommy’s abuser who beat him to death to prove a point. This split in his mind in how he views Dream was already evident in the last stream with him fip flopping between wanting him dead or not. 

“Tommy, Tommy, I’m not gonna talk shit about them [Sam] without their presence here alright?” (Quackity being protective of his own business patners)

Also Tommy manages to deduce on his own what Quackity has been doing to Dream, though he gets to the conclusion with the wrong clues. Either way after finding out how to visit the prison Wilbur leaves in a hurry telling Tommy to go with him as well.

“I’m a big boy Tommy, I’m a big boy, I’ll be fine” “Wilbur I’m a big man, but I was not fine” (Tommy tries to explain Dream’s danger to Wilbur by making himself vulnerable again, but it doesn’t work as Wilbur doesn’t listen)

Afterwards Wilbur tells Tommy that he is going to the prison and ignores any of Tommy’s concerns on the matter.

“Tommy listen, I didn’t wanna spring things on you because I’m really trying not to be a shit person to you Tommy, right? I’m really really trying. And it’s easy, it’s easy not to be a shit person to you, right? Because we got people like Quackity over there who are just- you know he said it best I’m not gonna talk shit about him behind his back"

If he’s not trying to be a sh*t person to Tommy he is failing miserably. Truly this whole stream he either ignored him, talked over him, talked about incredibly triggering stuff in front of him or tried manipulating him. This was all their interactions summarized. Pettiness aside though, he still badmouths Quackity by handing Tommy the book and telling him that Quackity agreed with the “old Wilbur” (not specifying that he is referring to pre-Pogtopia Wilbur and that he himself still agrees with the “old him”) to villainize him. He also acts like Tommy is being unreasonable for not wanting him to go, despite having died there and having seen Ghostbur die there. Wilbur does say that he won’t go if Tommy really doesn’t want him to, but he leaves telling him they’ll talk about it again right after Tommy tells him this: 

“I don’t think you should do that, he’s more powerful then you think you are”

Left on his own Tommy reminisces of when he went to the prison looking for closure as well. He then borrows an ender chest from Quackity for his and Wilbur’s little stone shack and then goes to the middle of the lake to listen to cat. 

[miserablesme]

The Les Miserables Changelog Part 3: 1987 Broadway Production

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through all the changes between the musical as it existed on the West End around 1985-1986 and the revised libretto for the 1987 Broadway production.

In some ways, this is a much easier changelog to compile than the last two simply because it is much easier to find audio evidence of the show from this era than from its pre-1987 self. We have a full soundboard of the original Broadway cast as well as a very good quality bootleg of the very first Broadway preview, as well as several audios from the next few years which use exactly the same script. We also have an officially released Symphonic Soundtrack which almost (but not quite) follows this version of the libretto exactly. So no more relying on unclear bootlegs and speculation to figure out what was changed when!

Having said that, the changes in this production were MASSIVE. It's almost certainly the most extensive edit the show's libretto has received to this day. As such, this will be a very long edition of this blog. So make sure you have a bit of time on your hands before reading it! With all that cleared up, let's begin.

The first change literally can be heard as soon as the musical begins. The pre-Broadway show opens up with the same recurring motif also heard, for instance, at the openings of "At the End of the Day" and "One Day More". This music then transitioned to the instrumentals to the opening "Work Song". The post-Broadway libretto cuts right to the chase, with the opening instrumentals to the "Work Song" starting right up without any preamble.

One interesting little non-scripted change occurs later in the "Work Song", but only in American productions. For whatever reason, every American Javert from the original Broadway cast until the first Broadway revival sang "And I am Javert" instead of "And I'm Javert", for reasons that honestly baffle me. Again, the libretto retained the original contraption as far as I'm aware, and the West End production as well as later UK and Australian tours still used it as well.

The next change happens while Valjean is on parole. After Valjean pleads against the farmer underpaying him, this was the farmer's original response:

Do you believe

A yellow ticket of leave

Allows a criminal like you to earn full screw?

Since Broadway, his response is instead as follows:

You broke the law

It's there for people to see

Why should you get the same as honest men like me?

I much prefer this revised version. Though the information is essentially the same, it feels more dramatic, as well as feeling less awkward now that it is in the form of separate sentences as opposed to a single sentence spoken in three lines with pauses in between. Moreover, the phrase "honest men like me" as used here provides interesting foreshadowing for its more well-known usage in "Master of the House". One could spend quite some time analysing the implications of this recurring description, but this blog is long enough as it is so now isn't the time!

In the same number, originally the innkeeper's wife had the following remark:

My rooms are full

And I've no supper to spare

I'd like to help you really, all I want is to be fair

Since Broadway, her line has been slightly modified:

My rooms are full

And I've no supper to spare

I'd like to help a stranger, all we want is to be fair

I suppose "I'd like to help a stranger" sounds less slang-y than "help you really". Presumably this is why it was changed. I find the change of subject from singular to plural far more interesting. My hypothesis is that the writers wanted to make it clear than this is a communal grudge, not a personal one. Everyone around sees it as perfectly fair to deny shelter to a former convict, not just this one individual. I definitely prefer the revised line, but evidently the producers of the West End production didn't; that production held on to the original lyrics for more than a decade after they were originally revised! More on that in a later edition of this blog...

A more minor change can be heard during "At the End of the Day". Originally, Valjean asks the factor workers "What is this shouting all about?" The Broadway script changes this to "What is this fighting all about?" Much less trivial implications now. I'm curious as to whether or not a staging change may have accompanied this. Usually the two workers get into quite a bit of physical scuffle by this point, far beyond the realm of shouting. Did the original pre-Broadway production use more subdued choreography?

"The Runaway Cart" has some noticeable differences. After Valjean asks the townspeople for help, the original response was sung by the entire ensemble, and went as follows:

(SOLO)

Don't go near him, Monsieur Mayor

There's nothing at all you can do

(ENSEMBLE)

The old man is a goner for sure

Leave him alone

The Broadway libretto revised this into a sequence sung by one individual at a time with the following lyrics:

Don't go near him, Monsieur Mayor

The load is as heavy as hell

The old man is a goner for sure

It will kill you as well

A female ensemble member sung "The old man is a goner for sure" while a male member sung the rest. I sort of like it better as an ensemble piece (something that would be largely brought back in later years, as I'll soon discuss) although I think it's cool that it rhymes now. Having said that, I'm fairly confident that no one in the real world has ever actually used the phrase "Heavy as hell"!

An official change in the libretto occurred in "Who Am I?" but listeners to the original Broadway cast would not have heard it. While the pre-Broadway show had Valjean refer to "This innocent who bears my face", the revised libretto instead refers to "This innocent who wears my face". Perhaps a means of avoiding repetition, given that the word "bear" is used again later in the number? Regardless, Colm Wilkinson didn't actually bother to adapt to this change! He still sings "This innocent who bears my face" in the Broadway production (as well as the tenth anniversary concert; not until his 1998 stint in Toronto did he ever start singing the revised lyrics). Since every future Valjean (except Ivan Rutherford for some reason) sings "wears", I still see it as appropriate to mention here.

At the end of the song, Valjean's "You know where to find me!", used on and off in the Barbican previews before becoming a settled part of the production by the final pre-Broadway libretto, is once again removed for the Broadway show. However, the West End production would keep it for a few years - more on that later...

Just listening to the original Broadway cast, one might think Javert's "Dare you talk to me of crime?" becomes "Dare you speak to me of crime?" However, this seems to be a Terrence Mann-exclusive change. Every Javert after him reverts to the original lyrics (as did Terrence himself when he returned to the musical fifteen years later). I'm still making note of the change here for the sake of clarification.

An instrumental change occurs between "Castle on a Cloud" and "Master of the House". Mme. Thenardier's "You heard me ask for something and I never ask twice" was original followed by three bars of notes, then by six more bars of notes that are identical to each other. After the Broadway production, however, those six bars of notes grow increasingly more dramatic as they go on.

A very slight change happens during the preamble to "Master of the House". Originally one of the guests proclaims "Hell, what a wine" while the revised libretto instead has him claim "God, what a wine". Definitely more natural in my opinion, though not a huge difference by any means.

A few subtle differences exist in the "Waltz of Treachery" number. First off, Thenardier originally asks "Have we done for your child what is best?" The Broadway libretto changes "your child" to "her child". I personally like the original lyric better, as it goes back to the idea established earlier that Valjean is metaphorically bargaining through the spirit of Fantine. It's definitely not a difference that makes or breaks the number, though.

Towards the end of the song comes another change that cannot actually be heard by listening to the original Broadway cast. In the pre-Broadway show, Valjean used the line "Let us seek out a friendlier sky", while the revised libretto has him say "Let us seek out some friendlier sky". However, Colm Wilkinson once again doesn't bother to adapt to the change, and unlike the "Who Am I?" change he wouldn't learn it over time either. He continues to sing "a friendlier sky" throughout his on-and-off performances as Valjean, right up to and including his 2002 run in Shanghai!

After the bulk of the number comes a more significant change. Prior to the Broadway production, as was discussed in the last entry, the "Waltz of Treachery" was followed by about forty-five seconds of vamping and then this exchange in the tune of "Castle on a Cloud":

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The Broadway libretto replaced it with just under twenty seconds of vamping, followed by a sequence in the tune of the "Waltz of Treachery":

(VALJEAN)

Come Cosette

Come my dear

From now on I will always be here

Where I go

You will be

(LITTLE COSETTE)

Will there be children

And castles to see?

(VALJEAN)

Yes, Cosette

Yes it's true

There's a castle just waiting for you

This is followed by another fifteen or so seconds of vamping, and then the humming duet between Cosette and Valjean carries on as before.

Arguably the biggest change in the entire edited libretto happens now. Whereas the number was originally directly followed by "Stars", things have been moved around so that it instead transitions directly into "Look Down". "Look Down" itself receives a lot of adjustments. First off, the number began in the pre-Broadway musical with a bar of music that was then repeated. The Broadway version only plays the bar of music once, and the sung part happens immediately afterwards.

Gavroche's verse receives some lyrical updates. Originally it used the following lines:

This is my school, my high society

From St. Denis to St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

If you're poor, if you're free

Follow me, follow me!

The Broadway production rewrote that sequence a little:

This is my school, my high society

Here in the slums of St Michel

We live on crumbs of humble piety

Tough on the teeth, but what the hell?

Think you're poor? Think you're free?

Follow me, follow me!

Better lines in my humble opinion; "slums" conveys the poverty of Gavroche's community much more effectively than the original line, and phrasing the "poor" and "free" lines as questions is more dramatic than their original statement form.

The old beggar woman's original "You give 'em all the pox" becomes the less grammatically accurate "Give 'em all the pox" for Broadway, though I have no idea if the original "You" was part of the libretto or simply an improvisation. Since seemingly all actresses used that line for the first few years of the West End production, it strikes me as warranting a mention.

Right after this comes another change. In the pre-Broadway show, the argument between the beggar woman and the prostitute was followed by an exchange by a few individual beggars. All of the following lines were said by one person at a time, the first three being said by female beggars and the last one by a male beggar:

When's it gonna end?

When're we gonna live?

Something's gotta happen, dearie

Something's gotta give

The Broadway libretto changes this to an ensemble piece performed by all the beggars simultaneously:

When's it gonna end?

When're we gonna live?

Something's gotta happen now or

Something's gotta give

I really like the switch to a group effort, as it really emphasizes that the beggars are a community sharing the burden of poverty. It really feels like an epidemic to an extent that it doesn't when it's just a small conversation. Evidently the producers of the West End show didn't agree with me though, as they held onto the original sequence for more than a decade after the official change, and by that point it had already been largely reverted worldwide! More on that in a later blog...

Originally, the exposition about General Lamarque was given by a few random students (supposedly not specified in the libretto, but in practice portrayed as Combeferre and Feuilly). Some ensemble dialogue between beggars was put in between. Feuilly sings over the end of the ensemble's lines - but many have speculated that this was not intended by the writers, as the background music sounds super out of sync with his singing! Here's how the scene went:

(COMBEFERRE)

As for the leaders of the land

As for the swells who run this show

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

Something for a meal

Something for a doss

Something in the name of Him who died upon the cross

On the cross, come across

On the cross, come across, come across

(FEUILLY)

Lamarque is ill and fading fast

Won't last the week out, so they say

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Fortunately, the writers of the Broadway libretto had the sense to change the purveyors of the message into people actually relevant to the show's plot, namely Marius and Enjolras. Moreover, the beggars' dialog was rewritten into a sequence that feels far less clunky to me. The background music was fixed to account for the solo singing (now done by Marius) overlapping the beggars' lines, so it is now perfectly in sync. Here's the edited exchange:

(ENJOLRAS)

Where are the leaders of the land?

Where are the swells who run this show?

(MARIUS)

Only one man and that's Lamarque

Speaks for the people here below

(BEGGARS)

See our children fed

Help us in our shame

Something for a crust of bread in Holy Jesus' name

(SOLO BEGGAR)

In the Lord's holy name

(BEGGARS)

In His name, in His name, in His name

(MARIUS)

Lamarque is ill and fading fast

Won't last the week out, so they say

(ENJOLRAS)

With all the anger in the land

How long before the judgement day?

Before we cut the fat ones down to size?

Before the barricades arise?

Much better in my opinion! It should be noted that David Bryant instead sings "these people here below", but as far as I can tell every future Marius (or later Enjolras - more on that later) sings "the people, which is the actually phrasing in the libretto.

One final change in Look Down: Gavroche now says that all of Thenardier's family is "on the make", as opposed to the original "on the take". A rather pointless change in my book, though it certainly doesn't hurt anything.

"The Robbery" is another heavily edited number. Thenardier's line after acknowledging Brujon, Babet, and Claquesous was originally as follows:

You Montparnasse, watch for the p'lice

With Eponine, take care

You've got all the hash, I've got all the cash

The Broadway show rewrote those lines into their still-current form:

You Montparnasse, watch for the law

With Eponine, take care

You turn on the tears, no mistakes my dears!

This changed lyric more naturally transitions the scene into the gang's actual plan, though the original is an interesting continuation of Gavroche's recollection of Thenardier once running a hash house.

Mme. Thenardier's response is also altered from the original lyrics:

Here come a student from our street

One of 'Ponine's peculiar gents

Our Eponine would kiss his feet

She never showed a bit of sense

Into the current ones:

These bloody students on our street

Here they come slumming once again

Our Eponine would kiss their feet

She never showed a scrap of brain

It's interesting how the edit shifts the focus from Marius in particular to the students in general. It seems that Mme. Thenardier is less aware of the specifics of her daughter's personal life now, something that makes sense for her character.

After Mme. Thenardier's "You'll be in the clear", there was originally just eighteen seconds of a musical motif (the same one which opens "At the End of the Day" and "One Day More") followed by Thenardier's speech. Since Broadway, it's instead been followed by a few more lines of dialogue:

(MARIUS)

Who is that man

(EPONINE)

Leave me alone!

(MARIUS)

Why is here?

Hey Eponine!

Only now does the musical motif play. But instead of staying silent upon seeing Cosette, Marius now sings "I didn't see you there, forgive me..." Interestingly, in this video of a 1987 performance of the original West End production, Marius just stops without bumping into Cosette as he usually does. This makes me wonder whether or not the bumping was added into the Broadway version, and the lyric was added to accomodate for the blocking change. Of course, this is all speculation; I have no way to know for sure.

Thenardier's con job is also quite a bit different post-Broadway. Originally it used the following lyrics:

How you do? Spare a sou

God will see all the good that you do

Look monsieur, lost a leg

Hero of Waterloo now has to beg

Wait a bit, know that face...

The Broadway libretto edited it into its current form:

Please monsieur, come this way

Here's a child that ain't eaten today

Save a life, spare a sou

God rewards all the good that you do

Wait a bit, know that face...

It's interesting how Thenardier's facade shifts in focus from his own supposed hardship to that of an alleged child. I suppose the latter would be a good bit more effective in convincing passersby to donate!

During "Javert's Intervention", Thenardier now says "It was me that told you so, as opposed to the original "Wot told you so"; however, this seems to be a regional choice to account for a lack of Cockney accent, not an official libretto change. British productions retain the original "Wot".

“The Robbery” ends quite differently. Its pre-Broadway form had Gavroche’s remarks directly follow Javert’s “Clear this garbage off the street!” However, now Javert’s line is instead followed by some instrumentals to a slower version of the same tune as, for instance, “Honest work/Just reward/That’s the way to please the lord” and “He will bend/He will break/This time there is no mistake”.

After these instrumentals come the “Stars” number, now in a much more natural location given that Javert now has a logical reason to be thinking about Valjean!

The number itself is mostly the same, up until the final segment. After Javert’s “Those who falter and those who fall must pay the price”, he originally had the following lyrics:

Scarce to be counted

Changing the chaos

To order and light

You are the sentinels

Silent and sure

Keeping watch in the night

Keeping watch in the night

The post-Broadway show replaced this with a much more climactic remark:

Lord let me find him

That I may see him

Safe behind bars

I will never rest ‘til then

This I swear

This is swear by the stars

WOW, what an improvement! Now the stars are tied much better to Valjean himself, and Javert’s motivation is much clearer!

Now that “Stars” is over, we finally get Gavroche's remarks. The lyrics are the same; however, instead of the tempo progressively getting faster as it goes along, it now gets progressively slower. Interestingly the audio of the first preview has Gavroche saying "mother dear" instead of "auntie dear", but it's back to the original line by the second known original Broadway cast audio. Both audio feature Braden Danner; whether the "mother dear" was a choice on his part or a director's, a flub, or a libretto change that was later reverted is unknown.

"Eponine's Errand" has some significant changes. First off, the original libretto gave Marius and Eponine this exchange:

(MARIUS)

Did you see that lovely girl

(EPONINE)

A lovely two-a-penny thing

The Broadway libretto edited it a little:

(MARIUS)

Eponine, who was that girl?

(EPONINE)

Some bourgeois two-a-penny thing

Marius' request has also been changed from its original lyrics:

Eponine, do this for me

But careful how you go

Your father mustn't know

He'll strike another blow

'Ponine, I'm lost until she's found

Into some far clearer and more direct instructions:

Eponine, do this for me

Discover where she lives

But careful how you go

Don't let your father know

'Ponine, I'm lost until she's found

And yes, the line was "your father" right from day one. Michael Ball flubs it as "her father" on the complete symphonic recording, leading many to assume that was the original lyric which was changed later. But I'm not aware of a single live performance to use that lyric (which doesn't make a lot of sense anyway).

Another side note: Some Marius actors have very slightly changed the third line to "Be careful how you go" or "But careful as you go", though neither lyric is the standard.

Post-Broadway, as the instrumentals to "Red and Black" play, a student (I'm not sure which one) now shouts Enjolras' name before the singing begins.

During "Red and Black", Michael Maguire changes the original "It is easy to sit here and swat 'em like flies" to "Oh, it's easy to sit here and swat 'em like flies". However, this is an individual choice of the actor, not an official libretto change. Every future Enjolras I'm aware of (except Ramin Karimloo for some reason) uses the original line.

An actual libretto change occurs soon afterwards. After Marius' entrance, Grantaire originally asks, "Marius, what's wrong with you today?" The post-Broadway show changes this to "Marius, you're late. What's wrong today?" This makes it much clearer why Grantaire might suspect something is wrong.

Soon afterwards, Grantaire's original line "We talk of battles to be won, and here he comes like Don Juan" is slightly tweaked to "You talk of battles to be won". This is a little more appropriate, since Grantaire isn't actually doing a lot of talking!

After "Red and Black", Gavroche's part is very slightly changed. First off, American performances for a few years would have Gavroche whistle right before everyone quiets down, though I have no idea if this was in the libretto or not.

Secondly, Gavroche's original remark, "It's General Lamarque! He's dead!" is shortened to just "General Lamarque is dead!"

In another contender for the biggest change in the entire edit, the entire "I Saw Him Once" number is totally removed. I have mixed feelings about this. It does give Cosette, a frustratingly underwritten character, some additional content. However, stylistically it's not all that much like any other number in the musical, and it doesn't really add enough information to the show to warrant a whole song. So I say with regret that it was probably for the best to delete the number.

To compensate for the lost number, "In My Life" is lengthened to include the establishing character moments that "I Saw Him Once" originally did. Originally it opened as follows:

(COSETTE)

Dearest papa, can I tell him of this?

How can I tell him the things that I feel?

How could he understand?

(VALJEAN)

Dear Cosette, you're such a lonely child...

The post-Broadway opener is instead as follows:

(COSETTE)

How strange, this feeling that my life's begun at last

This change, can people really fall in love so fast?

What's the matter with you Cosette?

Have you been to much on your own?

So many things unclear

So many things unknown

In my life

There are so many questions and answers

That somehow seem wrong

In my life

There are times when I catch in the silence

The sigh of a faraway song

And it sings of a world that I long to see

Out of reach, just a whisper away, waiting for me

Does he know I'm alive? Do I know if he's real?

Does he see what I see? Does he feel what I feel?

In my life

I'm no longer alone

Now the love in my life is so near

Find me now, find me here

(VALJEAN)

Dear Cosette, you're such a lonely child...

After Valjean gives Cosette his cryptic defense of his secrecy, Cosette had a remark that is sadly incredibly hard to understand in the quality of the recordings we have. It apparently went something like this:

There are voices I hear

That come into my mind

Full of noise, full of fear

When the noise was unkind

In my life

I'm no longer afraid

And I yearn for the truth that you know

Of the years, years ago

Her post-Broadway response is much shorter:

In my life

I'm no longer a child

And I yearn for the truth that you know

Of the years, years ago

Shorter, but just as effective in my book. Plus, the use of the word "child" nicely ties into Valjean's initial remark that Cosette is "such a lonely child", as well as Cosette's frustration that he still sees her as "a child who is lost in the woods".

The next number, "A Heart Full of Love", also has a LOT of rewritten lyrics. First of all, after Marius' "I do not even know your name", these are his original lyrics:

Dear mademoiselle

I am lost in your spell

The Broadway production changed the lyrics into:

Dear mademoiselle

Won't you say? Will you tell?

I suppose this fits a little better with his remark about not knowing Cosette's name.

After Marius and Cosette finally learn each other's names (an important step in a relationship if you ask me!) this was their original way of showing their affection:

(MARIUS)

Cosette, your name is like a song

(COSETTE)

My song is you

(MARIUS)

Is it true?

(COSETTE)

Yes, it's true

The Broadway production rewrote it into the following:

(MARIUS)

Cosette, I don't know what to say

(COSETTE)

Then make no sound

(MARIUS)

I am lost

(COSETTE)

I am found

In my opinion, the rewrite captures the slight awkwardness of young love much better, as well as making a lot more sense!

Immediately afterwards, this is the original exchange:

(MARIUS and COSETTE)

A heart full of love

A heart full of you

(MARIUS)

The words are foolish but they're true

Cosette, Cosette

What were we dreaming when we met?

(COSETTE)

I can sing

(MARIUS)

Dear Cosette

(COSETTE)

A heart full of love...

The Broadway libretto redoes the scene as the following:

(MARIUS)

A heart full of love

(COSETTE)

A night bright as day

(MARIUS)

And you must never go away

Cosette, Cosette

(COSETTE)

This is a chain we'll never break

(MARIUS)

Do I dream?

(COSETTE)

I'm awake

(MARIUS)

A heart full of love...

Almost a totally different scene! The post-Broadway variant is better structured, but I do like the original too.

As the trio of Marius, Cosette, and Eponine exchanges inner monologues, Marius originally has the line "I saw her waiting and I knew". The Broadway libretto changed this to "A single look and then I knew". I kind of prefer the original, as it implies a little more than something as trivial as a cursory glance.

In the closing lyrical overlap of the song, Cosette originally sings "Waiting for you", but post-Broadway she sings "I knew it too". Then, she originally sings "At your call" but post-Broadway she sings "Every day".

During the opening to "The Attack on Rue Plumet", Montparnasse refers to Valjean as "the one that got away the other day" as opposed to his original "the bloke wot got away the other day". However, this is another regional change made for the sake of making sense outside of a cockney accent. The official libretto still had the original lyrics.

A tiny change occurs during Thenardier and Eponine's fight. Claquesous originally thinks it's a palaver and an absolute treat "to watch a cat and its father" picking a bone in the street. The Broadway libretto changed this to "see a cat and a father". Why exactly the writers felt the need to make such a miniscule edit is mystifying to me, but it certainly doesn't hurt anything.

Another change occurs later in the number, after Eponine's scream. Originally this was Thenardier's reaction:

Make for the sewers, don't wait around

Leave her to me, go underground

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

These lines were mixed up a bit for the Broadway libretto:

You wait my girl, you'll rue this night

I'll make you scream, you'll scream alright!

Leave her to me, don't wait around

Make for the sewers, go underground

The post-Broadway variation arguably is a bit less climactic due to it not ending on a threat. However, the original climax isn't all that appropriate since Eponine and Thenardier never actually interact at any later point in the musical. I like that the post-Broadway version ends on something that's actually relevant to the remainder of the show (namely, that Thenardier will be in the sewers). Evidently the West End producers didn't agree with me; this is another line in which the original was kept there for more than a decade (at which point a rewrite closer to the original was already being used worldwide)!

In "One Day More", Javert's "One day more to revolution" is slightly changed to "One more day to revolution". However, the number is otherwise unchanged.

And that's it for Act One! The opening barricade scene to act two has a small change. Grantaire's pre-Broadway "Some will bark, some will bite" was changed to "Dogs will bark, fleas will bite". Makes a lot more sense in my opinion!

The opening to "On My Own" is changed as well. Originally it was performed as follows:

And now I'm all alone again

Nowhere to go, no one to turn to

I did not want your money sir

I came out here 'cause I was told to

The Broadway version rewrote it into the following:

And now I'm alone again

Nowhere to turn, no one to go to

Without a home, without a friend

Without a face to say hello to

A huge improvement in my book. It actually rhymes now, and is far less likely to be misconstrued as ungrateful.

After receiving a massive overhaul not that long before, "Little People" was slightly tweaked for the Broadway show. The pre-Broadway version had this ending:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up!

Another line (taken from the original longer version of "Little People" as well as all versions of its reprise) was added for the post-Broadway show:

So never kick a dog

Because he’s just a pup

We'll fight like twenty armies and we won't give up

So you’d better run for cover when the pup grows up!

Grantaire's line afterwards is literally reversed in meaning from the original "Better far to die a schoolboy than a policeman and a spy!" into "What's the difference? Die a schoolboy, die a policeman, die a spy!" This post-Broadway lyric fits better into Grantaire's cynical personality.

A very subtle edit is made in "Little Fall of Rain" (to the point that I only just realized its existence by reading an old internet forum!) Pre-Broadway, Marius asks Eponine "Did you see my beloved?" The tense is changed from past to present perfect for the Broadway libretto, so that he now sings "Have you seen my beloved?"

"Drink with Me" receives quite a bit of editing. The opening few lines are originally all sung by Grantaire:

Drink with me to days gone by

Sing with me the songs we knew

Here's to pretty girls who went to our heads

Here's to witty girls who went to our beds

Here's to them and here's to you

Now, those lyrics are split between various students:

(FEUILLY)

Drink with me to days gone by

Sing with me the songs we knew

(PROUVAIRE)

Here's to pretty girls who went to our heads

(JOLY)

Here's to witty girls who went to our beds

(ALL STUDENTS)

Here's to them and here's to you

A far more touching scene now that it entails an entire group of friends reminiscing about their lives, as opposed to the thoughts of one heavily drunk individual.

Originally this was followed by a segment by the male ensemble:

Drink with me to days gone by

To the life that used to be

At the shrine of friendship never say die

Let the wine of friendship never run dry

Then, this was followed by the same lyrics, but sung by the male and female ensembles overlapping. The Broadway libretto removes that and replaces it with an all-new segment with Grantaire. It's much more cynical and philosophical than his original lines:

Drink with me to days gone by

Can it be you fear to die?

Will the world remember you when you fall?

Could it be your death means nothing at all?

Is you life just one more lie?

The lyrics from the pre-Broadway show, in their male-and-female overlapping form, are played afterwards.

The next change occurs during the Second Attack. Pre-Broadway, this was how the opening lyrics went:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but bullets running short

(MARIUS)

Let me go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

Some very small edits were made for Broadway:

(ENJOLRAS)

How do we stand, Feuilly make your report

(FEUILLY)

We've guns enough but ammunition short

(MARIUS)

I will go into the street

There are bodies all around

Ammunition to be had

Lots of bullets to be found

The following exchange also is a bit edited. Here's how it went pre-Broadway:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same can be said for any man here

(VALJEAN)

Let me go in his place, he's no more than a boy

I am old and alone and have nothing to fear

Post-Broadway, it instead goes as follows:

(ENJOLRAS)

I can't let you go, it's too much of a chance

(MARIUS)

And the same is true for any man here

(VALJEAN)

Let me go, he's no more than a boy

I am old, I have nothing to fear

Finally, Gavroche's final lines are as follows pre-Broadway:

So never kick a dog

Because he’s just a pup

You’d better run for cover when the pup grows up

And we’ll fight like twenty armies and we won’t give…

A small edit is made for the Broadway production, so that the latter two lines are reversed:

So never kick a dog

Because he’s just a pup

We’ll fight like twenty armies and we won’t give up

So you’d better run for cover when the pup grows...

I'd say this is an improvement, since Gavroche's death is all the more impactful when his literal last unfinished words are about growing up.

Not long afterwards comes the Final Battle. Leading up to Enjolras' climactic moment, the original lines went as follows:

(ENJOLRAS)

Come on my friends, though we stand here alone

Let us go to our deaths with our face to our foes

(COMBEFERRE)

Let 'em pay for each death with a death of their own

(COURFEYRAC)

If they get me, by God, they will pay through the nose

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

The sequence was edited for Broadway, giving a bit more breathing space:

(ENJOLRAS)

Let us die facing our foes

Make them bleed while they can

(COMBEFERRE)

Make them pay through the nose

(COURFEYRAC)

Make them pay for every man

(ENJOLRAS)

Let others rise to take our place

Until the earth is free

"Dog Eats Dog" is a very heavily-edited number. First off, the vamping at the beginning originally lasts about 30 seconds. By Broadway, it has been reduced to about nineteen seconds.

After Thenardier's "As a service to the town" line, he originally sung the following lines:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

That entire sequence was cut for Broadway.

Soon afterwards, Thenardier originally proclaims "Here's a little toy". The Broadway edit changes it to "Here's another toy", perhaps to make it seem less repetitive after his "pretty little thing" line.

The exact same lines from after "As a service to the town" are repeated in the pre-Broadway number after Thenardier's "When the gutters run with blood" line, with one more line added afterwards:

It's a world where the dogs eat the dogs

And the worst is as good as the best

It's a stinking great sewer that's crawling with rats

And one rat is as good as the rest

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

Unlike the first instance of those lines, they aren't completely excised for Broadway. They are, however, significantly rewritten:

It's a world where the dogs eat the dogs

And they kill for the bones in the street

And God in His heavens, He don't interfere

'Cause He's dead as the stiffs at my feet

I raise my eyes to see the heavens

And only the moon looks down

The harvest moon shines down

I really like how the edited version focuses more on godlessness than on how gross the sewer is. Not that a lack of a god is inherently sinister; I am quite agnostic myself and I think the unbreakable connection between religion and morality alleged by some is ridiculous. But it is blatantly obvious that Thenardier sees no reason to be moral provided no one will punish him.

As a side note, the 1985 London official soundtrack oddly uses this variant, yet the 1986 bootleg audio I have uses the original. Perhaps the original was experimented with, reverted, and later put in again? Who knows...

After the number, Thenardier now shouts Valjean's name.

The encounter in the sewers between Valjean and Javert originally ended as follows, with Javert's first two lines here in a tune not heard anywhere else in the musical to my recollection:

(VALJEAN)

Come, time is running short

(JAVERT)

Go take him, I'll be waiting at the door

I've never met a man like you before

A man such as you

The sequence was extended for the Broadway libretto, to the tune of "Look Down" and the "Work Song":

(VALJEAN)

Come, time is running short

Look down, Javert

He's standing in his grave

(VALJEAN - simultaneously with the next two lines)

Give way, Javert

There is a life to save

(JAVERT - simultaneously with the previous two lines)

Take him, Valjean

Before I change my mind

(JAVERT)

I will be waiting, 24601

A slight change can be heard in "Every Day". Originally Marius sings that he and Cosette will "remember that night and the song that we sang". The Broadway libretto edited this into the decidedly less medium-aware "remember that night and the vow that we made".

"Valjean's Confession" has been reworked to the point that it can scarcely even be considered the same song. After Valjean's "There's something now that must be done", this was how the song went:

(VALJEAN)

Monsieur, I cannot stay a night beneath your roof

I am a convict, sir, my body bears the proof

My name is Jean Valjean

I never told Cosette, I bear this guilt alone

And this I swear to you, her innocence is real

Her love is true

Our love, our life, are now her own

And I must face the years alone

(MARIUS)

I do not understand what's the sense of it all?

Is the world upside down?

Will the universe fall?

If it's true what you say, and Cosette doesn't know

Why confess it to me?

Why confess it at all?

What forces you to speak after all?

(VALJEAN)

You and Cosette must be free of reproach

It is not your affair

There is a darkness that's over my life

It's the cross I must bear

It's for Cosette this must be faced

If I am found, she is disgraced

(MARIUS)

What can I do that would turn you from this...

After the Broadway rewrite, Valjean's "There's something now that must be done" is followed by this:

(VALJEAN)

You've spoken from the heart, and I must do the same

There is a story, sir, of slavery and shame

That you alone must know

I never told Cosette, she had enough of tears

She's never known the truth, the story you must hear

Of years ago

There lived a man whose name was Jean Valjean

He stole some bread to save his sister's son

For nineteen winters served his time

In sweat he washed away his crime

Years ago

He broke parole and lived a life apart

How could he tell Cosette and break her heart?

It's for Cosette this must be faced

If he is caught she is disgraced

The time is come to journey on

And from this day he must be gone

Who am I?

Who am I?

(MARIUS)

You're Jean Valjean

What can I do that will turn you from this...

The few lines afterwards are the same, but as you can see not much else in the song is! Even the tune diverges a lot between the two variants. I'm very conflicted about which one I prefer. I gravitate towards the final one, though it's nice that the original actually tried to address to confusing notion that Valjean wants to tell his son-in-law of his past yet not his own daughter.

"Beggars at the Feast" originally ended with a solo for Thenardier:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

(THENARDIER)

And when I'm rich as Croesus

Jesus, won't I see you all in Hell!

The Broadway libretto switched this to a group line:

(THENARDIER and MME. THENARDIER)

We know where the wind is blowing

Money is the stuff we smell

And when we're rich as Croesus

Jesus, won't we see you all in Hell!

I much prefer the revised version, as the two Thenardiers clearly are in this act together. It seems more appropriate to let them both have the last laugh.

A small change occurs in the Epilogue. Pre-Broadway, Fantine sings "You raised my child with love". However, post-Broadway, she instead sings "You raised my child in love".

Another change occurs later in the epilogue. In the pre-Broadway show, Cosette tells Valjean that "It's too soon to ever say goodbye". The post-Broadway libretto instead has her sing "It's too soon, too soon to say goodbye". Repetitive as it may be, I prefer it over the original because the original awkwardly combines language clearly denoting the moment with language implying eternality.

Phew, we're finally at the end! Rest assured this is almost certainly the longest changelog you'll ever be forced to endure. I'm fairly sure it's complete, but this particular rewrite was so extensive it's not impossible that I missed something. Please feel free to let me know if that is the case.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, or some audios that you haven't traded in a few years, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

[elvish-sky]

All You Had Ever Dreamed {Fili x Reader}

A.N: So this could have gone in several directions but my brain went this way, so I hope that’s alright! Also, I think I got all the pregnancy stuff right but I’m 15 so I’m sorry if it’s inaccurate. And yes, this was supposed to be short. My bad. But I actually honestly love this fic it may be one of my favorite things I’ve ever written, thank you so much for requesting it!

Requested by @lonikje on Tumblr as part of my 450 Sleepover:

Word Count: 2,019

Pairings: Fili x Reader, mentioned Bilbo x Thorin

Summary: You faint during a training session with Kili and Dwalin.

Warnings: Fluff, mention of Menstruation, Pregnancy

**** All You Had Ever Dreamed

Whirling around, you ducked Kíli’s sword and jumped out of the way of Dwalin’s ax. You struck at Kili, feeling the block he delivered reverberate down your arm, and with one of your daggers locked together with Kili’s sword used the other to deflect another blow from Dwalin. Struggling with both of them, you disengaged and backed up, watching them regroup as you did the same. It was one of the rare days where instead of going too easy on you, Dwalin had decided that you were up for a challenge. 

Eight months after the Battle of the Five Armies, Erebor was thriving. Thorin had been gravely wounded but pulled through, and although Fíli and Kíli’s injuries were less gruesome they were still worrying, but now everyone was back on their feet and healthier than ever. Bilbo had stayed in Erebor, much to the delight of both the company and the men and elves who thought, correctly, that the hobbit would be much easier to negotiate with than the dwarves. You had also noticed some romantic tension between the hobbit and the king but had decided not to bring it up. You stuck to speculating with your husband and his brother. 

That was right. Fíli was your husband, having done a spectacularly over-the-top proposal the second he was back on his feet. You had laughed your head off to see the throne room covered in flowers when you walked in and then started sobbing with joy when you saw your dwarf bent on one knee. And then you were laughing through the tears as, after you accepted, the company appeared from the shadows to give you congratulations and Thorin had had a fancy flower crown entwined in his hair. You suspected Bilbo, and his wink confirmed it. 

You had gotten married three months later, at a ceremony attended by not only almost every dwarf in Erebor but also Kings Bard and Thranduil. It wasn’t every day that the Heir of Erebor got married, after all, and Thorin had spared no expense to make it the best celebration possible. And after the disaster that was Thorin and Bilbo’s wedding, at which Fili and Kili had gotten drunk to liven things up and almost destroyed the cake Bilbo had spent hours working on for his husband, Thorin had taken every precaution to ensure your day went off without a hitch. And somehow it had, the ceremony had taken place outside, in one of Erebor’s few outdoor courtyards. The sun had shone down on the whole gathering, the moon coming out in the night, and you thought there had never been, or ever could be such a perfect day. 

Anyway, you were currently trying not to get eviscerated by the two dwarven warriors (which wasn’t technically possible, given the fact that you were using blunt weapons, but you wouldn’t put it past Dwalin. That dwarf was strong). Twin daggers clutched, you slashed at Kíli before running up the wall and flipping over his head, unsteadily landing behind him with a dagger at his throat.

You let out a breath of satisfaction, but your dagger was suddenly knocked from your hand, Dwalin barreling towards you with his hand still extended from the throw. Leaping out of the way, your breathing grew heavier as you were driven back by the two dwarves, their efforts renewed. Your head started to feel light, sort of fuzzy, and you kept backing up, blocks growing weaker. As everything faded to black and you collapsed, the last thing you heard was Kíli.

“Fíli’s going to kill me.”

You opened your eyes, everything hazy until you blinked it into focus. You were in a large room, sunlight streaming in through the windows to highlight- was that Kíli standing above you?

“Y/N!” Kíli brushed your hair back from your forehead, looking concerned. “You fainted, are you alright?”

“What are you doing here?”

He pouted. “That’s not exactly the wake-up greeting I was expecting. And didn’t you hear what I said? You fainted in the middle of training. I carried you up to Oin, you’re in the healers’ rooms right now.”

Ahh. Well, that explained why the room was so much bigger than yours, and why there were chairs arranged around the bed you were in. 

“Thank you, Kíli. Do you know where Fíli is?”

“I think they sent for him a few minutes ago, you’ve only been out for about ten. He should be here-”

Kíli was cut off by Fíli shoving him away from your bed.

“Y/N!” The golden-haired dwarf exclaimed. “What happened? Are you alright? Why is Kíli here, and why is he touching your face?”

The dark-haired dwarf stood with a smirk. “I’ll just leave you two alone now,” he said and slipped out the door with a smirk.

“Fíli! Don’t be rude! Kíli was taking care of me!” Then realization dawned.

“Is somebody jealous?” You asked with a teasing smile. 

Fíli blushed. 

“Fíli! You shouldn’t be jealous of Kíli! First of all, it’s Kíli. If I fall in love with him, please make sure I haven’t hit my head, he’s basically my little brother. And secondly, I’ll never love anyone but you, you don’t have to worry about that.”

He smiled at you sheepishly. “I know. I was just worried, and-”

“I know,” you cut him off, grinning.

“Ah, look! It’s Oin!” You waved to the healer as he bustled in, arms full of herbs and vials. 

“Ah, Oin. What is wrong with Y/N?” Your husband inquired, the worried look on his face almost comical. 

“Well, it could be several things. Have you been eating enough?” The healer inquired about this while mixing up a tincture.

“Yes.”

“Sleeping regularly?”

Fíli nodded to answer this question. 

“How about water? Have you been drinking enough?”

“Weelllll…” you trailed off sheepishly. “I’m not the best at remembering to drink water.”

“When did you last have a glass today?” The healer was now looking a little worried.

You cast around in your memory. “I had a glass at breakfast, but I haven’t had any more today.”

“WHAT?! YOU HAVEN’T HAD ANYTHING TO DRINK SINCE BREAKFAST?!!! IT’S THE MIDDLE OF THE AFTERNOON!” Fili was furious. Oin was nodding in agreement as well.

“I’m sorry!” You exclaimed. “I’ve just been so busy lately, and I’ve been aching so it’s more trouble than it’s worth to go all the way down to the kitchens.”

“Aching, you say?”

When you nodded, Oin came to your bedside. 

“When was your last monthly bleeding?”

Fili blushed at this, and you swatted him before counting in your head.

OH.

“It’s been almost three months. We’ve been so busy I didn’t even notice!”

“Then that’s it. You fainted not only because of dehydration, which you’ll need to be much better at but also because you’re pregnant.”

“Wait. What?” Fili looked shocked. 

Oin smiled at you, leaving the room.

Fili gazed down at you. “Are you really pregnant?”

You nodded. “I am. I hadn’t noticed the signs before but now that I know it’s blindingly obvious. We’re going to have a baby.” 

He lifted you from the bed, spinning you around in joy before suddenly stopping. 

“That can’t be good for the baby.”

You laughed. “It’s fine, Fili! I’m fine. And we’re going to be parents.”

He smiled, kissing you.

Later that day, you sat with the Company and Thorin’s sister, Dis, now your mother-in-law, in the rooms of the royal family where you all often ate. Sitting at the table, which had been built specifically for the group of sixteen, Fili kept refilling your water glass every thirty seconds. You made sure to drink enough, now that your body was supporting two. Fili glanced at you, and you realized the table had hushed, you hadn’t noticed the sound of Fili’s spoon against his glass gathering everyone’s attention.

He stood, taking your hand and pulling you up to stand next to him. “We have an announcement.”

Everyone was staring at you both expectantly, and Fili nodded at you to continue.

Smiling, you spoke. “I’m pregnant.”

“We’re going to have a baby!” Fili exclaimed. 

The table erupted in cheers and well-wishes. 

“So that’s why you fainted earlier!” 

You silently cursed Kili, knowing that now the overprotective side of the dwarves would emerge full force. And it did, Thorin started listing everything he needed to be done for you before Dis shushed him. The king then walked up to you, arms open, and hugged you.

“Congratulations, Y/N.” 

He then moved on, slapping Fili on the back before stepping back to allow the rest of the company to give their congratulations as well. 

Oin winked at you as he hugged you, and said, “I would never spoil your surprise.” The rest of the group gave out hugs and congratulations to you and Fili, and you glowed with happiness, knowing there were few people better than these for your child to grow up with. Finally, Kili stepped forward. 

“I’m going to have a niece or a nephew! Congratulations, Y/N, you’re going to be a great mother.” He then mock-whispered, “but I’d watch out around Fili. I’m not sure he’ll do as well.” 

Fili punched his brother before grabbing him in another hug, their words whispered too softly for anyone else to hear.

Lastly, Dis came forward, wrapping you in a warm, motherly embrace. “My son is right, Y/N. You will be a wonderful mother. And, if you need any help, don’t hesitate to come to me. Mahal knows I have the experience.”

You thanked her, smiling before she ushered you and Fili out the door. “Now go to bed. It’s late, and you need your rest.” She closed the door behind you, your last glimpse a room of smiling faces.

Back in the rooms that you shared with your husband, you crawled into bed, hair loose, in your favorite nightgown. Fili motioned for you to move closer, so you did, resting your head on his chest as his arm snaked around your shoulders, hand coming to rest on top of yours, where you were unconsciously cradling your belly. He began to sing, a tune that you recognized from the beginning of your quest, so long ago.

“Far over, the Misty Mountains cold,

To dungeons deep, and caverns old.” Fili’s voice wove the song masterfully, and you were taken back to the first time you had met him, almost two years before.

You had stepped into a hobbit-hole of calm, and hearing the sound of voices walked through, careful not to hit your head until you came upon a room of singing dwarves. 

You paused in the doorway, letting their song wash over you. 

“The fire was red, it flaming spread.

The trees like torches blazed with light.”

They finished, and you stepped into the room. All the heads immediately turned towards you. 

“Who are you?” A golden-haired dwarf looked suspicious.

You drew breath to answer, but before you could Gandalf stepped into the room.

“This is Y/N. She will be joining us on our quest.”

The dark-haired dwarf by the fire that looked rather grumpy made as if to protest, but a glare from Gandalf stopped him. The other dwarves quickly introduced themselves, and the golden-haired one stepped up last.

“Y/N, huh?”

You nodded.

“I’m Fili.”

Now, almost two years later, you were in the reclaimed mountain they had sung of, lying in bed with the golden-haired dwarf who had originally been so suspicious of you.

“We’re going to have a baby,” Fili said with a look of wonder, and you smiled at the tears of joy starting to roll down his face. 

“We are.”

You kissed him, so alight with the happiness you thought you could burst, before breaking away and laying your head back on his chest. Laying there, you could hear his heartbeat, beating almost in time with your own. You couldn’t wait until the third would join them. With your husband next to you, and a baby growing inside, you finally had all you had ever dreamed of. And it was perfect.

Everything tag 💞: @entishramblings @itgetsatadhazy @boyruins @anjhope1 @wellofeternalthirst @kumqu4t @katbby16

[rivalsforlife]

AA7 Speculation Post: One Year Later

here we go again.

A year and a day ago, I made a speculation post about if/when we’d ever be seeing AA7. Obviously, my claim that AA7 would be announced in September 2020 did not turn out to be true, but later that year we did get a leaked calendar containing information on the new ports for Chronicles, and also plans for a new aa7, which I summarized in this post.

Now that we have Chronicles we can verify that the leaks contained legitimate information (as if a statement from Capcom saying they were hacked wasn’t legitimate enough). So that leaves us with one key question: is AA7 still happening? If so, when can we expect it? As well, what other information from the leaked calendar can we consider, especially with early sales data on Chronicles? In addition, what are the implications of this new survey on Chronicles from Capcom?

All of that will be discussed under the cut so that this doesn’t take up too much space.

Revisiting The Calendar

Once again, here is a rough translation of the calendar that was present in the leaks:

As a note, in this post, I’ll be referring to our new games as “Chronicles” to prevent this from being blocked by people avoiding spoilers.

So: this original calendar, generated before the pandemic, had Chronicles releasing in Q1 of FY2021 - and it’s also important to note that in Japan, each fiscal year starts in April 1st, so FY2021 is actually April-June 2021. This shows that Chronicles was pushed back about a quarter from their expected release date. However, Chronicles was a port of already existing games, therefore somewhat less work was needed on them - upscaling models and textures, adding in some new features like autoplay and story mode, and of course, the English translation and voicework were needed, which is still a lot of course, but less compared to development on an entirely new game. In addition to that, the pandemic hit AA7 in its early development stage, assuming this schedule was still being followed by the time the pandemic hit. That could cause more delays than expected.

So the original plan was for AA7 to be released in Q3 of 2021, which corresponds to October-December, aligning with the 20th anniversary of the series in October. While it’s a desirable goal, it’s quite likely the pandemic pushed it back at least a quarter, if not more, if not cancelled it entirely. ... haha.

We’ll only know the fate of AA7 for certain when it’s announced. Which it is possible it may never be. However, I have two theories for, if AA7 is getting an announcement, when it will be:

1) Sometime during September 2021, either in the leadup to or during Tokyo Game Show this year. These are for the same reasons as I outlined in my initial speculation post. It’s a popular time for Ace Attorney game announcements, after all. TGS, according to what I can find, will be held online this year from September 30th to October 3rd. If Capcom announces AA7 earlier in September through Famitsu, like they did with AA6 for example, then we can expect to get some information during TGS... 

2) Sometime during a 20th Anniversary Event, possibly in October 2021. I’m assuming AA is planning something for the 20th anniversary - Chronicles wasn’t really marketed as a 20th anniversary release, for instance. If they can’t release a new game for the 20th anniversary (which at this rate, seems unlikely, as we’re about two months out from that with no word about it) then an announcement would be just as good at generating hype for it.

Naturally, if we reach this time next year with absolutely no news on AA7, it’s probably safe to say it’s been cancelled or at least delayed so severely that anything we currently know about it isn’t worth much.

There’s one more point of interest on the calendar: reconsidering the porting of 456. I feel that this depends heavily on how well the Chronicles ports are doing; if it’s not financially viable to keep porting games, then why bother? So, let’s take a look at that.

The Success of Chronicles

As I write this, it’s about two and a half weeks since the release of Chronicles worldwide. So... how did the games do? It’s a bit hard to tell, especially as I am not a game marketer and don’t know the expectations for Chronicles. What is obvious is that, if Chronicles does much better than expected, porting 456 and possibly even the investigations games seems likely. (If Chronicles, indeed, does especially well in the West, than a porting of the investigations games and localization of investigations 2 after ten years could very well be possible.) If Chronicles does absolutely terribly, it damages the chances of porting, and possibly of continuing the series. If it does terribly especially in the West, where the games are essentially new, it could damage the chances of any new games being localized at all.

So, a lot is riding on this, and I don’t know enough to tell how well it did. Here’s what I have found, however:

Nintendo Enthusiast reports on Famitsu sales of Switch games, and overall thinks it’s not doing so great. Chronicles ranks third on the list of Switch sales in its first week, with 14,460 units sold, over 4000 less than NEO: The World Ends With You, which was released on July 27th. Keep in mind that Chronicles was released in Japan on July 29th, which is two days later, and that these are only Japanese sales (where they’ve had Chronicles for years on both mobile and 3DS) and only Switch sales, where NEO:TWEWY is currently only available on Switch and PS4 (Chronicles has the additional platform of Steam, where there could be many more sales). In the next week, Chronicles ranked 22 overall, with NEO:TWEWY at 23, though of course they’re still a little less than 4000 units behind NEO:TWEWY overall. Slightly closing the gap, I guess.  

How about overseas data, then? ... It’s hard to tell. I can find this report from gamespot which discusses the top 20 games sold in the US in July, and Chronicles is not on the list, while NEO:TWEWY is at 16. However, they don’t give any number for the units sold, and it seems that they aren’t considering digital sales for a lot of them, so it’s hard to tell how much of a hit that is.

However, let’s go back to Japanese sales for a bit, and look at the 2019 Trilogy re-release for a comparison against Chronicles. Allegedly, combined Switch and PS4 sales in the first week of the trilogy’s release only amounted to about 8000 units, a little more than half that of Chronicles’ Switch sales. It’s also important to note that the 2019 trilogy ended up being the only ace attorney game to sell over a million copies. Ace Attorney is not a big series; I’m sure Capcom takes this into account when considering sales data, especially for ports. If Chronicles does end up doing better than the trilogy overall, it’s definitely looking good for ports and especially so for Chronicles.

However, there’s more to this than just sales data.

The Survey

Capcom now has a user survey for Chronicles, which you can answer even if you’re partway through the first game. I believe it’s only open until September 30 2021, so if you think you can finish the game before then, I’d recommend filling it out once you’re done so that you can give the best feedback.

It asks you a bunch of questions like what platform you bought it on, why you bought it, your expectations, and all sorts of detailed questions on the various mechanics, difficulty and enjoyment of the trials and investigations, satisfaction of visuals, plot, characters, music, and even free response sections for what you liked and disliked about the game. It’s a very detailed survey that’s pretty long but I think is worth filling out. At the end they ask you to fill out some demographic questions (such as age, gender (male, female, other), country, what kind of things you like to spend money on, and what kind of games you like, what platforms you have to play games on). But what’s possibly the most interesting question is this:

“If a new [Chronicles] game is released in the future, do you think you would buy it?”

This means that, depending on the answers to the survey, they could very well decide to work on a third game to Chronicles.

This has huge implications for the future of the series. I’ll probably make a separate post on plot-related stuff later, but for now... let’s talk about logistics.

In my initial AA7 speculation post I said I highly doubted that they would ever make another Chronicles game. I also said that they probably never would be localized, so, guess who’s a clown now. 

Right now the AA series is in a bit of a dry period, with no new games having been released in the last four years. As well, with Yamazaki (the director of the investigations games and AA5/6) having left Capcom, the next director of the mainline games is completely unknown. As described in this video, the main reason Chronicles ever came about was because Capcom went ahead with mainline AA5 before Takumi could come back from the Layton crossover. Now, since 2017, we don’t really know what Takumi is working on. It’s possible he’s gone back to mainline to work on AA7 (though of course, there is absolutely no evidence suggesting that he has, so definitely don’t take that as any sort of confirmation).

However, if we do get a Chronicles 3, it’s quite likely Takumi would return to work on that, as he directed the previous two games. In addition, if Chronicles ends up being such a success to completely eclipse mainline (from what I’ve heard, though I have no serious proof, Resolve is considered as highly rated as T&T by many Japanese fans) then the series could permanently go down the road of writing more Chronicles games, leaving mainline stagnant (which, let’s be real, it’s already stagnating). The success of that is uncertain considering how neatly our current Chronicles duology wraps up, but... we’ll have to see how things unfold in the future.

For now, I highly recommend filling out the survey to give your input to the series’ future directions. Maybe mention that you want localized investigations 2 somewhere in the free response section because uhh I forgot to do it in mine. do that for me.

TL;DR

Main takeaways from this post are:

- I personally expect an AA7 announcement either during TGS or a 20th anniversary event

- If Chronicles does extremely well, then 456 ports are likely to happen, and I personally speculate investigations ports (along with localized investigations 2) will as well.

- Fill out this Chronicles survey before September 30th to give your input on the games and possibly the future direction of the series. I recommend completing the games before you do, but if you think you won’t before September 30th, you can fill it out at any time.

- We Very Well May Get Another Chronicles Game. Who saw that coming. Not me.

Thanks if you read through all of this, let’s hope September/October doesn’t leave me looking like a fool again.

[btsandvmin]

How much do we really know?

I really don't understand how any BTS shippers can be confident enough in their ships to turn into “supporters/believers” that believe their ship is real 100%. For any ship. Like even deep diving into some theories or getting literally 100+ reasons from various believers own mouths for why some ships have to be real, nothing has been big enough to count as proof in my opinion. (Of course this includes Vmin.)

Like... They all have questionable moments. Some more than others, sure. But proof of more than very strong and unusually intimate friendships? No.

You could argue some things seem “gay” or has possible LGBTQ+ connections. Like GCF having a LGBT+ song, or 4 o'clock including a reference to a gay movie, or Vmin's literal gay drama whatever that was. But most of it is just fans zooming in on various things and adding their own meaning to it. Like it has to mean something becaues it is connected to your ship. (But only for your ship.) Sometimes, a lot of times, it’s not even directly connected to the ship... It’s just assumed to be connected to them. It’s a guess or a theory, not a fact.

I get questions from Vminies not knowing things about Vmin all the time, and I myself know I’ll never be able to remember or even see everything that is out there with Vmin. And that’s just from the content we are able to consume to begin with. Beyond that is a lot of guessing and assumption based on the fraction of moments we get. But if some Vminies might not even know where the soulmate label comes from, or that 4 o’clock was written with Jimin in mind or that Vmin seem to casually sleep together in private (if we take Tae’s words for it in the Billboard vlive) it’s clear that something I might see as obvious and common knowledge isn’t. Even further it’s clear that other shippers will know even less about Vmin. 

And how can you dismiss something you don’t even know about?

We all focus on, remember or look for/get exposed to our biases or favorite ships the most. Even if we consume the original content we will likely zoom in and see things for our own ship simply because we look for it. And there is nothing wrong with that, it’s natural. But we need to realize it means we will miss things when it comes to other ships, and need to be aware that we know more and end up in echo chambers of both facts and interpretations for our own ships.

It’s so blatantly obvious to me that many non-vminies have no clue about even some of the biggest moments between Vmin. And again, it’s nothing really odd or bad about that... Until you start to act superior even when you lack a lot of knowledge. So much misinformation is spread this way too...

That’s why even though I personally think I know more about other ships than perhaps the regular person, I still won’t preach or explain too much about other ships. Because just as I know others don’t seem to know or notice a lot about Vmin, I know I work the same in regards to other ships. I can’t possibly even remember everything when it comes to Vmin, so how can I with all other ships too?

If I get questions about tae/kook or ji/kook or any dynamic in BTS I might be able to answer it... But I might also lack the full context or might not even have noticed some things to begin with. Coming to me with questions about other ships will give you a very different view than if you ask a shipper focused on that ship directly. I try to be unbiased, but I can’t. I try to be informed but I can’t remember or notice everything. So even if I feel I know a lot, I might never know enough to get the full context of any situation regarding BTS. 

Of course trying to remember to watch unbiased content is very important and helps to keep a better balance. Or as in my case where I actively looked up other ship theories and felt “I know enough to see there are weird things and I can’t dismiss everything since we don’t know the truth of what it might mean”. Just as I feel a lot of things about Vmin shouldn’t be dismissed. Many other shippers also came to me and talked long and detailed about why their ship is real and my isn’t. Many times I lacked knowledge about specific situations about other ships, but so did they about Vmin. I don’t think you can dismiss something if you don’t even know about it to begin with, and there is a big gap of knowledge between the shipping communities.

I mean, the way hyung x maknae line ships have so many great moments and you barely see them outside of the actual content. At this point all ships in BTS are big and get attention, but they don’t seem to register the same way in people’s minds, with the focus  always being on the three youngest together.

This is the thing about worrying about “rival ships” too... They only matter if there is a moment between the ones you already see as “competition”. Does anyone worry or cry about Vmin or Ji/kook when Ji/hope or Hope/kook get very intimate and sweet moments? No, because they don’t seem to register at all. 

I wasn’t even able to find a gif of this ji/hope moment from Run recently... (And I can’t add twitter videos from desktop)

Yoon/min holding hands and joking about breaking up.

Meanwhile if Tae/kook have fun together or if Ji/kook does something cute all hell breaks lose. We have been tainted by the narratives from shippers. The more we see and hear about other ships the bigger “impact” they will have on us.

If moments like this between other members doesn’t make me feel insecure about Vmin, then why would any similar moment from Ji/kook or Tae/kook? People need to stop hyper focusing on both skinship and “rival ship” moments in general and stop adding importance to them, especially when they don’t even do it equally with all ships.

It’s not that one is good:

One is neutral:

And one is bad:

They all happen and exist and we need to realize that’s how it always has been and likely always will be. Any interpretations of these moments shouldn’t change how you view them when nothing is even confirmed. They all happen so we should all accept that and be happy the members have close and intimate relationships with each other.

I really don’t think people understand my stance on all of this. I literally don’t mind if another ship turns out to be real (even if any ship being real is probably not that likely), because I trust in Vmin’s relationship after having watched it for 5 years. But since nothing is confirmed I still remain of the opinion that Vmin’s relationship and behavior is weirder than other ships IN MY VIEW, based on MY INTERPRETATIONS. But I am totally ok with being proven wrong, because it doesn’t matter what kind of relationship Vmin have as long as I can trust that the love they express for each other is real. Thus I also don’t have to downplay moments between other ships. They are there and that’s nice.

We lack a lot of information for many reasons even though we do get to see a lot. But even knowing all the things we know, I still don’t think it’s enough for any ship moments to count as “proof”. For example with Vmin, they were denied to sing a song because it was essentially “ too gay” and Taehyung complained about it, but that doesn't mean they have to be a couple and is forced apart by Big Hit.

We put weight into things because we have our biases and guesses and we find things because we look for them. Here are just some things that fans of various communities says have to mean something but to me really doesn't have to mean anything even if proven:

Physical intimacy Emotional intimacy Jealousy Screen time Fanservice “Sexual tension” Heart eyes or any looks in general Joking about being a couple Showering together Sleeping together Being alone together Living together Writing songs about each other Secret signs Hidden messages to fans Hiding in rooms

And so on...

But even If you do want to count these things to mean something, at least acknowledge how many of those things other ships have too. Vmin literally have several of these confirmed as well. Many of these moments either have happened or gets speculated to happen between many ships. You might find your ship isn’t as uniqe as you feel it is if you actually start diving deeper. If you did and it makes you doubt your own ships superiority, that’s good. Being sure won’t lead to any good for anyone.

Also if you wanna go there.... If other shipper say these have to mean something they are either ignoring Vmin or more likely doesn’t know or say it doesn’t mean the same if they do it.

Fine if hand holding and cuddling doesn’t make you wonder about Vmin, that’s totally legit. In fact you don’t have to wonder about Vmin unless you want to. But using excuses for why something doesn’t mean something you don’t want it to mean or downplaying moments or automatically calling them platonic and “not the same” doesn’t mean you can’t be wrong about those assumptions. Especially when you might not know the full context of it. Again, it should go both ways and include moments from all relationships.

I am legit curious how ji/kookers and tae/kookers are able to be so confident about their ship being real with Tae doing the things he does towards Jimin.... Like... They mean to tell me Tae and Jimin being soulmates, Tae wanting to sing a romantic Christmas song with Jimin, Tae writing 4 o'clock, Tae having Sweet night and telling us it's a personal song while he keeps calling Jimin his only best friend doesn't even have a possibility to mean something non platonic? 😗

Soulmates + Friends lyrics + "how could I know one day I would wake up feeling more" + "are you my best friend?" + "sweet night is a personal song" + "Of course Jimin is my only friend" + 4 o'clock/dumpling fight + the not allowed Christmas song + "Jimin-ah I like you the most" + "I told him to come sleep next to me as I was too lazy to go to him" + “we told our candid stories as honestly as possible” + “Oppa, why are you still awake? I’m dreaming of Jiminie” = Vmin is probably the best known guess to what relationship Tae might be talking about in Sweet Night.

Is it confirmed though? Can I call it proof? NO! Because while it fits in theory, we don’t know and we don’t have all the information to know. But I can make a damn good case for it and that’s the whole point. I can do that because I look for material, see things and add them together with a narrative. Just as other shippers do with their ships. In the end it’s all just narratives though, not proof.

Getting all these asks recently just confirms that the people who worry, or who says other ships are real, haven’t read even a fraction of my posts or they just don’t understand them. Or let alone noticed major moments between all BTS members that should show that their belief is not as “obvious” as they might think.

I am tired of insecurities when it shouldn’t even matter. If any ship in BTS is real, let’s support them and be happy. It doesn’t change the dynamics and relationships between the other members if some of them happen to be a couple. What we see is still there. The “worst” that can happen is that our ideas and theories prove to be wrong. 

But let’s at least try to be aware of how little we see and know, and especially about ships that aren’t our own. I am writing about Vmin because there is a lot to see, but me focusing on Vmin also gives me a knowledge about them I can’t compare with other ships. Which is why I won’t sit and write essays about other ships, and which is why Vminies coming to me for information about other ships is going to lack the depth I can provide for Vmin. All shippers are biased and all shippers lack information.

If you want to ship do it, if you want to speculate go right ahead. But be aware that there is a big difference between facts and knowledge and narratives and speculation.

I hope you found this an interesting read. And if you are considering sending me asks worried about Vmin because of interactions between other members or you want to send “statments” or explenations about other ships being real, just know you are barking up the wrong tree.

[ponds-of-ink]

My P e r s o n a l Rough William Afton Timeline - Part 1 (Human Years)

Disclaimer: This is all speculative backstory built up from the SB therapy tapes as well as random points in the main FNAF lore. I am not solving any of it, but just saying “Hey, maybe this is how we got here”. Also, this is very long and packed with what-if info in a “No, Tumblr, we die like men” style. Get ready, it’s gonna be a bumpy plot-holed ride.

-

Late 1940s: Two people (Bill Afton + [REDACTED]) wed in some small town in Midwest America. They settle into their new home, get their newlywed lives in order, then prepare for their little bundle of joy down the line.

Early 1950s: William “Bill” Afton Jr. is born on [REDACTED]. He grows up relatively normally, even though his Londoner accent has been giving him a hard time at school. But, as long as the family was happy and his books were in reach, then he was fine.

Circa Late 1959 and/or 1960: Unfortunately, it wasn’t meant to last. Rising tension grew within the Afton household, culminating in a rather physical fight between Bill and [REDACTED]. Ready to defend his family, a BB-Gun-wielding Will encountered his mother hobbling out her bedroom with her hand on her chest. He could hear her fuming about Bill “dying of shame” for what he did before she passed out nearby. Thankfully, she managed to live another day. Unfortunately…

1960-ish: This resulted in a custody case spanning several days. Being a witness to the outcome, William was told to lie about his mother’s emotional stability at the time (though he knew she was okay, according to his standards) by his father. Will, not knowing the far-reaching consequences at the time, followed through reluctantly. Bill won soon the case.

1960, a little bit after: Thanks to this, [REDACTED] disappeared. Will almost called the police about it, but a quick peek in the obituary stopped him short. She died, though it wasn’t stated exactly how. In tears, he told Bill as soon as possible. This led to the promise that sealed this boy’s fate: To not breathe a word of what really happened at the scene or the custody case. If he did… Well, bad things could happen.

Mid-1960s to Early 1970s: Will keeps this promise all while going through his preteen and teen years. He still grew up well-adjusted, but he became more secluded than before (definitely not trusting his dad as much. Oof). More days spent studying and less time exercising his creative abilities. Well… All right, apart from that one time he auditioned for clown college in his late teens. But, since he got rejected, it probably shouldn’t really count for anything… Right?

Mid-1970s: Now around college age, he enrolls for a Business Degree in one of Utah’s universities. He finally says goodbye to his father and moves to Utah to be close to his new school. Soon, he encountered Henry Emily, a talented mechanic with a penchant for making animatronics. Fascinated by the idea, William decides to help Henry with his newest innovation: Springlock suits. Fredbear as a concept is made around this time.

Also Mid-1970s: One late night, Henry discovers that William is actually rather good at acting despite not enrolling in theater. Wanting to put this to good use, he comes up with a character to go along with the newly-created Fredbear: Springy, named after the suits he helped make. William, sensing an opportunity with the name, suggests that Springy could be a rabbit instead of another bear. Why was Springy lengthened to Spring-Bonnie? That… I don’t know. Maybe as a tribute to his mother, whose name was Bonnie? Idk.

Late 1970s: It was around this time that he met his future wife, who I’ll call “Justine” until we figure out her real name. They met while she was doing some ballet at that same college. It took a bit of time, but Justine and William grew to have a deep bond. So much so that, as soon as they both graduated, they married. And, a couple years apart, they have two baby boys: Michael and “Evan” (who’ll be referred to as such until we learn something different).

Early 1980: Fredbear’s Family Diner begins as a concept, along with some new tests being made. It was also around this time that William finally felt that he could trust someone enough to break his promise. So, he told both Justine and Henry about what happened. However, due to how tense his last encounter with his father was, William decides it would be best to not bring it up with Mike and his baby brother until they’re old enough.

1982 - Very Early 1983: Much to William and Justine’s surprise, they end up having another baby. This time, a girl named Elizabeth. However, due to complications, she had to spend some time in the hospital for a bit. This meant that the room that they had to leave her newly-furnished room unused for a bit. Also, on top of this, Fredbear’s Diner is under construction along with a television show. Needless to say, Will’s swamped… Much to his own chagrin. How can he get Evan to stop being afraid of the new bots without having to use his dad’s old tactics…? 

Early to Mid? 1983: Fredbear’s Diner finally opens. William starts using one of the prototype Fredbear plushies as a way to how poor Evan’s doing while he’s at work. Unfortunately, due to Michael’s growing frustration about his dad’s (unintentional) neglect, an incident happens that rocks William’s mind. One that is steeped in unfortunate infamy: The Fredbear Bite.

Post-Bite of 1983: The death of Evan takes a heavy toll on William. Not wanting to go down the old “not a word about this” route, he sends Michael to a boarding school outside of Hurricane. His wife either dies (or leaves, given what little we know) shortly after, rendering him alone once again. It is at this point that he resigns from Fredbear’s on leave, which turns out to be a great idea in the long run. He gets jealous of Henry and Fredbear’s growing success without him, but tries to not bring it up when Henry’s around. Conflict is a pain for Will to inflict, y’see.

May 13th, 1983 - In a fit of nostalgic grief, Will decides to visit Fredbear’s and see how it’s doing. This one idea somehow leads to the death of Charlie Emily, his business partner’s young daughter. Now realizing what he’s done, William panics and leaves her outside in the rain. He tells Henry that someone hurt Charlie, which prompts a hurried investigation. When they go back outside, the body’s gone.

Late 1983 to 1985 - Henry resigns, giving the restaurant to new management. William, meanwhile, decides it’s time to change some life choices. He slims down, trains himself to have a more American accident when needed, then tries to raise Elizabeth on his own. It is at this time that he discovers remnant and hatches a plan. His self-assurance of “putting Evan back together” may not be as metaphorical as he once thought… Maybe, if he pulled a Frankenstein without stitching up a body…

1985 to 1987:  Disguising himself as both “Utah-native” Dave Miller and good ol’ Spring-Bonnie, William conducts the infamous Missing Children Incidents at a new Freddy’s Location. One by one, all five known kids go down. Whether or not he’s done more is known to Afton and Afton alone. Whatever the body count, all he thinks is that—if there are ghosts of those kids— that they’ll be haunting in the traditional sense. Just wandering around and controlling random objects. 

1987: Another infamous bite takes place, shutting this Freddy’s down for good. It’s also here that “Dave Miller” is caught and finally reported, but is let go due to lack of evidence. Fearing for his life (and his reputation by his father), William returns to his roots and goes back into business under Afton Robotics. This time, however, he has an ulterior motive.

Early 1990: After some hard developments, Afton Robotics presents its new rival restaurant for Freddy’s: Circus Baby’s Pizza World. With Freddy’s going under, William’s sure to rake in both cash as well as remnant. However… Something doesn’t sit right with him. Maybe it’s guilt that the remains of Fredbear’s might’ve been caused by him. Maybe it’s the growing anxiety of Elizabeth getting too close to the scooper-ready Circus Baby. Maybe he’s just missing his wife, even though he’s made a fitting tribute through Ballora. It could even be his conscience screaming about the dead kids, for all he knows. Whatever it is, it only gets worse when another accident happens. This time, he can only blame his negligence for this.

1993: Circus Baby’s has now been shut down twice, only to be converted into a rental service. Its once-owner has now vanished from the public eye. William spirals in the private confines of his own home, absolutely crushed by the idea that Elizabeth’s soul must be roaming around in some dimension— unable to move around. Guilt seizes him, refusing to let go until he makes up his mind: He must stop all of this. Get rid of the evidence, then possibly himself.

December 1993: A break-in is reported among the lingering staff of the original Fazbear Entertainment company. A lanky figure, covered in shadows, broke in and practically dismantled the main four animatronics. Then, after a quick rest, he was somehow cornered by unseen enemies before putting on a retired Springlock suit. Multiple, simultaneous costume failures happened thanks to… well, a number of reasons. Water damage, improper placements, too much movement, etc. Unfortunately, a mere scream or shadowy image isn’t enough to prove the identity. So, they chalk it up to a disgruntled employee and leave it be. Little do they realize that they were both right and wrong at the same time…

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Audrey Roget

Audrey Roget has 10 fics at Gossamer, with some different ones at AO3, fanfiction.net, and her website. You might know her from her very good fics or as part of Musea, a collective that all wrote fic and posted X-Files fic recs. I’ve recced some of my favorites of her stories here before, including Three Times Dana Scully Didn’t Go to San Diego for Christmas and The Shirt. Big thanks to Audrey for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)? A little, yes. Not so much by folks who were around in those days. I sometimes go hunting for beloved stories from the early years, both those I read and loved, and those I never got around to. I am always delighted to hear that later generations of fans have stumbled across my stuff, especially since I haven’t posted anything new in a number of years. It’s fantastic that both years-long fans and new ones are out there continuing to rec fic from all eras, and to maintain archives for fans yet-to-be born. What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general? It may sound corny, but the main thing I think of, and the thing that has ultimately been most valuable and lasting, has been the friendships. The feeling of having found a tribe – not just of TXF fans, but of other people who could be as enthusiastically engaged as I was (if not more so) with fictional stories and characters – was mind-blowing. Since I was a kid, I had often mulled over the books/movies/TV I loved and speculated internally about what happened off the page or off-screen, or created new stories for characters in my head. But, except for an elementary school phase where I and my two BFFs regularly played Charlie’s Angels, I hadn’t engaged in that kind of gleeful immersion in a fictional world with others until TXF fandom. My involvement in fandom followed pretty quickly from getting hooked on the show, so for me, it’s all one big ball of experiences. Even as my interest in/involvement in fandom has waxed and waned over the years, I’ve been lucky to remain friends with wonderful people who I originally connected with as fellow fans.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)? What got you involved with X-Files fanfic?

My initial entrée to the fandom was through fanfiction. I didn’t get interested in the show until mid-season 5. Around the same time, I read an article in a zine called Might (co-founded by Dave Eggers) about this thing called fanfiction that people would write and publish online. At first I thought it was satire or a joke – the fic cited involved Wilma Flintstone and a polished sabre tooth, as I recall – but then realized this was an actual thing. So I figured that a show then at the peak of pop culture must have fanfiction, and I went looking. Early on, I scrolled atxc on a daily basis and downloaded stories. But I didn’t engage in discussions about the show on Usenet, since I only knew how to access it with my Earthlink email client, and I didn’t want to post using my real name.

Later, I set up a pseud address with Yahoo and subscribed to a couple of email fanfic/discussion lists, and stayed subscribed to those for years. There was also a period in there somewhere – of maybe only a year or so, when I think about it – when I’d often nerd out into the wee hours with other fans via IM chat groups. That was around the time the small writers’ collective Musea was founded, and we were active for several years after the show’s initial run. In the early aughts, I followed many authors to LiveJournal and eventually set up my own account and stayed involved in fandom that way, until it mostly dispersed as well. What was it that got you hooked on the X-Files as a show? In a word: Chemistry. I had casually watched a couple of episodes during the first four seasons, but I’m not a huge sci-fi/horror fan at heart, and the story lines didn’t immediately grab me. But I happened to tune into The Red and the Black in 1998, and BOOM. For the first time, the intense layers of emotion and attraction between Mulder and Scully really struck me – and then of course, upon further viewing, I realized it was unmissable, an essential element in the fabric of the show. As a wise woman once said, a switch had been flicked. Mulder and Scully’s magnetism was like nothing I’d ever seen, and though I eventually came to appreciate the storytelling, humor, production values, and other components that made the series so successful, watching those characters interact has always been what kept me coming back. Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files? I was part of a list-serv discussion group for The West Wing for a while, which was a fun melding of character and plot analysis with political discussion. Later, I got into the House, MD fandom, again mostly as a fanfic reader/writer. I was finding that other fandoms, unlike TXF, were more dispersed, the networks of people structured more loosely, if at all. There were fanfic and discussion communities on LiveJournal, and fanfiction.net was the other main hub for posting and reading, but if there was anything centralized like Gossamer, Ephemeral, or the Haven, I never found it. Within all those fan communities, as in TXF, there were partisans for various characters and pairings, and flame wars erupted over plot developments that outraged this faction or that. One main difference was that those other shows had larger, ensemble casts and more varied subplots. So on one hand, there was more opportunity to explore back stories and multiple perspectives. In House MD in particular, there were several entrenched rival shipper camps, which were about equally grounded in canon, rather than TXF’s central ship. I was less into TWW fic, but my impression was that readers were less militant about their pairing preferences than TXF or House fans. Who are some of your favorite fictional characters? Why?

I was deeply fascinated by Greg House for several years. (And the love-hate chemistry between him and Lisa Cuddy was a strong draw for me.) House MD came early in a wave of TV shows centered on anti-heroes, and Hugh Laurie brought amazing complexity and thoughtfulness to the character.

Philip and Elizabeth Jennings (The Americans) are a lethal pair of antiheroes. The inherent moral conflict of a sympathetic narrative from their POVs, and the global political conflict they embody was TV catnip for me. The internal struggles at the hearts of those characters were so exquisitely written and performed, they completely fascinate me.

The West Wing felt so much like a show created specifically for me. I’m especially fond of story arcs and scenes that centered on CJ Cregg, Charlie Young, and Josh Lyman. Though I loved Martin Sheen’s human portrayal of Jed Bartlet, the fact that he was the President always made him a little untouchable in my mind. But CJ, Charlie, and Josh were basically hard-working functionaries who were ambitious and idealistic and funny and flawed, and they spoke to me. What is your relationship like now to X-Files fandom? Do you ever still watch The X-Files or think about Mulder and Scully? Do you ever still read X-Files fic? Fic in another fandom?

I do continue to think about Mulder and Scully and watch episodes somewhat often. I’ll sometimes run a favorite episode as background when I want something comforting on. I read TXF fic pretty regularly, which can inspire me to go back and watch a particular episode or story arc I haven’t thought about in years. Just recently, I started listening to The X-Files Diaries podcast (@XFDPodcast, @admiralty-xfd), and that’s a fun dive into the characters, and how other fans react to and interpret episodes.

Every once in a while, a TV show or movie – and more particularly, the characters – will grab my attention and make me curious about how fanfic writers have interpreted the original material. Random example, I saw Singin’ in the Rain for the first time in a theatre a couple of years ago, and the chemistry of the three leads sent me to AO3 as soon as I got home. I also loved the first season of Mercy Street and found some well-done stories in that fandom. I usually peruse the Yuletide gifts every year and have been amazed by the sheer variety, creativity and cheekiness of the output. There are a bunch of other shows I’ve followed faithfully, and sought out fanfic – Broadchurch, The Killing, Agents of SHIELD, Elementary, The Good Wife. Although I’ve found some well-written stuff in those fandoms, I’ve rarely gotten the same charge from them as reading TXF fic. Do you have any favorite X-Files fanfic stories or authors?

syntax6 (@syntax6) – Universal Invariants/Laws of Motion. I’d also shout out to syn’s Hunter fics, too – well worth reading even for those who have never seen or particularly loved the show itself.

JET – I re-read Small Lives Awake every year around Thanksgiving time. Other annual holiday re-reads: Revely’s The Dreaming Sea and Jordan’s Through the Fire (both set at Halloween).

Amal Nahurriyeh’s Casey universe – the rare post-col fic that felt hopeful, made extra intriguing by a kick-ass original character. [Lilydale note: the series starts with Machines of Freedom and has lots of additional fics and snippets.]

Prufrock’s Love – Finding Rokovoko was genuinely terrifying and tender.

melforbes (@melforbes) – Seaglass Blue is a recent favorite, lyrical and bittersweet.

These are just a few (apologies to those that didn’t come to mind immediately). Fortunately for readers, there’s an astonishing number of authors who have written in TXF fandom whom you can depend on for a good yarn, insightful character study, and/or ingenious “fixes” where 1013 went awry.

What is your favorite of your own fics, X-Files and/or otherwise?

Probably the two set in my own (former) backyard of Southern California: Enivrez-vous and Ravenous. I’d first read the Baudelaire poem that was the source of the former’s title back in university days, so I was tickled to be able to use a few lines as an epigraph. Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online? It’s not out of the realm possibility. I’d meant for “Three Times Dana Scully Didn’t Go to San Diego for Christmas” to be followed up with “And One Time She Did.” In fact, the idea for that never-finished story was what inspired “Three Times” in the first place. I have a couple of scenes sketched out and – unusually for me – even know exactly how to end it. Every year, November rolls around, and I think I should finish and post it…maybe in 2021?

Where do you get ideas for stories? Sometimes it’s from my environment. “Enivrez-vous” and “Ravenous” describe places that I’m fond of, that made me want to place Mulder and Scully there. “What Not to Wear” has that element too – I set it in Memphis as a tribute to a great trip there with a sister Musean. But WNTW was also inspired by a kink challenge in a years-ago LiveJournal thread, so sometimes ideas come from fandom discussions or even other fanfics. In the House MD fandom, a fic by another writer made me want to continue the story, and the author kindly allowed an authorized sequel. What's the story behind your pen name? I wanted my pseudonym to sound like it could be a real person’s name – or at least, maybe like a romance writer’s pen name – rather than an online handle. I also wanted to use a slightly obscure fictional character, to amuse anyone in the know. I had long had a bit of an obsession with Whit Stillman’s 1990s film trilogy, which started with Metropolitan; the 3rd installment, Last Days of Disco, came out the same year I started down the TXF rabbit hole: 1998. The central heroine of Metropolitan – who is mentioned in or makes a cameo in the other two – is Audrey Rouget, a lover of Austen and, eventually, a book editor. I altered the spelling of the last name as a nod to every writer’s companion, Roget’s Thesaurus. Do your friends and family know about your fic and, if so, what have been their reactions? I have a few close friends – from outside TXF fandom – who know that I’ve written fanfic. I don’t know if they know my pseud; if they do, or if they’ve ready any of the fic, they haven’t said so to me. They are fannish sorts themselves, but not really TXF fans. A smattering of other friends and family members know or could intuit that I’ve been a fangrl on some level for years. My boss, whom I’ve known for about 3 years, recently mentioned off-handedly that she was really obsessed with TXF “back in the day,” and I am DYING to know if she got involved in fandom, but don’t think I’ll ever work up the courage to ask.

Is there a place online (tumblr, twitter, AO3, etc.) where people can find you and/or your stories now? Most of the X-Files stuff continues to be generously and steadfastly archived by Forte at The Basement Office. The House MD stories and some TXF things are at fanfiction.net; same for AO3. If ever post anything new, it will probably go to TBO and AO3. I really ought to get it all together in one place, one of these days…

(Posted by Lilydale on April 6, 2021)