#and it’s beautiful and a great character choice and so interesting but also *god* it’s stressful

[see-arcane]

It's a special day in Dracula!

Jonathan experiences a flashback to the Horrors, Mina experiences bisexuality in the wild, and the poor nameless Pretty Girl in Piccadilly rides out of the story, parcel in hand and chic cartwheel hat on, oblivious to the Count stalking after her. In honor of the anonymous young lady who proves for a third time that Dracula and Mina have literally the exact same taste—Jonathan, Lucy, random beauties on the street—I wanted to take a crack at giving her an identity.

But I am also indecisive as hell, so she can be one of a number of pretty persons of note. For example…

Miss Piccadilly #1: Clarimonde

My original favorite choice, if only because I love the idea of Clarimonde still cruising around after the heartbreak she left behind in her own story, “La Morte Amoureuse” (The Dead Woman in Love), aka “Clarimonde.” She is now and always the undead Parisian party queen of my heart, but I could see her traveling around to dabble in hedonism in other corners of the world. Naturally she has to go and catch the attention of the local aristos. Human or otherwise.

But, of course, she is psychic and can read Dracula like a bloodstained book. Keep walking, bat bastard. Her vampiric voluptuousness is reserved for VIPs. (Maybe that fetching mourning couple she saw gawking in the park…)

Miss Piccadilly #2: Helen Vaughan

Oh, Helen Vaughan, elegant hostess and demigoddess horror supreme. I don’t care what Arthur Machen says, your story did not end with the conclusion of The Great God Pan. You were life and death and human and beast and all the hideous realities in-between and a mortal end could never keep you down. Especially not when you have so many paramours left to entertain! So many secrets profane and maddening to share! One of these days you’ll catch one who won’t dissolve into madness and self-destruction after a little innocent eldritch chit-chat.

Like this charming Count here! Count? Count, where are you going? Count, she just wants you to meet her dad—why are you running? Why are you running?

Miss Piccadilly #3: Luna Blue

What’s this? An OC?

Well, of course. No one’s actually naming their child Luna Blue in the late 1800s; that’s just her professional pseudonym. It’s amazing how well the spiritualist movement can work out for a girl with a knack for shuffling painted cards or chatting with the night sky and the occasional planchette. She can even boast something more than showmanship behind her skill. The sort of ‘something’ that worried Transylvanians might whisper about in fear on a certain haunted date while a likewise worried solicitor breaks out the polyglot dictionary.

She recognizes Dracula for what he is as surely as he recognizes her. No, she is not interested, voivode. Even if she was, she’d be out a benefactor within—a hard look at him here; cold and far—oh dear. Scarcely more than a month. At least by her guess. But oh, there is good news in his future too! He shall cross paths with an old friend soon! How lovely. She’s certain these things are not connected. Don’t even worry about it.

Miss Piccadilly #4: Cosette Marchand

The fourth and final young lady in the roster is one more original character and she deserves absolutely none of the horror coming her way. This is Miss Cosette Marchand, an artist by hobby and profession. The parcel received from the jeweler’s was a commissioned necklace and earrings she designed herself. A glittering birthday gift for her mother who will chide her for such an extravagance, Cosy, she has no place to wear such things! But they are lovely…

She’s so lost in her daydreaming that she doesn’t realize the hansom behind her has been following the victoria since leaving Piccadilly Square. All the way home. Home, where there are no bloodletting suitors, no wise professors, no divine or diabolic powers to forestall the natural progression of things between predator and prey. There is only a nightmare waiting for her, unobstructed.

…By anything other than my own bleeding heart. I’m too attached. She has to make it.

So.

How does Miss Marchand’s story go?

Turns out, her mother has some experience in these matters. Her mother being one Laura Marchand, who left a thirsty terror of her own behind twenty years ago. One she has mourned as much as feared in the time between the love of a husband eaten by war and the sharper kisses of a girl far more than a friend or living being. She recognizes the sour reflection of Carmilla’s eagerness in the Thing pretending to be a nobleman at the door. She still has General Spielsdorf’s axe. She has kept the steel sharp. Tonight she will whet it sharper still, from dusk until dawn.

You see all that yellow in her dress. It’s recently become one of her favorite colors, owing to a most diverting play she happened to read. Such lush storytelling! What decadent inspiration! She simply had to design something fine in honor of it. She does hope her mother will appreciate the artful way the gold was wrought, twisting in echo of the Sign. A mother who has gone so strangely still since she happened to glance at the second act of the play. Still and cold. Perhaps she will be cheered by her gift and their guests. There is a nobleman at the door, Mother! And there, see, leaking from the yellow damask wall is His Tattered Majesty—oh. Where has their visitor gone? He shall miss the masquerade! Ah, well. His loss.

Scheherazade…2! In which Miss Marchand pulls a Jonathan by stalling via playing to charm and utility. She wears many hats beside the cartwheel when it comes to the arts. Portraiture, fashion in fabric and ornaments. Surely the Count can savor the spider-and-fly game a little longer for that and some pretty panicked smiles. Look how much patience and frustration he burned on Lucy! Yes, yes, a little while longer to draw things out, play at flirtation between artist and patron, isn’t this nice? Ha ha. (Please don’t drink me please don’t drink me please don’t drink me.)

Well. She got drinked. And maybe succumbed to death before the Count could get slain. But the bat bastard does get put down eventually and she still gets to pop back up! Good news: She’s not under the Count’s thrall! She can think and act for herself! Nice! Bad news: Vampire. At least she can drink her problems* away. (*Problems with names like Atherton, Wotton, Gray…)

Her neighbors are the other three Piccadilly girls. Dracula makes his way downtown, walking fast, walking faster— 

Werewolf free space.

[secondbeatsongs]

Hello, you said in some tags in a poll that Speed Racer (2008) is your favorite film. If you’re okay with it, I’d really like to hear more about why you love it. I love the Wachowskis’ work (they’re among my favorite directors), but I kinda ended up bouncing off Speed Racer (2008). So, hearing that it had a real impact on someone makes me very curious why. I’m not interested in criticizing your opinion or arguing with you, I’d just really like to know why you love it in the hopes I might be able to enjoy that movie more in the future.

oh god this is from seven months ago, I'm so sorry - but I do love almost everything about Speed Racer (2008) and I still think about it nearly every day.

I love that it's so bright and colorful and absurd. I love that it's an anime in live action form. and I love that at its heart, it is a story about love.

it's about the mistakes people make out of love, and the consequences of that. it's about the way children grow to understand why the adults around them make the choices they do, and maybe choose to do the same things. it's about taking risks for the people you love, and the pain of failing to change the world, because everything is capitalism and everything hurts.

(and it's also about being transgender btw. like, that's one of the main things about it - it is very much a movie about being transgender)

what if your father's choices hurt your older brother, and your older brother's choices hurt you, and now it's you and your younger brother staring down a future where you're going to end up hurting him by making the same choice?

and then...what if you can escape that? what if the broken parts put themselves back together, and the hope doesn't run out, and you're not alone with the things that haunt you? what then?

and now you're at the end and mistakes were still made, people were still hurt, but everyone's grown and changed and they're different now. and they've figured out that maybe, just maybe, you can change the world by doing something you love, by creating art and beauty and making people feel things.

maybe you really can defeat capitalism by driving a car really fast. and even if everyone thinks you can't...don't you have to try anyway? shouldn't you fight with the skills you have, the only way you know how?

what if it works?

and I'm not even gonna get into most of the Racer X stuff (because I want people to go watch this movie, and most folks probably won't be spoiled for it), but his whole deal is just...everything. I love him.

(if there's a guy from Speed Racer that I want to put in a jar and shake every so often, or maybe wrap in a blanket so he can have a nice nap, it's Racer X. he's a great character. prime blorbo material)

anyway I've been rotating this movie in my head ever since I saw it for the first time, and I think I've seen it...seven? times now? and I still cry at the final race, and I still get blown away by the intro sequence.

(the beginning of the movie is genuinely one of the best things I've ever seen - it does an amazing job of introducing you to the world and the story of the characters, and gets you emotionally invested in it right from the start. it's fantastic filmmaking)

also like. story stuff aside, from a technical standpoint, the movie is a masterpiece. it's the type of thing that people hated when it first came out, but when you look at it now and see how it was made, how it intentionally looks bizarre and cartoonish, plastic and surreal, you can see the exact vision the Wachowskis were going for, and it's brilliant.

the way they did the visual effects, the way they made the outdoor scenes feel so detailed, the way the driving and the tracks work - they put so much thought into that, and the behind-the-scenes vids show how cool their process was.

also uhhh cars go vroom, crash into each other, flip upside down, explode, maybe have bees and hammers in them sometimes?

(the above is me complimenting the unhinged vibe of the races themselves, which I love very much)

anyway I could make other full posts about the script of the film and how much I love it, or the cool side characters, or the fanfic potential of the amazing world of the film, or how I can prove that it's set in 1991...but I guess if anyone wants those rants, they'll just have to watch the film and then come talk to me. :)

(please. please come talk to me about Speed Racer.)

so, yeah! I kinda lost my mind there and made this post way longer than I intended, but I do feel strongly affected by this movie, and I hope this has helped explain why.

[queer-n-here]

once again comin in with another meal to cook !!!

character of your choice ♡

stalker, obsessive and possessive reader (quite literally just yandere) seeing their SoulmateTM one day and just going full degenerate and doing everything in their power to learn more of their new lover, even getting rid of powerful foes or imaginary rival love interests for them. no one has any idea as to how they're able to do things no human or gifted can do. eventually, reader slowly comes in and orchestrates their first meeting and slowly woos their lover, but they have major issues on hiding their possessiveness and jealousy of others. lover can either a) be all for it and find it hot or b) lover is unsettled by it.

either way, after someone flirts with their lover, reader kind of snaps and after that person leaves, reader excuses themself and goes to absolutely maim the persom who dared to approach what was his. it's nighttime when reader is finished with them, and they come home to their lover who is worried, but becomes horrified at seeing all the blood covering reader. all reader can think about is claiming his lover, breeding him and imprinting himself so deep inside his lover that they'll always feel empty without him. (dubcon would be amazing)

~ 🕸

Oh my god 🕸️ bro 😭😭😭😭😭😭😭

Bruv this is so good, love you for this, and yeah, y'all I've recently started reading a shit ton of dubcon/noncon so yeah...

I did this one for Akutagawa, cuz I feel like this could work for a situation where the reader is in the Port Mafia.

Also,this one got really long, and I haven't posted in like two days, so I thought I'd make two parts, yknow? Read Pt. 2 here!

Contents: Yandere reader that stalks Akutagawa and plans out their first time meeting in person. Not that Akutagawa already knows reader's name since they both work for the Port Mafia, but that's about it.

Warnings: No smut in this part yet, top male reader, yandere tendencies, mentions of stalking, murder, ability user reader.

You had been watching Akutagawa ever since you joined the Port Mafia. In total, this is what three years of stalking and careful planning was gonna boil down to: this one opportunity.

You had planned it out meticulously, paid seventy eight people to be nearby and on the scene to prevent anything from going wrong.

A heroic rescue!

As you watched Akutagawa cut open those men with Rashomon, you couldn't help but smile. He was so precious, so brave, so beautiful, so-

You shook your head, forcing yourself to concentrate. You couldn't miss your cue. Akutagawa wasn't stupid. If you made half a mistake, he'd know what was up.

One of the men got too close to Akutagawa for your liking, and you pounced on the opportunity like a starving cat.

You dashed out of your hiding spot, your ability leaping out and cutting the man to the ground.

Akutagawa turned to look at you, surprised.

Some of the men halted, too. They hadn't thought that you would actually hurt one of them. Before it was too apparent, and before Akutagawa could notice the changes in their expressions, your ability flew out, covering the entire area. Soon, all the men but the one you were enamored with were lying on the ground in pieces.

"[Name]," Akutagawa said, frowning slightly. "Aren't you supposed to be responsible for the East block tonight?"

"I asked Higuchi to handle it." You shrugged seemingly casually, your hands in your pockets as you scanned Akutagawa's body for any injuries. "The weather is great tonight, so I thought I'd step out for a drink. And good thing I did, otherwise you would have been cut to pieces."

Akutagawa sulked slightly, no longer focusing on the reason behind your sudden appearance. "I could've handled it."

Of course he could've, he's literally perfect.

"Were these Guild's men?" Akutagawa looked around the bloody mess of bodies around you two.

"How would I know?" You placed your hands behind your head.

Akutagawa shrugged. "Whatever, they're dead now."

And so the night ended. You took Akutagawa back to his home, pretending to ask for directions, when in reality you had his address memorized. He tried to turn you down, saying that you were being paranoid, but you said you'd rather be safe than sorry.

When you reached the tall apartment building, you watched him step inside, waiting for the light to turn on in the window you knew was his before leaving.

Over the next few weeks, you orchestrated multiple meetings between you two, always appearing out of nowhere and going back to it. Slowly, Akutagawa opened up, and started trusting you.

Miraculously, you even got Mori to assign you and Akutagwa to the same area. It cost you it's worth; you had to help Mori convince Elise into some bullshit.

It wasn't long before you were sure Akutagawa had developed feelings for you. He was painfully easy to read; his cheeks would flush every time you got too close, you could sometimes feel his eyes following you as you moved around. Once, when you 'casually' playfully winked at him, and you swore you could hear his breath hitch.

But you waited. The perfect thing to seal the deal for you and Akutagawa would be a confession from him, and not from you.

There were times when you almost gave up on this thought, like that one time one of your clients found interest in Akutagawa. He was ugly as hell and nowhere close to Akutagawa, who shone brighter than the sun. You had to take care of him your own way afterwards, slitting open his insides in your secret warehouse and throwing his pieces away to the dogs.

That wasn't a first-time occurrence, nor was it the last, but you fought well to keep your cool as long as Akutagawa was around. You didn't want him to know that side of you.

That day, you had known something was up even before you saw Akutagawa. There was a funny feeling in your stomach, and you felt like something great was going to happen.

And it did.

"I... I really l-like you."

His words caught you off guard, and for a moment you almost punched yourself in the face to confirm whether it was a dream or reality. But you stopped yourself.

"Really?" Even as you spoke, your hands were already reaching for Akutagawa, pulling him closer to you.

He nodded, his entire face red.

A small broke through your face, and you kissed him, holding his waist in your hands.

It was finally happening. It was finally happening! Three years, four months, twenty-seven days, sixteen hours and forty-two minutes after you'd first laid eyes on this angelic man, you had finally kissed him!

It was a gentle kiss, despite the roaring in your head and all the urges to crush him into yourself. You nipped at Akutagawa's lips gently, making his breath hitch in that oh-so majestic way. He tasted like the best thing in the world, and you just couldn't get enough.

It was him who pulled away first, you wouldn't willingly part from those beautiful lips even if you suffocated to death. Staring at you with shining eyes and a shy little smile on his ethereal face, Akutagawa spoke.

"So... D'you... wanna be my boyfriend?"

Yes, yes, YES! A thousand times yes!

You nodded, pressing your forehead against his.

[yamayuandadu]

Tamamizu Monogatari, a unique love story

This article, unlike most of my recent longer pieces, was not planned in advance. I learned about the subject very recently, and instantly realized I absolutely have to introduce it to more people, the previously posted schedule be damned. The Tale of Tamamizu (玉水物語, Tamamizu Monogatari) is a story about a fox turning into a human, but a rather unconventional one, filled with an unusual degree of sympathy for the eponymous protagonist and focused on a rather unique relationship. In addition to summarizing it in detail and explaining the possible inspirations behind it, I will also try to explain why the tale found a new life on social media as a, broadly speaking, lgbt narrative, and why I think there is a compelling case to be made for such an interpretation. Unless stated otherwise, all images used through the article are taken from the Kyoto University Rare Materials Digital Archive, on whose website you can view scans of the original Tamamizu Monogatari.

The Tale of Tamamizu, also known as The Contest of Autumn Leaves (Momiji Awase) is an example of otogi-zōshi, illustrated prose narrative. The story was presumably originally composed in the Muromachi period (1335-1573), and it survives in multiple copies dated either to the early Edo period or to the end of the Japanese “middle ages” directly preceding it. The identity of the author (or authors) is unknown. Despite its apparent popularity in the past, it seems no major studies of the tale of Tamamizu have ever been conducted. A streamlined translation (or rather an extensive summary) was published online by Kyoto University Library in 2001 and can be accessed here. In 2018, a full translation, as well as a brief introduction, were prepared for the anthology Monsters, Animals, and Other Worlds. A Collection of Short Medieval Japanese Tales. Still, it doesn't seem either sparked all that much interest in Tamamizu, despite the story’s obvious modern appeal. Since the tale of Tamamizu is not well known, I will start with a detailed summary. I am consistently using female pronouns for Tamamizu after she transforms, as does the older translation. The other English translation switches between female and male pronouns. I will explain in the final paragraph of the article why I made the decision to follow the former. The Tale of Tamamizu The story of Tamamizu does not start with the eponymous character, but rather with a certain mr. Takayanagi from Toba. He is troubled, as while he is already 30, he has no children. He decides the only choice is to pray to gods and buddhas. This actually does work, and his wife becomes pregnant, and after the expected period gives birth to a daughter. She doesn’t get a name at any point in the story. The girl’s birth is followed by a timeskip. As we learn, she was distinguished by twenty five features associated with beauty. This is apparently a reference to the belief that a buddha possessed thirty two specific physical traits; the number might have been altered to twenty five because of a popular group of twenty five bodhisattvas associated with Amida. By the time she reached the age of fifteen or so, she also developed great skill in composing poetry in both Japanese and Chinese. Her parents at some point decided that it would be ideal to send her to serve in the emperor’s court in the future. The girl spends most of the time in awe of the blooming of flowers, the wind and other similar phenomena, as one would expect from a literary character of similar status. She maintains her own flower garden, and spends much of her time there.

On one of the days when she visited it alongside her friend Tsukisae, the daughter of her nurse, she caught the attention of a fox. The fox is, at this point in time, not yet Tamamizu. He wishes he could introduce himself to the girl. He considers the standard method - transforming into a nobleman - but he realizes this would likely sadden the girl’s parents, and would tarnish her reputation. He falls into despair. It does not exactly help that his attempts at visiting the garden again end up poorly - on the way there, he gets pelted with stones and then, after trying again, shot with an arrow. Still, he continued to hope to meet with the girl. An opportunity finally arose through a lucky coincidence. Another family living in the same area had multiple sons, but no daughters, much to the parents chagrin. They loudly lamented that they wished they had at least one girl among the children. The fox overheard that and realized it might be an opportunity. He transformed himself into a teenage girl (curiously, the story specifically puts her at the exact same age as the unnamed second protagonist), and enters their house. She explains that she is an orphan, and while passing by she overheard the family’s woes. She offers to become their daughter. The couple instantly agrees.

The fox spends some time living with her adoptive family, though she gets sad easily and keeps bursting into tears. After some time, they offer that they will find her a husband in due time, but she reacts to that poorly, and eventually suggests she would prefer to become the servant of a noble lady. Her adoptive mother agrees this isn’t a bad idea, and reveals that her younger sister is a lady-in-waiting of the daughter of a local noble, mr. Takayanagi. She suggests the fox could become her attendant too. She is overjoyed at this prospect, and is soon sent to Takayanagi’s mansion to meet with his daughter. The girl receives her new attendant warmly, and gives her a nickname, Tamamizu-no-mae (Tamamizu for short). They get along really well, and Tamamizu gets to partake in her various activities, serves her food and drinks, and even sleeps in the same bed (Tsukisae does too, though). While Tamamizu does remarkably well as a human, some of her fox habits remain. Most notably, she is really afraid of dogs. Her lady sympathizes with her plight, and actually bans dogs from her household. This is a much welcome change from Tamamizu’s point of view, though apparently some other members of the staff start to view her as a coward because of this, and simultaneously resent her closeness with the girl. The bond between Tamamizu and the girl reaches a new level when on a moonlight night they spontaneously compose a poem together. It deals with longing. We are told it was followed up by multiple other poems, which are not quoted in the story. Eventually the girl gets tired and heads to her room. However, Tamamizu remains outside gazing at the moon and eventually starts crying, unsure what fate awaits her. Tsukisae, who was inside all along, actually becomes concerned about Tamamizu, and says she feels sorry for her, correctly identifying the cause of her sorrow as love for an unidentified party. She shares her thoughts with their lady (in the form of a poem, of course). The latter summons Tamamizu inside, and soon all three go to bed together. Tamamizu is still overwhelmed by her feelings and can’t fall asleep, though. Tamamizu continues to serve the girl for the next three years. She also remains in touch with her adoptive mother, who sends her letters and new clothes every now and then. One day, many visitors arrived in the house for a friendly competition. The winner will be the person with the most beautiful collection of autumn leaves. Tamamizu decides she must find some for her mistress to give her an advantage. To accomplish that, at night for the first time in years she turns back into a fox, and leaves to visit her siblings. Not the adoptive ones, though. As it turns out, she has two fox brothers, one younger and one older. She actually hasn’t visited them in so long they assumed she died and held funerary services for her in the meanwhile. They are overjoyed to learn that is not the case, and after learning about her current life agree to help her with finding unique leaves. She tells them to leave them on the veranda of her mistress’ mansion, and reassures them it’s safe for foxes to be there thanks to the earlier decision to not allow dogs on the premises. After the visit Tamamizu returns home in her human form. Tsukisae and her mistress ask her where she has been, and she jokes about meeting with a “dubious fellow” (which, to be fair, is not even a lie, given the typical folkloric portrayal of foxes). This in turn leads to more jokes, revolving around Tamamizu no longer thinking about her mistress. She feels distressed by this suggestion.

Tamamizu’s brothers in the meanwhile succeed in their search for thrilling leaves. One of them found a branch with five-colored leaves decorated with the Lotus Sutra (as you probably know, one of the main religious texts in the Mahayana Buddhist tradition). Tamamizu is overjoyed, and instantly brings them to her mistress. The girl received plenty of leaves from other people in the meanwhile, but all of them pale in comparison. She is so happy about the gift that she requests Tamamizu to also write poems meant to accompany the presentation of the collection. She protests that she is unsuitable, but eventually accepts this honor and gets down to work. The parents of the girl came along to watch her write, and both of them concluded she is exceptionally skilled. She ends up providing five poems, one for each color of leaves gathered. They are subsequently combined by these the girl wrote herself.

Obviously, the main characters’ joint entry wins the competition. This grants the girl such fame that the emperor declares she should come to his court. Since her father is not affluent enough to pay for traveling there, he bestows additional estates upon him to make that possible. Even Tamamizu gets her own estate, Kakuta in Settsu Province. However, she decides it will be for the best to give it to her adoptive parents. Shortly after that, Tamamizu’s adoptive mother falls sick. She leaves her mistress to attend to her, but it did not help much and her condition kept worsening. Therefore, her stay had to be extended over and over again. This predicament worries her mistress, who sends her a letter to let her know that it is boring and gloomy without her around, and implores her to return as soon as her mother’s condition improves. Tsukisae is similarly concerned. Both of them voice their concerns through poems, which at this point should not be surprising for the reader.

Tamamizu of course appreciates these displays of sympathy, but she cannot return, so in response she only reassures both of them that she will meet with them again as soon as possible.  Shortly after that, the mother’s condition worsened yet again. The entire family laments through the entire day, but eventually everyone manages to fall asleep - save for Tamamizu. In the middle of the night Tamamizu notices that an old, hairless fox entered the house. She quickly realizes that he was her paternal uncle (a fox uncle, that is. Not a relative of her adoptive parents). The illness was his doing, as she quickly realizes. Tamamizu requests him to leave her adoptive mother alone. However, the old fox says he cannot do that, as the illness is his act of revenge against her family, since her father killed his child. He concluded it is only right to make his daughter sick so that she dies too.

Tamamizu admits that this makes sense in theory, but she points out that acting upon desire for revenge will only bring bad karma, and bad karma from previous lives is why both of them were born as foxes in the first place. She offers the old fox a crash course in Buddhist ethics, and warns him that accumulating even more bad karma might lead to someone eventually killing him too, and to yet more rebirths in one of the three realms which are best to avoid (animals, hungry spirits, hell).

The old fox notes following buddhas is for humans, not for those born in other realms of rebirth (he’s not entirely wrong, humans are generally held to be in the optimal condition to seek enlightenment; animals must follow instinct and thus end up accumulating bad karma, devas are to preoccupied with celestial bliss), but eventually he relents and agrees that it would be wrong to kill the woman because of the actions of her father. He concludes that it would not even make him feel better, since his child would remain dead. He tells Tamamizu that evidently he was able to meet her because of good karma acquired in a past life, asks her to pray for his deceased child, and leaves, announcing he shall become a monk reciting nenbutsu from now on. Tamamizu did what he asked for, and even performed a funerary service for her late cousin. With the problem solved, her adoptive mother returned to good health. She was therefore free to meet with her mistress again. She was elevated to the rank of chujo no kimi, the foremost among servants. However, despite her mistress’ best efforts to make her feel appreciated, she was suffering from persistent bouts of melancholy. She wished she could confess her love and consummate the relationship, but she concluded that since she kept her identity secret for so long, it would be no longer possible to reveal it without losing the acceptance of the girl. She decides she must disappear. However, before that she prepares a long poem explaining her predicament.

She placed it in a box, and gave it to her mistress, explaining that it should only be opened if something happens to her. She then broke down in tears.

Tamamizu’s mistress does not fully understand what is happening, and asks if she perhaps is worried about their planned relocation to the imperial court. However, Tamamizu denies that and guarantees she will accompany her on the journey there. Her mistress starts crying too, and says she has hoped they will always be together. Shortly after, the day of the journey came. Tamamizu’s mistress and mr. Takayanagi, now recognized as a lord, were certain that she went with them, but as soon as they reached their destination it turned out she was nowhere to be found. Days upon days of grieving followed. Eventually, the girl realized that she had no choice but to open the box. From the poem contained within, she learned everything about Tamamizu, from the day they first met all the way up to the disappearance. It explained how she hoped to protect her mistress through her current life and beyond, but had to give up after realizing it was all in vain. In the final words of the poem, she firmly refers to her with the name she was given by the girl - Tamamizu.

The poem moves her deeply, but the story does not have a happy ending - we never learn what happened to Tamamizu afterwards.

Tamamizu’s forerunners

It is agreed that much like the considerably more famous Tamamo no Mae, Tamamizu in part depends on earlier Chinese literature about foxes. Not exactly on the same sort of stories, though - she is not exactly a malevolent seductress, to put it lightly. The key to finding her forerunners is the scene in the beginning when the still nameless fox considers transforming into a male suitor at first, before settling on the form of a female attendant, and the erudition she displays through the story. An argument can be made that this is conscious engagement with a very specific type of older fox story, largely forgotten today. In Tang China, fox stories enjoyed considerable popularity. You may remember that I mentioned this in passing a few months ago in another fox-themed article. One of the genres popular at the time was focused on fox suitors. There are many stories like that, but they largely follow a similar plot: a male fox falls in love with a human girl, takes the form of a dashing literatus and requests marriage. The girl’s family rejects the proposal, as despite charm and erudition the fox is ultimately an outsider with no family, and doesn’t depend on the well established institution of matchmaking. Afterwards, he typically tries to win the girl over with some sort of trick, and fails in the process, thus meeting his demise when his real identity is inevitably exposed.

In some cases, twists are introduced and the fox is effectively exploited by the family: for example, in the story about a certain mr. Hu (a common surname which is a homonym for the word for fox) and the granddaughter of the official Li Yuangong, the Li family agrees for the girl to be taught by the fox, and even asks him for advice on various matters, just to kill him once he outlived his usefulness.

Zhou Wenju's painting A Literary Garden (文苑图, Wenyuantu), showing a group of discouring Tang literati (wikimedia commons)

Many literati came from humble backgrounds, and only attained high positions thanks to success in the imperial examinations. However, their advances were often frowned upon by nobles, who saw them as upstarts. Therefore, faking a more notable origin was widespread to secure a better position in the high strata of society. All of this is reflected in the stories of the fox suitors. Xiaofei Kang, who wrote my favorite monograph about Chinese fox beliefs, notes that the stories might have effectively been a way to cope with everyday anxieties. In other words, perhaps the fox self insert fails so that the real person sharing his precarious status can succeed.

Another aspect of the Tale of Tamamizu which offers a clue about its origins is the focus on Buddhism, and its role in the lives of non-humans in particular. Tamamizu evidently attains a considerable familiarity with Buddhist doctrine, to the point the old fox basically seems to perceive her as thinking more like a human than a fox. Evidently, she doesn’t think being an animal should prevent one from seeking good karma. This seems to reflect a medieval Buddhist phenomenon. Roughly from the Insei period (1086-1185) up to the eighteenth century, and especially between the twelfth and fourteenth centuries, the dominant esoteric schools of Buddhism propagated the doctrine of hongaku (本覺), “original enlightenment”. This idea originates in an earlier Buddhis text, Awakening of Faith in the Mahāyāna. According to proponents of this idea all living beings, even plants, possessed an innate “Buddha nature”, as did natural features like mountains. They were innately capable of attaining enlightenment, or innately enlightened outright. Religion influences art, so it has been argued that the spread of new stories about animals behaving like people in the Muromachi period had a distinctly Buddhist dimension.

The modern reception of Tamamizu

Despite the fascinating themes of the story of Tamamizu, it only found a greater degree of modern recognition in 2019, outside of academic circles at that. I'm surprised it took so long, since when you think about it, the sensibilities of the author indeed seem surprisingly modern. The narrator even reassures us Tamamizu’s human form is the same age as the object of her affection, anticipating what sorts of shipping discourse could arise 700 years later. Anyway, in 2019 a fragment of the story was the subject of one of the classical Japanese literature questions from the National Center Test for University Admissions, a standardized university entrance exam held across Japan each January from 1990 to 2020. This obviously exposed an enormous number of people to it, not just exam-takers. Following this event, a Tamamizu fad seemingly swept social media and pixiv (curiously, there’s a single piece of art there which predates the phenomenon by six years; op actually updated the description in 2019 to say they are happy more people learned about the story). There’s even a Tamamizu Monogatari tag on Dynasty Scans as a result. It’s worth pointing out the wikipedia entry of the story was written in 2019 as well. Most curiously apparently a research project focused on Tamamizu, Kahoko Iguru’s Border transgression between species and gender as observed in “Tamamizu Monogatari”,  received a grant in the same year too (source; more info here). It doesn’t seem the results have been published yet. I will keep you updated if that changes, obviously. I am actually surprised I didn’t notice the Tamamizu phenomenon back then, even though 2019 Antonia was distinctly more terminally online than 2023 Antonia is. It’s worth noting that Tamamizu’s fame didn’t fade away. The online following the story gained was referenced in an Asahi Shimbun article a year later. A quick survey of social media will show you there are people still talking about Tamamizu today. People who aren’t me, that is. What made Tamamizu so unexpectedly popular - arguably more than the story has been in the past few centuries - in recent years? Most of the linked sources relatively neutrally state that people perceive it as a “unique love story”. Social media posts are often considerably more direct: for many people, the appeal lies in the realization the Tale of Tamamizu is probably the closest to a lesbian love story in the entire corpus of medieval Japanese literature. I won’t deny this is in no small part its appeal for me too. Note this is not an universal sentiment by any means, though. It is difficult to tell if this was the intent of the medieval author(s), of course. It is obviously impossible to deny that women attracted to women existed in medieval Japan, as is the case in every society since the dawn of history. However, they left little, if any, trace in textual sources. As pointed out by Bernard Faure, in Japan in the past as in many other historical societies “sexuality without men is properly unthinkable” and therefore received no coverage. While there is plenty of Japanese Buddhist literature dealing with male homosexuality (trust me though, you do not want to read it; I’ve included a brief explanation why in the bibliography), there is basically nothing when it comes to women. The only possible exception is what some authors argue might be a medieval depiction of a lesbian couple in Tengu Zōshi, a work I plan to discuss in more detail next month, but note that this would be only an example of condemnation, since this work is a religious polemic dealing with vices of the clergy. 

The supposed lesbian couple from Tengu Zōshi; image from Haruko Wakayabashi's The Seven Tengu Scrolls: Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism; reproduced here for educational purposes only.

This sort of absence of evidence is a recurring pattern through history - you might recall my own attempts to find out what Bronze Age Mesopotamian sources have to say on this matter. Before the Meiji period, when the term dōseiai (同性愛) was coined as a calque of Charles Gilbert Chaddok’s freshly invented label “homosexual”, there wasn’t even a distinct Japanese term which could be applied to lesbian relationships. Once again, this does not indicate this phenomenon did not exist - but it does indicate that due to extreme levels of sexism in the perception of both sexuality and relationships it was difficult to even imagine for the average author. Faure suggests the prevailing attitude was presumably similar as in continental Buddhism, in which lesbian love “was at best perceived as a poor imitation of heterosexual relations—or a preparation for them—and as such condemned” at least in monastic rules. To put it bluntly, only penetrative sex was regarded as real.

And yet, in spite of this, I do not think it is wrong to wonder if perhaps what seems like subtext to a modern reader is actually intentional. This is obviously a reach, but given that relationships between women - not even romantic ones - were historically not a major concern of most authors, I would argue it is not impossible that a work which revolves virtually entirely around the relationships between female characters was written by a woman. Perhaps a woman romantically interested in other women, even. Even more boldly, I’d ponder if perhaps the ambiguous gender of the fox before transformation was meant to make the romance palatable to general audiences. Note that while foxes transforming is a mainstay of both Japanese and Chinese literature, the change of gender is actually quite uncommon in such stories, making this single reference all the more unusual. Granted, gender change is hardly a major focus in the story of Tamamizu. The only real indication the fox is male is the decision to take a male human form at first, but beyond that, things get muddy to the point the matter of gender in the story evidently warranted an actual study, as I pointed out earlier. As you’ve noticed, this matter was approached in different ways by translators too. I personally think the most important factor is the fact Tamamizu refers to herself with this name in the final poem. This name is intimately tied to the distinctly female identity she took. Whoever she was in the beginning, by the end of the story she is clearly Tamamizu. If one felt particularly bold a case perhaps even be made that Tamamizu can be read as a trans woman based on this, perhaps. I think simply disregarding the brief reference to a male form is valid too, though. Even if these arguments were to be refuted fully, I would argue that there is a further reason why at the very least reinterpreting the story as dealing with a gay relationship is not against the spirit of the original work. As I outlined, the tale of Tamamizu seems to draw inspiration from a very specific genre of fox stories, in which foxes are essentially a metaphor for people seeking relationships which were frowned upon. Obviously, the fact that Tamamizu is not a human by default makes any relationship she would be involved in somewhat unusual and frowned upon, but that does not assign a different metaphorical meaning to her struggle. Is Tamamizu even really fully a fox and not a human at all by the time she writes the confession of her love, though? The old fox seems to basically dispute if she still thinks like an animal. We also know that she maintained her human form for so long her biological relatives assumed she had passed away. She also found acceptance of virtually every single human character in the story - save for herself, that is. It’s also not like it’s hard to reinterpret her struggle specifically with the inability to consummate the relationship through the lens of the medieval Buddhist views of female sexuality, rather than through the lens of the general view that relationships between human and transformed foxes were doomed to failure. To paraphrase Cynthia Eller’s evergreen quote about futile search for nonexistent matriarchal prehistory in ancient texts, I do not think an invented wlw past can give anyone a future, but at the same time I do not think it means we should conclude that nobody ever had similar experiences in the past, or that we can relate with works even in ways their authors did not intend. For this reason, I would ultimately argue in favor of embracing the Tale of Tamamizu as a narrative which can be read as a lesbian love story.

Bibliography

Bernard Faure, The Red Thread. Buddhist Approaches to Sexuality (please note: read this book very cautiously since multiple content warnings apply. Faure is a remarkably progressive author, so it’s not about his personal attitude or anything. The problem is that it is not possible to deny much of the Japanese Buddhist discourse about homosexuality had little to do with modern notion of gay relationships, and essentially amounts to explaining when exploitation of children is a pious act)

Rania Huntington, Alien Kind. Foxes and Late Imperial Chinese Narrative (some sort of explicit content warning applies here too, though mostly because some of the discussed works are trashy Qing period erotica. More funny than anything.)

Xiaofei Kang, The Cult of the Fox: Power, Gender, and Popular Religion in Late Imperial and Modern China

Keller Kimbrough and Haruo Shirane (eds.), Monsters, Animals, and Other Worlds. A Collection of Short Medieval Japanese Tales

Jacqueline Stone, Medieval Tendai hongaku thought and the new Kamakura Buddhism: A reconsideration

[2nd-toughest-in-the-infants]

Uroboros (WIP) on itch.io Review

@uroboros-if

Characters: ⭐️⭐️⭐️

Plot: ⭐️⭐️⭐️⭐️

Choice: ⭐️⭐️⭐️

Writing: ⭐️⭐️⭐️⭐️⭐️

Replayability: ⭐️⭐️⭐️⭐️

Overall: 3.8/5

Pros: Angst 😁, well-written, smooth interface, lovely supporting characters

Cons: short demo, not the fastest updating WIP, so far not much romance

**SLIGHT SPOILERS**

Notes:

So, for me this was a great one to revisit for a first review on this blog because it was actually one of the first WIPs I played on Itch.io and boy did it set the standard. It’s also one I’ve revisited a few times and is deefinitely on my list of most anticipated WIPs.

As I understand it, you are born into a kind of mount olympus-esque realm and play as the deity of eternity which, in a rather cruel twist of fate, makes you essentially powerless as of course, nothing lasts forever. This is a rather nice spin on the typical gods/mythology IF MC and also gives us the opportunity to play a super angsty MC (which I love). Also a big fan of the in depth character customisation you can do.

There are also a handful of (gender selectable) ROs which so far have great potential and can have some really interesting interactions with MC BUT unfortunately the demo is still pretty short so romance with the RO’s is still quite limited. I have to say though, that the lack of romance (so far) hasn’t really bothered me as I am in love with MC’s parents and they way they act towards them is just so wholesome and such a refreshing departure from the usual tragic home life trope and also provides a really nice respite from the (at times cruel) way MC’s world treats them because of their situation.

Another thing I’d like to add, is that in general, it’s just a really beautiful game, which I know seems odd to write about a text based game but I think that the attention to detail in the UI along with the high quality writing really makes for an immersive experience and that in and of itself makes the game worth checking out.

[dark-and-kawaii]

love knowing that you’re into bg3 like so many of us Kiwi! Did you love all the romance options or do you wish we could’ve had others because have you seen Dammon and Raphael! Glad to have you back with us btw!

AWHHHHH STOP!!!! You’re going to make me cry! It’s so good to be back on here, honestly!!! Now to answer your lovely question!!!

I was honestly happy at first but the more I played the game the more I saw the potential in adding other characters as romance options…

𝓩𝓮𝓿𝓵𝓸𝓻:

Like, I fell in love with Zevlor the moment I met him and I honestly would’ve picked him over Astarion for my first playthrough if he was an option -yeah yeah I know unpopular opinion.

But as I continued I was so confused as to why he wasn’t available for us because if you don’t go Minthara’s route then he would’ve been the perfect substitute because HELLOOOOO PALADIN!!!!

Not to mention during act two that would’ve been a perfect redemption ark for him, like there was SO MUCH POTENTIAL!!! Like he literally needed a hug after all the shit he’s been through and we weren’t able to grant him that…

He’s been with us since Act one… Up until the end he was with me. So I ask Larian, why wasn’t I allowed to travel and bed with this man!?

Grinds my gears man!!! I’m trying not to spoil too much in case someone hasn’t played yet.

𝓓𝓪𝓶𝓶𝓸𝓷:

Okay okay okay, as for Dammon…. Yeah no, I fucked up bad with him my first play through… uhhhhh he kinda died when the tieflings and I attacked the Druids 🥲 Oops. But during my second run I realized my mistake and he’s very much alive right now 😂!!!

With Dammon I don’t necessarily want him for myself, but rather for Karlach. I ship those two so damn hard it’s unreal!!! He loves her so much, you can just tell 🥹

And when he tells her she’s very touchable, I always kick my feet and giggle!!! Adorable to the max!

𝓡𝓪𝓹𝓱𝓪𝓮𝓵:

-Gods, just look at him… I love him so much UGHHH!!!-

Now as for our beautiful, smug, elegant cambion, Raphael… OOOOOF don’t get me started because the mouse would’ve pounced on the cat. I LOVE, and I do mean LOVE Raphael. Everything about him I just adore, and again SO MUCH POTENTIAL.

If you go his route there’s no reason why you shouldn’t be able to romance him. Like if you let Haarlep use you and you leave house of hope it indicates that Raphael is doing the nasty with Haarlep in your form once you leave. There’s clearly something there!!! So why can’t we!? I feel they left it during his ending that there might be a dlc for him, I hope, maybe… Also can we all agree that Raphael would’ve been another great villain ending with Tav???

The relationship between Tav and Raphael in game is already so interesting, and if you break into the house of hope to steal from him he looks extremely hurt that you betrayed him. Not to mention he’s like the only one who’s actually upfront with you, I don’t feel like he really hid anything unless you’re dense -no offense-.

Another thing, just because Haarlep says Raphael is bad in bed doesn’t mean he actually is. I feel a lot of individuals forget what Haarlep is 😂 sex is basically their thing.

Not to mention his little helper is basically always saying “he can’t stop talking about you.”

Plus, hold on, we can romance Mizora but not him… Nah!!!

𝓖𝓸𝓻𝓽𝓪𝓼𝓱:

A lot of people have said Gortash, which at first I didn’t really understand but that’s because I was a huge simp for Karlach and if you’ve played you know…

However the more I play and the more I read into I do understand. He could’ve used a nice redemption after everything he’s been through. He was a pawn, someone to be used, and honestly that was his whole life. So it would’ve been nice if Tav was an option for him.

I feel they could’ve had two endings for him and Tav, a good and a bad. Good being his redemption where Tav opens his eyes like what Tav did for Astarion and then the Bad obviously they rule together.

I feel Larian made a lot of great choices but I also feel they missed a lot of potential, which hopefully they continue to listen to their audience and add more routes in the future. So far they have been so one can hope. I also feel like all of these characters were left to where they could be potentially added later down the road. Fingers crossed!!!

- 𝓛𝓸𝓿𝓮 𝓚𝓲𝔀𝓲

[beauty-and-passion]

Lore Olympus: a superficial vision of Greek Mythology

Hello again,

here we are with the third and last post about Lore Olympus. New post (posts?) will come when the story is over, but this is my last one for now.

This post will be about the main characters of the story: Hades, Persephone and Demeter. The story is about them after all, right? Right?

These three aren’t just the protagonists of the story: they are also the sum of all the problems we talked about: they’re badly written, they’re a waste of potential and they’re insulting to Greek mythology - and everyone’s intelligence.

But let’s talk about them in detail.

_______________________________

Hades: boring rather than mysterious

Hades isn't exactly an easy character to write. According to the myth, Hades is serious, dark and gloomy - and of course he is, he should be the representation of death!

In addition to that, he's not exactly a positive figure. In the original myth, he kidnapped Persephone and when Demeter asked for her daughter back, Hades tricked Persephone into eating a pomegranate. The pomegranate was considered a fruit of the underworld and whoever ate it, could not leave the underworld anymore - so he found a way to have her around, at least for half of the year.

So nope, he wasn’t exactly the good guy here.

However, Hades is also one of the very few gods/mythological figures who is mostly faithful to his wife: he had just a few lovers, compared to the billions of lovers other gods had.

That could be used to portray him as an introverted guy, who isn’t able to find the love of his life - at least until he meets Persephone.

Or it can be used to make him even more intimidating: he’s the god of the dead after all, so people can be rightfully scared of him. And he would grow bitter and dark, because of the constant rejection. This could lead to a sort of Beauty-and-the-Beast remake, in which he slowly learns how to improve, thanks to Persephone’s acceptance.

Or it can be a way to show him for who he is: a dark, gloomy figure no one can accept because he’s linked to death and only someone who deals with the cycle of nature can understand. (Guess which idea I like more.)

Hades can be very interesting. He has A LOT of potential.

But Lore Olympus doesn’t exploit it. Hades is rich in the most boring way, just like any modern American capitalist could be. He owns stuff and people and doesn’t care about anything and anyone, starting from his dogs that appear only when the story needs them, to his godson or whatever Thanathos was supposed to be.

In addition, Mrs. Smythe tries so hard to make us sympathize with Hades by giving him a ton of traumas. But we never delve deeper: I don’t care about Hades’ childhood, I don’t care about his resemblance to his father, I don’t care about his supposed abusive relationship with Minthe. I. Just. Don’t. Care.

And this is bad. He’s the male protagonist, I should care about him! But I don’t. I don’t remember a single moment involving him. He's incredibly bland, for someone with all these issues going on.

This is one of the biggest proofs of amateur writing: in order to make a character interesting, you add as many things as possible. And so Hades has stuff and problems and everything, but it’s all words. It’s telling and not showing. All of his threads are not developed and do not reach any point.

Do you know what Mrs. Smythe could’ve done instead? She had two possible choices:

1) To spend time on Hades’ character and his personal growth (and focus the story on him and not on a shit ton of other characters).

2) To make him a simpler character. No character needs 200 traumas and 300 quirks to be interesting. And considering we’re talking about fucking Hades, we don’t need much else. He’s the god of the underworld, what else do you need? Mrs. Smythe could’ve focused on his role only and it would’ve been a great story already.

But nope, we got a rich, old guy swooning over a young, naive kid like everyone else does in this boring story.

_______________________________

Persephone: over-perfection

Persephone is never allowed to be a character in this story. She cannot have flaws. She is always nice, the nicest, the most perfect girl in the world. All the other girls are bad and mean, but not her. She is and she will always be nice.

But then, oh, she starts talking about "a feeling" inside her: a super vague-y feeling that made her angry.

And I had a feeling inside me too: the feeling that this would lead to some bullshit.

We reach the end of act one, by finding out about Persephone's act of wrath. Helios' version is: Persephone got angry because the humans were killing her friends (friends she never mentioned and will never mention, but let’s pretend it makes sense), so she killed the humans in return.

Okay, so Persephone can get angry. She can be vengeful. She can make mistakes and be flawed. Wow, that’s interesting! I can’t wait to see how she will talk about these feelings inside her and I want to see the contrast between them and her need to be perfect. We will see her regret and her growth, because she did something terrible despite harmless humans begging her to stop and she will learn from her mistakes...

Nah nah nah, none of that. First of all, we should justify Persephone because clearly this is the right thing to do: justify a bad character.

Do you want to know what the truth is? The humans weren't begging as Helios thought, by they were mean to Persephone: bo-hoo, poor little goddess, she's just a fucking goddess after all while they were humans, she's clearly the perfect target for bullies.

Also, it wasn't her who did her act of wrath, it was the feeling inside her! The feeling made her do it!

This is the epitome of immature, horrible writing: justifying the bad actions of a character at all costs. It's a bit like saying that, idk, Voldemort murdered a lot of people, but only because they were mean to him and because he was surrounded by bad people who made him do it - otherwise, he would've been the nicest guy ever. That's bullshit, that's idiotic, that strips the character of their responsibilities because the author is very biased and doesn't want to see flaws in their perfect creation.

Because of that, Persephone's flaws disappeared again. She isn't bad, it's the thing inside her (that is not her and we see it reconfirmed over and over) that made her bad! She is perfect! She is the purest!

I hated this. This is the biggest proof that the author is immature, inexperienced and immensely biased. Persephone had her chance to finally be something more than a smile and a pretty body but nope, once again she was nothing more than a bidimensional cardboard.

But that's not all. The constant reconfirmation that Persephone had "a feeling" inside her, that "it wasn't her doing this" was still pushing in the back of my head. My bullshit senses were tingling more than ever.

And then, we reached the fucking trial.

A trial that doesn't make any sense because, even if Zeus trusted Helios' version of the story (i.e. Persephone got angry because the humans were killing her friends, so she killed them in return), this whole thing isn't worth a trial. I mean, the gods did worse stuff for a lot less: for example, Hera and Athena were so pissed at Paris for the story of the golden apple, to welcome the Trojan War and take sides, despite Zeus telling everyone to not interfere. And speaking of Zeus, what about when the gods tried to overthrow him? He punished Hera and a couple of other gods, but didn't make a whole ass trial.

But okay, fine, this is a retelling and the gods are a lot more tamed, compared to their original selves. A trial is needed. We may see Persephone fighting for her version to prove to everyone she is Little Miss Perfect. Maybe we will have the immensely boring clichè of the Unexpected Witness we see in every stupid movie, when the lawyer suddenly says, look, they found a witness hidden until now who saw everything! And Persephone is perfect as always!

But nope, we got something much, much stupider.

Instead of the clichè of the Unexpected Witness, we got a walking plot device, who appeared Because Yes, moved the conversation where the author needed Because Yes and delivered the answer of a plot point. Because Yes.

Hear me out: Persephone isn’t a flawed character, how dare you think she is less than perfect? She is Perfection Incarnate and her act of wrath wasn’t her doing this, but Eris making her do it.

Why? Because, when Persephone was born, while other gods blessed her with perfection, Eris blessed her with a “feeling”, i.e. wrath. And this is the reason why she becomes angry: not because it’s a normal feeling and it would make sense that she can experience it, but because of Eris.

No, I'm not making this up and yes, it’s a fucking Sleeping Beauty rip-off. Only worse and more stupid, because it doesn’t acknowledge that Persephone might be flawed like every other character. She is the absolute fucking best forever and ever.

In case you’re wondering: no, this isn’t good writing. That’s the exact opposite of good writing - and the opposite of logical sense too.

Do you want to know what we could've had instead? What about a Persephone who has a real dark side? A goddess who spent so much time trying to appear as the perfect daughter, to grow anger and bitterness inside her? A goddess who, when her friends died, reached a breaking point and let out years of repressed frustration? A goddess who isn’t perfect and not because of Eris, but because she is a gray character?

I would've loved to see it. And it would’ve been great for the romance too: instead of the typical "dark gloomy Hades finds love in the sunny happy Persephone", we could've seen the other way around: a dark Persephone who finds her soulmate in the darkness of Hades.

_______________________________

Persephone: over-sexualized in the wrong way

Persephone started being sexualized since her first appearance. Not only because Hades stared at her like a fucking creep, but especially because her friend gave her a dress so short to barely cover her boobs and ass. Considering that Artemis is taller than Persephone, my question is: are we sure this was a dress and not an oversized top?

So the female protagonist has been introduced with a feeling of awkwardness and embarrassment, because she is wearing something she doesn't feel at ease with. The first thing we learn about her is that she doesn't like to show too much skin. And, over time, she reconfirms that.

However, we also see her frequently half-naked or almost naked. And this rubs me the wrong way.

Why? Because it has been clearly stated that Persephone is extremely young. She's barely an adult - if you consider 19 years old like "being an adult". And the time skip was so stupid and useless, I didn’t even realize there was a time skip, because she STILL looks like a teen.

Her physical connotations are also accentuated to be the same as a child: round face, big round eyes, very tiny figure. She literally looks like a child in some drawings and that rubbed me even more wrong. Making a youthful character is one thing, making a fucking baby is a different one.

And if we think about it, the first time she and Hades met, she wasn't even wearing clothes, but pure light. And I’m not even sure she was 18, so... bleurgh. Just imagine a naked adolescent on top of an 80-year-old man. Or even just a 50-year-old man. I don’t know you, but I find it fucking disgusting.

And the more the story goes on, the more we see her sexualization. Persephone’s boobs are so big that, if they were real, she would have some serious back pains. Her ass is huge as well and her figure went from a simple hourglass to a literal hourglass, with huge hips and an impossibly tiny waist.

However, this isn't inherently a bad thing... If this goes along with Persephone wanting to be more sexualized. If we saw Persephone wanting to show her skin, to be sexy, to do alluring poses, to be naked, there would be nothing wrong with showing her like this. The art would match the character's desires. And there's nothing wrong if a character (or someone in real life) just wants to be sexier or to show more skin.

But Persephone never wants to. We never see her saying/thinking or even trying to be sexier. She vaguely thinks about it, but everything is kept in a façade of family-friendlyness (despite the, well, almost naked scenes). She never wants to show too much skin, yet she always shows her skin to everyone.

That's not interesting, that's not character growth, that's not even sexy. That's just sad. And, as a woman myself, I do not like to see women being forced into nakedness without wanting it.

_______________________________

Demeter: incoherence to its finest

In all of this mess, Demeter is treated like a manipulative mother. Why, do you ask? Because Yes, of course!

Let’s just ignore that, in the myth, Demeter is not a manipulative mother, but a simple worried and angry mother, whose daughter got fucking kidnapped and she could not find her. Let’s close both eyes and accept that Demeter is manipulative. Okay? Okay.

Now please tell me when we see her being manipulative, besides the stupid “eclipse” episode in act 3. We always saw her being worried and protective of her daughter, but not manipulative.

And even the overprotectiveness isn’t handled well. If Demeter is so overprotective, then why did she never call, when Persephone was at Artemis’ house? Why did she never pay them more than one visit? Why did she never give Persephone a phone? She could’ve used it to track her every move and call her daily.

But she did not, because she was not an overprotective mother. Her actions were not overprotective, but the simple actions of a worried mother.

But then I suppose Mrs. Smythe needed a villain to start act 3, so Demeter changed and became overprotective and manipulative Because Yes.

The problem is that it’s still by words. I still do not see an evil, manipulative mother. All I see is a mother who has every right to be worried, because Hades is an asshole and Zeus is an even bigger asshole and because patriarchy wins in this “feminist” retelling.

But hey, she’s bad because the plot says so and because Mrs. Smythe needed a villain, so let’s hate her... even though she has all the right to be worried. And even thought most of the time, all she said is perfectly logic and reasonable.

Also, let’s not forget how Mrs. Smythe mistreated her, by taking away a lot of her power and influence. The real Demeter is an insanely powerful goddess, she controls the cycle of seasons and fertility all over the earth. When her daughter disappeared, she basically let everything die. Zeus was forced to intervene and find an agreement, otherwise Demeter would’ve ended life on the planet.

The most powerful thing this Demeter does is put a stupid embargo that Hades and Persephone bypass in 30 seconds. Do you see what I mean when I say that these gods are much more tamed compared to their original counterparts?

Also, this Demeter was used by Zeus for sex with the promise of becoming a queen, which is

disgusting

still part of this weird obsession for sex, rape and sexual assaults

disrespectful towards the mythological goddess, who didn’t give a fuck about the throne because when you’re already this powerful you don’t need much else.

_______________________________

In conclusion

A story is nothing without good characters and Lore Olympus doesn’t have any: Hades is a ball of nothing, Persephone is so perfect she makes me puke, Demeter doesn’t make any sense and when she does, everyone treats her like a villain.

And I know I said I don’t want to talk about act 3, but the whole Eleusian kid is such a bullshit it deserves at least one mention. What’s the moral of the whole thing supposed to be? That if you know the right people, even death isn’t a problem? That nepotism always win? That Demeter doesn’t give a shit about Persephone, but she was just projecting?

What an absolute waste of time, what an absolute disrespect to Greek mythology and life in general. Death is never underestimated in Greek myths: as I said in my first post, Greek myths are supposed to offer explanations for things humans cannot understand and there isn’t a force as strong and as impenetrable as death. Death is unstoppable and impossible to overcome and it’s treated as such in Greek myths: no one escapes death and the exceptions are few and rare.

So changing a story to make a character escape death is the ultimate proof Mrs. Smythe didn’t understand the Greek myths in general and the myth of that character in particular, because that kid

wasn’t Demeter’s son

died in his myth because death is not a swinging door you can cross whenever and whatever you want

And speaking of Demeter: what this story is supposed to tell me, about her? That she doesn’t care about Persephone so much? The same Demeter, who in Persephone’s myth was grieving her child and because of her sadness, she almost ended life on Earth? The same Demeter, who refused to do anything, until Zeus intervened?

Or maybe Rachel wants to tell me that a mother’s love is finite and you can either love one child or the other? In that case, I really hope this woman has no children at all.

Portraying Demeter as this shitty mother is beyond disrespectful. In the original myth, her love is what changed the cycle of life and death forever. It’s because she fought for Persephone, that she didn’t get stuck in the underworld forever with her kidnapper. It’s because of Demeter’s love, that life blossomed again after the winter.

Lore Olympus is disrespectful towards the original material. And if I find it a waste of potential as a reader and a badly written story as a writer, as a Greek I am just sad. Sad because I’ve already seen a lot of rewritings and this one isn’t as original as I hoped. It doesn’t give me that tingle of pride and joy, it doesn’t make my imagination work. When I read it, I don’t think: “Oh, I remember this figure! And this myth! Can’t wait to see how it will be developed!”. I think: “Oh wow, another clichè. Oh, come on, what kind of solution is that?! That’s just too stupid to handle”.

That’s just sad to see part of your cultural heritage being mistreated. And I feel bad as Italian too, because Romans treated these gods and stories with respect, not by doing stupid, soulless rewrites. I feel insulted 

So, do you want a rewrite that doesn’t seem as sad as Lore Olympus? Then check Punderworld. It’s still going on, so it could end up being shitty too, but for now, I think it’s much better than Lore Olympus and much more interesting.

Just an example: the author knows about Hades’ invisibility cloak. That’s something small, sure, but that’s promising. And, at least for now, seeing Hades and Persephone talking about the cycle of life and death is much, much more interesting than “I’m a fertility power battery”, “Bring me Hera because now I’m obsessed with her for no reason”, “I’m such a stupid villain all I can do is cling to other gods because I want power Because Yes”.

So check that and check other rewritings too! Luckily Lore Olympus isn’t the only one: there are a ton of rewritings, both old and new ones. You will find a better one in no time.

And if you enjoy Greek Mythology, then read the original myths too. You will find complex personalities, human flaws, metaphorical stories and much more. After all, there’s a reason why these myths survived the passage of time and they’re still so well known and so beloved despite being so old.

Thank you all so much for your time and thank you for reading these posts.

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(How about a coffee? ☕)

_______________________________

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[moonchild-in-blue]

I need everyone to watch Kaos (from Netflix) right now, please and thank you. Quite possibly my favourite modern retelling of the Greek myths / Olympic pantheon.

The story revolves mainly around Orpheus and Eurydice (Riddy), and around Zeus and a certain not-so-great prophecy. Dionysus is one of our main stars and he's great and amazing and hot and absolutely babygirl.

Yes there are a LOT of references and myths and characters beyond the main Olympians (Zeus' famous kids don't even appear). Yes you see Prometheus having his liver pecked. Yes, we do get to see the Minotaur & Co. Hades and Persephone too, obviously. Yes, there is A TON of great poc and queer rep. Yes, there is blood and sex and violence and poignant society AND religious commentary. Yes, you do get old man yaoi. Yes, Jeff Goldblum as Zeus is incredible and no joke my new favourite portrayal of him (Zeus). Yes, they are faithful to the "doomed from the start" narrative of Orpheus and Eurydice. Yes, Hera does have her peacocks.

Please please please go watch it please it's so great and visually beautiful and amazing. Pirate that thang if you must.

My thoughts whilst watching the show - no plot spoilers but be warned for mild thematic/ character/ setting commentary. Generally safe to read if you haven't watched it yet and don't mind a little preview:

SOUNDTRACK IS WOW. Don't Fear The Reaper? On episode one?? The song I've been listening over and over because of a certain beloved band has made a cover of it???

Love how they portray the worship of gods as something that is part of their daily lives and culture without seeming too "gimmicky".

There are clear parallels to Catholicism in the way they conduct themselves (either in favour or against the gods; all the little rituals and traditions), and it's quite interesting to see how would modern society function if Hellenism (or rather the ancient practices. pls correct me if I'm wrong) were the primary (and as far as I got it only) established religion in the world.

The "Vero" declaration with the hand gesture as part of Olympian liturgy? Amazing. Interesting choice in using Latin rather than Ancient Greek, but very cool nonetheless.

A significant amount of casual mentions of horrifying violent acts by the gods, and even some healthy dose of violence/ blood. Thought it was very interesting to see Zeus discussing infanticide and natural catastrophes the way we discuss the weather or grocery prices. They really leaned heavily into the whole grandeur and arrogance of gods in regards to human life which I super appreciate. I'm tired of seeing passive, Cool and Hip and Benevolent Zeus & Co.

Also the amount of criticism by the god-haters (Blasphemes? Non-sympathisers?) feels very refreshing (and on the nose concerning irl organised religions), especially in contrast with the more devout and how they put their life in second place in lieu of worship (yes I'm thinking about the Tacitas AND the Celebration Ritual™ iykwim).

The subversion of the "doomed from the start" narrative surrounding Orpheus and Eurydice is done so beautifully it hurts. Right from the first moment they appear, you know how it'll go. And yet!!

You know what happens, of course. Their story was never meant have a happy ending. But the way they took that and put a modern spin on it it's just!!!! My heart !!!!

I was rooting for Orpheus the entire time, knowing damn well it was a lost cause. I can't blame Riddy, but my God is it painful to watch. LOVED the actor who played him, he just the right amount of earnest love and rockstar flair. Riddy is SO cool - there's not much I can say beyond that that isn't a spoiler but. Yeah. We love complex female characters.

I'm gonna be really petty and pedantic here, but for a show revolving GREEK mythology, set in Olympia / Krete, with sooo many little references to the myths, it is CRIMINAL that they insist on calling Heracles by his roman name (Hercules), and that they refer to Hades as God "Of Death" instead of God "Of The Dead" / King Of The Dead. There's a major difference there - Thanatos would like a word.

Troytown? Where the Trojan refugees (displaced war victims really) are *literally* segregated to (their exact words, segregation), and even use those nose lines/tattoos as way to identify them? Where they face scrutiny and police brutality and prejudice from the Kreteans? As a clear reference to minority poc urban areas and how they are unfairly mistreated and deemed as "others" by the same governments who put them there in the first place??? YES YES YES.

A lot of queer and poc rep. And I mean A LOT. The Fates alone are a whole vibe.

Again, it doesn't feel gimmicky at all, nor does it fall under the "okay they're definitely trying to hit all the quotas so everybody is gay and ethnic and uses neo-pronouns" trend some media are starting to follow, which really just end up falling flat rather than significant (looking at you Sex Ed 4). An actual diversity win.

If you're familiar with the story of Caeneus, you'll love how they portrayed him here.

Dionysus is everything and some more. I love him. Prometheus is incredible. Jeff Goldblum as Zeus goes above and beyond expectations - he brings that Goldblum Flair™ but with an intense violence and paranoia you could only pull off as King of the Gods. Hera is just wow, truly a queen.

Hades and Persephone have an *interesting* dynamic - have never seen him being portrayed like that before. Usually Hades and Persie are the "dom goth Mommy and Daddy" of mythology retellings, and yet here it's completely different. Certainly *A Choice*. I don't mind Hades, but would've liked to see "goddess of spring & dreaded" Persephone.

I understood the vision, but I don't think it worked *quite* as well as the other ones. She's still super cool nonetheless - that sandwich scene was incredible.

Also - VERY COOL how diverse the actors are. With the exception of Dionysus who is objectively Young and Hot, pretty much all the other gods (and adjacent) are middle-aged or up, with visible signs of aging (grey hairs, wrinkles, sagging skin, belly fat, etc), which is cool cus usually the gods are made to be a specific flavour of "hot".

The Furies, who could've been all snatched and sexy and token Femme Fatale characters, are actually older butch women with mean lesbian energy and I think that's very cool and awesome and wonderful.

Even the human cast is so diverse and interesting and REAL, rather than yet another yassified ensemble - it's great to see. Not everyone is conventionally hot and attractive, and THAT is sexy af.

All the little Easter eggs and references to the myths and general ancient Greece culture are SO nice to see. I giggled when Polyphemus first appeared. That first scene on the cereal aisle was very funny. Gagged at Cassandra.

Stylistic choice of the Underworld environment and on-camera portrayal is chef's kiss. That's all I'll say.

LABYRINTH AND DAEDALUS YES. Would smash the Minotaur, 1000%. That Scene™ was. Hmmmmm yeah.

Overall I loved it and high key might re-watch it again. What an amazing show. This was a win for all of us Greek Myth nerds, and I'll be truly devastated if Netflix doesn't renew it for a second season.

[chaotic-orphan]

Found fictional story/novel

So... I have found a fictional novel that I wrote over the last ten years that I had completely forgotten about, and then, once I found it again, I realised there is so much of it - like 90,000 words much of it - and it is a lot to comb through and I kind of shut down mentally when I found it but I am working more now on updates for the WIPS I have on Tumblr!

So you can Expect updates soon in:

Delirious Villain x hero caretaker,

Heroic betrayal,

Intoxicating fear (updates every Saturday) (from now) :)

Vendetta,

and, A Benignant Mischief

which are all started in the drafts!

Updates continued under cut

(*not necessary* to read as it is mostly rambles and ranting about the novel I found (and others), but I want to share some fun revelations I found while skimming it)

There are some whumpy scenes from the novel that I may post as I find them, cause some of them are very whumpy, and I enjoyed reading them~

The plot has a lot of male characters which is both interesting and annoying— interesting because I love the two brothers dynamic, even not even blood related, like two brothers joined together by fate, blood, prophecy etc. Annoying because it’s obvious that I looked at the media I was surrounded with and was like “nobody wants to read about women, if they did, there would be more women centric things” so I’ll write about boys!

Point 2 Contd. (Rant!) Obviously discounting the genre of YA dystopian fiction which was great, and populated by mainly female protagonists, and which I enjoyed, but then, were shit on by the mainstream media because GIRLS CAN’T FIGHT? Girls can’t be the main driving force of a novel? Girls suck, boo girls, unless they’re tom boys or men. Ahem, thank you for your input on teenage girl’s book choices FORTY YEAR OLD WHITE MEN :D WHERE WOULD WE BE WITHOUT YOU

Part 2+3 contd. (the brightside!) However, the good thing about this is that I can populate the rest of the novel with strong female characters! There are a few dotted through who i dote on a bit, I love them, like come here my little beautiful minority <3

The plot centers around two brothers who get torn apart when outlaw's raid in their coastal village - actually, my newest Medieval WIP was inspired by the novel!! Same setting/vibe (as in the coastal village) so very fun

This to say that actually I think the new Medieval WIP is my brain trying to flesh the world out more and see what the average people would do in the world… but it’s a story in its own right too!

There are magic, gods, good gods and bad gods ofc, ancients, bloodlines, descendants, royalty, soldiers, outlaws, magic schools, political intrigue - like it is a mix of everything I have loved over the years which is so funny to see because clearly I haven't changed...

The dialogue?!?!? I don't think I have written like that ever, but the dialogue is so much better than the dialogue I write today and idk why? Maybe because I wrote it off a sudden throng of inspiration or something? But, fuck, how do I write like that again? I mean, without editing, because the amount of editing I had to do to make the novel READABLE wasn't funny, it took so long... it's finished now though, just the editing, NOTHING else - give me strength, I need it

Also, realised that I hate editing - is it something new? Not really, but holy moly... editing sucks, but it also?? Improves the story and fluidity so much, I should start editing my pieces before I publish and come off as far more eloquent than I do

Planning... is also so difficult - 90% of the novel is like this:

Scene X: completed Me: ah, good, that scene is written, I can move on to the next one Me, still staring at Scene X: ...move on now My brain: but what if it happened like this? PROVIDES SEVEN DIFFERENT ALTERNATE ENDINGS TO THE SCENE THAT WEREN'T NECESSARY AND NOW I HAVE TO CUT SO MUCH CRAP BUT MY BRAIN'S STILL LIKE - BUT WHAT IF?

My brain's literally like the writer's brain from Hush, such a good movie... ANYWAYS!!!!

That's the end of all my ramblings for today, was this post necessary? No, but like, I clearly wanted to get it off my chest and vent so we live, laugh, love... I hope all your days are going well :3

~ Orphan,

(P.S. - I'm toying with the idea of dropping my nickname in the bio, or doing a whole overhaul of the blog - the name, the layout... get rid of orphan, or maybe just become "nickname_the orphan", or something. But, see orphans are just so whumpy though I love a good orphan story... thoughts, ideas, waste management? I'm just dunking all my overflow of thoughts on this update today, but sure, look, be grand — I’m truly sorry if you read this far, I am having an ✨episode✨)

[totem-but-shark]

The differences and similarities between c and Q foolish is always so interesting to look at

They both have an ambition, though that came later on for cfoolish, and a tendency to make connections. Obviously that desire to build and create massive structures is shared as well

There are big differences though. A massive part of cfoolish was his pacifism and his struggle to find balance, which contrasts with with a chaos thrill seeking qfoolish

Cfoolish also isolated himself more. He deliberately built his home further away and harder to get to while foolish built his home right at spawn.

They’re both fairly well aware of cycles of violence and revenge, and act accordingly.

I also like how foolish almost always builds his homes by water, which is a deliberate choice by ccfoolish, as a throughline

it's SOOOOO interesting!!! there's so many similarities and parallels between the two whilst still feeling like fresh takes on the same base, uniquely shaped by their individual smps lore and experiences but the biggest question that prompts for me is "what exactly MADE them different?". If we consider that in a way they're different spins on essentially the same core character of Foolish the immortal shark totem was there some specific event or circumstance or fundamental difference in their hypothetically separate existences that caused them to split off as they seemingly have.

Where it's easy to spot the similarities when they're carved from the same stone, their differences run just as deep. These are characters with starkly different worldviews if you look close enough.

It's something i've thought about a lot and the conclusion I keep coming back to over and over is that thier defining difference is their relationship with or proximity to godhood.

They're two very very different immortals, Cfoolish was a god/demigod, he spent his life believing in his status as something more amongst mortals and this wasn't truly challenged until he found himself bleeding red red red slaughtered at the red banquet. So much of his character was defined by his past divinity, the grace he fought tooth and nail to regain. Remnants of a darker crueler past, bloodstained hands atoned for with 100 lifetimes of pacifism. Beautiful hollow empty temples. I feel there is a clumsiness to cfoolish, having to learn to be a person after a forever of naive arrogance that could only belong to one who thinks themself a god and afraid like a child when the illusion breaks.

Whilst our knowledge of qfoolishs history is more limited, from the little we've been given he feels far more human. Which might be ironic for an immortal shark dude but there are no stories of bloodlust, worship or great powers beyond comprehension. Only the far more tame, almost domestic tidbits about bumping into bad and shenanigans together over the centuries. In my mind he might've been an immortal traveler walking the earth and doing as he pleased, not as a god but a couple thousand years old regular guy living his normal life just for a very very very long time. Qbad and Qfoolish carry a sense of wisdom to them unique to their qsmp iterations, more traveled and emotionally older than previous versions, like they've seen it all before. I see it in the way they speak and talk with one another and generally interact with the world around them and whilst it's likely a matter of both ccbad and ccfoolish expanding their stage presence and refining their RP but it really does add another layer of depth to these characters.

All together there simply isn't this same connection to divinity, the qsmp world is generally quite detached from religious structure. Maybe qfoolish might've been as powerful as cfoolish or had the capacity to be but never sharpened that aspect of himself pulling him further and further away from cfoolishs acts of wrath that became such an integral key turning point for his character. Qfoolish instead growing comfortable in casual eternity. Could qfoolish never have become a totem of death? How would that have effected his character compared to Cfoolish? Maybe not, it's extremely hard to judge how powerful qfoolish might be with a wiped memory and the possibility of federation power limiters/magic suppressors. Before getting on that train he could've been as powerful as cfoolish in his prime however with the information we have we'll simply never know. I think it's unlikely though, if just by his demeanour. Regardless of qfoolishs theoretical power the qfoolish we know is no god, there is no worship, never hailed as something higher. He's simply himself.

There's this odd dissonance between them especially in their relationship with death. Cfoolish viewed death as something he was excluded from, had power over and only saw in the lifeless eyes of others. Until he didn't. Qfoolish knows death is natural and equally inevitable. He fears it too of course though in the way one might fear the tide, he builds sand castles on the shore knowing they'll get washed away by the morning but can't help but bask in the sun anyway. Qfoolish walks among the people and knows you don't have to die yourself for death to hurt.

[cleabellanov]

LS2 episode 5 thoughts✨

The conversation Loki had with O.B. first concluded in Loki finding his "why" in order to control the time slipping. And, once he knew that and realized he needs everyone's temporal aura, where does he timeslip to? Back to Mobius. That's a sweet detail, and, similar to episode 1, reveals Loki's trust for this character. Even when Mobius doesn't remember him, Loki still believes in him. And in everything he was told back at the TVA, including the way he describe a jet-ski: "a beautiful union of form and function". Another detail that melted my fool heart was the way Loki laughed after Mobius's (or Don's, but I'm not calling him that) words: "Or did you follow me home?". They are precious.

"You saw something in me that I hadn't seen in myself". That says so much. It reminisces all those times in season 1 when Mobius was by Loki's side:

"A villain" "That's not how I see it".

"You can be whatever, whoever you wanna be. Even someone good. I mean just in case anyone ever told you different".

And we can see Loki learning how to trust, how to care. For his character, this is great development. He's not the same Loki that invaded New York blinded by pain and revenge. He's returning to himself and by doing so, he's returning to what truly matters to him. His friends, his found family. All those timelines he feels burdened to protect.

"It's not about when, where, or why. It's about who." EXACTLY. The other variables are unimportant if they're not in the hands of the right person. And, after the heartbreaking moments in which Loki is the only one left standing after everything falls apart in front of him, I think he understands that. To quote Tom Hiddleston himself: "He learns what heroicism really looks like." And this "who" goes both ways: who rewrites the story, and FOR WHO this is done.

"I can rewrite the story."

That line is epic! It shows the power he always had and can finally access. It puts the concept of free will in another light: it's THE story, not MY story. Also, how far back can this go? At the end of the episode, we see Loki back with O.B back when the Loom was stable. That's the point he chose, for everyone else, not only for himself. At this point, he could have gone back to Asgard, back to New York. Win it all, be king. But that's not his glorious purpose anymore. He's finally seeing what Mobius saw in him, even Thor, some time ago ("Loki, I thought the world of you."). And there was a lot of talk about stories, writing and rewriting them. That's sooo similar to the comic where Loki becomes the God of Stories!! Like, this is actually happening!

"They didn't get a choice in this".

I think this is an extremely interesting conversation he had with Sylvie, in which you can see both of their points, none entirely right. For Sylvie, free will is something left untouched. No intervention, ever, just moments and paths in a disarray only the one who takes them can know them truly. For Loki, it's more of a choice. Yes, we take our own path, but sometimes we're given a choice. There is no bad or right in this game, only choices. By giving everyone a glance at the TVA, Loki realises that. What if they want that life instead of the one they already have? They wouldn't know, if not given the choice.

"I want my friends back. I don't wanna be alone"

Okay, that hurt. In the time cell in episode 1, we remember Sif repeating the same thing over and over again to Loki "I hope you know that you are meant to be alone and you always will be." This says a lot about Loki's fears, and being alone is one of his biggest. But that's the thing, he found these people, he's not alone anymore! So of course it is extremely hard for him to just...give this up? It's not the first time he faces Casey and Mobius (Don?) not knowing him. His reaction "Not again" shows how scary this is, and we can obviously deduce that from the first episode. Not only everything is at risk of just disappearing into a void after the Loom explosion, when they are still there, still living, they don't remember him. Yet Loki finds a way to steady himself, and find everyone in all this mess.

But also, I don't think that wanting your friends back is something selfish, as Sylvie said. After going through different views over the same thing: "I want to stop He Who Remains" to "I want the TVA back" to finally Loki admiting that he wants his friends back, this is a matter that concerns many people, not just one. Besides, he did say that after all of it is done, they can return to their timelines as they never left. That doesn't sound really selfish to me. In fact, it reminds me of something Vision said to Wanda a whole ago: "What is grief, if not love persevering?". Then not wanting to be alone is a lack, a void persevering and waiting to be filled. And if that implies saving the Multiverse as well, then so be it (but that is definitely NOT the only reason Loki does all of this. He wants, and now can, rewrite the story for the better. For everyone, not only for himself.)

As of episode 5: Science/Fiction Loki is one of the most powerful beings in the entire MCU. Being able to travel back at any given point in time and space just by willing it into existence isn't a small thing. This, I believe, is something we deserve to see Loki in control of. Maybe it sounds a little too much to say that the whole fate of Marvel is in his hands now, but...it kinda is, isn't it? If not for Loki, we'd face the same disappearance as in Infinity War, only 100% now, not only 50.

I have been waiting and theorising for a long time that Loki will become the God of Stories. The fact that we might see it in less than a week is...something.

Also judging by the posters (which show different outfits from different times) there's a new suit we'll see him in on screen, and I can't wait!

Thanks for reading <3

[fuckyeahisawthat]

Hey ho, have you seen The Creator (2023) yet? Unsubtly about US imperialism, but also really moving, aesthetically stunning (Greig Fraser as DP, oh yeah) and John David Washington killing it in the main role. I was surprised by how much there was to love. xoxo

I fucking LOVED The Creator and kept trying to write something about it here but never managed to collect my thoughts. But yeah what a fucking movie, oh my god. I feel like it kind of got buried by lack of publicity but tbh I am not that surprised because it's one of those movies with politics that make you think how the fuck did they get away with making this.

Gareth Edwards, like Villeneuve, is a director I've been paying attention to for a while now, ever since his 2010 movie Monsters, which was a really impressive low-budget sci-fi with effects that just looked seamless and interesting things to say about borders and the human cost of militarized responses to disastrous events.

And then he did Rogue One and pulled off something very impressive, which is to take one of the most famous sci-fi weapons of our era--the Death Star, a metaphor for nuclear weapons so iconic it has become a symbol in itself--and made it actually fucking scary for the first time in the history of the franchise. And he did it by turning the camera around.

Because the thing is that before this point, we had only ever seen the Death Star from the point of view of the people firing it. The idea of a planet-destroying weapon is intellectually horrifying but we didn't really ever feel it. Because for that we need to see the weapon from the point of view of its victims. It's such a simple but radical shift in perspective, and I feel like Gareth Edwards took that idea from Rogue One and then made it into a whole movie with The Creator.

The Creator, for those unfamiliar with the premise, is about a near-future counterinsurgency war in which the US military is hunting down various forms of AI/android/robot beings. It also features a space-based super-weapon that is eerily beautiful but goddamn fucking terrifying. It was mostly shot in southeast Asia and heavily evokes Vietnam War imagery (as the ending of Rogue One did as well); it is probably about as close to "Vietnam War movie but you're rooting for the Vietnamese" as it is possible to make in the American studio system. The protagonist is still an American soldier (who defects and "goes native" fairly early in the movie) but making him a Black disabled veteran was certainly a Choice. And yes it's John David Washington and he's great in it.

It feels facetious to say The Creator is Reverse Terminator, because it's much richer than that, but it's also kind of fucking true. For the entire movie, the characters are just running for their lives from the implacable and overwhelming destructive force of the US military which is just crushing everything in its path.

The movie does a lot of things that you simply do not see in most American war movies, but the one that stands out to me the most is that in every scene of war violence there are civilians, including children, fucking everywhere. It really threw into relief for me how often American war-action movies create these empty video game environments for soldiers to run around in, where any actual people who might live in the place where the war is happening are at best props and at worst completely absent. (Alex Garland's Civil War, in addition to being terrible in every other conceivable way, is a particularly bad offender at this.) The Creator does what really should be the bare minimum of taking time to showing that these are people whose homes and lives are being destroyed and it is shocking how novel it seems. (There's a line that plays in my head all the time where one of the AI characters says something to the effect of, "Do you know what will happen to the humans when we win this war? Nothing. We simply want to live.") I will also say that this made it a very intense watch in late October 2023 in particular, but it is fiction so we get a very satisfying and cathartic ending. And yes it is an absolutely gorgeous movie, the VFX are mind-blowing, and I found it quite moving.

[violetasteracademic]

Favorite ships:

Of all time

Acotar

TOG

CC

Not Elriel (ACOTAR related)

Secondary fave ship

What ship would you want to live in real life?

Crack ship

A toxic ship you love?

Best fanfic for ship of your choice?

(feel free to send to others)

Meep! Thank you @nikethestatue for this!

Fave ships:

Of all time: Kanej

Acotar: Elriel 🌸🦇 with FERVOR

ToG: Manorian

CC: Night and Day

Secondary fave ship: Ahhhh this is tough. I love Feysand and Nessian for different reasons. I think both of their relationships have bright spots and flaws, but I feel Feysand edges out just because we have so much more perspective of their relationship and they are the OG's! I wish I could read their story again for the first time probably more than any other couple in the SJMverse.

What ship would you want to live in real life?: Genuinely, Elriel. The peace and quiet girlies get it. The house husband girlies get it. I am truly a person who requires a great deal of alone time and quiet time to recharge. I, much like Elain, enjoy a great deal of solitary activities. Writing, baking and gardening. I like filling my free time making something. It gives me a sense of peace and purpose outside of the capitalist hellscape we live in. I have yet to experience a romantic partnership where my "me" time or quiet time was treated as valuable or important. Nothing will ever be more romantic to me than Elain and Azriel simply wanting to be around each other, even if in silence. Sitting together quietly in the sun. Or Azriel listening to Elain talk about her gardening plans, because he is interested in the things she thinks about creating.

It's a special type of connection, to not constantly need high energy conversation to feel close to someone or learn about them. Being at peace with one another, being interested in each other's minds, and understanding what someone else needs to feel calm and grounded, that is really beautiful to me.

Crackship: Ansel and Rolffe, but also Gwyn and Fenrys!! I am a Twilight of the Gods theorist and genuinely believe the Valkyrie will play a huge role in the Ragnarok retelling. Fenrys is one of my fave SJM men, but he and Gwyn have a lot in common. Both were twins who got horrifically SA'd after witnessing their twins murder. Both have a sassy sense of humor, and a long complicated history being loyal to and in service of powerful and short tempered leaders (Maeve and Merril.) I personally see a lot of connections there, and see Gwyn and Fenrys both as side characters in their respective series that may likely become key characters in the multiverse!

A toxic shop you love: Klaroline 🙈 still not over it.

Best fanfic for ship of your choice?: Okay, despite the nearly 100k multi chapter fanfic I wrote in April, I am still brand new to the fic world and haven't read a lot of fics yet! So I'm still gathering recommendations and figuring out where to start! But I did read Pretty Little Angel by DottieLovegood after a friend sent it to me over a year ago, and it essentially became my religion. I can't wait to keep diving into all the talented writers in the Elriel community! I've read some great one shots by @tswaney17 and @bloomingdarkgarden (ehoney on AO3) and have years worth of fics to catch up on!! I'm sorry I'm such a newb 😭 and taking recommendations!

Tagging @faeprincesswarrior @enigmaticexplorer @nikachansstuff @gracie-rosee to see your answers!

[ladygreek]

OKAY.. I HAVE SOME THOUGHTS

Blood of Zeus season 2

Spoilers below, proceed with caution!

First of all.. Hades and Persephone are absolutely everything. I adore them as characters and as a couple. Their loyalty to each other was beautiful and their willingness to do anything, no matter how horrible to reunite their family had me crying.

I adore the way they met, how he kept himself hidden because he didn't think she'd want to see him. Hades saving Persephone from Ares but completely able to hold her own with her own powers. *chefs kiss*

WHEN TWO SOULS ARE MEANT TO BE TOGETHER NOTHING CAN KEEP THEM APART.

And I'm sorry, that tree Persephone made of the two of them? I fucking cried like baby. And the way you could see Hades' heart break when it got destroyed KILLED ME.

Rip my heart out why don'tcha. Also, baby Zagreus and Melinoe? Love.

Hera getting a redemption arch was fantastic. I loved her in season one but her anger was misplaced for the most part so it was nice to see her make a come back.

Ares.. oh Ares. I know some people aren't going to like his portrayal but I actually liked it. Not all of Zeus' children are going to be decent and someone had to be a "bad guy" and frankly I'm just glad it wasn't Apollo for once.

Speaking of Apollo, him not accepting that discus because that's how Hyacinth died? My poor baby.

I'm really glad we got some Athena and a bit more Artemis this season. Hestia was great, I absolutely loved her. Hecate (I'm guessing that was her) and seeing Thanatos was also a welcome suprise.

Demeter's portrayal had me conflicted. Lying that your daughter was abducted because you didn't like her sutor is crazy and manipulative, especially letting it continue as the two of them had a family. I also understand that she wants power and control but blackmailing her daughters husband to do so was not the best choice.

Seraphim.. my sweet sweet Seraphim. My heart broke for this man. Introducing a love interest that died "because of him" was gut wrenching, hasn't he suffered enough? I feel like he really redeemed himself and was trying to do right by the one last person he could do right by.

Heron.. okay, so I'm probably not gonna get a lot of love for this BUT I didn't really like his character in season one and I still don't really like him now. He's okay I guess, there's just something about him that doesn't do it for me. I also don't think he's fit to be the next ruler of the heavens. Maybe my opinion will change if we get another season.

Did I mention how much I loved Hades and Persephone?

I read somewhere that the creators of the show have 5 seasons planned out. I'm really hoping we at least get one more because that cliff hanger was UNFAIR.

I hear this season is getting some hate on Twitter and I don't really know why. Overall I enjoyed it much more than season one. I'm definitely biased though considering Hades is my favorite Greek god and Hades and Persephone are my favorite couple.

Anyway, those are my thoughts. Now to get my boyfriend to watch it with me. And then watch it 6477858585 more times.

[that-ari-blogger]

Chekhov's Gattling Gun, Part 1

Like a boat, lost at sea With no sails, not a breeze. I am drifting, cold waters No stars to be seen

Life isn't simple. You can't measure every moment in history on a scale of a to b. Life is like a collage, made from disparate materials stuck together, some organised, some more wild. But all of them collaborating into the great picture that is a single human being and their lived experience. This is true for everyone around you, and since no artwork is identical, no person can ever live the same way as anyone else.

Stories work in a similar fashion, with different threads getting tangled and twisted until, with one final pull, the full might of the tapestry is revealed, and the audience can marvel at the beauty, or reminisce about how they watched it come together.

Stray Gods: The Role Playing Musical is a fantastically complex and moving story, and two of the final songs, Adrift Reprise and The Trial serve as a climax in momentum, plot, and theme. These are the moments when the tapestry is revealed.

Let me explain.

SPOILERS AHEAD

Adrift Reprise needs to be understood in the context of its namesake, the first song in the musical, and in the context of, well, it's context. This sits just before the climax of the musical, just before everything comes to a head, and we get this quiet before the storm. And this is also the moment after our conversation with Freddie (you know the one). So, you bet I'm going to talk about that.

Let me start with the imagery, the stage. This is a bit of a meta metaphor, this is a game, literally a story, and the imagery references that. But what I find interesting is the reason why.

Grace has spent the entire musical detached from reality, directionless, unable to pin down. There's a reason you can make any choice for her and it won't feel out of character. She's a blank slate, emotionally and motivationally. The only thing that can get her to do something is a threat of death.

And then we get here, Grace sits upon a stage. But now she has purpose. Now she has something to look forwards to after the trial. This is a Grace that is making up her mind. So, the story acknowledges it's superficiality at the start, when Grace is the most detached, and now, when she is feeling the most real.

This also serves to contrast her with an earlier version of herself. I keep saying that this is a story about change, and here we are presented with how much Grace has changed over the course of the musical.

And despite you not actually getting to choose anything in this song, you feel like this is the culmination of all of your choices up to this point.

Specifically, I am talking about the choice whether or not to bring Freddie back from the dead. I did, on my first playthrough, so I was met with this very quiet version of the song as Grace and I both reflected on what we had just done. There is a noticeable air of uncertainty, and the resolution isn't "I did the right thing", but "I did what I did, now I have to deal with that".

However, there is another path you can take to get to this song.

If you let Freddie go, you get backup music. And you get shown a different change between now and the beginning. Slightly.

I actually think Grace has changed more as a mortal than as a muse. If that makes sense. As a mortal, she owns up to her decisions, and resolves herself. She is alone for now, but she knows she has people to rely on. But as a muse, I think she has definitely changed, although not quite as much. Grace still feels alone, and still has to be brought from that by Calliope. I think that if Freddie stays dead, Grace regresses to the point she began the story in, and has to be given that final boost externally.

The change is different between the two, I simply prefer the former option because I, personally, find it more interesting.

"In your heart, we remain You do not sail in vain"

All preferences aside, however, this is a cool line. All of the people that Grace has changed have changed her in return. There's another musical with a similar sentiment in it.

I've heard it said That people come into our lives for a reason Bringing something we must learn And we are led To those who help us most to grow If we let them And we help them in return

This is from Wicked, and stay tuned for some analysis of that in the future. But for now, it is the meaning that is important. We grow the most if we accept the help, and we give it back when it's needed. Humans are a communal species, we stay static if left to our own devices, or we spiral.

The question then becomes this: What do you want to do now? How do you want to do this?

If you bring back Freddie, you need to keep her alive through the trial, and if you don't, well now you have to live on in her name. Either way, you need to make a decision.

There is no inertia in the ocean.

(There is a Part 2 going up at the same time as this that will discuss The Trial)

Previous - Next

[thewayuarent]

Perfect victim Sand

(Except he’s not)

Sand is a quite interesting case to study. There are a lot of things to love about him and trust me I do. But. He is the closest thing we have in this show to the perfect victim idea. I mean, even Force jokes about it (god I love this man).

The thing is, I have a strong feeling that huge part of the fandom literally adopted him. Like you know, compensating him absent mommy and daddy. His mother is great woman, she’s loving and caring, but she is far from an actual parental figure - @emotionallychargedtowel made a great analysis on that topic and how it clearly influenced Sand.

Maybe that’s something about Sand being genuinely loving and caring character himself. Maybe it’s because we spend 5 episodes with him being absolutely adequate and not minding others business and by the moment of episode 6 the idea of Sand was already formed. Maybe it’s about Ray pulling Sand through a lot of shit. Maybe it’s something about First’s babygirl vibes, amazing microexpressions and his big boba eyes that easily penetrates the soul. Maybe it’s all the above and more.

But Sand gets the most I’ll protect him by all cost vibes (I get it, I want to protect him too, he’s my sad stupid baby, how can I not). And while it’s understandable to some degree, it doesn’t mean Sand is a victim in every situation he himself, series or fandom try to apply on him.

And yes, it’s specifically about Sand and Top beef. While we don’t know the full story yet, we know the basis: Sand had a lover, this lover cheated on him with Top. Right? Except that in Sand’s mind this story looks a bit different.

Not once, but twice Sand claims that Top “stole his lover”. And I’m sorry to bring it to you, my precious sad baby with big beautiful eyes, but your lover is a human being. They’re not a car, or watch, or a cow. They are a person. And as a person they make decisions.

Unless we’ll find out that Top literally put a bag on their head and dragged them away into his basement, Top didn’t stole anyone. This person cheated on you. It sucks, I get it (Mew probably gets it even better than me). It hurts a lot. It’s absolutely not Sand’s fault. But it’s not Top’s fault either.

Yes, hitting on someone’s lover is a douche move (if Top knew about Sand and didn’t care and I wouldn’t surprised but we don’t know for sure). Yes, Top is an arrogant jerk who behaves like a toxic bitch with anyone except for Mew. Yes, in that hospital scene I kind of wanted to punch him in his hot smug face.

But Sand’s lover cheating is not his responsibility.

And Sand’s choice of actions is stealing and spreading fucking revenge porn. Where is not only Top he hates so much but also Boston who did to Sand what? Made an ugly scene on his birthday and ruined his whatever it was with Ray? Bitchy behavior 100%, but not on, you know, illegally recorded sex tape level.

He regrets it later, but two people he apologized to - rightfully so - are Ray and Nick. Not, you know, Boston for example.

I mean, how the thing Sand did with Top is different from the thing Mew did with Boston? In details - yes. In motivation and general action - the same shit.

And I know that the majority of saving Sand agenda is directed towards his relationship with Ray. I get it. I feel it (I have a very complicated mix of very complex feelings about that one but I digress). But I do feel that Sand isn’t criticized enough for his actions towards Top (and Boston).

Compare it with the amount of criticism towards:

1. Nick recording and using TopBoston footage;

2. Boston recording and using RayMew footage;

3. Mew stealing and using Boston footage;

The only person I doubt here to criticize hard is Ray cause while he got and resend this fucking sex tape and I do think it was wrong I kind of understand his situation. I mean he did receive it passively not actively and I doubt Mew believed him without proof. It still sucks from his side to use it and I don’t forgetting him but he was kind of a tool not a participant so yeah.

All of them are clearly wrong and deserve discussion about their behavior and all the critique they get. But so as Sand. The thing is, Sand is not a victim of Top.

Top is a victim of Sand.

And it’s absolutely not about Top being good or bad or Sand being good or bad it’s really about humans being complex and depending on that specific situation. It’s always about complexity and context.

Sand is, if generalizing, a good person. But he also selfish by some degree and categorical and has some deep trauma over his ex lover. And he does fucked up stuff.

That’s why I found Sand’s attitude towards Mew especially interesting. With MewTop situation he probably didn’t really care but at some level had a sense of justice. In his eyes, Mew is as victim of Top as he was. So Mew deserves to know the truth.

But with MewRay? And that’s where the fun (and also clear speculations) begins. Sand doesn’t have a beef towards Mew about Ray loving him and prioritizing him over Sand, at least for now. Maybe because he learned something through his last relationship, but with his behavior towards Top I doubt it. It’s probably partially because Ray is technically not his lover or boyfriend or monogamous partner - he doesn’t owe Sand anything and while he’s angry and sad he understands that.

But it may also be about the Mew technically being there first. You know, how Sand was with his lover until Top appeared. Ray loved Mew way before he even knew Sand exists. It’s actually Sand in this analogy who takes Ray away from Mew (not that he knew about it or Mew cared but you get my point). So Sand doesn’t blame Mew for being with Ray. He probably - understandably so - blames Ray for playing with his feelings and also blames himself for falling into it.

And now here is a part when I just speculate about cool plot line we’d probably never get so feel free to stop reading now. Like for real. So Sand is fine with Mew and, honestly, good for him. My question is: if Sand will buy this RayMew relationship thing. And then Ray gets back to him. Will he resist temptation?

We have a small chance that Sand will get some self respect and won’t take Ray back immediately, of course. But in a case of Mew. If Sand is stupid enough to believe there is something happening between Ray and Mew from Mew’s side, will he stay away cause of respect towards Mew and their relationship? Or will he “play Top card” and - how was it? - steal Ray to himself?

Cause oh my lord he wants Ray for himself. He can agree with Nick and his “I don’t want be his first and only it’s enough to be with him” as much as he wants but we all know that even Nick doesn’t really think so. Sand probably also doesn’t want to deal with Ray at all by that point but totally opposite desires can coexist.

It would be really interesting to watch his internal conflict about being better person but still losing to his desire plays out but I really doubt Mew and Ray will last long enough to us see it.