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chastiefoul · 2 years

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telling them that they're pretty.

characters: xiao, zhongli, thoma, alhaitham, itto.

tags: fluff. and very very self-indulgent.

Xiao

He was just standing there, looking over the scattered fields below from the balcony of Wangshu Inn, the breeze swayed his hair gently. With the pouring leaves around him, he looked like a still picture. A beautiful piece of picture.

“Xiao, you are so pretty.” You blurted out, his splendor just somehow overwhelmed you that you could not help but to say. A soft color of pink descended on his cheeks, making what was already an amazing view somehow breath-taking.

“What a ridiculous thing to say to someone such as myself.” He coughed a little to his fist, an attempt to calm his flustered-self. “It’s not, I’m just speaking the truth!” You fumed, crossing your arms, turning your gaze elsewhere. It eventually reaches the seemingly infinity falling leaves, you could not help but stare in wonderment, the banter long forgotten. At this sight Xiao only shook his head, a burst of fondness tickled his chest.

Is it not you, who’s so incredibly stunning? He thought in silence, a soft smile displayed across his feature.

Zhongli

It was without question that Zhongli is an attractive man. You honestly could not think even for a time where he does not look presentable. But right now, seeing him sipping on a cup of tea so elegantly and gracefully, it was a quite dazzling picture. The loud evening atmosphere of the restaurant and the storytelling was a buzzing noise on the back of your head, his gesture had captured you completely. The almost to no sound clink of his cup snapped you out of the trance. To be this smitten over someone who’s just drinking tea.. you could not help but laugh to yourself softly. “Would you mind sharing what is so amusing to you, dear?” He asked, feeling pleased to see that you’re enjoying yourself.

“Ah, it’s nothing. I just thought you were especially pretty just now.” You brought your own tea to your lips, perhaps the cup would at least hide a part of your embarrassed expression. He just chuckled, “How amusing indeed, I was just thinking the same thing about you.”

Thoma

Thoma is always smiling. Whenever you looked at him doing something, he was smiling as if thoroughly enjoying every single thing he intend to do that day. However, there seemed to be something different about that expression of his when he’s around you. It’s softer and so so warm you could not help but turn into a mush when you’re starting to be more and more aware of it.

“Good work today, Thoma.” You said as you enjoyed a leisure walk with him at the garden of Kamisato Estate. He smiled brightly, the evening sunset would be envious in gazing that shine of his.

“Thoma, how does it feel to be the prettiest man to exist across Teyvat?” You feigned a serious tone at the innocent and light-hearted question. At this, the golden-haired man blushed. “That is.. too much of an exaggeration love, don’t you think?” He put a hand on his side neck, embarassed. The orange hue complimented his face nicely. You leaned closer, resting your head on his shoulder.

Exaggeration? Not at all.

Alhaitham

Alhaitham is certainly not a man with many words. Most of the time he's quiet, his mind would be the one working all day. So when you asked him to stroll around the market to buy something with you he just tagged along, sometimes picking up an object that interest him, didn't really offer any reason as to why that piqued his curiousity.

Although when he does this, you couldn't help but stare. His eyes narrowed slightly, punctuating that lush lashes of his, the corner his lips twitched slightly as if amused. "How pretty," you sighed out, as if running out of contemplation as to how someone so beautiful can exist like this. The compliment broke his focus on an object that looked like an ugly voodoo doll. "This?" He asked, slightly confused.

"No, you." You stated, like it should've been obvious. Alhaitham put the doll back to its place, the slightest smile emerged from his lips. "Such nonsense." Still with the same soft expression, he brought his hand close to your face, the back of his index finger glided along your cheeks.

Him, pretty? Have you seen yourself? He thought.

Itto

Itto is his best when he's carefree and unrestrained. Not the times where he loses self-control and cause excessive disturbance in public and got himself arrested, mind you. It's more when he's laughing out loud without a care, happiness in its purest form engulfing him. And thank heavens he's not stingy with that since he's always such a ball of joy especially around you.

"As i thought Itto, you're the prettiest when you're happy." You said at the end of yet another laughter session with him, talking about nothing particularly, just enjoying the other's presence. Itto grinned, "My baby is a smooth talker huh, I can't lose then!" He said energetically then went to kiss your face all over, you laughed at the contacts. Itto stared at you who's still mid-giggle. "And as I thought, I'm the happiest when you’re with me!!!"

#xiao genshin impact #genshin x reader #genshin impact x you #genshin scenarios #genshin fanfic #genshin fluff #genshin impact x reader #genshin x you #xiao x reader #zhongli x reader #alhaitham x reader #itto x reader #xiao x you #zhongli x you #itto x you #alhaitham x you #thoma x reader #genshin impact thoma #genshin impact

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bowtiepastabitch · 7 months

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Heaven's Not Homophobic in Good Omens, and Why That's Important

I need to preface this with, I am not trying to start a fight or argument and won't tolerate any homophobic or bad faith arguments in response to this. Cool? Cool.

This is in large part inspired by this ask from Neil's blog, which sparked some discourse that I don't want to get involved in but that brought up some analytic questions for me.

He goes on to reblog a question asking about Uriel's taunt specifically, clarifying that "boyfriend in the dark glasses" can just as easily be read/translated from angelic as girlfriend or bosom buddy. The idea is that an angel and a demon "fraternizing" is seriously looked down upon, not that heaven is homophobic. And that's super important.

We see homophobia in both the book and show, of course. Aziraphale is very queer-coded, intentionally and explicitly so, and we see the reaction of other humans to that several times. Sergeant Shadwell, for example, and the kid in the book that calls him the f-slur when he's doing magic at Warlock's birthday party. These are, however, individual human reactions to his coding as a gay man.

I am, personally, not a fan of heaven redemption theories for the show; no hate for people who want that it's just not something I'm interested in. I don't believe that heaven is good with bad leadership, or that God Herself remains as a paragon of virtue. To me, that's not in line with the themes and messages of the show. It's important, however, that heaven doesn't reflect human vices. Heaven can be nasty and selfish and apathetic in its own right without ableism, homophobia, transphobia, or racism. This matters for two reasons.

Firstly, we don't need the -isms and -phobias to be evil or at least ethically impure. In a world where we spend so much time fighting against prejudice and bigotry, our impulse is to see that reflected in characters whose motivations we distrust or who we're intended to dislike. While it's true that that's often the big bad evil in our daily lives, it can really cheapen the malice in fictional evil from a storytelling standpoint. A villain motivated by racism or as an allegory for homophobia can be incredibly compelling, but not every bad guy can be the physical representation of an -ism. Art reflects the reality in which it's crafted, but the complexity of human nature and the evil it's capable of can't be simplified to a dni list.

Secondly, and I think more importantly, is that for Good Omens specifically, this places the responsibility for homophobia on humanity. If you're in this fandom, there's like a 98% chance you've been hurt by religion in some way. For a lot of us, that includes religious homophobia and hate, so it makes sense to want to project that onto the 'religious' structure of Good Omens. It's a story that is, in many ways, about religious trauma and abuse. However, if heaven itself held homophobic values, it would canonize in-universe the idea that heaven and religion itself are responsible for all humanity's -isms and -phobias and absolve humans of any responsibility. Much like Crowley emphasizes repeatedly that the wicked cruelty he takes responsibility for is entirely human-made, we have to accept that heaven can't take the blame for this. To make heaven, the religious authority, homophobic would simply justify religious bigotry from humans. By taking the blame for religious extremism and hatred away from heaven and the religious structure, Good Omens makes it clear that the nastiness of humanity is uniquely and specially human and forces the individual to take responsibility rather than the system. Hell isn't responsible for the Spanish Inquisition, which by the way was religiously motivated if you didn't know, and heaven isn't responsible for Ronald Reagan.

This idea is perhaps more strongly and explicitly expressed in the Good Omens novel, in the scene where Aziraphale briefly possesses a televangelist on live TV. It's comedic, yes, but also serves to demonstrate that human concepts of the apocalypse and religious fervor are deeply incorrect (in gomens universe canon) and condemn exploitation of faith practices. Pratchett and Gaiman weave a great deal of complexity into the way religion and religious values are portrayed in the book, especially in the emphasis on heaven and hell being essentially the same. They're interested in the concept of what it means to be uniquely and unabashedly human, the good and the bad, and part of that is forcing each individual person to bear the brunt of responsibility for their own actions rather than passing it off onto a greater religious authority.

Additionally, from a fan perspective, there's something refreshing about a very queer story where homophobia isn't the primary (or even a side) conflict. The primary narrative of Good Omens isn't that these two man-shaped-beings are gay, it's that they're an angel and a demon. The tension in their romantic arc arises entirely from the larger conflict of heaven and hell, and things like gender and sexuality don't really matter at all. Yes, homophobia and transphobia are very real, present issues in our everyday lives, but they don't have to be central to every story we tell. There's something really soothing about Crowley and Aziraphale being so queer-coded and so clearly enamored with each other without constantly being bombarded with homophobia and hate. It's incredible to see a disabled angel whose use of a mobility aid makes no difference in their role and to see angels and demons using they/them pronouns without being questioned or misgendered. It's all accepted and normalized, and that's the kind of representation that we as queer people deserve.

#anywho that got real long #good omens #terry pratchett #media analysis #good omens analysis #queer coding #queer representation #ineffable husbands #gomens #aziraphale x crowley #anywho happy valentines day #love my fandom #not beta read or majorly edited because I'm a busy guy with homework so lmk if there's any errors that need correcting (politely!)

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squash1 · 8 months

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THREES THREES THREES:

Oh hello. I want to talk about the stylistic/textual role of Threes in The Raven Cycle.

Threes – as a general concept and as a number – are a major symbol and motif in the series. Maggie tells us that threes are important from the very first book: from Maura’s favorite saying being “good things come in threes” to Persephone telling Adam that “things are always growing to three or shrinking to three,” threes are discussed at length in the text of the narrative. Maggie also shows us that threes are important as a motif/symbol for important aspects of the story: three Raven Boys, three Fox Way women, three Lynch brothers, three main ley lines, three sleepers, etc. Threes are, textually, incredibly significant in The Raven Cycle, and we know this because we are shown AND told it throughout the entirety of the books.

We all know the significance that is given to threes in the story itself, but what I want to talk about is the usage of a thrice-repeated word or short phrase (going forward I’m referring to this as “Threes” or “a Three”) as one of Maggie’s writing signatures (across the series, there are 65 Threes). This creates a meta level to threes being an important aspect of The Raven Cycle universe. A classic example of a Three (one of my favorites, in fact) is from The Dream Thieves:

“As they walked, a sudden rush of wind hurled low across the grass, bringing with it the scent of moving water and rocks hidden in the shadows, and Blue thrilled again and again with the knowledge that magic was real, magic was real, magic was real.” (TDT, 12)

In a way, the Threes join the intradiegetic (what is happening within the narrative itself) with the extradiegetic (what the narration is communicating solely to the reader). The reader and characters are told explicitly that the number three is significant, important, notable, and powerful. In using Threes as a writing signature after giving the reader that information, the Threes are designed to signal to the reader that this line, this moment, is important.

So the question is: What Are The Threes Trying to Tell the Reader???

Amazing question.

In my recent TRC reread, I was already keeping track of Threes, because I was curious to see how many times they appeared. And then my sister, who was also rereading, said something interesting (after reading this Three from The Raven Boys):

“He was full of so many wants, too many to prioritize, and so they all felt desperate. To not have to work so many hours, to get into a good college, to look right in a tie, to not still be hungry after eating the thin sandwich he’d brought to work, to drive the shiny Audi that Gansey had stopped to look at with him once after school, to go home, to have hit his father himself, to own an apartment with granite countertops and a television bigger than Gansey’s desk, to belong somewhere, to go home, to go home, to go home.” (TRB, 370)

My sister said: “Adam’s like Dorothy.” And then she said: “Wait. Do you think the Threes are like a spell? Or… a wish?”

Which was……. Interesting.

What I have determined, after completing my reread and spending way too much time analyzing this, is that a Three is either a wish, a hope, a longing, a prayer – or, alternately, a warning, a curse, a negative promise.

In either sense, Threes are a foreshadowing of what is to come – whether it be good or bad. Threes exist to signal to the reader that they should be paying close attention to whatever is being said or observed.

Threes in….. Everything Else:

Before we get too far into TRC Threes, let’s talk about the precedent for three being an important number in art, math, storytelling, etc. I found some interesting information about how three is a satisfying number for the brain:

Grouping things in threes leverages the power of repetition to aid memory; denote emotional intensity or importance; and ease persuasion (research by Shu & Carlson (2014) found that three positive claims is the most effective for persuasion).

Three is the smallest number that the brain can still recognize as a pattern, and the brain loves pattern and repetition. This is true in visual art – having three main compositional figures to create a pleasing image – and also in storytelling and narrative. Using threes for repetition in storytelling is a very common occurrence.

Some classic examples of repetitive threes are Shakespeare’s “tomorrow and tomorrow and tomorrow” or Lincoln's “a government of the people, by the people, for the people.” In each of these examples, a repetition of three is used to create pleasing auditory rhythm. There is something inherently memorable about literary Threes.

Perhaps the most interesting information I found while digging into the precedent for threes is about the rule of threes in folktales. This information happens to come from Wikipedia (side note: Wikipedia is a modern tool of collective consciousness and we should utilize it more). This page describes how in its most basic form, the rule of threes in storytelling is just beginning, middle, and end. Because this is such a common convention, writers tend to “create triplets or structures in three parts.” It then talks more directly about the use of threes in folktales:

“Vladimir Propp in his Morphology of the Folk Tale, concluded that any of the elements in a folktale could be negated twice so that it would repeat thrice.”

This is especially interesting to me. The idea that an element of a folktale “could be negated twice so that it would repeat thrice” shows up prominently in the plot of The Raven Cycle – a book that is heavily influenced by folktale motifs – but also in so many of the folktales/fairytales we all know. A classic example of this would be Goldilocks and the Three Bears – Goldilocks must try porridge that is too hot, too cold, and then, finally, just right. The journey of these three actions is satisfying to the brain because it is a complete pattern: the third and final result of “just right” porridge is only satisfying because of the two “not right” porridges that preceded it.

Getting back to Stiefvater Threes:

For anyone who’s seen The West Wing (and even those who haven’t), here’s a good way to explain what I think the Threes are doing. You know that thing they do during a The West Wing “walk and talk” where two characters will be throwing information and little quips back and forth at each other rapid-fire, and then suddenly, they will both stop walking, and the camera will stop moving, and they’ll say a line that contains really important information that you need to know to understand the storyline of that episode? That’s what Maggie’s Threes are doing for the reader. That’s what 6:21 is doing for the characters. It’s intentional: the writers/directors/actors/camera operators on The West Wing know that they’re throwing a lot of information at you, and know that they need to get you to pay attention to the most important parts somehow, so they do it by forcing the viewer to lean in and listen. It changes the focus and energy of the scene from something with momentum to something that pauses, and therefore makes you pause.

The Threes compel the reader to pause and consider the information being delivered as more important than they might consider it if it was not written as a Three. “Maura’s expression was dark” does not read the same as “Maura’s expression was dark, dark, dark.” And in a text where characters directly state the magical importance of threes, compounded by three as an overarching motif, there is clear intention and meaning behind these written Threes.

In the context of TRC, Threes act as a fourth-wall break.

They are essentially a way to poke the reader and say: “Are you paying attention? Because you should be.”

These Threes use a symbolic motif – the rule of three – that is already heavily discussed in the text – to get the reader to pick up on the internal motivations of the character who is “wishing” their Three or the narration which is using a Three to foreshadow some important aspect of the plot.

The Threes are like the literary equivalent of a record scratch. It stops you in your tracks, breaking the established rhythm and making you take notice of what is being said in a new way.

Let’s Look at Some More Threes (but just a few don’t worry)!

1. We get a classic Three, and a very Gansey Three, right after the group comes out of Cabeswater:

“‘What about that thing in the tree?’ Blue asked. ‘Was that a hallucination? A dream?’

Glendower. It was Glendower. Glendower. Glendower” (TRB, 231).

Finding Glendower is one of Gansey’s core wishes, one of his core longings. Although this line is a literal answer to Blue’s question – he saw Glendower in the tree – in making it a Three, Maggie has given it added weight and meaning. It is prayer-like in its intention. It is almost an incantation: by saying it in Three, Gansey wishes it into being.

2. In The Raven Boys, after Gansey has bribed Pinter to keep Ronan at Aglionby and has learned that Noah has been dead the whole time they’ve known him, we are given this Three:

“The Pig exploded off the line. Damn Ronan. Gansey punched his way through the gears, fast, fast, fast” (TRB, 311).

This moment foreshadows what directly follows: a distinct lack of fast as the Camaro breaks down and Gansey is held at gunpoint by Whelk. This Three is not a prayer, but a warning, and an indicator to the reader that something important is about to happen. Had Gansey not been trying to go so “fast fast fast,” the car might not have broken down; because the Three incanted it, disaster follows.

3. To return to a Three I have already mentioned, but follows the typical Three structure:

“...to go home, to go home, to go home” (TRB, 370).

In this scene, Adam’s wish is less about actually wanting to return to his literal home, because his house was never really a home for him. Adam’s wish/longing is for a home that he could return to, that he would want to return to. He is longing for a place/feeling/experience that does not exist for him. The Three in this sentence comes after a string of active wishes/longings, and by ending with this Three, it casts a spell of sorts, honing in on the truest underlying wish that Adam has. In using the phrase “to go home” three times, the narrative is making sure you, the reader, know that this want, this need, this wish, is the most Important to Adam, and will drive his actions for the rest of his story.

Most of the Threes feel like this. They are often tacked on at the end of a sentence or embedded in a sentence. They’re an addendum to the action of the story. They’re like casting a spell – once to manifest, twice to charge, three to cast.

…..And Some Other Types of Threes:

Then there are the Threes that don't follow the typical pattern of the same word repeated three times one right after the other, but are still a Three in a different way.

There are short phrases/sentences that are repeated three times throughout a page or chapter. In the prologue of The Raven King, we get this:

“He was a king…

He was a king…

He was a king.

This was the year he was going to die.” (TRK, 1-3)

In this case, the Three acts as a promise of Gansey’s kinghood, but in ending the sequence with “this was the year he was going to die,” the promise of the three is given a condition: it is not going to be a joyful kinghood, but instead a kinghood intertwined with the death we’ve known is fated for Gansey.

One of Adam’s Threes from Blue Lily, Lily Blue, uniquely breaks the mold of Threes in a format that does not appear anywhere else in the four books:

“It was his father.

He opened the door.

It was his father.

He opened the door.

It was his father” (BLLB, 242).

❋ (We’ll talk about this one more in-depth later.)

There are also a few “unfinished” Threes:

In The Raven King when Ronan is having a nightmare (infected by the demon) about Matthew and the mask, he has this Three:

“Ronan’s throat was raw. I’ll do anything! I’ll do anything! I’ll do anythi

It was unmaking everything Ronan loved.

Please” (TRK, 96).

With the uncompleted Three, there is an uncast wish. Ronan’s wish is about Matthew, yes of course, but also about being willing to do anything to keep those he loves (ie. Adam, Gansey, Blue, his brothers) out of the reach of the “unmaking.” This unfinished Three serves to foreshadow the harm that does ultimately befall first Adam and then Gansey as a result of the unmaking of Cabeswater by the demon: without the Three spell completed, his wish is not fulfilled.

*This is Not all the uncommon/mold-breaking Threes, just a few that are interesting!

Do All Threes Come to Fruition???

The short answer is: No. Or at least not in that way.

Once again looking at the text of The Raven Cycle, we are given an answer of sorts. In discussing Gansey’s predicted death, Maura says:

“First of all, the corpse road is a promise, not a guarantee” (TRB, 155).

This seems to apply to Threes as well. Threes are not a guarantee. They are a promise. Not all Threes come to fruition the way one might expect – or at all, for that matter. The important part of Threes is not that they will definitely come true, it’s that they could come true, because the Three gives them the potential to come true.

Structure, Structure, Structure:

The main Threes structures are:

Three of the same word separated by commas:

“magic, magic, magic” (TRK, 59).

A short phrase/sentence separated by periods:

“My father. My father. My father” (TDT, 369).

A short sentence that is repeated three times throughout a page/paragraph:

“Gansey did not breathe…

Gansey did not breathe…

Gansey did not breathe” (TRK, 209).

A word that is repeated three times and is connected by “and”:

“Round and round and round!” (BLLB, 224)

Italics vs. Non Italics:

Italics in The Raven Cycle are often used for character’s inner thoughts/anxieties. This continues to be true in the context of Threes. A Three that is not written in italics indicates a promise, or some foreshadowing of a plot point being foretold through the Three – it is typically more “real” – whereas a Three that is written in Italics seems to indicate a wish/hope/longing that is unattainable in some way. Italics almost always indicate a Three that may never come to fruition, or at least not in the way the character hopes it will.

An example of this distinction can be found in chapter three (hah) (I don’t believe in coincidences and neither does Gansey) of The Raven King:

First we are met with Ronan wishing/hoping to return home:

“That morning, Ronan Lynch had woken early, without any alarm, thinking home, home, home” (TRK, 24).

This home, home, home, is in reference to the idea of home rather than the reality. Ronan is wishing to return to a home that does exist physically, but is not the same as in his memory – he wants to be at the Barns as it was in his childhood.

Then, in the very same chapter, Ronan actually returns home and we are given this Three:

“Slowly his memories of before — everything this place had been to him when it had held the entire Lynch family — were being overlapped with memories and hopes of after — every minute that the Barns had been his, all of the time he’d spent here alone or with Adam, dreaming and scheming.

Home, home, home” (TRK, 27).

This second home, home, home, is about the actual reality of being in his childhood home – the good and bad that has existed in the years since the childhood he longs for.

The Addition of AND:

The most notable use of “and” is in Noah’s very last chapter:

“Sometimes he got caught in this moment instead. Gansey’s death. Watching Gansey die, again and again and again” (TRK, 416).

When “and” is added into a Three, it becomes circular, cyclical. The “and” gives the Three a sense of infinity, or creates a loop of sorts.

This Three operates in the same way “tomorrow and tomorrow and tomorrow” does in Macbeth – it is meant to convey the endlessness of time, a relentless cycle of tomorrows.

❋ While there are not many of these Threes with “ands” in The Raven Cycle, there are other examples of Threes or Three-like occurrences that fulfill the same purpose as the “and.” For example, remember this Three:

“It was his father.

He opened the door.

It was his father.

He opened the door.

It was his father.” (BLLB, 242).

In this case, instead of the word “and,” the Three (It was his father) is connected by “he opened the door.” This Three is accomplishing the same feeling as “again and again and again” – the feeling of being caught in an endless loop.

Another example of an (implied) “and” in The Raven Cycle is: Gansey’s life. Gansey starts out alive and then dies as a child only to be reborn, and then killed again through his sacrifice, and then reborn for a final time. Gansey is Alive, Dead, Alive, Dead, Alive. And so Gansey’s life is a cycle of Three.

As with the Threes that contain “and,” Gansey starts where he ends: alive.

Other Ways Threes Show up in The Raven Cycle:

I will state the obvious once again: there are three Raven Boys, three Lynch brothers, three Fox Way women, three sleepers, three main ley lines (the lines that “seem to matter” to Glendower’s story), Gansey the Third (Gansey Three, Dick Three).

There are also the more obscure: the “three kinds of secrets” in The Dream Thieves prologue and epilogue; each Lynch brother inheriting three million dollars from Niall Lynch; the three figures with Blue’s face on the tapestry and later as a vision in Cabeswater; Adam and Gansey going to DC for three days; the shield pulled from the lake having three ravens embossed onto it; Ronan having dreamt Matthew at the age of three; the door to the Demon’s room needing “three to open” it; Aurora Lynch staying awake for three days after Niall died.

And of course, we have the ley line symbol/chapter header:

And then there are the 300 (three hundred!) Fox Way “villain” readings. (This was something that was particularly interesting to me.)

The first antagonist we meet is Whelk. When he comes for a reading at 300 Fox Way, he first pulls the Three of Swords.

When the women all draw cards together, they pull identical cards for Whelk: three of the Knight of Pentacles, then three of the Page of Cups. After drawing, essentially, three threes (the Three of Swords, then two sets of three matching cards) in this reading, the first Three of the entire series appears:

“Maura’s expression was dark, dark, dark” (TRB, 124).

The second “antagonist” we meet is the Gray Man, who comes to 300 Fox Way in The Dream Thieves to “observe.” Maura, Calla, and Persephone are predicting which card is on the top and bottom of the stack and the first card, predicted by Calla, is the Three of Cups off the top of the deck that Mr. Gray is holding (a remarkably happy card in stark contrast to Whelk’s Three of Swords).

When the third antagonist, Greenmantle, comes for his 300 Fox Way Reading he also draws the Three of Swords. The fact that each of the three antagonists come for a reading is in itself a sort of Three, but to further the importance of these moments, each of them draws some sort of three-related card.

All of the examples I have touched on have been more symbolic references to Three as a motif of the books as a whole. However, Threes also show up in the literal number of times important quotes are said/written.

I was tracking some of the most well-loved TRC lines to compile them, and noticed that the lines “don’t throw it away” and “safe as life” happen to appear exactly three times throughout the series. This was honestly pretty surprising based on the importance of those quotes – I would have assumed they showed up far more. Actually, they both appear twice in The Raven Boys and once in The Raven King. Threes, and the importance of Threes, is embedded so strongly into the narrative of The Raven Cycle that even the quotes we all think of as the most beloved of the series follow this rule of Threes.

Now, could you chalk some of these up to coincidence? I guess. But Gansey doesn’t believe in coincidences so I don’t either. So what’s the point of all these Threes?

Conclusion???

In a literal, literary way, Threes are a fourth wall break to make the importance of a moment obvious, but I’m not sure what the larger “point” of Threes is. My best analysis comes from the idea of The Raven Cycle being all about time and Threes playing into the importance of time as a sort of record scratch or loop. The Threes, as a stylistic, written motif, seem to connect the time-based cycle the characters experience to the time-based cycles the reader experiences by reading the books.

But my conclusion feels incomplete and so I would like to rely on the collective for this one – just about the most Raven Cycle thing you can do. So I’m asking you, the collective you, what conclusion would you draw? What do you think?

What I do know for sure is that Threes are magic, magic, magic.

For Your Convenience: Here is the textual significance given to threes within the books (chronologically):

And here are the Threes, Threes, Threes (compiled):

(If you made it to the end of all this, I love you. Have a gold star and a hug <3)

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renthony · 7 months

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Animation (specifically 2D animation) is my preferred TV/film medium. A piece of live-action has to go above and beyond to get over my personal bias of, "most things would be better if they were animated," but it's taken me a long time to figure out what, exactly, makes a piece of live-action really do it for me.

I think what it really comes down to, for me, is the little details. If your live-action doesn't have some level of nuanced physical acting, intense detailing in costuming and set design, a strong sense of visual storytelling, or kickass practical effects, I'm pretty much always going to come away thinking, "I'd like it better as a cartoon."

I think some of this is due to my issues with face blindness--I need characters to have distinct silhouette and costuming, or they will all blur together in my head. Animation tends to stress the importance of silhouette, so I have an easier time telling everyone apart and following who's who. That's not to say that this problem doesn't happen in animation, or that it always happens in live action, but I do think it contributes to my personal preferences.

Anyway, just for fun, a random shortlist of some live-action that I think uses its medium well:

Child's Play/Chucky. Half the appeal of Chucky (IMHO) is the incredible showcase of practical effects and animatronics. Each incarnation of the Chucky doll incorporates incredible advances in animatronic and puppeteering technology. I have on multiple occasions compared the Chucky puppeteer team to Muppet performers. That shit is its own art form, and it's incredible. The current Chucky show makes some use of CGI, but it's all to enhance the practical effects, and the puppeteers are all given the spotlight in the show's credits. I love that.

Killjoys. The incredible nuance to the actors' body and facial acting is mind-blowing. The set design and costuming are gorgeous, and there's a lot of very good detail worked into the visual space that would be hard to animate. They use their CGI well when they do use it, but a significant amount of the show seems to be practical effects and props. Additionally, Hannah John-Kamen's ability to flawlessly portray multiple characters is so good it's uncanny and makes you forget they're literally being played by the same woman. She changes her entire body language, and it's phenomenal.

Jordan Peele's entire body of horror. His films pack in so much symbolism and subtlety that I could probably watch them all a million times and still find new details. The nuance in the acting, the sheer detail packed into the costuming and set design, the use of color...god. It's unreal.

Crimson Peak, because the set design for that film...holy fuck. The costuming and set design in that film are pure gold. The acting is also phenomenal, but I could probably talk about the set design for hours. The house is a character in its own right.

Galavant and Our Flag Means Death, both for the same reason: both shows feel like I'm hanging out at a ren faire being goofy with my friends. They feel like I'm watching a LARP. They feel like they could easily exist in the same setting as Muppet Treasure Island, and at any second Kermit is going to show up and start singing, and it wouldn't be out of place at all. I think I'd also include Dungeons and Dragons: Honor Among Thieves in this category, along with The Princess Bride and Labyrinth--all of which also include kickass practical effects, choreography, and costuming.

This isn't some sort of objective truth or anything. I just like that I've finally been able to nail down some reasons why I prefer animation, beyond just, "idk, cartoons are fun."

#original post #ren's media recs

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fllnrdr · 9 months

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I would really love for the rdr community as a whole to stop trying, (and failing), to defend Dutch, and shift the blame entirely onto Micah. Red Dead Redemption and Red Dead Redemption II are both beautiful and well thought out games both in the gameplay and the storytelling. But I think a lot of people simply ignore those things, hence my long rant of a post.

TLDR: I think Micah was intentionally written to be one dimensional, and Dutch was manipulative from the start. Arthur is just a unreliable narrator.

We play through Arthur's eyes and see/believe what he does. We can see Arthur's loyalty blinds him (and by extension, us) to Dutch's behavior. I would know peace if some folks to took a media literacy class. Red Dead one & two are shining example of the bias in an unreliable narrator. Video games are not exempt from literary tools because you control part of the story. That control is limited to the actions of your bias protagonist, in this case John and Arthur.

The same applies to Micah. Arthur never trusts Micah from day one, and so we as the player don’t trust him either. It would be incredibly lazy on Rockstar’s behalf to created as one dimensional of a character as Micah. But the thing is, Arthur views him that way, a no good money-hungry thief from the start. Arthur is able to see through him, but he is blind to Dutch’s similar behavior because of his loyalty. It’s an incredibly smart tool to use in video games. Once you replay the game without the blinders on of your first playthrough, you’re able to see that Dutch has behaved the very same ways from Chapter One, all the way through Chapter Six. The only difference is that Arthur (and we the player) is slowly becoming aware of the patterns for the first time.

Now, for the blatant mischaracterization of Dutch entirely. To blame everything on Micah diminishes Dutch’s character to such an extent it completely disregards the decades long manipulation he inflicted on the gang, that is very real and very obvious. I won’t get into the way each individual character’s behavior was effected by this, but I will speak about Arthur and John briefly.

Dutch takes in people that are vulnerable and that he knows he can manipulate for his own gain. Children included. Multiple children, in fact. He always has a plan, not to keep folks safe, but to keep everyone comfortably under his thumb. It was always, "Are you with me, or against me" from the beginning. Everyone was either a means to his end, or they were worthless. The second someone did not agree, it was a betrayal, and an attack. I don't doubt he did some things out of kindness, but there's always ulterior motives. Dutch is nothing but a man of pretty words that hide his manipulation.

Dutch maintains an air of grandiosity amongst the gang. He obviously holds the belief that he is above them in all ways. He believes he is their leader because he is simply better than the rest of them. He’s smarter. He’s this god-like figure in his mind. He’s their savior. Hence his distaste for any doubt, or even being challenged.

Lenny and the conversation he has with Dutch about Evelyn Miller for example. Lenny indirectly call’s Dutch’s empty words out and points out that both Miller (Dutch’s idol) and Dutch himself hide behind their flowery words and phrases. Or Arthur and Hosea voicing their concern about robbing Leviticus Cornwall, it’s seen as a betrayal. Or when Uncle pokes fun at Dutch in camp and Dutch says to him, “I would really like to kill you right now.” Dutch may not be entirely self aware, but any attack at him does dig at him for a reason. And this is all from chapter two! There has always been a pattern.

Dutch says he "saved" them. He saved Bill, and John, and Arthur and Lenny and Javier. He saved all of them, and he is above all of them. Dutch sees people as nothing more as tools to meet his goals. There are instances where he does seem to genuinely care, but the ulterior motive is always there.

Dutch and Micah were written with the idea that we see the story through Arthur’s eyes. Arthur is blinded by his decades long to loyalty to Dutch and slowly coming to the realization of the truth. Micah is incredibly one dimensional cause Arthur sees through him and views him as a rat from the start. The truth of the story can be seen through repeated playthroughs. Dutch’s paranoia from the start, questioning Arthur’s loyalty from Colter. Micah sniffing around about the Blackwater money from the beginning. Arthur’s journal entries about the his biased version of the truth. Media literacy is necessary even in video games. God.

#charthur #arthur morgan #charles smith #red dead redemption 2 #red dead fandom #john marston #red dead #dutch van der linde #Hosea Mathews #red dead redemption arthur #red dead redemption two #red dead redemption community #van der linde gang #Arthur Morgan hc #micah bell #fllnordr rants

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mayabruhbruh · 27 days

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What do you think of the possibility of Will and Chance happening? I feel like it would be really poor writing tbh but I feel like they will give Will a different love interest because they’ll try to make all of the audience „happy“ But that would just truly not align with the writing so far I feel like.

Love your analyses btw<3

THANK YOUU! That's so kind :) And great ask! This is definitely a topic that the ST fandom needs to discuss.

The default question when people have little to no hope in Byler is, well, who the hell is Will going to end up with? Because it’s become increasingly evident that they’re trying to set him up for a romance. The “im not gonna fall in love”, the “it’s not my fault you don’t like girls”, even the gif shown above. It all can be interpreted to mean that Will is going to find his person soon.

So... to be completely honest, I had no idea who Chance was until this ask popped up and I had to look him up💀. It’s been a while since I’ve been on here, so I’m a little rusty on the deep lore lmao. So, in the off chance that others might also be confused, here’s a (rare) gif of him I found.

I think that’s him with the Hawkins cap on the right. Correct me if I’m wrong.

I’m not sure where the rumors that this guy was going to become a bigger part of the show came from, but that seems highly unlikely to me. I feel like they would have either hinted at it in the fourth season (like how they’re giving Patrick here quite a sizeable role so that he’ll be memorable to us later when he gets vecnafied) or they would have announced him as a more prominent character already like how they did for s5 with Holly, that one new kid character, and also how they did Amybeth for s4. Idk, maybe it’s unreasonable to think they would have to do that, but it feels quite too out-of-the-blue. Especially for a character that would take on the role of becoming our central character’s love interest, which is a BIG DEAL. Especially if it’s queer lol.

Secondly, I firmly believe that it would be a disservice to Will’s own desires to meet someone new.

Will said this explicitly in the van scene, and as of now, we’re still under the impression that Mike is his person. Forget about Mike’s issues and feelings for a second, and think about what Will is saying here. He feels like a mistake for being different, but Mike makes him feel like he’s not a mistake at all, that he’s better for being different. Mike gives him courage to fight on. Fuck. Tbh, it makes me wonder how long he’d felt this way. As a byler, you might be inclined to think his feelings have been on for forever, but narratively, he could have easily just realized his own feelings very recently, most likely sometime between season 3 and 4. It doesn’t mean the feelings weren’t there before, but realistically neither Will nor the general audience were aware of it before now.

Moving on.

Has anyone heard of the rule of Chekhov’s gun? It’s an incredibly clever and widely-used tool in screenwriting and storytelling in general that helps to clue the watchers in for what’s to come next.

Think of Lucas’ wrist rocket in season 1. When they introduced it as a flimsy-looking, no-good weapon that he’d put too much pride in at first, it gives us a good laugh and we move on. But really, it very meticulously set us up to subconsciously anticipate to see it again later. That’s what Chekhov’s gun is all about. Set-ups, foreshadowing, hidden treasures.

Another great example would be the painting reveal of s4. Obviously, after finding out that Will was painting something, bylers immediately figured it was for Mike and BEGGED and HOPED and PLEADED that we’d be able to finally see it, but to the general audience it was just another something that they’d have to pick apart and realize was actually of importance as the season progressed. (It’s also a good way of showing that the writers are fully capable of engrossing the entire fan base and general audience in his and Mike’s story. Just knowing Will had painted something and that it was for Mike created this sense of PLEASE TELL ME WHAT IT IS AND WJATS GOING ON and whatnot that watchers are simply so susceptible to it’s insane.)

Okay, back to the van scene. Will’s confession.

Now, I’m not saying that the writers intentionally used this foreshadowing tool for us to find and understand immediately. There are plenty, plenty of instances where writers use Chekhov’s gun principle and it flies over peoples heads purposefully. What I’m trying to say is that, thematically and narratively, they would never have introduced Wills feelings for Mike if not for it to have importance to the story, or for nothing to happen with it at all. It’s a set up. And a maddeningly good one, at that. Because queer stories already do tend to fly over people’s heads, and also because there’s the added drama between Mike and Eleven that makes it seem quite impossible for any of these feelings to be addressed in the midst of such emotional chaos. But whatever. I think I’m rambling.

Basically, whether they end up together or not, whether Mike reciprocates these feelings, Will is forever established to be in love with Mike. The confession was simply too grand and emotional and earnest for him to just switch up abruptly next season when he meets someone new that he might have a better chance with. Even if there were to be a whole new arc for him where he learns to let go of Mike or something crappy like that, it would be terrible writing on their end and poor use of a well-set-up Chekhov’s gun reference. It would be like introducing the gun in the display case in scene one, then two scenes later just tucking it away into a storage closet for the remainder of the story. Like… what?

And plus, it’s HIGHLY unlikely that Will would end up with that sort of storyline next season when he’s literally WITH Mike for presumably a majority of the time (based on the set pics so far).

So that’s my debunking of the Chance rumors :) and I didn’t even get to mention how incompatible they’d be just naturally as characters. Chance, a Jason-following jock that hates Dungeons and Dragons, fantasy and nerdy things, and willingly assisted in beating up the Hellfire Club when they were trying to find Eddie. What about that at all screams Will’s type? And if you’re thinking “unconventional couple enemies to lovers”, just don’t. This isn’t a rom-com, especially for a queer plot line lol. I think it’s safe to say there’s no “chance”😉 that they will ever happen. And either way, it’d be a bummer if they did. Cus it would just be Will defeatedly settling for someone that isn’t Mike.

UGH! It makes me sad that the one thing that is firmly being teased by the writers (Will’s love playing a major role in the plot to come) is constantly being questioned and framed as different questions. “Will Mike reciprocate?” “Does this mean Mike and Eleven break up?” “Who will end up with who?” SHHH Frankly, to me this is already a win. It’s become obvious that Will having feelings for him will come up again soon, and the rest of the evidence that accounts for Mike’s end already speaks for itself, so I prefer to just sit back and watch it all unfold.

Again, thanks so much for the ask!! This was so fun to dissect and feel free to keep sending questions into my inbox. It might take me a second to post my response but I’m determined to get through all of them. Love you guys!! <3

#stranger things #mike wheeler #finn wolfhard #will byers #byler #stranger things season 4 #noah schnapp #stranger things 4 #mike x will #stranger things updates

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tanoraqui · 3 months

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Dungeon Meshi Liveblog: Marcille is Not Handling Being In Charge Well

Yeah, that doesn't sound exactly like Thistle at alllll, Marcille!

[Tolkien fistpumping in the background of the fantasy genre]

We'll know that shit's REALLY bad if Chilchuck ever stops making sarcastic comments.

lol

EYES /weeps

Also I just noticed that Marcille's hair has been down since we reunited with her. She no longer cares about the things she used to, she's openly using dark magic with no concern for the consequences, she's not taking care to manage her own mana... I wonder if the demon already ate her desire to style it?

The Island Lord really is just completely useless, huh. He is NOT getting a role in Laios's new government.

omg I didn't notice when it was in the dungeon, but it's the Sky Snake! Silver Wings that Race Through the Heavens, Marcille's sky snake!!

This IS genuinely creepy. It's easy to forget that this whole adventure so far has happened underground, save for a few scant scenes. But we are about to enter, in effect, the real world...

I remain sooo interested in this secretive paramilitary outfit comprised entirely of conditionally-pardoned criminals who already have their hands dirty with forbidden magic and aristocratic scions from families seeking to prove their loyalty, all of which reports directly to the Queen. Their mere existence is sooo dodgy.

AIDGHADFC I DID NOT REALIZE THAT THE LION GAVE MARCILLE HER EVIL GOTH MAKEOVER! I thought she chose that herself... This is worse, actually... (And then it ate her desire to stop.)

You're completely right, Kabru! "They're tripping each other up because you don't know enough about monsters to manage them properly" was exactly Laios's critique of Thistle's dragon horde, too!

Which, I will admit, supports the Elves' position about how incredibly bad it would be if Laios WAS the one leading this army. I do want some good fic about that maybe.

I always really enjoy the trope of, in a big battle or elaborate plan, things will go bad for the whole extended party at once even though their personal dramatic moments are happening completely apart and unrelated to one another - and, conversely, they'll all rally at the same time, too. It's very basic storytelling, an in-canon "coincidence" of timing required for a compelling rhythm of story, and I enjoy it every time.

I'D KNOW THAT WING-HILTED SWORD ANYWHERE!!

I'm going to make a goddamn COLLECTION of every time this woman puts the whole group in Outfits made of other creatures. She should do rabbits next. They deserve to dress like giant dungeon rabbits.

lmaooo

I love when characters say shit like this about their friends. I mean, @ Laios don't underestimate yourself, but actually he does mean "smart" in the sense of "unlikely to get manipulated", so in this case he's right.

This, the first panels and then the next 1, was when I was like, "oh, okay, we're going to win." Laios was JUST saying that he couldn't defeat the demon if he didn't understand literally these things about it. Now, Laios understand it as a monster, and Kabru understands it as a person - so we're good. We've cornered it on two angles of 'guys who can kill things with remarkable efficiency if they understand them through their special interest.' We're going to kick this thing's ass. We're going to be okay.

And then we're rewarded with a wink! Kabru trust Laios now!! Truly, life is good.

Lolll at myself, and at this chronic faker. Should've known the Wink(TM) was a lie! The Wink is always a lie, or at least a tease.

It is so fun to watch this boy take charge of situations on sheer merit of quick-thinking, knowing all the factions involved, and confidence in giving commands.

Hot. Obviously, objectively, this is hot. Walking confidently, unafraid and unsurprised, through a corridor of kneeling dragons? Laios, Lord of Monsters, damn fuckin' right.

This really is Laios's interactions with collective humanity in a nutshell. They shun him, disdain and fear him, for what he loves (monsters). "It's all right," he says. "The misunderstanding won't last" - he smothers how angry it makes him. They'll understand eventually, he promises himself. (They never have before, but one day...) But also: he really genuinely does love monsters, and loves to be associated with them, even if the cost IS to not be associated with humanity.

Izutsumi: I could still kick Marcille's ass. I'll kick anyone's ass. I'll kick my own ass.

Laios, King of Monsters: loves every monster except squids and octopi. Those guys just suck.

I love how her shout is almost in the black magic font, even as spoken words. That is her gesture for exploding things. This is what she looked like when she killed Mithrun 20 minutes ago.

I connected the dots. I connected them.

#dm lb #dungeon meshi #delicious in dungeon #dungeon meshi spoilers

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slicesofapple · 7 months

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Favorite TodoBaku/BakuTodo fics

So, I am fairly new to this fandom/pairing, but I decided to start building my favorites list. Already it is very, very hard to choose. There are so many amazing fics and incredible authors writing them! But these (in no particular order) are the ones I am coming back to/re-reading the most. (I'll be adding to this as I go, this is just the start of it). Many of these authors have other fantastic todobaku/bakutodo fics as well.

playing with fire by ninanna. rated M. How things unfold and overlap, hurt and please between two people who do not see any potential in each other beside rivalry and occasional partnership. [Note: I think this is now my favorite all-time fic; it's a tour de force; spectacular. all ninanna's todabaku/bakutodo fics are - the author reaches in and rips out your guts in the best way possible.]

The Feel of His Hand is Like Home by XenophonSpeaks. rated T. A typical mission goes unexpectedly south, leaving Todoroki reeling with panic, injured and compromised. Thankfully, he didn't embark on this mission alone. [This author! so good.]

Sated, by Crossfire. rated M. Some Alphas and Omegas get cuddly, or tired, or hungry. Some Alphas and Omegas like to fuck. Bakugou and Todoroki like to fight. [I'm a sucker for (especially non-explicit) alpha/beta/omega, and this one hits the sweetest of sweet spots.]

anything you say can and will be held against you by delectum. rated G. What is the correct protocol for when the villain you’re supposed to be apprehending starts flirting? [So funny and perfectly executed.]

Be Kind, Rewind by seventh_time_lucky. rated T. What starts off as a normal-seeming Sunday starts to get stranger and stranger, until Shouto finds himself locked out of UA, with no money and no phone, and the only person he can find to help is Midoriya. But Midoriya is too tall and cries every time he looks at Shouto, and Shouto starts to think something has gone really, really wrong. [Perfect angst. wip.]

Finding and Holding by bigcatsmallcat. rated T. Shouto gets temporarily quirked into a mushroom. [This one is really bakutododeku, but it is so adorable I had to put it in.]

Something of Silence by Viidoll. rated T. When Bakugou Katsuki is unexpectedly hit with a muting quirk, he makes it his mission to hunt down the moron stupid enough to silence him. Reluctant to receive help, he somehow gets it anyway - in the perplexing form of one Todoroki Shouto. In the process of losing his voice and struggling to get it back, Bakugou might just learn a little about listening. [Ah, one of the earliest ones I read of these two. So perfect.]

put some socks on by Tierfal. rated T. Shouto comes home after an extremely long day, and Bakugou is sitting on the couch. [The banter here is especially delectable.]

the witch's familiar by orange_cheetah. rated M. The night he escapes from the castle, crown prince Todoroki Shouto finds himself cursed by the magician in his father's employ. Undeterred, Todoroki strikes up a deal of his own: kill the most powerful witch in the kingdom to have the curse broken. There's just one small problem: he's somehow ended up as the familiar of the witch in question—Bakugou Katsuki. [This is such great storytelling, the way the pieces all slot into place at the end.]

i'm tired, i'm tired of not loving you by yekijan. rated M. [Amnesia fic. So much fabulous angst.]

Ten Years Wanting by Ramabear (RyMagnatar). Rated E. Bakugou. His name is Bakugou. Or at least that is what they call him.Everyone has been calling him by some other phrase that he cannot understand and that makes his head hurt when he hears it too much. Bakugou doesn’t feel right until he hears Todoroki call him that and then it does. He remembers Todoroki calling him Bakugou. He has never really said his name with fondness and even now, as he tells Bakugou what he expects of him, he doesn’t say it kindly but he does say it.Something in the back of Bakugou’s mind tells him that this is progress. This is more than what there was before. This is closer to what he wants. [Another amnesia fic, this time the other way around].

A normal poly relationship doesn't have this many fucking spreadsheets by Anonymous. Not Rated. three teenage boys being fucking idiots because actually being mature about your feelings is for suckers. [wip. this is hilarious but also very sweet. warning: izuku is pretty much an asshole here, at least so far. and it is very much bakutodo/todobaku, not bakutododeku.]

I will love you in every universe by HeavenCat. Rated T. During a rescue mission, pro hero Katsuki aka Dynamight switches places with his fifteen-year-old self. (it's so good! so sweet and funny and good).

Ruin My Life by justhavesex. Creator Chose Not to Use Archive Warnings. He's not a vengeful person, really, he's not. But him and Bakugou have started this little on-going war of theirs back in middle school when they were 10 years old and Todoroki had accidentally—if you got Todoroki drunk enough and fed his ego well enough he would, in fact, admit that it was very much on purpose—accidentally fed Bakugou's limited edition All Might magazine to his cat.

feel free to put your own faves in the comments or tags 😉

#todoroki shouto #bakugou katsuki #todobaku #bakutodo #fic rec #a03 #bnha #fanfic recs #mha

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mtkay13 · 1 year

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-你身上有光 dyptich-

BACK AGAIN with more "Light on you" stuff! I really can't let go of this passage, haha. And I have A LOT MORE TO SAY so Let's go! (LONG post ahead)

This post will contain:

my own attachment and what I love in this scene

what lead me to depict them like this

a personal translation of the passage in the book

But to begin with, a little something about storytelling. In order to help writers, some "storytelling rules" have been set up and theorised about. Those rules are, of course, meant to be broken, and one does not need to follow them in order to write a good story; but during the storytelling course I followed, a few of those rules have stuck with me, especially this one:

The main character, the hero of the story, will be the one to shine or to "save the day" in the end.

Again--does this rule need to be respected for a good story? Not necessarily, but when struggling with how to manage an ending or a main character, it can be helpful.

Anyway. For me, this scene, the "there's light on you" scene, kind of is that scene--that one scene where ZZS is the main character, is the hero. TYK has an interesting story structure, where if you go by the book of typical wuxia stories, ZCL would be the main character; and if you look at whom goes through the biggest internal journey throughout the story, it would be WKX. ZZS's own story technically spans across both QY and TYK, which makes TYK a bit more about WKX's journey than ZZS'.

But that very scene is not only ZZS saving WKX, but also ZZS reaching the conclusion of his own journey. By the end of QY, ZZS didn't go and meet with Jiuxiao. He deliberately looked the other way, too scared to go check on him, too superstitious; and in the end, Jiuxiao died. TYK puts ZZS in a similar position: someone he loves is away, and the choice to go reach them is in his hands. He decided to respect WKX's wish to go and fight his own battle alone, yet he ultimately went against it, changed and moved on from who he was in QY, to go and fight by WKX's side.

It's no surprise that I'm very into ZZS, and this image of him bathed in light, beating the scorpion to his own game and "taking back" this main character spot... It makes me go insane. Not to mention all the incredible quotes of this passage. "His person"? "There's light on you"? Come on!! I'm also. Obsessed with how and what WKX saw. What he must have felt, as he was ready to die, when he saw his person, his husband, dashingly get rid of all the enemies, almost at the peak of his power, come and "collect his corpse"--save him? Just!! Imagine!!! Imagine being WKX and this is how it ends!!! You're the GVM, you've had the life you've had, you finally meet someone that you truly love, the guy's about to die, then maybe not, AND THEN HE COMES TO SAVE YOUR LIFE AGHHHH 😭😭😭 Sorry, I REALLY like this. REALLY.

-------

cough--So, about their expressions and what I wanted to represent. For ZZS, to me... it was a mix of closure, fondness, and satisfaction. I think that ZZS had a "good time", going back to who he was before: tailing the scorpions, going undercover, ambushing from the shadows--not to mention slowly retrieving his full power. I think that this ZZS feels quite good, especially now that he got the confirmation that WKX is still alive. Then, the feeling of having done "the right thing". He's... beyond regret, now. He was able to follow his heart, quite literally, and that also feels good. The fondness is of course because he's looking at WKX. What else is he supposed to feel?? They haven't met for 3 months! I think that he's worried, but they trust each other. He trusts that WKX will survive this, that he'll be strong, that he won't die on him. So yeah. I wanted this ZZS confident--in himself, in WKX, in the future. WKX is a bit dazed, there. Probably in pain, and a bit stunned as he wasn't expecting it. But he's also... a bit enthralled; by this light, by how impressive and efficient his husband is, and, of course, the fact that ZZS came for him. The person he loves, the person whose life matters more than everything else now that WKX has reached his goal, came for him, came to save him. This stupid guy came for him instead of going to the mountain to prepare on his own. Yet another blatant show of them being so alike, isn't it? I guess... it's just a lot of love, a bit of pride, the faintest hint of him being amused, even--and maybe relief, as well. He won't die, and ZZS is there, and he's strong, and again, like for ZZS, there's a future--which he never allowed himself to properly consider, I believe. -------- Finally, a personal retranslation of that scene. I did it not because I thought it really needed it but because the only existing TL of this part of the book doesn't allow for reposting and I figured I may as well try. So for anyone who doesn't remember the passage or hasn't read the book/reached this chapter, here it is!

The Scorpion raised his hand and was immediately handed a weapon. His smile vanished as he looked at Wen Kexing leaning against the tree, already quite injured. He said: “For someone like the Ghost Lord, I must act in person—it would be quite disrespectful to get someone else to do the job.”

As he spoke, he raised his hook across his chest and approached slowly. He continued in a low voice: “I invite the Ghost Lord to walk ahead on the Yellow Spring road.”

He then fell silent, raising the hook higher and higher. Wen Kexing opened his eyes, quietly looking at him, his pitch-black irises like two dark pools of murky water, calm as if he wasn’t the one about to die.

The Scorpion suddenly felt a violent gush of wind surging from the side, charged with killing intent—electrified by an aura of death, goosebumps rising on his skin, he shouted as he lifted his hook in the air and promptly sliced through—the assailant was wearing the black robes of the scorpions, but didn’t wear a mask, had a soft blade in hand—he swiftly avoided the hook; a sudden, sharp pain made the Scorpion cry out as the soft blade wrapped around his arm which, at once, was ripped from his body and fell to the ground.

The several scorpions standing behind their leader immediately assumed a tactical formation—but then, a dashing figure, a metallic chime, and they all stood, dazzled; one swift move for it to be settled: one man standing, several men on the ground. Whether they were dead or alive, all of those who layed still were missing the arm holding their weapon.

Wen Kexing recognised the man. He abruptly sighed, and said in a low voice: “Idiot, what are you doing here?”

Zhou Zishu threw him a side glance and sneered: “I came to collect your corpse, madman.”

The effects of the Nails of seven apertures and three autumns were suppressed by the medicine Da Wu had given Zhou Zishu, and at that moment his gong fu had been restored to nine parts of its peak capacity. If the Scorpion already wasn’t on par should they have a fair fight, then he didn’t stand a chance when ambushed from the shadows.

Zhou Zishu turned to the Scorpion, the pointed end of Baiyi slightly angled down, and he sharply asked: “You dare threaten my person?”

A bit stunned, Wen Kexing watched the back of the man standing in front of him, and slight shivers started coursing through his fingers resting on the ground.

The Scorpion’s face was deathly pale, yet he still managed to smile and painfully say: “Ah… Brother Zhou, my apologies, I didn’t expect you to honour us with your presence.”

He briefly gauged the two men, waving his remaining hand: “Great master, we won’t counter any further. We bid you farewell———retreat!”

The few scorpions that were still alive crawled and scrambled to their feet and hurriedly followed the Scorpion as he withdrew. Zhou Zishu didn’t try to follow and just turned around to face and look at Wen Kexing.

Wen Kexing’s eyes shone brightly, but he simply chuckled: “You should be more careful for…”

Before he could finish, Zhou Zishu’s eyes focused, he swiftly twirled, the blade that was in his hand suddenly split through the air in a beautiful arch—a tinkling sound as it hit something, and soon enough a muffled groan rose from the woods behind them. Zhou Zishu shook his head and sighed: “Using the same move against the same person twice—are all these scorpions merely one trick ponies? And they dare claim to be on par with Siji manor?”

Wen Kexing watched him, slightly dazed. His mouth curved into a smile as he suddenly extended his hand in the air, trying to catch something.

Zhou Zishu frowned and asked: “What are you doing?”

Wen Kexing said softly: “There’s light… on your body. I’m catching it to see…”

Thanks for reading!

#tian ya ke #zhou zishu #wen kexing #tyk #zzs #wkx #wenzhou #meta #thoughts

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adamsmasher · 9 months

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Okay it's after 1am and I've had a lot of wine so obviously it's time for a late night wall-of-text post, but this time it's less likely to piss off your weird uncle or whatever because once again, I gotta talk about the best $4.99 a month I've ever spent.

Please, if you haven't yet, I'm begging you to look into all of the incredible content available on the Dropout.tv streaming service (formerly known as College Humor) . Not only did Whose Line Is It Anyway's Wayne Brady say that the Dropout crew are the only ones doing improv comedy on the same level as Whose Line, but they were also one of the only studios/streaming services allowed to work during the writers' strike because their contracts went above and beyond industry standards. (And, from my own observations, Dropout LOVES hiring queer, trans/nonbinary, and BIPOC performers + crew. Obviously I don't know much about the industry, but they seem like one of the most inclusive companies in Hollywood.)

"Alex, thanks for the recommendation! What shows do they have that you think I'll like?" Oh, you're asking me to gush about my favorite tv shows? Don't mind if I do!!!

Are you D&D curious, but took one look at actual play shows like Critical Role and thought "6 hours an episode? and there's like 750 episodes or whatever? oh baby not my adhd ass..." Don't worry, me too (sorry CR I love you I promise). But Dropout has a show called "Dimension 20" where comedians play Dungeons and Dragons with emotional, immersive storytelling, gut-busting laughs, and spectacular set design that makes you forget it's a fully improvised series controlled by the roll of the dice. They even did a miniseries perfect for D&D beginners called "Dungeons and Drag Queens" where absolute novices and Drag Race royalty Jujubee, Monet X Change, Alaska Thunderfuck, and Bob the Drag Queen embark on an adventure full of mystery, intrigue, and stupidity. I mean, Alaska plays a muscle-bound, axe-wielding, caveman-grunting Orc named Princess, what more could you want? Plus, the primary game master Brennan Lee Mulligan is so easy on the eyes. Oh, you're not into dorky ginger dudes? How about Aabria Iyengar, a 6 foot tall goddess who's equally as nerdy as Brennan but loves basketball. that's right, if nothing else, there's eye candy for every person in every season.

"Oh, why aren't there any good game shows on TV?" you wonder, wishing that the Game Show Network could come up with something that isn't a lame remake of a free-to-play phone game. Well how about Game Changer, "the only game show where the game changes every show (except for [...] Game of Games, Taskmaster, and a few others that have come to light AFTER [Game Changer first aired]. That's right, [the] players have no idea what game it is they're about to play. The only way to learn is by playing, the only way to win is by learning, and the only way to begin is by beginning." And yes, I did sit there and watch the beginning of an episode to make sure I was accurately quoting Game Changer host (and Dropout CEO) Sam Reich's description of his flaghship game show that has THREE separate spin-offs. (for context, he only mentions the other shows that copied his in the one episode I pulled up to get an accurate quote. could you imagine how uncomfortable it would be if he said that every episode? hah!)

Are you more of a traditional Whose Line fan? Look no further than Game Changer spin-off Make Some Noise, where contestants act out "improvisational prompts that [they have] never seen before, isn't that right contestants?" ("We won't know if we've seen them before or not until we see them!" Brennan insists every time he's on...)

You like musicals but wish they were less... ya know, scripted? Check out "Play It By Ear", a fully improvised musical! (you may be familiar with its primary cast members Jess McKenna and Zach Reino from the podcast that inspired it all, "Off Book: the Improvised Musical Podcast with Zach and Jess")

Or maybe you're more into trivia, cuz you're a total nerd like me (and every single performer that's ever appeared on dropout.tv). How about "Umm, Actually" where contestants are given an incorrect statement and have to buzz in to correct it - but you have to say "Umm, Actually" first!

Straight up, you can't go wrong on Dropout. Please, check it out. They're nearly doubling the amount of original shows they have in 2024, and no other streaming service is doing it like them. If I haven't convinced you yet, get the 7 day trial and give em a chance. There's no referral code I can give you that gives me some sort of kickback or whatever, I genuinely wrote what looks like a thousand word essay about Dropout at 1am just because I love them so much.

youtube

#dropout.tv #umm actually #dimension 20 #make some noise #game changer #brennan lee mulligan #aabria iyengar #for a late night wine-fueled rant on a broken keyboard i think this went well #actually i feel so guilty about my CR dig because i loved Exandria Calamity so much so please dont yell at me #also google said quiddie is exactly 6 feet i hope i did her justice

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centaurianthropology · 2 years

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Why C3E51 worked so well (a DM’s perspective)

I have seen a lot of absolutely bananas critiques of C3E51 (thankfully not nearly as many around here, far more on Reddit, which I should not have visited). And the ongoing theme of those critiques is that Matt should not have imperiled former PCs, and if he brought them in should have either done lengthy side-bars with those characters or let them win the fight against Ludinis and have a chance to take him out themselves, since they’re ‘god tier’ or ‘high level’ and that makes ‘logical sense’. What these critiques really boil down to, IMO, are people who were really invested in the former campaigns upset that their faves didn’t get to do cool things, treating it more like a TV show than a game. But even as a TV show, that would have been disappointing from a narrative perspective. Because even in a TV show, this is a sequel spin-off show, starring new characters. The story is about THEM. And more importantly, the game is about the players and about telling their story.

So let’s break this down from a DM perspective. How do you build a Kobiashi Maru situation for your characters? For those of you who aren’t familiar, the Kobiashi Maru is a Star Trek term for a scenario designed from the jump to be unwinnable (Kirk beat it by creativity, but later admitted that he missed the point of it). In Star Trek this was done to test what a future officer would do if faced with certain failure. In a D&D game it’s a little more complicated. Part of it is to set up the BBEG, put their plan in motion, and set the stage for the next leg of the game. But it’s also to give your players, who are clearly into it, a darkest-hour scenario. Not every player group is going to be into facing down the Kobiashi Maru, and it’s clear from the aforementioned critiques that a lot of them are on Reddit. Power-gamers who always want to win are not going to enjoy this sort of storytelling, but players who are really into RP and working through difficult times and failures will eat this stuff up. And this is absolutely the sort of table playing on Critical Role. There is a level of trust there that can only be built after years of working together, and this was finally the moment when Matt could pay off years of planning and campaign-spanning set-up.

Matt carefully plotted the structure of this episode out to give maximum agency and impact to a party of dramatically under-leveled characters. And they knew going in they were under-leveled. This wasn’t a surprise, but a potential suicide run by people who knew they weren’t the heroes they needed to be, but were the only heroes in the right place at the right time to try anything. So they came up with as good a plan as they could, and executed it fairly well, all things considered.

They knew they couldn’t take on Ludinus directly (and this was a great way to demonstrate exactly how much he had planned and how long, to bring in elements from C2, hints we’ve had for years about Ludinis, only to reveal it went deeper than any of the characters could have imagined), so Matt gave them some winnable objectives. This is a great way to keep the characters invested in an unwinnable scenario: the ultimate outcome may be beyond the characters, barring some insane genius or incredible rolls, but they can still help. They can do something that will have a tangible impact on events and hinder the baddies enough to give them another chance at a rematch and a way to stop the apocalypse when they’re higher level. So Matt gave them the batteries: take out as many as you can. While this would not stop the ritual, I suspect that the more they took out the more Ludinis would have to drain his own power to make the key work, and the longer the process would take. Knocking out the feywild key, as well as multiple power sources turned what would have been an instantaneous event if they had done nothing into a more drawn-out affair which, I suspect, could be stopped or even reversed. It gave them a window to come back and demand a rematch.

Then we have the high-level PC allies, and how to play with those sorts of characters without pulling focus from the PCs. Matt handled this very well, by having the players roll for their former PCs, taking the specifics of their actions out of his hands and letting the dice of the former players decide. He also revealed that Keyleth’s involvement, and baiting Vax with Otohan’s permadeath poison, was key to Ludinis’ ritual, which was why she couldn’t just dive in and clean everything up. But again, because of this story, it ties less back to Keyleth and more back to Orym. That was the point of the attack on Zephrah, to get her attention by getting her to look into who did it and then coming to get some payback, but the little guy on the ground has always been caught in the middle. Orym has been Ludinis’ unwitting pawn from the off, his family’s deaths merely a means to an end, and that is vicious and amazing set-up for character growth for him.

Beau and Caleb had to be there by the logic of the story. It didn’t make sense that Caleb would sit out a world-ending event orchestrated by a Cerberus Assembly member after spending years trying to take them down. Beau would obviously go with him. It also made sense that they would be the only two there, because they were scouting when Ryn got taken down, and after that were trying to keep a low profile. Shit accelerated too fast for them to call in reinforcements.

Which is the in-story reason for them to be there, but isolated and vulnerable, making them useful allies and wildcards (who likely could have been more useful if ultimately failing as well, but failed early thanks to Liam and Marisha’s rolls). But they were still outmatched. I have no idea what the challenge rating of Otohan, Leliana, and Ludinis are, but we know Otohan was considered ‘beatable’ back in Bassuras. That indicates she’s the lowest CR, particularly with the glowing weak-spot on her back. But she can still wreck a level-20 PC if she gets the jump on her, which she did. And that meant that she remained a massive threat. Caleb and Beau were playing it smart, keeping to the shadows, but still got caught by Leliana. Between dice rolls, careful planning, and some great enemy design, Matt really set up a team that could take on high-level players and win. And he made it clear that Ludinis did not leave this to chance. He has the best people he could muster after 1000 years of planning. Nothing short of a miracle could have truly stopped them.

Which is why we cut back to Bells Hells. Because ultimately this particular story isn’t about Keyleth or Vax or Caleb or Beau or any other former PCs. This is about the current party being caught up in events much larger than them and having to rise to the occasion. This is the story of the schmucks sent in to take out the batteries, but who have personal beef with the big bads. Ludinis orchestrated the plan to attack Zephrah to bait Keyleth and draw out Vax, and Otohan carried it out. And he used Orym as a pawn throughout all of it. This makes taking them down, but especially taking Otohan down, the cornerstone of Orym’s personal quest. Letting an NPC take her down would be taking away a critical part of his motivation and goals, which is an absolute no-no for a DM. NEVER bring in a god-tier NPC and take away player agency or story beats. Especially never have them resolve important player goals and backstory events! Every NPC, even the powerful ones, are there to support the story the players are telling. So of course Keyleth wasn’t going to take out Otohan. Of course she wasn’t going to stop the ritual. Beau and Caleb might have been able to do something more if Liam and Marisha hadn’t rolled so badly for them, but ultimately, they had to get caught or fail in another way.

For the sake of gameplay, Bell’s Hells had to be the only functional team. They had to be the ants that were beneath Ludinis’ notice long enough to really accomplish something. And as much as it feels like they failed, they had minor victories: Laudna and Ashton took out more batteries, making Ludinis drain his own power to kick off the apocalypse. They only failed to take out Otohan’s backpack by 2 HP, which showed them that she was an achievable goal in the future. If they had rolled a little better, they probably could have taken her out entirely, which would have felt like a big accomplishment for them. Imogen made her mother pause in her assault before doubling down. This leaves open very interesting future beats for their interactions. Can she ultimately redeem her mother or would she have to take her out? Every step that Matt set up in this episode, from the reveals about Ludinis’ plans and Orym’s past, to Imogen’s interactions with her mother, to Chetney and likely Ashton finding themselves staring down their own backstories after the party split, was focused on this party, on getting them ready to step out of low-level play and advance.

And that’s the point of E51. It’s not a climax of the story, but the ultimate set-up. It’s putting all the pieces onto the board in a way that all the characters can now recognize. Yes, unless the players came up with something genius, the apocalypse was going to kick off, but their actions slowed everything down to a place where it could be combatted. Yes, the god-tier former PCs were always going to get neutered, because this is Bells Hells’ story, and you cannot have NPCs fix PC problems. They might have been able to do a little more before this happened, but the dice rolled.

And it’s honestly good for the PCs how things turned out. They have a clear objective, but are split up. This gives them great incentive to level up, explore character backstory, deal with their personal shit, get stronger, and then come back to kick the asses of all three of these villains (or possibly redeem one, we’ll see). Their powerful allies are now temporarily side-lined. Keyleth is badly hurt and will need time to recover. Caleb is collared and will need time to get that removed. Beau is likely up and moving now, but will need to safeguard Caleb for a while.

The Bells Hells are on their own. The Darkest Hour has come, and it’s time for them to rise up and go from nobodies to heroes. This is their true call to adventure. And as a DM, it was so cool seeing how Matt set up all the pieces over the campaign, only to pay them out in such a satisfying and motivating way in this episode.

#Critical Role #Critical Role spoilers #I really liked this episode #both as storytelling #and in terms of structure #this is how you do long-term setup #and payoff for a villain #he had planned for everything #but this annoying party of gnats muching up his works #and the gnats are going to be what takes him down #that is such a good way to let a low-level party get set up to take on a high-level villain!!#anyway #this is to combat some of the negativity I've seen toward this episode

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gabessquishytum · 7 months

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Dream is out at a bar with his sister, trying to work up the courage to go introduce himself to the cute guy at a table near them. Death is trying to encourage him, and before she momentarily leaves to use the restroom she promises to help him plan how to chat the guy up.

Except that Dream’s drinks were a little more alcoholic than either of them realized, and while she’s gone it hits him all at once. Suddenly he has all the courage he needs to not only walk over to the guy’s table, but also immediately slide into his lap without so much as a hello.

Death returns and immediately apologizes for her brother to Hob Gadling, who thankfully only looks bemused for the most part at the sudden cute drunk stranger in his lap currently nuzzling his ear.

She tries to pull Dream away, as clearly he’s done for the night, but he refuses to let go. He’s got both arms around Hob’s neck, and he is adamantly clinging on, glaring at his sister for even trying to tug an arm loose. Even when Hob tries to help her by standing up, thus depriving Dream of his lap, Dream simply hooks his legs around Hob’s waist in the process, looking incredibly smug at outmaneuvering them.

Ultimately it’s decided that Hob will come along to Dream’s apartment with the siblings, in the hopes that they can detach Dream somehow on the way there, or at least see if putting him to bed will finally encourage him to release Hob. No such luck though, as when they lay him down in bed Dream executes an impressive twist that pulls Hob into bed with him and allows Dream to roll on top of him in the same move, all without releasing him.

“It looks like I’ll be spending the night here, if you want to stay and keep an eye on us I understand, I promise though that I won’t take advantage of him like this,” Hob says apologetically.

“At this point I’m more worried that he’ll be the one trying to take advantage of you,” Death replies, only half-joking.

(On the way there Dream had been whispering a great deal in Hob’s ear, though thankfully she hadn’t managed to catch any of it herself, as presumably it was something dirty judging by Hob’s blushes)

Thankfully Dream is quickly asleep before any advantage-taking occurs, though Death decides to stay the night anyway. She’ll be able to help keep her brother from freaking out over waking next to a complete stranger if he doesn’t remember what happened, and maybe also keep him from smothering himself with his own pillow out of embarrassment afterwards. However, if all goes well after that, she might be planning to make a discreet exit to allow the two to perhaps put into practice whatever Dream was saying last night that caused Hob’s blushes. After all, she had promised her brother a wingwoman 😉

-🪽anon

Drunk Dream!!!! I love him so much, he's totally precious. Hob is very lucky man to get all that in his lap!

Even completely sozzled, Dream is certainly a storyteller. Hob can feel the sweat trickling down the back of his neck as Dream whispers to him. All kinds of things: about the hair on Hob’s arms, and how sexy his hands are, and how Dream wants to kiss his plush lips and cum all over Hob’s face. He doesn't hold back, and instead of weird or creepy or embarrassing, it's totally the hottest thing that's ever happened to Hob. He's being a good guy these days, though, so no fulfilling all of those fantasises until Dream can walk in a straight line again.

(Hob does indulge in a fantasy of later - some day where he's allowed to keep Dream for himself, forever. One where Dream gets just as delightfully drunk, and where Hob is allowed to ravish him just as he is. Red faced, glassy eyed and tasting of potent red wine. Its a guilty fantasy, but Hob can't help himself. He muffles his moans with his hand over his mouth as he jerks himself off. Dream is right there, snoring and oblivious. Even if Hob can never have him, at least he'll have this....)

In the morning, Dream is utterly mortified, but the embarrassment fades slightly. He knows that nobody took advantage of him, but he can smell the faint whiff of cum nonetheless. So, Hob can't think that he's completely repulsive, if he managed to jerk off... Death is rolling her eyes and wondering if she can survive a jump from the window btw. She's starting to think that these two deserve each other.

They really, really do. And when Death has excused herself, they fuck the remnants of Dream’s hangover away. Naturally they're both made for each other.

#🪽anon #the sandman #dreamling #nsft #cw intox #cw alcohol

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