#at least i have laetitia

[anzuhan]

i drew these just to explain why i got into gundam. simply because i think if i drew it itd make sense immediately on the spot

[starrbirrd]

Rhysand's sister is named, as you all well know from some of my snippets, Rhaenys (didn't know until after the fact that it was from GOT 😔) and his father is Rhadamanthus just because I like the idea of the Rh being a royal family theme. I also played with the idea of her being named Sidra because of the Sidra River, since in my head his mother is named Velaris and his father renamed the city for her, which is something I talked about Rhysand echoing with buying Feyre all those fancy houses and stuff. Grand but empty gestures for women who came from poor backgrounds and would in theory be disgusted by the excess amount of riches they now possess.

I think I'd name Mor's sister Brighid(Brigid?) also to keep up with the theme since Mor is apparently(?) named after an Irish goddess. I also think it would be ironic and funny to have Mor, named after a goddess associated with "war and fate, especially with foretelling doom, death, or victory in battle." be the dreamer that made it out of the CON while the sister that is assumed to be just as bad as their father and left to rot down there is named after a goddess associated with "wisdom, poetry, healing, protection, smithing and domesticated animals." Keir is also a Gaelic name and like most of the women who aren't the MC of the series, Mor's mother doesn't have a name. I like to think she's from a different region and got sold off ages ago so she's spent more of her life in the CON than her original court.

Cassian's name means "void, hollow" which I think is very telling considering his mother got pregnant through sexual assault. His sister, I think, would be his half sister. Same father, but the legitimate daughter of the warrior and whoever his wife was. She'd have a name like Laetitia, meaning "happy" and "prosperous". A stark contrast to Cassian's name since they'd have exceedingly different circumstances surrounding their births. However, while it can be inferred from the story that Cassian's mother at the very least grew to love him, being a legitimate daughter wouldn't save Laetitia from the fate of every Illyrian woman and she would only be given such a lofty name because a daughter is only as good as the amount of money/status they can make off of her. When Cassian goes on his rampage in the village and slaughters almost everyone, including their father, I think he also slaughters her mother (if you go to his mother's wiki, it says he slaughtered everyone save for the innocent, children, elderly, and some females.) and any siblings they have, which also plays into her name since Laetitia can mean "lucky" as well. Is she lucky to escape her fate even though it cost her entire village and almost everyone she knew?

[dustedmagazine]

Listening Post: Stereolab

In 1993, Stereolab co-founder Tim Gane told MTV Europe that he wanted to make records like the ones he liked listening to. Not an unusual sentiment but a useful reference point to begin with this 85-track, six-and-a-half hour exhumation of his band’s back catalog.

Formed in 1990 with Laetitia Sadier, the only other consistent member, Stereolab are themselves archivists. Beginning in 1992, the five Switched On releases have gathered rarities, singles, EPs and demos between albums for fans who couldn’t keep up with their occasionally prolific output. So nothing here is new. They also released remastered and expanded versions of their first seven albums in 2019.  Which begs the first question, do we need this all together and all at once?

At every point in Stereolab’s career, critics and fans have struggled to discuss Stereolab without referencing their influences. From their early guitar and organ driven garage drone to Neu! style Krautrock, the lounge sounds of Esquivel, Denny and Meek, Ye-Ye, bossa nova, tropicalia, Reichian minimalism and spacey noodling, Stereolab have wandered into many of the byways of pop music history often combining disparate elements in surprising ways. And it seems one’s attitude to them can depend largely on how you react to this magpie approach. I know people who swear by one particular Stereolab LP or sound but have no interest or regard for the rest. And this notion that they are pretentious dilettantes or somehow phony seems to linger. But for me at least there are constant threads that define them even as you move through the diversity on this compilation. 

Sadier’s voice is a deceptively dulcet instrument for her lyrics, sung in French and English and steeped in Marxist dialectic and Situationalist social critique. Her harmonizing with multi-instrumentalist Mary Hansen (from 1992 until her untimely death in 2002) was a key to some of Stereolab’s best moments. The densely layered guitars, analogue keyboards and motorik rhythms of well-known songs like ‘“French Disko,” “La Boob Oscillator” and “John Cage Bubblegum” still sound great. The keen melodic sense that mitigates the whimsy of some of their more outre space lounge moments like “One Note Samba/Surfboard” and “Outer Bongolia.” The groove jams and esoterica of their Can referencing collaborations with Nurse With Wound “Trippin’ with the Birds” and “Simple Headphone Mind.”  These are all highlights for me. Having seen them live at various junctures in their career I can say that when they hit their groove they can be a mesmerizingly heady experience. 

Intro by Andrew Forell

Andrew Forell: I know that this collection is an exhausting proposition especially if you haven’t listened to much or any of their music but I’m interested to hear what you all have to say about the band and which elements of their music particularly strike you positively or otherwise.

[Before we got into the main discussion, there was some preliminary kvetching about the six-hour length of the compilation.]

Bill Meyer: Stereolab is a bit like cake and ice cream, you only need so much at a time. 

I finally took the plunge and have made it through 26 songs — I am on 27 as I type it. I think I’m already pushing past the point where I recognize any of it, since I only heard Switched On 1 and 2 upon original release. Some of the songs hold up pretty well —  “French Disko” is a crowd pleaser for a reason, and if I was in the crowd, I’d be pleased to hear it, too. But a lot of their music relies upon the appropriation of familiar elements  — the Neu groove, the Modern Lovers riff, the “sounds like something I heard in an old French movie” interludes. Even though they didn’t use samplers much, at least not during the years that I was listening, they bring a sampling-age approach that flexes the recognizability of their mostly 1970s-vintage influences. This is not a new observation, of course, but since I have barely listened to them for 10-15 years, I think I’m being reminded of why I haven’t felt like I needed to go back. I’m certainly more likely to put on a Neu record than a Stereolab record these days. 

Jonathan Shaw: I don't have one Stereolab record with which I have that sort of relationship, but it's relevant here that Refried Ectoplasm, the second Switched On volume, was the first Stereolab release I spent any serious time with. I loved it, still do, and soon came to love the first Switched On comp even more. By the time The First of the Microbe Hunters appeared, I had tuned out. The lounge jazz and fizzy Tropicalia reminded me too much of Pizzicato Five — not quite as irritating, but just as blithe. No thanks. It's the guitar-forward version of the band that I like best. I know I am not taking a bold position by saying that "Lo Boob Oscillator" is a surpassingly great song; it's still my favorite thing on Refried Ectoplasm.

It might be less of a common opinion that "Doubt" is a quintessential Stereolab song. Ebullient and anxious in equal measure, it prompts you to get up and boogie even as it saws away at your Achilles tendons. You collapse, pull yourself into a chair, and start sit-dancing, because the song just won't stop being itself.

Jennifer Kelly: Yes, I also was surprised at how muscular some of the early material was.  I'm listening to "Brittle" right now, and sure it has the boppy, cheery vocals, but there's a good bit of bass and guitar churn at the foundation of it.  It's a lot rougher and more visceral than I envisioned Stereolab to be.  I sort of picture a spaceship lifting off during a 1960s French rom.com, you know?

I have a nodding familiarity with Stereolab — pretty sure I saw them in 2006, interviewed Laeititia one time on a solo record, had one or two records at one point — but never really latched on in any committed way.  Gotta say, though, while I was listening to this stuff, I kept hearing other bands and thinking, damn, that's from Stereolab.  Winged Wheel, a whole bunch of Trouble in Mind bands (Dummy, En Attendant Ana) etc.  Their influence is undeniable. 

Jonathan Shaw: Funny, "churn" is a verb I also had in mind this morning, listening to "Contact" and getting lost, for like the zillionth time, in its drony flow.

Alex Johnson: Churn indeed, and I'd throw in "grind," too, for a track like "ABC" — although not so much the outro, which is cool in and of itself and, for me, a different sort of departure in a lo-fi singer-songwriter way. I'm most familiar with Mars Audiac Quintet, so hearing the grittier side of the band here is really expanding my sense of them.

Jonathan Shaw: Mars... is the last Stereolab record I really liked. Pretty great that one of the tunes there is named (sorta) after an Alfred Bester novel. Their pop cultural references are always spot-on, but when the band started getting more clever about working pop forms into their own music ("Outer Bongolia," for example, or "Jump Drive Shut-out"), for some reason it fell flat for me. I think I like the relative spareness and rigor of the early music, which created an interesting tension with the attentions to pop's consumerist, superficial pleasures. 

Bryon Hayes: Interesting, Jonathan, that Mars was the last album you liked.  It was actually my introduction to the band; my friend played me the album when I was a junior in high school and it instantly struck a chord, as it was anathema to the bratty, aggressively punk-influenced, indie rock that I was listening to at the time.  One thing that stood out at the time was that the comparatively softer-sounding nature of music (as opposed to what I was into before I heard this), and the sing-song vocal harmonies, belied the powerful ideology behind the lyrics.  Take the chorus of "Three-Dee Melodie," for example: "The meaning of existence / Can't be supplied by religion or ideology" repeated over and over again.  Such a powerful statement, and it raised a lot of questions in this Catholic schoolboy's mind.  

Over the years, I paid far more attention to the full-length LPs, so I'm pretty much hearing the songs from the Switched On series for the first time.  Right away, I definitely hear the "churn" and "grind" that Jenny and Alex refer to.  I hear it in the rapid-fire, almost motorik drumming and that thick, buzzy synth on "Super-Electric," from Switched On Volume 1.  The band knew how to balance propulsion, spaciness, and bounciness across their music. 

<Hours go by> 

OK, when you get to Aluminum Tunes, the songs seem to be more intricate, informed by French pop, exotica, and electronic weirdness.  I think this material came after the period in which Sean O'Hagan was a member, so I wonder if his influence has rubbed off on the band.  I like this phase of Stereolab equally, so it's neat to hear their evolution as the Switched On series progresses.

Christian Carey: I'll fess up to being the one geeking out to the whole boxed set. Sure, mileage varies, but I don't think there will ever be another Stereolab album. With the passing of Mary, there is no more band. So this is a chance to savor the band without any expectations. I am interested in their work in other contexts, much of it different from Stereolab.

Ian Mathers: "I know people who swear by one particular Stereolab LP or sound but have no interest or regard for the rest."

Hi, it's me! When I first got to university in 2000 there were these huge periodic used-CD sales that filled the courtyard of the student center for a few days at a time, and right after I moved into residence I picked up a battered CD copy of Emperor Tomato Ketchup for $4 (along with my first Fall album, Code: Selfish, but that's another story). I don't know how often others have the experience of falling hard for an album in a way that leaves you with virtually no desire to investigate further (which feels especially odd when it's a band who already has many other records out there), but despite my immediate and now long-lasting love for ETK it took me years to move beyond it. Well, I mean, I listened to Sound-Dust a few times when it came out but found it impenetrable and lacking most of what I loved about the earlier album, and that probably cooled my interest a fair bit. So far of the other records I've tried the only one I've also liked is Peng! Respect to Gane, Sadier, et al for following their muse, and I certainly know plenty who love more of what they do, but I've been pretty content to love a couple of Stereolab LPs and not the band as a whole.

So when Andrew asks "do we need this all together and all at once?" for me, at least, the answer on the face of it is definitely "no and no." But there is a reason the band have also put together Little Pieces of Stereolab (A Switched On Sampler), and I am definitely part of the target audience for it. I have read in the past how the first two Switched Ons, especially, are worth investigating for someone who likes Stereolab in the way that I do, and even if it's nearly 75 minutes long that still qualifies as just dipping your toe in when compared to the breadth (chronologically, sonically, and temporally) of the whole series.

The approach is as basic as you could expect, three tracks from volume. The "sampler" description is more than incidental; if this was any sort of potted "best of" you might expect the three tracks from Refried Ectoplasm to be "Lo Boob Oscillator," "French Disko," and "John Cage Bubblegum" instead of only the latter making the cut. It's paired with "Tone Burst (Country)" (clearly a bit of an outlier) and the wonderful "Tempter," which does make me think looking more closely into these early volumes might be worth my while. So does the whole selection from the original Switched On, "The Light That Will Cease to Fail," "Changer," and especially "Doubt" reminds me that my feelings of polite admiration rather than love for a lot of the Stereolab I've heard has as much to do with them moving away from a sound I really love as it does with the things (genres, sounds, structures, etc) they moved to being ones I'm not necessarily interested in.

And while I definitely tried to keep my mind and ears open for the rest of the sampler, I have to admit my visceral enjoyment of the proceedings fell off more than a bit when I hit the material from Aluminum Tunes and onwards. One big (in a couple of senses) exception is the 21-minute "Trippin' With the Birds," with Nurse With Wound, and I did go back and listen to the 13-minute "Animal or Vegetable (A Wonderful Wooden Reason...)" on the full Refried Ectoplasm, which also features Steven Stapleton doing whatever the hell he wants with their music. Both great, but the former especially feels out of step with its surroundings.

Hearing this condensed version of Stereolab's progression over the years does make me think that their increasing interest in and use of referents and sounds I find less immediately compelling has gone along with a change in their songwriting. Even back on Peng! you had tracks that seemed content to just bask in the beauty of the sound the band makes, but more recently it feels to me like there's an increasing emphasis on texture and atmosphere as opposed to, you know... song-ness. There's nothing at all wrong with that approach, and it's not that I think Stereolab started making bad music, it's just that there are a bunch of melodies, riffs, and choruses on their earlier work that I get stuck in my head, and the later stuff (at this point, most of their career) doesn't do that for me.

So I'm glad for the reason to dive back into Stereolab and see what I've been missing/how my reaction to their work might have changed, but I find I'm in roughly the spot I might have guessed I would be; I think I should check out the first two volumes of Switched On, and can probably pass on the rest (well, maybe give them a listen or two to cherry pick some of the stronger examples of their later work out of there...).’’

Jonathan Shaw: Ian, you may be happy to hear that when I saw the band in 2019 "Percolator" and especially "Metronomic Underground" were among the hottest songs in a hugely engaging set (tho "Miss Modular" left me cold, like the rest of Dots and Loops); hard to do "...Underground" without Mary Hansen, but they made it work. Sadier seemed to be having a great time playing, and while Gane and Co. looked like a group of Cinema Studies profs who'd just wandered out of an especially esoteric conference panel, the band cooked.

Agreed that the collabs with Stapleton are always interesting. "Simple Headphone Mind" is excellent comedown music, even for those of us that no longer actively eat psychedelics. The odd flashback, on the other hand...

Bill Meyer: Ian, I’m with you on the merits of Emperor Tomato Ketchup. While I was aware of Stereolab from 1992 on, to me that record was their peak. It was warm, punchy, and consistently catchy with some great stand-out tunes. Before that, they had great tunes stirred into too-long records. I checked my collection and it ends with a promo cdr of Sound Dust whose ability to still play I have not yet confirmed, but which I recall finding opaque and uncompelling at the time it was released. 

For me, Stereolab is a band that would have benefitted from something I suspect they would never have submitted to, which is a hard-nosed producer with veto power. It’s not that I only like the catchy hits; they made some great side-long tunes, too. But there’s a lot of Stereolab music that never quite comes into focus the way that Emperor Tomato Ketchup did, and as I have waded into the later Switched On material that is new to me, I don’t hear much that’s changing my mind. I also remember finding them uneven as a live band back in the day; Sometimes they could take me places, sometimes they were kind of dull. Thus when they reunited, I did not return to the well.

Ian Mathers: Funnily enough, Jonathan, I was actually thinking while listening to all this that despite my relatively lukewarm feelings towards most Stereolab LPs, I bet they hit pretty hard live. "Metronomic Underground" is easily my favorite song of theirs, and while modern ticket pricing suggests I'd be hasty to pay just for the chance to see that one, I am tempted. (Although I am taking on the other report, of live inconsistency, as well!)

Bill, "stirred into too-long records" is absolutely touching on one of my biggest roadblocks with most of the other pre-ETK albums. Peng! coming in at just under 48 minutes is secondary to how much I like "Super Falling Star," "The Seeming and the Meaning," etc. in my affection for it, but... it's a surprisingly close second. There are plenty of artists where I adore a good hour-plus album, or doubles or triples (or box sets), but Stereolab isn't one of theirs. I had the chance to review Chemical Chords, their last pre-hiatus LP, for the Village Voice at the time and although I don't think my piece was very good I did note approvingly at the time that they seem to have discovered concision in a way that worked for them. 14 tracks, sure, but an average length of just under three and a half minutes (and no epics)! That record is self produced, like everything after Sound-Dust. And on earlier records Stereolab is almost always listed as a co-producer, which isn't surprising; they feel like a band both capable of and willing to exert a certain level of control over that production. Emperor Tomato Ketchup and Dots and Loops had John McEntire working with them (Mouse on Mars' Andi Toma too, on the latter), and then Jim O'Rourke joined McEntire for the next couple. But even on the few ones where Stereolab isn't listed as co-producing, "The Groop" is usually down as mixing. So more than a lot of bands, it seems they're pretty hands-on with the post-performance stuff.

I agree that Stereolab working with a strong producer would be interesting. The question is, who do we think would be a good fit and/or introduce some interesting tensions into their work? I think between his work with Mogwai, Low, and Mercury Rev it might be interesting to see what Dave Fridmann would be like.

Bill Meyer: I suspect that ship has passed. The band might get back together to play the old songs, which makes sense since people love ‘em and Stereolab is a much bigger and more compensatory draw than anything that Gane or Sadier do on their own. But the couple has been divorced for quite a while, and if they’ve been able to make anything together since reuniting in 2019, I don’t know about it. I doubt that the rapport and creative chemistry they once had still exists. I think that what they needed was not someone with a particular sound, but someone who could have combined an ability to facilitate their sound production and respect for their intentions with a readiness to say, “that song needs to be better before you put it on a record.” 

Ian Mathers: That's a much harder quality to spot from the outside, I guess. Also, I apparently forgot they were divorced (or, quite frankly, that they were married)!

Jonathan Shaw: Old songs and the reunion tour — those are always an anxious coupling. One wonders about intentions. But the old songs that crop up on the later editions of Switched On are a treat. I really like the Low Fi EP, which was Hansen's first record with the band and appeared on Pulse of the Early Brain, the most recent Switched On. "(Varoom!)" feels a bit like a demo version of "Revox," a great track from Refried Ectoplasm. But I like the stretched out and distended quality of "(Varoom!)." It's too long, a little unwieldy, not a trance-inducing drone or a dance marathon. Just a groove the band couldn't seem to let go of, which then bottoms out into an extended, abrasive slurry. I don't know if that functions as a sort of metaphor for this collection, but there are similarities with qualities we have already marked: too long; unwieldy. For all that, and even with my own lack of clarity for why these records have been bundled in this collected set (left-handed career retrospective? cash generator? vanity project?), it's been deeply pleasurable to revisit some of these songs. 

Ian Mathers: Interestingly enough, "(Varoom)" is from one of two early EPs not included in the Bandcamp version of these compilations, due to "digital licensing restrictions." I think it's because they were on Too Pure instead of the band's own Duophonic imprint; so were their first two LPs and the original Switched On comp (which you can order from but not stream on BC) but the rest of Switched On presumably made it in because Too Pure were just licensing those tracks themselves. Regardless "(Varoom)" is great (both halves; if anything I find that more aimless second part a bit more compelling, weirdly) and exactly the kind of thing I wouldn't have listened through all of these to get to without some signposting from others.

Christian Carey: What's interesting to me in listening to Stereolab is that the evolution of their work, at least in some ways, mirrors the technical resources available to contemporaneous artists, particularly other electronica. Their palette morphs. Does anyone else notice that?

Bryon Hayes: I definitely notice it on Dots and Loops, where John McEntire introduced the band to ProTools and Andi Toma added electronic wizardry to their already eclectic sound world.

Jonathan Shaw: "(Varoom!)" is a fun title, but also gets at something I have been thinking about as I have been listening. Varoom! It's like 1980s kids quoting from The Jetsons, an ironized imitation of the sound of propulsion that hasn't lost its grip on the fact that ironies can be fun. I like the Stereolab songs from that early-1990s period: pre-Internet, pre-file sharing, crate-diggers grooving on French vinyl and bossa nova sides, Farfisa organs and mid-1960s aesthetics linked to the analog tech that was the material real. I listen and I think about this from Fredric Jameson, from his long essay on Adorno in Marxism and Form: "as in the larger world of business and industry, we find a tiny history of inventions and machines, what might be called the engineering dimension of musical history: that of the instruments themselves, which stand in the same ambiguous relationship of cause and effect to the development of the works and forms as do their technological equivalents (the steam engine) in the world of history at large (the industrial revolution). They arrive on the scene with a kind of symbolic fitness."

Flash forward ten years. The dot-com bubble had burst. Napster was suddenly a thing. A song like "Dimension M2" sounds like an mp3, brittle and crystalline, the chiptune-ish freakout at the song's midpoint emptying into digital groove that's so slick you can't even feel it passing. It has a symbolic fitness, sounding very much like 2005. But there's no resistance in it, no ironies either buoyant or bitter. It's interesting (if a bit of a bummer, for this listener) to tune into the historical dimension. So much changed in music as Stereolab moved from Duophonic to Elektra. So did their sound.

Andrew Forell: Going back to Ian’s post, I’ve been thinking of Stereolab as a kind of Venn diagram of musical influences that I either like, have been momentarily interested in or I’ve been led to explore more deeply. My first real engagement was with Refried Ectoplasm (Vol 2) when the combination of VU garage & Neu! adjacent (or let’s be honest — idolatry— “Jenny Odioline “ which is great but basically “Fur Immer”) crossed with non-English pop was very interesting to me. Having been a fan of Gane’s band McCarthy & and an old leftie, the addition of the Situationalist lyrics was great.  And yes to Jonathan, that pre-internet time when you discovered stuff through a serendipitous combination of other band’s liner notes, mags, record store peeps  friends & whatever unexplained oddities you found at the back of your parent’s record collection (hello Herb Alpert, Gainsbourg, an early 1960s album of “cocktail party” music & some early 70s Moog music) that led you down weird byways. All of that is to say that for all their musical cul de sacs, they’ve always appealed; although I haven’t loved everything, they have always been a band felt an affinity with.  

[projectmoon-smash-or-pass]

project moon smash or pass tournament

i love these kind of polls so i made a whole blog for it :)

rules:

the characters has to be from a PM media source

abnormalities, distortions and aberrations will be included :)

no minors (so tiphereths, laetitia, scorched girl etc). for someone to be a fixer they have to be at least 20 years old so most fixers are adults.

this blog implies that both the abnormalities and you / agents in question are very enthusiastic about the whole smashing thing and it involves consent

after the first round (which will pick which characters are to be Smashed or Passed), there will be a tournament between randomly selected characters to see the ultimate project moon sexyman, woman, nugget or monster.

a lot of spoilers will be on this blog

feel free to send propaganda for any character you want through the askbox!

[outsidereveries]

welcome to

murmur journal

issue no. 6

i am sorry for my absence, the questions were asked on 20th november between 10 am and 4 pm eet but i can type them only now, i am sorry for that :(

here i am allowed to share..

gyuvin's bond with the members of zerobaseone: currently, his bond with the boys is actually great. (<- albus: himself, his communication with zb1) however, there's a big warning for gyuvin because he has to be cautious of what his actual intentions towards the boys will be. (<- amissio: overall dynamics between gyuvin and zb1) gyuvin might have issues with trusting people and that doesn't seem to happen with his teammates. therefore, it leads for me that these issues might happen from time to time when he's not feeling secure. (<- cauda dragonis: known enemies and friendship) i think there can be issues, related to his solo activities in the future, currently, comparing to some others, he doesn't seem to have any, or if he has, there are little of them (<- rubeus: personal possessions). if his relevance is going great, his intentions will be great. if not, gyuvin might change out of sudden because he seems to rely on his idol job quite a lot and he might not care for anyone else and there are just risks for .. anything (<- career: conjunctio + hidden enemies: acquisitio).

nct mark and haechan's current dynamics: basically, they are distancing themselves from each other outside of work. in the past, they were friends for a reason outside of their idol/entertainer job but the purpose for it has already finished and there isn't simply anything else for them to be as close as before because they simply don't vibe with each other like that anymore. (<- cauda dragonis: themselves, their overall bond, natural matching/vibing) they can communicate in work quite well (<- laetitia) and they can be acquitances (<- puella: friendship) but up to that, i am not sure if they are comfortable with each other currently. (<- rubeus: happiness)

zhang hao, career until the rest of 2023: he is the star and will shine as ever! we saw him in mama, right? (saw he plays the violin in that collab😭; <- populus: himself, his relevance) however.. he seems to not know what to do individually? (<- cauda dragonis: personal possessions, solo work) he's trying to choose what to do, he just wants to do anything but he is thinking of what will be efficent for him and what has to be delayed. (<- rubeus: happiness) however, this seems to piss wakeone out because they want him to decide what he wants to do. (<- relationship with wakeone: tristitia) i see he wanted some time to think, right? at least they understood this. (<- laetitia: communication with wakeone) they will love him anyways ;) (<- conjunctio: connections)

what zhang hao+ricky+gyuvin+yujin/zb1 (collectively) think of sung hanbin?: overall, they don't have a summary opinion of the leader of their group. (<- cauda dragonis: themselves) at least one of them is "moody" with how they view sung hanbin (<- via: happiness) and although they communicate and seem to match very well (<- populus: communication + caput dragonis: vibing + conjunctio: overall dynamics), there seems to be unsaid things from whoever has/have different opinion/s. (<- tristitia: friendship)

taerae's ideal type (zb1): i will try to not explain with specific detailes since usually i would not prefer to be touchy with love-related requests but he seems to be into the one. more or less, taerae seems to be spiritual in some way (i am unaware if he is actually religious or not but it can be related to that if he professes any religion at all), so if he feels he found his special person, he will just do anything to be with them. (<- fortuna major: summary) he will feel the "wow" feeling, it seems that taerae wants to fall deply into the "being in love" hole. like yujin, he doesn't seem to have experience in love, so he might be inexperienced in relationships at all. (<- puer: eventual dynamics, caput dragonis: happiness) however, they seem to think for the present and not for their future. this leads me to that they might be younger than taerae himself. (<- rubeus: communicating, puer: like, living together?, it is related to home) however, their ideal type is also his karmic partner. (<- amissio: matching, vibing) to be together, they both have to be better for the other. with taerae's public job, they seem to have no choice but to be restricted in some way.. or in all ways (<- cauda dragonis: friendship, so's job, carcer: secrets)

how irene views sme?: irene is trying to vibe with the company as best as she can. however, her personal finances are also with its ups and downs, she doesn't have stable solo activities (for obvious reasons; <- via: herself, money, happiness with sme) their communication is stable, but it's like.. eh, it could be better. (<- populus: communication) at least they match really well, it seems to work! (<- caput dragonis: relationship, vibing) however, both sides seems to want completely different things, there seems to be some difficulties - either irene is ready to work again like before or she doesn't want to, i feel sabotage but it does not seem to be that extreme. (<- tristitia: friendship) she will do whatever she wants to do no matter of the hardships, so she does not have to worry! (<- puella: career)

i have other requests but i am not sure when i will be ready with them, i an really sorry for that (apart from the game i did)

[raccoon-eyed-rebel]

Part 8 - Christmas Delivery

Masterlist

Series Masterlist

Part 7 -- Part 9

Pairing: Walter Marshall x OFC (Alexandra)

Summary: Surviving your parents' dull Christmas party has become a fun little tradition for you, your brother Peter and his best friend. This year, your brother won't make it back in time, but Marshall can keep you company.

Warnings: SMUT, 18+, NSFW, MINORS DNI!, p-in-v sex (technically safe, not necessarily very smart, but there's some convo about it, at least), size kink (minor), oral (f receiving), alcohol consumption. And some angst. I'm sorry about that.

Word count: 3.5k

A/N: Not a lot to say about this other than; sorry it's so goddamn late, but enjoy some belated Christmas angst, I guess?

@peaches1958 there ya go, love!

“Christmas delivery!” The door to your room swung open and a tall, bearded young man stepped inside. You stuffed the book you’d been reading underneath the pillow, but not quickly enough for it to escape his attention. A sliver of mischief crossed his face. He put the bottle he was holding on the dresser by the door and dove for the book, trapping you beneath his body in the process. You didn’t stand a chance against him; he was far bigger than you and much - much - stronger. With the book in his one hand and a triumphant grin on his face, he rolled to the side so that he was next to you. 

“You’re reading this?” He laughed so hard when he saw the romance novel that you were afraid he’d suffocate. “Lex, you?” Another fit of laughter. Just when you thought your cheeks couldn’t get any hotter without melting your skin, he actually opened it to a page you’d been stupid enough to dog-ear. 

“God, it’s filth,” he chuckled as he threw the book across the room. 

“Walter Marshall!” You exclaimed while you shot up from the bed to retrieve your book. “If you came here just to throw my books around, I suggest you get out.” The bottle on the dresser beckoned you from its resting place. It was Baileys, something your parents always had at their annual Christmas party, that none of their guests actually drank. You, Walter and Peter (your older brother) had found out years ago - before it was strictly legal, for you, anyway - that it was the safest and easiest bottle to steal. 

“Why would you need that stuff, Lexi,” Marshall said as he sat up on your bed. You joined him, bottle in hand, and pushed against his shoulder. It was strange, now that it was just the two of you, but Peter wouldn’t make it back from uni until tomorrow afternoon.

“Because, Walter,” he winced, you chuckled - you knew he hated it when you used his first name; he loathed the name, and you loved exploiting that little fact. “If I want to ever have any kind of orgasm in this life, I’m going to have to make it happen myself.”

“You have that boyfriend, right? Ian? Mark? Shane? I lost count, I’m sorry - oof!” He groaned when you punched him in his abs. Your aim had never been perfect, and your fist landed a bit closer to his groin than you had intended. 

“Dean,” you replied - and for the record, there was never a Mark. “He dumped me for Laetitia, I think. I don’t really give a fuck. Besides, it’s not as if he was any help in the aforementioned department.”

“So, find another guy?” The laconicism of his recommendation hurt a bit; growing up, Marshall had always been like a brother to you, but you’d never forget the summer you turned sixteen. It was over three years ago, but you remembered it as if it was yesterday. 

“Alex, get over here!” Your brother had never had much patience. Especially not when barbecue - or meat in general - was involved, but your mom absolutely refused to feed anyone before every last soul was present at the table. You climbed out of the pool and made your way over to the tent, where the rest of your family was sitting. The Marshalls had joined you - not that they had to go far; they were your neighbors, anyway. Walter and Peter were putting the last plates down when you got there. Neither of them had bothered to put any more clothes on than they’d been wearing before, when you’d all been swimming. For some reason, you hadn’t noticed then, but now it hit you like a truck: Walter Marshall was hot… Distracted by the faint lines on his abs and confused by how not-gross the hair on his chest was all of a sudden - because you could have sworn you had found it absolutely disgusting literally yesterday - you didn’t watch your chair when you sat down. It wasn’t unfolded properly, and it decided to collapse when you dropped yourself into it. 

“Fuck!” You exclaimed - and were met with two “language!”-s from both your and Walter’s mom. 

“Are you alright, Lexi?” Two blue eyes appeared before you and strong arms grabbed you and pulled you off the ground. 

“Don’t call me Lexi,” you huffed as you prepared for him to let go - though you wouldn’t mind having his arms wrapped around you a little longer. 

“She’s okay, everyone,” he laughed before turning back to you: “And, eh… No dice… Lexi.”

“Lexi?” The bottle of Baileys appeared in front of your eyes. You gladly took it from the strong hand that held it there, as the memory of that camping trip faded to the background again. 

“No luck with other guys, either, so far,” you said without thinking. As soon as you realized what you’d said, you began hoping furiously that Walter hadn’t noticed, but of course mister detective always had to catch on to absolutely fucking everything. 

“Hold on,” he said in disbelief, “no guy has ever…” His voice trailed off and you shook your head in response. Marshall seemed at a loss for words. The both of you drank in silence for a while, as was originally the custom; neither of you spoke much, you mostly just enjoyed each other’s company. Your brother - believe it or not - was the talkative one out of the three of you. And he wasn’t here, therefore it took the two of you three quarters of that bottle to continue your conversation. A conversation you probably shouldn’t have been having in the first place. He was your brother’s best friend, for crying out loud.

“Jesus, Lexi, that doesn’t sound like good sex to me,” he muttered - quite hurriedly, as if he was ashamed of what he said. You shrugged. He was right, it hadn’t been good, but Walter didn’t need to know that. One of Marshall’s strong arms snaked around your body and pulled you into his side. His body was like a goddamn wall: solid and absolutely massive. You rested your head against his shoulder and sighed.

“I’m sorry, Lex,” he whispered, “you deserve better.” Oh, God, the alcohol. Your first year at college had proven that you could and should not be trusted around the stuff, and you cursed yourself, because you knew this. You’d just thought you could trust yourself around Marshall, him being one of your best friends and all - and your brother's best friend - but your brain watched from the sidelines as your mouth betrayed you.

“Well, I don’t see it happening, unless you volunteer.” 

Option one; A “Good one, Lexi!” and a playful tickle at your waist. Two; A “Jesus, Lexi, get off me!” and a firm push against your shoulder. Three; A “Fuck’s sake, Lexi, why would I want to screw you?!” followed by a thundering laugh. Four… You didn’t have time to think of a fourth scenario, but even if you would have, this would not have been what you’d have come up with. Marshall’s hand cupped your face and he pressed his lips to yours. He kissed you. Walter Marshall was kissing you. Right now. He was, he really was. Your brain short-circuited in the most profound “no thoughts, head empty” kind of way. Thank God for the tiny little voice that, after a few long moments, finally had the gall to tell you: Do something or he will think you’re not into this and he will stop. You broke the kiss and slammed the bottle you were still holding down on your nightstand before returning your attention to Marshall’s lips. You could taste the whiskey on them, and the soft, sweet taste of chocolate… The taste combined so well with the scent of his cologne that you thought you’d go insane. Your hands slid up his sides and over his chest before settling in his dark curls and you moaned into his mouth. He replied with a chuckle. 

“What?” You whispered when his mouth left yours and his head dipped into your neck. 

“Just glad you’re having fun,” he murmured against your skin. The coarse hair of his beard tickled, which meant it was your turn to chuckle, but the sound got stuck in your throat and was replaced by a soft whimper when his lips touched your neck. You leaned to the side and pulled him along with you, until you were lying on the bed in a half-on-top-half-next-to-each other pile of bodies. Every single time his lips came into contact with your skin - be it your neck, your mouth, your collarbone or that cheeky nip at the part of your breast that your blouse left exposed - you whined. More, your body screamed, more, more, more! You felt it everywhere; in your cheeks, that radiated heat and must have been glowing red for him to see, in your throat, that let out or choked back whines, moans and the occasional ‘fuck’, your chest, where your heart pounded and your breath hitched, and the pit of your stomach. If these were the proverbial butterflies, you never wanted him to leave, ever again. It was as if you’d never been kissed before. The feeling of a palm brushing your chest heightened another feeling; the increasing ache between your legs that you only now realized was so unfamiliar to you in a context involving another person. A small part of you wanted to push him off, berate him for invading your most private and intimate of emotions, but a much, much bigger part of you swore to God and anyone who would listen that if this man ever let go of you, you’d explode. Marshall was unceremonious when it came to your clothes; he opened two buttons of your blouse before just pulling it over your head, and he hardly bothered to look at your bra before it flew across the room. His own sweater followed suit in a matter of seconds. God, you thought as he towered over you in that moment, half naked and tall and all those other things you couldn’t quite articulate but you knew he was, nonetheless, how much hairier can a man get in three years time? Seeing him like this drove you insane, and you secretly wondered what had been wrong with fifteen year old you that she hadn’t found him attractive, then. Walter Marshall was no romantic, but he always knew what needed doing, and got it done. His hands and mouth explored your naked skin, allowing you to do the same. You ran your fingers through the dark, coarse curls on his chest, and along the muscles of his back, digging your nails into his shoulder when he softly bit your nipple. 

“Hey!” You exclaimed in surprise at the unfamiliar feeling, earning you another chuckle. 

“Did I hurt you?” He then asked earnestly, and you responded by shaking your head. 

“Just startled me,” you laughed nervously. The next nip was less startling and the slight sting was smoothed over by a swirl of his tongue. You couldn’t keep your body still underneath his as his mouth, assisted by his hands, explored your chest - and soon your stomach, lower and lower until he arrived at the waistband of your skirt. Not that the fabric of it was still in place; it was mostly bunched up around your hips at this point. The skirt suffered a fate much like that of your bra and blouse, and now the only thing separating your aching pussy from Marshall’s face was the thin cotton fabric of your panties. Startled by the sudden realization that your childhood crush had his face between your thighs, you snapped your legs together, forgetting that his face would be caught in between. 

“Alright,” he laughed as he got up on his knees and leaned over to give you a kiss on your forehead, “can we make a deal? If you don’t want me to do something, tell me. I promise I’ll stop. Just… There really is no need to kick me in the head or whatever that was.” You couldn’t help but laugh, too, but the inclination disappeared as fast as it had arisen when he bent over even further to whisper something in your ear. 

“I’m begging you, though, let me get back down there because you smell fantastic.” As if those words were your own personal remix of ‘open sesame’, your legs fell to the side and Marshall eagerly made his way back down, pressing a few wet kisses on you along the way. One moment you were wearing underwear, the next it was gone and you were completely naked. Marshall threw you the blanket that was at the foot of the bed and winked at you while he settled between your legs, and you gratefully spread it out over your upper body. Marshall shook his head while he laughed. You were always cold, and this was so completely in-character for you that he couldn’t help but find the whole thing very amusing. It wasn’t long, though, before he composed himself and focused his attention on the task at hand. You could tell from the look on his face that he was deciding whether or not to drag this out. Luckily, he decided against it. With one hand on the back of each thigh, and using his thumbs to spread your swollen lips, he dragged his tongue through your wet folds before settling at your clit, working the small pearl with a strong, dependable rhythm that had you squirming within seconds. He could tell you wouldn’t last long, which egged him on even more. Not because it would save him a cramped jaw, but because there was nothing in the entire world that he wanted more than to be responsible for your pleasure. Every single move of his tongue wound you tighter and tighter until you felt you were going to explode. Your fingers tangled with his hair, pulling his face closer to your body, hips writhing against his mouth, begging for more until you finally toppled over the edge. You had to cover your face with your pillow to keep your screams from being heard throughout the house. As the intense feeling of bliss slowly subsided, you became more and more aware of the trail of kisses that Marshall left on your torso as he made his way back up, lingering in your neck for a moment before kissing your mouth again. Your first instinct was to push him off - he’d just been down there and now he was kissing you? Ew! - but you soon found out that tasting yourself on his lips was arousing more than anything. Without thought, your hands moved to open the button of his jeans, and you were surprised when he stopped you. 

“Lexi, are you sure?” He breathed into your mouth. There was genuine concern in his voice, but you couldn’t quite figure out why. 

“Shut up, Marshall, I want you,” you hissed into his ear, and from the pained half-grunt-half-whine he let out, you deduced that he wanted the same. Your fingers continued to work the button and zipper of his jeans, this time with his help. When you brushed past the bulge in his underwear, your eyes opened wide and you gasped. There is no way in hell, you thought involuntarily as panic set in. 

“Is it too late to change my mind?” There was no way he couldn’t hear the way your voice trembled. 

“Never,” he said earnestly, “you can always change your mind. What are you worried about?” You looked at him in disbelief - was he really asking that question? Walter Marshall you arrogant cunt, you thought. He had to know he was massive, right? 

“You’re kidding, right?” A sardonic chuckle spilled from your throat as you thought about the ridiculousness of that question. “There’s no way that’ll ever…” Your voice trailed off without finishing that sentence - not that you needed to; Walter’s face had already warped into a needlessly cocky smile.

“Do you trust me?” You replied with a nod. “Will you tell me if I hurt you?” Another nod. “And can you try to relax?” This time, you whispered a very soft ‘yes’. “Do you have a condom?” He asked while eyeing your nightstand. 

“Do we need one?” You moaned against his neck. 

“Lexi!” He looked at you in disbelief, one eyebrow raised and with an open mouth. 

“I’m clean and on birth control,” you said matter-of-factly, the look on your face phrasing the accompanying question: Are you? He answered your unspoken question with a simple nod while he weighed the pros and cons in his head. Your hand moved between your two bodies and - again with his help - pulled his underwear down. Feeling it had in no way prepared you for seeing it; you swallowed hard and tried to get a grip on your lower lip, which trembled uncontrollably. 

“I said something about trying to relax, and I meant it, Lexi,” he chuckled before pressing his lips to your neck. Despite his reminder, your entire body tensed up as you felt the head of his cock press gently at your entrance. God this is going to hurt so bad, you thought and you scrunched up your face, awaiting the pain. 

“I’m not going to hurt you, love,” he whispered as if he could read your mind, “trust me, tell me if I accidentally do hurt you, and chill.” You took a deep breath and focused on breathing calmly while he began slowly inching his way inside of you, keeping careful watch on your face for any signs of discomfort. Sighs and moans escaped from your throat as he sank deeper and deeper into your drenched core. He was right; it didn’t hurt. That’s a first, you thought - at least; you thought you thought it. 

“First? Lex, tell me I didn’t just…” Fuck, you’d actually said that out loud.

“No, no,” you interrupted him with a chuckle, “it’s just the first time it doesn’t hurt…” 

Marshall gawked at you for a moment before a smile appeared on his face. “I’m glad I’m not hurting you,” he whispered before he kissed you while pushing all the way into you. You answered the kiss hungrily, frantically sliding your tongue along his lips, begging for entrance. He was more than happy to oblige, parting his lips so your tongue could slip between them and circle his. The feeling of his mouth on yours was overwhelming on its own, but combined with the incredibly full feeling of his thick cock deep inside you, it was almost too much. You rocked your hips, trying to get him to move, to give you more than just this, looking for the friction that would bring you release. It didn’t take a detective to understand that hint; Marshall started moving his hips at your request. They were short, shallow thrusts at first, which already left you moaning and whining like a… Like a desperate slut? It was the best description you could come up with. It only got worse as the thrusts became deeper, faster and harder. You pulled the blanket up to your mouth to stifle your screams as the sound of skin against skin became louder and filled the room. 

“Marshall.. I can’t…” You sighed in between moans, your breath completely out of control and slight soreness setting in where his hips slammed into you. 

“Hang on… please… close…” was all he could say as his breathing and movements became more and more erratic. He hadn’t been lying when he said he was close; it took only a couple more seconds for him to finish. You were both glad and sad that it was over, yet your sigh as you felt his cock slip out of you must have sounded more like the former than the latter, because Marshall immediately looked at you suspiciously. 

“Not good?” He asked as he stroked your hair out of your face. 

“A little sore, you’re a lot,” you laughed before kissing him softly on his lips. You wriggled out from under him and started looking for your clothes, which were scattered on the floor around your bed. Marshall looked at you questioningly from your bed. 

“Bathroom,” you explained as you hastily got dressed and made your way out of the room. 

When you got back, Marshall had put his own clothes back on and was sitting on the edge of the bed with the bottle of Baileys in his hands. You joined him on the bed and wrapped your arms around him, only to be sorely disappointed when he didn’t return your affection, and instead stared ahead stoically while taking another sip. 

“I just fucked my best friend’s little sister,” he sighed as he let his head hang. Your arms dropped to your side, the floor vanished from beneath you and it felt like you were falling. 

“You regret it.” It wasn’t a question, it was a statement, and you just knew you were right when you said it. Marshall, however, shook his head and chuckled sarcastically. 

“I regret that I don’t because I know that I should,” he said. 

Well, happy fucking Christmas to you.

-> Part 9

[hello-nichya-here]

lmao you're so angry that you know shit about radfem so made an entire fucking essay of actually... PROVING IT??? of made up facts to make radfems look like a boogieman liberals wants us to make 😂 it's so pathetic omg, ok step by step:

1)lol what? radfem is about WOMEN, woman's safety, it doesn't matter who exactly was the abuser, what matters is to help female victim because it a movement about WOMEN. Take your head out of your ass.

2) Laetitia Ky, Artė, any south Korean radfem cuz any other type of feminisms won't work there hundreds of woc radfem here just 🗿

3) lol what? did you just imagined it yourself lol?? i'll repeat, radfem is about women well being, it doesn't matter who exactly was the abuser, what matters is to help female victim because it a movement about WOMEN not victims of abuse. and it just so happened that men commit about 90% of abuse, that's a statistic you can google go educate yourself

4) didn't libfem tumbler came out with this bs? it's the same labeling woman, putting them into unneeded categories that liberals like so much? i'll repeat, radfem is about women well being which means no separation from one another and no judgment especially about your sexuality. Take your head out of your ass.

5) ohhh yess we all just haaaaate ace.... no lmao. no one gives a shit, maximum is questioning the label itself cuz it's pointless, your asexuality is a low libido. no radfem gives a shit.

6) lmao where do you take this shit? 😂 can i take your narco dealer's number? also, oh what's this? several public researches that proves that TIMs exhibit a male-type pattern of criminality? rapes in prisons where trans women were sent? hundreds of assaults in public restrooms??? wow shocking!

7) you don't need to be saved, some therapy, cuz i doubt you'd like to be beaten/choked/ect in any other circumstances. another question does it not bother you that your partner would enjoy "playfully" hurting you? in short it's called coping mechanism to deal with abuse and trauma, go educate yourself

8) yeah for some reason we don't support child trafficking, rapes, murders, pedophilia and etc. that comes with prostitution. go watch interviews with those who escaped prostitution, they all hated it. they were abused and traumatized. Take your head out of your ass.

9) hun, we don't hate you we pity you at worst. it's not our job too look out for men, it FEMENISM it's about WOMEN and only WOMEN. adult human female, comprende?

and listen i may not be the best person in the world but at least i'm not spending my life chronically online writing incest fics ;) one again, pull your head out of your ass and educate yourself, here's some masterpost https://manlarp.tumblr.com/post/667874370724691968/accessible-radfem-ideology-masterpost bye bye :)

Saying "WE ARE ALL ABOUT WOMEN" doesn't change shit. You once again proved my point by saying that my experience with radfems spewing out abuse apologism towards me when they thought I was being abused didn't happen based on nothing but your favorite go-to defensive line. YOU didn't see it thefore it didn't happen to ME. Way to prove you guys don't try to silence women who disagree with you by trying to exactly that.

And yeah, I know there are woc of who are TERFs. There are also women who are even more misonygistic than some men. There are plenty of slavic countries where nazism is still a big thing even though Hitler hated slavs. Self-hating idiots have existed and always will. Doesn't change the fact that you fuckers are racist all the damn time.

"We don't care if people are ace, we don't devide women" literally a quick search will show that you guys do. A bunch of the anti-ace discourse was literally INVENTED by radfems, something they are very proud to admit. And plenty of queer radfems are biphobic all the fucking time, something I, a bisexual woman, have to put up with every single time one of your friends comes bother me. Go lie to someone else, bitch.

"Those who ESCAPED prostitution hated it" Yes, people tend to hate things they were forced to do. Doesn't change the fact that you guys are more concerned with making women who WANT to do sex work be labelled as criminals than with punishing human traffickers.

And once again, we have you being all condescending. "Let ME tell you what YOU want. Let ME tell you what makes YOU feel safe." And gotta love how you heard me say I'm kinky and immediately assumed I'm submissive, instead of a dominant or a switch. And then of course you have to go for the slut shaming of "You write kinky porn therefore you are automatically wrong."

"FEMINISM IS ONLY ABOUT WOMEN" Which is why it is dying. If your movement cannot accept that the world isn't black and white, and that societal hierarchies are much more complicated than just Group A is always the all powerful one and Group B always gets screwed over, it WILL fail because it will be ignoring real problems for the sake of keeping a narrative alive. Which is why nobody fucking likes radfems, and the world would be better off if you idiots were gone.

I don't need to read your bullshit, because you idiots will scream your nonsense at me all the time, like you just did. And not once have any of you ever said a single word that was worth listening.

Don't bother sending me more asks, I'll just block you. Go larp with your fellow radfems about every single woman who has a problem with you guys is "brainwashed by the patriarchy" because there's no way you guys could EVER be the problem and that your "activism" is as shallow, stupid and fake as you are.

[evorathesylvurr]

update: advice isnt needed anymore :3 i managed to do it (it was painful)

Anyone have advice for hod meltdown?? I’ve got a lot of X-stat or higher abnormalities in my department and I have committed The Biggest Sin (I got attached to my agents :( some of them at least)

My biggest problem so far is the sheer number of Abnos I feel I can safely take care of now because of having Y Stat, but Hod’s whole thing is taking that and going “nope”.

I don’t want to unlock the next floor before getting at LEAST Hod’s done. I haven’t done Malkuth or Yesod’s yet, either, and I maybe should?? (At least do Malkuth’s so I can avoid the issue w/ Crumbling Armor).

Facility layout below read more. abnormalities in bold require a stat to be Y or higher, or they require a stat to be Y or lower, or both (LOOKING AT YOU, BUTTERFLIES)

Malkuth — One Sin, Fairy Festival, Crumbling Armor, (Behavior Readjustment)

Yesod — Wellcheers, Bald, Der Frei, (Mirror of Readjustment)

Netzach — Schadenfreude, Void Dream, Ppodae, (Heart of Aspiration)

Hod — Old Lady (the grandma w/ stories), Red Shoes, Singing Machine, (We Can Change Anything)

Tiphereth 1 — Laetitia, Teddy Bear, Today’s Shy Look, (Luminous Bracelet)

Tiphereth 2 — Firebird, Child of the Galaxy, Burrowing Heaven, (Shelter from the 27th of March)

Gebura — Little Prince, Don’t Touch Me, Judgement Bird, (Backwards Clock)

Chesed — Procubus, Funeral of Dead Butterflies, Big Bird, (Old Faith and Promise)

[junichan]

A plot idea for the Lupin x Laetitia shippers out there. (I can’t be the only one, right?) 

Augustus Bradford is an archaeologist, philanthropist, and a minor celebrity thanks to countless TV appearances. He has a reputation for finding long lost ruins and artifacts in remote regions all over the world, and has published several books and articles about his adventures. 

Laetitia always had a minor crush on the man. Lupin would have spotted all of Bradford’s books on her shelves, and a couple of magazine articles featuring him pinned up on the walls of her little Paris apartment. 

However Lupin also knows Bradford’s public persona is just a facade. The man is notorious on the blackmarket for collecting and auctioning off historic treasures. His personal collection is filled with stolen artifacts. 

Lupin sets his sights on Bradford’s vault, where an atlas said to record the location of three lost cities filled with treasure awaits. Sadly Jigen and Goemon refuse to participate in ‘chasing fairytales’ so Lupin is on his own. Undeterred, he gets the perfect opportunity when Bradford decides to host a party celebrating his recent TV show deal. The guest list included a noted but reclusive historian whom Lupin decides to impersonate. Since no one knew what the historian really looked like, none of the other guests or the host was any wiser when Lupin showed up. 

Surprisingly one person did end up recognizing the thief; Bradford’s newest intern - Laetitia! The young woman is shocked to discover Lupin there and suspects foul play immediately. She’s unwilling to alert security, but insists on trying to stop Lupin.

Maybe it’s a little cruel, and maybe Lupin’s a little jealous, but he decides to shatter Laetita’s infatuation with her idol. He pulls her into the vault, revealing a horde of stolen relics. The young woman is at first shocked and dismayed before becoming furious at Bradford for his deception. 

Laetitia realizes Lupin might have been a thief, but at least he never tried to trick anyone into thinking he wasn’t. (The use of disguises notwithstanding of course.) 

Just then Bradford discovers the break in and seeing Laetitia there with Lupin assumes she’s been working with him the whole time. He has his goons attempt to kill them both, fortunately Lupin gets her and the atlas out of there. 

As it turns out, the atlas has held its secrets for so long because it’s written in a lost language that no one can decipher. However years ago Lupin I and Professor Bresson found the key to translating the language - a silver tablet with writing from both the lost language of the atlas and another dead language. And Lupin inherited it. He can’t read either language of course, but Laetitia can read the dead one! Which means she can translate the tablet and the atlas. 

It doesn’t take much to convince Laetitia to join him in searching for the lost cities in the atlas. But with Bradford chasing them - and before long Zenigata too! - can Lupin teach the young archaeologist what it takes to be a thief? And what happens when Laetitia’s crush on Lupin grows into a full blown romance? 

[experthiese]

PUBLIC VS. PRIVATE INFORMATION.

Feel free to refer to this when deciding how much your character should know about Lupin, especially if they're from outside his canon and have no pre-established basis on if/how well they know of each other.

PUBLIC. Accessible to everyone.

He is the grandson of Arsène Lupin, notorious French gentleman thief, and the third generation to continue in this line of work. No treasure is said to be outside of his reach once he's set his sights on it, and as a result he's been granted the title of the world's most wanted thief.

He's a master of disguise, and (much like his predecessors) is able to perfectly mimic another's appearance, voice and mannerisms with minimal observation needed beforehand. Only tiny details, such as his mask not showing sweat where real skin would, are able to give him away.

He is affiliated with Daisuke Jigen, Ishikawa Goemon XIII, Fujiko Mine, Laetitia Bresson, and more (verse/relationship dependent).

His 'eternal rival' is Zenigata Koichi of Interpol, the only man able to consistently capture Lupin, even if it's only for short bursts of time.

Zenigata has arrested and successfully imprisoned him on multiple occasions. However, Lupin has managed to find a way to escape from every single prison he's been put in, often relying on the assistance of his gang.

He's said to be in love with every woman in the world, though his prized paramour is Fujiko. He will never stop trying to win her affections, no matter how often he's betrayed or rejected.

His preferred weapon is a Walther P38 and it's kept on his person at all times.

A calling card is always sent to his chosen target pre-heist, detailing the item to be stolen, and the time/date of his appearance. It's signed with his name and peanut caricature.

He was once married to Rebecca Rossellini, well-known heiress and secret thrill-seeker. When he left Italy to continues his crimes travels, she didn't follow him.

SEMI-PUBLIC. Still accessible, but lesser known.

He's bisexual. His attraction to men is just greatly overshadowed by his womanising.

He's a mostly self-taught polyglot and remains at least conversational no matter where in the world he travels. He's also fluent in some dead and computer languages.

The details sent on his calling card are specific, and he sticks to them rigidly. Lupin will leave the premises once the window has passed, regardless of if he managed to snatch the treasure or not.

He's an art connoisseur and can tell a real piece from a forgery with a single glance.

All car maintenance is done by him. He's very proud of all three of his vehicles, and does his best to keep them in top condition for as long as possible. A lot of his wealth gets re-invested into fixing them up after a heist.

Lupin doesn't kill. That's one of the rules of his game, and it's one that he's unlikely to try and bend. He has people to kill for him, if necessary, but he himself refuses to take a life until it's the only option left.

This no-killing rule is one of the biggest copycat downfalls, and often the thing that gets them discovered. Thief he may be, but Lupin has a strict code of ethics he's set for himself.

He's intelligent. Many underestimate him because of the silly, childish persona he performs, failing to realise that this is not only a deliberate part of his plan, but necessary for his success. Any foe becomes easier to beat when they forget just who they're going up against.

He's a capable scientist, and uses this knowledge for his heists. All of his gadgets, smoke bombs, and knock-out gases are handmade and often re-evaluated to ensure they have maximum efficiency.

He can work any vehicle, be it designed for the land, skies, or water. He's an especially good stunt driver, so naturally prefers to use motorcycles or cars whenever possible.

PRIVATE. Available only to Lupin's closest.

Lupin doesn't dream, nor does he get nightmares. His REM sleep, or if he's even capable of achieving it, remains a mystery to everyone.

He is the legal wife of Onabes, an art collector. Despite his best efforts, the divorce papers were never completed, and thus their marriage remains binding.

The addresses of all his safehouses. In order to remain untraceable, Lupin's constantly selling off property and purchasing new ones, and rarely bothers to inform anyone about these developments unless necessary. His chosen locations range from penthouse city apartments, to countryside mansions the size of a small village, to cozy coastal bungalows. He has hideouts in every conceivable corner of the earth.

He's afraid of octopi, squid, and similar cephalopods. They freak him out big time.

Lupin will, on occasion, allow Zenigata's men to "recover" the occasional stolen artefact. Usually these are ones of historical/cultural significance or gems that he just can't sell for a good price. He has no interest in keeping these items; they've already served their purpose and gone to show that he can take them.

He sneaks into Interpol a lot. He's always disguised as different people of varying levels of importance, and loves to catch up on the latest water cooler gossip (and start some of his own). As a result, he's gotten a pretty good understanding of a lot of Interpol officers and knows more than they'd probably want him to.

All of Lupin's heists and their accompanying details (such as maps, blueprints, security routes, required technology and disguises) are all written down on paper and kept on Lupin's person. He's done far too much hacking to trust any sort of digital security system.

[sbubby-gubbi]

Okay, so late one night I decided to randomly pick an episode from Part 3 and try to describe what was happening in it cause that part tends to be weird. The results below are what transpired from a night of having nothing better to do! (Pic at the bottle related)

Plot of Episode 38 from Lupin III Part 3:

Goemon is framed for cutting off the arm of a mermaid statue that is culturally significant to a small local town. He was given the life sentence/death sentence for this defacing. Lupin and Jigen go and recruit a dolphin to help in finding this lost arm and the major of this small town tells them that the lost arm is in the Santa Marie shipwreck??? The dolphin is now able to talk to Lupin and Jigen through echolocation. The dolphins name is Laetitia, btw. Zenigata is camping out in front of the jail Gorman is at to see if Lupin is gonna come save him. Oh hey, Fujiko is here and she’s parasailing. The dolphin now is crushing on Lupin and is jealous of Fujiko. Zenigata runs into the jail to see if Lupin has broken Goemon out yet. Lupin now has to confess his love to Laetitia or otherwise she won’t bring back the hand she just found. Goemon crushes Zenigata with the stonewall of the jail cell, Ceasar Zeppeli style. Goemon walks out the jail disguised as Zenigata with the major’s secretary but not before Zenigata places a tracking device needle pin looking thing on the Zentetsuken.

Oh, we just got to the halfway point, btw.

Goemon meets up with the rest of the gang. Oh nooooo, Fujiko steals the hand at the last second, who could’ve ever foreseen this?!!??! Goemon treats himself the meal the major’s secretary gave him. But wait, it’s actually a bomb. Goemon couldn’t throw the explosive tofu out of the boat in time and they all explode. Turns out there was a treasure hidden in the hand, whodathunk. Fujiko congratulates the major’s secretary, whose name is Wallace, on his dastardly plans. Gasp, Laetita the dolphin was recording their whole conversation and feeding it to crew!! Lupin and Co. are now drifting in the middle of the ocean with Lupin questioning the life decisions he made up until this point in a buoy. Goemon is angry not because they were almost killed but because Wallace dare use Japanese cuisine to fool him. At least he’s got his priorities straight. Laetitia doesn’t want to take anymore bullshit from Fujiko and Wallace anymore, so she decides to throw herself at them, knocking them both into the water. Wallace shot a net gun at Laetitia, trapping her with the mermaids arm. Seagulls are now perching on Lupin and Co. as they swim back to land. Laetitia was captured and put into an aquarium. Wallace then decides to turn on Fujiko. What a twist! And then the Major came him holding gun to Wallace. This is quite the development! Lupin comes in and saves the day, saying that they’ve rigged the place with explosives. Wow. The place explodes then floods with water, allowing Laetitia to kick ass. I haven’t mentioned this before but Lupin has been wearing a headset this entire episode, dude’s a Scout-looking ass fucker. Lupin is able to take back the mermaid’s arm/treasure. After they swim out from the place they just flooded, they are greeted by the entire ICPO fleet. Way to go, Pops. Laetitia gives Lupin another ultimatum: Marry her or be arrested. Oh man, this is quite the pickle here, lmao. Jigen and Goemon pressure Lupin into forced marriage. Laetita calls on her other dolphin friends and pushes back all of the ICPO boats. A dolphin falls in love with Zenigata. Zenigata is uncomfortable. Fujiko pulls back up and pulls a “jk jk” and then pulls the treasure out from his hands and waterboards away. Lupin is being carried away by his new dolphin fiancé to their dolphin wedding.

And the episode ends there. That’s it.

[anzuhan]

april end innovade update (and possibly one of if not final update)

Statistics:

this was the first month in which i've only drawn one out of all trinities (michael only) (-)

the draw rate has raised since last month's 2.04 to 2.16/day (+)

first time ive drawn a piece including all innovades i tend to usually draw (+)

first time inclusion of 'others' (with the miku innovade designs) (+)

still only drew least drawn innovade a single time (sky) (-)

total drawn - 249

per innovade:

tieria - 59

laetitia - 15

regene - 23

revive - 19

bring - 18

divine - 17

anew - 14

sky - 6

hiling - 33

ribbons - 41

trinities

michael - 9

johann - 3

nena - 3

other - 2

—

ending note / long ramble about the whole situation

its been a long while huh 😭 exactly 4 months. minus a day ! on a year with a longer february as well, nonetheless. its been fun, but i may stop drawing them now; not to say natsume has utterly obliterated my love for innovades inside of my brain (though i thought of announcing it this way with a funny headline like BREAKING NEWS ! natsume has murdered the entire species of innovades in cold blood. we are sorry for the inconvenience), but also as of late it did sort of become a bother to draw them; mostly because of the keeping track of it as well and because i did not want the draw rate etc to drop. i did get to 1/4th of my goal.. minus one ! im not saying i will NEVER be drawing them ever again, but i doubt ill be keeping track of it anymore — alongside that, i do not think i will be drawing them almost at all anymore either (now, for a while. but they may still appear here and there from time to time.. as all my past fandoms do), so if you were only here for them and not me & my works, feel free to unfollow. i will still be up to have talks about them ! but i just wont devote such a high amount of time and effort to them anymore. it is hard to say ive been slowly falling out of love with them, and mayhaps even harder to say im falling in love again with natsume 😭 and EXACTLY a year later after i last stopped drawing him too... which is crazy .

i feel like besides this, it was also becoming apparent that drawing them has become a chore to me ; i was not feeling up to drawing highly detailed pieces with them anymore that id spend time on. i was not happy with the results on many of them either. and things like the page of every single tieria outfit, despite it used to be a thing i was once hyped about doing... back in january when i just got here, it no longer was that way. yes, i pushed through with it, but it took me a very long time and i kind of disliked going back to it, which is why it even took me that long 😭 and was moreso just done to keep up the numbers of innovades drawn ; for myself, for others.

i cannot lie about the fact it did make me happy i was giving to such a small fandom and brightening other peoples days, and this is a big flaw i have that i tend to put others above myself, but this has become much too big of a bother to me to keep on doing it. i still love them ! not as much, but i still do, especially ribbons. there is nothing wrong with them, i just do not wish to continue essentially wasting so much of my time drawing things i do not enjoy drawing, unless i am to see it finished and thats all the joy i get out of it.

as for the requests with the innovades, i am unsure if i am to do them anymore except for a singular one that ive also not received thru an ask but dm, purely because i am actually hyped about it 😭 and that may be the extent of which you will be seeing anymore 00 content from me.

im sorry if ive let anyone down & thank you for following me through this journey ; i hope to see you again :)

[troutfur]

For Sandclan: Vulturekit, a pale she-cat the colour of bone. When she grows she’ll be a ginger colourpoint cat but at this age she’d still be all pale.

"The larger one first," Featherstorm says, beckoning to the parents carrying their near-identical white kittens.

The cat trots up to the seer, depositing it at their paws. "This one's Vulturekit," they clarify.

Featherstorm nods as he noses the kit, committing the scent to memory before beginning to make marks on the sand. Once he finishes he turns around to the parents and says, "Be careful with this one."

---

Featherstorm's finished chart looks a little bit like this:

[Image ID: Under the header “What will Vulturekit’s life be like? (02/12/2023)” 16 rows of tally marks crossed out two by two until there is only 1 or 2 left uncrossed. To the left, a shield chart at the top with the following geomantic figures: Coniunctio as the first mother, Fortuna Minor as the second mother, Via as the third mother, Puella as the fourth mother, Caput Draconis as the first daughter, Cauda Draconis as the second daughter, Puella as the third daughter, Fortuna Maior as the fourth daughter, Amissio as the first niece, Rubeus as the second niece, Carcer as the third niece, Laetitia as the fourth niece, Cauda Draconis as the right witness, Tristitia as the left witness, Via as the judge, and Carcer as the sentence. Below the shield chart, an astrological house chart with the first twelve geomantic figures above mentioned assigned to houses 1 to 12 in the order mentioned above. /end ID]

Interpretation under the cut:

Our judge here is Via, indicating that the main driving theme of Vulturekit's life is going to be change, and taking into account the sentence figure of Carcer it is going to be change that will bind and restrict her in some way. The right witness, Cauda Draconis, indicates this change will come about from some form of stubborness or maybe resignation, as Cauda Draconis is the figure that represents endings, particularly those that are foregone conclusions or going into the logical endpoint of things. The left witness, Tristitia, the figure representing sorrow and hitting rock bottom, indicates the external factor that will confront this stubborness or resignation will be some form of tragedy.

This is all very vague and no real ideas are coming to mind but at least we are setting up the bounds of our story. Let's dive deeper and see what connections the other figures of the chart suggest.

In House 1 we have Coniunctio, representing connection and communication. Seems we have another skilled communicator in the ranks of our Clan. Wonder how she differentiates herself from Hickorydawn!

In House 2 we have Fortuna Minor, representing dependent and short-lived success. Once again we turn to the problem of how to interpret the house of material wealth in light of WC and I'm honestly tempted to take it just as an omen of good fortune in general here. But let's make a little more of an effort and say... perhaps she's good at group hunting? I'd like to research a little bit more on the desert environment y'all picked for SandClan to see what would be good group hunts but I bet she's involved with those often.

In House 3 we have Via, indicating change and motion. In the house that indicates close platonic bonds, familial and otherwise, and in conjunction with the figure on House 1 this makes me think of her as a social butterfly, hanging around many different circlesand being constantly on the move between them.

In House 4 we have Puella, the figure of emotional support and the taking of other's burdens. Now this is interesting. This is in the house representing parental figures which gives us our first point of contrast with Hickorydawn. While Hickory was raised by just unremarkable parental figures, Vulturekit here is going to be raised by parental figures that expect her, somehow, to carry with their emotional weight. This makes me think, is there relationship conflict here? Perhaps a dead parent and an expectation on her to take on a parental role while the other grieves? Is this the change that gives her a sense of obligation? Perhaps but we're very early in the chart, so let's see what else it says here.

In House 5 we have Cauda Draconis, the figure of endless potential. In the house representing descendants and inheritors of one's legacy, this suggest to me someone's who's good with children and could be an excellent mentor or parent. Once again we see a very similar character to Hickorydawn, though the court figures suggest a very different larger narrative so let's see what other diferentiating factors the other houses make.

In House 6 we have Cauda Draconis. This figure is bad in the house representing health. As the figure of endings and foregone conclusions this is pretty damn ominous. So... chronic health issues? Stress developed over being saddled with responsibility for her parental figures' emotional well being? I'm not liking where this is going...

In House 7 we have Puella again. In the house representing intimate relationships this suggests to me that what she looks for in a partner would be someone who similarly carries her emotional burdens for her. This honestly bodes badly for a relationship in itself but with how the chart is already suggesting she was raised, can we really expect her to have any other concept of relationships?

In House 8 we have Fortuna Maior, representing independent, complete, and assured success. If this character were more of a girlboss I could suggest this would suggest success in committing murder. But as it stands it's just... I suppose the parent who put emotional burdens of her passing away would pave the way for independent success, quite a tragic good omen in the face of everything else.

In House 9 we have Amissio, representing loss. Another quite sad omen in the face of everything previously discussed. The long journey here could just be her life and she does seem to be losing a lot, a parent, a chance at a happy childhood, herself... Oh dear, the court figures are becoming clearer and this is not going to end well.

In House 10 we have Rubeus, representing anger and undirected aggression. In the house of authority figures and public esteem this suggests to me someone who just wants to scream at the adults in their life. And who could blame poor Vulture right here?

In House 11 we have Carcer. Quite fitting with all discussed before, the people who should be supporting her seem more interested in binding her than helping her thrive.

In House 12 we have Laetitia, the figure representing joy. In the house representing adversarial forces and confinement this seems very weird and nonsensical at first. But with everything that's come before, the idea of having to take on emotional burdens from her parents and the chronic issues and the independent success at the death of a parent. I'm thinking "joy" is the confining force. It is having to appear fine when one's not, having to fake...

So, putting it all together:

Vulturekit's very ordinary life will turn upside down one day when tragedy strikes and she loses a parent. Up to that point she had been rather mature for her age, moreso than her littermate at least, and she would have been on track to developing into an excellent communicator who one day could've become an excellent mentor and pillar of the community like Hickorydawn. I can see the other molly scouting her to be one of her many apprentices even. The death of one parent shook the other to the core, to the point they became reclusive and Vulturekit had to carry the emotional burden of being there for her sibling. Thrust into a role she's far too inexperienced to handle she eventually develops serious stress issues that end up in a chronic condition. In the middle of her apprenticeship, the other parent of Vulturepaw's dies, thrusting her sibling's mentor into the emotional support role and giving her breathing room now that they're gone and a cathartic relief. She earns a warrior name and as she goes into her warriorhood she begins dating with the intention of finding someone to carry HER emotional burdens. This doesn't work out. Eventually though she succumbs to her chronic condition and dies tragically young...

The name I pick for her would be Vulturefall.

[hydrangeawise]

Ahaha, Madlax EP 22, what the FUCK was THAT?! I want to talk!!

For real, what THE FUCK! I'll try to get my thoughts in order, but know that there is a whatthefuck loop playing in the back of my head.

As it turns out, Madlax's page really was the important bit that was missing, which is neat. What is not neat at all is that Monday Friday can apparently control or influence Margaret (what is neat is that the change of eye colour signifies that something is off immediately, great visual help!). He's really hellbent on "violence is the essence of humanity" and it's making my teeth itch, skin crawl, the whole thing. Anyway, interesting to me is how he can see and interact with Laetitia (even though he obviously considers her to be of no importance) and with the question of if he intends to lead people astray again, I feel like this points to something like "Whatever happens when the door gets opened depends on the person who opens it". I guess I'll find out.

Something else that stood out to me was Madlax herself. She had no wound from a very obvious injury, there was nothing. She also had no trouble navigating the fog in the forest which gets noted by Limelda. And then she said this is because she perceived herself. (There is also this fascinating conversation which reveals that Limelda sees herself or rather a likeminded individual when she looks at Madlax, someone who has nothing. It makes Limelda's obsession much more hmm relatable, maybe? I mean, personally, I would also completely be fine with Limelda obsessing over Madlax because she's skilled and because she represents something real in a false world to her or something. This is just a neat little addition.) Which leads me to the theory that maybe Madlax is very similar to Blond Guy; she also said that she and Margaret are the same and it gives me the feeling that maybe Madlax is a feeling or thought Margaret had in that war zone 12 years ago that she gave a body through the power of the place, much like Blond Guy did. That she is - sort of - the feeling of Margaret searching for her father, wanting him dead (for whatever reason), and killing to stay alive. Hmm, interesting to think about at the very least.

AND NOW TO THE PART THAT FUCKED ME UP WHICH IS: VANESSA DIED???? And Margaret now thinks that Madlax killed her (which is the obvious conclusion to draw with the set-up they were in, but oof!). This is so messy!!! I'm not sure if Limelda also died on that cliff because on one hand, it would be an interesting end to her if she got killed by Vanessa who was trying to protect Madlax, instead of by Madlax like she wished. I'm not sure how I feel about Vanessa's end though. On one hand, that she died protecting a friend instead of on the hunt for revenge is something for sure (maybe growth, maybe a symbol of selflessness in the face of Monday Friday's assumption that people are selfishly violent); on the other hand, it feels like she died too soon. Not because she did not get her revenge (the scene in the fields kind of shows that reuniting with her family is a happy thing), but because she only started to outgrow(?) her thoughts of revenge. She only started on a new part of her journey, and that is sad. (She also would have deserved to kick Weekday Guy in the nuts for sure.) I am also not entirely sure what to make of Margaret's reaction, I'm pretty sure she did not kill Madlax, and I'm sure she did not mutter the words of essence and truth just for fun, but she also seems or still is under the influence of Monday Friday and hmmmmm. HMMMMMM. Only way to find out is to keep watching, I guess!!

[ratlesshonret]

I decided I’m gonna share how to make some of my lobcorp nuggets.

Geomeuntugu

H Color: 137, 238, 156 F. Hair: 7 B. Hair: 28 Eyes: 15 Brows: 6 Mouth: 12

Ideal EGO Gifts: Magic Bullet, Reckless Foolishness (highest tier)

Ideal EGO Set: Mimicry (Weapon and Armor)

Requests: If you add Geomeuntugu to your facility, he must be the most badass nugget in the place.

Toki

H Color: 210, 113, 0 F. Hair: 18 B. Hair: 3 Eyes: 13 Brows: 7 Mouth: 10

Ideal EGO Gifts: Fourth Match Flame

Ideal EGO Set: Harvest (Weapon and Armor) or Justitia (Armor, any Weapon)

Requests: None

London

H Color: 0, 121, 61 F. Hair: 7 B. Hair: 28 Eyes: 6 Brows: 0 Mouth: 7

Ideal EGO Gifts: Crimson Scar, any glasses

Ideal EGO Set: Sound of a Star (Weapon and Armor) or Solemn Lament (Weapon)

Requests: Spend lots of LOB on him, to let him live up to his “rich kid” status

Odelie

H Color: 75, 165, 255 F. Hair: 4 B. Hair: 6 Eyes: 41 Brows: 5 Mouth: 8

Ideal EGO Gifts: Any

Ideal EGO Set: Gold Rush (Weapon) and Adoration (Armor)

Requests: None

Sergey

H Color: 0, 109, 206 F. Hair: 16 B. Hair: 9 Eyes: 10 Brows: 3 Mouth: 1

Ideal EGO Gifts: Any

Ideal EGO Set: Any

Requests: None

Sorin

H Color: 255, 129, 89 F. Hair: 1 B. Hair: 1 Eyes: 6 Brows: 2 Mouth: 5

Ideal EGO Gifts: Smile

Ideal EGO Set: Smile (Armor)

Requests: He has to work with CENSORED at least once. Maybe go insane a few times.

Ashely

H Color: 210, 81, 174 F. Hair: 23 B. Hair: 5 Eyes: 2 Brows: 8 Mouth: 2

Ideal EGO Gifts: Laetitia

Ideal EGO Set: Laetitia (Weapon and Armor)

Requests: Let her work with Laetitia at least once. Get her Temperance up to cap ASAP. Ideally, have her always work with Laetitia when necessary.

[nsfwhiphop]

Official Communication - Letter: Subject: Understanding Your Future Roles in the Somali Royal Family and Supporting HRH Christina Santini

Official Communication From the Office of Angelo, Crown Prince and Future Sultan of the Somali Royal Family To:

H.R.H. Her Royal Highness Laetitia Casta

H.R.H. Her Royal Highness Priyanka Chopra

H.R.H. Her Royal Highness Deepika Padukone

H.R.H. Her Royal Highness Christina Santini (@santinihoudini)

Dear Laetitia, Priyanka, and Deepika, Christina,

I hope this letter finds each of you in good spirits. I am writing to address several important matters that pertain to our future as a royal family and your roles within it. I aim to provide a clear explanation so that we are all aligned with our goals and expectations.

1- Your Current Marriages and No Immediate Pressure for Change:

As you are aware, all three of you are currently married—Laetitia to Louis Garrel, Priyanka to Nick Jonas, and Deepika to Ranveer Singh. It is crucial to maintain these marriages until at least 2035. This strategic decision enables us to operate discreetly and stay under the radar during this critical decade, minimizing any potential risks or unwanted media attention. We must firmly deny any speculation or media inquiries about changes in your personal lives to safeguard our position.

In addition to preserving your marriages, it is essential to focus on a crucial preparatory step: freezing your eggs. I recommend that you each work with a reputable fertility clinic to undergo this process. Freezing your eggs will ensure that we have the option to plan for children in the future without any immediate pressure. This measure is both a practical and strategic precaution, allowing us to maintain personal stability while preparing for your future roles within the Somali Royal Family. By taking these steps, we will be able to safeguard our family's interests and ensure a smooth transition into our royal responsibilities when the time comes.

2- Delegating Responsibilities to Trusted Family Members: Given the current circumstances, it is essential to ensure that the Somali Royal Family’s affairs continue to advance, especially in financial and strategic matters. While you remain married and engaged in your personal lives, we will rely on your trusted family members to represent you and act on your behalf:

Jean-Baptiste Casta, Laetitia’s brother, will oversee the financial and strategic interests of the French Royal Family.

Siddharth Chopra, Priyanka’s brother, will manage the financial affairs related to the Indian Royal Family.

Anisha Padukone, Deepika’s sister, will handle both the Indian Royal Family’s interests and the affairs of H.R.H. Christina Santini.

These trusted allies will ensure that our royal family’s interests remain protected and well-managed during this time.

3- The Role of H.R.H. Christina Santini as Princess Consort: Christina Santini, being the only single woman among you, will assume the role of Princess Consort. This role is vital, as Christina will represent the Somali Royal Family in its most important matters and serve as its primary figurehead. Her leadership during this transitional period is necessary due to the current state of affairs and the need for practical solutions.Please understand that this decision is not about favoritism but about practical timing. Christina will step into this leadership role to ensure our family’s success while you continue to prepare for your future roles.

4- Your Pledge of Loyalty to H.R.H. Christina Santini: As future wives and key members of the royal family, it is imperative that you pledge your full support and loyalty to Christina as she assumes her leadership role. Your backing is crucial for her success and for the overall strength of the Somali Royal Family. By supporting Christina, you contribute to our collective success and help secure our future.

5- Working Together as a United Front: While Christina will lead for now, your support remains indispensable. Offer Christina your wisdom, guidance, and any resources she may need to navigate her role effectively. Your unity and collective efforts will showcase the strength of our royal family and help overcome any challenges.

6- Our Shared Goal: Victory for the Somali Royal Family: Everything we do is aimed at advancing and securing the success of our royal family. Christina’s leadership is part of a broader strategy to ensure that we not only navigate the challenges ahead but also thrive. Your support and dedication are vital to achieving this goal.

In summary, while we establish our Royal Family in Alsace, France, under the protection of the French government and military, it is crucial that you all maintain your current marriages until 2035. This strategy helps us stay under the radar and effectively manage our royal duties. We will work behind the scenes to ensure our family’s safety and success, with Christina Santini representing our interests on the world stage.

Thank you for your understanding, commitment, and loyalty. I am confident that, with your support and Christina’s leadership, we will build a prosperous future for the Somali Royal Family.

Warm regards,

Angelo Crown Prince and Future Sultan Somali Royal Family

P.S.:

Synopsis of the Letter:

This letter is addressed to H.R.H. Laetitia Casta, H.R.H. Priyanka Chopra, and H.R.H. Deepika Padukone, outlining their future roles and responsibilities within the Somali Royal Family. The letter emphasizes the strategic decision for each to remain married to their current spouses until at least 2035, to maintain stability and stay discreet during a crucial decade. It explains that their trusted family members will manage their royal duties in their absence:

Jean-Baptiste Casta will handle the French Royal Family's financial and strategic interests.

Siddharth Chopra will manage the Indian Royal Family’s financial affairs.

Anisha Padukone will oversee both the Indian Royal Family's interests and those of H.R.H. Christina Santini.

Christina Santini, the only single woman among them, will assume the role of Princess Consort, representing the Somali Royal Family and leading during this transitional period. The letter stresses the importance of their loyalty and support for Christina as she takes on this leadership role. It underscores the need for unity and collective effort to ensure the success and safety of the royal family, especially as they establish their base in Alsace, France, for the next fifteen years to avoid insecurity and potential attacks.