#but i'm aware these countries still have tense relations

[teaboot]

15 Questions 15 Mutuals

Tagged by @lost-and-cused 💛

Are you named after anyone? Yes, a musician my mother met in Russia!

When was the last time you cried? Huh. I think like, two months back? Trigun '98 episode 23. If you know you know. (I am wrapping u up in a blanket.)

Do you have kids?  Nope! I think I might like to be a foster parent someday, though, once I have the money and the time do it properly.

Do you use sarcasm a lot? I- huh. I was gonna say yes, but honestly, not much in the last few years? I used to be so snarky and biting, like, all the time. It must have been really exhausting for the people around me. Now I think mostly it's just when I'm venting. Wild!

What sports do you play/have played?  I dunno if it's a sport if I don't compete but I enjoy martial arts! I do BJJ sometimes but I'm not very good at it, it's just for fun. Oh, and I was on a basketball team for a couple years, but I'm 5'3" and still don't know the rules so I think I was mostly just just for the body count, lol

What's the first thing you notice about other people?  Demeanor. Are you calm or tense? Loose or tightly-wound? Are you likely to explode if you encounter a perceived obstacle? Are you agreeable and easygoing? Or are you pent-up and raw and itching for a fight?

God, I don't think people realize how visibly LOUD they are when they're unhappy.

Some people are like music, moving along to their own little beat or tune, and then a heavy, harsh note walks in and you just KNOW they'll fuck up the rhythm if you brush too close. It's wild. Are they aware of it? Do they care? Who knows.

What's your eye colour?  Brown! Sorta like.... hmmmm. #622a0f in the middle, with a darker ring around the outside. (Never did relate to the 'brown eyes are boring' gang, always liked mine too much. Then again, I was the only one in my family with brown eyes, so maybe it was that.)

Scary movies or happy endings? Scary movies WITH happy endings? But no, actually, I hate watching horror movies. I LIKE them, I think a lot of them are very good and it's an underrated genre, I just. Don't enjoy being scared. Or sad.

Any special talents?  I'm an artist- I enjoy watercolor, acrylic, and India ink as painting mediums, I'm rather good at realistic stippling, I'm decent at identifying animal bones, I enjoy sculpting and sewing and needle-felting, I'm finally at a point where I like to read my own writing, I enjoy interior design and have been told I'm good at it, I'm a pretty good cook, and I've been told I'm a decent singer! I can also fold incredibly tiny origami cranes, and pick up on new languages well enough for simple use.

And I be far more proud of any number of these things if I did them a little more often.

As it is, I sleep a lot.

Where were you born? British Columbia, Canada!

What are your hobbies? Lord, too many. I'm actually sewing a new battle jacket right now, and animating a short video. Also writing fan fiction. And reading! And I like to collect antique books and handmade ceramics and theater masks. And go antiquing. And I'm still learning to knit? Hhhhhhhhrrrrnnggfn I wish I could have a year off to just. Do things. I wanna take a pottery class! And do metalwork again!! I used to love making chain jewelry. Oh, I do beadwork sometimes! And paint! And I'm sloooooowly designing a guest room. Bfyvxuhfhgtjggjhgyu

Do you have any pets? Yes! Big baby bird cat. He lives out of the country now, though.

How tall are you? 160cm!

Favourite subject at school?  Art. And Metalwork. And Psychology. And Literary Analysis. (And lunch break.)

Dream job?  Okay so imagine this: There's a VERY rich eccentric hell-bent on accumulating strange art, and by some miracle they are both mentally stable and not a gigantic dickhead. They travel a lot and don't really enjoy socializing so I don't have to kiss their ass.

Twice a month I receive an automatic deposit into my bank account and in return, all they want is a reasonably steady continued production of literally whatever art. Portraits, statues, robotics, ceramics, conceptual shit, costumes, carvings, literally whatever.

And they'll cover educational expenses for it all so I can go back to college and learn screen printing and 3D animation and use the kiln and shit forever and ever, and take up apprenticeships at tattoo parlors and volunteer as a face painter and pick up photography, and just create as much beauty and love and confusion and joy as I possibly can forever and ever and ever until I die.

And I'll have enough money to own my own apartment that I'll paint in all my favourite colors, with murals and everything, and have a cat who I will of course spoil rotten, and maybe adopt a few weird and goofy kids who'll have sleepovers with their friends in the living room and play new bad music that I pretend to hate, and when they fuck up and do stupid shit like kids do, maybe I'll handle it better than my adults did.

And maybe if they like making stuff too, I can make stuff with them. And maybe I'll get to see them do it better than me. And maybe I'll get to see them do everything better than me. And maybe they'll be happier, too.

So, uh. I guess I'd like to be an artist. A sugar baby-artist? Sugar baby artist combo. I'd like to have a patron is what I mean. A sponsor. Yeah

Fifteen Mutuals*: @Melancholysage @Genderfuckedpigeon @Raspbrrytea @Qthewhatever @Sternenhimmel-mond @Mythosandsuch @Anunholymessofagirl @Ifitistobeitisuptous @Here-you-can-read-my-feelings @Meat-puddle @Catgirlwarrior @Rodeokid @Not-fae-no-sir @Inbox847 @Pip-53

*I have no idea if we're all mutuals but take this anyways

[whentranslatorscry]

Hitagi Honeymoon

002

“Senjougahara-san? Is something up with Senjougahara-san?”

“Well, it's not that something’s up, I'm just curious.”

“Oh?”

“Don’t you think ‘Senjougahara Hitagi’ is a weird and interesting name?”

“…You know, ‘Senjougahara’ is a place name.”

Eighteen years back in time, such a conversation took place within a classroom of Naoetsu Private High School. It would be more accurate to say that it happened nearly six years ago, when I was an eighteen-year-old third-year senior in May. Regardless, it feels like a whole eighteen years have passed.

On that day—the very day I caught my classmate falling gracefully from the staircase above—it all began.

After school, I had thrown such a question at our class president, Hanekawa Tsubasa, who knew everything.

And the response I got was this: a place name.

In other words, there is a place named Senjougahara in Japan, and at that time, in adherence to the good sense one would expect of a narrator who takes pride in promptly cutting out chit-chat that bears no relation to the main storyline, the conversation quickly progressed with utterances such as, “Ah, um, that's not what I meant. What I was trying to say is, well, it's about her first name.”

Now, with the passage of time, we shall deliver the director's cut version. It is not often that a director's cut version of a film or the like receives rave reviews, but there can be no success without challenge.

“Oh, a surname derived from a place name? That's the first time I've ever heard of it. You know everything!”

“I don't know everything, I only know what I know.”

Said Hanekawa Tsubasa, casually brushing off the remark during her glasses-wearing days, her hair in three braids—the line itself now rendered nostalgic.

Fast forward six years to the present, and she has vanished not just in name but in existence altogether. To Hanekawa, who had been constantly moving from one family household to another—her parents always somewhere else—names must have seemed more or less inconsequential from the start.

No name was ever permanent, all just transient and fleeting.

Araragi Koyomi at eighteen, just after Golden Week, may have been well aware of this, but he had not yet felt the importance of names.

“Is it like Sekigahara or Dannoura? Or perhaps, like Horagatouge?”

She interjected with a sense of aesthetic that seemed slightly misaligned.

“Hmm, I think Senjougahara is a bit different from those famous battle sites.”

“Really? Where is it, then?”

The young Araragi, who had yet to begin studying for his exams, did not even know the location of Sekigahara, let alone the year of the famous battle that took place there.

“In Tochigi Prefecture.”

“Tochigi?”

Allow me to carefully insert a subtitle here: this conversation took place six years ago—or indeed eighteen—and has been recorded as is to preserve the historical context and culture of that time.

“Where is that? Within the country?”

“Maybe it'd be easier if I say Nikko?”

“Nikko…”

When uttered with such a charming smile¹ (which, in human terms, would soon be followed by an encounter in the hallway with a high school girl embodying the epitome of the sarcastic tongue), the malicious air seemed to dissipate. Indeed, the young Araragi understood the reference to Nikko, but when asked where Nikko was, he was still clueless.

In fact, he seemed even more tense.

For young Araragi, who retained his vampiric nature as a consequence of his Spring Break, sunlight was a two-syllable word to be shunned. The memory was still fresh back then.

“Senjougahara is in Oku-Nikko. In the upper left part of Tochigi Prefecture on the map.”

“I remember now. Nikko, 'If you haven't seen Nikko, you haven't seen anything.’”

“Yep, yep.”

Said a seemingly well-accomplished Hanekawa. Reflecting on it now, the honor student had already started to educate me since then, even with our organizing a gathering to decide on a cultural festival performance. Well, it could be considered cultural.

“It's like seeing Naples before you die. So, what kind of battle took place in that Oku-Nikko? It looks like there's nothing there.”

I said, eighteen years ago. Furthermore, it was the utterance of a high school student who did not fully know his age. It's the age when one thinks they're being sharp by disrespecting a regional city they don't know well due to lack of information, even though their own address is quite provincial.

Nowadays, such non-compliance is unthinkable.

“No way there's nothing there. There's plenty. Lake Chuzenji, Kegon Falls, Futarasan Shrine, Nikko Toshogu Shrine… Nikko Toshogu Shrine is a World Heritage site.”

“Really… aren't World Heritage sites surprisingly everywhere, though?”

Eighteen years ago, the words were spoken.

Although I am the one bringing it up now.

“There is a designated history that exists everywhere, to be carefully preserved.”

It does hold a profundity.

It’s hard to believe that this was said by a high school junior just like Araragi, eighteen years ago.

However, even if not a World Heritage site, I have definitely heard of Nikko Toshogu Shrine... Wasn't it built by Tokugawa? Or his grandson? I'm not sure, but on this matter, there isn't much difference between the me back then and the me now. If anything, the only distinction is that today, I am aware of the Sleeping Cat, a sculpture by the master Hidari Jingorou, in that World Heritage site.

Cat…

“Futarasan Shrine, it’s somewhat like my name, isn’t it? And Senjougahara, huh… Is that where you're from?”

“Hmm, who knows?”

Class President evasively rubbed her shoulder, negating the vulgar and probing reiteration of her origins, a habit she maintained consistently since that time.

But at any rate, it is possible that this is her birthplace, as the story I was to hear later from Hanekawa revealed that she lived in this town since at least her junior high school days.

“The battle was fought by gods.”

“Gods?!”

“The god of Mount Nantai in Tochigi Prefecture and that of Mount Akagi in Gunma Prefecture clashed.”

“Tochigi and Gunma? They fought?”

Let that be corrected. Even eighteen years ago, this was not an acceptable statement.

“What for?”

“Let me inform you, Araragi-kun, that there were no borders between prefectures at that time. The mountains were equivalent to the gods themselves.”

“I have heard that before… So that's why mountains are counted as 'seats,' right? A place for the gods to sit… Then, in that battleground, Hachimanbara, who emerged victorious? Not that it matters.”

“Do not say it doesn't matter.”

She chastised me, making me feel like I had been scolded by a braided, bespectacled class president from across eighteen years into the past. It was not an entirely unpleasant feeling; a sci-fi sort of feeling.

Such a figure no longer exists, however.

“From the fact that the battle had reached Hachimanbara in Tochigi Prefecture, it is evident that Gunma Prefecture had the upper hand. It was where the god of Mount Akagi had transformed into a giant centipede and launched an attack.”

“A giant centipede.”

“The battle was met by the god of Mount Nantai in the form of a snake…”

“A snake.”

“But ultimately, it was a man named Saru Maruo who repelled the centipede by shooting its eyes with arrows.”

“Saru, 'monkey'…”

Of course, I don't possess foresight, so although the snake and monkey may seem to be significant, they could simply be elements of an incredible tale that I cannot grasp entirely.

Undoubtedly, the same could be said for the giant centipede's role in the story.

It is not impossible to connect the centipede biting people with vampirism.

“In summary, the Battlefield Plain of Oku-Nikko is where those two gods clashed, which could explain the seemingly endless marshland that stretches across the horizon without anything to obstruct the view.”

“There's nothing there, though?”

“It's not that there's nothing, your perception just isn't the sole perspective. For instance, at night, as far as the eye can see…”

Stars fill the sky.

Hanekawa Tsubasa spoke as if it were her catchphrase, yet little did I know that just a month later, I would go on my first date with my first girlfriend at an observatory I knew nothing about.

“I see. That's neat. Awesome.”

I had little to say other than lightly nodding and agreeing.

“But…”

Then, somewhat deflatedly, I tried to shift our conversation back to the topic.

“Ah, um, that's not what I meant. What I was trying to say is, well, it's about her first name.”

Prev Chapter | Next Chapter

Nikko is a city in Tochigi pref., and にっこり(nikkori) is charming smile.

[spanishskulduggery]

I'm not sure if you answered this already, but what are some common verbs/words in spanish that have multiple uses/meanings?

Okay, so the basics that everyone will experience in one way shape or form that have so many meanings depending on context and use:

ser = to be (permanently) | has extremely wide usage with multiple things, also used for telling time, passive voice; it basically gets used for existence in general

estar = to be (temporary) | also used very widely, though typically with the same general idea of a static location or temporary feeling, I'm including it because it's used widely and has different applications including the gerund forms

dar = to give | has so many applications and idiomatic expressions, and also in some contexts means "to hit/strike" which is often used for starting music, clocks striking, or just hitting something... even I don't know all the applications for dar and I'm always stumbling upon it and being momentarily confused

tener = to have | while it does mean "to physically have" or "possess" you will see it very widely in tener expressions with hunger, thirst, birthdays, feeling warm or cold, being funny, have to do something etc etc. These are more clearly documented than dar but tener can trip up a lot of people

ir / andar = to go | both verbs here mean "to go", but they also get used very widely, and andar which is sometimes “to wander/roam” in particular is frequently used in idiomatic expressions, or used colloquially [it’s hard to explain in limited space, so ask me if you need more concrete examples of andar]... so you always want to be aware of it

haber = there is/there are | in general you won't get very far in Spanish before you see haber in some iteration, whether it's hay as "there is/are" or in past había "there was/were", haber also has some other expressions; in Spain you might see haber de which is "to need to do (something)", in universal Spanish hay que "one must (do something)", and just the entire set of perfect tenses relies on haber + past participles

poner = to put | poner is a weird one because it's more regular than the above, but still irregular... it's "to put", but also "to set" a table, and ponerse can be "to get (emotion)" or it can be "to put on (clothes)" or it might be "for the sun to set"... poner has a lot of range but you can definitely intuit the general meaning most of the time

ver = to see | usually it’s just “to see”, but verse is “to look (appearance)” or “to see oneself (as)”, or in context it can be “to face (someone)”... it has some other applications but it’s less irregular

hacer = to do/make | extremely versatile, you’ll definitely see hacer being used for all kinds of things like the weather, or hacerse “to become”... it’s a lot that hacer can do

echar = to throw | normally you see echar as “to throw/fling”, but it also means “to give off”... and it gets used in lots of idiomatic expressions, as well as in Spain as echar de menos “to miss (someone/something)” which is different for Latin America [Note: In Latin America, extrañar is “to miss (someone/something)”, though it is often “to be surprised” in other contexts especially in Spain, no me extraña is “it doesn’t surprise me”... literally “it doesn’t estrange me” or “it doesn’t come across as strange to me”]

Just some other verbs that I’m just going to list as they come to me that have multiple meanings or multiple contextual meanings:

esperar = to hope, to desire esperar = to wait / to await

querer = to want querer = to love

llevar = to carry / to bring, to transport llevar a alguien = to give someone a ride, to take someone (somewhere) llevar = to include, to contain [used in food; este plato lleva frutos secos “this dish contains nuts” for example] llevar = to take [as in lleva tilde / lleva acento “it has an accent mark”]

tomar = to take tomar agua/medicina = to drink water / to take medicine tomar el sol = to sunbathe tomar el aire = to get some air, to get some fresh air tomar una decisión = to make a decision

volar = to fly volar = to blow up volar(se) = to get high, to take drugs

alterar = to alter, to change alterar = to upset, to make someone angry/upset

dudar = to doubt dudar = to hesitate

agitar = to agitate, to bother, to annoy agitar = to shake, to stir

abandonar = to abandon abandonar = to leave (a place)

solicitar = to request, to solicit, to petition solicitar = to apply for, to fill out an application for

sonar = to ring (a phone/bell/alarm) sonar(le) = “to ring a bell”, to sound familiar sonar a = to sound like

llorar = to cry llorar (a alguien) = to mourn (someone)

sentir = to sense, to hear or feel / to notice sentir = to feel regret/sorry [as in lo siento or siento tu pérdida which are “I’m sorry” and “sorry for your loss”] sentirse + emociones = to feel (an emotion)

sentar = to settle / to set / to establish sentar (a alguien) = to seat, to give someone a seat or to put someone in a chair sentarse = to sit down

explotar = to explode, to blow up explotar = to exploit, to take advantage up [also “to mine” in some cases]

quedar = to remain / to be left [used in subtraction as well] quedar(le) bien/mal = to fit (clothes), to suit (someone) quedarse con = to inherit quedarse = to become quedarse = to stay behind

apuntar = to make notes, to note apuntar = to indicate, to point at apuntar = to aim, to aim at apuntarse = to sign up

pensar = to think pensar = to plan, to intend

suponer = to suppose, to guess suponer = to pose, to signify [eg. supone un riesgo “it poses a risk”]

volver = to return volver (a hacer) algo = to (do something) again volverse = to become / to go [as in volverse loco/a “to go crazy”

pasar = to pass pasar = to occur, to come to pass pasar de (algo/alguien) = to be done with (something/someone), to give up (something/someone) pasar por alto = to overlook

perseguir = to chase, to pursue perseguir = to persecute

marcar = to mark, to make a mark marcar = to press (a button)

tirar = to throw tirar = to pull, to attract tirar = to shoot, to fire tirar = to waste, to throw away, to squander [also tirarse can be “to have sex with” in a vulgar way]

gastar = to spend (money/energy) gastar = to wear out

conocer = to know (people/places) conocer(se) = to meet (someone)

saber = to know (facts/things) saber = to taste saber a algo = to taste like something

velar = to stay awake, to stay up velar = to keep watch, to watch over / to stand vigil

elaborar = to elaborate, to add detail elaborar = to brew (alcohol/soup/potions etc; something that requires time and effort and balancing flavors) elaborar = to develop, to devise, to come up with, to produce

manifestar = to manifest manifestar(se) = to protest

conducir = to guide, to conduct conducir = to drive a car [some countries, often Spain]

manejar = to manage manejar = “to manage”, to manipulate, to coerce manejar = to drive a car [some countries, often Latin America]

bajar = to lower / to drop bajar = to go downstairs bajar = to descend, to go down, to get (down) off (of a vehicle)

desplegar(se) = to unfurl, to open up, to unravel desplegar = to deploy, to send (troops/supplies etc)

guardar = to guard / to watch over guardar = to keep / to keep safe

enseñar = to show enseñar = to point, to point out enseñar = to teach

mandar = to give orders / to be in charge mandar = to send

probar = to try probar = to sample, to try (food) probar = to prove

montar = to ride (a horse/bike) montar = to set up, to stage

escapar = to escape escapar(se) = to leak

ganar = to win / to beat someone at something ganar(se) = to earn ganarse el pan = to earn a living [lit. “to earn bread”]

pedir = to request pedir = to order (food)

sacar = to take out, to remove sacar una buena nota = to get a good grade sacar ventaja = to take advantage sacar(le) el quicio = to drive someone nuts [lit. “to take the sense/sanity out of someone”]

encantar(le) = to delight / to really enjoy encantar = to enchant, to bewitch, to hex

pegar(se) = to stick, to stick to pegar = to hit, to strike, to punch

doblar = to double doblar(se) = to fold (paper/things) / to curve, to bend doblar(se) = to bend over / to bow

tocar = to touch tocar = to play (an instrument) tocar(le) = to be someone’s turn [indirect objects]

subir = to go up, to rise / to climb subir = to get into (a vehicle or ride) subir (algo) = to upload (something) [also has some other uses]

Also not including verbs that take on secondary meanings with technology like cargar is “to carry” but also “to load” or “to charge”... or iniciar is “to iniciate” or “to log in”, or navegar is “to sail/navigate” but is also used as “to surf (the web)” things like that

But some common ones you’ll want to know are encender which is “to light” as in “to set on fire” but it also means “to turn on (electronics)” because it used to mean something like to light a candle but that became turning on light switches etc. Similarly, apagar is “to extinguish” but is also ‘to turn off (electronics)” 

Additionally be aware of arrancar “to yank” or “to pull out” but also means “to start up (machinery)”. The way I was taught to remember it is to think of a lawn mower or chainsaw, pulling a chain to start something up

There are also some verbs that are technically related but mean different things. Some of them are on that list but as an example - agotar is “to drain”, since it’s related to la gota “drop (of liquid)”... but agotar can also be “to run out of” or it can be “to exhaust (someone)”, so they’re connected in the same idea, but they are technically different contexts. Another one would be pulir which is “to polish”, but it can mean “to improve” or “to brush up on” in the same way we say “to polish your skills”

Some are more contextual; cantar is “to sing” but in a lot of crime scenarios, cantar is “to confess”. Another one is admitir which (like English) could be “to admit/confess” or “to admit/allow” or “to admit/let enter”

I’m also not going to include certain verbs that change meaning based on reflexive or not reflexive in general aside from those above, because that gets into some complicated linguistics territory but just be aware that occasionally things get complicated when you see reflexives

*Note: There are lots of verbs that mean “to become” and that is an entirely separate issue

[lizzybeth1986]

Power Dynamics Pt 1 - The MC

(Read the entire "Hana Lee: A Study in Erasure" series here!)

Previous: LI!Hana and Friend!Hana

Among the many excellent works of Hana art that I've seen here, there is one that I think about from time to time. A drawing of Hana and the MC, inspired by the "aren't you tired of being nice" copypasta.

In this drawing, the MC is visibly angry, grabbing a puzzled Hana by the shoulders and shaking her.

"Aren't you tired of being nice?" she yells, "don't you just want to go ape shit???" (I'm paraphrasing).

I remember that artwork often. It's a fantastic piece, and it makes me think. And everytime I've seen it, I've found myself giving the same response.

"She should," I find myself telling the MC in that picture, "and I think one of the people she should go ape shit at, is you."

In the previous essay, I mentioned that characters come in "tiers", with the MC holding the topmost spot. In a number of cases, the LIs are the most important beside them/after them - either because it's their domain or because they establish a closeness to the MC. Other major and minor side characters follow. The latter may get their own storylines from time to time, but more often than not LIs are supposed to dominate the narrative.

Unlike the MC, whose background is often left purposely vague, a lot of the flavour and personality of this environment comes primarily from the LIs. We are familiar with the world of the Attuned through people like Griffin and Aster. We navigate Hollywood through superstars like Matt and Victoria, as well as aspirants like Teja. Chris, Kaitlyn and James are an integral part of the TF MC's first year at Hartfeld. And they come in all forms: the friendly insider who guides you, the skeptic who eventually warms up to you, the goof who uses their humour to lighten tense situations. They make the MC comfortable, they alert them to potential dangers, they add romance and joy to the MC's life, they help them if the MC is in a fix. In a badly written Choices book, it can look like the LI has no life of their own.

However, most Choices books have the LIs' storylines run parallel to the MC's own, allowing for the world itself to have a richer background and history. There are times when the MC can choose to help in this journey, but it is generally accepted that the MC's needs and story should come first. And this is alright - as long as the narrative is consistent.

With that said, let's delve into what the Hana-MC journey looks like.

The Underdog MC

Hana is an interesting case in a story that is set in a fictional country, where at least two characters are meant to be a throwback to a previous series (TCaTF). Hana is familiar with the social season, familiar with the culture, like her peers. But unlike all of them (besides the MC)... she is a foreigner. Her sponsors are in a whole other continent, she has no real childhood experience in Cordonia like her rivals and peers do, and certain elements of this journey (like the sourness of the Cordonian Ruby) can still take her by surprise. The writers truly set her up to be a perfect bridge to the MC's experience - she is aware enough to help the MC integrate, but foreign enough to relate to her. Which means Hana can understand the nuances of the MC's struggle, in a way that born-and-bred Cordonians like Liam and Drake might not.

The MC enters the story as a newcomer to Cordonia - ignorant of its culture, unaware of its norms. As an outsider she is in a vulnerable position - she has to work harder to please the several people evaluating her (the press, the Queen, the King, the courtiers). She begins the social season sponsored by the Beaumonts. And while it's true that Maxwell takes the initiative to bring her to this country…it is also true that most of the work of helping her succeed is done by the LIs - Drake (often on Liam's instructions), Liam (either through Drake, or when he needs to pass important information), and Hana. 

Hana in fact is integral to this MC's success. As you can see above, she not only helps her learn the skills but also usually takes the initiative to ask. The LIs stand in to help whenever the Beaumonts fail to teach her, and Hana helps most in the technical aspects of the events (one may claim that you can do the tasks even without Hana's scenes, but you cannot ignore the fact that canonically the MC is unaware and therefore vulnerable, and she was the Beaumonts' - primarily Maxwell's - responsibility). 

The MC, too, can easily  gain Hana's trust over the course of the series. Hana is after all a foreign woman in Cordonia, alone and friendless, just as vulnerable (if not more - given the scandal of her broken engagement) to bad treatment from the courtiers. She would have to work just as hard to get noticed. It is default to the text that she witnesses the MC stand up to Olivia when Olivia humiliates her. It is also by default that 11 chapters later, the MC helps her stand up to her mother over the phone at Applewood, and is the first person Hana tells the news of her departure to. Hana is written as grateful to the MC for her friendship, trusting her enough to share personal aspects of her life with this newcomer. Between those two default scenes, we have a number of paywalled opportunities not only to gain knowledge from her, but even to just keep her company and listen to her (the Piano scene, the Yacht scene). Unfortunately, as I said, around the Apple Blossom Festival, such opportunities dwindle.

We experience this dwindling further in the next book, but before I talk about that, let's examine the MC's position in TRR2. She is disgraced at this point - the focus of a plot  to eliminate her by dragging her reputation through the mud, in a way that endangered her safety on multiple levels in the previous book. She is even more of an outsider here, because she now has a (manufactured) reputation that precedes her, and is part of a court where the Queen-to-be can issue threats to both her and the woman who publicly supports her. The engagement tour is less about court skills, and more focused on unravelling this plot and investigating the many culprits involved - a servant, a courtier, the King Guard, and finally all the way to the top - the King himself. 

At the beginning of the investigation, Maxwell and Drake (later, Olivia) are at the forefront of the investigation. Hana occasionally helps out in distracting the court so the rest of the group can slip through without being caught (Applewood)...but the heaviest parts of the investigation - and perhaps the most obvious indications of Hana's stealth - happen once they reach Paris.

She stays in the shadows and observes people, often picking up on details the MC may have missed (see above). What is even more notable is that she manages to do this even in highly-tense situations, such as the Shanghai tea party with her father. She manages to overhear and file away the information about Adeleide's favourite champagne, and even in an emotionally distressed state, she still uses that opportunity to pass on information. If the MC fails to gain trust during the Penelope confrontation, it is Hana that Penelope tells the truth to, since she  made efforts in the same scenes to make her feel comfortable. 

At this point in the story, most readers I know didn't mind the Hana x MC dynamics. That included me.

Hana is clearly invested in helping the MC fit in, then in helping her regain her good name. The MC has the opportunity to accept or reject this help, but it's clear that Hana is an important part of her growth of stature in Cordonia. She continues in such a role in future books. So why does this feel so much less disturbing in Book 1, and at least a portion of Book 2?

The main difference here is the MC's acquisition of power. Cordonia operates on hierarchies - the royal family, the Great Houses/Duchies, the minor houses and the commoner populace. This determines not just the lands they acquire but also the level of clout they have in court. People who don't have as much clout don't always get the support they need, and those who do may get the pampering they do not always deserve. Foreigners tend to have it a lot harder, not only because they have to fit in to win approval, but also because - at least in the first book - people either mistrust or underestimate them.

Though the MC enters the social season with the title of 'lady' thanks to Beaumont sponsorship, she is still a commoner and a foreigner, which places her at a double disadvantage. Perhaps this is why Hana was also written as a foreigner, and later as someone whose mother is from a minor noble house - so that the MC wouldn't feel too alone in her alienation. Hana straddles a thin line here: she is relatable, as a fellow outsider, but there is the slightest element of power in the knowledge she possesses and the skills she has acquired. The problem begins when, from the Regatta onwards, the narrative starts considering Hana as more of an asset than a person, and seems reluctant to give her either power or agency. This is what leads to some of the narrative heartlessness we see, starting from Book 2. 

In this book, the MC's disgrace puts her at even more of a disadvantage. So the general expectation in fandom and for most of the narrative, is that her needs and goals - as the victim of a huge plot to discredit her as a possible consort to Liam - will undoubtedly come first. She was a victim, subject to multiple violations of her privacy and attacks on her as a person. She couldn't contact people except in person, for fear of being tracked, and had to regain her good name while still impressing dignitaries and proving her mettle as a courtier. This also means that in certain cases, while the MC could engage in aspects of the LIs' stories,  she would naturally focus on what was most important to her at the time. It was ok for her to be a little self-centered.

Even keeping that in mind, I found her lack of concern re: Hana in at least two areas in this book, rather chilling.

One is the confrontation with Madeleine in Paris, post the latter's bullying of Hana in Italy. I speak about it in more detail here, so right now I'll just stick to why I was disturbed by it.

Madeleine's drunken admission of wanting to "break Hana" collides, very conveniently, with the revelation that Penelope had a hand in the plot against the MC. So in the minds of most readers, well, of course more narrative weight would be given to the MC's interactions with her. Of course this meant that what Hana went through would take a backseat, since according to the narrative the group (optionally) "did their job" by distracting her and making her feel better. 

But this doesn't erase the fact that the MC heard what Madeleine said, including the part where she said she'd continue doing it. It doesn't explain why, when Madeleine lies through her teeth about "hazing", the MC doesn't even react - forget about saying anything. Or why she was so out-of-sight-out-of-mind about it all the way to the epilogue of the series.

I've mentioned before that the TRR2 MC doesn't start out with a lot of power. In fact, the press either ignores her or bombards her with accusations, which is why she needs the skills of a press secretary to win back public favour. But by the time we reach Paris, she has more public approval backing her, and is on speaking terms with the other courtiers. Her word was weighty enough that Madeleine had to hurriedly pivot to "hazing" to save face, so...why couldn't the writers slip in an extra scene? At least have her warn Hana (who was going out of her way to help the MC), that the Queen-to-be wanted to harm her? Why was this such a non-issue?

Another equally disturbing occurrence emerges in TRR2 Chapter 14, a chapter that elevated Maxwell to an LI but had zero trace of Hana (the only "mention" you'd find of Hana in this chapter is on Liam's new T-shirt). As I mentioned in the TRR Breakdowns, this chapter follows an intense confrontation between Hana and her father in Shanghai, that leaves her in such a bad state that she isn't even sure she has a home anymore. Yet it is Hana who approaches the MC to help her, in Shanghai - not the MC worried enough to look for her. 

On the first day in NY, the MC doesn't seek her out, mention her or even spare a thought as to where she's gone. This was the woman who, until the day before, was running around collecting information that would help the MC. Who reached out to Olivia because the MC was friends with her. Who literally gifted her a handmade dress while at her home. The narrative slapped Hana's face over a patch up scene between Maxwell and Drake that the MC could happily agree to...and now the same MC couldn't be bothered to even ask where Hana was??

Even though I was pissed off by this treatment in the second book, it still didn't change the way I thought of the MC. To me she was the same woman trying to prove her worth, among people who originally thought she wouldn't last a week. She was still the underdog.

All this changes when Liam makes her a Duchess.

MC the Duchess

The narrative foreshadows this change in NY, through Madeleine's mother, Adeleide. As the collage clearly shows us, her title makes her more powerful than her daughter. In doing this, the narrative highlights two things:

1. Foreshadowing the MC's own rise to power - even if she is made a Duchess rather than a Queen, she will still be more powerful than Madeleine. I would argue that this is in fact the only reason Krona exists (Notice how, once the MC herself becomes a Duchess, the narrative erases "Krona" altogether and refers to it as Fydelia henceforth)

2. Justifying even a failplay MC's elevation: if a woman like Adeleide, who has neither skill nor interest in running her duchy, can wield power through this role, then anyone can.

At the UN Party, Adeleide is touted as an influential ally, and the MC has to change her entire strategy to win her favour. This is a party with all sorts of dignitaries the world over, so the lazer-focus on Adeleide and the power she holds despite being useless at her job really gives you an impression of the advantages, clout and power you could gain from just having a title.

And you do notice a rather subtle change in the way other characters treat the MC once Liam gifts her a duchy. Even as she is being judged for any mistakes she makes, the narrative slowly begins to give her more power. Her word slowly begins to carry more weight, and more than once the things she says guide public morale (as can be seen at the Five Kingdoms Festival and the Applewood orchard destruction). In the later series when she becomes Mother of the Heir, the narrative essentially nerfs Liam's role as a king so that the MC makes all the major decisions. This is why Kiara's doubts about "reactionary rule" in TRH3 are addressed to the MC, or why in a recent TRF chapter, Eirik claims that the King of Cordonia follows where the Queen/Champion of the Realm goes. Nowhere do we see her seriously engaged in the policy or politics of ruling, but she definitely has all the power.

But one thing is for certain from the beginning of her life as a noble. Even at her most successful, the MC is a person who gets by mostly on the good-faith efforts of her friends and lovers. Whether she has the skills or not doesn't seem to really count much by this point. In contrast, Hana is not just a basket of skills but a good diplomat, an empathetic and observant courtier, and a powerful ally. Even though canon at this point only stereotyped her as "Perfect Hana", it's clear that she has all it takes to succeed as much as the MC has, perhaps even more. It would not have looked too out of place for Liam to give her a duchy too, yet by the end of TRR2, Hana is largely living on the MC's charity, and even this doesn't seem to translate into a permanent home for her later on in the series.

Why wasn't Hana given a duchy? I think that's a question for later. For now…I want to focus on what it means for the MC to be a Duchess, and Hana to be just a Lady.

(Tap the picture to see it more clearly)

I'm sure I don't need to elaborate how involved Hana is in TRR3, either as a friend or a spouse. She is focused on making the Unity Tour a success in a number of ways: from polo moves (like the "windmill" that everyone celebrates the MC for at the Portavira charity match), to diplomacy (for instance, Hana panders a lot to Madeleine in the drinking game scene, and is the only person - by default - who doesn't suspect Kiara. Instead, she speaks of reaching out to her at Lythikos).

But who gets the credit for all this? Who is the one praised for "bringing people together"? Even when she does absolutely nothing of the sort??

In fact, even if her contribution to the Boutique Fight is nothing more than throwing a clothes-hanger at an assassin from behind a chair, the MC walks victoriously into the cathedral, in front of the press and public. Even her choice to goof around in public is viewed as part of her unique charm (eg. The public response to the MC before her wedding, if she says " 'sup"). At the end, no matter how badly she's done or how poorly-attended her wedding, she is still made "Champion of the Realm". Hana, like the other four, is a mere "Guardian". 

The only real difference between the two is that the MC is a Duchess, and the center of attention...and Hana, is neither. Hana doesn't have that kind of power - not even in playthroughs where she is marrying the MC (the narrative remembers only once that she will become a Duchess, and Olivia still refers to her as a failure in Chapter 14). She is expected to do as the Duchess of Valtoria tells her, without the latter needing to think about the implications - for instance, Hana is expected to sweet-talk her former bully without anyone remembering what happened in Italy. She is expected - even as the bride - to wear all-black to her own bachelorette. She is expected to act like a bridesmaid at her own wedding. She is expected to take it in her stride when Olivia mocks her. In fact, the more a person like Olivia or Madeleine gets into the MC's good graces, the less the MC  seems to care about their treatment of Hana. And while one of these instances may be due to a glitch and another only happens in a diamond scene - it just goes to show the utter lack of thought put into this character and her concerns.

This treatment continues right into the TRH series. In her single playthrough, the MC continues to benefit from Hana's hard work and research, with very little indication that she does the same (she is a titled woman with the time and resources to learn about Cordonia's neighbouring countries, for example). As soon as the story establishes Olivia as the "spy" figure, the narrative erases Hana's own history involving stealthy investigations. Hana is relegated either to smaller tasks (eg. the mission to catch Godfrey in TRH2 - she recieves the press but is given little to do in the course of the mission) or is made to look scared/silly in comparison to Olivia. Either way - the MC's "bestieeeeee" is allowed to overshadow Hana, look down on her, and the MC herself pays scant attention to her. The narrative attempts to show us the MC "cares" in a scene or two, esp in TRH1 (eg. standing up to Isabella when she mocks Hana), but this stops after the first book. 

In her married playthrough, the narrative hits Hana with the revelation that her oestradiol levels are so low that even with IUI it would be difficult for her to conceive (it also treats Hana's condition as total infertility, when research shows that conception is still possible). But this is not written in a way that centers Hana at all. It's written more like a quick-fix solution for making the MC alone pregnant, rather than the painful, life-changing moment that it would be, for a woman who wanted children as much as Hana did. It's referenced only one more time, when they're on their way to Texas (possibly out of fandom demand, and even then it is only optional in the second scene). Both times, the narrative has Hana shift focus back to the MC and her happiness. In the chapters following it the same MC can whine about not getting pregnant fast enough in Hana's presence, not once but multiple times. Never once does Hana's own situation come up, and it is virtually invisible after this point.

We find more of the same "scraps of kindness" in the married Hana playthrough of Book 1 - the MC can stand up to Isabella for her, assure Hana that she can never be "secondary" to her during the pregnancy photoshoot and insist she relax during the MC's baby shower. But in the next two books, their dynamic goes back to the usual - Hana continues to serve and pamper the MC, the MC continues to bask in this attention without ever having to return the favour.

But What About The Other LIs?

"But Lizzy," some of you may say, "since TRH all the LIs have similar treatment!"

After a point, yes. For instance, the LI giving the MC a gift for their anniversary while she doesn't even bother to make a card or write a letter? That happens across the board. But let us see if - in the case of a Drake, Maxwell or Liam - this forms a pattern.

Before we go into this, I must go into what it means to "center" a character in their issues. This means that during the time the issue is being explored - whether in the buildup or in arc-culmination - the MC gives most or all of their focus to that character, putting aside their own issues for the moment. It is about what that character needs, how they feel, and even whether they are comfortable with the MC's attempts to help. The narrative doesn't force the character to deflect, or push aside how they feel, but instead allows them to process their feelings in an organic way - no matter how messy that process may be. Unfortunately, this level of "centering" often goes only to the Creator's Pets (Ethan of OH being a very strong example of this). 

Drake is undoubtedly one of those. He is a commoner. Theoretically, that means he should act as a counterpoint to the nobility-filled court, but we are never shown any prominent commoners besides him and all his storylines seem pretty self-contained rather than actively benefiting any community. A lot of the plot points for him are quite self-contained - that is, they exist to serve his personal story and not the plot. As a character...his subplots start out looking like they add a lot of value to the story but in fact contribute very little. Characters with similar "outsider" arcs in other PB stories have often been pushed to the side, their issues deemed unimportant (eg. Shane from Platinum. We must note, though, that this treatment is given the most to "outsiders" who are POC, especially black).

The process of centering Drake in his scenes started as early as TRR1, where the MC could, in her diamond scenes, give him comfort and solace. In fact, TRR1 shifts the focus to him just minutes after Tariq almost-kisses the MC, and continues to do so at Ramsford, where the MC's "important conversation" is not about the incident or the lock, but Drake's feelings. TRR2 doubled down on this with the Savannah and Bastien subplots. The MC, in her diamond scenes with Drake, is often made to chase after him and comfort/distract him (eg. Never-Have-I-Ever drinking game, Hana and MC patching him and Maxwell's relationship at the Night Market, helping him get Liam a wedding gift). This continues into TRR3, where she can teach him to dance, and in TRH, where we spend a whopping 8-9 chapters in his mother's home in Texas, and help his sister in her wedding preparations. In his TRR3 playthrough the narrative takes great pains to remind us that he will be soon be the Duke of Valtoria (Hana only gets this once, towards the end of the book), and even writes him a whole extra "country" wedding to accommodate his discomfort with big fancy events! His arc involves not just a gradual process of becoming popular in court, but also ensures his sister is given the wedding of her dreams. Even now, the reveal that Bastien was part of the Via Imperii centers Drake and his feelings of betrayal heavily.

We also have Maxwell, who started out a prominent side character, but was made an LI by demand. The narrative would often forget he was an LI, and in fact in TRR3 and TRH1 he was given no character arcs, but we can say that in his interactions with the MC, he was centered. In the few times he apologizes for his lackluster guidance in Book 1, the MC is meant to comfort and reassure him. She also often stands up to Bertrand for him, and in their private conversations she attempts to convince Bertrand of Maxwell's capabilities. And while I'm not the biggest fan of how the Beaumont story was usurped by Savannah in TRR3, the MC still gets to work on fixing the Bertrand and Maxwell relationship in a diamond scene (in Chapter 10, she feeds Bertrand lines through an earpiece - words of pride and encouragement for Maxwell, and an honest confession of his feelings and financial state for Savannah).

Pandering to Maxwell truly comes out in full force around TRH2 and 3. In Book 2, he misrepresents Bertrand's involvement in the social season in the film based on his memoir, to convince him to let go of his role, give it to their father and focus on the family. Elevating Bartie Sr to Duke led to his attempt to usurp the throne, yet in Book 3 the narrative completely ignores this. Instead, it has the MC and the group comfort him, listen to him, involve him in investigations and validate his hurt feelings multiple times. He is allowed to go through at least half of TRH3 trying to rationalize his father's behaviour, still trying to view Barthelemy as a good man...even though the latter had already attempted a coup, blackmailed people, and was robbing the Heir's parents of their rightful role as her guardians. Maxwell is allowed to have outbursts at his father on his failure to be a good parent. Even when Maxwell finally understands how evil his father is, there is no self-reflection on the monster that he allowed into his home, to overpower not only his House but his country too. He also never includes his older brother Bertrand in those feelings of hurt and betrayal (this makes sense during the time Bertrand is viewed as supporting their father, but the suspicion and scorn still remains even after it's proven that Bertrand was on their side the entire time).

So while Maxwell may not be given all the benefits of an LI straightaway, he is still largely centered in his own story especially from TRH onwards, and in small ways in the initial books.

There is plenty I could say about Liam...but how the narrative in general views him and treats his issues, would merit its own essay. Suffice to say that while the cruelty and lack of care can't be truly compared to Hana's, there are still parallels. The narrative expects both characters to set aside their own conflicts and struggles, often for the MC's benefit. Hana is never actually given power, and has a status lower than her peers, and Liam is still king but is forced to operate like a Duke, ceding more and more political authority to the MC as time passes.

On the level of validation, the MC is made to find other things "more important" whenever they're in a state of emotional  crisis (eg. Constantine's death, Hana's diagnosis, the reveal about Eleanor's pregnancy, every reveal thus far about Eleanor's death) and never get back to exploring the impact of those things on that LI. The narrative uses Liam's stoicism, and Hana's selfless dedication, to render their own issues inconsequential - thus leaving behind a pattern of unresolved stress and pain that is essentially erased. Otherwise how is it that most of this fandom finds discovering your mother's murderer, or witnessing your father's death, as normal? How is it that the same fandom thinks of a person who leaves her entire home behind after defending her friend/lover, as "weak"?

This doesn't happen often to Maxwell, and it never happens to Drake.

The one main difference between Liam and Hana, is that the TRR1 MC seems at least a little more invested in how Liam feels than she does for Hana, and Hana is made to operate like a "basket of skills" from Applewood onwards. And while in TRR2 it makes sense that the MC would focus more on what she went through...the fact that she can show disproportionate amounts of care to a Hana vs a Drake or Maxwell tells us that giving comfort was a matter of who the writers liked more, not really what worked more for their story. Because if it were really about the story, then both Hana and Liam, who benefited the story more, would be getting as much - or more - attention.

What does this have to do with power dynamics? Quite a lot. I brought up the examples of Drake and Maxwell to make it clear that even though the MC is powerful, the narrative still intends for her to be the proactive partner in certain relationships, and merely bask in the partner's attention in others. Notably, the partners who fit the first description are white and male by default.

I mentioned at the beginning of this essay that attention and focus is distributed hierarchically, from MC to LIs to the prominent side characters. But that isn't always the case in this series.

The next essay also focuses on power dynamics, but in the context of the court and the ladies of the Great Houses. I will be exploring this in three ways:

1. How does the narrative view these women in general?

2. How do their stories relate to Hana's own?

3. How does the MC's evolving relationships with these women impact her relationship with Hana?

We've looked at how Hana has fared among other co-protagonists. It is time now to see how she fares among the side characters.

Next: Power Dynamics, Part 2 - Ladies of the Court

[bas-writes]

if its still open then how about vivi introducing her gf to her dad?

It's Pride here, babey (ﾉ´ヮ`)ﾉ*: ･ﾟ

I'm opening this edition with my older queer-related requests before I will move to the newest batch (with exception of two scenarios that will be published at the very end). So - sorry for the super long wait, but it finally is here!

Introducing her girlfriend to her father

Character: Vivi Reader: female (trans inclusive) CW: vague mention of pregnancy & parenthood

To keep the long story short, Vivi is… stressed.

Not because of a potential bigotry - oh no, she is sure she’s not going to have this kind of reaction. She grew up in a very liberal -for a monarchy- environment and as the only heir she was always allowed more than other aristocrats. Besides, she already did a test, mentioning here and there she’s currently interested in someone of the same gender and her father reacted with nothing else than enthusiastic curiosity.

But on the other hand - introducing her girlfriend to her father means she’s going to make an official statement in front of the whole country, if not in front of the World Government as well. The older she gets, the hotter becomes the topic of her marriage. Of course, everyone will have their eyes on her partner, as soon as she officially appears at the Nefertari court.

Which means, Vivi is going to kick the nest of very hyperactive hornets. Because even if her girlfriend is trans and still capable of making her pregnant, even if there always is a possibility to adopt, it would nonetheless leave the door open for controverting the right for the crown for any kid whom Vivi would raise as her heir.

And as a royal, Vivi is well aware that leaving a sure, not questionable heir is her biggest duty. For the country's safety.

As always when she’s overthinking and stressing herself out, Vivi misses the most easy solution - so it’s her girlfriend who has to suggest they can simply sneak to the palace in secret and let king Kobra meet her in private. Official statements can be left for later and consulted with more experienced politicians. First they should meet as a family.

Even though, Vivi needs a lot of coaxing and reassurance from her girlfriend to soothe her dutiful anxiety. She doesn’t feel it’s right to sneak her partner to her house as if she was helping a pirate to get away with their loot. Her girlfriend deserves recognition, a proper introduction ceremony. They shouldn’t hide just because they are in a same gender relationship. On the other hand, the backlash of such a decision… Vivi is sure she can handle the commotions, but hates the thought of her girlfriend having to bear the same stress. Whichever turn her mind takes, she sees problems and difficulties piling in front of them. Her girlfriend needs to be patient with her. Vivi is strong, just needs time to make up her mind and settle on one goal. Time she would gladly spend in her partner’s arms, cuddling the anxiety away.

Eventually Vivi agrees with her plan and decides to introduce her in secret from anyone but the king and a few chosen and trusted advisers. The girlfriend arrives at the palace as a servant and is led to private chambers, where the royal family finds their rest from the world and their duties. There Vivi’s trusted servants change her clothes for a more suitable outfit before she can meet with Vivi herself.

Despite being rather passive and anxious in the beginning of the whole operation, Vivi -once she’s in a familiar environment and knows what she should do- takes the initiative. She leads her girlfriend arm in arm to the king's chamber, holding her as close as modesty allows, so she can soothe her nerves with her soft touch. She’s doing most of the speaking, more used to the oficial tone of the court - but always makes sure to not talk over her partner. After all, she’s here to meet Vivi’s family.

After the first tense moments, the meeting turns out more domestic and cozy than anyone could suspect. Kobra, despite similar worries he has since the day he learnt his daughter is dating a woman, quickly warms up to Vivi’s girlfriend and switches the role of the king for the role of the father. Even with the tension easing, Vivi holds her partner’s hand in hers all the time, sometimes rubbing soothing circles on her palm. She’s proud and happy of how the things turn out, how her partner is making good on expectations, how her father shows her acceptance and approval. If she still has some anxiety in the back of her head, she quickly pushes it out of her mind. Problems can be considered later, now it’s time to celebrate as a family.

As soon as they are left alone, Vivi simply jumps into her girlfriend’s arms and steals a happy and passionate kiss from her. She’s so excited because of a successful trick she’s shaking and crying a little bit, because she can’t handle so many positive emotions. There’s also a lot of relief in her touch and words - she can’t hide it, of course she’s relieved the love of her life was accepted into the family, despite the great risks. She gets so absorbed with showing her affection that Igaram has to gently remind her about the secret behind the whole operation.

Vivi’s girlfriend is not allowed to leave the palace before the night ends. Vivi is having none of that, she wants to sleep in her arms as she’s still not over the happiness. Still, no sleep takes place as Vivi is just bursting with excitement and acts her age probably for the first time since she left the Strawhats. She can’t help it. She is now sure she can show her love to the whole world with her family’s support.