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vampkomori · 27 days

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Ena the Order is the concept of conforming to Fate, and Elio is an Emanator of Order

welcome to my pre-2,2 theory, i got carried away.

for those yet unaware, theres been a theory flying around that the Goddess of Sigonia, Gaiathra Triclops, is a folkloric interpretation of Ena the Order, on account of the iris of Ena's eye having the same colors as Aventurine's. we can go much further with this though.

(Aventurine's pupils are diamond-shaped, but little Kakavasha has round pupils. its likely that diamond-shaped pupils are a result of becoming a Stoneheart, because Topaz also has diamond-shaped pupils, and Aventurine used to not have them. but i digress)

Anyway, Gaiathra=Ena. Gaiathra is described as a left palm with 3 eyes, arguably Ena also has 3 eyes- two closed ones on their face, and one massive, open eye floating around them.

Gaiathra "reigns over all matters related to fertility, travels, and trickery." (Sigonia, Planar Ornament Relic Set) and is said to have been the one to bestow Aventurine with his luck.

but first: What is Order? Based on the words alone, youd think Order would have more in common with Equilibrium, but evidently that wasnt the case. Considering it was assimilated into the Harmony, it must have overlaps with that though, since the broader path is the one that absorbs the narrower one if their concepts are too similar. So, if Harmony is unity and peace, the idea of everyone joining a happy paradise, then how did the Harmony manage to absorb Order?

"I am filled with curiosity about how THEY swallowed up Order. The hymns of Xipe continue to spread and grow, occasionally overseen by ideology. In contrast, Ena's harmonic songs seems to align within a three-dimensional framework, akin to an emperor maintaining hierarchical order among all creatures. While there may be some overlap between THEIR Paths, the ancient Order is enormous in size, and swallowing THEM would prove far from effortless... Among the Aeons, there exist countless enigmas that surpass my own speculations." - Dev Log for Xipe in Simulated Universe, Herta's comment

Herta doesnt know either, and by all means a freshly ascended Aeon should not have an easy time absorbing someone as ancient as Ena- that is, unless Ena intended for it to happen.

This is a lot of establishing facts before i get to the meat of things. We still dont technically know what Order even is, so lets try figure it out!

"The planets governed by Ena adhere staunchly to established rules, yet I must acknowledge that the various calamities in the cosmos were all hindered by Ena's guardianship, leading to extremely efficient development of civilization among diverse planets. Interestingly, however, civilizations all eventually hit rock bottom because of Order. The ancient planets that once fervently worshiped Order would shine briefly before their total collapse... Perhaps this is the "Path" of these planets." - Dev Log for Ena in Simulated Universe, Herta's comment

So: Order is the concept of adhering to a predetermined outcome- their "path". Ena observes humanity "gazing into a crystal orb containing the cosmos" and ensures that they all follow their predetermined path of Fate. None may go astray, no outside influence may interfere, no matter what fate awaits them, they must follow their set path.

"THEIR voice is composed of syllables sequencing the rise and fall of civilizations in accordance with the Aeon's path."

Ena has the ability to foresee the future, as they dont just sequence the rise, but also the fall of civilizations. They are inherently impartial, just, things are destined to happen and so they see to it that they happen. Order is the concept of conforming to Fate, if a planet is destined to be destroyed by a calamity, then Ena guides it to that outcome.

However, Aeons, despite being concepts, arent just concepts, they have some semblance of sentience, self-awareness. they have goals, they make deals, though humans are unable to comprehend them.

So, Ena conforms to fate, but what is the purpose of doing so? Ena can see the future, but we know Kafka. there isnt just ONE future, theres a lot of futures, and endless paths. So its logical to assume that Ena, by being able to see the fates of civilizations, can actually see the endless amount of paths towards all possible fates, and personally chooses which path is specifically followed. and for the sake of the theory, lets assume Ena is benevolent and guides humanity towards the most fortunate fate (though even the most "fortunate" of fates can still end in destruction)

Before Ena was assimilated into the Harmony, they made a deal with Qlipoth the Preservation: Qlipoth will bring an end to Tayzzyronth the Propagation (as they are interfering with the predetermined Fates of planets) and in turn Ena will help Qlipoth against Oroboros the Voracity somehow (likely foreseeing its Fate and interfering with it). Qlipoth held up their end of the bargain, but Ena was assimilated before they were able uphold their part, which is interesting

We know theres something fishy about the Orders assmiliation into Harmony- it doesnt make sense, especially knowing that Ena foresees the future, and is likely aware of their own fate.

Heres where we remember that Gaiathra is also a goddess of trickery. Theres two possibilities:

Ena foresaw their own "demise" and made a deal with Qlipoth knowing they wouldnt be able to follow through on their part of the promise

Ena, able to see multiple paths for the future, foresaw that being assimilated into Xipe would lead them towards the most fortunate one, so they let themselves be absorbed on purpose, as the Harmony would not have been able to absorb the Order otherwise. The deal was just a bonus.

Either way, Ena would have known of the future, and making a deal shortly before the assimiliation of their path is clearly a scheme- they get something great out of it, and dont have to follow up on it.

Heres where we bring up Elio (and the Stellaron Hunters). We actually still dont know what path they follow, and isnt that so interesting? What path could possibly include following a "script" to ensure a certain future? hmmm

sounds like Order to me!

Elio possesses the ability to foresee future possibilities and the paths that lead towards them. Essentially, the exact ability that Ena is shown to possess. All the futures look pretty bleak though, except for one, which hes trying to achieve by making sure to follow that exact path: his "script". the very definition of Order.

Note also that despite Enas assimiliation, their faction can still exist. After all, Idrila the Beauty is also gone, but the Knights of Beauty still roam around. The path of a deceased or assimiliated Aeon can still be upheld even if the Aeon no longer exists.

Anyway, Elio is basically upholding Ena's legacy by ensuring that we adhere to fate, and guides us towards the most fortunate one. His ability is far too powerful though, so its safe to assume hes an Emanator, since theyre considered to be "as good as emissaries of the Aeons' wills"

*As a bonus, Gaiathra also reigns over "all matters related to 'travels'". if you stretch the definition a little, "travels" could refer to the idea of embarking on paths towards fate. you "travel" on a path, after all.

Theres also this interesting little tidbit here:

"THEY are always so symmetrical and so equal. If we were to rank those most sublime beings, only the Voracity and the Permanence can stand toe-to-toe with the Equilibrium's antiquity... Oh, and also the Order. After Ena disappeared, the Equilibrium's duties have only grown greater. Then, how would HooH perceive Nanook?"- Dev Log for HooH in Simulated Universe, Herta's comment

The fact that Nanook is brought up is pretty funny as theyre the youngest Aeon, and since only the most ancient ones would be able to stand "toe-to-toe" with HooH, youd think as the youngest, Nanook wouldnt stand a chance against them. but they were brought up regardless, in tandem with Ena no less

Coincidentally, Nanook is also the Aeon that Elio wants the Trailblazer to defeat too. Curious! You could say that it is the Will of the Order to see the fall of the Destruction? anyway,

HooH's duties "have grown only greater" since Ena disappeared, meaning that they must have overlapped in some way before, but coexisted. (similarly to how the Remembrance and Preservation coexist, possibly) We dont know much of anything about Equilibrium yet though, so lets put that aside.

Lets talk about luck.

Luck is just chance. The results of "chance" are left up to "fate". We know that not all choices or events matter in the grand scheme of things. Theres endless possible paths, so rolling a 1 or a 6 doesnt matter because it will still lead you onto the same destiny. Luck is irrelevant to fate, it does not influence it. Luck only influences how you arrive at it.

So how do you reconcile that with Order? if Order is staunchly adhering to fate, observing humanity to ensure they all end up on the "right" path, then how does chance, luck, happenstance, fit into all this?

Luck is the ultimate Order, because there is only ONE path that luck can take: the most fortunate one. It does not influence your fate however, luck only influences which one of the countless paths towards your fate you end up on. and always being lucky narrows your potential paths down to just one.

This is also why Nihility was the natural conclusion for Aventurine. If you realize that no matter what you do, you cannot change the outcome of your choices, then you realize its futile and decide to succumb to it. youll always win, so whats the point? Thats Nihility: succumbing to Fate, the inevitability of everything, realizing your choices dont matter. When youre lucky and everything you do leads to the same result then you start to think that maybe nothing matters.

Back on track though. Fate, despite being predetermined, is not singular. as in, theres predetermined fates (plural) waiting for you at the end of your path. theres multiple endings. Luck means you have less paths to end up on but luck does not influence the end goal.

In a way, what Elio is trying to do is very similar to what Aventurines "luck" does: he wants to end up on a very specific path that leads him to a very specific fate, and luck leads you onto one single path, theoretically making it easier to achieve certain fates. Its an interesting parallel.

"Blessing" someone with luck seems a bit too hands-on for someone like Ena, so while we might never know why Aventurine was blessed specifically, we can kind of see it as a sort of trial-run. Ena does not interfere, does not "defy" fate, but bestowing luck onto someone to narrow down their futures is a bit like interference- except its not, only on a technicality. theyre still adhering to the set paths that exist, after all, im not changing fate, what are you talking about? look, hes still on one of your predetermined paths. the fact that he cant go onto other paths is irrelevant if he still ends up at one of the predetermined endings.

As a note though, Ena is not Fate itself. Ena adheres to fate and ensures that humanity follows it. Nihility is basically succumbing to fate and thinking its inevitable and change is futile, and I guess you could see Harmony as the concept of circumventing fate- instead of arriving at one of your predetermined endings, how about you get assimilated into our harmonious hivemind and experience eternal bliss? (lets wait on that 2.2 harmony lore-drop before saying anything about that though)

got off track a little. basically, Ena's Order is the concept of conforming/adhering to Fate. potentially, in their era, Fate was a singular end, because they were the one to guide humanity onto certain paths and towards certain ends (which is why civilizations thrived but ultimately still collapsed). Enas assimiliation was on purpose, although we can only speculate on the reason. so i will. heres my speculation:

Ena is not Fate itself, but a Guide. seeing the countless possible paths and possible fates for humanity, they foresaw the same thing that Elio foresees- a terrible End at the hands of the Destruction that may affect humans and Aeons alike. potentially, Enas Will mightve been to avoid that (but remaining within the confines of fate, not defying it) so they set in motion the steps needed to embark on said path, which necessitated their assimilation into Harmony. if Enas reign caused the Fates of humans to be "set in stone", then Enas disappearance could be seen as humans regaining the ability to choose their own paths, their own fate. Essentially, Enas disappearance wouldve been necessary in order to even create the possibility of an "alternate ending" and leaving the choice up to humanity.

anyway thats the conclusion thanks for coming, godspeed if you read the whole thing. im bad at keeping things short and concise. and i started rambling near the end

as a disclaimer: these are vague thoughts and i change my view on things often. if we get new info in the future that says this was all nonsense then thats that. im not trying to convince anyone. just offering a perspective for funsies

#honkai star rail #ena the order #gaiathra triclops #when the new simverse update comes out with a new harmony path and we get lore about Ena we popping the BIGGEST bottles #cough. well anyway. Order am i right.#i didnt talk about Enas imagery but its pretty insane what with the puppet strings and and giant eye and #well. to offer another perspective: genshin is very fond of describing fate as a panopticon. 'casting an examining eye on humanity'#(especially with the new lore about the crimson moon- the eye of fate and judgement)#and literally calling Fate the strings that puppeteer humanity. haha. ha. HA.#not necessarily saying hsr and gi are connected. but rather that hoyo has a definitive view of fate and often uses the same ideas #over and over again. so. rather than saying theyre connected its more like. the imagery is so similar #that you could say the heavenly principles are how theyre representing their idea of fate in genshin. and ena is hsr's idea #i just wanted to mention that though its been driving me insane #um. ena sweep. live love laugh #vampy.txt

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bonefall · 4 months

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since kits in BB have more freedom, what would the clans think of a mi who DIDN'T want to let their kits out of camp at all and barely out of the nursery unsupervised? would they be viewed as abusive or just a bit of a helicopter parent? would the clan think perhaps they needed to get the cleric involved?

It would be a huge cause for alarm.

Clan cats see kittens as future warriors, not objects for an individual to possess. The Mi is responsible for the first part of a warrior's childhood, for overseeing their well-being and development. Children aren't pets, they're on a journey towards becoming adults. So the Mi, Ba, and Mentor are NOT entitled to "deprive" their charges of what the Clan believes kits are owed.

So, in a way that might be unfortunate, they will respond to this more effectively than they would respond to physical abuse. Especially because this is a battle culture.

As an example, Hillrunner was REALLY easily able to hide the fact she was thrashing Nightkit and Tawnykit, just by coming up with "punishments" for their bad behavior to deflect attention onto. If she was making them run around with a stone in their mouth for backtalk, it looked like "parenting" to WindClan. But if she had shut down and tried to keep them in the nursery all day, fearful of losing them like she lost Downwind, making them miss major developmental milestones like "first prey," someone would have stepped in.

But anyway, back on a suffocating Mi.

If there are Ba involved in this, it is expected that they would be the ones making that challenge. If the Mi starts preventing them from taking their kits out of the nursery to socialize them, or starts excluding them on "unfair grounds," they might appeal to the Leader or Cleric to become the kit's Mi. In such case, they would decide if the Mi gets to become a Ba or if they're now excluded.

(this is a major reason why there is not more than one Mi; it's not the "mother" role. It's primary guardianship. A Ba and a Mi are not "legally" equal to the Clan.)

If there are no Ba, then it's usually the Educator who would be stepping in. Though another Mi in the nursery could also bring up these concerns, the Educator will often notice just how far behind a kitten has fallen when they come in to teach history and glyphs.

Situations like that are a lot rarer than you'd think though. One of the advantages of a Clan is that it's a community. Friends, parents, siblings, cousins, mentors, and apprentices are meant to be trying to involve themselves in the raising of kits, and the support of their struggling family member. Even standard Clanmates would start wondering why they haven't seen the kittens around.

Extreme paranoia like this usually comes from something traumatic, and ideally you're meant to have a network to help recognize when that's happened to you. If the situation has gotten THAT bad, there's usually some outstanding circumstances for why that is.

#Mi/Ba System #Clan Culture #Better Bones AU

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incorrect-jojolands-quotes · 2 months

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Hot take but I think what we saw in chapter 13 was necessary.

I don't think a lot of people realize how important it is for Araki to portray what he did, even if it extremely difficult to take in. Let me explain.

Araki has discussed about topics like racial and class disparity through both Steel Ball Run and Jojolion, but JOJOLands is different because the discussions are now very direct. We had Chapter 1 open up with police brutality and Chapter 13 open with intense bullying; both acts were committed by people of higher social standing/power and seemingly White (or white passing) and both are harming a dark-skinned queer individual. Not only that, remember that Hawai'i is an island stolen and colonized by the US and many indigenous individuals who were supposed to live and maintain kapu are being forced to endure housing problems, loss of culture, etc. due to gentrification and exploitation of its lands. 2020 was when we saw global protest towards the deaths of George Floyd and Breonna Taylor due to police brutality, which has spread as far as Japan in terms of demonstrations and rallies. Araki has made it clear that he tries to take real world experience into his writing, and this is no different. He is also no stranger to portraying law enforcement throughout his parts without glorifying or downplaying their behavior.

As a mutual of mine (who themselves identify as a black GNC individual based in US) has put it, those who identify or even appear as Black while identifying as trans-femme or women are subjected to some of the worse kinds of oppression possible in America. Queer women of Color are one of the most susceptible to sexual violence-- especially when they are young, and the darkness of their skin really plays into it. This is transmisogynoir; it is a hard pill to swallow and acknowledge, even if it feels excessive, and its a multilayer of oppression that connects a person's racial identity, gender, and sexuality as targets of discrimination. It's the fact that one is POC, a woman, AND queer that makes one a target--- not just one or the other. You can’t turn a blind eye to this because it happen constantly throughout America's history and American society even today, but you can't simply water it down or downplay it. In fact, many victims of transmisogynoir have no choice but to downplay their experiences because of their Black identities or because they appear too dark to be taken seriously; when they, especially if they are Black, try to hold people in power accountable, these individuals are suddenly labeled aggressive, indignant, etc. and they are further discriminated for attempting to speak up. Dragona downplaying the bullying isn't them just trying to avoid further conflict but a reflection of how many who were in similar situations like Dragona are forced to simply forgive and forget the trauma they have to endure. To downplay it ourselves is reinforcing the narrative that individuals like Dragona in real life should remain silent and endure their harassment rather than rightfully protect themselves and others from it.

Another thing to add is that the way Japan portrays and treats the LGBTQ community, particularly the trans community. In Japan, the process to legally change your gender is complicated and requires a lot of steps that include, but not limited to, being diagnosed with gender identity disorder, proving you have no kids/guardianships, and sterilization. This causes a lot of individuals to be forced to quickly transition as a means of getting their gender recognized, which takes away the time to let them explore at their own pace, and this is due to how the process can lead to hindering career and life opportunities that wouldn't be hindered had they already transitioned or stayed closeted. Many Japanese trans individuals unable to go through the process quickly either remain closeted or move away from Japan to transition at their own pace. So, as a result, the trans community and its struggles is not as noticed compared to outside of Japan. Another thing to add is that the trans community in Japanese media is often portrayed as comedic relief or a gag. Oftentimes, the trans character or character who diverts from gender conformity (i.e cross-dressing, acting more flamboyant) is the butt of the jokes. Some thing to note is that, when Dragona was first introduced, a lot of people thought that Araki put Dragona in simply for comedic purposes. I had people joke about how Dragona is just there because they believed Araki is trolling. Not only that, the racial issues that Japan has often results in jokes towards non-Japanese individuals in media, especially if they are of darker skin color.

So, Araki putting Dragona in these difficult situations is also meant to subvert expectations that his Japanese, and possibly Western, audience may be expecting. The expectation was to laugh and toss Dragona aside as a single-dimensional character, but Araki instead forced us to face the trauma through Dragona's experience head-on. We are made aware of Dragona's situation, how real and difficult the struggle is, and we end up emphasizing with it rather than laughing at it. Through this, we get a glimpse into real life experiences of trans POCs without it being downplayed and have it show how Dragona is a fleshed-out character with importance to the series. As some have put it, this chapter proved that Dragona isn't just a side character but arguably a complex individual on the same level of importance as Jodio. I don't think it would have been easy to have the same impact if another approach was taken.

While talking to others who identify as trans and/or GNC about their thoughts on the chapter, I was told by many of them that, while Dragona's experience hits close to home and was hard to digest, they appreciate seeing it being expressed and hope it will help other people understand their struggles. One noted how the introduction of Smooth Operators with the backstory as empowering, seeing the Stand as a symbol of surviving the trauma that comes with trans discrimination. I do find this a bit telling with how many people online who are against Araki's portrayal barely mention what trans/GNC people have said about it.

My main concern, as well as what I see people have rightfully critiqued, is the excessive trauma reinforcing the fetishization and violent voyeurism towards trans individuals; it also reinforces the problematic narrative that dysmorphia can only happen as a result of trauma and the trans experience can only be full of pain. There's also the issue that Dragona's experience also happened while they were under age and their harassment is similar to that of Lucy. It's a common trope in Western media to put marginalized people into these situations while upping the ante simply for clicks and pleasure, and even worse when the character portrayed is a minor. As I reiterate, it is a very uncomfortable chapter to read and I don't find it enjoyable at the slightest. Just because I understand why it is necessary doesn't mean I condone the approach done. I also understand Araki as a Japanese man can only relate and portray a queer American's experience to an extent. But, at the same time, the exposure was necessary because it gives us the awareness and a voice to trans people that is lacking within media even today. We need to be aware and acknowledge what our BIPOC trans community goes through as a means of being better humans--- and especially our younger community members. We need to make our society safer for them so they can thrive and have the respect they deserve. Oftentimes, that starts with how they are portrayed and how their experiences are portrayed. While it is still a journey and not every representation will be perfect, we can't simply toss it aside and bash those who try to show something realistic just because it is uncomfortable.

I only hope that Araki wrote Dragona and these scenes as a result of doing extensive research and reaching out to actual POC queer individuals, particularly transfemmes/women, to understand their experiences and have their blessings to use their words to shape Dragona. I feel like that would show that Araki was serious about discussing these issues through his characters rather than simply using Dragona's traumatic experience it for entertainment. I have higher expectations for Araki now, knowing that it may not be the last time he shows a character experience harassment and possibly have Dragona be harassed again, so I will keep my eyes open for this.

#the jojolands #this is my first time making a long ass serious post about this so i hope my message is well put #i understand that not everyone will agree and that my view is limited due to experiences so i do apologize if my message was incorrect #i wrote this after discussing this with trans/gnc individuals about their thoughts of chapter 13 and noticed how there's discourse on it #obviously please listen to BIPOC voices especially from those who also identify as queer. many told me they appreciate chapter 13's rawness #i'm also going to use this time to read up and learn more about the trans community and BIPOC community #so feel free to send me stuff to read up on as well #but yea my two cents

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indigos-stardust · 4 days

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Four Keys: Skhadu (Shadow)

So I'm gonna be real guys I am filled with guilt that I have not posted their lore and stories, I'm just too much of a perfectionist so I'm just gonna ramble like I'm talking to a friend so I can get all of this out

Tw for child abuse, but its not descriptive its just part of his story

So Skhadu is an illegitimate prince of the draconic people in this fantasy world. He hates his father (Ganondorf <3) and his fathers Advisor/Mage (Vaati <3) even more!

He hates not having real power but still being forced into doing crap for everyone and then not even having the freedom to make his own choices.

Hes kinda been forced into this enforcer role, where he kinda has to terrorize anyone trying to plan some rebellion or coup or whatever. There's a lot of issues especially with the Kings great hibernation coming and the rumor of their only valid heir, Skhadu's half sister, being extremely ill. Like "Oh hey I might die" ill.

She would be the one with the crown and guardianship of their fathers Realm (kingdom wise and centuries nap wise). So if she's out for the picture, or at least weak, then that leaves alot of room for plenty of others to take a chance at power.

Point is though, Skhadu still has to attend stffy formal events, be constantly controlled so he doesnt "Embarrass the crown even more", and train to just do whatever everyone else orders him to do. The training is very brutal, and with Vaati being the one teaching him his magics? No very fun...

Not to mention he's constantly disrespected and humiliated, he has no choice, no freedom... just occasionally pity. It's what his father said preventing him from being killed.

So Skhadu runs away. He's still a prince. Just a Prince of Theives now. Or that's what he proclaims anyways.

He wants to make as much money as possible with as much chaos and fun as he wants thank you very much! Get real power on his own! Cause as much chaos and destruction however HE wants to! Not worry about responsibilities or appearances! Or Vaati threatening to lock him in a cage for two weeks without any food again! Adventure! maybe a girlfriend! Freedom! Money!! That he can actually use!!!

He even has the skills for it too- All his years stealing, sneaking, and fighting Vaati has payed off! And he's not only read about plenty of techniques, he's even learnt from other thieves<3 he's definitely found his place

SURPRISE: The heir, his half sister, really is ill. Fatally. He is the next best thing to an heir they have. The closet thing to keeping power in the family. They'll offer him whatever he wants if he comes back.

Skhadu does not want to come back. He finally got real freedom. Real happiness. He understands how much the "power" he'd get is just a lie. He's not interested. Responsibilities are gross. He'll live in secret and have an AWESOME time doing that thank you very much. The colorfully worded letter containing his own scales proves that.

So the manhunt ensues. He'll never be caught- Hes too smart, too clever-The crumbling Kingdom can suck it and figure out their own issues! Not force him to! Hed rather end up in a jailhouse again than being publically executioned whenever a new coup shows up.

Or just live in hell being nothing but Vaati's puppet. He knows he can't run away forever though.

Buuuuuuut, something does catch his eyes...

There's some little haggle of misfit adventurers looking for some "triforce" artifact or whatever. Something about "finding the sacred keys" or some crap. It sounds like a bunch of guys high of fairy dust believing in some folk tale, but Skhadu knows better. Because he knows that's what his father was searching for. To restore the power of their kingdom, and become a god. Skhadu had just thought he was a madman. But with the evidence he's seeing... Maybe Ganondorf is not.

It's supposed to take the energy of one's soul and mix it with their greatest desire. Fueled by the raw magic of the elements, their wildest dreams can come true... Even defeating death.

Its.. probably an exaggeration, but based on the actual viable magical documents, it does seem entirely possible he could use it to save his sister. He's NOT doing it because he "cares" about her or whatever. Shes stuck up and overly perfect! Skhadu is just doing it for his own interest, its a dog eat dog world afterall. If she can be the heir then they'll stop hunting him, and he'll be free!

Besides, those adventurers or whatever? They're a bunch of saps, it'' be super easy to trick them! He'll just let them do all the hard work and steal it from them at the very end! Yes, yes, he IS a genius, and a very handsome one at that.

Sure he'd be a traitor to the throne and his new "friends", but really, what's one more lie to the pile?

#four keys #my art #my au #four swords #fs #shadow link #fs shadow #four swords shadow #fs art #four swords art #four swords manga #four keys shadow

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atrwriting · 10 months

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the bee, the bird, the bear -- uncle!carmy x babysitter!reader

ok y’all full disclosure — i think i was super annoyed there was very little writing on carmy because i’ve had this AU idea for so long and i wasn’t sure if i was like… imposing or not, if that makes sense. anyway, i decided that, hey, it’s my blog, i can do what i want

therefore… uncle!carmy x nanny!reader

as always, warnings: major character death, past child neglect and abuse situations, swearing, tooth-rotting fluff, and eventual smut

prologue

an alternate universe where carmy wasn’t only left the restaurant, but rights to michael’s kid.

it was a regular evening at the bear. natalie, extremely pregnant, was escorting guests to their tables, richie was controlling the atmosphere, and carmy was holding down the fort the best he could. that was until the next guest that walked through the doors was a woman... who introduced herself as a social worker.

“it is my understanding that your late brother had no idea of her existence,” the woman had stated to carmy. “the girl’s late mother kept it that way on purpose… but now the mother has passed away as well. you and natalie are the last family she has.”

carmen felt the blood drain from his face, his arms, and every one of his limbs. his mouth fell agape — not because he was stunned, but because he felt like he had lost all control that he had struggled so hard to find and hold onto. carmen had no clue what to do.

zip, zero, none. absolutely none.

the first few days, the four year old girl — his niece — sat in his office and played with dolls and coloring books. natalie was kind enough to pick them up and shove them her way when carmy appeared to still be consumed with shock.

his brother had a daughter. carmy and sugar had a niece.

carmy didn’t know the mother, nor what she looked like — and that didn’t matter. his niece looked exactly like her father, his brother — dark, thick hair and chocolate eyes. her smile was bright and big — so bright and big that carmen thought he was looking at mikey when he was younger, about ten years old. he couldn’t believe his eyes, every time he looked at her — it seemed like a dream, a super fucked up dream that he didn't know if it was fucked up to want to wake up from. he caught himself, several times, glancing in her direction and blinking multiple times — unable to believe what was right in front of him.

natalie had offered to take guardianship of the little girl the moment she saw that look in carmen’s eyes. carmen had to admit — he almost immediately agreed. what business did he have being a parent? he just became a restaurant owner — a good one at that, maybe, but still: he worked late, long hours, and didn’t have more than three plates and sets of silverware in his apartment at that moment. thankfully, the apartment was a two bedroom — but that was as equipped as carmy could be considered.

carmen berzatto was the furthest thing from qualified.

the furthest fucking thing.

did he know that? yes. did everyone know that? yes. was he, and everyone else worried? undoubtedly yes.

but did carmen give up the rights to his niece to his sister? no. he didn’t.

so what did he do?

he hired a nanny or a babysitter, whatever — a friend of syd’s; you, a student, looking for work.

he felt like he didn’t have time to interview you. maybe he did, maybe he didn't — all he knew was that there was a familiar weight beginning to make a home on his chest. he had worked so hard to keep his anxiety at bay, and he tried to shove it down the best he could. he couldn't freak out — not yet, anyway. if he trusted syd, and syd trusted you, then he trusted you with his niece — and his credit card to go buy her things.

when you received the call from syd, you immediately came in after class. you had been looking for work for some time now, and you were grateful that your friend had thought of you. when you first arrive at the restaurant, the first person you saw was the man of the hour. you smiled at carmen, and he did his best to return it.

it was the first time you realized that not everything could be fixed with a little bit of honey and a positive attitude. you tried to remind yourself that syd and her partners had built this place from the ground up, and you found yourself immediately pushing your apprehension down and admiring their work. anyone, from even miles away, could see how much time, money, and effort they had put into the place — something they loved, they were passionate about, something they deemed important.

your smile reflected your restored faith in the man that syd talked so highly about.

but inside… you were worried. you were worried for the young girl, for natalie, who had a baby on the way, for syd and everyone else that relied on carmen and natalie’s leadership, but most of all… you were worried for carmen.

could he handle being a parent?

could you handle being a babysitter?

could you handle carmen, who appeared to be strangers with sleep and relaxation?

only one way to find out.

----

lmk what you guys think :) -L xo

#carmy berzatto #carmy smut #carmy #carmen berzatto #carmen #carmy x you #carmy x reader #carmy imagine #carmy fluff

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nordickies · 7 months

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I'm curious, how do you view Åland in your head? Are they Sweden and Finland's kid or something else? How about Faroe, what is their relationship to Denmark? Or Greenland (I know for a fact that Greenland's relationship with Denmark isn't good)

Sorry for the long ask ;w;

Hello anon! It's not a long question! I just don't really know how to introduce these guys, so let's start with an oversimplified relationship chart, I guess?

Quick explanation under the cut. I don't know why it is so scary to talk about my OCs publicly, aah

Åland isn't Sweden and Finland's kid, but she's significantly younger than them, and they did end up practically raising her together. I've been going back and forth on whether I want her to be their "kid" or not - but in the end, I decided to apply the same logic I use with Denmark and Iceland; it's some kind of guardianship.

To me, guardianship means person X is looking after person Y and being responsible for their upbringing. In these instances, we're talking about significantly younger Nations that have been juveniles for most of their lifetime; someone has needed to take the custodian responsibility over them. But because the relationship can be interpreted as parental or siblinglike (with a significant age gap), I just prefer to use the term "guardian."

Faroe, just like Iceland, was raised by Denmark. Except unlucky for him, he's still stuck with the old man. Faroe just tends to get forgotten a lot. He's a friendly young gentleman, the "easy" child in a messy household, if you will. Though he wishes he made more of a noise about himself - to remind everyone that he exists and show that he's indeed an individual. Well, at least he has Åland to keep him company, since they're both doomed to sit at the "kids' table" during family gatherings. And yes, they're the same age as Iceland

While Denmark has been Greenland's "guardian" on paper, they never developed that kind of relationship. She doesn't feel particularly close to him and for various reasons, she never adjusted to her "adoptive" family. The relationship is rough but they still try to make it work somehow. Nowadays, she's happier with home rule, slowly making her way toward potential full independence. Greenland, Kalaallit Nunaat, has been inhabited by indigenous people for thousands of years. But this isn't the same Greenland that would have been around during the Viking Age. I'm just basing that on the fact that the ancestors of the modern people of Greenland, the Inuit, came to the island from the east in the 13th century, referred to as the Thule culture, which replaced the former Dorset/Tuniit culture.

Sápmi is the oldest Nation of the bunch by a long margin. Because of this, she has acted as a mentor figure to the Fennoscandians in their youth and is often referred to as their "aunt." Sápmi's relationship with her neighbors has been extremely turbulent. But still, she remembers them as hopeless little kids getting lost in the wilderness, whom she taught survival skills. She sees them as her unruly boys but feels especially bad that Finland had to grow up so soon. She still finds herself scolding Sweden, who to this day acts like a little kid around her. Norway views her in high regard, someone he goes to with his worries and feelings. She's a nation with no state, but tries her best to represent her people and culture to the world.

Karelia is an older Nation as well, perhaps older than the Scandinavians. Karelia is a Baltic-Finnic nation extending from Lake Ladoga to the White Sea. She has longtime connections with Finland, Sweden, Estonia, Ingria, Sápmi, Russia, and Ukraine. But she has always been a nation between East and West, being literally split between them even to this day. Karelia's borders have changed constantly throughout history, making the region extremely diverse. Because of this, and her people being broken apart multiple times in recent memory, her identity feels a bit shattered. Yet it's incredibly strong, with colorful culture, traditions, and language - being unique from the other Finnic groups.

I personally think that Nations and their relationships with each other don't have to be 1-1 adaptations to their real-life counterparts, where every single historical event plays out exactly like in a textbook. History, culture, politics, and, most importantly, people's personal experiences and relationships with their country will always be individual even to people from the same group. But we also shouldn't completely ignore and sugarcoat history, thus downplaying or, in the worst case, contributing to the ongoing harm. So, as rich as the source to create OCs is in this fandom, it's also an endless loophole with no clear answer to anything. But as long as we're ready to be respectful, be willing to learn, and keep an open mind, I don't see a problem with it <3

#i'm bad at explaining but hopefully my idea comes across #also perhaps this explains why i don't feel particularly strongly about shipping the nordics with each other - there is a lot going on #oc talk #hws faroe islands #hws åland #hws greenland #hws sápmi #hws karelia

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ideas-on-paper · 2 months

Text

A hypothetical look at the childhoods of Carlo and Romeo

Despite Carlo and Romeo being two of the most central characters of Lies of P, what we know about their backstory is next to marginal. We know that the two of them went to school together and were best friends (perhaps even more than that), but their time in Monad Charity House is only presented in snippets and fragmented memories, and despite being highly significant, their characters remain elusive - like shadows cast over the entirety of the story, always present, never tangible.

Thus, many have filled the gaps left in their characterization with their own imagination. As for myself, I was curious what their early lives might have been like, before they met at Monad Charity House - and since it was the closest thing to the game's setting I could find, I did some research on Victorian children and their upbringing.

What I found out, however, left me absolutely shocked and made me keenly aware of just how awful Carlo and Romeo's childhood must have been, going by historic standards. As pretty much everything during the Victorian Era, a child's upbringing was very dependent on social class - however, no matter if you grew up in a rich or poor family, each came with its own kind of suffering, and regarding the question of "What were Carlo and Romeo's lives like before Monad Charity House?", the brief answer would be: "Probably not great."

As for the long answer... I should mention this is my own interpretation of Carlo and Romeo's backgrounds, and none of this is officially confirmed. However, given what we know about the two's origins, I consider it quite plausible, and what we can conclude from it might not only give us better insight into their personalities, but also some of the real-life background behind the original fairy tale of Pinocchio.

Just as a fair warning, though: This is about to get a little depressing.

[Spoilers for Lies of P!]

[CW: mentions of very questionable parenting methods, depression, suicidal ideation, poverty, parent death, child labor, abuse and exploitation of children]

Carlo

For this analysis, I'm going to assume that Carlo was born into a fairly well-off household. (The description of Carlo's portrait calls him "an aristocratic boy", and since Geppetto is the mastermind behind Krat's puppet technology, I assume he'd have his fair share of the profits.)

By the standard of their time, upper-class children were quite spoiled: Unlike their working-class peers, they never had to worry about who was going to provide food for them, and the horrors of child labor were never of any concern to them. You would think that being born into a rich family doesn't leave you a single thing to wish for - you'd have nice toys, fine clothes... and well, everything, except for parental affection.

For the most part of the day, upper-class children wouldn't even see their parents - they were only summoned to appear before them at a set hour of the day, and during these occasions, they had to address their fathers as "sir". Essentially, meeting your parents was more like an audience with a stranger, a rare privilege strictly regulated by formality. Children were expected to act prim and proper, only allowed to speak when spoken to, and thus unable to express their true feelings, thoughts, or opinions. Any show of affection was extremely rare - Winston Churchill (1874 - 1945) once remarked that he could "count the times he had been hugged by his mother" as a child.

The parents were more or less completely absent from their children's lives, and when there actually was interaction between them, the children were expected to unconditionally obey their parents. Osbert Sitwell (1892 - 1969) once commented: "Parents were aware that the child would be a nuisance and a whole bevy of servants, in addition to the complex guardianship of nursery and school rooms was necessary not so much to aid the infant as to screen him from his father or mother, except on some occasions as he could be used by them as adjuncts, toys or decorations." (Can you imagine? Geppetto taking Carlo to some big social event to show off his "perfect little son", and Carlo just standing there and silently enduring the ordeal, looking at his father all the while and wondering "Did he ever realize I'm not one of his puppets?")

So, by the standard of the time period Lies of P is set in, Geppetto neglecting his son isn't even anything terribly unusual - in fact, that's perfectly normal Victorian upper-class parent behavior.

Since they didn't take care of their children themselves, upper-class parents would hire a nanny to raise them. Nannies would be instructed what kind of behavior and morals the parents wanted instilled into their child, and they would be responsible for their education as well as teaching them manners, propriety, how to dress and so on. As such, the nanny effectively acted as a substitute for the parents - and given that maid puppets exist and Geppetto probably wouldn't let any strangers near Carlo, Carlo's nanny was most likely a puppet as well.

The daily life of upper-class children was based on strict routine - some like to say it operated with "clockwork regularity". Breakfast would be served at 8 o'clock in the morning, dinner at 12 o'clock, and tea at 6 o'clock.* Children would very seldom leave their room, except to take short walks in the park with their nanny. Education would mostly be given at home by a tutor, which included basic lessons like reading, writing, and arithmetic, but also "socially appropriate skills" like dancing and playing the piano. (Since we see a puppet giving piano lessons to a child in the intro, chances are Carlo's tutors were also puppets.)

*Eating times varied throughout the Victorian Era; a "dinner" might also be a meal eaten during midday.

The rest of the time, children would have nothing to do but to play with their toys (except on Sundays, which was forbidden). Rich families had the luxury of being able to afford the most elaborate of toys, such as automated dolls, clockwork trains, and jack-in-the-boxes, which were extremely popular among children. In fact, since clockmakers were also the ones to build toys, I could imagine Geppetto actually made the toys for Carlo himself. (However, I feel like this only would have made Carlo loathe them; in his eyes, it would've been proof that "father pays more attention to the toys he makes for me than actually looking at me".)

In short, the life of Victorian upper-class children was lonely, depressing, and stuffy to the point of suffocating. Given these circumstances, I would actually be surprised if this didn't leave mental scars on Carlo. It has been documented that a lack of parental affection causes psychological issues lasting all the way into adulthood, such as low self-esteem, trust issues, anxiety, difficulty with social relationships, and lack of emotional control. Also, considering Carlo was probably surrounded by puppet servants all day, he wouldn't even have had a single human being to interact with most of the time - something which most likely had a detrimental effect on his psyche.

Given this dreary existence, it would make absolute sense for Carlo to look nothing short of depressed in every depiction we see of him. The feeling of emptiness when being pressed into the corset of others' expectations is actually something I'm well acquainted with - it feels like walking beside yourself, like your body moving while actually feeling dead inside. A bit like a puppet on strings, if you will. With his life being a monotonous routine controlled by someone else, it wouldn't be surprising if Carlo had difficulty still seeing a purpose in it. (There have been some theories going around that Carlo committed suicide; at the very least, I think it's highly likely he had suicidal ideations during his youth.)

Perhaps this is where Pinocchio - the character from the fairy tale - might have become something like an identification figure for Carlo. Pinocchio was a puppet, but instead of doing what his creator intended - what his father expected - he did whatever he wanted. I'm sure Geppetto gave him the book as a measure to educate him, but it ended up having the opposite effect. In fact, it might have been what first taught him the concept of freedom: Geppetto's puppets only ever did what he told them to, executing the exact actions he had programmed them with, over and over again - but Pinocchio showed Carlo that it didn't have to be this way. (I've seen a lot of interpretations of Carlo disliking puppets, and while I can see where this is coming from, I don't think this is because Carlo disliked puppets in general. Rather, I think he saw them as "extended arms" of his father and a symbol of his need to control everything around him; otherwise, it would be a little strange for Carlo to be attached to the story of Pinocchio so much.)

However, I think beneath all the pent-up frustration and hatred, there was also the wish for his father to love and appreciate him. At the end of the book, Pinocchio returns to his father after all the hardships he had to go through, and the two reconcile and live happily ever after. Since Pinocchio's father goes looking for him when he disappears, perhaps Carlo believed that if he rebelled against him and put himself in danger, Geppetto would realize that he actually cared for him.

So, if Carlo was very prone to temper tantrums and acting defiantly towards his father, it might have been on one hand to show that he didn't want to be part of Geppetto's perfect stage play anymore, and on the other because he was vying for his attention. Due to his upbringing, however, Carlo wasn't really able to communicate his feelings in a proper way. (I like to imagine Carlo as a very emotional person, but having difficulty to actually express his feelings.)

Geppetto, however, wouldn't have the sensitivity to understand this - he most likely would've tried to rectify his son's "mischievous behavior" by disciplining, as was typical for the time period (in general, it was believed that you had to "beat the evil out of children" for them to become a good person). Of course, that wouldn't have made things better - in fact, I wonder if part of the reason Geppetto sent Carlo to Monad Charity House was that he was just at a loss what to do with the boy. Since all of his educational measures were fruitless, perhaps he thought that sending him to the boarding school would finally put Carlo on the right track - although the result of that probably was also quite different from what Geppetto expected.

Romeo

Meanwhile, poor Victorian children had to live in a completely different, brutal reality - for them, day-to-day life was a literal struggle to stay alive.

We know that Romeo was an orphan, and according to Eugénie, that's not much of a rarity in Krat. Indeed, street children existed in abundance during Victorian times: It wasn't uncommon for working-class children to lose one or both parents - due to unsanitary conditions in Victorian slums, many people died of disease, and given the hazardous working conditions in factories and coal mines, accidents were commonplace. However, the term of a Victorian orphan was actually a little broader than that, also extending to children who ran away from home due to hailing from alcoholic and neglectful families. Often, mothers who were single or had a child out of wedlock would also simply abandon their children. Whatever the reason for their situation, these children were forced to fend for themselves at a very young age.

In the Trinity Sanctum in Krat Central Station, there's a note mentioning a "pickpocket who was overconfident in a gamble" and "had his heart stolen and died". Since Romeo made "a deal with the devil" (the "devil" presumably being Geppetto who turned him into a puppet), people have interpreted this as referring to Romeo. Turing to crime to support themselves was not a rarity among poor Victorian children - in fact, half of the defendants tried at the Central Criminal Court of England and Wales between 1830 and 1860 were aged 20 or younger. There were even organized gangs of child thieves who were trained in pickpocketing by a "captain", similar to those from Charles Dickens' novel Oliver Twist. (However, the items that were stolen most often were actually not purses or pocket watches, but handkerchiefs; silk handkerchiefs had a pretty high resale value, and the thieves would take them from pockets, rip out the initials, and resell them for a good price.)

We can't be sure whether Romeo teamed up with a few other kids or not, but personally, I'd wager he did - it would be much safer to operate in a group in case one of them gets in trouble, and overall, Romeo's personality seems a bit too caring for a lone wolf. (As the King of Puppets, he was not only determined to save as many humans as possible, but also possessed the unconditional trust and loyalty of the other puppets. To me, this means he most likely cared about them, and they cared about him in return - if it was just programming, the puppets probably wouldn't be lamenting his loss after he dies. Compare this to Geppetto, who has to use force and coercion for others to obey him.)

Also, since the notes in the Trinity Sanctums always seem to have a connection to the place where they're located (factory worker -> factory; cleric -> cathedral; "greatest singer"/Adelina -> opera house), that would mean the train station was most likely Romeo's base of operations.* (Train stations tend to be very popular among thieves, since it's easier to pick pockets in the confusion of people boarding or getting off trains.) This would imply that Romeo didn't grow up in Monad Charity House since he was an infant, but arrived there at a later point during his childhood.

*EDIT: I just had a thought that the note in the Trinity Sanctum could also mean the train station is the place where Romeo died. (All the other notes are connected to murder or some other violent action, and since we can assume they were written by Arlecchino, he was probably more interested in that.) Since Geppetto has his secret workshop wagon in Krat Central Station, maybe the place where he built P is the same where he built Romeo.

Since there were so many orphaned children, the few orphanages that existed couldn't receive all of them. Instead, workhouses were established as institutions for all kinds of destitute people - including orphans - who were unable to support themselves and were given lodging and food in exchange for labor. However, many children actually preferred living on the streets, rather turning to crime than going to the workhouse. At a first glance, this may seem a bit unreasonable - surely, not having to run around in worn-down rags and steal your food just to survive would at least be an improvement?

Well... Turns out, not really. The conditions in Victorian workhouses were notoriously awful - they were overcrowded, unsanitary, and cruel places to live. Daily routine was strictly regimented, consisting of 9–10 hours of repetitive and physically demanding labor and very little free time. What little food there was was of poor quality, privacy was basically nonexistent, and the dozens of inmates sleeping together in dormitories often had to share their beds - children usually had to sleep up to four in a bed. The consequences for refusal of work or any kind of rule violation were beatings, deprivation of food, being locked up in solitary confinement in a dark cell, and other draconian punishments.

If this doesn't sound like a very hospitable atmosphere, that's because that was the exact intention behind it. Workhouses weren't meant to support poor people - they were supposed to scare them into finding work and make a living for themselves. Victorians viewed poverty as a self-imposed misery, and if you were a pauper, that was because you were lazy, retarded, or made bad choices in life. That's why beggars, vagrants, orphans, criminals, and mentally ill people were all indiscriminately housed in workhouses, because from the Victorian point of view, they all belonged to the same category of people: A stain that had to be removed from the public eye, either by forcing them to support themselves or by making use of their work force once they had donned the workhouse uniform. They were a nuisance to society, and their treatment in the workhouse was sure to make them feel that.

One of the worst fates for workhouse children, however, was to be hired out as pauper apprentices: Usually from 10-13 years of age, but sometimes as young as eight or seven, workhouses would send pauper children to factories in the countryside for an "apprenticeship". This "apprenticeship" involved factory owners buying children from orphanages and workhouses and making them sign a contract that lasted until they were 21 years of age, dictating that the apprentices had to be provided with food and accommodation, and in exchange, the factory owner was free to make use of their working power.

So in summary, workhouse orphans were essentially sold into slavery. This was all that much easier to do with children who had no parents and no other means to support themselves, and thus were free to be exploited by their employers. Some of the recollections from these former pauper apprentices are just utterly horrific - and in this case, I think it's appropriate to let the victims speak for themselves.

John Birley, who lost his father when he was two, lived in the Bethnal Green Workhouse for a time after his mother died of illness when he was around six. He was sent to Litton Mill as a pauper apprentice, and he had this to say about his experiences in an interview with The Ashton Chronicle in 1849 (source):

The same year my mother died, I being between six and seven years of age, there came a man looking for a number of parish apprentices. We were all ordered to come into the board room, about forty of us. There were, I dare say, about twenty gentlemen seated at a table, with pens and paper before them. Our names were called out one by one. We were all standing before them in a row. My name was called and I stepped out in the middle of the room. They said, "Well John, you are a fine lad, would you like to go into the country?" I said "Yes sir". We had often talked over amongst ourselves how we should like to be taken into the country, Mr. Nicholls the old master, used to tell us what fine sport we should have amongst the hills, what time we should have for play and pleasure. He said we should have plenty of roast beef and get plenty of money, and come back gentlemen to see our friends. The committee picked out about twenty of us, all boys. In a day or two after this, two coaches came up to the workhouse door. We were got ready. They gave us a shilling piece to take our attention, and we set off. I can remember a crowd of women standing by the coaches, at the workhouse door, crying "shame on them, to send poor little children away from home in that fashion." Some of them were weeping. I heard one say, "I would run away if I was them." They drove us to the Paddington Canal, where there was a boat provided to take us. We got to Buxton at four o'clock on Saturday afternoon. A covered cart was waiting for us there. We all got in, and drove off to the apprentice house at Litton Mill, about six miles from Buxton. The cart stopped, and we marched up to the house, where we saw the master, who came to examine us and gave orders where we were put. [...] Our regular time was from five in the morning till nine or ten at night; and on Saturday, till eleven, and often twelve o'clock at night, and then we were sent to clean the machinery on the Sunday. No time was allowed for breakfast and no sitting for dinner and no time for tea. We went to the mill at five o'clock and worked till about eight or nine when they brought us our breakfast, [...] We then worked till nine or ten at night when the water-wheel stopped. We stopped working, and went to the apprentice house, about three hundred yards from the mill. It was a large stone house, surrounded by a wall, two to three yards high, with one door, which was kept locked. It was capable of lodging about one hundred and fifty apprentices. Supper was the same as breakfast - onion porridge and dry oatcake. We all ate in the same room and all went up a common staircase to our bed-chamber; all the boys slept in one chamber, all the girls in another. We slept three in one bed. [...] Mr. Needham, the master, had five sons: Frank, Charles, Samuel, Robert and John. The sons and a man named Swann, the overlooker, used to go up and down the mill with hazzle sticks. Frank once beat me till he frightened himself. He thought he had killed me. He had struck me on the temples and knocked me dateless. He once knocked me down and threatened me with a stick. To save my head I raised my arm, which he then hit with all his might. My elbow was broken. I bear the marks, and suffer pain from it to this day, and always shall as long as I live. I was determined to let the gentleman of the Bethnal Green parish know the treatment we had, and I wrote a letter with John Oats and put it into the Tydeswell Post Office. It was broken open and given to old Needham. He beat us with a knob-stick till we could scarcely crawl. Sometime after this three gentlemen came down from London. But before we were examined we were washed and cleaned up and ordered to tell them we liked working at the mill and were well treated. Needham and his sons were in the room at the time. They asked us questions about our treatment, which we answered as we had been told, not daring to do any other, knowing what would happen if we told them the truth."

In case there were any surviving family members, the children were sometimes deported without their knowledge. In 1849, Sarah Carpenter related the story of her lost brother who was taken away from Bristol Workhouse to The Ashton Chronicle (source):

When I was eight years old my father died and our family had to go to the Bristol Workhouse. My brother was sent from Bristol workhouse in the same way as many other children were - cart-loads at a time. My mother did not know where he was for two years. He was taken off in the dead of night without her knowledge, and the parish officers would never tell her where he was. It was the mother of Joseph Russell who first found out where the children were, and told my mother. We set off together, my mother and I, we walked the whole way from Bristol to Cressbrook Mill in Derbyshire. We were many days on the road. Mrs. Newton fondled over my mother when we arrived. [...] My brother told me that Mrs. Newton's fondling was all a blind; but I was so young and foolish, and so glad to see him again; that I did not heed what he said, and could not be persuaded to leave him. They would not let me stay unless I would take the shilling binding money. I took the shilling and I was very proud of it. They took me into the counting house and showed me a piece of paper with a red sealed horse on which they told me to touch, and then to make a cross, which I did. This meant I had to stay at Cressbrook Mill till I was twenty one.

So, if the situation in the Lies of P universe in any way resembles that during the real-life 19th century, and if these street children are in any way smart, I think it's very understandable they'd want to stay the hell away from the workhouse or any similar institution. Of course, it would be easy to attribute this to laziness, but honestly, I'd say they just wanted to avoid the abuse. (You could pose the question whether there are even any lowly paid jobs for children to do in the LoP universe, since a lot of those were probably taken over by puppets. However, if you ask me, that might only lead to employers trying to underbid the price that puppet laborers would cost, which would lead to serious wage cuts for any human workers - we know there was a violent protest of the factory labor union, which might have happened for a reason like this. Also, I reckon the puppet industry itself would create new branches of "dirty work", like recycling parts from scrapped puppets, disposing of puppet junk, etc.)

In fact, these harrowing stories happen to have quite a few parallels to the original fairy tale of Pinocchio. Did you notice? The children are taken away in coaches and carts, in a way that conceals their presence (e.g. in a covered cart or in the dead of the night), which is very reminiscent of the Coachman picking up boys at night (in the book, the coach is described as having wrapped wheels, so it doesn't make noise and can't be discovered). At first, the children are told they can make a fortune by working in the textile mills and will have plenty of time for leisure - in A memoir of Robert Blincoe from 1828, it's even mentioned they tried to lure children into working in a cotton mill by telling them that "they would be transformed into ladies and gentlemen" when they arrived there, that "they would be fed on roast beef and plum pudding, be allowed to ride their masters' horses, and have silver watches, and plenty of cash in their pockets". This sounds quite similar to the Coachman promising the boys unlimited play time and freedom if they come with him to the Land of Toys. However, as both the pauper apprentice children and the boys from Pinocchio had to realize, all of this was a fraud to exploit them for what is essentially slave labor.

This also suggests that with his depiction of the Land of Toys, Carlo Collodi was doing more than just telling a horror story to scare kids into behaving. He was commenting on a real-life problem - and this, exactly this, is what Collodi wanted to warn his young readers about. In that sense, the boys turning into donkeys might also be a metaphor for what their employers saw them as: livestock, to be used and abused as they pleased.

Because the living conditions of workhouse children were so appalling, there was clamor for change, specifically among the reformist middle class. It was argued that orphans and destitute children should be housed in an institution meant exclusively for them, rather than together with criminals, cripples, and lunatics. The movement really began to pick up speed in mid-19th century, and many orphanages were founded by private benefactors and philanthropists. One of the most influential was Thomas John Barnardo, the founder of the charity Barnardos, who built homes for waifs, strays, and all kinds of children in need to provide them with a place to live, food, and education.

In general, there was an effort to make education accessible to even the lowest classes. Sunday Schools and Ragged Schools were established, which allowed poor children to take classes without having to pay a fee, giving them more opportunities in later life. However, the parents of working-class children were often against them going to school, since it meant that they couldn't work to earn additional income for the family. This is why attending school was made mandatory for all children between 5 and 10 in 1870, with the leaving age being raised to 11 in 1893. (This is also what Carlo Collodi meant by saying "for the love of God, get yourself some education" - because if you didn't, you would be stuck in a circle of bone-breaking labor forever.)

The Monad Charity House fits quite well into this historical frame: We do know that the Rose Estate was originally a charity organization for poor children, but was turned into a boarding school after Lady Isabelle and the Monad family started sponsoring money. Since charities for poor children are a phenomenon of the mid- to late-19th century, it's possible the situation was a lot worse before in the Lies of P universe as well. Romeo might not have gone there willingly (perhaps he was caught during one of his thefts), and truth be told, Victorian schools weren't the most rosy of affairs (if you'd like to know the details, feel free to check out this page). However, given what could've been his fate, Romeo probably considered himself lucky to be alive and not exploited by someone else for donkey work. (Still, one thing that should be kept in mind is that the Alchemists' patronage of the Rose Estate probably isn't based on purely altruistic motives: Since all of the children are trained as Stalkers, Alchemists, or Workshop Technicians, all of them ultimately become part of Krat's economic apparatus.)

It seems almost miraculous that two boys coming from such different worlds would develop such a strong bond. However, despite this, they had one experience in common: pain. Although the way in which they suffered might have differed, they both knew what it's like to be abandoned. Romeo had to grow up in a society that didn't care whether he lived or died, and since all Carlo ever received from his father was scrutiny or cold ignorance, he probably felt the same about him. Living in a cruel world where the odds were stacked against them, it's easy to see why these kindred souls sought comfort in each other.

In any case, if the untold backstory of these characters was crafted with this in mind, my sincerest compliments go to the people of Neowiz for not only taking such a nuanced approach to child education in a historical context, but also for doing so with respect to the original story by Carlo Collodi. It may be really subtle at times, but you can't deny how much effort the devs put into the themes - themes that are so universal to human psychology that they continue to be relevant today, and undoubtedly made the story resonate with a lot of people.

#lies of p #lies of p carlo #lies of p romeo #lies of p geppetto #analysis #lore theories #the adventures of pinocchio #carlo collodi #I've never used so many content warnings in a post before xD #Carlo seriously has one of the most messed up family situations I've ever seen #like I knew it was bad; but I had no idea it was THAT BAD #also I was floored when I found out that the Coachman essentially had a real-life inspiration #anyway here I am back to trying to deduce story contents based on historical comparisons xD

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codenamesazanka · 4 months

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so like one can do whatever the heck they want in fanfiction and they’re under no obligation to stick to any degree of realism or do research or abide by canon or even the laws of reality and physics at all,

but I do wish English-language bnha fanfics would take into consideration that child adoptions in Japan are rare. Generally speaking, kids just don’t get adopted - the legality of blood ties are strong, biological parents are often prioritized even if they’re unfit, so much so that their consent is still needed to put the child anywhere; there’s cultural stigma, kids who do get adopted are usually very young - 6 or younger - so that couples can pass off the child as their biological own.

Like, the vast majority of adoptions in Japan is of adult men - families and businesses taking in an heir to continue the family name. That’s the ‘regular’ type of adoption. Adopting a child is ‘special’ adoption - literally called that.

(Then there would be other typical not-necessarily-cultural-specific factors - only married couples can adopt children, you can’t be too young or old, etc.)

Outside of formal adoption, there’s been attempts to get the children fostered in a family-based home, but mostly, kids are overwhelmingly placed in (small, overcrowded) child care institutions.

HeroAcaLand, though largely based on modern Japan, is set in a slightly more futuristic world, so it’s entirely plausible to say things have changed - adoption laws have changed, gay marriage is legal, so - let’s say - husbands Aizawa and Mic can adopt Eri (whose blood relatives are still alive). Or maybe All Might is just so rich and powerful that even though he’s single and nearing age 60, he can sidestep the rules to adopt Shimura Tenko - and he’s fine with ignoring cultural norms (ex. ensuring the Shimura lineage - Nana’s lineage - continues) so he even gives Tenko his last name.

However, canon is still based on current Japan, and the setting reveals itself in small but important details - orphaned Kouta is sent to live with his blood relative Mandalay; Nana gives up Kotarou to an orphanage and not another family; Eri would’ve been sent to a children’s home if UA didn’t specifically accepted her (partly because her quirk was liable to go berserk, and extremely luckily, here was the one guy who can stop her). Before that, she was already an abandoned child - her mom ditched her, left her with her grandfather, and when he fell into a coma, Overhaul was able to take over her guardianship with no one the wiser.

More on that point, actually: characters that we see take in lost, non-blood-related children to raise them to adulthood are… largely villains and criminals. All For One, Yakuza, Re-Destro. It’s easier for them because they simply ignore laws and any ethical problems that arise.

But the fact remains that people who most often give the orphans and runaways a home are not the Heroes and not the system the Heroes support.

Adopted kidfics are adorable. Fix-it fanfics are great. But I do wish they’re a bit more cognizant of cultural specifics, especially the things that set the foundation for the canon material that creates the need for these fix-it fics.

#nalslastworkingbraincell #most facts here from remembered research i did a while ago #apologize if I got anything wrong or if my research isn’t thorough enough

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my-fancy-hat · 5 months

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One part of me never felt it right for Denji to end up with the responsability to raise a child, when he's a child himself. Even if he's 18 by now, he's at the start point in his life where for the first time has the right for basic education and place to eat and sleep. Kishibe forced this task without giving him a second though, and it's totally normal to feel frustrated about it. I know it's hard to discuss these type of themes but we have to accept people are multi-faceted as well our approaching to certain situations. I don't doubt for a sec Denji loves Nayuta and is grateful for her to love him as well, her presence on his life gave him a reason to keep going when he lost his previous family, but through all of this arc ongoing we've seen his pilled anger and animosity with his current life. Denji doesn't hate her, he hates the situation he is due Nayuta as the free path for PS and the church to control him. Denji seeks freedom, he isn't a person of routines or consistent mindset, that's part of the reason why this normal life was so suffocating, and the biggest pilar that sustain this all is his guardianship of Nayuta. Deep down Denji knows that if it wasn't for Nayuta he would get his life back, denying half of himself as CSM, the pleasure of his pain, and what is left is just him with all of his guilt and loneliness.

It's raw and extremely sad because if it weren't for PS and the church Denji would have lived happily with Nayuta balancing his life as CSM, maybe if he could have friends too or a lover, if only he knew. It's okay if fans start hating on Denji because they're right, at the of the day Nayuta is only a child that needs to hug his big brother to sleep well every night, she's the most abandoned one from all of this.

#i pity them both. the true villians are ps and famine barem. they made this outcome inevitable #chainsaw man #csm #denji #nayuta #have played silent hill 2 this break was the best decision ever

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emeraldspiral · 2 months

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Episode where Zim is out in his kid disguise instead of one of his adult/old man disguises and someone takes notice of him trying to go somewhere he shouldn't. They come up and ask him "Young man, you know you're not supposed to be here without adult supervision. Where are you parents?" Frustrated that someone would dare disrupt his evil plans, Zim forgets his cover story and blurts out "I don't have parents!"

"Oh, I'm sorry. How long ago did you lose them?"

"Fool! I have never had parents."

"You mean you've been an orphan all your life? That's terrible!"

"It is not terrible! It's great! I have no need for guardianship or supervision."

"So there's no one looking after you?"

"Zim needs no one! Now rescind your pity human!"

"Oh no! It's so much worse than I thought. You poor brave boy. Don't worry, you won't have to be alone for much longer!"

And then the interloper calls child services, who forcibly place Zim in an orphanage. He can't take back anything he said about being an orphan before because neither he nor the Roboparents have social security numbers and their address and phone number aren't registered anywhere.

A couple quickly comes looking to adopt and they decide they want to take on the challenge of a "problem child" who's not likely to get adopted by anyone else. So they take Zim home with them for a trial adoption. Initially it seems like it's going to turn into something like Orphan where the nice family is oblivious to the danger Zim presents as he plans to make them into his latest test subjects. But just as Zim's about to implant some questionable device into one of the family members, something happens that freaks Zim out so much he loses his nerve.

He becomes increasingly anxious as the family members never give him a moment alone, following him from room to room constantly pestering him to ask if he's okay.

"Do you like this show? We could switch to a different channel."

"Is it too cold for you? We could turn the thermostat up."

"Would you like some hot cocoa? Some warm milk, perhaps? Soda?"

"Hey, we were thinking of Mac & Cheese for dinner tonight. But do you have any dietary concerns? Are you lactose intolerant? Gluten-free? Vegan? Diabetic?"

"Are you okay with the volume everyone is speaking at? We could speak softer if you want."

"OR LOUDER IF YOU'RE HAVING TROUBLE HEARING US!"

"Do you need a blanket?"

"We bought you some pajamas. But we can take them back if you don't like them."

"Do you want to talk about your feelings?"

"You know this is a safe place, right?"

"Don't be afraid to speak up if there's anything you need."

"Or if there's anything you want to talk about."

"We're always here to lend an ear."

Zim gets majorly creeped out and is convinced they're really human spies trying to get him to reveal himself and give away Irken military secrets.

He tries to get some privacy, but the only place where he can be alone is the bathroom. There's only one, and there are so many family members they have a schedule for who can use it when. But not to worry, they've already rearranged it to give him Thursdays at 3:30 and every other Saturday at 2:00am.

They send him to a new skool, which is much better than the one he went to before. It's clean, well funded with facilities in good repair, and best of all, there's no Dib around to harass him. But the staff at the new skool are far more professional than at the old skool and Zim's new teacher doesn't tolerate classroom disruptions, shocking Zim when he sends him to the principal's office within his first minute of class. At first Zim thinks it's a blessing in disguise because it means time away from his extremely clingy new foster siblings, but the one he shares a class with ends up getting sent to the office on purpose so he could stay by Zim's side. Zim does not appreciate the gesture of solidarity.

Zim comes home and his new foster parents tell him the principal called, but it's okay. They're not mad, they know it's going to take time for him to adjust. They also remind him that it's 3:30 and today is Thursday, which means it's finally his turn to use the bathroom.

He only has fifteen minutes, but he plans on escaping out the window. But it turns out the family have installed a state of the art security system to keep him from escaping. They aren't mad when he trips it though. They understand. Moving into a new home with a bunch of strangers can be scary, and he might think he wants to go back to the life he knew before because the familiarity of it is comforting, but they promise if he just gives them a chance they're sure they can make him happy.

Zim has no choice but to endure the two week trial adoption period. Initially, he figures if he acts like a little shit they won't want to adopt him and he'll get sent back to the orphanage from which he can make an escape. Halfway through however, he has a change of heart. He starts to enjoy regular kid activities like playing video games, family board game night, and riding bikes around the neighborhood, going to skool and learning actually useful and interesting things and not being bullied, having someone come and pick him up when he falls and scrapes his knee and give him an Adhesive Medical Strip and a kiss to make it all better, and the unconditional love and endless patience and forgiveness he's afforded.

He starts to think maybe there's an advantage to the arrangement. He can learn so much more about humans from actually living like one, and surely that would be beneficial to his mission, wouldn't it?

At the end of the two week period, Zim is interviewed and asked if he would like to be permanently adopted. He says "yes", only to be told "That's too bad. It looks like they've decided not to move forward with the adoption." Zim is shocked and dismayed.

"How could they not want Zim?!"

The only answer he gets is that the family "didn't feel like it was the right fit", which leaves Zim perplexed, ruminating over whatever he did wrong to make them not love him.

The episode then ends with the Roboparents coming to the adoption agency to look for a new son. Zim tries to get their attention, but they pass him over for a different prospective child and jet off without him.

#invader zim #zim #roboparents #this is almost too cynical even for this show #all hurt #no comfort #just ripping open zim's deepest wound #and letting it bleed out

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