#how was that action supposed to be interpreted by the audience??

[buddhistmusings]

Every time I post something referencing the very real humanitarian crisis in Palestine, my "for you" page changes and becomes filled with recommended posts that contain the most vile antisemitic shit.

It makes me so sad, because it reminds me of what an awful job that a movement that was supposed to be about advocating for Palestinian lives has done with boundary maintenance. It is so compromised that social media algorithms don't appear able to differentiate between advocacy on behalf of Palestinians and antisemitic content. The crossover between the two has become enough that a user who engages with content of one kind is recommended content of another. People who are not educated on antisemitism and the covert symbolism it uses might not recognize it right away, so we are seeing an entire group of people, convinced that they are participating in a civil rights advocacy movement also being indoctrinated into a separate hate movement, under the impression that these two movements are the same.

With such poor boundaries being maintained between these two ideally separate movements, and such overlap growing, how long can I honestly maintain that these are two separate movements?

Meanwhile, innocent Palestinians are being bombed, children are starving, far-right governments on both sides of the conflict are gloating in the support they get from American conservatives and leftists respectively, and functionally, I hear nobody advocating for peace anymore, only the destruction of their enemies. Palestinians are being so incredibly demeaned, by both the people who want to destroy them and their sovereignty, and the people who claim to be supportive of them.

Sane, rational people who are advocating for peaceful solutions are disregarded and voices on the fringe are centered. People are witnessing what they interpret as a genocide unfolding and in response are advocating for a counter-genocide. Can they not see how this actively impedes the peace process? They give legitimacy to (false) far-right Israeli nationalist claims of Palestinian statehood as an inherent danger to the safety of the Jewish people, and demean the Palestinian people by suggesting that what they want is revenge and not to live their lives in peace. They've made questions about the legitimacy of Hamas, an evil terrorist organization, central to the movement, instead of what should be the priority, that innocent people are suffering and that this is unacceptable. They have redefined and reappropriated Jewish words to use as antisemitic slurs and convinced their audience that using these slurs is not antisemitism.

Meanwhile, capitalizing on the above mentioned antisemitism, those who want to harm the Palestinian people, deny them statehood, are using the words and actions of these activists as ideological ammunition to fire up their anti-Palestinian base. Donald Trump literally called Joe Biden a Palestinian at the presidential debate as a slur. Republicans are using the word "Palestinian" as a slur. Netanyahu (possibly one of the worst people involved in this entire situation), in his speech to congress, was able to point to the very real antisemitic actions of activists to further cement support for him personally. By the way, saying how antisemitic activists harm Palestinians shouldn't have to be the rhetorical point we resort to. The fact that antisemitism hurts Jewish people is enough to make it a bad thing and is enough to make us avoid doing it, right?

I'm tired of turning in one direction and saying "You should NEVER say something like that about Palestinians" and then turning in the other and saying "You should NEVER say something like that about Jews". It should not have to be said that condemning the very existence of one of two ethnic groups in their shared homeland is unacceptable, and yes, it is their shared homeland, because they both live there and are both from there. It should not have to be said that you should understand what a word means before using it to insult people. Here I am in fact talking about the word Zionist, because that is a family of various movements, some of which are worthy of condemnation, but frankly, the basic premise of Zionism does not demean or degrade Palestinians at all, because it simply is the belief that Jewish people have the right to return to and form communities in their homeland.

I'm kind of opening myself up to get a lot of criticism here, but I wanted to get these thoughts out, because I have been finding them enormously frustrating. My heart breaks for all the innocent Palestinians who are suffering and have a lackluster movement advocating on their behalf, and my heart breaks for all the Jewish people who have lost friends to antisemitic conspiracy. My heart breaks for the victims of 10/7 and their families, as well as the Jewish community who was interrupted in the mourning of their losses. My heart breaks for all of the Palestinians who have lost friends and family in the subsequent destruction in Gaza and the immense violence and famine we are seeing.

Please root your activism in peace and compassion, not hatred and destruction. Please think before you speak about entire groups of people. Learn about what words mean before you use them to condemn others. Learn about Jewish people, Palestinian people, their lives, their cultures, and why they both feel such a strong connection to the land. Make this about healing, love, and reconciliation, and not about being right.

[fantasywater]

These are the reasons Stolas Horseman still gets dragged for his infidelity even though the circus was supposed to FIX THAT.

This is for Stolas's Western Entergy interpretation and for the fans who agree with it:

Stolas is an adulterer.

No one gets to change the definition of a word just because they don't like it being said about their favorite character.

He's a domestic abuse survivor and an adulterer. Both are true. 

The reason Stolas still gets criticism is because of the execution of how it was written and the Octavia factor.

We were introduced to Stolas and Stella's dynamic with her being pissed that her husband of at least seventeen years cheated on her.

That anger is empathy-inducing to a lot of people because being cheated on, or knowing someone who has, is a relatable experience. It also looks extra disgusting on the one who stepped out when a family is involved.

Even her throwing things at him could be excused because of the context in which it was happening.  

There's a reason why temporary insanity is welcome in legal circles because it gives leeway to the perpetrator in that it asks the question would they have done this awful thing if it wasn't for an extreme mental break forcing them to? 

Stolas's infidelity was that mental break.

Trying to kill him can also fall comfortably under temporary insanity. 

Plus having our protagonists kill innocents as a job also takes the bite out of it. 

It also doesn't help that both Stolas and Stella's voice actors gave their own explanations that pretty much stated what I said above.

Even our first episode was about a cheated-on woman going to extremes, but she was shown in a sympathetic light despite it. 

Yet the very next episode shows the same issue, but because Stolas is a main character we are supposed to fall in line that the adulterer is whose side we should be on. 

Octavia having a mental breakdown(twice now) because of Stolas's infidelity is also not endearing him to the audience.

What he is doing to his child is the biggest reason why his remorseless, continuous, infidelity is not a take-back-my-power move.

The inciting incident for both Stella's recurrent violent anger and death "threats", as well as Octavia's mental breaks, is Stolas's cheating. Therefore what is happening to him now is a consequence of his own actions.

The writing in the problem. We were introduced to a wife and daughter showing anger in different ways because a spouse and father betrayed their family, and yet Viv still expects us to feel sympathetic to Stolas.

In reality, Stolas is the antagonist of Stella, Octavia, and Blitz.

That role was especially blatant in Loolooland.

As for Stella Viv tried to course correct by being heavy-handed in showing her as a cartoonish monster in The Circus. 

However, because of the initial execution of writing her as a scorned wife due to her remorseless, repeatedly cheating husband for a whole season, she has forever poisoned the well for Stolas and she has no one to blame for that but herself.

She is the one who wrote one of her supposedly sympathetic main characters doing Sexual Extortion(Blitz), Adultery(Stella), Mental Break/Child Neglect(Octavia), but then seems to have an issue when a nice chunk of the fandom still thinks only his victims deserve sympathy.

Nevertheless, since the Circus is in the canon now does Stolas owe Stella loyalty and remorse? No. 

However, Stolas is not just a husband. Octavia exists.

Therefore Octavia will always be the reason why his (continuous) infidelity was a selfish and vile act. 

That's also why what's going to happen to him in the leaks is on him.

His karma warranty is up.

The problem is that the karma Viv gives is an illusion because she still wants you to feel sorry for Stolas. That's why there's always a sturdy flavor of demonization in the narrative toward anyone he's harmed to facilitate that.

However, considering the nature of his crimes his comeuppance is deserved, but she still writes like it's not and expects the audience to fall in line.

She also did the same thing with Blitz's issues with him.

So it's a pattern, and it exists because a fujoshi is writing this story. 

It's a failure in the execution when the author's intent and the audience's takeaway is this broken.

[extrajigs]

Wanted to figure out how chimera’s wrote and ended up starting on their written language proper. MASSIVE info dump below! 

Writing

They write using four fingers of one hand, usually the right, coated in ink. Think like a stamp almost. The three middle fingers draw with the tips of the teeth whilst the thumb will alternate between tip and back. All words are written simultaneously inward. The remaining fingers grip the source of ink, usually a length of hardened pigment only wetted on one side OR those who write often could invest in a pen. A pen for a chimera is a fanning brush saturated with ink that the writing teeth brush through when needing to reink. It allows for much faster wetting of the teeth, but can be messy when learning or refilling. 

Most chimera are right handed but left handed individuals exist, they will simply need to learn to use the two fingers opposite the middle in reverse of how someone who is right handed would! Luckily all fingers can move pretty independently of each other and it is an easy task.  As chimera mostly communicate through direct broadcast most find the written word lacking, so it is a common occupation among Chimera to write for others. It is an impressive skill to eloquently convey ideas/feelings through writing. Though their language set up lends to it MUCH more than others. 

The Nitty Gritty

All subject to change as this is very first drafty. 

Chimeric is a logographic language, there is no set alphabet and all ‘words’ stem from symbols representing things and ideas. Sentences are kind of two sentences atop one another, with one being the literal and the other the reactionary. It is read from out to in and sentences are written in a circle divided into 4 quarters. We’ll start with the top moving counter clockwise. 

Quarter 1 (Red) is the subject area, now subjects function the same as nouns for the most part, people, places, and things. But something important to note is that there must always be an ‘audience’ for the words being spoken. An audience basically means pronouns though they are a lot more encompassing with: I, You, Us, Them, Them excluding me/you, Us excluding you, Everyone, and a bunch of others. These are all acceptable audience subjects to top off your sentence. For instance you wouldn’t say “This pizza tastes good!” you would instead say “I enjoy the taste of this pizza” or “Everyone enjoys the taste of this pizza” the opinion/emotion needs to be applied to a source to make sense grammatically. 

Quarter 2 (Green) is all about emotions and opinions. Chimeric language is an exchange of ideas but also importantly emotions and feelings. Q2 is dedicated to how the sentence is supposed to be interpreted or felt by the reader, as obviously in ‘spoken’ chimeric speaker and listener technically feel the same about what is currently being said. Listener opinion is very distinct from speaker and in writing the speaker takes priority. So for example the statement “Who finished the box but left it in the pantry?” would instead have to be translated into something akin to “I am pissed and questioning who had the audacity to finish the box and did not care enough to remove it from the pantry thus leaving me to find it and become disappointed?” Basically chimeric lends itself to very long translations due to their feelings.  

Quarter 3 (Blue) is the action section of the sentence. The verbs if you will. This is where things are happening and is VERY tied in with Q1. Subjects in Q1 and Q2 will be linked together with lines that follow the same slice through the circle.

When a subject is linked to an action that means that the subject is the one performing the action, whereas subjects closer to the center and unaligned with an action are what is being acted upon. Like with the audience conundrum though an action needs a subject to actually act, whether it is an individual/s or an object or place. This is usually the least word heavy portion of the sentence as it is almost supplemental to Q1, and in contrast to the thin, crisp lines of the other quarters, Q3 will often be smudgey and more messy due to being written mostly with the back of the thumb. 

Quarter 4 (Yellow) is generally not going to have any words written there, as it functions as the anchor point for the hand. The outmost finger rests here on the page to stabilize the hand as it closes during writing. When writing in a ream of papers this is where the hole to hold them all together is punched through. However in modern fanciful writing styles Q4 is also used as a secondary emotional quarter. This style will use Q4 as the reactionary emotion of the reader, more so the expected reaction and emotion from the reader. This is an EXTREMELY class based writing style and it is a GIANT NO NO to write like this for someone of higher status to read. Typically only Clan heads will freely use this writing style, especially towards each other lmao. The writing style of the passive aggressive power struggle. 

All together Quarters are read at once! And I mean that there is no one word the chimera will start with. Every word of the sentence is absorbed at the same time, no following along a line like how I’m currently typing. But what indicates the order of which things are meant to be perceived is how close they are to the outside of the circle. Things closer to the center come later in the sentence and will be understood to be lower in the hierarchy of words. However only subjects and actions are directly linked to each other, emotion/opinion words are to have a more natural seep throughout the entirety of the sentence with only a loose idea of where they are to be felt. In this way while a subjects actions may be concrete, the writers feelings about them are more fluid and organic. 

Chimeric conlang yay! I wanted to make modern Mirum script but decided I needed to start at the roots. So technically two written languages originate from Mirum, but they are extremely similar with one directly branching from the other. Chimeric is the original and Miran is the derivative, they mostly share characters but their sentence structure is different. Chimeric keeps the circular structure whereas Miran is a zigzagging horizontal and completely drops quarters 2 and 4. Leading to modern Miran being a very literal language vs Chimeric’s emotion heavy focus. But if you know one you can pretty much read the other, albeit with some culture shock. 

[gallierhouse]

i'm not coherent enough to say it but i'm glad someone who is smart and who can at least try to analyze media recognized the thing with madeleine and the nazi soldier probably didnt go down as louis and armand described it! i thought the scene showing her hair being buzzed would make it obvious for everyone else but apparently not :/

I think it’s fair for people to interpret Madeleine’s actions however they want, because when Madeleine retells the story to Claudia she frames it as a love story and something she did for fun. Later on, it’s suggested that’s not true, when she tells the story about seeing her neighbor starve to death and how traumatic it was to find the corpse. Originally, she says something something like “I found whatever love I needed to survive,” making it sound romantic, but with the added context, it makes that statement much more literal. Madeleine hates being portrayed as a victim, so it makes sense she would cast her actions in a worse and more willing light than they really were. The shearing doesn’t really change anything for me; the French were shaving the heads of any woman who had “consorted” with Nazi soldiers, whether those women were assaulted, or had acted under duress (where I’d categorize Madeleine), or were actual Nazi collaborators. The more important thing is that Madeleine isn’t really a good person. He responses to Armand’s interview are supposed to be unnerving. It’s unnerving that a person could be utterly fine with being turned into a monster. But as Madeleine says, she already is one. The social stigma she’s faced and the years of war have destroyed everything and everyone she knew, and now she has nothing, so she might as well be a vampire and stay with Claudia. That doesn’t make it less unnerving, but it does make it more sympathetic. The enduring impression the audience gets of Madeleine is that she’s a pragmatist. She slept with the soldier to survive, she’s willing to become a vampire to survive. She’s not ideologically motivated the way some other characters are. She’s a survivor, and she cuts out the parts of herself that can’t survive. It’s what makes it so romantic when she chooses to die with Claudia. She did so much to survive and she threw it away to die for Claudia.

[likeabxrdinflight]

I want to talk more about the way the characters have been adapted for the live action adaptation, because character writing is the thing I care about the most and as a psychologist it's probably the aspect of any story that I'm most invested in. I can get around pretty much any plot contrivance or weird maguffin or even shitty pacing if the characters of a story are engaging enough. This is my bread and butter, so to speak.

And I want to start with Iroh, because I think he is by far the best adapted character from the original. But I suspect I think this for different reasons than other people might, because the beloved Saint Iroh from the animated show this man is not.

See the thing with animated Iroh is that he's just...a bit too perfect. We know he's been complicit in the war in the past. We know he laid siege to Ba Sing Se, we know he had a complicated past. But we never really see it, we only barely hear about it, and more often than not there are other aspects of Iroh's past that serve to further deify him. He was a general in the war, but then he goes on to protect the last dragons and learn the true meaning of firebending. He led a 600-day siege and lost his son but he came out of that experience Enlightened, having journeyed to and from the spirit world. He joins up with the White Lotus (at some point) and becomes the wise old sage we know and love.

Except most of that is revealed in later seasons and is inconsistent with his actions alongside Zuko in season one. Season one animated Iroh is kind of a passive character, largely existing for comic relief and as a support to Zuko. But there's very little to suggest he's disloyal to the Fire Nation or their cause. He says it himself- "I'm no traitor, Zhao!" Now you can certainly interpret that line in several different ways, but I suppose that's the point- there's a lot left up to interpretation with animated Iroh. We get a sense of who he is in relation to Zuko, but his own development largely happens off-screen. And because to Zuko he's a wise, caring uncle and mentor, that's largely how we, the audience, see Iroh. We love him because Zuko loves him. And that's fine for what it is, and clearly it was effective- Uncle Iroh is almost universally beloved. But it does leave a lot of questions about him up in the air.

Live action Iroh is a very different character. This Iroh is a deeply broken man who was been profoundly impacted by the war and what he has lost because of it. I do not get the sense that the loss of Lu Ten has led to any spiritual enlightenment for this Iroh- there's no indication that he can see spirits, for example, or that he has ever traveled to the spirit world himself (he does still oppose the killing the moon thing, though.)

Right out the gate, we get the sense that this Iroh has lost faith in what the Fire Nation is trying to achieve with the war. He explains to Aang fairly early on what the Fire Nation's goal and perspective is, and can rattle off this dogma quite easily. But when questioned by Aang if these beliefs are also his beliefs, he dodges them rather un-deftly. So you know immediately that this Iroh doesn't really support the war. Later you see him somewhat bluntly telling Zuko that the throne may not be all it's cracked up to be, and he's fairly openly critical of Ozai in other moments. So you know from the jump that Iroh's not really on Team Fire Nation.

And yet this is also not a truly repentant man. When he is captured in Omashu, Iroh gets another brief scene with Aang while they are both imprisoned there (this is before Aang meets with Bumi). And in this scene, Aang tries to convince Iroh to help Zuko stop being The Bad Guy. And Iroh defends Zuko to Aang and stresses the point that it is not Zuko who owes him any great debt, but he who owes Zuko. Later, when he is confronted (and hit several times) by an Earth Kingdom soldier who lost his brother during the siege, Iroh does not apologize. He does not flinch at the man's accusations, nor does he deny them. He defends himself, albeit weakly, by stating he was a soldier, and it was a war. He has the audacity to accuse this soldier (somewhat obliquely) of having been made dishonorable by the effects of war. It's kinda messed up, honestly.

But then this man accuses Iroh of knowing nothing of loss. He leaves the shot, and we saw Iroh's face just crumble, and the scene cuts directly to Lu Ten's funeral, where Zuko chooses to sit with his uncle and support him through what must have been the darkest moment of his life. Back in the present, it is only later, after Zuko has come to rescue Iroh, that he speaks more honestly to the Earth Kingdom soldier- he shows mercy and states that they've all "seen enough death."

So what we have here is an Iroh who is deeply disenchanted by the war and does not support it or the goals of the Fire Nation, but who has continued to stand alongside Zuko and support him in his goals. We have a man who doesn't necessarily regret his actions as a soldier in the war but who very much does regret what those actions have cost. We see a man who is profoundly impacted by loss and grief and has become emotionally reliant on his nephew as a source of support. Not that he's parentifying Zuko or anything, he's very much not, but he is rather obviously channeling all the love he once felt for his son into Zuko instead. Zuko is his lifeline, he needs Zuko and you get the sense that without him, Iroh would truly fall apart. I mean the man is on the verge of tears more often than not when Zuko is in even the slightest bit of danger in a way that animated Iroh was not.

This is what I think is different here. Animated Iroh seemed to turn against the war because it was morally wrong, it had thrown the world out of balance, and imperialism is bad. Live action Iroh seems against the war because it wasn't worth it. It wasn't worth the cost, or the death, or the grief. He couldn't see that until he lost Lu Ten, but now he sees it everywhere. I get the sense that this Iroh just wants it all to stop, and I'm not sure he cares how that happens.

The White Lotus is definitely hinted at, but I suspect that was his motivation for joining it. It's not about restoring balance to the world for this Iroh. It's about restoring peace, so that he won't have to lose Zuko like he lost Lu Ten. So that the death and destruction stops. So he can just live a quiet life and put the past behind him.

It's a different take. And it's not that he doesn't still have a lot of wisdom to him, that he's not still a gentle, caring person. But he's a much sadder person, and he's lost that sense of "enlightenment" that his animated counterpart had. There's a selfishness you can read into to this version of his character that's much more apparent than the animated version.

I think a lot of people are gonna hate this, because it's a darker take on a much loved character. But I love it. This Iroh is human, this Iroh is flawed, and this Iroh has a lot more growing left to do. And that's awesome. If we get to actually see more of a character arc for him too, if we get to see him also growing and changing alongside Zuko? Please. It's not like he needs a total redemption arc, per se, but if in his journey with Zuko throughout the Earth Kingdom we can see Iroh gain some of his fortitude back, we can see when he decides he needs to push Zuko down a certain path, to take a side in the war, to see that it's not just the death and destruction that makes it wrong? God there's so much potential with that.

Now, maybe this isn't what will happen with seasons two and three. Maybe they'll back track and try to make him more similar to the animated version. I don't know. But for now? Live action Iroh is fantastic, and Paul Sun-Hyung Lee is giving a hell of a performance. He's warm and tender when he needs to be, fierce when he has to, and just profoundly sad throughout it all. And I love him so much more for that.

I'll be controversial here and say it. So far, live action Iroh is a better character than animated Iroh.

[antianakin]

Hey, I have a question to ask, and I'm gonna ask this to a few others cause I'm not a huge Star Wars expert on this.

Ever since The Acolyte aired, the jedi have been portrayed more as space cops. But, since when were they space cops? I thought they weren't like that. Am I wrong?

They AREN'T space cops, you're entirely correct, it's Leslye Headland who is wrong.

Here's the thing you have to understand about Leslye Headland and fans like her: they will claim to their dying day that they love the Jedi while sitting there talking about how the PREQUELS Jedi specifically were awful failures who doomed themselves by being heartless assholes who failed and/or abused Anakin and helped bring about the destruction of the Republic because they were simultaneously too political and not political enough.

When the Prequels first came out, they were received... poorly... by a large chunk of the adult audience. And it became a THING to hate the Prequel trilogy for a long time. After a while, people started deciding they didn't want to hate the Prequel trilogy, but they didn't actually LIKE some of the things in the films that were different from the legends canon that had already existed for years (primarily the way the Jedi had been interpreted), and so they chose to come up with interpretations that allowed them to "like" the Prequels better. The primary one that's become so popular as to basically end up considered the actual real intended message of the films is that the Jedi had become corrupt by the time of the Prequels, they were too old-fashioned and strict and stuck in their ways (specifically in that they forbid their members to love and were beholden to the Senate) and that this allowed Palpatine to win and Anakin to be seduced to the dark side, so they're the REAL villains of the entire story and the audience is SUPPOSED to dislike them.

In fairness to these fans, there IS a theme in the Prequels of an institute that's supposed to stand for peace and goodness being corrupted into an organization that is run by fear and greed. It's just that the institution in question is the SENATE, not the Jedi. And we spend a LOT more time with main characters who are Jedi, going out and doing cool fun Jedi adventures, than we do in the Senate with any of the known Senate characters doing political things. The only Senate character who could be considered a main character in the Prequels is Padme and a LOT of her more political scenes got cut from the films in order to focus on Anakin's story instead. Even in TCW, most of Padme's "political" episodes and storylines just devolve into action adventure plots instead. So it isn't hard to understand why people focused in on the Jedi and assumed that the story was ABOUT the Jedi rather than the politicians and picked up on a theme about corruption that was very much THERE and just misapplied it. But it's still wrong.

Leslye Headland appears to be one of those fans. A LOT of Star Wars fans of a certain age tend to follow this particular headcanon. Dave Filoni is another one of them, despite his reputation as George Lucas's "padawan" and the person who understands Star Wars the best after Lucas (spoiler alert: he's not).

So what we're getting in the Acolyte is a VERY intentional critique of the Jedi becoming more political I guess, more beholden to the Senate, and therefore becoming more like "space cops" instead of... I don't know... space Knights of the Round Table maybe? I think there's this concept that the Jedi should be more free spirited like... fairy god parents wandering the galaxy just handing out random miracles to worthy people and smiting the unworthy or some shit instead of being intergalactic ambassadors for the Republic, helping to resolve conflicts with legal backing and power.

This is something that's been around for DECADES now. It's in plenty of other books and comics that have come out during and since the Prequels, it's in TLJ, it's in TOTJ and TOTE, it's in the Ahsoka show, and now it's in The Acolyte. And it's obviously floated its way around fanfiction plenty, too. It's almost impossible to avoid if you talk to any other Star Wars fans from that age group (and even honestly fans YOUNGER than that age group because a lot of the older fans basically taught their children and younger siblings to hate the Prequels or that the Prequels were about the corruption of the Jedi, or younger fans just picked it up via osmosis if they spent almost any time within fandom the way I did). But it's becoming a thing that newer shows are really hammering in as if it's real canon. Headland genuinely believes that it is and we know that to be true because she's flat out SAID THIS in an interview she gave before the show aired. She 100% believes that the point of the Prequels, George Lucas's intended message in those films, was that the Jedi were corrupt and had fallen from grace. Her show is written with this misinterpretation of the films as a foundation for how she portrays the Jedi.

And that's how you get the Jedi suddenly feeling like "space cops" when that's so very clearly not what they are in anything Lucas ever created.

[deliciouskeys]

Cozy Corner Domaystic prompts #16: Going through immigration and #24: Identity theft.

Guys. Guys, I’ll be honest. I have no idea what possessed me. I think I found these two prompts as some of the most challenging to imagine as a domestic fic, and… my thinking got a little bit too outside the box.

This fic will have an intended audience of about 1 (me). But I want to give major major props to @olliveolly who introduced me to this game and was the one who came up with this That’s Not My Neighbor / Boys crossover AU (with a couple lovely art pieces on the theme). The “lore” of this horror game is very simple. Tell me you don’t see it:

Butchlander. That’s Not My Neighbor crossover/AU. Rated E (why). 3.3k words (why). 2nd person to allegedly reflect the feeling of first-person gameplay (why). Is this domestic fic? Welllllll. It takes place in an apartment complex so it counts, right? Lax interpretation of ‘going through immigration’ but honestly that’s what this game really reminds me of 😂 AO3 link

Another day, another interminable shift working as the concierge in the dreary lobby of this apartment complex. It was exciting at first, sure, what with getting to play the first and last line of defense against the doppelganger monsters that attempt to sneak in every single day. But you’ve just gotten too good at noticing discrepancies. Nothing gets past you anymore. You know every single feature- hell, every single freckle! -of every single resident in the building. By this point you’ve got all their phone numbers memorized, for no better reason than there is simply too much tedium to this job. You find yourself wishing you could actually watch the D.D.D. ‘decontaminate’ the lobby, as they so euphemistically put it, instead of just sitting there twiddling your thumbs behind a pulled down rollup metal shutter after summoning them. You could still make out screams without seeing the brutality, and you knew the D.D.D. employed flame throwers and other serious weapons to deal with these monsters. Sometimes you caught yourself feeling just a little bit of sympathy for the doppelgangers, even though their main goal in life appeared to be to imitate people to blend in and then feed upon human flesh, and your main goal in life was supposed to be to ensure none of them would ever get let in through the locked inner door.

John Gillman comes in through the first door and gives you a tired, nominal wave before fishing around in his pockets for his documents to gain entry. He might be your favorite resident— always polite, always in that clean-cut milkman uniform at least when you happen to see him, because no one really leaves the apartment building outside of work obligations. There’s no nightlife in New York anymore, not with everyone nervous of dark alleys or being alone on the street, especially after dark. When you came over here from London, you certainly didn’t expect to get stuck here during a worldwide apocalyptic event like this that has resulted in curfews and lockdowns. You certainly didn’t expect to get zero action and get a mindnumbing job just to make ends meet. It was probably still more interesting than your gig working as a bouncer back in London, but at least you got fresh air there, and sometimes a date to go home with after closing time. Maybe that’s why you’ve started hyperfixating and daydreaming about one of the residents— the involuntary celibacy is getting to you.

John just always looks uncannily attractive. Maybe it’s that silly uniform that’s easy to fetishize. Maybe it’s because his tired eyes also look like bedroom eyes, or the dark circles function the same way eyeliner would. Why is he always so tired anyway? You know he lives alone up there in F03-02. He never gets any visitors either. How much can a person masturbate, really? There’s a rumor around the building that Becca Saunders’ tyke might be his, but you don’t really see the resemblance, and have your doubts that this didn’t just start as a “sleeping with the milkman” joke that got out of hand. People just like to gossip about single mothers. Things like this shouldn’t be considered scandalous. It’s 1955 for god’s sake!

“Sorry, William,” John says, hurriedly shoving his ID and entry request form underneath the glass so you can take take a look. “Almost thought I left my ID at work.”

“Long day, huh?” you ask without expecting a reply, pretending to scrutinize the documents while making small talk. You know this is John. You’d know him from a mile away. But it doesn’t mean you can’t have a little bit of fun. “Looks okay, and you are on the list of people authorized to come and go today. But can you take off your cap?”

John grabs his milkman cap off his head, exposing a mop of blond hair, looking mussed after being under the hat all day. You really wish you could test him, see how far you’d be able to take things before he refused to cooperate. Take off your shirt, John. Gotta make sure it’s really you. You never know these days. But of course you don’t. All you’ll have is your fantasies about breaching every code of ethics and using your master key to gain entrance into his apartment, seducing him, ravishing him right in the middle of what must be a depressing bachelor pad. Give him much darker undereye circles by keeping him up all night. Give this apartment complex a more interesting rumor to spread about the milkman in their midst.

“You’re good to go,” you say and press the green unlock button to let him in. He gives you a wan smile and walks out of view, and you listen to his footsteps ascending the stairs.

The rest of the afternoon is uneventful, only a few people coming and going, and a couple of doppelgängers with laughably strange appearance or bad credentials being dispatched quickly. Or at least it’s uneventful until John walks in, just a little bit past curfew.

“Hey William,” he says, sounding distracted, rummaging in his pockets for his documents as a cold sweat breaks out on your forehead. This better be a doppelganger, you think to yourself. But he has both his ID and the entry request filled out correctly. He looks identical to the John that passed by here a couple of hours earlier. This can’t be.

You start dialing John’s number, not taking your eyes off the man in front of you.

John’s eyes widen with alarm when he sees that you get an answer from the other end of the line.

“Yes, hello? John here. I’m not expecting any visitors.”

You hang up pretty abruptly, staring at the John in front of you, searching his appearance for any subtle defect or inconsistency but finding none. Your finger is hovering over the alarm button.

“Oh my god. Oh my god, you think I’m someone else? It’s me, William! I swear to god it’s me! I don’t know who you let in earlier, and who’s answering the phone now, but it’s not me up there!”

And shit, you believe him. You must have fucked up. Gotten smug and sloppy. Maybe the doppelganger handed you a fake ID but you didn’t notice because you were too busy daydreaming about fucking him.

“William, please believe me, please!” John is pressing up against the glass at this point, clearly scared that you’re going to quarantine him in the lobby and sic the D.D.D. on him. They don’t tend to ask questions. You’ve never had it happen, but you’ve heard of innocent people getting snuffed out on the mere suspicion of being doppelgangers, the D.D.D. rarely admitting to such mistakes even after the fact.

“Alright, alright, I believe you. I just have to think…” you mumble. “I’ll let you in, but don’t go up to your flat. We have to figure this out.”

John nods frantically and slips into your office after you buzz him in.

“What are you going to do?” he asks, and if you weren’t scared shitless at the moment, you’d probably get a kick out of how vulnerable and scared his expression is compared to his usual tired, impassive one.

“I should call the D.D.D. and get them to go up there,” you think out loud.

“Won’t you get reprimanded?” John asks, and oh how sweet of him to worry about your job when you’ve fucked up so royally and almost gotten him killed with your negligence. Maybe already gotten some of his neighbors killed.

“I just don’t want you losing your job over this— you’re the best concierge we have,” he says and then looks down shyly, as if realizing how strange that concern is.

What is this? Are you dreaming? Maybe you’re just out of your mind with adrenaline, but John sounds like he’s got feelings for you.

“Let’s just go up there and see what’s going on,” he says, and damn he’s persuasive as fuck. You want to go and deal with the mess you made, and protect him.

“I’ll go up there and just check,” you say, hardly believing yourself as you grab the fire extinguisher from the wall as a makeshift weapon. Everyone who was scheduled to return to the building has, so you shouldn’t get any more legitimate people coming through, but you still tape up a note that you’ll be back at your post in a few minutes. “Right then. You just stay down here and wait. I don’t want you putting yourself at risk. If I’m not back in five, call the number on the post-it.”

John shakes his head and follows you up the stairs. “I’m not letting you go up there alone,” he says in that quiet irresistible voice and you start to wonder if there’s something strange going on. Why are you going on this potentially suicidal mission to deal with a doppelganger on your own? So what if you get fired? No job is worth your life, right? But you probably wouldn’t see John ever again if you lost this job and that’s clouding all your judgment right now.

Knocking on John’s apartment door is probably not a good idea, and will just give the monster inside time to prepare or hide. So you take out your master key and turn it in the lock as quietly and quickly as you can. The door swings opens with an ominous creak, revealing a dark living room with no sign of anyone there. Did he hear you coming up the stairs? You try to keep John behind you and shield him in case anything sudden happens from within the apartment, but then you feel a strong push from behind and both you and John are in the flat now.

You’re so stupid, so critically, fatally stupid. The John you let in earlier was the real one. You’ve let a doppelganger convince you that you made a mistake, and now you did let one in. You whirl around, try to hit him upside the head with the fire extinguisher you’re brandishing, but he blocks the move with little effort.

“I thought we agreed,” he says, and you realize he’s speaking not to you but past you to someone else in the room.

“Thursdays are my days,” an identical voice answers from behind you and you step back and try to make sense of what you’re seeing. Two John Gillmans, both in the same uniform, neither one looking the least bit spooked, both looking mildly irritated if anything.

“Since when,” the John who came up behind you asks of the other one. “I get to be here every other day, doesn’t matter what day of the week it is.”

“So now what are we going to do about him?” the John who was in the apartment asks, pointing to you. “Why didn’t you just leave once he called me? Are you stupid?”

Your heart may be racing, but your thinking feels as slow as molasses. They’re …. both doppelgangers?

“What have you done with the real John Gillman?” you whisper hoarsely. The twins turn to look at you and you’re creeped out by the very similar smirk that spreads across both of their faces. They’re really impeccable facsimiles of the real person, but this is an expression you’ve never seen on John.

“You’ve never met the ‘real John Gillman’,” one of them says.

There’s enough cold sweat that’s broken out on your back that it starts to trickle down as drops.

“We like you William. It would be such a shame for our friendship to end.”

You hold up the fire extinguisher in front of yourself defensively, but you’re not sure you can really do anything against two of them. You’ve never noticed before, and maybe the real John’s teeth didn’t look like this, but the two doppelgangers have sharp looking canines when they’re grinning. It’ll serve you right to get devoured in this dark flat for making so many mistakes and bad decisions in a row today.

“So you’re just going to kill me then?” you ask.

“We’d really rather not,” one of the twins says. “A murder would bring a lot of snooping law enforcement if not the D.D.D. Itself.”

“And it’s so hard to find good lodging to spend the night.”

They must be joking. “You really expect me to believe you’re not just here to eat people?”

One of the twins rolls his eyes. “Eat people! Yeah, that’s why we’re here, clearly.”

“Has anyone in this apartment building ever disappeared in all the months you’ve worked here?” the other one asks.

“How should I know?” You’re beginning to feel like this has to be some sick nightmare. You can’t possibly be having a civil conversation with a couple of cannibal monsters. This thought has a strange calming effect on you. “If I didn’t know you lot were masquerading as John Gillman, how am I to know how many other residents are real people?”

The twins turn to each other, still smiling and shrugging.

“We’ve been on a vegetarian diet for a while,” the other says and you can’t help but bark out a laugh.

“Laugh all you want,” the other one says, spreading his hands in concession. “But milk is more than enough to sustain us. We do think people are delicious, but there’s one thing we like much more than eating them.”

“And what’s that?” you ask, emboldened by the possibility that you’re just in a ridiculous, paranoid, bad dream of a worst case scenario at your job.

“We’ve been watching you William. We think you’ve been interested in us.”

“We’ve never fucked anyone from this building, and never fucked together, but there’s a first time for everything, right?”

You just stand there, fire extinguisher still raised up defensively. No question about it, this must be a nightmare that’s slowly but surely twisting itself into a sexual fantasy.

“Come on, William. Let’s make you comfortable.”

You can hardly protest as one gently pulls your makeshift weapon out of your loose grip, and the other one sweeps you off your feet with preternatural superhuman ease and carries you over to the couch in this sparsely furnished apartment.

Gentle but insistent hands undo the buttons on your trousers and then maneuver you so they can pull them off completely and free your legs.

“Humans are such fun creatures,” one of the Johns comments when he sees that despite your fear of the situation unfolding right now, you are sporting a half-hearted hard-on. It somehow only gets harder when you hear them talk about people as another species.

Both Johns are still fully dressed, situating themselves to kneel on the floor on either side of you. It’s wild. You must be dreaming. And as you watch both Johns lean forward, extending their tongues and licking your cock up and down from opposite sides, you realize that if this is a dream, you never want to wake up.

They know what they’re doing. They bring you right up to the edge of orgasm and then pull away, leaving you feeling desperate and even annoyed. You’re not annoyed for long though as they both strip down, and you see that their human-mimicking powers are perfect, down to the most minute details that would never be seen under clothes. Granted, you don’t know what John Gillman looked like naked, so maybe they’ve taken artistic license and embellished. Whatever it is, they’ve compared notes, because they still look indistinguishable to you.

“Like what you see?” one of them asks and you realize you I’ve been staring, maybe even with your mouth hanging open. You never imagined you’d hook up with a doppelganger, let alone two of them at once. But you have imagined foisting yourself on John in this very flat, and you’re about to live that daydream.

You end up doing things with the two of them beyond what you’ve ever dreamed of. You fuck one of them, and at the same time get fucked by the other one from behind, the cheap bed’s metal joints creaking and moaning from the motion of three bodies rocking against each other. You let them suck your cock and rim you to get you back in the mood for another round, trying not to think about how unsettlingly hungry they both look, and who they really are underneath the human-looking exterior. The exterior slips periodically when they’re in the throes of pleasure. You wince when they betray just how strong they really are, whenever they flip you over or change positions, as if you weigh nothing. You try not to pay attention when their eyes start glowing red when they’re particularly turned on, but it’s impossible to ignore in the darkness of the bedroom.

“William, you are fucking delicious,” one of them declares, licking his lips obscenely after swallowing down your cum, and all you can do is emit a short nervous chuckle, and think that even if they do decide to eat you at the end of all of this— either to cover their tracks, or just because they might start feeling peckish after all this is over— it will still have been worth it.

You don’t get eaten. In fact, you’ve had the time of your life, and as you get up from the bed and mumble that you have to get back to your post before your shift is over, the two Johns lie languid, naked on the bed watching you, each enjoying a post coital glass of milk (that’s all they have in the fridge— you saw when they opened it), like perfect mirror images.

“You won’t be making any unnecessary phone calls, right William?”

“We can count on you to be discreet and keep a secret, right?”

Through the combined haze of being scared for your life and then having the time of your life, there’s still one thing that bothers you, and you ask about it, against all your best self-preservation instincts.

“So what have you done with the real John Gillman?”

They turn to look at each other, not exactly conspiratorial but it still makes you uneasy.

“Oh, John Gillman never existed. We’ve been around a lot longer than you humans think. Many of us never tried to replicate and replace real humans.”

“Yeah, and a lot of good that did when some of us started! The ones who are doing it are the reason we’re being hunted now. Unoriginal hacks. And so bad at mimicking too.”

“So many embarrassing ones out there.” They both nod at each other.

You’d like to believe them. You really would. “So why choose this persona?”

“The milkman gets free milk and gets around in your society! And humans seem to like this look,” one of them says, grinning and gesturing with his hand over their naked bodies.

“But we only ever get to enjoy bored housewives.”

“And why are there two of you?” you ask hesitantly, glancing at the clock on the wall to verify that you’re not late yet.

“Oh there’s more than two of us,” one of them says and they laugh in unison in a way that sends a chill down your spine.

~~~

You think you’ve got it all worked out. You’re letting the John Gillmans stay in the apartment undisturbed, and you let them through even when it’s obvious that there’s more than one of them coming and going. You figure it’s a win-win. They promise to protect the building from any rogue doppelgangers who infiltrate and intend to harm the residents, and in return get a place to stay the night peacefully. You get to visit apartment F03-02 after your shift ends and have mind-blowing sex. They seem to enjoy the orgies as well. They know your shift hours and try to only come and go during those times. There doesn’t seem to be a problem with this arrangement.

Or at least not a problem that you’re going to make into your problem. When one of the Johns walks in, visibly smeared in blood, you do give him a hard time.

“Come on, John. Just because I’ll let you in, doesn’t mean you can just stop trying to look decent. God forbid I call in sick and someone else is here.”

John shrugs and goes through the formality of pushing his ID and entry request under the glass window.

“And get a new ID…” you tell him when you see bloody fingerprints all over the worn paper.

John shrugs, doing his usual tired act, despite how ridiculous it looks to be so bored and nonchalant when he’s smeared in blood.

“Whose blood is that, anyway?” you ask, wondering why you’re not more disturbed.

“Someone who was of no consequence and who won’t be missed,” John replies, terse and cool as a cucumber.

“I thought you said you were vegetarian?”

“I’ll take a cheat day if I run into a wifebeater,” John says, shrugging.

You buzz him in, telling him to get washed up before someone sees him, wondering if you’re being colossally naive to believe his story, and wondering if you’ve got a death wish because you’re still looking forward to going up there once your shift ends in a few hours.

(What in the world. 💀)

ETA: now with another art piece by @olliveolly

[funhouse-mirror-barbie]

I talked a lot about Stella’s appearances previously, but I wanted to talk about her other appearance in season one—this scene:

This scene is interesting to me. I’ve seen some discussion on tumblr debating that this scene was only showing that Stolas felt guilty about cheating on Stella, not that Stolas was actually in the wrong for doing so.

And I find this logic fascinating b/c, yes if you would like to interpret it that way, you can. It’s up to you to decide how you want to interpret or engage with any work.

That said, I don’t think that competent and consistent writing would make the audience try to justify why Stella was there in hindsight. (Conversation continues below cut)

This scene is significant to me because the visual composition and direction of the animation puts Stella at the same level of importance as Octavia.

Which, in my opinion, means that this is one of the few times Helluva Boss did “Show don’t Tell” really well.

Through the visuals, the lyrics of the song, and Stolas’ reaction to Ozzie’s conjured Stella and Via, the audience is told that “these are people Stolas has both failed. He knows he has failed them and fears losing them. But he still hasn’t considered how his actions would impact them, and is now being faced with the idea of that possibility for the first time”

I specifically say that “he’s afraid of losing them” because the illusion of Octavia and Stella both turn their backs on Stolas, leaving him with just Blitzø. It’s extremely clear visual story telling—Stolas wants to be with Blitzø, but in doing so he is neglecting and will potentially lose his relationships with his wife and child.

And, at this point, because it’s before S2E1, the audience has still not been told that Stella is evil and abusive, and have no reason to think that Stolas wouldn’t care if Stella left (and again you can argue that there’s foreshadowing in hindsight but I have already gone over in depth why there isn’t enough information about Stella for the audience to see that coming)

What this part of the song is communicating to us is that Stella has at least some importance in Stolas’ life.

I think you could say that “well obviously Ozzie just didn’t know enough about Stolas’ personal life” but at the same time, what is being depicted in the show is also for the audience’s benefit.

When you are using a visual medium for your story-telling, your compositions and what you physically show the audience is important.

Like this isn’t subtext, it’s not even subtle—in a scene that is depicting Stolas’ shame, guilt, and embarrassment over his affair with Blitzø, Stella is included with Octavia because he knows he wronged her too.

(Also I almost didn’t write “Stolas’ shame, guilt etc.” b/c I was like “well wait, I can’t remember for sure that Stolas was shown as being ashamed or embarrassed about his relationship with Blitzø” so I went back to check and rewatched Ozzie’s and like.. Stolas being ashamed of his affair with Blitzø was shown even more explicitly than I remembered. Like, he straight up tries to ditch Blitzø and then hides his face after Ozzie asks him if he gave up his family to be with Blitzø ????

And Blitzø’s reaction to this shows he’s obviously hurt by this? Like. I know some people have acted like Blitzø is in the wrong for rejecting Stolas after Ozzie’s but I can’t imagine not being hurt by this reaction…)

But anyway, back to the main point—All of these visuals and the character’s reactions to what’s going on around them are meant to illicit emotions within us, but if Stella’s abuse and complete cruelty were always planned and she was always supposed to be hated, the emotional impact this scene is significantly lessened.

I know I’ve already said this, but I just can’t help thinking that the story would have been SO MUCH more interesting if Stolas was held fully accountable and actually had to reflect on his actions. There was so much potential for the plot and deep nuanced character development and change.

At the end of the day though, it’s not my story, and the writers and creative heads of HB get to tell the story they want to tell.

As a final note—I am not trying to nitpick, these are things that occur to me while I am trying to understand the story and engage with it on a deeper level.

But with every new episode, I find myself having more questions about why certain choices were made, and getting more and more confused about why characters behave the way they do. I can’t help thinking that the story was never fully planned out, and I worry that’s only going to become more obvious as time goes on.

[lunaroceanic]

The ambiguity of the Wittebane storyline is like. The entire point. We only know surface-level details because that’s all Philip lets himself even think about. We aren’t supposed to know exactly how to feel or exactly what Philip feels about it because he does not acknowledge or express his thoughts/feelings about it. Because to do so in an honest way would mean coming to grips that it wasn’t a black and while situation like he wants to believe it was. And if that’s the case then his entire worldview, sense of purpose, and sense of self fall apart.

That’s how rationalization of bigotry happens: if you need yourself to be the hero no matter what you do, there is by necessity a disconnect between your reality and your experience/interpretation of reality. You aren’t a good person because you do good actions; instead, your actions are good no matter what they actually are because you, a Good Person™️ are doing them, and Goodness and Badness of a person are predetermined based on inherent qualities (i.e. being born human). This type of worldview requires no self-reflection, and in fact actively discourages it. (Luz questions/doubts herself consistently; Philip does not).

So of course we don’t know everything about the Wittebane story: the only person who even holds that information is Belos, and even he doesn’t acknowledge it. It doesn’t even really matter if he feels bad about killing Caleb or knows deep down that he might be in the wrong: he doesn’t let that guilt inform his actions, nor does he express it. The protagonists certainly don’t know about it, they only have his actions to go off of. And his *actions* give no hint of remorse nor do they indicate he ever intends to change course. We the audience do know a bit more than even Luz does about his backstory, and that’s because it’s for us—it fleshes out the story and drives fan discussion/interpretation, and that’s a good thing! But in this particular story the protagonists didn’t need to know everything about the antagonist’s backstory/motivations because the antagonist did not make it relevant to them. And yes, Doylist perspective and everything, this was an external writing choice made by real life people and not the character. But like. IMO it was the correct choice to make for this story!

[grecoromanyaoi]

helloo since we're on the topic: top historical fiction (or adjacent) ? can be any time period I just really love your taste in shows/games/etc and am always on the lookout for history inspired media !

thank you!!! im rly glad im like. inspiring other ppl to engage w things im insane abt hudofajsdfdassfsad. anyways. i will probably expand that list bc i literally forgot every single thing i ever read. also i havent watched that many movies so far

ancient times: i havent really watched a lot of movies/series set in ancient times so far :(

rome HBO (2005-2007) (tv series) - OF COURSE. i personally think its one of the best series ever made. they combine political, miliatry history with the lives of every day people in an incredible way. they never let you once engage with the series through modern lenses. according to my teacher (a historian, archeologist & self described 'romaphile') its incredibly historically accurate, mostly the clothing, set designs, characterization, military practices, etc. except for the things they straight up made up, of course.

i really enjoyed gladiator (2000), i think its a masterpiece.

prince of egypt (1998) i guess?

all the asterix movies of course, all the animated ones and most of the live actions. but i wouldnt really call it historical fiction

ok i havent actually finished watching it for now but sebastiane (1976) - an erotic, x rated, gay interpretation of the martyrdom of st sebastian. its in latin also.

wait i cant believe i forgor about assassin's creed odyssey - so far the only one ive played. its so fun and incredibly immersive visually. especially pour moi who cries into the pillow about how ill never experience the ancient world. also you can b a faggot which is always fun. i have things to say about their portrayal of same-sex sexuality and slavery in classical greece but i get why they did that considering its supposed to like. appeal to a lot of people, and a more "historically accurate" portrayal (for example of pederasty or how common slavery was etc.) would b v difficult for a lot of their target audience. alas.

medieval and early modern era:

the name of the rose (1986) - my medieval history teacher literally showed us bits of this movie to teach us about monasteries and monks fhdosiasdjasd.

the borgias (2011-2013) - incredibly messy, lots of political intrigue, and so so fun to watch. about the history of the borgia family. filled to the brim with drama.

the three musketeers (1993) - my favorite adaptation, also coincidentally the one i grew up on. casting tim curry as richelieu was genius. he slays so hard.

i also like bbc's the musketeers (2014-2016) - a neat little series. very fun and entertaining to watch.

outlaw king (2018) - like i dont think most ppl heard of this movie. its about robert the bruce's fight to reclaim the throne of scotland. starring chris pine

vikings (2013-2020) - its fun. i havent watched the entire series tho. dont expect anything resembling historical accuracy

the northman (2022) - you will see something resembling historical accuracy

mihai viteazul (michael the brave) (1971) - a fun movie. very much romanian propaganda tho.

1670 (2023-) - such a fun series!!! incredible cast, shows respect to the actual history and the lives of historical people. really cute and funny.

caravaggio (1986) - a biopic about caravaggio.

wait i also forgor about pentiment - an intriguing, immersive, and incredibly beautiful video game! it has a lot of 'the name of the rose' vibes, with it being a medieval murder mystery taking place in a monastery. its incredibly touching and made me cry, and in the last few years i very rarely cry. also im 99% sure its an indie game? go support the creators!

vaguely-medieval/early modern fantasy:

mirror mirror (2012) - a retelling of snow white. a very fun movie imo, with incredible costume design. julia roberts plays the evil queen and she SLAYS. armie hammer is unfortunately in that movie.

stardust (2007) - one of my fave movies growing up. more modern-inspired but still.

the green knight (2021) - controversial i know but i actually loved this movie! i liked it both as a standalone movie but moreso as a 21st century adaptation to sir gawain and the green knight.

galavant (2015-2016) - !!!!!!! one of the most series ever! they manage to tackle such difficult concepts and conversations with a hilarious wit. so fun to watch. i listen to a lot of the songs still, and rewatch every once in a while.

disenchantment (2018-2023) - very fun to watch, especially the first season.

i also really liked the novel uprooted by naomi novik. its a polish-inspired fantasy.

modern era:

killers of the flower moon (2023) - of course. a masterpiece

aferim! (2015) - a romanian movie set in 19th century wallachia, about two officers, a father and son, who were sent by a nobleman to retrieve an escaped enslaved romani man. a lot of the people in the comments were calling the movie humorous and funny, maybe im missing smth (as im watching with subtitles n dont understand the original language) but it was a very difficult watch for me??

the handmaiden (2016) - need i say more

black sails (2014-2017) - a prequel to the famous novel 'treasure island'. not an easy series to watch. incredibly good.

the favourite (2018) - need i say more pt 2

the rabbi's cat (le chat du rabbin) (2011) - animated movie set in early 20th century algeria. a rabbi's cat learns to talk overnight.

the nice guys (2016) - a fun murder mystery set in the 1970s

o brother, where art thou (2000) - a retelling of the odyssey set in the southern us in the 1930s

victor/victoria (1982) - set in early 20th century paris. julie andrews pretends to be a man and takes on a job as a drag queen. extremely fun, extremely gay movie.

lady chatterley's lover (2022) - very much porn for moms but it was a nice watch imo

amulet (2020) - set in like. idk. sometime in the 20th century. this is a horror movie, deals a lot with misogyny, sa, and so on. i really like it, personally. a lot of people, mostly weird men, dont tho.

the great (2020-2023) - i have mixed feelings about this show. on the one hand, its really fun to watch. on the other hand, its basically ofmd for girls who have public mental breakdowns whenever someone claims corsets were oppressive. and theyre so weird about russians, jesus christ.

disses:

domina (2021-) - i just couldnt get into it, esp since i tried right after finishing rome hbo. it was kind of silly, and not in a good way. takes itself wayyyy to seriously.

i didnt like spartacus (2010-2013) - the dialogue was almost grotesque and the editing, especially the transitions, straight up killed me

damsel (2024) - holy fuck what a trainwreck of a movie. absolute waste of angela basset and robin wright. the only good thing were the costumes.

lancelot du lac (1974) - i just didnt like it at all. couldnt get into it. i guess it was way too french and artsy fartsy for me. a movie that was trying to say both too little and too much at the same time.

i didnt rly like bram stoker's dracula (1992) - i mean. it was a fine movie. it was definitely not the godfather. the movie itself was meh. the visuals tho? absolutely stunning

[lowkeiloki]

Could there be a good minecraft movie?

From the look of the trailer, it seems like the movie is gonna get every single thing it could possibly get wrong. They dont have faith in their audience to understand a plot taking place in a world so different from our own, so they go with the isekai plot, the single laziest direction they couldve taken.

But what would a good minecraft movie look like? It would be hard to pull off, but not impossible.

Firstly, most of us can all agree that a minecraft movie should not be live action, its a heavily stylized game and the real people in it look ridiculously out of place. the movie should stay fully animated and not overly detailed. Personally, i think the movie could look great in stop motion. Stop motion can really bring out the combination of cozy and spooky feeling that minecraft has.

what about the plot?

Minecraft is a very quiet and atmospheric game, there is no dialogue, everybody communicates, but nobody talks including steve. It's a sandbox game, because it lets you build and terraform and shape the world as you want and move towards the end goal at your own pace (if youre interested in completing the end goal at all). But also because throughout the game you're given bits and pieces of lore and you're the one to put them together to how you see them. Why are endermen hurt by water? What are creepers? Why are piglins so stingy about gold? Who built the pyramids and monuments? You don't get the answer, it's up to your own interpretation. Going back to the movie, it really should be low on dialogue. Steve could narrate the movie, but he never talks (like Spirit from "Spirit: Stallion of the Cimarron). He sees an enderman and makes eye contact qith it which aggrevates it, he doesnt know why it aggrevated it, but from that experience he learns not to do that anymore and manages to co exist peacefully with them. If anyone talked in that movie, it should be alex (if shes even in the movie), but she doesnt talk a lot and nobody understands her language but steve who cant talk back. Communication is done through body language and actions, the visuals and the music (and i mean minecraft music) primarely tell the story.

What would it be about tho?

When we begin to play minecraft, we're thrown into the world with no manual or instructions, we're on our own empty handed, we go through the world learning how to craft, what to do with new items we find, which mobs are our allies and which our foes. I remember playing minecraft for the first time (actually quite recently, sometime after the nether update) and i was so confused and stressed because i had no idea what i was supposed to be doing, everything was strange and foregin and there was no guide on what to do. But as i got the hang ot it, as i started exploring and gathering materials and building my base it soon became fun and relaxing. The further i went, the more confident i felt. This is what the movie should be about. Being in this unknown world without anyone to guide you and the only way forward is to try and fail and try again and face the unfamiliar and get to know your surroundings. It should be about facing the fear of unknown, letting yourself fail, breaching out of the comfort zone, not finding your place in the world, but building it. It doesn't have to end with slaying the dragon, it can end with steve realizing he is not afraid anymore, that he has what he needs to feel comfortable and all the confidence to go forward. I feel like a lot of people that grew up with minecraft as kids are now young adults and a movie about being placed in a new environmemt where you're the one to take care of yourself and nobody guides you by hand would reasonate with them quite a lot

but, you know, i'm sure another jumanji clone with jack black starring as jack black in blue shirt will do the trick just as well.

[adiluv-moved]

❥ 𝐋𝐎𝐎𝐊 𝐀𝐓 𝐌𝐄, 𝐍𝐎𝐓 𝐇𝐈𝐌. ˚⊹꒷

🎧୧・꒰summary—wc꒱ you're supposed to be his fan. not la signora's, not childe's, and definitely not il dottore's. 824 words.

💿୧・꒰warnings꒱ yandere character ꒰possessive behavior, petty scara꒱, idol/modern au, slightly suggestive at the end, reader is not traveler, lightly edited.

🎤୧・꒰adi moment꒱ inspired by these hcs! i don't think i'll be beating these scara lover allegations anytime soon, sadly... but anyway! scaramouche is honestly such a petty bastard imo, so i figured i'd mess around a bit with the idea! as always, hope you enjoy! ໒꒰ྀི ⁎ᵕ ᴗ ᵕ⁎꒱ྀི১

as a disclaimer, i don’t support yandere behavior in real life! please don’t interpret this post as justification for any of scaramouche’s actions.

Perhaps it was selfish of Scaramouche to be so terribly possessive over you, though months of correspondence with you had simply robbed him of the ability to care. A rare find, in his eyes, a bright light in an ocean of monotones. Being in an idol group with a whopping eleven other members certainly guaranteed that the attention of fans was finely split, and so he didn’t exactly see it wrong to be a bit more protective over the one that had eyes for him alone. 

Or, at the very least, the one that should’ve had eyes for him alone.

Although practically drowning beneath the heaps of other memorabilia you’d come decked out in, the Il Dottore themed lanyard that hung from your phone case was ultimately unable to escape his piercing gaze. He’d always hated the cocky bastard, despised his overly pompous boasting and inflamed ego—but never before had those feelings burnt inside him with such soul-splitting intensity. No, he simply couldn’t help but fume atop the stage as the concert carried on, barely visible glares and the slightest shoves casted towards the senior member.

You weren’t exempt, either. 

Was this what you’d wanted? To try and tear him apart with such an intense bout of jealousy? Forcing him—watching him struggle to keep his composure in front of the millions of fans that were watching him?

It was a stroke of luck he’d decided to become an idol, since he would’ve already bit his tongue off if he had the opportunity to keep his mouth closed.

Over the several months you’d known Scaramouche, invitations backstage had become the norm between the both of you—rare moments of alone time together with your body perfectly slotted within his arms and sweet nothings whispered in your ear. 

Naturally, it was the absence of this that drove your heart wild. 

Even worse was when another fan was granted the honor, personally escorted behind the curtains by the star as fans hounded the duo. 

‘He’d never done that for you,’ came the tiny, jealous voice within your mind—fingers clamping shut into fists as you attempted to rationalize the scene in front of you. It was true, of course, that a bodyguard had always been the one to lead you to his dressing room, a slap in the face considering the way he held their hand in front of everybody. Why, oh why, is some… random person getting better treatment?

The both of you were already well aware that this scene would be blowing up come tomorrow, countless articles, tweets, and tiktoks posted by the insignificant pest he’d picked out. And while his cheeks were absolutely straining from the falsified polite smile he wore, seeing the dejected look on your face certainly alleviated some of the burden. 

It wasn’t as though you even had the right to be angry with him—it’d just be silly considering this little stunt of yours—but there was something so horribly satisfying about watching you seething, all the same. How sweet! That little pout pulling down your lips, the crinkles forming in-between your furrowed eyebrows. Exactly what he’d been hoping for, pulling a random member of the audience along with him, and he was glad you decided not to disappoint twice in one night.

Maybe, if you’d chosen any of the other Harbingers to pull such a stunt with, he might’ve found it amusing. But showing up to his concert, with tickets that he paid for on your behalf, with merch of Il Dottore? Hah. Inexcusable, really—though it was ‘cute’ you had the gall. 

He was certain he’d already gone off on tangents about the man before, certain that he’d already emphasized that only he was worthy of your adoration. Why, then, would you carry through with such a thinly veiled betrayal?

He would not share you with that man.

But no matter..! While the audacity you had to toy with him was commendable in its own right, you weren’t the only one that could play at that game. And Scaramouche? He plays to win. For the sake of proving this point, he’s more than willing to allow you to leave empty-handed tonight, push himself through the agony of being without your touch for a bit longer.

As expected, tickets to the Harbinger’s next concert arrive in your mailbox the day after their latest venue is announced—though the two extra items attached are much more novel. A letter, handwritten by the idol himself, chiding you for this little ‘slip-up’ in your loyalties…  and a Scaramouche themed lanyard, orders attached to dispose of your current one immediately.

He’ll be keeping his eyes on his favorite fan.

You’re lucky that he’s being so generous, but even you should know that he has his limits. If you continue to act out, a more… hands-on punishment will be necessary to remind you of exactly who your love and attention belongs to.

But frankly? He doesn’t think he’d mind. ♡

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[linkspooky]

BSD VS LITERATURE: NO LONGER HUMAN

The second entry in my long running series to analyze every single book referenced in Bungou Stray Dogs, to try piece together the author’s intended meaning in referencing the work. 

Osamu Dazai’s ability name comes from the author’s final novel “No Longer Human”, you may have heard of it. The novel contains several events from the author’s real life, but is considered semi-autobiographical because it depicts the life of a fictional character “Yozo” who much like the real life author attempted suicide a total of five times in his life before utlimately succeeding. Many believe the book to be his will as Dazai killed himself shortly after the last part of the book was published. As for the connection to the fictional character, more under the cut. 

1. Disqualified from Being Human

Dazai as a character borrows several traits from Yozo the protagonist of the novel. He has the same habit of clowning and engaging others in a false persona, while it happens mostly offscreen the audience and Dazai’s coworkers are aware of the fact he regularly indulges himself in vices like drinking, having illicit relationships with women (its often referenced he has a long line of exes and women he’s left upset over him) and that he’s also constantly in debt. 

Deeper than those surface level traits though, Dazai shares the same motivation as Yozo for his antics. They are both people who feel utterly alienated from the people around them, unable to connect with their thoughts and feelings and because of that they resort to always engaging them in a false, and comedic facade. They are fundamentally uncomfortable with ever presenting their true selves around others. 

As a child I had absolutely no notion of what others, even members of my own family, might be suffering from or what they were thinking. I was aware of my own unspeakable fears and embarrassments. Before anyone realized it, I had become an accomplished clown, a child who never spoke a single word. No Longer Human. 

Dazai is described as a child in the same way by Oda, who is arguably the character who knows him best. Even with Oda though, and the rest of the Buraiha trio as a whole though they were friends it carries the tragedy that they never were truly honest with one another, Oda never overstepped the clear boundaries between him and Dazai, Ango never let either of them into the secret that he was a government spy all along. Even that friendship which Dazai found comfortable, and was so significant to him he changed his entire life’s past around Oda’s dying words, he still placed an uncilimbable wall between the two of them. 

“I thought you were similiar to Dazai at first, rushing into battle and wishing for death without even considering the value of your own life. But he’s different. He’s sharp witted, with a mind like a steel trap. And he’s just a child - a sobbing child abandoned in the darkness of a world far emptier than the one we’re seeing.”

He was too smart for his own good. That was why he was always alone. The reason why Ango and I were unable to be by his side was that we understood the solitude that surrounded him, and we never stepped inside no matter how close we stood. 

But in that moment I kind of regretted not stepping in and invading that solitude. Bungo Stray Dogs, Volume 2. 

There’s a supposed difference in Yozo, who is a drunken layabout constantly in debt who fails out of college and Dazai the super genius who is apparently one of the smartest members of the cast, but honestly if you peel back the layers of Dazai’s “Superhuman / Godlike Genius” status his and Yozo’s behaviors and treatment of other people is actually pretty similar. 

Here is the secret of No Longer Human that a lot of readers miss in their interpretation. While Yozo can be a sympathetic character, because he’s genuinely miserable in his life, and the way he tells his story is highly relatable to the unhappiness of many readers, Yozo sucks. 

If you look at his actions outside of his self-pitying narration, Yozo is a serial manipulator of people, especially those with a status weaker than him in society (women, and even chidlren) he strings them along often taking money from them until he abandons them. Yozo is considered to be so pretty and likable, people often relate to his misery and give him what he wants without him giving anything in return.

There’s four major women he interacts with in the novel. A married women he gets to pay for his drinks a couple of times, doesn’t see for months, and then commits suicide with her. His reaction to her death is very minimal and he doesn’t even seem to mourn her. Then, he becomes a kept man for a woman with a child for awhile gets her to pay for his drinking habit, has multiple affairs on her while living at their house (or at least it’s implied).He also comes to view the child as an enemy of his. 

“I would like my real Daddy back.”  I felt dizzy with shock. An enemy. Was I Shigeko’s enemy, or was she mine?

No Longer Human.

He abandons them. (Surprise, surprise). Then moves on to marry a seventeen year old girl, specifically because she is a virgin. I probably don’t have to mention the predatory subtext there. 

Yoshiko’s pale face was smiling as she sat there inside the dimly lit shop. What a holy thing uncorrupted virginity is, I thought. I had never slept with a virgin, a girl younger than myself. I’d marry her. [...] I made up my mind on the spot: it was a then-and-there decision, and I did not hesitate to steal the flower. No Longer Human. 

That wife then gets raped and not only does Yozo feel little to no sympathy for her whatsoever, he then proceeds to just leave and abandon her because his image of her as a perfect image is ruined. He even refers to her as a possession he lost far earlier on in the novel. 

Once in a while, it is true I have experienced a vague sense of regret at losing something, but never strongly enough to affirm positively, or to contest with others my rights of possession. This was so true of me that some years later, I even watched in silence when my own wife was violated. No Longer Human.

The last woman he gets involved with only because he has a morphine addiction and he wants to string her along so she can keep supplying him with morphine. If you strip away the thin veneer of Dazai as a master manipulator and superhuman genius, you are just left with his actions which include his constant manipulation of other people (children younger and more vulnerable than him) and even his own allies. He is a user, much in the same way Yozo is. This is just named characters, it’s implied offscreen that Dazai has Yozo’s same habit of burning through relationships and women like jet fuel. 

Of course, there is a tragic reason for Yozo’s behavior it is implied he was violated by a female servant as a child, but that further adds onto the underlying point of the novel that Yozo’s genuinely miserable but he’s also the architect of his own misery. He is a victim who basically continues the cycle of abuse. His two primary methods of interacting with people is either manipulating them / stringing them along, or abandoning them. Even the Dazai who works at the agency keeps Akutagawa his biggest victim wearing the coat that Mori Gave him that represents the cycle of abuse just... wrapped around his little finger because it’s more convenient to use and dispose of him that way. 

Akutagawa’s so insanely devoted to Dazai that he believes being abandoned was just a secret little test and if he performs well than he’ll finally get the carrot that Dazai has been dangling in front of his head for a long time. Dazai’s treatment of Akutagawa as someone to just conveniently use and then dispose of is something that leads to Akutagawa getting himself killed trying to earn that praise. 

Dazai and Yozo have a similiar problem where they are pitiable in the fact they are victims themselves, they have been used in the past and it’s left them feeling alienated and unable to connect with others, but then they jump right into treating others as less than human too. Dazai has this strange paradox where he scolds Dostoevsky for believing in god and seeing himself as an agent of god or some kind of omniscient manipulator and that the real people who make a difference in the world are the people living in the world and struggling in it but Dazai... still doesn’t see himself as one of those people. Dazai’s like “You shouldn’t manipulate people like pieces on a gameboard...” but Dazai still views himself as one of the players sitting and watching things from on high rather than one of the pieces. 

Dazai and Yozo are incapable of seeing themselves as human beings and eternally feel like outsiders when they try to be around others. However, at the same time they give no respect to the humanity or the feelings of other people. They don’t treat others like humans. Which is why they are essentially the architects of their own misery, they are alone because they choose continually over and over to either only engage in other people with lives, or treat relationships as transactional. These flaws of Dazai’s have been toned down since the dark age, but even Detective Agency Dazai still has this habit of looking down on other people. He has good intentions he tries to live by, but also in crisis situations tends to fall back on old habits. 

2. Lover’s Suicide

Finally, there’s two relationships in the book that parallels Dazai’s two most significant relationships in the story. The tragedy of Oda in the dark era, actually mirrors what was Yozo’s most significant suicide attempt in the book. Yozo runs out of money and on a whim attempts to commit suicide with a married woman who had been more or less a longtime but distant acquiantance. 

We threw ourselves into the sea at Kamakura that night. She untied her sash saying she had borrowed it from a friend at the cafe, and left it folded neatly on a rock. I removed my coat and put it in the same spot. We entered the water together. 

She died. I was saved. No Longer Human. 

This event mirrors the defining tragedy of Dazai’s backstory as depicted in the second light novel, and his reason for leaving the mafia. Essentially, Dazai finally becomes close to someone his longtime acquaintance Oda, who unlike him has a reason to live in raising children and dreaming of one day becoming an author. However, by the end of the novel it’s Oda who commits suicide and Dazai who lives. 

“You’re such an idiot, Odasaku. The biggest idiot I know.”  “Yeah.” “You didn’t have to do this. You didn’t have to die.” “I know.” 

Bungo Stray Dogs, Vol. 2

If you want to sprinkle in an additional homosexual subtext what Oda basically does is commit a lover’s suicide with someone else, by choosing to die with Gide. Which means that not only does Dazai survive while Oda dies, but Oda chose to commit a lover’s suicide with someone other than him. 

Then there is Yozo’s acquiantance to longtime friend Horiki. HOriki is his only real significant friend in the novel, but Yozo absolutely despises him. Nothing healthy ever comes from their relationship, he gets Yozo addicted on cigarettes and alcohol, he drags him to secret communist meetings, however Yozo who frequently just abandons people never really gets rid of him. 

Horiki and myself. Despising each other as we did, we were constantly together, thereby degrading ourselves. If that is what the world calls friendship, the relationships between Horiki and myself were undoutably those of friendship. No Longer Human. 

The reason being that Yozo despite loathing Horiki senses that the two of them are alike in nature. There’s also something to be said about Yozo getting along more naturally with someone he hates, rather than the people in his life who constantly attempt to love him. 

Horiki and myself. Though outwardly he appeared to be a human being like the rest, I sometimes felt he was exactly like myself. No Longer Human. 

His relationship with Horiki reflects both the partnership of the double black duo, two individuals who loathe each other but had near perfect cooperation in their teamwork but also the foiling between Chuuya and Dazai. They are both people who do not view themselves as human, Chuuya because of the mystery of his origins as the host of Arahabaki and Dazai because his intelligence leaves him feelings isolated from the world. 

He looked up in the direction of the sudden voice. It was a familiar voice, one that belonged to the person he hated most in this world. 

Your birth itself was a mistake. We’re the same. Is there a really a point to suffering through all that pain for a life that isn’t real?” 

The voice was taunting him. 

[...]

“Screw you Dazi.”

Chuuya wanted nothing more than to slice off the ear the voice was whispering right into. He could see Dazai’s wavering shadow by his side, and he wanted to gauge out his eyes. 

“That’s just proof that you at least somewhat believe what I’m saying. Because deep down inside you’re the same as me.”

Like, they hate each other, but they hate each other for the real person they are deep down on the inside. Which results in him and Chuuya having an entirely antagonistic relationship and yet at the same time Chuuya is the one person that Dazai can’t really bullshit or lie to, because sharing so much in common gives Chuuya some insight into Dazai’s darker tendencies. 

Which results in a relationship where neither of them like each other, and yet both of them are just a little bit obsessed with each other. Despising each other and constantly together. 

So in summary, No Longer Human is a work about a character’s difficulty to form relationships with others because not only do they not see themselves as human they also treat the others around them as lesser than humans. Yozo is a character clearly stuck in that cycle of abuse, whereas Dazai Osamu himself is someone struggling in the story to break that cycle and curb his own manipulative tendencies inside of himself, ironically because of the close relatonship he had formed with the one person he was ever even a little bit honest with Odasaku. 

[blank468]

Describe Bakugo’s development in short words

If you were to ask me how would I describe Bakugo’s development in short words, it would come across as being boring and predictable. Let’s start with the fact that despite being a secondary character, Bakugo has no real purpose/contribution in the main story line. His involvement with Deku and OFA doesn’t amount to anything other than mindless yelling, guilt tripping, and just him treating it as a competition to try and surpass Deku when he unlocks his other quirks. The only reason he’s involved in a lot of what’s going on is because of his popularity. He started gaining popularity when he won the Sports festival and because everyone like the stereotypical angry rival trope. He can be replaced by literally any other character and nothing would change.

It’s basically a pattern whenever Bakugo is involved with something.

- Bakugo will treat others beneath him and continue to call the extras.

- Whatever is going in the story if it’s a fight between the villains or something school related, he’ll treat it as a competition.

- He’ll either verbally attack Deku and everyone around them or get physical to get what he wants.

- Deku won’t see this as an issue and continue to gush over Bakugo about how he’s a good friend and the idea of him being the symbol of victory

-Anyone that calls out his horrible behavior will do a complete 180 and talk about how whatever he said either makes sense or to give some baseless excuse about how he changed

- Aizawa, All Might and or anyone in UA will make some claim about how his some kind of an inspiration for 1A and Bakugo is trying harder than everyone else(completely ignoring all of 1A’s accomplishments and improvements throughout their first year)

- After winning or coming out on top whatever Bakugo will take his win for granted and will act like it doesn’t mean anything while acting aggressive when someone compliments him

- What ever punishment or consequences he gets(not matter how fatal is) will be minor and the story will find to way to have him come out at top without any struggle

- The story will have characters feel bad, guilty for Bakugo for something so minuscule and or try to punish them in a similar manner like Bakugo (A recent example of the story punishing characters because of Bakugo’s actions is in the Card OVA. I didn’t bother watching it because I knew it was just a product plug for training cards but from what I viewed from other people’s discussions, the match between Deku and Bakugo ends with a tie. Apparently Bakugo threw another hissy fit and not only destroyed the card game but blew up the dorm with everyone inside. Instead of punishing Bakugo for destroying public property and potentially injuring his classmates, Aizawa decides to punish all of Class 1A and ban them from playing any other games in the dorm.)

I know everyone has their own interpretation on how they feel about Bakugo and that’s perfectly fine. I don’t have problem if you like him, but Bakugo is written as if everything he did or stood for never mattered. Izuku, Class 1A , UA and by extension Horikoshi, wants the audience to believe that all the positive aspects about his character somehow outweigh the negatives and we’re supposed to accept that Bakugo has fully grown while at the same time instantly forgiving him for being a spiteful and petty bully. No matter what happens to him, he’ll still come out on top as if what he went through wasn’t consequential or lethal. He’s constantly giving wins and random asspulls to favor him despite either doing the bare minimum of his supposed development or not doing anything at all. Bakugo in the eyes of others will always be seen as the true MVP and is the one that always has to win. He’s nothing but a pet under the care of his creator who will go out of his way to make every other character look bad and pathetic than they already are; including the main protagonist.

[jokobub]

The Great Thing About HNKNA Being An Otome Game

I had an epiphany a few months ago. I’ve talked before about how many pitfalls HNKNA experiences by nature of it being a dating simulator, and how a lot of the cooler parts of the story and lore are overshadowed by the core romance mechanic and how I’m not a big fan of it, blah blah. But I’ve also seen way too many modern Alice in Wonderland adaptations as a result of my ridiculously long-term Kuni no Alice hyperfixation, and allow me to say that there is one thing that it nails that nothing else can even come close to touching— Alice herself!

The Kuni no Alice series brings about what I think is the best modern interpretation of Alice I’ve yet to see in any media I’ve consumed. She’s quick-witted and brings the attitude, but she cares. Her reactions are realistically absurd and there are few moments throughout everything where she feels out of character or unrelatable. And I think the otome genre is crucial to why that is.

By nature, dating simulators don’t have strong protagonists. They’re supposed to be a blank canvas for the player to project onto to achieve their goals. Am I calling Alice flat? No, quite the opposite. Her story is set in a Victorian-inspired fantasy land with lots of guns and danger and a strict social structure, but it’s intended for a modern audience, and when connection with your protagonist is the key to connection with your story, a modern audience means a modern Alice.

The modern Alice is one of the hardest characters to write.

In most instances of an adapted, cool, edgy Alice in Wonderland, the most insufferable character on screen is, in fact, Alice. This is true of the Disney films, SyFy’s Alice special, Once Upon a Time in Wonderland, etc. More often than not, Alice Kingsleigh, Hamilton, whatever you want to call her, is a young adult frustrated by life in an oppressive society who will only accept her if she acts in a hyper-specific way, usually at the risk of being institutionalized should she fail to comply. She argues with her parents, who want her to get married, and all of this turns her into a spiteful girl who is always on the defensive.

It’s insufferable to watch.

The character of Alice is too often portrayed as relentlessly mean, but under the guise of empowerment. The audience is tired of weak-willed women, so the director hunches Alice’s dress up passed her ankles and gives her a sword, an attitude, and an ugly man to kiss without her parents’ involvement. Biologically engineered to shatter every well-known gender role established in Victorian England and basically nothing else, movies and TV deliver their “strong female protagonists” in the form of a curt, unchangingly rude version of Alice whose words and actions are supposed to be justified by her circumstances. And god, does it fucking suck!

You can't connect to this Alice, this armed and ready, sharp-tongued, "curiouser and curiouser" Alice who lives in a world that practically clears a narratively untouchable path to every foot she plans to step on. Personally, it leaves a bitter taste in my mouth. The misunderstood to confused, to disgruntled, to aggressive pipeline is overplayed to the point where the Alice of any and all modern interpretations has become, essentially, the same character, forced to loop the same 6 emotional plot points from now into eternity, no matter how many coats of science fiction you put over it.

(Yes, there is a part of me that understands this comes from the fact that Alice is most often written by money-hungry, corporate studios, led primarily by men, who do not understand feminine audiences, or how they want to see themselves represented in media. I get that. And Alice Liddell is not safe from that. But consider: she's my babygirl.)

Am I saying the character of Alice can't be mean, can't say fuck, can't have a sword? Of course not!!!! Give women swords!!! But I am saying that every time a director phones it in with that "Oh, I know that book" budget and gives a British blondie trust issues, a prophecy, and a quirked up, top hat-wearing sidekick to have unfulfilling sexual tension with, i lose my wings AND my marbles.

Enter: our Alice Liddell.

What do we have with her, really? Well, the protagonist of a mid-shelf otome game, which has sequels out the wazoo, a movie and 2 stage play runs, but still somehow only enough translated media to fill a single Barnes and Noble shopping basket about halfway. Thanks QuinRose.

But for real.

Alice Liddell is written, from the ground up, as an otome protagonist. As such, there are narrative must-haves that she can't shake. She needs to be relatable to the modern young adult, even if she's supposed to reflect the Victorian female experience. This would usually be the Achilles Heel of an adapted protagonist: you, the player, get to watch in horror as your favorite whimsical Main Girl is watered down into a bowl of nothing soup for the sake of projection and selling more copies of a game with eye candy catboys and toxicity glorification.

HOWEVER,

(stay seated girlies don't go yet)

This necessary mundanity that is baked into Alice's character, inseparable from her very being as the taste of weed in a brownie, is what singlehandedly saves this adaptation and makes her objectively the best. Unlike in a lot of cinematic adaptations, she's not meant to be the (failed) vehicle of a "deeper narrative" about the strength and roles of women in society. She doesn't exist for any higher purpose, she isn't the chosen one who will declare "Damn The Man" and force the world to listen.

Alice is a girl doing everything she can. She's experienced profound loss. She's self-deprecating. Snarky. She's been through break ups, gotten even with bullies, cuddled with her cat on a Sunday, everything that doesn't matter. The crux of her character is that she's been burned by life and love, yet she can't truly give up on them. Hers is a story of healing, of adaptation and getting back up when life kicks the shit out of you. No matter how sharply she speaks, Kuni no Alice's Alice almost always acts from a place of concern and love for others. She crucially never wields a weapon, reacting to the violence of Wonderland with that extremely jaded "holy fucking shit, what the fuck?" energy that I think any of us would bring to the table, given the circumstances. She's not her community's """lunatic,""" she's not sailing the high seas sideways, she's not on drugs, or destiny's favorite, or anything like that. She's new in town! She's sick of these people! She just wants to go home and read!

She's you. She's me. She's a clusterfuck of a damaged girl, trying to sort out what matters, find her passion and move forward without letting her past stray too far from memory. She's someone whose self-importance and perception by others is foreign to her. She wants to matter, wants not to be left alone by the people she loves, but god forbid she ever admit it.

QuinRose gives us Alice Liddell, suffering failgirl, not Alice Liddell, conceptual landmark, and that was the best possible route anyone could have taken with this character. Alice is the main character, but she is not a hero, and that's a fucking genius move.

thanks for coming to my ted talk. i love u alice.

[opheliasflorist]

You Make That Really Clear, All the Time

I just want to give a quick perspective on Stolas from Blitz’s point of view. When we start at S1 E1, they’ve only met twice: once as children and once as adults for their first sexual encounter. Stolas seems to have had a crush on him for a while by then, or developed one pretty dang quickly during that first adult interaction. Blitz, though, has no idea that Stolas has developed a crush. All he understands the encounter to be was sexual. He has no reason to assume there’d be feelings attached. Stolas even says that he can barely remember Blitz’s name, so how could Blitz think Stolas has any feelings?

After the first time they sleep together, the very next interaction they have is the phone call which Stolas proposes the exchange of the book for sex once a month. Again, why would Blitz believe there were feelings involved? He’s not in denial here: he genuinely has no reason to suspect romance, even when the audience is led to that conclusion.

At Loo Loo Land, there’s again no reason for Blitz to suspect that Stolas wants anything besides transactional sex from him. Even the joke about being paid with money is Blitz’s way of confirming he won’t be paid through sex. Then, Stolas just very sexually flirts with him the whole time. Blitz seems to see this as alluding to their transactional nature.

In Truth Seekers, there’s even more evidence for Blitz’s lack of understanding. We get to peep into Blitz’s drugged-up subconscious. While we do see that Blitz is attracted to and even reveres Stolas, he does feel controlled by him. Whether or not Blitz has feelings, Stolas has his hands on a chain. The Stolas in Blitz’s mind is very different from the real one. Blitz’s imaginary Stolas is more controlling, more willing to pull the reigns in his own favor. While that isn’t who Stolas really is, and Stolas has real feelings for Blitz, Blitz doesn’t understand that or, again, have evidence for it.

Finally in that episode, when Stolas comes to the rescue, he calls Blitz his “plaything.” How else is Blitz supposed to interpret that? It merely enforces his previously established belief. Any concern Stolas has for him could just be interpreted by him as not wanting to damage his “plaything.” Which is why, when Stolas asks for a reward, Blitz offers sex. That’s what he understands the transaction to be: you help me, I give you sex.

Finally: the dreaded menu incident at Ozzie’s. It’s irrelevant that Stolas was so excited for that date because Blitz doesn’t understand it that way. For all we know, he’s looking at this as a favor he’s asking Stolas to do, and will have to pay for it in sex later. Which is shown to be true when Blitz later in the evening says he can’t have sex that night. He expected that to be the transaction from the beginning of the date. Stolas’s action of hiding behind the menu merely reinforces to Blitz that Stolas doesn’t have feelings for him. By the end of the night, he says that much when he tells Stolas to "not act like what they have is anything but you wanting me to fuck you. You make that really clear all the time.”

Again, this is not me saying that Stolas isn’t crazy about Blitz; he definitely is. But Blitz is not in denial about it. He genuinely doesn’t understand that those feelings even exist.

Thanks for coming to my Ted Talk. If anyone wants my perspective on why Blitz has feelings for Stolas, I got you.