#i feel like she’s going to be a vastly different character | Explore Tumblr Posts and Blogs

lufyuu · 15 days

Text

,, Tied Up Prince ''

Psychotic villain x Isekai'd second prince male reader

Tw/s: bondage, stockholm syndrome-ish, reader is into how the villain puts him in his place, dub-con, ripping clothes, degration, angry sex, punished reader, yandere-like oc, agressive sex.

The original post

The sound of blades clashing is loud. Ear deafening even. The sound continues for what feels like a century to the young man. When it finally stops, he lets out a frustrated sigh. Not being able to guess what will happen next.

The masked man refuses to fall down on his knees. Instead, he limps a bit while looking up at the sword wielding main character, his sword casted aside. His long messy hair covers even more of his features due to the fact his mask has sustained some damage and yet he still finds a way to taunt the other. “你真的觉得这样就结束了吗？” , letting out a chuckle. With only a few seconds left in the episode, the viewer watches in anticipation, wondering what will happen. The semi masked man limps towards the other and out of nowhere, throws needles towards the main character. As he passes out, so do the end credits.

"WHAT!??? IT CAN'T END LIKE THIS???", you freak out over the cliffhanger ending, urgently scrolling to see if it's ongoing or if there are more episodes— unfortunately, it's neither. You feel as if you're about to metaphorically cry due to frustration. Nobody warned you there'd be a huge cliffhanger after 50 episodes! "God damnit!", you yell at nobody in particular while trying to do more research. Maybe if you look hard enough, the 51st episode will appear...right?

Even after 2 hours, you refuse to give up. You've wasted almost 3 whole days to watch this stupid series, it can't just end like that. You even go through some tiktok comments and edits too find any clues to an episode 51. Though, it's odd that nobody cares to mention the fact that there's a huge cliffhanger on the last episode. Everyone seems to be okay with it? That can't be right. Either everyone's crazy or you're going crazy.

"AHA!", you finally find a "clue" of some sort in the official website. It states that although the series does end on episode 50, it's based off of a novel which is completed. Without a second thought, you search it up only to find that the novel name is...your name? It clearly says [Name] [L. Name] as the title. As they say, curiosity killed the cat. You mindlessly click on the link.

“我们终将相遇，灵魂伴侣。”

.ᐟ.ᐟ

'My head's killing me...', when you open your eyes, you're faced with a ceiling. It wouldn't be odd if it weren't for the fact that it's not your ceiling. "What the...", you instantly sit up on the bed to look around. Not only is the ceiling not the one you usually wake up to, the entire room isnt even yours. You scramble to get on your feet, almost sprinting towards the door. When you are about to open it, it opens from the other side. "Ah!", the short, well dressed girl lets out a shocked noise, "your highness, you're up early", she regains her composure and sesms to be waiting for something. You stay quiet for a few seconds which prompts her to try and break the silence, "may I come in..?", to which you take a step to the right, allowing her to enter the spacious bedroom and put down a tray with food. Before she exits, she opens the windows for you to which you thank her for as she walks out the room, leaving you all alone once more.

"Gosh it's bright out", you walk over to the now opened window and look out. The scent of nature lingers on your nose, it calms your panicked mind in just a few seconds. The birds chirping, the leaves rustling, the sun shining brightly. Far different from the traffic jam and loud vehicles you'd normally hear. This gives you enough time to think about the situation in a calm and rational manner. 'Your highness?', is what you think of, along with the fact that the room and environment is vastly different from the messy, dark room you would usually wake up to. Questioning yourself only led to even more questions and so, you turn to look at the plate that has been served to you. Two steamed buns and a few fruits for nutrients.

"Alright let's see what I can find!", you have some optimism in you as you begin your "investigation". The courtyard is ridiculously big and so are the halls. You alnost got lost halfway in! Deciding it's time for a little break, you sit down on a nearby pavilion. "I've been here for almost an hour, am I just dreaming..", you pinch yourself a few times but end up with a red cheek and still no answers. "Ow...", you sigh, nothing has given you any answers.

"What's gotten you so stressed?", a voice rings out behind you, prompting you to turn around just enough to get a glance. A good-looking and well built man stands behind with a small smile on his face. He takes a few steps forward and sits next to you, "I don't think I've ever heard you sigh that loudly before", he tries to lighten up the mood seeing how blue you look right now. "Well...", realizing something, you do a double take, "Zhou Jian!?", you jump up in disbelief to which he responds with a very shocked face, "yes..?", he looks worried for your well, "was I really gone that long?", he chuckles and scratches his head, "I could have sworn it was just a month", you could only stand frozen in time, jaw almost wide open but you manage to keep it closed. "C'mon, sit down, tell 哥哥 what's on your mind", he smiles with his eyes closed, patting the seat next to him. You slowly sit down while staring bullets into him. "Are you mad at me?", he asks with a worried expression, you turn away, realizing your stare was bothering him. "Ahem no, of course not", in all honesty, you're trying your best to act like a younger sibling and it sure it hard when your older brother is THE Zhou Jian.

He had previously heard of your dissatisfaction with how he is almost always away from home so it wasn't unreasonable for him to think that way. "Hm, then?", he asks, tilting his head and moving closer to you. You don't even know what you want...maybe just a bit of help 'recalling' who you are. Of course you can't just say you lost your memories or something like that, it'd worry Zhou Jian.

What to do...you have to continue exploring this strange world but also can't risk alerting Zhou Jian...That's it!

"I think I just need a stroll out", you look at him. He tenses up and his eyebrows begin furrow. "You know that's not a good idea", he shakes his head, shit you just fucked up..how were you supoosed to know you're not allowed out?? "Please? There's something I need to do", you try to plead, "and I won't be out an hour", but no matter how you persist, he doesn't waver. "弟弟, if it truly is important, I'll send someone to do whatever it is for you", he offers an alternative but that doesn't work for you. There is no way to convince him so you think of another idea. You close your eyes for a moment and nod, "it's okay, I changed my mind", giving a half smile.

"Oh...they're so tall..", you look at the walls you planned to climb to get out. You never learned how to climb a rope either so that's out of the question. Maybe your secret get out plan won't be happening afterall.

'Think [Name], think!'

You pace around, trying to think of another plan. Those cliche romance shows lied to you! You can't possibly climb a tall building. While pacing around, you can't help but feel as if you're forgetting something but what? You try your best to recall the whole series, the plot, what happened and what started it.

"Zhou Jian has to defend his kingdom against the villain due to the fact that...", you talk to yourself, trying to regain memory of the show, "the villain seeks out the Kingdom's rumoured hidden temple in order to seize...", as if everything's connected, you remember the most important thing, "..the power within!", your fist gently hits your palm, and your eyes widen with excitement. "That means I probably have powers like that too!", you almost let out a happy noise but remembering that you are most likely going to be spotted faster if you do, you contain yourself. "How to activate it..", you try to think of jumping over the wall, maybe gracefully flying over to the other side but nothing happens. "They make it look so effortless in the shows", you start to wonder if there's really not a single system window to guide you.

"Your highness! It's time for your tea", a maid is clearly looking for you, shouting loudly as she searches for you everywhere. "Oh shit!", you'll get found out in no time if you don't escape now! A sudden wave of panic sends your body suddenly flying over the 40ft tall cement wall. "W-wAoHH", You brace for impact but fortunately for you, your body doesn't hit the ground roughly, infact, your fall is cushioned by an invisible object. You need time to process what just happened but the guards right around the corner says otherwise. Without missing another second, your legs sprint towards the town in hopes of not getting caught red handed. 'It seems my magic is unstable..is it because I'm not from here or is it just my new body that's weak..?'

You huff and huff due to how fast you just ran from the imperial palace to the bustling streets. After a while, you pull yourself together and look around, finally noticing the amazing scent of the street food being sold. "Excuse me", a little girl says, trying to get past you as you're blocking the middle, "sorry!", you instantly move to the side to let her get past. "Now, where to start", your eyes dart around, a mom and daughter sharing a tanghulu, a couple enjoying their stroll together and even a homeless looking man being given a baozi to eat. Looking at everything up close in person gives a different feeling than when you're watching behind a screen. Despite being here, you still have little to no clue as to who you are in this world and what your purpose is. All you know if that you're the brother of the protagonist. In the original show, there were no mentions of the protagonist ever having a younger brother so people assumed he's an only child. The only heir to the thrown, who knew there would be a spare?

Well you can't dwell on that too much, you have to at least find out what arc you're in right now. Maybe by knowing, you'd be able to assist the protagonist in fighting! Technically you're the main character now that you've isekai'd into the world so there's no way you'd be in any sort of danger!

You turn your attention to your right, the neverending displays of food makes your mouth water. Unfortunately, due to you not paying much attention to where you're walking, you bump into someone. The impact was enough to send you stumbling backwards. The stranger's hand instinctively wraps around your waist, preventing you from falling onto the people behind you and potentially creating a domino effect. His taller stature surprises you. Only when you stabilize yourself, he removes his hand. "Next time, be more aware of your surroundings", his voice is somewhat elegant yet intimidating and indifferent. You can't really diciphere him as his face is covered by a very oddly terrifying mask. It definitely stands out which makes you wonder if he does like the attention if brings him or simply he's unaware of his unique accessory. Though, before you can ask anything, he walks in past you, dissapearing into the crowd. Something about him seemed...very familiar.

After several hours of strolling and finding absolutely nothing, you notice the sun going down, dusk is coming and the night is about to settle in. So, you decide to get back to the palace the same way you got out of it, panicking and then being thrown over the wall.

˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗

Nobody seemed to have questioned why you were gone for half the day. Fortunate for you of course but does beg the question why nobody noticed a prince going missing.

In the morning, however, the same maid who had been calling out to you for tea did question where you were. "I wasn't feeling tea", was your simple yet effective answer.

"Gosh I was out for so long and yet found nothing in return", you kick a rock in the courtyard while sighing loudly. The masked man already erased from your mind. What's even worse is that with your hair this long, it takes more effort to take care of it, not to mention the hanfu which made you stand out like a sore thumb. At just a glance, one could tell you're royalty due to your attire. Maybe you should have thought of that before going out yesterday. This time, you'll dress up just like any other commoner there. There must be at least one that doesn't look like a prince's daily outfit in the closet. You look through the ginormous closet, sorting them out one by one until you finally stumble across an acceptable one.

˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗

Back to the bustling streets once more. The smell of food is still as amazing as you remember it. You seem to have forgotten something but fret not, your stomach is here to remind you of it. "I forgot...I didn't have breakfast..", you vaguely remember the picture of a plate filled with food on the table of your room. Well you can't turn back now, you're too far in. "I'll just buy something in the market", you say to yourself, walking towards the nearest food stall which sells roasted meat on sticks. The sight is already mouth watering, you can't wait to sink your teeth into it. "老板! One roasted meat please", you grin ear to ear knowing you'd have one in your hands in a few seconds, "that'll be 3 coins", did you even bring any money? You desperately try to search your hanfu for any signs of coins but to no avail. "C-can I have it...for free?", you awkwardly ask, "hah? Who do you think you are, just so you know, have to feed my family too."

'Time to pull out my status' you thought to yourself, "well, I'm—", "I'll pay for it", a hand behind you gives a few coins to the seller, prompting the seller to give the roasted meat to you. You look behind to see who had stolen your spotlight only to be face to face with yet another mask. The same mask actually. "Thank you but I could handle it by myself", you give a slight smile, "oh? It seems to me you had no money, or perhaps you'd like to pay me back?", you can tell he's a bit annoyed but what you can't tell is that he's amused. "In that case, I take it back", getting a sudden eerie feeling from the man, you leave immediately and he watches you run off.

You run until you're sure he wouldn't be able to see you anymore. "Jeez what even was that..", you wonder to yourself, why did your guts just tell you to run?? That's odd. Really though, something about that man is super familiar but what?

˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗

6 months have passed since you've been transmigrated to this world. Fortunately, you adapted quite a long time ago. The strange masked man hasn't been seen at all and because of that, you forgot all about him. The past few months have been relatively peaceful, with some royal guards getting occasional injuries from the amount of fights they've been in. Thankfully, Zhou Jian isn't one of them. You had a hard time accepting that your life in the original world might never return but hey, at least you're treated like royalty. The only downside is that you still aren't allowed outside. A huge bummer.

You enjoy some afternoon tea with Zhou Jian as bonding time for the two of you. "I'm surprised you haven't been sent to the battlefield yet", you jokingly comment, earning you a playful glare from the protagonist, "don't jinx it", he puts his porcelain teacup down, "though, it is strange that the scoundrel hasn't shown up in a while", he's referring to his enemy, the man who has been trying to get rid of your kingdom so they say it. "He's so mysterious too, no matter how many men I send to discover more about him, it's as if he doesn't exist at all but at the same time, he does", Zhou Jian says, looking up and wondering to himself, confused. "One day when you do catch him maybe you'll find out who he truly is", you sip on the hot fragrant tea. The two of you chat for a while before a guard interrupts it.

"Your highness! It's an emergency! The King himself has personally requested you on the battlefield to fight alongside him, it seems the enemies have gotten stronger", the voice is panicked, shaky, stumbling over his own words and trying his hardest to keep his composure but ultimately failing, miserably. Zhou Jian immediately gets up, grabbing the weapon he always carries by his side and rushing out with the guard, "I'm going to be back soon", he glances at you while he says this. Without anyone to chat with, you get up from your seat and head towards the library. Behind you, the servants bow as they take the cups and desserts away.

Even when night falls, neither the king nor Zhou Jian has returned. It's quite common for soldiers to camp out for a few days so you don't worry too much about it.

The hallways are oddly quiet. Probably since there are less guards and servants surrounding the place seeing as a few went to tend to the King and heir. More peace and quiet for you. The stars at night twinkle, the moon glowing so brightly, the sound of crickets. Not even the cold air bothers you. You yawn a bit, "time for bed", your legs carry you to the bed, not as comfortable as the one you had back at home but you can still sleep on it. You tuck yourself into bed and close your eyes, wondering what you'll have for brekafast tomorrow.

At the stroke of midnight, the sounds of blood gushing doesn't even wake you up. No scream can be heard due to the intruder's silencing them. "PROTECT THE SECOND PRI—", the loud voice cuts off, indicating the murder of the man. The imperial palace is a mess, filled with fresh blood and dead bodies. You sleep peacefully, blissfully unaware of the massacre happening just outside your room. Even the door creaking open doesn't wake you up from your deep slumber. A tall man hovers over you, a crown in his hand. He mumbles something but it's so quite that not even a soul can hear it. With a snap of his fingers, your hands and ankles are bound together respectively without you ever even noticing it.

"你真是个可爱的睡美人"

.ᐟ.ᐟ

Your eyes are half open, your vision all blurry due to just waking up. Your whole body aches but when you go to stretch, you find it to not be possible. You struggle and notice your hands and ankles bound by something that's glowing red. It hurts whenever you try to get rid of it. "Go on, the sight of you struggling amuses me", a voice says out loud from a corner of the room. The masked man gets up from his seat and as he walks closer to where you are bound, you notice that his mask is slightly damaged. Well, a part of it has broken off, revealing his blood colored eye.

He carries himself with such elegance that you'd think he's royalty at a first glance. He brings himself down to your level, his eye crinkle softly at the corner, the look on your face is just so adorable. "I never would have thought we'd meet again, 小王子", he grabs your chin, lifting it up so you two make eye contact. "I had an inkling you were apart of their little kingdom, I just didn't expect you to be so naive", he continues while looking at your frustrated face which he adores, "did you really think those pesky little servants could ever protect you?", you turn your head to the side, not wanting to even touch him. It is honestly a bit embarrassing for you as you've watched this whole series, know the plot and yet here you are, kidnapped by the villain himself of whom you finally remember the name of, Xu RenFeng, and not even getting the chance to put up a fight.

Xu RenFeng thinks for a moment, the silence deafening. "How about this, you and I become partners so to say", you're confused by what he's suggesting but he elaborates, "since you're hidden and have no purpose in that palace, you could be with me could you not?", he looks at you expectantly with a psychotic look in his eye. "I would kill you now but you're way too adorable to be killed just like that, I'm offering a role of a lifetime", while it does tempt you in a way, you're still not too sure about dying with him at the end. "No thank you", you don't even look at him as you say this, "I'll give you some more time to think", he stands tall and turns around, walking out the door to your prison.

To say it's a prison is exaggerating. At least it looks like an average bedroom. Not as luxurious as the one you had before but still comfortable. After a few seconds pass, you find your hands and ankles no longer bounded, giving you some freedom to explore the room you've been captured in.

Of course the surviving servants and royal guards had to inform their king and future king what had happened. From the massacre of many, many servants to the second prince going missing, presumably taken by their enemy. "We should've known it was a trap the moment he left", the King is referring to the man himself, Xu RenFeng. "Why would he want [Name]?", Zhou Jian questions, frustrated by how the situation has gone from manageable to a complete mess. His hands balled into fists, worrying for his brother's safety. They have to find you, and fast.

Meanwhile, you've been held in the room for about 5 hours. All you've been up to is trying to think of a plan to maybe just maybe, trick him long enough for the psychotic guy to let you go. From what you've seen in the show itself, he is a very calm and calculating individual, making it hard for anyone to get past him. "Gosh, it seems that the only way to get out is by relying on brute force!", compated to modern times, the door isn't made out of very strong material, maybe you can knock it down or something. When you body slam the door, it doesn't move an inch. "Well that goes my plan", you just sit against the door you had just tried to body slam in defeat.

˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗

As days passed, you try a different method of breaking out each day but they all fail in getting you out the the prison-like room. The only time the door would open was when Xu RenFeng himself would bring you food and place it on the table in the room. Even then, when the door opened, you would be bound once more. At least the food was always good. Each time he brought food to you, he'd try to persuade you into joining him. Something about you really did pull him in. You had power over him whether you knew or not.

One day, when there's a knock on the door, you get an idea. Xu RenFeng enters the room in silence, holding a plate in one hand. He puts the food down and as he's about to open his mouth, "can you eat with me?", you ask, surprising him. Today he's wearing a different style of mask. It doesn't cover his lower face, only the eyes. You wonder why he covers his face and remain mysterious. Even towards the end of his life, he never once took off his mask. The reason was never revealed. Though, it did add to his charm which is why a lot of people fell for the guy. He hesitates but gives a slight nod, closing the door with a wave of his hand.

He takes the seat across from you, not having anything on his side of the table. "Oh, I thought you'd grab your own food?", you ask while munching down on the prepared food. "No, I'd rather enjoy the view while I can", his lips turn into a smirk. Unsettling but not the weirdest thing he's said while with you. You get a bit nervous, wanting to pull off the plan but what if he notices beforehand? 'Agh, no more overthinking it, it's now or never [Name]!', you think to yourself and reach over the table, violently tearing the mask off his face, taking him by complete surprise. With great strength and agility, he grabs ahold of your wrist which has his mask. You stare at his face. He wasn't an average looking man. No scars or bruises. Instead, he's the most gorgeous man you've ever laid your eyes on. You're left speechless and so is he for a few seconds.

The look of shock in his eyes is replaced with that of anger. Without uttering a single word and with your wrist still held in his hand, he walks over to your side of the table, glaring at you before pulling you to the bed and throwing you on it. Fortunately you aren't hurt, only frightened. You're pinned to the bedframe by the intimidating villain. Your back is against the frame and you have nowhere to run. "I've been painstakingly patient with you and yet here you are taking off my mask. Was it not obvious to you I didn't want it off, EVER?", to say he's angry is an understatement, his eyes are even more psychotic. All you can do is freeze up due to fear, knowing neither fight nor flight are options in this very moment. You can't muster up an apology, both due to fear and also the feeling of superiority, to you, this man is just a character, he'll be no longer once you find a way back to your home! Without an answer, he takes it as you not wanting to apologize. "Do you really think just because you're a prince that I can't hurt you?", he chuckles at your pathetic expression. With another snap of his fingers, you're bound once more.

As much as you'd like to deny it, the way he's aggressively holding you is really turning you on. Xu RenFeng grabs at your clothes and rips them, leaving your body vulnerable to the man. "What a sight", he looks at you up and down. You try to cover your face with your hands because of embarrassment but he pushes your hands away. "Oh my prince, don't hide your adorable expressions", he purrs.

When you blink, his hanfu has already been diacarded on the floor not far from the bed. "Won't you help a stressed man out?", with his clothes being gone, you can see his hard cock. You stare at it for a little too long, long enough for Xu RenFeng to notice. "Hm? Lost for words are we?", he seems proud of that. "I..It's..—", you bite your lip to contain the moan you were about to let out as the man lifts your legs up to his shoulder and stretches you out with two fingers. "There's a much easier way for this but I'd rather do the old fashioned way to see how you writhe in pleasure just from my fingers. You close your eyes shut, clenched fists as his fingers move around inside, "I'll stretch you so well that this big cock slips right in", just that alone makes you tighten up, earning a satisfied hum from the other. Before long, he decides it's time to add another finger, stretching you out even more. "Ah..ngh...", your moans aren't really heard, the noises you let out are more comparable to humming. Xu RenFeng doesn't like that one bit.

His take his wet fingers out of your tight hole, leaving you feeling empty and opening your eyes as to why he did that. Relying on his strength, he pulls you onto his lap, your hole hovering over his cock, almost touching the tip. "Hu–aggh", you barely have time to react before he plunges you down all the way. You let out the loudest moan that Xu RenFeng's servants are able to hear from outside the magic-sealed room. "What an amazing voice you have, 小王子", he looks up at the person who is unable to speak due to the pain and pleasure he has brought them. His cock remains inside your hole without moving an inch, "a-are you trying to tease me...move", you try to stimulate yourself by bouncing on his cock to the best of your abilities but you can't seem to do that due to him having a tight grip on your waist. "You're so fragile, I'll have an easier time breaking you", he lifts you up until the only thing left inside is his tip and immediately slams you back down on his large cock, repeating this over and over again. "Fuck..", he groans while you're almost screaming-moaning. You never imagined this would be how your first time would go. Xu RenFeng pounds your ass so rough and fast that your ass is turning red.

You feel his precum inside you as he hits your prostate over and over, showing no mercy. "Your hole was made for my cock, wasn't it?", you can't even come uo with a response in that cock filled head of yous, "I'll make sure you remember the shape of my cock by fucking you everyday", he lets out a deep laugh, watching you bounce up and down his cock. Just when you think you can't take anymore, he goes deeper until you can't think of anything anymore. You cum while moaning loudly, still being bounced up and down. The stimulation is driving you crazy, everything feels like a fever dream. Not long after you came and without warning, he cums inside while still pounding you, not stopping for a second. He's cumming as he's thrusting inside, giving a new sensation you never thought you'd feel. "I see you're enjoying this more than I am, how adorable that expression of yours", he points out, "aren't I glad I picked you up along the way", if he could, he would have given himself a pat on the back that moment. You try to push him off, wanting to go at your own pace or to possibly just take a breather, "ah-ah, we're not done", he keeps thrusting deep inside, "don't worry, I'll return you in one piece to your family soon~"

He didn't stop until he had pumped at least a few cups worth of cum inside of you. You passed out due to how rough he was being. Xu RenFeng made sure to tuck you into bed. When he came out the room with his mask back on, he appeared to be very refreshed, some servants even whispered to the others that he was practically glowing. All because of a certain young prince named [Name].

You may not know it yet but you're now stuck with a psycho of a man.

Translation notes!

你真的觉得这样就结束了吗？

Do you really thinks this is over?

老版

Boss (in this context, used to address shopkeepers/vendors you want to buy from)

我们终将相遇，灵魂伴侣。

We will meet eventually, soulmate.

弟弟

Little brother/younger brother

哥哥

Big brother/elder brother

你真是个可爱的睡美人

You really are a cute sleeping beauty

小王子

Little prince (endearing)

I have so many ideas for this man but couldn't fit all of them in one fic🥹

There's this one kink I know you'll love but unfortunately didn't make the cut, maybe next time/drabble!

#male reader #bottom male reader #oc x reader #oc x male reader #x male reader #yandere x male reader #yandere x reader #isekai #isekai male reader #top male character #「 by the hands of xin 」#xin's xu renfeng ☆

1K notes · View notes

yourfavoritehouseplant · 10 months

Text

I watched James Somerton's final video, and all I got was this 6 page document

As soon as I learned his final unreleased video was on Revolutionary Girl Utena, I knew I had to hate watch it. I didn't know that I'd spend the following 4 hours making a comprehensive doc on everything I hated about it. But here we are.

The TLDR (is this too long to be a TLDR?)

The intro section, as well as Part 2, are directly plagiarized from wikipedia. The rest is unclear.

He makes a “haha this show is so weird right guys” joke 10 different times

He reads Anthy as so emotionally stunted she literally has to be taught how to think for herself, and believes that being the rose bride makes her feel good

He says that his reading is ‘vastly different” from the rest of the community, before boldly stating that this is because he sees it as a “deeply allegorical and symbolic story”

He sees the sexual abuse as “not to be taken literally”

Insists that the show be separated into parts that are strictly literal and strictly allegorical for the entirety of parts 3 and 4, before making the contradictory move of analyzing characters as allegories during part 5

The only characters that get dedicated sections are Akio and Dios, who he doesn’t believe are the same person.

He says Dios gets his powers by “deflowering women”

He calls Akio, known child predator, a chaotic bisexual

Uses 14 year old SA survivor Anthy’s passive personality to make a joke about her being a bottom

His final point is that Utena was the real prince all along

There are no citations

Anyway, full version for people who hate themselves under the cut. With time codes, because I cite my sources.

Part 1: Intro

This entire section is almost exclusively quoted from the Wikipedia article for Revolutionary Girl Utena. Words have been changed, but the order at which certain topics come up is not. Highlights include:

0:56 In his introduction of Be-Papas, lists the founding members in literally the exact same order as Wikipedia.

1:40-2:00 His list of Be-Papas previous works is lifted entirely from wikipedia, only with the words changed. This leads to a strange moment at 1:52 where he claims Be-papas ‘lent their talents to’ Neon Genesis Evangelion, a show which started production at least a year before Be-papas was founded. On the wikipedia article for Utena, this is instead referring to the previous work of Shinya Hasegawa and Yōji Enokido

4:23 he uses a quote by Yūichirō Oguro describing the production as a “tug of war”. He seems to have lifted this in its entirety from Wikipedia, as he does not cite the actual source it is from (the box set companion book, btw)

As for James Somerton originals, at 0:44 he claims that out of all magical girl series,”none to my knowledge have been more discussed and dissected than the 1997 series Revolutionary Girl Utena” He will go back on this at 5:05, where he states that “Sailor Moon takes the lion’s share of discussion” in regard to influential magical girl anime

Part 2: Part 1

(At least I know I’m not funny, unlike James Somerton)

Speaking of which. Here is every single time he makes a “wow this show is sooooo weird you guys” joke: 6:00, 8:50, 10:40, 10:58, 13:46, 17:07, 24:16, 30:34, 41:19, 48:01

Here’s every time the punchline to the joke is the existence of Nanami, a character who he otherwise completely disregards: 10:56, 12:05, 16:22, 42:40

6:16 Claims that the “Apocalypse saga” and “Akio Ohtori saga’ are two names for the same several episodes, depending on the release. This is untrue. Instead, different releases either only have the Apocalypse saga, or split the episodes into an Akio Ohtori saga and then the Apocalypse saga.

7:58 Claims Utena intervening on Anthy’s behalf begins the first duel. While this happens in the movie, Touga intervenes in the scene he uses clips from (like literally right after the shot he uses in the video). Utena only gets drawn into the duels when Wakaba’s love note to Saionji is posted. Youtuber Noralities’ Utena video also gets this wrong, which makes me wonder if this was copied.

9:09 Claims Akio’s “End of the World” moniker is actually more closely translated to “Apocalypse”. In reality, the translation moves away from a more apocalyptic reading, with 世界の果て (Sekai no hate) apparently translating closer to “the furthest reach of a known world” or “edge of the world”. (Love the implications of this translation, but I digress)

9:10 As can be assumed from the previous point, this means I can’t find any sources that point to them not using the title “apocalypse” for religious reasons

10:10 Uses Anthy’s extreme passivity under her Rose bride persona to make a top/bottom joke. I’m gonna repeat this in case you’re just skimming. He uses a trait that likely stems from years of abuse, (possibly exaggerated by the persona Anthy uses to manipulate people), and uses it to call her a bottom.

He also just doesn’t seem to understand how the whole point of Utena constantly telling Anthy that she's just a normal girl who should make more friends is framed as Utena imposing her will on Anthy, just as much as the previous Engaged have done.

11:54 Apologies in advance for my most “um, actually!” point yet, but technically his statement that Anthy stops being host to the Sword of Dios is wrong. Akio literally pulls a sword out of her chest in the final duel. It's a more evil-looking sword of Dios, granted.

13:02 !!! CANTARELLA SCENE ALERT !!! He interprets it as them fighting over Akio?? Which like. I will allow people to have their own interpretations of vague and symbolic scenes. I will. I swear. This is not technically incorrect. It just makes me want to eat my own intestines.

14:44 Bad Anthy take #1: He states Anthy “is emotionally stunted to the point where she needs people to make decisions for her because she does not know how to think for herself” This ignores several moments of Anthy clearly making her own choices throughout the show, including the suicide attempt Somerton mentions about a minute prior. This also strips Anthy of what little agency she has throughout the story, usually exerted through messing with Utena or Nanami. (The fact that she repeatedly makes choices that contribute to her own abuse is, in my opinion, one of the most interesting parts of her character, and it's a shame that Summerton’s ‘reading’ of the story completely disregards that)

Additionally, he once again reads Utena ‘urging Anthy to think for herself” in the first arc as an unambiguously good move, and not as something critiqued in the show.

14:52 Summerton reads the Swords of hatred as symbolizing men’s hatred specifically. Again, I’m trying not to completely disregard differing interpretations to a show like Utena, but this feels very simplistic, especially considering the harm we see aimed towards Anthy by other women

16:42 Here he claims that his reading of the story seems to be “vastly different” from the bulk of Utena discourse. What is this reading? That the show shouldn’t be read literally. Or, in his words, “[we can interpret] Revolutionary Girl Utena as a deeply allegorical and symbolic story about the struggles of coming of age amidst widespread institutional corruption in a high school and which describes a passive culture of inaction in regard to brazen instances of domestic exploitation in which there is not only a question about the caporeality of the events transpiring but also which events can be taken for granted and which events are meant to signify abstract sociological institutions.” The idea that he believes this is in any way a new reading of the material honestly baffles me.

Part 3: Part 2

17:48 through 18:50 differently quotes the Wikipedia article for postmodernism. He even makes a joke at 17:55 about Wikipedia. Please kill me.

The first three themes he lists at 19:11 are just the three main themes listed on the Revolutionary Girl Utena Wikipedia page. What was that about a “vastly different” reading, James?

You’re gonna have to take my word for it, but this section is so short because it's just him talking about the various ways the story can’t be taken literally. He does, ironically, call this a hot take.

Part 4: Part 3

Here’s where the reading falls apart folks

At 23:15, he states that some things in Utena are allegorically coded, while others are to be taken literally. This is true. However, he seems to take this to mean that some parts of the show are Strictly Literal, while others are Strictly Allegorical for things going on in the Literal World.

This is apparently why he prefers the Anime to the Movie, where there basically is no separation between the Literal and Allegorical

This take is bizarre to me for several reasons, but here is my favorite. At several points, he mentions how Revolutionary Girl Utena is a work of Magical Realism. Magical Realism is literally defined by its blending of the “literal” and “allegorical”, the mix of fantastical elements in a mundane, realistic setting. This idea of the impossibility of a blurred line, that Utena must either have lore where the magic is all real and means nothing, or dedicated allegory segments quarantined from the rest of the story, is contrary to the very idea of Magical Realism.

I can’t help but wonder if Somerton took his mentions of Magical realism from a previous work, due to how little it is consistent with his final argument. Either way, this section suggests a great lack of creativity in his analysis, a shame for such a creative work.

24:36: Shiori slander, for those who care

After this he gets really worked up about people assuming symbolism in everything, even when the author ‘doesn’t make it clear something is symbolic’. He shuts down a reading of a shot in the Lord of the Rings. Miley Cyrus is there? Very The Curtains Were Blue of him.

28:22 Claims that Wakaba is the key to telling where the Strictly Literal segments end and the Strictly Allegorical segments begin. He states that, under this lens, deeply personal moments of character suffering such as all of the sexual abuse and Anthy’s suicide attempt (which he literally cites) should be read as symbolic and be “approached with uncertainty rather than confusion”. (28:24-29:13)

This also somewhat falls apart when you consider Wakaba is the jeep in the movie's car chase

And then he rants about people not liking his Attack on Titan video for a bit. Since its potential symbolism also doesn't follow hard enough rules to be symbolism. Once again, the separation of “fact vs allegory” I haven’t watched AOT, so that's all I’ll say.

Part 5: Part 4

Thank god this part is short. Much like Dios’ on-screen presence.

32:55 Makes the extremely bold claim that Dios is not Akio. As in, never even became Akio. because Dios is Strictly Allegorical.

Just to be a pedant, this is pretty explicitly disproven in the show

Confusingly, both earlier and later he will address these two as the same character.

33:04 he also explains the root of Akio’s name in a tone that suggests this is supplemental information and not like. Literally something he explains out loud in the show?

Part 6: Part 5

This section is nearly entirely about Akio Ohtori. I would like to note that him and Dios are the only characters with dedicated segments.

38:30 The part where he states that Dios gets his powers from deflowering women.

38:46 Claims, once again, that Akio’s abuse of Anthy “may not be literal”.

38:59 “the instance of exploitation here is used because assault has deep roots as indicating that akio's gender is the source of his imbalance” THE ASSAULT IS ABOUT AKIO NOW???

39:45 Bad Anthy take #2: “Anthy’s conformity to the Rose bride is based around the fact that she feels good being subservient because this is the only thing in her life that has ever brought her any kind of positive reward”. This is a direct quote. Anyway, I can’t think of any instances in the show where Anthy’s subservience gives her a positive reward, except maybe when she’s intentionally using it to manipulate others. As for her feeling good being the rose bride. She tries to commit suicide. Dude.

Side tangent, but isn’t this exactly what Akio says during the final 2 episodes? That Anthy enjoys being a witch? Is the main villain, who consistently says things during that very episode that are blatantly false, our source of information for this take? I guess so, since this is the dedicated Akio section.

At 40:20 he decides to introduce the concept of Anthy, Akio, and Utena as stand-ins for wider concepts, which is antithetical to his approach in analysis beforehand

Part 7: Part 6

42:40 he finally acknowledges that he’s been spending too much time talking about Akio, and literally no time on characters like Nanami

46:10 states that Utena’s exclusive motivation “is to protect Anthy from the predatorial intentions of the other dualists”, which disregards the fact, which she states herself, that she was largely participating in the duels and protecting Anthy to feel like a prince

48:04 The part where he says that Akio has ‘chaotic Bi vibes’ in regards to him sleeping with Touga, who is 17 and implied to be a long-term victim

Part 8: Part 7

54:01: His concluding point is that Utena was the real prince all along.

In true Somerton fashion, the video then ends over a scrolling wall of patrons, with not a single citation in sight.

#the autism won again you guys #revolutionary girl utena #james somerton #shoujo kakumei utena #utena #anthy #hbomberguy

2K notes · View notes

marudol · 1 month

Text

kabru and the dungeon lords

kabru is a very critical character to dungeon meshi for a thousand and one reasons, and not merely for his status as the point-of-view character in the story's b-plot. kabru represents the compass by which dungeon meshi's world works. he has big-picture motives that involve the entire world, much grander than the original a-plot of "let's save falin."

he is our classic hero, a character who suffered great personal tragedy and must ensure that no one suffers the same fate. as such, he is a great parallel for dungeon meshi's most integral characters:

the dungeon lords themselves.

🚨manga spoilers ahead.🚨

thistle

picture this: you are a child, separate from anyone else in the world who looks like you due to circumstances beyond your control. you are taken by pale-skinned adults who try to treat you well; who clothe you, feed you, and put a roof over your head.

it is not enough.

who am i describing - kabru, or thistle?

kabru-thistle parallels focus on their shared past as trans-racial adoptees. their shared experiences are not a universal one to all trans-racial adoptions in the dungeon meshi universe: the floke twins are treated well by their gnomish foster (grand)parents; allowed to be children while they are children and treated as adults when they are adults.

not all trans-racial adoptees are given the same courtesy. kabru was raised by an elf who infantilized him, even once he was fully-grown. milsiril did not always know what kabru needed from her, so she defaulted to treating him the way she would treat an elf his age rather than understand what his age meant as a tall-man.

by contrast, thistle was raised by tall-men. freinag saw thistle as a son and so he and delgal thought themselves as brothers. but as delgal aged and matured, thistle remained stagnant. eventually, delgal's relative age surpassed thistle's- but no one could even conceive of that, because thistle's numerical age made the tall-men around him treat him as an adult rather than a teenager.

they both feel immense responsibility for the tragedies suffered by their people. kabru explicitly believes there must be a "reason" he survived utaya and that the reason was to destroy the dungeons to ensure it never happened again, and thistle IS the reason the golden country survived their war, and why eodio made it to adulthood all.

kabru and thistle are characters pre- and post-accomplishing their goals. kabru has yet to assume total responsibility; thistle already has.

they must save them- they must protect them all.

[🩵]

marcille

once upon a time, a child lost a parent before they were ready to, and the trajectory of their life changed forever. desperate to understand, the child grew into an adult and dedicated themself to preventing their personal loss from happening to anyone else ever again. as a result, they looked downward into the dungeon's depths.

they will find the answers they seek.

who am i describing- kabru, or marcille?

marcille and kabru stand as important secondary figures to laios, our main protagonist. in the words of another excellent post, they are the heaven foils to laios's earth. where laios is grounded and thinking about the here and now, they have both identified big picture problems plaguing their world and pursue these goals with intense fervor.

however, these goals have been diverted by censorship. marcille cannot access information about historical ancient magic through traditional means and the elves won't tell kabru what happened to utaya's dungeon, so they both decide to go and do something with their own two hands.

entering the dungeon is a step towards their grander goals, which are both rooted in opposition to long-lived supremacy. critically: the solutions they come to are vastly different.

marcille's solution is very fantastical - "fixing" everyone's lifespans by making EVERYONE long-lived (though her original solution seemed to be more grounded; being a lord gave her the chance to indulge in the full fantasy).

on the other hand, kabru wants something more concrete and based in the real world. he wants to use the dungeon as a means to an end before destroying it entirely, whereas marcille wants the dungeon to be the end. hers is a magic idea borne about by escapism, while kabru wants to solve a societal problem with something tangible to improve the lives of the shorter-lived without resorting to the fantastical.

(note the similarity in these compositions!)

kabru and marcille are aiming for the heavens; they have chosen to act as stewards to bring about a better future for as many people as possible.

but eventually, they must crash back down to earth.

[🩵]

mithrun

a long time ago, a dungeon lord met their maker and the demon ate its fill, but failed to breach the surface. carnage and destruction was sown in its wake. in the aftermath, a survivor dedicated himself completely and utterly to the cause with no room for reproach.

the dungeon will be conquered. and if he has it his way, it will be conquered by his hand.

who am i describing- kabru, or mithrun?

if thistle represents kabru's past and marcille represents kabru's present, than mithrun represents one branch of kabru's future- and a rather bleak one.

mithrun has suffered great tragedy at the hands of a dungeon and, as a result, dedicated himself to be what he believes is his one remaining desire: to finally be consumed entirely. he thinks he has nothing else to live for, so he runs himself ragged every single day just to inch closer and closer at a chance to kill himself while pursuing his goal.

this great fervor is one that kabru artificially mimics long before meeting mithrun. kabru is willing to die for his goals. he does die for his goals. he thinks he is going to die without a chance for resurrection when he sabotages the canaries, which is why his 'last' thought is "it's up to you now, laios!"

remember: kabru believes his survival has to serve a purpose- his survival must have been 'worth it.' in order to make his own survival palettable, kabru dedicates himself entirely to the dungeon's destruction without long-lived intervention as a means to avoid repeating utaya's fate. kabru self-deprives, fails to care for himself, and he is constantly killed in pursuit of his goal to conquer the dungeon before people like the canaries can. while kabru has desires, he only indulges in the one that has guided him for over a decade.

functionally, he and mithrun are identical when they first meet.

kabru has purposefully deprived himself of his desires beyond ensuring another utaya doesn't happen again, and mithrun is proof of what happens when you follow that to its logical conclusion. however, over the course of their week together and the final arc of the story, kabru makes the choice to divert from mithrun's fate.

kabru looks into the eye of his ultimate goal, and in the culmination of his arc, ultimately refuses this destiny.

what do you want, kabru? are you hungry, kabru?

kabru indulges. instead of blindly following through the dungeon's destruction and sacrificing what he wants for the greater good, he wants, and he befriends laios instead of ending his life. he leaves mithrun's fate behind...

...and senshi- one of the most steadfast representatives of dungeon meshi's thesis- sets mithrun on a path where he, too, can learn to chase after newer, healthier desires.

[🩵]

laios

one day, a child was hungry for the answer to a question: "what is wrong with me?"

there is no satisfactory answer. a mother and a sister believe nothing is wrong, but everyone else in their small world disagrees. those eyes, that personality- something must be wrong.

but there is no recourse.

so, these children endeavor to focus on the world around them in ways that won't hurt them. one chooses to study and love humans, because humans are beautiful and complex and amazing. the other chooses to study and love monsters, because monsters are easier to understand and always obey one simple rule: eat or be eaten.

they double down on their interests soon enough. monsters have hurt one child enough, and humans can't get enough of hurting the other.

you know which one is kabru. you know which one is laios- dungeon meshi's fabled narrative foils.

laios and kabru are as textually close to being explicit foils as humanly possible. the first sentence of kabru's page of the adventurer's bible says it perfectly: "in every possible way, he's a contrast with laios. laios loves monsters, while kabru has an endless interest in humans" (56).

in basic terms, a foil character is a character with traits that contrast against another's, typically the main protagonist. this contrast serves to highlight the themes of the story, and we see that illustrated perfectly with laios and kabru.

where kabru has denied himself care, laios gives it to him without thinking. where laios believed no one could ever want to be his friend, kabru proves him wrong. the nature of nourishment and human connection are both critical foundations to dungeon meshi's story, and the main character struggling with human connection while his foil struggles with nourishment is no mistake.

kabru wanted to be laios's friend all along. the b-plot of dungeon meshi is driven by kabru's unconscious desire to understand and ultimately aid one inscrutable laios touden. the reason they cross paths at all is because kabru wants to meet him! he takes a chance when toshiro appears and sees his chance through.

but kabru doesn't realize it until he's already said it. he betrays himself, completely unaware that his supposed interest in the touden siblings skews a little more to the right than he could have possibly known.

killing laios would have been the ultimate preventative measure. he was yet to be dungeon lord, and with the canaries intent on handling marcille, kabru could have dealt with him right then on that cliff. but kabru doesn't take the opportunity because he doesn't want to.

he'd rather befriend laios than see him dead, and he takes the chance by the sleeve and doesn't let go until he is listened to.

and in the end, kabru is rewarded for his leap of faith: laios puts an end to the demon. laios has ensured that another utaya will never happen again.

laios saves the world.

all because kabru allowed himself to be selfish.

504 notes · View notes

topazadine · 2 months

Text

Remembering Perspective When Writing Descriptions

Just a short pet peeve of mine, inspired by a shower thought, where I remembered the most terrifying description I'd ever read.

It wasn't bad, or even horror. It was well written.

However. The POV character described his *sister* in a way akin to this (my recreation, not the actual text):

Braden met his sister at the gate. They'd been apart for several years, and in that time, she had truly become a woman. Her curves had filled out, and her red silk dressed strained across her tight figure. Her long black curly hair shone in the late evening light, while her blue eyes watched him intently.

No, this wasn't a brocon thing. The (male) writer was just horny for his female character and ... kinda forgot that his MC, her brother, would not feel the same way.

Now, of course siblings growing up together are going to notice the other one maturing, but it's not going to be ... that. This is how I describe 17-year-old Uileac looking at his little sister, 13-year-old Cerie, in 9 Years Yearning:

She'd shot up in height this past year - almost as tall as him, to his dismay. Whatever they were feeding her in the meronym was quite good for her metabolism, as she'd put on a bit of healthy weight. Her cheeks were losing their baby roundness, and the autumnal light accentuated the sharp intelligence behind her green eyes.

In this description, you can feel Uileac's paternal attitude toward his little sister. "Oh, she's put on a bit of weight and isn't a total twig anymore! I'm glad they're feeding her well. Her face looks more adult. Fuck, she's almost as tall as me now ... I wish I weren't so goddamn short ...."

This is a much more normal way for siblings to talk about each other, if a bit more "dad mode" than the typical older brother.

Siblings who grew up together are not going to say "holy shit I can really tell my sister has become a woman, wow her dress is tight over her curves." If my brother had said that about me while we were kids, I'd throw up and dump a pot of soup over his head.

This kind of thing is generally accidental and has to do with how *you* feel about a character. But the thing is that even the sexiest femme fatale is just going to be Jennifer, The Stupid Annoying Sister, to their sibling. Our brains are literally wired not to see our siblings as sexy if we grew up with them.

There are many other ways that you must take perspective into consideration when writing descriptions. Here are just a few of them.

Sexual attraction/orientation

You're going to focus on different things if you're sexually attracted to someone; namely, you'll focus in on things like breasts, legs, abs, etc. You'll also likely devote more attention to describing people of your particular sexual orientation than you would one that you are not attracted to, and you will focus on different things.

This is part of why we hate "men writing women:" they describe every woman as if they want to fuck them. (See the first example.) It has to do with the places that their gazes naturally linger on any woman, which is what they consider important and what they focus on.

But the thing that they miss is that just because we are sexually attracted to a specific gender does not mean we would want to bang anyone of that gender. I am a lesbian, but the way I would describe my mom or my therapist is vastly different than how I would describe a woman I am actually attracted to.

Romantic interests should get a more sexualized gaze; not exploitative, just more in-depth, and with more focus on their figure, specific details, etc. Everyone else should get a more basic look at eyes, hair color, height, build, and so on.

Feelings about a particular person

You're going to be more forgiving and complimentary toward someone you care about than someone you hate. Things that would be charming on a friend will be downright annoying on that one asshole at work who always throws projects to you at 5pm on a Friday.

A lover's thick eyebrows might be called "dashing" or "strong," while on an enemy, they'd be "overbearing" and "harsh." Your bestie's lisp is cute, while it seems babyish on your school rival. Your dad's meandering sentences give him a sense of harmless musing, but they make someone else look like an idiot.

If you have a character that is prejudiced toward a given group, they are always going to describe that group more harshly than they would a favored group. If they don't like authority figures, a police officer leaning toward them will seem menacing, when they wouldn't even notice it otherwise.

It can be very fun to give two characters similar traits but describe them differently based on the POV character's perspective of them. Readers might not even realize that it's the exact same physical feature!

Previous experiences at a given place

When describing settings, we're going to give more attention to somewhere we care about, like our home. I imagine you can tell me about every chip in the paint in your bedroom, or that one weird stain in the floorboard that you've tried everything to fix. Many times, this is a good time to add depth to the character's backstory by briefly mentioning previous occurrences there.

Would you notice any of those things about a place you're visiting for the first time? Probably not. You'll give a more global attention to the scene and provide impressions, not specifics.

Depending on how nervous or adventurous you are, you'll look for similarities or differences to things that you're accustomed to. You might compare it to other places you have been, trying to get a frame of reference.

If you're on a vacation and were really looking forward to coming to this specific spot, you will likely hone in on exactly what you came to see, whether that's the scene from a particular hilltop or a cafe, and this will get the most description.

Current Mood

Descriptions change with a character's mood, even if they've been in that place a millions times. People just notice different things depending on their mood; if they're happy, they'll look for things that support that mood, while if they're upset, they're pointing out the negatives.

For example, consider someone walking into a court room when they are on trial versus when they are there as a simple court reporter. The person on trial is probably going to be glancing longingly at the door, picking out the angry faces of observers (or assuming the observers are angry), focusing attention on the security guards, staring at the plaintiff with hate in their eyes.

The court reporter will likely pick out anyone they know in the room before looking at anything else. Then, they'll check out the defendant and plaintiff with idle curiosity. Since they are more familiar with the room, they'll gloss over the boring details that they have already seen a million times, giving them only a cursory once-over to see if anything has changed.

Current Need

Your character's objectives need to taken into consideration as well. As an example, remember the last time that you really needed to pee while you were out. Were you slowly and casually admiring the scenery? No! You were hunting for the bathroom. If literally anything registered for you, it was anything that looked vaguely bathroom-sign-shaped. Everything around that bathroom sign, and on your path toward the bathroom, got more attention and description to you than anything else.

Your character's interests

When describing a scene, you don't need to take time and define every single little thing in a character's path. It's annoying and overwhelming. You need to give us a basic overview (it's a forest, it's a grocery store, it's an abbatoir) and then hone in on the specific details that your character finds interesting in order to fill out the entire scene.

We, as people, focus on things we care about, things that we feel are relevant to us. Different people will notice completely different things when they walk into the same room. An animal trainer will appreciate a big pet bed and an ergonomic food bowl. An artist will admire the artwork on the walls. A computer nerd is going to roll their eyes at the scuffed-up Mac laptop.

This doesn't mean that you can't describe other things, too; it just means that your character's attention is going to be drawn to stuff that they, in particular, like or dislike.

Things like where a character's gaze lands, how they describe things, and how much detail they give to any particular element are an important part of secondary characterization: how we get to know a character beyond what they do or tell us. It helps to create a fuller picture of their relationships, their interests, and their thought process, and it deserves just as much attention as actions and dialogue.

If you enjoyed reading this, perhaps you'll consider purchasing my book, 9 Years Yearning. No weird sibling vibes I prommie

299 notes · View notes

princesssarisa · 2 months

Text

As I've read different people's views on Little Women, I've realized that for different readers, it's a fundamentally different book.

When I see someone describe the "universal" experiences of identifying with Jo, wanting her to marry Laurie, and disliking Amy, I remember all the proof I've seen that these are far from universal. The latter two weren't even my experiences: identifying with Jo, yes, but shipping her with Laurie and disliking Amy, no!

Even people with equal amounts of knowledge of the historical context and of Louisa May Alcott's life seem to come away with vastly different feelings about the story and characters.

I suppose there are a wide variety of reasons for this. First and foremost, which of the four March sisters you personally admire or relate to the most. Then there are other factors like your gender, your age when you first read the book, your relationship (good or bad) with traditional femininity, whether you read Parts I and II as a single novel or as Little Women and Good Wives, your relationships with your own family members, your religion and ethical values...

The list goes on.

That post from @theevilanonblog that I reblogged recently about the different interpretations of Frankenstein makes me want to write out a similar list of ten different views I've read of Little Women. Here it is:

Little Women is about the March sisters learning to be proper virtuous women of their time and place. With Marmee as their role model (a role later shared by Beth as she becomes increasingly angelic in her illness), they learn to conquer their flaws, give up their wild ambitions, and settle down as good wives and mothers. This is especially true for Jo, whose character arc is a slow taming from a rough tomboy to a gentle nurturer. It's a conformist and anti-feminist message, which Alcott probably disliked, but she wrote it to cater to public tastes. (This reading seems mainly to come from critics who dislike the book.)

Little Women is about Jo's struggle to stay true to herself in a world that wants to change her. She struggles with whether to stay a tomboy or become a proper lady, whether or not to marry Laurie despite not loving him romantically, and as an author, whether to write what she wants, write what earns the most money, or give up her writing altogether. In the end, she changes only in ways that make her happy, e.g. by learning to control her temper, and later by embracing romantic love. But in more important ways, she stays true to herself: always remaining slightly rugged, clumsy and "masculine," finding success as a writer, and marrying Friedrich, a man just as plain and "unromantic" as herself, but whom she loves and who respects her as an equal.

Little Women is about learning to "live for others." That phrase is used often and could well be the arc words. Beth is the only March sister to whom a selfless life comes naturally, but the other three master it by the end of the story (as does Laurie). They learn to conquer their moments of pettiness and selfishness, to live in better harmony with each other and with their friends and love interests, and to give up their self-centered dreams of fame and wealth, building lives that focus on service instead.

Little Women is about growing up. The first half is mainly about the March girls' maturing by surviving hard times and learning to be better people, while the second half is about reaching adulthood and bittersweetly parting ways to start new lives. At the beginning, Jo is a girl who doesn't want to grow up: she wants to always be a wild young tomboy with her family (and Laurie) by her side forever. But of course, she can't stop time or womanhood, and is eventually forced to accept the loss of Meg, Amy, and Laurie to marriage and Beth to death. After grieving for a while, she lets go of her old life and willingly builds a new one with Friedrich.

Little Women is about family bonds and the fear of losing them. We meet and become attached to the wonderfully close, cozy March family, which gradually expands through friendships, marriage, and new babies. But throughout the story, the family is in danger of breaking apart, whether due to conflict (Jo and Amy's sibling rivalry, Meg and John's marital problems), or separation by distance (Father going away to war, Amy going to Europe, Jo to New York), or death (the danger of losing Father and Beth in Part I, and the ultimate loss of Beth in Part II). But in the end – unlike in reading #4 above – the family doesn't break apart and never will. Conflicts are resolved, travelers eventually come home, the surviving family members always live near each other and stay as close as ever, and even Beth isn't really gone, because her memory and influence live on.

Little Women is about femininity and each March sister's relationship with it. Meg and Amy happily conform in different ways: Meg to "domestic femininity" as a housewife, Amy to "ornamental femininity" as a society lady. Beth pressures herself to conform to self-effacing domestic femininity, until sadly, it kills her – either because she's too selfless and nurturing when she cares for the fever-infected Hummels, or because she has anorexia, as Lizzie Alcott might have had. But Jo strikes a successful balance in the end, conforming just enough to fit into society, but only on her own terms, and otherwise living a happily unconventional life as a writer and schoolmistress.

Little Women is about Jo's unlearning of internalized misogyny. At the beginning, she's a "Not Like Other Girls" tomboy, who wishes she were male, disdains feminine girls (especially her sister Amy), doesn't care enough when "her boy" Laurie behaves badly toward women, and is afraid to be vulnerable. But gradually, and without losing her strength of character, she learns to embrace the sweeter and more tender aspects of herself, sees that Amy's ladylike manners have practical benefits, and learns to say "no" to Laurie when he turns his childish, unhealthy romantic attentions to her. Then after Beth dies, she realizes how precious Beth's utterly domestic, feminine life was, and embraces a more domestic life herself. Yet by doing so, she becomes a true feminist, as she enters an egalitarian marriage and devotes her life to teaching boys to be good, respectful men.

Little Women is only what US Americans know as the first half. It's just about the March sisters getting by and learning moral lessons over the course of the year their father is away at war. Nobody gets married and nobody dies. Everything else is in Good Wives, which is a sequel with different character arcs and different themes, and which should be published separately, as it originally was and still is outside the US. Trying to tie them together into one narrative never feels quite right.

Little Women is Alcott's idealized version of her own life and family, where no one suffers quite as much as they did in real life, everyone is slightly less flawed, and Jo ends up happily married to a man very much like Alcott's lost love Henry David Thoreau. She wrote the life she wished she had.

Little Women is just a semi-autobiographical slice-of-life that Alcott wrote quickly for money.

Which is the truest to Alcott's intent? I don't know. But while some of these readings I like better than others – and some of them I despise – I'd say they're all understandable and reasonably valid. Some aren't even mutually exclusive, but can be used together... although of course, other readings are mutually exclusive, like whether the story is feminist or anti-feminist, or whether the March family ultimately breaks apart or holds together. And they're all worth using as springboards for discussion.

Alcott wrote more books than she ever realized she did, because Little Women can be many different books to different people.

@littlewomenpodcast, @joandfriedrich, @thatscarletflycatcher, @fictionadventurer, @fandomsarefamily1966

#little women #louisa may alcott #interpretations #literature

205 notes · View notes

nellasbookplanet · 9 months

Text

Book recs: alien intelligences

Intelligent spiders, octupi, plants, bacteria, and even entire oceans, intelligence without sentience, extra terrestrials and strange intelligences evolved right here on Earth - alien minds can take many forms. Allow me to share with you some books featuring the most alien and fascinating ones.

Previous book rec posts:

Really cool fantasy worldbuilding, really cool sci-fi worldbuilding, dark sapphic romances, mermaid books, vampire books, many worlds: portal fantasies, many worlds: alternate timelines, robots and artificial intelligences, post- and transhumanism

For more details on the books, continue under the readmore. Titles marked with * are my personal favorites. And as always, feel free to share your own recs in the notes!

The Doors of Eden by Adrian Tchaikovsky*

The Doors of Eden is something of an experiment in speculative biology, featuring versions of Earth in which various different species were the one to rise to sentience, from dinosaurs to neanderthals. Now, something is threatening the existence of all timelines, dragging multiple different people and species into the struggle, among those a pair of cryptid hunting girlfriends and a transgender scientist.

Children of Time by Adrian Tchaikovsky*

Millenia and generation spanning scifi. After the collapse of an empire, a planet once part of a project to uplift other species to sentience is left to develop on its own, resulting not in the intelligent monkeys once intended but in sentient giant spiders. Millenia later, what remains of humanity arrives looking for a new home, only to be met by the artificial remains of the ancient woman who once led the uplift project - and she is not willing to let them on her planet.

Semiosis (Semiosis duology) by Sue Burke

A generational story following a group of humans trying to survive on a new planet, where a strange and unkowable intelligence is finding ways to use them to its whims. As the humans come across an abandoned city wrapped in the roots of a strange plant, they slowly come to the realization that mutual communication is the only path to peace and survival.

The Three-Body Problem by Cixin Liu

While I felt the characters could’ve been better developed, this is undeniably a well-written novel featuring an alien race and culture developed on a planet vastly different from ours. Firmly in the realm of hard scifi, this is a realistic, fascinating and slightly terrifying look at how first contact may look.

Brain Plague (The Elysium Cycle) by Joan Sloncewski*

Chrys, a struggling artist, agrees to become a carrier for a sentient strain of microbes. With their help, Chrys breathes new life into her career. But every microbe society is different - some function as friends and brain enhancers to their carrier, while others become a literal brain plague, a living addiction taking over the life of their carrier. And like every society, the microbe community is in constant flux - inluding the one inside Chrys's head.

Rosewater (The Wormwood trilogy) by Tade Thompson

In Nigeria lies Rosewater, a city bordering on a strange, alien biodome. Its motives are unknown, but it’s having an undeniable effect on the surrounding life. Kaaro, former criminal and current psychic agent for the government, is one of the people changed by it. When other psychics like him begin getting killed, Kaaro must take it upon himself to find out the truth about the biodome and its intentions.

Dawn (Xenogenesis trilogy) by Octavia E. Butler*

After a devestating war leaves humanity on the brink of extinction, survivor Lilith finds herself waking up naked and alone in a strange room. She’s been rescued by the Oankali, who have arrived just in time to save the human race. But there’s a price to survival, and it might be humanity itself. Absolutely fucked up I love it I once had to drop the book mid read to stare at the ceiling and exclaim in horror at what was going on.

Blindsight by Peter Watts*

Vampires and aliens and questions of the nature of consciousnesses, oh my. A ship is sent to investigate the sudden appearance of an alien vessel at the edge of the solar system, but the crew, a group of various level of transhumanism, isn’t prepared for the horrors awaiting them. No, seriously, this book will fuck you up, highly recommend if you’re okay with a lot of techno babble and existential horror.

Midnight Robber by Nalo Hopkinson*

Utterly unique in world-building, story, and prose, Midnight Robber follows young Tan-Tan and her father, inhabitants of the Carribean-colonized planet of Toussaint. When her father commits a terrible crime, he’s exiled to a parallel version of the same planet, home to strange aliens and other human exiles. Tan-Tan, not wanting to lose her father, follows with him. Trapped on this new planet, he becomes her worst nightmare. Enter this book with caution, as it contains graphic child sexual abuse.

Fragment (Fragment duology) by Warren Fahy*

The reality TV show Sealife is having a rough time - as it turns out, a ship full of scientist doesn’t make for the kind of drama they hoped for. Hoping for some excitement, they reach Hender's Island, a fragment of a lost continent that may contain an interesting new ecosystem. But as they step foot on the island, they quickly come to realize the ecosystem isn’t just new, it’s highly dangerous and very hungry. Among all this life is one single species that may be more dangerous than any other, but which may also be the salvation of the scientists on the island. A bit wonky, but genuinely one of the most fun books I have read, I love it so much.

Axiom's End (Noumena trilogy) by Lindsay Ellis

It’s 2007, and a leak has just confirmed that the US has reached alien contact. Cora wants nothing to do with it, but as her absent father is the whistleblower who dropped the news the media won’t leave her alone. Even worse, she soon finds herself meeting and being pursued by the alien presence itself as it tries to remain in hiding - and discovering that there is a much larger threat on the horizon.

The Road to Roswell by Connie Willis*

Francie has just traveled to Roswell to attend her college friend's wedding to a UFO conspirasist. Not a believer herself, Francie is shocked when she finds herself abducted by an alien. Her abductor is not much what popular media would have you believe, looking more like a tumbleweed than a grey alien, and is clearly on some kind of mission it isn’t willing to put on hold for the sake of Francie attending to her duties as a bridesmaid. As more people get roped along - among those a conman, an old lady, a ufo conspirasist, and a retiree with an RV - Francie finds herself getting closer to the alien and wanting to help it succeed.

Bonus rec: if you like this book, you may also enjoy the movie Paul, which has a similarly humorous tone and similar plot.

Project Hail Mary by Andy Weir*

Ryland Grace just woke up up from a coma, unable to remember anything. He finds himself alone on a space ship, and as his memories slowly trickle back, he realizes he's been sent on a mission: to find a solution to the impending doom of the earth. Still struggling with holes in his memories, Ryland tries to fulfill his mission, but as he gets closer to his goal, he discovers someone else got there first. And they aren't anything close to human. Funny, heartfelt, and heavy on the science.

Survival by Julie E. Czerneda

Mac, a biologist studying salmon on Earth, has little interest in life beyond her own planet. Despite this, she’s sought out by Brymn, an alien archaeologist hoping her expertise as a biologist can help him solve the secret behind the Chasm, a region of space completely devoid of life. Trying as she might not to get incolved, Mac has little choice as she and her colleagues come under attack by the mysterious Ro, the species Brymn's people suspect to be the cause of the Chasm.

Translation State by Ann Leckie*

An exploration of the alien as filtered through the human. At what point does the human become something else? When does something else become human? Is it a question of biology or culture, nature or nurture? Can we choose it? Can it be forced upon us? Set in the Imperial Radch universe, Translation State follows three different characters embroiled in the question of what makes a human. The alien Presger can only communicate with humans using their translators - people they’ve created that are not quite human and not quite alien. But as news of a translator fugitive arises, conflict brews regarding what right they have to choose their own identity and home.

Exo (Exo duology) by Fonda Lee*

Young adult. Earth has long since been under the control of an alien presence. Donovan Reyes is an exo, a human enhanced with alien technology, working to keep the colony and its people safe. The biggest enemy is Sapience, a terrorist organisation opposing alien rule by any means necessary. When a mission goes awry, Donovan finds himself abducted by Sapiance, something that risks a war. While it took until the second book for me to be fully sold on this series, it features a genuinely nuanced take on oppression and resistance rarely seen in YA genre.

Needle by Hal Clement

1950s classic. A small island in the pacific ocean and a fourteen-year-old boy have just become the center of an interstellar chase between an alien Hunter and the criminal he's pursuing. Robert is a regular boy, but he has a very special passenger: an alien symbiont hiding inside his body. The alien became stranded on Earth as he pursued a criminal of his own species, and now they are both trapped on the same island, playing a game of cat and mouse as Robert and the Hunter struggle to find their prey before it finds them.

The Long Way to a Small, Angry Planet (Wayfarers series) by Becky Chambers

Rosemary Harper just got a job on the motley crew of the Wayfarer, a spaceship that works with tunneling new wormholes through space. With a past she wants to leave behind, Rosemary is happy to travel the far reaches of the universe with the chaotic crew, but when they land the job of a life time, things suddenly get a lot more dangerous. A bit of a tumblr classic in its day, this is a cozy space opera with an episodic feel and vividly realized characters and cultures.

Under the Skin by Michel Faber

A dark allegory of alienation and dehumanization, Under the Skin follows Isserley, a woman traveling along the roads of England and picking up hitchhikers. Little does her passengers know, she’s an alien hiding her true self, and they are her prey and a delicacy for her species.

Solaris by Stanislaw Lem

1960s Polish classic. Arriving on a station orbiting the planet Solaris, Kris Kelvin is meant to study the strange, possibly sentient ocean that covers its entire surface. But the effects of the ocean are far reaching - Kelvin finds the crew of the station secretive and unstable, and is shocked to wake one day to the embodiement of a long dead lover. Was it created by the brain-like ocean, and if so, why?

West of Eden (West of Eden trilogy) by Harry Harrison

65 million years ago, the meteor that killed the dinosaurs never arrived. Without it, the dinosaurs lived and thrived, allowing a the complex society of the matriarchal Yilanè to arise. Meanwhile, in the new world, humans still evolve, and when an impending ice age forces the Yilanè across the ocean in search for a new home, the two are destined to clash. A bleak story of the cycle of violence and hate leading to war, West of Eden is a marvel of world-building.

Bonus AKA I haven't read these yet but they seem really cool

Triptych by J.M. Frey

Kalp is a widower and alien refugee newly arrived on Earth; Gwen is a language expert secretly recruited by the United Nations to help integrate a ship of alien refugees; Basil is an engineer who loves them both. Together they must defend their relationship against a violently intolerant world.

The Sparrow (The Sparrow duology) by Mary Doria Russell

When proof of alien life is found, the United Nations are too slow in their plans for a first contact mission. Instead, the Society of Jesus overtake them and send their own ship, but the crew could never have been prepared for what they will find.

Lagoon by Nnedi Okorafor

Something massive and alien crashes into the ocean off the coast of Nigeria. Three people, a marine biologist, a rapper, and a soldier, find themselves encountering this presence, and have to race to save humanity before it's too late.

Honorary mentions AKA these didn't really work for me but maybe you guys will like them: Salvaged by Madeleine Roux, Exodus by Nicky Drayden, The Lesson by Cadwell Turnbull, Embassytown by China Miéville

#nella talks books #the doors of eden #children of time #semiosis #the three-body problem #brain plague #rosewater #xenogenesis #blindsight #midnight robber #fragment #axioms end #the road to roswell #project hail mary #species imperative #translation state #exo #needle #the long way to a small angry planet #under the skin #solaris #west of eden #there are more alien centric books that I love #but this list is pretty focused on books where the truly alien unkowable and inhuman is central #so anything featuring human looking or acting aliens got disqualified #same as books where the aliens themselves weren’t very central #also i need you all to know that i have had official art of the 'alien' from Fragment as my screensaver for a decade #that book is so silly goofy dialogue and absolute gory slaughter i love it so much #i still have one of these rec posts in my drafts but! will soon post a new poll in preparation for more

653 notes · View notes

nolita-fairytale · 1 year

Text

burn your life down | chef luca x fem!reader | chapter one

summary: leaving your old life behind, you move to copenhagen to follow your dream of opening a restaurant. almost a year after opening, luca's quest for inspiration brings him right to your doorstep.

warnings: fluff, eventual smut, eventual angst not use of y/n, second person pov, swearing, danish inaccuracies, very little connection to the world of the bear.

word count: 2500

a/n: remember when i said we'd get pastry chef luca fanfic whether we liked it or not? well, it seems i can't be normal about anything bc i have an outline of (potentially) 10 chapters right now based on this headcanon. while i try to keep reader characters pretty neutral so that you can picture yourself, i have this reader creating food from her own life experiences/cultures so do what you will with that. also, i tagged some peeps from my headcanon post, but please let me know if you'd like to be removed.

masterlist | part two

He’s in search of inspiration when he finds the restaurant – your restaurant.

It’s an American stagiaire and a single conversation that makes him realize that he’s missing something – that he’s been in need of something fresh, a new perspective– setting him on his quest.

The best things are inspired.

Luca stares at a blank piece of paper for what feels like hours, writing a few things down, sketching up an idea, before viciously crossing them out, hopelessly stuck on new ideas for the new menu. After a few half-baked ideas that go nowhere, It occurs to him that he may be in need of a little inspiration himself. He can’t think of the last time he’s taken his own advice, mulling over the carefully-chosen words of wisdom imparted to Marcus a couple of weeks ago, and he’s determined to change that.

A review in the paper, an old colleague’s recent trip there, and a glowing recommendation from a close friend are what bring him to the restaurant.

He’s not sure what to expect – having forgone any interest in cuisine described with the words trendy or fusion a long time ago – but Luca reminds himself that it’s the writer’s word choice, not the chef’s, when writing the article.

When Luca steps into the small home-turned-restaurant, he’s immediately inundated with a warmth, a homeyness, that takes him by surprise. From the open kitchen, to the golden lighting, it feels vastly different from the classic Danish-style, fine dining establishments that have swept the country.

But Luca reminds himself that the announcement of noma’s 2024 closure, has shifted the conversation around dining culture in Denmark, and already, he can feel that this is the breath of fresh air that he’s been looking for.

Luca’s seated quickly with care and hospitality by a highly-attentive host, which he only assumes is a symptom of the fact that he read somewhere that you’re an American. While Danish, the host is boisterous, as if he’s known Luca since childhood. Luca smiles politely in response, graciously thanking the man and his chocolate brown curls.

The menu is small, indicating that each dish receives enough care to be excellent and he likes that, despite being described as trendy and fusion-focused, your menu is creative. It’s different. It’s inspired.

He chooses the special of the day: the mapo tofu bolognese – a traditionally Italian concept done from an Asian perspective – and the suggested wine pairing.

It doesn’t take long for him to receive his glass of wine, or his food, and he’s pleasantly surprised by how efficient service seems. Stealing glances through the open kitchen, he watches as you and your sous lead dinner service with a kind of compassionate leadership and playfulness that warms him from the inside out.

“We recommend mixing the whipped tofu into the dish for a creamier sauce. Skal,” his waitress greets, with a warm smile on her face as she sets down the bowl of noodles.

“Cheers,” Luca replies, his eyes savoring every single detail of the dish.

It’s somehow elevated, thoughtful, and elegant, yet comforting all at once.

Luca picks up his fork, using it to collect a little bit of everything – a perfect noodle twirl with just enough sauce, and ground pork before running his fork the whipped topping – raising the fork to his lips for his first bite.

As the flavors hit his tongue, he closes his eyes, and it’s as if time has stopped, just for a moment.

The wheat noodles are perfectly al dente while the whipped tofu is almost ricotta-like, transforming into a silky smooth addition to the dish, cutting the tingle and heat of the Sichuan chili peppercorn-based sauce.

The corners of his lips turn up as he takes a breath, opening his eyes as he savors the delicate layers of flavors. With a crooked smile on his face, he decides that he’ll most certainly be back next week.

-------------------------------

You make peace with the fact that tonight is one of those nights – a slow night – as you finish washing your hands. It being a slow night, you’d encouraged your staff to up the hospitality at the pre-shift meeting. Treating guests with the utmost personal touches in an effort to build genuine connections would be the focus of tonight’s slow service. In fact, you and Mathilde, your sous chef, had been running dishes out this evening – something you rarely had the luxury to do.

“You should go say hello,” your sous encourages, nodding towards the dining room through the expansive window of the open kitchen.

“Thought it was your turn,” you reply in a casual tone, paying no attention to who she’s referencing.

“No, I think you should take this one,” Mathilde nudges you, causing you to look up. You shoot her a funny look, your eyes flickering over the mischievous expression she has on her face, to where she’s gestured towards.

“To-?” you begin to ask, before seeing exactly who she’s talking about.

“Ehm. Tall, blonde, and tatted!” she emphasizes in a whisper yell.

You don’t really need the description as you glance over at the dining room, easily spotting the man seated at a two-seater near the front window.

“You’re right. He’s become a bit of a regular,” you agree with a curt nod that means all business, no pleasure, as you move a few things as you walk and talk around the kitchen, tidying up.

“That’s not what I meant,” she scoffs with a playful eye roll.

“You know, Jesper thought he was Swedish because… look at him… but he’s apparently a Brit,” she gossips with you, her eyes stealing a glance his way. “We’re slow tonight. He’s here every week. Sure he’d appreciate a direct thank you from the chef!”

“I-,” you hesitate, wondering why she’s so damn insistent on this. “... yeah, alright. I’ll go.”

“That’s my girl!” Mathilde cheers, in a sing-song voice, she hands you the beautifully plated bowl of pasta to take out to the dining room.

As you walk over towards his table, you make a note that it seems as if the mystery man has made this a bit of a routine. He shows every Saturday at exactly 7 pm, week after week, for the past month or so, as if it’s a standing date he has with himself. After his first visit, you half-expected him to bring a date when he returned, or bring a group of friends, or for something different to happen.

But it hadn’t and you’ve watched him come in, week after week, with a different book each time. He always orders the special of the day and whatever suggested wine pairing Jesper’s recommended that week.

Most Saturday nights you're busy leading a kitchen or cooking on the line – having little to no time to fixate or wonder curiously over your weekly diner – but tonight’s pace affords you the luxury to spend more time at the front of house. Truthfully, you know it’s the thing that sets you apart. Sure, the hospitality here in Copenhagen is excellent, but you bring an American hospitality-style to this restaurant – and above and beyond mentality – that feels welcoming, personal, even, as if your restaurant itself is just an extension of your home.

You’ve heard your staff – front of house and back of house – whispering about him, all seemingly enamored and enchanted by the charming Brit. All any of you knew about him was that his name was Luca and that he’s always more than kind to your front of house staff.

He doesn’t say much when he comes in, you’ve noticed, but every Saturday at 7 pm, he’s pushing his way through the front door with punctuality and a gentle ease.

The whisperings from your staff had all revolved around who your mysterious regular must be: whether he was Danish or Swedish, that someone that good looking must already have a partner, that he doesn’t wear a ring.

You hadn’t paid much attention to the gossip (or at least that’s what you’ve told yourself) more focused on running dinner service then trying to piece together the story of your handsome, mysterious regular.

“Hello,” you greet him warmly. “I just wanted to come introduce myself and say thank you for becoming one of our regulars. Your support means a lot to all of us.”

“Hi, I’m Luca.”

You share your name with a smile as he shakes your hand.

Luca turns his attention down to the bowl you’ve put in front of him, his eyes taking in the beautiful presentation hungrily.

“Wow, this looks… incredible,” he marvels, returning his gaze back to you.

“Thank you. I’m sure my front of house already walked you through this but if you’d like for me to-,” you begin.

“Yes, that’d be great, thanks,” he interjects, a crooked smile on his face that makes your heart skip a beat.

You have to pull your attention away from him, hoping he doesn’t notice that you’re quite possibly gawking at him.

He’s kind, charming, and he’s easy on the eyes (easy on the eyes, really being an understatement here).

“Today’s special was inspired by a childhood favorite of mine,” you begin, walking him through each component of the dish.

Crispy Rice. Caramelized marinated trumpet mushrooms and charred broccolini. Your mom’s sauce approached with classic French techniques, courtesy of your sous, Mathilde, a classically French-trained chef.

It’s a marriage of your story. Of the people around you. It’s your heart and theirs, put into a dish.

“You’re the chef?” he asks, unable to hide the surprise in his voice.

“Yes,” you answer, trying your best to get a read on him.

He balks, and you’re unsure of how you’re supposed to respond. Was he surprised that you’re a woman? That he’s been eating your food the whole time and expected a male chef? Before you can overthink it, Luca clarifies with:

“I’m sorry. It’s just-, I can't think of the last time I saw a head chef work front of house, let alone with this much care.”

Oh.

You let down your guard, wondering why you’d assumed the worst when the man’s been nothing but kind to you and your staff so far.

"We're a little short staffed tonight. And I love getting to talk to diners… especially on nights like this,” you explain, trying your best to sound like you hadn’t just assumed that he was a sexist asshole.

He shakes his head in disbelief, looking down at the picturesque bowl, then back to you.

Luca is impressed, and he has no intention of hiding it.

He picks up his wine glass by the stem, raising it to you.

"Cheers,” he says. “And thank you. This is a really beautiful dish.”

“Of course. Enjoy,” you reply, giving him a polite smile, before heading back into the kitchen.

-------------------------------

“Good service tonight, everybody!” Jesper, your front of house manager, announces while clapping a few times to signal to staff that it’s time for a post shift meeting.

As you all gather in the pristine front of house space. Some of your cooks have taken their aprons off, others haven’t had a moment to unwind from the shift yet – business picking up in the last hour or so of service.

Jesper goes through his nightly wrap-up notes, celebrating the wins of tonight, and making sure to celebrate how everyone rallied to pick up pace when business spiked. He’s gregarious, larger-than-life, the kind of person who can talk to anyone about anything, making him an excellent front of house manager, and even better sommelier. You really lucked out with the twins, you think to yourself – with Jesper and Mathilde – when they were more than eager to work with you on opening this restaurant.

“Oh, and before we go, a client left a gift… table number four,” Jesper says, in reference to Luca’s table. He pulls a tan-colored pastry box from another table, setting it down on a table where everyone can take a look.

“As a thank you. He requested for me to share. So have it and let’s make a note next time he’s in to really treat him like a VIP.”

One of your most-talented servers opens the box, eliciting a chorus of gasps, giggles, and excited whispers as soon as the assortment of croissants and pastries are revealed.

You and Mathilde exchange a look as everyone else busy themselves with unpacking the pastry box. Mathilde raises an eyebrow and you’re not sure what to say. Witnessing your silent exchange, Jesper makes his way over to the both of you, before extending his arm to reveal the card he’s holding.

“And this, my dear…” he begins, exchanging a look with his sister. “...is for you.”

“What do you-, just me?” you ask as you take it, hesitantly.

“I think so, yeah,” he nods, confidently.

To the Chef, the front of the card reads.

“Jesper, let’s check out some of these pastries, yeah?” Mathilde suggests, not so subtly hinting towards her brother.

He nods, giving you a little space so that you can read the card Luca’s left for you.

As your staff divvy up the box of laminated pastries, sighing with joy as they taste the decadent, hand-crafted sweets, you take a few steps away to open the note. His handwriting is pristine – perfectly neat in every way, like he’s written over carefully measured invisible lines.

Chef,

Thank you for all of the great meals. I'd like to return the favor, that is, if you're open to it.

Tomorrow. 5 pm. Dronningens Tværgade 2, 1302

While Luca’s gift has been more-than-generous, you find yourself overwhelmed by questions. Was he a chef too? And why had he not said anything? And what was this gesture all about anyways?

You read the card a few more times, turning the words over in your head as you try to make sense of it.

Mathilde can see your overwhelm, your eyebrows knitted into one confused expression as she saunters back over to you.

“What does it say?” she asks, curiously. “A love confession perhaps?”

“Mathilde, you really have to stop reading all of those French romance novels!” you tease her. “It’s giving you too many ideas.”

“It’s the only way I keep up with my French!” she defends herself with a lackadaisical shrug, earning a laugh from you.

“Uh no… it’s actually a thank you card… only I think he… wants to feed me,” you share with her, holding the card out so that she can take a look.

“He’s a chef too?” she asks, taking the card from your hands.

“I think so, yeah,” you reply, letting out an exasperated laugh.

“Oh shit!” Mathilde exclaims, as soon as she sees the address that Luca’s written down.

“What?” you ask her, wondering if there’s something you missed.

“The address… that’s AOC. I think he’s a chef at AOC, babe,” she gasps, shaking her head as she hands the card back to you, sending a ‘you lucky, bitch’ look your way.

Oh shit, is right.

#chef luca #will poulter #luca the bear #the bear season 2 #the bear headcanon #luca x reader #the bear hulu #the bear fx #the bear fanfiction #chef luca x reader #pastry chef luca #burn your life down

1K notes · View notes

hotdaemondtargaryen · 2 months

Text

WRITER SARA HESS TALKING ABOUT RHAENYRA AND ALICENT'S RELATIONSHIP IN SEASON 1 AND THEIR MOTHERHOOD FOR VARIETY MAGAZINE.

“I can definitely understand that it’s hot watching complex female characters who have agency and who are trying to navigate the world and understand themselves. Like, that is hot,” nonbinary actor D’Arcy says.

“And is very different from, I suppose, more two-dimensional portrayals of female sexuality.” 

Cooke adds: “I guess what’s alluring, and quite scintillating, is that they all live in quite close proximity to each other,” noting “House of the Dragon” Season 1’s focus on keeping its characters near the Iron Throne in King’s Landing.

“Stealing these loaded looks with someone that you fancy and that’s forbidden, that’s hot. It’s all hot.”

“We had a lot of conversation at the beginning about, is this a feature or a flaw?” Hess says.

“There’s a lot of births, do we want to see a lot of births? My thinking was, every single childbirth I’ve ever seen on television, in any show, in any genre at any time, has always looked exactly the same: the woman lying on her back with her feet in the stirrups and doing the pushing and the baby comes out.”

“In my experience, women give birth in vastly different ways.”

“I thought we should show them all and they be really, really different, separate experiences and not just, now there’s that birth scene and we all know exactly what it looks like.”

FOLLOWING THE BIRTH SCENE IN EPISODE 6, D'ARCY RECALLS SHOOTING A PARTICULARLY REALISTIC MOMENT OF MOTHERHOOD WHEN RHAENYRA FINALLY GETS TO REST AFTER GIVING BIRTH AND IMMEDIATELY GOING OFF TO SHOW THE BABY TO ALICENT:

“She gets in and [her sons] Jace and Luke have gone and got a dragon’s egg and want her to look at it.”

“And I just remember responding, ‘Wow, that looks perfect,’ but not looking at them at all, I was looking in the other direction.

“And that felt like what a lot of parenting is probably like.”

FOR COOKE, THE MOTHERHOOD MENTALITY HIT IN EPISODE 9, WRITTEN BY HESS AND DIRECTED BY CLARE KILNER:

“That moment in the carriage where Alicent’s hungover son asks her if she loves him, and she says it by smiling and saying, ‘You imbecile.’

“Like, it’s so obvious, this is all for you.”

“Everything that I’ve done.”

“Everything that I’ve sacrificed.”

“All the awful things I’ve done in order to facilitate your ascension is because I love the bones of you.”

BUT MOTHERHOOD IS FAR FROM THE ONLY ASPECT OF A WOMAN'S LIFE THAT FEMALE WRITERS LIKE HESS AND WOMEN DIRECTORS INCLUDING KILNER AND PATEL INFUSED INTO THE STORY, WITH MUCH OF THE SEASON FOCUSING ON YOUNG ALICENT (EMILY CAREY) AND RHAENYRA (MILLY ALCOCK) AND THEIR DEEP BOND AND INTENSE FALLING OUT.

“There’s an element of queerness to it,” Hess says.

“Whether you see it that way or as just the unbelievably passionate friendships that women have with each other at that age.”

“I think understanding that element of it sort of informs the entire rest of their relationship… Even though they’re driven apart by all these societal, systemic elements and pressures and happenings, at the core of it, they knew each other as children, and they loved each other and that doesn’t go away.”

Hess continued: “Olivia has told me she believes — and this is her headcanon — that they at some point kissed or made out or had some kind of physical interaction that Alicent’s mother found out about and forbade.”

“And that was Olivia’s head story, ‘Oh, I can’t do that. That’s not right.’ And that’s the background for her in their relationship going forward. I would be 100% down with that.”

COOKE SAYS SHE AND D'ARCY HAVE “DEFINITELY” TALKED ABOUT ALICENT AND RHAENYRA BEING “EACH OTHER'S FIRST LOVE”:

“But when it comes to our iterations of the characters, too much has happened and too much time has passed to probably even recognize those fledgling feelings.”

“But Condal and Hess weren’t “necessarily interested in ever defining” what that love meant in terms of the women’s sexuality.”

“I happen to be a queer woman, but I know straight women who had ‘Heavenly Creatures’ -esque, romantic friendship with their best friend at that age,” Hess said.

“That’s something that I think, probably — I don’t want to stereotype anybody – but it seems to be more a phenomenon with young women than it is with men, probably because whether you’re queer or not, society cares less if you’re physically intimate with each other or hugging or touching each other.”

“You can have sleepovers and sleep in the same bed and nobody cares.”

153 notes · View notes

carlyraejepsans · 5 months

Note

Papyrus is so weird in comparison to the rest of the cast, like a prominent theme of Undertale is how the past can hold people back and the necessity of accepting it and understanding that it should not define your present and leave you stagnant.

Toriel and her inability to protect Asriel and the children who pass through her doors, Sans and his mysterious past that he can never return to, Undyne and the pain of monsters and the monster history that she embodies more than any other character, Alphys and the determination experiments that haunt her, Mettaton and his past identity that he runs away from, Asgore and the choices he made in grief, and most importantly, Flowey/Asriel and the self he can never really go back to.

Papyrus is literally the ONLY main cast member with no relationship to the past that is holding him back in some way. Like, all of the main issues this guy faces within the narrative (his popularity and not being a member of the Royal Guard) are all issues relating to his present state, and theres no real sense that they cause him to stagnate. He's written in such a vastly different way than every other character, down to him being the only character that literally cannot kill you (the game crashes if you do). Truly insane individual.

extremely well said. although, i think he fits more with the rest of the cast if you parse undertale's story as one about self imposed narratives, as well as past mistakes as a cause of stagnation.

toriel denounced all monsterkind as violent opportunists and forced herself to suffer isolation and grief, alone, as a sense of failed duty towards asriel.

undyne did likewise, denouncing humans rather than monsters as unredeamable murderers and turning herself into a hero. she handles all of the waterfall area alone, she strengthens her resolve thinking about how much people count on her, and never confesses her feelings to alphys because she doesn't want to burden her with them in case she dies in battle

asgore and alphys, their own parallels as well, are both haunted by their past mistakes and have convinced themselves that living a lie is better than facing the truth of the damage you caused

sans lost his home and friends and is aware of the anomaly: this caused him to take up a "play the cards i'm given" attitude where he passively rolls with every punch that the current timeline throws at him, without letting himself strive for anything more than what small solace he has.

mettaton is also haunted (lol) by his past. he's also decided that, in order for his dreams to be achieved, he HAS to sacrifice the personal connections he holds dear, and that that sacrifice is one he is willing to make (first napstablook, then alphys, then the entire underground when he gains a chance to go to the surface for himself)

papyrus... well, like you said, he distinctly lacks the element of the Past to drag him back from personal development, but like the rest of the cast he DOES have the accompanying self imposed narrative with the same effect. papyrus is lonely! but he's also come to the conclusion that what would fill that loneliness is fame and a vague notion of "popularity". this leads him to not realize the value of his friendship with undyne and keep other people at arms' lenght.

still, i agree with you. his lacking a character defining past (especially in light of how much his brother's still clearly affects him) is a very peculiar writing choice. it's one of the main reasons why i think he's some kind of amnesiac

#answered asks #undertale #papyrus #metanalysis #it's cause you're always in that damn coffin

177 notes · View notes

contraryclock · 23 days

Text

stupid ass Don Quixote ramblings

hi this is my first tumblr post but i really wanted a good place to put this

spoilers for all of current limbus company, including Murder on the warp Express, the Don Quixote book (( kinda )), and a musical (( i'll get there ))

please humor this deranged rant about a character i havent read the source book of

so basically ive had a theory since Don was even teased that she's less so based on book Don Quixote and moreso based on the Man of La Mancha musical which is. an insane thing to suggest but hear me out here (( ive since changed how i word my stance to the much more mild "it will most likely delve into the themes of both works and reference both" because suggesting they would discount the book entirely is TRUE insanity ))

her quote (( from teaser tweets that i cannot find anymore? they seem like they were deleted which sucks )) was "To reach the unreachable star!" or something which is notably not a quote from the original book ((as far as im aware at least?)), and suggests. a lot i think!

One of the most notable differences between Man of La Mancha and the original Don Quixote is their tone and attitude towards Quixote. In the original text, he's shown to be a fool who is ignorant to the vastly more interesting world around him, and prefers to instead sink deeper into his delusions of reality equating to chivalric literature. This makes sense as Don Quixote was written as a parody and mockery of the genre

La Mancha is, notably, much more forgiving on Quixote's character, showing that while still a fool, and his insanity often detrimental to those around him, he is still a good person at heart and that he truly wishes to pursue this justice he posits

I usually say it as "Don Quixote is about how reality is beautiful, and La Mancha is about how sometimes one should strive to make reality a little more fantastical" although i dont know if that. is the most accurate comparison. both Don Quixote and La Mancha have a lot of themes and stuff going on

one of the things that made me scream was learning about "Miguel" being written on don's LCB combat spritesheet instead of her listed name

which if you've seen or read a summary of la mancha is a huge alarm bell

In La Mancha, the whole thing is shown as a Play within a Play

Miguel de Cerventes is sent to prison, awaiting trial by the inquisition, and is tasked with defending himself in a mock trial with the other prisoners so they dont take his belongings. His defense is Don Quixote, Man of La Mancha! With the prisoners acting out the various roles he assigns them, and him acting as the leading man, Don Quixote himself!

that was most of the things that made me think "Oh, maybe it'll be La Mancha!" and then this happened

and i sort of lost my god damned mind

because like what if this is miguel... what if shes simultaneously playing out her life as don quixote as a her delusion, and as her dream, but also as a statement...

idk but this isnt JUST about Man of La Mancha bc i think this has a few implications for how don's canto is going to go

In both don quixote and la mancha, they send someone to cure quixote of his delusions

The final thing they try is setting up an act where a "Knight of Mirrors" duels with Quixote, which ends up working.

The Knight forces Quixote to see how he is perceived by others, to see the truth that he is no knight.

ignoring the stuff with vampires and mirrors for a second, i feel like this could be more mirror world shenanigans, where either the knight IS a mirror world don quixote, or is someone who will show her mirror worlds. Whatever that will imply!!! i dont know its exciting!!!!!

Her being absurdly old and powerful, plus bloodfiends having a whole familial adjacent hierarchy makes me think theres a LOT of bloodfiends out there that would want her back

I dunno!!!!!!!!!!!!!!!!

im insane!!!! AAAAAAAAAAAA!!!!!!!!! i just wanted to get my thoughts out before her canto actually happened so i can say that i did indeed have an opinion on this

-limbus assets taken form Lunartique's asset google drive go look at it -text written by me and not proofread

ok thanks bye dont follow me byeee byeeeeee

#limbus company #don quixote #limbus spoilers #project moon #ramblings #if her name ends up being confirmed as Miguel i will cry so loudly in a joyous chorus of crying loudly #forgive me #fan theory #limbus don quixote #lcb

106 notes · View notes

babyangelsky · 2 months

Text

Back in March when I was doing the BL Challenge (brought to us by the lovely @negrowhat), I mentioned in my post about Korn Theerapanyakul that it isn't often that we get an actual villain who isn't just a love rival in a BL. The presence of an antagonist in a story doesn't necessarily make them the villain and not every story calls for one either. That being said,

Jak is a villain.

I want to break down this shot because it tells us a lot about the dynamic at play and Jak's point of view.

There's a lot going on here. The first thing my eye is drawn to is the line between them (and how Mut is just slightly crossing it since he stepped into the lion's den). Once you see that, the differences between both sides of that line become more obvious.

Mahasamut is dressed in a dark cool color and he's in shadow but his face is catching the light. The flowers, fireplace, candles, and TV behind him feel warm and homey. Fitting for a cafe. On the other hand, Jak is dressed in a warm light color and he's sitting in the light but his face is in shadow. The windows behind him and his positioning makes it feel like he's sitting at a desk in a corner office in a high rise instead of a cafe.

I weirdly wish they'd shown us when they arrived at the table because I would bet you anything that Jak sat down first. He's the older one, he's relaxed, etc. It makes sense for him to have sat first which means he chose that specific seat and the only reason I mention it, and really the only reason it matters, is that it tells us how Jak sees himself in this situation.

He's sitting there in the light in his dad sweater telling Mahasamut about wanting to fulfill his role as Tongrak's father and that he's so sorry about his behavior in the past and wants to atone for it and it's all bullshit because look at this man's face.

It is completely shadowed, just like his intentions and his agenda whereas Mut's is completely in the light.

And the difference becomes even more stark once Jak tells Mut to break up with Tongrak.

Jak is spewing nothing but ill-intentioned bullshit and Mahasamut sees it for what it is and makes it clear that he isn't going to fall for it, which is why things devolve.

Now. Just so we can get it out of the way, yes, obviously Mut should not have agreed to that meeting. He shouldn't have engaged and should've put the baby in the car and driven in the opposite direction. I was screaming at my screen for him to do just that, as were many of us I'm sure. However, I have to point out that it is not inconsistent for him from a character writing standpoint to have agreed.

Lest we forget, he said this to Tongrak last week when he was explaining why he turned Prin down when she tried to buy him.

"But Leah the dad is so much worse how could he not see—!" I know. Trust me, I do.

I'm gonna put on my baseball uniform and go to bat for my man for a second though because I think part of the reason that he agreed to talk to Jak is that he vastly underestimated him. And to be completely fair to Mahasamut, I did, too.

If I had to guess, I would say that he was expecting to be dealing with someone cut from the same cloth as Prin. Maybe a little worse since he knows what Jak has done in the past but certainly nothing he couldn't handle. Mahasamut is not a reckless or a thoughtless man. I don't believe for a second he would've even walked in the building if he didn't feel confident that he could deal with Jak.

The problem is that Jak is very much not cut from the same cloth as Prin.

I noted in my expressions post that it looked like the only time Jak was actually feeling something was when he accepted Prin's offer to destroy Tongrak but that's not entirely accurate. Having gone back to watch his scenes, there's a second instance where genuine emotion peeks through.

There's such a cold rage in his expression when he reproaches Tongrak for choosing his mother and cutting ties with him. And make no mistake, he's not angry because he loves his son. We already know that he doesn't. He's angry because in his eyes, he lost to a woman he felt nothing but disdain for.

If Tongrak and Kwan had chosen Jak over their mother, do you think Jak would be out here causing problems? No, he would've flat out ignored them. He wouldn't bother keeping such close tabs on Rak and his relationships because he would've already won and if he's doing it now, it's because he wants to win.

This is a game to him. This is fun for him.

His son is terrified and begging him not to hurt an innocent little girl and a young man and Jak's response is, "Don't be greedy."

He tries to force his son to choose which one of the people he loves most in this world gets to be safe but the choice isn't really a choice. He says he'll choose for Rak and he already has. Jak had already had Mahasamut beaten by the time he comes to see Tongrak and we know that because Mut's injuries have been treated when Rak gets home and Vivi is already there.

Matter of fact, the only reason Jak is even here talking to his son is because his attempt to convince Mut to leave has failed and he knows that going to Rak won't fail. He knows his son is afraid of him and he knows he can use that fear to get what he wants, which is why he brings up the uncle doctor.

Although we've gotten little of Jak so far, it's safe to assume that he is not a man who makes empty threats. Tongrak knows this, too, which is why he becomes so panicked when the doctor is brought up. We as the audience don't know who this doctor is but we can surmise from Tongrak's expression that he's important enough to be used as a weapon by Jak.

Until this point I don't think Tongrak realized that his father had anything to do with whatever happened to this doctor, he looks genuinely surprised. But all Jak had to do to prove how serious he is about his threat is mention the man. That's all he does. Rak puts the pieces together himself.

And here is where I bring up next week.

If you can look at this man's face as he rips the contract and think for a moment that he's going to try to push Mahasamut away for some flimsy petty reason, I am here to tell you that you are dead wrong. If I so much as SEE the words 'noble idiocy' I'm going to kick off.

Because we know that by the time Tongrak picks up this contract to rip it, Mahasamut has already been beaten twice and that Jak made a barely veiled threat to have him killed. Rak is rightfully terrified of his father and afraid for his boyfriend's life and wanting to keep Mut safe and ALIVE is not noble idiocy.

Now is it going to work? Smart money says no, wild horses couldn't drag Mahasamut away. He loves Rak too much to take any threats lying down. But as much as I understand why Mut talked to Jak, I understand why Rak wants to keep him safe even more.

Jak didn't accept Prin's offer because he wanted to help her. He doesn't give a single shit about her agenda except to mock her for it. He agreed to destroy his son because he wants to, because doing so will allow him to win and get back at his ex-wife. The money is just a bonus.

Jak is a Villain.

#rewatching jak's scenes does not get any less brutal fyi #there are only two reasons why something is hard to watch:#because it's done poorly or because it's done well #and this was done very well #love sea #love sea the series #meta #conversations with leah

124 notes · View notes