#it just seems to work out that way- and so for a compelling plot and character development and depictions I really don't find it terrible

[laylawatermelon]

I have thoughts about this ep...

(It's not good... But not bad)

911's writing of this storyline seems to be teetering in the wrong direction and it may cause a disconnect with some viewers.

Hi! I literally took a nap and woke up with an essay 🙃.

But let's get to the good stuff.

This season has been phenomenal. The acting and writing has all been consistent with the original past 4 seasons. (Season 5 and 6 were good just had a different tone)

This has been due to the show runner returning.

Now that we've gotten all the facts out of the way here's my opinion.

I'll be honest, the twin/lookalike story that came up is causing me to pull away and not in a good way.

If I objectively look at it as a fan this cones out of left field and may intrigue a set of fans. Those fans are likely in the higher age range. (Nothing wrong with it but just an observation)

(i keep up with updates online so it didn't bother me that much)

But for me as I was watching it and the scene came up and then The Grey's Anatomy came up I don't know why but a flash pinged in my brain of this feels like a Telenovela/Soap Opera.

And it is in fact a storyline commonly used or mentioned of the long lost twin or the doppelganger who's back to destroy, seduce, etc. to shake up the main characters life.

I will say that what 9-1-1 has been doing is a good job between toeing the line between supernatural and realistic.

This is leaning a bit to close to the former and can lose some people.

(i will say that this storyline isn't hitting like it usually does the others, even if I wasn't an buddie fan. Hell as an Eddie fan I'm still confused)

The tone of the show this season has been lighter so of course the storylines do reflect that.

My only gripe is what makes 9-1-1 compelling in the first place is the odd fact that the characters don't die and they're realistic (enough) in their cases and drama.

They're gripping enough that they can use these cliches to grip the audience backed by stellar performances and direction.

I just don't like the soap opera-y feeling I got from the trope. (Personal preference what can I say)

Now the next episode will probably expand on this storyline and will cause the conclusion to be touching and heartfelt.

I'm just a bit sour about the lead up to it because it's like oh this woman who looks exactly like my deceased/missing partner appears in the same vicinity as me (despite living in a very big very populated state) so I must get to know her better. I end up throwing away my morals and then something bizarre happens and then something else happens and I find out she's insert - (illusion/twin/stalker/literally anything out of pocket you can think of).

The audience swoons because of course she is (bad/evil/plotting etc).

It's not gripping me.

Emotionally however I'm intrigued how this will eventually effect Christopher as it he sees her he's screwed for life.

In addition to his dad talking to her in the first place, therefore unintentionally enforcing his women all leave/slight lack of respect for their feelings as they're replaceable (she would literally replace his mom in name and face) or disposable (Marisol as the woman left behind).

Yes Eddie's happy but he's also being more reckless than he usually is.

He's always been aiming to find what they had but his actions have implications.

(imma put on my buddie hat for a second this is all/j)

Like how he leaves his son with his dad and goes on a date with another person constantly. 😤 Rude

(no lie they are good coparents though even if they are platonic. They work better than some romantic straight families on tv)

Back to analysis mode though, this action has dangerous implications on both how relationship with Christopher and how he can harm him and eventually how their relationship can decline because of this.

It's not just the disloyalty to both his current partner and son but the example he'll be setting.

Chris probably may end up listening to Buck more as a result because he wouldn't/hasn't hurt him in the way his father currently does with this situation. For relationship advice and such.

Yes it's good drama (in an emotional/analytical sense) I'm just sulky about the telenovela feel of it don't mind me.

I'm positive their performances will make it lean more towards the procedural drama movie feel the show is known for.

Hell this had to happen some day right? The soap operafication of 9-1-1.

Hope is a beautiful ride at least. 🤷🏾‍♀️

(ps this episode was great all things aside)

[fuckyeahgoodomens]

David and Michael talk about the S2 Finale 🥺

David and Michael interview with Kim Roots from TVLine, about the S2 finale. July 2023 [S2 Promo: C: I could always rely on you. You could always rely on me. We're a team, a grou p. And we spend our existence pretending that we aren't.]

KR: What happens in the finale between Crowley and Aziraphale is something that some fans have been yearning for a very long time. Was there a pressure? Did you have any conversations about what this might mean to the fandom? Talk to me a little bit about like when you found out this was going to happen and kind of your initial reactions.

Michael: Well, you know, the relationship between Aziraphale and Crowley, obviously, is something that the audience seemed to really warm to, and obviously was part of why the idea of doing Season 2, you know, seemed like it could be something that could work. Following how that relationship develops has been something that the audiences have really got into. So we've taken that very seriously, and Neil takes it incredibly seriously. So tracking that relationship and that journey between them, because obviously on the surface, they seem like they're complete opposites, and yet clearly, they're kind of compelled towards each other in all kinds of ways. And now that they've been being cut off from their respective head offices, they only have each other, so that pulls them together a lot more, doesn't it? And the stakes are always high around them, and they sort of end up going on a journey together, but it takes them to different places and where we leave things at the end..

David: Well, that's the thing. Nothing is resolved. So whatever happens and whatever you may have seen at the end of Episode 6, it's also important to note that that doesn't finish the story. In fact, that just sor of ruptures things.

Michael: It's the start of another story.

[S2 Promo: A: I forgive. C: Don't bother.]

David:I think you have to be careful if there is something delicate that has generated a lot of excitement about where will that end up. As soon as you end up there, as soon as you finish that story, it's all over, isn't it?

Michael: You don't really want to find out who killed Laura Palmer. [Twin Peaks series plot]

David: Yeah, exactly. Exactly.

KR Like you said, David, there is no resolution, which made me very happy because this feels primed for a third go-around at some point. Have you had any conversations about that with Neil about possibly keeping the story going?

David: Well, if you've seen where Series 2 ends, there's certainly the teasing of further tales to come, isn't there? Whether we will ever find out what those tales are is in the lap of... well, certainly not on our lap.

Michael: No, it's on the laps of the audience.

David: Laps of the audience, yes.

Michael: We are sitting firmly...

David: In the tops of the audience as it streaming.

Michael: Yeah, it's not in my lap. I know that. When we first started Series 1, we always knew that the story went a lot further because Neil and Terry had talked about it. They just hadn't written it down, but we knew there were ideas, and we have not yet reached the end of those ideas.

David: No.

Michael: You know, if we get a chance to tell more of this story, it does already exist.

David: Yes.

[velvetsainz]

summary: [ cl16 x fem!reader ] charles is in maranello but that doesn't mean he can't help. part one.

word count: 1.3k

content warnings: smut under the cut (minors dni pls!), porn with a dash of plot, use of explicit language, phone/skype sex, masturbation, toys, overstimulation, praise kink, google-translated french (kay strikes again), fluff, i still really like em dashes

a/n: part twooooooooo! (you can totally read this before part i—this is just a sister smutlet ;) ) i've been really pleased with the response to part i, so i was super duper motivated to get this cranked out for you guys. there's mentions to previous encounters, and i'm very tempted to flesh those out in the future along with the allusions to future events. anyways, eat up! enjoy, loves! xx

You could be a tease, but Charles Leclerc was a bigger one.  

“Charles, I swear to God that—”

“That what, chérie? Hm?,” he asked as he quirked an eyebrow to you, waiting for you to answer as he watched over the Skype call.  You let out a frustrated sigh, sinking back into the bed and allowing your thighs to relax once more.

“So impatient, mon ange…,” he chided, hand working slowly, lazily over his length.  You were on the doorstep of your climax when he’d suddenly cut the power to the delicious little bullet in your hand.  He’d been teasing you for a solid thirty minutes now, listening to soft moans and needy whines as he built you up before allowing your orgasm to recede away once more.

You scoffed, brow furrowing and lid heavy with need.  “Well yes, but-but–,” you stammered as you tried to think of some good reason why you just needed to come.  You couldn’t—no reason that would be particularly compelling when he was like this.

As much as you enjoyed your games with your fiancé, your thighs were beginning to cramp and you swore you were going to have to change the sheets now, too.

You’d gotten on your usual Wednesday night call, mood worse than usual.  It’d been a long day and you were just ready to put it all behind you, bury yourself in the fluffy duvet of your shared bed, and scroll TikTok aimlessly for a few hours to allow yourself the time to rot in peace.

Charles, on the other hand, had other ideas.  If he’d been there, he’d have happily buried his head between your legs until you couldn’t put together a coherent thought and the tension had melted from your shoulders and jaw.  Seeing as he was in Maranello, though, he had to find another way to get you in a better headspace.

Enter: the vibrator.

Well, a remote-controlled bullet.  One that he could control with an app on his phone, the bastard. Some men found toys in the bedroom to be a competitor, but the Monégasque saw them as an accomplice of sorts; they were friends, not enemies.

In the moment, though, the little fucker sure as hell seemed like an enemy to you.

“Please, baby,” you whined for him, pouting with glossy eyes to the camera, “you already know it’s been a long day.”

Charles hummed, taking pity on you as he turned the vibe on once more to a low-power setting. You took a stunted breath, eyes closing as pleasure rolled through you once again.  The sound went straight to his cock, angry red in his hand as precum leaked over the vice grip he held it in.

“Thankyouthankyouthankyou,” you whimpered fervently as the toy kicked up another speed, sending you careening towards your climax.

“I wish I could be there, chérie,” he coaxed as he watched you start panting once again, breaths coming in stuttering bursts with whines trapped in the back of your throat. “J'adore entendre tous ces jolis sons, ma jolie,” Charles purred, pulling a particularly pitiful moan from you. He laughed as he ticked the power up another notch, “Oui—juste comme ça, chérie.”

You could feel your orgasm coming at you hot and fast, mouth falling open as your hips dug into the soft material of the mattress.  A tear spilled from the corner of your eye at the sheer sting of need coming into full view, one of your hands planting hard into the bed beside you as your eyes rolled back in reflex.

“Charles, please, I-I-I—”

“C’est bon, minette,” he soothed, his own desire starting to rear its head, “Let go—let it all go for me, mm?” He set the devilish little toy onto full blast, and you didn’t wait for him to rethink his offer.

You babbled half-coherently as something melted in the pit of your belly, washing over your senses until your ears rang and your legs buzzed.  You could feel your sweat pooling in the small of your back as loose strands of hair stuck to your forehead and neck from the matching sheen that covered them, and your partner had turned the bullet to its lowest power setting to nurse you through the aftershocks that rocked your hips.  You were well and truly dripping at this point, a small wet spot forming under you on the white sheets. You really should have put down a towel before you got yourself into this mess.

But with no warning, as you basked in the afterglow of a much-needed orgasm, the toy went into full power once more.  Your eyes shot open and hips jolted away from the sensation as you looked to the screen after a moment of realization.  “Baby, no, I–t-too sensiti—,” you started to whimper to Charles as you heard the sounds of his own pleasure growing more prominent.

“Yes, mon ange,” he said firmly, hazel eyes dark with pleasure, “Just one more—I know you can.”  He watches as your brow furrows once more and your hand disappears between your legs once again.  Never did he ever think he could be so jealous of a fucking hand.

You mewled as you fought the stuttering of your hips each time you pressed the toy to your already-aching clit.  Still, in no time you were there once again, and Charles cursed and muttered under his breath as he watched the show you put on for him.

“Merde—”

“Such a good girl, yes—”

“Going to fuck you so good—”

“Fuck…fuck—”

He grunted your name once more and came with a growl, jaw slack as he spilled over the fist that held him so tightly. Meanwhile, you were coming down with glazed eyes and parted lips, breathing hard as you let out a quiet “fuck.”

“Oui,” Charles agreed teasingly as his head dropped back behind him lazily.

Toy discarded onto the bed next to you, you rolled onto your side to face him on the video call. “Why do you have to work so far away sometimes?,” you grumbled rhetorically, pouting as your body pooled in one of his old t-shirts and your breathing started to match something more normal.  Your body had lost the tension it had been carrying, those dual orgasms working to relieve the stress you’d felt when you’d started the call.  Still, a toy was a poor replacement for the man on the other side of the call, and you wanted him there with you more than you’d wanted that first orgasm.  You hated making him feel bad about being away, but damn did you need to be fucked within an inch of your life right about now.

He tsked softly, lifting his head once more to see your pout.  “I know, mon cœur,” he nodded, adjusting the lid of his laptop to angle more towards his face, “but if I didn’t come to Maranello, I wouldn’t get anything done. We’d be like bunny rabbits—like Corsica.”

Memories of that trip came back, causing your tummy to flip at thought.  You really had fucked like rabbits on that trip, and no surface was safe from the fury of your shared lust. Nothing was sacred and anywhere that had just enough privacy was good enough for one to start tormenting the other with their fingers…their lips…their—

“I don’t see why that’s a problem,” you teased back, smile finding your lips once more as you shrugged your shoulders nonchalantly.  One elbow helped prop your head up while the other hand rested between the soft skin of your thighs.

“My sunburn disagreed,” Charles chuckled as you found yourself laughing with him.  “I looked like a…a—what’s the word? Homard?”

“Lobster?,” you chimed in with a smirk as you remembered just how red he’d been. You swore you‘d slather a metric shit ton of aloe on him during that holiday. The way he’d keep you warm in the cold showers, though…

“Yes, a lobster,” he sighed, dropping his head into his hands at the thought.  “Chérie, it hurt so bad—and Carlos wouldn’t wouldn’t stop laughing at me in the paddock in Spa!”

“But you would taste wonderful dipped in butter!”

“You are an idiot, chérie.”

“And knowing that, you still wanted me to be your wife.  So who’s the bigger idiot in this equation, baby?”

[zebuie]

⚸⋆Unleashed Desires ⛧☾༺♰༻☽⛧

𝓟𝖆𝖎𝖗𝖎𝖓𝖌𝖘; academic rival!ellie x fem!reader

𓆰𓆪 SYNOPSIS:: Ellie Williams, your academic rival who always had u beat, One night in a club, she lures you to her dorm where they indulge in a steamy, no-holds-barred fuck session filled with passionate curses and intense pleasure. The lines blur between competition and desire as their taboo passion takes over.

𝚆𝙰𝚁𝙽𝙸𝙽𝙶𝚂; SMUT!,swearing, porn w little to no plot,degradation (r receiving), strap on usage (r receiving), face slapping (r receiving), fingering (r receiving), hair pulling (e receiving), slight fluff in the end/aftercare,enemies to lovers trope, lmk if I excluded anyth

!! daily click to help !!

From the time you first met Ellie in the first grade, it was clear that you two were constantly competing against each other. It has been that way ever since the two of you started attending the same university. Ellie always finds a way to boast about her achievements, just as she did today when she strutted up to you with a sly grin on her face and boasted about her 98%. She asks you with a smug expression, "So, what did you get?" You grit your teeth as you recall her arrogant remark, trying to resist the surge of anger simmering within you. You decide to put her in her place once and for all. In front of everyone, you pull out your notebook with a confident smile and flip it open, exposing your grade book. With a nonchalant air, you point at the entry with today's score on it – a perfect 100%. The silence that ensues is deafening as Ellie's face turns from smug satisfaction to astonished shock before she can muster up a weak "Congratulations." Her friends exchange glances filled with jealousy while whispering amongst themselves about how ruthlessly they just got beaten by a girl who seemed like an underdog till now. Feeling proud and satisfied, you turn back to whatever task was at hand but don't ignore the sense of accomplishment and pleasure swirling inside you - finally putting that annoying rival in check using sheer talent instead of indulging in immature competitions.

As the day went on, Ellie's attitude towards you took a sharp turn. She couldn't stop talking about her defeat behind your back, trying to defame you in front of their group of friends. You overheard snippets of her insulting comments, mocking your success and even hinted at rumors she spread about you. At one point, during lunch break, she brazenly bumps into you as she carries her tray full of food from the cafeteria line, causing both trays to clash and spilling food all over yours. Her eyes filled with hatred as she sneered out "Clumsy bitch" You clench your teeth before responding sharply "Oh fuck off williams, it’s actually soooo fuckin pathetic how worked up your getting over me getting a better grade." Your words send a chill down her spine as people around them pause and look at you two with surprise etched on their faces.In response, Ellie scoffs derisively "Fucking lucky then! Bet you rely on tutors to keep those grades high." This sends a flash of anger inside you which compels you to grab hold of one side of her arm forcefully and hiss through gritted teeth You grab Ellie's arm in a tight grip, eyes blazing as you seethe with frustration. "Don't even fucking dare insinuate that" Your tone is aggressive, causing her friends to quickly move away, realizing this argument between you two is about to escalate. "I work my ass off for those grades, no tutor needed! And unlike your stuck up self who only brags about fake achievements," your voice drops menacingly low, "I earn mine the hard way." Ellie looks at you with disdain mixed with fear before pulling her arm away roughly from your grasp. "Whatever helps you sleep at night knowing some geek like you actually tops me," she sneers mockingly before turning on her heels and storming off. Despite ur harsh words exchanged earlier and the bitter taste left in your mouths from this exchange; something inside both of you starts simmering - an intriguing mix of anger coupled with an undeniable attraction towards each other which neither one dares acknowledge out loud just yet.

A few weeks later, you catch a glimpse of Ellie from across the dimly lit club standing at the bar with a drink in hand. Ellie wore a loose muscle tee with a faded logo, crop top of a band you couldn’t recognize. The shirt cut off just above her toned midriff, showing the hem of her branded boxer shorts peeking out. And u couldn’t deny, Her muscular body looks so fucking good under the neon lights of the club. As you saunter over to to the bar, she smirks cockily "Look who decided to grace us with her presence." Her sarcasm is evident yet it doesn't bother you as much as it usually would. You move unconsciously closer to her, catching Ellie's gaze as she takes a swig from her beer bottle. A challenge lingers in her eyes as if daring you to make the first move. Suddenly, you blurt out "Wanna get outta here?" Ellie shrugs indifferently, taking one last sip of her beer before tossing it in a nearby trash bin and following you without another word. The silence between you two fills the air as Ellie trails behind you through the empty halls of their dorm building. Each stride she takes sends a shiver down your spine - her presence creating an undercurrent of desire that's hard to ignore. Once inside her room, she kicks off her converse and throws herself onto one of her plush couches; clearly, she expects something to happen now.

You hesitate for a moment before deciding to break the tension "Ellie..." You trail off nervously, not knowing how exactly to voice out what's brewing between both of you. Ellie lifts her head and looks at you with a blend of curiosity and amusement "What is it?" Her gaze intensifies as she takes in your nervous demeanour. In response, you step closer to her until their bodies are almost touching. Your lips part as if to confess the feelings that have been brewing inside you for weeks now when suddenly, Ellie pulls you closer and claims your mouth in a rough kiss; her hands gripping the sides of your hips as she deepens the kiss, You're startled by her unexpected move, but you don't resist as Ellie pulls you in. Her lips are rough and demanding, sending electric shocks straight to your core. She tugs on your jeans, pulling them down; revealing your bare legs to her hungry eyes. she slowly pulling your shirt up, then unclasping ur bra. Your hands find their way to her hair, entwining themselves gently as she continues devouring your mouth hungrily. She kisses you deep, her tongue pushing against your lips until you open up for her. Her hands are everywhere, gripping your ass cheeks hard as she pulls you closer. You moan into the kiss, your body aching for more. Without breaking the kiss, Ellie pushes you back onto the couch; pinning you beneath her body with her muscular frame.

Her lips trailing down your jawline, kissing and nipping gently on your skin. You shiver at the sensation, needing her closer than ever. hissing between her teeth as she rubs against the soft fabric covering your damp pussy. 

You're panting now, desperate for more of her touch. She slips two fingers beneath your panties, stroking your wet folds roughly. "You're so fucking wet." She mumbles against your skin before pulling back to look you in the eye. fuckin tease. Your breath hitches as she trails her finger along your bottom lip - a silent command to guide her further. Without hesitation, you reach down and tug her fingers towards your dripping pussy, inviting her to dive deeper. She obliges eagerly, pushing two more fingers inside you; stretching you gently as she curls them to hit your sweet spot. You throw your head back with a moan, gripping the couch beneath you as waves of pleasure wash over you. Ellie's fingers are relentless, pounding your core hard as she swirls them around until you're on the verge of cumming. She adds a third finger, stretching you even more; making your walls clench desperately around her digits. You whine loudly, urging her closer "Ellie... please..."

She leans down to capture your lips in a bruising kiss as she picks up speed; driving you over the edge with a fierce orgasm that has you crying out loudly.

You collapse against the couch, panting heavily as she continues to stroke you gently until your climax fades. She pulls her fingers out of your damp folds and brings them up to her mouth; sucking them clean with a satisfied moan. Her eyes meet yours, filled with lust and desire "I've wanted you for so long," She murmurs before climbing onto you completely; positioning herself over your breasts as she grinds against your still sensitive pussy. Your hips buck up automatically, desperate for her touch. She slides her sweaty pussy along your soft skin, moaning softly as she picks up speed. You reach up to stroke her hair and kisses down the side of her face; She pulls back to look down at you, her eyes smouldering with a wicked intention. "I want all of you." Without waiting for your consent - she slides off your body and hops down from the couch. Making her way over to a nearby drawer, she rummages around until she pulls out a purple strap on She comes back towards you, her eyes filled with lust as she gazes down at your glistening pussy.

Without any warning or preamble - she positions herself between your thighs once again, running the strap on along your wet slit. You let out a sharp intake of breath, arching your back as she pushes the hard plastic shaft against your entrance. "gnna make you feel s’good mama, gonna be a good little slut f’me ‘nd lemme fuck u with my cock huh?," She smirks down at you, pushing the strap on inside you slowly and deliberately until it fills you completely. She begins to thrust slowly and sensually, your moans growing louder as she hits all the right spots. She picks up speed, slapping against your skin in perfect sync with your eager cries of pleasure. You wrap your legs around her waist, clinging tightly to her as she pumps harder into you - stretching you full and satisfying every craving deep within you. Ellie's relentless pace sends a fiery heat spreading through your entire body - you moan loudly, feeling her hitting the perfect spot over and over again. She grinds against you more forcefully, biting her bottom lip in pleasure; "You're such a fucking slut for my cock." Her words send a shudder through you as she slaps your face gently - leaving behind an electrifying sting. Ellie pulls your hair, twisting it gently as she slams her hips into you harder.

"You love it don't you? You're a dirty little slut who wants every inch of my dick." She slaps you again, this time a bit harder; leaving a red handprint on your cheek while maintaining her intense rhythm inside you.

Ellie groans loudly, her body tensing up as she pulls you closer. "You've been such a little brat all these years... so fucking impatient... needing this cock so badly..." She slams herself into you once more, hitting that sweet spot with deadly accuracy; sending shivers down your spine. She continues her ferocious pounding as you pant breathlessly - your body craving more. "please don't stop," You whisper between gritted teeth, desperation coloring every word.

Ellie smirks down at you, pinching one of your nipples roughly - making you arch up into her even more. the strap on bumping against her clit- Ellie slams into you forcefully, her breathing growing heavier as she nears her climax. "That's it baby, fuckin’ take it..m’so close." She bangs harder against your g-spot - every stroke igniting sparks deep within you. You feel your orgasm building up, a fierce heat engulfing you - making it impossible to hold back any longer. "Ellie fuck im gonna-" Your cries are loud and desperate as waves of pleasure crash over you; Ellie gasps out her own climax moments later - her entire body trembling against yours. 

Once she's finished cleaning you up, "here u go," she said as She tossed you an oversized t-shirt and some boxers to change into. Ellie pulls you into her arms; cradling your head on her chest. She strokes your hair gently - whispering soothing words that help chase away the lingering afterglow. You melt into her embrace, feeling safe and content in her arms. "thank u," You murmur against her soft shirt as she runs a comforting finger along your cheek.

[coolshadowtwins]

SVSSS System Reveal Fic round up!

If you know one that hasn’t been recc’ed, then please put it in the comments/tags! I’ll add it to the post!

A Transmigrator and a Time Traveler Walk into the Bamboo House by VeryCharismaticDragon

Over a year after Shen Qingqiu's death, Luo Binghe consults his servant's servant, concurrently his disgraced martial uncle, for a way to bring the love of his life back. Shang Qinghua sends him in the direction of a certain time-traveling artifact, which supposedly brings one to the day they first met their soulmate.

Odd, though, that the artifact ends up missing the destination by just a few years…

A story in which post-Abyss Luo Binghe relives his disciple days, while juggling his secrets, traumas, and some unexpected revelations about the man he loves on top of that.

What is Seen by CaveteDracones

…is not [always] the real truth.

Truth-compelling artifacts in the hands of an enemy to one side, SYSTEM-mandated silence on the other, and Shen Qingqiu caught between the two. Is it too late to go back to the Water Prison? (NOTE: This one was recommended three times, and I have personally reread it multiple times. It’s one of my favorites and I really do want to read more fics in a similar vein lol)

open my lungs to let you in by ghostybreads

Shen Qingqiu had a secret. So, naturally, it was only a matter of time before he was hit by a truth serum wife plot.

//

“How are you?”

“Horny. Kind of want Binghe to rail me, I guess. But it’s manageable.”

Liu Qingge’s hand on his forehead froze, and he was close enough that Shen Qingqiu could hear his breathing stop. He stared back expressionlessly, the mortification distantly crawling up the back of his neck. Honest One-Horned–

The frustrated scream that he usually vented in his head, came out straight from mouth.

“aaAAAAAHHHH GODDAMNIT AIRPLANE–”

Futility in Practice by TGP

When Luo Binghe is fourteen years old, his shizun suffers a terrible qi deviation and fever that completely changes who he is.

and judgment is just like a cup that we share by Kieron_ODuibhir

The blob finished rotating into place in a way that wasn’t quite compatible with geometry as Shen Qingqiu understood it, and cleared a throat it didn’t seem to have.

“Greetings,” it said, somehow clearly addressing him in particular more than the room as a whole despite its total lack of features other than blueness and translucency. “I’m here on behalf of the Hyper-Celestial Peace and Order Enforcement Bureau. Crime scene secure, proceeding to interviews. Beginning with Subject One: You are Shen Qingqiu, formerly Shen Yuan, also known as Peerless Cucumber?”

First, do no harm by Terias

Shen Qingqiu has been acting especially erratic since awakening from his three day coma after a severe qi deviation.

Mu Qingfang investigates and discovers a great many things about his new shixiong. (NOTE: This one has Shen Yuan and Shen Jiu as the same soul, technically, but it still works I think!)

Show The Screenshots by A_Non_ymousWriter

When a rogue foreign System sends out a subtle virus, some outsiders are shown chat messages between a certain two transmigrators and their Systems.

AirplaneBro: nah dude shen jiu would never lay a hand on his female disciples like that, hes gay

Liu Qingge tripped on thin air while Mu Qingfang choked on his tea as Shang Qinghua (their god? creator??) casually shattered their view of their original Shen Qingiu. The fake Shen Qingqiu at least, was sharing their shock.

CucumberBro: EXCUSE ME WHAT??

CucumberBro: The fuck he is?!?! He literally GOES TO BROTHELS! LIU QINGGE FOUND HIM IN BED WITH A WOMAN THAT ONE TIME?

AirplaneBro: aight bro buckle the fuck up cuz imma take u on a joyride all about shen jiu >:)

—————-

Binghes#1Fan: I don't want to send Binghe into the Abyss...

System 2: User must comply, if User cannot do the task User will be punished and the account will be terminated.

Mobeis #1Fan: sorry bro unless ur okay w being ded af u gotta push binghe into the abyss

Ning Yingying's fists clenched. Okay, so trying to get Yuan-ge and A-Luo together would be harder than she thought.

[yamujiburo]

POKEMON SERIES RANKED (IMO)

I get this question a lot and haven't made an updated list with Journeys

Original Series (S1-S5)

Sun & Moon (S20-S22)

Chronicles (S0)

Diamond and Pearl (S10-S13)

Advanced (S6-S9)

Journeys (S23-S25)

Black & White (S14-S16)

XY (S17-S19)

Original Series (S1-S5)

OS had that first season charm. Very unpolished, still finding its footing but super enjoyable for those reasons

Probably the strongest series comedy-wise

That GORGEOUS 90s anime style

Main character dynamics were REALLY strong

Ash's personality felt much more like a shitty little 10 year old which was entertaining

Dub writing was also the best hands down

Sun & Moon (S20-S22)

Honestly tied for first with OS for me

REALLY fun ensemble cast! They do a fantastic job giving each character enough time for you to get to know and care about

Excellent modern anime style that perfectly fit the vibe of the season and allowed for some of the best character animation of the show's run

Finally figured out how to write Ash like a 10 year old again (but in a kind/sweet 10 year old way as opposed to OS)

Very different from previous series in terms of the formula they'd follow. Doing a school series instead of another "8 badges to championship" plot felt new and fresh!

This series genuinely made me cry the most (MEMORIES IN THE MIST!!!!! LIKE ARE YOU KIDDING ME)

Chronicles (S0)

Fun concept! It was really nice to see more of the side characters without Ash there. We get to see more of Misty, Tracey, Daisy, Brock, Ritchie, Oak, Delia, Butch, Cassidy, Jessie, James and Meowth!

Stylistically really nice. Just solid drawings all around and it retained the 90s anime style in digital form more successfully than other digitally done series imo

BUTCH AND CASSIDY!!! Team Rocket centric episodes!!! Training Daze!!!!!!!

Idk how possible it would have been (seems like a TON of work) but it made me want one of these in between each season, where we'd follow the characters that Ash had just said goodbye to for the next region.

Diamond and Pearl (S10-S13)

Series I grew up with! Honestly I was kinda a hater as a kid but having watched it back, I love the series

Love that Ash and Dawn were bros. They had a really fun dynamic.

Debatably peak Team Rocket. They had some of the best Team Rocket centric episodes this series.

Contests were really fun and a bit more figured out compared to the Advanced series

Fun, memorable rivals for Ash (Paul and Barry) as well as Dawn (Zoey, Kenny and Jessilina sometimes)

This is unfortunately where I stopped caring about Ash as much. He feels kinda watered down for the next couple series.

Advanced (S6-S9)

Pretty tied up with DP for me

Really fun series! Still had some of that early Pokémon charm

I appreciated that they put Ash in more of a mentor role for May (but he still had a lot to learn himself).

Ash and May constantly butting heads was really fun

May was a very compelling character to me, being very clumsy, kinda lazy, directionless, not really into Pokémon, etc. But then over time, she comes around and finds something she's interested in!

Journeys (S23-S25)

I love the episodic take as well as the way they let the characters jump around from region to region at random

Goh was a GREAT travel companion to Ash. They contrast each other nicely, have moments where they get on each others' nerves but still get along and have a mutual admiration for one another.

It was fun that they made Goh's thing catching every Pokémon (the motto of the entire series) so they could focus on Ash just training and prepping for Worlds.

Amaaaazing style. Took the great parts of classic Pokémon, roundness of SM and blended em together for a really fun look.

Black & White (S14-S16)

I don't think it's that controversial to have BW this low haha

I did enjoy Iris and Cilan but it felt like the writers didn't reaaally know what to do with them? Also this was their first time in a while not having Brock and it shows. I feel like Brock was successful because he was grounded and lower energy compared to the rest of the kids. Having 3 pretty eccentric characters is kind of a lot. No hate to the characters in the slightest, there was just not as much balance.

I think maybe they leaned on Cilan and Iris for more comedic relief because they killed the comedic relief that was Team Rocket this series. I appreciate them trying something new with Jessie, James and Meowth but I don't think it worked very well lol

XY (S17-S19)

I've ranted about this series a lot LOL. I get the appeal of it, but it just wasn't for me. I felt like it was the weakest comedy-wise and took itself a bit too seriously for my taste

My main gripe is that Serena, Clemont and Bonnie all like,,, worship Ash. By doing so, Ash begins to feel like a side character because we're constantly looking at Ash through their eyes. There's so little conflict within the group so their dynamics feel really flat. I think this dynamic could have worked if they leaned waaay more into Ash being a mentor and maybe feeling the pressure of having to be a role model for the people around him.

Team Rocket very much feels like an afterthought in this series. They did in Journeys as well, but at least in Journeys they were doing something silly and also had a handful of episodes dedicated to em.

Outside of that, the episodes weren't super memorable for me

I think it's just frustrating because there was sooooo much potential character-wise

[fellthemarvelous]

Staged and Good Omens: The discontinuity of a story within a story within a story.

I'm watching the third season of Staged again right now, and I think I've figured something out.

The discontinuity that people are talking about of Good Omens 2.

Staged 3 was a very modern version of A Christmas Carol. Ep 1. Is there a version? (David and Michael work with Simon again) Ep 2. Who's Playing Who? (Scrooge, episode was a farce) Ep 3. Past (Michael and David are co-dependent af) Ep 4. Present (Michael and David fail to write a script) Ep 5. Future (David tells everyone they are doing a live show) Ep 6. Knock, Knock (Simon gets even, ending is sad but not really because they are just taking a break and breaks don't last forever, and Simon gets a job offer based on his script for Knock, Knock, the one story he didn't write.)

The epic trainwreck that is David and Michael's live version of A Christmas Carol is actually a hit, but everyone else has to convince them to stop the show because it can't go on forever. So they end it with Michael and David agreeing to take a break from working together even though it makes both of them sad.

But the whole premise of Staged was that everything was filmed on iPads, computers and cell phones. And it was submitted to Simon so he could piece it together.

Simon Evans wrote Staged as a love story between David and Michael. Simon writes what he sees and finds ways to incorporate fiction into reality. He saw them on Good Omens together and he saw the chemistry between David and Michael, and he turned it into a comedy about these two eccentric actors who clearly love each other. And they agreed to star in it.

They improvised most of it, but Simon laid out the framework of the plot for them to follow, and then he let them be themselves.

The entire show has layers upon layers of meta weaved into it.

Anyway, my point is...

This post is one of several that covers the different ways discontinuity seems to occur during Good Omens 2. The evidence is very compelling.

I'm not here to point all that out because I don't have the strength of some of the meta writers in this fandom, and they're already on top of it, but if we look to Staged as an example, what is the plotline that Good Omens 2 is following?

Good Omens 2 is a modern version of.... Ep 1. The Arrival Ep 2. The Clue (A Companion to Owls) Ep 3. I Know Where I'm Going (The Resurrectionists) Ep 4. The Hitchhiker (Nazi Zombie Flesheaters) Ep 5. The Ball Ep 6. Every Day

What are the stories happening around Aziraphale and Crowley? They're the focal point of season two, but what else is happening?

Neil Gaiman has said that everything means something. They aren't just showing us these things by accident. There is a story happening outside of Crowley and Aziraphale's relationship. And we are all looking closely for that person doing a very odd thing just out of sight or objects being moved around without knowing how they got there in the first place.

There was literally an entire scene in Staged where they are trying to figure out who is playing Scrooge and Simon is so anxious that he keeps moving his plant between two different spots in the room. It also ends up with Georgia accidentally planning her own birthday party because David is in Tokyo. But then they cut at one point and you learn David was actually in his bedroom and not a hotel room in Japan and Georgia didn't really just plan her own birthday party. That chaos was scripted. David has to change clothes, they have to go several minutes back in the scene they just did, but as Anna points out, the sun is not in the same place it was when they started the scene. And then Michael loses his shit at Simon and storms off.

You think that's the reason Simon left, but then we get the episode where Georgia tells David Michael wants to write the script and then tells Michael that David wants to write the script. She does it so she can get them alone in a room together because people love watching them argue. They find out she set them up about six hours later. They are hungry and hot and annoyed and mad at her so she gets Simon to come back to work with David and Michael. Simon comes back from cosplaying as a dentist, brings the food Michael ordered hours ago, and sits down to write. Michael gets pissed off at Simon again because Simon forgot the prawn crackers, so he throws his food at Simon.

Some of these are of the past. Some are of the present. They were all filmed at the same time though so you don't know what happened when or why.

These scenes are all cobbled together. They tell a complete story though. The order just isn't exact.

The story we are seeing in season 2 isn't the real story. It was happening around Aziraphale and Crowley, but with them at the focal point, you get a romantic comedy and it distracts you from what's going on in the background.

There is more than one story in season 2. It's basically a jigsaw puzzle that we can try to piece together, but we won't know what's actually happening until we get the much needed context of season 3.

There are clues all over the place in Good Omens 2. The story is being told through so many other methods except for the one that makes the most sense to us because someone doesn't want us to see what's coming, so we get distracted by Nina and Maggie, Jim, Aziraphale and Crowley.

We know Muriel and Saraqael are up to something. We know Shax and Furfur are up to something. We know the Metatron is up to something. What we don't know is where God went. We hear God's voice in Companion to Owls and we hear God's voice speaking through and with Jim when Crowley orders him to tell them what is going on. It ties directly to the first time Crowley and Aziraphale ever worked together.

We know that Aziraphale is going to Edinburgh and he knows exactly where he's going because he and Crowley have been there before. It challenges the concept of good and evil because Crowley does the good thing and gets sucked into Hell. Right next to Gabriel's statue.

We know that Aziraphale picks up a hitchhiker even though he doesn't want to, and it turns out to be Shax. She reminds Aziraphale of the time that Furfur caught them working together. There were zombies and human magic tricks and Aziraphale uses sleight of hand to save Crowley from being dragged back down into Hell again.

The episode titles of Staged 3 all represent different chapters of A Christmas Carol. But it was more than that because Michael is upset with David for doing adverts without him after they were both asked to work together at first. They love each other and they love working together, but it's preventing them from doing other things they want to do. Hence the break from working together.

It's a story within another story within another story.

And I think that's what we are witnessing in Good Omens. Things aren't happening in the right order. Beyond the sadness of Aziraphale and Crowley splitting up, there is still the next apocalypse to deal with. The story we are getting in season two isn't happening sequentially. It's being manipulated to hide the signs that things are already underway by giving us a love story as a distraction.

And it works very damn well. Because the love story was beautiful.

Staged 3 ending

Good Omens 2 ending

[ystrike1]

Red Mansion - By Nanggaek (9/10)

Crime rings are so boring. We've all seen the same stale "gangster" settings before. This is a really dark crime webtoon. Both men are yanderes and the real evils of the story are landlords, debt, and exploitation. It kinda gets too real. The simmering evil is top tier.

Sungkyung, or "Mini Mart", runs Mini Mart number 3 in the Red Mansion complex. The Red Mansion isn't a collection of regular apartments. It's very cheap. Very old. Very moldy. Very populated by criminals and people in debt etc. Our protagonist gets robbed. He gets scammed. His store is a dirty joke, and there's constant fights in the halls.

Make no mistake.

The Red Mansion is a prison for the desperate poor.

Mini Mart is underweight. His little business barely makes any money. Most of the residents don't pay their tab. Mini Mart occasionally has to take dangerous side jobs to pay for his parents meds.

Mini Mart was BORN in the Red Mansion. His parents fell into debt when their business flopped. Their son has never known normalcy, or the luxury of safety.

He's also a total hottie under the grime and dirty hair, but that doesn’t matter when your life is debt.

They were loving parents, so Mini Mart feels compelled to care for them. Both parents have fallen victim to some mysterious disease. They won't eat and they just sleep in cots all day, covered in flies.

You may have already guessed the plot twist. It looks like his parents aren't really sick, by definition. They have lost the will to live in the Red Mansion. They were once a prosperous middle class couple. They've...given up, even though Mini Mart hasn't given up on them.

The Red Mansion is a family business. It's been making money off of people in debt for years. The second generation owner is the handsome Mr. Kwon. The younger of two brothers.

He's handsome and he's a scary gangster.

Mini Mart has a crush on him because....well...duh? Mr. Kwon is a well dressed and reasonably polite man who visits Mini Mart about once a week. He doesn't abuse Mini Mart.

By the way I'm calling him Mini Mart because Mr. Kwon doesn't know his name.

It's all very creepy. Mr. Kwon doesn't KNOW Mini Mart. He's not interested in Mini Mart..........but he totally is. Mr. Kwon has never slept with a man. He doesn't KNOW he has a crush on Mini Mart. He just shows up. He gives Mini Mart money. Gifts. He visits when he has lower thugs for that, and he's nice to Mini Mart. He also licks cheap lollipops while he stares at Mini Mart. Yeah definitely a dense closet Bi guy. Classic repressed alpha male. You get it.

Mini Mart has noticed the flirting. You see, he has an observation note book. Mr. Kwon is his only friend and his only crush. Mini Mart is super obsessed with him. He sort of figures out that Mr. Kwon is interested in him...in some way. Maybe it's pity. He's not sure, but he's willing to do anything. Mr. Kwon is literally the coolest, most handsome, richest, nicest person in his life.

Of course he's obsessed to an unhealthy degree. His visits are the one bright spot in Mini Mart's routine. He has to spend the rest of his time working and caring for his depressed parents.

Mini Mart is weird but he's a nice guy. He fights a bloody battle to get pills from a quack doctor for his parents. Mr. Kwon eventually sees the injuries. His "gifts" start to get bigger. He seems to like how "pathetic" Mini Mart is. That kinda sucks because Mini Mart is a resilient and kind hard worker. Who really doesn't deserve to be looked down upon for supporting his entire family but...whatever Mr. Kwon is done for.

Mr. Kwon kinda invites Mini Mart over. Kinda. Mini Mart is in debt. He has to pay interest directly to Mr. Kwon. Usually that's done in the Red Mansion, but Mr. Kwon invites him to his real home when he's kinda drunk.

He notices Mini Mart is turned on by him. He confronts Mini Mart about his stolen jacket, and he's turned on by that and.....Mini Mart stole the jacket to sniff it and he admits it.

....

...

Well.....

Mini Mart is happy.

Mr. Kwon is mostly confused but he's got spirit. I'm not saying he's awesome, but he's never outright awful. He does things for Mini Mart that actually help him a little bit. He's interesting because he falls for Mini Mart very, very slowly. He's crass. He's rude. He thinks he's into women, but then Mini Mart blushes at him and suddenly he wants to do chores. He settles the debt tabs for the mart, just to help out his new lover.

Is he a nice guy? No, but Mr. Kwon isn't moping around the mart trying to abuse the object of his interest. The story is very dark in general, so it's easy to see that Mr. Kwon gives Mini Mart special treatment.

He's a soulless demon with everybody else.

It's also nice??? That Mr. Kwon really enjoys uh...pleasuring Mini Mart? It's messed up that he doesn't learn Sungkyung's name for a while, but at the same time there's enthusiastic consent and both men enjoy themselves fully. I think this is the superior "kept man yandere" webtoon. I can actually see this relationship progressing. Mini Mart would absolutely, willingly become Mr. Kwon's submissive lover. No prison keys required.

[littlemonday]

The Emperor, The Ending, and that IGN Article

Note: This analysis was originally written and posted on the Larian forums for Baldur's Gate 3. You can find the original forum post here. This analysis includes a number of outside links to other posts I made on the Larian forums as well as the IGN article I'm referencing through out. If you choose to read the original forum post, I have a number of responses through out the thread. You'll recognize which responses are mine because I use the same name on the forums as I do here - LittleMonday.

This analysis first looks at the ending choices in the game, then transitions into a character analysis of The Emperor. Approximately 3,800 words. Lots of spoilers.

Let me first start out by saying that I love this game. It would be entirely unfair to say that this game is anything less than a triumph. The level of skill that goes into a collaborative process such as the making of a video game with a rich story, compelling characters, complex morality, beautiful animation, and an immersive environment is something that should not be hand-waved away. I’ve enjoyed hundreds of hours playing this game. Having said all of that, here’s (yet another) post of “we need to talk about the ending.”

If you’re unfamiliar with the recent-ish IGN interview with game director Swen Vincke and lead writers Adam Smith and Chrystal Ding, you can find it here. I’ll be focusing on their section of the interview concerning The Emperor and the end game choices.

LOTS AND LOTS OF SPOILERS AHEAD.

Let’s talk about the critical decision of siding with Orpheus or The Emperor.

I know a lot of people have pointed out that The Emperor joining the Netherbrain in the end if you side with Orpheus makes no sense, and I think it both does and doesn’t. He has always wanted freedom, and it’s almost certain that the moment he leaves the astral prism without Orpheus’ protection, he’ll be enthralled whether he’s willing or not. The explanation given in the article by Swen and Adam, as well as The Emperor in game, as “survival” feels like a 180 when his ultimate goal has been freedom. Why they chose not to focus on the fact that it’s game over for him as far as his autonomy under this circumstance is puzzling. Which brings me to my next point.

One of my biggest problems with the ending is how contrived the choices are. Along with The Emperor’s 180 mentioned above, Swen and Adam (Chrystal doesn’t say much) seem to have rigidly held on to this plot contrivance of choosing to become a monster, and in doing so, forces a binary ending whether it works within the narrative and gameplay or not.

Swen - “One of the basic questions of the game was whether you would become a monster if it would save the world. So that’s where you get that in that moment. And then the interesting bit was, well, if you’re not going to do it, are you going to ask someone else to do it, or [are] you just going to say, ‘F*ck everybody?’ That’s essentially what that moment was.”

Adam - “There was no way to save the city, save the world without giving up your own identity.”

The thing about a binary choice is that it only works if there truly are no other options available, however, the player has a lot more power and leverage in this situation than the game is willing to let them have. The Emperor wants his freedom and will be enthralled voluntarily or otherwise if he leaves the astral prism and cedes power to Orpheus. It’s also worth mentioning that when you help him defeat the Honour Guard, there’s an option to ask him about assimilating Orpheus, to which he answers that it may not work. So, assimilating is a big risk, and should it fail, he’s back to being a thrall.

Then there’s Orpheus. He cannot leave the astral prism without the players freeing him with the Orphic Hammer and cannot take on the Netherbrain unless he or someone else turns into an illithid. The player has leverage against The Emperor to persuade and/or intimidate him to join with Orpheus, and they also have leverage against Orpheus for the same thing. The whole speech Orpheus gives about how the player should have let his Honour Guard kill them and they would have taken on the Elder Brain before it evolved and became a Netherbrain is either a lie or delusion. You don’t even need to metagame to know this, yet the player has zero dialogue available to call Orpheus on this claim. He and his Honour Guard have been imprisoned in the astral prism for millennia with no means of escape, and no way of impacting the outside world. They weren’t going to stop anything, and yet, through the dialogue choices, the game treats this as though it were a given and that The Emperor held all the cards and kept this from you. He didn’t. He truly is the reason you’re alive to face the Netherbrain. Given the gravity of being on the cusp of The Grand Design, calling Orpheus on the impotence of him and his Honour Guard, and also potentially being under threat of having his brain consumed if he does not cooperate, there is plenty to leverage against Orpheus to get him to at least temporarily ally with the player and The Emperor. If you’ve struck a deal with Voss, you have even more leverage.

Beyond the other options that I believe should be available, I don’t think becoming a monster or “f*ck everybody” comes through in the ending at all. It seems like they expect players to side with Orpheus when there are plenty of role play reasons to side with The Emperor, and then no one has to become a monster, and you still save the city. The Githyanki aren’t even doomed under this ending just like they’re not doomed if Orpheus transforms and dies in the end so he doesn’t live as a mind flayer. If anything, the theme of freedom, autonomy, and alliances, I thought, came through more strongly, both with defeating the Netherbrain and with the companion quests. Under this theme, an option to persuade/intimidate Orpheus and The Emperor to work together actually makes more sense because they have to put aside their hatred for one another to accomplish the same goal of defeating the Netherbrain and obtaining their freedom. The intention seems to have been for the player to make a significant personal sacrifice to save the world, but I just don’t think that it was executed particularly well.

I think this is a good time to say that authorial intent should never be the end of one’s analysis of a text. If an author/director/writer/artist/creator tells you what their intention was, it doesn’t mean the text supports that. We don’t always execute something we create the way we intended to.

And that brings me to the next thing I want to discuss.

Let’s talk about The Emperor as a character.

I want to start out by saying that The Emperor is my favorite character. I enjoy a compelling and nuanced monster that subverts our expectations, and I think The Emperor provides a lot of that while also not living up to his full potential. I’ve already written a post on this forum regarding why I think we need to have a fully fleshed-out romance for The Emperor that you can read here. I’ll be focusing on his writing for this. I wrote at length about what I enjoy about the character in another thread on this forum, that you can find here, but I’ll include a quote:

“What’s unique about The Emperor is how he subverts our expectations. Yes, he’s manipulative, but he never mind controls you. He’s this supposedly asexual creature, yet he’s sexually interested in the player character and is heavily coded as a romantic male lead. He’s also supposed to be this heartless and soulless creature, but expresses care for the player character, and if you romance him, he’s sweet, vulnerable, and sincere. He’s supposed to be part of this hive mind, yet he wants his freedom and actively encourages the player character to form alliances to defeat the Netherbrain. He needs to feed off the brains of others, but avoids the innocent. He may want the player character to change into an illithid, but he leaves that choice entirely to you. He’s alien, yet very human and desires allies and companionship.”

I was under the impression from this interview that Swen largely sees The Emperor as a plot device, while the writers saw him as a character, even if he has a specific purpose in the narrative. There’s even a very awkward part of the interview in which Adam refers to The Emperor as “he,” quickly corrects himself to refer to him as “they,” only for Swen to insist that The Emperor is an “it,” even saying that “we often had this fight” when referring to his pronouns. I personally think that’s a bit revealing, though you may disagree.

For additional context, Swen, Adam, and Chrystal all agree that The Emperor is manipulative and self-serving, but that he never lies to you. Swen will later reiterate this very point when talking about Raphael:

Swen - “Raphael… a lot of what he says you can’t trust, but he is honest. And at one point, if you push him on it, he says, ‘All you are to The Emperor is a pack animal that’s carrying him to where he needs to be.’”

There’s another awkward exchange in which Adam speaks to The Emperor being terrified of going back to the Elder Brain. Swen then remarks:

Swen - “he’s not really terrified he doesn’t have that level of emotion.”

Adam - “Well, yeah, but I think that there’s a level of horror in being… Going back to what he escaped from.”

Now with all of that context laid out, I think his manipulative nature is pretty uncontroversial in the game’s text. He is self-serving - he doesn’t really hide that from you - he speaks in partial truths, and you are a means to an end. At least at first. And, this is where I think he becomes a more complex character whether Swen realizes it or not.

As a side note on how he manipulates the player: there’s this strange bit of dialogue with The Emperor in which you can call him on the fact that he’s hidden information from you throughout your entire alliance, and he responds by acknowledging that, saying that he purposefully lead you to believe that the githyanki Honour Guard were evil beings. I don’t recall this at all. He tells you that they would have killed you because to them you are already illithid, which is all true. It’s a strange bit of dialogue in the end that doesn’t follow what’s been established in the game.

That aside, I’ve heard many people hand-wave away all of his behavior as insincere and solely for the purpose of manipulating the player, however, I think that’s, at best, a shallow reading of the text. He may be manipulating the player character, but that’s hardly the only thing going on, where a character like Raphael is truly only manipulating the player character. In the interview, Swen, Chrystal, and Adam all say that he doesn’t lie, however, I think a more precise way of saying that based on what we see in the game, is that he doesn’t fabricate lies. He doesn’t make up a lie out of whole cloth, but rather omits information that he doesn’t think is relevant, or that doesn’t serve his purpose. Perhaps the most infamous example of this is his relationship with Belynne. As long as you remain on good terms with The Emperor, he frames their relationship as two allies working towards a common goal in The Knights of The Shield. However, if you become hostile, provoke, and dehumanize him, he reveals that Belynne was his unwilling thrall.

I’m hardly the first to point out that this cutscene is a bit suspicious. The timing of such a reveal and The Emperor framing it as “why hide” or “will this make you feel better” is an obvious threat to someone who seems likely to betray you the moment they can. The cutscene also has The Emperor casually revealing his identity to someone other than Belynne, much to this unnamed person’s horror. That is already out of line with how he conducts himself. After her death, we can have this interesting conversation with The Emperor in which he further discusses his relationship with her. With hindsight, it’s obvious that when he says their relationship “was not love” it was “deeper,” and that it was “unique,” he is referring to when she was his thrall. But, he also reveals in some dialogue options that she understood his needs, his desire for freedom, and that she didn’t trust a mind flayer at first, suggesting that she wasn’t initially his thrall. He even describes himself as being “haunted” by memories of her. We don’t know exactly what memories are haunting him, but we do know that the dialogue option with the thrall cutscene, he says to the pc “aren’t you glad I finessed my methods?” Even when he calls you his puppet, at no point in the game will he enthrall you or your party members.

It’s worth mentioning that it is well within DnD lore that mind flayers grow attached to their thralls and mourn their passing, but we later find documents in the game, one from a physician, that when The Emperor came to visit Belynne as her condition progressed, that it eased her “body and mind.” We also find a document suggesting that he was impersonating her through magic as one eye witness account described a floating blue figure, but that it turned out to just be Belynne smiling. I bring all this up because what I believe we’re seeing here is an incomplete portrait of their relationship. I think it suggests that they were once genuine allies before he enthralled her, and that he’s mourning more than just her passing, but also the deterioration of their relationship. I think this also helps to explain why he never enthralls the pc, even if it would mean preventing them from taking some very dangerous paths that jeopardize their mission. The Emperor is an unreliable narrator who speaks in partial truths, so I don’t believe that either version of their relationship you get from him is the whole truth, but is not entirely false either. This game very often takes a more-than-meets-the-eye approach to characters and storylines, so this is well within what we have come to expect from this game. She may have been a means to an end on some level, but she was hardly only a means to an end.

As far as that strange comment from Swen that The Emperor “does not have that level of emotion,” we actually feel his fear regarding the Elder Brain as it’s breaking free from the crown’s control. If the pc romances him, we literally feel that he cares for the pc, and in some interactions of this scene he’ll tell the pc that he enjoys their mind, and refers to their relationship as a bond of love. Before the final battle, one of the NPCs invokes Balduran’s name right before battle, and if you’ve allied with The Emperor, you feel his amusement that they have no idea who he once was. There’s even that scene with the Guardian at the beginning of Act 2 in which a successful insight check reveals that he is hiding the depth of his pain. I know there’s that note that The Emperor left for Ansur about no longer feeling his feelings, but he clearly does feel. He even describes the grief he feels over Belynne as “not entirely unwelcome.” The Emperor is an arrogant and prideful character, and he doesn’t seem to be entirely self aware as to his own humanity because he sees himself, as a mind flayer, to be superior.

For most endings, The Emperor will just depart after defeating the Netherbrain, much like the other companions who also go their separate ways. So, I don’t think this is necessarily an indication that the pc was merely a means to an end. However, (big spoilers here) there are two endings in which he does reveal his feelings for the pc. In a solo ending in which the pc doesn’t transform, he’ll tell them “you have become… important to me. And should our paths cross again, I will be glad to see you.” There’s also an ending where, if the pc transforms into an illithid, he will ask to stay together to rebuild the Knights of the Shield. There’s an option to tell him to think bigger, at which point he’ll say to them “Have I ever told you how much I enjoy you? Lead the way…”

I also want to note that right before the above mentioned exchange with The Emperor, the Narrator has a line that in being a mind flayer, all your companions become tools or food, but then contrasts that with:

“Perhaps you are unique among illithid-kind. Perhaps you will retain enough of who you are to resist your nature. A rogue mind flayer. Like The Emperor.”

This is a pretty straightforward acknowledgement that The Emperor does have the capacity for relationships beyond mere tools for his use.

All this is to say that there seems to be some genuine relationship building with The Emperor, which makes it, in some ways, more strange that he’s so quick to abandon the player and join the Netherbrain should you choose to free Orpheus. Many players have noted that trust is one way with The Emperor, and if that’s the angle Swen and the writers were going with him, then why have The Emperor demonstrate trust in the pc’s leadership? Yes, there are moments in the game in which he admonishes the pc, disagrees with them, attempts to persuade them away from a decision, hell even probes their mind if they lie to him about the meeting with Raphael, but he’s actually very reasonable when it comes to the pc’s autonomy and decision making. If you save the Grove, he’ll even compliment you on your leadership. He’s so hands off in so many ways, but when he does interject about certain quests like the Crèche, Ansur, or The House of Hope, those are extraordinarily dangerous quests that risk everything. They risk you, him, and anyone left behind to be subjected to the Grand Design, but he never stops you. He actually does demonstrate a lot of trust in the pc even if they’re not the most reliable at times.

I said earlier that I think the intended ending was to have the player join with Orpheus, then the pc, or one of the companions turns into an illithid. This requires a sacrifice and sets up this dramatic encounter with The Emperor in which he rides in on a red dragon and summons your dream guardians to fight you. This could have been a powerful moment, however, I think it largely falls flat when you have this forced binary decision with a character, who may be unlikable, but is actually pretty reasonable throughout. If you’ve romanced The Emperor, or are at least on friendly terms, this binary ignores the prior relationship development of the pc being more than a means to an end by not at least allowing for some kind of exchange and option for striking an alliance.

But, let’s just say you have romanced The Emperor, but the twist is that you are merely a means to an end. Well, that’s not clearly laid out either. There’s no moment to confront him, and the only acknowledgment of an intimate relationship comes when he castigates the pc and reminds them that they didn’t “reject” him, but “enjoyed” him. (If anything, that implies you used him). He just leaves and that's that. Along with everything I laid out earlier, it’s not so much a twist, as it’s incomplete writing. This isn’t even the only example of incomplete writing. Remember how your companions were able to witness your night with The Emperor but no one said anything the next morning? The so-called fix was to have The Emperor wipe their memories without any regard for the implications. The pc doesn’t have a dialogue option regarding such an action, and the only vague textual clue that this is something he does is that he may have done some memory manipulation with Belynne’s doctor. However, the doctor can still recall a lot of details of The Emperor’s visits, she just has trouble recalling his appearance. He either doesn’t or can’t completely erase her memory of his visits, even though she finds him suspicious and erasing her memory entirely might be safer for him to do. Other than that, it’s just the one line he speaks that was thrown into the game a couple of patches in. Even then the companions still don’t react to the “enjoyed me” line, or the “fornicated with a mind flayer” line if you side with Orpheus. We love hearing our companions react, so why not have that in there? It would certainly be more entertaining at the very least.

Whether these inconsistencies come down to creative differences between Swen and the two lead writers is speculation. No one was in the writing room with any of them, but this interview was, nonetheless, enlightening in some respects. I do hope that at some point The Emperor can be a fully realized character, and one that’s in line with the depth he is given in the game. And I would hope that would go along with additional ending choices that better reflect the narrative that comes before that crucial decision. A binary choice like the one we currently have doesn’t work for many playthroughs, even if it may work for some. I would like to see that someday reflected in our final choices.

Lastly, while I’ve laid out a fair amount of criticism in this post, my intention was not to cynically nitpick every inconsistency. I even deleted some things I originally planned on including here, because I realized that not all plot contrivances actually weaken the story. I want to repeat that I still love this game, and when I say it’s a triumph, I do sincerely mean that. I know all too often fans may request changes to the game or characters as a sort of wish fulfillment, but those changes would ultimately end up undermining the narrative or themes. I’ve tried my best to avoid that here, and I hope I have.

[niobiumao3]

So like...

I really did NOT like Phee being absent for the Pabu invasion, that felt so fucking not great :( And so much of these episodes was SO GOOD.

Cross and Omega's argument! Pheeeeee my beloved!! Wrecker saving Gonky (called it on he saw the charges, grabbed Gonky and RAN).

But here's the thing, the Tech Tells on CX-2 are VERY strong at this point, except, we have 4 entire episodes in which to reveal how he became a Clone X when Crosshair didn't while ALSO not apparently remembering anything (Soap Opera Amnesia from the fall? Conditioning so bad his brain broke? did he make himself forget??) and then to reveal him AND fix this.

I don't see how that is getting done in 4 episodes in any GOOD way, one of which at a minimum involves the Juggernaut heist. In my estimation that's not enough narrative space to do this except Super Mario speedrun memory hacks with frame placement style stuff ala the power of Omega's love and like, that is simply not a compelling plot to me. Maybe they can pull it off, I dunno. It worked with Cross because it was spread over 5 months of in-story time, and we SAW the development in an entire episode dedicated to that. Are we getting that here? I just doubt that.

At least a couple casual viewers have commented it doesn't seem likely CX-2 is Tech now because, yeah, 4 episodes left and how does he not know anything? Amnesia so he forgets and has to remember? This is a classically disLIKED plot point from soap operas. So from a not-obsessively-examining-the-man's-every-motion POV it seems less likely, not more, due to the season rollout and current status heading into the back third.

From my POV, I feel like the tells are SO heavy. Placements on Pabu, 'domiciles', etc. But the show's writing is so very Occam's Razor that I don't see how Clone X Tech behaving like this makes literally ANY sense aside from a narrative which is a pale echo of Crosshair's merged onto an amnesia plot and and then cut brutally short.

The reviewer reactions DEFINITELY sounded like we get a Tech reveal somewhere in 10-14, for sure. Just, not clear on what kind.

But man I don't want Shifty Thrifting Crosshair Arc: Tech Version. Just. Do Not Want. Here's hoping they have found some way to do it well/right, if that's indeed where this goes.

My personal prefs are:

Tech is actually IN one of those CX conditioning pods, refusing to submit, clinging to his sanity

Tech is the partial-success m-count transfer subject and was such a problem Hemlock put him in isolation, having realized he made a huge mistake in giving this man even a LITTLE additional Force sensitivity

Tech will pop up out of the ground ala Gandalf in 12-14.

[nipuni]

Doctor Who report!! We are all caught up with NuWho and in time to watch the new season when it comes out!! mission accomplished, It took us around 6 months total and we loved every minute of it 🥰

Now that we have watched all eras I can share our tastes and opinions nobody asked for under the cut 😌

We can confidently say RTD's era is our favourite and for Doctors 10 (and 14) followed by 12, but honestly there isn't a single Doctor (or Master!) that we didn't love.

We've also started rewatching the first four seasons now with more context and there is just something so special about them. They almost feel like a different show from all the later ones. The silliness and the way the story doesn't take itself seriously at all until all of a sudden it does and then the pain hits you twice as hard because of it. How with just with a line or deed and it's implications the Doctor can be so unbelievably inspiring. The way the narrative seems to place you in the role of a companion trying to catch up with the Doctor and figure him out yet never quite managing to do so creates this distance but also admiration and reverence in you too and you can't help but adore him flaws and all. It has just the right amount of room for every side character and relationship to develop and feel human and the right amount of exposition to keep the pace quick and don't hold your hand. The glimpses behind the doctor's cheerful childish façade into an unsettling calculating alienness and immeasurable trauma but also a weary wisdom. The complete selflessness to the point of martyrdom. The reckless irresponsible acts of devotion from both the companions and the Doctor. The near apotheosis of the companions the closer they get to him. The contagious feeling of awe and wonder and hope for life. The way it's so unabashedly centered around love of every kind 😭 ARGHH I don't know man there is nothing like it!! Ultimate comfort show for us, just.. healing really. There is so much more I can say and gush about but I'd be here typing all day so I'll draw more about it instead!! We would also like to get started on classic Who soon! and try to get our hands on the audio episodes and comic books and all the extra stuff as well 😊

We also watched more David Tennant works since the last report!

Blackpool was hilarious, infuriating and horny, the singing was a choice but overall so fun!! The Escape Artist was great, very sad and tense, would have loved for it to be longer, these miniseries are always so good but so short!! Mad to be Normal is so underrated? we enjoyed it a lot!! RD Laing's portrayal was so compelling, it's beautifully shot and the 60's setting is really immersive and well done. Einstein and Eddington was also really good, incredibly accurate historical setting!! the costuming was fantastic, one of the best I've seen!! These last two films are biographical and sort of no plot just vibes so maybe this is why they are not everyone's cup of tea but we enjoyed them very much. David just never misses, I'm sure we can watch anything with him in it and we will love it no matter what lmao what a guy 😭

Anyway that's all for now! I hope you are all doing well, spring/autumn is almost here! best bits of the year 😊

[whispering-clan]

About Whisperingclan!

"the cave... it calls to us, we hear it's whispers on the wind. The voices they haunt us, they drive us insane..."

....

Hello all! I am Cryptid/Sam, I use they/he/she pronouns (pretty much any pronouns)!

My main Warriors blog is @cryptidclaw which is also where Whisperingclan started!

Whisperingclan started out with me posting a line up of designs for the whole clan at the end of year 1 + descriptions for the clan and the cat's backstories! This was inspired by the youtube trend of doing something similar but in video format.

After this however I fell in love with the clan and wanted to join in with everyone else doing moon-ly updates for their clans! originally I was just posting the updates on my main wc blog @cryptidclaw but I have decided to move Whisperingclan over to their own blog!

I will be rebloging all of the previous updates from my wc main over to here and will post all new updates here!

Master Post of all main updates!

Allegiances!

Family Tree!

Character Asks are OPEN! However I will only choose a few to answer sorry!

....

Tags:

#whisperingclan updates [any update posts (after moon 26)]

#whisperingclan [any posts about Whisperingclan]

#cryptid plays clangen [any posts about me-playing clangen]

#whisperasks [asks abt Whisperingclan]

#cryptid answers [all ask posts]

....

Clan Origins + Gameplay Summaries below!

~~Origins~~

Most of Whisperingclan's founders were a part of a coup in their origin clan, Roaringclan, to make Tempeststar, at the time Tempestwhorl, deputy or leader... they were instead defeated and banished.

The founders had wandered together through the territories outside of the clans picking up a few members along the way... as they drew nearer to the mountains they began to hear strange whispers on the wind. feeling compelled to follow these whispers they found themselves in a cave deep in the mountains filled with crystals that seemed to whisper with a chorus of their Starclan ancestors.

That night they slept in the cave, and in her dreams Tempeststar was named a leader of a new clan, Whisperingclan, by Starclan themselves. The new clan now calls themself the clan closest to Starclan, and they have made their camp within the Whispering Cave claiming that they are its protectors and the only cats who can be trusted with it's power.

However... Is the Whispering Cave truly safe? can Starclan and their guide be trusted? Is the clan truly so holy? or are they simply greedy for power.

The Territories + all Clans intro!

....

Gameplay:

Playing on: Expanded Mode

Unmated cats can have kits

Same-sex breeding is on!

Leaders do not automatically chose their deputies

Experience-based graduation allowed

Cats can retire due to permanent condition (for now)

Warriors and elders can choose to become mediators

Occasionally I will do death rolls! (i do this whenever I feel like it- mostly for the plot)

How death rolls work:

Kits, Elders and the sick are close to the death and the Stars as they are weak. Due to this their spirits have the chance to accidentally travel to Starclan too early due to the thin veil between the living and the dead in the Whispering cave.

If i decide that the clan is getting too big I may roll for a chosen selection of cats, to see which of whom will die.

I will mostly use it to weed out some kits if there are too many babies.

[theygotbitchesinmedia]

okay so here is her review: https://arkadymartine.wordpress.com/2015/09/27/the-traitor-baru-cormorant-a-reviewresponse/

admittedly its from 2015- i haven't poked around to see how she may have changed how she feels about it, and i know she did blurb seth's recent scifi novel (Exordia), so there's no bad blood there or anything. it's also a positive review, in general- she ends with this sentence: "I highly, highly recommend this book; I have not thought so much about something I read in a long time."

i am also coming into this as someone who has read all of seth dickinson's work for the game destiny, where he was near-singlehandedly responsible for a good oh… 80% of the interesting women (& overall interesting concepts lol!) in the game, and his writing of one of those characters in particular as a complex and flawed character got him bullied viciously off of all social media. if you've tried to find his social media presence and havent found anything, that's why. so i mayhaps have a little more emotion in the game.

THAT SAID. here are some specific parts from her review i find really fucking annoying! and color the way i feel about Memory & Desolation, despite them being so incredibly targeted at me as a classics person AND someone who fucking loves the specific sub-genre of scifi her novels are.

"[Traitor] asks a question which I find compelling as a student of an empire and as a queer woman. That question is: what do we gain by complicity? What do we – we barbaroi, we women, we queer people, we imperialized – what do we get when we say yes? When we say yes I will hide my true nature? When we say yes I will subsume myself into the beautiful machine? When we say can we speak English? Or the literature I love just happens to be written by straight white men – and mean it, too, mean it with the kind of depthless love that a person can have for a text that speaks to them, which holds up a mirror to them?"

i dont think the use of the greek word for barbarian does anything here (she also keeps coming back to the greek term orthos in her review, which also pisses me off lol), i dont think empire is a "beautiful machine," and i don't think the invocation of identity politics is useful. like. i know she's a byzantine scholar but if your first association with empire is purely a finite Historical Empire instead of, like, modern US imperialism, or British colonialism, you are going into this discussion with a certain set of values and opinions! a set of values and opinions that let you call an empire a "beautiful machine" in all earnestness. this claim probably seems unsubstantiated and nitpicky now just from this excerpt but ill come back to it with more i promise. on the idpol front, she also says immediately after this that she does believe that straight people can and should write queer people, but that they should listen to queer people when they point out those errors. she then continues:

"But then, critique: there are two points on which I think Dickinson’s portrayal of a queer protagonist has faltered, and I think both of these errors arise from the fact that he isn’t part of – as far as I know at the time of writing this review – a queer community. Firstly, I disbelieve Baru’s awareness of her own desires… …For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person… Secondly, I wonder where queer people in Falcrest are…"

theres more to these excerpts, but. i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core? moreover i think the way seth does it with svir is very very well done, and illustrates the hypocrisy of empire in a way that does NOT seem like what martine is asking for here!!!

"Why am I invested? I myself am a student of empire. I’m a Byzantinist. My academic work is about empire and its seductions; it is the animating principle of my professional life. And: I am myself someone who loves order over disorder. Who looks for systems in all things. Who is comforted by structures; who is concerned deeply with propriety. But here’s my real criticism of this book: I don’t buy the seduction of the Masquerade. And I think if this book fails, it’s there: in that its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil." … "The Masquerade isn’t civilized. It’s civilization, but I don’t recognize it as civilized, and this is a problem with a constructed empire. An empire relies on itself as the definition of civilization – I would footnote here Ann Leckie’s Imperial Radch as a SFnal example of an empire which is built on this principle, and which, for this reader at least, achieves the facsimile. (But then my ancestors were not enslaved, we were exterminated; not annexed, but exiled. Perhaps I like the Radch better than the Masquerade because I can find a place for myself in it, and cannot imagine a place within the Masquerade someone like me would ever be safe –)"

and THIS. THIS RIGHT HERE IS MY BIGGEST PROBLEM. critiquing the masquerade as not "seductive" enough, calling it too evil to have people join it- how does someone miss the point THIS badly??? like. are you FUCKING serious??? how do you read a book about the immense violence of colonialism and your problem is that it is boohoo too violent for people to join willingly. google literally fucking anything the US has done ever!!! and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

and i think this particular approach bleeds into her books. i read them at Least 2 years ago, so this is mostly vibes-based, and i will avoid spoilers.

there is such a focus on the allure of the imperial core, on the "beautiful machine" of the empire as she calls it. there is violence done, but it is abstracted away from the wealth of the imperial core. there are no economics there. the empire sees her independent station as a backwater, and there is some cultural tensions there, but there is no realistic violence and exploitation! it is not clear at all what maintains the empire, besides some abstract idea of trade. i also don't know what her Point is with the naming & language conventions, which are very clearly inspired in part by ancient Mayan- e.g. the empire and core planet are called Teixcalaan. and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

and on the ~representation~ front, i also don't think she does a better job than seth tbqh!!! i felt like the characters getting together came out of nowhere and felt anticlimactic- there is also not the tension i think there should be with the main character being an ambassador-ish and the love interest being… idr. junior intelligence officer iirc? idk! and for all her critique of baru's desire for women not feeling "real" or present enough, i do not remember the main character in Memory having any real focus on it!

i enjoyed Memory just fine, but i don't think it says anything interesting or novel or even critical about empire, and i found her review of Traitor extremely shallow and useless, if very revealing about her own outlook on empire lol!!!

this has been at best Minorly proofread and edited but im not like, writing an academic essay on the matter and so i apologize for any inconsistencies.

oh man thanks for this this is really interesting. i went and read the whole thing and i agree a ton with your critique. i'm going to stick my thoughts below the cut because i went on for a bit here, in typical fashion.

i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core?

NO BUT EXACTLY... for starters this is explicitly a novel about colonized people taking place in a colony where none of the major characters are from the empire. where, when, and how would we take the time to explore what queerness looks like for them and more importantly, like you've asked, why the hell should that be a priority for the narrative in this case.

in terms of 'i found this to be an unrealistic depiction of queer desire' 9/10 times i feel like what that means is 'i found this to be an unrelatable depiction' which is an entirely different critique. i know i'm working with two additional books worth of context that martine isn't working with here. but even taking into account just the characterization we have for baru in traitor i think this is suuuuch an unfair complaint. i'm gonna pull the entire quote she says about baru's sexuality here because i have additional specific gripes with it.

Firstly, I disbelieve Baru’s awareness of her own desires. In the first portion of the book, I do not ever feel the weight of Baru’s own awareness of her sexuality; there is an absence of carnality, a kind of intellectual version of lesbian desire which is, to me, inconsistent with the sort of desire I expect. Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. Further, considering how very much the Empire of Masks and Increastic philosophy criminalizes the sin of queer desire, I wish Baru had struggled more with the nature of her desire. For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person. This markedly improved in the second half, where Baru notices women in a way she does not notice men.

For starters, it is insanely hypocritical to me to complain that her desire both isn't carnal enough and she processes it too intellectually, but that she isn't struggling enough with it. Baru intellectually processes things! That's her entire character from the getgo! She also has a difficult time conceptualizing other people as fully realized beings with their own agency. These character traits paired together don't make for a particularly passionate and carnal relationship to her sexuality. She is also, at her absolute oldest in this book, 21! (Or 22? I can't remember. I know she spends 3 years in aurdwynn) and has spent her entire youth being groomed to be a scholar. Of course detached intellectualism is her primary way of navigating all things. Why wouldn't it be?

Baru primary motivation is to save taranoke, she wants to save the taranoki way of life, and part of that way of life includes an acceptance of nonhetero nonmonogamous relationships. Sure, a different character arc may have involved baru actually internalizing and then having to break free of the trappings of race, gender, and sexuality that the empire tries to impose upon its citizens. but that's not baru and acting like this is a writing flaw rather than a character choice is insane to me.

There's absolutely no reason for Baru to lie awake at night pontificating about how wrong and dirty of her it is to want to have sex with women because we are never lead to believe even for a minute that Baru puts any emotional weight in incrasticism. She doesn't conceptualize it as sinful she conceptualizes it as illegal!

And "Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. " is killing me in particular because like. Yeah. Tain Hu is baru's first love. thats the point. But beyond that this is just not being able to see anything other than what she's looking for because i think the chapters covering baru's childhood make it pretty clear that her feelings for aminata and cousin lao (im not double checking the name but im pretty sure it was this) are deep and strong. the fact that they're not as explicitly and straightforwardly romantic and sexual as her relationship with tain hu doesn't change that, and in fact, points to baru's struggle with/development of her sexuality that she claims was somehow missing in this book.

like i just simply can't see anything here but someone who is seeing an emotional landscape they can't relate to and assuming that means it's flawed writing. skill issue frankly.

She's also fucking insane for acting like the masquerade is too cartoonishly evil to be appealing. once again im going to post her full quote here because i think its important to see

its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil. It punishes sexual “deviants” with mutilation and death. It murders children callously. It inflicts plague and withholds vaccines. It lobotomizes its own emperors for the sake of convincing its populace that the emperor is just. Most of all, the Masquerade is a eugenicist empire: it is explicitly founded on not purity of bloodline but on purification of bloodline, on making people useful to it. It makes people: it breeds them carefully, it indoctrinates them through schools, it uses drugs and operant conditioning to transform their minds and make them into automata tools. It commits every atrocity that a modern Western reader recognizes as abhorrent. This is a problem. It is a problem because we are asked, as readers, to believe that there are reasons besides blackmail that a person would willingly become an agent of the Masquerade. We are asked to imagine that the Masquerade is a beautiful machine.

for starters. "It commits every atrocity that a modern Western reader recognizes as abhorrent." MODERN WESTERN EMPIRES DID, AND OCCASIONALLY STILL DO, MOST OF THESE THINGS!!! THIS IS US! WHAT ARE YOU TALKING ABOUT!!! I FEEL INSANE!!!!

I think the book makes it more than explicitly clear why the empire is appealing??? it has all of the capital???? its building schools and sewage systems and importing food and goods and teaching reading and writing??? baru's own internal narrative often shows her own strife at the fact that the empire has made genuinely incredible scientific advancements that offer significant improvements in quality of life to many, many people. martine actually acknowledges this in the next paragraph of her review, and then brushes it away as not being good enough. why? what about that doesn't convince you?

she is seeming to hugely ignore the fact that in the case of aurdwynn specifically, the bureaucracy of the empire is coming in to unseat feudal aristocracy! what the masquerade offers may not be particularly tempting to most of that ruling class, but its economic opportunities are more then believably appealing to the common people. i think this is made pretty clear when baru's ploy to use the fiat bank to make loans to the aurdwynni people and basically lessen the massive tax burdens from the duchies wins her huge favor with the public.

and frankly even for the ruling class the potential economic benefits are massive too if you're willing to participate in the empire properly. yes the empire doesn't have Moral appeal. it doesn't fucking have to. it owns pretty much every economy outside of the oriati mbo. the fact that that's not enough for her is as you've pointed out really really showing her biases and blind spots. 'no reason besides blackmail' MONEY!!!! MONEY! IT'S MONEY! THIS IS A BOOK ABOUT ACCOUNTING! HOW DID YOU MISS THAT!!!

and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

And this is really it for me too, yeah. It's gross. It's absolutely gross. "An empire isn't believably appealing unless I, personally, find it appealing" there are people alive who are eugenicists, who love community policing, who believe in race science. the masquerade is an empire for them. the thing about empires is that they are only actually empowering for an incredibly small subset of people, and the fact that You, Specifically, Arkady Martine can't imagine being one of those people in this instance doesn't make it not believable. This is a shatteringly individualist way of engaging with a work.

As for your points about the way she handles empire in her own book obviously i can't have anything to say there because i haven't read it yet, but i do absolutely agree with you on this bit:

and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

1000% i don't think this is reductive of you. whether or not you're consciously saying anything is one question but it's a choice that absolutely doesn't exist in a vacuum. out of curiosity i googled her to see if she was of mayan descent or anything and maybe she chose that due to some personal ties to the subject matter but she doesn't seem to be. which of course i don't think means she can't or shouldn't draw any inspiration from there but i do think all of these sorts of choices are meaningful

i don't really have much to say here to round off a conclusion but. wow. deeply deeply telling review that does not particularly make me want to read anything she has written beyond this.

[soupthatistohot]

BSD 110: An Absurdist Analysis

The fate of Aya Kōda

Since my post analyzing BSD 109 in accordance with Asagiri's absurdist storytelling got so much love, I've decided to continue analyzing the chapters thru an absurdist lens when I deem it relevant, and making predictions accordingly. I think that not only is it an effective way of reading BSD, it gives us readers a bit more hope that things will turn out okay when the plot is... like it is right now (lol).

I recommend checking out my BSD 109 post if you haven't already this since I explain the philosophy of the absurd in depth there :)

BSD 110 spoilers below!! Obviously! Also TW for discussion of suicide.

So. I really don't think the ten year-old girl is going to die.

On top of Aya being "the last hope" (more on that later), suicide is one of those things that absurdists really frown upon.

Aya's plan as I understand it right now is to add her weight to the table in order to pull the sword from Bram's body, this is why she jumps. If this works, the sword will be dislodged and she, the sword and the table would fall to the ground, which is very far below -- she would likely die upon impact.

Absurdists really don't like suicide as a solution to hopeless situations, most absurdist storytellers have their characters commit suicide because they have "given up". It's submission, giving into the meaninglessness of our reality rather than rebelling against and embracing the absurd.

We see this with Oda in Dark Era, his suicide mission is framed as him giving up on life because the orphans were killed. Of course, it also served as catalyst for Dazai's character development, compelling him to escape a situation that would have likely ended up in his own eventual suicide. All this to say that even though Asagiri chose to make Oda go on a suicide mission, the overall narrative purpose still lent itself to absurdism through Dazai's decision to defect. It needed to happen for the story to move forward as it has (and as we know from BEAST, there literally cannot be a universe in which both Oda and Dazai are alive).

So, if Aya dies now, what message does this send? It's almost certain that the world will literally end if she does, meaning that everyone's efforts up until this point have all been for naught, which, as I explained in my BSD 109 post, is the opposite of the entire point of BSD as an absurdist text. Aya is really the "last hope" right now, with all our other main characters pretty much screwed or just not present.

"Nothing is impossible for a warrior of justice. We beat the bad guys and save the world, no matter what happens."

What Aya says right here is something I'd liken to the Dazai quote I brought up with my BSD 109 analysis: "The ones who actually make the world turn are those who scream within the storm of uncertainty and run with flowing blood." Both communicate the idea that there's never an acceptable point in time to give up (suicide), that there's always something more that you can do, even when things seem bleak. Those who "make the world turn" are one in the same with Aya's concept of "warriors of justice."

Aya may not succeed exactly the way we expect her to, but she absolutely is not dying like this. On top of the absurdist storytelling reasons, she's just a child. Of course, we know Asagiri isn't above killing kids, but Aya is a bit different than the other children we've met in BSD. Her character has been built up and developed, she has a fleshed-out backstory, and we've spent a lot of time with her. To kill off a little girl we've come to care about a lot would just be cruel, plus her death wouldn't really serve a narrative purpose right now.

So, what could happen?

One prediction is that Aya adding her weight to the table does dislodge the sword and she falls, but she is saved by another character. We know Kenji and Tecchou are out there right now, we haven't seen Yosano or Kyouka in ages, etc. etc.. Basically, there are definitely people out there that could come to her rescue.

But there's an option I like a lot better: Aya's ability manifests.

Aya Kōda was a 20th century Japanese novelist and essayist, and the namesake for the Aya we know in BSD. As far as we know, all the characters who are named after real-life authors possess an ability inspired by the life/work of said author. Aya doesn't have an ability yet, so logic follows that she will develop one by the end of the series.

I'm not sure where I read this, so take it with a grain of salt, but I believe that in BSD the character's abilities manifest because of trauma. Not only does Aya live in a somewhat emotionally abusive household, but she's literally been thrust into the middle of a conflict in which the world could literally end and has decided to jump off of a tall building to try to save the world -- I'd say that's pretty traumatizing!

I'm not familiar with the irl Aya Kōda's works enough to speculate about what her ability would actually do, but there's a decent chance that because of the current situation, her special ability will manifest in order to prevent her from dying and/or dislodge the sword from Bram. This would also fit absurdist storytelling very well, she's literally doing jumping off a building as a complete last ditch effort, it's a crazy plan that probably won't work -- but her other option is to just accept death, and that's not acceptable. If she were to manifest her ability in this moment, it would reinforce the idea that rebelling against the absurd has value, that even when things seem at their worst there's always something you can do.

Anyway, these are just my thoughts! Please feel free to add anything you find relevant, especially if you're familiar with Aya's irl counterpart! See you next month ;)

Here's the BSD 110 translation I pulled the panels from.

[byler-alarmist]

Disclaimer: I am not anti-Vickie by any means. I think Vickie seems very sweet (although there may be something going on with her we don't know) and I will fully support her and Robin if the Duffers can prove to me in S5 why they work together.

That said, I am going to examine the one, glaring issue I have with Rovickie. If you're not put off by that, read on!

So, most of the criticism leveled against Vickie is that we don't know anything about her. That's true; we don't.

However, my main criticism is:

Does Robin know anything about her??

All we hear from Robin in S4 is that Vickie is the girl of her dreams, but we never hear why. In all her gushing/agonizing to Steve, Robin never tells us what about Vickie makes her so special.

Is she smart? Funny? Ambitious? Kind? Is she a pro at playing poker?

Even Tammy Thompson, whose role in S3 was purely offscreen, got a shout out of traits that Robin valued ("she has dreams!").

We can't say the same for Vickie. All we know is:

-she laughed at one of Robin's (Steve's) jokes

-she likes Fast Times

-she talks a lot when nervous

-she possibly likes boobies

And those last two were only figured out by Robin in the final episode of S4.

If Robin's feelings for Vickie are more than mere infatuation based on looks, wouldn't Robin have told us more than the most surface-level things about her?

And if your immediate response to this "well, she just hasn't spent enough one-on-one time with her to know!" .......that's exactly my point.

The writers have shown time and time again that the shallow relationships where tbe couple got into it without really talking or getting to know each other do not last .

I'm reminded of Lucas telling Mike "you're just blind because a girl isn't grossed out by you." 👀

All this in the same season where Robin is spending one-on-one time with Nancy, getting to know her and respect the things that make her "her". Rather than just looks, Robin gets to see Nancy's drive, intellect, leadership and bravery.

She calls her a "genius", says she is "full of surprises", and learns even more about her when Nancy opens up about her relationship inecurities. Robin sees her complexity.

I don't know about you, but to me, this is the core of why Rovickie is not as compelling as a ship. If they are meant to be endgame, why was Robin paired with Nancy all season?

Surely there could've been some plot device to bring Vickie into the fold, just like Max was brought into the Party back in S2.

Vickie could've been trapped with Robin and the older teens after some supernatural things happened at rhe pep rally or other school function and they got separated from the rest, or she could've been related to the Creels and the gang needed to ask her for help. It's a TV show; they can do whatever they want.

Either way, they decided not to involve her in the main plot of the show at all, preventing both Robin and the viewers from getting to know her fully. I believe this was intentional and will have consequences for their relationship in S5.

One final thought- in early S4, Robin tells Steve that she has found the girl of her dreams but can't get the courage to ask her out, whereas Steve goes on a ton of dates but has no idea what he wants.

I think it would be VERY interesting if their roles were actually swapped, i.e. by the end of S4, Robin is the one who doesn't really know what she wants, and Steve is the one who realizes he has found the (person) of his dreams.

[ewingstan]

any strong opinions on amy dallon

Feel like answering this is the equivalent of inviting a vampire into my home.

If this is just asking how I personally feel about Amy Dallon the character: I'd say she's among the strongest characters wildbow has written. She was used exceptionally well throughout Worm; in her initial interactions with Taylor, her smugness and petty insults help convince the reader to doubt the use of hero/villain as absolute markers of moral standing. As it goes on, and we see more of Amy's home situation, it becomes more clear how much Amy's haughtiness towards the villains comes from her insecurity; a desperate attempt to differentiate herself from them so that she can feel more like she belongs with the Dallons. It humanizes the heroes—stopping Ward from becoming a simple palette swap story where all the heroes are ontologically evil and the villains are brave noble freedom fighters—while making the hero/villain conceptual framework seem all the more ridiculous and destructive.

Later, around the same time Taylor is talking to Sabah and Lily about how "hero" and "villain" are just labels that don't determine one's morality, Amy is having the same realization—and panicking about it, because it means that being a hero doesn't mean she can't be the horrible person she fears she is. Because while she's figure out that hero/villain doesn't necessarily have any metaphysical weight, she's still sure that good person/bad person are clear ontological categories. And if being a hero doesn't just mean you're a good person, then she might really be the person her parent's treatment of her implies she is. She might actually be in danger of acting on those troubling thoughts that surely no good person would have.

In terms of her Ward stuff, I haven't gotten to the big things people had problems with so I can't comment too much. I think Ward Amy is effective as a villain in Victoria's story, but all the plot points of her allying with Goddess and taking command of the prisoners make sense only for a character whose the villain of Victoria's story, and don't make sense for Amy as we saw her in Worm. These plot points are working off the "person who thinks in terms of good and evil and is convinced she's evil" thing without addressing how by the end stage of worm, we'd seen her attitude had changed and that she'd started to move towards seeing people as not being inherently anything. Moreover, the writing kind of reaffirms the belief that some people are just bad people. I might not have that critique if there was more framing like "Amy is behaving this way because she's been told by everyone that she's villainous and so is falling into the expected role," but that's not really a thing in Ward. Hell, its less of a thing than it was in Worm.

There are shitty things Ward Amy does that I can get behind and say "yeah Worm Amy would do that," like going along with Carol's reconciliation plan and then running after Victoria when she leaves. Sure, she wants to resolve that, that's consistent with the original motivation of the wretchening incident. But most of the Amy writing after that, nah. I'm sympathetic to the "That's a different character" claims for everything past arc nine or so. That's her Noelle clone or something palling around with Goddess. Have Amy step out of the plot after the Dot interlude and ride off into the sunset, and let WB do a compelling pathetic-yet-very hatable villain with some other character.

If this is about recent intra-fandom stuff:

You can point out how a character is described in kinda racist language, both to criticize the text and to analyze what the story is doing with that character. Don't see how that's controversial, not sure how that got turned into "you're saying she's black". Authors making a white character read as bad or degenerate by describing them as sharing traits with black/brown stereotypes is a pretty common trope historically, its worth noting it when it happens.

And while I can see why people could get inspired by some aspect of how Amy is made to feel like a degenerate, and run with it by depicting her as literally dirty/pest-ridden or writing her with more taboo kinks, I don't think such depictions are beyond criticism. I might defend some of them on the basis of alternate readings of the character. If you're doing something with it, using Amy to explore something you're really interested in—there's at least a discussion to be had, and maybe something interesting would come if it. But you can't meet an honest critique of the ideas in your work, or a claim that they make already bad parts of her original depiction worse, by saying "its just a joke." Its art about Amy, there's gonna be ideas and messaging that goes along with it, even without you meaning to put them in. Don't fight that, embrace it! We'll all be better shitposters if we consider our shitposts worthy of critique.