#might as well write them down

[majosullivan]

Something something Pluto’s spectre having abilities relating to bad luck since black cats are generally seen as a sign of bad luck, while in Japan, black cats are seen as a sign of good luck and fortune. Something something Pluto having abilities relating to bad luck while Duke’s stage name, Fortunato, means Lucky; Fortunate; Blessed…

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[ar-mage-ddon]

keykid dump

[feroluce]

Belobog was my fave main quest but a lot of it is so. Contradictory. It's like they had multiple groups doing different shit and none of them checked in with each other for consistency. And you see this so much in Gepard's profile.

So in the main quest, they made him unfailingly, unquestionably loyal to Cocolia. Gepard's character arc is him learning to question authority etc etc. And this isn't even a bad thing; that's a story worth telling! It makes good conflict between him and Serval! And I love that we got Gepard as a boss battle and I get to see him all the time in SU!

But then you look at his character stories and it's like. The complete opposite.

According to his profile, Gepard has already HAD this awakening, long before the Astral Express, and he'd already decided Cocolia sucks. Even outside of his stories, there's a pretty damning readable between him and Pela.

He even disobeyed direct orders right in front of her- he has been disobeying orders for a while now!

So I've decided I'm marrying the two different sides of this into a 1.5k fic-ish thingy, because I think there's some fun potential there with Gepard not trusting Cocolia, but still having to pretend to be a good obedient little soldier.

Anyway. I love to think of it as like. Gepard knows Cocolia has sunk into her apathy. He can see it in her eyes every time he looks at her. She doesn't care. Not about him, not about Pela, not about all his soldiers on the frontlines giving their lives to protect the citizens. And that's... It makes him bristle a bit, but ok. Gepard can deal with this. Even if Cocolia no longer cares, as long as she does her job then it's fine. Having compassion behind an action doesn't matter as much as the action itself. If Cocolia's heart is no longer swayed, then he'll just have to care twice as hard to pick up the slack. He considers it part of his duty as a captain of the guard anyway. It's fine. Gepard can deal with it.

And then, Cocolia starts coming down to the restricted zone. Issuing direct orders.

And Gepard realizes he is in way over his head.

Because Cocolia orders him to stay back and issue commands from the ramparts, away from all his comrades, away from where he can protect them.

Gepard had thought nothing could be as bad as watching a fellow guard die right next to him. But the first time he watches someone struck by a killing blow, so far away, it hurts. Every defensive scar across his arms itches, his fingers curl in want of a weapon, the cold cannot numb his hands enough as they desperately ache for his shield. It hurts.

Gepard tries to find any reason to stay. Because surely... He knows Cocolia has lost her love for her people, but surely... She wouldn't...

One day, Cocolia orders for their gunners to advance 20 yards. There are no survivors. She almost looks like she smiles.

Gepard doesn't sleep that night.

Pela brings him the report at the end of the first month; and then the month after that, and the month after that. A significant uptick in losses, and all of it started on that first day Cocolia started overriding his authority and issuing her own orders. The ends of Gepard's pens have all been nearly chewed off. Pela outright calls Cocolia an idiot, and Gepard corrects her. Cocolia isn't an idiot. Gepard had known her through Serval, knew her through all her college years and then some, and he knows how intelligent she is. It's not that she's stupid, and it's not that she's inexperienced, it's nothing of the sort.

Cocolia knows exactly what she's doing.

She must, there's no way she could make such a horrible mess of things so badly by accident. And Pela, quick as a whip, sharp as a tack, always too smart for her own good, catches onto the meaning behind Gepard's correction without any further prompting. The tent goes deathly quiet, nothing but the wind howling outside.

"...She's trying to kill us," Pela whispers, her voice swiftly suffocated by the silence.

Gepard swallows. He can't bring himself to correct her this time. There is nothing he could say that he would actually mean.

His gaze drops, back down to his desk and the reports on it. The names aren't listed, just the numbers, but Gepard knows them, knew them, and there must be something wrong, something he's missing, because why, why would she-? What could this possibly accomplish-?

“Gepard! Focus!” Something snaps right under his nose, and Gepard startles, eyes instantly honing in on Pela's irritated face as she leans over his desk. She holds his gaze for a moment before she huffs and begins to pace, wedges a knuckle between her teeth and bites like Gepard hasn't seen her do since cadet school.

Pela angrily strides from one end of his tent to the other, words hissed between her grit teeth. “What are we going to do?” In the dim lighting, Gepard can just barely see the damp spot of blood weeping under her gloves. “We need a plan.”

“A plan?”

“Wh- Yes, a plan! Unless you want more people to die!” Pela rounds on him then, all the wrath of a blizzard, winds roaring and snow sharp enough to cut.

“We don't even know-”

“What does it matter?! She killed-!!” Pela cuts off with a garbled noise when Gepard leaps up from his desk, hastily shoves his hand over her mouth. The prosthetic, not the flesh one, because he knows better than to assume Pela won't seize the opportunity to leave teeth marks in his skin.

“You're right. I'm sorry, I'm sorry; you're right. But you need to keep quiet.” Pela quirks an eyebrow at him and Gepard can read the question in her face. “Because we both saw what she did to Serval,” he hisses.

It's amazing the snow plains haven't thawed out yet, the amount of heat Pela can put behind a glare. The mere mention of Serval, and the smoking ruins Cocolia had made of her life and career, have her bristling up like a riled cat. The sudden hot breath she takes fans fog across his metal skin, and Gepard wisely keeps it in place until Pela finally sighs and reaches up, taps her fingertips against the back of his hand.

The second she's free, Pela bats him away and then her knuckle is right back between her teeth again, Gepard leaning back against his desk with his arms crossed to watch her resume her pacing. “If we spread the word, she'll have us discharged and make sure we can't even touch the frontlines,” Pela's voice seethes like an open sore. Gepard nods but keeps his silence. He knows better than to get in her way.

“And if you and I are both out of the picture, Belobog is fucked.” A little harsher than how he would have put it, but there's no denying that they're both important to the city's survival. Pela has the restricted zone running as efficiently as ever, and Gepard had become the youngest captain on record for a reason. “We need to keep this tight under wraps, at least for now… It can't leak to anyone higher up the chain.” Another nod. “Serval might know other discontents…” Another n-

Gepard's head snaps up. “No.”

“No what?”

“No. We're not involving Serval in this.”

Somehow, even the same tone that leaves entire squadrons shaking in their boots has never worked on her. “You're not deciding that for her, Gepard.”

Pela hadn't seen the worst of it, though, back when his sister had just been banned from the Architects. Serval's pride hadn't allowed it. Pela wasn't the one to find her passed out bottle still in hand, hadn't been the one to wash the sick out of her hair or carry her to bed. 

Serval still has trouble thinking clearly when it comes to Cocolia, still can't quite bring herself to be objective. And Gepard maybe doesn't want her to be purely objective- but he would worry a lot less if she thought twice before she acted more often.

“At least let me be the one to bring it up to her.”

“Whatever, fine,” Pela gestures affirmatively at him as she paces past, and Gepard sighs. Good, at least that's one thing he can help.

From there, it's a lot of hemming and hawing and frustration. Cocolia has them under her boot, and Gepard and Pela both know it. Even with the way she's been cracking down on freedoms lately, Cocolia is still, overall, liked by the people. It's unlikely anyone would believe them. They don't even have solid proof, because most people don't know Cocolia as well as they do and won't see the clues in the same light. 

The Fragmentum has been ramping up in recent years, too. Everyone is struggling just to survive as is, they can't afford a fight on two fronts. Gepard is a damn good captain, one of the best for that matter. But they're at a massive disadvantage, his experience is narrowed to fighting a defensive battle against monsters, that's all he's ever done. That's all anyone there has ever done. He has no way of finding first-hand knowledge for taking the offensive against a human opponent, and if he goes at this blind, there's no way he'll get everyone out unscathed. He's going to lose people. He's going to lose a lot of people.

He'd never thought before that Cocolia would have it in her to have someone killed. And with this new knowledge, he has no guarantee she won't go after Serval or Lynx if she decides to retaliate.

Gepard has to remind himself to breathe when he realizes this.

Pela writes down every name the two of them can come up with. Lists and lists of names and groups and anyone they can think of who might be an ally in all of this. They memorize every bit of it, make their plans of who to talk to and when. Gepard watches the sparks reflect off Pela's glasses as they burn the evidence together.

Pela finally leaves, far too late to make it home, but says she wants to stay in the restricted zone anyway to investigate. Gepard watches her make her way in the direction of Dunn's tent, watches her back until she's out of his sight and squashes down the urge to follow and keep an eye on her. His tent feels empty.

In the morning, Gepard is up before the wake up bells. He drags himself out of bed, leads his soldiers through their morning training. The same people gravitate to each other everyday. Friend groups and training partners. There's an ongoing rivalry between a few squadrons that everyone bets on. Some of them have lockets around their necks, keepsakes, mementos. Some of them wear wedding rings.

Gepard is suddenly, painfully aware of something acidic clawing at the inside of his throat, of a heavy weight low in his chest that blooms, takes up room until it threatens to spread his ribs. His mouth tastes of bile and blood.

He rearranges the schedules. Puts himself down for every open patrol into the Fragmentum, makes sure he'll be on the frontlines every single time Cocolia visits.

He only hopes that it's enough.

[uter-us]

radfem help !!

2 of my little cousins (14yrs and 15yrs) are both girls dating boys right now, and together we are coming up with a "dealbreaker list" of things they will never put up with from their bfs! and also we are including positives, like so they aren't just looking for the absence of bad things, but actual positive things

what do yall think are the most important things to add? (i put extra info in tags)

Thank you so much!!!

[etoilesombre]

Hey, do you guys want to hear a story? Let me tell you about the romance between Lancelot and Guinevere, as recounted in Sir Thomas Malory's Le Morte d'Arthur.

So, I thought I knew the basics. I grew up reading modern versions of Arthurian legend that focused on other aspects, but had a general knowledge of the Arthur-Guinever-Lancelot love triangle. It didn't show up too much, but I assumed it was subtext in some other versions. What I picked up was that it was sort of pure, almost an ot3, and not the cause of a lot of problems. 

My friends. In this version it is NOT SUBTEXT, it DEFINITELY CAUSED PROBLEMS, and it is WILD. It is a true will-they-won't-they drama fest soap opera romance, and I need to share. So please, come on this journey with me.

[I’m looking at you, Black Sails fandom people. I need you to know that Flint canonically would have read this. He would almost certainly have also grown up hearing these stories. I’m not saying he’s Lancelot coded, but I am saying it's interesting that he would have been aware that was something it was possible to be.]

A couple notes, before we dive in. I am very much just summarizing what happened in the book. The thing is, the book is a million pages long and also in Middle English, and this is just one of many plots, which I think is why it's not more widely known. I will show some excerpts so you can get a feel for the text, but you don’t need to read them to understand the story. I'm referring to a version that is as close to the manuscript as I can find, though with spelling regularized. For real fun, see what the original looked like. Malory purports to be translating part of the French Vulgate cycle, which likely is where the character of Lancelot originates, but in fact he is doing much more than translating, and compiles other stories as well. Point being, when he says “so the French book sayeth” etc, that is the “book” to which he is referring. Because of my lack of knowledge about the language and cultural context, this lecture series from Mythgard Academy was absolutely invaluable to my understanding. I cannot recommend it highly enough. Inevitably, some of the opinions of the prof are reflected here. I do not have it in me to compare the scholarship of various medievalists right now, I just want to tell you about this DRAMA. 

Let’s start with a prophecy. When Arthur decides he wishes to marry Guinevere, Merlin advises him to take someone else, because if he takes her, she will betray him with Lancelot and it will destroy his kingdom. All of this is foretold, not only to us, but to Arthur himself. Of course he takes her anyway, and all is doomed from the start.

As we begin the main arc of this story (several books after the prophecy), Lancelot is widely acknowledged to be the best and most renowned knight of Arthur’s court. He is plainly and hopelessly in love with Guinevere, and she loves him in return. Arthur doesn’t have a problem with this - who wouldn’t love Guinevere? This sort of love is socially acceptable, so long as they do not sleep together, which would be treason. Arthur in fact seems to support their love, because it means that Lancelot will be Guinevere’s champion should she need one. This is a role Arthur himself legally cannot fill because he is the king, and so would have to be the judge. Lancelot is indeed a good champion for her, and fights for her when she is wrongly accused of murder. 

Lancelot is deeply chivalrous, in a way that seems sincere. This is a great place for a first excerpt, a conversation with a Random Damsel Lancelot has been helping:

‘Now, damosel,’ said Sir Lancelot, ‘will ye any more service of me?’ ‘Nay, sir,’ she said, ‘at this time, but almighty Jesu preserve you wheresoever ye ride or go, for the most courteous knight thou art and meekest unto all ladies and gentlewomen that now liveth. But one thing, sir knight, me thinks ye lack, ye that are a knight wifeless, that ye will not love some maiden or gentlewoman. For I could never hear say that ever ye loved any of no manner of degree, and that is great pity. But it is noised that ye love Queen Guenivere, and that she hath ordained by enchantment that ye shall never love no other but her, nor no other damosel nor lady shall rejoice you; wherefore there be many in this land of high estate and low that make great sorrow.’ ‘Fair damosel,’ said Sir Lancelot, ‘I may not warn* people to speak of me what it pleaseth them; but for to be a wedded man, I think it not; for then I must couch with her, and leave arms and tournaments, battles and adventures. And as for to say to take my pleasance with paramours, that will I refuse, in principal for dread of God. For knights that be adventurous should not be adulterers nor lecherous, for then they be not happy nor fortunate unto the wars; for either they shall be overcome with a simpler knight than they be themselves, or else they shall slay by unhap and their cursedness better men than they be themselves. And so who that useth paramours shall be unhappy, and all thing unhappy that is about them.’ 

So after doing his Knightly Deeds for this damsel, Lancelot asks if she needs anything else. She says no, but you are lacking one thing, which is the love of a woman. It is rumored that is because Guinevere has through sorcery made you love only her, and that causes all of the women great sorrow. In reply Lancelot makes this speech about how he cannot have a wife or paramour and be a good knight, but everyone thinks it is at least in part because his love is reserved for Guinevere.

Now, throughout the book his chastity DOES notably cause all of the women great sorrow. Everyone wants to sleep with Lancelot. Literally he is kidnapped by the four most beautiful queens other than Guinevere, and they say he has to choose one of them as a lover (not even a wife, a lover) or else die. He says he would rather die, though in the end he escapes. This is just an example, truly it is a recurring problem for him. He is, at one point, tricked into sleeping with a woman with whom he conceives his son Galahad (as was prophesied, it's a long story and the romance is only part of it. It is worth mentioning that something similar happens to Arthur, which is how Mordred is sired.) When Guinevere learns that Lancelot has been with someone else, she is angry and banishes him from the court. They still love each other and eventually reconcile. 

So, Lancelot goes on the quest for the holy grail. But he fails, specifically because while he is outwardly dedicated to God, in his private heart he is still dedicated to Guinevere. And so he makes a vow to renounce his love for her, acknowledging that it is beyond measure (beyond what is right, even if they have not technically done anything wrong.) However when he returns to Camelot, he cannot keep this vow, as we see. 

Then, as the book saith, Sir Lancelot began to resort unto Queen Guenivere again, and forgot the promise and the perfection that he made in the quest. For, as the book saith, had not Sir Lancelot been in his privy thoughts and in his mind so set inwardly to the Queen as he was in seeming outward to God, there had no knight passed him in the quest of the Sangrail, but ever his thoughts were privily on the Queen. And so they loved together more hotter than they did beforehand, and had many such privy draughts together that many in the court spoke of it, and in especial Sir Agravain, Sir Gawain’s brother, for he was ever open-mouthed. So it befell that Sir Lancelot had many resorts of ladies and damosels that daily resorted unto him to be their champion: in all such matters of right Sir Lancelot applied him daily to do for the pleasure of Our Lord Jesu Christ. And ever as much as he might he withdrew him from the company of Queen Guenivere for to eschew the slander and noise, wherefore the Queen waxed wroth with Sir Lancelot.

He and Guinevere start spending a lot of time alone together, and so there are rumors circulating about them in court. In order to put a stop to the rumors, Lancelot starts paying other women attention and doing more good knightly deeds for them. Guinevere is terribly jealous, but he tells her it's for their own good, and also tells her about the vow he made, and his concern that their love is beyond what is appropriate. She is devastated, and weeping banishes him from the court (again). 

Lancelot then rides in a tournament, disguised. (Why? Because this is simply a thing knights do.) To make it an effective disguise he takes the token of a woman, the sleeve of the fair maid of Astolat to wear on his helm. When she discovers that he was only using it for the disguise, and he does not indeed love her, she is so heartbroken that she says if he will not marry her or be her lover, she will die. He refuses, on the grounds that love must not be constrained and should arise from the heart, and offers her a thousand pounds a year instead if she marries anyone else. Properly insulted by this, she does indeed die. She has her body sent in a boat to Camelot, with a letter in her hand, saying that she died of her love for him, that he would not return. 

Seeing this, Guinevere reconciles with Lancelot, presumably reassured by the fact that he would let this very beautiful much younger woman die of her love rather than being with her. She insists that from now on he will not fight in disguise, and will openly bear her token. 

Then Queen Guenivere sent for Sir Lancelot, and said thus: ‘I warn you that ye ride no more in no jousts nor tournaments but that your kinsmen may know you; and at these jousts that shall be ye shall have of me a sleeve of gold. And I pray you for my sake to force* yourself there, that men may speak you worship. But I charge you as ye will have my love, that ye warn your kinsmen that ye will bear that day the sleeve of gold upon your helmet.’ ‘Madam,’ said Sir Lancelot, ‘it shall be done.’ And either made great joy of other.

It is important to keep in mind that, to this point, there is no textual evidence that they were sleeping together, and a great deal of evidence that it was important to Lancelot that they not cross that line. There is much less evidence that this is important to Guinevere.

So then one fateful day in May, Guinevere goes picnicing with an entourage of knights. They are captured by someone else who is in love with Guinevere, and taken back to his castle, but she manages to send a message to Lancelot. At the castle, she insists that her knights sleep in her bedchamber on the grounds that they were wounded in the battle when she was captured and need tending, but truly she wants them there to keep her captor from raping her. 

Lancelot arrives to rescue her, and the person who kidnapped her agrees to give her back in the morning. She tells Lancelot to visit her room in the night. He climbs up to her window, which is barred. They have a heartfelt reunion and she says she wishes he could come in to her. He acquiesces and breaks the bars to get into her room, cutting his hand to the bone to do so. Despite the profusely bleeding wound and the ten other men sleeping in the room, they at last do sleep together, in this passionate blood covered consummation. He sneaks back out and replaces the bars.

In the morning, the man who kidnapped Guinevere comes in and sees blood all over the bed. He accuses her of being unfaithful to the king, saying she lay with one of the knights who had been sleeping in her room. She denies it, but it is very clear that she did sleep with someone who was bleeding. 

Lancelot says he will fight to defend her from this accusation, which is right and proper because he is her champion. In this story people take trial by combat and oaths before God very seriously, especially Lancelot. He really does try. So he swears an oath that he will prove with his life that Guinevere did not sleep with one of the wounded knights who lay in her room. This of course is TRUE, but only on a technicality. Lancelot, having slept with her himself the night before, is also the one who defends her honor after. I love this story so much. 

Instead of fighting him, the kidnapper takes Lancelot captive. In captivity he encounters ANOTHER damsel who insists that sleep with her in order for her to help him. He refuses, still faithful in his heart to Guinevere. Eventually she settles for him holding and kissing her, which is not across the line of appropriateness apparently, giving us some idea of where that line is drawn. Anyway, Lancelot gets out, fights for Guinevere and wins. There are indications that he feels like he barely dodged a devine bullet. 

Guinevere and Lancelot return to Camelot. Finally the rumors about them are true, the deed has been done, but of course nothing appears particularly different as there were already rumors about them. Two knights, Mordred and Agravaine, who have been intriguing against Arthur already, go and tell Arthur that Guinevere is being untrue to him. Here is his response: 

‘If it be so,’ said the King, ‘wit you well, he is none other; but I would be loath to begin such a thing but I might have proofs of it. For Sir Lancelot is a hardy knight, and all ye know that he is the best knight among us all; and but if he be taken with the deed he will fight with him that bringeth up the noise, and I know no knight that is able to match him. Therefore, and it be sooth as ye say, I would that he were taken with the deed.’ For as the French book saith, the King was full loath that such a noise should be upon Sir Lancelot and his queen. For the King had a deeming of it; but he would not hear thereof, for Sir Lancelot had done so much for him and for the Queen so many times that, wit you well, the King loved him passingly well.

Arthur says he will not hear of this without proof, because if Lancelot is accused and allowed to fight he would beat anyone. And, it is said that Arthur had some idea of the affair, but would not credit it because Lancelot had done so much for him and Guinevere, and he loved Lancelot greatly. 

So, one night when the king is away hunting, the two accusers contrive to catch them in the act, with a group of twelve armed knights. They do find Lancelot in Guinevere’s chamber, but the text is notably, pointedly vague about whether they are actually in bed. In any case, Lancelot asks for a trial. The knights say no, they have caught him and so may kill him. He is Lancelot, so he kills all of them instead, save one (Mordred) whom he leaves wounded. Lancelot flees, intending to return to rescue Guinevere and take her to his own castle to protect her from Arthur’s wrath. He maintains her innocence, and still intends that they will all reconcile.

Guinevere is to be burned at the stake (normal in this situation). Lancelot rescues her from the burning at the last moment, killing a number of knights of the round table. Arthur seems to blame the accusers more than Guinevere and Lancelot (for good reason; keep in mind that the romance is a subplot, there is a great deal of political intrigue going on.) Now a war will begin, whether anyone wants it or not, because of the people Lancelot killed. Lancelot takes Guinevere to his own castle. Battle lines are drawn, and Lancelot and Arthur confront each other in the fighting:

And ever was King Arthur about Sir Lancelot to have slain him, and ever Sir Lancelot suffered him and would not strike again. So Sir Bors encountered with King Arthur; and Sir Bors smote him, and so he alit and drew his sword and said to Sir Lancelot, ‘Sir, shall I make an end of this war?’—for he meant to have slain him. ‘Not so hardy,’ said Sir Lancelot, ‘upon pain of thy head, that thou touch him no more! For I will never see that most noble king that made me knight neither slain nor shamed.’ And therewith Sir Lancelot alit off his horse and took up the King and horsed him again, and said thus: ‘My lord the king, for God’s love, stint this strife, for ye get here no worship and I would do my utterance. But always I forbear you, and ye nor none of yours forbear not me. And therefore, my lord, I pray you remember what I have done in many places, and now am I evil rewarded.’ So when King Arthur was on horseback he looked on Sir Lancelot; then the tears burst out of his eyes, thinking of the great courtesy that was in Sir Lancelot more than in any other man. And therewith the King rode his way and might no longer behold him, saying to himself, ‘Alas, alas, that yet this war began!’

So Arthur tries to slay Lancelot, but Lancelot, the better fighter, refuses to slay him and indeed when Arthur is unhorsed Lancelot forbids that he be slain, and gives him his own horse. Arthur weeps for the honor that is in Lancelot, and laments that the war began. 

The pope intervenes and tries to negotiate an end. Lancelot confirms that he is willing to return Guinevere to Arthur, and says he has always been willing to do this and will still defend her honor, but that he does not feel he can do so because Arthur has listened to liars and been misled, and he had more reason to take her away than the accusation of adultery - he does not trust she can be safe in that court, with things as they are. 

Eventually they do make a deal, with some assurances, and he surrenders Guinevere to the king. He kisses her openly, says that he will leave, but should she be in danger or ever again accused of being untrue, he will fight for her as he always has. He departs the court forever, to much great sorrow, and returns to his own lands. 

The war continues - eventually Mordred seizes the throne, Arthur kills him in battle but is mortally wounded himself and passes to Avalon. Following the king’s death, although her love would no longer be adulterous, Guinevere retires to a convent rather than reuniting with Lancelot. He seeks her out, and this is her reaction: 

Sir Lancelot was brought before her; then the Queen said to all those ladies, ‘Through this same man and me hath all this war been wrought, and the death of the most noblest knights of the world; for through our love that we have loved together is my most noble lord slain. Therefore, Sir Lancelot, wit thou well I am set in such a plight to get my soul health; and yet I trust through God’s grace and through His Passion of His wounds wide, that after my death I may have a sight of the blessed face of Christ Jesu, and at Doomsday to sit on His right side;* for as sinful as ever I was, now are saints in heaven. And therefore, Sir Lancelot, I require thee and beseech thee heartily, for all the love that ever was betwixt us, that thou never see me no more in the visage. And I command thee, on God’s behalf, that thou forsake my company; and to thy kingdom look thou turn again, and keep well thy realm from war and wrack. For as well as I have loved thee heretofore, my heart will not serve now to see thee, for through thee and me is the flower of kings and knights destroyed. And therefore go thou to thy realm, and there take ye a wife and live with her with joy and bliss. And I pray thee heartily to pray for me to the everlasting Lord that I may amend my misliving.’ ‘Now, my sweet madam,’ said Sir Lancelot, ‘would ye that I should turn again unto my country, and there to wed a lady? Nay, madam, wit you well, that shall I never do, for I shall never be so false unto you of that I have promised. But the self* destiny that ye have taken you to, I will take me to, for the pleasure of Jesu; and ever for you I cast me specially to pray.

Rather than rejoicing in Lancelot’s presence, Guinevere laments that their love brought about the downfall of the Arthurian court, and the deaths of the knights of the round table and King Arthur. She calls upon Lancelot, by all the love that was ever between them to leave her presence, telling him to marry someone else if he wishes and see her no more. Lancelot replies that he wants no one else, and that he will respect her wishes, but will also renounce the world and join a religious order. He asks Guinevere for a final parting kiss, which she denies him. 

When Guinevere lies dying of illness, Lancelot sets out to go to her, having had a vision. She knows of his coming, and prays to die before she sees him, because she cannot bear it. She dies a half hour before he arrives, leaving instruction that he is to tend to her body, and then lay it to rest beside that of her lord King Arthur. Lancelot does this with great sorrow, and after ceases to eat or drink, and within weeks is dead himself. 

And there you have it, the love affair that doomed Camelot.

HUGE DISCLAIMER: Any and all mistakes or misinterpretations are my own. This is what I gathered, but I am not a medievalist. I am barely an interested layperson. I’m just a random fic writer who got obsessed with research for a story, and had to share this tragic mess. 

[londondungeon2]

omfg it’s almost midnight here and i have to get up for work at 5 AM but let me compose at least some of my thoughts …

ok idia x robot girl! reader … hear me out 🥺

someone he creates to cure his loneliness of companionship in a tender way that ortho just cannot do; ugh i’m imagining a plain head just sitting on the desk, stripped down to the metal and skinless; him asking which eye color you like the best until it lands upon yours;

the midnight conversations as he builds a body; the pining from the reader (is it actual pining or are you just scraping the edges of desperate self perseverance so he doesn’t trash you like the other models); kind of dream-like transition between adding each body parts (like imagine yourself lying in a tub of ink — cheeks, nose, lips, a slight peel of your forehead visible — and eventually it all drains down as more and more body parts are added);

the first very touch of human flesh upon you; the cracked polystyrene blinks that you give with twitchy eyelashes; you siphon your romantic tendencies between a messy mélange of gritty 18+ hentai and victorian romance novellas; idia pours his damned and tormented soul into making you perfect for him and you pour yourself willingly into the image, designed just for one man <3

past midnight edit:

BRUH TO THIS SOnG

yeah to this fuckin banger

((past midnight edit again: there are really only two ways you can go with robot main characters: the building process or the robot being oblivious and thinking they are human (Ex Machina or Twilight Zone) i enjoy both sooo much))

[alluralater]

ya'll i wanna make super hot steamy lesbian music but my problem is that i always do the instrumentals before the lyrics and then they're too good and i just say no way i'm polluting these beautiful music with genuine lyrics ugh. i have one track that i made in april when i was high and stayed up through the night that i'll maybe post in a sec but i'm gonna post it with the silly little intros. cause i basically made it and then just started talking into my mic bc it's fun to be silly and sexy. yet i have no clue what to dooooo with it. anyways, stand by lmfao

[bernard-the-rabbit]

Realizing i have to actually write about my characters if I want to make something with them and make people interested in them and I can't just play with them in my mind

[oshiawaseni]

My sibling, who is an anime only said they would not be surprised if BKDK became canon considering the depth of their relationship, their interactions, and their character development regarding each other ... despite how Bones added in Izuocha scenes and cut out some critical BKDK moments in most of the seasons so far... And, seeing how one-sided the "love" is between Izuocha, which I believe is deep admiration as of reading the manga- I have to say I agree.

Izuocha, is fine on the surface but is unhealthy. Izuku would not pay attention to Ochaco they he would need to if they were in a relationship. And Ochaco only saw "Hero Deku" rather than all of "Izuku", which would cause her to unknowingly encourage Izuku's reckless self-sacrificial behavior.

BKDK is different because not only they know each other beyond the surface level, but they also have their sights on each other and the mere presence of their partner inspires them to become better and stronger people at heart because they have genuine love for each other...

I honestly do not understand what is in the Dudebros' mind other the fact that they are lacking emotional intelligence and critical thinking... but I will just enjoy what they are missing. (Sorry for rambling...)

Hi anon! Sorry it took me a bit to get back to you (reason in tags). Let me just reply to your ramblings with some ramblings of my own :)

I actually really enjoyed Season 6. The only thing I faulted Bones for, was creating that jarring opening that made out like Ochaco was the hero of the retrieve vigilante Deku mission (which sadly only fueled izuochas more on mhatwt), when it was 1000% Katsuki's doing and there is one panel which proves this beyond a shadow of a doubt.

See this? Who is the one standing in front of Shoto and Tokoyami, addressing the whole class? It's Katsuki! Not Ochaco! She was seated with everyone else. This is why it's so frustrating when they say she was the reason Izuku was brought back to U.A. That arc was all about Katsuki's feelings for Izuku and wanting to return his smile.

He was even so worried he lost sleep over it, wondering where Izuku was, if he was okay… he must have stayed awake in bed, thinking and thinking about Izuku and how he could get him back. Katsuki was used to Izuku being by his side, and it was the first time Izuku had willingly left it. It provided him clarity about how important* Izuku was in his life, which only made him worry even more. (*see also: crucial, vital, imperative, watch me emotionally die slowly inside if you aren't around me anymore.)

Katsuki losing sleep, at a time Izuku was not sleeping was such a symbiotic soul mates power move Hori added in for flavour. I love it SOOO freaking much. There are no lengths this man won't go, to prove how in sync they are with each other, how much they need each other, the empathy they share with each other, even on a completely spiritual level where they share in each other's sufferings, *without even knowing it* such as right here, just like Katsuki wants to share all of Izuku's burdens so that he's not crushed by them.

But with that said, though Bones really dropped the ball on the opening (and 5 previous seasons...*ahem*), there were a lot of curious changes that happened in season 6 that I did love, like Izuku dropping the "tachi" in his sentence which turned his line into "He hurt the person I love…" (instead of people)

and as we saw more of these additional changes Bones made, it got us wondering, did Hori have some regrets with the manga that he was unhappy about and wanted their romance to be more obvious? Was it only natural to get anime viewers up to speed before season 7, because they were going to find out through manga spoilers that Katsuki and Izuku are actually in love? I'd like to think so.

Changes I remember off the top of my head:

Reaching out for little Izuku's hand during Katsuki Bakugou Rising

Katsuki waking up and thinking "Deku…" and remembering his Rising sacrifice and being still hurt from it.

Izuku waiting until he was in Katsuki's arms before he apologised, which made their words of "I'm sorry" and "I know" more intimate and personal to each other. Like Izuku needed Katsuki's forgiveness the most, and Katsuki needed to let Izuku feel that he understands him the most.

Izuku's little "Ka-..." (the English dub did not catch it but I know other dubs did) as he was passing out, which made the entire hug scene feel so much more romantic.

"I'm gonna say your name when I wake up" vs "I'm gonna say your name when I fall asleep." BkDk: Always on each other's minds. All the time.

And one of the most interesting changes of all…

So get this, Ochaco gets a hand hold grab in the opening which canon-wise holds about as much weight as an "illustration" … and in the actual anime content, she grabs his wrist area instead of his hand like in the manga. Making her hand hold IN THE CANON CONTENT so impersonal. Almost as if to make up for the horrible opening they made. Why this was done still remains a mystery to us today… but I hope it's because Horikoshi asked them to make Izuocha stop being seen like a couple, and more like the friends they are.

And then, about the "brothers" "friends" comments antis love to make about bkdk. Well yeah, they're coping. In fact, Hori has shied away from labeling them friends several times when he could have! "Midoriya-kun is our friend" says Iida - with multiple people from the class, including Ochaco, presented in the panel… and Katsuki is nowhere to be found.

Or like when sAFO called Katsuki "Izuku's closest person" (motto mo naka ga ii) where it would have been WAY more natural to call him "shinyu," aka, "best friend." But that's the thing, Hori runs away from calling them friends like it's the plague LMAO

Really makes you wonder… was sAFO (I'd rather just call it AFO at this point because it's his personality being dominant vs Katsuki) alluding to hidden romantic feelings Izuku hides for Katsuki that his secret gaydar quirk picked up? Could be. In a way, at the time it happened, it felt to me like Horikoshi himself was talking to us through him, telling us very explicitly, "You're damn right. They're gay."

Either way, skirting around this label for them is being done on purpose by Hori. Like his hidden way of saying "Yeah they might be acting a bit more like the best friends they were always meant to be as kids, but their feelings for each other are not 'friendly' AT ALL. Because platonic friendship is not where these two are headed." And there are STILL hidden feelings they haven't managed to say to each other yet! The content Horikoshi has been itching to draw for YEARS that he is finally getting to. All that soft bkdk romance we've been waiting for is coming SO SOON!!! and I am HERE for it anon! 🔥

2023 will forever be known as the year of BkDk canon... these are very exciting times. <3

[mandaloriandragontrainer]

I… might need to start emotionally distancing myself from Rayllum.

[prince-liest]

not me latching onto the tiniest detail of part two in the 666 series ("Val is way better at this part than I am") but how exactly are you picturing what Val and Vox get up to on their own? specifically the aftercare? ngl I'm lowkey obsessed with the contrast of vox suggesting val is amazing at taking care of his partners in bed while also dropping hints about being hurt by him (and not receiving an apology) regularly... what a roller coaster relationship lol

Very late reply to this ask, oops, BUT:

I think Valentino is fully capable of being the exact kind of gooey, lovey asshole (even if he's low key condescending about it in a self-satisfied way) that Vox enjoys post Alastor-inflicted emotionally devastating edgeplay.

Vox refers to Valentino often in 666, and the ways he talks about him are conflicting! He mentions Val being a loving partner, he mentions Val hurting him, he mentions missing Val, he mentions Val doing things that are maybe funny and maybe kind of a fucked up violation of his autonomy. I think this is in line with what we see of Valentino in canon: he's constantly blowing up Angel Dust's phone and flip-flopping from nice to angry and back again. I don't think he's like that, exactly, with Vox, because Vox isn't literal property that he owns the soul of, but I do think he's likely prone to being a very mercurial person depending on how he feels he's being treated.

He's a bitch, but he's a bitch who can lovebomb with the best of them if he wants to. He and Vox have both killed each other in the past, but they also love each other. It's fucked up and complicated!

[kyouka-supremacy]

Who in sskk would you say has the higher IQ?

IQ as in, conventionally smart? Then definitely Atsushi does. I'm sorry. I've said it many times before, but I don't think Akutagawa is a particularly perceptive person. Or witty. Or intelligent in general. It's due to external factors, he never got the chance to have anything that could resemble a proper education; but it's also a matter of his nature, he's just so impulsive, and narrow-minded, and stubborn, he really has the thickest skull ever. But seriously, especially in a world full of geniuses, Akutagawa simply doesn't shine for sharpness of mind, and is way too impulsive and instincts-driven to be a person that relies on reflection or rationality. Everything that Akutagawa does is the epitome of irrational, it's one of the greatest appeals of the character.

Atsushi is smart,,,, I've talked about this also, and I think it's less sustained by canon than for Akutagawa, but I like to think he's a very observant and perceptive person whose intelligence doesn't show because he's constantly surrounded by geniuses, but still he is smart. When it comes to observations skills, I find it easy for him to have them due to his childhood of ill-treatment and abuse: as a defense mechanism, he learnt to be especially observative of people's behaviour in order to tell what sets people off and be able to prevent any escalation, I think that's a widely shared abuse survivor experience. Something among these lines is shown in chapter 51:

I also think Atsushi is a very fast learner. He's observant, and that results in him constantly absorbing other people's knowledge. He's often asking for explanations for Dazai and Ranpo's reasonings, and although I know more often than not it solves an expositive role in the storytelling picture, there's still the fact that it makes Atsushi a person who's constantly trying to understand the reality surrounding him. Atsushi is also shown to be very cool-minded and calculating in fight: from him sliding under Akutagawa and attacking him from behind successfully eluding having to face him front-off in chapter 4, to him retracting his tiger limbs to escape Rashomon's bonds in chapter 12, to the strategy he elaborated with Tanizaki (and his ability to catch up on that) to defeat Lucy in chapter 16, to his attempt to outsmart Fitzgerald in chapter 34 (that, although failed, was still driven by rational thinking nonetheless), and the list could go on. The way in fight Atsushi is shown to ponder over and implement the advices people like Dazai or Mori offered him further makes me believe he's really good at absorbing information. And Atsushi is probably book smart, too! He's compelled by reading to the point he would even risk the orphanage director's punishment just to sneak into the library and read (not explicitly supported by canon, but I can take a guess). According to the second guidebook, he spends his leisure time borrowing books from the library and studying. Overall, he really seems to be rational in all the places Akutagawa is on the contrary driven by impulses¹.

It's like… A physics law when it comes to sskk, that Akutagawa will have the most despicable trait while Atsushi has the trait that is conventionally considered the best; or at least that's as far as my characterization of them goes. Atsushi is beautiful, Akutagawa is ugly². Atsushi is polite, Akutagawa is rude. Atsushi is pure, Akutagawa is stained. Atsushi is smart, Akutagawa isn't. Atsushi is lovable, Akutagawa is destined to cause repulsion in everyone he meets³. In the end, none of this matters: they're no different where it counts, that is, Atsushi isn't any more morally just than Akutagawa is. Atsushi in not any more good than Akutagawa is (I actually suspect the contrary is true). But as far as appearances go, it's still important to portray them as opposites, because Akutagawa being unlovable and Atsushi receiving all the love Akutagawa didn't get for being his contrary - even though deep down they're the same - is almost everything their relationship is about. It's also a big part of why they act like they do towards each other: it's source of Akutagawa's bottomless envy for Atsushi; it's source of how devoted and loyal he will grow to be for him - reaching the point of giving his life for him -, because he can't see Atsushi as anything but perfection. It's source of confidence and of that certain justified hatred towards Akutagawa Atsushi feels because to his eyes Akutagawa is about the worst person to have ever walked on earth. It's source to their wish to annihilate the other as the opposite they can't exist at the same time of. It's the reason Akutagawa had to die, because he's not the good one. Overall it's also expression of Akutagawa's thematic struggle to be good and unavoidable failure at that because of the constraints of a narrative that never wanted him to be good.

But I also think they can make it work. More precisely, I think sskk can make it work when both of them can overcome and defeat the narrative dichotomy they found themselves stuck into: by recognizing that deep common ground of “we're the same” and that where it matters, in morals, neither of them is better or worse than the other. The Beast universe exemplifies that for us readers, but they don't know Beast, so they'll have to realize it by their own. About that, I think Akutagawa already caught on, because he was faster to call out the hypocrisy of Atsushi's good guy façade, and from that it's a short distance to realizing that, as much as he hates to admit it, at his core Atsushi is not that different from himself. It's taking a little more for Atsushi to realize, because it's harder to get down from that higher moral pedestal he believes himself to be on, but with his whole reevaluating Akutagawa after he stopped killing and sacrificed himself for him (and then saved him again. And then showed him how formidable of a team they are when they find a common ground.), I think he's getting there.

Tl;dr: Atsushi is smart and Akutagawa is stupid and yes it fits their personalities, but way more importantly it's consistent with the themes they carry that translate in what their relationship is like.

¹ For further reading on how Atsushi can be witty, please refer to @/gloomierdays's tags on this post. ² For further reading on how Atsushi and Akutagawa's looks can be used to reflect their characters themes, please refer to this post. ³ For further reading on how Akutagawa being not smart (as far as conventional definitions of smart go) ties to his character themes, please refer to this post.

[toastsnaffler]

at its core dorohedoro is abt what if there was someone whose special interest was making gyoza and also someone else whose special interest was eating them. and they found each other in this crazy world to be besties <3

[louwhose]

I'm leaving it to you, the people that definitely follow me for the fics I actually share on here once in a blue moon, to decide.

(all of them are loz)

feel free to ask me about any of them if you'd like the help to determine your vote

[the-eclectic-wonderer]

Ok. I need to talk about S5E23: The Mangiacavallo Curse Makes a Lousy Wedding Present because it's a) a damn good episode and b) so filled with Blanche/Dorothy (and a good pinch of Golden Wives too) I can feel my gay power level increase minute by minute every time I watch it. Under a cut because I (unsurprisingly) got verbose about it.

First of all: the whole thing with Blanche 'lending' one of her men to Dorothy for the wedding. The concept alone is just -- I've said before, several times, that the Girls treat their men as accessories, and this episode just spells it out.

Dorothy doesn't really want a date per se, she's mostly upset because of social expectations:

"I still don't have a date for Jenny's wedding. My own goddaughter, and I'm gonna show up alone."

She's worried because weddings are events where you typically bring a +1 along, especially if you're closely related (either as family or via friendship) to one of the spouses. She's worried about the social norm! This is a bit of a general thing in the series, especially for Dorothy, I think; there are several instances when she's upset at not having a date for a specific event, rather than not dating in general. Plus, she gets over it fairly quickly! Before Blanche agrees to lend her the judge, she tells Sophia that she's just going to go alone!

Speaking of Blanche, look at how she describes her men! Here's some quotes:

"You can borrow one of my extras. What kind of guy would you like?"

"Oh, Dorothy, come on. Borrow one of my men. One of my many, many, many, many, many, many men!"

"Oh, Dorothy, not Doug! I couldn't possibly. He's on my A-list."

"Oh, Dorothy, let me get you somebody hot off my A-list. Somebody tall, good-looking, goes with everything!"

"Don't you forget, you be careful. This man is on loan from the Blanche Devereaux collection."

I mean -- she might as well be talking about a purse or a pair of shoes! (As a side note: yes, all those lines begin with 'Oh, Dorothy'. I checked.)

Dorothy fully embraces this point of view, too:

"You always do this, Blanche. You always keep all the good guys for yourself and you give us the leftovers."

She complains about Blanche's lack of generosity -- and this might just be my personal opinion, but generosity is usually connected to material things. Once again: she might as well be getting upset because Blanche refuses to let her borrow a purse.

Rose is the only one who's somewhat concerned at not having Miles as a +1, but it seems to me that's essentially because of the 'getting hot at weddings' thing. When she introduces the problem, we get this dialogue between her and Dorothy:

"Miles can't take me to the wedding. He's going to be out of town at a teaching seminar. Now I can't go."

"That shouldn't keep you from going."

"Oh, I have my reasons."

And then she says:

"So now you see why I can't go if Miles is gonna be out of town. I might end up almost going to bed with the caterer again."

It seems to me she's not that upset because of Miles's absence; she would have gone anyway without a care in the world if the event wasn't a wedding. She doesn't necessarily treat Miles like an accessory, but she's not particularly saddened by his absence, either -- just worried about the effect weddings have on her.

And then, with all this established: the toilet scene. When the scene returns on Dorothy keeping Blanche trapped in the toilet, there's already a couple of guests looking at them and whispering among themselves (which isn't strange at all: they're making A Scene™ right there in the ladies' room!). The whole fight has such an incredible Married Couple Quarrel energy:

"Dorothy, let me out of here right now!"

"There's only one way out, Blanche, and I don't think you can hold your breath long enough."

"You're just making a mountain out of a molehill."

"Five years of molehills. They add up."

"I didn't know Doug meant this much to you."

"I'm not talking about Doug, this is about you."

Talking to the small group of guests that gathered at the scene, she then adds:

"She asked me for another chance, I gave it to her. I trusted her. Biggest mistake I ever made."

Tell me those lines aren't the most married thing you've ever heard. I'm almost tempted to make a poll and ask people what they think about this quote; I'm sure at least a good 85% would assume this is being said by someone to their lover (or ex-lover, at least!).

Then the bride (because let's remember, this is all happening at a wedding) appears and likens the situation between Dorothy and Blanche to what's happening between her and the groom -- so we have a clear line drawn between Blanche/Dorothy and a committed romantic relationship. She calls Dorothy 'Aunt Dorothy', as is expected since Dorothy is her godmother, but she also calls Blanche 'Aunt Blanche', because... I don't know, there's no heterosexual explanation for it. Note that this girl invited Dorothy and Sophia to her wedding (no wonder: her godmother and her godmother's mother; they must be close) but she also invited Blanche and Rose, whom she technically has no relation to -- we have to assume they were invited because of their relation to Dorothy (she's possibly close to them too, considering she calls Blanche her 'aunt', but that's still due to their relation to Dorothy, of course). I mean -- would you invite your godmother's roommates to your wedding, as a general rule?

And!! After all this, the whole talking/not talking thing! Dorothy tells Jen:

"Jen, honey, I think you should go and talk to Joey. The best thing to do in any relationship is talk."

She says this right after she found an excuse to speak to Blanche in private and trapped her into a toilet because she wanted to talk:

"Listen, Blanche, we have to talk."

"Not now, Dorothy."

"Suit yourself."

"Dorothy, will you let me out of here?"

"No way, Blanche."

Once they turn to helping Jen and Blanche finally escapes the toilet, Dorothy is understandably upset and refuses to talk to her, and this makes Blanche very upset in turn. I'll let the dialogue speak for me on this one because there's no way I can say it any better:

"Dorothy, I wish you'd talk to me."

"..."

"I really do, 'cause what I need is a good talking-to."

"..."

"I don't care what you say, just so long as you care enough to say it."

"You stink."

"God bless you, Dorothy."

Yeah. Married. Blanche is so relieved and reassured once Dorothy starts talking to her again that she follows the conversation for just a little while after that (just as long as they're talking about Rose) and then immediately zones out again, because she's back in her comfort zone. Dorothy's talking to her! Dorothy forgave her! Everything's fine -- back to your regularly scheduled Blanche Devereaux™ content. (Note that she also pointedly does not dance with Doug after he comes back, even though he's from her A-list. This episode should have ended with a Blanche/Dorothy dance, if only to spite Doug.)

Rose is mostly busy dealing with her own thing in this one, but you all know I love the Golden Wives, so let me point out a couple of things:

Blanche and Dorothy (especially Dorothy) really do take care of Rose at the wedding! ... well, at the beginning of the party, at least. But they do genuinely try to reassure her! It's sweet! "Rose, honey, take it easy. Breathe deeply. It'll be all right." "Don't worry, honey. Nothing to worry about. We're here to look out for you." [...] "We're gonna have to keep an eye on her." "Hmm." We see her flirt with a couple of men during the party, but she only ends up going away with Doug and only while Dorothy and Blanche are having their little moment in the ladies' room, so it seems like they did keep her out of trouble after all! Until they got tangled up in their own thing, that is.

Right after they get out of the ladies' room (i.e., right after Dorothy tells Blanche 'I have nothing to say to you") Dorothy immediately notices that Rose isn't around, and talks to Blanche about it, despite the fact that she's supposedly not talking to her at all.

Blanche manages to keep her attention up as long as she and Dorothy worry about Rose, then gets immediately distracted by a man in the band. This exchange specifically is really touching to me: "Oh, I hope she can forgive us." "She will. That's what she does best." Just -- the complete certainty... my heart...

Blanche is really aggressive to Doug when he comes back! She was using every trick in her book to get him to act as her date earlier on, but as soon as she gets the hint that he took advantage of Rose, she immediately enters Protective Wife Mode™.

This line by Dorothy: "He must really be something." "So is Rose." This line? Said with the most affectionate smile in the world? Yeah. Yeah.

So anyway. I just spent like an hour and a half writing all this down, I love this episode, I adore these ladies and I am going to scream, thank you, goodbye.