#regardless. a striking parallel!

[daily-hanamura]

[sweemmy]

⋆｡ﾟIn their love, they bloom like a dark rose, its thorns only striking those who try to escape. ﾟ｡⋆

— Vi, Caitlyn, Sevika, and Jinx.

VI.

Vi would do anything to protect you, but her obsession consumes her, driving her to see threats in every corner, even where none exist. In her mind, danger lurks in the shadows, always watching, and you are the only one who can escape this threat... even if it isn’t real.

Her irritable nature compels her to act impulsively, before her mind has the chance to halt the torrent of emotions. She doesn’t hesitate to confront anyone, even if they are just a stranger who has approached you out of curiosity, convincing herself that anyone who crosses your path is a danger, no matter how harmless they seem.

Vi clings to her justification, arguing that her control is merely an expression of love, that everything she does is for your own good. But beneath those words lies a dark echo, as if she cannot fathom a world where you don’t need her, where her influence is not vital to your survival.

Her gestures of affection, far from being tender, are invasive and violent. Her hugs, excessive and tight, feel as if she could crush you. The words she whispers in your ear, filled with intensity, steal the air between you, with a fervor bordering on obsession, as if she’s marking you, immortalizing you in her world, only for herself.

Though her exterior is one of hardness, beneath that mask beats a deep fear: the fear of losing you. She knows that without you, her world would crumble, empty, incomplete. “If you don’t want me near, just tell me… but don’t expect me to stand idly by while someone tries to take away the only thing that gives my life meaning.”

CAITLYN.

Caitlyn becomes ensnared in her own whirlwind of thoughts, convinced that her obsessive love is the only thing capable of offering you the care you deserve. She sees herself as the only one who can truly understand and protect you, regardless of the boundaries she must cross to keep you by her side.

With a sharp, calculating mind, Caitlyn weaves invisible threads around your life, orchestrating every detail so subtly that you're barely aware of her control. From the people you allow into your circle to the places you step foot in, everything is meticulously designed to keep you under her sway.

Using her charm, Caitlyn spins a web of carefully chosen words, manipulating your perception with a smile that conceals the darkness lurking inside her. She has no qualms about distorting the truth, lying, and creating parallel realities, all to ensure you remain bound to her, oblivious to the trap you've fallen into.

Her control over you goes beyond the physical; Caitlyn becomes an emotional necessity, feeding your dependency with gestures that seem loving but are, in reality, invisible chains. She makes you feel as though you cannot breathe without her presence, turning herself into an irreplaceable part of your life, a constant shadow you cannot escape.

Anyone who dares to get close is seen as an immediate threat, and Caitlyn doesn’t need to resort to open violence. Her deadliest weapon is her influence, capable of destroying slowly, without anyone suspecting a thing. "Why waste time with them, darling? I’ll handle everything. It’s much better if you follow my suggestions; I promise everything will be fine."

SEVIKA.

Sevika sees you as hers—like a treasure no one else deserves to touch. Her obsession is a dangerous blend of control and overbearing protection. Should anyone dare to put you in harm's way, she will become the shadow that eliminates any threat, without remorse and with brutal precision.

Any intruder who gets too close will be stopped by her mere presence. The intensity of her gaze and the unyielding strength of her stance instill terror in even the bravest hearts. She needs no words: her silence is a warning, and her actions, the verdict.

Believing the world is a deadly trap for you, she begins to build a cage of isolation. Every argument she makes is wrapped in false sweetness: "It’s for your own good, trust me," while the chains of her obsession tighten a little more with each passing day.

Flowers and sweet words are not her style, but her actions speak louder than anything. The moment she senses you’re in danger, she will unleash an inhuman fury, showing just how far she’s willing to go to protect you.

Her emotions are a storm hidden beneath a mask of cold serenity. Every action is calculated, every decision made with precision. "I don’t need to shout to show you how much I love you. You see it in what I do, don't you?" she murmurs, her voice calm yet carrying a weight that leaves no doubt about the intensity of her devotion.

JINX.

Jinx would always watch you with eyes filled with obsession, as if you were her precious toy, meant only for her. Her love is no simple feeling: it’s a wild, unpredictable whirlwind, packed with emotional explosions and flashes of madness. She cannot stand anyone else getting your attention, and her “jokes” toward those who dare to come close often end in a macabre, lethal spectacle of destruction.

Within her chaos lies a desperate search for stability, and you are her anchor, but always on her terms. Trying to pull away or challenge her twisted world only triggers a collapse in her mind and a violent need to reaffirm her control over you.

Her love manifests in disturbingly creative forms: bombs adorned with hearts, explosive devices bearing your name, or "trophies" taken from those she deems rivals. Each one is a sickening declaration of how deep and dangerous her affection runs.

Her greatest fear is abandonment, trapped in the loneliness that haunts her. If she senses even the slightest hint that you might leave, she’ll do the unthinkable to make sure you stay by her side. It doesn’t matter if she has to chain you—literally or figuratively; in her mind, the end always justifies the means.

Jinx won’t hesitate to destroy—even herself—to keep you close. Her desperation drives her to dark extremes, hurting others or putting her own body at risk. “Do you see this? I did it for you. Now you can’t deny how much I care. You’re not going anywhere, are you?”

[struggling-jpg]

Thoughts About the Potential Underlying Hidden Tragedy of Yanqing and Jing Yuan

that isn't just the "Yanqing will have to kill Jing Yuan eventually" red flags.

A relatively longer-ish post so thank you for bearing with me if you choose to do so!

I'd already been thinking about this whole mess of thoughts for a long while now, and so have other people, but the urge to write this came from a comment I saw on a post that mentioned how Yanqing had lost to "Jing Yuan's ghosts" and overall how it contributes to the dynamic of them being mentor/mentee + father/son. While the narrative seems to be leading to "Yanqing having to strike down a Mara-stricken Jing Yuan," there's just enough weird points that stick out to the point some alternative outcomes for Yanqing and Jing Yuan's fates to play out.

And while I anticipate HSR to follow that most expected point, I feel like there's enough there that could lead to a subversion or something more likely than that, an additional twist to the knife alongside the expected point.

Jing Yuan's Flaws as a Mentor and Father-Figure:

While most of us love the family fluff, I'm pretty sure we can all acknowledge the issues in Jing Yuan's approach and decisions in regards to Yanqing. Yeah, this is a fictional space game story where it's likely they aren't going to delve into the consequences of having someone as young as Yanqing be a soldier, there seems to be something there regardless. Like the brushes with death that he has and how we see him have to worry about the Xianzhou's security as a teen due to having a higher position in a military force. This is all set up for more of a coming-of-age type narrative for him, which HSR has done amazingly so far, but there are a lot of chances for this to explore something darker.

Among official media, the one time I could even remember the term "father" being used in relation to Jing Yuan is in Yanqing's official Character Introduction graphic:

Another notable thing that we see here is how we do have moments where Yanqing expresses thoughts and questions about his own origins and birth parents. The fact that even here, he wonders if the general is hiding something from him, sets off some alarm bells in my head. But he then brushes that off because he's always been with the General and Jing Yuan accepts him for who he is (which under the theory that Yanqing originates/is connected to the Abundace adds a whole heavy layer (this will be discussed in a later section)).

Yanqing does something similar in his texts:

As Huaiyan says to Jing Yuan:

"Yanqing can understand your concerns."

Alongside Yanqing generally being a considerate and polite boy, it can possibly be said that his eagerness to share Jing Yuan's burdens not only stems from his own gratitude towards him but possibly also Jing Yuan's distance.

As in, Jing Yuan doesn't really express his feelings so blatantly, and what we can clearly tell from when Yanqing first met "Jing Yuan's ghosts," neither does he speak much about his past too on a personal level. In Jingliu's quest, Yanqing says that Jing Yuan simply told him to forget everything he saw that day.

For Jing Yuan, the loss of the quintet is a grief that feels fresh in his heart, especially with echoes of them running around him. This is in the description for "Animated Short: A Flash":

(Will also talk about this in a different section)

While Yanqing learns about his General's past in a more direct manner (aka the people involved), it's sad how avoidant Jing Yuan is at times. While he's never been a upfront person, especially in the case of solving problems, I wonder if HSR would go as far as to show the negative side of that in terms of raising and teaching Yanqing.

History Repeats Itself (Sometimes It Don't Need A Reason):

+ the Jingliu parallels

Following up on that last image, Jing Yuan, especially in A Flash, has that whole "history repeating itself" thing going on for Jing Yuan. It points to Yanqing having to take down Jing Yuan but it also comes with a lot of its own possibilities and meanings.

It's blatant that Yanqing parallels Jingliu to an unsettling degree. Anyone who personally knows Jingliu and meets Yanqing sees her in him. Jingliu probably sees herself in him as well. Beyond powers and passion for the sword, her Myriad Celestia trailer shows that her principles before getting struck with Mara were the same as his. But it took her losing her dear friends in such a cruel and brutal manner (alongside how long she'd been alive) for all of that to fall out and form the version of her we see today.

And while it seems that Yanqing is deviating from Jingliu's due to the teachings he's learning, especially with Jing Yuan's effort, I feel like there's still a chance for things to go so wrong and mess with that. Yukong's line about him strikes me as concerning:

"A sword will vibrate and beg to be unsheathed if it is unused for too long... Once unsheathed, it will either paint the battlefield in blood, or break itself in the process..."

Even though I don't think HSR will go down a route of tragedy with Yanqing, like say, he gets Mara struck somehow or killed because that's not how Hoyo's writing has fully gone for playable characters (Misha and Gallagher aside in terms of death). Even in the most despairing parts for Hoyo's games, they're usually outlined and tinged with hope in one way or another. It's just that with what's been presented, there's got to be more here than meets the eye.

Yanqing's Origins - The Breaking Point:

From what we've been given, I think the number one thing that would have the potential of shaking Yanqing's entire sense of his life and the reality he lives in is learning where he comes from. Where he actually comes from has been a strange mystery since the beginning, how Jing Yuan getting him being recorded in the military annals of all places.

As shown from the screenshots of Yanqing's texts, he doesn't know and tries to brush it off because he's happy with Jing Yuan now. The choice to have this aspect here leaves a lot to ruminate on. What is Jing Yuan hiding? And if he really is witholding information, does he ever intend to tell Yanqing? If he doesn't and Yanqing finds out, how will it play out? And even if he does mean to tell him, depending on the severity, how will Yanqing take it?

It's why the theory that Yanqing is connected to the Abundance, possibly even coming from it directly, is as harrowing as it is.

With his arc in mind, will his development be enough to sustain him when he does find out the truth? If he finds out sooner than he should, will he be able to rise above it? And what of Jing Yuan? If confronted with a situation that's outside of his control again, what will he do and how will he react?

The potential in that scenario is so fascinating to me, because we can all anticipate the absolute gut punch that Yanqing killing his master would be. It fits Hoyo's writing style of something so sad but having a hopeful end for the future type beat. But the idea of that being twisted, that expectation being flipped on its head, could be so agonizing. It's not a narrative we see too often explored, at least in my experience, so maybe that's why I'm brainrotting over it so much lol.

[atelierlilae]

TWST - fragrances pt.1

Part 2 out now ♡

Disclaimer: I have not personally smelled most of these perfumes; I chose them based on their notes. Just because a brand has been added it does not mean I support it or align with their values; I am focusing on the products on their own. The majority of these perfumes are quite expensive anyways - if you like any, I suggest directly looking for a dupe. I picked these with the characters' preferences in mind rather than trying to encapsulate their scent/vibe. My explanations are added to each one! Due to the photo limit, only the main cast are present. As usual, I ask you to not repost any of the photos/the post itself outside of Tumblr or within it. My main sources have been Fragrantica and Wikiparfum (some images used are from their website), along with the brands' sites. The notes are mainly sorted from top (the ones you smell first) to bottom (the ones that linger last), though I have been unable to verify some's placements, thus they are presented in what I assume would be their order. HEARTSLABYUL

Notes: pink pepper, blackcurrant sorbet, pink rose, peony, salty vanilla, patchouli, cashmere wood I wanted Riddle's liking for sweets to be present, though not overwhelmingly, so opting for a floral scent was a better way to show it. I would have searched for an aldehyde-having perfume, but I feel like he already has that clean laundry smell from his clothes.

Notes: orange, elemi, star anise, lavandin, clary sage, petitgrain, fir balsam, cypress, pine needles I imagine Trey spends enough time surrounded by sweet gourmands to want something softer, though even if he hadn't been a baker, he still gives the vibe of enjoying herbals. I had also chosen Velvet Cypress, which matched beautifully with its greenness, but the scent profile wasn't my first bet... :(

Notes: jasmine (and sambac), ylang-ylang, watermelon, carambola, magnolia, blackcurrant, green mango My mind immediately went to fruity sweetness when it comes to Cater, though a toned down version with the involvement of florals. He'd want to match his bubbly image while not overwhelming his senses, right?

Notes: citrus, amber, cedarwood, tonka bean, vanilla, sandalwood Now, the fact that one of the most popular perfumes matches what I had in mind for Ace is genuinely coincidental. I do see him buying this as a treat for himself though, regardless of it being trendy. While he is pretty masculine, there is a freshness still present that would reflect in his perfume - he still lacks the maturity and taste of a man.

Notes: Sicilian bergamot, mandarin, green apple, cashmere wood, cedarwood, petitgrain, violet, pomarose (not pictured), oakmoss, musk, amberwood (not pictured) In contrast to Ace, I picture Deuce to enjoy fresher and sweeter scents, which is how this perfume made the cut. He seems more open to wear less traditionally masculine fragrances. SAVANACLAW

Notes: rosemary, sage, black pepper, star anise, plum, birch tar, cumin, Bulgarian rose, myrrh, tobacco, suede accord, leather accord, honey, oud, praline, frankincense Leona is what Ace still lacks, though more wild and carefree in comparison to an older man. I definitely see him using perfumes with leathery smells rather than herbals or fruits, unless they're toned down; a big part of it is his sensitive nose of course. Under the roughness, there is a sweetness to be found.

Notes: salt, timur pepper, ginger, bergamot, black iris, saffron flower, violet leaf, blue cypress, suede, oud, mastic absolute, tobacco leaf Considering Leona's hand-me-downs to Ruggie, I feel like he would have included a perfume from his younger years too. The profile is similar to the current one, yet lighter thanks to the inclusion of more florals. I think it also matches Ruggie, having some parallelisms to Leona yet toned down.

Notes: amaretto, leather, wood, patchouli, musk Despite maintaining the leathery vibe, Jack strikes me as if he would enjoy sweetness, though in the form of flowers. This perfume only really has patchouli as a plant, but the amaretto, musk and wood make up for it with a deeper & warm sweetness. OCTAVINELLE

Notes: quince, grapefruit, hyacinth, jasmine, iris, musk, cedarwood, amber Azul is a synonym for powdery and light florals to me. I do see him using more classically masculine fragrances as well, though still a softer version. I had originally assigned him Jersey (Chanel) because of the lavender, but this one fit better.

Notes: pear, lily of the valley, aldehydes, iris, rose absolute, orange blossom, patchouli oil, ambrette seeds, white musk I think we can all agree Jade is the president of aldehydes; the cleanest linens you will ever experience. He'd incorporate florals too, especially those he finds during hikes - a deceiving softness.

Notes: mandarin, sea water, Egyptian geranium, clary sage, lavender, rosemary, oak moss, patchouli, vetiver, vanilla orchid People have said this smells like the holidays, which couldn't be more fitting. Floyd has the freshness of a fruity perfume without really having it in its profile (there is a citric note of course). He would also use less conventional scents, such as sea water. SCARABIA

Notes (most I have confirmed, but beware that some I'm doubtful on): bergamot, red berries, blackcurrant, florals, mandarin, honey, caramel, almond, patchouli, sandalwood, vanilla, chocolate I feel like Kalim is a gourmand person; he'd go for the caramels, vanillas, coconuts...I actually wanted to find a perfume with coconut and flowers for him, but I settled on this one since it also fits.

Notes (not 100% verified): mate, pink pepper, violet leaf, clary sage, patchouli, bergamot Albeit simple, Jamil's perfume is definitely a nice one. His choices would be influenced by aromatherapy; he'd absolutely wear calming scents. A lot of herbals, but there are some richer fragrances in his collection for special occasions, like ambers. POMEFIORE

Notes: jasmine (sambac), orange, bergamot, mandarin, gardenia, orange blossom, sandalwood, white amber, cedarwood, white musk As soon as I got to Vil while brainstorming, I knew one of the Poison perfumes had to be in his hands. He definitely combines the softness of florals with the sharpness of citrics and the richness of ambers. His fragrances are a luxurious dessert that leaves you wishing for more.

Notes: thyme, tea, lily of the valley, saffron, rose, suede, musk, sandalwood, olibanum, amber Based on the description we got, I wanted Rook to have a perfume with amber and musk, though with other notes too. Originally I thought of Jo Malone's Midnight Musk & Amber, but since it is discontinued, this one took its place. I find the scent profile to match Rook better; he'd want something herbal to soften the warm richness.

Notes: aldehydes, rose centifolia, peony, violet, musk, sandalwood If I may be honest, I first assigned this to Vil (I know, the name), but since I wanted him to have a Poison perfume and eventually found a better scent profile, this one seemed more fitting for Epel. It's especially fitting post-VDC once he starts embracing his femininity, yet with the depth of musk and sandalwood highlighting his strength. IGNIHYDE

Notes: aldehydes, citric, clary sage, ozonic notes, musk, ironwood (hornbeam)

Originally I imagined Idia would reach for a more metallic scent, though I couldn't find any I particularly liked (I don't even know what metal perfume smells like...), so I opted for my first thought: aldehydes and citrics. While Idia does enjoy his candies, I feel he'd want a very simple scent profile, and this perfume was perfect.

Notes: lemon, mandarin, orange, rose, jasmine, ylang-ylang, cedarwood, musk Like Idia, Ortho to me would reach for aldehydes (which this perfume has) and citrics, though his fragrances would be sweeter. I imagine he'd mask the metallic smell with it. DIASOMNIA

Notes: Italian lemon and mandarin, mint oil, candied apple, geranium flower, clary sage, ambermax, cedarwood, vetiver, patchouli, sandalwood, vanilla While still very masculine, I feel Malleus' choices would have a sweetness to them, wanting to lure you in with a sense of safety. I smelled this perfume years ago and still remember how much I loved it; it truly is fitting to him.

Notes: wild berries, blackcurrant buds, musk, blackberries Immediately, my mind went to berries. Lilia would heighten his cute image through sweet scents, especially fruits, though he could reach for gourmands.

Notes: fig milk, mandarin, sandalwood, violet, tonka bean, musk Silver is on the natural side; he'd reach out for florals and herbals instead of overwhelming scents. Though he reminds me of clean linens too, in a warmer way - like the creaminess of a lactonic without them. It comes through thanks to the notes in this perfume.

Notes: lavender, rosemary, petitgrain, clary sage, geranium, ambery wood Out of everyone in the Diasomnia quartet, Sebek feels like the one that embraces masculinity most, especially its sharpness. Though because of his age, it still has a softness present through floral hints. A relative of mine has owned this perfume, and it's a rather nice scent. I definitely see Sebek wearing it to strengthen his appearance.

[fluffydeoxys]

thinking about sheriff's death and coming back on his own. a tremendous feat on its own regardless of who it is but for sheriff? why not just lie down and let dissolution take you and let yourself be unmade? no more fear or pain, no more running, no more having others turn their backs on you, no more turning your back on others.

but no. instead driven by some anxious will to live, that he can't die here, not now, in spite of something. someone. a prey animal backed into a corner and now he's an unravelled ball of nerves that wants to LIVE. maybe some part scared of death, but for the first time in his life he has discovered a moment of unflinching willpower. to turn and face this, to claw back up, rather than flee further into death.

a striking parallel and juxtaposition to hank, a revenant, someone who came back different and yet not quite. but sheriff climbing out is not done with his violent grace. it is bloody, it is frightening, and it is hard. especially when the other place, fickle in its ways, seems to love showing and creating scenes that reflect the inner woes and scars of the person's narrative.

staring at the worst parts of you. forced to confront and wrestle with it again and again if you want to proceed. if you want to live, you must reclaim it. you must fight for it. and for sheriff to do that? for the many entangled, conflicting, burning reasons I can think why he would, I think its remarkable. something about him relentlessly getting back up again, tired, scared, haggard and just wanting to go home - whatever that means - but still going. no matter what

reaching the other places uppermost layer after presumed weeks, hell, months of slinking about bloodied corridors and harrowing scenes of betrayal and isolation and wimbleton over and over again. and the singularly most painful moment of pushing through that membrane of What Could Be into What Is. every atom of your narrative sundered and split and remade and reformed agonisingly. peeling through your every layer as every abstraction of you comes apart and back together again to be alive. to be Here.

and sheriff emerges to silence, no fanfare, nothing but trembling in a pool of blood and sweat under a deep red sky in the middle of Somewhere. half dead, really, but alive.

and to think, after all that, he goes back to MERC and helps properly lead and form a community within the walls of the industrial sector. i think it speaks volumes about him as a character... especially when, even despite everything, I don't think he changed all that much as a person.

[cursedbyastro]

the faces I reflect

💋 through my exploration of beauty, identity, and the art of reflection, i have turned the mirror inward—toward myself and those who echo my features in the public eye. guided by curiosity and a quiet reverence for fate, i have gathered the names of celebrities i resemble, whether through shared essence or striking similarity, as observed by others. while surface comparisons may appear coincidental, there lies an undercurrent of astrological nuance. birth charts, after all, weave their own stories—sometimes mirroring others through planetary dominances, shared inclinations, or complementary placements. in this brief analysis, i examine not only these surface parallels but also the deeper connections between us.

to preface, i have an ashlesha ascendant that conjuncts my ashlesha jupiter in the first house, magha moon sitting in the second house, mula sun in the sixth house, conjuncting my uttara ashada mercury. it’s also worth mentioning that my vishakha venus and vishakha mars in the fourth house aspect my ascendant. these aspects i feel, and through third party chart anaylsis, make up the largest part of my appearance.

while i lean more towards tropical astrology, i’ve noticed that when it comes to appearance, vedic astrology tends to be much more accurate and often aligns with synchronicities that make sense to me. i’m by no means a professional in either vedic or tropical astrology—these are simply my personal observations based on my own chart. i’ve found joy in exploring both systems individually and together, appreciating the insights and patterns each one can reveal. this is just something i’ve noticed and thought would be interesting to share. the placements mentioned for these celebrities are based on information available on the internet. while birth times and chart details can vary in accuracy, they provide an interesting foundation for observation and comparison. as with any astrological analysis, these placements are shared with curiosity and a lighthearted approach rather than absolute certainty.

💋 china anne mcclain (magha sun, ashlesha venus, magha rahu)

the first and most frequent mention is china anne mcclain—a comparison i’ve heard so often it feels woven into my reflection. between her and lisa bonet, these names have followed me the most, to the point where even my photos app seems convinced her pictures are mine. the resemblance feels uncanny, and while some of our features differ in size, there’s an undeniable thread of similarity that people often say could make us sisters. astrologically, it doesn’t surprise me; there’s a shared energy in the planetary influences that shape us, particularly those ruled by ketuvian and mercurial influences.

as i look back at older media featuring china anne mcclain, i can’t help but see glimpses of my younger self reflected in her—almost as though looking into a mirror. it’s a surreal experience, like rediscovering parts of myself through her image, and at times, it truly feels like a sight to behold. 

being compared to someone as stunning as china always feels like an honor, especially since we’re both in the acting industry—a shared path that makes the connection feel even more significant. the more i’ve acknowledged the resemblance, the more i’ve found myself looking to her for inspiration, particularly when it comes to style. it’s as though seeing her is like seeing a version of myself in a different light, and i often find pieces she wears that i imagine would suit me just as well. it’s a quiet connection, both familiar and affirming, and i can’t help but admire her even more for it.

💋 lisa bonet (magha jupiter, vishakha venus)

another very frequent mention, rivaling china anne mcclain in frequency, is lisa bonet. i’ve been told for years that i resemble her, to the point of being called more her twin than her own daughter, regardless of my hairstyle, and while i used to attribute it to our similar fair-toned complexions, i’ve come to see more of my features reflected in hers over time. people have described it as a certain nostalgic beauty—an essence that seems to linger in both of us—and i can’t help but feel deeply honored to be compared to her. lisa’s beauty has always felt timeless, and being placed in such company feels almost surreal.

out of everyone i’ve been likened to, she is the one i sometimes see most clearly in myself. while i still find a strong resemblance to chyna anne mcclain, especially in essence, complexion-wise i naturally lean more toward lisa. growing up, i always thought she was the epitome of “cool”—effortless, magnetic, and the very definition of an it girl. it’s no surprise i’ve found myself subtly emulating her style and demeanor, as she represents a kind of quiet confidence i’ve always admired.

surprisingly, lisa and i share only a few similar placements, which has made me reconsider the significance of my other placements. for so long, i’ve placed greater weight on my moon nakshatra, overlooking how powerful my other placements truly are. as an honorable mention, her sun falls in my venus & mars nakshatra and her jupiter is in my moon nakshatra, adding a fascinating mercurial influence to her chart. perhaps it’s these unseen threads—subtle yet undeniable—that make the resemblance feel so natural, a connection that extends beyond what meets the eye.

💋 tessa thompson (magha moon)

another celebrity i’ve been compared to—though very slightly more sparingly and quite recently—is tessa thompson, who is absolutely stunning. i’ve admired her work for years, so hearing this comparison, especially for the first time while getting my hair done one day, felt both unexpected and flattering. when i mentioned it to my mom, she immediately agreed, saying she could definitely see it, despite the differences in our bone structure. admittedly, i hadn’t noticed it much at first, but now, when i look at her, there’s a resemblance i can’t deny.

tessa and i also share a ketuvian moon, which aligns with a pattern i’ve noticed: the people i resemble most often share an ascendant or moon placement with me. there’s something fascinating about that subtle astrological link, as if it explains why these comparisons surface so naturally. what i find even more comforting, though, is that many of the celebrities i’ve been told i look like are actresses. as an aspiring actress myself, there’s a certain reassurance in knowing i’m in such good company—or, at the very least, that i could be someone’s doppelgänger on screen.

honorable mentions :

pinkpanthersss (ashwini venus) now, i’ll be honest—this is one comparison i don’t really see at all, and even my mom doesn’t see it. yet, my older sister and a few people on the internet have pointed it out, so it’s a mention worth including. surprisingly, we don’t share any exact placements, though we do have a few ketuvian-ruled nakshatras in common, which may lend a subtle energetic similarity. while there isn’t much astrological linkage between us beyond that, i’ve still been told on occasion that i resemble her. it’s not as frequent as some of the other comparisons, but it happens enough to have caught my attention. even if i don’t see it myself, it’s fascinating how others perceive similarities that sometimes go beyond what we’re able to recognize.

doja cat (vishakha venus, sun, & ascendant) a comparison i’ve received sparingly but often enough to take note. while we don’t share any exact placements within the same nakshatra, there are subtle connections between our charts. her mars aligns with the nakshatra of my sun, and her sun, ascendant, and venus nakshatras mirror my venus nakshatra, which aspects my ascendant. i’ve been told that, from certain angles, i resemble her—enough that i could pass as a stunt double or doppelgänger of some sort. at first, i thought these comparisons were tied to our lighter complexions, but over time, people have specified that i resemble a younger version of her. though i hadn’t seen it myself initially, hearing it repeatedly has made me pause and reflect. it’s a comparison i now find worth mentioning, as it’s been brought up enough times to leave an impression.

halle berry : (magha moon, ashlesha venus & sun) a name that has followed me through passing comments at work, shared observations from coworkers, and the casual assessments of strangers. admittedly, i don’t see the resemblance myself, yet the repetition of it has made me pause. sometimes, beauty can be more than what is plainly visible; it can exist in essence, in the intangible, in a certain way one carries themselves that draws a familiar reflection.

💋 perhaps there are unseen threads that tether us, subtle overlaps in energy or expression that extend beyond what the mirror shows. halle’s presence has long been synonymous with a kind of poised magnetism—graceful yet undeniably powerful. it is a quality that cannot be distilled into features alone, as though it is whispered into existence by something greater. while i remain uncertain of the likeness, there is a quiet acknowledgment that others have seen it—a connection, however faint, written into the nuances of energy and expression that we carry.

💋 in reflecting on these comparisons, i can’t help but feel honored to be in the company of such beautiful, talented women. it’s fascinating to see how astrology connects us in ways we don’t always expect—through subtle threads, shared energies, and placements that reveal themselves quietly but meaningfully. every part of the chart holds significance, from the aspects we value most to those we might overlook—loose connections, harsh angles, or seemingly minor placements all contribute to shaping who we are. in my one face, there are a million—the faces of others reflected through shared features, the essence of similarities, and the faces of my ancestors carried through me. it’s a reminder of how interconnected we all are, not just through appearance but through the energies we hold and the worlds we observe around us. beauty, after all, is in the eye of the beholder, and i am so grateful to be seen and compared in such great company.

until next time, continue observing xoxo

[leatherthorn]

TKDB - Can they drive?

I had been thinking about this earlier, but this like from the newest chapter made me think about it more.

So without further ado, here is whether I think the TKDB boys can drive or not.

Jin: Probably can, but doesn’t. That is what Tohma is for.

Tohma: Absolutely. That guy could probably drive a space shuttle if he was prevaricated upon to do so.

Kaito: Too much of a nervous disaster to get behind the wheel. Would 100% slam the accelerator while in reverse while parallel parking.

Luca: Doubtful. I imagine he probably will learn to drive someday, but he strikes me as the kind of guy who won’t learn until after school, since he doesn’t need to right now, and he’s got a lot going on right now, you know?

Alan: We already know he does. He’s quite skilled at all kinds of driving. Probably the kind of guy who can get someone an hour way ij 30 minutes.

Leo: Huh? Gross. That’s what Sho’s supposed to do.

Sho: A responsible motorcyclist. Will probably have to learn to drive a car/box truck for convenience sake in the future.

Haru: He definitely drives a micro truck illegally. How else is he going to carry heavy feed all over the olace? No one bats an eye because he’s doing it on private property technically so he doesn’t need a license. Also, is a Capybus a motor vehicle for the purposes of this thought exercise? It’s an open question. He probably also drives that illegally, regardless. Calm down, Ritsu.

Towa: No way in hell is anyone letting him drive the micro truck again after what happened the last time.

Ren: He strikes me as the kind of guy who was forced to learn, but never got to drive anywhere fun. He is probably just working for his family business.

Taiga: Laws are for suckers.

Romeo: He is probably the one that actually drives during missions, if it’s necessary. Generally doesn’t drive if he can avoid it, but has absolutely driven the Passo dello Stelvio at least once.

Ritsu: Has his drivers license and is an absolute menace on the road. No one is getting anywhere efficiently because he’s too busy impeding traffic with his strict adherence to the rules. This is why Romeo drives.

Subaru: Absolutely not. While certainly capable of learning, he’s far too nervous to effectively drive.

Haku: also no, but more from a matter of convenience, rather than some sort of anxiety.

Zenji: Same for Zenji. I don’t see him learning how, even though he would happily extol the virtues of a country drive.

Ed: He could drive a carriage. Does that count?

Rui: has a license and no car. Being a surfer would require some ability to bring boards around to the beach, but I can’t imagine that he drives enough to justify owning a car.

Lyca: When would he have had time to learn, between living in the wilderness and in anomaly jail? He’d probably be good at it if he was given the chance, though. At the same time, I think he might also be prone to road rage, so… no different than your average American driver…

Yuri: He would also be a menace behind the wheel, but because he would be too busy having Big Brain thoughts to remember to put the car in park before getting out of it.

Jiro: Also a menace, but because he would let people keep going ahead of him at the first stop sign he came across.

[irefy]

Telemachus’ dismissal of Penelope’s grief in book one strikes me as particularly sad, and almost seems to parallel Calypso.

Telemachus doesn’t understand Penelope’s grief because he never knew his father. He doesn’t get why she can’t get over him so they can move on with their lives.

Calypso doesn’t understand why Odysseus needs so badly to get home, and doesn’t get why he can’t get over Penelope so they can move on with their lives.

Telemachus and Calypso both dismiss the grief of Penelope and Odysseus respectively because it’s outside of their understanding.

Idk that’s just what I’ve gathered so far in my reading. I could absolutely be way off, but I think this is still an interesting thought regardless.

[platoniclace]

I haven't really seen anyone talk about this, which could simply mean I'm not chronically online enough, BUT let's point out a particularly chilling parallel I recently noticed in Epic: The Musical.

So, in the Circe Saga, we open up with the lovely song Puppeteer. We've talked about it, we've fawned over it, we all know every word to this song, I'm sure. But as I was listening to it last night (woohoo, statistics homework), a few lines stuck out to me that hadn't really before. Eurylochus is trying to convince Odysseus to just pack up and leave, and Ody replies with,

"Of course I'd like to leave now. Of course I'd like to run. But I can hardly sleep now, knowing everything we've done."

Which, you know, makes sense. Our guys have been at war for 10 whole years, at the conclusion of which our boy Ody drops an infant off a wall. But then, much later, comes 600 Strike (another banger of a song). And what is the exchange at the end of this song?

"After everything you've done, how will you sleep at night?"

"Next to my wife."

Like.

Bro.

That line went hard regardless of literally anything else when I first listened to the song, but now taking in the greater context of the whole musical? The fact that Odysseus himself at one point spoke of how he could hardly sleep because of his actions?? And is now so far off the deep end that it doesn't even cross his mind anymore???

I just about lost my ever-loving MIND last night when it all hit me. Anyways, here's my small contribution to the fandom.

[sunshine-jesse]

One thing that i found interesting, and one that surprised me, is that episode 3 reveals that game's narrations( and I suppose subsequently, Andrew's opinion) on Doug are actually quite incorrect: The game frames Doug as a spiness follower to Renee, and it's obviously done to highlight similarities between him and Andrew, but episode 3 shows it's really the opposite: At various points, Doug has been the decisive one of the couple, he made all of the story-relevant decisions, and notably, he's a pure soul, so he feels no conflict on them.

Rene on the other hand, is shown to be plagued by guilt, and doubts, and we see numerous examples of her struggling with her own decisions, and being on the cusp of making a right call, only for Doug to swoop in and make a call which he thinks she'd prefer, thus coddling her.

When Renee talked to her mother, it's Doug who steps in and turns off the phone, and reassures her that he has no regrets over their lives, thus making Renee happy.

It's ultimately Doug who contemplates consequences for kids over Nina's death and decides they turn a blind eye, Renee does say she's glad they see eye to eye, but she strikes me as someone who'd flip her opinion to be in line with Doug's because she respects him that much.

It's probably best shown in the scene with the surgeon: Rene goes in circles, asking about the payment, but then feeling guitly about the kids, rinse and repeat, being unable to make a choice as she doesn't want to sell them off to die, but it's Doug who decides to take the deal, and Renee flips immediately and acts as if she never doubted herself.

I think, because Andrew and Douglas never had much of a connection, Andrew simply projected himself onto his father, and treated him as a blank slate, and it blinded him to the man Douglas actually was, a man who made the important decisions in the family.

Doug and Renee informed Andrew's opinion on normalcy: Renee was there to shut him down when he tried to complain, but Doug was the absence of connection, and it told Andrew that people with either shun him(Renee) or simply won't get him(Doug).

That said, I don't feel like Renee and Doug represent a healthier romantic dynamic Andrew and Ashley could(or even already) have, simply because they refuse to challenge each other, they would rather make each other happy, and be oblivious to their lives falling apart, until the consequences of their actions break into their home and sell their souls to a demon.

In that way, I think they're a "what if" Andrew and Ashley could become if they simply decide to delude themselves into keeping each other happy and casting aside their better judgement.

That is, they're a mirror to Questionable Burial Andrew and Ashley.

Andrew is still assertive himself, but he's decided to be a steward to Ashley and do what he thinks would make her happy, like Doug, and Ashley, like Renee, casts aside her own doubts just to stay in a fantasy for a little longer.

Notably, Questionable Ashley is the only one where she doesn't mourn her parents, like Renee mocked Connie's death due to Doug's reassurance.

There's a lot of interesting stuff in here that makes me wanna tweak some opinions or elaborate further on some of these thoughts.

When I say that Douglass and Renee are a parallel of a healthier relationship, what I mean more than anything is the mutual respect they have for each other. With that in mind, I do agree that they're a mirror of what the QBurial relationship could be more than anything. They're a model of something healthier and happier, insofar as anything is better than the reactive abuse death spiral the siblings go through in 3B.

But, as you've explained, better isn't really good enough. The two are in such deep shit both psychologically and materially that they'd need to be better than what their parents were regardless of the long-term consequences of their actions. It's also a mirror of some of the siblings' worst tendencies shone under a different light. Renee, like Andrew, struggles with self-doubt and acting in accordance with how awful she really is. Douglas, like Ashley, grants her permission to act that awful. But Andrew and Ashley need to be better for each other, and encourage each other to do better.

QBurial might even have them ending up finding happiness (rather than comfort or resentment. or both) in hurting each other, as we watch the consequences of that unfold.

Just some stuff to think about. Thank you for this ask.

[nolablu]

Astro Note #1: The Archer’s Aim

Hello this is Magonlia :) This is just the start of a series of brief observations I’ve made. Rather than letting them stay locked away in my notes, never to be seen by the world, I’m making some of them accessible. Enjoy 🫶

⠀ * . . · * ⋆ ·⠀⠀* . ⠀ ⋆ · . ✵ * ⠀ ˚ . ⠀⠀. ✷⠀⠀ ˚ . ˚ . · *· .⠀⋆ · ⠀ ⠀ ˚ .⠀⠀. ⠀ ˚ . . ✦ .⠀⋆ ·⠀⠀⠀ * . ⠀⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀ . . ⠀⠀ * ⠀ ⠀ ˚ . ⠀⠀. ⠀⠀⠀⠀⠀ ˚ . . · * ⋆ ·⠀⠀⠀ * . ⠀⠀ * . · ⠀⠀ ☆⠀. ⠀ ˚ . ⠀⠀⋆ ·⠀⠀⠀ * . · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀⠀ ⠀⠀ ˚ . . ⠀⠀ * ⠀⠀ ˚ . ⠀⠀. ⠀⠀☆⠀ ˚ . · ⋆ · * ⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ☆⠀ ˚ . . ⠀ * ⠀ ˚ . ⠀. ˚ . . · * ⋆ ·⠀⠀* . ⠀⠀ * ⠀⠀ *⠀. ⠀ ˚ . ✷⋆ ·* . ☆ · ✷⠀⠀ * ⠀ ˚⠀.⠀ ˚ .

▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬

┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊

┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊⋆ ·⠀

┊ ┊ ┊ ┊ ┊ ┊ ┊ ┊⋆｡˚ ✩

┊ ┊ ┊ ┊ ┊✭ ·｡˚ ⋆ ˚

┊ ┊ ┊ ┊˚ . ⋆ ·⠀

┊ ┊✷⠀⋆ ·⠀˚ .

┊ ┊ ˚ . . · * ⠀

┊ . ˚ ✩

. · *

I find it interesting that Sagittarius’s arrow point directly at Scorpio’s constellation, specifically the heart of Scorpio, where the star Antares is located (which would be a star associated with Jyestha’s nakshatra). However there are some who claim that the arrow is pointed at the tail rather than the heart. Regardless it’s directed at Scorpio. The constellation for the quiver and arrows are Kaus Media and Kaus Australis (Purva Ashahda), Ascella and Nunki (Uttara Ashahda).

⠀ * . . · * ⋆ ·⠀⠀* . ⠀ ⋆ · . ✵ * ⠀ ˚ . ⠀⠀. ✷⠀⠀ ˚ . ˚ . · *· .⠀⋆ · ⠀ ⠀ ˚ .⠀⠀. ⠀ ˚ . . ✦ .⠀⋆ ·⠀⠀⠀ * . ⠀⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀ . . ⠀⠀ * ⠀ ⠀ ˚ . ⠀⠀. ⠀⠀⠀⠀⠀ ˚ . . · * ⋆ ·⠀⠀⠀ * . ⠀⠀ * . · ⠀⠀ ☆⠀. ⠀ ˚ . ⠀⠀⋆ ·⠀⠀⠀ * . · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀⠀ ⠀⠀ ˚ . . ⠀⠀ * ⠀⠀ ˚ . ⠀⠀. ⠀⠀☆⠀ ˚ . · ⋆ · * ⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ☆⠀ ˚ . . ⠀ * ⠀ ˚ . ⠀. ˚ . . · * ⋆ ·⠀⠀* . ⠀⠀ * ⠀⠀ *⠀. ⠀ ˚ . ✷⋆ ·* . ☆ · ✷⠀⠀ * ⠀ ˚⠀.⠀ ˚ .

I find Marina Abramović, “rest in energy performance” to oddly parallel the positions of the constellations mentioned above. In this photo, Abramović stands with her arms at her sides, holding a taut bow pointed directly at her chest, specifically at her heart. The arrow is nocked and pulled back tightly by Ulay, who stands facing her, holding the string with precision and tension. This parallel is a striking observation, especially when considering the symbolic resonance between the constellation and the real-life natal placements of Abramović and Ulay. Marina has a Scorpio Sun, while Ulay also has a Scorpio sun with a Scorpio Lagna but his Moon is in the sign of Sagittarius. Marina frequently engages with themes that border on the occult in her work, so it’s possible she was very intentional about their positioning in this performance.

⠀ * . . · * ⋆ ·⠀⠀* . ⠀ ⋆ · . ✵ * ⠀ ˚ . ⠀⠀. ✷⠀⠀ ˚ . ˚ . · *· .⠀⋆ · ⠀ ⠀ ˚ .⠀⠀. ⠀ ˚ . . ✦ .⠀⋆ ·⠀⠀⠀ * . ⠀⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀ . . ⠀⠀ * ⠀ ⠀ ˚ . ⠀⠀. ⠀⠀⠀⠀⠀ ˚ . . · * ⋆ ·⠀⠀⠀ * . ⠀⠀ * . · ⠀⠀ ☆⠀. ⠀ ˚ . ⠀⠀⋆ ·⠀⠀⠀ * . · ⠀⠀ * ⠀ ˚ . ⠀⠀. ⠀⠀ ⠀⠀ ˚ . . ⠀⠀ * ⠀⠀ ˚ . ⠀⠀. ⠀⠀☆⠀ ˚ . · ⋆ · * ⠀ · ⠀⠀ * ⠀ ˚ . ⠀⠀. ☆⠀ ˚ . . ⠀ * ⠀ ˚ . ⠀. ˚ . . · * ⋆ ·⠀⠀* . ⠀⠀ * ⠀⠀ *⠀. ⠀ ˚ . ✷⋆ ·* . ☆ · ✷⠀⠀ * ⠀ ˚⠀.⠀ ˚ .

You’ve made it to the end, hooray! As I said before it’s a really brief observation. I will be returning to this frequently to add to it. However I’ll be in deep contemplation though before so. Anyways, here’s a cutie mootie on the bed.

⠀✷⠀ * ⠀✵ ⠀ ˚ . . ✷ · *· .⠀⋆ ·⠀⠀ * . ⠀⠀ · ✷⠀⠀ * ✵ ⠀ ˚ . ⠀. ✷⠀ ˚ . . ✷⠀⠀ * ⠀ ˚ . ⠀⠀.⠀⠀ ˚ . . · * ⋆ · * . ⠀ * ✷ . · ✷⠀⠀ *⠀. ⠀ ˚ . ✷⠀⠀⋆ ·⠀⠀⠀ * .· ✷⠀ * ✵ ⠀ ˚ . .✷⠀ ˚ . . ✷⠀⠀ * ˚ .⠀. ✷⠀ ˚ . · * ⋆ ·⠀⠀ * . ⠀⠀ * ✷ . · ✷⠀⠀ *⠀. ⠀

[hastyprovocateur]

Mizu, Akemi, Brothels & Bedrooms

Mizu and Akemi's approach to sex (so far) has been very inverse. For Mizu, sex is intimate, almost sacred to the point of inaccessibility. Her pretending to be a man has compelled her far from intimacy in order to protect herself and her secret. On the rare occasion when she does engage in physical relations during her shortlived marriage, she engages in it furtively. She's shy, sweet and submissive. She has very little to no experience and while she enjoys it, she doesn't appear to demand to be in a position of authority while it ensues. She's happy to let go of the reins and allow herself to put in a safe space. Her voice pitches and she doesn't fight to maintain any composure.

Mizu isn't exactly averse to sex. After losing mama and killing Mikio, Mizu just closed herself to the possibility of intimacy. She doesn't intend to romantically engage with anyone or be as intimate with anyone as revenge has become her priority. She now dismisses sex, considering it an act that is void of art or tact. Base. Something that decentres the spirit. Dare I say, she sees it as a facade after Mikio. An act that misguides the participants to consider their bond deeper than it really is. It is parallel to Akemi's first time, where both her and Taigen seem to be proccupied with other concerns, quickly distancing from each other after an act that most would consider to be a paramount of bonding between lovers.

Regardless, Mizu's resolutions haven't killed her intrigue for "peculiarities" as evident in her stint at Madam Kaji's where she (despite her dismissive facade) peers into the windows of pleasure, exploring sutras, bondage and threesomes. With the masculine avatar she's donned on her path of revenge, even if Mizu's resolve grows shaky, she's restricted by the complications that should arise if she goes down the path of any intimacy. Giving her more walls to break through and more walls for any potential lovers to break through as well to get to her tender breast.

In terms of general pleasure, Mizu is shown to be extemely physical and playful. She gets riled over armed combat, her face flush and full of love. To whoever she feels safe and happy with, she gives her all. Whether in bed or otherwise, she'll surrender her body and her sword. Aside from fighting, Mizu is passionate about different forms of art, especially sword making and other creative arts like music. You can call her... cutely nerdy (?) in the sense of her keen understanding of iron work, different fighting techniques, blade strikes, all of which she knows by heart. It can be imagined that a sure way to catch her whims would be to spark conversations about artistry in general.

Akemi, on the other hand, intends all her sexual overtures to have a fixed purpose. She's written as a character who prepares intensely for her ambitions. We see her revising a written speech before arguing her bit to her father, switching to appeasing to his fatherly side by playing the "naive daughter" to get him to agree with her and Taigen's engagement. In ep 4 we see her curating an impish, adulant image of an innocuous sex worker before making Mizu's acquaintance, intending to lower her guard enough to subdue her and bring her to Taigen. She finally goes on imbibe the perfect subservient, loving wife to finesse Takayoshi and thereby solidify her say among other exponents in the Shogun's family.

Her mind is like a self gearing machine in terms of playing pieces to give herself a fighting chance. Sex is a part of this rematch. With sex as a means, it's arguable if she genuinely feels pleasure in the process but she ensures that she's able to pleasure her partners to an end that serves her. With men, it's always about massaging their ego. With Taigen, Akemi initiates sex to be able to coax him into focusing on her and saving their engagement instead of letting him fixate on his recent loss of his hair and honour. In the brothel, she regales Watari, a man who's never won a fair fight, and has become impotent due to his weight, by appealing to his poetic side and using it to flatter him to ejaculation. With Takayoshi, a man subdued by his mother for his stutter and meek ways, Akemi admits to finding his speech impediment endearing, apologising profusely to resume her submissive position as his wife and proceeds to consummate their marriage while encouraging him to recite poetry.

Like Mizu, Akemi's curious about sex in itself and went against her teacher's wishes to explore erotic literature. She's well versed with sexually coloured poetry and easily weaves sex into conversation, using it to talk her partners to orgasm. She has a varied understanding of poetry, an art she uses as a weapon to flatter men, citing Shōtetsu, Minamoto no Shigeyuki and her favorite, Ono no Komachi. A waka poetess writing chiefly in matters of melancholy and passionate love. She's also skilled in all manner of art that are intrinsically ornate but are notorious for being feminine or are used to entertain men such as poetry, koto playing, dancing and calligraphy. An average man would deem such arts lowly but he doesn't consider that such arts can be used to easily lower his guard to his very vanquish without him ever doubting that there was even a ploy in the first place. Akemi wields these talents to her advantage. Sex and fine arts are only a few of the weapons in her arsenal.

Strangely enough, it's not exactly touched upon what Akemi actually finds desirable outside of what she must do to get her way. It can be guessed that she'd be disarmed by anyone who lasers through her simpering girly act, someone who can be valiant and honourable, someone who doesn't weigh virtue and strength through the prejudice of gender, someone who's able to value her in all her intricacies instead of pushing her to be a proper wife or improper whore.

Likewise, I can imagine Mizu wanting the same degree of acceptance. Someone who nurtures her feminine side without alienating her masculinity. Someone who doesn't demonise her appearance or consider her an anomalous product of two races. Her ideal type hasn't been detailed but her bar was really low. She didn't care about Mikio's age or social status or wealth. Akemi was also shown to having a narrow criteria for marriage, preferring Taigen solely because marrying him meant staying in Kyoto, near home. For both Taigen and Mikio, they benefitted from the unhinged cruelty other men could afford, appearing decent by comparison because they did the bare minimum of asking for consent.

It is still very nascent as to what Akemi and Mizu truly desire. Mainly because there hasn't been much room for individual desires. Akemi was already "past her prime" and evading marriage was no option as it was a decision sealed in stone by a girl's father the moment she hit puberty. For a time where women had little say in who they married, managing to get engaged to Taigen was a feat in itself. Her attempts to escape the arranged marriage with the Shogun's son was rendered fruitless by Taigen, Seki and in great part, Mizu. Akemi finally embraced her new married life, making peace with fighting within her means instead of trying to run away from them. This leaves a lot of room for what she'd eventually want for herself in the future. We know a part of her wished to leave with/without Taigen to live on a farm in Kokura but she's still too early in her journey of knowing exactly what she wants but she's constantly figuring things out.

Similarly, Mizu didn't have a say in her former marriage either but she was ready for the obligations it would impose on her, aware that she'd be compelled to conceal a part of her that men wouldn't welcome in their wives. Her masculine side that is capable of fighting like a samurai. Her sword of a soul. With her sworn revenge, aversion to all forms of intimacy and commitment to playing the part of a man, Mizu has become a vessel for all the ill will, prejudice and poor decisions men imposed on her. She doesn't have the liberty to bare herself and engage in fulfilling her desire as she's discovered to like it but the more characters she interacts with, we as audiences can observe seismic shifts in her perception of herself through the people she meets. These experiences serve as guiding lines for developing future desire. Of independent choice.

[lu-is-not-ok]

Regarding Hong Lu's Lasso EGO. The abno of Rose Hunter in its MD event actually has two 'parts', of the apple and the hunter. Given how he shares this one with Faust of all people, I do think it may be referencing how they are both the one forcing the story to go on and the one being forced to go along with it. This is about Hong Lu I swear its just the more you dig the more he somewhat parallels her. One vs two blue eyes I guess.

For Faust this is via the Gesellschaft. Her as the apple in the way she must bend to the will of the collective Faust as one with a defined role to play. And as the hunter with how she - for the sake of someone else just the abno has its 'client' (there's a few who could fit this description, like Limbus Company as a whole, whomever is financing the whole operation, the Gesellschaft again) - ensures via various methods like keeping certain things from the sinners that things go according to plan.

Her passive is 'sprawling lasso' is possibly a reference to just how many she has, must, encircle for things to keep going. Plus this EGO is Fatal to Wrath and Gloom. This Wrath as her weakness ties into how this is the first time her voiceline, for corrosion, has expressed proper anger and desperation in her voice as far as I remeber. And Gloom I don't quite have a real reason for, perhaps her lament at not doing things of her own will? At being ensared as all others were?

But to loop lasso it back to Hong Lu, for one his awakening voiceline says to 'run along the flow' which has been causing me normal reactions for several weeks now. Regardless, this does tie into a mini theory of mine that the 'flow' followed by Vergillius is in fact one of the subterranean rivers, though I don't have the mythological knowledge to try and pinpoint which one.

And if we do take the stretch of a river = the flow then it connects to what Xichun was doing in Canto 7 and is yet another reference to water, just like in his base ego and in his promo image. This EGO is also weak to Gloom, funnily enough. Sloth too, though I have never had solid thoughts on that sin past it representing acceptance of sorts, typically to a status quo that hurts them. The corrosion line is presumably a reference to him probably just running away from his family the first chance he got, which was probably Faust.

Onto my thoughts on the illustrations, which was meant to be a minor note but we all know how these go. The thorns in Faust’s EGO illust are thinner and look more like rose branches, with one notably going over her leg as she looks up, seemingly about to get on the horse.

Whilst Hong Lu's has much thicker brambles around the edges - though the rose branches do appear near the bottom - striking me as similar to barbed wire, though thicker than in the base EGO illusts (speaking of, in his the wire seems much fuzzier than say, Yi Sang's). He's already saddled the horse and is looking down(?) At something that has already been entangled in thorns, the abno looking over him and who/what has been ensnared in a way that reminds me of judgement.

Ensnared itself, mind, seemingly lacking an arm, having another mangled and literally no legs to speak of, and no rose on its scarf. A drastic departure to how it was in Faust’s EGO, laying traps on the ground with all its limbs freed and intact, with a sunray to its side and a rose placed neatly upon itself, much more alike its MD self. Hong Lu's awakening is not lacking in the scarf rose, though.

Other rapid-fire thoughts: (corrosion) the rose petals on the horses look like it's bleeding as if being slashed from the stomach. (corrosion) Faust still has the reigns and very much uses them which provides her a degree of separation and control over this. Hong Lu does not. Most notable in both of their hurt sprites, Faust’s horse stands on its hind legs on her (or the Gesellschaft's, depending on how you think on it) command, Hong Lu's horse wants to run away and it turning to do so. (corrosion) Hong Lu's noose/lasso arms both have 2 loops each, unlike the one round his neck that has 3. Faust has red laces.

To close this off: I have been switching between their lasso sprites on the wiki and have one question: is Hong Lu smaller on his horse or had my brain made that up, thank you.

Hilarious thing to see before scrolling down and seeing all of this. Anyway. Let's pick this apart a little.

First things - the apple might not actually be a part of the Abnormality itself.

We know from Ebony Queen's Apple's Observation Log that Abnormalities that are conceptually connected through what they represent are in some way able to be aware of each other's existence - Ebony Queen being aware of 'Snow White', aka LobCorp's Snow White's Apple.

Considering that Rose Hunter is seemingly likely connected to the same fable of Snow White as Ebony Queen's Apple and Snow White's Apple are, specifically in that he represents the huntsman sent to kill Snow White on the Queen's orders, and that the way Rose Hunter describes the apple perfectly matches Snow White's Apple ("an apple that will become a princess, not knowing its rightful place"), it's possible that the apple in question *is* just straight up Snow White's Apple, or a representation of it.

I do agree that it's important to keep it in mind when interpreting Lasso, but I believe it's pretty clear that the apple itself might not inherently be a part of Rose Hunter itself.

After all, Lasso isn't the first E.G.O we've seen where the Sinner is shown to be both the victim and the perpetrator. See AEDD and Capote as the major stars of this trend.

I don't have much to comment on regarding your interpretation of Lasso for Faust - I think that works pretty well with what we know. Faust has to follow what the Gesselschaft and Limbus Company tell her to do, and she herself is responsible for keeping the Sinners on track - keeping them ensnared and following the predetermined path of their stories.

I'll touch upon the points you bring up with regards to Sin Weaknesses (and also bring up Sin Resource Costs, which I believe are a bit more important to E.G.O) a bit later.

Because, here's the thing about the Flow Vergilius talks about - we already kinda know what it is. We see it in Leviathan Book 16.

Vergilius's narration describes the Flow as a "shadow hovering over his back". A sort of insight, or pressure that drives him to make specific choices or move in a specific direction.

He also explains how the Flow isn't one singular force - in fact, he explicitly mentions seeing at least two Flows during this chapter. One brightly colored but slow moving Flow that he could see ahead (which he feels would lead him to actually changing the City), and one darker but faster moving Flow that clung to his back. Every time he tries to avoid following the bright Flow, the shadowy Flow always leads him to ruin, to a point where he's inevitably forced to come back to the bright Flow, as all shadows naturally come from light.

It reminds me a lot of "Gravity" from JJBA, in a way. A supernatural force that drives extraordinary people towards each other and towards their inevitable fates, and every attempt to counteract it ends up making things worse for them when it finally catches up to them.

It's also, like, Heavily implied that Carmen is in some way directly involved with what direction the bright Flow takes, as there's an implication that it's trying to direct Vergilius to his inevitable meeting with Carmen that happens in Book 18, considering how much her trying to get Vergilius to distort is telling him how it would give him the ability to change the world to how he sees fit, matching what he believed the bright Flow was leading him towards.

So like. Flow isn't exactly directly related to the Rivers. But it's also not not related, considering the Carmen -> Light -> Cogito -> Rivers chain.

I don't think the "flow" Hong Lu is referring to is the exact same Flow that Vergilius can see and talks about, at least not entirely. I believe it's also meant to be a reflection of the reason why he's initially willing to follow his story, similarly to how Faust's awakening line does for her.

While Faust wholeheartedly believes that following the story laid out before her and the Sinners is the "correct" thing to do, Hong Lu simply follows along because he just Goes Along With Whatever He's Told. He figuratively goes with the flow, just agrees and follows until things turn out okay in the end. To quote one of his Base Identity's voice lines: "When you’re distraught, simply remember that life goes on even if what you’re doing now doesn’t work out. Then, you’ll be free of worries." As long as he just keeps moving forward, things will be fine in the end.

So, if the Awakening lines are a reflection of why Faust and Hong Lu would feel like they should follow along the path their story is taking, then I believe the Corrosion is a reflection of the "punishment" that awaits them if they are to stray from it. To quote Rose Hunter's MD event, "Ah... If, however, the course was derailed by your actions, you will be held accountable."

Hong Lu's Corrosion line here is the easier one to read - it's meant to be a reflection of his Family's reaction when they catch up to him after he runs away. Outright calling out that he ran away, calling him a fugitive, and the very clear threat of punishment.

For Faust it's actually a lot more interesting, because she clearly brings up the apple and the idea that whoever she caught is hiding it, rather than implying that whoever she caught is the one she was looking for. Perhaps because that's a reflection of how Faust will disobey the Gesselschaft. While Hong Lu disobeys his fate by running away from his Family, Faust would disobey her fate by hiding something from the Gesselschaft. A Golden Bough, perhaps? Instead of bringing one back to the Company, she could keep it hidden for herself, effectively disobeying her orders and the path she was put on. And an act like that would Anger Them Severely.

The thing you point out about the differences in how the Rose Hunter itself is depicted is fascinating. The one depicted in Faust's illustration seems like a direct parallel to how Faust has acted towards Sinners - she's been trapping them with Limbus Company, using their own wishes as bait and the contracts they sign as the snares.

But then there's Hong Lu's Rose Hunter, itself trapped by the snares and mangled to the point it seems there's only half of it clearly there. Half destroyed... I don't have an exact thought in my head regarding that, but you could definitely interpret it with a Two in One angle. How whoever is resonating with Rose Hunter is only Half There, and how that half is inherently trapped within themself, as the vines ensnaring it are also its own snares. Hong Lu is, in part, trapping himself, specifically Baoyu and Daiyu are unwillingly keeping each other trapped by the circumstance of their current situation.

Now. Let's talk Sin Resistances. I'm going to be using the names for the Floor Theme Packs based around the relevant Sin Weaknesses as a base here, since that's the closest thing we have to a canon confirmation of what the Resistances could mean.

The Gloom-weak floor is called Emotional Flood, the Sloth-weak floor is called Emotional Indolence, and the Wrath-weak floor is called Emotional Repression.

Both Lassos being Gloom weak could imply that whatever experiences Hong Lu and Faust have to recall to use it are heavily emotionally charged, making them susceptible to "Flooding" with negative feelings. It could be a reflection of the anxiety it causes both of them to think about - after all a major part of Rose Hunter is the punishment for not following one's path. Having to actively keep those consequences in mind to use the E.G.O would likely leave them shaken up and weak to such negative reminders.

Indolence means the avoidance of exertion or activity, and it's a close synonym to laziness. Hong Lu's Lasso being Sloth weak could reflect how emotionally numb recalling the relevant experiences leaves him. For him, following the path of the story is all about simply letting things happen and not reacting, just trying to reach the end. He's forced to become avoidant of emotional reactions through being too "lazy" to react. It's not like trying to say anything would change things for him, so why even bother trying? He'll reach the end one way or another. And so, being given even more reasons to not care and become more numb hurts all the more, ridding him of whatever little resolve he might have been holding onto.

As such, Faust's Lasso being weak to Wrath is made all the more interesting - it implies there's a level of intense emotion that the experiences bring out within her that she feels the need to repress and hide. This is different to Hong Lu's Sloth weakness, in that while Hong Lu is just straight up numb and passively avoiding feeling anything, Faust is very much feeling some sort of strong frustration that she has to actively silence. Thus it makes it far more painful to her when she's given more reasons to be annoyed - she's already struggling to keep it contained. Something about having to follow her path leaves her deeply frustrated in a way she feels she cannot let herself express, likely due to the consequences of complaining about it.

I also want to make a quick note on the Sin Resources needed to use the E.G.O, specifically the ones that differ between the two.

While both Lassos require Gluttony and Lust, Faust's Lasso requires Envy, while Hong Lu's requires Pride. This, I think, is actually reflected in their Awakening lines and thus the attitudes they have.

Faust sees following the path as something "correct", as something "right". Her own feelings and thoughts don't matter because the opinion of the story she's following is more important than hers. She's expressing Inferiority - aka, Envy.

On the other hand Hong Lu follows the path because it's something he himself believes to be the best option. He doesn't think there are better options, so he just ignores all the shit he has to go through along the way because in the end, he'll be fine. A very Pride thing to believe.

And yes, Hong Lu for whatever reason is notably smaller on the horse in the awakening sprite. No I don't know why either. It honestly might have been an oversight LMAO.

[gaslightwestern]

Hell's Half Acre

Charlotte would be the first to admit hiding from the law behind a newspaper was an awful idea, what with her face and name spread across the front page.

When death comes to Fort Worth and strikes her new circle of friends, Charlotte O’Shea resolves to hunt down the culprit before they kill again. Murder isn’t the only mystery in the air however. Elijah Addison and Thomas Quinn, two headstrong cowboys and her partners-in-crime-solving, are determined to uncover what made the socialite run away from New York and why she is no stranger to firearms.

— Status: Zero Drafting (Excerpts) | Tag: #Hell's Half Acre — Genres: Historical Mystery, Western, Romance — Setting: Fort Worth, Texas & New York City (1870s). — POV: Multiple. 3rd Person. Past Tense. Dual Timeline.

Themes and Tropes: Love in all its forms. Anti-heroine. Found family. Being your own person. Organized crime. Queer cowboys. If it isn't the consequences of my own actions. Parallels. Obsession. Haunted by the past. Murder, mayhem, and other wild west shenanigans.

Cast of Characters

Can't a man visit his on-and-off-again boyfriend without all hell breaking loose? Not for Elijah Addison, a restless cowboy turned shrewd detective who becomes relentless in his pursuit of justice.

By his side is Thomas Quinn, who most write off as little more than a legend's son. Stubborn as anything and fiercely protective of his family and friends, he doesn't trust Charlotte in the slightest.

Captain Samuel Quinn is a three-time, war-hating, disabled veteran with a larger-than-life personality. A lifelong troublemaker, when he isn't sticking his nose where he shouldn't, Sam runs Quinn's Firearms.

A seamstress and aspiring journalist, Mabel Williams is determined to expose the rot in New York City regardless of the enemies she gains along the way. Her talent for disguises often comes in handy.

Having grown up in the shadow of his brother, not being good enough has long haunted Warren Howard. But if life will not give him what he wants, he will take it for himself regardless of the cost.

Vivacious and self-absorbed, Charlotte O'Shea enjoys her place in New York's high society. Surrounded by friends and engaged to the wealthy Nathaniel Howard, her life is perfect. So why is Charlotte out west pretending to be someone she's not?

Please let me know if you'd like to be added or removed from the taglist: @cirianne, @jacqueswriteblrlibrary, @oliolioxenfreewrites, @thelaughingstag, @shouldyouwakethewriteblr, @mauvecatfic

[make-friends-with-the-rats]

Top: "Frank Sullivan Seriously Wounds the Woman He Calls His Wife." July 6th 1889 Times Union Bottom: "EXTRA 2 o'clock. Brute Ferocity. Frank Sullivan Horribly Mutilates a Woman and Two Men." July 6th 1889 The Evening World

If anyone doesn't know, there are two articles from July 6th 1889 that are believed to have been the basis of Jack's parents in Hard Promises and Newsies (1992) where his mother is deceased and his father is a prisoner in the state penitentiary. These articles tell us about Frank Sullivan and his wife, Ellen or Lillie depending on the source. I won't get into the particulars of what Frank did to her because it's quite gruesome and not the point of this particular post.

The details I'd like to draw your attention to for now are:

Frank Sullivan "fitted up apartments at 110 Baxter street," and

He and Ellen/Lillie lived "in a tenement house in Mulberry street."

In 1889, ten years before the strike, Jack would be seven and David would be five or six depending on which canon source you choose to listen to. Sarah would have been as old as eight. Michael and Les would have been babies.

Regardless of ages, we know from Hard Promises that David and his family lived on Baxter Street, and we know from the Newsies novel that Mayer Jacobs had been working at the factory and thus working in America for eighteen years, which means that the Jacobs family immigrated no later than 1881.

From 1881 to 1889 is a span of eight years.

Now please turn your attention to the maps:

Atlas of the City of New York, Plate 5. c. 1897

You will notice of course, that Mulberry street (where the Sullivans lived) and Baxter street (where the Jacobses live) run directly parallel to each other.

In eight years, I think it's fairly likely that the two families could have crossed paths with one another...

[inexplicifics]

I was just rereading chapter 31 of Like Stones in a Running Stream, and I was wondering is Leszek is just a one-off character? Will we see him in the Progress or any subsequent fics that you know of? I can see how bringing Gustaw and Nina from New-Made Gold To Give You would probably be a stretch (though part of me wants bewildered Alderman updates as Wolflaw is put into place lol), but Leszek seems like he’s in a pretty great position for us to watch him have a character arc if the inspiration struck you. Dude could stay as part of Dawid’s court or join them in Kaer Morhen with his scribe skills and position as fourth son of a count (assuming at least some of his three older brothers knew naught of Vizimir’s deception). He has the young and talented throw-away son traits that Jaskier shares, and pretty much unlimited potential as a blank slate.

I kind of want to know how he processed the fact that he was sent there as chief scribe because his family and his country (or at least the court) knew they could recover if he was brutally maimed or murdered by the barbarians. It doesn't seem like he volunteered, did his family agree or were ther forced? His presence there means that the court certainly weren’t concerned with his loss.

I definitely want to know how he reacted when he learned the skilled young bard was the former Viscount de Lettenhove-turned-sacrifice. Did he figure out who Jask was on his initial visit? Did learn the truth when he got back to court and they had to report to the King? Did he only piece everything together at the treaty banquet?

Man, I hope you have plans to bring him back! Regardless, I’d be rather surprised if he never shows up in fics inspired by yours!

Leszek was meant to be a one-off character, though the parallels to Jaskier are striking, as you say. And I'm genuinely not sure how he'd react to learning that too-skilled bard was a former Redanian nobleman.

He's probably very confused right now. Not dead - he didn't know a damn thing about Aren and the girls, so he's not on the Witchers' shit list - and he does have some useful skills, so if he's part of the Redanian bureaucracy I don't see why he couldn't keep his position. Assuming he can swear to Dawid and mean it, which I don't see why he couldn't.

I don't have plans to bring him back onto the page, but I have learned never to say never with this series!

(I do have plans for Nina.)