#text analytics tool

[precallai]

Integrating AI Call Transcription into Your VoIP or CRM System

In today’s hyper-connected business environment, customer communication is one of the most valuable assets a company possesses. Every sales call, support ticket, or service request contains rich data that can improve business processes—if captured and analyzed properly. This is where AI call transcription becomes a game changer. By converting voice conversations into searchable, structured text, businesses can unlock powerful insights. The real value, however, comes when these capabilities are integrated directly into VoIP and CRM systems, streamlining operations and enhancing customer experiences.

Why AI Call Transcription Matters

AI call transcription leverages advanced technologies such as Automatic Speech Recognition (ASR) and Natural Language Processing (NLP) to convert real-time or recorded voice conversations into text. These transcripts can then be used for:

Compliance and auditing

Agent performance evaluation

Customer sentiment analysis

CRM data enrichment

Automated note-taking

Keyword tracking and lead scoring

Traditionally, analyzing calls was a manual and time-consuming task. AI makes this process scalable and real-time.

Key Components of AI Call Transcription Systems

Before diving into integration, it’s essential to understand the key components of an AI transcription pipeline:

Speech-to-Text Engine (ASR): Converts audio to raw text.

Speaker Diarization: Identifies and separates different speakers.

Timestamping: Tags text with time information for playback syncing.

Language Modeling: Uses NLP to enhance context, punctuation, and accuracy.

Post-processing Modules: Cleans up the transcript for readability.

APIs/SDKs: Interface for integration with external systems like CRMs or VoIP platforms.

Common Use Cases for VoIP + CRM + AI Transcription

The integration of AI transcription with VoIP and CRM platforms opens up a wide range of operational enhancements:

Sales teams: Automatically log conversations, extract deal-related data, and trigger follow-up tasks.

Customer support: Analyze tone, keywords, and escalation patterns for better agent training.

Compliance teams: Use searchable transcripts to verify adherence to legal and regulatory requirements.

Marketing teams: Mine conversation data for campaign insights, objections, and buying signals.

Step-by-Step: Integrating AI Call Transcription into VoIP Systems

Step 1: Capture the Audio Stream

Most modern VoIP systems like Twilio, RingCentral, Zoom Phone, or Aircall provide APIs or webhooks that allow you to:

Record calls in real time

Access audio streams post-call

Configure cloud storage for call files (MP3, WAV)

Ensure that you're adhering to legal and privacy regulations such as GDPR or HIPAA when capturing and storing call data.

Step 2: Choose an AI Transcription Provider

Several commercial and open-source options exist, including:

Google Speech-to-Text

AWS Transcribe

Microsoft Azure Speech

AssemblyAI

Deepgram

Whisper by OpenAI (open-source)

When selecting a provider, evaluate:

Language support

Real-time vs. batch processing capabilities

Accuracy in noisy environments

Speaker diarization support

API response latency

Security/compliance features

Step 3: Transcribe the Audio

Using the API of your chosen ASR provider, submit the call recording. Many platforms allow streaming input for real-time use cases, or you can upload an audio file for asynchronous transcription.

Here’s a basic flow using an API:

python

CopyEdit

import requests

response = requests.post(

    "https://api.transcriptionprovider.com/v1/transcribe",

    headers={"Authorization": "Bearer YOUR_API_KEY"},

    json={"audio_url": "https://storage.yourvoip.com/call123.wav"}

)

transcript = response.json()

The returned transcript typically includes speaker turns, timestamps, and a confidence score.

Step-by-Step: Integrating Transcription with CRM Systems

Once you’ve obtained the transcription, you can inject it into your CRM platform (e.g., Salesforce, HubSpot, Zoho, GoHighLevel) using their APIs.

Step 4: Map Transcripts to CRM Records

You’ll need to determine where and how transcripts should appear in your CRM:

Contact record timeline

Activity or task notes

Custom transcription field

Opportunity or deal notes

For example, in HubSpot:

python

CopyEdit

requests.post(

    "https://api.hubapi.com/engagements/v1/engagements",

    headers={"Authorization": "Bearer YOUR_HUBSPOT_TOKEN"},

    json={

        "engagement": {"active": True, "type": "NOTE"},

        "associations": {"contactIds": [contact_id]},

        "metadata": {"body": transcript_text}

    }

)

Step 5: Automate Trigger-Based Actions

You can automate workflows based on keywords or intent in the transcript, such as:

Create follow-up tasks if "schedule demo" is mentioned

Alert a manager if "cancel account" is detected

Move deal stage if certain intent phrases are spoken

This is where NLP tagging or intent classification models can add value.

Advanced Features and Enhancements

1. Sentiment Analysis

Apply sentiment models to gauge caller mood and flag negative experiences for review.

2. Custom Vocabulary

Teach the transcription engine brand-specific terms, product names, or industry jargon for better accuracy.

3. Voice Biometrics

Authenticate speakers based on voiceprints for added security.

4. Real-Time Transcription

Show live captions during calls or video meetings for accessibility and note-taking.

Challenges to Consider

Privacy & Consent: Ensure callers are aware that calls are recorded and transcribed.

Data Storage: Securely store transcripts, especially when handling sensitive data.

Accuracy Limitations: Background noise, accents, or low-quality audio can degrade results.

System Compatibility: Some CRMs may require custom middleware or third-party plugins for integration.

Tools That Make It Easy

Zapier/Integromat: For non-developers to connect transcription services with CRMs.

Webhooks: Trigger events based on call status or new transcriptions.

CRM Plugins: Some platforms offer native transcription integrations.

Final Thoughts

Integrating AI call transcription into your VoIP and CRM systems can significantly boost your team’s productivity, improve customer relationships, and offer new layers of business intelligence. As the technology matures and becomes more accessible, now is the right time to embrace it.

With the right strategy and tools in place, what used to be fleeting conversations can now become a core part of your data-driven decision-making process.

[skellam01]

Skellam Ai: Your Comprehensive Online Text Analysis Tool

Enhance your text analysis capabilities with Skellam Ai, the ultimate online tool for dissecting and understanding text data. Our platform provides a wide range of powerful features to analyze text, from sentiment analysis and keyword extraction to entity recognition and topic modeling. 

With Skellam Ai, you can effortlessly analyze large volumes of text data, gaining valuable insights into customer feedback, social media conversations, and more. Our intuitive interface and advanced algorithms make it easy to uncover patterns, trends, and actionable insights from your text data. 

Whether you're a business looking to understand customer sentiment or a researcher analyzing textual data, Skellam AI is your go-to solution for comprehensive text analysis tool online. Try it now and unlock the potential of your text data!

[vlruso]

How to Generate Audio Using Text-to-Speech AI Model Bark

🎉 Excited to share a blog post on how to generate audio using the incredible text-to-speech AI model Bark! 🎙️📚 Bark, an open-source AI model created by Suno.ai, offers realistic, multilingual speech with background noise, music, and sound effects. Unlike traditional TTS engines, Bark uses a cutting-edge GPT-style architecture, resulting in highly natural-sounding audio. Curious to learn more? Check out the full blog post here: [Link to Blog Post](https://ift.tt/4Q9x7wk) Discover how Bark elevates the game of text-to-speech technology, making audio production more lifelike and engaging. Don't miss out! Feel free to explore other valuable resources such as AI Scrum Bot for AI scrum and agile, Analytics Vidhya, and follow us on Twitter @itinaiacom. 🔊📝 Let your imagination run wild with Bark and transform your audio creation process! #AI #TextToSpeech #BarkModel #AudioGeneration List of Useful Links: AI Scrum Bot - ask about AI scrum and agile Our Telegram @itinai Twitter -  @itinaicom

[felikatze]

ISAT and Ludonarrative Harmony: Combat is a Storytelling Tool

Or: How Siffrin is stuck in the endgame grind, forever

Please Note: This is primarily aimed at an audience that already played In Stars and Time, because I am bad at explaining things, and it's good to already know what the fuck I'm talking about. I tend to only bring up game elements as I want to talk about them.

Spoilers for.... all of ISAT! Especially Act 5!

(image to show how i feel posting this and as an attention grabber over my wall of text)

To pull a definition of ludonarrative harmony out of a hat, game writer Lauryn Ash defines it as follows:

Ludonarrative harmony is when gameplay and story work together to create a meaningful and immersive experience. From a design implementation perspective, it is the synchronized interactions between in-game actions (mechanics) and in-world context (story).

It is, generally speaking, how well game mechanics work hand in hand with the story. I, personally, think ISAT is an absolute masterclass of it, so I want to take a look at how ISAT specifically uses its battle system to emphasize Siffrin's character arc and create organic story moments. I want you to keep this in mind when I talk here.

So, skills, right? If you've played any turn-based RPG, you know your Fire spells, your "BACKSLASH! AIRSLASH! BACKSLASH!" and the many ways to style those.

Well, what does casting "Fire" say about your character? Not all that much, does it? Perhaps you'll have typical divisions. The smart one is the mage, the big brawny one is your tank, the petite one's the healer. And that's the barebones of ISAT's main party, but it's much more than that.

Every character's style of combat tells you something about them. Odile, the Researcher, is the most well-travelled and knowledgable of the bunch. She's the one with the expertise to keep a cool head and analyze the enemy, yet also able to use all three of the Rock-Paper-Scissors craft types.

To reflect her analytical view of things, all her skill names are just descriptive, the closest to your most bog-standard RPG. "Slow IV" or "Paper III" serve well to describe their purpose. The high number of the skills gives the impression there were three other Slow skills beforehand - fitting, considering the party starts at level 45, about to head into the final dungeon. She's also the oldest, so she's the slowest of the bunch.

Isabea, the Fighter, has all his skills in exclamation points. "YOUR TURN!!!" "SO WEAK!!!" "SMASH!!!" they're straightforward, but excited. He's a purposefully cheerfull guy, so his skills revolve around cheering on his allies. He's absolutely pumped to be here, and you see that from his skill names alone.

Mirabelle, the Housemaiden, is an interesting case. She's by all means the true protagonist of this tale - She's the one "Chosen by the Change God," the only one who survived the King's first attack, the only one immune to his ability to freeze time, the only dual-craft type of the game - just a lot of things. And her skill names reflect that facade she puts on herself - she can do this, she can win! She has to believe it, or else she starts doubting. This is how you get "Jolly Round Rondo" and "Mega Sparkle Heal" or "Adorable Moving Cure." She's styled every bit a sailor scout shojo heroine, and her moveset replicates the naming conventions of "In the name of the moon, I'll punish you!"

Even Bonnie, the Kid, who can't be controlled in combat, has named craft skills. And they very much reflect that Bonnie is, well, a kid. "Wolf Speed Technique" or "Thousand Blows Technique" are very much the phrasings of a child who learned one complicated word and now wants to use it in everything to seem cooler than they are, which is none, because they're twelve.

Siffrin's skills are all puns.

You have an IMMEDIATE feel for personality here. Between "Knife to Meet You!" and "Too Cleaver by Half," you know Siffrin's the type to always crack a joke no matter the situation, slinging witticisms around to put Sonic the Hedgehog to shame. It's just such a clever way to establish character using a game mechanic as old as the entire history of RPGs.

This is only the baseline of the way the combat system feeds into the story, though.

The timeloop, of course, feeds into it. Siffrin is the only character who retains experience upon looping, whereas all other characters are reset to their base level and skills. And it sucks (affectionate).

You're extremely likely to battle more often the earlier in the game you are - after all, you need the experience (for now.) Every party member contributes, and Siffrin isn't all that strong on their own, since they focus on raw scissor type damage with the addition of one speed buff. (Of course it's a speed buff. They're a speedy fucker. Just look at him).

At first, the difference in level between Siffrin and the rest of the group is rather negligible. Just a level or two. Just a bit more speed and attack. And then Siffrin grows further and further apart. Siffrin keeps learning new skills. He gets a healing skill that doubles as an attack boost, taking away from both Mirabelle's and Isabeau's usefullness. He gets Craft skills of every type that even give you two jackpot points instead of one - thus obliterating Odile's niche. Siffrin turns into a one-person army capable of clearing most encounters all on their own.

Siffrin's combat progression is an exact mirror of story progression - as their experience inside the loops grows, they also grow further and further away from their party. The party seems... weaker, slower, clumsier. Always back at their starting point, just as all of their character arcs are reset each loop. Never advancing, always stagnant. And you have Siffrin as the comparison post right next to them.

I also want to point out here a change from Act 2 to Act 3 - Siffrin's battle portrait. He stops smiling.

Battles keep getting easier. This is true both for the reason that Siffrin keeps growing stronger even when all enemies stay the same, but also for the reason that you, the player, learn more about the battle system and the various encounters, until you've learned perfect boss clear strategies just from repetition. Have you ever watched a speedrunner play Pokemon? They've played this game so many times, they could do it blindfolded and sleeping. Your own knowledge and Siffrin's new strength work in tandem to trivialize the game's entire combat system as the game progresses.

(Is it still fun? Playing it over, and over, and over again? Is it?)

You and Siffrin are in sync, your experience making everything trivial.

As time goes on, Siffrin grows to care less and less about performing right for their party and more and more about going fast. A huge moment in his character is marked by the end of Act 3; because of story events I won't delve too deeply into, Siffrin has grown afraid of trying something new. And his options of escape are closing in. They need an answer, and they need it fast. He doesn't have the time or patience to dumb himself down, so you unlock one new skill.

It doesn't occur with level up, or with a quest, or anything at all. At the start of Act 4, it simply appears in Siffrin's Craft skills.

(Just attack.)

No pun. No joke. Just attack. Once you notice, the effect is immediate - here you have it, a clear sign of how jaded Siffrin has become, right at every encounter. And it's a damn good attack, too! The only available attack in the game that deals "massive" damage against all enemies. Because it doesn't add any jackpot points (at least, it's not supposed to), you set up a combo with everybody else, but Siffrin simply tears away at the enemy with wild abandon. Seperated from the rest of the party by the virtue of no longer needing to contribute to team attacks (most of the time. It's still useful if they do, though).

Once again, an aspect of the battle system enhances the degree of separation between Siffrin and the static characters of his play. You're incentivized to separate him, even.

Additionally, there are two more skills to learn. They're the only skills that replace previous skills. You only get them at extremely high levels, the latter of which I didn't even reach on both of my playthroughs.

The first, somewhere in the level 70 range, Rose Printed Glasses, a paper type craft skill, is replaced by Tear You Apart. It's still a pun about paper, but remarkedly more vicious.

The second is even more on the nose. At level 80, In A While, Rockodile!, a rock type craft skill, is replaced by the more powerful Rock Bottom.

I didn't get to level 80. If you do, you pretty much have to do it on purpose. You have to keep going much longer than necessary, as Siffrin is just done. And the last skill he learns is literally called Rock Bottom.

What do I even need to say, really.

Your party doesn't stay static forever, though.

By doing their hangout quests, side quests throughout the loops that result in Siffrin and the character having a heart to heart, all of them unlock what I'd call an "ultimate" skill. You know the type - the character achieved self-fulfillment, hit rank 10 on their confidant, maxed out their skill tree, and received a reward for their trouble.

These skills are massively useful. My favorite is Odile's - it makes one enemy weak to all Craft types for several turns, which basically allows you to invalidate the first and third boss, as well as just clown on the King, especially once Siffrin starts racking up damage.

But the thing is. In Act 3, when you first get them, yeah, they're useful. But... do you need them? After all, they're such a hassle to get. You need to do the whole character quest again, you can't loop forward in the House or you'll lose them. If you want to take these skills to the King, you need to commit. Go the full nine-yards and be nice to your friends and not die and not skip forward or skip back. Which is annoying, right?

Well, I sure did think so during Act 4. After all, a base level party can still defeat the King, just with a few more tricky pieces involved. Siffrin can oneshot almost all basic enemies by the time of Act 4. It's this exact evalutation that you, the player, go through everytime you return to Dormont. Do I want this skill, still? Would it not be faster to go on without it? I'm repeating myself, but that's the thing! That's what Siffrin is thinking, too!

I also want to take a quick moment to note, here - all skills gained from hangouts have art associated with them, which no other skills do. This feature, the nifty art, hammers home these as "special" skills, besides just how they're unlocked.

Siffrin also has one skill with associated art.

Yeah, you guessed it, it's (Just attack.)

At first, helping the characters is tied to a hefty in-game reward, but that reward loses its value, and in return devalues helping Siffrin's friends every loop. It's too tedious for a skill that'll make a boss go by one turn faster. You, the player, grow jaded with the battle system. Grinding experience isn't worth it, everybody's highest levels are already recorded. Fighting bosses isn't worth it, it's much faster to loop forward.

Isn't this what all endgame in video games looks like? You already beat the final boss, and now... what challenge is left? Is there a point to keep playing? Most games will have some post-game content. A superboss to test your skills against, but ISAT doesn't have any of that. You're forever left chasing to the post-game. That's the whole point - to escape the game.

As most games get more difficult as time passes, ISAT only gets easier. The game becomes disinterested in expanding its own mechanics just as I ran out of new things to fight after 100%-ing Kingdom Hearts 3. Every encounter becomes a simple game of "press button to win."

The final boss just takes that one up a notch.

Spoilers for Act 5 ahead boys!

In Act 5, Siffrin utterly loses it. His last possible hope for escape failed him, told him there's nothing she can do, and Siffrin is trapped for eternity. So of course, they go insane and run up the entire House without their party.

This just proves what you already knew - you dont need the party to proceed. Siffrin alone is strong enough. And here, Siffrin has entirely shed the facade of the jokester they used to be. Every single skill now follows the (Just attack.) naming conventions. Your skills are: (Paper.) (Rock.) (Scissors.) (Breathe.)

To the point. Not a moment wasted, because Siffrin can't take a moment longer of any of this. Additionally, his level is set to 99 and his equipment becomes fixed. You can't even pick up items anymore! Not that you needed them at this point anyway, right? Honestly, I never used any items besides the Salty Broth since Act 2, so I stopped picking items up a long time ago. Now you just literally can't.

Something I've not talked about until now - one of the main equipment types in this game are Memories, gained for completing subquests or specific interactions and events. They all by and large have little effects - make Odile's tonics heal more, or have Mirabelle cast a shield at the start of combat. For the hangout events, you also gain an associated memory that boosts the characters' stats by 30. It lets them keep up with Siffrin again! A fresh wind! Finally, your party members feel on par with you again!

...For a time. And just like that, they're irrelevant again, just as helping them gave Siffrin a brief moment of hope that the power of friendship could fix everything.

In Act 5, your memory is set to "Memory of Emptiness." It allows you to loop back in the middle of combat. You literally can't die anymore. Not that Siffrin could've died by this point in the first place, unless you forgot about the King's instant-kill attack. This one memory takes away the false pretense that combat ever had any stakes. Siffrin's level being set to 99 means even the scant exp you get is completely wasted on them. All stakes and benefits from combat have been removed. It has become utterly pointless.

Frustrating, right? It's an artistic frustration, though. It traps you right here in Siffrin's shoes, because he hates that all these blinding Sadnesses are still walking around just as much. It all inspires just a tiny fraction of that deep rolling anger Siffrin experiences here in the player.

And listen, it was cathartic, that one time Siffrin snapped and stabbed the tutorial Sadness, wasn't it? Because who enjoys sitting through the tutorial that often? Siffrin doesn't. I don't, either.

So, since combat is an useless obstacle now meant to inspire frustration, what do you do for a boss? You can't well make it a gameplay challenge now, no. The bosses of Act 5 are an emotional challenge: a painful wait.

First, Siffrin fights the King, alone. This is already nervewracking because of one factor - in every other run, you need Mirabelle's shield skill, or else you're scripted to die. You're actually forced to fight the King multiple times in Act 3, and have to do it at least once in Act 4, though you'll likely do it more. Point is: you know how this fight works.

You know Siffrin's fight is doomed from the outset, but all you can do is keep slinging attacks. Siffrin is enough of a powerhouse to take the King's HP down, what with the healing and buff skills they have now, not to even mention you can just go all in on damage and then loop back.

(And no matter which way you play it, whether you just loop or use strategically, it reflects on Siffrin, too. Has he grown callous enough not even death will stop their mission? Or does he still avoid pain, as much as he can?)

This fight still allows you the artifice of even that much choice, not that it matters. The other shoe drops eventually - Siffrin becomes slower, and slower. Unsettling, considering this game works on an Action Gauge system. You barely get turns anymore. The screen gets darker, and darker. Until Siffrin is frozen in time, just as you knew he had to be, because you know how this encounter works, know it can't be cleared without Mirabelle.

And, then, a void.

Siffrin awakens to nothingness. The only way to tell you've hit a wall is if Siffrin has no walking animation to match your button inputs. You walk, and walk, until you're approached by.... you. The next enemy encounter of the game, and Siffrin's absolute lowest point: Mal Du Pays.

Or, "Homesickness," in english. If you know the game, you know why it's named this, but that's not the point at the moment.

Thing is, where you could damage the King and are damaged in turn, giving you at least a proper combat experience, even if its doomed to fail, Mal Du Pays has no such thing.

You can attack. You can defend. But it is immune to all attacks. And in return, it does nothing. It's common, at least, for undefeatable enemies to be a "survive" challenge, but nope. The entire fight is "press button and wait." Except, remember the previous fight against the King? The entire time, you were waiting for the big instant death attack to drop. That feeling, at least for me, carried forward. I was incredibly on edge just waiting for the other shoe to drop. And, as is a pattern, Siffrin is, too. As Siffrin's attacks fail to connect, they start talking to Mal Du Pays.

But he gets no response, as you get no attacks to strategize around. The wait for anything to happen is utterly agonizing. You and Siffrin are both waiting for something to happen. This isn't a fight. It just pretends to be. It's an utter rugpull, because Siffrin was so undefeatable for most of Act 4 and all of Act 5 so far. It's kind of terrifying!

and it does. It finally does something. Ma Du Pays speaks, in the voice of Siffrin's friends, listing out their deepest fears. I think it's honestly fantastic. You're forced to just sit here and listen to Siffrin's deepest doubts, things you know the characters could not say because it references the timeloops they're all utterly unaware of. This is all Siffrin, talking to himself. And all you, all Siffrin, can do, is keep wailing away on the enemy to no effect whatsoever.

So of course this ends with Siffrin giving up. What else can you do?

And then Siffrin's friends show up and unfreeze them and it's all very cool yay. The pure narrative scenes aren't really the main focus but I want to point out here:

A) Mirabelle is in the first party slot here, referencing how she's the de facto protagonist, and Bonnie fills in the fourth slot left empty, which shows all characters uniting to save Siffrin

B) this is the only instance of the other party members having act specific battle icons: they're all smiling brightly, further pushed by the upbeat music

C) the reflecting shield Mirabelle uses to freeze the King uses a variation of her hangout skill cut in, marking it as her true "final" skill and giving the whole fight a more climatic feeling.

It's also a short gameplay sequence with Siffrin utterly uninvolved in the battle. You can't even see them onscreen. But... it feels warm, doesn't it? Everybody coming together. Siffrin doesn't have to fight anymore.

At last, the King is defeated. Siffrin and co. make for the Head Housemaiden, to have her look at Siffrin's sudden illness. Siffrin is utterly exhausted, famished, running a fever. And this isn't unexpected - after all, their skills in Act 5 had no cooldown. For context, instead of featuring any sort of MP system, all skills work on a cooldown basis, where a character can't use it for a certain number of turns. The lowest cooldown is actually Siffrin's Knife to Meet You, which has a cooldown of 1. In universe, this is reasoned as the characters needing a break from spamming craft in order to not exhaust themselves.

Siffrin's skills in Act 5 having no cooldown/being infinitely spammable isn't a sign of their strength - it's a sign that he refuses to let himself rest in order to rush through as fast as possible.

Moving on, Siffrin panics when seeing the Head Housemaiden, because seeing her means one thing: the end. Prior to this in the game, every single time you beat the King, the loop ends when you talk to the Head Housemaiden.

Reality breaks down, the whole shebang. It's here that Siffrin realizes - they don't want the loops to end, because the end of their journey means their family will leave, and he'll be alone again. The happiest time of his life will be over.

Siffrin goes totally ballistic, to say the least.

As it turns out (and was heavily foreshadowed narratively), Siffrin has been using Wish Craft to subconciously cause the timeloop because of their abandonment issues. It's rather predictable if you paid attention to literally anything, but it's extremely notable how heavily Siffrin is paralleled to the King, the antagonist they swore to kill by themself at the start of Act 5. The King wants to freeze Vaugarde in time because it is, in his mind, "perfect," for accepting him after he lost his home - a backstory he shares with Siffrin.

Siffrin has become the exact antagonist he swore to kill, and it's shown by how the next fight utterly flips everything on its head.

Siffrin is the final boss.

In a towering form made of stars, Siffrin looks down at their friends. His face is terrified, because of his internal conflict; he can't hurt his friends, but he can't let them go, either. The combat prompt is simply changed to "END IT!"

This fight is similar to the previous, in that you just need to wait a certain number of turns until its over. However, this time, it's not dreadful suspense. It's... confusion, and hesitance.

You have two options for combat: Attack your friends, or attack yourself.

And... you don't really want to do either, I think. I certainly don't. But what else can you do? It's Siffrin's desires clashing in full force. Attack your friends, and force them to stay? Or attack yourself, and let them go safely without you?

Worth noting, here - when you attack Siffrin's friends, you can't harm them. Isabeau will shield all attacks. And when you attack yourself, Mirabelle will heal you back to full. And the friends don't... do anything, either. How could they? Occasionally, Mirabelle heals you and Isabeau shouts words of motivation, but the main thing is...

(Your friends don't know what to do.)

None of them want to harm Siffrin. Both sides simply stare at each other, resolute in their conviction but unwilling to end it with violence. It's of note that this loop, the last one, is the only loop where the King isn't killed. Just frozen. And now here is Siffrin, clamoring for the same eternity the King was. Of course everything ends in a tearfilled conversation as Siffrin sees their friends won't leave him, even after the journey ends, but I still have to appreciate this moment.

Siffrin is directly put in the position with their friends as his enemies, forced to physically reckon that keeping them in this loop is an act of violence, against both their friends, and against himself.

It's a happy ending. But... what does it mean?

Of course, ISAT is obviously about the fear of change. Siffrin is afraid of the journey ending, and of being alone. However, ISAT is also a game about games. Siffrin is playing the same game, over and over, because it's comforting. It's familiar. It's nice, to know exactly what happens next. These characters might just be predictable lines of dialogue, but... they feel like friends. Have you ever played a game, loved it, put countless hours into it, but you never finished it? Because you just couldn't bear to see it end? For the characters to leave your life, for there to be a void in your heart where the game used to be?

After all, maybe it became part of your routine! You play the game every day, slowly chipping away at it for weeks at a time. For me, I beat ISAT in four days. It utterly consumed me during this time. I had 36 hours of playtime by the end. Yeah, in that week, I did not do much more than play ISAT.

And once i beat it, i beat it, again. I restarted the game to see the few scenes I missed, most specifically the secret boss I won't talk about here. I... couldn't let go of the game yet. I wanted to see every scrap I could. I still do. I'm writing this, in part because I still do. It's scary to let go.

Ever heard the joke term of "Postgame Depression?" It's when you just beat a game, and you're suddenly sad. Maybe because the ending affected you emotionally and you need to process the feelings it invoked, or you search for something that can now fill your time with it gone.

The game ends, for real this time, the last time you talk to the Head Housemaiden. But Siffrin gets... scared. What if everything loops back again? And so, his family offers to hold his hand. They face the end, together.

For all loops, including the ending, you never see what happens after. After they leave the loop for good. Because the loop is the game itself. It's asking you to trust that life goes on for these characters, and it holds your hand as it asks you to let go. There's a reason for Siffrin's theater metaphors. He is the actor, and the director, asking everyone to do it over one more time. He's a character within the game, and its player.

There's a reason I talked about endgame content. This, the way it all repeats, there's nothing new, difficulty and stakes bleed away as you snap the game over your knee - it's my copy of White 2 with two hundred hours in it. It's me playing Fire Emblem Awakening in under 3 hours while skipping every cutscene. Are you playing for the sake of play, for the sake of indulging in your memories, because you're afraid of the hole it'll leave when you stop?

Of note: the narrative never condemns Siffrin for unwittingly causing their own suffering. He's a victim of circumstance. It's seen as endearing, even, that Siffrin loves their friends to the point of rather seeing the world destroyed than them gone. But Siffrin is also told: we'll stay with you for now, but we'll part ways eventually. And one day, you'll have to be okay with it.

Stop draining the things you love of every ounce of enjoyment just because you're afraid of what happens next. I'm not saying to never play your favorite games again. Playing ISAT a second time, I still had a lot of fun! I saw so many new things I didn't before, and I enjoyed myself immensely, reading the same dialogue over and over. But... it makes me look at other games I love and still play, and makes me ask... is this still fun? Do I still need to play this game to enjoy it? Even writing this is an afterimage of my enjoyment, but it's a new way to interact with the game, to analyze it through this lens. Fuck, man, I write fanfiction. Look at me.

All of this, fanart, fanfic, analysis, is a way to prolong that enjoyment without making yourself suffer for it. Without just going through the motions of enjoyment without actually experiencing any. But one day, the thing you love won't be fun to talk and write and draw about. And it's okay. You'll have new things to love. I promise.

In the end.... I'm certain I'll replay ISAT one day. Between great writing, art, puzzles and unresolved mysteries, it's my shoe-in for game of the year.

But I won't replay it for quite some time. I've had enough, for now, so I let my love take other forms.

Siffrin is never condemned, because love is no evil. Be it love for another person, or for a game. And please, if you're overempathetic - it's still a game, at the end of the day. The great thing about games is that you can always boot them up again, no matter how long its been.

A circle within a circle indeed.

To summarize:

The repetitiveness of ISAT's combat, lack of new enemies, and Siffrin's ever increasing strength eventually allows you to snap the combat over your knee, rendering it irrelevant and boring. Though this may seem counterproductive at first, it perfectly mirrors how Siffrin has also grown bored with these repeated encounters and views them only as an obstacle to get past. The reflection of Siffrin's own tiredness with the player's annoyance increases the compassion the player has for Siffrin as a character.

Additionally, the endgame state of the combat system serves as commentary on the state of a favorite game played too often, much like how Siffrin has unwittingly trapped themself in the loop. Despite the game having no more challenge or content left to over, a player might return to their favorite game anyway, solely to try and recreate the early experience of actually having fun with it. This ties into ISAT's metanarrative about the fear of change and refusal to let go of comfort even when the object (here, your favorite video game) offering that comfort has become utterly bereft of any substance to actually engage with. Playing for the sake of playing, with no actual investment to keep going besides your own memories.

Later on, stripping away even the pretense of strategy for a "press button and wait" format of final bosses highlights the lack of options at Siffrin's disposal and truly forces the player into their shoes. Truly, the only way to win is to stop playing.

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[very-gay-alkyrion]

You know how Greta Thunberg said "You have stolen our dreams"?

This is how I feel about Sam Altman and AI.

I was *robbed* of a future where AI is a cool tool, instead of yet another shiny, meaningless tech buzzword, and a shit feature that nobody wants to increase sales. Instead of something to help us better diagnose cancer, we are setting the planet on fire and completely disregarding anything Hayao Miyazaki has said about how he feels about AI, all just to see how we'd look as Studio Ghibli characters.

You see, I study AI. But I applied before the whole ChatGPT thing. At the time, OpenAI let a few select people prompt GPT-3. To generate YouTube titles and that sort of thing.

Back then, AI was mostly used for analytical purposes. To detect fires early, to help analyze protein folding, to develop new medication. And this was what drew me in.

When ChatGPT hit the scenes, I was genuinely excited for the potential of it. For the potential to make the internet more accessible, to be used for good.

Oh, how naïve I was back then.

Instead of that, AI is - in the best case scenario - used as yet another meaningless tech buzzword. It infests any product of any company that has nothing else to offer.

And that is the best case scenario. In the average case, instead of just being enshittification itself, it helps to accelerate enshittification by generating meaningless slop to poison search results, both in text and in picture form.

In the worst case scenario, AI is actively being used for harm. Used to generate nonconsensual imagery of people. Used as a tool for misinformation, for manipulating the public opinion, not only enshittifying the internet, but actively making it a worse, more hostile, more adverse place.

And that does not even touch on the issue of how training data is gathered, and the legal and ethical problems this raises, which, I hope, being on Tumblr, you're all well aware of by now. To any artist, I fully support you using nightshade to actively poison your work.

So yes. Despite being a student of AI, I am disgusted with what this field has become.

The following paragraphs are directed at anyone who has worked or currently works on any generative AI system:

You have stolen my dreams.

Not only have you stolen my dreams, you have plundered them for every dollar, every cent, against any moral or ethical code, in search of profits over everything.

You are going against every moral code that people should be committed to. But you don't care, as long as you can make a quick buck.

You don't care if Hayao Miyazaki has called generative AI "an insult to life itself". You just want to see yourself in the Studio Ghibli style, because to you, everything, even art, is something to be commoditized, to be mass-produced just so it can be instantly forgotten.

FUCK YOU AND THE MECHANICAL HORSE YOU RODE IN ON.

[bcacstuff]

Let’s face the truth: There is absolutely no strategy at work with SS. They’re flailing around, knocking glasses off tables left and right without achieving anything. I can just picture them all sitting in a bar, snapping photos of one cocktail after another (without actually drinking them😜). Ideas get thrown out, and everyone cheers.

“Let’s publish a cocktail book!”

“Yeah, cheers! 🥂”

“Let’s do fancy pop-up shops!”

“Great! What’s the target audience?”

“Who cares, as long as it’s as hip as we are!”

“Yeah, cheers! 🥂”

“Damn, we need more money. Let’s organise a signing session for Sam’s mommies and squeeze every last penny out of them!”

“Yes, yes, yes, cheers! 🥂”

Right now, SS is just Ash, her bar visits, and cocktail photos. Sassenach – what?

I could just suggest you to (re)read my post from half a year ago as I still stand behind every word I wrote and see no change.

Just some quotes from it :

And that is exactly where my reserve comes from. I do see no strategy. Influencers on IG are just a very small part of a marketing strategy. It all begins with the story, a website where you do not get redirected as fast as possible to the distributor website to buy. Why would i buy???? Tell me, that is what the customer is looking for. And with that, you can use Google Analytics, the most used and must have tool for marketing nowadays on the web. There is where you learn to adapt you strategy. Know the demography of your clients, study the search keywords and adapt your website text to improve your Google ranks. As most of your clients will come from Google, not via IG. IG is a next tool to use but you first have to have your basis. It is a science and brands who do not see it are at loss.

Mixing cocktails in bars and influencers on IG, and all the random videos out there on different accounts, where a number of them is not the correct place to advertise (I mean SH's followers in majority are there for his work, not his booze. The endlessly way of advertising his booze at nausea to people that are not interested in it has turned more and more people off and done him no good). You can all look away from that, and make your excuses for it, or call me a hater or a negative person. It doesn't change the facts we see. And finally about social media, it is one of the small tools of marketing, again Google Analytics, Google Adds, Search words are a much bigger part. But when you use IG professionally, don't show how you get piss drunk with friends when you're selling alcohol. I don't see that on Matt Neal's account as ambassador of Uncle Nearest, nor on Chiefmabooboo or Stefvillain just to name a few. I truly think you should be aware what you put on your professional account. If you want to show how piss drunk you got with your bestie, do it on a personal account, not on your professional one!

Wanna know my guilty pleasure? It's a game called 'Spot the Sassenach'. Just watch the IG accounts of all the bars they went advertising the booze.... and then watch if you can spot the SS bottle behind the bar.

Let's see

Soso's (1 week ago)

Peachy's (1st pic 3 weeks ago, 2nd pic 5 days ago)

Romeo's 1 week ago

and 6 weeks ago

Bartley Dunnes 3 months ago

4 hours ago

The Tyger 1 week ago

How many did you spot?

[aquilaofarkham]

Dying Has Never Frightened Us: Intergenerational Trauma, Healing, & the Burden of Legacy in Castlevania

An analytical and interpretation essay that discusses how the concept of family legacy and duty can lead to intergenerational trauma in the Castlevania franchise. Focuses primarily on the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

☽ Read the full piece here or click the read more for the text only version ☽

THE BURNING NEED FOR RETRIBUTION: INTRODUCTION

The world has trauma. It is deep, collective, spanning its roots over centuries and territories dating back to when the borders of today never existed, and it has largely gone untreated—but not undiscussed.

From children’s cartoons to award winning dramas, trauma has become one of the most common topics for media to discuss, depict, and dissect. It makes sense given the sort of physical and mental gauntlet which society has been through in the past five years. Sometimes even in just the past twenty-four hours. From an uptick in disasters stemming from climate change, the rise of publicised policy brutality, genocide as a result of settler colonisation, new developments coming to light after decades of denial regarding the residential school system in Canada, and of course a global pandemic which is still making ripples. Then there is the recent examination of generational trauma which differs from culture to culture. The open wounds we’ve already left and will be leaving for future age groups.

Seeing how fiction reflects reality and vice versa, it isn’t any wonder that movies, television shows, and video games find ways of processing this worldwide sensation of frustrated ennui along with the need to find answers as to how regular citizens can fix things, including ourselves, when politicians and world leaders cannot. When reality cannot provide satisfying resolutions, when we are left confused and even angrier than before due to the apparent shortcomings of institutions meant to provide relief towards the average person, it’s natural to look towards specific media. Whether for coping mechanisms, validation for this collective and personal trauma, or simply for cathartic release so the emotions don’t have to remain bottled up.

Castlevania , both its original 2017 series and the most recent entry of Castlevania: Nocturne (as well as the video games which the show is inspired by), is no stranger to this popular trend of storytelling and characterisation. Yet this trend also comes with its own controversy. When done with a deft writer’s hand and a layer of empathetic critical thinking, trauma in fiction and how we heal from its intergenerational effects can be a powerful tool in raising awareness in regards to something left forgotten by the larger public or it can allow viewers to look inwards at themselves. Done poorly or with a lack of empathy and taste, then the floodgates open.

But beyond the usual discourse surrounding trauma in fiction (how to portray a “realistic” panic attack, what makes a “good” victim, the problematic connotations of forgiving one’s abuser, etc.), Castlevania has its own things to say about the lingering effects of grief, guilt, and pain over the course of thirty-two episodes (now a fourty episode runtime with the inclusion of Castlevania: Nocturne season one). The series—particularly the first which ran from 2017 to 2021—has now gained a reputation for being one of the darker animated ventures tackling themes of religious corruption, abuse, sexual manipulation, and injustice among many others. The value and thoughtfulness of each depicted theme ranges from being genuinely compelling to delving into mere shock value yet the series is also known for its uplifting ending and cathartic release from such dark themes.

One could write entire dissertations on each complicated character and their developments. From Dracula’s suicidal tendencies as a result of unchecked grief to Isaac’s conflicted redemptive journey beginning with his unflinching loyalty to the king of vampires and ending with him forging down his own path in life. How characters such as Carmilla, consumed by her inner agonies and burning hatred towards the world to the bitter end, was left isolated from her sisters until she was forced to choose the terms of her own death, while others like Alucard, Sypha, and to an extent Hector rose above their individual torments in favour of hope and survival. However, this examination will focus on the series’ titular family of vampire hunters. Namely, the Belmont who found strength from his pain by honouring his family’s legacy no matter how heavy it felt or the burden that came with it and the Belmont who found his own strength from the ones he loved and who loved him in return.

Note: this essay will delve into speculations and purely interpretative hypotheses stemming from the author’s own opinions in regards to how they personally read the presented text. It will also discuss heavy spoilers for the majority of Castlevania games and the first season of Castlevania: Nocturne.

—

WHAT A HORRIBLE NIGHT FOR A CURSE: THE CYCLE OF TRAGEDY IN THE CASTLEVANIA GAMES

This examination begins in the exact same place as the show began with its inspirations and references: the original video games developed and distributed by Konami Group Corporations. It’s easy to get swept up in the notion that because of the technological limitations with video games at the time, the Castlevania games are devoid of story or characterization. Yet even the most bare bones of a story found in the games can still have something to say about the burden of legacy and how trauma left unconfronted has the possibility of tearing down that legacy. The most prominent example being Castlevania: Symphony of the Night , arguably the first game to begin delving into a deeper story and character driven narrative. It follows the events of Castlevania: Rondo of Blood , a game which portrayed its protagonist Richter Belmont as a force of nature in the face of evil, always knowing what to do, what to say, and emerging victorious without so much as breaking a sweat (or candelabra).

In keeping with the time of its release and the landscape of popular media particularly in Japan, Rondo of Blood feels like a traditional 1990s action anime complete with brightly coloured cutscenes and character designs reminiscent of Rumiko Takahashi and Rui Araizumi (despite the usual classic horror elements present in every Castlevania game). This is most evident with Maria Renard, the second playable protagonist who attacks with her own arsenal of magical animals and even has her own upbeat theme music during the credits when players complete the main story in “Maria mode”. Richter also shares many similar personality traits with his counterpart, namely his optimism in the face of danger and the confidence that he will be the hero of this narrative.

Of course all this changed in the direct follow-up to Rondo of Blood , the aforementioned Symphony of the Night . Arguably the new staple of future Castlevania games to come, not only did it change the gameplay and aesthetic, it changed the very core of the characters as well. The game even begins with the same ending as Rondo of Blood where Richter fights and defeats Dracula with the help of Maria. Then during the opening crawl, we discover that during a time skip, Richter has vanished and Maria is searching for him. Surely this will be nothing less than a heroic rescue and the most powerful Belmont of his century will be restored to his rightful pedestal.

Yet for the first half of Symphony of the Night , the player is faced with a sobering realisation—the villain we’re supposed to be fighting, the one responsible for conjuring Dracula’s castle back into existence, is Richter himself. No longer the hero we’ve come to adore and look up to from the previous game. Of course, the player along with new protagonist Alucard both know that something isn’t right; perhaps Richter isn’t in his sound mind or some nefarious force is possessing him to commit evil deeds. But unless the player solves the right puzzles and find the right in-game items, Symphony ends with Alucard putting down Richter like a rabid dog. However, this ending can be avoided and a whole second half of the game is revealed.

Richter’s canonical ending is left ambiguous at best, tragic at worst. He laments over his moment of weakness, claiming the events of the game were his fault despite Alucard’s insistence that confronting Dracula was always going to be inevitable. Still, the tragedy of Richter’s fate and how he is portrayed in Symphony of the Night comes much later, when it’s implied the Belmonts are no longer capable of wielding the fabled Vampire Killer, a leather whip imbued with supernatural properties that has been passed down generation after generation. One mistake and misjudgment left the Belmont legacy in a perpetual long lasting limbo with the titular hunters themselves seemingly disappearing from history as well, leaving others such as the Order of Ecclesia to pick up the fight against Dracula’s eventual resurgence. It isn’t until the height of World War II (the setting of Castlevania: Portrait of Ruin ) when the whip’s true potential is finally set free thanks to the actions of Jonathan Morris, a distant relative of the infamous vampire slaying family. However, the only way in which Jonathan can reawaken the Vampire Killer is by defeating a manifestation of the person who last wielded it and also whom the whip abandoned nearly two hundred years prior—Richter Belmont.

Yet players and fans don’t get to see it in the hands of another Belmont until the events of 1999 when Julius Belmont defeats the latest incarnation of Dracula and seals his castle away in a solar eclipse. Even then, he loses his memory until thirty years pass and he’s forced to do battle with Soma Cruz, an innocent transfer student who is also the reincarnation of Dracula. If the protagonist of Castlevania: Aria of Sorrow succeeds in defeating the cosmic threat that has awakened his supposed “evil” destiny, then Julius can finally lay down the Vampire Killer in peace (until the sequel Castlevania: Dawn of Sorrow , of course). If not, the game ends with Julius keeping his promise to Soma should he lose sight of his human side and let Dracula be reborn once again. In a scene that directly mirrors the beginning of Symphony , Julius enters the castle throne room, Soma throws down his wine goblet, and the screen goes black. The cycle continues anew. Julius has upheld the duty of his family name but at what cost.

The theme of tragedy getting passed down through different generations, permeating from person to person even with those who are not Belmonts, is a staple of later Castlevania games following Symphony of the Night . In some instances, pain and trauma is what jumpstarts the story moving forward. Castlevania: Curse of Darkness begins with its protagonist Hector in a direct parallel to Dracula swearing revenge on the one responsible for the murder of his wife; an ultimatum that follows him every step of the way, fuelling his rage and determination up until the penultimate moment when his goal is within reach. Yet even then he cries out, claiming this “murderous impulse” isn’t truly him—it’s the result of an outside force he himself once aided before defecting before the events of the game.

Something similar occurs in Castlevania: Lords of Shadow , an alternative reimagining of the franchise that while still a topic of division amongst most die hard fans has also seen a resurgence of popularity and reevaluation. It begins with Gabriel Belmont grieving over the death of his own wife (a trope which is unfortunately common amongst the majority of Castlevania titles). This is a wound that follows him throughout his journey until an even more painful and shattering twist regarding Marie Belmont’s demise is revealed to Gabriel later in the game.

However, there is one example from the games that stands above the rest in regards to the sort of damage which generational trauma as a result of familial duty and legacy, upheld to an almost religious degree, can inflict. So much so that even a declaration of retribution can evolve into a generational curse.

—

HUNT THE NIGHT: LEON BELMONT & THE MYTH OF FREE WILL

The Castlevania timeline didn’t always have a set beginning. An inciting incident by which all future stories, characters, and inevitable calamities could base themselves off of. Rather it changed from game to game until a definitive origin was settled in 2003 with the release of Castlevania: Lament of Innocence . For at least two games, the starting point was supposed to be with Simon Belmont, making his way through a labyrinth of dark forests and cursed towns, before finally traversing the ever changing fortress in Transylvania to defeat Dracula. He even went as far as to gather the remains and resurrect the eponymous lord of his own choice just to rid himself of another curse entirely. 

Castlevania protagonists are always cursed by something. Whether it be the cause of Dracula’s influence, their own actions as seen in Lords of Shadow , a curse of the flesh like how Simon had to tackle his own ailment in Castlevania II: Simon’s Quest , or something else just as common as Dracula’s curse: the burden of honouring a family duty.

A basic yet iconic 1986 entry followed by a sequel that had potential especially with the first appearance of the now famous “Bloody Tears” track but suffered from a rather confusing and lacklustre end product. Then suddenly the starting point for the franchise timeline changed drastically. Castlevania III: Dracula’s Curse despite the numerical inclusion in its title stands as more of a prequel, detailing the exploits of the Belmont who came before Simon. Not much was altered in the grand scheme of things; the titular vampire hunter still essentially slays Dracula with the help of three other playable characters, said final boss having been driven mad and more violent than ever by humanity’s slight against him. However, not only were the methods by which Dracula is defeated changed but players were given more insight into the sort of burden placed upon the Belmont family name.

When the story of Dracula’s Curse begins, protagonist Trevor Belmont isn’t revered as a legend or hero but rather a blight on larger society who the people only turn to as a last ditch effort against rising evil. The regular god-fearing people of Wallachia now fear the Belmonts and their power (it is also implied that some still feared the barbarian-esque Simon despite his legendary status) so the family is excommunicated. Trevor is forced to enlist three other outcasts—or simply two other fighters, depending on which version of the story you examine—in order to carry out the family business. Even when the rest of the world has shunned them and there are plenty of others just as capable of stopping the forces of evil, a Belmont still has a destiny to fulfil. 

Yet once a series has gone on for long enough, things within the established canon are bound to change—again and again. Whether through re-examination in order to line it up better with present day morals and sensibilities, or through good old fashioned retconning in favour of something more interesting, more thought out, or less convoluted. Other times, it’s simply because either the creator or viewers wanted it to happen. In 1997, this occurred with the release of Castlevania Legends on the GameBoy, a prequel to Dracula’s Curse that was meant to serve as the actual origin for the Belmonts, Dracula, and even his son Alucard. Instead of Trevor, the very first Belmont to fight Dracula is now his mother, Sonia Belmont, seventeen years old and already burdened with the glorious purpose of her bloodline.

Sonia is undoubtedly the protagonist of her own story with agency and drive. However, the game ends with a stark reminder of why the Belmonts have a place in the Castlevania universe. The last we see of Sonia in Legends is in the form of an epilogue where she holds her newborn child and states that one day when he’s grown, he will “be praised by all the people as a hero”. Despite her triumph over Dracula—a monumental feat itself—it seems that her purpose in the end (the purpose of most Belmonts other than to forever fight evil in fact) was to merely continue the bloodline so that descendants can carry out a promise made centuries before by another Belmont—someone that neither Simon, Trevor, Julius, or Richter ever knew.

The inevitability of sudden retcons within long-running media was not as kind to Legends as it was to Dracula’s Curse . Because of how the in-game events conflicted with subsequent entries (for example the implication that Trevor is actually the son of Alucard, thus further tying the Belmonts to Dracula through blood as well as duty), both Legends and Sonia were completely removed from the canon timeline. This is merely one reason why the next attempt at creating the definitive origin for the franchise, now a cult favourite among certain subsections of the fan community, was regarded with some animosity. However, twenty years after its release, Castlevania: Lament of Innocence is considered by many as an underrated entry. It is certainly the darker title where both the hero and villain stumble through their own hardships yet neither emerges completely victorious by the end.

The opening narration crawl of Lament of Innocence describes the lives of Leon Belmont and Mathias Cronqvist. They spend most of their lives as reflections of each other; one grows into more of a fighter while the second is coveted for his intellect and ambition. Both are valorous, honourable, and products of their own respective plights. Despite his service to the church, Leon is soon systematically stripped of everything save for the clothes on his back because he wouldn’t follow their orders blindly. While Mathias is forced to watch as an uncaring god (the very same god he serves) takes away a figure of pure virtue and love. This figure, Elisabeta Cronqvist who appears to be a splitting image of Dracula’s next deceased wife Lisa Tepes, was the last remaining tie Mathias still had to whatever bit of morality he still feels, which he eventually throws away when deciding to drag his only friend and everything he holds dear into hell alongside him.

The difference is how both men react to those personal horrors and how they let it govern their pasts, presents, and futures not just for themselves but for others who follow after the dust has supposedly settled. Two men, two best friends turned hateful enemies because of an interlinked tragedy. Not only that, but also because of their perspectives, morals, and the way they view a world that is unkind to them. Both were spurred by the death of loved ones, both used it as a conduit, or rather a catalyst for the radically opposing directions in which their choices take them and their families. Leon chooses to struggle onwards towards a world free from darkness and horror despite his pain. Mathias chooses to revel in that very same darkness and pain with a fire that would burn for aeons. In the end, one thing is absolute. A single thing the two men can agree upon as they flee down adverse paths: one of them will destroy the other.

Yet the timeline of Castlevania proves that this choice comes at a great cost for the Belmonts in particular. By the end of Lament of Innocence , Mathias has revealed himself to be the great manipulator pulling the strings behind the scenes. Due to the immense grief he felt over losing Elisabeta to a presumably common illness made untreatable because of the time period’s medical limitations (coupled with his own arrogance and narcissism), Mathias finally becomes Dracula. Dominion over death and even god by has been achieved by doing what Leon’s righteously moral mind cannot comprehend: transforming himself into an immortal creature driven by bloodlust. All he had to do was lie, cheat, and cruelly outsmart everyone else around him. That of course includes Leon as Mathias’ manipulation tactics were also the cause of the mercy killing of Sara Tarantoul, Leon’s fiance, to stop her from turning into a vampire herself. After watching his former friend escape before the sun can rise and disposing of Dracula’s constant right hand man Death, Leon finally feels his anger over such a betrayal boil over. He gives one final message to Mathias, now the new king of the vampires: “This whip and my kinsmen will destroy you someday. From this day on, the Belmont Clan will hunt the night.”

This is how Castlevania: Lament of Innocence ends. Unlike other entries like Symphony of the Night, Aria of Sorrow, or Harmony of Dissonance , there is no good, neutral, or bad ending that can be achieved if the player is aware of certain secrets and tricks. There is only one for Leon and Mathias. The inclusion of multiple endings in some Castlevania games versus a singular set ending in others may seem like a small coincidental narrative choice in conjunction with evolving gameplay, but it matters in the case of Lament of Innocence. From the moment Leon enters the castle to rescue his fiance, the wheel has already started turning and his fate is sealed. Mathias has already won and Sara, along with future Belmonts, are already doomed. And Leon’s ultimatum made in the heat of the moment would go on to have repercussions centuries later. “Hunting the night” gave the Belmonts purpose but it also burdened them with that exact purpose. While Dracula deals in curses, so does the Belmont family—a curse of duty that gets passed down throughout the bloodline.

Leon Belmont was of course never malicious or cruel like Mathias was. He never wanted to deliberately curse his family because he suffered and so should they. His choice was made out of anger and retribution. Still, it goes on to affect Simon, Sonia, Julius, and others in drastic yet different ways. Yet in the case of specific Belmonts like Trevor and Richter, we see how this family legacy can have varied consequences in far more detail through the introduction of animation and serialised writing into the Castlevania franchise.

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SOMETHING BETTER THAN A PILE OF RUINS: TREVOR BELMONT & STRENGTH FROM LEGACY

If there’s one thing that Castlevania makes abundantly clear with its four season runtime, it is that trauma does not inherently make people better or more virtuous. We of course see this from the games with Mathias and his personal crusade against god which leads to the complete dissolvement of his closest friendship. Or with Hector and the rage he feels towards his wife’s murderer, who also happens to be his former comrade under Dracula’s employment. Even Leon’s promise to both his friend, now his most despised enemy, and future descendants can also be an example of how gut reactions to pain, grief, and betrayal can have damaging consequences in the long run. This particular dissection of trauma when it affects a survivor negatively and in almost life-altering ways while still giving them a chance at achieving their own method of healing is most apparent with the animated representation of Trevor Belmont.

At its core, the first season of Castlevania airing in July of 2017 with four episodes in total is inspired by the events of Dracula’s Curse with the following seasons taking more from Curse of Darkness along with original story elements. It begins with the brutal execution of Lisa Tepes after she is falsely accused of being a witch. Shortly afterwards, Dracula declares war on all of humanity in an explosion of grief-riddled vengeance (a declaration that is not dissimilar to Mathias’ cursing of god after Elisabeta’s admittedly more natural death). Hundreds of civilians are slaughtered in the capital city Targoviste and hoards of night creatures descend upon more townships across Wallachia. 

This would be the perfect opportunity for a Belmont to stand up and fight back except there is one problem: the Belmonts have been eradicated from this world on false grounds of black magic and aiding the vampire lords instead of hunting them—much like how Lisa was slandered and paid the price with her own life.

The only Belmont left surviving is Trevor himself and his introduction does not paint him in the most optimistic or even heroic light. In the midst of being excommunicated by the church, he’s been wandering aimlessly for the past few years while languishing in whatever tavern he stumbles upon. In one particular bar Trevor finds himself in, he overhears the other patrons cursing the Belmonts and blaming them for Dracula’s siege upon humanity. He tries to stay out of it and not bring too much attention to himself until one glance at the family emblem stitched into his shirt breast is enough to ignite an all out skirmish.

Trevor hides his true identity not because he’s ashamed of it, but for his own safety and self preservation. In fact, the opinion he holds of his family is the total opposite from disdain for the sort of legacy they have saddled him with even in death. He reacts strongly to false accusations directed towards the Belmonts, angrily correcting the bar patrons by stating that his family fought monsters. However, he quickly realises he’s said too much and tries saving face by once again detaching himself from possibly being connected to the aforementioned Belmonts.

It’s only when Trevor is backed into a corner and is fresh out of snappy drunk retorts (thanks to a few hard hits to his nether regions) does he finally admit to his real lineage. As mentioned earlier, Trevor finds himself caught up in the first real brawl of the series not because of the pride he feels in himself but the immense pride he feels for his bloodline. All the while, he’s given up trying to hide what he is—a Belmont—and what he was born to do—fight fucking vampires.

Every time Trevor has the opportunity to bring up his bloodline whether in a fight or in conversation, it’s usually spoken with some bravado and weight even when he’s inebriated. However, when visiting the ruins of the Belmont ancestral home in season two and thus directly confronted with what little remains of his family legacy, Trevor loses all that previous bluster and becomes far more contemplative. He doesn’t reveal much of what it was like to actually live as a Belmont, only that it was “fine” and “no one was lonely in this house”. Even when staring up at the portrait of Leon Belmont, he says nothing and instead firmly  grips the very weapons which his ancestor must have also wielded.

It’s clear that Trevor feels no shame, bitterness, or lack of respect towards his family history despite the hardships that have come with it. Still, it’s difficult for him to truly accept the duty of being a Belmont and Trevor continually struggles with it over the course of two full seasons. Upon arriving at the ruined city of Gresit which is under constant threat of night creature attacks, Trevor doesn’t seem particularly concerned with the people’s plight or with helping them. He inquires about what’s been happening by speaking with a few local merchants but it’s only in order for him to gain a better picture of the situation that Gresit finds itself in. Otherwise, he’s simply passing through on his way to another tavern, fist fight, sleeping spot, or all three. Until he puts aside his own needs for self-protection in favour of saving an elder Speaker (a fictionalised group of nomads original to the Castlevania show who have made it their mission to help less fortunate communities and pass on their histories via oral tradition) from a potential hate crime committed by two supposed men of the cloth.

This moment acts as a representation of the first chip in Trevor’s carefully maintained armour. During the bar fight, he claimed over and over again that he was a Belmont in both skill and purpose. However, Trevor hasn’t done much to prove such a proclamation. Because of his ennui and poor coping mechanisms due to lingering trauma, he’s been all talk and not a lot of action—until this point. At first he tells himself to walk away, this sort of confrontation doesn’t concern him. Then he remembers where he comes from and uses the very same family heirloom to help someone physically weaker than himself.

Yet when he accompanies the elder back to where the other Speakers have found shelter from the monsters repeatedly demanding their heads as well as future night creature attacks, Trevor’s metaphorical walls are erected back up. He won’t take any part in this eradication of humanity whether as a victim or perpetrator and especially not to stop it. The people of Wallachia made their choice in the unjust murder of Dracula’s innocent wife, they made their choice when they decided to massacre what was left of his family, and the church made their choice when they decided to fight Dracula’s armies themselves without the Belmonts. Why should he lift a finger (or whip) to save the masses?

Despite this nihilistic attitude, Trevor proves to be a poor defeatist. He still desperately wants to protect the Speakers and warns them of an oncoming pogrom planned for them. A massive hate crime fueled by superstition and facilitated by the corrupt Bishop of Gresit which will supposedly save the city from night creature ambushes (this can be interpreted as a direct allegory meant to comment on how minority groups such as Jewish and Romani communities were used as scapegoats during the Mediaeval period). However, the Speakers refuse to budge and decide to face the angry and misled crowds head-on. They instead tell Trevor to leave in their place which, in a burst of frustration, spurs him to finally act like a member of his clan should. 

What follows next is one of the most defining moments of the series for Trevor, cementing his place as a Belmont. Another corrupt member of the church demands to know what he could possibly stand to gain from fighting back considering his downtrodden state and the fact that he’s entirely outnumbered. Trevor’s answer is simple: nothing. The Belmonts don’t protect everyday people for any great reward or because of any strong personal ties. They do it because it’s their duty and the right thing to do. Trevor even mirrors something which the elder Speaker told him; a family mantra that encompasses the very purpose of the Belmonts, dating back to Leon: “It’s not the dying that frightens us. It’s never having stood up and fought for you.”

Trevor’s healing journey does not end at this moment. He still has moments of hesitation where someone like Alucard has to forcibly remind him of his place as Belmont, saying he needs to choose whether he’s really the last of a long line of hunters or a drunkard. This leads to a fight sequence that nearly spans the length of an entire episode where Trevor further proves himself by taking on at least three different creatures all with varying degrees of strength, skill, and fortitude. Episode six of season two is the ideal example of not only Trevor’s determination but also his quick thinking. Moments such as him wrapping his cloak around his hand so that it doesn’t get cut while his sword slices through the throat of a minotaur or using a set of sticks to beat against an adversary when his whip is knocked away. Being a Belmont means using one’s intellect (no matter how unconventional it may seem) as well as one’s muscles. 

There is also another albeit less violent instance at the start of season three where he still feels the need to hide his surname while in an unfamiliar village. Then there is the revelation that malicious stories about the Belmonts and their supposed demise still circulate amongst rural Wallachian communities. Yet despite coming from a family of old killers (a term Trevor uses before facing off against Death in the final season) his family name remains his strength and the weight of both the Vampire Killer and Morningstar whip keep him grounded rather than burden him. The Belmont name carries such weight throughout the series that by the end, there is strong consideration from Alucard of naming a new township nestled in the shadow of Dracula’s castle after that family.

Trevor deals with his pain and trauma quietly, almost numbing it with the assistance of alcohol and dodging the harder questions regarding what his family was really like. He still finds strength in remembering what the Belmonts are here for despite the tribulations that come with the family name. Hardships that continue and evolve nearly three hundred years later.

—

THE THINGS THAT MAKE ME WHO I AM: RICHTER BELMONT & STRENGTH FROM LOVE

Depending on what sort of mood you might find the author of this essay in, their favourite Castlevania game will vary. At the moment, it’s a three way tie between Symphony of the Night for its artistry, Lament of Innocence for its story and characterisation, and Aria of Sorrow for its evolved gameplay. However, one personal decision remains relatively consistent no matter the mood or time of day: Richter Belmont is the author’s favourite Belmont and the inclusion of him in the latest animated adaptation Castlevania: Nocturne has only cemented that fact.

It makes sense from both a narrative and marketing standpoint as to why we’ve suddenly gone from the events of Dracula’s Curse/Curse of Darkness depicted in the previous series all the way three hundred years later to Rondo of Blood . Narratively, Richter and his companion Maria Renard already have a direct link to Alucard through the events of Symphony , which Nocturne will most likely cover and be inspired by in its second season. Marketing wise while also appealing to the largest demographic possible (even those less familiar with the games), amongst more recurring characters like Dracula and Alucard, Richter is arguably one of the most recognisable Castlevania figures right down to his design.

Certain traits and visual motifs of other Belmonts have changed drastically over the years and with each iteration. Meanwhile, from Rondo and Symphony , to Harmony of Despair and the mobile game Grimoire of Souls , to finally Nocturne and the inclusion of Richter as a playable character in the fighting game Super Smash Bros Ultimate , specific elements of Richter never waver. This includes his blue colour scheme, his tousled brown hair, and his iconic white headband. All of which carry over in the first season of Nocturne which not only expands upon Richter’s character first established in Rondo of Blood but also further examines said character.

For example, Richter’s true introduction directly following the downer cold opening is without a doubt the farest cry from Trevor’s. While Trevor’s first scene acted as a sobering depiction of what happens when physically/mentally damaging coping mechanisms mix with unacknowledged grief, Richter’s first fight gets the audience’s blood pumping, complete with a triumphant musical score and a showcase of his skill with the Vampire Killer. Richter is cocky, but not reckless. He’s sarcastic, but not sullen like Trevor was. Because of his upbringing after the death of his mother, filled with positive affirmations, he values the wellbeing of others along with their fighting experience. Yet his confidence does not overshadow his acknowledgement of the family burden. Richter is well aware of how heavy the Belmont legacy and duty can weigh upon an individual’s shoulders along with how closely it can tie itself around a person’s life and their death—a reminder as well as memory which haunts him for nine years.

When Nocturne begins, its first major fight sequence takes place between Richter’s mother Julia Belmont (an original character for the show) and the vampire Olrox, an enemy taken from Symphony of the Night now reimagined as a seductive, complex Indigenous vampire on his own path towards vengeance against the very person who took away the one he loved most in this world—just one of many thematic parallels to the first series, this time referencing Dracula’s motives and justification for his grief. Just when it seems like Julia has the upper hand thanks to her magical prowess, Olrox transforms and ends her life in a swift yet brutal manner. All of which happens right before ten-year-old Richter’s eyes.

Julia was simply doing her duty as a vampire hunter and her life as a Belmont ended the same as most of her ancestors did: in battle while fighting for the life of another. Why then did it hurt Richter most of all? Why does it haunt him well into his early adult years? And why was it seemingly more so than how Trevor’s trauma haunted him? There are two probable answers to this, one being that Richter was only a child, directly confronted by the cause for his mother’s sudden and graphic death with no way of fighting back despite being a Belmont.

In the case of Trevor, although he was a few years older than Richter when his entire family and ancestral home were burned in front of his eyes presumably by the same people they were supposed to be defending, the circumstances which followed them afterwards are vastly different. For nine years Richter was surrounded by those who loved and cared for him whereas Trevor only had himself and the hoards of average Wallachians who hated him because of superstitious rumours and the church’s condemnation. Trevor had over a decade’s worth of experience in becoming desensitised to his pain and trauma, masking it beneath self deprecation and numbing it with alcohol. He wasn’t even aware of the fact that he was a deeply sad and lonely individual until Sypha pointed it out to him.

Despite his bravado and brighter personality than his ancestor, Richter is also an incredibly sad, hurt person who suffers somewhat from tunnel vision. He obviously has empathy and wants to protect people from monsters, vampires, and the like. More so than Trevor did during his introduction before his moment of self-made rehabilitation. However, he doesn’t seem to care much about the revolution itself or what it stands for. He attends Maria’s rally meetings but he doesn’t take active part in them, opting to stay back and keep a watch out for any vampire ambushes. He admits that he doesn’t really listen to Maria’s speeches about liberty, equality, and fraternity. And in the most prominent example of his disillusionment with fighting for a larger righteous cause, when given a revolutionary’s headband, he shoves it into his pocket and mumbles about how tired he is of everything.

This could be interpreted as defeatist if Richter wasn’t already trying so hard to uphold his family duty and maintain a level head. He needs to have a sense of control and almost achieves it until Olrox so casually confronts him in the middle of a battle which Richter and his friends seemed to be winning until they’re forced to flee close behind him. When Richter runs away and emotionally breaks down the moment he’s finally alone, it isn’t because he’s weak or cowardly. On a surface level, it was due to his fear and panic over not being able to face his mother’s killer (someone who has proven to be much, much stronger and more powerful than any Belmont). Yet it was also a form of harsh admission to himself. He couldn’t maintain that aforementioned sense of control and perhaps he never will, not where he is right now at least.

It isn’t until he’s reunited with his grandfather Juste Belmont (long thought to have died, leaving Richter as the final Belmont) that this negative mindset brought on by unresolved trauma begins to shift. In many ways, Juste is another callback to what happened with Trevor. He suffered an immense tragedy in the past and has since spent his entire life drifting from tavern to tavern, avoiding his own grandson and instead leaving him in the care of people far more capable of raising him and instilling better morals within the youngest Belmont.

Other mentor-esque characters appear in Nocturne such as Tera who raised Richter alongside her biological daughter Maria. There is also Cecile, the leader of a Maroon group which Annette joins after escaping slavery. Despite their individual pains, these two women maintain the hope that humanity can be changed and the evils of the world can be defeated. Meanwhile, Juste has thoroughly lost his own hope. He reveals to Richter that “evil will always win” because of how it permeates everything and is far stronger than any Belmont, even the most magically inclined members. No matter how many Draculas, Carmillas, or Lord Ruthvens are defeated, it will always find a way to creep back to the surface whether through the upper class of France or through the very colonisation that nearly wiped out Olrox’s people or enslaved Annette’s family. 

One of the first things that Juste says to Richter directly references the sheer weight of the Belmont legacy, all of which culminates within the whip itself. This can also be a reference to the Vampire Killer carrying a living soul as Leon Belmont was only able to awaken its true power by sacrificing Sara Tarantoul. The whip has both a metaphorical and literal weight which the Belmonts must come to terms with.

Yet for Richter, family is maintained not through blood ties, which can easily die out or be abandoned because of generational trauma, but through the people we find and attach ourselves to. Under the immediate threat of losing his found family, all of Richter’s pain and anguish explodes when his magical powers violently return to him in one of the most visually impressive and cathartic moments of Nocturne season one, complete with an orchestral and operatic rendition of “Divine Bloodlines” taken straight from Rondo of Blood as he ties the same headband he nearly discarded earlier around his head. Then once the dust settles and Richter is asked by Juste how he managed to tap back into that great power, he simply responds with the most obvious answer he can come up with: there are people who love him and he loves them in return. 

This is reiterated when Richter is reunited with Annette and describes the same revelation when she asks how he was able to regain his magic. Not just a mental revelation but for Richter, it was a physical sensation as well. Just when he believed he had lost everything, something reminded him of all the things worth protecting in his life and all the pain he’s had to endure.

Richter finally donning his iconic white headband is symbolic of not only his decision to actively join the French Revolution but also his revelation that the love he feels for Maria, Annette, and Tera is his own righteous cause. That, to him, is worth defending just as much if not more than the concept of a centuries old curse turned legacy.

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SLAVES TO OUR FAMILIES' WISHES: CONCLUSION

Richter, both his game depiction and his recent Nocturne iteration, acts as a reflection and subversion of what a Belmont is along with what that family duty means to different members. Trevor found healing from his trauma through his duty. Richter found his healing through love. Of course Trevor loved Sypha and Alucard in his own way, but throughout the entire first series, from the moment he removed his cloak at the end of season one to standing up against Death in the finale, his driving motivation was always to preserve his family’s legacy despite his own shortcomings. The Belmonts were all but gone and Trevor had been exiled, excommunicated, and turned into a societal pariah. Had he given into despair and continued with his vagabond ways, who else would wield the Morningstar, the Vampire Killer, or any of the knowledge cultivated by previous Belmont generations?

But for Richter, family legacy is more of a nebulous concept. It gets mentioned in conversations and we see its varying effects on individuals, but even when Richter is reunited with Juste, the immediate priorities of his found family takes the place of his blood family. This, according to him, makes him a Belmont. 

It is also important to consider that we are still only on the first season of Castlevania: Nocturne with season two having been renewed and in production merely a week after its initial premiere. With the reveal of Alucard as a last minute cliffhanger in the penultimate episode, it will be interesting to see how his own characterisation as well as his close tie with both the Belmonts and his own family burden will further develop especially after three hundred years within the show’s timeline. One of the biggest possibilities is that in contrast with his youthful brashness and instability that was the crux of his character in the first series, Alucard might serve as a sort of mentor figure or perhaps his own generational pain will bond him further to Richter and Maria, more so than he was in Symphony of the Night . Then there is the question of whether Richter in the midst of the apparent losses he suffered during the finale of season one will follow down the same path that his video game counterpart did.

In 2020, the author wrote another Castlevania -centric essay which detailed the visual, thematic, and aesthetical shifts of the franchise from its inception during the 1980s all the way to the 2017 adaptation through focusing on how these changes affected Alucard. By the end of that essay, it was mentioned that despite the show being renewed for at least one more season, the overall future of Castlevania remained unknown. This is still the case for now. 

Though one can make educated assumptions and theories, there’s no way of knowing what sort of direction season two of Nocturne will take with its themes and characters. This is doubly true for the games themselves. Despite the anticipated releases of the Silent HIll 2 and Metal Gear Solid Delta: Snake Eater remakes, as of now Konami has not revealed any official decisions to remake, rerelease, or produce new Castlevania titles. One can hope that due to the success of both shows along with the anticipation for Silent Hill and Metal Gear Solid remakes that something new will be in store for Castlevania in the near future.

Castlevania , both its games and animation adaptations, prove that there is a place in this world for every kind of story. In the last episode of season one airing in July 2017, Alucard states what could very well be the thesis of the entire franchise: “We are all, in the end, slaves to our families’ wishes”. Yet even if we cannot escape the narrative we’ve been latched onto or, for dramatic purposes, cursed with, there are ways in which we can combat it and forge our own healing process.

—

MEDIA REFERENCED

Castlevania (1986)

Castlevania II: Simon’s Quest (1987)

Castlevania III: Dracula’s Curse (1989)

Castlevania: Rondo of Blood (1993)

Castlevania Legends (1997)

Castlevania: Symphony of the Night (1997)

Castlevania: Aria of Sorrow (2003)

Castlevania: Lament of Innocence (2003)

Castlevania: Curse of Darkness (2005)

Castlevania: Lords of Shadow (2011)

Castlevania (2017—2021)

Castlevania: Nocturne (2023—)

[cgtg]

looking @ all of this godtier stuff, i wanna say i dont rlly think classpecting is all that. it's a fun analytical tool for exploring a character's themeing and role in a narrative. but it's fundamentally impossible to assign an "arc" 2 a living person, & within sburb itself the godtier system has a very questionable view of what its characters arcs mean/should be. like. you can 100% interpret classpects as bullshit within the text.

that being said, again, they're still a fun narrative tool to bring outside of homestuck itself, & if you remove them from the intelligence/structure of SBURB they are rlly fun for vibes-based introspection. they aren't made up of nothing, they have clear inspiration & meaning to hussie.

i view classes like roles in a play. anyone can pick any of them for any reason, multiple at different times even, but you only know for sure if one fits you by playing it. my perspective on it is rly close to funk mclovin's theory.

i view aspects as a bit more immutable bc i feel like they speak to more core traits rather than the shit u operationalise, which is much more up to personal choice.

i have always felt a distinct calling to the space aspect, for well over a decade. i relate heavily to a lot of the core themes it portrays. i could ramble for ages abt that, legit.

the course of picking "witch" has been a progression to me. "seer" encapsulates how i am/was when trapped in passivity both internally & externally. relegated to a problem solver, advice friend, helper. a role which i perform well but am deeply unfulfilled & drained in.

the "witch" class encapsulates my fundamental need to have my own autonomy, function, control, freedoms in my life for myself & not for others. that is ultimately what i desire to be, & i feel that the "witch" encapsulates it well. i also fuck heavily with the archetypal "lonesome magician who is feared & revered for their wisdome and power" character. kid me would've fuckin *loved* being a wicked witchman.

like, i think it's worthwhile to work backwards from what you think of yourself & *then* put the godtier jammies on. bc fundamentally it is impossible to put humanity in all these little boxes, especially when we don't have enough evidence to prove the true validity of those boxes or their limitations. & they purely operate within the limitations of a piece of fiction made by one person.

this is why, although i don't put much stock in the actual system of classpects, my classpect is deeply personal to me. bc it culminates from extensive introspection. i also find it incredibly interesting 2 see how others classpect themselves, bc it is a fundamental expression of the self to place yourself in these grids, & *requires* personal interpretation of the system by a means that *also* says something about you as a person. like, it's a net gain if you're interested in how people live their lives & define themselves, which i am.

uh... basically have fun & be yourself

[chthonic-cassandra]

do you have any books you'd recommend re: organized abuse? memoir or more general nonfiction... possibly worth noting that what i've read so far of e.g. judith herman (and other ~clinical texts) has not been very off-putting--i just skip the sections that aren't useful for me, lol. also: i always love hearing about the tea you're drinking! 🫖

I'm so glad that you're enjoying my posting about tea!

You've already read Michael Salter, whose book is of course my go-to recommendation for this. While the term organized abuse has been around for decades, Salter has really been the primary one using and advancing it; I personally think it's an extremely useful one, but you're not going to find a ton else using that frame yet.

I'm going to go on a bit of a tangent here. The term organized abuse lets us talk more neutrally and with less political baggage about different manifestations of abuse involving both multiple perpetrators and multiple victims. All the other terms out there for variants on these situations carry with them deeply problematic and obfuscating associations and agendas (in my opinion), and many of those terms also hinge on assumptions about perpetrator intent/motivation, which I think always has issues as a means of categorization, though of course I support survivors using whatever words feel best and more accurate to them to describe their experiences and I think there can be utility to different terms in different settings.

Salter talks really helpfully on his website about his reasons for using the term organized abuse rather than the more popular/well-recognized 'trafficking' or 'exploitation,' and in general I think his blog posts address a lot of important questions about this categorization, including actually directly talking about the ongoing conservative use of organized abuse-related conspiracy theories as a destructive rhetorical tool (grateful that someone is doing this so I don't have to). I also come back to his continuum of control strategies all the time to think through things.

That said, while I really wouldn't recommend most material that uses the term ritual abuse as its categorizing description, I have gotten a lot out of Sara Scott's The Politics and Experience of Ritual Abuse. Scott's book lacks quite the particular theoretical grounding which Salter is able to use so effectively to contextualize his material, and parts of her book feel quite outdated (the chapter on DID in particular), but she's similarly doing in-depth participant research coming from a personal position as a close loved one/caregiver to a survivor, and I appreciate her stance of just listening to survivors' stories and tracking patterns from analytic meaning-making perspective. I do need to reread this one so I can be sure I stand by everything I'm saying here.

Beyond that you get into more overtly clinical texts which pose various significant kinds of problems. I get a lot out of Adah Sachs' work, but it's really densely clinical (much much more so than Herman who does have a general audience in mind) and a rather pointed intervention with very specific psychoanalytic debates about dissociation and attachment; it's not a general exploration of these topics. Harvey Schwartz frequently goes completely off the rails though he has flashes of valuable insight.

I have some issues with Alexandra Stein's Terror, Love, and Brainwashing: Attachment in Cults and Totalitarian Systems but there's some good material there.

There are a lot of complications as far as publication of memoirs of organized abuse, and I'm not really comfortable recommending any of them for a variety of reasons, including that's it's typically unclear to me whether authors would be comfortable using that term to describe their experiences.

[senku-ishigami-official]

Senku, I want to ask you a question on the matter of using AI. I want to know your thoughts about it!

A while back, I attended a conference with a bunch of esteemed people, including a few diplomats from all over the world. Someone had asked a doctor and a professor in the top university of my country, "How do you feel about the growing presence of artificial intelligence in almost every aspects of work and life? Does it threaten you?" (Not his exact words, but that's the gist!)

At first, he laughed, and then he simply said: "Do you think mathematicians got mad when the calculator got invented?"

I have my own stance about it, and I think a tool whose primary function is to make complex computations much easier to do is VERY different from the level of AI currently existing.

As someone who's proficient in math, science, technology, and many other things, how do you feel about the professor's statement? 🤔

— 🐰

Okay. I have lots of thoughts about this

So we all know that AI is on the rise. This growth is thanks to the introduction of a type of AI called generative AI. This is the AI that makes all those generated images you hear about, it runs chat gpt, it's what they used for the infamous cola commercial.

Now there's another type of AI that we've been using for a much longer time called analytical AI. This is what your favorite web browser uses to sort your search results according to the query. This has like nothing to do with character ai or whatever, all that stuff is generative AI.

The professor compared AI to a calculator, but in my mind, calculators are much more like analytical AI, not the generative AI that's gotten so popular which the question was CLEARLY referencing. This is because analytical AI uses a structured algorithm, which is usually like a system of given numbers or codes that gives an exact result. There are some calculators that can actually be considered analytical AI. Point is, you're right, this is completely different from generative AI that uses an unstructured algorithm to make something "unique" (in quotes because it's one of a kind, but drawn from a combination of existing texts and images). The professor did NOT get the question I fear.

This bothers me because analytical AI can be incredibly useful, but generative AI really just takes away from us. Art, writing and design are for humans, not for robots -- science should foster creativity, not make it dull. It's important to know the difference between them so we know what to support and what to reject.

[precallai]

How AI Is Revolutionizing Contact Centers in 2025

As contact centers evolve from reactive customer service hubs to proactive experience engines, artificial intelligence (AI) has emerged as the cornerstone of this transformation. In 2025, modern contact center architectures are being redefined through AI-based technologies that streamline operations, enhance customer satisfaction, and drive measurable business outcomes.

This article takes a technical deep dive into the AI-powered components transforming contact centers—from natural language models and intelligent routing to real-time analytics and automation frameworks.

1. AI Architecture in Modern Contact Centers

At the core of today’s AI-based contact centers is a modular, cloud-native architecture. This typically consists of:

NLP and ASR engines (e.g., Google Dialogflow, AWS Lex, OpenAI Whisper)

Real-time data pipelines for event streaming (e.g., Apache Kafka, Amazon Kinesis)

Machine Learning Models for intent classification, sentiment analysis, and next-best-action

RPA (Robotic Process Automation) for back-office task automation

CDP/CRM Integration to access customer profiles and journey data

Omnichannel orchestration layer that ensures consistent CX across chat, voice, email, and social

These components are containerized (via Kubernetes) and deployed via CI/CD pipelines, enabling rapid iteration and scalability.

2. Conversational AI and Natural Language Understanding

The most visible face of AI in contact centers is the conversational interface—delivered via AI-powered voice bots and chatbots.

Key Technologies:

Automatic Speech Recognition (ASR): Converts spoken input to text in real time. Example: OpenAI Whisper, Deepgram, Google Cloud Speech-to-Text.

Natural Language Understanding (NLU): Determines intent and entities from user input. Typically fine-tuned BERT or LLaMA models power these layers.

Dialog Management: Manages context-aware conversations using finite state machines or transformer-based dialog engines.

Natural Language Generation (NLG): Generates dynamic responses based on context. GPT-based models (e.g., GPT-4) are increasingly embedded for open-ended interactions.

Architecture Snapshot:

plaintext

CopyEdit

Customer Input (Voice/Text)

       ↓

ASR Engine (if voice)

       ↓

NLU Engine → Intent Classification + Entity Recognition

       ↓

Dialog Manager → Context State

       ↓

NLG Engine → Response Generation

       ↓

Omnichannel Delivery Layer

These AI systems are often deployed on low-latency, edge-compute infrastructure to minimize delay and improve UX.

3. AI-Augmented Agent Assist

AI doesn’t only serve customers—it empowers human agents as well.

Features:

Real-Time Transcription: Streaming STT pipelines provide transcripts as the customer speaks.

Sentiment Analysis: Transformers and CNNs trained on customer service data flag negative sentiment or stress cues.

Contextual Suggestions: Based on historical data, ML models suggest actions or FAQ snippets.

Auto-Summarization: Post-call summaries are generated using abstractive summarization models (e.g., PEGASUS, BART).

Technical Workflow:

Voice input transcribed → parsed by NLP engine

Real-time context is compared with knowledge base (vector similarity via FAISS or Pinecone)

Agent UI receives predictive suggestions via API push

4. Intelligent Call Routing and Queuing

AI-based routing uses predictive analytics and reinforcement learning (RL) to dynamically assign incoming interactions.

Routing Criteria:

Customer intent + sentiment

Agent skill level and availability

Predicted handle time (via regression models)

Customer lifetime value (CLV)

Model Stack:

Intent Detection: Multi-label classifiers (e.g., fine-tuned RoBERTa)

Queue Prediction: Time-series forecasting (e.g., Prophet, LSTM)

RL-based Routing: Models trained via Q-learning or Proximal Policy Optimization (PPO) to optimize wait time vs. resolution rate

5. Knowledge Mining and Retrieval-Augmented Generation (RAG)

Large contact centers manage thousands of documents, SOPs, and product manuals. AI facilitates rapid knowledge access through:

Vector Embedding of documents (e.g., using OpenAI, Cohere, or Hugging Face models)

Retrieval-Augmented Generation (RAG): Combines dense retrieval with LLMs for grounded responses

Semantic Search: Replaces keyword-based search with intent-aware queries

This enables agents and bots to answer complex questions with dynamic, accurate information.

6. Customer Journey Analytics and Predictive Modeling

AI enables real-time customer journey mapping and predictive support.

Key ML Models:

Churn Prediction: Gradient Boosted Trees (XGBoost, LightGBM)

Propensity Modeling: Logistic regression and deep neural networks to predict upsell potential

Anomaly Detection: Autoencoders flag unusual user behavior or possible fraud

Streaming Frameworks:

Apache Kafka / Flink / Spark Streaming for ingesting and processing customer signals (page views, clicks, call events) in real time

These insights are visualized through BI dashboards or fed back into orchestration engines to trigger proactive interventions.

7. Automation & RPA Integration

Routine post-call processes like updating CRMs, issuing refunds, or sending emails are handled via AI + RPA integration.

Tools:

UiPath, Automation Anywhere, Microsoft Power Automate

Workflows triggered via APIs or event listeners (e.g., on call disposition)

AI models can determine intent, then trigger the appropriate bot to complete the action in backend systems (ERP, CRM, databases)

8. Security, Compliance, and Ethical AI

As AI handles more sensitive data, contact centers embed security at multiple levels:

Voice biometrics for authentication (e.g., Nuance, Pindrop)

PII Redaction via entity recognition models

Audit Trails of AI decisions for compliance (especially in finance/healthcare)

Bias Monitoring Pipelines to detect model drift or demographic skew

Data governance frameworks like ISO 27001, GDPR, and SOC 2 compliance are standard in enterprise AI deployments.

Final Thoughts

AI in 2025 has moved far beyond simple automation. It now orchestrates entire contact center ecosystems—powering conversational agents, augmenting human reps, automating back-office workflows, and delivering predictive intelligence in real time.

The technical stack is increasingly cloud-native, model-driven, and infused with real-time analytics. For engineering teams, the focus is now on building scalable, secure, and ethical AI infrastructures that deliver measurable impact across customer satisfaction, cost savings, and employee productivity.

As AI models continue to advance, contact centers will evolve into fully adaptive systems, capable of learning, optimizing, and personalizing in real time. The revolution is already here—and it's deeply technical.

[skellam01]

Unveiling the Power of Text Analytics Tools: Revolutionize Your Data Insights

Explore the realm of text analytics tools and unlock the potential of your data like never before. From sentiment analysis to entity recognition, discover how these innovative tools can transform unstructured text into actionable insights, driving informed decision-making and uncovering hidden patterns within your data. Whether you're a business analyst, researcher, or data scientist, dive into this comprehensive guide to harness the power of text analytics tools and stay ahead in the era of data-driven innovation.

[probablyasocialecologist]

Some people, in defense of generative A.I., will claim that A.I. builds from influences the same as human beings do.  This is, to me, the first indication that I’m talking to somebody who either does not understand how A.I. works, how human creativity works, or most likely both.  Something that needs to be clearly understood is that A.I. has no intelligence.  It does not “think”.  It is a predictive text program that simulates human expression by ingesting unfathomable amounts of data and trying to replicate that data.  It does not know and can not know what meaning its outputs have.  Further, it has no desire and no emotion to motivate action or decisions.  It simply runs a program and assembles pixels or words to match what seems most like other correct pixels and words in its vast data set.  It aggregates.  It produces averages. Humans, obviously, do not create like this.  Humans have intentions and purpose to what we do.  These intentions are sometimes deep, sometimes shallow, sometime clear, and sometimes nebulous.  But we always have emotion and thought connected to what we make.  What we create is guided by intent colliding with discovery, and these two states feed each other.  And the influence that we draw from existing work is not an analysis of pixels, but an emotional response to how that work makes us feel.  Even in analytical study of form or anatomy, our brains do not operate like computer programs.  While committing information to memory, we also interpret and seek to understand and this affects how that information is later able to be used.  Because we are each an individual, infinitely complex being, our different physiological, environmental, and cultural variations bring us to infinite different endpoints.  Like it or not, we all see the world slightly differently and our creative expressions reflect this. It has become standard to describe A.I. as a tool.  I argue that this framing is incorrect.  It does not aid in the completion of a task.  It completes the task for you.  A.I. is a service.  You cede control and decisions to an A.I. in the way you might to an independent contractor hired to do a job that you do not want to or are unable to do.  This is important to how using A.I. in a creative workflow will influence your end result.  You are, at best, taking on a collaborator.  And this collaborator happens to be a mindless average aggregate of data. To some, the prospect of collaborating with the sum average of all artists is apparently an attractive prospect.  Maybe you feel you are below average in some areas and the A.I. will therefore raise the quality of those areas.  But every percent that you hand over to the A.I. is a percent less of your unique voice, perspective, and intention.  And for folks who use A.I. generations wholesale, that comes out to a 100% loss of anything personal or unique that they might bring.

[colossal-red]

Chapter One: Four Eyes

TW: Minor Violence, rebooted universe, and George Abuse lmao.

WC: 1361

Heya! Colossal-Red here, if you’re curious about what this exactly is, a better explanation is available Here. Other than that, enjoy the show!

Normal Text: Dream’s perspective.

Blue Textowo: George’s perspective.

—---------------------------------------------------

Clunk, clunk, clunk, clunk…

The sounds of the metal under the hooded borrower’s shoes echoed through the vents, excruciatingly loud normally, but in a deserted house like this it didn’t matter. Dream smiled from behind his mask, using a hand to shield his eyes as he reached an outdoor exit for the air within the vents… a hole meticulously made in the grates. He would hook his hook around the grate lines, and begin to rappel himself down… and once he reached the bush, he would take berries from it with strong tugs to rip them out from their stems; It was a routine day, afterwards he would get some water from a leaky pipe and would patch it back up when he left from the attic. 

Everything seemed normal, he had only been here for a week but it had been a great house so far. If only the last house I went to was half as peaceful… I hope that guy didn’t mind that needle shot. He mused over his most recent past, balancing across a pipe in the attic to reach his base of operations. It was a simple place carved out of an old box, it wasn’t much, but for now it was home.

Once he got inside he would place his bag down next to his ‘books’ which lay against a wall, and laid atop a piece of fluff he had stolen a few houses prior… they all blurred together so he couldn’t quite remember which. He sighed, stroking his temple with two fingers, it was relaxing for sure but the adventure was always something he enjoyed. He supposed it could be worse though, that blue haired borrower from a few houses back (Or was it longer than a few?) was even more of a thrillseeker than he was, foolish even; Dream couldn’t judge however, only hope his fellow borrower would be safe.

The base was an interesting place, to a human at least, to a borrower it was all very typical save for the ‘books’. Dream’s makeshift bean bag out of fluff was in the center, directly in front of it to the left in the corner laid a few pieces of paper, some of those papers being held together by a very thin needle. The papers were the ‘books’ mentioned earlier, inside laid some teachings in the borrower’s written language on operations for the special Hook Dream had, as well as basic advice and even one of them being a journal he wrote in from time to time. In the opposite corner, to the right of the front of the bean bag were a few murals, sketches of a variety of people, a pink haired man in a crown, the blue haired borrower, another borrower with wings, and so on. The walls behind the bean bag, and farthest from the entrance, were mostly empty… save for a few tools to repair the hook in the event of a malfunction or damage being sustained, and a variety of needles to be used as weapons. 

Dream sighed as he unequipped the hook for a moment, taking it off of his waist. It was truly a  special thing, heck he probably wouldn’t be alive right now without it. You see, the hook was an automated one that could be worn around his waist, all it took was a bit of control for where you wanted to throw it and the damn thing could hook onto just about anything with enough momentum, it could allow him to swing the length of an entire room, and when mixed with Dream’s unique analytical vision, it was easy to gauge what he needed to do to get close enough to stab a Bean and get away fast without being caught.

His train of thought was interrupted though as his ears detected a familiar sound… the jingling of keys turning as the front door was opened. 

That couldn’t be right? 

Almost growling, he got up, put his hook on, and ran out the front door of his box… leaping out and throwing the hook to a support beam in the attic, swooping down and swinging directly in between the bars of a vent grate and spiraling down, down, down before shooting the hook back up for it to lodge within the roof of the shaft and allow him to slow his fall to a soft thump of his makeshift shoes. From here, he would head to the living room with a nervous, yet excited expression overcame his face. Excitement at the prospect of being able to finetune his skills and battle with a bean, but also annoyed and nervous at the relaxation being taken away. He would be sure to readjust his mask, and he’d emerge out onto a shelf, overlooking the scene.

—--------------------------------------------------

He made an oof sound as he dropped a box down onto the hard floor, using a hand to push his glasses up as he looked around the house. It wasn’t much, but it would serve well. George had been saving up for a house for a while at this point, wanting somewhere more than an apartment for his streams and recordings. 

This move had been a big change, but it was something he wanted, and it would bring him somewhere better to live in case his YouTube and Twitch career went up in flames so he could get a job. The next hour or so of his day would be spent carrying boxes from his car inside, thankfully the moving company had come so his bed should already be- His thoughts were cut off abruptly as he opened the bedroom door to find nothing there. He groaned slightly, and checked his phone only to discover they’d been delayed… typical.

The next hour was spent trying to make a makeshift bed on the sofa the house came with; It definitely needed replacing, he couldn’t even figure out what every stain was. George eventually just covered it all up with a sheet he had found in one of the boxes, and from there he would try to get everything out of the boxes he could… largely just his setup, decor, and his TV. He would grumble slightly and head outside with a pair of clippers. He didn’t particularly feel like working for another hour to figure out how to set up the TV, so instead he would take care of some of the prickly fauna in the backyard. 

George opened the backdoor, and took in the fresh air. It was a rather beautiful backyard despite the overgrown plants, but he would still keep some of them. But first things first, that prickly berry bush right up against the house would be the first to go. George took his clippers to the bush, he didn’t want to get pricked by it anytime soon. When he leaned in to take the first snip however, an acorn conked him right on the forehead, and caused him to reel back with an audible “Ow!” while he clutched his head. He looked all around. 

How had the nut hit him? 

The tree in the yard wasn’t overhanging above him, and he hadn’t heard any squirrels… he pondered over this for only a moment, before taking a step back towards the berry bush; And he immediately fell over into the bush with a rather high-pitched screech, his shoes had been tied together, and now he was covered in thorns! 

“Ow, ow ow ow!” He grunted as he practically leaped away from the bush and tenderly touched where they had pricked him on his arms. “Urg…” He looked up briefly, feeling around his neck. As he did this, he saw a glimmer of something disappearing into an air vent.

Something clicked in his head. Was this perhaps… the doing of a borrower? He’d heard a lot of stories about those little guys, nothing specific, and no one was sure if they really existed, but… No, it was crazy, he must’ve imagined it. But as he got up and headed back inside to extract some of the embedded thorns, he thought he heard something that sounded like laughter.

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

Special thanks to @i-am-beckyu for reviewing the fic beforehand! I was h^lla rusty at the time so it helped a ton! (There is an owo hidden somewhere in this fic courtesy of my Gf btw xd)

Now for the Taglist:

@local-squishmallow @kayla-crazy-stuffs @yellow-16 @eiscreme135 @baka-monarch @funtimemoth

Also: This post is actually a double feature, almost immediately after I am posting a fic for a different fandom! :3 I know it’s not what y’all followed me for but it’s a new passion of mine x3 totally would recommend checking out Dannocaldrawings and Shorts Wars on YT in general tho if you don’t know what they are or else that other fic will be confusing af.

[wherestoriescomefrom]

one of my students got me thinking about this i guess - but i think the relationship "translation" as a category has with originals is very similar to the relationship fanfiction has with canon in the current publishing world. we were discussing good vs bad translation, and i told her point blank that i find the debates and discussions in translation theory very meaningless when they reach a specific point - there's just so much intellectual labour being spent on arguing about whether translation manages to capture the essence of the source language, and whether true meaning can ever be conveyed through the target language. and then there's brain dead idiots at every translation and literature conference (please don't ask about these) who will say something so absurdly stupid about the nature of communication and phrase it in the dumbest way possible like "is writing an act of translation in itself?" like please be serious.

and i'm not even saying that some of this work isn't useful - it's interesting to figure out the quirks and idiosyncrasies of a language, to see how its rhetorical and poetic modes might get exposed through the act of translation. and even better is to do some form of demographic analysis of translation with relation to more material relations of power - for instance, huge numbers of south asian languages get translated to english as opposed to hindi texts being translated to, say, telugu. there's a power relation there that's interesting to explore! but i could genuinely care less about whether the true meaning of the text is being conveyed through translation and about what is being lost or gained. in part because even if you spoke to hundred practitioners of the same language spread geographically wide enough, the meaning of any word is going to be debatable and might acquire new kinds of associations. but this discourse about "loss" and "transcreation" is so irritatingly pervasive in any kind of analytical work on translation, you'd think translators are the last bastion that represent lost meaning.

and one of the main reasons why i think this line of thinking is useless is because translation as it is currently defined and discoursed over exists in relation to IP law, just in the same way as fanfiction only exists because IP law exists. when there is a text that has "true meaning" which belongs to the author in the sense that the intellectual class can own a true version of the text - and translation is just needlessly justifying it's existence with relation to this IP law all the time - enveloping itself in mystique around loss of meaning and how much translation is also a creative process. as a counter example, the act of translating something to another language has been a mainstay of trade and storytelling circulation from time immemorial - and i sincerely doubt that all those people were constantly worrying over whether they were correctly translating the "true meaning" of cinderella at any point.

i don't think these are new thoughts for me that much, but sometimes u just gotta. articulate it for yourself, you know? because that comparison between fanfiction and translation really cemented it for me, neither of these things exist outside of the kind of protections that IP law gives the owners of any intellectual property. it's just so much more useful to study Zohar's polysystem theory even if it seems to have a linear bend to it which is not always useful, and even if it might seem dated at times. like that's a GOOD analytical tool - translation as circulation as opposed to whatever the fuck "is writing an act of translation✨✨" is,,,