#this man really is haunting the narrative and making people have some interesting conversations

[newnevermind-sanity]

Actually I think I do want to ramble a little more on the subject.

While I do love making buzzsaw jokes (especially after completing Path of Pain, like, the fuck?) I do also think the layout of the Dream White Palace wasn't intentional. If he did it after that horrible cry came out of the Black Egg temple the first time when Holly was starting to crack, he must've been in a fucking state.

Like imagine you convinced yourself that what you're doing is for the greater good, that this being that you do love (even if you're denying it to yourself) that you thought was emotionless, a blank slate, only does as is told, has no hopes, thoughts, aspirations, merely exists, suddenly with one cry proves you wrong.

Just imagine that horrible realization that you were wrong about them (you always were, you ignored all of the signs they were alive) and you damned them to a fate worse than death. Eternal imprisonment sucks too, but since they're an unfeeling creature, it's fine, right? Nope. Definitely not. It was not fine, even if they were an unfeeling creature, but now it's even worse because the infection is eating at them now.

All of those children left to die in the abyss? That all happened for nothing.

Those dreamers you made to sacrifice themselves to keep people out? They're now the only thing holding the vessel inside of their prison but they sure as hell are not containing the infection. That too was all for naught. Your daughter lost her mother for no reason.

You did this all to save so many people, your entire kingdom of Hallownest. You choked down the guilt of your decisions because it would save the kingdom. Now you find out it was for nothing.

I think anyone would break, and break the King did.

By that point, there was no one left to stop his spiral. The White Lady was gone, most of the knights too, his council, everyone. No one was left to stop him from making extremely irrational decisions, including putting his palace into the dream realm to flee from the infection along with anyone inside. As he runs into his throne, trying to somehow run from the guilt, the grief, the horror, the palace twists. It becomes extremely hard to follow him, almost impossible. He makes it to the throne, the Kingsmoulds loyally guarding the outside...

It's there he breaks. He spirals. He falls into a deep despair.

I personally think the Pale King died of grief, and with that death, left his surviving children the monumental task of cleaning up the mess left behind.

[undeniablespice]

drowned god the weak little beast you put on this earth to write fanfiction and like greyjoys has been neglecting homework in order to reread the affc ironborn chapters and have way too many opinions about the soggiest man in the world. i have Had Some Thoughts on aeron, theon, and names

it really is striking to me just how little people refer to aeron by his name. not just in conversation, but in the narrative itself, with the most notable example of this being aeron himself in his pov chapters constantly thinking of himself not as aeron but as damphair or just The Priest. he refers to himself as damphair or The Priest instead of aeron like twenty times throughout the prophet, to the point where it's used almost as frequently as his actual name. in the drowned man it's only like eight times (which i think is mostly because the vast majority of this chapter is given over to the kingsmoot, where aeron is mostly a spectator and the narrative focus is on the events taking place rather than his reaction to them). in the forsaken, it's ten times, though while aeron is actively imprisoned he mostly thinks of himself as aeron, with damphair being used four times in flashbacks to events that took place in the past, once during a conversation with euron while aeron is defying him, and then three times after he is freed and he can see the sea again

the consistency and frequency of aeron in his own mind thinking of himself as something other than his name reads to me almost like a foil to theon and reek. the identity of the damphair allows aeron to dissociate himself from the burden of his past weaknesses and sins: his pre-drowning frivolity and alcoholism and euron's sexual abuse. for aeron, being damphair is as empowering as being reek is degrading for theon. he is constantly affirming to himself that he is a loyal servant of the drowned god and that this makes him strong. it gives him status and purpose he never had as aeron the boy, who was the youngest and weakest of his brothers. aeron-the-priest cannot be frightened by any mortal man any more than he can be frightened by the dark or by memories. kill the boy to become the man -> drown the boy to become the damphair

(although, of course, when aeron tells himself all this about how god chose him and it makes him strong and special and immune to fear, he is deluding himself. the damphair is haunted incessantly by his brothers. aeron has the tendency to reconcile his lasting fear of euron with his special god-given immunity to such mortal flaws as feeling fear by believing that euron is ungodly/an avatar of the storm god/literally the devil, and therefore not really a mortal man in the same way that balon and victarion are

which is a really interesting parallel to how euron must see himself, what with the whole apotheosis god-king thing he's got going on by twow. in a way, euron is aeron's real god. it is euron's abuse that first connected aeron with faith, and it is faith that aeron uses to cope with and overcome the lasting psychological scars of that abuse and urri's death. aeron doesn't think of euron as a mere flesh and blood human being anymore. he's mythologized the crow's eye in his own mind: euron is not just his abuser, he's a boogeyman, a devil, quite literally the thing that goes bump in the night. and euron knows this, and delights in knowing it and in taking every chance he can to tear down aeron's faith and replace the drowned god with himself as the backbone of aeron's life. which he does not actually succeed in doing, as of the forsaken! aeron keeps his faith like theon keeps his name. it cannot be taken from them)

reek, meanwhile, is not an identity that theon chooses to assume to cope with his trauma. it is forced upon him in the middle of the trauma and he has no choice but to accept it for his own self-preservation. ramsay devastates theon physically: flaying him, starving him, beating him, removing his fingers and toes and teeth and genitals. imprisonment and violence are the tools he uses to take away theon's physical strength to resist him, but reek is how he gets to all the parts of theon that can't be bruised or cut. it's the psychological equivalent of a flaying knife. reek is the weapon he uses to attack theon's identity and sense of self and personhood. though it's important to me to note that those were things theon was already struggling with well before ramsay came on the scene, and that he has an absolutely unbelievably strong will that allows him to retain a degree of his original personality under ramsay and regain his own name later in adwd even after enduring all the torture and abuse. he is a greyjoy of pyke. his name is theon, and if he dies, he will die as theon, not as reek. when he leans into being reek, it is as a means of self-preservation and protection from harm. he basically says as much to jeyne when he tells her to be arya: he believes that serving ramsay and capitulating to his whim is the best way to stay safe. you have to know your name.

ultimately, theon is as relieved to be rid of the name reek as aeron is relieved to see the ocean again at the end of the forsaken. theon's name is a source of pride to him, something that he clings to after he has lost everything else, something that will always be his even after all that has been taken away from him. aeron's name is a source of shame, something that he is reduced to when he feels weak, something that he reverts to when he is powerless at the mercy of his abuser

[djsherriff-responses]

warning captain laserhawk spoilers and topics of grooming and incest

I was sketching out a possible funny comic (idk if I’ll finish, motivation zig zags) regarding that one scene of Jade and Pey’J , where Jade argues wirh Pey’J about it , as a “hahaha omg wasn’t that really messed up?” But than I thought:

“wow, if this show wasn’t cramming so much into 6 episodes and Jade wasn’t fridged, this would be an incredibly interesting but horrific plot thread to follow through”

We know from the official Eden site that Pey’J knew Jade since infancy and the show makes it a point he promised on her parents’ grave to protect her , which makes his confession in having romantic feelings for her all the more disgusting

I never played BGE, and I really wanna like him since I read he is a better (not into incest with kids he raised as his own) character in game , but I was actually kinda glad he died because I kept thinking of all the weird implications his love confession has, such as what were (or are depending on if he and Jade come back in season 2) the writers planning with that?

Like, the writers knew we didn’t have much time with these characters and so knew there wasn’t much time to see the depth of the relationship Jade has with Pey’J, so why make their last conversation Pey’J outting himself as someone attracted to his own niece?

I seen most people say it was a joke, which is just an odd thing to do when that moment could’ve easily been used to share more of Jade and Pey’J’s history and familiar bond with each other, thus make Jade’s death far more impactful than just “god I can’t believe that was their last conversation”. You could’ve still made that moment funny and awkward without incest!

A possibility (one which I’m dreading could happen if they come back in season 2) is that they genuinely wanted to have Pey’J and Jade together romantically , which is just …. Yikes, really yikes. Obviously as of writing this post we don’t know the writers’ intentions or the purpose of that scene in the larger narrative (if it even has one). I know that Alex is old enough to be Dolph’s dad but we can agree actual incest in the story of Laserhawk would be pushing it, right? (Or at least get characters with personalities and dynamic where that sort of situation would make sense!)

TBH I feel like that moment could’ve actually worked (or at least offer some interesting story stuff), if Pey’J was the one who died in episode two instead of Jade

(This part is more hopeful thinking what be the writers’ intentions than anything, tbh feel free to use this part as fanfic inspiration)

Think about it, Jade’s bio says she’s got a natural talent at reading people and makes it a career to haunt down the scum of Eden (like Pagan Min)

Which would make it all the more incredibly horrifying for her to learn her uncle was attracted to her

If Pey’J was the one died after telling her he found her attractive, Jade’s entire world and perspective of her life would be shattered, and she’d basically be left to pick up the pieces. All the sweet childhood memories she had with Pey’J would be tainted now, she’d question so much of her self and be haunted by the possibility Pey’J may be a groomer

and than…..wait….

Do Dolph and Bullfrog know about the incest?!

Like Sarah knows because she definitely overheard that conversation

Did Pey’J ever bring up he got a boner over his niece to his fellow ghosts before he died? Did Sarah tell Dolph and Bullfrog? Did the two get weird vibes from the sweet home Alabama pig man?

God , what were the writers thinking adding incest to this show?!

[deniigi]

Earlier when you were talking about qui-gons fandom portrayal, I couldnt help but think about those fix it type of fics where if qui-gon became anakins jedi master that it would suddenly fix every single plot problem and how much they misunderstand qui-gon as a character (assigning him an almost godly persona), and I really appreciate your expansion on how he really is just some guy, now to be fair he is also a pretty complicated guy but in a balanced way like hes on one hand the most difficult man in the world to have a conversation with and yet also the #1 person on the dream blunt rotation group

Anyways not much more to add just wanted to drop by and say it is such a delight to read your thoughts on him, he is so interesting with regards to the choices he makes while alive and how he haunts the narrative after his death

Awww. Thank you and yes, I totally agree. I def don't think Qui-Gon being Anakin's master would have fixed much.

I actually wrote by the following acts committed, as a response to those fics to give an alternative to the 'what would have happened if Qui-Gon lived' question.

I think the only benefit of Qui-Gon being Anakin's master would have been that he'd have had more experience teaching than Obi-Wan, but even then, Qui-Gon isn't as much of a maverick as people think he is. And I am just not sure that his teaching style would have benefited Anakin--who seems to like tight bonds and explicit instruction--as much as it did Qui-Gon's other padawans.

It is likely an issue of maturity. Different kids are different kinds of mature. It took Obi-Wan a little bit, but he finally came into a maturity that allowed him to mesh his learning style with Qui-Gon's teaching/existing style. I imagine that it may have taken Anakin a little longer to get to that point due to the culture shock, the trauma, his attachment to his mom, etc.

He may have grown frustrated and then impatient and then angry. I mean look at Obi-Wan. Qui-Gon kept him as a padawan up until about 25 years old. I don't think Anakin could have tolerated that and may have lashed out earlier.

[clownstho]

The Killing of a Sacred Deer (2017)

So I asked my mom to do my hair yesterday because she offered! She asked me to pick out stuff to watch on netflix since her hands were covered in hair product. And before you ask yes my curls are popping.

The first thing I picked was Flashback (2023). There were interesting moments, but overall the tone was just. Kinda weird. I rated it in the moment as 3/5, and then a 5/10. Very average, unoffensive, not scary, mid acting, but the flashback sequence was admittedly pretty sick. Also Dr. Bones is just a little guy, justice for Dr. Bones.

So after moving on from the disappointment of that, the SECOND thing I picked was The Killing of a Sacred Deer (2017). It was a rich and beautiful experience the entire way through. The movie left nothing to the wayside, went hard (but subtle) the whole time, and was an overall unsettling experience.

TKoaSD is a movie that follows the Murphy family. Dr. Steven and Dr. Anna Murphy are the parents, Kim is their teen daughter, and Bob is their youngest son.

Dr. Steven is a freak. I hate this man. And yet I had so much sympathy for him despite him clearly deserving everything the narrative is doing to him. He's introduced right after a full shot of an open heart surgery, and his first conversation with a coworker is about expensive watch bands and how there's a patient he used to work with who will give the coworker a discount on a watch band with water resistance. He's a materialist. He flexes with his money. And he's been meeting up with some weird 16 year old and gifts him an expensive watch.

Dr. Steven has committed a crime. You could say he broke a commandment. You could even say that he's in for some divine retribution.

I won't say more than that. I don't really believe in the idea of spoilers, but I think it's important to experience the unfolding of this story. The sound design is equal parts beautiful and raw like the end of a live wire. The movie plays with its own quality, sometimes crisp and sometimes purposefully blurred. The sound of screeching instruments paired with raised camera angles captures the feeling of dissociation perfectly. The sirens are haunting every corner of the movie, like the horns of Revelations (if you're into that sort of thing).

The color work is simple, effective, and consistent. The sets are immaculate. There's a scene where the characters are looking for Kim, and they go through multiple rooms. Each room has this almost dollhouse-like stillness, void of life in a way that only the dread of a missing child can conjure.

The acting is well directed. Everyone has this eerie flat tone, and they say such out of pocket shit to each other all the time. There were multiple times when I simply went "God damn" to a line. I did snap when Anna went the fuck off though because, to be fair, she was right. If Anna had to deal with this alone, I feel like she would have simply Handled It, you know? But nah she's married to a very dense freak who loves avoiding responsibility. It makes more a more engaging story, of course.

I'm going to be thinking of this movie for so long. There is one scene that is so fucking sad that my heart ached. There are scenes of certain people crawling that truly brings to mind an animal with a broken spine, dragging itself to a safe place to die.

I give this one a 5 of 5. Excellent movie. I'm placing it on the shelf next to Hereditary.

[cyokie]

Jack Vessalius as a Symbol for Depression

Ever since I first read PandoraHearts, I have interpreted Jack Vessalius as at least a partial symbolic representation of depression, especially in his relationship with Oz. 

(Skip to “keep reading” to go straight to the analysis; this beginning portion is little more than a disclaimer.)

Jack is a complex, fascinating character, and it is precisely due to this that I believe any number of interpretations regarding him contain merit. Whether you view Jack as an abuser, a manifestation of mental illness, or an extraordinarily-written character that does not require a figurative understanding to be interesting, I think this is valid. 

I am saying this first and foremost because I want to be clear: this is not a persuasive essay. I am not trying to change anybody’s minds about liking or disliking Jack Vessalius, nor am I trying to devalue any other interpretations of this extremely nuanced character. Some points may be a bit vague and connections disjointed, though I attempted to minimize this. Any discussion of mental illness and abuse is based on either my personal experiences or those of people I know. I do not intend to offend anybody. 

This post is simply the product of years of disorganized yet in-depth thoughts about this concept. I hope some of you will be interested.

Major spoilers for the entire manga below the cut. Manga panels are from the Fallen Syndicate fan translation. This...is going to get very long.

Emotional Abuse

Jack exists within Oz’s mind. When these two interact, it almost always occurs within Oz’s head, providing every conversation with an inherently emotional and symbolic element. 

Jack initially appears to Oz as an unknown but crucial figure. Whether he is trustworthy or even harmful remains to be seen, but his input is necessary. He is the only insight Oz has into his lost memories; he knows something Oz does not. Oz is suffering an identity crisis, realizing he has endured something he does not completely understand, something that could potentially change his entire life once he does understand it. And yet, this mysterious voice within his head understands it.  

This desperation makes it almost irrelevant whether Jack is credible, whether his advice is well-intentioned. Normally a rather cynical and distrusting young man, Oz follows Jack from the beginning despite wanting answers. He does indeed receive answers, but they are perhaps not quite what he bargained for, in more ways than one.

Once Jack’s true nature is revealed, the extent to which he has used Oz’s memories and emotions against him becomes apparent. Jack does present Oz with new insights into his experiences, but he only ever provides Oz with enough information to convince him to act a certain way. He never willingly gives a fair, all-encompassing portrayal of an event from Oz’s past. He manipulates Oz’s perceptions of his memories to fit a particular emotional narrative, one that is inevitably perplexing and demeaning to Oz. 

This bears a resemblance to the way depression warps how we view past events. When we look back at our experiences, we don’t see the entire picture--though we are convinced that we may. We see a skewed version of an incident that actually occurred. Perhaps this incident proves little to nothing about ourselves in reality, but viewed through the lens of depression, everything about it seems to scream that we are useless. And it is nearly impossible to try and perceive these events any differently, because when depression overtakes our minds, this perspective appears to be the only one through which it is possible to examine any of our pasts. 

By the time Jack’s intentions have been exposed, he is also explicitly emotionally abusive towards Oz. It is easy to recognize Jack’s statements as not only psychologically damaging, but disturbingly similar to what we hear in our own heads when suffering depression. Think about these assertions without the very literal plot elements that support them: Jack declares Oz less than human, insists that nobody loves him, and claims that he has no future because the only thing he’s good for is hurting those around him. He convinces Oz that he is useless, hopeless, and worthless. 

Jack drills these ideas into Oz’s head when he is at his most vulnerable. This is when Oz breaks down and becomes convinced that all of Jack’s statements are true. He is not who he thought he was; he never has been, and so his life is meaningless. 

This is arguably when Oz reaches his all-time emotional low. While it was already addressed that he had been struggling intensely with his mental health and was probably suicidal, up to this point, he always retained some level of self-preservation (however slight). Now, he silently accepts that the world would be better off without him and offers no physical or emotional resistance to his own execution. Jack’s words worm their way into his heart and corrupt his self-image to the point where his only reaction to Oswald’s sword swinging towards him is a blank, unflinching stare. 

Trauma Response

It’s not uncommon for Jack to manifest during catastrophic moments--that is, whenever a situation triggers (or comes close to triggering) overwhelming memories of Oz’s trauma. When Oz is losing control over his emotional and physical faculties, Jack often encourages him to make the trigger disappear using the quickest and easiest method available. Unsurprisingly, this method generally takes advantage of Oz’s extraordinary powers. In other words, the “tactic” Jack advises Oz to use is simply mindless destruction.

In the second half of the manga, Oz is at his least emotionally stable. It is not a coincidence that this is also the point during which Jack gains the ability to completely hijack Oz’s body. This development allows Jack to commit impulsive acts of aggression through Oz, while Oz himself retains little to no control.

Jack overwhelms Oz with unnecessary flashbacks to traumatic events and makes an excess of harmful connections between past and present circumstances. Oz’s panicked, distressed responses to this are tools he uses to further coax Oz into acting in a self-destructive manner. These tendencies may not only connect Jack to the concept of depression, but the concept of post-traumatic stress disorder as well. 

Identity Crisis

Although Jack is introduced extremely early in the manga, one of the story’s main mysteries is the exact nature of his connection to Oz. This relationship shifts several times, especially with regards to who is “in control” and who is the true “owner” of the physical body. 

Once it becomes public knowledge that Jack is “within” Oz, the identity of the former overcomes the identity of the latter in the eyes of the general populace. Figures who never before gave Oz a second glance begin to pay incredibly close attention to him; many directly address him through his connection to Jack rather than as a separate entity. 

Oz is deeply troubled by the way others ignore him in favor of an aspect of his identity that he feels does not truly represent him--an aspect of his identity that is at least partially out of his control. However, he is also relatively resigned to being judged in this manner. He lacks knowledge of how to change this circumstance because even he does not truly understand the extent to which he and Jack are connected. 

It is true that at this point in the story, Jack is practically worshipped. His destructive actions and devastatingly selfish nature have not yet been exposed. Because of this, Oz as Jack’s “vessel” is typically viewed through a positive lens. Still, this situation reflects how people with depression are sometimes reduced to nothing more than a mental illness by their peers. Because others do not understand (and mental illness is stigmatized), they start to see us as “different” in some indefinable but undeniable way, and our existence becomes that particular part of ourselves in their eyes. 

As time passes, the line between Jack and Oz becomes more and more blurred. Questions are raised about whether they are the same person or, on the contrary, whether they are similar at all. At what is arguably the climax of the manga, Jack declares that Oz’s body is, was, and will always be his possession; he claims that in reality, there is no “Oz,” only “Jack.” 

This thought haunts Oz intensely and sends him into a rapid downward spiral. Like the sentiments expressed near the end of the “emotional abuse” section of this analysis, the idea that Oz’s body belongs to Jack is backed up by rigid, literal plot elements. However, if we view this emotional catastrophe using a symbolic perspective, it is a representation of yet another common struggle endured by those with depression.

We come to ask ourselves who we really are. Was there truly a time when we weren’t “like this?” Could we truly escape this misery in the future? Who would we be if we were to stop feeling this way? Do we even exist without depression? Does Oz even exist without Jack?

Visual Symbolism

It is a classic literary device to represent hope through light and despair through darkness. The manga is rife with this exact type of symbolism, utilizing it to describe how the Abyss has changed throughout time, Break’s dwindling eyesight, and the oscillating emotional states of various characters. 

As I stated previously, Jack and Oz interact almost exclusively within the latter’s mind. The landscape drawn in the background of these conversations initially possesses a watery, clear appearance. However, as it becomes increasingly clear that Jack’s presence is deeply damaging to Oz’s psyche, this same landscape becomes overwhelmingly tainted by dark, ink-like shadows. 

Closer examination reveals that this “pollution” originates directly from Jack--and it reaches its peak once Jack’s intentions have been fully disclosed. Not only is Oz’s mind visibly corrupted by darkness, but Jack himself appears as an almost inhuman figure composed of these shadows. 

There is another level of visual symbolism as well--namely, the fact that Jack becomes increasingly physically aggressive and disrespectful towards Oz. In the first half of the manga, he primarily speaks to Oz from a distance, occasionally reaching out a hand in his direction. This is clearly not so in the second half of the manga, at which point Oz begins to defy his influence and it becomes vital that he subjugate him as quickly as possible.

By this time, Jack is almost always seen either restraining or caressing Oz. Even in the latter situation, when his touches are lingering and vaguely affectionate, they are possessive and constraining. In other words, though they appear different on the surface, both actions are ultimately methods of forcing Oz’s submission. It can be said that this represents his desire to gain complete control over all aspects of Oz’s being, as well as his total lack of respect for Oz’s physical and emotional autonomy.

It can be argued that both of these aspects of symbolism reach their pinnacle even before this point. Oz realizes his own worth when Oscar says he loves him and reveals that his greatest desire is for him to be happy. When Oz is at last able to grasp that he is loved and there is hope within his life, Jack immediately reaches out to grab him. And in one of the manga’s subtlest but most poignant moments, his hand crumbles to dust upon touching Oz. 

What follows is an extremely impactful display of Oz’s character development. He recalls Jack’s previous statements declaring his achievements worthless, denouncing the love he received from others as fake, and degrading his worth. Then he furiously rejects all of them, thrusting out a hand to push Jack away from him and consuming Jack in an explosion of light. 

The conclusion to be drawn from this is that Jack essentially lives off Oz’s misery. When Oz understands and is able to accept that he is not worthless, Jack is suddenly rendered utterly powerless. 

The manga culminates in a scene that coincides with this symbolism. This late into the story, Oz has succeeded in transcending Jack’s influence almost entirely, but Jack is not quite ready to let go. Though they stand together within a void, glimmers of light linger around Oz--despite everything, his life has come to be surrounded by hope and love. 

As Oz floats towards the path of light above, Jack reaches out and takes hold of his wrist. But his grip is feeble and hesitant, representing how little control he truly holds over Oz at this point. Perhaps attempting to provoke guilt or regret, Jack asks Oz if he is certain that he is prepared to move on without him, but Oz has grown too much to succumb to this manipulation. 

Without delay, Oz replies that there is no reason for him to stay, and Jack finally releases him. He escapes into the light--into a world full of people who care about him, into a life where he is happy to be alive. 

[xiyao-feels]

@hqfeels

Oh man, as someone who loves 3zun, and thinks the mess of intertwining relationships is what makes it interesting, I really should not have read this post - while I think you make some interesting points for a different interpretation of the Nielan relationship, I would also caution against basing your interpretation so closely to the words of what is a translation

e.g. when you discuss LXC not framing things in terms of the sworn brother relationship, you point to the use of “one of his sworn brothers” vs “my” or “our” - chinese doesn’t always use pronouns, so it could very well be the translator having to fill in

I make note of this, not as a nitpick, but bc I think it goes to the heart of the framing of the relationship. Because I think Xiyao is fundamentally framed within the 3zun context - after all, what does JGY call LXC to show they’re close? Er-ge. “2”, not just Ge. NMJ, as Da-ge eternally haunts their relationship. The point of rejection from LXC? You don’t have to call me Er-ge anymore.

So, hey! I appreciate that you said you shouldn't have read my post, but I thought your points were worth addressing, and since you left comments in the notes I figured it was reasonable to respond. If you don't want to read this post, I completely understand, and I've left a bunch of empty lines after this paragraph so you don't have to read it if you don't want to.

The point about relying too heavily on exact shades of meaning is definitely a good one. Reading over my post, however, I think there are only three places where I do that; the point identified, later for one point in my discussion of QHJ's teacher, and actually later in the temple when I talk about the "sob" of Liebing as some evidence for LXC's grief for NMJ.

I think it's worth asking: how much does any one of these points contribute to the argument? They're definitely not irrelevant, or I wouldn't have pointed them out, but even so there's only so much wiggle room. No matter what pronouns he uses, for example, LXC only spends one clause of that speech directly on JGY killing NMJ, and it's in the context of, well, a general lack of reaction of personal grief. If—not even if he actually said 'our sworn brother' or 'my sworn brother,' I do think that would be some evidence of personal betrayal, even if it has to be considered in light of the rest of his reactions and non-reactions. But if, in the original text, the Chinese simply didn't specify the pronouns such that "his" is the translator's best guess—I just don't see that as a serious blow to the argument, given the consistency of the pattern as a whole, and I think it's kind of cherry-picking to suggest that it is.

Second, I don't think the pronoun there is ambiguous as is suggested. Consider the phrasing; it's not just "his sworn brother," it's "one of his sworn brothers." Supposing that "his" wasn't present in the original text. "One of my sworn brothers"? "One of our sworn brothers"? Neither really makes sense. Of course, perhaps they might make more sense in Chinese; but that's a little further than "what if the translator had to pick a pronoun."

Now, I think the above points are worth considering on their own merits, which is why I brought them up first. However, I have to say: I did, actually, check the Chinese, for the "one of his sworn brothers" and indeed in multiple places. I didn't mention it in the post for the same reason I usually try not to rely on it in my posts: because I feel like I'd end up setting myself up as some kind of authority when I'm very much not, and because I'm frequently fairly confused XP I have, what, one term of Mandarin, some amount of self-study, and Pleco installed on my phone. But I do often look at the original text and try to work things out, and sometimes I learn stuff that's been lost in translation, and often I can go well, my best guess aligns with the translation. If you want to confirm for yourself, and I encourage you to do so!!, then you can look at the text here: https://www.kunnu.com/modaozushi/. It's in chapter 64.

This is the clause about JGY killing one of his sworn brothers: 他设计杀害了自己的一位义兄 ("that he planned to kill one of his sworn brothers"). The pronoun before "one of his sworn brothers" is 自己, which is a pronoun referring to the subject of the sentence—in this case 他, he, JGY. Now, could I be wrong? Of course! Should anyone rely on uncited statements from a total stranger? No! I strongly encourage people to check this out for themselves, and if someone who actually does speak Chinese wants to offer some guidance I'd be very grateful. But given that it matched the translation from people who do actually speak both Chinese and English, it seemed enough to allow me to rely on the translation.

On that note, actually, I'll admit I missed a trick. "我父亲的一位恩师", one of my father's teachers—"teacher" there is 恩师, which Pleco gives me as "mentor; one's kind and respected master (or teacher)." So it does have more of an emotional edge, and I'll edit the post to acknowledge this. Even so, I think it's worth remembering both that it's one word, he's not adding lots of adjectives about the teacher, and most importantly that the teacher simply isn't lingered on. The effects of his mother killing the teacher, yes, and the contrast between his memories of his mother and the fact that she did kill his father's teacher...but the teacher himself is just not dwelled on.

(For completion's sake, the "sob" of Liebing in ch 107 is "呜咽", which Pleco gives as 1) sob, whimper 2) (of water, wind, stringed instrument, etc) weep; wail; lament; mourn.)

But again, quibbling over phrasing is to some extent a distraction. The important thing is not so much any one incident as the pattern they form, considered together; this is why my original post was so long, because I was trying to consider the overall pattern, and I think the comment about framing is pointing at the same thing. So it's worth asking: are xi//yao framed in terms of the 3//zun relationship?

In fact, I think this divides into two questions. First: does the text frame xi//yao in terms of the 3//zun relationship? And second: do xi//yao understand their relationship fundamentally in terms of the 3//zun relationship? I think you could make more of an argument on the first one, or at least, xi//yao and NMJ are part of their own narrative in the text and often show up together. But in terms of the actual relationship, it's the second question I'm interested in here, and I think the answer is very much no.

First of all, a note on timelines. In MDZS, LXC and JGY knew each other for about seventeen years; they were sworn brothers with NMJ for about four. To put this another way, they were sworn brothers with NMJ for less than a quarter of their overall time together. Moreover, they had significant time without NMJ before they all became sworn brothers, as well as after his death. Now, much of their relationship is revealed to us through Empathy, which necessarily limits us to when NMJ was alive, and moreover shows us only those of their moments together that he happens to see, so it's understandable that these years dominate our view, but I do think it's important to remember.

Okay, now let's consider what we see of their relationship. Given how much of it we see through NMJ's eyes, it's in fact remarkable how much it isn't about him. In the first conversation we see them have together, LXC is proposing that MY stop being NMJ's deputy and go serve his father in Langya (though only after confirming that's still what MY wants, note—and which he knows MY had wanted because MY literally told him!). When MY says he does want it but he owes NMJ, LXC says he thinks NMJ will understand but volunteers to talk with NMJ himself if he doesn't. Neither of them have told NMJ they know each other; after NMJ comes in, when he seeks to find out how they do, asking LXC and then ordering MY to speak after LXC refuses, they don't tell him. I'm not saying either of them are unhappy with NMJ here—quite the contrary!—but there's no sign they see the other, or their relationship with each other, fundamentally in terms of him. (For a close reading of the scene, as ever, I recommend confusion-and-more's post here.)

Furthermore, in MDZS, after MY flees from NMJ in Langya and becomes a spy, he starts sending LXC letters with information, and LXC works out who it is. As with pretty much everything we see about them, this suggests a quite astonishing intimacy—that MY was able to trust that LXC would work it out, and that LXC did. Not only did NMJ not know who the spy was, in MDZS he didn't know there was a spy at all—LXC concealed it from him entirely. Now, this is obviously very solid practice for spies, but again—you have xiyao together, and NMJ apart. (I'll also note that in MDZS LXC is exchanging blows with NMJ sword to saber until the very end of the post-Sun Palace confrontation, even after MY steps forward; he definitely does not seem to think that NMJ has any sort of right, here.)

At the Phoenix Mountain Hunt, we see them together but, again, not with NMJ, and there's no suggestion that LXC had socialized with him particularly—JGY is aware of how much prey he's taken, but of course JGY is running the hunt. Then when they both go off at the end of the scene to expand the hunting grounds, LXC asks LWJ if he'd like to help, but there's zero suggestion that they're going to seek out NMJ, even though he's part of the reason JGY needs to expand the hunting grounds.

In chapter 73, LXC and JGY are talking after the conference. Then NMJ comes over and comments disapprovingly about JGY. Again, LXC doesn't actually speak a single word after NMJ joins them. This... really does not suggest perceiving him and JGY as fundamentally part of that triad, imho.

The guqin scene: LXC and JGY are very much focused on each other. Only LXC talks with NMJ at all, and only once, briefly, answering his objection. NMJ is described as looking up before his objection, which suggests to me that he/wasn't/ looking up before. Meanwhile LXC and JGY are complimenting each other's playing, LXC is offering to teach him exclusive teachings, and JGY is telling LXC about his mother. You could reasonably say LXC teaching JGY the Song of Clarity is or is partly about NMJ—his desire again for them to reconcile—but in their interactions they are focused on each other to an almost absurd extent, and not NMJ.

The discussion conference mentioned in chapter 30? We're told NMJ wasn't originally planning to go; it seems likely that we would have been told if the same was true of LXC, given that LWJ is the one telling us about it. So, again, we have JGY and LXC together, and NMJ only coming in for outside reasons.

At the beginning of the stairs conflict, when NMJ comes in and calls JGY out, we see that JGY and LXC are discussing something, with "notes of all colours" on the desk before them. WWX is later going to realize they're discussing the watchtowers, which even now, well before he's Jin-zongzhu, JGY is trying to convince his father to build; there's no sign, on the other hand, that NMJ even knows what they're working on.

Their last interaction before NMJ's death /is/ about NMJ, with JGY very upset and LXC defending the idea that NMJ hasn't rejected JGY completely. But again this doesn't suggest that they view their relationship fundamentally in terms of their relationship with NMJ, and as we've seen it's not what they're usually talking about.

I talk here about two patterns of 3//zun interaction in the Empathy chapters: broadly, MY/JGY and LXC talking privately and NMJ coming and interrupting them, and NMJ attacking MY/JGY, and LXC intervening.

Looking over their interactions, the text does not, to me, suggest that LXC and JGYview their relationship fundamentally in terms of NMJ or of 3//zun.

And again—LXC doesn't bring up NMJ in the temple, and he only reacts to NMJ-as-NMJ three brief times.

Now, it is of course true that JGY calls LXC er-ge as a sign of closeness, and that he's 'er-ge' because NMJ is the first brother. However, a few points.

First, I would argue that it's a recurring theme in MDZS (and /especially/ for JGY) that the form of a relationship doesn't necessarily match what the relationship actually is; the form, therefore, might be an interesting point to consider, but it must be considered in light of the evidence we have about their actual relationship.

Second, JGY calls LXC er-ge a full thirteen times in the temple chapters. Once in chapter 99, when he's responding to LXC about JL; twice in chapter 100, discussing NHS; in chapter 105, three times leading up to his explanation of the letter; six full times when answering LXC's questions in chapter 106; and then once in chapter 108 when he is literally asking LXC for protection from NMJ's fierce corpse.

Once and only once, on the last er-ge in chapter 105, does LXC respond to being called er-ge, though we're told he did so earlier off-page. And—well, look at the paragraph:

His tone was more than earnest. Ever since he captured Lan XiChen, he’d indeed been treating him with respect. At this point, Lan XiChen wasn’t able to turn against him yet. He could only sigh, “Sect Leader Jin, I have already said, when you went your own way to scheme such havoc at Burial Mound, that there was no longer the need to call me ‘Brother.’”

This is not only not framed as an essential rejection, it's framed as explicitly /not/ that: "Lan XiChen wasn't able to turn against him yet." And again, as I pointed out in my post, we're explicitly given a reason for it that has absolutely nothing to do with NMJ! 'Don't call me er-ge because you killed da-ge' would be very natural; the fact that it's explicitly not about that suggests strongly to me that they simply don't think of 'er-ge' in terms of its relation to NMJ, despite the form.

[geshertzarmeod]

Favorite Books of 2020

I wanted to put together a list! I read 74 new books this year, and I keep track of that on Goodreads - feel free to add or follow me if you want to see everything! I’m going to focus on the highlights, and the books that stuck with me personally in one way or another, in approximate order. Also, all but two of them (#5 and #7 on the honorable mention list) are queer/trans in some way. Links are to Goodreads, but if you’re looking to get the books, I suggest your library, the Libby app using your library, your local bookstore, or Bookshop.

The Faggots & Their Friends Between Revolutions by Larry Mitchell, illus. by Ned Asta (originally published 1977). I had a hard beginning of the year and was in a work environment where my queerness was just not welcomed or wanted. I read this in the middle of all of that, and it helped me so much. I took this book with me everywhere. I read it on planes. I read it on the bus, and on trains, and at shul. I showed it to friends... sometimes at shul, or professional development conferences. It healed my soul. Now I can’t find it and might get a new copy. When I reviewed it, in February, I wrote: “I think we all need this book right now, but I really needed this book right now. Wow. This book is magic, and brings back a sense of magic and beauty to my relationship with the world.” Also I bought my copy last July, in a gay bookstore on Castro St. in SF, and that in itself is just beautiful to me. (Here’s a post I made with some excerpts)

Once & Future duology, especially the sequel, Sword in the Stars, by A.R. Capetta and Cory McCarthy. Cis pansexual female King Arthur Ari Helix (she's the 42nd reincarnation and the first female one) in futuristic space with Arab ancestry (but like, from a planet where people from that area of earth migrated to because, futuristic space) works to end Future Evil Amazon.com Space Empire with her found family with a token straight cis man and token white person. Merlin is backwards-aging so he's a gay teenager with a crush and thousands of years of baggage. The book’s entire basis is found family, and it's got King Arthur in space. And the sequel hijacks the original myth and says “fuck you pop culture, it was whitewashed and straightwashed, there were queer and trans people of color and strong women there the whole time.” Which is like, my favorite thing to find in media, and a big part of why I love Xena so much. It’s like revisionist history to make it better except it’s actually probably true in ways. Anyway please read these books but also be prepared for an absolutely absurd and wild ride. Full disclosure though, I didn’t love the first book so much, it’s worth it for the sequel!

The Wicker King by K. Ancrum. This book hurt. It still hurts. But it was so good. It took me on a whole journey, and brought me to my destination just like it intended the whole time. The author’s note at the end made me cry! The sheer NEED from this book, the way the main relationship develops and shifts, and how you PERCEIVE the main relationship develops and shifts. I’m in awe of Ancrum’s writing. If you like your ships feral and needy and desperate and wanting and D/S vibes and lowkey super unhealthy but with the potential, with work, to become healthy and beautiful and right, read this book. This might be another one to check trigger warnings for though.

The Entirety of The Daevabad Trilogy by S.A. Chakraborty. I hadn’t heard of this series until this year, when a good friend recommended it to me. It filled the black hole in me left by Harry Potter. The political and mystical/fantasy world building is just *chef’s kiss* - the complexity! The morally grey, everyone’s-done-awful-things-but-some-people-are-still-trying-to-do-good tapestry! The ROMANCE oh my GOD the romance. If I’m absolutely fully invested in a heterosexual romance you know a book is good, but also this book had background (and then later less background) queer characters! And the DRAMA!!! The third book went in a direction that felt a little out of nowhere but honestly I loved the ride. I stayed up until 6am multiple times reading this series and I’d do it again.

An Unkindness of Ghosts by Rivers Solomon. I loved this book so much that it’s the only book I reviewed on my basically abandoned attempt at a book blog. This book is haunting, horrifying, disturbing, dark, but so, so good. The character's voices were so specific and clear, the relationships so clearly affected by circumstance and yet loving in the ways they could be. This is my favorite portrayal of gender maybe ever, it’s just... I don’t even have the words but I saw a post @audible-smiles​ made about it that’s been rattling in my head since. And, “you gender-malcontent. You otherling,” as tender pillow talk??? Be still my heart. Be ready, though, this book has all the triggers.. it’s a .

Felix Ever After by Kacen Callender. This book called me out on my perspective on love. Also, it made me cry a lot. And it has two different interesting well-written romance storylines. And a realistic coming-into-identity narrative about a Black trans demiboy. And a nuanced discussion of college plans and what one might do after college. And some big beautiful romcom moments. I wish I had it in high school. I’m so glad I have it now! (trigger warning for transphobia & outing, but the people responsible are held accountable by the end, always treated as not okay by the narrative, and the MC’s friends, and like... this is ownvoices and it’s GOOD.)

The Starless Sea by Erin Morgenstern. My Goodreads review says, “I have no idea what happened, and I loved it.” That’s not wrong, but to delve deeper, this book has an ethereal feeling that you get wrapped up in while reading. Nothing makes sense but that’s just as it should be. You’re hooked. It is so atmospheric, so meta, so fascinating. I’ve seen so many people say they interpreted this character or that part or the ending in all different ways and it all makes sense. And it’s all of this with a gay main character and romance and the central theme, the central pillar being a love of and devotion to stories. Of course I was going to love it.

Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir by Kai Cheng Thom. “Because maybe what really matters isn’t whether something is true, or false. Maybe what matters is the story itself; what kinds of doors it opens, what kinds of dreams it brings.” This book was so good and paradigm shifting. It reminded me of #1 on this list in the way it turns real life experience and hard, tragic ones at that (in this case, of being a trans girl of color who leaves home and tries to make a life for herself in the city, with its violence), into a beautiful, haunting fable. Once upon a time.

I Wish You All the Best by Mason Deaver. I need to reread this book, as I read it during my most tranceful time of 2020 and didn’t write a review, so I forgot a lot. What I do remember is beautiful and important nonbinary representation, a really cute romance, an interesting parental and familial/sibling dynamic that was both heartbreaking and hopeful, and an on-page therapy storyline. Also Mason Deaver just left twitter but was an absolutely hilarious troll on it before leaving and I appreciate that (and they just published a Christmas novella that I have but haven’t read yet!)

The Truth Is by NoNieqa Ramos. It took a long time to trust this book but I’m so glad I did. It’s raw and real and full of grief and trauma (trigger warnings, that I remember, for grief, death (before beginning of book), and gun violence). The protagonist is flawed and gets to grow over the course of the book, and find her own place, and learn from the people around her, while they also learn to understand her and where she’s coming from. It’s got a gritty, harsh, and important portrayal of found family, messy queerness, and some breathtaking quotes. When I was 82% through this book I posted this update: “This book has addressed almost all of my initial hesitations, and managed to complicate itself beautifully.”

Anger is a Gift by Mark Oshiro.  I wasn’t actually in the best mental health place to read this book when I did (didn’t quite understand what it was) but it definitely reminded me of what there is to fight against and to fight for, and broke my heart, and nudged me a bit closer to hope. The naturally diverse cast of characters was one of the best parts of this book. The romance is so sweet and tender and then so painful. This book is important and well-written but read it with caution and trigger warnings - it’s about grief and trauma and racism and police brutality, but also about love and community.

The Prey of Gods by Nicky Drayden.  This is a sci-fi/fantasy/specfic mashup that takes place in near-future South Africa and has world-building myths with gods and demigoddesses and a trip to the world of the dead but also a genetically altered hallucinogenic drug that turns people into giant animals and a robot uprising and a political campaign and a transgender pop star and a m/m couple and all of them are connected. It’s bonkers. Like, so, so absolutely mind-breaking weird. And I loved it.

Crier’s War and Iron Heart by Nina Varela.  I absolutely LOVE LOVE LOVED the amount of folktales they told each other with queer romances as integral to those stories, especially in Iron Heart. A conversation between the two leads where Crier says she wants to read Ayla like a book, and Ayla says she’s not a book, and Crier explains all the different ways she wants to know Ayla, like a person, and wants to deserve to know her like a person, made me weak. It lives in my head rent-free.

Queen’s Shadow by E.K. Johnston @ekjohnston . I listened to this book on Libby and then immediately listened to it at least one more time, maybe twice, before my borrow time ran out. I love Padmé, and just always wish that female Star Wars characters got more focus and attention and this book gave me that!! And queer handmaidens! And the implication that Sabé is in love with Padmé and that’s just something that will always be true and she will always be devoted and also will make her own life anyway. And the Star Wars audiobooks being recorded the way they are with background sounds and music means it feels like watching a really long detailed beautiful Star Wars movie just about Padmé and her handmaidens.

Sissy: A Coming of Gender Story by Jacob Tobia. I needed to read this. The way Tobia talks about their experience of gender within the contexts of college, college leadership, and career, hit home. I kept trying to highlight several pages in a row on my kindle so I could go back and read them after it got returned to the library (sadly it didn’t work - it cuts off highlights after a certain number of characters). The way they talk about TOKENISM they way they talk about the responsibilities of the interviewer when an interviewee holds marginalized identities especially when no one else in the room does!!! Ahhhh!!!

Bonds of Brass by Emily Skrutskie. Disclaimer for this one that the author was rightfully criticized for writing a Black main character as a white author (and how the story ended up playing into some fucked up stuff that I can’t really unpack without spoiling). But also, the author has been working to move forward knowing she can’t change the past, has donated her proceeds, and this book is really good? It has all the fanfic tropes, so much delicious tension, a totally unexpected plot twist that had me immediately rereading the book. This book was super fun and also kind of just really really good Star Wars fanfiction.

How To Be a Normal Person by T.J. Klune. This book was so sweet, and cute, and hopeful, and both ridiculous and so real. I had some trouble getting used to Gus’ voice and internal monologue, but I got into it and then loved every bit after. The ace rep is something I’ve never seen like this before (and have barely read any ace books but still this was so fleshed out and well rounded and not just like, ‘they’re obsessed with swords not sex’ - looking at you, Once & Future - and leaving it there.) This all felt like a slice of life and I feel like I learned about people while reading it. Some of the moments are so, so funny, some are vaguely devastating. I have been personally victimized by TJ Klune for how he ends this book (a joke, you will know once you read it) but it also reminds me of the end of the “You Are There” episode of Xena and we all know what the answer to that question was.... and I choose to believe the answer here was similar.

You Should See Me in a Crown by Leah Johnson. I wish I had this book when I was in high school. I honestly have complicated feelings about prom and haven’t really been seeking out contemporary YA so I was hesitant to read this but it was so good and so well-written, and had a lot of depth to it. The movie (and Broadway show) “The Prom” wants what this book has.

Plain Bad Heroines by Emily M. Danforth. I never read horror books, so this was a new thing for me. I loved the feeling of this book, the way I felt fully immersed. I loved how entirely queer it was. I was interested in the characters and the relationships, even though we didn’t have a full chance to go super deep into any one person but rather saw the connections between everyone and the way the stories matched up with each other. I just wanted a bit of a more satisfying ending.

Honorable Mention: reread in 2020 but read for the first time pre-2020

Red White & Royal Blue by Casey McQuiston. I couldn’t make this post without mentioning this book. It got me through this year. I love this book so much; I think of this book all the time. This book made me want to find love for myself. You’ve all heard about it enough but if you haven’t read this book what are you DOING.

In Other Lands by Sarah Rees Brennan @sarahreesbrennan​ . I reread this one over and over too, both as text and as an audiobook. I went for walks when I had lost my earbuds and had Elliott screaming about an elf brothel loudly playing and got weird looks from someone walking their dog. I love this book so much. It’s just so fun, and so healing to read a book reminiscent of all the fantasies I read as a kid, but with a bi main character and a deconstruction of patriarchy and making fun of the genre a bit. Also, idiots to lovers is a great trope and it’s definitely in this book.

Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz. This book is forever so important to me. I am always drawn in by how tenderly Sáenz portrays his characters. These boys. These boys and their parents. I love them. I love them so much. This is another one where I don’t even know what to say. I have more than 30 pages in my tag for this book. I have “arda” set as a keyboard shortcut on my phone and laptop to turn into the full title. This book saved my life.

Last Night I Sang to the Monster by Benjamin Alire Sáenz. This book hurts to read - it’s a story about trauma, about working through that trauma, healing enough to be ready to hold the worst memories, healing enough to move through the pain and start to make a life. It’s about found family and love and pain and I love it. It’s cathartic. And it’s a little bit quietly queer in a beautiful way, but that’s not the focus. Look up trigger warnings (they kind of are spoilery so I won’t say them here but if you have the potential to be triggered please look them up or ask me before reading)

Ella Enchanted by Gail Carson Levine.  When asked what my all time favorite book is, it’s usually this one. Gail Carson Levine has been doing live readings at 11am since the beginning of the pandemic shut down in the US, and the first book she read was Ella Enchanted. I’ve been slowly reading it to @mssarahpearl and am just so glad still that it has the ability to draw me in and calm me down and feels like home after all this time. This book is about agency. I love it.

Radio Silence by Alice Oseman @chronicintrovert . I’ve had this on my all-time-faves list since I read it a few years ago and ended up rereading it this year before sending a gift copy to a friend, so I could write little notes in it. It felt a little different reading it this time - as I get further away from being a teenager myself, the character voice this book is written in takes a little longer to get used to, but it’s so authentic and earnest and I love it. I absolutely adore this book about platonic love and found family and fandom and mental illness and abuse and ace identity and queerness and self-determination, especially around college and career choices. Ahhh. Thank you Alice Oseman!!!

Leia: Princess of Alderaan by Claudia Gray @claudiagray​ . I have this one on audible and reread it several times this year. I love the fleshing out of Leia’s story before the original trilogy, I love her having had a relationship before Han, and the way it would have affected her perspective. I also am intrigued by the way it analyses the choices the early rebellion had to make... I just, I love all the female focused new Star Wars content and the complexity being brought to the rebellion.

[askmerriauthor]

Jedi: Fallen Order thoughts 2/?

Discussion on "Star Wars - Jedi: Fallen Order". First post here, spoilers and lengthy rambling after the jump.

Honestly, I love this box art so much purely for the facts that 1) I made sure to remove that poncho the instant I could because the game's cloth dynamic rendering had it flailing about wildly as if it were trying to attack the universe through sheer defiance of physics in every cutscene. And 2) see that alien dude on the left with a pistol? In-game, he's an utter coward who never once participates in anything remotely resembling violence and sure as hell never wields a gun. It just reminds me of how Kirby is always given angry eyebrows in the US because marketing people are fucking stupid and think players won't be drawn to the game with an abjectly cute mascot.

So! The story.

As mentioned in my previous post, "Fallen Order" basically wants to tell a Found Family tale about a ragtag group of remnants who leave behind their previous lives and forge a new future together. We have our main character Cal Kestis; a former Padawan who survived Order 66 and has been in hiding for a handful of years. Cere Junda; a former Jedi who's cut herself off from The Force, Greez Dritus; a gambling addict pilot with a troubled past he's trying to leave behind, and BD-1; an annoyingly named but utterly lovable Droid who is far and away the best character in the entire damn game. There's also Nightsister Merrin; the presumably last survivor of the Nightsisters and potentially Cal's love interest, but she basically only shows up in the last 10 minutes of the game and doesn't get a lot of screentime despite being presented as a major part of the cast.

The game takes place a handful of years after the purge of the Jedi in Order 66, where both Cal and Cere's core character thrust is tied into. Cal was a child who survived only due to his master sacrificing his life to save him and has been wracked with guilt and PTSD ever since. Cere, on the other hand, unintentionally abandoned her own Padawan and other younglings, directly leading to their death, corruption by the Dark Side, and almost falling to the Dark Side herself. The bulk of the narrative throughout the game is dealing with the relationship these two have with one another, coming to terms with their own trauma, and moving forward from there. Meanwhile, the overall plot itself focuses around finding a Holocron that has a map and list of Force-sensitive children throughout the galaxy, which the gang can use to rebuild the Jedi Order while also keeping it - and thus the children - out of The Empire's hands. The whole series of events culminates in a big showdown between Cere's former Padawan whom she abandoned and became corrupted into an Inquisitor, Cal contending with his own guilt, and the decision on whether or not the gang has the right to interfere with the Force-sensitive children's lives and potentially put them in danger if another purge were to occur.

On paper, it's a solid enough story. The actual execution leaves something to be desired.

Something I absolutely hate in games (which has become frustratingly abundant in recent years) is the illusion of choice. If a player is presented with choosing A, B, or C, that decision should matter. Which path is taken should have impact, consequence, and change the course of the story. If all three routes converge back together at the same outcome regardless of what you picked, then your choice never mattered at all. "Fallen Order' suffers from this. There are fairly sporadic points in the game where you're given the option to choose how Cal will reply to a given conversation, or whether or not to take a certain action, but it doesn't matter at all. The conversation's outcome nor the overall story isn't affected by your choice (or even if you bother to have the conversation at all), and the any time you try to do something other than what the game wants you to do, it'll just reset itself endlessly until you cooperate. You have no choice in the matter, but the game makes it appear as if you do to emulate your involvement.

I absolutely hate this in games. If a game presents you with choices, then your choices should have consequences. Your input should matter. There is absolutely nothing wrong with a linear, plot-driven game where the player has no direct input on the narrative. If anything, that gives the story even greater opportunities to shine because it allows the writers and directors to be in full control of the presentation, characterization, and story.

At the risk of sounding like a cranky old man, this is very much a "back in my day!" sort of situation where older games wouldn't shy away from simply locking a player out of content if they chose a certain path. If you pick A, you don't get to see what happens down B or C. If you want to join the Jets, you don't get to join the Sharks. If you want to see what lies down those other routes, then replay the game and make different decisions. Sometimes it was a specific design choice, other times it was a way to handle hardware/programming restrictions. But there's a big notion these days in particular where there's a desire to make sure the player sees all the game's content up front. I anecdotally chalk it up to an increase in non-gamers entering into video game development at management level and making design decisions they're not qualified for, but that's just my own take. Like, I understand the thought process behind it. "We have all this content, so we want to make it a selling point and ensure the player gets to see all of it! If they play our game and miss a bunch of stuff, they might bitch at us and cause reviews". I get it, I do. But it's also bullshit because it directly harms the final product. If a game is good, players will replay it ad nauseum for ages beyond release. So they're going to see all the content one way or another. When the "we have to let the player access all content up front" mind set is in effect, it means the player's choices ultimately don't matter and the resulting abundance of content is quantity rather than quality.

In the case of "Fallen Order", your choices don't matter one bit and it's not even out of a case of accessing content. For some reason the developers put in this vestigial, pointless façade of a dialogue tree and choice system when the game frankly would've been far stronger if it had just been left out entirely. Developers have to invest one way or another. Either make it a fully narrative-driven game and tell a solid story, or make it a player-driven game and put in the effort to make the player's choices matter. Especially in a Star Wars game, as RPGs in this franchise have historically have Light/Dark Side choices, character deaths, and alternate endings based on your decisions. A big part of "Fallen Order"'s story is characters contending with the risk of falling to the Dark Side because of their trauma, but the game itself never actually gives the player any chance to explore that at all. It's a huge missed opportunity either way.

I think that's where a lot of the story's trouble comes from in the end. It's a lot of build up on a good idea that fizzles out and goes nowhere. Cal spends the entire game getting to a point where he's ready to move on, and then the game ends. Cere comes to terms with her past mistakes and tries to redeem her fallen Padawan, only for said fallen Padawan to be killed abruptly and completely cut off that entire story thread. Greez's past coming back to haunt him is shoe-horned in randomly and never goes anywhere. Merrin doesn't have enough time on screen to matter. There are three major villains throughout the game who are just cast aside casually and with no lingering impact for ever having been there. The biggest final boss, who has been the core antagonist and a major point of emotional conflict for the entire game, is discarded with no resolution because this is a Star Wars game and we just can't have one that doesn't feature Darth Vader sweeping in to steal the spotlight.

It's just... ugh. There's potential here. There's obvious, glowing moments of potential where things could've been developed into something really impressive if they were just given the opportunity. It feels like a huge waste and the end result is just a "meh" game that doesn't go anywhere, doesn't contribute to the setting, and could very easily be dismissed entirely from the franchise with absolutely no impact.

[couldnt-think-of-a-funny-name]

how would you do a percy jackson adaptaion?

okay, so I know this is a controversial opinion right off the bat: I really don’t think it should be an animated series.

A large part of the appeal of the series is that it’s a fantasy series set very very firmly in reality. Literally, apart from the camps, you could go to every location hit in the books. Riordan mentions specific streets, buildings and landmarks, and that was cool when I first read them. I remember being a kid and waiting for him to set a scene in a place near where I lived! I remember trips to New York and being able to envision an epic war happening in the streets. So I think any adaption needs to be live action just to keep that same feeling alive, while I’m not knocking on animation, I just feel like taking the story out of real life would make it loose a little of the charm. Like, the scene where Manhattan is completely frozen in time? It would be haunting to see that in real life, but I feel like it would be less impactful if it didn’t…you know…look real? The series should be done in a way that makes you truly feel like you could just turn a corner and walk straight into a snake woman going about her day. 

Now: another large part of the appeal of the series is how funny it is, but a lot of that…is Percy’s inner monologue. He doesn’t actually voice most of it, there was even a book where Annabeth described him as being quiet. So, I think the best way to work around this: make it Interview With A Demigod. 

Imagine it’s got an interview with a vampire-esque setup- and this even works because within the riordanverse, the books canonically exist because Percy sat down with a ‘camp scribe’ and had his quests recorded. So, like, this isn’t even entirely out of left field. But just imagine, a college-aged, maybe a little older Percy, I can see it so clearly in my head, he’s wearing a sweatshirt that at first glance looks like it says NYU but a trained eye will see it actually says NRU for a camp jupiter easter egg, he’s sitting in some dinky little diner (maybe it can even be a monster donut or something with a clever greek myth related name) with a guy who’s recording the conversation on some old-ass tape recorder that keeps acting up but they can’t record on a phone because of the whole technology thing. Every now and then it’ll cut back to them to get some great Percy thoughts out there. They open with older Percy saying the ‘look, I didn’t wanna be a halfblood’ and then explaining where he was when the whole mess started. Once he get’s to “was I a troubled kid?” the screen fades from older Percy to 12 year old Percy getting in a fight with Nancy and her gang, and the voice over says the ‘Yeah, you could say that’ part as we see him get threatened by the principal to behave on the field trip. Boom, we’ve got an opening. Lowkey….I’m seeing Jordan Fisher as older Percy, but I’m not 100% married to the idea. 

And before anyone tries to argue that showing an older Percy would spoil he’s not gonna die in last olympian- like, reading the books, we all knew he wasn’t going to die. It was a first person narrative and he was consistently speaking in past tense lmao like we Knew he was gonna make it. We still enjoyed the series. It won’t ruin anything.

I want part of the score of the adaptation to be instrumental versions of songs from the musical, I think that could be a sweet nod to that team. 

They really need to nail camp halfblood. I know that goes without saying, but in order to keep the pacing of the story decent we can’t spend as much time falling in love with it like we got to with the book. The book is like, 24 chapters and the quest starts at chapter 12- for a movie or tv show, that’s just gonna feel like it’s dragging. So, the insanity of the camp needs to smack you in the face right away, and then it needs to endear itself to the viewers quickly after that. Don’t try to ease the viewers (or Percy) into the mythology is real thing, rip it off like a bandaid. He’s on his way to meet Chiron and Mr. D for the first time and even if he’s not comprehending what he’s seeing, there’s nature spirits and harpies all around going about their day. Hestia waves at him and then disappears into the flames. Hecate kids can be seen casting a spell on the porch of the Hermes cabin. The Stolls are seen pranking some Aphrodite kids. He sees someone surely die on the climbing wall but then you hear a faint ‘I’m okay!’. The Apollo kids put a rhyming curse on another cabin. Pure chaos all before he gets the ‘so, gods are real’ speech. And then after that…show how warm Luke is to him at the cabin and at dinner. Show the kids all goofing off at the campfire and really make it clear that they’re children. Show the strawberry fields rolling in the wind and Percy sitting on the beach. The whole couple weeks where he’s searching for powers and learning greek and latin with Annabeth can be a montage. Make it clear how hurt and scared he is when he finds out he needs to leave.

It needs to really get you feeling how Percy’s feeling, every laugh, every tear, every moment of fear or confusion needs to shine clear through. Like…think of Spider-Man Homecoming, the Washington monument scene. All things considered, it’s not the most high-stakes scene we’ve ever seen in that franchise, and when it cuts to the kids in the elevator, they’re worried but not quite freaking out, but that scene feels very high stress to watch because the movie is good at getting the viewers to feel what Peter feels. A Percy Jackson adaptation needs a touch like that, because Percy’s a very emotional kid and that’s what a lot of the scenes hinge on.

Lowkey- I’d love it if the casts of both the previous movies and the musical had cameos or bit parts (the movie cast did Nothing Wrong, it was the rest of that team). It’d be hilarious to see, like, Jake Abel as the owner of the poodle, or Logan Lerman as Older Percy and the reporter’s waiter that keeps trying to get in on the conversation, or Brandon T. Jackson as a satyr who’s still stuck grooving out in the Lotus Hotel and Casino. Kristen Stokes as a nature spirit, Chris as one of the ghosts stuck in the waiting room of DOA Records, just like any of those casts having small parts would be fun and sweet. 

There should be a lot of easter eggs for the bigger riordanverse. Promotions in the background for the new Tristan McLean movie. Gabe’s got a true crime documentary about the missing Grace children playing during his poker game. Mr. D is reading a paper about Rachel Dare’s father’s newest project. At some point while they’re still in New York they pass the Kane family’s mansion or whatever it was called. Annabeth keeps a picture of little her and Magnus on her nightstand. The barest of hints about the Triumvirate. Seeing kids in camp jupiter gear in some background shots, just out of notice of our main characters but implying the camps are going through similar problems (BITCH….if we got a titan’s curse adaptation…and we had a shot of Thalia in the foreground….but in the background we saw a blond boy in purple with a golden sword….well I would simply loose my Goddamn mind).

And show us how easily the mist lets things blend in, too- like, everyone thinks ‘Monster Donuts’ is just a normal chain, it’s just on an average street block, but if Percy looks through the window he can see who’s behind the counter. Show someone swindling some guys in a park and you have to look twice to realize he’s a gegeines. Like…how people are still trying to find all the background ghosts in haunting of hill house. I would LOVE to see a bunch of background monsters and mythical beings just going about their day as much as the mortals are while the gang’s questing. 

The effects need to be fun. The whole story needs to be fun, but one weird thing about the past movies are that like…in their attempt to make it gritty, none of the fantastical things happening on screen actually felt that exciting. We need bright colors and interesting choices, consistently cool action shots, a liveliness that makes you feel like you’re in the center of the action. I have absolutely no doubt Disney easily has enough funds to pull off great effects.

The characters need to be….in character lmao. Annabeth needs to be cocky and bratty with the skill set to justify it. Percy needs to be a sweetheart who pretends to be hardened because that’s what people assume he’s like. Grover needs to have dry humor and a Too Old For This Shit attitude whenever percabeth start bickering. Luke needs to be nice and friendly but in a specific way that you can look back after the betrayal and see he was trying to groom everyone. Sally needs to be loving, protective and strong. Chiron needs to feel defeated and determined at the same time. Mr. D needs to….be Stanley Tucci lmao

Also, I’d love if the adaptation could expand more on things that got brushed along in the books- Percy and Beckendorf’s friendship, Silena and Clarisse’s dynamic, make Nico’s crush on Percy a little more obvious, give Rachel some more development. One thing that haunts me about the books is Sally never found out that Gabe hit Percy. Absolutely they don’t need to make the abuse explicit, but I also personally feel like a lot of Percy’s mindsets throughout the series are somewhat a result of Gabe, and I’d like if that got, you know, acknowledged. Maybe in the scene where he figures out Gabe abuses Sally he could say ‘does he hit you too?’ or something to that effect. They could also go more into detail about Annabeth’s family, give Zoe some more depth….like the possibilities I’m screaming.

Okay this is already long and I’m getting tired but I can so clearly see a great adaptation in my mind….Disney please come through….It’s what we deserve…. 

[morsking]

And so we have concluded Lostbelt 2! Now that I’ve experienced it for myself, I have a much clearer picture about how I feel about this chapter. As I progressed one thing became very clear to me, and that was that Hazuki Minase likely did NOT have any influence with this chapter, and its weakest points can be attributed to its main writer, Hikaru Sakurai, once we more closely scrutinize her work.

For starters, I would like to apologize to the people who kept trying to tell me Minase had nothing to do with the writing of Losbelt 2. You were correct, I simply acted stubbornly because I was terrified that one of the writers I loathe the most had returned to haunt and corrupt the franchise I hold very dear to me. I insisted on blaming him for any flaws because he was an easy scapegoat and a bogeyman, and while we all agree he is a pervert and a hack who should be fired, it is simply not fair to point fingers at imaginary criminals. A person should always be held accountable only for the misdeeds they have actually committed. Indeed, we may now explore Lostbelt 2 and the integrity of its writing with a more objective perspective, or rather as objective as I can manage to be.

The overall theme of the Lostbelt is “acknowledging one’s emotions as a vehicle for personal growth”. The issue persistent in the setting of Lostbelt Scandinavia was that it was a place where only young humans were allowed to survive. These humans would be oblivious to what real growth and prosperity were really like. They were innocent, and emotionally and intellectually stunted groups of people who only knew to live for the truth of their eventual demise. They lived short, rushed lives where they would stay ignorant of basic human experiences, such as love, grudges, aging, vice, hate, competition, and companionship because they devoted themselves to living how Scathach-Skadi ordered them to. They were unable to think or decide what to do for themselves, and were thus incapable of not just taking the reins to decide their own evolution as we do in Proper Human History, but also of fathoming doing such a thing in the first place.

This is a mirror to Ophelia Phamrsolone. Ophelia was conditioned to only listen to others for purpose and direction. Ophelia doesn’t actually know how to listen to her own feelings or even what those feelings even are because she was never allowed to connect not just with herself but with anyone. Ophelia, like Surtr points out, is still very much a little girl terrified by everything around her because she has no balance, no capacity for finding her center as a healthy and normal human being would. Unbeknownst to herself, all her interactions with others are a plea for help. Her very first interaction with Mash in 2017 was asking her if she’d like to have lunch with her and Pepe because Ophelia is terrified by male strangers and wishes to connect with other women as well. Ophelia’s conversations with Kirschtaria are also her not knowing how to proceed with challenges and therefore appealing to authority both for comfort and advice. Finally, her monologues with the Alien Priestess are Ophelia venting about how she feels, as if she were unaware of what to really think of herself as her helplessness and indecision drown her in a lake of self-loathing. 

These cries for help extend to the way she summons her Servants. Ophelia is noted to be incredibly proficient at evocation. Some might even call her a genius. In fact, she is such a genius she unknowingly managed to contract not just with one, nor two, but three different Servants all at once. The first Servant to answer her summon was Sigurd, the King of Warriors from Nordic mythology. The second Servant was Surtr the King of Giants and Scourge of Ragnarok (titled by yours truly), who hijacked the summoning and took over Sigurd. The third, and most pivotal, was Napoleon Bonaparte, the French Emperor whose Spirit Origin was modified to embody the “ideal Good Fellow who could make dreams come true” rather than the actual historical Napoleon.

What these three Servants have in common is that Ophelia wished for all of them from the darkest depths of her heart. Ophelia desired capable Servants who could give her some form of direction and stability. 

Sigurd, for example, is a hero renown for rescuing Brynhild and giving brand new meaning to her life by showering her with love and devotion. Love and devotion are things that Ophelia not just desires to be shown but actively struggles to adequately express to others because she has never known what it’s like to experience those things. To Ophelia, Sigurd represents “being given that which you have never known and finding fulfillment”. 

Surtr, on the other hand, embodies a darker type of direction: the terror stagnation, conformity, monotony, inaction, and eternal suffering. Surtr exercises control over Ophelia by threatening to destroy the world if he is released, prompting Ophelia to flash to her childhood locked away by her abusive parents every dreaded Sunday. Surtr locks Ophelia into a state of helplessness and indecision where she has to carefully consider how she will proceed with dealing with Surtr. Ophelia has decided to lock herself in with him as a way to prevent him from breaking out of both Sigurd’s body and the physical prison inside the Lostbelt’s sun. This is a situation where Ophelia is in a constant state of stress and fear, since as a Crypter the last thing she could ever want to see is the destruction of yet another world by her hands. More personally, the death of the Lostbelt would also mean death for Ophelia, as she has failed her purpose once again and thus would have no worth as a person. However, what Ophelia cannot understand, because Surtr himself does not, is that Surtr’s destructive impulses are how he wants to show love and devotion towards her. Surtr has reasoned that since their worlds abandoned them after they failed to perform their ordained tasks, the only thing left is to annihilate them completely as retribution for their suffering. Surtr does not wish to hurt Ophelia, but because he is a being defined only by his overwhelming desire to burn everything, he cannot help her heal or grow in any way that matters. All he can offer is annihilation. To Ophelia, Surtr represents “self-destruction through a static state of being”.

Finally, there is Napoleon. Napoleon represents a pronounced antithesis to Ophelia’s entire personality. He is an upbeat, improvising, confident man who chooses to not stress over things because what he is seeing is only what lies ahead, not what lies in front of him.He also breaks her defenses by asking something so ridiculous and unexpected as her hand in marriage when they have only just met. Napoleon refuses to give in to any negative outcome regardless of how much the odds are stacked against him, as he demonstrated in Scathach-Skadi’s throne room where he refused to let Sigurd kill his Master despite being restrained by Skadi’s paralyzing rune. He demonstrates this once again when he blows his final shot at Surtr during the final battle, sacrificing his own life to give Chaldea the opportunity to regroup and bombard Surtr to bring him down. He is called the Man of Infinite Possibilities precisely because he faces the unknown head on and finds the best path to walk for his comrades to advance. He does not let fear take over his heart and judgement, he creates a rainbow as a bridge connecting the present to the bright, shining future. He is precisely the hero Ophelia needs, because he embodies “the bravery to grasp your own future and find your own direction”. 

But analyzing these characters further is a post for another time. What I want to get into are the gripes I have with this Lostbelt. 

Now, I could lead you on through a couple more paragraphs before I wham you with what this all means in a much higher metatextual level, but I don’t have the time nor the creativity to do that so I’m just gonna give it to you straight. This square between Ophelia, Sigurd, Surtr, and Napoleon is the storyline that matters most in Lostbelt 2. Scathach-Skadi matters little despite her own parallels with Ophelia and being the Lostbelt King, and the situation with the Lostbelt’s inhabitants matters even less. Why?

Because Lostbelt 2 is Sakurai coming full circle and writing an otome game like Fate/Prototype was meant to be before Fate/stay night became a thing. 

SHOCKER!! SOUND EFFECTS OF SURPRISE!! DRAMATIC KAZOOS GALORE!!

Now, that’s exaggerating a little. Or maybe not that much, actually.

What Sakurai was doing was applying conventional otome game tropes into the setting not just what she’s familiar writing for, but because Lostbelt 2 is inherently an incredibly self-indulgent project. 

There is a classic trademark otome fantasy at play here: the fantasy of multiple men being devoted to a female main character a player can relate to. There is no denying there is a certain appeal to the idea that there are several handsome men all willing to devore their entire lives to a person. Sigurd, Surtr, and Napoleon all embody certain otome game love interest archetypes. Sigurd is the cold, composed, intellectual man who is actually earnest, just, affectionate, and wise. Surtr is the dark-hearted troubled man with fiery disposition struggling with expressing love. Napoleon is the strong, confident, borderline pixie manic dream boy with almost zero brains but plenty of empathy and... *ahem*, physique to make up for his seeming lack of tact and intelligence (he’s a himbo is what I’m saying but that comes as no surprise). The problems arise with Napoleon himself, however. Napoleon hounds Ophelia with marriage proposals she refuses time and time and again. When he proposes to her in front of Chaldea for the first time, the narrative has Mash take Napoleon’s side and urges you to do the same because Sakurai believed the reader would’ve caught on to what’s actually going on between Ophelia and Napoleon. 

The issue here is that Sakurai’s clues up to that point had been far too hidden for the player to make a proper connection, and it’s not until AFTER the proposal that the player discovers Napoleon is predisposed to fall in love with whoever summons him because that’s what Ophelia wanted out of an ideal Servant. Because of the poor execution in presenting all these factors that completely recontextualize the relationship between Napoleon and Ophelia, when Sakurai has Napoleon say “You did not reject me therefore you DID agree,” we jump to the conclusion that Napoleon is engaging in extremely reprehensible behavior and ideology reminiscent of dangerous and abusive men IRL rather than take it as harmless flirtation from a well-meaning oaf of a man as he tries to break the shell of his beloved. Sakurai invokes a very dangerous trope that does more to excuse misogynistic behavior when done incorrectly rather than successfully appear as a romantic gesture of attempting to liberate a loved one from the clutches of isolation and victimhood.

On a larger scale, the application of these tropes is where Lostbelt 2 starts to suffer, and that’s where Sakurai’s writing further begins to resemble Minase’s. Sakurai spent so much time building these interpersonal dynamics that she spent the least amount of effort actually building upon the situation of the Lostbelt and Scathach-Skadi’s character and motivations for keeping the Scandinavia the way it is. 

Upon scrutiny, it’s not very difficult to pick apart the setting and make a mark out of the glaring logistical inconsistencies of maintaining a population of only 10,000 humans for a span of 3,000 years by having them reproduce at 15 years old at the latest to execute them at 25. Anyone with a passing understanding of biology would know that forcing children to carry babies to term can lead to terrible health and psychological complications that would certainly end up in a lot more miscarriages, stillbirths, and failed attempts at impregnation than actual successful births. The problem here then is rather evident. Sakurai wanted to use the fact that all these children are young, innocent, naive, gullible, and ignorant to draw a connection to Ophelia’s own psychological and emotional circumstance. However, she realized that because she was writing a setting that obligated her to work around a 3000-year gap between Ragnarok and the present day. She needed something that would compromise the need for a realistic system that would ensure the reproductive viability of a human population through such a long period of time and the thematic vehicle of childhood and repression of growth as a way to connect Ophelia to her environment. This compromise ended up working for the absolute worse because she chose the worst possible system she was aware was the worst possible system she could’ve come up with and therefore decided to forsake that part of the plot without going through the implications of it and leaving the specifics to the reader’s imagination so they could sort it out in her stead.

This unwillingness to properly explore the problematic implications of Scathach-Skadi’s system not only deprived the player of a possible engaging storyline where child endangerment, a common theme in the Nasuverse, is explored and criticized through a different angle, but also actively hurts Scathach-Skadi’s connection to the player because we never get the opportunity to debate with her about her ideology and the state of the Lostbelt. We never hold her accountable for enforcing such a brutally predatory and dehumanizing system that targets children, instead Sakurai opts to build her up as a flawed, self-absorbed mother figure desperately trying to combat the extinction of the remnant of her world who also never really learned how to deal with the revelation there is an entire life she did not get to have in this universe that we MUST sympathize because she occasionally sees through the characters and acts kind towards them until the time comes for us to fight her in earnest as a matter of principle completely divorced from the question of how she’s managed her Lostbelt. The fact Scathach-Skadi’s model of sustainability does not work is made obvious by the fact it takes place in a Lostbelt, what we are trying to get at here is that it does not work from a writing standpoint because of all the different holes you can poke on it before you’ve punched through the paper screen entirely and revealed the superfluousness of it all. 

There is nothing inherently bad about self-indulgent storylines. If I’m being honest, if Sakurai wanted to use Ophelia and Musashi as self-inserts to fantasize about romancing the different kinds of characters she finds attractive, more power to her. But the problem surrounding Lostbelt 2, which is the same problem that plagued Septem and Fate/Extella, is a veritable lack of restraint from her part as a professional writer in charge of a multi-billion dollar mobile game. What the writing room over at Type-Moon has to realize is that they are no longer a small doujin writing circle that can get away with whatever they want because they operate under obscurity. They are visible to the entire world and will be held accountable and criticized as professionals by consumers and their peers in the industry. A little bit of self-fulfillment in a published work never hurt anyone, you can cater to yourself most of all with your professional work (I mean, just look at She-Ra), but you must be sure that in your pursuit of indulgence your work does not suffer for it and ends up alienating and disappointing your fanbase and giving them the wrong impression of what you stand for. 

Anyway we’re popping the biggest bottles when GudaMoth becomes canon this December. 

[laadgovernorandsankadevi]

IPK Rewatch: EP 01; the fateful night

ah the first look! the first impressions and the first introductions. it's interesting how the first snapshot after introducing us to Lucknow is of the Guptas. While both the families belong from the same city, it's now after 14 years that Arnav is at the point to take what is rightfully his, that Khushi breaks past the gates of his shell.

I love that bua ji's, the fiercely protective guardian of the two girls later onwards entrusted with their responsibility when they are sent to Delhi with her is the one introducing us to whose day it'll be.

"arre khushi ka mawqa hai!"

one of my favourite things about ipkknd were the possibly double meaning of dialogues. of course, it's a blissful and happy day for the daughter of the house is about to get married but today also marks the day where Arnav think he's won from his past. He is unaware that Khushi or happiness will come knocking at his door in span of few hours. Khushi is unaware that the turmoil her recklessness will pull through will lead to her, and her sister's best decisions of life.

Khushi's introductory dialogues reveal that despite being nervous she doesn't shy away from doing whatever she thinks is 'right'. I've always maintained that Khushi's moral compass is driven from the understanding of morality but whether whatever decision she makes will make the person she's doing that particular action for or from happy or sad. Right now, the shop being mortgage is going to take all of Guptas' assets and savings away. It'll also endanger her sister's happiness if the demand for dowry doesn't stop. While Khushi is right, as we know Shashi assures her afterwards, her going behind everyone to fix the situation herself isn't. These actions establish a running theme with Khushi's character. She is the definition of chaos and regardless of her intentions, things do tend to explode a lot in her face.

Also Payal's character's demure and ever-pleasing nature is established from the get go. While Bua ji is singing for her outside, she is worried about Khushi and her father instead of enjoying. The stoic tendency to please others and care for others before observing her own happiness stands out however her ability to go along until someone else takes the first step also shows her status as the elder daughter, whose often lauded as the perfect daughter of the house taking play.

The first look of Khushi, we see her eyes.

The eyes have a big role to play with both Arnav and Khushi, and to see the clarity and courage in Khushi's eyes from the first instance is just a beautiful directorial decision.

I also love Khushi's face reveal just as she is justifying her actions and revealing the same to Devi Ma. This is Devi Mayyian's child. Her absolute favourite and the closet confidant before Payal for Khushi! Sanaya looked absolutely ethereal in the first episode. The lengha is beautiful, the subdued green with pink with gota all over suits Khushi. Her switching out her khussas for tennis shoes few seconds earlier showing the unconventionality she doesn't shy away from. My only qualm is the amount of bronzer they put on Sanaya's face. (cough cough *colorism*)

Again with Khushi's moral compass, she wouldn't have stolen the milk man bike along with milk crates on the side if she actually took decisions which she thought through. Milk symbolises fertility and abundance blessed from gods. Khushi running away with stolen milk is a good use of metaphors in direction with Khushi being the force of change for everyone around her. Today in particular with Payal and Arnav's life. Also, 20,000 rs is symbolise the how the universe is shifting for the Guptas at least in the beginning. 20 being the universal number of harmony, balance and blessings and adding 0s to it which symbolise a divine journey. Three zeros simplify the divine journey Khushi has set out on and taken others along with her. The journey starting with loss will one day end with the gains Guptas didn't ever dream about. These little details were what pulled me into the script the first time around and seeing it repeat reinforces for me at least that I am glad to have been on this journey of Khushi and Arnav's from day one. (I started watching around the teej episodes).

Shashi's red kurta, I think at one point Shyam and NK both wore this during A & K's marriage. The recycling of wardrobes.

Shashi and Garima's conversation reveal the compliance that comes with being a woman in society and is understood by perhaps Garima and Bua ji. Shashi on the other hand might give into the norms, is also someone who stands against the injustices practiced in name of tradition and I love him for it! I really wish we had seen him recover before the show ended. A conversation between him and Arnav would've been heartwarming to witness since they both seem to align on their moral perspective of the world to an extent.

I know they try to tell us Khushi is around early adult years like 18, I really thought she passed as someone who was 21 and 22 through mannerism and with the bday tracks, I'm using that age as cannon.

We finally have the entry of our rakhshas urf rajkummar

I love the shot of Khushi's motorcycle leaving the gates and stopping at the signal for the chopper to fly over and her being the only one to look up in the shot. 

Ah ASR, Arnav Singh Raizada. He oozes arrogance, attitude, entitlement, purpose, and luxury. This is not an ordinary man and makes sure everyone around him remembers that. Of courses betiya didn't care about any. of it and that wasn't okay, at all!

With the first pap question we already know the this man has an established reputation of being hard to reach, of being mysterious, and making calculated decisions which leave others stumped in light of his age and experience. The second and third follow up are questions are just as enthralling. This is one of the most eligible bachelors and not many know much about his personal life. His mysteriously magnetic persona also begs answers to know why they're exceptions in him making a presence at events he is hosting in smaller cities of the country. All these questions and he answers nothing. Just calmly walks past. But we get hints. There's a past. A haunting one with a broken marriage, death, and a mother.

"Hum usoolon ke bare pakke hain!"

"Usooloon se somjhota nahi karte!"

ah chacha ji! where else do we go on to hear these lines from? Dadi ji. How ironic that a woman and her son taking pride in their ability to stick to rules, morals, traditions, are the ones at mercy of this man whose morals are deemed questionable throughout, who doesn't advertise morality, nor preach verse of tradition. These are also the people who wronged him and his sister as a kid. The Maliks left Arnav and Anjali at a place where they couldn't use their name without feeling disgraced. And now here, fourteen years later Arnav stands on the same grounds he was was told to leave from. I love the 630 above Arnav. The number signifying success. Apt! The white dove signifying the turmoil ending to some degree with the Arnav Malik rightfully taking what was his, a reign of peace.

In contrast Payal and Khushi once again having the conversation about what they're doing is right or not brings us to a contrast in decision making abilities. Arnav's move was calculated. He went over Chachaji's head to buy from the man the havali was mortgaged to. Khushi's move is driven through impulse of protecting her sister's happiness.

Khushi's words abut dil, zameer, paisa are hilarious because the man she loathes for the same reason is the one she is unable to hate. Oh how the tables turn!

I love Anjali's introduction. The first words are Arnav. The first interaction in the flashback of her's is with Arnav. The siblings are each others' first friends, first confidants, first people. Anjali wearing very thick visible sindoor after we just saw an ambiguous flash back of hers at her wedding is such a perfect example of Raizada's not being much different than the Maliks in their quest to bury the past and refuse to answer questions. Anjali wearing yellow in a see of red is such a perfect repression of what she means to Arnav. Yellow symbolises happiness, sunshine, brightness. Khushi later showing up in Green is also such a beautiful thing as green symbolises rebirth, revitalisation, and reincarnation of life. The two women are everything for this man.

We find out Arnav wanting to knock down Sheesh Mahal. Whether he does so or not, we don't find out.

(The ipk Redux was amazing at plot analyses and predicting tracks through easter eggs in the show. The complete truth of Garima, Arnav's dad, Khushi's parents, Chachaji, Dadi ji, and Shyam being tied to their past was changed according to those theories and ofc they are theories not canon. but these narrative shifts annoyed me a lot which is why I think IPK would've been good as a finite series. It wouldn't have to adjust its tracks in accordance to trps. Regardless of this theories being right or wrong, we can already observe with the omission of Chacha ji that there were changes made. Ah well.)

I loved that poet dude. The insinuation of taking to rights and two lefts, and Khushi being lost in the labyrinth that was Sheesh mahal is apt in terms of how Khushi found her life tangled with Arnav's past later onwards. I love how Khushi always ended up unintentionally walking towards Arnav since this day onwards. We see that when she ends up at Shantivan with saris. We see that when she ends up in front of him after Shyam the first time around.

and now for that fateful moment. The moment planned by the Gods. the moment where Khushi finds herself scared, her phone battery gone, she has no one and in a sea of people her eyes land at that one person. Interesting how she pulls up her dupatta just as that man stares her. Arnav's eyes when looking at Khushi find a way to admire her or in this case, he was straight up being disrespectful towards this strange girl. When she turns around to leave, she slips on the dupatta his staff had pinned on her and god, this man was taken aback by her. The first meeting derived anger from Arnav but also it pushed something he didn't hope to have to that extent. There is a pull between the two. He looks at her eyes, observes her trembling lips, and her hand, her hand clutches onto his collar which becomes a theme. The dupatta and Arnav's collar are two things that become so important in their ability to communicate their comfort to each other.

And so it begins. The love story. The kahani of nafrat, of refusing to be indifferent but trying so so hard to be.

[zocrzay]

I am coming clean and admitting I've had an unhealthy obsession these past few weeks analyzing the break up of Katie & Greg, my favorite ship from the entire Bachelor/ette franchise. I went down hard with this ship as it crashed and burned. From the beginning, I loved their chemistry and even if some say they were just trauma bonding over the passing of their fathers, I felt they had so much more going for them. I just figured out why I can't shake this pair out of my head.

Here it is: Katie & Greg remind me of Lizzie & Darcy from Pride & Prejudice, one of the greatest love stories ever told. The idea that a couple similar to a favorite fictional pairing could exist in real life had awakened the hopeless romantic in me.

Greg is totally Mr. Darcy. He is a family man, adorably awkward, reserved, internally tormented, but also deeply passionate. He's willing to dance to encourage affection.

Katie is like Lizzie. She is strong-willed, proud (maybe too proud), and has a sharp tongue. She gives no one permission to insult her. She loves her family even though they're embarrassing. Katie does not quite fit in with other women, but that is why she is so interesting.

The opposite personalities of Lizzie & Darcy made their playful banter and relationship dynamic so enjoyable. They challenged each others' ideas. They expanded each others' consciousness as they learned more about each other. This was synergy at its finest.

Katie is from hipster Seattle while Greg is from fuss-free Jersey - two very different worlds at opposite ends of America. They brought these worlds together in beautiful balance. When they split, the Bachelor Nation fandom was divided like a broken family. At least Greg owned up the error of his ways, but Katie seems dead set on hating him. Eventually, the false narratives she tells herself to keep her walls up will unravel . I hope she faces the facts and owns up to her part in the communication breakdown. When Greg was most vulnerable, Katie could not show a hint of honest affection. She accused him of giving up on the relationship moments after he confessed his love for her. Katie only spoke of herself as a prize to be won, but to Greg, she meant so much more than just that. I hope she realizes the profound truth in what Greg was trying to tell her the day he left her. True love is more than just keeping up appearances for a show and more than just physical attraction. It is more than just saying the words "I love you" or handing out roses. Katie and Greg were more than just two hot people who were mutually attracted to each other. They had divine harmony when they were together... until they were burned by the heat of their own fire.

It is nice to know Greg just wants Katie to be happy, but I do not believe Katie & Blake have the secret sauce. Good for them for having a lot of sex, but from what I know, that kind of connection is not long term sustainable. If banging each other is the main reason they're together, they'll eventually get bored. Blake fell in love so easily with two previous Bachelorettes and that cheapens his affection for Katie. I'm sure he can bounce back quickly if Katie left him. Sorry man. Blake seems like a great person, but his intellect does not seem to match hers ("You don't have to be great. You just have to be you." dafuq?). I thought she was smarter, but maybe her flippant use of the term 'gaslighting' proves otherwise. It is shamefully elitist to point that out, but honestly, their conversation was drab when they weren't talking about sex. There are a lot of hot horny ladies out there that Blake might have more chemistry with than her. He was not even sure he wanted to propose and it was mean to tease her in the proposal speech with "I don't think I can give you what you came here for". The Say Anything references were also cringeworthy. We did not see their love get tested. She was like a damsel in distress and Blake just swooped in to save her season of the show just because he happened to be there. It was quite dull. The 'conclusion' of their journey was really unsatisfying. Katie describing their love story as "perfect" just shows the lack of depth in their relationship.

Lizzie & Darcy were such beloved characters because they were both flawed. They both made mistakes, but because of their love, they were willing to overcome their pride and their prejudice. They corrected course and became the best versions of themselves at the end of the story before choosing to be together. "I was wrong" are three words that make the words "I love you" so much more meaningful. True love is transformational. Feelings of attachment are not true love unless there is consciousness. The best love stories are not about lovers conquering outside forces, but conquering their own inner demons. People truly in love consciously choose to grow together in spirit, not in spite of their imperfections, but because of them.

Greg was impatient and had unrealistic expectations. He should have given Katie more chances to figure out what he was saying. Maybe she found his desperation unattractive. Maybe if he helped her off the floor and said goodbye properly, she might have flown out to Jersey to go after him. Katie was shallow when she could only say "I just love looking at you" and spoke to Greg as if he were just a contestant on a game show. It seemed as if his pain was just an inconvenience to her. She seemed untrustworthy. If she had stronger feelings for Blake or was still undecided, openly expressing that to Greg would have been more respectable than stringing him along to dump him later. If Greg was the one she wanted the most, she looked incredibly fickle switching her affection to whoever was still available. Most people have not been in her situation, so it is tough to judge.

Lizzie Bennet said a lot of mean things, but she was a strong female character because she was able to learn from her mistakes and grow as a person without compromising her core values. She was in love with Darcy for his character and integrity. He was courageous, generous, and compassionate - his appearance, his wealth and his status were least important to her. He proved his love for Lizzie by his selfless acts of kindness to her family even after she accused him of being a pompous ass.

Greg staying out of the way to honor Katie's decision and let her be happy with Blake is an act of love. Him working on himself in therapy is another way to prove the love he had for her was real. Only Katie knows the inner conflict she's been facing. If she truly loved Blake, resolving her conflict with Greg will help her and Blake in the long run - otherwise their relationship will be haunted by the past. If life with Greg was always her true heart's desire, love will find a way even in the most impossible circumstances.

It really is not fair to compare real human beings to fictional characters - especially the exceptionally (maybe unrealistically) strong characters written by Jane Austen. I am just sharing my thoughts before I watch the 2005 Pride and Prejudice movie for the hundredth time. I just want the satisfying ending I could not get from watching reality TV before I move on to my next obsession.

[quazartranslates]

Welcome to the Nightmare Game - CH87

**This is an edited machine translation. For more information, please [click here]**

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Chapter 87: Castle Cry (XIV)

"I should say 'I'm sorry' to you, but I don't think you want to hear such boring words of comfort," Su He took a sip of black tea, put down the beautiful white porcelain teacup and said.

Qi Leren propped up his side face and looked at the boundless blue sky outside the tower, making a muffled sound.

"Actually... I don't quite understand." Su He's voice called back Qi Leren's attention. He frowned slightly and showed a puzzled expression. "In my opinion, there is no essential difference between men and women. They are both human beings, and their spirits are intertwined. All attractive characteristics and all beautiful characters will not be different because the other party is male or female."

Su He smiled, looked Qi Leren in the eyes, and said seriously: "If I would fall in love with you as a woman, I would definitely fall in love with you as a man, because you have the same soul, which is unchanged by gender differences."

The speed of Su He's was slow and his voice was gentle, and his gaze even gave Qi Leren the illusion that he was special to Su He. This kind of thought made him a little uneasy. He immediately expressed an objection: "It’s still different... There’s a natural attraction between men and women. Even if they don't like it, they can't help but pay special attention..."

"Are you trying to talk about sexual attraction?" Su He asked with a smile.

"Ah?" Qi Leren is a bit stunned.

Su He put his chin in his hand, looking at him leisurely with an unfathomable smile: "It depends on skill. All kinds of... skills. "

Qi Leren felt that he seemed to understand something that he would rather not. He coughed twice: "We’re going too far."

"Ah, because the speed that time flows in the field is very different from the outside world, before I knew it I forgot that we’re still in the task. It really is a pleasure to chat with you... Let's get down to business." Su He sat up straight, put his hands on the table, and asked solemnly, "Do you want to get rid of that thing behind your neck?"

Get rid of the seed of slaughter? Qi Leren raised his head in astonishment and stared at Su He. At that time, he seemed not to understand.

"You heard me right. As I said before, I’ve done some research on the power of demons. I guess the demon mark on you should be a seed of slaughter. This thing can really enhance people's combat effectiveness in a short time, but it will gradually erode the person's reason. You’ll find it more and more difficult to control it until one day... you completely become its slave."

Warm sun fell on the tower. They were on the terrace under a circular dome supported by four pillars at the top of the tower. Airy flowed in from all sides, with a fence that was only half the height of a person surrounding the terrace. The Village of Dawn in Su He’s field was sunny and breezy, but Qi Leren’s mood was indescribably heavy.

He wanted to say yes without hesitation, so that he could immediately get rid of this dangerous ticking time bomb, but he still remembered his contract with the Court. Did he want to break the contract? Should he do this?

"How do I get rid of it?" Qi Leren asked with a hard expression.

"It's a bit complicated, and you need to go to a place far away. If you like, I’ll take you there after this task is over. I'm afraid you won’t be able to go back to the Village of Dusk for a while." Su He's proposal was incredibly tempting. "There are still many unknown places in the Nightmare World. There are all kinds of wonderful things. Naturally, there are ways to remove the Devil’s mark... I can't be 100% sure, but still 70% to 80%. Even if you don't succeed, I will help you think of other ways. In short, I won't watch you go to a dead end."

-I won't watch you go to a dead end. Qi Leren's heart cramped painfully, and his eyes were a little wet. He didn't tell anyone about it, and he didn't dare to tell others how isolated he had been, constantly injured, constantly dying, resigned to his fate, with the road ahead uncertain. No one could share his pressure, not only about his own life and death, but even about the fate of this Nightmare Game.

He was afraid that he would suddenly die one day and never be able to revive again, and then this heavy secret would be buried with him in this world, together with the hope of redemption that no one knew.

For a moment, he wanted to tell Su He everything and tell him the secret of the Nightmare Game. He was much better than him. Maybe he had a way to solve it easily and could save the world.

But when his lips moved, the bloody words in the drawer reappeared in his mind - keep the secret. He choked on the words that had come to his lips, swallowing them back.

Qi Leren closed his eyes for a long time. He said in a hoarse voice, "Thank you. But... I'm sorry, but I'm afraid I have to disappoint your kindness."

He had to refuse. If he didn't refuse, sooner or later he wouldn’t be able to help himself from telling everything.

There was an inaudible sigh from the wind: "Is that so? I see."

"I’m really sorry," Qi Leren apologized again.

Su He shook his head. "I know you must have your reasons. If you need my help one day, you can contact me and I’ll help you find a way."

Qi Leren nodded silently, and his inner doubts came up again: "But why..."

Why help him?

Su He's calm expression finally revealed a faint confusion and melancholy: "I don't know. People are always faced with many choices in their life. Sometimes, you don't even know why you do something. Just like this time, I understand why I came here, and the system won't make the same mistake twice. Suppose the last time it was because the killer disturbed the order of the Novice Village, what about this time? Why is that this time, the system issued a false alarm?"

Qi Leren's nerves suddenly tightened, and cold sweat flowed down his back. How could he forget? Su He didn't appear here to catch up with him! Under the gentle appearance, his keen observation has already seen through him. How many things had he found?

"I..." Qi Leren tried to say something, but Su He gently put his index finger on his lips and stopped what he had not yet said.

"Don't say it." Su He and said.

"But why..." Qi Leren really doesn't understand Su He.

"Don't ask either." Su He added.

“……”

"When I make a choice at this moment, it is not your own business. For now it's our secret, but if you say it now, I can't help you keep it a secret. Don't ask me why, I’ve said many times that people will always make choices they don't understand." Su He smiled wryly. "But now that you have made a choice, never regret it."

Qi Leren's heart was stuck in panic, and the impulse to talk about everything reappeared, but he still couldn't say it.

Keep your promises and keep your secrets, even if you have to lie.

"I... I still have some questions... About this task, there seems to be something involving devil worship." Qi Leren forced himself to divert his attention and took the time to ask Su He, who had done a lot of research on it.

Su He listened carefully to what he said. Even if the two had just had a regrettable conversation, even if his kindness had been rejected, his tolerance and self-cultivation made him show no negative emotions, and he was as calm as ever.

It was not until Qi Leren finished telling the story of his battle with the crazy lady and how he’d lost control of the seed of slaughter to kill her that Su He said: "Before, Dr. Lu also told me about the task this time. You’ve found something very interesting."

"What do you mean?"

"In the past few years, many players have found that demon power has appeared in copy worlds outside the main world, but it’s not clear why the demons in the main world interfere with the copy worlds. Even though its existence has become very common, the system will not report errors on these contaminated copies, nor will it purify the copies. There will be some unusual changes in these polluted copy worlds, at least in terms of difficulty, so many players have encountered copies that exceed their own strength, causing accidental death," Su He explained.

"..." Well, it seemed that it wasn’t all his lucky value that made this D difficulty so difficult. Qi Leren felt a little relieved.

"But you still made a lot of mistakes during the boss fight, otherwise you could have solved this crazy lady more simply. Of course, it’s also possible that I’m looking at the problem from your narrative point of view, but I’m caught in a misunderstanding." Su He smiled apologetically and seemed a little embarrassed to point out his mistakes. "Do you want to hear it?"

"Of course!" Qi Leren said without thinking.

"The first one is about the haunting shadows. They appeared for the first time when you were climbing down with your mobile phone for lighting, and for the second time after the candles in the basement came on, but after your explosion caused most of the candles to go out and you were in the dark, they disappeared. The third time was after the crazy lady howled when the extinguished candles came on again, but at this time the shadows couldn’t hurt you, who was controlled by the seed of slaughter. Obviously, these shadows appear because of the appearance of a light source, so the light source you carry should not face yourself and it is better to extinguish them, including those candles. Considering that this is a two-person copy, the two players should cooperate with each other, but you were alone, which made the situation you faced in isolation even more dangerous. This was the first mistake. " Su He calmly said his analysis.

Qi Leren suffered a wake up call. Yes, the shadows that scared him were not difficult to deal with, but he couldn't think this kind of problem through calmly in such a time of crisis.

"Second, when you were against Mrs Crazy, you completely adopted the method of confrontation, but do you remember? You said that at first she held a doll and put it carefully on the rocking chair. After defeating the crazy lady, you grabbed the doll. It seemed to be a reactive living thing. I'm afraid this doll is not simple, because it’s linked to the clue of the crazy lady's miscarriage. This doll should be her weakness. If you went straight to the doll at the beginning and killed it, maybe the battle would have ended sooner. The other is the devil sacrifice. I think these things are not just to reveal the truth of that year to the players, but to have an impact on the boss, but you didn't bring one. All of them were left with Dr. Lu."

Qi Leren nodded solemnly.

"The last point is not a mistake with the boss fight," Su He suddenly laughed, and his beautiful eyebrows were gentle in the glow. "You unexpectedly hit the wall and forced yourself to wake up from the seed’s control."

Qi Leren touched his forehead and smiled bitterly: "I couldn't help it..."

"But I think you still had a choice," Su He laughed.

"What?" Qi Leren's voice just fell, and an idea flashed in his brain.

"I remember you saved the file before being controlled by the seed of slaughter. If the save time allowed..." Su He's voice dropped and finally turned into a faint sigh. "I'm not sure about the principle of your skills, but it's possible that the seed of slaughter would be 'degraded' back to the save state at that moment because of your loading of the file. For you now, one less outbreak means that you can live longer. Whether loading the file or the seed’s effects are more harmful, you can judge it yourself."

Qi Leren opened his mouth, but couldn’t say if it was in surprise or helplessness. He still had to rely on the S/L skill to survive. Su He's guess should be correct. If he deliberately activated the seed of slaughter after saving, and then committed suicide to load the file, then with his death the seed of slaughter should also return to its state at the point of the save, but the premise was that he had to grasp the short moment of clarity, otherwise he would fall under the control of the seed.

Su He stood up, walked slowly behind him, and said gently, "Look down and let me have a look at it."

Qi Leren lowered his head. The back collar of his clothes was gently pulled open, and cool air poured down his neck, which made him shiver. Su He's finger touched it in the place where it stung from time to time. It was a little cold and itchy.

"The spread of the seed is usually through specific ceremonies, but I believe that you wouldn’t turn into a worshipper of Slaughter, so was it an accidental infection?" Su He asked, standing behind him.

"Hmm." Qi Leren talked simply about the accident on the spaceship.

"In such a short period of time, its growth rate has exceeded the normal level," Su He sighed, adjusted his open collar for him, and then returned to his seat. "It's almost time to leave, let's go."

Qi Leren clutched his neck and nodded silently.

In the field, the world of the Village of Dawn began to darken, and in the blink of an eye, they had returned to the castle.

-----

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[xanderwithanx]

Chloe does night-time diary posts on HER tumblr, so I'm going to start doing them here, sometimes. It would be nice if you read it, but, please, don't feel obligated! This is more for me to write.

(I got tired of my normal journal, I guess. It's full of bad poetry anyway. Besides, where's the thrill of losing anonymity in a physical notebook?)

I've basically been asleep and depressed for several days, because I had withdrawal after not being able to get my adhd meds. But, I got it today, and DID THINGS. (This is SO much better than before!)

Today, I went to a small café or restaurant (focused on tea) called Alice's Teacup that was Alice in Wonderland themed! My long-standing obsession with Alice in Wonderland knows no bounds. It was a really cute place. I got pumpkin pancakes, and some really good iced tea. Like... REALLY good iced tea.

Still, it seemed like the entire place was geared towards having a pot of tea and snacks with your friends, which left me a bit lonely. The person I asked couldn't come, and by the time I heard back, I was more than halfway there. Still, I read Rosencrantz and Guildenstern are Dead and watched Monty Python on my phone, so I still had a good time!

I dressed pretty eccentricly and effeminately all day, but, with my facial hair, I was ALWAYS coded as a man, even by people on the street! Pastels, a stupid hat, a crop top, and facial hair was a winning combination.

On my way, I was stopped by some guys soliciting for charity. I don't make a habit of stopping for strangers on the streets of Manhattan. What if it's a scam? What if I'm being pressured to buy something? What if it's a strange political rant? But, I had already taken my earbuds off, I wasn't in a hurry, and I'm terminally polite. The first guy said he liked my energy, which seemed to come from a genuine place, because I liked his too!

They were asking for donations for a breast cancer charity, the United Breast Cancer Foundation. After a discussion, it seems like the charity helps pay medical debt, medical bills, and other practical needs, which is much better than *some* others I could name. I regretted not being able to give their minimum there, as it was pretty high, but told them I'd give what I could when I got on the website.

I... did not. Money is tight, because I'm bad and irresponsible with money, even though this is more than a worthy cause. I didn't NEED to go to that tea place, and I don't NEED to spend so much money on food. Sure, I can justify it: I wanted to go to that place for so long, and it was near the college anyway! But, if I was responsible with money, you KNOW my friends direct fundraising drives would go first, worthy charities second. Still, I feel bad about it.

Then, I went to the college library, to get books to start my thesis research. I have literally been unable to go to the college itself, aside from getting my ID, so this was great! There just wasn't a reason. It was... very empty. I went to the library stacks, which was deathly quiet and deeply haunted by the old books. I half expected something to pop out at me, as I turned the stacks, but I wasn't even paranoid or anxious. It was like I was in something else's house. I was welcome, but on thin ice.

I picked up an irrelevant psychology book on the "schizophrenia problem" from the 1930s, out of morbid fascination, and quickly put it down when it threatened to shatter in my hands.

Some students walked past (which was a suprise in those monastic basement library stacks), and I added something to their conversation, in a totally natural and casual way. But, omg the poor girls, I made them jump! Luckily, I'm the least threatening person on earth, and we laughed it off.

After a lot of hunting, I got 5 out of my 10 books (for the most part)! (The rest are, sadly, online. I like to read physical copies.) Strangely, I only came in with a list to get 3 books out of 6.

Most of the books I got are about art in the AIDS crisis, which is the core of my thesis, I think, all with different value. One about exhibitions, one about the larger narrative of those gay artists, and another contradicting the larger narrative.

I also got a book about "Art and Homosexuality". Just, the parallel construction of both "art" and "homosexuality" across cultures and times, from earliest history to the modern age. It wasn't on my initial list, but I'm really excited to read it.

Finally, I got a book called "The Thief, the Cross and the Wheel", about the pain and spectacle of punishment in Medieval and Renaissance European art. I'm mainly interested in Italian Renaissance art of the crucifixion--and its masochism--for the second quarter of my thesis.

The rest are online, and Should mostly focus on Bacchus in the Italian Renaissance (especially through art) and what I call the art of "gay liberation", concurrent with the AIDS crisis (i.e. The Cockettes). These two topics make up the last half of my thesis.

I'm SO excited to get started!!

I even got to cross the college's sky-bridges! (The college is a few skyscrapers.) Still, the loneliness and novelty were kind of the same thought. Imagine if I had been here before COVID, or, if COVID hadn't happened. Who would I have been able to meet? What would the college buildings mean to me? Because, for now, they're just buildings. But, I got to see the street from above, and that was amazing!

Just walking through New York--the Upper East Side--on a cool, sunny day was beautiful. It takes 20-30 minutes to get from my place to the college (and the tea place), but it was great being able to listen to my music (a lot of They Might Be Giants on the playlist today) and see the city. You know, people, super cool old architecture being pushed out by terrible new architecture, and pigeons.

Oh my god, the pigeons. I took pictures, but none of them are good. I kept thinking about how pigeons and doves are functionally the same. We domesticated pigeons, which is why they're here, and no one is stopping to notice them? Even the ones that were splotched with pure white, like doves? There's only so many pigeons you can take until they're just white noise and a nuisance, I know, so don't think I'm blaming anyone! But it's so hard to look away from these quirky little birds.

Also, at one point my walk, I was vaping very strategicly. The mental task of searching through library stacks will do that to you, when you already have an addiction to nicotine. I made sure no one was around, and no one would be affected. I stopped on a corner next to an old, ornate Catholic church while the traffic light changed, and I almost juuled right next to a priest! I'm glad I stopped. I don't believe in Hell, but, I would have walked down there myself had I vaped at a priest. Still, the church advertised itself as LGBT+ friendly, so maybe they aren't so trigger happy on the damnation. Either way, I DIDN'T vape at a priest today, which is good.

Once I got back, I spent a few hours watching things with my amazing girlfriend Chloe, who you may know here as @cisphobiccommunistopinions. She is so beautiful, and I love her more every day, every time I see her. God, it's almost been 5 years!

I just wish I could spend more time with her. She's in Virginia, and I'm in New York. Like she said to me earlier, I'm flighty at the best of times, and, with my lack of object permanence for the digital world, I find myself not giving her the attention I deserve, or, the full connection I long to have with her. We used to live together. Luckily, someday we will live together again! All these problems won't be forever, and we can live together again.

We watched a lot of things, but we're pretty deep into Serial Experiments Lain right now. It's a postmodern anime from the 90s, and, wow, do I have no idea what's going on in it. It's about the internet, and potentially schizophrenia as well. However, I'm obsessed! One day I'll be able to crack this artistic code, and it's unreality, thematic knots, and double-meanings. I will probably understand it better on the second watch. I don't see myself in Lain, but I see my 14 year old self in her, when I had just developed schizophrenia. Her cyberpunk fate seems like it's railroaded towards tragedy, but I want to save her, even if it's silly and irrational.

I told Chloe that I was scared about spilling apple cider on my library books, and she referred to it as "The Great Apple Juice Disaster of September 11, 2021." To which I said that it was the second worst thing to happen in New York on that date. It was funnier if you were there, and also were in my brain at the time.

Anyway, tomorrow I'm meeting some online acquaintances from the college's "Queer Srudent Union" at a Japanese Culture Fair in a park. (I do not know which park.) It emphasizes "fun"! I don't know them very well, but they're friends with the one person I know irl, so it should be good.

Tomorrow night, I should Probably head downtown to check out a gallery show by MFA (masters of fine arts) students at Hunter! After all, I was in a group project with one of them, and they're absolutely brilliant. I missed the Thursday gallery opening by a landslide, because of the aforementioned lack of adhd meds and Being Asleep, which I infinitely regret. I could have listened to all the artists and curators talk about their art and exhibition! Maybe I could have even talked with the artists and curators. But, it's best for me to go sooner, rather than later, so I don't forget. And, I REALLY want to go.

It's "This dialogue which happened to be present in all other dialogues" at the Alyssa Davis Gallery. From the email I got, "Each of these works observes a threshold of transition. [...] [These] intimations [are] of a frame of mind shared by the artists. These works perform, record, access, engage, document, and entrap, embalming the viewer within the gallery space."

sgp is a really good artist, by the way. Their work is just next-level. Be sure to check out their art, if you have a chance. Let me link their portfolio: https://saragracepowell.com/

(I highly suspect spg and the other member of my group project ghosted me afterwards, but I understand. I was really in over my head. Still, they're both really sweet and kind people, don't get it twisted!)

I ALSO really want to see The Cake Boys. They're performing at the 3 Dollar Bill in Brooklyn on September 26th. (It's only $15!) They're the only all drag king collective in NYC! (Are... there any Other all drag king collectives out there?) Other than the fact that a lot of them are trans or nonbinary, which I love, this show is a totally non-judgmental competition for over 40 drag kings! I've heard their shows are hilarious and unique.

I just have to wait until I have $15 to spare. I... didn't eat dinner tonight, because I'm irresponsible with my money and don't want to ask my parents for money... again. Don't worry, it's literally fine, and I don't make a habit of doing this!

Which reminds me! For my birthday, my parents gave me a gift card to Lush! I'm definitely going to Lush tomorrow, which will be great. I would describe my personality as "Lush store employee acosting you about a bath bomb demonstration", so I'll fit right in.

I also made a transition timeline, to show how much I've changed on testosterone. For the better, I hope! I really believe I'm becoming, if not Have Become, the man I was always meant to be. It's so strange to look back at who I was not too long ago, and to know the absolute pain I was in. It's also strange, in a good way, to see the man looking back at me in the selfies. I'm so much happier now! Much more candid in my pictures, at least. But, I know that I'm so much more comfortable as myself than I was even 6 months ago. It's strange. Sometimes I think to myself, "I don't pass yet; I'm not who I Need To Be yet." Then, I look at my selfie from today, and... I'm THERE. My mind just hasn't caught up with my amazing, natural, normal reality.

The end. I have to get ready for bed, (even though I could be partying on a Saturday night in the city. I'm lame.) If you actually read this, I am kissing you on the mouth right now. I hope it made you calm down tonight, like a terrible bedtime story. If you didn't read it and just skipped to the end, don't worry: you did the rational thing.

[shemakesmusic-uk]

Wallice has shared her subversive new single 'Hey Michael'. 'Hey Michael' amplifies her blood-thirsty nature, a revenge anthem that finds Wallice turning into a worse villain than her erstwhile love interest. A song about toxic tendencies and how they manifest in our lives, 'Hey Michael' twists and turns around American Psycho imagery. Wallice labels "a revenge anthem for anyone who has encountered a gaslighting, manipulative person. It’s what I wish I would have said to all the ‘Michael’s’ I have met in my life. It can be substituted by many names, we all know or have met a ‘Michael’ though. Somehow the world revolves around them and they just can’t catch a break, because they never do anything wrong and it’s usually your fault. You should have listened to your gut instinct and swiped left on this Michael. This isn’t a man-hating song, it’s just something many people can relate to. Sometimes it’s embarrassing to admit just how bad a friend, date, or romantic partner was and a lot of the time, I would just smile and laugh off stupid remarks but when I think back, I wish I had told them off. But at the same time, my persona in the song is not the best person either. I literally say: I think I want to start a fight, which one is your girlfriend? The whole song is funny because I am so focused on how shitty Michael is that I don’t even think about how shitty I might be as well." Directed by Phil Stillwell, the video takes place at a house party, with Wallice interacting with various 'Michaels' before her behaviour spirals into something much, much worse. [via Clash]

In the same vein as Massive Attack’s suburban groove and social commentary in the mid 90’s, KITA have captured the rhythm and heartbeat of suburban Pōneke; a city abuzz with a vibrant music and dramatic performance scene in their brand new track and official video, ‘Private Lives’. Weaving together elements of vintage rock, pop and soul, and warm hints of synth, KITA have created a skin-prickling piece of magic with ‘Private Lives’, a deeply beautiful track penned in 2020’s lockdown, that delves into the unknown of what happens when the blinds are shut – the parts of life that are unseen by others. "Standing from my kitchen window during lockdown in Aotearoa, sinister thoughts entered my mind about what could be happening behind closed doors for people”, says front-woman Nikita 雅涵 Tu- Bryant. The video tells the story of a father and daughter’s relationship amongst snapshots of everyday life and its monotonous anonymity, while things aren’t always what they appear on the surface. Late at night the father can finally reveal his true self, adorning makeup and sequins, only to be spied by his daughter. The two then share a special moment of dressing up and dancing together, a true celebration of individuality, self-love and the beauty of self-expression.

'Just Chemistry' is the third single from Dance Lessons, a London-based, female-fronted and produced trio, creating what they define as Serrated Pop. 'Just Chemistry' is a delicate hymn to the unspoken. Dance Lessons return with their signature sound – minimal production, sleek vocals and intricate arrangements. Ann says: “'Just Chemistry' is about the over-complication of our relationships. It’s about the things that are left unsaid in-between the awkward text messages and conversations, and how the absence of knowing can be misinterpreted as doubt. Last year was a difficult one. For a long time, I felt at the mercy of my emotions. I doubted where things were going. I lived in the future and found it hard to commit to the present. But these moments of not knowing can be equally thrilling and beautiful. And that’s what the song is about: finding beauty in the unspoken. In most cases, it’s chemistry that makes us fall in love. Things end, all is temporary. Let’s not go to war with one another over it.” Nat says on the video: “A friend told us about this weird and wonderful house in North London that feels a little like stepping into an acid trip. We obviously wanted to check it out. It’s completely surreal, all over the place (in a great way) and generally eclectic, which felt inherently us. We instantly wanted to do something there and asked the owner for permission to shoot a music video. We filmed during lockdown and were let loose embracing all the oddness of it. Ann also designed and created the outfit she wears in the video, something she does with most of her wardrobe. It was shot, directed and edited by our hugely talented friends Ben Hanson and Simon Frost from Borderland Studios.”

Returning with her first offering of the year, North London’s rising star Laurel Smith is ready to reveal her anticipated new single, ‘Out the Cage’ accompanied by an action packed and thrilling cinematic style music video directed by Jeremie Brivet and Jai Garcha. Sticking to her winning recipe of moody, dark, electro-pop production paired with effortlessly edgy tales of narrative lyricism, ‘Out the Cage’ is the next huge single from the young, innovative artist that is sure to follow the same trajectory of success as its predecessor, ‘Game Over’ released late last year. A songwriter and recording artist, Laurel Smith has been writing songs since the age of sixteen. With each single she’s released, Laurel has continued to adapt her sound and aesthetic, consistently honing her craft and evolving her brand. She has carefully carved out her place in an ever crowded industry and proceeds to turn heads at every corner. “‘Out The Cage’ is a song about breaking out from your constraints, both physical and mental. Although it can be interpreted in any way, when I wrote it I created a story around a bored housewife, falling out of love with her husband, she fantasises about tying him up and leaving him to be a badass assassin in a video game type world, roaming the city at night and living a life of unpredictability and excitement”.

Hailing from the Philippines, singer-songwriter Laica is coming off a breakout 2020. Now the 21-year-old is gearing up for the release of her debut album I’m so fine at being lonely. The first single off the project, 'love u lately' is here, accompanied by a music video directed by Cooper Leith. 'Love u lately' is a relatable and infectious track. The song revolves around dating, understanding mixed signals, and the confusion that surrounds that world. Lyrically, Laica walks us through her experiences here, voicing her thoughts and frustrations about someone who she just can't seem to read right. Production-wise, the track is carried by a pulsing synth and a groovy bass. Together, the track feels upbeat. The vibe created by the production stands in contrast with the more emotional lyrics, making the track complex and interesting. The music video takes the concept of 'love u lately' to the extreme, in a fun and playful way. Laica is seen capturing her dream boy and attempting to use witchcraft to finally win him over. The video has a very DIY feel, which could serve to add to the reliability of the track. It’s a great extension of the track and taps into everyone’s most fantasy-driven realities. [via Earmilk]

At first, Emily C Browning wasn't sure what to think. Spurned, rejected, and cast aside, she was angry, furious, and - at times - utterly bereft. Usually she'd utilise songwriting as a vessel for her emotions, but when she was so conflicted, and feeling so negative, that it just didn't enter her mind. The Christchurch, New Zealand artist needed to take a step back, and when she located some perspective, she was ready to act. New single 'I Wasn't Into You Anyway' is a soaring slice of revenge, one that finds Emily C Browning taking full control of her music. Her first solo production credit, its reminiscent of those surging, empowering Maggie Rogers bops, while also containing similar DNA to Sharon Van Etten's work. Lyrically, it's absolutely her own creation, with Emily leaning on those often-hidden feelings. She comments... "Everyday for a month I wrote in my journal: I want to write a song about feeling rejected. But I couldn’t figure out how to keep it light and funny, it can be quite a painful topic and I didn’t want to sound too heavy. But I kept working on it everyday and came up with this song. I then spent another month recording it, trying to capture a sound that stayed upbeat and playful. I put so much time and energy into the song that I ended up completely forgetting about the person who rejected me in the first place (honest, I swear)." [via Clash]

Alt-pop force Holly Humberstone returns with new single 'Haunted House'. The songwriter's potent debut EP Falling Asleep At The Wheel was a sensation, racking up more than 100 million global streams. A bona fide phenomenon, Holly returns with a single that displays a more nuanced, reflective side to her work. 'Haunted House' digs into childhood, and looks at the way memory can frame the way we construct our identities. She comments: "I wrote this song about the old and characterful house I grew up in. The house is such a huge part of who I am and our family. With my sisters and I moving out and living separate lives, coming home feels very comforting and one of the only things keeping us all connected." Playing with concrete imagery and no small degree of invention, 'Haunted House' connects art to life in an enchanting fashion. She adds: "The house is almost falling down around us now though, and we’ve realised that pretty soon we’ll be forced to leave. There’s a cellar full of meat hooks and a climate so damp mushrooms grow out of the walls. Loads of people have probably died here in the past but I’ve always felt really safe. It’s like a seventh family member. It’s part of me." [via Clash]

In 2019, the Boston-born and Brooklyn-based indie rock album Crumb released their debut album Jinx. Crumb haven’t yet announced plans to follow that album up, but they’re definitely working towards something. Last month, the band came out with a one-off single called 'Trophy.' Now, they’ve followed that one with two new tracks, and they’re both winners. The new songs 'BNR' and 'Balloon' both fit nicely into Crumb’s comfort zone. The band’s sound is a rich, sophisticated take on psychedelia, with blissed-out lead vocals from Lila Ramani and with some great funky drum action. The band co-produced both songs with Foxygen’s Jonathan Rado, who’s done great recent work with people like Father John Misty and Weyes Blood and the Killers and who knows how to make oblique ’70s-style pop sound good. But Crumb themselves deserve a ton of credit for coming up with a sound this layered and weird. They’re the rare circa-2021 band who might remind you of Broadcast. In a press release, Ramani says, “‘BNR’ is an ode to my favorite colors. I had a weird obsession with those colors in winter 2018-2019 and felt like they would follow me around everywhere I went." 'BNR' also has a cool music video. Director Joe Mischo starts the clip off as a hallucinatory reverie, but he turns it sharply towards horror at the end. [via Stereogum]

Last year, Limerick poet/musician Sinead O’Brien released her debut EP, Drowning In Blessings. It was a unique work, a handful of songs featuring O’Brien’s sing-speak over spindly, post-punk guitars. It garnered O’Brien a bit of buzz overseas, and it left you wondering where she might take her music from there. Now, O’Brien’s back with a new song called 'Kid Stuff.' “‘Kid Stuff’ shows up all different tones on different days,” O’Brien said in a statement. “There’s something alive in it which cannot be caught or told. It is direct but complex; it contains chapters. This feels like our purest and most succinct expression yet.” Like Drowning In Blessings, 'Kid Stuff' found O’Brien working with Speedy Wunderground mastermind Dan Carey. Musically, it hints at a level up moment for O’Brien. There was something alluring and jagged about Drowning In Blessings, but 'Kid Stuff' places her usual approach over a song that is surprisingly groovy — maybe even a little danceable. It comes with a video directed by Saskia Dixie. [via Stereogum]

Das Beat are made up of German actress and vocalist Eddie Rabenberger and Agor of Blue Hawaii. The pair have just shared their first single 'Bubble' online now and are set to release their debut EP Identität on June 4 via Arbutus Records. Born in Berlin during 2020’s legendary lockdown, Das Beat seeks to blast both boredom and boundary. Dabbling in German New Wave, Italo Disco, Indie & Dance, their sound is unified by vocals from Eddie Rabenberger, sung in German and English. Amidst playful lyrics one finds a strong underlying pulse (das “beat”), pinning down the duo’s meandering atmospherics, dreamy synths, guitars and percussion. The duo is half-Canadian and half-German. Agor (of Blue Hawaii), moved to Berlin from Montreal in 2018. Eddie is a theatre actress originally hailing from a small town in Bavaria. Together they find a strange but alluring symbiosis - like Giorgio Moroder meets Nico, or Gina X Performance meets The Prodigy.

St. Vincent has fully embraced the ’70s aesthetic for her retro-sounding new record, Daddy’s Home. Now, she’s diving headlong into the animation styles of the era with the video for 'The Melting of the Sun'. Presented as a “betamax deluxe release” rip from “Candy’s Music Video Archives,” the clip blends live action shots of St. Vincent herself with the wavy, intermittent animation frames any Schoolhouse Rock student is familiar with. The psychedelic lines fit a song called 'The Melting of the Sun' perfectly, as do the drawings of the legends mentioned in the song’s lyrics like Nina Simone, Joni Mitchell, and Tori Amos. St. Vincent co-directed the clip with Bill Benz, while Chris McD provided the animation. [via Consequence]

Bay Area slowcore trio Sour Widows have released a new single, 'Bathroom Stall,' from their forthcoming EP Crossing Over, which they announced last month with its title track. The song’s build-up is subtle and poignant like Sufjan Stevens, but Maia Sinaiko’s evocative, sweeping vocals are one-of-a-kind, and the lyrics are graphic and tragic: “Do you remember it like I do?/ Your lips turned blue I had my fingers in your mouth/ And I couldn’t get them out.” Sinaiko said of the song: "This song is about a relationship I had with someone who struggled with addiction, who very tragically passed away three years ago while we were together. It’s about some moments we shared, and how it feels to walk around carrying that person and those experiences with me while the world stays normal. I wrote the song because I wanted to preserve and document what happened to me. to write out the scary stuff and just let it sit there forever. I think its funny that its called 'Bathroom Stall' and that it has that image in it: the song goes from heavy and dark to ordinary and totally pedestrian in a sentence, which feels absurd. And that’s kind of what it’s like to grieve. That’s kind of what’s hard to explain about grief, how absurd it is. Part of you goes to a different planet and part of you stays walking around like an alien on Earth, going to the bathroom and looking at the moon and shit." [via Stereogum]

As JUNO-nominated singer Kandle Osborne prepares to launch her new project, Set The Fire this spring, she shares the album’s third single, 'Misty Morning.' From being penned on a napkin while abroad to a Vancouver studio, 'Misty Morning' is a sonic journey that echoes soulful vulnerability and an honest reflection of realizing true love. For the video, Kandle reconnects with 'Honey Trap' director, Brandon William Fletcher, to create classic 40s noir-inspired cine-magic, filmed along the Vancouver coastline and within the lush landscape of Stanley Park. Kandle says: “‘Misty Morning’ is my first real love song, captured on a napkin while in Ischia, Italy when I was truly happy. My songwriting usually comes from a place of turmoil and catharsis, but this was simply a snapshot of a perfect, vulnerable moment. In recording it, I wanted to hide behind lush orchestration, but my producer/ best friend Michael Rendall had other ideas. He wanted to strip it down to just piano & a single vocal to take me out of my comfort zone and re-capture the open-hearted feelings I had while writing it. The song and the recording both hold for me a time when I dropped my guard for pure authentic love in spite of all my flaws and failures. In that moment, I felt my true value as a whole person for the first time.”

On 'Vertigo,' Alice Merton’s first single of 2021, the 27-year-old describes the long road from uncertainty back to self-confidence. It emphasizes the unrest that seizes her again and again, the thought: “Why can’t I just let it go?” These contradicting thoughts and emotions that are so familiar to all of us sum up to an overwhelmingly positive effect - 'Vertigo' leaves you empowered rather than anxious: A powerful indie pop arrangement with distorted guitars, plus Alice Merton’s crystal-clear voice. The result is reminiscent of the British Invasion, with no air of self-doubt. With its energetic live qualities, 'Vertigo' feeds an appetite for summer festivals and concerts that will definitely return at some point. Largely responsible for this is the Canadian producer Koz, a multiple Grammy nominee, who has worked with Dua Lipa ('Physical') among others. Here, too, he adds on to what has already made Alice Merton stand out from the crowd in the past - her classic pop appeal - with an uncompromising and indie attitude. This enables Alice to take another big step: She equally encourages a shaken generation and herself that there will be easy summers again. That you can dance again and lie in each other's arms. That it is absolutely fine to have many facets, to not always be clear, and that strength and weakness are not mutually exclusive.

Canadian artist Olivia Lunny's new release 'Sad To See You Happy' is a shamelessly poppy track centering an acutely relatable break-up narrative. The Canadian artist follows up her breakthrough success with a bouncy cut to soundtrack 2021’s long-awaited spring. There's a relatable tale of break-up at the heart of the gloriously poppy new single, belied by percussive instrumentation that creates a warm, nostalgic feel. [via Line Of Best Fit]

After sharing the single last month, Charlotte Adigéry is now revealing the brand new video for ‘Bear With Me (and I’ll stand bare before you)’. The first new music since her 2019 debut EP Zandoli, Charlotte says of the video, “The video is about being confined thus confronted to the way we live. The cruel irony of having the privilege of standing still, questioning and observing my life in all safety while others are fighting for theirs. On the other hand, the video is about trying to stay sane while feeling that the walls are closing in on you. Embracing boredom and finding joy in the little things in life.” Director Alice Kunisue adds, “When I listened to Charlotte’s song and what it meant for her and Bolis, I wanted the video to visually encapsulate that feeling of being stuck inside and confronted to our deeper selves while paradoxically sensing the chaos going on in the outside world without being able to do anything about it. Choosing to film an apartment room from one single angle was a way to reflect that narrowness of thought that we all experienced, but also a constraint that allowed us to explore and develop visual ideas within a narrow system, in a way having to think only inside the box, which artistically was a fun challenge.” [via DIY]

Millie Turner has shared a video for ‘Concrete Tragedy’. It’s a cut from her upcoming mini-album Eye Of The Storm, set for release on May 16, which also features a rework of breakout song ‘(Breathe) Underwater’. “This video is a visual representation of dancing on your own,” she says of the clip. “Combining the many parts of who we are when we’re by ourselves, I wanted it to feel like you’re entering a world of imagination that comes alive when we express ourselves.” [via Dork]

Doja Cat and SZA have come together for a new single called 'Kiss Me More.' When the song was announced Wednesday night, the internet flipped out, which is to be expected with these two — especially Doja Cat, who is regularly going viral these days for all kinds of reasons. When it comes to collaborations, she always finds the best people. That includes Saweetie, who appeared on Doja’s recent 'Best Friend' but then claimed that it was released against her wishes. Given SZA’s long history of public frustration over TDE Records holding back her new album, she is probably happy to have any new music out. Despite recent single 'Good Days' hitting the top 10, her restless fanbase is still awaiting a follow-up to 2017’s iconic Ctrl. 'Kiss Me More' is the first single from Doja’s new album Planet Her, scheduled for release this summer. It returns to the disco vibes of Doja’s #1 hit 'Say So,' this time with no apparent resemblance to any Skylar Spence song. [via Stereogum]