#you probably thought I died

[scribe-of-death]

I know I don’t post very often anyways but I’m going to tell you that I will not be posting for the next few days because I’m having a Bluey marathon.

[shimmershy]

Chara Week Day 5: Ghost

Every time I see that machine in the True Lab, I wonder if it could possibly be Chara's soul in there? Probably unlikely, but not impossible... It's interesting to think about what the implications of that would be.

A version with no text and then a version with just the machine, because I think it looks pretty cool and ominous alone as well.....

[lover-of-mine]

[puppyeared]

Remember how they pointed out that Palistrom wood was becoming rarer? Because Belos kept over harvesting it and not giving it time to grow back?

The University’s tree is blue. Its a big ass Palistrom tree

[carnivalcarriondiscarded]

more laughingstock pleaseee? 💙 💚

Yes Yes Yes i have this very small soft scribble to offer <3

[pocketramblr]

what do you mean sozin didn't have a kid until he was like eighty...

[undertheredhood]

jason accidentally trauma-dumps to this masked vigilante who he’s somehow immediately comfortable trusting while willis todd who is not dead and is very much still alive (but still hasn’t told his only living child yet) is internally screaming “WHAT DID THEY DO TO MY PRECIOUS BABY BOY?!?!?!?”

[feroluce]

For some weird reason, I've always been fascinated by how wildly different Sampo operates in the Underground vs the Overworld.

Sampo is present in both places and even in official sources, he's not really counted as one side or the other- now that the theory has been confirmed in-game, he's generally just lumped in with the Masked Fools.

But there really is a big difference!

Probably the most obvious and well known instance of Sampo's...business practices *cough burglary and fraud COUGH* in the Overworld is from the Belobog Museum event. In it, you don't find out Sampo is the main culprit until near the end, because Pela has to set up a sting just to catch him in the act. And that sting is necessary all because the initial suspect they arrested, Norbert, had pretty much no idea of his partner's identity. Sampo wouldn't even speak to him face-to-face.

And whereas Sampo is normally very pleasant and friendly with the trailblazer...when he thinks he's talking to Norbert here, he straight up says that they are NOT friends. Like he really shuts that shit DOWN.

There's also an Overworld NPC, Chavez, who heads the "Dark Blue Scam Support Group." And he. Really really really does not like Sampo fjkdasjklfdj

Chavez clearly wants Sampo caught, and has literally no positive feelings about him. So. Why call it the Dark Blue Scam? Why not just out him by name? Chavez obviously doesn't give a single shit about Sampo's dignity or privacy. But he never once refers to him as "Sampo," and even the pamphlets he passes out make no mention of it. No one in the entire support group seems to know how to identify him or how to refer to him except by his hair color. If the trailblazer says his name, Chavez reacts as though he's never heard it before.

(I've seen people say this means Sampo Koski is an alias and not his real name? But Ray pointed this out, and honestly I agree; even the Fools call him Sampo, after all. I think it's just that Chavez never knew Sampo's name in the first place, and given his immense distrust, immediately assumes it's an alias.)

And then there's his characters stories, where he proceeds to pull off a heist in the Overworld while in disguise as Brughel Poisson the entire time. Literally his own stories don't mention Sampo's name even once.

So anyway, all this shows that when he's up in the Overworld working cons, Sampo is incredibly slippery and secretive about his identity. The only people who seem to know him are Pela, Serval, and Gepard. He doesn't get close to anyone else, and is even surprisingly unfriendly. Nobody knows his name. No one knows his face. He has zero qualms about backstabbing or double-crossing, and even plans for it in some cases.

Meanwhile, down in the Underground, I'm pretty sure literally the worst thing we hear of him doing is scalping tickets in front of the Fight Club. Which isn't even illegal in a lot of places (although it's certainly a dick move).

In Hook's companion quest, a vagrant miner steals Fersman's equipment and tries to sell it to Sampo. Even before the trailblazer and Hook jump in and out the vagrant as a thief, Sampo hesitates to buy it because it sounds like stolen goods, which he doesn't want any part of.

Even knowing that a geomarrow detector is rare and incredibly valuable in the mines, Sampo makes no attempt to double-cross Hook or profit off of her loss, and even tells her who to go to to get it fixed.

And my favorite example of Sampo in the Underground is the Survival Wisdom adventure mission. In it, Sampo starts up a business with Peak, another miner. And like. In wild contrast to all the cons he pulls above ground, Sampo is actually super nice and helpful here.

Just the same as with Hook's quest, Sampo talks to Peak face-to-face, with no disguises or barriers. When the trailblazer finds them, they're just in the Great Mine, no secretive meeting places. Peak knows Sampo, is familiar with him, and calls him by name. It's not even a con! There's nothing illegal going on; it really is just a business partnership. Peak is more than happy with their deal, he's even pretty enthusiastic about it, because thanks to Sampo he can now make enough money to get by while also accommodating his chronic fatigue.

The only person Sampo lies to in this whole ordeal is the trailblazer, who he manipulates into getting Peak's mining equipment back from the vagrants that stole it in the first place. And when it's done, he rewards them with a legit treasure map.

So when he's working in the Underground, Sampo is MUCH more upright and lawful. Part of this is probably to do with his "business" model- Sampo only takes advantage of the wealthy, and poverty runs rampant in the Underground. When he charges Peak an extra 30% (the same percentage he charges Norbert as a consultation fee in the museum heists- Sampo seems to go by percentage instead of a flat rate, which means his prices are more fair for lower incomes) for carelessly losing their supply, Peak literally starts counting out pocket change.

Dude's working for pennies and good will down there dknsmdmd

And you can twist this into a Robin Hood thing if you want- Sampo IS technically working to feed orphans and heal the sick. He says himself he's more than happy to make up the shortfall between the greedy and the marginalized- I mean he says it in the shadiest way possible, but I doubt the people benefiting from his work really care that he's a slimeball if it means they can survive another day. Even the two heists he pulls in his character stories are literally just him stealing absurd amounts of food.

Personally though I think it is solely because of Natasha, and Sampo is hilariously well-behaved specifically for her, because she keeps him on a short leash JSKZJMSMSKS

[hollypies]

Redrawing/remaking my HLVRAI flowercrown au!! Benrey and Gordon are up first!! (If anyone's curious you can go looking for my old flowercrown au stuff, just be noted its was made four years ago LOL and all the old info is completely irrelevant) click for better quality, tumblr killed it 💀

Up next, Tommy and Gman Coolatta!

In the old version of the plot for this au, it had a lot to do with it being a game and such. However over the years it's changed! No longer a game, instead the Rescas explosion seemed to have had a .. strange affect on Gordon, due to him being right next to it. At least, that's what they all believe at first.

[swan2swan]

There really is something terrifying and yet beautiful about how Darius's love of dinosaurs was quickly surpassed by his love for his friends and found family.

The revelation that as soon as one dinosaur killed one of his fellow campers, he was done with them? After they'd put their trust in him? Whether he was in love with them or not? That was all it took, one death? One loss? And it was Over? Even the keepsake he shared with his father was cast aside, because the thought of loving something that had brought so much harm was too much? Even with all of his knowledge, the weapon that kept his friends alive, that an animal is just doing what an animal does, he still vilified them and pushed all of that aside?

That is such beautiful, terrifying Character Growth.

[skunkes]

[tangledinink]

I’m a bit of a nerd about biology so I do have some potential ideas about how Donnie would know about the kiddos. While regular turtles will nest for all their eggs, fertile or not, donnie doesn’t seem to have that instinct. The unfertilized eggs to him seem to be similar to a human on their period. So when the eggs are fertilized, maybe he does have that nesting instinct. Like he subconsciously knows and gets a severe bout of anxiety about making sure to have a good safe nest for these eggs. There could also be some kind of mystic thing that can be done to confirm his suspicions.

waves arms. biology!

i think both leo and donnie do have some degree of a 'nesting instinct' when they're on their cycle even now, they just don't currently have the chance to answer it. but i guess when they're typically on their cycle it's akin to their instincts gently being like, 'hey, uhm, a little burrow might be nice...' but when there's actually a baby on board, it's more like 'DIG A FUCKING HOLE IN THE GROUND AND GET IN IT, N O W MOTHERFUCKER. WE NEED SOFT BLANKETS AND DARKNESS RIGHT THIS INS T AN T.'

which does probably come with a great deal of anxiety, restlessness, etc. there would also probably be more human-ish symptoms, such as not bleeding (or producing any unfertilized eggs) as expected, morning sickness, and other general hormone fuckiness. and i'm sure that between the forces of science and mystics combined, they could figure out some sort of ninja turtle pregnancy test.

[raiiny-bay]

making something (maybe)

[vampirepunks]

Since Kojima’s been saying that the Death Stranding film is going to tell a story that can only be told through the film medium, I really hope it’s a prequel to the game. There are a lot of background events represented through text and dialogue that wouldn’t translate well to a video game format on their own.

It’d be really cool to see the start of the Stranding, Victor and Igor’s backstory (as seen in the DS novelization), snippets from Sam’s childhood/early years with Bridges, the development and construction of the chiral network, and most of the events described in Higgs’ journals.

Coffin’s decision to leave her family behind, start a terrorist uprising by radicalizing the porters who unknowingly abetted human sacrifices by delivering BBs for the chiral network, and the decision to adopt Higgs as her protégé? That story alone would be worthy of a film.

[rxttenfish]

Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.

[zishuge]

Today I gave myself feels thinking about Fang Duobing, Di Feisheng, and Hulijing moving on and aging in a world without Li Lianhua. A world where Li Lianhua isn't there — but then again, he is there, in Lianhualou, and in the townspeople who flock to it, bearing gifts for the miracle doctor who once saved a life, fixed a roof, exposed a conman, comforted a child. Young Fang Duobing used to want to know every little detail about his hero, Li Xiangyi. Now Fang Duobing wants to know every detail about his beloved friend, Li Lianhua. The years pass and fewer people come. But if they remember him, Li Lianhua lives on.

(long post, half meta, half fic, bittersweet)

They travel together, with Hulijing, in Lianhualou. Fang Duobing has nothing better to do, so he takes up detective work again. Di Feisheng has nothing better to do, so he comes along. Everywhere they go, they look for Li Lianhua. And in their journeys, it seems like everywhere they go, someone is talking about Li Xiangyi. Li Xiangyi, who had always been something of a legend, but ever since his reappearance and subsequent (re)disappearance, has seemingly been elevated into something approaching godhood.

you should've seen him, people say, floating across the rooftops in red, cold and beautiful, like an avenging hero out of some novel. wasn't he dead? no — of course he wasn't, li xiangyi would never have been so easily killed. but it was bicha poison, i heard nobody could survive bicha poison. yes, he was definitely dead, and came back to life through dark magic. no, he'd been alive the whole time, just held captive by di feisheng. he tried to kill his shixiong ten years ago and failed, and came back to finish the job. no, his shixiong tried to kill the emperor and li xiangyi came to stop him. the emperor? impossible. yes — don't you know, li xiangyi is the emperor's long-lost son?

All of it only amuses Di Feisheng, but it irks Fang Duobing. The same Fang Duobing, who, when he was younger, would've hungered for every little detail about Li Xiangyi and begged to hear more, now finds it maddening to listen to these strangers talk about him as if they knew him. The world might have known Li Xiangyi, but it had never known Li Lianhua.

Li Lianhua, who could wield Shaoshi like it was a natural extension of his arm, but regularly cut his fingers clumsily slicing radishes and onions. Li Lianhua, who would invariably try to shrug off an attack of bicha poison, but yelped and jumped back from hot oil splatters in the kitchen like a child. Li Lianhua, who frowned when a passing carriage splashed mud onto his robes, but knelt carelessly into the dirt and grass to play with Hulijing.

None of them knew any of that.

But as Fang Duobing and Di Feisheng continue their travels, they begin to encounter other people as well. People who come running when they see Lianhualou in the distance tottering their way. People who come bearing gifts — a woman looking for the shenyi who had helped her with her back pain and also exposed the con artist who had tried to trick her daughter into marriage. A young man coming to thank the doctor who had given his father herbs for stress while uncovering the corrupt official who had falsely accused him of theft. An elderly couple looking for the young man who had helped them thatch their roof before a rainstorm and had given them some medicinal cream before he left. (One middle-aged man with a club, looking for the wangba quack doctor who had exposed his infidelity to his wife — he had left after one look at Di Feisheng, standing silently in the doorway with his arms folded across his chest and dao strapped across his back.) People who greet Hulijing like an old friend.

Fang Duobing listens eagerly to every story they tell him, and in return, he tells them about his brilliant, kind, exasperating friend. Di Feisheng rolls his eyes every time, but Fang Duobing notices he never walks away either. They don't talk about it. But it’s as if Li Lianhua returns, however briefly, during those visits; in those moments, Fang Duobing can almost see him standing there, bending down to pet Hulijing alongside these old friends as she grins her little doggy grin and wags her tail. She escorts their guests to the door, and sits in the doorway after they leave, looking out at the world as though waiting. He doesn't ask if Di Feisheng can see him too. They sit and share wine after these visits, and eat the fruit that the visitors bring, until Di Feisheng can stand the heavy silence no longer and pushes Fang Duobing outside to spar. Hulijing follows faithfully, as always.

(fang duobing had brought home a puppy, once. he can't remember where he found it, but he remembers that he had held it in his lap in his wheelchair, eager to show it to his uncle before taking it home to his mother. his uncle had glared, and told him that dogs were only useful to guard the house, and tianji manor already had guards, human ones, and that fang duobing would do better to focus on his swordplay rather than waste time on such useless and frivolous things. he had taken the puppy away and fang duobing had never seen it again. it wasn't until those blurry months as he rode across the countryside looking for li lianhua, hulijing trotting along ever so loyally at his side, that he realized this was just another way that shan gudao and li xiangyi were opposites.)

The years pass, and there are fewer and fewer people who come. One day Fang Duobing wakes up with the unbearable realization that he is now older than Li Lianhua had ever been, would ever be, and is unable to get out of bed for a good half a shichen. Di Feisheng leaves him be.

The years pass, and Di Feisheng grows older too. There are lines on his face, snowy white beginning to thread through his jet-black hair. Fang Duobing wants very much to tease him about it, but the words catch in his throat when he looks too closely at the signs of time on Di Feisheng's face. What a precious and altogether rare thing it is, to age.

The years pass, and Hulijing grows older too. Fang Duobing finds that more and more often, Hulijing can no longer keep up with him when he goes riding. He stops going riding. She gets cold more easily now too, and more and more often Fang Duobing wakes in the morning with Hulijing curled up under the covers next to him, her wet nose shoved into his armpit. He holds her close and thinks about Li Lianhua shivering in his arms.

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It's been nearly a year since their last visitor, but today there is an old man. He comes in the morning, bringing a basket of plums. A long time ago, he says, a young man who lived here saved my life. I had been poisoned, he says, by my son who wanted my money and my lands. The doctors said there was no cure. But then the young man came and performed a miracle. He saved my life. He saved my life.

Fang Duobing knows it was no miracle that saved him. He asks for the old man's hand and it is given readily, albeit bemusedly. He presses his fingers to the inside of the man's wrist, and is greeted with a whisper-faint, gentle thrum of yangzhouman — a soft hello from a much-beloved friend. You fool, he thinks dazedly, caught somewhere between overwhelmed that here is someone, inside whom a piece of Li Lianhua lives on, and so bitterly angry. What had it cost? Some hours, days, weeks? He doesn't let himself think of what another week might have afforded them in those wild final days, in their desperate search for a cure. Fang Duobing gives the old man back his hand and blinks back the sting of tears. He cannot talk about Li Lianhua today. He apologizes and tells him that the man he is looking for is traveling and won't be back for a few days, but that Fang-mou will pass on the message. Before he leaves, the man leans down to rub at Hulijing's ear. My old friend, he says, like me, you, too, are truly old now.

After the man leaves, Fang Duobing folds himself into a sit on the floor of Lianhualou and gathers Hulijing into his arms. Gently — her joints are stiff now, and he can't haul her around, can't roughhouse with her the way he used to. Di Feisheng comes down the stairs from where he had been listening; he stands behind Fang Duobing and places a warm, steady hand on his shoulder. At the edge of his vision, near the door, Fang Duobing can see the hazy hem of green robes. If he looks up, he wonders brokenly, what would he see? The face of a man forever frozen in youth? Or a face lined with age, snowy white beginning to thread through jet-black hair? He suddenly finds that he cannot bear to find out.

Fang Duobing knows. He knows that the myth and the outlandish rumors about proud, arrogant, beautiful Li Xiangyi will never die. But he also knows that one day, there will be no one else who comes to Lianhualou; no one left who remembers gentle, sly, infuriating Li Lianhua. One day, the old man will pass on and the piece of Li Lianhua that he carries with him will fade as well. And one day… Fang Duobing presses his forehead against the soft fur of Hulijing's neck where it has gone white and thin with age. He closes his eyes and breathes.

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Years and years and years later, Fang Duobing is awakened from where he has fallen into a light doze reading in his chair by a soft knock on the door. There is a woman standing outside, holding a small basket of pears. I think I remember this building, she says. I must've only been six years old, but I had run off and lost my parents. I fell down in the street and skinned my knees. A kind gege helped me and gave me a piece of candy. He said he would walk me home but I said I didn't know whether I should tell him where I lived. He laughed and asked if it would help if I knew where he lived. He pointed to the most fantastical and wild house I had ever seen. I think it was this place. Xiansheng, does he live here? Who was he? Do you know him?

Fang Duobing smiles and invites her inside. On the bed, the small white dog that Di Feisheng has named, ridiculously, Baigujing, raises her head and thumps her tail a few times in hello. Di Feisheng looks up from where he is writing a letter at the table. Fang Duobing leads the woman over and waves at her to sit down. He sits across from her, ignoring Di Feisheng's eyeroll, and offers her a piece of candy. He always keeps candy around. Fang Duobing smiles once more and says, if you'd like to know — there is so much I would like to tell you.