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septembriseur · 3 years

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I want to come back to this article, which I reblogged a post from (after seeing it reblogged by loads of people on my dash). I recommend reading the article if you haven’t done so. Its central argument revolves around the idea that “modern liberal democracy presents itself as non-ideological beyond ideology,” and that ideology itself is always presented in literature/media as unacceptably violent— villainous. (I would argue that, in fact, any sort of cultural “accretion,” in the sense that culture is perceived as "on top of” and obscuring universalized western ideology, is tolerated only insofar as it is not really taken specifically or seriously. That’s why even characters who are presented as deeply religious (think of Matt Murdock or Rogue One’s Baze and Chirrut) are portrayed as religious in a way that is broad, universal, flexible, and vague.

One issue that the article doesn’t really delve into is that supposedly “ideologue” villains are actually profoundly anideological, except insofar as their ideology is, like, anti- modern liberal democracy’s lack of ideology. A really interesting example of this is in Iron Man: Tony Stark gets held hostage by a group of extremists whose extreme belief is... well... even the MCU wiki seems unable to provide any detail on this beyond “destroying world peace.” The film employs a weird move where it obviously relies on the Afghan setting of the villainous Ten Rings to suggest associations with radical Islamism, yet also provides evidence that the Ten Rings are not Islamists. On the one hand, it provides a sort of generic Western specter of radical Islamists— brown men speaking foreign languages and living in Afghan caves— and on the other hand it coyly removes all potential religious, political, or cultural motivation for their actions. These guys aren’t impoverished tribesmen who’ve been subject to tumultuous centuries of imperial warfare, and they’re not religious extremists living out masculine power fantasies. They’re just a group of dudes who kind of look vaguely Middle Eastern and kind of sound vaguely Middle Eastern (since Arabic and Persian are the languages we hear the most).

Of course, there’s a real-world explanation for this: Marvel wants to be able to tap into that specter of radical Islamism without offending Muslim consumers. But the textual effect is to create a picture of the world in which terrorism in Afghanistan is evacuated of all meaning. Don’t get me wrong: terrorism in Afghanistan is unbelievably destructive and to a large extent nihilistic, in that it benefits no one and spreads only despair and suffering. But at the same time, it arises out of a historical, political, economic, and religious-cultural context, and if you refuse to understand this context, then you will fail to understand why people make the choice to become terrorists (or how to stop them).

That’s the real problem here: the creation of a world in which the only rational choice is modern liberal democracy, and all other choices are nonsensical.

Marvel is a great site at which to explore this, simply because there’s so much of it. (You could also easily look at Star Wars, as MacQuarrie does in that article— why does the First Order want power? New extended universe writers have fleshed this out more in their web of liminally canonical texts, but on screen the answer seems to be, in the words of the also-manifestly-guilty-of-this-and-guilty-in-other-ways Joss Whedon’s Dr. Horrible: “the world is a mess, and I just need to rule it.”)

The Falcon and the Winter Soldier is a wildly characteristic example of this. It has the thankless task of trying to engage with the effects of the canonically almost effect-free (cf Spider-man: Far From Home) blip, and pieces together a weirdly nonsensical storyline in which the blip enable border-free mass migration, which was revoked when the other half of the world’s population reappeared. The plot revolves around a group of super soldier refugees/displaced persons who want to stop borders from being reimposed on the world. Sam Wilson refers to the refugees as “people who have been welcomed into countries that previously kept them out with barb wire,” and indeed it's hard to imagine any version of this narrative in which the “migration” we’re talking about is the migration of Global South nationals to the Global North. There’s a really plausible specter here: the Global North does source its manual and domestic labor from the Global South while, whenever possible, keeping Global South nationals out with barbed wire. It does make sense that the Global North would import laborers and then attempt to deport them when their presence was no longer convenient. That is, in fact, literally what has happened/is happening in the UK to foreign healthcare workers during the pandemic.

However, as in Iron Man, Marvel wants to mobilize a specter while also evacuating it of all meaning. None of the displaced people we see in TFATWS bear any resemblance to real-world displaced persons. In spite of their United Colors of Benetton racial diversity, they display no marks of culture, religion, nationality, or indeed poverty. They even have British and American accents. They are completely neutral in every way.

This matters for several reasons. First of all, it allows the viewer to differentiate between the migrants on-screen— Western-looking, English-speaking, non-religious— with migrants off-screen: [perceived to be] too religious, non-English-speaking, culturally and racially “other.” Secondly (again as with Iron Man), it removes all context from the act of migration. Why did these people become migrants? Uh... because of the blip, I guess? Beyond some vague references to suffering, it’s never addressed. This allows the viewer to completely detach the question of migrants/displacement from any of its structural context. Why do people migrate in the real world? Because their countries have been completely devastated by warfare, often proxy warfare carried out by imperial states. Because climate change has completely devastated the regions where they live, with or without triggering devastating warfare. Because they belong to ethnic, political, and/or religious groups that are being systematically destroyed by state governments. Because colonialism and neoliberal capitalism have completely devastated the economies of the regions where they live. This is why the stakes of migration are high.

If, as the show suggests, people just migrate for various personal reasons that really aren’t that important, then the stakes are not high, and we don’t have to feel bad about the behavior of our governments. This is a huge problem at a time when Denmark is shipping Syrian asylum-seekers back to Syria because it’s apparently fine now, Joe Biden is failing to make good on campaign promises about increasing refugee quotas, the UK is housing asylum seekers in situations that violate human rights law, migrant drownings in the Mediterranean Sea have become a regular feature, and the United States has systematically resisted fulfilling its promises to Iraqis and Afghans who risked their lives working for US forces in exchange for visas.

But, like, above and beyond the specific political issue of migration: what is the Flag Smasher ideology? “One world, one people.” I accept that there might be some viewers (mostly those with no knowledge or experience of immigration) who oppose this on principle, but it seems pretty obviously... good. So the bad part is... that they’re fighting for it? (According to people in my notes, this is Bad.) It’s possible to read this as another example of what the MacQuarrie article discusses: personal violence good, ideological violence bad. However, once again we have an example of an ideology that is not ideological, an ideology that is a specter cleaned out of any possible substance. The nonsensical choice here (the one beside which modern liberal democratic norms are obvious) is the choice to commit violence when there is no urgency that justifies this— none of the urgency that, in fact, exists in the real world, and explains why people regularly sacrifice their lives in desperate attempts to escape their homes.

This is a really good example of how capitalism— a force with no real agency or subject, no evil committee planning its deeds— ends up enacting a project that systematically enforces its ideology. Attempts to render narratives apolitical are themselves profoundly political, even when justified in terms of appeal to the consumer. This is one of the most dangerous aspects of media, IMHO.

#just me sayin stuff honestly #tv: tfatws

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helion-ism · 3 years

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let’s talk about elucien

there are so many reasons why I love elain x lucien and why I think these two would not only be amazing together, but also why they belong together. one of those reasons is lucien’s sassy personality, which we already got a glimpse of in acotar (and that I miss terribly btw), and which is, in my opinion, exactly what elain needs in her life. we’re talking about lucien “your eyes are like stars, and your hair like burnished gold” vanserra. we know he’s got quite a big mouth, that’s how we got to know him, but we also know that mouth is exactly what’s gotten him into trouble before. case in point: the eye incident. lucien doesn’t mince his words and yes, that is one of the reasons why elain really needs to spend some more time with him.

she has been coddled by not only her father, nesta, feyre, but also the entire inner circle, which has allowed her to live her life passively. yes, she killed the king of hybern, and good for her, but she did it because nobody else could have done it at that point in time. ever since the war ended, elain has not actively contributed to any plot matters, whether by choice or because someone else took the choice from her. azriel said in acosf, “there is an innate darkness to the dread trove that elain should not be exposed to.” even amren pointed out that elain is capable of defending herself, but for some reason, nobody let her even though elain said she would try to find it: “then I will find it. I might require some time to … reacquaint myself with my powers, but I could start today.” and yet, by the end of the book, elain’s been barely in it and has not contributed at all. (I know some people claim there’s certain things already happening in the background, but honestly, I’m not satisfied with that development happening off page, so I can’t wait to finally go on her journey and actually see her do stuff)

this moment is crucial:

does it look like she is happy with the way the others treat her? not really. when nesta snapped at her, elain started laughing. that signals relief to me because nesta, the one who has always tried to protect elain the most (nesta baby Ilysm), is the one who suddenly lost her patience. elain needs somebody like lucien, somebody with a big mouth and sassy attitude, who can coax her out of that paralysis she’s been stuck in, a bit like nesta in this scene. additionally, the banter would be top tier. I want another “if I offer you the moon on a string, will you give me a kiss, too?” moment, please. god please. (elain blinks. “and where would you like that kiss?” — and lucien just loses his mind.)

another thing that lives in my head rent free is the fact that lucien has travelled almost everywhere and could introduce elain, who wishes to see more of the world (see: “elain had always wanted to visit the continent to study the tulips and other famed flowers”), to the different courts and the continent. I refuse to accept that we will not get to learn more about the other courts, for my sake, but also for elain’s sake. I want her to see the spring court at least once. I want her to go and see those tulips she’s dreamt of. I want her and lucien to discover the day court as a new home, which brings me to the next point.

elain has been craving sunshine for some time now. there’s several quotes that emphasise her connection to sunshine/light, here are a few of my favourites:

I marveled at it, actually — that those years of poverty hadn‘t stripped away that light from elain.

the suite was filled with sunlight. every curtain shoved back as far as it could go, to let in as much sun as possible. as if any bit of darkness was abhorrent.

she had been always so full of light. perhaps that was why she now kept all the curtains open. to fill the void that existed where all of that light had once been. and now nothing remained.

what can I get you, elain? — sunshine.

elain doesn’t belong into the night court. feyre has found her family there, with rhys and the inner circle. nesta has found (or should I say accepted) cassian and found gwyn and emerie, her chosen sisters. but elain?

elain is somewhere in the background hiding with the twins and tending to gardens of the citizens of velaris. you can’t tell me that is satisfactory to you. she is currently ignoring her seer abilities, and the members of the inner circle are basically encouraging her to do so. the only time she’s been confronted lately was during that conversation with nesta and her reaction was not exactly what any of us readers would have expected, was it? that tells me there’s much more about her we don’t know yet, and I’m convinced we won’t know until she finally leaves and finds her own people, finds herself again and start dealing with everything that happened to her. elain must leave the night court, i.e. the darkness, behind in order to grow.

the same goes to lucien: he’s not at a place where he can just jump into a relationship or mating bond. he’s got so much stuff going on. lucien was forced to abandon his home and his abusive family, his “father” killed the fae he loved in front of his eyes, his best friend is an abusive pos who never appreciated him anyway, and neither has anyone in the night court. lucien is used because of his connections and because of the mating bond that ties him to elain, whether he wanted it or not. feyre knows he would never turn away from elain unless she explicitly wishes him to, and so she and rhys and the others use that to their advantage. it is smart, of course, but at the same time, they also keep important information about his own life from him that could change many, many things. so he’s spending his time with mortals in the human lands — a place where he as a fae really does not belong.

lucien being the heir to the day court, well, to me, it feels like sjm is practically screaming it into our face: how could he find a home in the night court, the literal opposite to the day? darkness vs. light. and what about elain “he’d never once in the two years he’d known her found elain to be plain, but wearing black, no matter how much she claimed to be part of this court … it sucked the life from her” archeron? just looking at the symbolism, not only do the quotes from above indicate that the night court cannot possibly be her home, but also very recent quotes from the latest book. elain is a side character in the night court. and so is lucien. they both need to leave in order to become main characters — and it doesn’t even matter that both are already crucial to the further plot of the series because how can they possibly contribute to it in a place where they are both kept down?

mor said in acofas: “stay out of it. she’s not ready, and neither is he, no matter how many presents he brings.” and “let him figure out where he wants to be. who he wants to be. the same goes with her.” mor’s power is “truth”, whatever that means. but there you have it. they’re not ready to be with each other yet, and that’s okay.

[elain and lucien are also connected not only because of the mating bond, but also because of the plot. lucien must know quite a lot about her and her sisters simply because of all the time he spent with their father. the father who made a bargain with koschei. koschei who put a spell on vassa. lucien is therefore tied to both papa archeron as well as koschei and vassa. elain, we know, is a seer, despite her not using her abilities (or is she, and we simply don’t know?). elain is (obviously) connected to her father, but also to koschei and vassa (remember those visions she had).]

now let’s get to the mating bond stuff, and I need to say this loud and clear: elain has always had and will always have one (1) true mate. there’s no such thing as “false mate” or even multiple mates. there has been no indication whatsoever. lucien is the mate the cauldron had given her when she was born. and elain is the mate the cauldron had given him when he was born. even when she was still human, they already belonged together — tied together by strings of fate. absolutely nothing will change this fact. should elain reject the bond, lucien will remain a part of her life/her soul forever. should lucien reject the bond, elain will remain a part of his life/his soul forever.

when she was still human, lucien had already felt a pull between them and tried to save and protect her from hybern. when elain was already fae, when it came to protecting her, azriel clapped cassian’s shoulder and left (is this the true mate they’re all talking about?). it’s unfair to lucien, elain, AND azriel and this comparison alone is enough to disprove this theory.

the thing is, lucien has been nothing but respectful, kind and caring towards elain. when he arrived in velaris in acowar, he could immediately sense what she needed and said, “she needs fresh air” (vs. the response “we’ll judge what she needs”) and “take her to the sea. take her to some garden. but get her out of this house for an hour or two.” (I’m gonna make another post about this because I have a few thoughts on this)

of course, she doesn’t owe him anything, but elain herself doesn’t wish to be treated like a child, she maybe she should start acting like an adult because although she doesn’t owe lucien an apology or explanation, she has to have a conversation with him, like two responsible adults. there is no way feyre or anyone in the inner circle hasn’t told her that she can reject the bond and move on with her life. but just like her powers, this is another thing she chooses to ignore. I’m not blaming her because I know she has to work through her trauma first and heal, but by the end of the series, she has to acknowledge that at least.

in acosf, elain says “I am not a child to be fought over” when they discuss the dread trove. I wonder what she would say about the fact azriel threatens to challenge lucien to the blood duel because of her? based on literally everything we know about lucien, I can say with certainty that he would not physically fight over elain. if she only had a conversation with him and told him to move on and leave her alone, lucien would do just that. he would leave her alone and try to move on as best as he could (which we know is difficult for males). but he would never act as entitled to her as to demand a blood duel and fight to death. it goes against his principles.

to finish this off, sjm summing up everything I just said:

#elucien #mating bond #mp

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nebraska-is-a-myth · 4 years

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Dream Team - crime AU

Bare with me okay:

I also have an idea to continue this if you want more

Imagine somewhere in the world, a city, so full of corruption and violence and death, riddled with dirt and grime and poverty. A city that's run by no one, full of chaos and crime. Where the rich con the poor into believing they are good people who want them to thrive and work amongst them, when in reality the poor stay poor and the rich stay rich.

The local police force are drowning trying to keep the criminals at bay, robberies and murders left and right, more and more young naïve police officers die on duty every year thinking they can be the one to save the city from the shambles it has become.

Then a new type of chaos comes to town

At first the police think it's the return of the long dormant gang member techno

But then they spot a large spray painted smiley face on the wall in the warehouse of one of the largest drug trafficking rings in the city, every single worker slaughtered

The police think it's a one off when no trace of a new smiley face or even any indication that this mystery murderer exists until a new one is drawn on every single crime scene the police investigate for the next two weeks

Some thought he was a vigilante, a hero in disguise who came to the city to save them, to do what the police never could

That was, until a mysterious man walks into the local police station with a loaded gun ,wearing a white mask that is strangely similar to the ones that have been cropping up all over the city

Some officers actually lower their weapons with the belief that he’s here to turn in another wanted criminal

Oh how wrong they were

He fires without mercy and efficiently, every single shot hits its target

He waits, only for a moment, he stands in the middle of the room, corpses around him and footsteps approaching

He swiftly draws his pistol, taking out 3 of the 4 cameras in the room, and he turns to face the last, a smile drawn on his face

“We haven't formally met. My names Dream”

He talks to the camera like he's performing for it, for the viewers that aren't even watching. He talks with passion and emotion, like he's doing this whole thing to entertain. He continues without pausing, almost as if this whole thing was scripted to give the perfect performance.

“Although, most of you were delusional enough to call me a vigilante. Look, I get it, no hard feelings. But you have to understand, I can't just let this slide. I've got a reputation to uphold here, and I'm clearly not getting the recognition that I deserve!”

He seems like he's filled with genuine anger, he waves his loaded pistol around as he talks with his hands. Good thing everyone else was already dead, he could accidentally shoot someone with the way he aimed it around like it wasn't even there.

“You think these pigs could have taken down those vermin, I accomplished in a week what they haven't been able to do in almost a decade! I should be feared! Not praised for murder! But no, instead I get compared to these disgusting things! And I'm afraid I just can't stay silent anymore. So today I've prepared a little something for you all to enjoy, all with a little help from my pals.”

He knows that nobody's watching, not yet. It would have been easy enough to broadcast the event live, but there were too many risks that higher forms of law enforcement would get involved too quickly. Not that he wouldn't be able to get away from all the hassle, but being interrupted wasn't something the man was fond of. Despite the lack of a current audience, he knew he had to put on the theatrics, he needed a little something to liven up the 10 o'clock news.

He steps back from the overhead camera, and allows another masked man come into frame.

He's dressed in all black, a panda face mask covering the bottom half of his face, revealing his wide eyes, contrasting the covering of dreams mask. And an orange bandana around his hairline, keeping his brown locks out of his line of sight. He also wore a large gun strapped to his back and knife holsters scattered across his frame.

Dream introduces him to the camera as Sapnap, the man who has been killing corrupt businessmen all over the city, leaving a little card with a pandas face at the scene of every crime. He knows everyone knows who he is. He's the reason the rich are so afraid of one another.

Sapnap eyes the camera, twiddling a knife between his fingers. He doesn't say anything, his menacing glare says enough.

Dream laughs to the camera like it's a comedy show, before another man steps into frame, he's not as light footed as sapnap was, not quite as intimidating either. He's dressed in bright colours that don't quite seem to match. He waves at the camera with a big toothy grin and you can see the tiny ceiling camera in the reflection of what appears to be coloured sunglasses. You could most definitely identify him, even with the terrible quality of the camera his features would still stand out enough for officials to figure out who this guy was. But then again, it didn't really seem like these guys were going for stealth.

Dream then takes note of the device the other man was holding and holds it up for the camera to see like he was doing them a favor by letting them get a closer look.

“My good friend George here has made a little device that allows us to control which cameras are on, and which, are completely useless. It's like having our own personal studio isn't that right guys.”

Sapnap doesn't react, just stands there and continues playing with the knife in his hands. But you can see his face creased in ways that look like a smile beneath the mask. Maybe the cold faced killer act is really just that, an act.

George however smiles like dream had just given him a million dollars. He looks manic in the way it reaches his eyes with such pure joy. And he wines with a laugh trying to get the device out of the masked man's hand, telling him to be careful. Dream too smiles and carefully hands back the device to George as if this wasn't a crime scene at all.

Dream suddenly takes note of the furious banging at the metal doors just out of view of the camera and his eyes wander to them for just a moment, almost as if the noise had startled him, even though it had been there all along.

“Oh, I almost forgot.” He reaches behind his back and lifts the larger gun from his shoulders, aiming it at the door on the left, while sapnap finally holsters the knife and aims his loaded gun at the right. Dream then looks back at the camera, a smile still ever present on his masked face. “It can also lock doors. I mean come on guys, it's what you get for building everything on something that can be hacked. Who really needs electric doors anyway, not these guys that's for sure. They're about to be dead in just a second. Come on let's count it down shall we. You ready George.”

George bounces excitedly as dream moves to stand in front of him, gun still aimed at the barricaded officers, he clutches the device in his hands and beams with an ecstatic tone “Ready dream!”

“Sapnap, you ready.”

Sapnap makes a sharp exhale of breath come out his nose, almost as if he was laughing at the statement. Dream takes the small snicker as an affirmative to continue and the masked man starts counting

Five untold secrets

Four already dead

Three fearless killers

Two rival gangs

One dream team

Part 2 , Masterlist

#dream team #dreamwastaken #dream #dreamteam #georgenotfound #sapnap #mcyters #mcyt #crime #let me know if you want more of this #skeppy #badboyhalo #sorry if its bad #tubbo #wilbur soot #dream team smp #dream smp war #youtube #tommyinnit

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yanderecandystore · 4 years

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Rip Tumblr D-do you have any dragon ocs that might kidnap their s/o? Also I know that this is a stupid question but can I call myself Cold anon? ;-;

Hello 🍨 Cold ❄️!! I'm really glad you sent me this request!

The current app that I use for writing is bugging out a lot, so I'm sorry if there are many grammar errors and mistakes here and there.

And uh... Cold? I think I fucked up your ask? I think I got a little too excited and went in a different direction?? If you don't like it I understand, I could always do another one 😳😋

TW/Tags: Guess who is being an emotional ball once again?? Me! Yey! Send help! // look, I'm sorry but, low-key? This is edginess overload lol (medieval bitch times, which by that I mean: dark times with terrible people in it) // deaths // abuse of power // Reader said: eat the rich // non-binary reader just because // cursing // slight plot twist? But, like, bad plot twist // soft dragon boi

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

You curious little thing - [Yandere!Dragon x Reader - Short Fanfiction]:

" Deep in the forest, up in the mountains, legend says that a dragon sleeps deep within the caves. And as the old story goes, gold awaits inside his domain, but only those courageous enough to enter the deep cave and defeat the dragon, would be able to take the creature's treasure.

Many have persuaded the quest of defeating said dragon, yet no one ever came back to tell the story.

And while you sit at the comfort of your small cottage reading about the old tales of the dragon's cave, you can't help but consider the story to be just that, a story. A piece of fiction made to scare the local children away from the mountains, or to enchant those that were easily invested into these types of stories.

It seems like you're one of those that were fascinated by the old tales. Regardless of if you find it true or not. The old tales still hold a mysterious charm that manages to keep you intrigued no matter what age you re-read them.

Tales of the forest spirits protecting their land with mischievous wit, tales of monsters that crawled out of your bed to cause nightmares on the simple minded, tales of mighty dragons who could easily rule the world if they so pleased to.

Yet they didn't. Either because they didn't want to, or maybe they really didn't exist. Who knows, right [Y/N]? Not that you, a simple commoner, would know any better.

Although, from the tales you read, isn't always the common folk the ones to first encounter these things?

It always ends bad, but still.

A commoner would be the first one to be affected by the wrath of such supernatural creatures.

However, as stated before, there is no way of knowing if such a thing is real or not, right? It's been eons since the last time someone even mentioned a dragon's presence in your kingdom, and it's been centuries that the concepts of dragons had fallen into the mythological category.

There hasn't been a single person to mention the beast's names in years. There was no visible way of them being remotely real, right? That sounded absurd.

But of course, like all tales are written, your's seem to have reached the beginning of your own personal adventure when the king mentioned the need of soldiers willing to face the beast inside the cave, who was presumably hibernating throughout this whole time.

And of course, the public had only laughed at this sort of news. You see, your king's authority over the entire land has been dangling by a thin thread. The taxes, the frauds, the imminent wars threatening to occur at any second now, has helped a small portion of people to start questioning if not downright rebelling against him and his reign of terror.

The revolution was rising slowly, yet something needed to push it forward, the straw that broke the camel's back.

"What could it be?" You might be wondering.

How about kidnapping and force recruitment with the help of blackmailing? Specifically targeting the poorest people in the kingdom and taking their family members hostage if they don't comply?

Sounds so evil that you may think it's bullshit right? So inhumane, that the villain of this story might as well be your crazy king, right?

Oh, [Y/N]. You're absolutely right, yet a little bit wrong considering that even if such an evil act sounds absurd, it's absolutely real. It's part of your reality now.

And even if your king is a vile creature of pure hatred and deserves to be fed to the rats, by being a terrible ruler, husband, and father- You were soon about to learn that there are worse, more powerful forces that can easily overpower the insanity of that sad, pathetic evil man.

To your dismay, your family was one of the chosen ones to suffer from this. Because of poverty, you and your father lived in the outskirts of the kingdom. It was perfect for the king and his soldiers, as you and your father lived distant from the main town, if any of you two ever die on the process of going into the beast's cave, or disobey the king's orders, no one would notice if you two were suddenly wiped from the face of the Earth.

And of course, holding hostage just one person was easier than multiple family members. Although your king was absolutely insane if not completely psychotic, you could at least understand how he moved his pieces in this massive game of chess.

I mean, yes, you understand his reasoning. Still doesn't mean he is right.

Soldiers didn't wait too long to show up and try to force your father to go with them. But you didn't take none of that, you wouldn't let your dying father be taken by them.

You screamed, you shout, you let venom spill out of your mouth by each profanity you threw at the soldiers and the king they claimed to serve. It didn't take long before the general noticed that you were one of the rascals forming a rebellion. Well, you didn't really need to be officially part of the revolution, just disagreeing was enough to make the general decide to take you instead of your old father.

You can still remember how he was trying to scream his lungs out, to stop the soldiers somehow.

This was it, right? The day, for you and possibly all these other commoners to die in the name of an asshole. How honoring.

Among you and other miserably unlucky individuals, there were all kinds of different people. From innocent, to criminals. From young to old, from poor to… Well, mildly not as poor. Nobles would never be subjected to this, you know that. All of these individuals were carried away by a carriage. All crammed into one little vehicle, away from the public sight.

After being far enough from the town and now deep within the forest, the soldiers commanded all of you to get out of the carriage as now you'll begin to walk straight to the mountain while carrying… Gold?

"- It's a gift from the king. Survive long enough, and you'll be able to take it with you." The general said, his tone being condescending as ever.

You could…. Technically run away, right now. They haven't really put any restrains in any of you-

"- Over there!" A soldier alerted the general, who looked little surprised by seeing two of your group running away with the gold in hands.

Without hesitation, or even a slight hint of empathy, the general shot both with his crossbow. Their bodies fall flat in the forest ground, with all that gold and jewelry accompanying them. All that gold being wasted and left behind, just like the bodies of the people carrying them.

You felt sick, the need to vomit was surfacing through your stomach. This- This is terrible!? This is so cruel! How can they continue to walk like nothing happened??

God, how did a once prospering kingdom has now fallen in such a low pit?

As you can imagine, the walk was torturous and it felt like it was going forever. Of course, a lot of questions were emerging about the strange situation.

One: how did the king know and was certain that the myth of the dragon was real and that the dragon was awake?

Two: why didn't he call his own army to attend to such issues instead of the common folk being forced to go with his wishes?

Actually, now that you think about it, why are there so few skilled, trained soldiers taking a bunch of people to a cave unprepared?

Carrying a bunch of gold for fucks sake, this stuff is heavy!

If it was truly a gift from the king to your group, then why were you obligated to carry it all the way to the cave? Sounds unreasonable and if anything, absolutely ridiculous. It would only slow your group down, and for what?!

Sounds like a trap to be…. Honest. Wait a minute-

"- Shit!" You whisper to yourself at the sudden realization that you're fucked, which unfortunately, caused a soldier that was near you to hear it.

"- Nothing sir, I just stabbed my foot in a rock." You weren't lying though. This whole walk bullshit your doing has destroyed your low quality sandals, and now you could basically feel the ground stabbing you every time you stept.

The soldier just grunted at you, and as much as you wished to take his sword and shove it up his bum, you couldn't help but go back to your original train of thought before you got interrupted.

You were going straight to death right? You're not supposed to fight a dragon, but rather serve as an offering?? What?!

You can't even speak or alert your fellow companions in any way. The last three people that have spoken without being directed to, were shot in the head.

The realization has sadly come in too late for you to make any plans now, as you forward as your group walk upwards, following the mountain's trail, you find yourself facing not only the entrance to a presumably dangerous cave infested with predators, but also the gates to your inevitable death.

You would now have to think of how to escape the soldiers and their arrows, or how to possibly make your death less painful. Being eaten by a dragon doesn't sound really fun.

When entering the cave you're met with more-

"- Are you fucking kidding me?!" Someone screamed, while easily accepting their death.

You couldn't help but agree with the person. While entering the cave, you're met with a great ravine, going in a spiral fashion deeper into the cave.

In other words, you have not only walked all the way up to a fucking mountain, but you would now need to get down into a creepy cave.

You almost considered asking for some eternal peace before remembering that your father's life was still in line. You just… Don't want to go away like this, you don't want your father to go like this.

And once again your group, that was now a lot shorter due to the amount of deaths along the way, was now following the general once again. Only this time, the soldiers were behind all of you, probably to guarantee no one ran away. Too late for that now anyway, so why even bother?

You didn't realize how you were on the very front of everyone, side by side with the man that was leading you to your doom.

You felt his eyes fall into your form a couple of times, but he never really turned his face to look at you. After a long silence of just a bunch of miserable people stepping closer to a terrible plan that was not well thought-out, he said:

"- You know it already. Right?" His voice was rough and still held the nonchalant tone that was written all over his face. You doubt this man could have ever smiled once in his life.

You almost choked with your own breathing, the nerve of this man! You couldn't help but let out the only thing you have wanted to say this whole time:

"- I hate you." You say as your eyes start to become a little watery. The feeling of desperation was eating you up ever since you entered the carriage, but only now you felt how bad the teeth of despair hurt.

"- I know kid. Me too." He responded, his tone never changed, even while saying that.

You guess he didn't really appreciate his job as much as you thought he did. Yet, you couldn't find in your heart to pity the man, as he was complicit in all of this mess. But I guess, you do hope for this man to find some sort of redemption, either presently or in his after life.

You still think he did a lot of bad things of course, his crimes are probably never gonna be forgiven. But just because of that, it didn't mean he couldn't start to do some good actions now, not for the sake of finding inner forgiveness, but for the sake of others. For the sake of the innocent people being not only met with unfair treatment, but also being ruled by a psychotic tyrant who is a complete imbecile. No wonder the queen and his son were missing for so long, you would probably have run away if you were them too.

When finally coming down, with your feet now hurting like a bitch, you can find some time for yourself to appreciate the beauty of this place.

You know, before you lose your head? To a freaking dragon??

Honestly, you at least hope that the stories you read were true, because holy fuck- Imagine how exhausted your body is from walking for what it feels like an eternity, holding jewelry made with gold, only to find an empty cave?

Then you would be able to go feral kill one or two soldiers before getting your ass beaten. As you don't have enough reason to just do that right now, right?

You expected to be met with disappointment, but what you truly saw while finally getting into the dragon's territory, you were able to not only feel enchanted by the magnitude of these treasure places, but also forget the danger of the situation, as you look around and remember the tales you read.

This is so much better than what you have imagined it to be like. It's… Mesmerising! It 's beautiful! The underground pond, the glowing crystals, the pile of gold, the stolen statues of the great warriors of your kingdom, golden weapons all scattered across the floor, the white feathered looking dragon staring down at you from his nest, that little tea set that is really cute and fragile yet it probably cost way more than your house, your clothes, and all of your furniture all together.

Oh no wait-

"- We came with what you asked for, Artemio." Said the general fast walking his way to be in between you and the beast.

To say you were freaking out would be an understatement. You knew dragons were huge, but you didn't expect it to be so… Huge! You know??

Oh my God, you're dead-

You looked around to see only you, your group of commoners ready to be probably eaten, and the general. And while looking for the soldiers, you noticed them trying to close the opening with a man built gate, created to keep the beast.

But obviously, that gate looks absolutely ridiculous, there is no way this guy couldn't destroy it by simply slapping it. It's quite laughable, yet…

You feel this is not just a coincidence or a bad made joke. You have a feeling they know the gate is essentially useless. It was really old, so, clearly this has been going on from quite some time.

Has… Has your kingdom been doing this for centuries?? Bringing offerings to please the dragon and beg it to sleep for more centuries to come?

"- This is absolute bullshit!" You screamed, not noticing how your heart was racing and your breathing had started to become frantic. You were panicking while coming to terms with the fact that your whole world was collapsing in front of your eyes. Your scream clearly surprised your fellow companions, yet it didn't surprise the dragon or the general.

The dragon had, well, a dragon face, so you have no idea what it was thinking, and the general was still with the same non-expressive face since the beginning of this stupid trip!

"- What?! You have nothing to say?? You brought us here to die, at least say something, you coward!" You were fuming with rage. How can a person like this be so annoying even when he is not saying anything.

He looks at you with an understanding expression, yet you don't think about what it could mean as you reach to one of the many golden weapons spread around across the floor. They were heavy and quite frankly completely useless, yet you still hold into that golden sword like your life depended on it.

And it did, actually.

Have you gone insane or just completely blind with rage and the instinct of survival? You're not sure just yet, but you'll lose your last bit of sanity to stand your ground.

You aren't going down without a fight.

"- Come at me, you big bird!" You yelled, looking kinda epic and kinda goofy at the same time. You probably shouldn't insult a dragon who hasn't decided who he'll first, it may change his appetite.

Before the general could interfere with your foolish behavior, the one and only had spoken:

"- Where exactly is what we had agreed on?" Like in true entitled brat fashion, Artemio asked the general while putting his head in his pawn.

"- We had to eliminate a couple of the troublemakers. In the end some of the gold was left behind in the progress-"

"- No, I mean, where truly is what I asked for? The jewelry is quite frankly ugly, the gold coins don't matter as I already have plenty, and none of these humans look really edible. Or well… Appetising." You could swear a pouty face was appearing in Artemio's face, yet only one thing had taken your attention. That's the reason why they needed so many disposable people? Oh… Wait a minute, did the dragon just call everyone here too ugly to eat?

"- If you can't compromise with your promises, then I think we'll have to change the deal-" Artemio started getting up from his nest, stretching out like a cat.

"- Oh, please no, can't you just-" The general panicked, thinking that the dragon would destroy the village.

"- I want that one." Artemio said. Pointing at you.

"- What?" You looked behind you just in case you were in the way of someone else. No, you weren't.

"- Uhn… What?" Oh look, even the general was confused as you, and well, the entire cast of people that were thrown in this hell hole.

"- Yes, that one holding the spear."

"- Just… That one, or-"

"- Just that one. And I won't get out of the cave for at least a century, I promise!" He sounds and acts like both a child and a cat, preparing himself to pounce on its prey any moment now.

"- ….. Okay then, fair enough. It's your problem now kid." He said, making a motion for all the other captives to follow him. Which they gladly did, because, you know, they aren't the protagonist of the story.

"- What?! You can't leave me here, you bastard!!" You screamed, although subconsciously you already knew his answer.

"- I think I'm just doing that!" He screamed from the other side of the cave, fuckz they really didn't waste no time at all, did they?

Sigh, who are you kidding? If you were one of them, you would have ran away as fast as you could. At least some gave you sympathetic looks before going back to their "freedom".

You heard the heavy gate closing. Well, shit. It's you and him now.

You tried going back into your original threatening stance, but before you could, you saw a glimpse of Artemio coming in at full speed, taking no time to jump at you. This is it [Y/N], send your last prayers to your father and your old life before-

Before he starts licking you... like a dog? What?

He pauses and you tense up, looking up and seeing a dragon powerful enough to destroy villages, looking at you like a precious little gift.

Artemio picks you up and hugs you in an almost bone breaking hug. Confused and frustrated with how the situation was going, you asked:

"- A-Aren't you going to kill me?" Yes, it was a pathetic question, if a dragon isn't killing you, then why ask it to do it??

"- I have been so lonely since the last human that I chose! I usually prefer to have many friends around but all of the other options seemed so boring, you know?" His voice is oddly cheerful and sweet to someone that sees humans as pets, or "friends". So… What is really going on here?

"- I thought you ate people." You said, still frustrated that you were betrayed and lied to through this entire day.

"- Well, I guess I can eat humans-" Says the giant bird-lizard acting like a child trying to lie about doing something wrong- "- But I really don't like doing it, I promise!"

"- I just wanted someone to play with, you know? All the dragons that I know are just so boring and take everything seriously." He huffed in annoyance.

"- Well… Do you-" You started questioning if you really want to to know the answer, but curiosity sure is killing this cat!- "- What happened to the other humans that were here?"

"- Oh, they… Uhn, they died, because of your shirt lifespan and all ya know." He responded.

"- Oh… Then why did the soldiers bring us here saying you were going to eat us?" Why not go full balls in and ask everything, right?

"- It's- Sigh, it's really embarrassing, but I didn't know any other way of how to ask for company down here." He said shyly, which only confirmed your suspicion of this being complete bullshit.

"- And you threaten to burn a whole kingdom just because of that?" You asked.

"- Yes!" He answered with no shame whatsoever. This guy was a dog wearing a dragon costume, you couldn't believe what you were hearing.

"- Sigh, oh my God…"

"- Hey, uhn, what's your name?" Artemio spoke, he thought that he should also ask questions as he wants to be able to enjoy every second with his new pet.

"- It is [Y/N]. And you're Artemio, right?" You can't believe any of this, really. You went from an absolutely terrible life or death situation, to a… Well, you can't even tell what the hell is going on anymore!

"- [Y/N].... [Y/N]! [Y/N], that's such a good name!" The excited dragon repeated your name multiple times before interrupting your peace once again. You can't be mad at him, but-

Come on, you needed some time to accept everything that just went down. You didn't even notice you were on the floor until Artemio was in front of your view again.

"- [Y/N]!" He was so easy to please, that just saying your name was fun to him.

"- Sigh… Hey Artemio." You sighed as there was no way in hell this dragon would leave you to deal with this weird feeling of emptiness arising in your chest.

"- What do you want to do now?" He asked cheerfully, but not completely oblivious to your feelings of being abandoned underground with him by force.

You stayed silent for a second, again, trying to come with terms with this new lifestyle that you were subjected to. You technically could ask Artemio to open the gate, he doesn't seem to have any intention of hurting you. But who knows? He has a different point of view in this whole thing than you do.

Silence was taking over the cave, but not exactly an awkward silence, just… A comforting one.

The water dripped from the ceiling. You felt the ground underneath you shake a little as Artemio followed your "guidance". He decided to lay on his back near you.

He wasn't really doing any self reflection at all, he just wanted to join in with you, yet all he could think is how happy he is to have someone else to spend time with.

You may only see him slightly from the corner of your eyes, yet you still feel a little, strange, by seeing a dragon mimic your ways.

You don't feel nessecerally homesick, but you do miss your father. You absolutely hate the idea of coming back to the kingdom, but… If you could see your father one last time, and probably help him with the gold that is in this place….

Maybe you could even-!.....

"- Artemio."

"- Yes, [Y/N]!*

"- AAH!" He turned himself to meet your face so fast that you whimpered because of his sudden motion.

He was going to check if you were okay, but you stopped him showing that you were fine, just a little spooked.

"- Hey, Artemio-" You said again, as you were still reformulating your question in your head-

"- Do you know how to burn an entire castle?"

🍭꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖♡🍰꒰⑅ᵕ༚ᵕ꒱˖♡🍮꒰⑅ᵕ༚ᵕ꒱˖🍭

#yandere #sheep stuff #yandere oc #sheep's stuff #yandere x reader #yandere oc fanfiction #yandere oc x reader #yandere dragon #yandere dragon x reader #yandere dragon fanfiction #yandere fanfiction #yandere fanfic #yandere monster #yandere monster fanfiction #special delivery request #special delivery fanfictions

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hualianff · 3 years

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Meta AU

Thinking about an AU where roughly half of the human population are born with special abilities. Historically, those who were blessed with such powers–referred to as metahumans, or meta for short–reigned over those who did not. Metahumans resided at the top of social ladders, maintained influential positions in government, ran the most successful corporate businesses, and dominated all aspects of society.

Only within the last three hundred years has there been significant progress in uprooting the hierarchical systems. At least, enough to protect regular humans from enslavement, perpetual poverty, and exposure to meta-against-meta violence. Furthermore, the most recent war involving multiple meta-lead tyrannies wiped out more than three-fourths of the existing metahuman population.

One century later, metas are now the minority among regular humans. Their powers are still seen as dangerous and other-worldly. Horrendous myths and anecdotes have bred skepticism and contempt, but the ludicrous chaos of rampant, uncontrolled beasts have been left behind in history books.

Regardless, the newer generation of metas typically doesn’t go around flaunting their powers in public for the risk of judgment and surveillance. Though they are required to register their abilities as soon as they develop through extensive government documentation. Even something as harmless as distinguishing lies from truths or shapeshifting could be used for corrupt reasons depending on the person.

In general, metas kept to themselves in the shadows.

Twenty-four-year-old HC has been putting up with other peoples�� shit his entire life. First, his shitty parents; his mother who neglected and abandoned him; his father who loathed and abused him. Second, his cursed power which physically manifested where others could see.

HC’s power resides in his unmatching eyes–one black, one red–and relies on eye contact. His left “normal-colored” eye can sift through peoples’ memories pertaining to the questions he asks. His right discolored eye puts people in their worst nightmare or lived experience. Once they beg for mercy, an act of submission, HC can manipulate them into doing whatever he says.

Growing up, before HC came of age where metas exhibited hints of their powers, people couldn’t bear to look at his mismatched eyes—especially his father. HC’s father banked on having a child with a beneficial ability for greedy purposes, but all he saw in his son was a useless, abnormal freak.

In addition to covering a sight that provoked others, HC wrapped his head and right eye in bandages due to his fathers’ beatings because of his “ugly” and “deformed” appearance.

Through his adolescence, HC came to fit the cold and intimidating persona people expected of him. Even if he didn’t feel like a monster, HC forced himself to become one. He endured extensive bullying, rumors like he’s out to gouge out someone’s right eye to replace his own, and avoidance overall from others.

Consequently, HC doesn’t look people in the eye. Not only due to the fact they don’t spare him a second glance but also because he’s aware of just how lethal eye contact can be.

Every day, HC spent hours learning how to control his power by looking at himself in the mirror–which he despised doing. He had to train his emotions, his mental images, and cultivate his energy core in order to wield his power with intention.

After finally having enough, HC stirs up the courage to kill his father at the age of sixteen. He packs up the little belongings that are worth taking with him and the small amount of money his father saved up for drinking and gambling.

HC moves to the big city to make a scarce living. He uses a patch to cover his red eye while he uses his left eye’s power to his advantage, working various jobs and gaining as much knowledge as possible. After two years of fending for his own, HC decides on a whim to apply for university—using his vast amount of street skills and blackmail to get in.

There, HC meets a few people who aren’t turned away by his reputation and actually want to befriend him. They seem to be misfits themselves, so he gradually comes to accept them as...acquaintances.

(HC, HX, YSH, and YY best friends agenda.)

HC was always at the top of his classes, using his learned skill to retain endless facts—which he claims to be his power to hide his true ability. Things seem to be going well until one of his classmates and their group of privileged snobs who come from rich families (definitely got some strings pulled to get into the university) targets HC in his senior year. They manage to rip his eyepatch off in a surprise attack.

HC feels utterly violated, a part of him that he hates so much exposed against his will. The power he worked endlessly to conceal flared beyond his control. He ends up killing every single one of the students who cower under his gaze.

The whole event makes national headlines, the display of raw power rocking the public’s perception of metas for the worse. HC, now considered a huge threat, is promptly sentenced to a facility reserved for S-ranked metas, working to contain his powers.

It’s here that he meets a few other patients sentenced to the same fate as him, including Xie Lian.

XL’s superpower is reading people’s emotions and energy by touch. He has also honed healing abilities through special training he had access to, being born into an elite family. However, if XL puts enough hatred into his touch, he can harm and even kill with one simple pat.

He wears a pair of white, leather gloves at all times.

Unfortunately, when an unexplainable plague broke out that resulted in many deaths and lasting consequences, all answers pointed back to XL, who had been hosting an enormous charity event for his family—directly shaking hands and coming into contact with everyone affected by the plague. XL went through an invasive process of investigation and was also scrutinized by the distraught public.

At this time, XL lost a lot of self-worth about himself as a person with these powers. All the years of training to control them seemed to fly out of the window, and it didn’t feel safe to even go outside to the grocery shop.

In the middle of XL’s sophomore year in university, one year after the outbreak, he admitted himself into the institution that hosts dangerous individuals to protect others from another possible tragedy.

One week in, he is subjected to secret horrific experimentation by the head of the facility himself.

All patients are.

When HC arrives at the facility, XL has already been a patient for ten years.

#tgcf #heaven official's blessing #hualian #hualian au #xie lian #hua cheng #tian guan ci fu #cerdrabbles #I desperately want this to turn into a suicide squad au help #hc pov we love to see it #tsundere-turned xl we love to see it #I suddenly don't know how to write

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rhys-rambles · 3 years

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FIGHT CLUB | 1999

I was introduced to the movie Fight Club around 3 years ago. It wasn’t until recently I’ve become interested in it. So here’s my Fight Club breakdown :) WARNING FOR SPOILERS!!

For those who don’t know, Fight Club is a cult favorite novel that was later adapted into a film released in 1999, directed by David Fincher. Starring Brad Pitt, Edward Norton, and Helena Bonham Carter.

The story of Fight Club revolves around three main characters. It’s told from a first-person perspective by a nameless character that’s commonly called ‘the narrator’, who has a dead-end white-collar job at a major car company and has fallen prey to what he calls the ‘Ikea-nesting instinct’. Dictated by social norms he walks perfectly in line like a docile sheep, which translates into an inauthentic, repetitive and empty life.

He suffers from a bad case of insomnia, which causes him to be neither fully awake, nor fully asleep. Sometimes, he entertains self-destructive thoughts: as he flies around from state to state for his job, he prays for a crash or mid-air collision every time the plane bankes too sharply on takeoff or landing.

During a flight, he meets an eccentric and hypermasculine character named Tyler Durden.

Tyler seems to be the direct opposite of the narrator. He’s a wolf rather than a sheep, disentangled from society, and impervious to social norms. He takes what he wants, without asking, and whenever he pleases. He’s self-sufficient, has no superiors, and doesn’t care about material possessions.

The movie later reveals that Tyler and the narrator are the same person, as Tyler is a product of the narrator’s imagination, that’s probably induced by severe insomnia combined with dissatisfaction with a dull, meaningless existence and a lifetime of repressed urges.

The narrator is addicted to going to support groups for specific illnesses because these give him the opportunity to cry, which seems to be a remedy for his insomnia. The downside of his behavior is that he isn’t genuine; he has no testicular cancer, or blood parasites, yet acts as if he does, so he can reap the benefits of these sessions.

But these benefits come to an end when another non-genuine visitor starts to join the sessions as well. This is a woman named Marla Singer, and her motive for joining these sessions is, and I quote: “It’s cheaper than a movie and there’s free coffee.”

Marla is a self-destructive, chain-smoking fatalist, who’s expecting to die at any moment, but finds it tragic that it never happens. She steals food and clothes for a living and attempts suicide by overdosing Xanax.

Even though the narrator, Tyler, and Marla are totally different personalities, they all live their lives accompanied by a nihilistic undercurrent.

Tyler seems to have figured out what causes this emptiness, and during the course of the story, his solution unfolds. Unfortunately, his character slides from a sage-like father figure to an anarchist terrorist, who’s out to destroy modern civilization. Nevertheless, he exposes a series of harsh realities about modern life that are worth contemplating.

Anti-consumerism

The anti-consumerist stance of Tyler Durden becomes obvious when he verbalizes his concern about the modern way of life. Shortly after the narrator meets Tyler, he discovers that his apartment went up in flames. After this unfortunate event, realizing that he has no friends to call, he calls Tyler. The two meet, and the narrator complains about losing his furniture, and his respectable and almost complete wardrobe. Tyler responds rather indifferently and slightly sarcastically before he begins to express his views on the matter. Quote:

“We’re consumers. We are by-products of a lifestyle obsession. Murder, crime, poverty, these things don’t concern me. What concerns me are celebrity magazines, television with 500 channels, some guy’s name on my underwear. Rogaine, Viagra, Olestra…”

It becomes clear that Tyler has quite an unconventional view of what’s good and bad. Murder, crime, and poverty are generally considered bad things, while consumer goods like televisions, clothing from a certain brand, products that help to hide aging, enhance bedroom performance, and help us with weight loss, are considered preferable.

Tyler has a contempt for the artificial, as opposed to elements that have been a natural part of the human condition, probably as long we exist. This way of thinking touches upon an ancient Cynic philosopher named Diogenes of Sinope, who believed that modern, civilized life hinders our natural state.

At the end of the movie, it appears that the narrator has destroyed his apartment himself when he was taken over by his alter ego, Tyler Durden. This deed was the first step onto the road of detachment from his property, into a more authentic way of life and to (how Tyler puts it): “reject the basic assumptions of civilization, especially the importance of material possessions.”

The narrator moves in with Tyler, who lives in a dilapidated house with ongoing leaks, power failures, and no Ikea furniture. Slowly but surely, the narrator indeed detaches from his previously destroyed property. “Things you own end up owning you,” Tyler tells him. And this simple piece of wisdom probably hits home, when the narrator realizes that he doesn’t need all these worldly goods, and is actually much happier without them.

Non-conformity

Tyler Durden is a non-conformist, and shows, again, similarities with Diogenes, who not only purposefully lived in poverty, but also rejected social norms. For him, social constructs are nothing more than a superficial layer of culture that represses our true nature.

Diogenes lived in a barrel, Tyler lives in an abandoned building. Diogenes urinated in public, Tyler urinates in the soup of a restaurant.

The narrator, on the other hand, seems to be the embodiment of conformity, as he adapts his lifestyle completely to societal expectations. The problem with this behavior is that we dedicate our existence walking the paths that people other than ourselves have laid out for us. This need to conform, the fear of falling by the wayside, this sickly preoccupation by what others think of us, this necessity to keep up with the Joneses: what an exhausting way of life, just to feel ‘accepted’.

So, what if we stop caring? What if we reject the generally accepted norms, and choose our own values, elect our own leaders, determine our own goals, regardless of the social expectations? This is a fundamental difference between the narrator and Tyler Durden, who puts it like this: “I am free in all the ways that you are not.”

Ironically, later on in the story, Project Mayhem, a terrorist organization led by Tyler that grows out of Fight Club, is a textbook example of conformity, as it’s members wear the same clothes, are absolutely equal, abolish their names, and are referred to as space monkeys that sacrifice their lives for a greater cause. We could say that by rejecting one doctrine in order to be ‘non-conformist’, we often imprison ourselves in another one.

Fighting and masculinity

Fighting and the experience of pain play a significant role in Fight Club. At the beginning of the story, Tyler asks the narrator to hit him as hard as he can. He explains his strange wish by saying: “How can you know yourself if you’ve never been in a fight? I don’t want to die without any scars.”

So, the narrator hits him. Tyler hits him back, and the two engage in a fistfight. Both seem to feel surprisingly pleasant afterward and decide to do it again. Their nightly activities on a parking lot attract the attention of other men, that are also interested in joining these non-hostile fistfights. And thus, Fight Club is born.

It’s widely known that voluntary exposure to certain forms of pain makes us stronger in the face of adversity, which could be a legit reason to partake in these fights. As the narrator states: “After fighting everything else in your life got the volume turned down.”

However, Fight Club is more than just a metaphor for dealing with hardship through exposure: a physical fight, and the violence and aggression that goes with it, resonates with the primal part of our being.

Not only the men in the story are attracted to the violence of fighting; Fight Club as a movie and novel was so impactful on its audience, that real-life Fight Clubs started to emerge.

The story shows an experiment in which the members of Fight Club pick fights with random strangers (and are supposed to lose), which isn’t as easy as it sounds; most people do everything to avoid physical conflict.

But Fight Club makes us wonder if it’s a good thing that we’ve lost touch with these primal tendencies. Should we repress this part of human nature? Or, perhaps, integrate it in healthy and constructive ways?

Self-destruction

When the story progresses, Tyler and the narrator begin to see the world through a different lens. Tyler criticizes the modern self-improvement hype by saying: “Self-improvement is masturbation. Now self-destruction… ”

This statement is slightly confusing, as the increasingly destructive nature of Fight Club, in which faces are permanently mutilated and teeth are knocked out of people’s heads, doesn’t seem to be a sustainable way to live.

But Tyler might be onto something when we look at self-destruction as the destruction of a false self.

‘Self-improvement’ often points to the accumulation of external goods: a better house, a better job, a better body, more money. But why should we endlessly want to improve ourselves? Why can’t we just be happy with how things are, and take life as it comes? Or as Tyler states:

“I say never be complete, I say stop being perfect, I say let’s evolve, let the chips fall where they may.”

We create an identity through material wealth, and social status. And as far as Tyler is concerned, this false sense of self must be destroyed, before we are free to do anything we want. Therefore, the ‘space monkeys’ of Project Mayhem live by a mantra which goes like this:

“You are not your job, you’re not how much money you have in the bank. You are not the car you drive. You’re not the contents of your wallet. You are not your fucking khakis. You are all-singing, all-dancing crap of the world.” - Tyler Durden, Fight Club

Tyler makes a so-called human sacrifice, namely a man called Raymond who works a dead-end job in a convenience store. Raymond wanted to be a veterinarian, but didn’t make it because it was “too much studying.” Tyler threatens Raymond, saying that if he doesn’t start studying within six weeks, he’ll kill him.

In this scene, Tyler points to another aspect of self-destruction: the act of letting go of fears, negative self-talk, and all distractions, so we can fully focus on our purpose. It’s the destruction of everything within ourselves that holds us back from living life on our own terms.

A near-life experience

Many people go great lengths when it comes to pain avoidance. The problem is that running from pain means running from an inevitable part of life.

The prospect of incurring pain makes us anxious, and often leads to self-indulgent decisions. That is: choosing the less painful path, even if a more painful path guarantees more success and pleasure in the future.

Tyler Durden deals with this by inflicting a chemical wound on the narrator’s hand using lye.

As expected, the narrator does everything to escape the pain: he uses visualization techniques he learned at a seminar, and retreating in his cave to find his ‘power animal’. But Tyler slaps him in the face, forcing him to stay with the pain, saying: “This is the greatest moment of your life, man. And you’re off somewhere missing it.”

For the narrator, Tyler has one central goal: he must reach bottom. After putting him through suffering, and destroying his false identity, there’s yet another aspect that must be crushed: hope. Losing all hope is freedom. And, therefore, he must reject what has rejected him: his father, and God. I quote:

“Consider the possibility that God does not like you. In all probability, he hates you.” - Tyler Durden, Fight Club

Tyler states that we don’t need God. That we shouldn’t care about redemption and damnation. And if we’re God’s unwanted children, so be it. Thereby, we lose all hope, but are also liberated from religious doctrine and fatherly authority.

Now we’re truly free. Now we can create our own meaning, and live how we want to live.

Tyler emphasizes the importance of knowing what we want in life. To achieve this, we must be willing to get out of our comfort zone and jump into the unknown without safety brackets.

The narrator, however, has difficulties letting go of security. He begs Tyler to not mess around when he lets go of the steering wheel in a driving car while hitting the gas. Tyler calls the narrator ‘pathetic’, and yells: “hitting bottom isn’t a weekend retreat. It’s not a goddamn seminar. Stop trying to control everything and just let go!”

After an inevitable car crash, Tyler states that they just had a ‘near-life experience’.

Wrap up

Fight Club is a story about rebellion against the status quo and a plea for the simple life. It criticizes the ways in which we are so hung up on security, and material possessions, and how people let social norms dictate their lives.

‘Stuff’ has become our religion. The idols we worship are Ikea and Starbucks. And the more we immerse ourselves in such an empty and unfulfilling existence, the more we start to resemble the things that we produce: manufactured products rather than authentic human beings.

Tyler shows us a way out. And even though his insights are profound, the execution is questionable. Fight Club, and its terrorist branch Project Mayhem, show us how easy it is to oppose one ideology, in order to fall into another, and how a cult-like echo chamber built on rigid beliefs could become very destructive.

Nevertheless, Tyler challenges us to be self-sufficient and disobedient to the authorities that let us down, to live authentically and in the moment, to confront our fears, to boldly step out of our comfort zones, and let the things that don’t matter truly slide.

#fight club #tyler durden #the narrator #marla singer #fight club (1999)#i wrote this instead of sleeping #movie analysis

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i-will-physically-fight-you · 4 years

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Till The Sun Is in the Sky Fanfic

Title: Till The Sun is in the Sky Fanfic

Summary: Roman is a genie who has granted wishes for over a millennia. The only reason he’d be eager to serve his next master is for a chance to briefly escape the lamp’s darkness. Not for a chance at freedom--for that’s just wishful thinking and he knows what that all entails.

Or at least that’s his assumption until he meets Patton, the newest master of his lamp.

Pairing: platonic royality

Word-Count: 3.9k

Warnings: Crying, Fear, Hurt/Comfort, Angst with a Happy Ending

This set in the same ‘verse as When the Blazing Sun Is Gone but you don’t need to read that fic to understand this one. @delimeful requested seeing Roman’s/Logan’s role in the AU as part of my follower milestone celebration and so I went with Roman. Also huge thanks to @stillebesat who beta-read two different drafts of this fic and offered valuable input, I appreciate it! <3

He didn't know how long it had been since his last Master had thrown the lamp into the sea. It didn't matter really. Minutes, years, centuries...it didn't. Because he knew his next master would be the same as the last six hundred. Selfish, full of empty promises of freedom that never came to pass.

No, the only reason why he would ever be eager to come out of the lamp to serve his six hundredth and one master would be for those precious moments to get out of the darkness.

Some of his more inquisitive masters would ask him what it felt like to have one’s soul crammed into a lamp.

He always laughed it off and made a joke about how it made for a great napping place.

But the truth was far from it. He knew it was silly, but he feared the darkness. He feared its loneliness, feared no one would ever find his lamp again and he’d be stuck there forever.

He never told them how many times he uselessly fought against the magic barriers, hoping beyond hope to find a defect in the spell that bound him there. He didn’t tell them how much he feared them being the last master he ever had—not because they freed him but because his lamp never found another master to serve. Worse yet, his lamp shattering.

His soul was bound to the lamp and if it broke--then his soul would split into a thousand pieces along with it. Suffice to say, it was not a happy fate and not something happy to dwell on.

So he sang instead. His voice filling up the lamp, bouncing all around him. He could pretend someone was with him, that way, singing alongside him. He sang the few songs he knew and then some. He made up songs, even, about anything his mind could dwell on. He was halfway through singing about a gallant knight when a pair of hands made contact with the lamp.

A new master; both relief and trepidation hit him at once. Relief that he’d be free from the darkness once more. Trepidation in knowing that it was only a fleeting temporary respite from it.

That was quite alright. After all, his new master was probably someone in great need of his assistance—they always were. The lamp magic sought out those who were plagued by horrible life circumstances. He would be the knight in shining armor to them, like he’d been to many others before.

For that was his true purpose in life and not freedom. That was just wishful thinking—and he knew all of what that entailed.

With a shroud of red mist, he rose up in front of his new master. All of which was entirely for the sheer dramatics of it. He enjoyed putting on a good show and the adrenaline that came along with it.

“Greetings!” He boomed, waving his arms around in a grand gesture, “I am a great and powerful genie—and I am here to make all your dreams come true!”

The human gawked at him, slack-jawed. His brown eyes bulged from behind his glasses, much like a cartoon character. There was a crack in one of the glasses’ lenses and upon closer look, the glasses appeared to be practically held together by tape.

The man’s clothing appeared to be in a similar disheveled state—unraveling hems, holes in his shoes, scuff marks. The cardigan tied around his neck looked hardly wearable. Lying at the man’s feet was a blue backpack that the genie wouldn’t doubt contained all of his worldly belongings.

The lamp sought out the unfortunate and if there was one constant in any century, it was poverty.

“You’re…really a genie?” The human asked, pressing his eyebrows together.

“In the flesh.” The Genie winked.

He was well aware of what a fine specimen he was to behold. Flowing locks of russet hair, eyes that glimmered like emeralds, a voluptuous figure. Clothed in only the finest cloth that the eleventh century had to offer. Centuries of existence in the lamp had not diminished his beauty in the slightest.

If there was one thing he could take pleasure in, it was the awe humans gave him before they decided demanding for wishes. It usually lasted for only about five seconds. But during those five seconds, he could pretend that they were actually ecstatic to see him.

“What’s your name?”

He startled at those words.

“Pardon?” He asked, tilting his head backwards.

The last thing the Genie had been expecting, was those words to come out of his mouth. No one ever bothered to ask for his name. It was as though they assumed their wish-granting cosmic vending machine had no name. Or was indeed a living being with thoughts and feelings for that matter. They always started demanding rules and stipulations for their wishes as fast as they could.

“I’m sorry!” The human cried, wringing his hands together, “that was rude of me to ask without introducing myself first.”

He held out a hand, beaming, “I’m Patton! What’s your name?”

“I…” He stared down at the man’s hand, “My name?”

“Oh,” Patton’s eyes widened, “do you not have a name?”

The Genie looked away. He did once have a name, long ago before he inhabited the lamp. He couldn’t remember it. A strained, lilted laugh broke from his lips, not assuaging Patton’s concerns in the slightest.

How could he forget his own name? Names were important—special. Names had power. Names were a person’s identity. How could he let that damn lamp take something so precious away from him? It’d already taken everything else away—what more could it take?

“I can’t seem to recall it,” He shook his head, before desperately trying to change the subject, “But enough about my fabulous self! I’m here to grant you not one, not two, but three! Three wishes of immeasurable power! Say the magic word, and I’ll spin your dreams into reality.”

He expected Patton to forget the name nonsense entirely at the mention of wishes. Surely, the man had unfulfilled desires—everyone always possessed those. Instead, the man slowly shook his head.

“I can help you find a new name, if you’d like.” He offered, a smile softly framing his face.

The Genie blinked, “You wish to give me a new name?”

He could not make heads nor tails of this strange human. He scarcely knew Patton for a single minute, but his aura oozed nothing but positivity. Still, it was an odd waste of a wish, if you asked him. He’d hate to see someone so good and in need of his cosmic help squander a wish like that.

“No,” Patton said, laughing, “I want to help you find a new name.”

Patton sat down on the beach, the lamp by his side. The human looked up at him and patted the space next to him. Reluctantly, the Genie joined him.

“How does the name Daniel sound to you?” Patton asked.

Daniel. One of his more unpleasant masters went by that name. The genie made a face before shaking his head.

“That’s okay! What about Philip then?”

“Phiiiilip…” He drew out the consonants, testing how they felt against the roof of his mouth, “What do you think, dear Patton? Do I look like a Philip to you?”

“Well, you’re very princely-looking, and I’d say Philip is a very princely name!” The man giggled, “but as long as you love it—I’ll love it as well!”

The Genie hesitated. As much as he liked the name—it didn’t quite scream him. It didn’t encompass his whole being. Philip felt as tight and constraining as his lamp. The genie could lie and tell Patton he liked it just to move on from this whole naming business. His purpose here was supposed to be focused on the wish-bearer and not him, the wish-granter.

However, as he looked upon Patton’s earnest gaze he found himself unable to lie to him.

“I am afraid that I’m not entirely in love with the idea of Philip.” He admittedly with a great sigh.

“That’s alright! We just gotta keep trying then!” Patton declared, undeterred.

He continued listing off names, but none of them seemed to satisfy the Genie. The latter of whom grew despondent that they’d never find the perfect name. There were millions of names in the world, yet none of them appealed to him. He voiced this to Patton, who refused to give up hope that easily and urged him to keep trying.

“Hmm…oh! What about Roman?” Patton asked, “I knew a guy back in high school named Roman. He did theatre.”

Something sparked within the hollow cavity of the Genie’s chest.

“Theatre? As in acting out a story in front of an audience?” The Genie asked, his eyes lit bright with wonder.

He’d never seen a play before. His masters never bothered taking him to events like that. Instead he’d remain in their household, his lamp sitting on a shelf or hidden in a cabinet. Like a jar of quarters to use on a rainy day. He could only manifest within twenty-five yards around his lamp, leaving him unable to sneak off and enjoy something like a theatre show.

But what little he heard of them reminded him greatly of the bards of his time. They used to travel all over, singing sweetly in poetic verse of great heroes and terrifying monsters. He’d always loved watching a bard perform. He almost ran off and became a bard himself before he ended up stuck inside the lamp.

“Yup! He played Lumiere in our production of Beauty and the Beast.”

The names of the character and story were unfamiliar to him. But the Genie could tell by Patton’s phrasing that it had been an important role.

“Roo-man,” He tried, liking how it sounded on his lips, “Roman, Roman, Romaaaaaaaaaaan!”

Patton giggled as the Genie held out the name for as long as he could.

Roman. It was bold, it was brash, it was perfect. Not too snug, not too loose—it fit him just right.

“Well then,” He said, clearing his throat, “I’d be honored to go by the name of such a great bard!”

“I’m happy to hear that!” Patton beamed, “We should go celebrate!”

The human stood up, stuffing the lamp into his backpack in the process. He offered a hand towards the Genie—or rather Roman.

“Celebrate?” Roman questioned, as he accepted Patton’s hand, “Don’t you want your three wishes—"

“That can wait for later,” Patton said as he pulled Roman onto his feet with ease, “what’s important right now is celebrating your new name—with ice cream! I know just the place!”

“Forgive me for asking, but what is ice cream?”

“You don’t know what ice cream is?” Patton gasped, a determined look settling onto his features, “we’ll definitely have to fix that!”

He took hold of Roman’s hand—and marched towards the direction of the ice cream stand. Roman, bemused by the human, laughed as he allowed himself to be tugged along by Patton. He didn’t know why Patton was so concerned about his wellbeing but he found it a nice change from the norm.

Patton chattered along the way, mainly about ice cream and puns relating to the icy dessert and to other things.

“What did the popsicle say to his sonsicle in a crowd?” Patton asked, already snickering at his own joke.

“What?”

“He said, stick with me kid!” Patton burst into a fit of giggles, and Roman followed suit. Admittedly a lot of the contextual humor of Patton’s puns were lost on him but there was something contagious about Patton’s cheery disposition. You couldn’t help but want to laugh along and feel about a bit of that happiness glow in your lungs.

For those brief seconds of laughter, Roman felt human again. He’d have to treasure this feeling--coveting it once he inevitably ended up in the darkness of the lamp once more.

The sun set in the horizon as they reached their destination; a brilliant splash of crimson red with streaks of golden orange and lilac purple. There were a few customers already in line at the ice cream stand. Cheery music blared. Where, Roman had no clue. He could not see a band nearby. Perhaps it was magic?

“Hey um,” Patton said, ducking his head a bit, “mind if we split a bowl? I’ll let you pick out the flavor. You should go with vanilla—it’s a classic! But, uh you can get whatever you’d like!”

“Patton…” Roman frowned, “I could wish into existence a whole ice cream shop of your own if you truly wanted it. You don’t have to waste money on me.”

“No, I don’t have to,” Patton said with a determined glint in his eyes, “But I want to.”

Roman gawked at him, stunned. What was this human? People normally expected genies to do things for them, not the other way around! When it came time to order, Roman merely pointed to the vanilla as Patton had suggested.

There were tables set up next to the ice cream stand where customers could consume their ice cream. But Patton shook his head, telling Roman he knew a much better place.

“It’s a place my friend Virgil and I like to visit,” Patton said, “It’s nice and quiet, unlike most of the city. The noise can be too much sometimes, y’know?”

This peaceful location happened to be a bench in the middle of a park. Trees gracefully arched over it, dressed in the beginnings of autumn colors. Orange, yellow, red. A warm glowing yellow light emanated from the lamppost beside the bench.

“You can have the first taste of the ice cream,” Patton told him as they settled onto the bench. Roman obliged him, dipping his spoon a little in the white substance and bringing it to his mouth. He blinked. It was colder than he expected. But not unpleasantly so. It was a smooth, sweet texture.

“What do you think?” Patton asked, practically bouncing in his seat.

“It’s--it’s absolutely divine!” Roman exclaimed, his eyes flickered down to the ice cream, “May I…?”

“Of course!” Patton grinned. Roman took another spoonful, savoring the taste longer this time. They took turns finishing it off as they continued to converse.

Roman wasn’t used to talking. Sure, he talked plenty over the centuries, but his conversations with his masters revolved strictly around wish-granting. Mundane conversations about the weather were anything but mundane to the genie.

“What’s your favorite animal?” Patton asked, swinging his legs back and forth in a careless manner.

“Dogs—they are lovable, loyal creatures and mankind is undeserving of their affections.” Roman declared.

“Dogs are my favorite too!” Patton giggled, “Oh! And so are cats, horses, lizards, lions and tigers and bears—oh my! Elephants, giraffes, hippos—”

“So all of them are your favorite, I take it?”

“I guess you could say that,” Patton sheepishly grinned, “I wanted to be a veterinarian be—before—”

The human inhaled shakily, the smile slipping off his face. Instead of continuing, he stared down into the mostly empty plastic ice cream bowl. Something obviously happened in Patton’s past that upset him. It wasn’t Roman’s place to pry—but it didn’t mean he couldn’t help in the only way he knew best; magic. In all his centuries as a genie, he’s never met anyone deserving of it than Patton.

The man had been the first in a long while to treat Roman like his thoughts and feelings actually mattered. Like the genie was actually...human.

“You could still be a veterinarian, if you so badly wished,” Roman spoke softly, “Your every wish is my command.”

Patton flinched, looking more distressed than comforted by Roman’s words.

“Roman please, I can’t do that—”

“Why not?” Roman said, “you are my master—you can make any wish you’ve ever desired.”

“Roman, I’m not your master.” Patton choked.

“Of course you are,” Roman tilted his head, “you are the keeper of my lamp. What else would you be?”

“A friend?” Patton suggested, “Roman, please I don’t want to force you to do anything you don’t want to do.”

“This is different,” Roman said fervently, grasping hold of Patton’s hands, “this I offer to you freely for you are the most worthy keeper of my lamp. You must have unfulfilled desires, something, anything I can grant.”

Patton stared at Roman, his face void of expression. Several times he opened his mouth before abruptly closing it. As if thinking better of what he was about to say.

“Please.” Roman pressed further.

His heart rattled against his chest, wanting badly to escape its cage as he did with his lamp. Like the latter, it was a pointless venture. As long as his lamp remained intact so would his soul. Unless of course it shattered, and with it his soul into a thousand pieces. His psyche splintered and fractured, too broken to put back together again. Like Humpty Dumpty except worse for it was a living death, one inescapable. Yet it was a fate that was inevitable and also something he shouldn’t be dwelling on at the moment.

“There is…” Patton hesitated, “one desire I have.”

“Say it,” Roman said as he bowed his head, not daring to look at the human, “Speak it into existence and it shall be yours.”

It was going to hurt, he knew this. The genie wasn’t the true wish-granter, all the magic they possessed came from the lamp itself. The magic only used his form as a mere conduit. Because that was all a genie was—a damn puppet to his masters’ wills.

Roman brought this curse upon himself—he wanted immeasurable power and he attained it. Except, it was never his will to wield such power. Nay, only his masters possessed it. Only their wishes and not his would be granted. It’d be this way forever and ever, because everyone always cared about their happy endings and not his own.

Even Patton, once he saw the immeasurable power that surged forth from even the simplest of wishes. Roman wouldn’t blame him for it. The human has already given him more than what he’s ever deserved.

Patton squeezed Roman’s hands. It took every ounce of Roman’s willpower not to sneak a glance up at him. He had to remain strong for whatever wish Patton threw at him. In the short time he’d spent with Patton, he didn’t get off the vibe of a frivolous wisher. He dealt with plenty of those over the years. Ones who used the wishes in willy-nilly ways, without any forethought behind them.

No, he’d probably be practical. He’d wish for money, or perhaps a mistake in the past to be reversed. Those were always tricky ones. They didn’t always end in the way humans believed they would.

“Roman,” Patton began, “I wish to free you, the genie, from your lamp.”

The genie leapt off the bench as if electrocuted, hands clumsily detangling themselves from Patton’s own. The lamp’s magic roared in his ears, swelling inside him like a great storm. He gaped at the human, his heart bursting out of his chest and into his throat.

“P-patton, mind repeating that?” He gasped.

“I wish to free you the genie from your lamp.” Patton said once more, his voice firm and unbreaking.

This time he couldn’t hold off the wish. A bright red light enveloped him like a supernova explosion. Magic consumed him, rippling through every fiber of his being. A warmth fell across him, one that he hadn’t felt in a long, long while. A great shattering noise occurred. The light died down as he looked to see the lamp had spilled out of Patton’s pack, glittering underneath the lamppost, in pieces.

Breath heaving, he fell to his knees, touching the pieces. The lamp had broken and he was still here, whole and complete and free.

“Why?” He stared down at the broken lamp, quivering, “I--I don’t understand. You had three wishes. You could’ve had so much—all the wealth and fame you could ever desire!”

“But I didn’t want that,” Patton protested, resting a hand on Roman’s shoulder, “not if it came from a wish you were involuntarily bound to serve no matter what. That isn’t fair. Everyone deserves the freedom of choice. Including you.”

Roman laughed. Except it wasn’t quite a laugh. More of a strangled, gargled croak than anything else. He pressed his hands into his face, shutting his eyes as he tried to block out the dizzying nausea sweeping through him.

After six-hundred masters and a millennia inside the lamp, Roman knew a lot about the freedom of choice. His masters employed it with how they chose to use his wishes. Flaunting it so arrogantly in his face. The wishes were self-serving for most. Sometimes they used it to better others’ situations. But never his own, despite many promising to free him. Because at the end of that third wish, they’d walk away while he’d once more get trapped inside the lamp.

Over and over again, they chose to not free him. Except Patton. He chose to free Roman on his very first wish. For as long as he’d dreamt of this moment, of being free from the lamp, he never expected it to actually happen. It was just a foolish fantasy, too abstract to become reality. Not to mention in this manner. He had imagined a master would free him after he’d proven himself worthy with a great feat of magic. How could Patton think he was deserving of this gift?

He laughed weirdly again. This time it hurt his vocal chords.

“Roman?” Patton asked.

He responded with a noise, halfway resembling a hiccup and a shriek. A gentle set of arms enveloped him, pulling him closer until his forehead rested against a warm chest. A hug? Was Patton hugging him?

“It’s okay, kiddo,” Patton murmured, ruffling a hand through his hair, “let it all out.”

Kiddo. Roman wanted to snort. He was a millennia older than Patton, he wasn’t exactly a child. Except at those words, he bawled like one as he realized that those were sobs from before. Not laughter. Roman couldn’t remember the last time he cried. Just like he couldn’t remember a time before being a genie.

Who was he, without the lamp? For as much as he hated it, it’d been a part of him. It defined him and the purpose of his existence. Now he was free of it, free to be his own person, with his own wishes and desires. But he didn’t know the first step of what that looked like.

It was like he was thrown into a raging ocean of confusion and turmoil. Treading aimlessly, desperately hoping for a piece of driftwood to grab a hold on. Something that could anchor him, keep him afloat.

“P-patton--” He whispers, voice hoarse from crying, “can I--can I choose to be your friend?”

The human had suggested it earlier. Surely, he meant it still? It was quiet for a few seconds. Enough to cause Roman to doubt himself. But then the man who unbelievably granted him his freedom hugged him tighter.

“Of course, Roman,” Patton told him, “I’d be honored.”

With a sniffle, Roman’s hands fell from his face as he threw his arms around Patton to fiercely return the embrace. A few more ugly sobs wracked his throat. How was it that Patton was the one honored to be his friend when it was the opposite?

Roman hardly knew what being free looked like. But he did know he’d do anything to protect Patton, to preserve this kind, selfless spark that rested in the human’s soul.

As he dwelt encircled by Patton’s loving arms, the last slivers of the sun’s glow faded at last, dousing them in darkness. But for once, he didn’t find himself afraid of it.

#thomas sanders #sanders sides #patton sanders #roman sanders #kat writes #i tried to get virgil in this fic #but pls dont imagine vampire virge getting both jealous and concerned that patton is replacing him #or that roman (not wanting to lose his new friend) accuses him being a monster and sees him as a threat to patton #and poor patton being in the middle of it #:))))

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ihatetaxes99 · 3 years

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A Brief Retrospective Look At MVA (In The Anime)

Well. Here we are. Every end of the time is another begun. After what has felt like years of anticipation (mostly because it actually has been years), My Villain Academia has been fully animated. Well, "fully" may be the wrong word here, but that's something I'll get into later.

To honour the end of the arc, I decided to do two things: One, I re-read the entirety of the arc in the manga all in one sitting; Two, I rewatched all five episodes of the anime's adaptation back to back once again. My life is pain and I know not of sleep. Anyway, the reason I did this is because of a little project I proposed to myself back just before the first episode aired; Once MVA was done and dusted, I would go back and give my own retrospective on the whole thing. Because why the hell not, sounds like fun. This will also hopefully be less emotional than my thoughts I shared as the episodes were still airing, but who knows?

So, let's begin. And I wish to start by stating that My Villain Academia is my absolute favourite arc in the manga. It did a lot of things right. It focused entirely on my favourite faction, the villains. It offers a glimpse into their lives and goes a long way in humanising them, particularly Spinner and Shigaraki. It sets up key points for others too, such as Mr. Compress' habit of thinking more about the bigger picture than the others, which would factor into his major reveal during the Paranormal Liberation War and of course the formation of the Front itself. It introduced us to Rikiya Yotsubashi, one of my favourite characters in the manga, even if he honestly peaked in this arc and was never as good again. And it gave us a large-scale, grueling fight for supremacy in which I found myself actively rooting for the League. It is, in my mind, the very best of BNHA, the only arc I would want them to do well in the anime. They could screw up literally everything else and I would be happy if MVA was even just as good as the manga, it didn't even need to be better. I would have been delighted to have an excuse to experience the arc all over again, seeing my favourite moments with the sublime soundtrack and voice acting.

Yeah…

But before I get to that, let us take a little trip of sorts down memory lane to see the road to MVA, what led to it. So, 2021 rolls around. What a fun year. It's just 2020 without the excitement of everything being so uncertain, and frankly it's been really fucking boring as a year. However, BNHA Season Five was announced. In February, we get the first trailer for the upcoming season. It's... It's fine. Obviously, it focuses heavily on the Joint Training Arc (in fact, that is all it shows) and although I despise that arc with a passion, it's not too bad. I had not watched the anime since Overhaul ended, so my plan was I just wouldn't watch JTA and would wait until the big attraction, MVA. And so, Joint Training starts. And it goes on. And on. And on. I checked back almost two months later to discover it still wasn't over yet. Now I found this odd. Joint Training Arc was horrible for many reasons, but the big one was that it dragged on for so long as a result of Horikoshi's health complications, which is by no means his fault. But, surely the anime, which would consistently release on a weekly basis, wouldn't have the issues associated with this. Episodes of BNHA have always encompassed around three to five chapters, and Joint Training's were shorter than usual, so why was it taking more than ten episodes to adapt it?

Very strange, but I didn't question it much. Then, the key visuals released, confirming that MVA was at the very least happening. Great, wonderful. I love it. We've got the whole gang there, seeming like they're in Deika, looks pretty good.

Wait, did I say whole gang? Yeah, my bad, there was someone missing. Spinner. Now, I am not the biggest Spinner fan so I wasn't prepared to riot over his exclusion like I would have been if Compress wasn't in it. But this was starting to get strange. Spinner was the main narrator of MVA. Even if his importance was not on the level of Shigaraki, Twice and Toga, it was certainly more than Dabi and Compress, who did both appear in the art. Why was he excluded? Obviously, I bet you're all having a good old chuckle to yourselves right now because in retrospect, this makes perfect sense now.

Alright, then. I heard from a friend around June time that Joint Training was finally over. Awesome, great, time for the good stuff- why is there a Christmas episode here?

Yes, this was probably what really started to get the alarm bells in my mind going. The Christmas episode- in June. Very, very strange. Also, absolutely no mention of Rikiya, which even if they were reshuffling things, I would have expected him to appear in the episode of Bakugo and Todoroki getting their licenses, since it directly ties in. Concern levels rising, I shrugged it off and waited for next week.

Bam. Major reshuffling. Now, Endeavour Agency comes first, fuck you if you want context for who the hell the PLF are or the significance of Destro's memoirs. This was really starting to worry me now. I told myself that the key visual meant that MVA had to be happening, but it was starting to seem like the villains were being shafted. A fact not helped by the new OP.

Look, I'm sorry. I don't mean to complain or whine, but season five's second OP is just bad. The music is fine, I have no problem there. But the visuals are just awful. Not only is there an extended focus on that stupid bloody trio of Midoriya, Bakugo and Todoroki, not only is there more screentime given to characters who don't appear in MVA or EA than the main cast of the former, but the animation itself is just so stiff and lacking. It had potential, but the visuals are the worst out of any recent anime opening I've seen in a good few years and this was what got me really panicking.

Boom, a beach episode smack in the middle of Endeavour Agency to promote the upcoming movie. Boom, adapting two chapters per episode during EA. Boom, the Shirakumo episode, which I always thought was part of the War Arc and not EA. But finally, mercifully, the title leaks came and it was revealed that episode 20 of season five would be the start of MVA.

20. Out of 25. And it was pretty obvious that they weren't going to end the season with MVA, so really, up to 24. Ohhh no…

But hey, I'm an optimist sometimes. I was excited to just finally be clear of all this nonsense and get to the real good stuff. Hell, in preparation, I watched the entirety of the season up to that point. I finally realised why JTA took so long and it's one of the most depressing things I've ever learned, in a bad way. Were all those flashbacks really necessary? EA was okay, as someone who as a manga reader, already had the necessary context for the PLF stuff. The beach episode, I watched half of, got too bored and skipped the rest of. And you know what, I liked the Shirakumo chapters. They weren't as good in the anime, but it was nice to see.

And then, finally, in comes episode one of My Villain Academia, on a cold, dark August morning. I even bought Crunchyroll Premium to watch it as soon as possible, I was excited. All the messing around, all the crap, it was finally over and the time had come to enjoy what this season was really all about.

I can now safely say why Bones kept pushing back MVA, because if I was them, I would be embarrassed to show this.

No, that's not fair. I promised I wouldn't get too snarky, so let's reek things back in. As a whole, MVA has been… fine. Just fine. Not good enough to justify the bullshit, but not horrendous (mostly.) In fact, right now, I'll give a ranking of the episodes, my worst to best:

5) Episode One

4) Episode Two

3) Episode Three

2) Episode Five

1) Episode Four

Yeah. So, there's a clear pattern here, that things more or less got better as time went on. From just straight up bad, to still not great, to alright, to the final two episodes being what I would comfortably call good. This is not a good look. I'm sorry, but Episode One, an episode that I just called bad, is still one of the season's best in spite of that. That spells out awful things for this season as a whole. But what exactly made this such a disaster?

Well, cut content is the big thing. MVA in the anime cuts out:

The League's battle with the CRC

Their struggle with poverty

The sushi joke setup

All of Spinner's character

All of Rikiya's character, including most mentions of Detnerat and Miyashita

Fairly integral pieces of Skeptic's character

Most of Giran's integrity and bravery

This doesn't look too bad at first. It could be far worse. We got basically everything else from the arc, so what? Well, I would already be annoyed about all of these cuts, but the issue is that they cause a knock on effect. Without the establishment of the League's poverty, the payoff of Toga's duffle coat now makes no sense. Without the setup of Spinner's characterisation, his battle with Hanabata now feels hollow. Rikiya's surrender to the League now makes even less sense, as his love of human life and desire to cause no more death is completely non-existent. The first time Rikiya being a CEO is mentioned is in the closing minutes of the arc. The sushi scene is hamfisted into a two second flashback just so that the payoff makes some sort of sense, but again, it is hollow without it being at the start (this is also the first mention of the League's poverty and it literally happens just as they are freed from it.) Can you see how these little seemingly unimportant cuts spiral into bigger problems? I would have been pissed even if they hadn't caused some tremendous cascades, but the fact that they did just makes this from a subjective issue to an objective one.

Yes. They did some things well. Toga's backstory is mostly intact, SMP is just as satisfying as the manga, Tenko's backstory is one of the best things the anime has ever done, the awakening is very well done, I adore the PLF formation as much as I did in the manga. Everything important is intact, but as I keep saying, you cannot just keep the bare minimum and expect it to work. How about in the next arc, they decide to cut everything involving Bakugo out, and only keep him jumping in front of Midoriya because it's the only absolutely necessary thing he does in the arc? People would be pissed, and it's the same thing that's happening here. It's a problem, it's not just a bad adaptation, it leads to bad storytelling in general.

The animation. Now, I do not believe this is a be all, end all. BNHA's anime is never going to look as gorgeous as Horikoshi's art, that is a fact and I do not begrudge them for that. They have a week to draw hundreds upon hundreds of frames, it's not a process that lends itself well to good looks and the animators and artists do their best with what they have. This does not change the fact that it is extremely hit or miss. Some things, Tenko's backstory in particular, look fantastic. Other things, mostly every action scene, make me laugh at how bad they can look and some things, particularly Twice and Re-Destro's hideous designs in the anime, make me cringe. The lighting is also an issue. Garaki's lab looked fantastic, but every other scene is just boring mid-afternoon with dull, basic lighting. I don't expect huge detail, but sometimes, it fails to achieve competency and as an extremely popular show, I don't think that's okay. I don't blame the animators, I blame the higher ups. And while I wouldn't mind the poor animation and art in an MVA that at least has all the story content, this does not have that and so I am even harsher than I would have been.

MVA was rushed. That's not up for debate. It took forever to get to it and once it came, things moved so quickly that they gave me whiplash, with no time to think or lament. Now, this could be attributed to the story structure of the arc, which is essentially a series of big fights, and it just isn't as bad in the manga because I can stop at any time to catch my breath. But I think it's worth noting that the anime at least highlights these issues. Curious dies in the same episode where she first appears, really driving home how pointless she was in the end. Episode Two alone tries to cover everything from the journey to Deika up until Jin finding Toga's body. That's a lot of content to fit in one twenty minute period and it was bound to feel messy in the end. I will say that, much like everything aside from the animation, this did get better as time went on, with episodes three, four and five adapting more reasonable amounts of content, compared to one giving us almost nothing and two giving us too much.

At the end of the day, that was it. The show's over. MVA has been closed in the anime. It will never be given a chance to improve, to go from just fine to anything even close to the manga. Why did this happen? I don't think we'll ever truly know. Some blame the new movie, others the studio's lack of faith in the villains, and there are those who say that it's just how fate turned out. I personally think it's a combination of all of these things. Without the movie, that beach episode wouldn't exist, giving more time to MVA, without the studio's hesitation, we'd perhaps get stuff like an actual good OP and perhaps some more general hype for it (I mean, MVA didn't even get a trailer.) Whatever the reason is, we got what we got. My verdict is something that's very overplayed as of late, but seriously, just read the manga with the fantastic soundtrack playing in the background. The anime's adaptation of MVA is not worth the time investment, when you could read the manga in roughly the same length of time and get more content, a more coherent plot and beautiful artwork.

So, what may come next for Season Six? I don't know. Season Five has definitely been one of the most unpopular seasons in the anime, with a lot of people speaking out against it, but this mostly seems to come from the Western fanbase, so it's up in the air if Bones will learn from their mistakes. Since they'll have a full season to do presumably the War and Rouge Deku arcs, then I feel like they'll put on a better show. But we just don't know. Spinner had his spotlight stolen this time around, will Compress suffer the same fate in Season Six? Dabi and Toga will probably be handled well, since they have inexplicably high amounts of popularity, but with his own lack of recognition rivalling Spinner's, I can see Sako ending up much the same way. Time will tell, I suppose.

#my villain academia #mva #league of villains #Meta Liberation Army #studio bones #bnha season 5

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jonthethinker · 4 years

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I’m always delighted to read meta people write about moral complexity concerning the characters presented to us in Critical Role. It’s due in no small part to how beautifully and astutely written these pieces are, and with how much care and tenderness people treat the subjects of their analysis.

But it’s also interesting in another way, because it shows me how differently I view the fundamentals of morality from the characters, the cast, and majority of the fandom itself.

And since I’m feeling very self-indulgent today, I’ve decided to write about how and why under the cut.

To begin our discussion, let’s use a rather popular subject on the topic of moral ambiguity: Essek Thelyss. He’s a fascinating character for many reasons, but our interest is in his choices and the consequences there in.

It’s discovered by the Nein that Essek is responsible for the theft of the Luxon Beacons and their acquisition by the Cerberus Assembly, which is believed to be the main crux of the war between the Dynasty and the Empire. He admits to them he did this because he felt his people were blinded by a faith that prevented them truly understanding what the Beacons were and how they worked, and so an alliance was formed with the Assembly in order to finally gain that understanding.

The only thing that really made him doubt this decision was his budding friendship with the Mighty Nein, not the war he helped start or the people harmed in the process, but that the people he had grown to care for had been caught up in his machinations to acquire knowledge; again, it’s not the moral or social implications of his actions that bother him, it’s strictly the personal ones.

And this is where the distinctions between my moral understanding and that of others begins to display itself. Others see this as a moral development on Essek’s part, and a sign that he is growing in a more positive direction. I somewhat disagree. I see it as a sign that he can grow, but while the soil has become fertile ground, no buds have broke the surface yet.

Goodness, according to my own moral compass, comes from two basic notions; compassion and humility. Compassion to care for those you gain nothing from caring for, and humility to place yourself less and less at the center of importance in the grand scheme of things. This doesn’t mean devoting yourself so much to others that you don’t take care of yourself, but that you are okay with being intermittently uncomfortable and taking risks if it means others are taken care of. And humility doesn’t mean you think yourself unimportant, but that you are a part of something larger and grander that you are on your own.

Essek cares about the Mighty Nein. That shows that he can care about people outside of himself, but not very far outside of himself. They are his friends, and friends and family are, to our minds at least, extensions of ourselves; they rest against the bubble of self, and are often a huge part of how we even define and understand ourselves as individuals in the first place. Very selfish people can be very protective of the friends they have, because to a selfish person, there is very little difference between person and property; you are what you own, and your friends belong to you. Essek is, of his own admission, a very selfish person. So caring about his friends isn’t really some moral stride in the right direction, but more of an indication that he can care about others, but only in so far as they are of value to him directly.

But why is Essek the way he is? Many in the fandom say it’s because of his status as a prodigy, and the pressure that has placed on him over the course of his entire life. The expectations placed upon him are enormous, and he simply can not fail to meet them.

But that’s not really the full story. Because what most people seem to fail to include in their calculations is Essek’s class position; He is nobility, and unconsecuted nobility at that, and we’ll get to why that matters shortly.

Essek has been sheltered and protected from every hardship the average person of Xhorhas experiences. There has never been a single moment in Essek’s life where his material well-being has been in question. Not one time. While the pressures to succeed have been great, he’s also been given nearly every single tool he’s needed to do so. No doubt he received the sort of high quality education most folks couldn’t begin to comprehend, all while having the backing of his Den and the Dynasty at large to guarantee any actual failure has no real bite. When our goblin friend Zorth of Asarius fails at his job, a moorbounder snacks on one of his limbs. When Essek fails, maybe it causes some frustration and some momentary tension for his Den, but his relative social position and quality of life stays the same.

Seeing as he is unconsecuted, he’s never even had to start his life as someone with less than he has now. Skysibil Abrianna Mirimm started her current life as a goblin, and according to the Explorers Guide to Wildemount, has lead to many a whispered jest or cruel remark among the other members of the court, and because she’s had this experience, she’s grown a greater appreciation for the “beastfolk” as a broader sect of their society. Essek has had no such experience to open his eyes to the broader experiences of the public. He’s been insulated from the core features of many people’s daily realities in a way that virtually guarantees he feel nothing but disinterest at best and utter disgust at worst in regards to the trials of others.

This is not to take away from his agency, and to say it’s not his fault. His brother Verin by all indications experienced the same sort of life he did, but is an acclaimed leader and has very much humbled himself to a cause greater than his own ambitions, that being justice and honor for his people. So it would seem it is both his circumstances and his reaction to these circumstances that have affected who he has become, and what tools he has at his disposal to change that.

And to continue this thread for a moment, it would behoove me not to mention an incredible important aspect of Essek’s class position, and that is the power that comes with that. Anyone in Xhorhas could have had the same notions about the Luxon as he does. Anyone of them could have had the same grand sense of self-importance. For instance, Vendalla the housekeeper could secretly believe all the same things about how the Luxon religion is blinding the masses and holding back the Dynasty from realizing its true potential. The difference is she, unlike Essek, isn’t one of the handful of people that can act on that belief.

I feel this is where a rather stark divergence forms between my own sense of morality and that of others, and it’s my belief that systems and power structures are far more important in understanding the moral implications of a thing, and not individual belief, intent, or inclination.

To better explain where I’m headed, let’s use an analogy of sorts. When you think of yourself, if you’re like most people I know, “you” as an entity are independent from your body. You might think of yourself as a soul or maybe “you” are your brain or a consciousness piloting your body, but your body is ultimately seen as something “you” control.

But for me this isn’t the case at all. In fact, I don’t only believe you are also your body, I believe that yourself actually extends beyond you into the environment around you. You are not you without the many sensations and feed-backs, and sometimes lack there of, that your body produces, in response to the material reality around you. You would not be you with your brain in the body of nineteenth century Chinese peasant farmer or the body of a crusading knight in the twelfth century. You are defined by the context in which you exist.

And this extends further. I don’t believe people are independent ideological actors acting solely on their beliefs and feelings about the world. We are not independent of the context in which we exist. For the most part, your context does a lot more to shape your ideology than your ideology will ever shape your context. It’s quite the herculean task to think your way out of poverty. And it’s certainly a difficult proposition for a rich person to develop an ideology that doesn’t support them continuing to hold onto their wealth. These things can happen, for sure, but because of the broader systems and incentives at play, to expect people to just choose to swim up stream without also creating new systems and incentives to encourage that is bananas to me.

This is not to imply there is no such thing as agency, but your material conditions and social position are going to heavily influence the degree to which you can make decisions. The higher your class, the more choices you can make. The more hegemonic your ethnic group or race or gender or sexual orientation, the more options you will have, but also the weaker your incentives are to try and change that. That’s why social movements are generally comprised of the sufferers and not the sympathizers. The greatest allies don’t arise just because they believe something is right or wrong, but because they have humbled themselves before the size of the cause and have faith that their effort will support something much bigger and more important than their comfort and position.

These people are exceptionally rare for a reason; because it’s hard to do that. This isn’t a moral judgement on the people who don’t do that, quite the opposite; they are fish swimming down stream with the current instead of against it. If you want people to swim the other way, you don’t scold them into trying to swim harder; you make it easier. You change the current. And this is a task that you can’t do alone. You have to do it in a coordinated way, in disciplined unison with others. That’s why every major change the world has ever seen has largely been the result of pressure from movements not individual actors, and why the most successful movements are composed of the broadest base of sufferers, generally in the form of a broad working class struggle.

People in this fandom and many other fandoms try to be good. They try to believe the right things, and like the right things, and say the right things. But their power comes not from their individual beliefs, but through their combined action with others, joining together to change the current, and their faith that even though they may not get to personally feel the current shift, they were an integral part of that process. And it pains my heart that most of them can’t see that.

You see this in the Mighty Nein. They all struggle so much with their own sense of self-worth in comparison to their friends. They’re all worried they’re only worth as much as their latest contributions. The problem is that they define themselves as something separate from the Nein. Could someone who they see as contributing more than they have, have done so without the backbone of support they receive from all the others? No. None of them would have gotten far without the broader system of support they have developed for each other. They have shifted the current, changed the incentives. No person is exists in a vacuum. Our context shapes our possibilities. Want to change the available options? Change the context. And you can’t do it alone.

So if Essek is to truly get better, he needs more than just the Nein’s friendship. He needs the system they’ve developed. And that system is going to have to work hard against the many currents that flow through Essek’s life. They will have to change his incentives.

But the question is, do they want to? Most of the Nein weren’t mad about the war. If they were mad, it was because Essek lied to them personally. Only Beau seemed particularly interested in the consequences on the broader world, and her response was to try to scold that fish up stream. And it didn’t work. So really, it will be a question of if the Mighty Nein want to even try to push Essek onto a more positive, morally rewarding path, and what incentives they have to do so.

I really hope the small handful of people who read this can take something from all of this. I’m not alone in this outlook, as it has been something that has been contributed to by sufferers and sympathizers alike across history. If even one person walks away from reading this thinking about systems of power more than individual choices and beliefs, I’ll rest easy. Thanks for reading, regardless.

#Critical Role #The Mighty Nein #essek thelyss #cr meta #long post #squeezed my brain like a fresh orange for this one

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readerinsertfanfiction · 4 years

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Hehe we talked about it 2 seconds ago and here i am😂😂can ya pretty please write an wardrobe hc for ikesen plz (whick ever of the sweet bois u want) of how they would react to MC who loves wearing gym/exercise clothes ie i only wear tights, sports bra and crop tops like they are sooo comfortable ❤🔥🥰 thanx love ❤🌻

😂 asdfghjkl. Ded. Okay, okay let’s get down to this.

Context: I joked around that I would give out headcanons for those who want if they give me a description of their wardrobe.

Fandom: Ikemen Sengoku

Characters: I’m aiming for the whole cast and I did it! Yes!

Oda Nobunaga

His first reaction is curiosity. What is this style? What are these clothes you wear and what are they made from? He wouldn’t mind that it is so revealing, scandalising so, in fact he would probably enjoy it and make an indecent joke or two.

If you’re intimate with him he will make sure that you only wear those clothes in private, when it is only you and him. He doesn’t need you to scandalise the rest of his men, but he definitely doesn’t want them to see your skin as much as he does.

I can see him jokingly pull out a fundoshi (Japanese traditional underwear) to compare to your clothes and then laugh about it very loudly.

Will definitely make the above joke when you first meet and he summons you to the war meeting in your usual clothes. It will be humiliating, but then he will offer you some era-appropriate clothes.

Hideyoshi Toyotomi

Scandalised. He will screech like a victorian governess about the inappropriateness of your clothes. Immediately throws his coat over you.

Will always be nagging at you to wear something more appropriate, or to think of your position. “You’re dragging the name of Lord Nobunaga down!” -- though he means well and actually is looking out for you, but do please, argue with him, don’t have him talk to you like that.

After a while he will just carry an extra cloak with him to throw over you. “Hideyoshi, aren’t you warm with that second coat?” “Yes, yes, I am, but I got to protect the dignity of my lord!”

Again, I wish to press the fact that he is more worried about your well-being than Nobunaga’s name, he just says it is for the sake of his lord’s reputation, because that honestly is easier to argue about for him.

Ieyasu Tokugawa

What is this? Why is he always turning around and heading for the other way? Is he avoiding you? What? Ieyasu Tokugawa will not deal with the extra skin.

Will probably also throw an extra blanket or cloak over you. “You look cold, you should wear more clothes.”

He really can’t be honest about it, but the extra skin, the form-fitting clothes, they are the reason why he can’t look you in the eye. There is so little left to the imagination and he is still a man and oh gosh, he is blushing.

Please don’t confront him about the fact that he is trying to avoid you. He will make up some sharp excuse and say something he regrets in regards to your clothes and oh, the shame.

Mitsuhide Akechi

Well, this is interesting. Are fabrics expensive from where you come from? Is that why you wear so little? Another result of poverty, or some outrageous sense of fashion that he isn’t aware of yet?

Would see the practicality in the form-fitting tights. They do help with movement, but still, are they also supposed for seduction? Definitely an effective distraction mechanism.

Will make little jokes about how you are probably wearing kid-sized clothing, because that top really should be covering more than just your chest.

Yes, he will tickle you. Your waist will be the main target, because if you are going to reveal that so easily he is going to take advantage of that. I hope you aren’t ticklish.

Masamune Date

It is canon that he (dis)likes our modern undergarments, I think? So, modern gym wear? Count him a fan.

Plenty to see, just enough covered for him to still enjoy. It is bold, it is flashy, it is just his style.

If you ask him he will probably try a crop top or the tights. He will have to say he prefers the crop top, they are nice and flowy. Perfect for a hot day of training, or when in the kitchen. The tights he isn’t a fan of, they feel like they are pressing the blood circulation out of his legs.

Probably the most enthusiastic of the bunch to see and learn more about modern clothes and especially exercise (read: gym) clothes. Your world sounds fascinating and very practical!

Mitsunari Ishida

I can actually see him being blissfully unaware of the extra skin and the form-fitting clothes. He won’t realise it until it is pointed out and even then he won’t see anything wrong with it.

“If you’re comfortable you should wear them!” he will say. “You always look good to me!” he will compliment.

Honestly will be the nicest about it from the bunch. This man is a god-given gift, an angel who fell down to the earth and forgot his wings.

When the weather gets chillier he will worry about you, however. “Ah, are you sure you don’t want anything warmer and more comfortable?” he will ask, but he won’t force you into anything if you tell him no.

Ranmaru Mori

Everyone’s little brother will be a little confused over your dress. What did you call it now? A crop-top?

I feel that, if you have him wear your clothes he will rock them, and even enjoy them. It is like having a little sibling that you can dress up and the likes.

“What? Why are you calling me cute! You are the cute one!” he exclaims, though he does enjoy the attention given, and the colours that crop-tops come in. The tights can stay away, though.

Will be a little bit conscious of your somewhat revealing wardrobe, but will try not to act scandalised about it. He tries to respect you for your choices, even if he worries for your safety and the eyes of the rest of the men.

Yukimura Sanada

He will blush. A lot. And act very scandalised. Mostly because he has no idea how to react to your wardrobe, but also because he can’t get his mind out of the gutter.

“I’m a man too, you know!” he will warn you. Cue confused expression, because what does he mean with that? Gosh, Yuki, no, it isn’t because you’re not considered a man, doof. #misunderstanding.

Will hide you in his sleeves when given the chance. Kimonos have wide sleeves and that means fabric that can cover you up. He will probably not think of carrying an extra cloak with him, because it is Yuki.

“Is this your secret to seducing the Oda-forces!” he will accuse you. Goodbye witchcraft, it is definitely the clothes that are to blame.

Shingen Takeda

“Is this how the gods above dress?” he jokes, appreciating the fashion and how it accentuates your figure.

Though, he will joke around that he will die of blood loss before his illness because of you.

“It is just me, or is it rather hot in here?” he jokes, stripping off his own top.

This man will appreciate it and try to match himself to it as well. It will be a show for sure.

Kenshin Uesugi

Will start out with his usual misogynistic remarks. “Trying to seduce my men, wench?” he says with enough malice.

Though, when he warms up to you he will mind your dress in a whole other way. “If you aren’t careful I will have to hide you,” he warns.

You will see that cage a lot faster than you did before and it is your wardrobe that is to blame. Not that he will let you out if you start dressing more era-appropriately.

Does not enjoy how other people are staring at you for your dress. Will threaten anyone who stares for too long, man and woman alike.

Sasuke Sarutobi

He is used to it, honestly. 21st century man from Japan. He probably has walked through Akihabara (the anime-district in Tokyo) more than once as well. He has seen his fair share of fashion and you are honestly tame.

However, since this is the sengoku era in which they aren’t very friendly towards strangers and basic human rights don’t exist yet he will worry. He will worry himself senseless and follow you around in the shadows.

“Are you sure you don’t want to dress yourself according to the era?” Sasuke tries to reason with you, but after a while he will just relent himself to it.

Will come up with something creative to meet your wishes and wants and that of the Sengoku era standards. There is a hidden fashion designer sheltered within this man.

Yoshimoto Imagawa

Not going to lie, but I feel he will find offense in your wardrobe. He strikes me as rather traditional.

Thinks it is rather classless, though he appreciates the colours. Otherwise he will mourn the loss of the fine sensibilities and elegance that comes with the traditional kimono.

“Must you reveal so much of yourself?” he questions, wondering what the aesthetics are like in your world. Though in time he will come to appreciate it, even if he doesn’t entirely understand.

Will ask you a bunch of questions on why you prefer this. Is it for flowiness and comfort? What about the yukata, have you tried that? Lighter fabrics? Will marvel a bit over the fabrics of your clothes, but also mourn the loss of quality that usually comes with mass-produced clothes.

Kennyo

Frowns at the clothes, wonders why, but keeps his opinions to himself, otherwise. You are your own person and he respects that.

Will make a comment on how men are beasts and beasts can’t be trusted, but otherwise will fight anyone tooth and nail if they dare to harm you, because just because you are dressed weirdly does not mean that they have any right to touch you!

Does marvel at the ease of your clothes and their efficiency. The warrior monks should honestly start to consider employing those tights of yours, because they are definitely a lot better than whatever they are using now and a lot easier to wear.

Will scowl at crop-tops however, because, no. Those are just useless pieces of fabrics that are better off used as napkins. Are you sure you didn’t accidentally run out of fabric when making these?

Motonari Mouri

The one who will mind it the least from all. It will remind him of the belly dancers in the middle-east - arabic countries.

Will definitely ask you if you could perform a dance for him. Feel free to feel offended and to call out this offense, because he does deserve a good wipe-off.

Will be the one supplying you with more short tops, though you can bet that they are more revealing that crop-tops. “What, I thought you liked them short and baring?” he questions, not understanding the difference.

From what I can see from his character design his pants are what comes closest to what your tights are. He will definitely be pulling at the fabric and wonder how it is so stretchy and comfortable and light. He will definitely need to loot a bunch for himself from wherever you got yours.

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miskatonicaquarium · 4 years

Text

Weird Fiction/Cosmic Horror Recommends

In a time of general uncertainty and anxiety, one thing that is certain is that weird fiction/cosmic horror has got your back. If you like to combat your growing sense of existential dread by reading about other people’s growing sense of existential dread, this is a list for you. Where texts and shows are available online, I have included links. Where they are not, I have included links to where they are available to buy.

Books

Agents of Dreamland – Caitlin R Kiernan

Government agents, ritual murders, a doomsday cult and a glitch in NASA’s interplanetary probe all feature in this deeply frightening and deftly written novella that takes classic Lovecraftian tropes and expands on them with mesmerising skill.

Wanderers – Chuck Wendig

When a sleepwalking epidemic hits America, those affected head towards a destination known only to themselves. Desperate to keep their loved ones safe, ‘shepherds’ follow the growing group to protect them on their journey. This is an incredibly rewarding read stuffed full of complex characters, apocalyptic horror and a long hard look at human nature.

Winter Tide – Ruthanna Emrys

After the government raid on Innsmouth, Aphra and Caleb Marsh are the only inhabitants of the town to survive the desert internment camps. When confidential, dangerous magic is stolen from Miskatonic University, the FBI are forced to turn to the last of the Marsh’s for help. An evocative and sympathetic novel that takes the antagonists of Lovecraft’s works and paints them in a new light.

The Fisherman – John Langan

This is considered to be a modern classic of the genre and for good reason. It’s best to go into this one as blind as possible so I’ll just leave you with this little quote: "I know Dutchman's Creek runs deep, much deeper than it could or should, and I don't like to think what it's full of."

Carter and Lovecraft – Jonathan L. Howard

A homicide detective turned Private Investigator finds himself embroiled with the last known descendant of H.P Lovecraft, Emily Lovecraft. When deaths that have an eerie resemblance to the writing of Emily’s ancestor begin to plague the area, the investigator finds himself drawn into a world he thought didn’t exist beyond fiction.

Rosewater – Tade Thompson

The first in an award-winning trilogy that blends science fiction into the weird in near future Nigeria. When an alien biodome manifests in the landscape, a select group of people in the surrounding area begin developing psychic abilities. A winding, disturbing tale with an original setting, voice and characters; this is the perfect read for those looking for a fresh take on the genre.

North American Lake Monsters: Stories – Nathan Ballingrud

I am hugely obsessed with this – Ballingrud uses tropes and characters we are all familiar with and uses them to tell stories that shed light on the plight of rural, poverty-stricken America. He is a masterful author with a true gift for atmospheric writing (‘Late summer pressed onto this small Mississippi coastal town like the heel of a boot. The heat was an act of violence.’) and this collection will appeal to fans of Ligotti and Barron as well as those who are unfamiliar with the genre.

The Ballad of Black Tom – Victor LaValle

This is essentially a retelling of Lovecraft’s The Horror at Red Hook (but without the blatant racism, hooray!). A slow burn, cosmic horror noir featuring a who’s who of the Cthulhu Mythos, for those interested in the genre who do not get on with Lovecraft’s writing or the man himself, this is an excellent way to get all the good stuff without the bad.

Anthologies

A Lonely and Curious Country: Tales from the land of Lovecraft

Seventeen stories about Lovecraftian horrors in the most unusual of places. Lots of these work as mini-sequels to Lovecraft’s original stories so this is a good companion for those familiar with his work.

Lovecraft Unbound

As I’ve said before, Ellen Datlow is a powerhouse of anthology editing. Featuring a great spread of familiar mythos faces and more thematic takes on the genre, Lovecraft Unbound is one of the best collections out there.

Book of Cthulhu

There are a couple of these! All feature some of the best contemporary authors writing weird fiction. Quality of individual stories sometimes varies in Lovecraftian anthologies but that is not the case here. The first is particularly good as it also contains stories from older, more obscure writers who are hard to get in print.

Shadows of Carcosa

Twelve short stories that feature everything from the land of carcosa to the traditionally Lovecraftian setting of the cursed hills of New England. All of these are shorts written by classic writers such as Poe, Stoker, Bierce, Chambers and Blackwood.

Lovecraft’s Monsters

Another collection edited by Datlow. This one is particularly fun as it features illustrations, as well as a story by Neil Gaiman. Lovecraft’s Monsters is amongst my favourite of the anthologies as it is based solely around the creatures that crawl and squirm through the mythos. It’s also available as an audiobook!

Children of Lovecraft

Fourteen short stories including authors like Stephen Graham Jones, Orrin Grey, Caitlin R. Kiernan and Livia Llewellyn. Full of body horror, dread, surrealism and one of the best opening sentences to any short story.

She Walks in Shadows

A monumental, fascinating collection comprised of exclusively female authors. Offering a long overdue look at and development of the female aspects of the mythos, this collection gives a voice to the previously unheard. For those looking for a diverse, original and often deeply disturbing reading experience, this is your anthology.

Available online for free

The Lovecraft Ezine has a great archive here of all its previous issues

Weird Fiction Review is an excellent resource for online fiction – both excerpts from books and stand-alone short stories.

The Online Books page has direct links to the issues of Weird Tales magazine published between 1923 – 192.

TOR.COM is an amazing resource for all kinds of science fiction and fantasy shorts. This is a link specifically to Lovecraftian fiction. There’s also lots of interesting things to read under the tag cosmic horror here.

Graphic Novels

Fatale - Sex, violence, cults, cosmic horror, imaginative period settings and gorgeous artwork. Fatale is one of the best comics set in the mythos out there.

Locke and Key - Many of you will be familiar with Joe Hill and Gabriel Rodriguez’s hugely popular (and now televised) series focused on a house above a portal to the plains of Leng.

Harrow County - Creepy, rural-based, folk horror series centred on a young woman who finds herself to be joined to the forest and the land in ways she could never have imagined.

The Squidder - A postapocalyptic Lovecraftian mess, I have included this because it is worth buying for the artwork alone. Ben Templesmith is an acquired taste but an incredibly talented illustrator whose work is uniquely suited to the mythos.

I have talked about these several times before but it is always worth checking out I.N.J Culbard’s graphic novel adaptations of Lovecraft’s stories, as well as the two anthologies that were released several years ago.

***

Films – Cosmic Horror

I have linked to the trailers for each of these, some are classics you will know, some are new.

The Colour out of Space

Die Fabre

The Dunwich Horror

The Endless

Event Horizon

The Void

Europa Report

Black Mountain Side

Films – Folk Horror

The Ritual

They Remain

The White Reindeer

Night of the Demon

Apostle

More generally, some good online resources for old/weird/out of print books are

Project Gutenberg – an online library of over 60,000 books in the public domain

Internet Archive – a great resource for obscure books (particularly historical)

Europeana – items from Europe’s galleries, museums, libraries and archives

Digital Public Library of America – similar to Europeana, but for America

Classic Literature – lots of 19th century gothic goodness in particular, but great for all the classics too!

And when it all gets too much and you feel like being your own creeping dread, Here is a link to a fun game where you can be the rats in the walls.

#this is an extremely long post y'all my apologies #lovecraft #weird fiction #book recommends #eldritch reads #cthulhu mythos #film recommends #graphic novels #lovecraftian #hp lovecraft

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drivingsideways · 3 years

Text

k-drama rec list

Prior to 2020 I’d maybe watched 2 k-dramas in my entire life, but this year I got sucked in, thanks to some great recs, and y’know, *gestures * everything.

I think I’d held off watching kdramas because my impression of them was limited to romances that I didn’t enjoy at all. But this was the year I discovered the equivalent of “gen fic” kdrama- dramas that had wonderful ensemble casts, strong story lines that weren’t entirely romance focused and also a variety in terms of themes and styles. A big plus was that I found so many of these dramas had women leading the writers’ room, and seeing the effect of that in the story telling. (Notable exceptions: a certain “star” writer who should please stop inflicting her badly written, formulaic crap on the world, yes Kim Eun-Sook, I mean you, and whoever wrote that trashfire Flower of Evil)

So here I am with my own rec list! Caveat- these are mostly not the dramas released in 2020, I’m still playing catch up! :)

Under the cut for length

My Mister/ My Ahjussi (2018, Written by Park Hae-Young, Directed by Kim Won-Seok, starring Lee Sun-kyun and Lee Ji-eun aka IU)

This was definitely my absolute favourite of the shows I watched this year across western/ asian media. It’s a story about the thread that binds us all and the ineffability of human connection. It’s also a story that deconstructs ideas of masculinity and honour and shame in a non-western context, but with an extremely compassionate touch. It’s a story that doesn’t shy away from showing the consequences of material and spiritual poverty; and how one can so easily feed into the other. It’s a love story that isn’t a romance, except that it’s a Romance. It’s about finding salvation in one another and in the kindness of strangers. It’s about choosing life, and picking yourself up off the floor to take that one last step and then the next and then the next. The one quibble I have with the series is that it could have been better paced, it does get extremely slow after the half way mark. But god, do they land the ending. Both Lee Sun-kyun and IU turn in absolutely heartbreaking performances, and fair warning, be prepared to go through an entire box of tissues watching this series.

Life (2018, written by Lee Soo-yeon and directed by Hong Jong-chan, starring Lee Dong-wook, Cho Seung-woo, Won Jin-ah, Lee Kyu-hyung, Yoo Jae-myung and Moon So-ri.)

Medical dramas are very much not my thing, and I wouldn’t have taken a chance on it except that @michyeosseo said I should, and she was right! It’s a medical drama in the sense that it’s set in a hospital, but rather than a “case-fic” format, this is actually a sharp commentary on the corporatization of health care, and the business of mixing, well, money and what should be a fundamental human right. Writer Lee Soo-yeon was coming off the global success of Stranger/Secret Forest S1 when this aired, so I understand that expectations were probably sky-high, and people were disappointed when this show didn’t give them the adrenaline rush that they wanted. On the other hand, I thought that this outing was really much more nuanced in terms of the politics and also how the ending doesn’t allow you the luxury of easy-fixes. This show has a great ensemble cast, and while it took me a while to get used to Lee Dong-wook’s woodenness (i ended up calling him mr.cadaver after watching this and was surprised to learn that he’s very popular?), in the end I was quite sold on his version of angry angst-bucket elder-sibling Dr.Ye Jin-woo. His best scenes were with Lee Kyu-hyung who turns in a lovely, achy performance as the paraplegic Dr. Ye Seon-woo who just wants to live a normal life. The love story between the two brothers is actually the emotional backbone of the story, and I think they landed that perfectly.

My one quibble with writer-nim is that she ended up writing in a forgettable and somewhat (for me at least) uncomfortable romance between the characters played by Won Jin-ah and Cho Seung-Woo. I think part of my uncomfortable-feeling was that I got the strong sense that the writer herself didn’t want to write this romance, it was as if she was being made to shoe-horn it in for Studio Reasons, and she basically grit her teeth and did the worst possible job of it. I do wish we could have absolutely had the OT3 of my dreams: Moon So-ri/Cho Seung-woo/Yoo Jae-myung like, c’mon TV gods MAKE IT HAPPEN, just...look at them!!!!

Anyway, that apart, I think this was a very engaging series, and by engaging, I also mean thirst-enabling, see below.

Stranger (aka Secret Forest or Forest of Secrets) S1 & 2 : (2017-, Written by Lee Soo-yeon, directed by

2017′s smash hit aired a much anticipated second season in 2020, and I managed to catch up just in time to watch that live, so that was thrilling :D . Writer Lee Soo-yeon mixes up thriller/office comedy/political commentary in an ambitious series. I think S1 is more “exciting” than S2 in terms of the mystery and pacing, but S2 is far more dense and interesting in terms of political commentary because it takes a long hard look at institutional corruption and in true writer-nim fashion doesn’t prescribe any easy solutions. Anyway, please enjoy public prosecutor Cho Seung-woo and police officer Bae Doona as partners/soulmates kicking ass and taking names in pursuit of Truth, Justice and just a goddamn peaceful meal, along with a stunningly competent ensemble cast. Also yes, Han Yeo Jin is a lesbian, sorry, I don’t make the rules.

Search: WWW (2019, Written by Kwon Do-Eun, directed by Jung Ji-hyun & Kwon Young-il, starring Im Soo-jung, Lee Da-hee, Jeon Hye-jin)

GOD. Where do I start? +1000 for writer Kwon Do-Eun saying “fuck the patriarchy” in the most grandiose way possible, i.e. absolutely refusing to acknowledge that it exists. Yes, this is that power fantasy, and it’s also a fun, slice-of-life tale about three women navigating their way through work, romance, national politics and everything in between. It’s true that I wasn’t entirely sold on the amount of time spent on the romance, and I really wish they’d actually had a textual wlw romance, though the subtext through the entire series is PRACTICALLY TEXT. But still, it maintains that veneer of plausible deniability and I think queer fans who are sick of that kind of treatment in media have a very valid grouse against the show. On the other hand, personally I felt that the queer-platonic vibe of the show is very wonderful and true to real life, and it was only reinforced by the ending. This is a show written by a woman for women (like me), and it shows.

Hyena (2020, Written by Kim Roo-Ri, directed by Jang Tae-yoo & Lee Chang Woo, starring Kim Hye-soo and Ju Ji-hoon )

Those of you who’ve been watching hit zombie epic Kingdom are probably familiar with Ju Ji-hoon’s brand of sexiness already. I had not watched Kingdom and got hit in the face by Mr.Sexy McSexyPants’ turn as a brash, privileged-by-birth, up and coming lawyer who gets completely runover by the smoking hot and incredibly dangerous fellow lawyer/competitor from the other side of the tracks in the person of Kim Hye-Soo. When I say they set the room on fire, I mean it, ok. Every single scene between these two is an actual bonfire of sexual attraction and emotional hand grenades, and they’re both absolutely riveting to watch. “Flower of Evil” wishes they had what this show has- an actual grown up romance as opposed to a thirteen year old twilight fan’s idea of an adult romance.

The “lawyer” shenanigans and the “cases” are hit or miss, and I think the occasional comedy fell flat for me. But that’s not why I mainlined like 6 episodes of this series overnight like a coke addict, and that’s not why you’re going to do it either. It’s so RARE, even in these enlightened days to find a female character like Jung Geum-ja: hard as nails, unapologetic about it, and not punished by the narrative for it. The best part for me is that she feels like a woman’s woman, not a man’s idea of what a Strong Female Character should be. Anyways, when I grow up I want to have what Kim Hye-soo has ok?

Other dramas that I watched this year, quickly rated:

The King: Eternal Monarch (3/10 and those 3 points are only for the combined goodness of second leads who deserved better- Jung Eun Chae, Woo Do Hwan and Kim Kyung Nam. Please head over to my AO3 and read my attempts to fix this garbage fire and rescue their characters from canon)

Flower of Evil (-10/100, dont @ me)

Tale of the Nine Tailed (5/10, I think it succeeds at what it set out to do, which is a light hearted, sweet fantasy-romance-melodrama, plus “second lead” Kim Beom will make you cry as the hot mess of a half human/ half fox spirit ALL TEARS character. I think if you’re into kdrama romances as a genre, this is probably a good bet?)

Signal (7/10, This was the first full kdrama I watched this year and would definitely recommend. It’s a police procedural with time travel shenanigans and has an engaging plot, good pacing, texture and compelling performances. My one disappointment with it was the way they wrote Kim Hye-soo’s character. As literally the only female character to survive in any way, she was given short shrift, and toward the end it really began to grate on me.)

Six Flying Dragons - (7/10, also would recommend if you’re interested in Korean historicals. It definitely already feels a bit dated in terms of styling and production values, and even scripting and acting choices. But it has a good balance of fantasy and history and political commentary. I was not a fan of Yoo In-Ah’s performance in this series, but it’s not anything that would make you want to nope out of the series. It’s GoT , if GoT was thoughtful about politics and characters and not the misogynist, racist trashfire that it became.)

My Country: The New Age - (3.5/10, and that’s 3 points to Jang Hyuk’s fan and 0.5.points to Woo Do Hwan’s heaving bosom. If you like your historical drama/fantasy with very pretty men, very gay subtext -seriously RIP to show makers who thought they could hetero it but didn’t account for Woo Do Hwan’s Tragic Face- lots of blood and tears and very nonsense plot, this is right up your alley. I probably would have enjoyed it more in other circumstances, I think? But this one just annoyed me too much at the time!

I have a couple of more dramas to watch on my list, that’ll probably carry me over into 2021, so see ya on the other side! :D

#k-drama #kdrama rec list #2020: A YEAR #i'm a queue for you

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sebastianshaw · 3 years

Conversation

RP meme from "Chapter Four: Aspects and Renown" in The World of Darkness Ratkin Breedbook

"What you can actually do is far more important."

"The experience is little more than a challenging contract to prove one’s mettle."

"Not everyone can stand so much isolation and seclusion."

"Along the way, they work whatever scams and schemes they can to survive."

"After all, mavericks are known just as much for their quick wits as their stealth and subterfuge."

"Some do this to escape lives they cannot stand; others quest for ideals they may never achieve."

"If there’s a great place nearby to find food, adventure, or perils that threaten the young, a wise scout or spy will find them quickly."

"Relationships on the road are temporary and superficial."

" A scout or wanderer who hasn’t seen an old friend or lover in years immediately picks up the relationship exactly where it left off."

"Each year, they move from city to city, use and discard temp jobs like old clothes, and evolve a series of personas for different situations."

"Not all of them are impoverished and homeless; as long as you know where to find crash space, you’re never really helpless."

"They are fascinated by places inhabited by other creatures, especially humans."

"Some are smart enough to emulate the people they live near; others come up with bizarre explanations to explain human activity."

"Instead of a straightforward military report on the strength of predators in the area, the data must be condensed into a format even a small child could understand."

"When problems with the physical world grow too great, it’s tempting to just vanish into the ephemeral realms for a while."

"These alternate identities aren’t very flashy, just the sort of quiet identity that no one questions."

"It can also draw attention from police officers, irate merchants, and hostile humans."

"This isn’t my world. I just hide in it. If you’re looking for a place to run, talk to me."

"This isn’t my world. I just hide in it."

"If you’re looking for a place to run, talk to me."

"Seers are the keepers of ancient secrets."

"A human is still a human, and can never be trusted."

"Just because they’re victims doesn’t mean they’re virtuous; they’ll still rip you off when you least expect it."

"They seek wisdom the human race has discarded or left behind."

"They make their lairs in areas where the police fear to go, where the only law in both physical and spirit worlds is survival."

"Her body remains in the physical world; her spirit watches what transpires around it in the spirit world."

"You worry about fighting what you can see. I’ll worry about fighting what you can’t see."

"If they feel strongly enough, they will enforce their beliefs as they best see fit."

"Unfortunately, when passing judgment on their own kind, they have restraints placed on their activities."

"These harsh practices have millennia of precedent."

"They reason that it’s better to have a few small, secure ratholes to hide your equipment and yourself than to go to the trouble of defending a larger turf."

"Many secretly enjoy “pronouncing sentence” on anyone who offends them thoroughly enough."

" Justice is far more important. . . and unfortunately, far more subjective."

"Most know they can’t change the world by openly practicing violence; if anything, they’ve got to be really secretive about their revenge."

"Epic carnage is best left to less sophisticated creatures."

"The threat of one of the local politicians getting killed is usually enough to dissuade them from disagreeing any further."

"They do not disguise themselves when pursuing an assassination, as they will not apologize for what they do best."

"We had a contract. You broke it. Now I’m going to make your life a living hell."

"When rage flows freely, violence reigns."

"Some have the wisdom to choose their battles carefully; others don’t care who dies when battle lust seizes them."

"Peace is nothing more than a temporary cessation of the ways of war."

"Developing martial skill involves far more than just killing things — sometimes it involves crippling them, weakening them, or demoralizing them.

"These soldiers don’t just slay; they also use their knowledge of chaos to confuse their enemies, striking in the night when madness reigns."

"All of them pride themselves on discipline and composure. . . until rage overwhelms reason."

"Warriors of both sexes are mildly insecure, and feel the need to show off their martial prowess."

"What? Just because you’ve got an army surplus jacket and a pipe bomb, that makes you a man?"

"Any fool can pull a trigger."

"Saving the world requires true warriors."

"Technology isn’t evil, after all. It’s just in the wrong paws."

"Many are convinced that if they don’t watch their actions carefully, someone from a local laboratory will capture them and experiment on them to find out why they’re so smart."

"Wherever technology thrives, these rats will move in to scavenge it."

"Humans have a fetish about continually acquiring more stuff, newer stuff and cutting-edge state-of-the-art tech."

"The struggle begins with fierce discussions about technological innovations, and rapidly breaks down into name calling and slander."

"Two machines enter; one machine leaves."

"Whether they tinker with ancient computers or rusting cars, they have an insatiable need to fix anything that’s considered unsalvageable."

"Sometimes, she’ll spend the whole day collecting knickknacks just to see what she can build out of them that evening."

"Genius has its price."

"Each one has a physiological trait that identifies him as the gene freak he is."

"Dark powers tutor them in forgotten arts of destruction."

"He’ll be deposed by forces he’s summoned up, but can’t put down."

"Turn your head and cough. Oooh! I’ve never seen it that color before."

"Not all of them are swashbuckling heroes, but all of them are delusional about their origins and their heroic prowess."

"The conflict of egos can become so intense that bystanders get hurt from the fallout."

"Dueling etiquette demands satisfaction."

"Anyone who hears this tale will swear that it is true."

"My good sir, adventure is my middle name!"

"What? You don't believe me?"

"Keep her pointed in the right direction, and she’ll masterfully eliminate your enemies."

"If you’re not careful, she’ll blow up right in your face."

"Any place populated by the desperate, frustrated or down-and-out is another good choice — not only does it make for a good place to hide, but it has its share of potential allies seeking vengeance. . . or potential victims at which to vent your anger."

"They’ll need a really powerful common enemy to unite them; otherwise, each will suspect the other of conspiracy."

"Many come from criminal backgrounds, broken homes, abject poverty or the sort of banal borderline existence that breeds cynicism and contempt for just about everyone."

"Each one has a surprising degree of truth to it."

"It controls all forces of order."

"The balance of the world will not be restored until we destroy everything that smells of stasis, stability or the status quo."

"Hey, nobody saw me do anything. Besides, he had it coming. . . he pissed me off. What? You talking to me? You talking to me?"

"Hey, nobody saw me do anything. Besides, he had it coming. . . he pissed me off."

"Hey, nobody saw me do anything."

"Besides, he had it coming. . . he pissed me off."

"What? You talking to me? You talking to me?"

"You want a piece of me?"

"Chant the creed, kid, and learn. . ."

"I shall seek revenge against those who prey upon my kind."

"I will survive so that I may breed."

"I must respect strength and exploit weakness."

"I shall grow stronger through conflict."

"I will learn from the mysteries of the spirit world."

"I will revel in the visions the spirits grant me."

"I shall nurture, instruct and aid the young."

"I will trust my own kind before I trust outsiders."

"When someone is responsible for injustice, I will make sure someone pays."

"Legality is a subjective concept at best."

"Fighting to survive is difficult enough."

"What else could heal the world?"

"They’re doomed to self-destruct."

"The day that the buildings come crashing down, I’ll dance in the streets."

"Survival comes first."

"Mankind’s days are numbered."

"The strong breed. The weak die. Does that sound harsh? That’s evolution."

"Instinct will tell you when to kill, so follow it."

"We need an army to overwhelm our enemies."

"I still do not know if this is wise."

"If only the strong breed, then you must prove your strength before you can reproduce."

"Don’t be some addle-witted wharf rat who breeds with any half-dead body in the sewers. You, soldier, are the paragon of your race."

"Such egotism!"

"That is nature's way."

"That is nature’s way. If the population of creatures in any one area is too high, a few can be killed or a great number will starve."

“Property is relative. If I can take it, it’s mine. If you can’t defend it, you don’t deserve to have it."

"They buy far more than they need, go to great lengths to defend what they have, and insist that they have the right to determine who owns what."

"If you own more than you can carry, you’re wasting what others can use."

"Betray others before you betray your own kind."

"We’re running into the world together, kid, so we’ve got

to stick together. You ready to go? Um. . . you first. . .”

"You ready to go? Um. . . you first. . .”

"We’re running into the world together, kid, so we’ve got

to stick together."

"I just feel this rage in my blood that’s been there since the dawn of time. And I just feel like acting on it."

"Show me your true face, and it’s my call whether I want to slash it off."

#rp memes #rp meme #rp starters #roleplay meme #roleplay memes #roleplay starters #ratkin #world of darkness #werewolf the apocalypse #out of shirt #okay to reblog #will answer in morning

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allthefilmsiveseenforfree · 3 years

Text

Dangerous Minds

Those of my readers who haven’t known me long may not know that I was once a corps member of Teach for America. I taught 10th and 11th grade English for about 5 weeks, then I was told on a Friday about my “involuntary transfer” to another school in the district, where I’d be teaching 7th and 8th grade English instead. I went from having about 110 students to about 190. My classroom had no books (textbook or otherwise), no pencils, no paper, no markers or chalk, but it DID have one of those folding lamps that come out of the ceiling at the dentist’s office. The kids had been in there for 5 weeks with a rotating roster of subs; they’d done no schoolwork of any kind. I was teaching in a very poor area of the city, and my students were predominantly Black and Hispanic. One of my 10th graders wrote his first personal essay about getting shot the previous year. I say all this to tell you that when Chad asked that I review Dangerous Minds, the 1995 adaptation starring Michelle Pfeiffer of the true story of Louanne Johnson’s experience teaching in inner city schools in California, I was prepared to laugh it off as a cringey, Lifetime-movie representation of my experience. Is that what I got? Well...

For the most part, what I got was a ball of anxiety in my chest. It’s well-worn territory, obviously. A teacher bonds with their students from the wrong side of the tracks, and ends up learning just as much from them as they learn from him/her. Usually poetry or music features heavily as a tool that can set the students free from the depressing circumstances of their lives. Depending on the rating, usually a student dies, and the teacher learns just how Important their job is, so they commit to it even harder even though it pays no money and garners no respect from the administration who just doesn’t “get it.” But these cliches and stereotypes and broad strokes exist because at their core, they’re true, and they make me anxious and uncomfortable and I can’t laugh at them or Michelle Pfeiffer being a Nice White Lady because I’m too busy being angry about the systems we put in place that straight up abandon so many kids, all in the name of white supremacy.

Some thoughts:

Oh we’re starting right off the BAT with “Gangsta’s Paradise.” Fantastic news. Two things I associate so strongly with this song is skating around the skating rink in 2nd grade and buying the Weird Al cassingle of “Amish Paradise” and wearing it out.

Ooh, the score was composed and performed by Wendy & Lisa! Love that, you don’t see nearly as many film scores as you should composed by women.

God, the salary is $24,700 a year and Louanne acts as though that is appealing - I can’t tell if that’s because it was 1995 or because teacher salaries are so dismally low that this feels like a good salary?

This scene in which Louanne goes into her classroom for the first time and the kids are all shouting at her and getting in her face and sexually harassing her and throwing paper balls at her is giving me stress hives.

Also her friend Griffith (George Dzundza) saying, “You wanna teach, so teach! All you gotta do is get their attention” is rather disingenuous. Trust me, you can have their attention, and still not be able to teach.

I’m excited to see Sally-Can’t-Dance from Con Air as Raul (Renoly Santiago). He’s honestly fantastic in this, with a tough exterior but a sensitive and gooey inner sweet boy. All of the teens give pretty solid performances, but he’s a real standout.

I recognize this is based on a true story and Louanne Johnson’s lived experience, but I am not sure it’s wise for any teacher, regardless of grade or subject, to be teaching her students how to fight each other. Or taking them to dinner on what looks to outsiders like a date. I know some people have a problem with the bribery (giving her students candy for speaking up in class) but I have no problem with it - you get paid to do all the dumb stuff you don’t want to do at work, why shouldn’t kids be compensated for going to school if they don’t want to be there? External motivation goes a long way to building up internal motivation.

Mm I do love me some Courtney B. Vance, but he’s such a quiet, condescending ass in this. It’s a different vibe than I’m used to seeing in a principal in a movie like this.

Ooh, Griffith grading papers and saying “What a fuckin’ idiot” is a real mood.

“Since when has the Board of Education done anything for us? We barely get fuckin lunch” is legit. The lunches my students were served in summer school were some of the most horrifying things I’ve ever seen. One day it was spoiled milk, white bread, and pickles. And one of my students put his in a microwave that was hidden in the back of my classroom behind some dividers and left it for a week. And just so you know, as stomach-churningly awful as that sounds, the day I found “pickle man” as my student called him, isn’t even in my top 5 worst days teaching list.

I like Griffith, and I’m glad Louanne has a friend, but frankly I’m not that interested in these interludes between them - they really feel like they slow down the momentum from the scenes of her in the classroom slowly earning the kids’ trust. The pacing is kind of a mess, because the most dynamic sections all revolve around the kids in the classroom, and I feel like that only makes up about a third of the movie.

One thing I know for sure is you do not get in the middle of a fight between students. I have a friend who worked in the same district I did who interrupted a fight and got punched in the face because of it. And her principal blamed her.

Oh wow the way the soundtrack picks up when Emilio finally engages in the class is some kinda cheesy. And it continues through the rest of the scene to a distracting degree. Oh Wendy and Lisa, I hoped for better.

Can I just emphasize that to reach these kids, Louanne uses her experience as a LITERAL MARINE by demonstrating she can kick all their asses, and then she bribes them by paying for 25 kids to go to an amusement park for the entire day with her?

Also, even if they like and respect her now, I call bullshit at any scene in which ALL of the kids are A) sitting in their seats or B) silent, and especially C) both.

Um suddenly feeling some weird vibes with Louanne and Raul having a dinner date at this fancy restaurant by themselves. Also, the double standard here is pretty telling - there’s no way this scene makes the movie if Louanne had been a male teacher and Raul was a female student.

Wait wait wait, she’s also loaning Raul $200? Like, is this why I didn’t make it as a teacher? Because I wasn’t a former Marine taking students to amusement parks and fancy dinners and lending them money? I was 25 and could barely afford rent. Maybe teachers who have enough money to take care of themselves are better equipped to take care of others. Idk, I’m just spitballin here.

Oh “Gangsta’s Paradise” is happening again! We already heard the whole song over the opening credits but now it’s happening again about 3/4 way through. I mean this song is definitely the best thing about the film, so I get it, but it feels weird that they think we wouldn’t notice it playing to completion twice.

Michelle Pfeiffer is doing everything she can to make this movie feel less cheesy and more real. Like, you can tell she’s really trying with her performance. Of course, it’s not like the character is a huge challenge acting-wise, but she is definitely committed to the part and can walk the line of both accessible and tough.

This scene where Louanne tells her class she is not going to be there next year, that what happened to Durell and Lionel and Callie and Emilio made her too sad to stay has not aged well at all. And it’s certainly true to life, and I say that as someone who did the same thing. It’s not something I’m proud of, but it’s a reality - the fact that I’m a nice white lady is exactly the reason that I can choose to leave when things get too hard. Just because the kids convince her to stay at the end in this very rushed “all’s well that ends well” way doesn’t sweep this scene under the rug, and it shouldn’t.

Ope, “Gangsta’s Paradise” shows up one last time in the credits for good measure.

Side note: after the film, I researched Louanne, and she’s still teaching, which honestly made me emotional (in a good way). And I’d like to point out the racist ass bullshit the studio and screenwriter Ronald Bass pulled by changing the poems the students read to Bob Dylan lyrics when Louanne originally used rap lyrics from popular artists in ‘89-’90 to teach the kids about poetry.

Did I Cry? No, but I did get heartburn from anxiety flashbacks.

This genre of film is easy to mock and parody because it tells the same story and hits the same beats to the point that they’ve become cliche. Ultimately, the truth at the heart of the movie (which is the un-nuanced and candy-coated depiction of Johnson’s real memoir, My Posse Don’t Do Homework) is that high schoolers crave someone who will see them and validate them, someone who is willing to put in the effort. The quality of the package that truth is wrapped in varies, and this one certainly leans in hard on stereotypes that feel like cheat codes rather than any real illuminating depictions of living teenagers. But as cringey as it is to watch, maybe it’s not a bad thing to remember that all people - including those who are trapped in poverty and all the cruel injustices that entails - want to be seen and valued for who they really are.

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#121in2021 #dangerous minds #dangerous minds review #michelle pfeiffer #renoly santiago #courtney b vance #louanne johnson #movie reviews #film reviews #patreon review

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meta-squash · 3 years

Text

Brick Club 1.5.10 “Outcome Of The Success”

It’s long, I’m sorry. There’s just so much in this chapter!

The chapter’s first paragraph is a description of the misery of winter weather, bookended by sentences about Fantine. It’s been nearly a year since she was fired. The bit about winter is a description of Fantine’s descent as well as the weather. Winter brings short days which means less work; Fantine’s position in society means she’s finding less work as well because she is essentially freelancing rather than working for an employer with steady jobs. “No heat, no light, no noon, evening touches morning” is such a good description of the way everything is miserable and just blurs together when you’re trying to just stay alive. All the awful stuff is sharp and dull at the same time. “Winter changes into stone the water of heaven and the heart of man.” Fantine is starting to harden here; we see her become more shameless, tougher.

Fantine wears a cap after cutting her hair “so she was still pretty.” And this disappears so rapidly in this chapter. Her beauty is so important. Fantine is the only character aside from Enjolras who is repeatedly described as beautiful in a way that seems to really matter. (Cosette is also beautiful, but that description is almost entirely through Marius’ POV, rather than from a more general POV with Fantine.) The slow destruction of Fantines beauty--the discarding of her pretty clothes for peasant ones, her frequent tears, the loss of her hair and teeth, the torn and threadbare clothing--mirrors her social destruction. She desperately clings to her beauty by wearing a cap, but she obviously gives up pretty soon.

What fascinates me here is that Hugo mentions that Fantine admired Madeleine, like everyone else, but he also implies that she didn’t hate him straight away for her dismissal. In the previous chapters, her reaction is to accept the dismissal as a “just” decision. She works up her hatred by repeatedly telling herself it was his fault. It seems as though she lands on the right conclusion in the wrong way. She blames herself first, and only through gradually convincing herself does she start to blame Madeleine. He and his crap system are the ones to blame, but she comes to that conclusion in a roundabout way that feels like she still blames herself but is trying not to. Fantine has been a scapegoat for everyone up until now; Madeleine has become her scapegoat to avoid (incorrectly) blaming herself.

“If she passed the factory when the workers were at the door, she would force herself to laugh and sing.” She’s trying so hard to make them think they haven’t gotten to her, but it just makes it so much more obvious. The laughter and singing is the “wrong” reaction, and it makes everyone notice her even more, and judge her even harder. It’s just so sad because I can understand that behavior of trying so hard to act the opposite way of how you think people will expect you to, only it backfires and makes your true feelings all the more apparent, which gives even more fuel to the cruel people.

Fantine takes a lover out of spite, “a man she did not love.” There are a few things here that contrast with the grisettes of 1.3. This lover is someone Fantine does not love, her first relationship since losing Tholomyes, who she was in love with. The man is also a street musician, which reminds me of Favourite’s actor/choir boy. The difference being that Favourite’s boy had at least some connections through his father, and Fantine’s lover is only a street musician. Fantine takes this lover in for the same reason that she sings and laughs outside the factory: to try and show that she’s unaffected, which really only serves to do the opposite. She has this affair “with rage in her heart,” which seems to be the only emotion left for her for anyone besides Cosette (and maybe Marguerite).

“She worshiped Cosette.” My only comment here is that this is something that Valjean will later echo. Both worship and adore Cosette as a point of light, something to cling to and love and care for.

Okay maybe I’m missing something here, but Fantine can read but she can’t write? This is probably my “been good at reading/writing my whole life” privilege talking, but wouldn’t she be able to write if she could read? I suppose maybe it’s like how I can look at numbers and understand the numbers but I can’t do math for shit? I don’t know. That just caught my eye.

Fantine is starting to lose her inhibitions as she begins to lose control of everything in her life. She’s laughing and singing and running and jumping around outside in public, she’s acting loud and brash and odd. Her reactions to her misfortune and the terrible things that keep happening express the “wrong” emotion. It’s an attempt to cope, and a courageous one, but it’s drastically different from the quiet Fantine who barely spoke that we were introduced to.

“Two Napoleons!” grumbled a toothless old hag who stood by. “She’s the lucky one!”

This line really struck me. We’ve been tunnel-visioned on Fantine’s misery this whole time. Suddenly the focus pulls back a little bit and we get a little bit of perspective. Fantine is not at rock bottom yet. She could still go so much lower. To this toothless old woman, she’s lucky because she’s pretty and because her teeth have worth. Fantine is poor, and cold, and worried about her kid, and most of the town laugh at or scorn her, and yet this old woman still thinks she’s the lucky one of the two of them. It’s a much more subtle commentary on the levels of poverty and abjectness that exist. Once you’ve fallen through the cracks in society to the level of homelessness, to the level of selling your teeth and hair and body, to complete aloneness, anyone who has even a scrap more than you seems “lucky.” And Fantine’s not too far from that existence.

The conversation between Marguerite and Fantine about military fever is so weird. Is Marguerite just saying stuff? This dialogue sounds like a conversation between two people who have no idea what they’re talking about. It’s like those scenes in comedies where one person pretends to be super confident about something to impress the other even though both of them are completely wrong. Oh okay wait! I just did some googling and I’ve realized that neither of them know what they’re talking about because Thenardier did his bad spelling thing! “Miliary fever” is an old medical term for an infection that causes fevers and bumpy skin rashes. (Mozart’s death is attributed to it; it seems to have fallen out of use as it became easier to pinpoint certain illnesses.) I think this isn’t just Marguerite not knowing what she’s talking about. This is a misunderstanding due to Thenardier’s misspelling (whether deliberate or not, I don’t know) and neither Marguerite nor Fantine know enough to realize it.

ETA: Okay wow I’m keeping that whole “miliary fever” thought journey in just to record my thought process but I’ve just double-checked against the Hapgood translation and the original French, and the mistake isn’t with the Thenardiers at all! It’s entirely the fault of the translators. The original French says “miliare” and Hapgood has translated it as “miliary”; Fahnestock and MacAfee clearly did not notice that the French was “miliare” and not “militaire,” and neither did their editors.

“During the night Fantine had grown ten years older.” Off the top of my head, I can only think of three instances of not-old people being blatantly described as looking old. This description here, Valjean when he returns from Arras, and Eponine. There are probably more I’m missing, but the connecting factor between these three is severe, prolonged trauma. Trauma and a difficult life can prematurely age people (I always think of that Dorothea Lange photo of the migrant mother who was only 32 but looks 50) and Hugo uses this fact to bolster his descriptions of what they go through. But Fantine and Valjean both age almost suddenly; Eponine is already old-looking the first time we meet her as a character with dialogue. Fantine’s sudden aging is another level of departure from her old life. In Paris, she was the youngest of the group, and now she looks far older than she is.

“Actually, the Thenardiers had lied to get her to get the money. Cosette was not sick at all.” As readers, we know this. We’ve seen the Thenardiers lie over and over and we see Fantine sacrifice with no idea. But this one hits harder than the others. Partly, I think, because Hugo puts it so bluntly in a sentence that has its own paragraph. But also because this is the first sacrifice that is truly unalterable. Fantine’s hair can grow back. There may have eventually been some slim chance of a job opportunity or something coming up somehow, or an influx of things needing mending or something. But she cannot regain her teeth. This is also the first sacrifice that physically disfigures her in a visible way. She can hide her lack of hair under a cap, she can hide her lack of money by using and reusing things. She cannot hide her missing teeth.

It’s interesting that we do not hear about Mme Victurnien here. Rather than the last chapter, this would be the one where Victurnien would be “winning.” The consequences of Victurnien’s actions have now permanently affected Fantine’s life. Except I think the reason we don’t see her here is that she wouldn’t face it. She can look out her window at Fantine walking down the street in distress with her beauty intact and feel satisfaction, but if she saw Fantine walking down the street, toothless and hairless, I don’t think she would feel satisfaction, because she wouldn’t be able to connect her actions to this Fantine. Feeling satisfaction towards this level of misery would require acknowledging her participation in causing it. It’s one thing for the townspeople to laugh at or gawk at her, but I think claiming responsibility for her condition is something else altogether that I’m not sure Mme Victurnien would do.

Fantine throwing her mirror out the window is a strange sort of contrast compared to Eponine’s reaction to a mirror. Fantine cannot face her descent. Eponine is already there, and her excitement at Marius’ mirror is a weird sort of distracted examination of herself. Fantine cannot bear to examine herself because unlike Eponine, she can remember what it was like before this. Tossing away the mirror is tossing away the thoughts of her past life and her past self; she can’t ever go back to that.

“The poor cannot go to the far end of their rooms or to the far end of their lives, except by continually bending more and more.”

God I don’t really even know what to say about this line except ouch. It’s just so poignant and intense. The older you get the harder it is to survive, to get up with each new stumble. And we can also take into account things like the cholera epidemic that will occur a few years later in the book, which mostly affected the poor. There’s so little access to any sort of help or assistance. And clearly Valjean’s few little systems of aid aren’t good enough. He may have set up a worker’s infirmary and a place for children or old workmen, but there doesn’t seem to be assistance for single, unsupported women, or the homeless and unemployed. They’re left to bend more and more under the weight of life.

“Her little rose bush dried up in the corner, forgotten.” I can’t help but read this as a parallel to the Thenardier’s treatment of Cosette. As Fantine falls apart and falls behind on her payments, Cosette is growing up which means the abuse from the Thenardiers has probably increased. It also feels like a weird sort of throwback to the spring/summertime imagery of beauty and chasteness and modesty from back in 1.3, which has now completely disappeared and dried up as Fantine loses her beauty, her modesty, and her coquetry.

I love the little detail about Fantine’s butter bell full of water and the frozen ice marks. It’s such a small detail but so evocative. It also feels like a metaphor for each of Fantine’s new hardships. Every time the butter pot freezes over, it leaves a ring of ice for a long time; each time Fantine encounters a new trauma, she hardens and becomes tougher. She keeps her dried up, long gone modesty and youth in one corner and the suffering that has hardened her in the other. On a side note, I’m wondering if there is actually butter in her butter bell or if she’s now using it only for water? I would imagine water only; butter seems like something that might be expensive. Also, would the building she’s living in have had indoor plumbing, or would she have gotten water from a well or a pump somewhere? My plumbing history knowledge is lacking.

Hugo describes Fantine’s torn and badly mended clothes. At this point she’s working as a seamstress, which means she’s at least proficient in the skills needed to sew and/or mend clothes in such a way that they stay together. This means that the repairs done for herself are likely careless and messy. I think this is partly an indication of how little time she has for herself--if she’s sewing for work for 17 hours a day, she has very little time to mend her own stuff, and definitely can’t afford better quality material--and partly an indication of the ways in which she is falling apart. She doesn’t bother mending her things properly, she goes out in dirty clothes. She doesn’t mend her stockings, she just stuffs them further down in her shoes. It seems she has only one or perhaps no good petticoats, which means she’s probably walking around in just a shift and a dress. Not only is her stuff threadbare and falling apart, she’s also probably freezing due to the lack of layers.

“A constant pain in her shoulder near the top of her left shoulder blade.” This makes me wonder if Fantine’s left-handed. If she’s sewing by hand, by candlelight, in a shitty rush chair, for seventeen hours a day, that is absolute murder on the back/shoulders/neck. Whenever I do hand-sewing I’m usually sat on the floor or my bed, and my back and upper shoulders tend to get sore if I get in the zone and I’m bent over the work for a long time. I don’t know about French dressmakers, but I know around that time the English were really big on very small, neat, almost invisible stitches. Which would hurt to do for seventeen hours a day by candlelight.

“She hated Father Madeleine profoundly, and she never complained.” The Hapgood translation of this line is better, I think. Still, I think it’s important that it’s pointed out that she never voices her opinions or her complaints. It’s only when Madeleine is in front of her that she announces them at all (despite not speaking directly to him then, either). She hates Valjean, she blames him, and yet obviously some part of her still thinks that she deserves it, or that her dismissal was right.

“She sewed seventeen hours a day, but a contractor who was using prison labor suddenly cut the price, and this reduced the day’s wages of free-laborers to nine sous.” Reading this book is always a lot because aside from the still-relevant general overarching commentary about society and poverty and mutual aid and goodness and all that, there are so many smaller details that are so painfully, strangely relevant to the present day. Even today there’s fear that employers will come up with a new policy or a new labor shortcut that means less income. Employers who pay their employees less because the workers get tipped, or outsourcing that causes layoffs. Prison labor, too (and behind that, the fact that prison labor doesn’t guarantee a job in a similar field after release if desired).

In the next two chapters, we jump ahead somewhere between a few weeks to a couple months. What happened to Marguerite in the interim? Hugo describes her as a “pious woman [...] of genuine devotion,” but I have this sad thought that maybe when Fantine made the decision to become a sex worker, Marguerite may have turned her back on her as well. As we’ve seen with Valjean, being poor but modest is Good, and being poor and desperate enough to do something improper and “immoral” is Bad. Despite Marguerite’s canonical generosity towards the poor, I wouldn’t be surprised if Fantine’s decision overstepped some moral boundaries of hers.

“But where is there a way to earn a hundred sous a day?” I’m a little stuck on this. Would she make this much money? I’m basing the following information off of Luc Sante’s The Other Paris, so the monetary info might be slightly different a for non-Parisian area. According to Sante, someone like Fantine, a poor woman working without a pimp or madame and not in a legal brothel, would basically be working for pocket change. 100 sous would equal about 5 francs. If her earnings are basically pocket change, I don’t think she’d make 5 francs a day. Just considering the fact that a loaf of bread might cost about 15 sous, which seems like pocket change, or even slightly more than pocket change. Fantine probably becomes a sex worker and finds herself in the exact same position that she was in before, not making any more money than she would have if she had continued to be a seamstress.

#les miserables #les miserables meta #brickclub #lm 1.5.10 #les mis #les mis meta

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