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obsidianstrawberrymilk · 25 days

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Random features of my BSD age swap au

Kyouka and Q (Yumeno Kyuusaku) were the equivalent of Double Black, but I haven't figured out what to call them instead. Either way, they were a terrifying duo where between Q's raw destructiveness and Kyouka's stealth, as well as Q's psychological manipulation and Kyouka's resourcefulness and logic, basically no one could beat them. Until Kyouka left anyway

PS Q did not take Kyouka leaving as well as Chuuya took Dazai leaving. There is So Much Bullshit going on there

Atsushi is Oda, RIP. Akutagawa is Ango if he'd been a PM spy in both the government and Mimic

Gin is an Executive

Aya is Ranpo. Fukuzawa is a girldad. She actually has an Ability but has trouble accepting it due to her (now dead) birth father's abuse.

Ranpo and Yosano are the Agency's resident teenagers (14 and 15 respectively). Ranpo is still in his 'everyone is a monster and I'm scared' phase because Fukuzawa hasn't quite managed to get the lie to click; him and 18 year old Dazai bond oddly well over this.

Tachihara was Rimbaud, technically. There's some logic in my head that makes this make sense. Yes, this means Tachigin is Rimlaine in this AU, and Gin is every bit as pathetic as Verlaine is.

Where are actual Rimlaine? ...Good question.

Kenji is Kunikida, technically. Q is not jealous at all (lie)

Higuchi is a Black Lizard commander. Don't ask me how this works.

Kouyou is unfortunately locked in the Port Mafia's basement because Golden Demon is a lot more destructive than Demon Snow was. (She's Q).

Chuuya attacks Dazai on the train (how Kyouka attacks Atsushi) though he's significantly less inclined to blow himself up. Unfortunately for him he winds up blown up anyway.

Mori gets to traumatized even more children - he gets to directly mentor Kyouka and Q, then Dazai, and Yosano.

Does Yosano join the Agency before or after Dazai? Yes.

#bsd #bungo stray dogs #kyouka izumi #yumeno kyuusaku #q bsd #kenji miyazawa #atsushi nakajima #akutagawa ryuunosuke #gin akutagawa #tachihara michizou #yosano akiko #ranpo edogawa #dazai osamu #chuuya nakahara #kunikida doppo #fukuzawa yukichi #mori ougai #higuchi ichiyo #aya koda

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s1lv3r-4rt · 7 months

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FUN FACTS FROM STORMBRINGER BECAUSE I'M INSANE

also SB SPOILERS OBVS!!!

ALSO TRIGGER WARNINGS FOR: MENTIONS OF DEATH, MENTIONS OF MURDER, MENTIONS OF TORTURE, DESCRIPTIONS IF HALLUCINATIONS, SEMI-GRAPHIC DESCRIPTIONS OF GORE, DESCRIPTIONS OF TORTURE! DO NOT READ IF ANY OF THIS MAKES YOU UNCOMFY!

-the hat chūya wears during 15/just joined pm is NOT the same hat he wears at 22! he wears verlaine's now! because arahabaki is a bitch!

-doc went to school (at least med school) somewhere in north america! so he probably knows english!

-our chūya is very highly probably the clone! and n is his dad!

-if our chūya isn't the clone, he's not an orphan! we see him watching what seems to be his grandparents in the epilogue!

-his bike is from albatross!

-paul verlaine is actually arthur rimbaud's real name, but rimbaud gave it to our least favorite french assassin when he found him!

-rimlaine canon! (irl verlaine and rimbaud were dating/fucking i will NEVER not bring this up) (because bsd generally keeps relations accurate from irl (like dazai, oda, and ango hanging out at bar lupin))

-if you didn't know, verlaine trained kyōka and gin!

-bsd mary shelley is a scientist who made adam frankenstein! she is also so skrunkly and so swag!

-dazai is a fucking faggot! ("i'm always thinking of ways to annoy chūya.") (I CAN SAY THAT I'M BIROMANTIC AND HOMOSEXUAL AND TRANS I PROMISE)

-dazai, at least from 15-16, lived in a cargo container for transporting cars! he only had a bed, a fridge, a lamp, a desk and chair, and a spare light bulb! all the more reason to burn mori at the stake!

-shirase moved to britain! his and chūya's goodbye was really sweet after what they've been through!

-before becoming an executive, chūya was in charge of taking care of gem smugglers! which was dazai's job before rank climbing! silly little gays!

-chūya has a scar from where shirase stabbed him, as well as a scar on his right wrist with unknown origins (i think it's unknown reading the epilogue was a fucking blur)!

-verlaine is batshit! he was in the trunk of a car with a corpse (i think, he might have been sitting on the trunk lid/door thing)! and then said "*pops open trunk* this bad boy can fit so much lippmann"! and it was described horrifyingly! (smth along the lines of "he watched the body roll out of the trunk with a wet thunk. the body that was lippmann." i will shank asagiri and the translator i read it from /j) also! he open alb's fucking chest! his rib bones were just out in the open! doc's entire lower half was missing!

-pianoman's and iceman's bodies aren't described (lippmann's isn't either, but from the wet thunk we can infer), it's only noted that they're there and in the pile with alb and doc, but we can imagine the bullshit verlaine had to do to get those two down because! pianoman was the leader of the flags and was this 👌 fucking close to becoming an executive! and iceman murders people with his bare hands, fountain pens, hell, i'm pretty sure a table was on that list!

-adding onto that! at the funeral, chūya tells adam that it took the mortician 8 hours to get the bodies even presentable!

-chūya is a really good pool player! he's repeatedly called the "undefeated king" (or smth) by the other flags! the only person who could beat him was adam, and adam's a robot! chū's been playing for the least amount of time, as well as being up to 9 years younger than the others (pianoman was the oldest at 25, iceman is next oldest but we don't have any exact ages except for pianoman), so i guess he's just really good at playing with balls! (hehe)

-lippmann is a famous, FAMOUS actor! he is repeatedly referred to as attractive by the narrator and even doc! it's said that any woman falls for him, and if he were to dress as a woman, the men would fall too! we love an icon!

-lippmann also comments that chūya could/should join him as an actor if he leaves the pm!

-the flags were VERY well known before their deaths! lippmann was basically the face of the pm! iceman was a very well known assassin! albatross was the head of transportation! doc was the best doctor the pm had! pianoman was, again, LIKE 30 SECONDS AWAY FROM BECOMING AN EXECUTIVE! the only less well known one was chūya!

-and that was immediately revoked when he defeated fucking GUIVRE! HE DEFEATED (and to the public/government, killed) THE KING OF ASSASSINS! WHEN SAID KING OF ASSASSINS WAS A FUCKING GODZILLA BOOTLEG WITH THE POWER OF LIKE THREE GODS IN ONE BODY! it is outright stated that every single person in the pm knew of and respected chūya, and this was before he became an executive! he was 16!

-speaking of! he was 16! he had to watch as his brother murdered every person who mattered to him (except for dazai iykyk)! it doesn't matter that adam came back (epilogue)! he had to watch someone who is supposed to care for him destroy his entire life! verlaine is the one who unlocked chū's gate (the ability to use corruption/singularity form)! he is the one who broke chūya down to his fucking base, build him by about 0.5%, then break him even more! he had to learn that he may not even be human! he had to watch his original melt down to his bones before attempting to murder him! that's horrifying!

- speaking of... that^! the original(?) chūya was... let me just summarize it! he was in a cylinder of some kind of liquid, which n drained. that resulted on og chū starting ti fucking suffocate because he'd been in that shit for like- 9 years? maybe even longer! so he started dying. n gave our chū the remote, which resulted in our chū getting og chū out of the cylinder, only able to hold him as the flesh melted off of his fucking bones. imagine that. watching someone (almost) identical to you, your original, melt into nothing. the only thing left being the mush his skin turned into, his clothed skeleton, and the scientist who did it to him.

-hehe! verlaine murdered n by stepping on him (as guivre, but honestly if verlaine wanted to ste-)!

-while in the lab being tortured, chūya has some hallucinations! dazai being a little shit, shirase blaming him for everything that happened to the sheep (and he was joined by the sheep members for a moment), then the flags! the flags, mainly pianoman, told chūya that it wasn't his fault (i think) and that chūya needs to keep going! then verlaine pops up, and chū thinks he's a hallucination until he frees chū!

-speaking of chū's torture! he was chained to a wall with shackles that had barbed wire on the inside, stakes through bullet wounds that would electrocute him, and tubes in his back administering poison(s)! it was genuinely heartbreaking to read as chūya's screams filled mot only the room he was in, but also the entire lab!

-albatross is the one who taught chūya to swim!

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hyenabutter · 5 years

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Life isn't about finding yourself, or finding anything. Life is about creating yourself.

When somebody is wearing a mask, he's gonna tell you the truth.

Nothing is revealed.

The first thing to know, I guess, before watching the Martin Scorsese-directed Bob Dylan documentary on Netflix is that a lot of it is fake: fake characters, fake photos, fake stories, all mixed in with the real footage and real people telling real stories. Nearly all of the filmed material is taken from the Dylan-directed Renaldo And Clara, which similarly folds documentary and staged footage into one another and is famously unwatchable and impossible to understand.

Dylan's take on identity has always been a cubist's, and so this mixing of fact and fiction fits neatly with his lifelong obsession with the avoidance of literal truth and the fragmenting of point of view. Still, though, I find it strangely irritating. When Werner Herzog does this kind of thing in his documentaries I think it works wonderfully, but for whatever reason it doesn't suit Scorsese, a director whose efforts always seem unabashedly earnest.

But we can ignore all of this because the real meat of the documentary is the music that is presented: music is as big a fiction as any creative endeavor of course, but it's the realest thing we see in the documentary. Which is of course the point.

Nobody denies that The Band was the best backing group Dylan ever had, but the group assembled to back him during the Rolling Thunder Revue has its own heavy power. It's the closest Dylan ever came to being an out-and-out rocker, and while I think the songs from this era aren't always as good as the ones from his 65-67 peak, the arrangements are far better, a lumbering sort of folk/glam amalgamation that rocks and sways like a ship on the waves. If this period wasn't Dylan's absolute best for songs, it far and away is for pure music. These arrangements completely elevate the relatively weak and boring Blood On The Tracks material: one highlight is a loose and ragged "Simple Twist Of Fate" performed at a mah jongg parlor (?) that's given a sprightly Motown bounce. It's great, and blows the studio version away.

A few stray thoughts:

The documentary reinforces how irritating Patti Smith is: she appears twice early on, once giving what seems like an improvised performance and then a few minutes later talking to Dylan about Rimbaud and Superman. She comes off as incredibly affected, the sort of person who says strange, "poetic" things in an effort to seem interesting: it strikes me as someone who is trying far too hard. I'll temper my criticism a bit here: it's possible these scenes could be taken from the scripted portions of Renaldo And Clara, in which case her playacting at least makes a little sense, though it's no less annoying.

Allen Ginsberg was brought along on the tour, and in his effusive praise of Dylan he seems almost pathetically toadying. It's hard to imagine attending one of these performances, being in the midst of a truly kickass rock and roll show, and then having all the air sucked out of the room by having Ginsberg come in somewhere in the middle to read his terrible poetry. The same goes for Ramblin' Jack Elliott, coming out with an acoustic guitar to sing some boring old folk song with 300 verses. It had to have felt like running into a brick wall, and I wonder how the show could possibly get its momentum back after having it so arrested.

Scarlet Rivera, whose gypsy violin drives so much of the material here, feels like some sort of mythical being, walking around in a bowler hat and carrying a sword: a living image lifted from a tarot card. Dylan describes visiting her room and finding "a box of stuff...chains, and mirrors, and candelabras...she had a snake." Almost like a character from a Bob Dylan song.

Joan Baez has the bemused air of someone who's long ago made peace with the fact that her career will always be seen in relation to her association with Dylan. She remains one of the only people who can--or will--call Dylan on his bullshit. Perhaps her only rival in this department is Joni Mitchell, who appears briefly, performing her song "Coyote" at a party at Gordon Lightfoot's house, cooly demonstrating just how complex and underrated her best material is.

In the end, I don't know what conclusions we're supposed to draw from the documentary, or if there even are any conclusions to be drawn, which is probably the point. All you get is Dylan fast approaching his sixth decade of never giving us the answers we want, which is all he's ever given us. No one before or since has ever understood so well how never knowing what it means is such an inexhaustible fuel.

#bob dylan #music #netflix #martin scorsese #joan baez #scarlet rivera #joni mitchell #allen ginsberg #ramblin' jack elliott #rolling thunder revue #renaldo and clara

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errantscriptor · 4 years

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@praevari said: 1-4 for your chattiest muse(s)

Shippy Meme : Sigma, Rimbaud and Ayatsuji decided to speak up

1. are you open to on-the-fly shipping with your muse?

This is for most of them really, but I prefer at least a little discussion. I’m definitely open to getting a pairing screamed at me and talking about the how’s and whys. But I can also be a freak for slow slow burn as some of my partners know. Sigma and Rimbaud are probably the easiest to on the fly ship, Ayatsuji takes a deep connection and work.

2. what sort of things does your muse look for in a partner?

Sigma needs someone who makes him feel important to this world. They have to somehow show with actions or heartfelt words that his existence matters.

Rimbaud looks for a passionate soul. He hides away so much of his personality that he really needs someone who he feels he can not only be himself with but also will reflect that same passion back.

Ayatsuji needs intelligence. He doesn’t expect anyone to be as smart as he is but he wants it to be close. Someone who has a spine and isn’t afraid to snap back at his bullshit is a must.

3. what sort of things does your muse AVOID in a partner?

Sigma avoids someone who’s too hands on. He’s touch starved but also associates most touch with pain or ownership. Someone who gets too up close and personal with him will freak him out.

Rimbaud avoids shyness. It’s a pot calling kettle black, he acts shy and meek a lot of the times due to his anxiety of sharing who he really is but a partner can’t have that.

Ayatsuji avoids indecisive or antsy partners. If you can’t stand up and say what you want to him he’s got no time for you.

4. what is the lowest and highest age person you’ll ship with your muse?

With “younger” adult muses they would certainly have to be legal going lower and usually only 8-10 years max going higher. I wouldn’t say there’s a hard cap but that’s about where I would think to stop unless there were unusual circumstances or a specific power dynamic.

#( & ) Sigma ( Headcanons )#( & ) Rimbaud ( Headcanons )#( & ) Ayatsuji ( Headcanons )#praevari

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