#i love convergent evolution in languages | Explore Tumblr Posts and Blogs

lericekrispie · 1 year

Text

Worldbuilding on Fauna

This was supposed to be a Vyncent headcannon list, but I ended up just talking about Fauna instead. Enjoy!

I tried to do some very surface level research into what Asian decent Vyncent could be based off, and the closest I found that matched was Mongolia. All my research is very shallow, please don't take my word as law, but from what I've gathered is that they are from a cold climate, with rich traditions. They are traditionally nomadic, have extensive and rich cultures in arts, music, and dance. They have unique architecture called a yurt. They had woodcarving, metalworking, embroidery, and weaving. Men and women both wore skirts and pants. They had meat like mutton, and beef, and herded sheep, goats and yaks. They had horse racing, wrestling, and archery. The games they played were chess and checkers, dominos, rock paper scissors, and puzzles.

Deriving from this, I believe that Vync-

likes music without lyrics, because English is his second language and it's hard to keep up, and most of his music back home was mostly instrumental anyways

wears gender non-conforming clothes

used to help herd animals while the older adults hunted. He knows how watch a flock, and has also sat in fields for long times just staying alert. B/c of this, his stake out abilities are top notch. He can disassociate like a pro and probably has ADHD. (head empty fr fr)

is really good at traditional board games, and always wins. He also likes puzzles, even if he is stupid sometimes and has to get help. He likes fidget toys. He likes video games as well, but because he grew up without technology he is horrendous at them. He still loves games and puzzles though so he still tries. Will and Dakota try to help him with some video games, but Vync likes the single player games the most bc he doesn't feel left in the dust when playing with his friends.

can tell when clothing is cheap and of bad material/craftsmen ship, and because of such he has a picky taste in quality. (his preferred fashion is maximalism and weird-core) (He has sensory issues fr fr)

Also, he lives on a floating island. We didn't see a horrible lot of worldbuilding b/c the world building was... well, destroyed in an apocalypse. I wanted to expand a little on that as well. What I think would be cool and good worldbuilding is if every Great is from a different island, and each island as a different climate/elf species.

Remember, all floating islands are flavored to be close in culture to a general overview of Mongolia culture, or in cannon, some East Asian culture.

The Lush Island

Vyncent comes from an island that is more traditional. It's smaller, and the communities are like tight knit families. Their climate gets very cold in the winter, so the weird fae-magical elf evolution would be the small predator animals that people sometimes draw for Vync as a headcannon. Small predator animals include cats, foxes, small predator birds, and sometimes dogs. It helps to be adapted to traverse in the snow, as they have two seasons, 'Dormant' and 'Bloom', basically Winter and Spring. Their Blooms is very abundant and full of festivals and celebrations, with long sunny days that could be disrupted by powerful storms. Dormant is even more brutal and dangerous, and what they prepare for during Bloom, so that they have stored food to survive the freeze. The traditional way of life has been very well preserved, that a lot of old techniques of artisans that would have been lost to time have been preserved. They have expert woodcarvers, metal workers, embroidery and weaving. Vyncent's sword was made on his island, and is part of why it's so powerful.

The Convergence Island

Strider is a rouge, wears a cloak, is mysterious and brooding. Strider would come from a island that has a larger community, because then there would be a reason for crime/stealing and or being a vigilante. The community would have to be large enough that there is animosity, so his island might be known as the 'City' island. This would be a market intersection, like Riptide's 'All-Port'. There is a strong Tribal Government there, with a clear Chief rather than just local figureheads and Respect for Elders. There is hoarding from the rich and people trying to build their lives from the ground up. Think ' The American Dream'. It's mostly a scam, but sometimes if your lucky you can make it big. Because of the city the island is a melting pot of multiple different elf evolutions, but the native's to the island have evolved to fit a more lavish, modern life, growing very tall, slim, and frail. They speak softer and less rushed, are often physically weaker, and have features for social evolution and not survival evolution (think classical faries and fae, with big buggy eyes and eyelashes, high cheekbones, slender faces, shimmery skin, slender soft hands, long hair and well kept hygiene.)

The Sunlight Island

Alphonz is the paladin. He wears a lot of heavy armor, so I believe his island would also metalworkers, the main suppliers of such. They are also a very religious community, with religious leaders controlling the tides rather than political. Their island would be the highest up, to be the closest to whatever the equivalent of 'heaven' would be. Of course, the evolution of the highest island would be wings, but most wings are made for gliding rather than flying because of body mass and energy and whatnot. Because of this, most people from this island can find jobs elsewhere as messengers. These people often get around to other islands eventually in their lives, and are known to be wanderers. They are closest to the sun so they have very thick eyelashes and undereye markings to protect them from the sunlight, and the darkest skin. They have a lot of intense flowers and foliage because the closeness to the sun. Their waterfalls from the top of their island run into the other islands below.

The Sunken Island

Min is a mage, and uses a lot of water themed magic. Because of this, I believe Min's island would be more like a bowl full of water, and most of the people would live in underwater domes, or on small floating islands. The people who live here would have evolved to be semi-aquatic, with features like frogs, dragonflies, fish, and such. Their island would be abundant with a fishing culture and magic, with huge coral structures and beautiful vibrant colors. The island would also be more traditional, much like Vyncent's.

The Badland Island

Ram is our beloved gunslinger, so obviously his island would be like the wild west. Enough said. Think riding horses, saloons, outlaws and sheriffs. The evolutions would be close to hooved creatures, like goats, antelope, deer, rams, horses, things like satyrs and centaurs. Because of the harsh and vast amount of lands these elves need to travel, these evolutions save time and their feet as they traverse the difficult terrain.

The Wildlands Island

Chungus is a the barbarian, very strong and almost a gentle giant. I believe this island would be very much so like Vyncent's, but much harder to live in, in terms of monsters. I think Vyncent's island would have more difficult natural weather and disasters, while Chungus would face a lot more monsters and ruffians. Because of this, the elven evolution would be to match monsters strength a take form of large predator animals, like wolves, cougars, bears, and such, while Vyncent's island would only need to evolve to smaller predator animals for hunting, such as foxes and cats and such. (Chungus would be a bear.)

The Hellfire Island

Finally, Grayson. Grayson is described as having Dragon armor, so why not just go all the way and say the elven evolution is dragon-like. This island would be the hardest to live on, full of flames and lava, basically like a floating volcano. This island would be closest to the surface, and speaking of surface-

Surface

The idea of the surface is that it is basically hell. It's where the lich comes from, it's full of hell fire, screaming damned, zombies and undead and such. The closeness to the surface dictate how dangerous your island is. The position of your island means a lot.

From Top to Bottom

The Sunlight Island -Is reaping the rewards of lush wildlife, but has to deal with extreme weather, sun, and temperatures.

The Sunken Island -is practically unaffected by weather and monsters because they live mostly underwater. Very peaceful. Uninhabitable by people who are not native.

The Convergence Island -In the top middle. The monsters here are the people. Have to deal with extreme weather.

The Lush Island -Reaps the rewards of lush wildlife, has to deal with extreme weather and temperatures, as well as some monsters.

The Wildlands Island -Deals less with weather and temperature, but more with monsters.

The Badland Island -as we get closer to 'hell' basically, the weather get's dry-er and hot-er. There isn't extreme storms, but instead harsh constant heat. Has to deal with monsters, as well as elven criminals. Most intelligent monsters and criminals set up bases here. The largest landmass. (we can never truly escape Texas)

The Hellfire Island -A step up from 'hell'. Has to deal with monsters all day long. The people here are built from blood and spit, metal and nails. Life expectancy is short here, but the people take pride in being the first line of defense for the other islands, are often talented warriors who hunt monsters to allow the rest of the islands to prosper.

It's hard to get to island to island. Sometimes you can because of your adaptations, sometimes you can find a way to safely fall to a lower island. Sometimes you can find a mage who can transport you. It is more common to go down than up. That's why Vyncent's dad was so impressive.

Father Sol

Father Sol was the leader of the group. With this worldbuilding, I think it would be cool if he embarked on a mission to build a party that could defend against a brewing monster from the Surface, The Lich and his forces. So Father Sol went from island to island, searching for the most powerful person from each to make a party. This alone is a feat, for traversing islands is very difficult, most only go to one once in their lives, and most of the time it's a permeant move. You often don't return. It's no wonder The Greats are well known, doing something such as what they did, going from island to island, even without the stories of their deeds and just the feat of traveling islands alone is something to behold and would be talked and gossiped about until they were legends. But on top of that were the adventures they had on each island, of Father Sol having to earn the trust and respect of each powerful warrior for them to join the party. I can already image in the classic Dnd shenanigans, battles, and hero adventures they would have. And to have them fail at the very end.

And all of this we never get to see because it get's destroyed. By the very monsters The Greats gathered to fight against. They lost. They weren't strong enough.

Now. Imagine, Vyncent has to make a choice between staying between Prime and Fauna. He chooses Prime, for his friends. His life is there right now, that's what he tells himself. He can always go back. He has unfinished business on Prime.

What he doesn't say is the pain that is in his heart, looking at his home that once used to be lush and full of life, full of smiles and memories, destroyed. Seeing his people broken and torn by the worst possible thing that could have happened to them. To see his people go from living in community villages full of flowers and celebration to hiding underground like rats. It hurts. It's painful to look at all the despair and pain. Knowing that things probably wouldn't go back to normal, at least in his lifetime.

He's a coward when he stays in Prime. He's not strong enough to go back. He wishes he was. But he isn't.

#jrwi podcast #jrwi #jrwi show #jrwi pd #jrwiblr #jrwi vyncent #jrwi headcanon

46 notes · View notes

anhedcnias · 3 months

Text

zorzo natharuetai , cisgender woman + she/her

Anchali Malee Shinawatra , some say you’re a thirty-two year old lost soul among the neon lights. known for being both strategic and assertive, one can’t help but think of anhedonia by chelsea wolfe when you walk by. are you still a CFO for News Corporation Limited at THE AVENUE OF THE AMERICAS / ASSOCIATE for the BURNING GODS, even with your reputation as the Dissonant Laughter? i think we’ll be seeing more of you and nonchalant confidence, blending refinement with a touch of rebellion, the modern elegance of being a successful woman & doomed by a family legacy. although we can’t help but think of shiv roy ( succession ), camille l'espanye ( fall of the house of usher ), helly r ( severance ) whenever we see you down these rainy streets.

CLICK HERE FOR A PLOTS PAGE

general aesthetics: old money & sleek minimalism meets modern aristocracy: nonchalant confidence, blending refinement with a touch of rebellion, the modern elegance of being a successful woman & doomed by a family legacy

“I love you. I fucking love you, but I cannot stomach you.”

an exotic scent of black orchids, blending seamlessly with decadent dark chocolate and subtle spices at its heart. Anchored by earthy patchouli and sweet vanilla in the base, the overall impression is one of opulence and mystery

dissonant laughter. a narrative device where characters within a story or scene laugh in a manner that is incongruent with the tone or context of the situation. This dissonance between the laughter and the circumstances creates an unsettling or eerie atmosphere, often serving to highlight tension, discomfort, or a sense of foreboding. The laughter can be exaggerated, manic, or oddly timed, intensifying the emotional impact on the audience by subverting their expectations and adding an element of unpredictability to the scene

parallells. shiv roy ( succession ), camille l'espanye ( fall of the house of usher ), helly r ( severance )

here is her pinterest

here is a playlist

𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐒𝐓𝐀𝐓𝐒

full name. Anchali Shinawatra

current age. Thirty Three

date of birth. september 19th

place of birth. new york

nationality. american

ethnicity. thai

hair color. jet black

eye color. brown

height. 5’

occupation. CFO for News Corporation Limited , her father’s company

known languages. English, Thai, Japanese, Korean & Mandarin

𝐇𝐎𝐁𝐁𝐈𝐄𝐒 & 𝐇𝐀𝐁𝐈𝐓𝐒

hobbies. art collecting, political engagement, reading and other intellectual pursuits, travel, fashion and style, wineries , equestrian pursuits, sailing / yacthing

habits. conflict escapism, affluent lifestyle indulgences, media consumption, spontaneous decision making, adhering to work out routines, socializing for business, occassional substance use, boundary-pushing, note taking, tech savvy.

𝐁𝐀𝐂𝐊𝐒𝐓𝐎𝐑𝐘

THROUGH THE EYES OF LOGAN MERDOCK, THE FIRST CEO OF NEWS CORPORATION LIMITED

The demise of your father exacted a profound emotional toll upon you. The venerable man who had nurtured you bid farewell to the mortal realm succumbing to the inexorable march of old age. As he lay in repose within his casket, the profound weariness etched beneath his eyes served as a poignant testament to the passage of time. A multitude of mourners, some faces eluding your recall, converged upon his funeral, marking an indelible chapter in your memory that would undergo a transformative evolution as you traversed the threshold into adulthood. Following the demise of your father, you assumed the mantle of responsibility, steering the helm of News Corporation, a modest newspaper bequeathed to you by your progenitor. However, the mere stewardship of this familial periodical seemed insufficient to perpetuate the legacy of a man whose influence resonated beyond the confines of familial ties. Over the ensuing decade, your ambition manifested in the expansion of your news media dominion, casting its net over the vast expanse of Australia, New Zealand, and the United Kingdom. Upon your relocation to the bustling metropolis of New York City, your ambitions soared to unprecedented heights. Strategic acquisitions ensued, as you wielded your financial prowess to secure influential publications such as The Sun and The Times, brazenly extending your reach beyond geographical constraints. Unfazed by conventional boundaries, you exhibited a keen acumen for embracing emergent electronic publishing technologies, seamlessly transitioning your media conglomerate into the realms of websites, and broadcasts. By the turn of the millennium, the behemoth that was your News Corporation Limited had burgeoned into a formidable entity, presiding over a staggering 800 companies spanning more than 50 nations. Your financial ledger bore witness to a net worth surpassing the staggering threshold of $5 billion. At the zenith of your career, you stood as the quintessential embodiment of the American archetype—an icon in the realm of news media. Your legacy would be etched in the annals of history as the visionary who erected a media empire rivaling the juggernauts of Fox News and CNN, despite occasional lapses in foresight, particularly concerning matters of trust.

THROUGH THE EYES OF MONGKUT SHINWATRA, THE SECOND CEO OF NEWS CORPORATION LIMITED & YOUR FATHER

Your subservience to THE BURNING GODS was unequivocally established from the very inception of your existence in this unforgiving realm. When one emerges into the world bereft of privilege, burdened by an foreign surname, the ascent up the corporate hierarchy becomes a Herculean endeavor without the crutch of external support. Concealed within the veneer of a business tycoon was a man clandestinely indulging in the consumption of a tuna fish sandwich, surreptitiously stowed away in his briefcase, devoured during clandestine journeys through the subways leading to the heart of Manhattan. A significant portion of your life was shrouded in obscurity—business attire sourced predominantly from secondhand emporiums, shoes a size too snug. Yet, every possession within your purview bore the indelible mark of hard-earned merit, a testament to the ceaseless struggle to substantiate your worth. Logan Merdock, in his unwavering trust, never entertained suspicions of duplicity from your quarter. In his discerning gaze, you epitomized loyalty, an unwavering devotee steadfast in your commitment. The notion of betrayal at your hands or the contemplation of you orchestrating the surreptitious severance of his vital arteries during the nocturnal hours remained inconceivable. Following his abrupt “disappearance,” the mantle of CEO was unceremoniously draped upon your shoulders. A transferral of authority that, unbeknownst to many, was an extension of benevolence from those who facilitated your ascension up the corporate ladder— THE BURNING GODS. The accolades, privileges, and responsibilities that now vested in you were the fruits of others’ machinations. The metamorphosis from a mere foot soldier to an esteemed associate seemed an inconceivable leap, yet as you surveyed the cityscape from the vantage point of your towering skyscraper, an ironic smile played upon your countenance. A grin directed at those who had, perhaps erroneously, underestimated your latent potential. Little did you grasp, ensconced within the echelons of power, that you were naught but an intermediary, a marionette manipulated by the unseen puppeteers who had bestowed this dominion upon you.

THROUGH THE EYES OF JESSICA PASAPHAN SHINWATRA, THE FIRST BRIDE OF MONGKUT SHINWATRA & YOUR MOTHER

The gestation period, characterized by its intricate complications, transcended the conventional bounds of difficulty. Rather than the anticipated manifestation of a nascent branch of vitality, the sensation akin to harboring a parasitic entity pervaded your consciousness. This life, seemingly estranged from your very essence, surreptitiously pressed against your internal organs, usurping your vitality in a silent but inexorable theft. The cellular genesis within you, intended to be a testament to the continuation of life, emanated an unsettling strangeness. This cellular being did not resonate as an organic extension of your own self, and the realization of impending motherhood remained an incongruity, a role for which you were never inherently predisposed. The matrimonial facade, devoid of authentic love, had evolved into a dispassionate charade—a performative duty staged ostensibly for the scrutiny of the world at large. Upon the revelation that your offspring would be bereft of the capacity to perpetuate the familial lineage through the paternal name, a profound sense of futility besieged your maternal aspirations. The meticulous investment in fostering her growth now appeared to be a futile exertion of energy. A latent wish, yearned for her premature demise—a prospect that seemed to hold the promise of sparing her from the purportedly wretched travails of existence. Amidst the throes of childbirth, a visceral agony eclipsed your cognizance, rendering you oblivious to the fact that the newborn’s entrance into the world had been marked by an eerie silence. In that delicate moment, your surreptitious yearning for a life unfulfilled almost attained fruition. However, the void you felt was not one of fulfillment but rather an overwhelming emptiness as her diminutive voice finally pierced the room. A discordant symphony, the heralding of her existence, ushered forth a profound sense of emptiness within you—a harbinger of the resentment that would cast its lingering shadow over the entirety of your maternal journey.

THROUGH THE EYES OF ANCHALI SHINWATRA, THE CFO OF NEWS CORPORATION LIMITED

The mantle of your father’s favor rests heavily upon you, an ostensibly coveted position that proves, in essence, to be a grievous affliction. The once-palpable animosity emanating from your mother has metamorphosed into a palpable pride exuded by your father. Wherever your footsteps echo, a recurring refrain reverberates — a chorus that deems you a mirror reflection of your progenitor, from the resolute handshake to the terse temperament. This ceaseless comparison, rather than flattering, induces a visceral nausea that churns within the pit of your stomach. The lore and fables whisper of your father as a mere pawn entangled in a grand theatrical production, yet such conjectures are left unspoken within the familial confines. The chessboard of politics becomes your stage, and you, an adept player, immerse yourself in the art of discernment, assimilation, and unwavering obedience. It is this silent and strategic dance, that has propelled you to the zenith of your current standing. The protective embrace of THE BURNING GODS, while replete with its advantages, occasionally exacts a toll, for the act of covering for those above you is not without its psychic toll, akin to an inexorable vampiric draw that threatens to desiccate your very essence. Enduring the maelstrom of appeasing the masses, a grave task, transmogrifies your existence into a semblance of living hell. Yet, as the Chief Financial Officer, you are privy to the inner sanctum where decisions are conceived and executed. News Corporation Limited burgeons under your stewardship, and you stand poised on the precipice of expansion ready to take over once your father passes ( which will likely be soon ) Fearful of vulnerability, you eschew any candid admission of this trepidation, opting instead to immerse yourself inexorably in the crucible of work, utilizing it as a salve for the soul, a distraction from the gaping void of emotional exposure.

#lawlessintro #anchali * / intro.

5 notes · View notes

luulapants · 1 year

Note

hi! wondering if ur still doing the etymology of names? if u r, i’d love to hear about the name marian :-)

Marian is a great example of convergent evolution in a name - that is, two or more names with distinct sources that came to be spelled and pronounced the same way. There are lots of examples of this phenomenon, but the vast majority are simple one-syllable nicknames. In this way, Marian is unusual.

The first road to Marian comes from the Hebrew Miriam. This is the root version of the bountiful "Mary" family tree, which the Virgin Mary has come to dominate in consciousness. In fact, that Mary would have called herself Maryam, the Aramaic version and a popular name for Jewish girls. The oldest known Miriam was the sister of Moses, which means it was probably based on an Egyptian name, though the origin is uncertain. The most likely meaning is "loved" or "beloved." Miriam became the New Testament Greek Maria, as it was preserved in many European languages, except for French which took Marie, from which Mary was derived. Marian comes not from Mary, however, but from Marion, a French nickname of Marie. As a Medieval-era name, it's hard to gauge its history of popularity exactly, but Maid Marian, a 1500s addition to the Robin Hood legends, appears in records of May Day celebrations before she became the love interest of the Prince of Thieves. We know her name was derived from Miriam because she is also linked to a 1300s French story of Robin et Marion.

Our second route to Marian comes to us from a pagan source - the distinctly masculine Roman god of war, Mars. This became a Roman given name in the form of Marius, Marinus, and Marianus, male names, as well as the feminine version, Mariana. Czech, Polish, and Romanian all take their version of Marian, both male and female, from Marianus, probably thanks to St. Marianus of Bardowick, an 8th century deacon killed by pagans during Charlemagne's conquest and forcible conversion to Christianity of the Saxon region.

Due to their identical spelling, both Marians are tracked together in usage records. Before the start of modern baby name record keeping, we know that both have been popular in their respective spheres - Eastern and Western Europe - for a very long time, with the Roman version being slightly older. In the US, Marian was in the top 300 from the time that records began in 1880, peaking at 64 in 1924, until a sudden, steady, and ultimately calamitous decline which began in 1955. I want to show you this portion of the ranking chart, because I find this fascinating:

As you can see, there was a small spike in usage in 1954 immediately before the decline began. I would probably attribute this to Disney's 1952 The Story of Robin Hood. What we see in the chart is a backlash effect common after a sudden surge in name popularity: suddenly everyone is naming their baby Marian and it's "too popular" or seen as a fad name. What's particularly interesting here, though, is that this was already an exceptionally popular name! That peak was nowhere near the 1920s popularity of Marian. However, it makes more sense if you look at a different visualization - "number of times used" rather than ranking.

Why is the jump so much more pronounced here? Well, look at the timing. This was the start of the baby boom. In that context, a backlash effect makes more sense.

Outside the US, baby name rankings are not so extensive, so we can only see hints that we can infer from. Marian had a similar 1950s spike in the UK and Wales. In the Czech republic, Marian is popular only as a boys' name, which became popular in the 1940s and fell of the charts in 2012. In Spain, Marian was popular for boys from '55-'95, at which point it became popular for girls and not boys. These days, it does not seem to be particularly popular anywhere.

Thanks, Disney!

#names #asks

13 notes · View notes

margapenelopebasa · 6 months

Text

In a blink of an eye...

...media has really grown since then, hasn't it?

To think people once started with carving rocks to simply pressing a button on a screen for them to interact with each other is, without a doubt, nothing short of astonishing. Sometimes, we start to forget how much of a long way we came from---especially in regards to how easy it is to exchange with other people. If we pretend like nothing of the sort happened, for all you know, we'd still be painting caves and chanting rituals for us to understand each other. I mean, I'm pretty sure none of our first ancestors would have imagined being able to post their MIL Values Integration activity on Tumblr using a phone before.

Now, with all this evolution and progression, we've come to create numerous types of media that can be so similar yet different at the same time. They all, in a way, share the same purpose, yet have varying mediums they are expressed on. Again, we've come SUCH a long way since then that we now have different categories to classify these examples of media! How cool is that?

According to the Media and Information Literacy subject, there are 4 types of media; Print, Broadcast, Digital, and Converged Media. To put is simply:

PRINT - is when the media is physically written or printed on paper, BROADCAST - is when the media is transmitted through local stations, national networks, and public networks, DIGITAL - is when the media is organized and distributed through digital platforms, and CONVERGED - when the media is a combination of all aforementioned three simultaneously.

So how did the evolution of the different types of media shape the values and norms of people and society? With how I see it, the way we lived our daily lives significantly changed depending on what type of media was available or most in favor at the time. For example, it must've been normal for our early ancestors to communicate through painting and carving. Instead of a singular reliable verbal language, they communicated through drawing and depicting pictures. At the time, pictographs and the like were the norm, and so the people of this period leaned on this type of medium---which can be heavily classified as print media.

This later evolved into sending letters and other written forms of media. Text messaging was not a thing back then, and it usually took ages for people of this period to receive said letters from their loved ones or friends. And as you know it, the cycle goes, and what people perceive to be normal and on trend greatly corresponds to what media was in use at the time.

Now that you've gotten this far...

As a student uploading on Tumblr, it just goes to show that we now live in our current age, where digital facilities and the internet are prevalent. Following this, I would also like to note how these same different types of media help us right now and how they affect our quality of life in general---namely in three given aspects: Education, Business, and Healthcare.

EDUCATION. I don't think you'd be able to learn or educate in the first place without using media. In any type, be it print, broadcast, digital, or converged media, schools use these to produce materials so that their students are able to learn the necessary lessons they are expected to master. Textbooks, educative podcasts, learning resources online, or scholarly websites on the internet all showcase different types of media.

BUSINESS. Workplaces produce paperwork on a daily basis---and they make a LOT of it. Aside from physical paperwork, it is also common to see these workplaces hosting seminars, specially for their own workers. They also use digital platforms, and often use social media and the internet as platforms to promote their business.

HEALTHCARE. Have you ever noticed when you attend a check-up with your doctor, they give you different papers for all the processes you go through in a hospital? Papers are necessary for documentation, though they also back up these files digitally. There are also free courses online that when attended to, can expand your knowledge on the in-and-outs of medicine. Additionally, doctors, in order to garner an audience and attract patients, tend to use the internet to promote their services.

So, when you really think about it, media surrounds all of us. And not only does it do that, but it also widely used in everything around us. We, as humankind heavily rely on each other to get by. Without media, there really wouldn't be any communication, organization, and togetherness within a community; and are we even classified as a society if there wasn't any interaction?

#AMILeAhead

#AMILeAhead #NewMediaNewMe #Mediatastic

3 notes · View notes

fluidnet · 4 months

Text

I love you loan words I love you new pronunciations I love you dialects I love you accents I love you regional variations I love you homophones I love you homonyms I love you words with roots from differing languages I love you convergent evolution of language I love you letters I love you phonics I love you non-word verbal communication I love you-

#language #speaking #listening #communicating #speech #speech and language #hear #hearing #listen #speak #talk #talking #communicate

0 notes

delusion-of-negation · 1 year

Note

I find the digging you did on the folklore aspect of creatures really interesting, and really fascinating. I did something similar some years ago for a folklore topic in school for a different "debate", and it turned out the folklore creature predated the stereotypical depiction of a certain group arriving by about 200 years. I can't actually remember the name any more, it was for a language class, for the history part, and I basically forgot 90% of the class after school.

yeah, it's interesting how a lot of the time it's more... convergent evolution, rather than the creature intending to be the thing, like similar stigmatised features are independantly ascribed to both, intending to independantly convey the message "this is evil and gross and icky", but hundreds of years later we just get these lil' fragments left and we see similarities and assume the creatures intentionally represented that group, then it's only through deep searching through exact dates and half-destroyed images we're capable of connecting dots, thus seeing both were similar traits because both were harkening back to something else. it's wild. I adore history and discovering weird shit, like ovid - I hate ovid, it bewilders me how this roman man's weird kink defined the main perception most people have of greek mythology, but I love that bonkers shit, I love reading a myth and going "oh, this was ovid", being correct every time because once you know you know. ��

1 note · View note

thechekhov · 3 years

Note

Any opinions on the idea of a "universal language" one that simplified and designed for mass global communication? Are there any languages that you think would be good for this? or do you think one would need to be tailor made?

Oh boi.

I��m not sure I’m ready for this can of worms to be opened, but I suppose in order to keep some level of intrigue, let’s crack it a bit and peek inside.

The short answer is: No. I don’t think a Universal language is possible on the scale that everyone dreams of.

People have tried, and although we have discovered that we are relatively good at inventing languages, getting people to use them, and use them in the way that WE want, is nigh on impossible. You think herding cats is hard? Try telling humans how to say words.

The long answer is:

Over the past 900 years, over 900 languages have been invented (source). Many of them have been invented with the explicit purpose of being a ‘universal’ language.

Thus far, none of them have succeeded.

I think if you’re ready to delve into this full throttle, my first recommendation would be a book called In The Land of Invented Languages by Arika Okrent. It goes into detail about how, why, and what languages humans have invented since.. well... forever. It also details what happens when we get close to succeeding in a Universal Language - and why we fail anyway.

One of the most obvious examples of this is, perhaps, Esperanto.

If you don’t know what Esperanto is, here’s a wiki link. The gist is that in 1887, a Polish eye doctor with big dreams of creating a universal second language which would be less convoluted than English and French, easy to learn, and easy to speak. His hope was that it would bridge the barriers between other languages, make something that would be capable of crossing cultural barriers. Perhaps world peace was in there, somewhere.

Here’s a sample for those interested:

And by all accounts, Esperanto has since then, grown into one of the most well-known constructed languages in the world! You can learn it online, they have annual conferences, and there have been parents who have taught their children Esperanto as a first language in an attempt to make it their native language!

However, despite its incredible success, Esperanto has not become a Universal Language in its 100 years of existence. Why?

Well, let’s go over some issues:

1) Despite the fact that it is advertised as a language that is ‘easy for anyone to learn’, it is still, at its core, a European language.

Esperanto draws heavily from Romance languages such as Spanish and French, has some features of Germanic languages (English and German) and minor contributions from Slavic and Greek. It uses the latin alphabet, which may seem pretty neutral.... if that’s your alphabet to begin with.

If your first language is not close to any of the above, Esperanto will be harder for you to learn. Its ‘universality’ is approximately what you would expect - not accounting for much of the world outside of the western one.

In fact, creating a truly ‘balanced’ language would be incredibly difficult because all the languages of the world ARE so varied. They all have their own grammar and rules, and these rules exist on a circular spectrum. There is no ‘middle ground’, and regardless of what you choose to make it, your language will be similar to one system or another, and it will inevitably be difficult for some people to learn.

2) A Universal Language must remain universally constant, but languages, inherently, change. What happens when Esperanto speakers start to develop dialects?

In fact, this has already happened to some degree. Due to Esperanto’s popularity, annual conferences are often filled with people from all over the world who converge only once a year after having spoken Esperanto with their own Esperanto community for the over 364 days.

What happens? They start to disagree and develop their own way of saying things, shortening words, adjusting grammar... you know, the stuff that MOST humans do with their own language.

We LOVE to have our own stuff. And as language is socially negotiated, every community of Esperanto speakers will come up with different solutions to the same problems. (See English speakers and their various way to specify a plural ‘you’ - ‘y’all’, ‘y’alls’, ‘yous’, ‘you guys’) What happens then is a natural evolution of Esperanto .... into different types of Esperanto.

Which - not bad, necessarily, but it is perhaps the opposite of what one might imagine for a single ‘Universal’ language.

3) You can lead a human to a language, but you cannot make them speak.

At its core, a Lingua Franca - a universal language - has to be something we CHOOSE to use universally.

Currently, the closest thing we have is English, because English is already THERE for many of us. It’s omnipresent even in countries where its got no reason being.

If every one of your friends is already using the same messaging app, you probably won’t have much energy to campaign for a different, less known but far ‘more useful’ app. You’re going to go to the app store and download the app, even if it’s buggy and has an annoying interface. It’s already there.

Anyway... this is all to say - a Universal language is probably possible, but only in the loosest sense of the word.

Inevitably, we would probably need a Universal language FAMILY. One that is varied to suit needs of the speakers, but is still mutually intelligible in order to promote communication without falling into the colonialist ‘You MUST learn THIS language and you MUST speak THIS language!’.

And honestly, very personally speaking... I like learning more languages. But I would be pissed if I was forced to learn a Universal one without proper support and consideration to what my native tongue was.

#chekhov answers #Esperanto #linguistics #lingua franca #universal language

471 notes · View notes

ckret2 · 3 years

Text

Alright let’s talk GVK spoilers!!!

My reactions as best I can remember them!

- love how Kong is humanized from the very first scene, like every time he shows up he’s humanized so much more than other titans are. If that was at the expense of other titans being made likable I wouldn’t enjoy it so much, but like, Godzilla is made pretty lovable over the course of Monsterverse, Mothra is too, and all the titans featured for long are given recognizable emotions that let us see them as more intelligent and feeling than “just” animals; so all of them are made understandable/likable/sympathetic. But of them all, Kong is the only one really humanized. Which makes sense, because like, big monkey! Basically our distant cousin!

- And they kept playing, like, normal songs for him, which cracked me up.

- I really appreciated how you could SEE the titans in this movie. After all the weather effects to hide the titans in KOTM, there was such a clear difference in this one from the very start. Kong in the daylight! Godzilla makes his first attack at night, and even then you can see him much more clearly than you can for most of KOTM! Nice!

- after the Iwi were portrayed as silent stoic witnesses in Skull Island, I really appreciated that they took an Iwi character, made her a main character, and gave her dialogue and a real role to play in the story while also keeping her deaf/mute. I think that was a good way to improve on the way that the Iwi got got sidelined in the last movie while still maintaining the worldbuilding!

- I didn’t appreciate so much that, y’know, they murdered the rest of her people off-screen in order to do it. Couldn’t they have gone “her parents died so she got adopted by a Monarch agent that was close to her family, but like, the rest of her tribe is fine”? Or at the very least “their island got fucked up so they had to be evacuated but like they’re settling in somewhere else”? “They’re living under this island dome with Kong and they know what’s up and Monarch’s keeping them in the loop and they decided they’re chill with their new dome home, but this one girl likes to go on adventures with Monarch”? Something? Did we have to kill them all off? Y’all make up an entire fictional indigenous culture and then murder them off-screen when you don’t need them? Just let them live.

- a few minutes in I was like “hold on, we’ve got two characters that speak sign language, we’ve got a giant gorilla, gorillas learn sign language, is there any reason they can’t teach Kong?” and then later I was like “OOOOOH!!” Humans and titans learning how to communicate with each other has been one of my favorite themes to explore in Monsterverse fanfic so I was absolutely tickled to see it getting explored in canon, too.

- That said I think it’s hilarious that the girl managed to teach Kong to sign without, like... anybody seeing. Kong’s hands are above the tree line and there are cameras everywhere, how did NOBODY with Monarch see him signing.

- Bernie’s weaponized being an annoying coworker to such a degree it can only be called an art, and I really appreciated it.

- Godzilla’s extra chonky in this movie and I dig it. Roomie noted he was extra crocodilian and I dig that too.

- “There’s been no confirmed titan sightings in three years” I don’t buy that for a minute. They’re BIG. Rodan NESTS IN VOLCANOES. They found a MOTHRA EGG. Humans have A SCARILY WELL-FUNDED ORGANIZATION DEDICATED SOLELY TO FOLLOWING TITANS AROUND. Like, most of the lore in GVK that I don’t personally like, I can be like “eh... I can tweak it just a little bit with headcanons to make it work for me...” but NO confirmed titan sightings? You expect me to believe ALL of them moved underground when we’d previously seen them all prefer to live above ground? You expect me to believe that now that they’re all AWAKE, they learned how to HIDE?? Uh-uh. And at the end of KOTM there was stuff in the credits about using titan droppings as biofuel, obviously they’re still walking around up top! Can’t take that from me. Nope.

- Who the FUCK is Ren Serizawa and how is he related to Ishiro Serizawa? IS he related? Maybe they just dropped the surname as another “yeah this is a Godzilla movie for Godzilla fans” easter egg but I have a hard time believing that he can’t be somehow related to the other character with the Very Important Last Name who was so important in the last two Godzilla movies. If he is related I’m sure it’s been explained in a tie-in comic or the novelization or something, I’ll look it up later.

- I had to look up how much weight huge battleships can carry while writing a KOTM fic where Ghidorah hitches a ride on one, and y’all, I had to pull weird gravity-negating magic to get him to ride on that boat. Godzilla and Kong woulda sunk that boat like a rock. All I could think during that scene is “this wouldn’t work and I know that because I DID THE RESEARCH and I wasn’t even getting PAID.” I’ll choose to believe that Monarch gets special heavy duty ships designed to carry titans but nobody mentioned it because it wasn’t relevant to Kong’s journey.

- The bit where they could see where Godzilla was swimming because he’d got half a ship hooked to him that was bobbing around on the surface, didn’t Jaws do something like that with a buoy? It’s been ages since I’ve seen Jaws. Anyway good reference.

- Insert “they’re gonna need a bigger boat” joke

- I LOVED the part where they shut down all the ships to get Godzilla to leave. Both because, one, it’s a spectacular callback to KOTM’s “turn off all the guns so he knows we’re not a threat” that makes it seem like now that’s just what Monarch knows what to do to get G to chill out, and two... we know that Godzilla backs off either when he’s killed his enemy or when his enemy has yielded to him. At the end of KOTM—and the end of GVK—the act of yielding is presented as very ceremonial and uniform across species: everyone lowers anything they’ve got that could be dangerous (claws, fangs, beaks, axes) and bows to show Godzilla they’re not gonna fight. Battleships, obviously, can’t bow, but even without being inducted into whatever secret titan cultural intricacies might be going on, humans have figured out their own way to “bow” to Godzilla: cut all the power, so their ships can’t move and can’t use weapons. I know the movie presented it as “playing dead,” but c’mon, if Godzilla could hear MechaG power up from halfway around the planet then he could hear that Kong’s heart was still beating, and he’s been around enough boats to know humans can turn them off and on when they want. The humans bowed to Godzilla. He accepted that they yielded and left.

- Mark Russell looked like such a dad in this movie, like he’s retired 100% from being a rugged action hero and now he’s just Pure Dad. I like him better when he’s a dad, it’s a good development for him. He got like 3 lines and I’m like “I appreciate this character development.”

- Despite all my qualms about how conspiracy theories and extremist groups are handled in Monsterverse (and WHICH conspiracy theories they decide to reference), I really love Madison and Bernie’s dynamic. The adult man who’s the excitable wide-eyed believer in every BS conspiracy you can possibly imagine; and then the serious, severe Teenage Girl On A Mission who’s hypercompetent because she was raised for five years by a friggin doomsday cult militia; and despite having wildly different personalities they’re just, in total agreement about everything. Handled just a BIT differently (like, leaving out the more gross IRL conspiracies) they would be a wildly fun comedic duo—especially with Josh the Only Sane Man coming along as the hapless sidekick. And they all play off of each other so well! Both in a comedic sense, and in more serious moments—when Bernie talked about his wife, there was a real moment of empathy between him and Madison with very little said. I’d watch an entire movie just about the three of them. I’d watch a TV show.

- On the one hand I wasn’t too much of a fan of KOTM’s “all titans... are inherently In Tune With Nature... nature has a Balance, because that’s a Real Thing and not an anthropocentric concept to describe how we like nature to act, and they automatically restore it... because they’re like, some kinda borderline divinities or something... we should probably be worshipping them...” thing; but, now that it was totally absent in GVK, I sorta miss it. Like I feel like there needs to be a balance, a few humans who are like “i lowkey worship these dudes?” and a few others who are like “they’re cool but like, that’s a lil extreme” and that neither side be presented as Right in how they regard titans’ relationship with nature.

- “All titans come from THE HOLLOW EARTH” nah I don’t buy that it’s silly. Basically, what I object to is the idea that all titans have some sort of intrinsic similarity (they all come from the same hitherto-unknown location; they all are part of the same pack that has the same alpha; they all are fueled/fed by the same energy source; etc) rather than letting them be SEPARATE species whose only unifying traits are “they’re all big enough to fuck everything up everywhere they go” and “they’re big enough that the typically-insurmountable barriers between different biomes (mountain ranges, valleys, long distances with terrible weather) aren’t insurmountable for them, so even if they’re specialized in different environments they still all have to deal with each other pretty often.” I’ll make some exceptions for convergent evolution (i.e., claiming multiple titans developed similar traits that are relatively easy to spontaneously evolve and a prerequisite for a creature to survive at such a large size). But I can’t buy “this big gorilla has more biologically in common with this big crocodile-iguana than he does with, say, gorillas,” or most of the other “all these titans have THIS IN COMMON” claims that Monsterverse makes, including “everyone’s from hollow earth.” So I’m tossing that out the window and substituting my own headcanons. Some might’ve evolved there but some evolved on the surface. Maybe a majority of them like ducking in and out of the hollow earth like some kind of titan shortcut system. Kong’s species, I can buy, IS native to hollow earth, considering that they built a whole-ass society down there with tools and architecture.

- I’m SO curious about the little underground Kong home, the Godzilla motif in the floor, and the axe that appeared to be made with a Godzilla scute. What’s the story there??? We know Godzilla’s species and Kong’s species are ancient rivals. Is it because Kong’s species hunted Godzilla’s to steal their scutes to make weapons, seeing them as a valuable resource the way, like, early humans considered woolly mammoths a valuable resource—thus making that Godzilla on the floor equivalent to cave art of mammoths made by people who hunted them—until the Godzillas got pissed and started fighting back en masse? Or were Godzillas and Kongs already enemies when Kongs decided to start making weapons out of their corpses? Did they use to be allies, fighting together, with Godzillas voluntarily offering shed scutes and/or bones of their deceased members to Kongs, and that place used to be a shared home until they started fighting?

- What about that power source, is it something that was already there that both Kongs and Godzillas started to deliberately harvest for technology/atomic breath? Or did Godzillas automatically channel that stuff and Kongs exploited/borrowed/traded with Godzillas to utilize it too? Or is the power from Godzillas who collaboratively poured a bunch of power into the place thus that Kongs were able to use it too? I doubt Godzilla’s species CREATED all that weird energy but the question remains of whether, like, they channel it FROM underground, or naturally produce the same thing in their own bodies, or what.

- Godzilla using his atomic breath to dig a hole STRAIGHT TO KONG just to KICK HIS ASS is hilarious. How lucky that Hong Kong just HAPPENS to be straight over Kong’s house! Were all the tunnels to the hollow earth made by pissed off Godzillas who wanted to kick monkey ass??

- I loved the aesthetic of the battle scene in Hong Kong, with the brightly colored neon building outlines, VERY cool look. The choreography of the battle scene was great too, especially

- we literally broke into applause when Kong shoved the axe handle in Godzilla’s mouth. Love it, perfect callback, that was the ONE thing from the original King Kong Vs Godzilla I was hoping to see referenced and there it was.

- You could really see a difference in how Kong and Godzilla fought—Kong doing a better job at using tools and the environment, Godzilla fighting more like a reptile. They seemed to emphasize Godzilla’s more animalistic behaviors in this movie to accomplish that contrast—he was down on all fours and moving like a crocodile more often, he was clawing at Kong’s chest—but even though it seemed a bit different of a combat technique it also didn’t seem out of place compared to how he fought in prior movies. And we’ve already seen that if Godzilla’s involved in a fight and one of the combatants knows how to use the environment, it’s typically not gonna be Godzilla. (See: Ghidorah using the reflection in a building’s windows to see what’s behind him, and recognizing a nearby power source and biting it to juice himself up.)

- So many of Godzilla’s enemies seem to have specialized in negating his atomic breath in order to combat him! The MUTOs directly suppress his ability to use it—and it makes sense that that’s an inborn ability they have, since they evolved to use Godzilla’s species as prey. Kong has a weapon that both acts as a shield to absorb the breath and turn it back against Godzilla’s species—they didn’t evolve to counter Godzilla, but they developed tools once a rivalry happened. Ghidorah’s the exception—which makes sense, since he came from space—but even at that we see him using tactics specifically to take into account Godzilla’s most powerful weapon (such as keeping one head on lookout for when he starts glowing so that they know when they need to dodge).

- LOVED the reveal that MechaG was based off of Ghidorah’s brain, it has vibes of both the Kiryu Saga and the way that Heisei MechaG is based off of Mecha-King Ghidorah. Not the most surprising plot twist, since we’d theorized that they might use San to make MechaG, but I wasn’t 100% sure they were gonna go with it until they finally did. Even when I was going “huh, the mecha pilot’s chamber looks weirdly organic” I didn’t make the connection to WHY until the reveal, lol.

- “Ghidorah’s necks are so long that the heads have to communicate with each other telepathically” that’s COMPLETELY WILD but I love it, it follows very well from their prior portrayal as telepathic empaths in Heisei, it lines up with their emphasis on electricity (because BRAINWAVES AND ELECTRICITY, hey ho movie monster pseudo science!), and it very much compliments my own private headcanon that they’ve got some psychic/mind control abilities.

- The movie ended with both “Godzilla won, technically” but also “since they teamed up as equals, the ending doesn’t FEEL like ‘Godzilla wins, Kong loses’ but rather ‘they both won against a common foe’” and since I’m on both Team Godzilla and Team They Should Be Friends, I’m happy with this outcome. Plus since the last time they fought, the Japanese movie company graciously let the American monster win, so it’s only polite that the American movie company graciously let the Japanese monster win.

- There were just a few too many humans in this movie. I was intrigued by Ren but we didn’t get much out of him, but like I guess somebody had to be in the pilot’s seat other than the Apex CEO. Didn’t care for the author of the hollow earth book, I feel like his role was superfluous. Didn’t need the Apex CEO’s daughter there at all, coulda done without her. How about this, combine all three roles. Instead of having a whole-ass author who knows about the hollow earth, just casually reference that Rick from KOTM wrote a book about it since he was the expert, and (since he wasn’t in this movie) say that he tragically died going to explore the hollow earth himself, and that way we’ve got the book with the “titans are from there” theory AND an excuse to share the “humans die when they go underground” info. Now, have Ren be working for Apex as a pilot for Mechagodzilla, but have him be MechaG’s pilot because he’s also a good pilot in general, and can fly those HEAV things. Have Apex send him to Monarch to be like “hey, you guys trust me right, since I’m Ishiro Serizawa’s relative? We at Apex have heard all about your failed hollow earth expedition, and due to Ishiro I’ve got some past ties to Monarch so I’ve got high clearance with y’all, so I could bring over this useful Apex tech that’d let you go underground and use what I know about hollow earth from my past time at Monarch to help guide things.” Once they’ve got the little chunk of energy stuff and go topside, he hustles it straight to Apex and straps into his seat to run MechaG. Bam, you’ve combined “person who knows enough about hollow earth to help the expedition,” “person who represents Apex’s interests and gets the energy,” and “person who pilots MechaG” into one character, in a way that takes three flat/underdeveloped characters and turns them into a single interesting character with a lot going on and some intriguing ties to the rest of the cast.

I think that’s everything?? Hoo.

#gvk #godzilla vs kong #gvk spoilers #godzilla vs kong spoilers #godzilla #meta

214 notes · View notes

roxyandelsewhere · 3 years

Text

i wrote a whole essay in the tags of this post and the new post editor ate half of it and distorted the rest so here's what i could salvage and an approximation of the rest (in a new post so the other one doesn't get too long, this is already long enough):

i don't have fixed headcanons on this, i can see different things making sense and what i myself think about it changes from day to day depending on how literal i feel like being. but! i tend to think of angels as eldritch horrors in a true lovecraftian sense which in turn makes me think of the ideas about how humans comprehend incomprehensible things in stephen king's IT. that's usually my baseline bc i made those associations once and it stuck so while i do love the idea of angels controlling their vessels like handpuppets and cas touching dean at all times in invisible ways, i also think that re: an angel's trueform physical space in our puny dimensions doesn't really....exist, really. it's like i said in the explanation for the drawing of the fall of the angels (i'm gonna be referencing these a bit bc i feel like i'm more eloquent in drawings than in words skdjfg) trueforms are too dettached from our physical world to be able to be big or small close or far. those concepts aren't much to them bc they aren't bound by physicality as we perceive it. this isn't really supported by canon bc there's the chrysler building line but i have thoughts about that too.

the post mentions the wings not being wings but instead the idea of wings and i am 100% on board with that. i've said before that the wings and the hellhounds being such vague projections worked bc they were nothing where comprehension should be, and the writers fucked up when they treated it as nothing where a budget should have been. bc yeah angels don't have actual bird wings with the same feather anatomy and all that, ofc they don't. insects birds and squirrels had convergent evolution to arrive to such different wing morphologies and angels have bird wings? makes no sense. what i do think happens is that the parts of angels that allow them to do things like fly (which may not be appendages at all, they can just zoom like the post said) get 'translated' into physical things when they're on earth. not necessarily by the eye of the human beholder, just by being on earth like that. a reasoning i've applied in my drawings is that when they get into a vessel the parts of them that are involved in their earthly life get converted into earthly things. deer and bird heads and octopus tentacles popping out of jimmy novak like glitches mid act of translation. jimmy's status as just man being adam censored by the vine leaf (the censoring being intrinsic to adam is also a whole other concept but this isnt about chuck). sorry to bring marvel into this but it's like in wandavision when modern things get translated or rather converted into things from the sitcom's decade. it couldn't exist in this world so instead of disappearing it gets converted into something that can. and i started this tangent bc of the chrysler building thing. that's another translation. bc the chrysler building is a human's definition of gigantic. kinda small for what angels supposedly are. it's something that's said to explain trueforms so it's kinda like an actual literal translation.

another thing the post touches on is the fallen angels still having a trueform. just graceless. and i agree!! it's exactly how i drew fallen cas and anna. graceless and different bc they've changed. but they still have a trueform bc being an eldritch horror isn't just inside-out it's also outside-in if that makes sense. they comprehend the universe differently and fitting that into a human brain hurts but it doesn't disappear. magically speaking all languages most likely does (did angel grace get a patch after the babel tower?) but having 'seen' the universe as an angel stays. which is why i talked about trueform endverse!cas like i did the other day when i said his trueform would be some sort of eldritch version of michelangelo's flayed skin. i basically said that he's a cas that has fallen from grace and then fallen from humanity. fallen twice. the way he sees the world gets changed once again and the things he can do change once again and when that happens to humans that's just it, those things happening. but when it happens to an angel it gets translated as a fall. and re: what the post said about those fics while those things seem too literal they can be seen as a translation/conversion of that fall back into things humans can comprehend.

there's also the matter of samandriel. angels being tortured has implications in terms of how they connect to their vessels. pain can be inflicted on the trueform through causing pain on the human body which means they are connected somehow. and i think part of the pain doesn't come just from what is inflicted on the trueform but also from the forced connection to the vessel. bc if you don't have a heart or lungs or legs and then suddenly you do, it hurts. if you didn't have lungs and in a split second you started having them, you'd choke. feeling human hurts like a defibrillator, an instant connection to life. like chidi seeing the time knife, but too alien instead of simply too big. though some angels might call it too big and others too small. so yeah i don't think they are connected to their vessels and part of torturing them is making that happen.

then there's the whole thing of heaven being made of angels, which i love, and angels being wires/generators and the implications of souls as a power source. i'm still figuring out what i think of that but surprise to those who don't know: i'm currently drawing trueform cas full of leviathans. and i painted the leviathans as partially gold, the color i've associated with grace, bc they gave cas that power so they must have something akin to grace. just yesterday i posted about how grace might be blood+Light as in the light of god but that's bc i was feeling literal, you can see it as similar to souls. this could be a whole theological debate but what i'm getting at is souls have Something that grace does too, and from souls you get demons which can be seen as having lost that something but another thing is monsters have souls too. this show never handled the question of the Other properly but monsters have souls. they do. and leviathans' souls are different but they're there and dare i say there's as much difference between a human's soul and a vampire's as there is between two random humans. whatever leviathans have was enough to make cas god. a bastardized god, yes, but for better or worse the children of eve have something holy.

i also really love the idea of angels as the principle of uncertainty. that's really it, for angels everything is atoms, all of it. and they might behave like atoms or electrons but they're not so the two things clash. and this ties up well with zoe exitwound's notion of angels as gravity.

all in all i agree with the post and i think it's all fascinating but i wanted to make these additions

i'm pretty sure i wrote other things but i can't remember them and this is already long enough so i'm gonna shut up now

#sorry for this being so long but i'm pretty sure i had even more #anyways these are my thoughts. or at least the ones i could reconstruct #spn #spnmeta #mine #hope i'm not missing any glitches from the parts i copied out of the tags #trueform adjacent

81 notes · View notes

procrastinatorproject · 3 years

Text

Fic writer review, thank you to @thelaithlyworm for the tag <3

how many works do you have on AO3?

Ten? Oh no, it’s actualy 12 now!

what’s your total AO3 word count?

86,468

how many fandoms have you written for and what are they?

Grand total of 1: Star Trek: Picard - although my latest offering might branch a bit into other Trek as well.

what are your top 5 fics by kudos?

“Passengers”

“And a Barrel of Gagh”

“CMO’s Log”

“Preparations”

“Game Night”

Which is actually kinda interesting. I wrote Passengers, Preparations, and Game Night while the fandom was still a lot more active (especially in the Aramis in Space corner), so that makes sense. The CMO’s log has had chapters added every few months, giving it probably the most exposure of any of my fics. Barrel of Gagh, though? I think I’m gonna attribute that to Thimblerig turning it into a truly, TRULY brilliant piece of podfic. Also the fact that it’s whump involving a character played by Santiago Cabrera. ‘tis A Thing..... :D

do you respond to comments, why or why not?

I really try to! I love talking with people in the comments and just... thanking the people who found the time and energy to leave comments. But especially in the last few months I have gotten very bad at keeping up with the comments and now there’s about two dozen that I have neglected to reply to for a painfully long time 🙈

But I will get there! Because I love that kind of interaction!

what’s the fic you’ve written with the angstiest ending?

So far, none of them have had angsty endings. Angsty middles, yes, but not endings. I’m just a sucker for everyone being happy in the end. Or at least on the way to being better, and supported and cared for on that way.

do you write crossovers? if so what is the craziest one you’ve written?

I haven’t yet, but I’m definitely not opposed. One of the threads of my 200k unpublishable whump scenes takes place in a continuity that has existed in my daydreams for... I wanna say six years at the very least, probably longer. It’s mostly straight-up Star Trek, but with the twist that it involves the Wraith, the telepathic, hive-minded alien race from Stargate: Atlantis that suck the life force out of you with their hands? Or, well, at least a variation thereof.

I once typed up the world building for that particular setting and it took me three hours to try and make it all make sense. So it’s... involved. But not necessarily “crazy”. And I’m not sure I’m ever actually going to publish any of the stories I have set in it (not least because that would envolve finishing any of them and bringing them into a form that is interesting to read for anyone but me...)

have you ever received hate on a fic?

Nope.

do you write smut? if so what kind?

Hm, not yet. I do enjoy reading smut, but only under very specific circumstances. I think I may eventually try my hand at smut, but the inner prude is still very strong. Writing about Rios and Xyr making out (which, honestly, was really tame, all things considered) made me melt in a puddle of blushing embarrassment, so full-on smut is probably beyond me at the moment. One day!

have you ever had a fic stolen?

Not that I know of. Though litigating that in a fandom like ours would be... tricky. ST:Pic is way too small to steal stories outright. But similar or the same ideas pop up all the time. And it’s a complete coincidence. Reading the book that recently came out and that has a kinda similar setting to a lot of my stories (pre-season 1, early in Rios’s history as captain of Sirena, dealing with original characters, holo shenanigans, friendship with Raffi, etc.), I was struck by just how many elements, both scenes or story beats and little details, were similar to things that have cropped up in my writing. And it is entirely coincidental, because I am beyond certain that the author doesn’t read fanfic. Just... for legal reasons. Not to mention I wrote a bunch of the things I saw parallels to while the book was already in production, and some of them are only in my drafts.

So there is a ton of convergent evolution going on in this particular section of the fandom, and trying to litigate who came up with certain plot ideas or character beats when would be a sysiphean disaster. Some things are clear and whenever I use any of them I give credit where I can, but people will have very similar ideas. It just happens. So no, I haven’t had either a full-on story or “an idea” stolen, and I might change my tune if it ever does happen, but so far, I’m trying to practice equanimity, so I’ll be better at it should I ever need it.

have you ever had a fic translated?

Sadly no. My dad keeps complaining that all my fic is in English so he can’t read any of it, but honestly? I’m kinda glad for this very convenient excuse. Maybe if I ever feel like I want to practice my interpreting skills, I will give translating the stories into German a shot. We’ll see. Otherwise, if anyone feels inspired: Have at it! Just let me know, okay?

have you ever co-written a fic before?

Not quite. I have a draft of off-the-cuff worldbuilding that I wrote on Discord with @curator-on-ao3 and that I would love to turn into an actual short fic (letters from a conference on holo-ethics), but I haven’t gotten around to it yet.

what’s your all time favorite ship?

I don’t really do shipping.

what’s a WIP that you want to finish but don’t think you ever will?

I WILL NEVER ACCEPT DEFEAT!!!! One day, I will write the next installment of Star Trek: La Sirena! I have so many ideas for that continuity and those characters. I’m not going to abandon them!

what are your writing strengths?

Hmmmmm. Probably detailed worldbuilding? Ask me something about, say, a technological or cultural aspect of Star Trek and chances are, I have thought about it in the past or will come up with three different sets of intricate lore within half an hour. (Things like... the architecture of San Francisco, or Will there still be taxi drivers? or the treaty between IKEA Intergalactic and the Borg Collective, or the Universal Translator, or Emergency Services or Why There Are Very Few Ambulances On Earth Anymore etceterah etceterah...)

I’m also good at slapping together off-the-cuff plot ideas (if, say, you need an explanation for how Seven and Agnes ended up stranded on a desert island, I could probably give you three different scenarios pretty quickly. Just don’t ask me to make them poignant or actually write them.

I’m also very, very good at beginnings.

what are your writing weaknesses?

Everything that isn’t a beginning. Especially endings, or rather: finishing something, but also just... keeping momentum.

I think my dialogue is somewhat samey and not distinct enough between characters. (Also my witty banter is... let’s just say it doesn’t come to me naturally...)

And I also struggle with keeping things brief and to the point. I can write you 30k of whump covering a span of three hours, but fitting a whole story in the same space? Much more difficult!

I have also avoided writing full-on action so far, but where it has crept in it has always been a struggle and been workshopped a lot with the indefatigable beta.

Otherwise, I don’t know. My self-perception is always a little warped, so I’m not sure what other people would say my weaknesses are.

what are your thoughts on writing dialogue in other languages in a fic?

Oof. Well. I have used Spanish sentences in my fic and done the thing where they’re translated in the end note, but I’ve mostly done it sparingly. I’ve also done the ‘“What do you want?” he said in Spanish.’ It’s tricky. But I will likely keep doing it in some instances, even if it’s a bit annoying.

(It also really helps to have a native speaker of Spanish as a beta, even if it’s Spanish from a different region than you’re character.)

Speaking of regional: I’m also torn about the whole “phonetically writing out accents” issue. Some people love it, some people hate it, I’m really unsure because I’m not a native speaker of English, so I’m not even sure I’m consistent in my narrative voice’s regional quirks. So far, I’ve mostly gone with describing that an accent is happening, and only writing out when phrasing actually differs from standard English. Like Ian (Scottish) saying “dinnae” but not writing “I” as “ah” as you’d see on, say, Scottish twitter.

Though it can be a very useful tool if, for instance, you want to indicate a characters accent getting stronger as they get tired or upset. 🧐

Anyway, I don’t think there is one right or wrong answer here and everyones milage will vary.

what was the first fandom you wrote for?

Published? ST:PIC

Actually first? Lord of the Rings and Harry Potter. Pretty much simultaneously, though I did write more for LotR. On graph paper, mind, with my fountain pen turned upside down so I could write smaller. I still have folders worth of those stories that I urgently need to digitize before they fade and I lose them forever...

what’s your favorite fic you’ve written?

I’m going to quote @thelaithlyworm here: I Love All My Children Equally! I honestly couldn’t say. They are different and I love them for different reasons but I love them all.

Thank you for the tag! ❤ I’ve kinda lost track of who all has done this already or has already been tagged, so feel free to ignore me! But I tink I’m tagging @curator-on-ao3, @aini-nufire, @29-pieces, @flowers-creativity, @highfunctioningflailgirl, @cristobalrios and @the-goofball. And anyone else whom I forgot or who feels inspired to do this!

#ask meme #writing #lili's writing adventures #this was fun!

21 notes · View notes

internalsealpanic · 3 years

Text

Of Midnight Smoothies and Murder Mysteries

Summary: Sneaking out for a movie turns out to be a bad idea.

A/n: So... this was supposed to com out on Halloween then I confessed about thirst then my priorities shifted. Well, since I don’t celebrate Thanksgiving this is just extended Halloween. It would be funny to do a Thanksgiving thing with the Batfam. Thanks to @littleredwing89 and @lucy-roo for proof reading this crack. Thanks for @ereawrites for the encouragement. And thanks to @littleredwing89 for the mood board. (I love you my dear enabler.) Also “[ ]” will indicate characters speaking in a different language. I sadly could not find grammar stuff for the language so you will have to bear with me. This is still part of the Merc! Reader series.

Warnings: Gore, a lot of blood, dumb bickering, Dick being a cute dork, and snake bleps.

Main Masterlist

Series Masterlist

"Aliens don't exist," You huff around your thoroughly chewed straw, swirling the radioactive green smoothie Dick insisted that you try. You debate on whether to take out the bag of confectioners sugar you bought and pour it in. Dick makes a noise, indiscernible with his own straw in his mouth. You cast a glance at him only to see his neon blue smoothie spurting out of his nose. Your snort quietly, the noise hidden by the rustling of grocery bags against your bouncing leg but based on the way he’s pouting at you, Dick clearly sees your lack of sympathy and takes offense. You shrug at him.

Brushing the liquid away with the sleeve of his denim jacket, Dick levels you his best batglare. You give him an impassive half-asleep response of ‘hnnn’ which just gave him flashbacks about talking to Bruce. You’re entirely too focused on the fact that the blue of the smoothie is still alarmingly stark even against the blue of the denim. “You’ve met Superman, right?”

You roll your eyes at his piss poor attempt at intimidating you and pinch your straw between your thumb and index finger, trying to break apart the clumps of ice preventing you from getting more smoothie. “-Met is a strong word-” You drawled causing him to sneer. “Just say he kicked your ass six ways to Sunday like a normal person.”

“I fought him.”

“You got your ass beat-” You glare at him sticking your green tongue out at him and in return he sticks his blue tongue out at you. It was true but he didn’t have to say it. This is always how your long-held arguments start.

“Besides, aren’t you and Slade metas?” He breaks in after a long moment, instantly cutting off the possibility of weeks of not talking to each other. You smile balefully at him. “Precisely.”

“What? How does you being a weirdo disprove aliens?”

You make an affronted sound through your nose but launch into your explanation in your professorial voice. “The guy’s gotta be some kind of meta and he probably just came up with the Krypton thing afterwards. It sounds cooler, yanno?”

Dick looks up to the smog covered Gotham sky, leaning back against the solid brick pillar behind him. “Well, why can’t he be an alien?” He says dreamily tracing unseen constellations with his right hand. You briefly remember him mentioning stargazing with his parents when he was younger. There is something warm in the memory even if it wasn’t yours. You look down at him, eyebrow ticking. “Ok genius, tell me why there would be aliens that look exactly like us?”

“Why not?” He says grinning at you. The sterile lighting of the grocery store light filtering through smudgy windows highlighting his features. The shadows highlighting the shape of his cheekbones and the dimples forming at the edges of his cheeks. When had Dick gone from cute to handsome? You shake your head, avoiding his smiling corscian blue eyes.

“Becaaauuuuuse, dipshit, that’s not how evolution works” You bite out.

“What about convergent evolution?” He offers casually and your tongue freezes. A light flickers in his eyes and his pretty mouth twitch up into a laugh when you fail to respond. “You forgot about that, didn’t you? HA”

“I regret this conversation.”

“HA”

“Superman fanboy” you accuse, jabbing a finger into his chest. Dick giggles either from your weak deflection or the fact he’s ticklish, either way, your stomach does somersaults.

“Just say you’re wrong.” He says grinning, the divots formed by his dimples becoming more apparent. You feel Yasiri’s tail flick across your collarbone, her body coiling up in response to your irritation. Your mouth curls too but the irritation doesn’t quite boil over as you expected it to, not when Dick smiles at you like that. There’s a strange twisting in your stomach. You aren’t sure what it is but you’re pretty sure that you don’t like it. You blow out a breath, sound caught between a tired laugh and a long-suffering sigh, and pick your grocery bags before getting up.

Not even 5 seconds after you resolve to abandon him, Dick’s already by your side, falling into step with you bumping his shoulder against yours in a placating gesture. Yasiri slithers from the skin on the base of your neck to hiss at him. Dick smiles at her unfazed despite the clear and present danger. He pets her without much fuss from your usually ferocious snake. You make an amused noise at her compliance.

The walk is spent in easy companionable silence. The kind you two settle into when Dick knows you need to settle down. You were a sore loser when it comes to arguments but so was he, so you tend to let the other work through it. You grimace at your lightly scuffed shoes. They weren’t expensive or flashy or even one of a kind but they were comfortable, reliable, and most importantly they were from Mr. Wintergreen- Uncle Wintergreen, he insisted. The fact that he’d taken the time at all made your stomach flip-

Your stomach dropped. Your throat and mouth felt dry. The scent of copper permeating the air as you stared at the red puddle beneath your white shoes, a severed finger poking at you.

"Y/n?"

You must have stopped abruptly. You turn to Dick mechanically and see his face crumple into worry. Before you can rush out words of dismissal, your ears tune in to the sounds of a haunting melody. Yasiri rattles around your neck once again leaving the safety of your collar bone. Your head swivels mechanically towards the old theatre. Dick looks at you curiously, concern flashing in his eyes when another scream erupts from the theater. You both stiffen, spines straightening. Eyes blown wide, your feet take you toward the theater.

Dick falls into step with you.”You’re not seriously going, are you? You’ve- Didn’t we just watch a horror movie?”

“You seem to be going the same way.” You point out, side-eyeing him sharply, the sour look on your face not betraying the anxiety cloying at your spine. In the corner of your eye, you can see Dick huffing and crossing his arms over his chest.

“I’m Robin.”

“And I kicked your ass just 2 days ago and served it on a silver platter while quoting the one and only Arnold Schwarzenegger,” You grin absolutely, unequivocally unapologetic.

“I was protecting civilians!” He protests, throwing up his hands theatrically.

“Iieerrelevant~”

Dick opens his mouth to contest your point but there really was convincing you on that. His face screws up and being the gracious loser that he is, he sticks his still neon blue tongue out at you. You, being the graceful winner that you were, stick your radioactively neon green tongue at him in answer.

You continue to bicker about the merits of his heroism on the battlefield 'til you reach the front of the theater. You tuck your grocery bags behind debris by the entrance making sure to keep them well hidden. Dick wants to point out that they’ll probably be gone by the time you two are done but Yasiri was staring at him like she was about to strike at him for real this time.

It- It wasn’t hard to get into the building. Dick held out his hand to you as you climbed over another set of debris. You take it. You thank him clumsily. He bows to you a gremlin smile spreading across his face. You sneer but give him a sharp smile in return.

It’s dark. The absence of light is thick. It makes the sounds of your heartbeats uncomfortably loud. You swallow. You trace your finger along your skin, the hilt of your knife falls easily into your hand. You trace your finger on your other arm and hand the knife to Dick who shakes his head. You shrug and let it melt back into your skin.

“You have a tracker on you, right?”

“No-” You eye him, cutting him a look of disbelief. “I-”

“Relax, I have one too.” You deadpan.

Dick sighs. “You’re dad’s paranoid too?”

“So is yours” You snip, hackles drawn.

“Bruce isn’t my dad.”

“Slade isn’t mine either.”

“Mentors?” Dick offers placatingly.

“Polite way of saying bossy prick, I guess.” You roll your eyes but concede.

“I mean I don’t know about Wintergreen but Alfred taught me some manners.” Dick shrugs, folding his arms behind his head somehow relaxed despite the thick scent of blood in the air or maybe this was how Dick was when he was nervous.

The truth was Wintergreen had attempted to teach you manners but he’d run into quite a few problems. The first being that you were a terrible student. Sure, you caught on quickly when you could but anything you didn’t gravitate towards didn’t hold your limited attention long enough to make an actual impact on you. Now that in of itself was fixable with the right kind of bribery. The other problem was less so. Your mentor, if you could really call him that, was a rude bastard. Long story short, you’ve never seen the point, much to Wintergreen’s chagrin and Slade’s amusement. You were, however, a master of mouthing off.

“Shouldn’t we call back up?”

You flick your eyes to him, uselessly, but based on the shifting of the body beside you he somehow got the message. “Go ahead, if you wanna explain to big daddy bats why you’re hanging out with me, sure.”

Yeah. That wasn’t an option. There was, of course, a silent understanding that bats probably knew about your little hangouts but still.

You pad the walls with your left hand while your right was gripping Dick’s sleeve, white-knuckled. You cringe every now and again feeling the walls slick with what you weren’t eager to investigate. You strain your ear to listen for odd sounds but mostly to see if Dick, as you suspect, is echolocating.

“How are you doing that?”

“Doing what?”

“Silently echolocating?”

Dick snickers. “I am not. You do know B isn’t an actual bat, right?”

“Oh yeah, I forgot he was just a furry.” You sneer. Dick snorts a sound caught between amusement and offense. He clearly respected Bruce. Not the same way you respected Slade, maybe, but you understood how larger than life the Batman was even if he was the biggest pain in your ass by far.

“Do you really have any room to make fun of my mentor when yours has ‘Stroke’ in his name?”

“I have plenty of room, probably. Why not echolocate to check just how much room I have?”

“Listen here-”

The opera music floods the silent hall, sharp and clear. You feel the air around you catch fire and your fraying nerves. You turn your head to Dick. Despite not being able to see him, you know his mouth flattens and his brow wrinkles the way they do when you two agree to do something incomprehensibly stupid. This time you do not argue or question or even complain. You simply go forward.

A scream, messy and jagged, tangles with the smooth crispness of the opera music. It makes your stomach turn almost as much as the idea of who or, more appropriately, whatever was behind it. You were familiar with the cruelties Gotham’s monsters were capable of. You have, after all, worked for quite a few.

But this?

This pure, uncut agony in that scream? That was just something you could not stomach. You feel Dick flinch at the sound, almost jumping out of his skin. You squeeze his arm once, then twice, then twice once more. You feel his hand on your wrist, reciprocating the gesture. You smile at him reassuringly not knowing whether it would make things better or whether he can actually see it.

Neither of you is particularly good at dealing with people’s pain. That might not be the right word for it. Neither of you coped well. You absorbed too much of it. You were, however, much better at hiding it. Not that you could fault Dick on that. You didn’t even attempt. For Dick, humanity was a part of the job. Compassion? Kindness? That was to be expected of a hero not derided. To uphold that in the face of Gotham’s worst, that took strength.

Strength, in your case, was directed elsewhere. Something bone-breaking, more visceral. You suppose that was the problem with keeping company with survivors. Perpetually dancing on the brink of death robbed you of something but you haven’t exactly known any other life besides this.

The end of the hall is light by bright lights, sterile white, the kind you only saw in clinics. Your head runs through the catalog of Gotham’s rogues, possibilities of which utter psychopath could possibly be doing this.

“We should call the cops.”

Not really really paying attention, you nod. You should probably. You grip the handle of your knife, flexing your fingers nervously, as another scream cuts through the air. Dick’s body curls, recoiling at the sound. The sound, this close, was enough to make you twitch.

“Can’t we just text them?”

“What do you think this is? Canada?”

“Ok, fair but make sure to tell them you’re Dickle Grayson.” You tease, smiling way too easily considering the creepy atmosphere.

Dick crosses his arms over his chest.“And summon a media storm?”

“It would get the police here faster.”

“I hate it when you’re right,” Dick wishes he could wipe the absolutely smug grin off your face. “We need to back up. You know, in case, he can hear us.”

“I mean you are the one unarmed here.” You say, waving your arms at him.

“No, I’m not. I have my bird-a-rangs.” Dick preens, taking them out from some pocket hidden in his jacket.

“Bird-a-rangs.” You echo, raising a brow.

“Yup. Bird-a-rangs.”

“You are officially- no, you are legally not allowed to name things.”

Dick makes an offended squawking noise.“Oh, come on! Still not as bad as Sharknado.”

“Take. That. Back. Heathen.”

“Make me.”

Both of you still. Yasiri unfurls from your collarbone, her tail rattling. You spin on your heel. Your knife swings out in a wide crescent of light. Thick crimson splashes across your face. At the end of your knife was a person- no, it was a person in the past tense. It makes a small cry when you wiggle the blade planted in its throat a fraction. Otherwise, it ignores the fact that it is, in fact, bleeding out from its jugular. It’s thick, clumsy limbs reach for you. Your stomach rolls. The thing in front of you, the mangled approximation of what was once a person, is lurching towards you. You think you sneer in disgust but your face is far too numb to tell.

“Dick! Just call the cops!” You snarl, panic rising audibly as more bodies emerge from God knows where. You kick the one to your front off to the side, shredding its neck. It takes everything in you not to vomit. In the corner of your eye, you see Dick type as he kicks another one away. You two back into each other as the bodies close around you, cutting off all the exits. You roll up your sleeve tracing a blood-soaked finger over the lines of your tattoo and producing another knife. Dick pulls out his bird-a-rangs.

Dick landed blows but they weren’t hard enough to maim or be fatal. Even if he was to hit them with the sharp bird-a-rangs, he would still aim non fatally. Slade would kill you if you fought so inefficiently or maybe he would just taunt you. Either way, you didn’t care much for Dick’s squeamishness right now as the bodies kept getting back up. As far as you can tell, you’re doing them a favor.

The first wave of bodies rushes towards you. Their limbs jutting towards you clumsily. You swing your blade, vicious and precise. You feel metal clash against flesh, against bone. Blood coats every available surface on you. You hear Dick squawk and you don’t really need to turn around to check that he’s also covered in it too. The spray of blood makes the air thick with the scent of copper. The blood on your skin burns.

“Duck!”

“Goose!” You shout, ducking and slashing down at a row of bodies and legs. You hear his bird-a-rangs slice through the air cleanly and land on one of the creature's shoulders. You let out a huff of air thinking of all the more permanent places it could have landed. He throws a few more hitting them in the face.

Dick launches over you, using you as a springboard. You grunt and he winks at you like a showman. His foot predictably lands an impressive blow on one of the creature's faces. You two regroup back to back immediately after he lands.

Your eyes widen a fraction when a hand from out of nowhere grabs at your face catching you off guard. Your breath catches when you feel a hand at your shoulder pushing you down. A fist makes contact with the creature’s swollen face and it takes a moment for your mind to realize that it’s Dick’s hand on your shoulder and Dick’s fist making contact with the creature.

“Thanks,” You mumble, straightening yourself out. “I had it.”

“You’re welcome, Pookie.” You flush as Dick winks at you. “You know I literally have your back.” He teases. You groan bending back into a fighting stance.

“When we get out of here alive, we are working on your sense of humor.” Dick chuckles at that, making your muscles ease. “Says the person who shouted ‘Goose!’.”

You land every blow with every intent to make it fatal. Dick is still sticking to his nonfatal method. Normally, it was pure joy to watch Dick as he fights. The sheer control he commands over his muscles was awe-inspiring. Despite his size, he’s able to land blows just as powerful as yours. He would truly be terrifying if he were to be anything but himself.

These bodies. They’re too alive, too much. The next wave comes at you more fervently with more bodies. Another wave of nausea hits you when hands grasp at your arms. Your stomach tries to twist out of your abdomen. You try to wrench yourself free. You pull and twist and thrash, only succeeding in getting yourself pulled in deeper.

“Dick!” You cry reflexively. The coarseness in your voice lets the fear spill all over your vowels.

Dick’s corscian eyes widen with a flash of panic. To Dick, you and death were two separate lines running on parallel tracks next to each other, never quite crossing and never belonging to the same headspace. Completely mutually exclusive as far as he knew. But right at this moment, right as you’re about to be swallowed whole by the crowd of misshapen bodies, he watches those lines slowly intersect. Dick doesn’t know where his heart has leaped to.

“Y/n!”

The world resurfaces in a surge of bright white light. Some small part of you is really hoping that Dick is, for once, right about the alien thing. Quietly you draw in a calming breath. It’s shallow not wanting your chest to rise too much to give away your consciousness.

The opera music is blaring in your still ringing head which isn’t helped by the wannabe opera singer belting his lungs out. Thankfully, that means he’s distracted. You move your limbs checking. Everything seems to be intact AND you seem to be tied up to someone instead of something which was either good or bad depending on who it is.

“Mornin’ sleepy head” Dick mumbles quietly, sounding relieved. You click your teeth in irritation.

“Morning, Disco Stick. Any chance you magically woke up with a plan or were you just taking a beauty nap?”

“I don’t need one and sort of.”

“Well shit, we’re screwed then.”

“You’re being dramatic.”

“I’m sorry which of us is running around doing somersaults when they’re assaulting criminals?”

“In my defense, flipping makes my kicks land harder.” Which was true but you were feeling snippy. “It also gives them much more time to dodge or counter.”

“Killjoy.” You roll your eyes, smiling. You know he’s being cute and pouting. Given this is really not the time considering there is a man butchering another man a few feet away from you while singing bad opera. You really did stumble into a horror movie. “Please tell me you called Batman or the police.”

“Both.”

“How?”

“Some of us are good at multitasking.” Dick chirps proudly leaning against you. You scoff judging just how tightly the ropes are bound around you.

“Well, you are good at being insufferable while still breathing.”

“Isn’t that part of my charm?”

You snicker accidentally tugging at the binds around you. You hear Dick wince likely from what is a bruised rib or, heaven help you, a broken one. “Sorry.” You whisper low and small.

Shit. What if he had a broken rib. Shit. Shit.

“I’m ok, Hon.” Dick laughs making sure to lay the Delaware accent thick. It makes your chest feel warm even though everything else in you was freezing from dread. You snort. “Fine, bleed out for all I care.”

“Awwww don’t be like that.” You sigh. You hate how weak you are to his puppy dog eyes. You can’t even see it. You decide to change the subject instead. “So what are the odds that we’re escaping if we break out of their bonds now?”

“Not high.”

“Even if I get Yasiri to gently inject him with poison?”

“Please tell me you didn’t bring poison to our hangout.”

“I mean. Do twinkies count?”

“No.”

“Ok, fine. So we’re stalling then.”

“Pretty much.”

“I hate this.”

“You were the one who started heading in.”

“Why didn’t you stop me then?”

The man at the surgical table turns to you with a whimsical flourish as the body on the table goes limp. No, not limp. Docile. You have just witnessed a person become a body, you think numbly. The way the fight so easily left its limbs made you shudder, feeling the fight in your own limbs fleeting out. This isn’t how you want to die, not by the hand of a madman. At least, not until you’ve put your own demons to rest.

“Look who’s awake,” He drawls, his voice slimy and all the vowels coming out at the wrong pitches. Dick shifts the two of you so that he’s angled slightly in front of you. He squares his shoulder trying to make his lean form look far bigger than it actually is. You smile at his attempt to be protective because deep down you both know you’re the more intimidating one and you’re the one who can take more punishment. Your power and training have those pleasant side effects.

You see him draw closer making you snarl. “Come any closer and I swear I will rip your throat out.” You are surprised at how even the threat came out but the distilled ferocity you had put into it didn’t quite show, likely blunted by the fear pooling in your stomach.

“Don’t worry I’ll make you perfect too. I promise.” He reaches past Dick, grabbing you by the back of your neck. The grip on you is bruising and callous. He forces you to bow your head and look down at the bloodstains on your clothes. The browning blots of red stain your white Wonder Woman shirt. You swallow. You felt like a lamb being dragged to slaughter. Dick, likely without thinking, bites down on the man’s wrist.

The man pulls away with a cry, cradling his bleeding wrist. “Are you ok?” Dick asks, spitting blood out, eyes shiny with concern. You gulp down air before nodding. Dick presses closer to you reassuring you. Shaken, you press back, careful not to press hard enough to hurt him.

Your floundering mind comes to one conclusion. You can’t let him touch Dick. You use your strength to shift your positions so that Dick is completely behind you. Dick tries to move you back but you plant your heels preventing him from even inching.

The man grabs you by the collar of your shirt, pulling you off the ground. You hear Dick’s breath hitch. His heart rate kicks up and so does yours. Fury burning in the man’s eyes. “WHY WOULD YOU DO THIS TO ME?” He screams, shaking you. “NO. NO. NO. MY- I’M- NO! PERFECT. I NEED- I NEED TO BE PERFECT.” Somehow the spit flying in your face grosses you out more than the blood probably drying on your face. It’s only winning by a small margin though.

Bile is rising in your throat. Still, you grin, sneering and taunting. “Trust me you didn’t need help in the department,” You jeer. Dick squirms behind you. Urging you to stop. You don’t. “You think those pisspoor excuses for creatures you sicced on us were perfect. HA!” You can feel Dick shaking his head behind you. You nudge him assuring him you’ve got a plan. You did. Sort of. It’s more of a goal really. Take his attention off of Dick.

“[Y/n, please no. Don’t do this. I know what you’re doing. But I can take it. Moon, please.]” Dick pleads, voice hoarse and desperate. ‘Shion’. Moon. The endearment glances of your ribs like a well placed kick to the chest. You don’t let your eyes flick to him. “[Which us is meta here?]” You whisper back in broken Romani. You cringe a little knowing just how badly you butchered the sentence. Dick makes an affronted noise. “Cham.” You whisper quietly, trying to shape your vowels and consonants correctly. Dick’s breath catches. Sun. Sure, the endearment seemed inadequate, too succinct, when compared to how much you care for him but as of right now it will have to do.

The man shakes you again dragging your attention away from Dick. Your smarmy grin cuts across your face as if you’re not pissing yourself from fear. A large hand grabs your face. Your entire body braces itself for your neck to be twisted but it does not come. He tilts your head back side to side. “You’re going to need a lot of work.”

Your heart stops. Dick thrashes behind you. You want to elbow him. You want to scream at him to stop fucking moving but you’re entire body is numb. Your eyes flick to the man, no, the body on the table. It is breathing and writhing in agony. Your breaths pick up. You- you don’t- you can’t-

You hear a crash and the fall of debris on a dozen bodies.

“B!” Dick shouts distantly. The grip on your collar disappears. A black clad fist hangs in front of you. Your eyes trace up the arm in front of you only to be met with the scowling face of the Batman. You swallow nervously while Dick lets out another enthusiastic ‘B’. Batman makes quick work of your ropes, all the while glaring at you for what you don’t know. Maybe somehow he knows this whole situation was your fault.

Once released, the first order of business, at least for Dick, is to throw his arms around Batman’s shoulders. Awkwardly, he reciprocates your friend’s affection. The hold he has on Dick cannot be mistaken as anything but protective. You find humor in the fact at how obvious their familial connection is yet they deny it. A teasing remark rises up your throat but is abruptly shoved back down by Batman’s unrelenting glare. Was he born glaring?

“What are you doing here?” Less of a question and more of a growled accusation.

“Careful, his rib might be broken.” You stumble out dumbly. Dick glares at you but compared to Batman’s it looks more like a pout which is, again, hilarious. Batman loosens his grip on Dick and apparently, this is now the time Dick chooses to realize that his mentor (read: dad) is trying to turn you into ash with a scowl.

Dick peels away from him stepping in front of you. He widens his stance to shield you from the larger man. Dick feels an odd surge of protectiveness and he’s not about to let B attack you, especially not after what just happened.

They stare each other down. They seem to be having a silent argument. You want to cut in but you’re afraid you might actually turn into ash with the intensity of Batman’s gaze.

The loud blaring of sirens mingle with the still playing opera music in the background as a tidal wave of police officers and paramedics rush in.

-----

You pestered the medic to let you stay with Dick.

“So, what do you plan on doing?” Dick asks, leaning against you pointedly ignoring the paramedic's instruction to be careful. You let him lean into you. You know he needs all the comfort he can get. You rest your head against his hair, placing a kiss on his scalp. Dick doesn’t comment afraid that you might withdraw if he teases you too much.

“Maybe grow out my hair,” You joke, pinching a lock of hair between your fingers. “Might as well considering how grounded I’ll be. Well, if uncle Wintergreen has anything to say about it.”

Dick extricates himself from your shoulder and turns to you with a pensive look. Tilting his head, he looks at you appraisingly, wrinkling his brow. You can’t blame him. He’s never seen you with long hair mainly because you’ve never let it get too long. Too much of a hassle, too much of a health hazard.

Dick places his jacket over your head, draping it over you like a wedding veil. You chuckle at him, barely able to keep the smile off of your face.

“How do I look?” You joke twining your fingers around the cloth. You think you see Dick blush but it was probably just the cold. Dick coughs poorly disguising his laughter. He covers his mouth, depriving you of his dimples. “ Like you’re going to get married in a jean pants suit. I have dibs on walking you down the aisle.”

You tilt your head. Your smile tilts along with it. “Nah uncle Wintergreen has dibs on that.”

Dick huffs, his shoulders sag in disappointment. It’s the closest he was gonna get to being your groom, he thinks.

I want you waiting for me at the end of the aisle. The thought makes your heart twist. You swallow it along with the huge lump in your throat. “You can be my last dance though.”

You concede. Dick brightens a little at this but not by much.

“You sure Deathstroke wouldn’t mind?”

“This implies he’ll show up. He’s a busy man.” Dick laughs at that. Genuine and very Dick. This time you don’t fight the smile off of your face.

You smile at each other and laugh. A million unspoken sentences hang between the two of you.

This love of yours is reckless.

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

a/n: Thanks for reading. Also yes I did have to include good dad Bruce and bastard mentor Slade. I only have one braincell and it is dumber than shit.

tag list: @batarella , @anothertimdrakestan , @lucy-roo , @multifandomgirl-us , @idkmanicantenglish ,@birdy-bat-writes , @boosyboo9206 , @americasmarauders , @l-inkage @arestorationofbalance , @cloudie-skay , @wunderstell @hyp-oh-critical, @ereawrites

#dick grayson #robins #batboys x reader #batboys #dick grayson x reader #dick grayson imagine #dc x reader #dc fanfic

161 notes · View notes

dontletthishappentoyou · 3 years

Text

Aang

I don’t hear a lot of analysis on the actual main character of AtLA. Zuko, Iroh, and a few others seem way more worth analyzing, but I’ve been thinking about Aang for a while, particularly in regards to child abuse. Across dozens of unrelated languages, “mom” is almost a cognate, my some weird form of repeated convergent evolution. Ms and Ps (or Bs) are some of the first sounds infants are capable of learning. Momo and Apa function as parents, expressing care and unconditional love, often quite competently, probably lightening the load of his loss. He lost the community he was raised by, and the person he saw as a father figure, but kept a semblance of symbolic parents through his animal companions. Between their familiarity and the obviously parental role Katara and Sokka play, he ends up experiencing almost uninterrupted dependence on non-standard parental figures. I think all of this makes it a lot easier to handle what he’s going through, for the character’s perspective and potentially for young viewers. They don’t have to go through the emotional torment of identifying with someone who has truly lost everything with no way to cope. In so many arcs about responsibility, you look at the Bojacks and Walter Whites of the world of fiction and there’s a general theme of “you need to take responsibility for your actions.” For the adult men in the stories they exist in, that makes sense, and as adults we probably find that more relatable as struggling with handling the responsibility we need to put on ourselves is just hard for everyone. But for kids, that would be a terrible moral. Imagine Aang going through a Bojack-esque arc, learning to acknowledge the war as his own fault and coming to terms with that. The arc he goes through is much better than that for his age. In the first season he goes through the trauma and blames himself. Several episodes revolve around him taking way more responsibility than kids should have to. There are several episodes where people hate him for what he did and he has to face that. Ultimately, every time he gains the strength necessary to take responsibility for something, he loses control over himself. Literally through the avatar state in the last episodes of the season, and even when he learns to firebend. The second season is largely about reclaiming some control, and balancing his control over himself with letting his responsibilities control him. He choses to largely abandon the avatar state altogether, chosing control over responsibility. This is one of his first big steps away from taking on adult responsibility, aside from the fun little things he does randomly throughout, mostly in the first season. He takes a step back with control when Apa is stolen, getting super mad, and doing some avatar state stuff, ultimately taking a big step back in paralell with Zuko’s big step back, and getting pretty severely punished for it. Not only does he lose control, but he is unable to successfully manage the responsibility. When finding someone to asks for help with earth bending, he ultimately decides on someone his own age, rather than seeking help from an adult. Having lost all of his friends, it’s important to him as a child to have child friends, and he acts on that, stumbling across someone who also happens to have the competence to help, achieving a balance between working with his needs as a child and acknowledging his responsibility. Third season is where people get mad. His first two seasons can be seen as less convincing or interesting than other characters, but the third season upsets people, and I like it. He has fun in the fire nation, spends time being someone his own age, is actually in the background for a lot of the season, but does face challenges. Killing is something that could have been managed better leading up to this struggle, but giving up who he is and what he values for his responsibilities is exactly what he’s been struggling with the whole time. When he’s in control of himself, he will try not to kill people and he will have fun and nurture bonds he has with his friends, and when he abandons that for responsibility, he focuses on power, aggression, and winning. So for adults, the moral of the story is dumb, but I don’t think it makes sense to analyze the message of the story as it relates to adults. In the episodes leading up to the finale, Aang asks a bunch of people for help, especially adults, including other avatars, which are basically adults he is related to. The moral of that is that sometimes talking about your problems with adults can magically make your problems go away. One of the biggest obstacles in talking to children about abuse is that they don’t want to or can’t talk about it. Often they are told by their abuser that it is not okay to talk about it, and they obey in an effort to be a good kid. In the final season, it’s Katara and Sokka and his entire support system pushing him to take responsibility over control, it’s who he sees as his parents pushing him deeper into trauma, and he talks to someone about it. The fact that that is presented as the right thing to do is a freaking awesome thing for kids to be taught. They don’t need to know the connection between asking for help and the help being provided. The responsible adults file police reports, go to court, work with lawyers, and stuff like that. The lion turtle touches your head. Either way, the problem is solved by the kid talking about the problem and someone else taking responsibility for fixing it. The point of Aang’s character arc is that he didn’t have to grow. It was okay for him to be small. His arc not leading to finding solutions to his own problems was exactly why it made sense.

4 notes · View notes

rainhadaenerys · 4 years

Video

youtube

Analysis of the Game of Thrones Soundtrack: House Targaryen

This an analysis of the music of House Targaryen by Jordi Maquiavello. I really love his videos, I think his analyses are brilliant, but unfortunately, a lot of people don't know them because they're in Spanish. So I decided to try to translate this video, one of my favorites, in which he talks about the music of House Targaryen, mostly about Dany's themes. By the way, before I start, I must warn that I don't actually speak Spanish. But I'm a Portuguese speaker and the two languages are very similar, so I think I could understand most of what was being said. If I commit any huge mistake, feel free to warn me. Also, I might skip some parts of the video like jokes or other parts I didn't think were essential, but I tried to keep the translation mostly faithful to what was being said. Anyway, let's start.

Before we start, the Game of Thrones Soundtrack can be found in the public articles of Wikipedia (HERE).

Season 1

House Targaryen has themes related to three characters: Daenerys and Viserys Targaryen, and Jorah Mormont. The first theme we hear in the show is Viserys' theme, "A Golden Crown". Later we will see why Viserys has his own theme and what's the meaning for Dany's character development. What we hear is a harp as the main instrument, and the theme contains several rests (pauses). It's a theme with a mysterious sonority, and finally, a group of violins joins when Daenerys enters the bathtub. It's a very different theme from the intense ones we will later see with Daenerys.

(Link to A Golden Crown)

(Link to the bathtub scene)

In the next scene, we see the first appearance of the Dothraki. Their theme will also influence a lot Dany's theme in the future. The theme is called To Vaes Dothrak, and starts with a duduk. It's an Armenian wind instrument, and it's the main instrument of the Dothraki theme. This duduk is accompanied by drums that play in the rhythm of a horse ride, obviously because a huge symbol of the Dothraki people is the horse:

(Link to the theme To Vaes Dothrak)

(Link to the scene where Dany meets Khal Drogo)

Again, when Viserys whispers in Dany's ears, Viserys' theme plays again, this time with a distant violin. And in this scene, Dany and Drogo's romantic theme, Love in the Eyes, plays for the first time. But the theme plays in an accelerated rhythm, because in this scene, the theme is from Drogo's perspective [I didn't understand everything Jordi said here, but that's the gist of it]. The drums sound progressively, until Drogo and his bloodriders ride away.

(Link to the theme Love in the eyes)

In Dany and Drogo's wedding, Drogo gives her a white mare, and we hear the theme (Love in the Eyes) because Daenerys is grateful for the gesture, but we hear it distant because she still sees Drogo as a brute barbarian and she doesn't like him very much.

It's important to talk now about the musical theme of the fucking dragon eggs, which are chords in a metal wind instrument (brass instrument) that appears every time the dragon eggs appear. It's the "Finale theme", theme of the birth of the dragons, but played softly here in the beginning. (This sound appears in this scene the moment the dragon eggs are shown)

During the rape scene, the theme that starts playing is Love in the eyes, but the scene ends with the theme playing in a minor tonality, because obviously, Daenerys isn't happy.

(Link to the wedding scene)

The next episode starts with the dragon eggs. Again, the fucking eeeeeeh sound. Here, the composition is very interesting, because we hear very distant chords very, played with a duduk of what will be the final composition, because, for the first theme, we are told directly about the dragons, instead of just showing the damned eggs.

When Doreah teaches Dany how to please Drogo (he starts a small rant of why he hates Dany x Drogo), "Love in the Eyes" plays, to prepare us for the next scene. (Jordi then remarks on how incredible Dany's evolution is, when Dany is here timid even though Doreah is her slave, and later she will be confident with Daario). During Drogo and Dany's sex scene, Love in the Eyes plays, but it sounds perfectly melodic now, because they are finally both in love with each other (he then starts to rant against Jonerys haters that say Jonerys was rushed even though Dany goes from being raped by Drogo to being in love in an episode and a half).

(Link to the dragon eggs scene, Doreah teaching Dany, and Dany and Drogo sex scene)

Let's skip some scenes that don't go anywhere and start again our analysis in Viserys' death. When Viserys threatens Dany, we hear some chords that intensify to generate expectation, fear, unease. When Viserys believes he got what he wanted, the theme Golden Crown plays, because he believes he finally got what he wanted. But things get twisted, and we hear minor chords, and meanwhile we see Viserys beg for his life. It's pertinent to remark something very cool, that the theme doesn't change while the gold pours on Viserys, and the theme stops playing just as Viserys dies. Viserys' theme goes with him just as it came.

(Link to Viserys' death scene)

I'm going to skip the parts before Drogo's death, because they have nothing important, and won't influence the soundtrack in any important way. When Daenerys kills Drogo, the theme "When the sun rises in the west" plays. This theme starts with recycled chords from a previous scene, in which the Maegi tells Dany for the first time the famous phrase, "when the sun rises in the west and sets in the east, blah, blah, blah… I am a witch", and then Love in the Eyes stars to play, but there's something important in this composition, this theme lacks something: the drums. The duduk will even play the theme faster, the melody is modified because Drogo has died. The drums that evoked a horse's gallop no longer are here, and the theme is not sounding in a moderate tempo (tempo is the rhythm, how fast a music goes), but at an accelerated tempo. We could almost say it's Presto (a faster tempo), but I'd say it's an Allegro tempo.

(Link to "When the sun rises in the west")

(Link to the scene where Dany kills Drogo)

Let's talk about the scene of Drogo's pyre. The scene uses three themes. First place, the fucking metal wind instrument sound of the dragon eggs that drive me crazy (when we see the dragon eggs). In second place, Love in the Eyes plays for the first time associated with the love theme from Jorah's point of view, when Daenerys kisses his cheek. Here is the first time Dany shows affection to Jorah. Before this, we knew Jorah liked Dany, but this is the first time Jorah receives a show of affection on Dany's part. The theme Love in the eyes plays solemnly, with inverted chords.

In the continuation of the scene, the drums come back, because Daenerys has established her own leadership position over the remaining khalasar, combining with the theme of the dragon eggs. It's in this scene that the theme Love in the Eyes becomes Dany's theme permanently, dissociating the theme from Drogo. Love in the Eyes intensifies as Dany enters the fire and dies. (Basically, Dany has taken over Drogo's role, which is why the drums are not just for him, but for her)

(Link to the theme that plays in the scene, Fire and Blood)

(Link to the scene)

In the next scene, finally, we see the dragons, and the metal wind instrument sound that we we hearing since the fucking first episode. And when Dany starts to get up, this theme used for the dragons starts being played by strings, growing and growing with major chords, until the composition explodes and we wear the theme Finale (basically, the small dragon egg sound evolves into the theme Finale). He hear the strings section together with strong and clear vocals. The vocals will be very important in Daenerys' themes, because they symbolize all the people that follow her and are loyal to her, from here on. The metal wind instrument sounds converge in a composition combined with the Main Theme, with strings, drums and choir together.

(Link to Finale)

Season 2

During this season, the soundtrack almost doesn't evolve. It evolves only in the last episode in an important way. But during the entire season we will have two themes: Qarth, the theme used during the entire season, since we are in Qarth, and Pyat Pree, Pyat Pree's theme. The Qarth theme utilizes an oriental touch of Essos, also represented previously in the Dothraki theme, and later, in Yunkai and Meereen's themes. This preference for wind instruments and exotic scales, especially oriental ones, is due to the fact that Essos is completely different from Westeros. They are different cultures, have different customs, different armies, different economies, and different politics, like how in Essos slavery is legal and in Westeros it’s forbidden. Even Syrio Forel, in the first season, showed us the difference between the two continents in the fighting style. This is why the soundtrack of Westeros is completely different from the Essos one. The contrast between the compositions gives life to the series, making counterpoints between the different plots, Jon Snow’s plot in the North, the different plots in the South, and Daenerys’ plot in Essos. This contrast gives us the feeling of plausibility of the world and the show, and very different tones in the soundtrack, that we are able to associate unconsciously.

(Link to the Qarth theme. It uses a wind instrument and percussion in an exotic scale, in this case, an oriental scale.)

The second theme we see in this plot is Pyat Pree’s theme, the wizard that kills the Thirteen and kidnaps Dany’s dragons. His theme is a dark version of the Qarth theme, with a lot of percussion with a mystical and magical touch. It’s a perfect theme for this character, because he is the magical and mystical side of Qarth. And it’s dark because he’s an evil wizard with not very ethical intentions and methods to get to power, killing innocents and all the Dothraki khalasar that accompanied Daenerys, bringing Dany to the House of the Undying.

(Link to the theme Pyat Pree)

For weeks, I’ve been bombarded by people asking me to make an analysis of the House of the Undying scene, and sincerely, no. The best analysis channel of GOT has done it, and hundreds of channels in English and Spanish have analyzed this fucking scene. Gods! Enough! According to the soundtrack, what is the House of the Undying scene? Just one more scene of the show. Zero musical complexity. It’s Daenerys’ theme, Love in the Eyes, playing with vocals, and when she sees Drogo, it plays the version of the theme from when Dany killed him, When the Sun Rises in the West. And that’s it! Nothing more!

Now this scene is what’s interesting (referring to the scene when Dany finds her dragons chained). Pyat Pree chains Daenerys, and soon Daenerys will say the magic word. Is it the theme Dracarys that will sound? No! Dany’s dragons have evolved throughout all seasons together with Daenerys, so their soundtrack also evolves with her. The first theme of the dragons is Finale, that relates to the brief sound of metal wind instrument, because it evokes their roar and their minuscule size, it’s a birth and growing. But then, this is the first moment when we are shown that the dragons are very dangerous, which is why the theme that plays in this scene for the first time is Mother of Dragons, because the dragons have just demonstrated their power for the first time, and Daenerys has demonstrated her power too, since the dragons have obeyed her orders (Mother of Dragons is an evolution of that first sound used for the dragons). So while this is the second evolution of the dragons (like Pokemon), it’s important to emphasize that this version, Mother of Dragons, is a more accelerated version, with vocals, and with major chords of the theme Love in the Eyes, Dany’s theme.

(Link to the House of the Undying scene)

(Link to the theme Mother of Dragons)

It’s important to emphasize that every season finale of Daenerys, with the exception of season 5, is with her power growing. In the first season her dragons are born. In the second she recovers her dragons and becomes rich by sacking Xaro’s house. In the third season she has a legion of soldiers and people. In the fourth season she is queen of Meereen. In the sixth she has her army and navy ready. And in the seventh season she is fucking Aegon Targaryen. Yes, very powerful finales. But there is something to be explained.

Game of Thrones’s Main Theme has a meaning. And it’s this one: the fight for power, the ascension to the throne, and the fall.

Exactly. The second season ends with Mother of Dragons combined with the Main Theme because 1) Daenerys has demonstrated to have enough power over her dragons and 2) because her power has increased considerably, from a nomad with newly born dragons and on the verge of death, to a rich traveller with powerful dragons and a ship. They are huge differences. That's why the Main Theme of Game of Thrones intensifies, because her power has grown, just like in the first season, from a khaleesi with nothing to a Mother of Dragons.

(Link to Dany's last scene in season 2)

Season 3

During this season, Daenerys gains two new themes, and it’s probably the season in which her power grows the most. When she’s in Astapor, and we see the scenes with the Unsullied, we hear drums and distant vocals, because they are preparing us for what’s to come. We will associate these drums to the Unsullied’s army.

Like I have commented, when it comes to the soundtrack, Daenerys is a sponge. She absorbs musical themes that are utilized in other themes associated to her, like what happened with the melody Love in the Eyes, that is inspired by Dothraki themes, her several Targaryen themes, like the previous chords of the theme Mother of Dragons, which are inspired by an inversion of Viserys’ theme, etc, etc. When Daenerys obtains the Unsullied and executes her master power play, we hear for the first time this wonderful “drop” (when Drogon sets Kraznys on fire), that we will hear in each season. This sound is obtained with a cello and a double bass and a a tremulous effect. It’s a sound that evokes the roar of a dragon. In first instance, I associated the theme to the title of the theme itself, Dracarys, that is, the theme would play when a dragon would set something on fire after Dany says the word dracarys. This way, it would have a complete meaning. But it isn’t like that. The “drop” sounds twice without this happening. When Daenerys orders the catapults to fire in Meereen, and when she kills the Dothraki khals (in season 6). This… doesn’t make much sense. So… is this Dany’s theme when she’s a badass? Maybe, but then Ramin Djawadi puts the theme in the scene when Drogon kills the Sons of the Harpy in Daznak’s Pit. Daenerys doesn’t order anything, Drogon simply burns the Sons of the Harpy. So this is not the Daenerys badass theme. So what is it? It’s the Targaryen battle theme, both for Daenerys and for her dragons. It’s a drop that sounds before an imminent attack, besides being the theme of when Daenerys takes the Unsullied from Astapor.

Here we have to have something very clear. The theme Love in The Eyes is Daenerys main theme. This theme will sound in all of Dany’s themes. Well, since all of them are variations of this theme, Mother of Dragons is the theme of Dany’s dragons. Dracarys is the theme of the Unsullied first, and later the Targaryen battle theme (to make it clear, when I say Targaryen I include the Unsullied and the dragons, basically Dany’s army, including her).

Dracarys uses Mother of Dragons in a descending scale accompanied by ascending and descending chords.

(Link to the theme Dracarys)

(Link to Dany's scenes in Astapor)

After this wonderful episode, let’s go to the next, when we first see Grey Worm. In this very beautiful moment (when Dany asks the Unsullied to choose their names and Grey Worm says that he will choose Grey Worm, because it's the name he had the day Dany set him free), we hear very soft chords of the theme Mhysa, that will play when she takes Yunkai, giving us a hint of Dany’s position of mother (and a hint of the Mhysa theme that will come).

(Link to the scene)

In the Mhysa scene, the Mhysa theme plays for the first time, one of my favorite themes of the series. The choir starts with a children’s choir. When Daenerys is lifted up by the slaves, it intensifies, and a woman’s choir starts to sound. And when the theme breaks in its climax we hear a men’s choir. And in the credits, the three choirs unite. This refers to Mhysa’s own theme: Daenerys has united men, women and children that now follow her, and is a mother for them all. We leave aside the male choirs, because now, there are civilians following her, not just soldiers. It’s a wonderful composition, an interpretation of Love in the Eyes, combined with the Main Theme in a natural major scale with choir. One of the best Ramin Djawadi has composed in Game of Thrones.

(Link to the theme Mhysa)

(Link to theme Mhysa with lyrics - I've seen different versions and fan translations since we don't have an official lyrics and Ramin himself said that the song doesn't exactly mean anything, it's kinda gibberish, but that's the best I found from what the fans could make. But the translation could very likely be wrong)

(Link to the Mhysa scene)

Season 4

During this season, we have to have something very clear: it’s the season Daenerys takes Meereen, but at the end, things get twisted, and Daenerys takes, at least in my opinion, bad decisions: exiles Jorah and chains her dragons. And the soundtrack warns Daenerys of this. But let’s start from the beginning, Meereen’s theme:

(Link to the theme Meereen)

Remember the oriental and exotic touch we mentioned in the previous seasons? It’s the same. But this city has something special: it’s the older, biggest and most powerful of the previous cities. Which is why the theme has such large notes, it’s a grandiloquent theme compared to the previous ones. When Dany takes Meereen, and we see this magnificent shot of her looking over Meereen from the top of the pyramid (after she takes the city and crucifies the masters), we hear Mhysa, on the scale of Meereen’s theme, as the theme of Dany’s triumph.

(Link to the scene of Dany taking Meereen)

When Dany learns of Jorah’s treason and exiles him, we hear the love theme of Jorah to Dany, when he says he loves her. But when she finally decides to exile him, the theme starts to play with minor chords, and converts into a heartbreak theme, one of the saddest themes of the show.

(Link to the scene Dany exiles Jorah)

(Link to the theme Forgive Me)

And here, it’s where everything goes to shit (scene of Hazzea’s father). One of the last scenes of season 4. The composition that will analyze here is Breaker of Chains. The first part plays when the farmer comes with his deceased daughter to the throne room. What we hear is the theme of the dragons (Mother of Dragons) in a minor scale, with a melancholic touch. The scale continues with a small pause, and the theme restarts when Daenerys chains Viserion and Rhaegal in the catacombs of Meereen. We start again to hear an intensified theme with what seems to be a low trombone with the Main Theme. The entire composition is a negative theme, including making some leaps that the original composition doesn’t do in the same bar (measure), as well as indicating to us that something isn’t well. Like the song’s own title, Breaker of Chains, that reminds us that Daenerys, the breaker of Chains, is chaining her own children. It’s the Mother of Dragons theme in a descending scale with a trombone accompanying it.

(Link to the theme Breaker of Chains)

Season 5

In this season, we will have of one the most complex, brilliant, and better written of the show: Sons of the Harpy. I know this is an analysis of House Targaryen, but I couldn’t not talk about this song, because it’s a constant theme in this season, and its anatomy is brilliant. Remember the scene where the citizens of Meereen hiss at Daenerys when she executes Mossador? According to David J. Peterson, the language used in Slaver’s Bay is Low Valyrian, and specifically in Yunkai and Meereen, Ghiscari. Ghiscari, according to Peterson, is a very sibilant language, since most words have letters pronounced as “S”s. This is why in Mossador’s execution, Meereen’s citizens use this “ssss” sound, that reminds us of a serpent, and the great conflicts in the city start. The slave culture is directed by the mythical figure of the Old Ghiscari Empire, the Harpy. Therefore, the Harpy is the representation of the power of the slavers, their symbol. Which is why in every city of Slaver’s Bay we see in the show, we see the statue of the Harpy. When Daenerys finally takes Meereen, and casts down the Harpy statue from the pyramid, the slavers obviously don’t like it. They create a terrorist group, the Sons of the Harpy, and they have a theme. If we could use a word to define this theme, it’s claustrophobia. It’s a theme that seems like it’s going to trap you, won’t let you escape, an obsessive theme that stalks you. This is why it has chords so firm and loud, the tempo is so Presto (fast), it’s a complete declaration of intention. And this theme starts with a main idea.

It took me time, blood and sweat, but I was able to translate this song. There are no articles of Ghiscari or Valyrian about the word Harpy, or about the word utilized in the very theme, no phonetical coincidence. But in Old Ghiscari, this word does exist. Investigating possible translations, words in Ghiscari and Low Valyrian, what the theme says is the following:

Harpies! Harpies! Queen, we are the sons of the Harpy!

Queen, queen, queen, the harpy comes for you!

You you know what this theme is? It’s the theme Mhysa, but inverted, in a descending scale with minor chords, with the famous drums of the slavers sounding at all moments. The choirs are the most terrifying in the show, brutal. During the season, the idea basis of the theme is used in the scenes of this group, including the scene of Barristan’s death. But we hear these choirs so terrible, so claustrophobic, in the scene of the fighting pits, because nothing can or will escape them in that place. Now let’s analyze all the fighting pit scene.

During the entire battle scene, we hear the drums, until Jorah is about to die, and we hear minor chords of Meereen’s theme. From these chords, they grow, and play during the scene between Jorah and Meereen’s champion. Here, the drums stop sounding, because we no longer are seeing the scene from the perspective of the audience in the fighting pits, but from the perspective of the Queen of Meereen, Daenerys. When Jorah kills Meeren’s champion, the music stops, and we only hear the screams of the audience. We start the second act, where a Son of the Harpy tries to attack Daenerys and Jorah kills him. In the moment the mask of this terrorist group is revealed, the theme Sons of the Harpy starts to play, this time, for the first time in the show, with vocals. The theme grows as the members of this group are revealed, and explodes when Daario screams “protect your queen”. Daenerys takes Jorah’s hand, and the love theme of Jorah to Dany plays over the song, because the love Jorah feels for Dany has overcome the situation that is happening. The composition continues to play, and when they are surrounded, the theme of the Sons of the Harpy is renewed, until Drogon appears.

(Link to the theme Sons of the Harpy)

Third act. The silence is used to indicate to us that shit is going real, and suddenly Drogon returns. The theme Mother of Dragons sounds for the first time in the ominous way we know currently, because Drogon has come back to save his mother. Give me the drop (he says this referring to the Dracarys theme that sounds when Drogon attacks the Sons). After Dracarys, Mother of Dragons sounds again in a solemn way, and more paused when Daenerys tries to pet Drogon. The theme grows while Daenerys climbs onto Drogon’s back, we have one beat symbolizing Drogon's (I couldn't understand) and the theme explodes for the first time in the show, with no cuts, loud and clear.

(Link to theme Dance of Dragons)

(Link to the Daznak's Pit scene)

In the next episode we hear Mother of Dragons again, in the same way we hear in the scene when Daenerys pets Drogon. And after that, Daenerys goes to explore. Why not? Daenerys the Explorer. We hear again the theme that we didn’t hear in almost 5 seasons: To Vaes Dothrak (when the Dothraki appear and surround Dany), and that’s how Dany’s storyline in season 5 ends.

(Link to the scene)

Season 6

Just like the last season, season 6 starts with the theme To Vaes Dothrak. We will skip these first scenes because they bring nothing new, and go to the scene where Dany kills the khals. What we hear when Daenerys throws the fire on them is Dracarys, and the theme grows as the place burns. It’s when Dany gets out that we hear the theme Khaleesi, one of the most beautiful of the show. We hear drums to generate expectation, and Mother of Dragons plays followed by chords of Finale (the theme of the first season finale), because of the parallel between the scenes. Then we have chords of Love in the Eyes, and end with chords of the theme Mhysa, everything combined in the same theme, to show what Dany has achieved, unite one of the biggest khalasars in Dothraki history, and making them kneel before a woman. After Winds of Winter and Dragonstone, it’s the best theme of House Targaryen. It’s the theme of Dany’s reign over the Dothraki.

(Link to the scene where Dany burns the khals)

(Link to the theme Khaleesi)

The next song is brief, but very intense, because of the power of the scene. We see Drogon for the first time in a long time. Mother of Dragons sounds even more powerful than the time Drogon saved Dany, because he is much bigger, and Dany’s power is bigger as well. And it’s important to remark that as Dany’s power grows, the ominous nature of the theme grows. The theme pauses as Dany makes her speech, and in the moment she starts telling the Dothraki that they will be her bloodriders, Khaleesi starts to play, growing in intensity until Drogon roars.

(Link to the theme Blood of my Blood)

(Link to Dany's speech to the Dothraki)

Episode 9 of the season starts with the attack of Meereen by the slavers, and what plays is the Sons of the Harpy theme until we get to the dialogue between Dany and Tyrion (where the music stops). When Drogon gets to the negotiation scene, we hear the theme Reign, that starts with Mother of Dragons on a negative scale, with minor chords that sound apocalyptic, because wee see this scene from the perspective of the slavers, that are scared to death. While Daenerys flies over the ships and Viserion and Rhaegal free themselves, Mother of Dragons plays in its complete form, until Dracarys sounds when Daenerys says Dracarys. The scene ends with the theme Dracarys in its apogeu.

(Link to the scene)

(Link to the theme Reign)

Now let’s finally analyze Winds of Winter, a composition that ends the season. Many have analyzed and theorized that the theme is the union of the Greyjoys and the Targaryens, but there’s more to it. Why does the sequence start with this shot? The Greyjoy banner covering the sun? If we remember, the Greyjoys call themselves the storm that comes when the sun dies. This scene represents this symbolism, because suddenly, the Greyjoy flag no longer covers anything, because Yara’s Greyjoys are not Greyjoys. Her flag is blue, her clothes too, while Euron’s are black, as are the traditional Greyjoys. They look at the flag this way, because they have sworn allegiance to a queen, breaking with their previous customs, like rape and pillaging. This is why this scene is like this. And we see a contrast between Theon and Yara, with Theon serious and Yara smiling. It’s not a union theme, it’s a theme that symbolizes what the Greyjoys of Yara have become. Only the main chords of "What is dead may never die" play, without its main melody, because the protagonist of the scene is Daenerys. The theme continues with the Main Theme, symbolizing power, with the theme Dracarys as a countermelody. Until Drogon appears, and Mother of Dragons plays. When we see Daenerys, the choirs sound at the rhythm of the Dracarys melody, while the camera distances itself and the episode ends.

(Link to the theme The Winds of Winter)

(Link to the scene)

Season 7

The season starts with Daenerys arriving at Dragonstone, and it’s one of the best themes of the show in regards to soundtrack. The theme used in the scene is called Dragonstone, and it utilizes seven of Dany’s themes. As Dany approaches the beach, Dracarys plays combined with the Main Theme, as if it’s a combination of The Winds of Winter, adding bass to the melody Mother of Dragons at a low tone. As the dragons appear and fly over Dragonstone, Dance of Dragons plays, because the dragons have returned to their home. As Daenerys steps on shore, soft chords of Mother of Dragons play. As Daenerys touches the sand with her hands, Love in the Eyes, Dany’s theme, sounds, because Dany is finally home. As Dany sees Dragonstones gates, Dracarys plays combined with the Main Theme, because the dragons and Daenerys are reminded of their Targaryen legacy. As the gates open, Khaleesi and Mhysa play together, because Daenerys is walking to take her throne. As Daenerys starts to climb the stairs, Dance of Dragons plays again, because Daenerys and her dragons have entered Dragontone. As Dany takes down Stannis’ banner, soft chords from Breaker of Chains play. As Daenerys walks into the throne room, Mhysa and Love in the Eyes play together. As Daenerys walks into the chamber of the painted table, chords of Stannis’ theme play.

(Link to the theme Dragonstone)

(Link to the scene)

__________________________________________________________

The translation of this video ends here, but I decided to also translate bits of other videos in which he talks about the rest of Dany's themes in season 7 (with the exception of the theme Truth, because he has many videos talking about this and I want to focus this post on Dany).

Spoils of War episode

(Link to the video analysis of the episode)

I'll skip the Stark reunion, because there's nothing special in the soundtrack. So I'll start analyzing the dragonglass cave scene. The theme that plays in this scene is one that we haven't yet heard in the show (the theme Dragonglass), and it utilizes the Three Eyed Raven theme, of when Bran and his friends get to the cave beyond the wall. It's a theme that combines the themes of the children of the forest and the theme of Bran's dreams from the beginning of the show. The theme has two parts. The first one is when they see the dragonglass (the dragonglass theme combines the children of the forest's theme with new chords), and the second part is when Jon shows Daenerys the drawings of the children of the forest, where the composition of the first part continues, until the drawings of the white walkers are shown, and the theme White Walkers is used. The theme grows until Daenerys walks closer to Jon, when Jon and Daenerys' theme, Truth, starts to play. This time, it plays in another scale, but it's the theme from the previous episode. And if we pay attention, as the scale is changed, no longer we hear the chords of Jon and Ygritte's theme, we hear the theme of House Stark, when Jon says the North won't accept a Southern ruler. As Jon and Dany walk out of the cave, the theme grows, and four chords of Jon and Ygritte's theme play, so we have one more part of Truth.

(Link to the theme Dragonglass)

In the beach scene, chords of Love in the Eyes play distantly, but very low and almost unrecognizable, negative, because Daenerys is angry and doesn't know what to do. This theme plays until Jon gives her advice, at which moment Truth plays again, the version of the previous chapter in the same scale. We confirm what we say previously: in first place, the theme of Daenerys and Drogo plays, and then the theme of Jon and Ygritte plays, but for longer this time. Truth sounds twice in this episode, in the two scenes of Jon and Dany.

(Link to the cave scene and the beach scene)

Now let's analyze the battle. The song that plays in the battle is composed by several themes together. As I said in my analysis of the battle of Castle Black, battles are a pulse between the two opponents. And the soundtrack shows this. At first, we hear the Dothraki screams combined with a line of musical tension, one note with higher and higher tone with beats of timpani, which inspires tension and expectation. Until Drogon appears, and Mother of Dragons plays, the theme associated with Dany’s dragons. But we hear it slightly low, as if the it was lowered by a few tones. It’s the first time this theme plays with a negative connotation, because we see the battle at every moment from the perspective of the Lannisters, and at no moment from Dany’s perspective or the Dothraki’s perspective. That’s why the theme of Dany’s dragons sounds so low and negative.

After she sets them on fire, a theme with progressive beats plays, like the rhythm of horses riding. This theme corresponds to the Dothraki, who are executing a cavalry charge, and again, it plays with a negative tone, until the Dothraki stand over their horses and start to shoot, which is a new Dothraki theme, with a regular progression, on the rhythm of horses riding.

Once again, the dragons' theme starts to play, when Drogon burns the line of the lancers and the wagons. When Jaime orders the attack on Drogon, Mother of Dragons continues playing, but it combines with the Lannister war theme, Blackwater, which has several beats of timpani and combines with Rains of Castamere. The theme resumes when we see Bronn trying to get to the scorpion. When Bronn kills the bloodrider, the scorpion is revealed, and Cersei’s theme plays, Light of the Seven, in a very low tone. It plays because, as we’ve seen from the second episode of the season, the theme plays when the scorpion appears, because it’s a weapon created by Qyburn, and Qyburn is linked to Cersei in this theme. When wee see Drogon, Light of the Seven is combined with Mother of Dragons.

When Tyrion sees the Lannister army being destroyed, the theme that plays is Rains of Castamere, the theme of House Lannister, played in violin, just like House Stark’s theme, that is, in a sad and nostalgic way. Until Drogon appears again, and Mother of Dragons plays in a negative way again. At no moment it sounds with a positive connotation or with the original scale of the theme, because we are seeing this from Jaime’s perspective. Once again, we see Bronn, and Cersei’s theme plays again, and again it combines with Mother of Dragons.

When the scorpion hits Drogon, chords of Love in the Eyes plays, softly, combined with Mother of Dragons, this time, for the first time in the sequence, in its original scale, because we see it from Tyrion’s perspective, and Tyrion is worried about Daenerys. When Dany tries to take the spear from Drogon, Jaime rides towards her, and the Lannister battle theme that was playing, Blackwater, plays again, but with beats of Light of the Seven in the same scale, because what this theme meant was Jaime’s sacrifice for the Lannisters and for Cersei.

(Link to the theme Spoils of War Part 1)

(Link to the theme Spoils of Wart Part 2)

(Link to the battle scene)

Beyond the Wall Episode

(Link to the video analysis of the episode)

As I commented, in Spoils of War, Mother of Dragons is played in a negative way, because we see the battle from the perspective of the Lannisters. In the scene where Dany decides to go save Jon, we hear Mother of Dragons played in this same negative way, because we see the scene from Tyrion’s perspective, who doesn’t want Dany to go, he doesn’t agree with her action and worries about her.

(Link to the scene)

(He starts to analyze the battle, and I’ll skip this part because only Dany interests me).

When everything seems lost, My Watch has ended, Jon’s theme, plays. It’s a theme that only plays in very personal moments for Jon, like Jon abandoning the Watch, Jon’s death, and even in this episode, when Jorah lets him stay with Longclaw (for his children). But it also plays in moments where Jon is about to die, like the Battle of the Bastards. Which is why this theme plays in this moment, nostalgic and depressing, until Drogon arrives. Now it’s important to note that in this season, we saw Dany’s dragons more than any other season. And yet, in no moment does the soundtrack portrays them as positive when they are attacking, only in moments like when Dany arrives to Dragonstone, or when Jon pets Drogon. In Spoils of War, the dragons' theme sounds completely apocalyptic, it portrays the dragons as evil beasts, including in the episode when Drogon burns the Tarlys. And even in this episode, when Dany leaves Dragonstone to save Jon, it sounds negative. So in the scene when Dany arrives to save Jon, it’s the first time we hear Mother of Dragons played in a positive way, because it’s a rescue, and we see this from Jon’s perspective. Then, the theme of Jon and Daenerys starts to play in the scale of Mother of Dragons. It’s wonderful. It plays accelerated because of the urgency of getting away, and that’s the mistake that Jon makes, because the theme of the White Walkers starts to play, in the same scale that Cersei’s theme plays when Bronn hits Drogon, because the two scenes are parallels.

This is why I like Viserion’s death scene so much. When Drogon is hit by Qyburn’s scorpion, a dramatic music plays. When Robb Stark dies, a dramatic music plays. Here, there is no music, because we see the scene from Daenerys' perspective, and Daenerys has not screamed, has not cried, has said nothing. She simply looks at Viserion falling and dying without expression, because she is in shock. She can't believe one of her dragons has been killed, because until now, they were invincible. It's a scene of complete shock, because it's something completely unexpected. The theme Love in the Eyes plays, because Daenerys still doesn't believe it, and is freaking out inside. When Daenerys flies away and looks back to Jon, two chords of her theme with Jon play, but completely unrecognizable and very low, because Dany can't believe in absolutely anything of what just happened.

(Link to the theme that plays in the scene, Against All Odds)

(Link to the scene)

____________________

He starts talking about Benjen, and only about the Jonerys theme, and since I'm trying to focus this post on just Dany, I'll leave Jonerys for a later post. The Dragon and the Wolf is mostly Jonerys, so I won't translate that either.

About season 8, I also won't translate the videos, but I'll remark here on a few things Jordi said about Dany in each of them.

(Link to the analysis of Episode 8x01)

(Link to the analysis of Episode 8x03)

When Dany arrives in Winterfell, King's Arrival, the theme that played when Robert arrived in Winterfell, plays, but with a different harmony (that combines Dany's themes, like Dracarys).

(Link to the scene)

(Link to the theme Arrival at Winterfell)

In the Long Night episode, when Dany decides to abandon the plan and go save everyone with her dragons, and she and Jon start to burn the wights (which gives hope to the combatants on the ground), the theme used is the same used when Dany saves Jon in the Frozen Lake, Against All Odds. This is a theme that combines Mother of Dragons (Dany's theme with her dragons) and Truth (the Jonerys theme). As Jordi says, it's the "Jonerys flight theme", and it plays as Dany and Jon save and bring hope to everyone.

(Link to the scene)

By the end of the episode, when Dany sets fire to the Night King, another interesting thing happens: instead of Mother of Dragons (the theme of Dany's dragons), the theme that plays is Love in the Eyes, Dany's theme. This emphasizes how Dany is important, not just her dragons (my comment: it's Ramin's way of saying that this is about Dany's bravery and selflessness, not just her dragons, that Dany is not "nothing without her dragons", which I love).

(Link to the scene)

In Jorah's death scene, the Main Theme of Game of Thrones combines with the theme of heartbreak of Jorah and Dany.

(Link to the scene)

#daenerys targaryen #got meta #game of thrones #ramin djawadi #music

30 notes · View notes