#or perhaps there is another story of the same scene that is also true | Explore Tumblr Posts and Blogs

perpetual-stories · 5 months

Text

Eight Strategies for Improving Dialogue in Your Writing

Well, hi! Oh my… wow! It’s been a long time since I’ve posted! I’ve been very busy and I am genuinely sorry to all my followers, but that doesn’t mean I’ve forgotten about this account, but here is one final post for the year!

Hopefully next year I become consistent with it again!

Let’s begin!

One of the best ways to help a reader connect with your writing is by crafting excellent dialogue. Use these tips to learn how to write dialogue that showcases character development, defines your characters’ voices, and hooks readers.

Why Use Dialogue?

Good dialogue performs all sorts of functions in fiction writing. It defines your characters’ voices, establishes their speech patterns, exposes the inner emotions, and showcases their character development. Beyond mere characterization, effective dialogue can also establish the setting and time period of your story and reveal information in a way that doesn’t feel overly expository.

Authors use lines of dialogue to reveal a character’s personality and express their point of view. For instance, an archetypal football coach might speak in short, terse sentences peppered with exclamation points and quotations from famous war generals. By contrast, a nebbish lover with a broken heart might drone on endlessly to his therapist or best friend, speaking in run-on sentences that circle around his true motivations. When an author can reveal character traits through dialogue, it cuts down on exposition and makes a story flow briskly.

Eight Writing Tips for Improving Dialogue

The first time you write dialogue, you may find it quite difficult to replicate the patterns of normal speech. This can be compounded by the concurrent challenges of finding your own voice and telling a great story overall. Even bestselling authors can get stuck on how a particular character says a particular line of dialogue. With practice and hard work, however, lackluster dialogue can be elevated to great dialogue.

Here are some strategies for improving the dialogue in your own work:

Mimic the voices of people in your own life. Perhaps you’ve created a physician character with the same vocal inflections as your mother. Perhaps your hero soldier talks just like your old volleyball coach. If you want to ensure that your dialogue sounds the way real people speak, there’s no better resource than the real life people in your everyday world.

Mix dialogue with narration. Long runs of dialogue can dislodge a reader from the action of a scene. As your characters talk, interpolate some descriptions of their physical postures or other activity taking place in the room. This mimics the real-world experience of listening to someone speaking while simultaneously taking in visual and olfactory stimuli.

Give your main character a secret. Sometimes a line of dialogue is most notable for what it withholds. Even if your audience doesn’t realize it, you can build dynamic three-dimensionality by having your character withhold a key bit of information from their speech. For instance, you may draft a scene in which a museum curator speaks to an artist about how she wants her work displayed—but what the curator isn’t saying out loud is that she’s in love with the artist. You can use that secret to embed layers of tension into the character’s spoken phrases.

Use a layperson character to clarify technical language. When you need dialogue to convey technical information in approachable terms, split the conversation between two people. Have one character be an expert and one character be uninformed. The expert character can speak at a technical level, and the uninformed one can stop them, asking questions for clarification. Your readers will appreciate it.

Use authentic shorthand. Does your character call a gun a “piece” or a “Glock”? Whatever it is, be authentic and consistent in how your characters speak. If they all sound the same, your dialogue needs another pass.

Look to great examples of dialogue for inspiration. If you're looking for a dialogue example in the realm of novels or short stories, consider reading the great books written by Mark Twain, Judy Blume, or Toni Morrison. Within the world of screenwriting, Aaron Sorkin is renowned for his use of dialogue.

Ensure that you’re punctuating your dialogue properly. Remember that question marks and exclamation points go inside quotation marks. Enclose dialogue in double quotation marks and use single quotation marks when a character quotes another character within their dialogue. Knowing how to punctuate dialogue properly can ensure that your reader stays immersed in the story.

Use dialogue tags that are evocative. Repeating the word “said” over and over can make for dull writing and miss out on opportunities for added expressiveness. Consider replacing the word “said” with a more descriptive verb.

#writing #writing advice #writing tips #writers on tumblr #original writing

903 notes · View notes

autistichalsin · 3 months

Text

Halsin's autism coding really jumps out in his camp confession scene

Both the romantic and platonic one. Starting with the romantic one:

He thinks asking about his past lovers is a sign of interest (I notice a lot of autistic folks like us tend to never get it "right"- when we guess that someone might be interested because of cues we were told were romantic, we get it wrong, whereas when someone is showing certain cues, we think it's just friendly!)

The way he feels the need to explain why he thinks you're interested in him before you accept or reject. This one isn't explicitly explained, of course, but it is very easy to read it as an autistic person afraid of being harshly rejected/told they're insane to think there was a connection, so he puts out an explanation first in the hopes of softening the blow if he turned out to be wrong.

Halsin completely, and adorably, misinterprets the player if they tell him "maybe your heart stirs easier than you think"; he doesn't understand that the player is partially slut-shaming him (which is rude af on the player's end, but he misses this because he's honestly un-slutshamable, so he would never be offended here) and partially asking for clarification- how can you have had many lovers yet your heart doesn't stir easily? Not understanding this, Halsin goes on to tell stories of his past exploits, which are hot and very welcome, but also very much not what the player as getting at.

If the player is an absolute asshole and mocks him by comparing him to a deep rothe, he is crushed, but stays calm, simply telling them that they could have just said no- he doesn't call the player a jerk like they deserved. Just feels very true to the 'tism experience.

This line alone could stand as proof, I think: "Nature gifted us our desires, and the means to act on them. But we muddied its beautiful simplicity with rules, social strictures... clothes." He hates social structures for their complexity, and prefers something simpler. The dislike of social structures, of their nebulous nature, is a core autistic experience.

If the player says they only helped because he's a useful ally, he once again misreads; he misses that the statement was a rejection, and responds earnestly that he sees them as much more than an ally.

For the new platonic path:

If the player tells him they just want him to carry heavy things for them, he responds differently based on his approval levels to them (I.E. based on how close they are and how kind he feels the player is); at low approval, he is deeply hurt by this, and sadly muses that "perhaps not all friendships are destined to be balanced and reciprocal." Yet... he still considers it a friendship, even though that is in practice no friendship at all. A lot of autistic folks have this experience of being friends with people who don't share the same level of affection, or even outright mistreat, us.

In fact, the same thing happens in another variation: if the player snarks about Halsin inviting himself along (a way of saying "get lost"), he laughs and warmly says that he guesses he did invite himself along, and that he will be "more tactful when trying to make friends in future." Declaring oneself friends with others is such a classic autistic experience, but even MORE so is declaring yourself friends with someone who only tolerates, or even actively dislikes, you. It's quite sad- but also very endearing, because I feel so SEEN in that moment.

#halsin #halsin silverbough #bg3 #baldur's gate 3

426 notes · View notes

melrosing · 1 month

Note

What do you think of the Sansa bullied Arya take if you don’t mind me asking (just don’t answer if you don’t want to haha)

per my usual practice on Controversial Topics im putting this under a cut

At the real risk of that lot showing up in my notes again, I think this ‘Sansa bullies Arya’ pins their pre AGOT dynamic squarely on Sansa herself, rather than the way they are both being raised by the adults around them to behave towards one another. Sure, Sansa is mean to Arya sometimes during their childhood! We don’t have a lot of examples besides the oft-mentioned ‘horseface’ insults, but I think it’s fair to assume that more often than not, Sansa was looking down on Arya. Meanwhile, Arya herself feels inadequate and like she just can’t do anything right. She resents Sansa, but also worries that Sansa’s opinion of her may be true.

Fine. But where has Sansa’s opinion of Arya come from? Is it her cold black heart? Fucking no, it’s come from Septa Mordane, Catelyn, and whoever else surrounds them growing up. The men don’t seem to really give much of a shit how Arya acts because it’s not their business and she’s just a kid anyhow, but the women pointedly give many shits. In our first scene with Arya, Septa Mordane scolds her for not being good at ‘women’s work’, and there’s plenty to suggest that this is just another day in the life for Arya. Meanwhile, Sansa gets the carrot for excelling. Both Arya and Sansa are learning their own worth in this chapter, and the worth of one another. Sansa internalises the praise whilst learning that Arya is bad, and everything she mustn’t be. Arya internalises the criticisms whilst learning that Sansa is good, and everything she can never be.

They’ll be getting this from Catelyn as well. Catelyn clearly adores both her daughters, and will move heaven and earth to get them back in ACOK. But one good adjective for Catelyn is ‘dutiful’ - it’s in her house words, and it’s how she’s lived her life up to AGOT. Doing as she’s told, even when it pains her. She expects the same of her daughters, and finds those expectations satisfied in Sansa’s case, and apparently flouted in Arya’s. So again, from their own mother, Sansa internalises that Arya is bad, and that she, Sansa, is good. Arya internalises the same. If societal standards were reversed, perhaps it would be Arya lording over Sansa, but such as it is, it’s Sansa over Arya.

Now, Sansa is a child. When children are told over and over that X is good and Y is bad, they generally don’t question it, at least until they're older and more experienced in the world. They will also parrot what they hear, often in graceless ways. Because they’re children. Sansa is told that Arya wilfully misbehaves because she’s bad, and so Sansa thinks: then I should look down on Arya. It sounds like Sansa mostly keeps her distance from her sister pre AGOT. Not always - they play together sometimes - but a lot of the time. She has internalised the teaching that Arya is an aberration, and as she herself knows the adults value obedience in girls, and she wants to please them so badly, the distance between her and Arya demonstrates to them just how good she is - she won’t descend to Arya’s behaviour.

When Sansa does interact with Arya (pre Darry), we see her being a bit bossy - telling Arya what to do, etc. Sansa is replicating what she has seen the adults do with Arya, and is mimicking them to assert her own position as the good, obedient child. If Arya ever doesn’t want to do something, it can only be because she’s bad.

[sidenote, it all really reminds me of these short stories me and my sister used to get read a lot as kids, called My Naughty Little Sister (lmao) by Dorothy Edwards. They're pretty old and I don’t think they ever got major circulation outside Britain, but for anyone unfamiliar, you can probably guess how these stories go. There’s an elder sister, good and obedient, who narrates short tales of her ‘naughty little sister’ doing terrible things like idk, making a terrible mess etc, and going ‘now I’m sure you [the child audience] wouldn’t do a thing like that!’ They’re supposed to be short morality tales for the children, and amuse the parent reading them aloud, who recognises the mischievous behaviour of the younger and is charmed by the haughtiness of the elder sister, who you can hear is narrating the incidents of her sister’s mischief with the disdain that she’s heard the adults do so, and is asserting her own good behaviour over said sister. And the whole fucking reason we were read these stories was because my younger sister was precisely the kind of kid who got up to all kinds of shit as a little kid (which now all of us find hilarious but DIDN’T AT THE TIME), and I was the elder sister like ‘my goodness how could she do such things as these!!’ (e.g. paint an entire bookcase with grout). It amused us both to see ourselves in the stories. You could say this was life imitating art, but I think this is simply an age old dynamic, familiar to many people with siblings: you would see how the adults spoke to another child in your family, and replicate their manner in an effort to come across as an adult. Except you weren’t an adult, so you weren’t always as graceful about it as they were. That is pre AGOT Sansa, to a T. And I’m sure that’s what GRRM, a child of three who had two sisters of his own, is replicating here.]

But I think there’s also a loneliness in being the ‘obedient child’. Doing as you’re told all the time can be boring, and living up to expectations is a lot of pressure. Sansa wants a companion in all that, but Arya has no interest in sharing in it. Arya is offering friendship, but from a place Sansa believes she can’t reach her sister - Sansa thinks she’d have to ‘descend to Arya’s level’ to accept it, and she can’t do that. You get a sense of Sansa thrilling in trying Arya’s ‘misbehaviours’ for herself when she quietly delights in behaving ‘as wicked as Arya’, but you see in this that she has to condemn such behaviours and herself for exhibiting them, all in the same breath. And in the end, I can easily imagine Sansa resents that Arya has more fun with their brothers than she ever does with Sansa herself: that the one sister she has is one she has nothing in common with. Sansa can’t find a like mind amongst her siblings, and so clings to Jeyne Poole, and the praise of the adults around her.

So with all that in mind, YES! Sansa is sometimes mean to Arya, and calls her horseface. That is because Sansa is a child, nobody is correcting her behaviour, and she understands that Arya is bad, and the way she behaves is frustrating to Sansa herself, so really what does it matter if she’s a little mean sometimes? She knows that she is good, because everyone says so. Even if she calls her sister a name now and then, she’s still the good child.

AND THEN we get to Darry. And Sansa starts to see that society isn’t a song, and sometimes it doesn’t matter how good you are, horrible things can happen to you anyway. But she doesn’t want to believe that, because it would turn her world upside down, and her future would look a lot darker, too - Ned has not ended her engagement to Joffrey, and Sansa has to live for the foreseeable in KL. So when Arya doing the thing she ‘wasn’t supposed to’ (playing with Mycah) snowballs into a terrible miscarriage of justice where Sansa’s wolf is killed, Sansa rejects the notion that the songs could be wrong about beautiful princes, and shifts the blame onto Arya for that original 'misdemeanour'. The grief at losing Lady is terrible too (the wolves are meant to have a soul deep bond with the Stark children), and so the target of that grief likewise becomes Arya. What was previously a normal, childishly complicated sibling relationship gets twisted into something else.

This is where I think Sansa becomes different level of unpleasant towards her sister. She’s cruel about Arya’s loss of Mycah, tells Arya she wishes she were dead instead of Lady, etc etc. Arya is not giving as good as she gets here - she even tries to make amends with Sansa, but Sansa throws the offer in her face.

The reasons for Sansa’s behaviour are complicated, but not that complicated. She’s been raised to slot perfectly into this world, without ever being told what that world is really like. And when abruptly it turns out that what she’s being raised for is essentially the slaughter, she rejects it. She can’t see Joffrey as he truly is: she’s been told that princes are charming, that Kings are just, Queens are kind, and she herself will be a Queen. Sansa is going to be handed over to the Lannisters, and she’s going to live the song of her dreams, and the only thing between Sansa and the realisation of those is the thing that’s always been wrong: Bad Arya. Because again, if Arya isn't bad, then everything else is, and Sansa is in terrible danger.

No one is sitting Sansa down and explaining to her that Arya is not bad, just different from her, and that they should love one another - that there are dark forces here far stronger than them that could tear them apart, that the Lannisters are the greatest of them, and they have to fight together, not each other. Arya gets this talk, funnily enough, but not Sansa. Arya is asked to understand that Sansa is different from her, but Sansa is only ever taught to abhor that her sister as different from her. Where Arya is told to be wary of the court of King’s Landing, Ned leaves Sansa to continue her fantasies, and then, when he abruptly tries to put an end to them, he doesn’t bother to explain why. I’m not saying this is unforgivable on Ned’s part - he has a lot on his mind lol - but it’s quite obviously a major failing. Ned leaves Sansa in a fantasy world. It’s fucking Joffrey who has to step in and clarify for Sansa that actually, she’s been dreaming.

So as long as they’re together, Sansa is never able to come to terms with the fact that Arya was not the aberration, but rather, everything else was. In the absence of one another, they cannot reconcile over that fact. So yes, GRRM says they’ll have deep issues to sort through when they meet again, but those aren’t going to be the times that Sansa called her ‘horseface’ - they’re going to be about what happened since they left Winterfell, when their relationship was twisted by forces much darker than Septa Mordane.

So no, I think the ‘Sansa is a bully’ diatribes are seriously tedious, because even if you want to insist that calling your sister ‘horseface’ a few times even qualifies, you can still accept such wrongs without deciding that that makes Sansa a fundamentally unkind person who cannot be reconciled with Arya and doesn’t deserve to be. It is on the page that the two of them miss each other. Like I genuinely cannot imagine going through everything Arya does in the story and then, upon reuniting with a sister I thought lost forever, deciding I’m actually still mad about the things she got wrong as a child that she herself has paid dearly for, both physically and emotionally. Like jesus fucking christ man. By all means let them talk about it!! But who do you think Arya is lmao

Tl;dr: Sansa is a kid in a society. She is not the arbiter of Arya’s place in society. She is not mean because she’s cruel, but because she has internalised the exact same things that Arya has, based on the example of the adults surrounding them. It just happens that those things were a carrot for Sansa and a stick for Arya. But then in the end, they weren’t a carrot for Sansa either.

tl;dr 2: clarifying once again - i am a jaime stan. i find the stark sister relationship interesting bc I have experience of a similar sisterly dynamic and find it interesting to see a version of that explored on the page. so if you think one has to be a sansa stan to observe all this then that kind of just demonstrates how dichotomous you've become on this issue lol like if I'm talking about takes I dislike re JB I don't generally feel the need to attribute them to JC fandom. let's all grow up x

tl;dr 3: no i don't hate sansa or arya, since i know these are both conclusions various people reach whenever i even mention these two. in fact i think they are both great girls! imagine

#ask #im not tagging them

250 notes · View notes

mysteryshoptls · 16 days

Text

SSR Silver - Platinum Jacket Vignette

"Happy 100th Anniversary"

[Land of Dawning – National Museum of Art]

Silver: The National Art Museum of the Land of Dawning is much larger than I had expected…

Silver: I would like to properly peruse every single work of art here. It would be nice if I do not drowse off…

???: This is a painting of a prince and princess dancing hand-in-hand in the castle hall… What a beautiful sight. I can certainly see why it would be a well-known painting.

Silver: I know this painting well. This same scene was depicted in a book I used to read all the time when I was a child.

Azul: Oh, hello, Silver-san. Are you partial to this particular tale?

Silver: That's correct. Among the piles of picture books my father would bring home to me from his travels, there was one that held this story.

Silver: I had grown to admire the prince, who would fend off his foes with his sword, that I had read it countless times.

Silver: There was a time I thought that perhaps I could develop a training regimen off of this scene, so I attempted to dance as he did.

Azul: Hmhm, so you looked to emulate the prince from the story.

Silver: Yeah, at the time, I believed that in order to grow even stronger, I would also need to learn how to dance.

Silver: I would prepare a dressed log as my partner and spin around in circles…

Silver: I would practice tirelessly while some forest critters would look on.

Azul: You used a log as your partner…? Well, I suppose that would train up your muscles.

Silver: True, it may have resulted in some actual muscle training. And well, it did provide me with an opportunity to improve my dancing.

Azul: Eh!? Dancing with the log did?

Silver: Ah, no. My father saw I was trying to dance, and asked a certain person to teach me properly…

Silver: That person said, "A fine opportunity for you both to learn to dance." My father and I ended up both receiving instruction.

Silver: It was only for one day, but it was a fantastic lesson.

Azul: I wouldn't think that only a single day of practice would allow you to increase your dancing ability…

Silver: Do you think so? I always believed that I had improved much thanks to that single day.

Silver: I ended up having a wonderful time while dancing, and during the middle of it all, all of us couldn't help but laugh and enjoy ourselves.

Silver: Before I had realized it, we were standing beneath a starry night sky. We were having such a good time that none of us had noticed how much time had flown by.

Azul: Hm. Well, they do say that enjoying something is the quickest way to improve yours skillset, so perhaps that is why.

Silver: Yeah. Toward the end, my father started to dance some moves I had never seen before, so we tried practicing that as well.

Silver: But it was a rather difficult dance, with footwork and headbanging too quick for the eyes to follow. We did our best to follow but to no avail.

Azul: Footwork and… headbanging? I feel as though that has drifted further and further away from the prince's dance you were initially studying.

Silver: Not at all. I am sure that training also contributed to improving my dance ability.

Silver: I truly did feel thankful that I had received the lessons that I did, when I attended the party on campus.

Silver: If there is ever another opportunity in the future, I would like to be able to dance with everyone.

[Land of Dawning – National Museum of Art]

Silver: This is a painting of the Sea Witch. I heard that she would help merpeople in need… However...

Azul: It is also said that she would grow to enormous size in order to reprimand any merfolk who broke their contracts.

Azul: That she would strictly admonish dishonest people in order to better them just shows yet another aspect of her overwhelming compassion.

Silver: The strictness is to help them improve… Ah, I understand now.

Silver: Azul… I would like to ask you one thing, but are you any good at alchemy?

Azul: Alchemy? Yes, I would say it is one of my best subjects. What about it?

Silver: To tell you the truth… I do not do well in alchemy.

Silver: I have a hard time staying awake, not only in the lecture portions of the class, but also during practical applications…

Silver: I've over-heated ingredients, burnt cauldrons, and caused numerous other concoction failures.

Silver: If this were to continue, it could result in a terrible accident one day.

Silver: That is why I try to take more care in this class than I do in others… But I only continue to fail.

Azul: …I see? Well, that sounds like quite a predicament! If you'd like, I would happily listen to your woes!

Silver: So you'll hear me out? This is about what happened in alchemy class last week.

Silver: That day, I was able to weigh out the ingredients, adjust the heat properly, and even concocted the potion to the textbook specifications.

Silver: The final result was exactly what was asked of me.

Silver: I was even proud of myself for receiving a "Good Boy" from Crewel-sensei… Or so I thought.

Azul: Hmm…? But that's not the whole story, I presume?

Silver: Right. When I opened my eyes, there was no potion in my hands.

Silver: Instead, Crewel-sensei was standing before me with a furious look. "I see the little mongrel has finally awoken." He said.

Azul: Ah. I think I see where this is going.

Silver: I had fallen asleep again. My successful potion was all a dream.

Silver: In actuality, it seems I had almost fallen head-first into the cauldron as soon as we were to begin concocting the potion.

Silver: Crewel-sensei had decided that it would be dangerous to allow me to continue and carried me back to my seat…

Silver: And I was sound asleep until class ended.

Azul: It seems your drowsiness is a much more formidable foe than I had understood it to be…

Azul: I will gladly see if I can find any way for me to help!

Silver: It's enough for me that you were hear to listen. This is all due to my own shortcomings.

Silver: I'll have to take better care in the future so I may repay Crewel-sensei for his sincere admonishment.

[Land of Dawning – National Museum of Art]

Azul: Oh, my. There's a painting of the Lord of the Underworld on display here.

Silver: If I recall correctly, he would often use a board game map to plan and explain his strategies to his forces.

Silver: I wonder if board games are truly a useful way to share information?

Azul: Perhaps he, like myself, would use those board games to inspire new ideas.

Silver: Inspire new ideas…?

Azul: Board games can quickly change situations from turn to turn, which in turn allows one to cultivate their adaptability.

Azul: Not only is that a useful skill for everyday troubles, but also for business management.

Silver: I see… So it is a type of training in its own right. I can understand why the Lord of the Underworld used it as well, now.

Azul: If it piques your interest, why not come and visit the Board Game Club sometime? You would always be welcome.

Silver: Is that so…? True, there are often times that I've had to make snap decisions while performing my guard duties. It may be wise to stop by for a visit.

Silver: I don't really have much experience with it, but are a majority of games played with two people like chess?

Azul: There are such games, yes, but… There are also many that allow for a larger group to enjoy themselves.

Azul: There are 3D puzzle games, in which you try to fit the pieces into a frame, or real estate trading games, in which you try to increase your assets...

Azul: I suppose an easy game that anyone could pick up would be one where you would roll a die and do whatever task given on the space you land on.

Silver: What sort of tasks would those be?

Azul: It could require them to imitate the person beside them, or drink horrible-tasting juice… My clubmates do seem to enjoy that sort of thing.

Silver: I see, so those sorts of board games exist.

Silver: That could be a viable method…

Azul: A method? For what?

Silver: I just thought that if we were to change the theme of those games, it could also be used for training purposes.

Silver: For example, if we were to have the player's tasks be "20 finger push-ups" or "100 squats."

Azul: …Are you serious?

Silver: Yeah. I often hear people say that they find it difficult to train individually.

Silver: However, if many people were to work together, I am sure they could enjoy their workout.

Silver: Whenever it rains, we in the Equestrian Club are limited in what activities we can perform.

Silver: On those days, we often resort to training individually.

Silver: So I thought that if we all played a board game together, we could enjoy that exercise together.

Azul: You've come up with such a harsh training regimen while keeping such a virtuous mindset… I find you're as cunning as they come, Silver-san.

Silver: Oh, right, when I finish the prototype, would you like to join…

Azul: Ah, pardon me. Look at the time…. I should be on my way!

Silver: I appreciate you staying to talk with me. Now, I think I'll head to the next exhibit… Ah!

Silver: This is a painting of the Thorn Which after she transformed into a dragon… I've always wanted to see this artwork.

Silver: …This wasn't part of a dream, this really happened.

Silver: What overwhelming power… I must be diligent in my training so as to not falter before a foe that could be as mighty as her.

Requested by @dida-books.

#twisted wonderland #twst #silver #twst silver #azul ashengrotto #twst azul #twst translation #twst birthday #mention: lilia #mention: crewel #it is assumed that silver also was talking about malleus in part 1. but he is not named by name or title.

251 notes · View notes

animaymay · 2 months

Text

SxF 96 Analysis: Some Small Details About the Reveal

Ok, hear me out. I haven't even read the manga for Spy x Family (yet); I've only watched seasons 1 and 2 of the anime, but I've somehow stumbled upon spoilers for the last two chapters (ch. 95 and ch. 96), and other small bits here and there.

And since I am not totally caught up on the story, I hesitate to call this a proper analysis since I'm mostly going off of what I know from the anime at this point. But!

I've been following the chatter and excitement following chapter 96 and I just wanted to throw this quick analysis out there, since I haven't seen some of these details mentioned yet.

So, I'm going to focus on this particular moment, just for what it is. Down the line, after catching up and having all of the character and story details, I might revisit this scene again with additional insight.

Of course, I'm sure we've all seen this panel at this point.

At first glance, this panel is beautifully drawn. You can tell that it was drawn with a lot of care and attention to detail. Typically, such manga panels are used to emphasize the fact that this is an important moment for these characters and/or the story.

There are even bits of confetti(?) flying around them, reminiscent of cherry blossom petals; this is another known technique used in manga to indicate the emotional importance of a scene for the characters featured.

That all feels pretty obvious, I'm sure. But I also wanted to point out other small details given here, which could potentially add another layer to this scene for folks.

I've seen a lot of discussion around how Anya's admission here is a big deal (and it is). But I haven't seen anyone mention the small detail here that she whispers, "I can read people's minds."

I believe that is also why we see that speech bubble transparently -- to visually show us the softness of her voice in that moment (in addition to representing Anya's willingness to be transparent about herself).

However, let's consider the conversation up until this moment. Right before, Damian had jokingly asked her, "How did you know about my dog and the pond, anyway? What, did you read my mind or something?!"

Of course, he was not expecting Anya to say, "Yes". But it's not the fact that Anya said, "Yes" that makes this scene impactful. Anya could have easily said the exact same words, at normal volume, with a smirk on her face, and nobody would think twice about it. Damian would have immediately understood that she was teasing him. And anyone overhearing their conversation would have thought the exact same thing.

But that isn't what happened. Because Anya was serious in that moment. With a genuine expression on her face, she says, "Yes" and then she whispers her secret to him.

And that is what shocks Damian. That is what causes him to freeze.

In that moment, he's able to sense her sincerity and hear the truth in her words.

His gut reaction is to believe her, whether it's because it's Anya or because of how she said it. It isn't until he has a second to think and his brain kicks into gear that he starts to notice the disparity between what he knows to be true and what Anya is telling him. In a split second, he questions this, and then ultimately rejects the notion that she could be telling the truth.

Why?

The obvious answer would be that what she's told him does not line up with what he knows to be true of reality. The rational and logical part of his brain overrides his heart and his gut, ultimately recognizing this disparity and forcing him to reject Anya's claims.

However, they are at a young enough age that it wouldn't be uncommon to easily believe in "impossible" things like magic or superpowers. So, there's also a chance that it goes a bit deeper than this.

Perhaps this sudden display of sincerity and truth from Anya didn't line up with her typical behavior with him. He's not used to seeing that side of her, and as a result, his mind resorts to him thinking that she's lying to him. He thinks that she's just teasing him. Not only because that's what he expects from her, but also because the only other alternative would be for him to admit that they've just shared a true moment of openness and transparency between them.

Anya's whisper implies, "this is only for you to know." As a defense mechanism, Damian's brain decided that it was more likely that Anya was teasing him than it was that she was being vulnerable with him in that way.

Another detail from this moment stems from the fact that this reveal takes place while they are dancing together. Partner dancing is an activity that requires cooperation and teamwork. At first, we see Damian and Anya struggle with getting the hang of it, but eventually they start working together.

That, in itself, seems to be a fairly good representation of their relationship with each other. However, even more so, it follows the flow of their conversation in this moment. It isn't until they start cooperating that they start to open up to one another.

And the pinnacle of the conversation -- the reveal -- happens at the exact moment when Damian dips her. Not only does this make for a picturesque panel, but it is also a symbolic visual of what's happening.

Dipping your dance partner inherently requires a level of trust. The person being dipped has to literally put themselves in their partner's hands. Depending on the dip, they are giving up varying levels of control and safety over to their partner. They have to trust that their partner won't drop them, or bring them too close to the floor; they have to give up their balance and trust that their partner can hold the weight that they're giving up. And their partner takes on the responsibility and burden of that person's trust (as well as trusting that the person that they're dipping does not throw themselves around carelessly).

And here, in this scene, despite the bickering we see Anya and Damian do, we see that there is at least that small amount of trust between them. Anya trusts Damian to dip her, and Damian trusts Anya to be dipped.

But underneath the surface level, the fact that Anya whispers her secret to Damian while he's dipping her reinforces the idea that she trusts him with that knowledge. In that moment, she gave up some of her own control and safety, and placed it in Damian's hands. Only his. Her whisper implies, "this is only for you to know." And he's been given the responsibility and burden of deciding whether to hold it, or drop it.

237 notes · View notes

highlandwhackamole · 2 months

Text

A Grand(ish) Theory of What the Heck

I love the utterly unhinged, super detailed theories about what's going on in Good Omens, especially in season 2. I hope one or more of them turn out to be true, as some kind of glorious puzzle-box-hidden-code monstrosity. And also I think that there has to be a simpler explanation for things, for the people who are at least Somewhat Normal (tm) about this show. (... I assume such people do exist somewhere...) This is what I have been pondering recently.

The thing that started me thinking about this was this post, containing some promotional materials for season 2 that feature main characters with scenes in their heads. Like this:

Seeing this created a very similar situation in my own head, but with a nice shiny lightbulb.

All the weirdness: the car, the sideburns, the clock, the behavior of the folks of Soho, the vanishing storefront signs. The absence of God. I think this is all because everything we see is in their heads.

I don't mean it's made up. At least not entirely. Memory is already a plot point. Why not explore it on a deeper level? I've read theories emphasizing the minisodes' stories being retold by Aziraphale and Crowley. I think the whole season is like that.

You know that sort of conventional-wisdom-fact-concept that you can only dream faces of people you've seen before (or variations therein), because your brain can't make new faces up? So it just fills in what it thinks is close enough? I think that idea, applied to remembering or recollecting things, could explain so many things that are wonky in this show.

Wonky Things

Crowley parking in an impossible London location? He definitely remembers it was in London, so his brain just stuck some obvious London landmarks in there.

Awkward clattering happening when Crowley throws the stacks of books he's inexplicably carrying around the bookshop? He wouldn't actually throw Aziraphale's books! But he'd like to think he's cool and nonchalant enough to do that, and if he did it would definitely make Some Kind of Noise.

Jim walking toward the bookshop from somewhere mysterious? Maggie and Nina saw him first, and he came from that direction, so he must've walked all that way. They don't know about the elevator in the Donkey.

Aziraphale remembers tartan hills and the Loch Ness monster because he was having a jolly time driving through Scotland, so obviously the scenery must've been whimsical Scottish things.

Nina put the Honolulu roast sign up, so she remembers its presence, but perhaps the occult/ethereal visitors to her shop do not.

Maggie really did text Aziraphale about the rent, but a note through the mail slot is a much more dignified way for a scholarly angel to imagine he received a message.

On the Fallibility of Recall

This season is loaded with unrealistic inclusions. The colors are turned up to 11. Some of the scenes are more caricature than believable interaction. Remembering things never copies or reproduces them with what one might call high fidelity.

Scenes recalled by separate memories will inherently vary. One person's hefty jigger might be another person's dash. Who knows for sure where the sun was that day? You and I might recall an event having different lighting or a different color palette, sort of like viewing something with different lens filters.

According to Neil, Crowley is an unreliable narrator of the story of his Fall. He labels the variations in clock times as a continuity error in a show where Everything Is Meant, but he doesn't say whose continuity error it is. He insists that the Bentley is the same through the whole season; maybe it was the same, but remembered differently. Maybe this is part of why there's more CGI but it's harder to spot.

So What?

Is this all there is to it? I sure hope not. I like my Good Omens with enough layers to put to shame an onion wrapped in a cake and covered in a parfait.

Is this possibly the fancy footwork that's distracting from the real magic trick? I wouldn't put it past Our Gaiman. There are a lot of things one could hide in the narrative of unreliable memory.

Is this going to stop me from rewatching and repondering and remaking theories for the next couple years? Not even at gunpoint.

#good omens #good omens meta #ineffable mystery #neil gaiman #good omens questions #good omens 2

176 notes · View notes

it-happened-one-fic · 3 months

Text

Dancing With Visions - Wish to Dance - Slow Waltz - Neuvillette

Author Notes: This is the fourth fic for my "Dancing with Visions" fic series for Genshin Impact! The slow waltz, also called the English waltz, is one of the more famous styles of ballroom dancing. It is, as the name implies, slower than the Viennese Waltz. This fic was largely inspired by the dance scene from the 2015 film "Crimson Peak." I've never actually seen the movie, but I did really like the scene after watching it on Youtube. Just like the rest of this series, reader is female. I hope you enjoy!

If you would like to read more of this series, the fics can be found here: Dancing with Visions Masterlist.

Type: Female reader/ Implied romantic/ fluff/ dance/ sfw

Word Count: 1609

Fontaine was ever a glittering world of drama, comedy, and theatrics. This was true even in their celebrations. Supposedly respectful and filled with the elegance of old as couples swirled amongst each other in rhythmic motions. Dancing through the brightly lit room just like the fish that swam in the sea that surrounded the nation of Justice.

It was a beautiful sight. Like something out of a play or magnificent story where two lovers would meet one another and share their first dance. But then perhaps that was just your more romantic side talking.

It was interesting to see everyone dancing together, though. The knowledge that similar motions occurred to the same song even though there were feelings in each dancer’s heart had a smile appearing on your face as you watched people spiral around the floor.

Off to the side, you could see Furina watching over the spectacle from a wall, much like you were. One of her hands was raised as if she herself were directing the music and bidding people to dance as they felt moved to. And there was a certain longing to dance with the atmosphere that filled the place, even though you hung back in a manner similar to the former archon. Watching in silence instead of joining the people around you, despite any temptation you felt.

Because, for better or worse, despite the glittering lights, beautiful music, and smiling faces, Fontaine was a nation of judgment just as much as it was a nation of justice.

It wasn’t that you feared others' judgment when dancing was a thing to be enjoyed, but you also didn’t really think you could bear it if you were to mess up in front of so many people.

So you watched, swaying slightly along with the music but holding back and watching as your more talented peers danced across your gaze. Shining brightly as they spiraled through the light cast by the grandiose chandelier overhead.

And it wasn’t as if you and Furina weren’t the only ones not dancing. You could see Charlotte off to the side, taking pictures. Aiming her camera towards where Navia spiraled across the floor in someone’s arms. A bright smile on her face. The perfect choice for the cover of whatever story Charlotte was going to be doing on this evening’s dance that was so filled with the who's-who of Fontaine.

Similarly, Clorinde stood off to the side. No doubt standing guard even as she watched her blonde-haired friend captivate the entire ballroom, including yourself.

So caught were you in the sight of everyone’s beautiful motions, smiling faces, and the glittering spectacle that you almost missed the sight of the man who was crossing the room towards where you stood.

Almost, but not quite.

You felt your eyes widen slightly as you looked towards where Neuvillette was carefully navigating his way through the room to where you stood. He was someone who never seemed to partake in the dancing that occurred at these functions.

Like you, he seemed satisfied to just watch from where he would stand silently off to the side. And though you had always gotten along fairly well with Neuvillette, he never joined you where you stood. Instead, it seemed more like he preferred to watch in silence on his own, and you respected that.

Which was why you were surprised to see him approaching you and gave him your full attention as he emerged from the crowd to stand before you.

“Y/n,” He greeted you in that ever-calm tone of his, as if nothing could ever truly sway him. And you smiled slightly, inclining your head respectfully. Because even though you knew he preferred not to have anyone make such a big deal over his position as Iudex, it was best to behave as expected in such public environments.

What he did next startled you, though. Causing you to falter even before you could truly greet him as he held out his hand in a silent request.

You found yourself glancing around nervously, immediately noticing how Furina’s wide-eyed gaze shifted towards where you and Neuvillette stood. And all at once, people slowly started to notice what was occurring in your once quiet little corner of the ballroom.

“What are you doing?” Your voice was a hushed, uncertain whisper as your gaze flickered back to his, only to find him still looking at you with utter calm. Completely unbothered by the reactions of others.

But he was innately capable of standing apart from others and not letting his thoughts, actions, or judgements be swayed by what anyone else seemed to think. It was what made him so respected as Iudex, and it was one of the things that you admired about him.

“When a couple dances, their motions can become as fluid as those of water itself,” He paused, watching me silently as if waiting for a reaction before sighing slightly. “You always watch others dance, but never join them, and I find myself wondering, do you not wish to dance yourself?”

You blinked at his words, surprisingly on point despite the flowery language that had hid his meaning to start with, “I…. I do not think it would necessarily be wise for me to do so considering I am nowhere near as talented as others.”

You toyed with the skirt of your dress awkwardly as you hesitated before continuing, “Perhaps there is someone better suited to dancing with you. Such as Navia or someone else.”

You smiled at him carefully, knowing perfectly well how people would react to anyone dancing with Neuvillette. Much less yourself, someone known to stand on the outskirts of balls.

A smile flickered across his face, fast enough that you almost missed it, “Ah, but I did not ask Miss Navia or anyone else. I asked you.”

At his words, your gaze fell once more to his still-outstretched palm, your own hand lifting but hesitating just short of his before you at last let your fingers rest in his.

His fingers curled over and around yours easily, and he stepped backwards, slowly leading you out onto the dancefloor and completely ignoring the veritable swathe of people who immediately looked towards where you stood together. Slowly slipping into hold as your free hand reached up to his shoulder and his arm wrapped around you so that he could rest his hand on your back.

“Why?” Your voice was beyond hushed, but he still heard you. Tilting his head as he silently pushed you to continue. To explain your question.

So swallowing, you did. “Why are we doing this?”

His lips twitched as he inclined his head and spoke, “Because you deserve to enjoy these lights just as much as anyone else.”

You smiled at his words, half-amused as you met his gaze, “Even when this will most definitely cause people to talk?”

He stayed silent, and you found yourself frowning once more, “What if they start to talk about you? I know how you prefer to avoid the limelight and-”

Neuvillette shook his head at your words, cutting you off with the simple motion before he ever began to speak, “I’m not doing anything so strange. I am merely doing what any gentleman would. ”

He paused, straightening slightly as other dancers slowly began to take up their positions around the floor, their gazes staying on the two of you even as he continued, “People will talk no matter what I do, so let them talk.”

You smiled again at his words, touched by his meaning but still concerned that he was forcing himself, even as he inclined his head towards you, “Shall we?”

As if you could stop now, as the music began with both of you already in position and the eyes of everyone in the room on us. But you also knew that if you wanted to back out now, Neuvillette would agree.

You swallowed and nodded, “If you are certain that this is what you wish to do.”

He smiled at your words, a genuine expression that caused your eyes to widen slightly since, even though you’d spoken with him numerous times and had seen him smile before, it was still a surprise to see such an easy expression slip across the face of the man known all over as the respected Iudex.

“It is my honor,” And with only those words, he began to guide you into the motions of a gentle, spiraling dance that everyone in Fontaine knew.

A slow waltz. A simple dance that left room for conversation while still imparting the joys of dancing.

It was a dance that fit Neuvillette and had you relaxing into your interaction with him as you smiled. Because if there was any dance you were confident in doing, it was this one. Especially if Neuvillette was your partner. You knew he would never lead you astray.

You swirled around the room together, rising and falling to the distinctive tempo of the song like the ebb and flow of the sea itself and never faltering. Not even as you reached the very end and he released you to spin out from him so that you were only attached by one hand still held in his.

And you were surprised to see you weren’t looking at anyone else in the room as the onlookers politely began to applaud for all who had danced. Instead, your eyes were on Neuvillette as you smiled at him, and he held your gaze with a small smile of his own.

And as easily as that you realized that there was no one else you would rather waltz with.

If you would like to read more:

128 notes · View notes

coralinnii · 7 months

Note

I know you’re probably busy with writing the previous requests from that limited time you put. But I need to know where Grim fits in the Reincarnated Villain/ess!AU. Like, which Villainess would be be with, or would there be another Villain/ess he would be with? I don’t know if this was answered or not, if it has can you give me the link?

Referring to my Being Reincarnated into a New World as the Bad Guy a.k.a the Villain/ess AU series

Riddle: Considering that Riddle's isekai story is lightly inspired by Alice in Wonderland, I would see Grim taking the role of an antagonistic wild creature that may or may not join OG!FL rebellious coup against Riddle in the original story, only for his self-interest of taking down Riddle out of spite for his tyrannical rule. He would not have met the villain/ess in the original story and I honestly can't see him naturally meeting our villain/ess!reader. Maybe I can make it so but we'll see.

Trey: ~no spoilers~

Ace and Deuce: Going off from Riddle's section, Ace and Deuce would have met Grim in the original story in the town but OGvillain/ess may not directly interact with Grim, unless the original villain/ess!reader attacked OG!FL . In the reincarnated story, there's a higher chance of meeting and befriending mostly because of Ace and Deuce

Leona: You know...I can see Grim being added into the original story as a wedding gift of sorts to OG Villain/ess, perhaps being their only friend in a foreign country in a loveless marriage. In the reincarnated story, Grim would be the friend that constantly badmouths Leona as a bad husband with you letting him because as much as you respect and cherish Leona, you need a friend that doesn't hype up his already huge ego.

Ruggie: ~no spoilers~

Azul: In the original storyline, I doubt Grim would ever meet the OG!villain/ess as I would see him as a comedic companion to the OG!FL. In the reincarnated story, I can see Grim leaving the OGFL because of how boring she is to him and then villain/ess!reader and Azul caught him trying to steal some of their seafood products.

Jade: Going off from Azul's section, I also doubt Grim would ever meet the OG!villain/ess. In the reincarnated story however, knowing how much Jade loves chaotic elements, he would probably welcome Grim with open arms and his villain/ess!reader is just gonna have to begrudgingly roll with it (but you can't resist Grim's cuteness so it's a win-win).

Floyd: Going off from Azul’s section, Floyd and his OGvillain/ess would probably not meet Grim in the original, aside from perhaps a few scenes where Floyd would scare Grim for sh*ts and giggles. In the reincarnated story, Floyd may introduce Grim (forcibly on Grim’s part) to you and you would feel a kinship with the poor creature, being an unfortunate source of entertainment for the Leech family. I can imagine Floyd getting a little jealous than you warmed up to Grim a lot faster than you did with him, which leads to conveniently snatching you away and leaving Grim all by his lonesome (even though Floyd brought him here in the first place?)

Kalim: Like some of the others, Grim would probably be the companion to the OGFL and may not interact or even meet the OGvillain/ess. In the case for Kalim’s reincarnated story, I would think this stays the same as Kalim’s OGFL is kind and hardworking, a true friend to Grim just like in the original. Unlike like the original, the villain/ess!reader would probably meet and befriend Grim as I imagine you and the OGFL getting along pretty well (especially after the sequel story)

Jamil: Going off from Kalim’s section, Grim would stay as OGFL’s companion but he and OGvillain/ess may have met through their childhood friend Kalim. However, they would not get along because OGvillain/ess may feel too superior due to their status as Grim came from the “common people’s” village. In the reincarnated story, the villain/ess!reader may meet Grim by chance due to the friendly relationship with the OGFL

Vil: There’s honestly multiple ways to incorporate Grim in Vil’s story. One option is that Grim is one of Neige’s animal companions (genuine Disney princess that he is) but honestly Grim is too chaotic and mischievous for that to work.

The other option is that he became a disgruntled pawn of Vil as he was attracted to how powerful and influential Vil was. In this option, he would meet the OGvillain/ess but would be creeped out of how indifferent they were in the original story. In the reincarnated story, Grim may still be creeped out by you due to your admiration for your husband but would get along well enough.

Rook: Going off from Vil’s section, Grim would also be creeped out by Rook’s obsessive OGvillain/ess and would prefer not to interact with them. In the reincarnated story however, I can see the reverse where Grim would badger you to sculpt his greatness for all to admire. You complied for a while but after the nth time of sculpting the egotistical creature, you had to refuse, to his dismay.

Epel: ~no spoilers~

Idia: I can see misleading scenes of wholesomeness where the OGFL and Idia would hang out as Idia has soft spot for Grim who would be OGFL’s animal companion. I say misleading because Idia does betray OGFL in the original story (tragedy genre, let’s go!). Since OGFL is villain/ess!reader’s older sister, you would definitely meet Grim in both original and reincarnated versions. Though in the reincarnated story, you would be the bridge and barrier between Grim and Idia. Idia would use the excuse of wanting to see Grim to visit your home, not because you actually wanted to see you, of course (it’s definitely both, though)

Malleus: Since it’s a harem dating simulation, Grim would most likely be OGFL’s animal companion and the mascot for the game (like he is for Twisted Wonderland). Grim would meet the OGvillain/ess as they were meant to torment the OGFL in the original story but that would probably the extent of their interaction. In the reincarnated story however, I can see Grim running away from the OGFL a lot because he’s weirded out by the harem collecting the OGFL is doing. You would probably meet Grim by chance during one of his escapes and befriend him by being your kind self (and also feeding him). You tell yourself not to engage with who was supposed to be OGFL’s best friend by you couldn’t resist the fluffy cutie.

Lilia: Going off from Malleus’ section, this OGvillain/ess may be the least likely out of everyone on this list to ever meet Grim of their story. Being in a different kingdom and not meant to stay long in the story, Grim would never have any chance of meeting this OGvillain/ess. In the reincarnated story, it’s honestly dependent on what happens with Malleus’ villain/ess!reader and if Grim chooses to come to Briar Valley. If he does, they may be introduced through Malleus. In which your parenting instincts quickly kick in, spoiling Grim and making your dragon child Yung (and perhaps Lilia~) jealous of the attention you pour onto the adorable creature. Afterall, you seem to get along well with cute, magical menaces.

Silver: ~no spoilers~

Sebek: ~no spoilers~

242 notes · View notes

ethersierra · 10 months

Text

Nanofather Lore insanepost

Alright. We've seen my murderboard. It's incomprehensible. But for those who haven't, here it is:

It includes... a lot of everything. I couldn't begin to describe the journey I went on putting this together. Without further ado:

The Nanofather, also known as "The Weaver," "Creaky Man," and sometimes "Geltfrimpen" or briefly as "wily weaver," "dirty jeremy," "muck dweller," and "crusty man," is a recurring ominous character which appears most frequently in the opening segments of The Adventure Zone: Steeplechase. He says a lot of weird shit. And after 33 episodes, I believe I have a pretty good understanding of this shit. Take a walk with me, through this 8-part dive into what the Nanofather's deal is.

I will warn you, this is... insanely long. Turn back now.

1. The Foretelling [moments leading up to the weaver]

Back in episode 18 of Ethersea, Justin mentioned how he's the last of them who has yet to DM. Then, later in the episode, Griffin loses his train of thought and Justin prompts him with "Spin the... spin the yarn" and the riffing leads Clint to say, "weave," and Justin says, "step up to the loom... let the weaving begin at the loom."

In the next episode, as the intro song fades out, Justin interjects in a high falsetto song, singing "Weave another tapestry! McElroy Family and me," and the bit goes on for a minute or so. Later, in Ethersea 24, when trying to convince Griffin to reconsider what happened in the narrative, Justin asks him to "Check your loom, weaver!"

When Justin finally makes his Steeplechase debut, he initially struggles with starting the story. So, Griffin jumps in with,

Griffin: "Can I do what you usually do to me?" Justin: "Please." Griffin: "And be like [singing dramatically] 'The yarn-spinner takes the loom in his hands and weaves a magical tale. Take the wizard by his hands as he flies you around on his rug made of wings and a angel’s hair.'"

Every subsequent episode has the same opening. The recurrence of these instances have culminated in the persona of "The Weaver."

2. The Stew [in which the nanofather discusses various culinary topics]

The Nanofather routinely brings up the food of his world, in some way. This starts as early as episode 3, in which he says, "Perhaps a few more moments before the stew is prepared."

Other segments include advice about nano-nutmeg [12], clarifications about cilantro (called corriander in the UK)[29], and directing the addressee to search for pepperoni and green pepper in "the pyre" [19].

The other three instances of mentions of food directly address Shookles the cat. First, "Shoockles, your master calls. Where's the scum canteen? Fetch it from the shoof... my thirst is unslakable" [7]. Then, in the very next episode, says, "Please... the pollen broth. My throat became so dry... Fetch me the pollen broth, Shoockles" [8]. And most recently, he speaks rather dramatically, saying, "I believe I went… as far as I could… I don’t know if… it was far enough… I’m terrified to push it further… I believe this is the limit… Yes… no, that’s true… It’s true… The greater danger is hesitation, yes… I will add one more half-teaspoon of cumin, Shookles. Thank you, Shookles, I… should listen to your culinary acumen more" [22]. This is assumedly in reference to something he is cooking, perhaps the stew mentioned in episode 3. Perhaps all of these ingredients are being used in the stew.

Either way, these interactions tell us that the Nanofather has an interest in cooking, and that Shookles acts as an assistant to him.

3. Direct Interactions [in-character conversations]

There are several instances where the Nanofather speaks with our player characters, or appears within their world.

This first happens in episode 20, when the crew enters the lair of Geltfrimpen and hears a voice familiar to the players coming from the dragon. He says, "Excuse me for this, but I have to keep up appearances." He continues to speak with the boys throughout the scene as they fight the animatronic. He says, "I’m having trouble staying here," and within the scene, Justin describes that, "The sound seems to be coming from like... the entirety of Geltfrimpen. It’s emanating from him, not localized to any one point in the dragon’s body." Beef asks the Weaver if he could come out of the dragon, to which he responds, "Would that I could." When Montrose begins refering to him as Geltfrimpen, he says, "I am not Geltfrimpen. I am here. But I am not Geltfrimpen." Emerich asks for his name, which is met with "Would that I know," but because Beef had called him creaky man earlier, the voice says "Creaky Man will suffice for now, I suppose. A good amount of christening."

He goes on to explain his situation at their behest:

"I will do my best to tell you what I know. It takes quite a bit for me to be as here as I am. But I will try. Part of me is in Geltfrimpen. But I am many places throughout the world. Part of me is here. Part of me is imprisoned here, I think. And through this act, I am no longer... trapped here, this part of me. I’m able to be more concentrated, if that—if that is the correct word, else... elsewhere... I will not be here long, and then I will vacate Geltfrimpen for good. And I will be a little bit more myself, elsewhere."

The implications within this one paragraph are that he does not have much of a physical form, and is potentially some sort of spirit, but he can manifest part of himself at will in some places. Montrose asks if he has a home base, but he says, "I’m... scattered. More accurately, I think... shattered."

He follows with even more interesting information,

"I’ve seen you elsewhere, I was... in one of the vans, as you made the thrilling escape. I was there. I called out, but it was so loud. I have watched you from the porch of Ustaben. In the... the whittling I sat, a rocking chair... I couldn’t summon up enough voice to reach you, but I called out. I called out to anyone who would listen, honestly. But you three are the first who seem to... be looking hard enough to hear."

There have been two heists with van escapes. The first is in episode 3, when Gravel pulled up in a stolen truck/van (it is important to note that they use them interchangably). The four of them were the only ones in the vehicle. However, this escape was not very thrilling, so we are going to refer to the Gutter City heist.

Sticky Finger(s) Paul Pantry asks the three of them to steal a truck called the Clean, and notes that it is made of Hardlight. When the time comes, Emerich has attuned with the hardlight Short Doug and drives in one of the trucks with him [9].

The second thing the Nanofather mentions is an obvious reference to the Ustaben attraction, Whittle Around. In the setup episode, Whittle Around is established as having a porch where "grandpa" sits and whittles wood-- grandpa, of course, being a hardlight construct who was initially Eustace but has since been replaced [0].

The combiantion of these two implies that the Nanofather exists for moments within, or as, these constructs. His spirit seems to be able to travel between them-- to what extent this is under his control remains questionable. Perhaps he is living within the park itself, haunting it. This is given further support at the end of episode 27, when an arcade machine in the back of Poppy's Place crackles with static and we hear the Nanofather say, "act... quickly." Emerich however is unable to make further contact, and this is the last time he seems to interact with them. Montrose says that they "have a ghost in the machine"[28].

4. The World He Inhabits [what we know about the environment, the character, and allusions to mechanisms of communication]

In his first appearance, the Nanofather says to the audience (which may be moreso to the players/player characters? uncertain), "welcome travelers," establishing that we are not from the same place he is.

The world he lives in is fleshed out through each episode. Highlights include "quite a long day tending to the muck fields" [5], "I've missed the meeting with the rust council"[13], and the afformentioned scum canteen. He also says, in episode 6, "I have a new tale for you. Of a muck-dweller turned hero to his- to his people… I seem to have lost it in the last rust storm." This sets him in a sort of wasteland. He also says, or rather, sings, "I'm a neutron guy, you're my nega-girl, I'll sweep you through the ash waste as we make our way through the,"[10] before he cuts himself off.

It seems to be a world where things are rough-- he says, "to make it 37 years is quite a blessing"[13]. That implies his age is 37, or that he has survived 37 years in the conditions that he is in. Additionally, he says, "you will find it in the pyre"[19], a pyre being defined as "a combustible heap for burning a dead body as a funeral rite," implying that they either have to make their own fires or 'bury' their dead.

Notably, there seems to be a recurring theme surrounding weather and time.

"It's gotten so quiet, lately... in the nights... and in the mornings... and the cyber night, the time between the night and the mornings..."[14] "It seems the storms have come early this evening"[4] "The last rust storm"[6]

This implies that time is somewhat technologically controlled, and weather is on a cycle. The building of Steeplechase, or what we are to assume is, is like holographically augmented[31], and so are the inside skies of the park. It is plausible to say the environment wherever the Nanofather is could also be simulated.

5. Wall Breaks [speaking to the players]

These indicate communication from the nanofather directly to the players. They imply to us more about the world, but more importantly, the means of communication and lore surrounding it.

In episode 9, we open the episode hearing a different voice. They say, "Hello? …Hello, spirits?" and begin to knock. "Nanofather says the spirits can hear you through the wall. Spirits… are you there?" But they are interupted by a familiar voice-- "Kavecca!," the nanofather says. "Just another of his stories, I suppose," Kavecca amends. "Kavecca, away from that! You dabble with powers you do not understand!" This raises a lot of questions from the players, about who Kavecca is, why there is another person speaking to them, and what the fuck the 'nanofather' means. What interests me is the referral to their audience as "spirits"-- and what implications does that have? Are they between the world the players inhabit and Steeplechase? Are the players spirits? Also factoring in Blades in the Dark, which has ghosts in it, which have been altered into hardlight for Steeplechase-- maybe the hardlight kept some of that original intent. Maybe that's how the nanofather is able to inhabit hardlight.

In the following episode, we find the nanofather singing a song. What follows is pretty strange.

ohh… I’m a neutron guy… and you’re my nega-girl… I’ll sweep you through the ash waste as we make our way through the…. [click] …do you hear me, Travis? Travis: What? I’m sorry… I didn’t realize I’d left the horn on. Travis: Are you speaking, are you- talking to me? Fare thee well. [10]

First, in "I didn't realize I'd left the horn on," a horn is primarily UK slang for telephone. That could be interpretted here as a literal telephone or whatever line of communication they seem to share. Next-- he directly addresses Travis. This is the first conversation the players have with this character, and so far the only. But it isn't the only time he addresses them:

Clinton? Travis? Gribby? My three… my three favourite micro-nephews. Here to visit me. What a wonderful treat this is… Come. Let me see if I can’t find you a new tale… Griffin: Gribby! Gribby can only say his own name. Justin: Oh? Griffin: Yeah, that’s sort of his thing. Justin: Do you… how do you… I’m surprised you have insight into these three new characters… already. Travis: I’m trying harder and harder to just pretend like we are not on the call when he records that part. Griffin: It’s the only way to not be... ensorcelled by the tapestry he weaves. Clint: Not me. Not me. Did you say Clinton? Clinton… Travis: It sounded like Clinton. Clint: I wonder who that is. Justin: Clinton, Travis and Gribby are apparently, I’ve just found this out with you guys, is— did he say— Griffin: The micro nephews. [15]

This is interesting because Travis is the only one whose name is not altered, and he was specifically addressed before. What we also glean from this is that the nanofather views them as micronephews, so he has an alleged relation to them. Previously, he has called them children but it wasn't apparent until now that he was addressing them specifically.

In the intro with Kavecca, it is important to note that they are the first person to call the weaver "the nanofather." We know from his time as Geltfrimpen that the nanofather has no proper name. Nanofather is more likely to be a title, or rather, a signifier of Kavecca's relationship to him, such as being his child or grandchild. This would put Kavecca on the same family tree as Clinton, Travis, and Gribby, if they really are his "micronephews."

6. Descent Into Weirdness [tonally different moments and their implications]

Everything The Nanofather says is weird, but these are the moments that absolutely baffle me, or upon which he is commenting on the story somehow.

The first time he seems to comment on the events of Steeplechase is in Episode 16, in response to a plot twist at the end of the previous episode (in which the Barrister arrived to kick Emerich's ass but they got him stuck in a machine). He says, "Oh, that’s not right… [rustling paper] …Oh, but this doesn’t make any sense, it was… The story wasn’t like this …. Or… I-Is it changing?" He then follows this in the next episode by... just... breathe-whistling menacingly? Note that this episode takes place when they are travelling between layers, on the start of their Ephemera quest.

Episode 18 starts with, "Oh… Oh, they haven’t… even begun to fathom it… But you…. You swore, we both swore? You know they’re not ready!" I wonder who the "you"/"we" is in this. Is it us as the audience, the players, or perhaps Kavecca? Eighteen is the beginning of the time they spend in Ephemera, and at the beginning of the episode Krystal has an encounter with someone in the Gallspire. This adds on to the commentary in 16 and implies that there is something bigger at play...

Episode 20 presents us with a poem of sorts:

Ever faster, ever closer, ever never slowing down… Ever nearer, ever clearer, ever nipping at the gown... Ever spinning, ever grinning, ever hearing what they please. Ever growing, ever knowing, that they are the disease…

There is no direct indication of what this is talking about, but I think it's about Dentonic. They never slow down, they don't know when to stop dreaming! They will warp whatever they must to fit their narrative and they don't care what the casualties are.

When the Weaver makes his entrance into the world of Steeplechase, at the end of 20 and speaking through Geltfrimpen, these occurences get more frequent:

"Oh, I… I’m mostly… mostly… with them now… [chuckles] ah… ah… smaller than I… assumed…" [21] "Mostly… echoes… yet to be… I’m sorry, I know that doesn’t… answer your question…" [23] "Yes… yes, I was surprised too, Shookles. What? Oh… Oh, they didn’t hear…"[25]

25 ends with Gravel being arrested for Sticky Finger Paul Pantry's murder. 26 opens with, "…yes, but I’d assumed it was… consigned to legend! I never would’ve expected- i guess… my understanding is not… what I’d thought it was. Terrifying, in a way, but also… quite wonderful." I can't even begin to parse what he's talking about.

Then of course, there is 27: "No, no, not to the boat... Only one... one node per layer... I tried to maintain hopping... but it’s too taxing... too many...noises..." What fucking boat? And he tries to hop between layers- maybe the nodes are in the things he is inhabiting. Geltfrimpen, the arcade box, hard doug, eustace... The arcade machine and Geltfrimpen aren't made of hardlight, and these are the methods through which he has actually been able to speak (he could only see through hardlight)... maybe these are the "nodes?" I wonder what the noises refer to.

When things start looking down for the crew as they try to piece together what the fuck is happening, The Nanofather opens episode 28 with, "I’m not sure yet… I’m hopeful… Ah, Shookles… optimistic…or perhaps… perhaps optimism is just the last refuge of those… with nothing left to lose..." The Nanofather is referring to himself in this line, and the fact that he considers himself to have "nothing left to lose" implies that he has a strong connection to the events in Steeplechase, particularly to the crew-- which makes sense given their previous interactions. But what is at stake for him is unclear.

In episode 30 he says, "The thought had crossed my mind… But it can’t be long now…" I must say this is particularly ominous because I have no idea what the "thought" is or what he is waiting for. His salvation?

Finally, we have episode 31. His last appearance.

"It feels… like something… has frayed…"

In this episode, Kenchal Denton speaks to the crew a lot about cutting loose ends. And then he drops them out of a hovercraft into a desert that seems to be entirely disconnected from the electrical grid Steeplechase is on. And we don't hear from The Nanofather again.

7. Ties to Clint McElroy. [the ways in which this comes back to him.]

[post-discussion following the moment in episode 10 when the nanofather asks, "do you hear me Travis?"] Travis: Is that guy my real dad? Justin: You wish Griffin: Legally, you have to tell Travis, if the muckdweller is his real dad Justin: Not the muck dweller. The nanofather. Please- Travis: Oh, it's right there in the name! I should have seen it a mile away it's so obvious now!

Now, this may be a stretch. And it started out to me as a joke, but guys. The further I get the further I am convinced. The Nanofather is connected to, if not is, Clint McElroy the Planeswalking Janitor.

Evidence A: He calls them "children" when he goes to tell them stories. Counterpoint: Clint can't be his own son. Counter-counterpoint: Clint's full name, according to Griffin on an episode of Wonderful, is Clinton Emil McElroy Jr. Meaning, he has a father named Clint.

Evidence B: When the Nanofather refers to Travis, Clinton, and Gribby, Justin later describes them as "these new characters," in the same way he insists that Clint McElroy his father and Clint McElroy the Planeswalking Janitor are separate things [Spiritbreakers Live in San Jose].

Evidence C: The Nanofather hops between layers, in a similar way to how Clint hops between planes. And the Nanofather seems to be fractured, scattered, not his whole self. He is powerful but weak. He is able to speak to players, characters, and potentially the audience? It transcends the boundaries between the two worlds...

Evidence D: Justin is a big fan of the TAZiverse. He has shown this multiple times but the ones I remember most are of course, when he introduces "Taako from Television" in Ephemera (and other Balance things, implies it was a legend passed down, etc), and when Griffin introduced that he would be playing Indrid in Dust 2. Like of fuckin course he'd be excited to bring things together more in small ways.

Evidence E: There has been increased Clint McElroy the Planeswalking Janitor activity, the most since before Ethersea. In April, Justin played the character Clint McElroy the Planeswalking Janitor in a liveshow in San Jose (I was there hi!!!), which had initially been planned for November but was rescheduled. Both of these, though, fall under the time in which Steeplechase was active, so he was thinking about this character during that time. Additionally, the merch of the month for August is a sticker of Planeswalking Janitor Clint McElroy. And he was mentioned in Steeplechase Episode 26, when there was debate over whether something was said by Emerich or his player.

Travis: I think that was Dad. Justin: Oh. Well, I mean... yeah, I guess dad could be in it too, Trav. Is that what you’re saying? Travis: No, I’m just saying, I think Dad was making the observation— Clint: Oh my God! Is this an appearance by Clint McElroy, the planes-walking janitor? Griffin: No, no, no, no, no, no, no. Clint: Okay— Travis: No, no, not yet. Justin: No, we can’t, we can’t. Travis: Don’t force it, don’t force it.

Evidence F: I didn't expect to find this one. Honestly I think it shows that I have gone too far as a person. But... guys this one drives me crazy. So. We meet Shoockles in Episode 4, when The Nanofather introduces him as "Cat bart... he's my cat. Bart Shoockles." And guys I was like haha that's funny there is no way this is related... But then I was on Clint's Instagram trying to figure out if maybe he had a cat, since I know Justin has one. And I came across a photo he took of a white dog, which I wasn't sure was his until I got confirmation from an old post on one of the boys' Instagrams. But... in the caption of the post with his dog, he calls him Homer. Clint McElroy has a dog named Homer. Let me just, direct you to the Simpsons family tree:

Finally, Evidence G: Justin would go really far for a bit. He likes to have fun and get silly with his family and he knows Clint would get a huge laugh out of this. And he would also do anything to get a good age joke on his dad.

8. Conclusion [how it all comes together]

The moment you've been waiting for. What does it all mean?

The Nanofather seems to play no real importance to the main plot in Steeplechase at this point, but he has huge potential to. More importantly, looking at the Nanofather gives us some insight into the state of the park and where the player characters find themselves. He works as both a narrative framing device and as a part of the story. He talks to the players, the characters, and the audience, truly bringing a special flavor to Steeplechase.

With everything we've seen and heard, there is sufficient evidence to say that the Nanofather lives within the walls of the park, travelling using its energy grid. He has only been able to manifest to the characters through the electronics and hardlight creations. When they arrived in Kidadelphia in episode 32, it was apparent they were not connected to the same electrical grid, and there was no hardlight. The fact that he was completely silent in both 32 and 33 supports this theory, because there would be no way for him to communicate with them. Either that or they were too late and he died.

He has found himself in a wasteland, with weather and times that are controlled electronically. He is scattered, does not have a name-- a shell of who he once was. If the Carmine Denton Nanofather theory were correct, this would be a beautiful picture: the guy who created a way for others to escape is trapped in the destruction that his creation wrought... Regardless, I am concerned for his wellbeing since it seemed like he was in a hurry.

The interactions between the Nanofather and the heist crew imply that there could be a larger plot with him, but I don't know how close that is to happening. The Nanofather is one complicated guy, and if they want to save him I... guess they'll have to never know when to stop dreaming.

Thank you for coming along with me on this long and gruesome ride. I started this way back after episode 30 aired, I think. It's been simmering for a month, my own personal stew of sorts... For those of you who have helped contribute to my madness, thank you, and to those who have watched in horror, I'm sorry. It's been a real one.

And now, to send you off, I present to you this excerpt from Episode 10:

Justin: Our friend and employee Jupiter is kind enough to help pull together recaps of this dumb stuff, but Jupiter, showing a lot of wisdom here, does not track the story of the nanofather […] Travis: I think they realize it's been so clear cut at this point that any child could keep track of all the nanofather/muckdweller lore.

275 notes · View notes

hashtagcaneven · 5 months

Text

Kuro's Advice for Awesome Fight Scenes

So I heard you want to write a cool fight scene. Rock on.

Running into some trouble though? No sweat, I got you covered.

I compiled this list of 8 Rules I personally use for Kickass Action Scenes for a Discord group of writers and thought it might be useful for others as well.

Rule #1 Fight scenes MUST tell an emotional story.

A fight is just an argument but with physical violence instead of words. Just like how in a musical people talk until the energy and emotion goes so high they burst into song and then when that keeps building, they all start dancing. Same concept. People argue and disagree until the emotion is so high they start throwing hands.

Fights act like any other scene where it starts with one emotion and ends with another. Emotion should flow through each move. They should ebb and flow from start to finish, raising and lowering tension to keep a reader engaged and guessing over who is going to win.

This is the bedrock of fight scenes. No amount of “rule of cool” is going to save the scene if there is no emotional heart beating through it.

Rule #2 You need personal stakes

Goes kit and parcel with Rule #1. Your POV characters have to have something on the line to tell an emotional story.

What happens if they lose? What happens if they WIN?

Go beyond JUST “oh if they lose, they die”. What happens to the character’s world if they lose. What will happen to the ones they love when they’re gone? What are the TRUE long term consequences for failure?

Even if it's a friendly (ie non lethal) competition scene, what are those stakes? Bragging rights for a proud character? Or perhaps taking their opponent down a peg?

Avoid vague generalized stakes and find what makes it personal. A knight may fight for his king and country but he also does it because he has his pride as a knight on the line if he walks away or loses.

Rule #3 Pacing is key

Action is fast paced in real life. It should be so in writing.

I personally think of my fight scenes as if they were a movie/show/play fight scene. Partly because that’s my own personal experience and partly because it helps me with pacing, especially with multiple POV characters.

Don’t spend too long on one action. Keep it flowing but have moments of pause. Real fights have moments where someone needs to pick themselves back up or two opponents need to steady themselves for the next round of assault. Use those moments to dig into the introspection of the POV. Your reader is also gonna need a breather from time to time.

With multiple POVs, I flip through them like I’m switching shots on film. We cut away from one thing to see what another character is up to in the flow of things. I flip the camera at moments of triumph or tension to keep building that emotion.

Rule #4 Let your heroes take some hits

Show off those stakes by letting your big bad character get his ass kicked a little bit.

Let ‘em get knocked around a bit to build that tension within a reader. Make them wonder how they’ll pull this off.

Superman fights are so easy to be boring because he’s basically invincible. We all yawn because we know he’s gonna win. Then along comes someone with kryptonite and suddenly it's Superman getting the beat down. Now we’re emotionally engaged because how is he going to get out of this one?

Show their competency in a fight by how well they can take big, painful hurts and keep going anyway. Show it in how they fight back or stay standing, despite the effort.

And don’t be afraid to let your heroes lose a few times. It makes their eventual victory sweeter.

Rule #5 Be clear and concise with your descriptions

Now ain’t the time to pull out your best Tolkien describing a meal impressions.

Action is fast. There are a ton of moving parts which can be severely complex and hard to follow. You want to avoid this confusion at all costs.

Use clear, specific language so the reader can visualize what is happening in their head and not get lost. Once they get lost, they will get frustrated and disengage.

Ditch the heavy metaphors. Let the movement speak for itself as the allegory. If you want to sprinkle in some flowery language, do so separate from the actual action happening in a fight.

Rule #6 Learn the basics of movement

You don’t need to know how to swing a sword with proper technique to write a sword fight (though, let’s be real, it helps). As long as you understand the fundamentals of how the weapon moves, you can write a good sword fight.

Because what makes a fight good is the EMOTION in the fight. Not just the fancy flourishes.

However, if you go too crazy and it becomes unrealistic, your readers can easily disengage.

So you don’t need to know the difference between a riposte and an ochs stance. You just need to know that arms don’t swing that way. You need to know if someone gets pushed, it can throw them off balance.

Learn the basics of human movement, and if there are weapons involved, learn at least the basics because if I see one more person say they’re wielding a longsword like it’s a small sword, you people will kill me inside even more.

Rule #7 Every action has a consequence

When someone attacks, someone has to defend (or get hit). But when someone moves their body one way, it can open them up to a counterattack.

If I lunge too far forward and overextend, I’ve left myself open for attack. If an opponent turns around, their back is now my next best target.

Pay attention to how your characters are moving. Are they opening themselves up for easy counterattacks when you don’t want them to?

Thinking about what opening a move gives their opponent can help you write your fight scenes, as it will lead to a natural flow and chain of events.

Rule #8 Don’t be afraid to add sound

Fights are vocal. People grunt and groan and shout when they’re hit. They also make noise when they attack. The more wrapped in emotion, the louder and noisier people tend to get as they get lost in it.

During those moments of pause you add from Rule #3 is a great moment for characters to continue the verbal part of their argument

If one character temporarily overpowers the other, let them brag. If one character gets punched in the mouth, describe the sound of the blood they spit on the ground.

Just, for the love of the gods, don’t go all Marvel and be quip central. Don’t undercut your own tension and emotion for a quick laugh or to sound cool.

Some examples of great fights:

youtube

#go forth and conquer friends #writing fight scenes #kuro writes #writing #writers on tumblr #fight scenes #story telling #action scenes #writing tips #writing advice #Youtube

98 notes · View notes

hollowwhisperings · 1 year

Text

Kingdom Key & Kingdom Hearts: A SoRiku Theory

The Kingdom Hearts series (& its creators) actively emphasizes the ways that its primary protagonist, Sora, is a "normal, ordinary boy". Yet Sora wields the iconic Kingdom Key, the Ultima Keyblade & even a x-blade (as forged by Xehanort): Sora's Story has been that of a Chosen One, even as he fits the archetype of one "Unchosen".

This theory explores the nature of Choice within the KH series, specifically in the context of "Destiny" and prophecies. It employs the "Riku is The Light" & "Necklace" theories, as well as elements of "Sleeping Realm". It also casts Riku as one of those Strange Women in Ponds who Distribute Swords as a Basis of [Galactic World Order].

Sora's story seemingly begins as a Classic Hero's Journey only for such a reading to fall flat when Expectations such as "Getting The Girl" and "Becoming a Keyblade Master" pointedly do not happen.

The driving force of the KH series has always been Riku: Riku wished to see worlds beyond his home, knowing the truth of the KH Multiverse well before proof literally crashlanded in the form of Kairi (a literal shooting star).

It is Riku's Heart that drew the attention of the Worlds at large to the Destiny Islands: the brightness of his light lead Terra, Aqua & Xehanort to meeting Sora in the first place.

Terra chooses Riku as a future Keyblade Master.

Aqua chooses Sora for the sake of preserving Riku's Light, the events of BBS teaching her that the strongest lights cast the longest shadows.

Xehanort chooses Riku as a Dark Vessel, whispering to him & encouraging him to doubt, to mistrust.

It is assumed, by Sora and by Riku, that Riku was also the person responsible for "opening the door" to the Darkness that felled the Destiny Islands. Yet throughout his childhood, each attempt by Riku to open the mysterious door on the play island failed and, when Darkness Falls, it is Kairi who is found at its source (Kairi, who had been expelled from her home by a version of Xehanort & whose heart harboured yet another fragment of the Seeker of Darkness).

Regardless of whether he truly opened the Destiny Islands to Darkness, Riku believed it & through Darkness did he find "freedom" to explore the Worlds Beyond, just as he had always dreamed... except for one, rather significant detail becoming derailed: Sora's presence by Riku's Side.

The two were separated and Sora was almost lost: even with Darkness swallowing Riku whole, the light within his Heart acted in time to save Sora by entrusting to him 'Kingdom Key'. Riku's Keyblade. A physical manifestation of Riku's Heart.

(notably, the "Kingdom Key-D" found by King Mickey was found not too far from the scene where Kingdom Key manifested: it is plausible that this keyblade was also manifested by Riku's Heart, perhaps alongside its 'Light' counterpart - I'd need to check the timeline to see how such a theory holds up)

Kingdom Key was entrusted to Sora, a subconscious act of Riku's Heart that mirrored an earlier act of protection Riku gave to Sora: on the night where Kairi fell to the Destiny Islands, a young Sora felt frightened and a young Riku swore to protect his dearest friend. This oath was sworn in turn sworn by Sora to Riku. They sealed these oaths with tokens they held close: while Sora's charm gifted to Riku remains unknown, Riku entrusted Sora with a crown charm he had had since infancy.

When Riku was 5, Riku entrusted Sora with his Crown. Both boys swore to protect the other.

When Riku was 15, Riku's Heart entrusted itself to Sora in the form of 'Kingdom Key'.

When Riku was ~16, he subconsciously protected Sora by becoming the latter's Dreamel Eater. Within the same timeframe, Riku sacrificed himself entirely to save Sora at the Keyblade Graveyard (an act of sacrifice, an act of True Love).

At every instance where Riku has been at a crossroads, knowingly or not, his Heart has Chosen Sora's: Riku, presumed descendant of Ephemera and a child of the Destiny Islands, has always & continues to choose Sora.

When the pair were reunited in KH2 and confronted the threat of Xemnas, the two fought as one & passed their keyblades between each other intuitively

When the pair existed in parallel realms of Sleep, separated but connected, their heartbeasts joined to form a Waltzing variation of the melody 'Dearly Belove'. They then fought in sync with a Combined Blade, formed from the keyblades "Mirage Split" and "Nightmare's End", acting again as two halves of a whole.

When Riku was to meet his end in the Realm of Darkness, far within the abyss, Sora appeared to him and they once again wielded their Combined Blade. Beast had once reaponded to a 15 year old Riku's questioning of his impossible arrival to Hollow Bastion, where Beast's Beloved Belle was held hostage, that he had "simply believed": belief brought Sora to Riku in the Realm of Darkness, belief brought Sora to the Final World in the wake of Riku's Ultimate Sacrifice.

The premise of Kingdom Key & its counterpart, Kingdom Key-D, being Manifestations of Riku's Heart & indicative of Riku's being the "Child of Destiny" does run into some Logistical Obstacles.

One, if Riku's Keyblade is being wielded by Sora (& Mickey, assuming the two keys were originally one) then whose keyblade is Riku wielding?

Two, how can Riku's Heart manifest multiple keyblades? Posession by Ansem Seeker of Darkness explains 1 of the "extra" keyblades (the key of "all hearts"). The bequeathing ceremony by Terra could explain another. Kingdom Key-D is definitely connected to Kingdom Key yet never specifically associated with Riku, evem being wielded by King Mickey (a stranger to Riku, at that point).

To the first: if Riku's keyblade is being wielded by Sora (& its counterpart by King Mickey), how can Riku wield another keyblade in KH1 even before getting possessed?

There are several immediate & varyingly plausible explanations: Riku's nature as a "Child of Destiny" allowing his Heart to churn out keyblades on demand like some Fey Lady of Avalon; or the other keyblades were not actually manifested by Riku at all.

While I greatly enjoy the imagery of Riku playing the "Lady of the Lake" to Sora's "Arthur" in KH1, given Sora's opening dream sequence already set Riku as being stuck in a Body Of Water (which is additionally representative of Darkness), it is Stretching Things to assume all other Plot Focused keyblades were ALSO fished out from Riku's Heart.

Perhaps Riku's Heart simply conjured new keyblades in response to Sora's Heart taking in new quests: Riku's Heart supplying keys to the metaphoric doors of Sora's Heart Hotel.

It is more likely, however, that the "new" keyblade wielded by Riku (the one currently known as "Braveheart") is a manifestation of SORA'S Heart: Riku entrusted his crown & his heart to Sora, first on the night of the Meteor Shower & then on the night the Islands Fell; Sora, in turn, entrusted his sword & heart to Riku. It explains how each boy readily wields the keyblade of the other & fits within the theme of their hearts beating in sych.

Riku choosing Sora, Riku's entrusting his Heart (literally & figuratively) with Sora, resulted in Destiny Itself 'choosing' Sora: if Riku represents Kingdom Hearts, the subject of his love would naturally become beloved by the Worlds in turn.

Sora acting as "[the] One Sky, One Destiny" due to Sora having the 'Heart' of Destiny through its child (Riku)'s love.

Sora is not only Riku's Dearly Beloved, Sora is THE "Dearly Beloved": beloved by the Worlds, entrusted with their Hearts & appointed their Savior. And all because, dull and ordinary boy that he may be, it is Sora's naturally normal self that Riku fell in love with. Sora may not be any more innately special than anyone else but Sora is special to RIKU, the love between them (knowingly or not) serving as the driving force of their stories & of Destiny itself.

178 notes · View notes

teriri-sayes · 10 months

Text

Reactions to the Mistaken One's Chapter 165

TL;DR - Cale versus the red scale. The Imoogi's story. Red crown from the novel cover is finally here!

Soos? LSH = ❌ CJS = ✅

Cale vs Red Scale There was a brief battle between Cale and the red scale. The scale was stuck in Cale's hand, and wouldn't fall off. Add to Cale's problems was the white crown coveting the red scale so much that Cale had to slam it on the ground several times. Thankfully, using the Fire AP was the answer to everything, and it weakened the pressure from the scale.

The Young Imoogi, Perpetual Fist King narrated the imoogi's tale last chapter, but today, Cale got a glimpse of the true story from the imoogi's perspective. I won't repeat what happened, but the tale from the imoogi's side was sadder and more touching. 🥲

If there were some differences, it was the imoogi left on its own to search for fire instead of being left by the child in the mountains. And the reverse scale was not actually a scale. It was the cintamani itself, but the imoogi's friend had forged it into the form of a scale to make it look prettier.

The imoogi had the voice of a young girl the same age as On, and could even transform into a half-human, half-dragon. Her human friend gave her the name "Perpetual" in her hopes for the imoogi to live long.

There were also the sad death scene and the imoogi's realization that she filled her cintamani not with nature's fire but human warmth and affection... 😭

Red Crown From Novel Cover is Here So after the imoogi showed her past to Cale, the scale transformed into a small candle-like fire. And what we were all waiting for happens! White crown + Maxi's crown + imoogi's fire = Red Crown!

The three fused, and Cale was left standing with a red crown on his head. CJS remarked that it suited Cale. The chapter ended with Cale laughing out loud as he got what he wanted... Or maybe not. He did postpone unsealing the Fire AP because he prioritized the crown fusion.

Ending Remarks Well, Cale was in his KRS form and dressed in murim clothes, so it was still far from the novel cover... But at least, we now know where the red crown came from! Next mystery is the background. Which world is that from?

Anyway, today's chapter was half-sad, and half-exciting. As for the next chapter, I'm not sure what's going to happen... If I recall, there was supposed to be another elixir from Fist King, the earth attribute one? Perhaps we'll have more elixir consuming next chapter.

#tcf spoilers #trash of the count's family

113 notes · View notes

ninjakk · 2 years

Text

The symbolic meaning behind A-Yuan's butterfly toys

There is such a beautifully poignant moment during the Yiling date chapter, where A-Yuan is playing with the two grass butterflies that LWJ bought him. The minute I read it, it made me smile at how sweet and innocent it all was. But it also pulled at my heartstrings a little, due to the symbolic meaning of the butterflies and what I felt like it foreshadowed.

Chapter 74

Knocking his bowl, Wei WuXian called a couple of times, but Wen Yuan was still looking down, holding two butterflies and mumbling. At times he pretended to be the one on the left, saying shyly "I… I really like you"; at times he pretended to be the one on the right, saying happily "I really like you too!" Being two butterflies at the same time, he seemed to be having lots of fun.

- ExR translations

To me MXTX uses the butterflies to express the unspoken feelings that WWX and LWJ have for each other. I think this small, yet sweet scene, could also show A-Yuan may have picked up on WWX and LWJs true feelings for each other - perhaps on a subconscious level. Children are incredibly perceptive and can pick up on things adults often miss. He may have only seen them together for a few hours, but he's spent a lot of time with WWX and could possibly see how he acts differently with LWJ. Either way, I don't think it's a coincidence MXTX chose to have A-Yuan play with the butterflies - he also has the clay dolls he could have used for his little directorial debut!

The fact A-Yuan is making the two butterflies confess they 'like' each other, echos how WX truly feel for one another. It's almost like the unspoken words they could have, and should have said so many times before. It is certainly allusive of the opportunity they had to confess their feelings during this particular scene as well.

The fact MXTX (or indeed A-Yuan) has made one shy and the other happy, draws parallels between LWJ and WWX's personalities. Much like the WX bunnies with their quiet and energetic personalities respectively. Personally I think it's quite clear MXTX deliberately made A-Yuan portray the two butterflies in this way. Especially if you take a closer look at the original version of MDZS, where the 'shy' and 'happy' personalities are not mentioned - so it's evident that MXTX later added this to enhance the scene, for a very specific reason.

If we look even deeper into this, there may even be more meaning behind the use of butterflies - as I said earlier, MXTX could have used the clay dolls instead. Butterflies are often used as a symbol of love in Chinese culture. More specifically, it can symbolise an undying bond between lovers. They can also represent death and rebirth. Which all fit with the theme of the novel perfectly.

MXTX likes to use little references and pay homage to poems and Chinese culture within the novel. And personally, I think the use of butterflies could be a nod to a particular classic Chinese love story. According to some, this is one of the reasons butterflies often symbolise love in Chinese culture.

There is a tragic yet romantic, Chinese legend known as The Butterfly Lovers (梁祝). Coincidentally (or perhaps not?), there are a few parallels between MDZS and the story as well. Much like our lovely WX, the two lovers in the legend met while studying together, where they develop an instant chemistry. The two main characters even experience misunderstandings that prevent them from becoming a couple. Eventually one of the star-crossed lovers tragically dies and the other follows soon after - which is where our duo obviously deviate, thankfully! The lovers spirits become butterflies and they fly off together, never to be separated again. Which somewhat echoes WXs own ending, where they elope and pledge to be with each other forever.

Something fell from Wen Yuan’s pocket. He called out, “Butter… Butterfly!” With him in his arm, Wei WuXian had already rushed outside the restaurant. Soon, a white shadow swept by him. Lan WangJi seemed to have followed them out as well, walking beside them. Wei WuXian, “Lan Zhan? Why are you following us?” Lan WangJi put into Wen Yuan’s palm the butterfly that he dropped.

Personally, I don't think the above scene is just a means for LWJ to follow them, because he would have either way! It's also symbolic. The two butterflies are suddenly separated, much like WWX and LWJ are later, for some 13 years. Eventually (or two seconds later in the above scene!) they are reunited, just like the butterflies above. It also represents A-Yuan's loss. He loses one of his butterflies, just like he will soon lose WWX - only to have them both reunited, together with him, eventually. It broke my heart when I noticed this tiny moment.

Just like the two frisky male bunnies used as a metaphor for WWX and LWJs true feelings earlier in the novel. The butterflies are used to foreshadow the path their entwined fate will eventually take as well. MXTX's writing style is just absolute poetry and I can't get enough of it.

🦋❤️🦋

#mdzs #mo dao zu shi #mdzs novel #mdzs meta #mdzs analysis #A-Yuan #wei wuxian #lan wangji #a-yuan and his toy butterflies #Yiling date #the butterfly lovers

617 notes · View notes

penultimate-step · 3 months

Text

In Defense of Ruby Hoshino

Or: Yes, the Aqua/Ruby interactions from the last couple dozen chapters ARE necessary for characterization and thematic reasons, why do you ask?

The Oshi no Ko fandom has kind of frustrated me over the last few months. It feels like every chapter that comes out and any discussion of it now has people making over the top angry exclamations talking about how much they hate incest, calling it "bait" and irrelevant to the story. Now, while of course anybody is free to have their own preferences and things that bother them, I do think some of this is taken out of proportion, and perhaps blinding them to the actual narrative importance of Ruby's supposed feelings for Aqua. Which, I do think this is a critical, load bearing part of Ruby's character arc, and corresponding the themes of the story as a whole, so it bothers me when I see so many people dismissing it as "brocon fanservice" or shipping nonsense.

I think perhaps out of an instinctive disgust reaction, people have trouble engaging with it. The way people act seems to be that either this is a serious romance plot, and the series will end with them dating, or that it is merely for sexual titillation and shock value on the part of the author, with no greater meaning, but it's pretty clear that it is neither of those things - Aqua/Ruby is not a romance, they will not date, they do not have romantic feelings for each other. However, that doesn't mean that what's going on between them is pointless.

The issues that Ruby has, both in their relationship and just in general, hinge pretty explicitly on Ruby's assumptions about her own feelings in her past life. she cannot develop past those without first confronting them.

And this is not a new thing. The groundwork for how Ruby has been acting in the movie arc was laid down long before, and needs necessary followup. To simply not have her talk about potential feelings for Aqua, as some fans wish, would have meant leaving many threads hanging, and made for a worse story. Almost everything about how they've interacted was something that could have been predicted from chapter 77. In it, Ruby makes it clear that she believes her feelings for Gorou are romantic, and that she intends to try to initiate something in her new life. However, at the same time, the fact that it was never going to happen is also, I feel, fairly clear.

In the past, in the flashback scene, Sarina claimed she was in love with Gorou. He told her he would reciprocate when she turned 16. In my opinion, I do not think either of the feelings the characters expressed in this scene were meant to be believed by the audience at all. Sarina is 12 here, she might have a puppy crush on the doctor but I think true romantic interest was probably beyond her. Meanwhile, Gorou isn't actually a pedophile? His statement was made with both parties knowing that she would die long before then, a way to make his rejection hurt her less, and as a desperate attempt to motivate her to keep living as long as she could. Though it is clear that both are the most important people to one another, and that this is an expression of their real care, I very, very, much doubt there was any actual romance in this scene.

Does this not seem very relevant for a series with the theme of people not understanding love? Back then, Gorou was Sarina's one true bond. Her parents had abandoned her and she had no friends to visit her. This was the one example of real mutual care she had, of course she would call it "love." (I mean, I'd also call it love, but not a romantic love. Familial, if anything, but friends works too - the actual name on it is unclear, what matters is that they cared for each other, but not like that.) Now, in her new life as Ruby, she has many more people who love her and who she loves in return, but having died both painfully young before, she hasn't had the opportunity to really grapple with all the old feelings about the doctor. It's pretty obvious to me whenever we see Ruby thinking of Aqua now. Just look at this page from 126:

In Ruby's own mind, he's drawn in a completely different style, like a manga romance hero. Her feelings about Aqua are fantasies, dreams, and projections, not substantial or tied to reality.

Much has been made of how Aqua, despite being Ai's son, still puts her on the pedestal of an idol, and can not see her flaws and interiority, even as he tries to avenge her death. Part of this movie arc is having characters like Ruby, Kana, and Akane start to see Ai from new angles, and relate to the human part of her. But for Aqua and Ruby to truly develop past their issues, this isn't the only pedestal they need to tackle. Ruby's regard for the doctor is a direct mirror to Aqua's feelings towards Ai. Even with the object of her affections right in front of her, she can't she past her own assumptions.

And of course, while Ruby is slowly coming to understand Ai and still failing to understand Aqua, there's one more person in the room who Ruby needs to come to an understanding about: herself, both as Sarina and now. Her refusal to see Aqua's flaws is tied up in her own feelings about the past - to acknowledge him as imperfect would mean understanding that part of the reason Sarina loved Gorou was tied up in her own desperation to love and be loved. Furthermore, while she has many more ties in her life as Ruby, I don't think its a stretch to say part of her is still stuck in that past state, holding people at arm's length.

While she has friends now, the bonds she thinks of as strongest are the ones from back then - her idolization of Ai, her love for Gorou. When Aqua reveal's Ai's secrets, in 106, Ruby says that despite being siblings, raised together for 17 years now, she didn't think of Aqua as family on his own terms - she felt a bond solely because they were linked through Ai, and does not hesitate to cut him off. She doubles down on this in 122, calling them "strangers who happened to be born in the same place." Similarly, while Ruby has been shown to be friendly with coworkers like Kana and Mem, as well as classmates like Frill, on some level she is keeping them at a distance. Beyond the simple fact that she can't talk to them about her previous life, she's been keeping plenty of emotions held in for a long time - pretty much every Ruby appearance from the Miyazaki Return arc to today has shown her not wanting to acknowledge her own struggles. Her pain from her life as Sarina is easy to keep buried. When nobody else knows Sarina exists, all she has to do is not think about it, not talk about it, not say anything, and it's almost like it never happened. Not til her breakdowns in chapters like 115 and 121 does she speak it aloud, but always either with plausible deniability or when she thinks she's alone.

I don't think her bonds as Ruby are fake - part of what she says to aqua, I think, is a defensive cope - but much like how she says she is in love with Gorou now, that is what Ruby believes. To her, all the friendships and bonds she's made in her new life are transient and fleeting things. She can never feel secure that they are based in real feelings, that they won't simply drop her when she becomes inconvenient, as everyone in her past life did. This perception contributes to her own willingness to reject others. Putting her friends at a distance during her revenge arc, cutting ties with Aqua over the Ai reveal, these are all things she does because she has no faith in the foundations of these bonds, and without understanding them she is willing to throw them away for Sarina's old memories - for the sake of the one person she believes will never let her down.

The only way Ruby is going to solve the story of Oshi no Ko is through coming to an understanding. Of Ai, of Aqua, and of Sarina. Ai didn't understand love until the day she died, and both of her children have in some ways followed in her footsteps, but Ruby has the chance to be the one to break this, to understand what was holding her back before and fully embrace loving her family and friends.(platonically. geez.) Reckoning with her feelings for Gorou (and by extension, Aqua,) was always going to be a key step forward for her. These dominoes have been laid down for 60-70 chapters now, at least, and I am excited to see where it goes.

#oshi no ko #ruby hoshino #step.animanga #step.blogger #step.effortpost

52 notes · View notes

savagewildnerness · 6 days

Text

Slightly more complete thoughts on S2E3, No Pain…

Daniel’s list - he’s worried about his family… about their safety

Raglan James is so confusing. I don't know what to make of it...He seemed so David Talbot-esque... so will David be mixed between Raglan and Daniel? Or will he appear too? And if he is a character drawn from other characters, will he have Raglan’s malice… because it certainly wasn’t evident in this episode…. In TTOTBT there is a clear aura of bad intent with Raglan and I didn’t feel that here

I thought the children of darkness set up was really effective. Assad as Armand in this era was so great - jaded, depressed, hopeless. In fact, I thought Assad was brilliant in the whole episode

Harlequin Lestat was so beautiful, and so elegant for an (Auguste!) clown! But there as also a layer of triteness to the character and to Lestat’s view of acting it seemed that unnerved me. Armand told it like Lestat was naturally charming, but acted only as he liked the attention. That’s NOT Lestat’s motivation. And the comic nature of the character slightly undermined for me even Armand’s response to Lestat. And I loved Armand’s covetous desirous looks to Lestat…. But you don’t need Lestat as a Harlequin displaying his bum, as if to Armand to make your point…. Though I enjoyed that at least they made it clear Lestat refused Armand (even if only at first from Armand’s telling…)

It’s the episode Lestat has so far been in the most, yet is also the first episode where no scene with him in made me cry... (Bad times in my life currently, admittedly)

I loved the use of French, but I found it frustrating how little of the French was subtitled. I want to know what people are saying! I was not lucky enough to ever have been taught even a word of French in school so I have literally zero clue. Like, *he whispers in French*... WHAT do they whisper?! That is NOT ENOUGH INFORMATION FOR ME!!!! Can anyone help with the French text that wasn’t translated at all?

Although the bit in the theatre, I suppose having Lestat perform in French as Harlequin, but the mind-conversation take place in English made that clear… but I want to know the French text too!

I feel very weird and sad about Lestat meeting Nicolas when he's already a vampire (I know this is only Armand's telling, but I feel this fact will surely remain, due to Joseph's Nicki not looking like he could be the same age as Lestat… I suppose it is possible Lestat could still meet Nicolas as a mortal, but I don’t see any way Lestat can meet Nicki back in his home town) - I can only see it hugely lessening Nicolas' impact... but I guess maybe they want that for TV..? My expectations shift for TVL there though as I thought they’d go big with the Nicolas and Louis parallels to add to the poignancy of those two relationships. Instead, the parallel that was made by Armand was that both Nicolas and Claudia were not built for immortality….?

To expand on that - The Witches Place… if Lestat and Nicolas didn’t know each other as children what happens with that SUCH IMPORTANT element… perhaps Lestat will have been married for a while in his hometown in the TV show or something and there’ll be another character to get some of Nicki’s story… but it takes poignancy away from Nicolas and away from Louis in my opinion. It also takes poignancy away from the wolf killer red cape which Lestat is wearing. But Nicki is Lestat's first true love, the first person he converses with who he feels understands him and Lestat is snatched away from their shared bed in their shared abode by Magnus.... if Lestat doesn't meet Nicolas till he is 34 and already a vampire, that is SO different… in many more ways than I have included here...

But I liked Joseph as Nicki, and joy of joy, the snippets of violin playing were convincing enough for me. I was really worried about it, but nothing bothered me, albeit they obviously were very brief.

The Lestat Armand told us was far from the Lestat I know in most respects though. Lestat suggesting killing mortals on stage?! Lestat being romantic with Armand at all? Doing it in front of Nicki? Even Harlequin-Lestat... the behind-curtain slaughter and the non-Lelio-ness of it... It’s just overwhelming how un-Lestat the whole thing is, making it hard to know what to feel. It’s not like I hated or was sad by anything much other than Nicki… and I liked Nicki and enjoyed how he and Lestat were together… it’s more the implications of that Nicolas may be relegated to way more of a minor character…. With the amount Nicolas means to me, that makes me so sad (Don’t get me wrong: Loustat is endgame… I am not AT ALL a Nickistat is better than Loustat because absolutely NOT - I love Nicki for himself and for his impact on the formation and formative and mortal years of Lestat’s life!)

It's just different, of course, but it’s so much to take in…

I would have enjoyed Lestat in the coven except that the first time I saw that promo image I thought Lestat was holding a leg of meat on a platter and that it's Jesus on the cross just makes it all inappropriately hilarious to me now.

I know Lestat was trying to hide from Armand how concerned he was about Nicki, but I felt underlying feelings in similar scenes in S1 and I didn’t feel even underlying concern to the degree I expected here… just because it is Armand’s telling?

Also, Armand - you did NOT want your coven destroyed!

It’s hard to watch Armand’s fanfic simply because it is SO different that at some point all the differences feel like you’d need to literally retell the entire show!? I just didn’t feel much of *hidden real Lestat* from these scenes, the way I *could* often feel in Louis’ telling. But then, I suppose Louis is not intentionally lying, so it makes sense we’d feel more of the real Lestat than from Armand, who *is* intentionally telling a somewhat false version…????

BUT Assad is so good. And may I say at this point, I love how Assad, Jacob and Sam are all brilliant at conjuring convincing chemistry with each other. NOW ALL KISS TOGETHER AND I SHALL FORGIVE THE BOOK DISCREPANCIES hahahaha… I jest!

I felt so sad and sorry for Claudia, little flea :(. Seeking belonging, only to be so tragically disappointed. The way she imagines herself in Santiago’s role, but instead has to act a child for eternity - how horrific.

I'm also so aware of how in the book, Claudia immediately senses the danger she is in from the coven and from Armand and here it is so very different. I don't know what to make of it. Louis also seems to be considering leaving Claudia already anyway too, so his role in what happens feels a lot different too…

The wet room… Is Lestat locked up in there somewhere now? In a burial vault? Down with the rats and dead bodies? The fact that we’ve been shown the cellar seems to suggest Lestat could be there somewhere, but I don’t know with the book changes whether Armand will lock Lestat up in the way he does in the books? I feel all a bit at sea and like I am an idiot to expect to see book plot or book motivations in a way…???

LOL when Daniel is just distracted and kinda disinterested in hearing about Loumand!

I did LOVE where they went with the Louis-Dreamstat - kill me again and show me you love me the only way you know how though, MMMMM! And the reveal of what Louis did to the mortal. I think this was my favourite part of the episode in fact??

I wonder whether this could hint at anything to be revealed about S1E5 at all???

Tortured Jacob-Louis is fabulous in this episode

Did Armand *really* ever consider killing Louis??!?!?!

I felt a bit sad I’d seen so much of Harlequin Lestat and dreamStat in trailers… I think it took away some of the impact in the episode.

It’s NOT that I disliked the episode… I thought the acting was brilliant and I really felt for Claudia in particular… but I also felt weirdly ambivalent. Aside from Claudia’s scenes and the Dreamstat Louis-violence scene, I wasn’t sure what I felt about a lot of it… weird… I felt kind of weird about it I would say….

#interview with the vampire #anne rice #amc interview with the vampire #iwtv amc #amc iwtv #lestat de lioncourt #louis de pointe du lac #armand le russe #claudia de pointe du lac #claudia de lioncourt #iwtv spoilers #iwtv s2e3

37 notes · View notes