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wingodex · 3 years

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The Old Guard Speech Patterns Analysis

I made a post on the speech patterns of the main characters in The Old Guard, and a lot of people seemed interested in it, so I’ve cleaned up and clarified the rest of my notes. What I’ve looked at specifically here is mostly related to syntax, so grammar and sentence structure. I’ve vaguely looked at pragmatics, which has to do with how context contributes to meaning, and semantics, which deals with the meaning of words, phrases and sentences. I’ve also looked at sociolinguistics, which has to do with the effect of society on language, but I want to be upfront in saying that it’s not my personal area of interest so my knowledge is lacking there. On that same point, I have no formal linguistics training, I’m just into conlanging and everything I know about linguistics is self taught. For each of the characters I’ve talked about contraction usage, colloquialisms, phrases, verb and verb tense usage, ellipses, sentence composition, adjective and adverb frequency, discourse markers and fillers, profanity, vocabulary(ish), and questions.

You can also find all of this on ao3.

Couple of disclaimers to start: while this is obviously a great tool for fic writing, and can help you get a feel for the way that the characters speak in the movie, I’m asking non-Black writers to be very careful about the way you use some of this information when it comes to Nile. When Nile speaks, she uses a lot of colloquial/vernacular language, and while she doesn’t speak AAVE in the movie, her syntax does contain vernacular features. The history of transcribing colloquial language and vernacular dialects—African American/Black English in particular—is racist, classist and ableist. Your decision to write in colloquial language or to incorporate elements of Black English, rather than using Standard English, into Nile’s dialogue can potentially continue a tradition of racial othering if you’re not wary and conscious. Colloquial language in written form is often used to imply a lack of intelligence, a lack of education or a lower class. Be especially considerate of transcribing colloquial reductions like “wanna,” “gotta,” etc. Avoid eye-dialect at all cost, please, I am begging you. In general, the best way to transcribe dialects is through rhythm of prose, syntax, idioms/figures of speech and vocabulary. Even if you rely on those techniques for Nile, I’m still advising the utmost caution due to the complexity of syntax of AAVE and other dialects. For those unfamiliar with AAVE, I go into more detail about it here. If you do decide to use vernacular language for Nile, I’m going to insist you look into copula deletion/zero copula in AAVE outside of this post. It’s usage is very complex and specific. If you decide to use colloquial language for her to really take advantage of the intelligent way that she uses style-shifting in the movie then, at the very least, remember that the other characters (with the exception of Nicky) also use colloquial language frequently in the movie as well. If Nile is the only one in your fic using colloquial language, that’s a problem.

Most of the contextual analysis as it relates to sociolinguistics is based on my own speculation and interpretation of all the data I’ve collected. They contain my own personal biases and are influenced by my own experiences. If you have another interpretation of any of this, I’m absolutely interested in hearing it. Also, there is simply not enough data for any of my observations to be definitive, especially for Joe and Nicky. The two of them combined say around the same number of sentences as Booker, and he only says half as many sentences as Andy. There are literally verb tenses/aspects that not a single person uses in the whole movie. It’s also important to note that I am fallible, and while I do think most of this is accurate, I probably fucked up and missed something or miscounted! More than once! In some cases, I was only able to find one example of something and while I’ve included those observations, they are in no way indicative of a pattern, so don’t view them as strict rules.

I threw around a lot of jargon in this, and there wasn't really an easy way to avoid doing that while talking about most of this stuff. Descriptions are provided throughout the post. I've done my best to define all the more complex and lesser-known concepts, and to provide specific examples from the movie but feel free to reach out if you're unsure about any of it. Basic English grammar things that will be helpful to know to understand all of this post: parts of speech (nouns, verbs, adjectives, adverbs, prepositions, conjunctions, determiners, interjections), clauses (subject + predicate), tense–aspect–mood for verb conjugation (in English we have: past and non-past; perfective, imperfective, and progressive; and indicative, imperative, and subjunctive), phrase structure, auxiliary verbs, phrasal verbs, wh-movement (who, what, when, where, why, how) and sentence sequencing (in English it’s SVO, or subject-verb-object).

On ellipsis: for Andy, Nile and Booker (and Joe, a little bit), the types of ellipses I focused on were mostly the types that you only see in spoken colloquial English. For Nicky, I talked a lot more about further classification of ellipses that do sometimes apply to the other four, but aren’t as noticeable.

For phrases, I mostly included idioms and expressions to avoid listing every single phrase in the movie. I generally avoided noun phrases (with a few exceptions), and I don't think I mention any adverb phrases.

For my own purposes, I’ve decided to define fillers as discourse markers without lexical content that are used to indicate that the pause while speaking is only temporary. The rest of the discourse markers use standard classification.

Thank you to both @disregardandfelicity and @youknowthegirls for looking over this post for me!

Andy

Andy uses every contraction for auxiliary verbs and personal pronouns (e.g. I’m, you’ve, it’s, etc). I mean, she actually doesn't in the movie, but she comes so close that I feel confident in saying she would use all the others. The Wikipedia page for English Auxiliary Verbs has a great chart for contractions. Of the characters, she's literally the only one who does this with this level of consistency.

Her contraction usage isn't limited to personal pronouns. She uses contractions with demonstrative, interrogative, relative and indefinite pronouns. She also uses contractions with "there" and "where", and presumably with “when” and “how” although there are no examples of that in the movie. She uses contractions with negative modal verbs.

Andy uses both the simple future and the more colloquial going-to future construction at various points in the movie. She seems to have a preference for going-to future, and the only time she uses the simple future is in her dramatic opening monologue and when she’s trying to reassure Nile. Otherwise, she sticks to going-to construction.

Simple future: “Will this time be the one?”, “Me and those three men in there will keep you safe.”

Going-to future: “And you’re going to help us.”

Andy also typically uses the colloquialism “gonna” when using going-to future construction. When she uses “going to” instead, it’s during moments of sincerity. As mentioned, she also iconically uses them both in the same sentence.

"I knew this was gonna happen", "You think knowing is gonna make you sleep better at night?"

“You’re not a Marine anymore. They’re going to lock you up.”, “When we leave a footprint in the sand, in the snow, in the ether, you’re going to sweep it.”

“You’re going to protect us from those who want to put us in cages, and you’re gonna help us find those jobs that are best suited to us.”

Andy uses the verb “have” and the phrasal verb “have got” interchangeably, and with no real pattern. Important note: I am only referring to the verb “to have” in the present tense, not when "have" is used as an auxiliary. She doesn’t seem to use “have got” in the negative (i.e. “haven’t got” vs “don’t have”).

“We have to find Copley.”, “I have the new one.”

“You’ve got blood in your hair.” “He’s got Joe and Nicky.”

“We don’t have all the answers, but we do have purpose.”

Andy also uses the colloquialism “gotta” in sentences where she uses “have got” with the infinitive “to”. When she does this, she usually uses contracted have/has. Occasionally she drops the auxiliary.

"You’ve gotta feel it, Nile.” "There's gotta be a price."

Andy drops the auxiliary when she says, "We gotta go" instead of “We’ve gotta go” and “Sometimes you gotta work with people you don’t wanna eat with” instead of “Sometimes you’ve gotta..”

Andy uses the colloquialism “wanna” in the place of “want to”.

“Well, sometimes you gotta work with people you don’t wanna eat with.” “You really wanna do this, kid?”

Andy incorrectly uses the object pronoun “me” like a true native English speaker

“Me and those three men in there will keep you safe.”

Andy seems to generally say “Yeah” but she says “Yes” when she really means it. She also says “Mm hmm.”

Andy uses several discourse markers throughout the movie. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Andy uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers that Andy uses are:

Sentence openers: actually, so, come on, here, look, listen, now, oh, well, you know,

Sentence closers: I guess, maybe, right,

Responses: yeah

Interjections: hey

Connection: to be honest

Andy doesn’t use any fillers. Instead, she pauses and repeats herself as needed.

“Remember what it... what it was like to feel unbreakable.”

Of all the characters, Andy uses the imperative mood the most (throughout the movie Andy tells someone to do something 35 times using this mood)

When Andy repeats herself for emphasis, she usually does it in pairs. The only exception is when she says “why?” three times to Booker in the scene with Copley

Andy uses ellipses, which is when words are omitted from a sentence and the sentence can still be understood. This isn’t particularly noteworthy in what it says about her speech patterns, as everyone uses elliptical construction. It’s just part of how speech works, how dialogue works and how writing works. It’s a feature of English, spoken and written, rather than an anomaly. I do feel it’s worth mentioning though, because I’m going to talk a lot about some specific kinds of ellipses (null subject, null auxiliary and zero copula) that are only found in colloquial and spoken language. For more about elliptical construction, see the Nicky section.

Andy uses noun and verb ellipses when she says, “I’ve been here before... over and over again, and each time the same question.”

Andy uses answer ellipsis. That means that when she answers questions, she often speaks in sentence fragments rather than full sentences.

[Who’s gonna fly the plane?] “We don’t need a pilot” instead of “[Nobody is going to fly the plane.] We don’t need a pilot.”

Andy occasionally uses sentences with a truncated null subject (i.e. she doesn’t use subject pronouns), but not as frequently as the other characters.

“Can’t wait” instead of “I can’t wait.”

Andy frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion. This means that she will drop the leading auxiliary verb. For more information about zero copula, see Nile.

Andy uses “You found Copley?” instead of “Have you found Copley?” and “Everyone still with me?” instead of “Is everyone still with me?”

When asking questions, Andy typically uses either the method described above or intonation if she can get away with it. However, she does still ask yes-no questions without dropping the auxiliary. Andy is also one of the only characters to use a disjunctive question. In contrast to the disjunctive (which is often condescending), Andy is also one of the only characters polite enough to use an indirect question.

Intonation: “Joe and Nicky?”

Disjunctive: “You don’t speak Russian, do you?”

Indirect: “Would you like me to take one for you?”

Andy doesn’t use the subordinating conjunction “that” at any point in the movie.

“Last time I checked, you had to be American to be in the CIA” instead of “Last time that I checked...”

Andy says “What the...” when she’s confused.

Andy makes a humming sound when she’s pleased that’s transcribed as “Mmm!”. Interesting to note that every time she makes this sound, it’s in response to Nicky.

Profanity used by Andy: asshole, fuck, goddamn, motherfucker, shit, shitty

Phrases, idioms and expressions used by Andy: bend it to [your] will, broke [a promise], changes nothing, come on, do the same, enough of this, for all I care, get some sleep, go big or go home, going out for a bit, gotta go, last time I checked, let’s, next time, now and always, on board, play dead, set up, straight to [something], tie off, to be honest, welcome back, what [he] said, whatever it takes, work out

Unrelated to word count or time spent speaking, Andy says more sentences than any other character. She says more than twice as many sentences as Booker and four times as many sentences as Joe and Nicky. Nile says a little less than 2/3 as many sentences as Andy.

Sentence composition**: 57% of Andy’s sentences are simple sentences, 31% are sentence fragments, 5% are compound sentences, 6% are complex sentences, and 1% are compound-complex sentences.

Languages spoken on-screen: English

Adjectives and adjective phrases appear in 13% of Andy’s sentences. Adverbs and adverb phrases appear in 9% of Andy’s sentences.

Andy is very consistent in her speech. She doesn’t style-shift much and almost exclusively speaks in a colloquial style of Standard American English. There are two exceptions to this: when she was talking to the tourists in Marrakesh, she was overly polite; and when she was dealing with Copley, she enunciated herself far more and was less likely to use contractions. When I say that Andy speaks Standard English, what I mean is that she speaks the dialect of English which has undergone the most regularization and standardization. It’s the one associated with public communication, the one that's used in commerce and government, and the one that has the most institutional support and sanction. Andy is very familiar and comfortable in this dialect, to the point where she even uses common grammar mistakes that native speakers do. Her speech is very casual. I would say that Andy has spent a significant amount of time recently in the United States or Canada, and I also suspect that English is the modern language that she is most comfortable in. I think that Andy has likely spent a lot of time speaking casually with other English native speakers and that her grasp of the language was formed without any kind of formal language training. Andy doesn’t use much descriptive language, and her sentences are typically short and clear. While I think Andy does read a little bit, it’s had very little impact on her speech patterns. I doubt she reads any kind of serious formal writing, or academic works.

Nile

Nile uses every contraction for auxiliary verbs and personal pronouns (e.g. I’m, you’re, it’s, etc). She also uses them with other nouns and names. Nile is very deliberate about contraction usage. For the most part, in casual speech, she uses contractions, although she does use a lack of contractions to express disbelief or for emphasis. Nile also uses a lack of contractions to show condescension or disapproval. When she’s trying to be authoritative, she’s less likely to use contractions. When she wants to make sure she’s understood, she also doesn’t use contractions.

“I am not jumping from a plane!” “You do not listen to her, you listen to me.”

“We are looking for this man. He has killed many of our people and many of yours.”

Nile uses contractions with demonstrative, interrogative, relative and indefinite pronouns. She also uses contractions with "there", "where", “why” and “how.” She uses contractions with negative modal verbs.

Nile doesn’t use the contraction “y’all” in the movie. In fact, she specifically doesn’t use it.

“How are you all in my dreams?”

Nile uses both the simple future and the colloquial going-to future construction at various points in the movie. Like with contractions, Nile is less likely to use colloquialisms when she’s serious or trying to be authoritative. I think it’s especially poignant when she uses it to express bravery (with Booker). Nile always uses the colloquialism “gonna” when using going-to future construction.

Simple future: “I’m the one who will walk out of there, one way or another.”

Going-to future: “People that are gonna worry.”

Nile uses the verb “have” and the phrasal verb “have got” interchangeably, however she has a very strong preference for “have got”

“You have my phone?”

“I got people that love me,” “You got a satellite link?”

Nile also uses the colloquialism “gotta” in sentences where she uses “have got” with the infinitive “to”. When she does this, she always uses null auxiliary construction (see below for more details).

“We gotta get out of here!”

Nile uses the colloquialism “wanna” in the place of “want to”.

“I just really wanna hear my mom’s voice one more time.”

Nile truncates “trying to” as “tryna”.

“I’m tryna save you, man!”

Nile truncates “out of” as “outta”

Nile uses a lot of discourse markers. She uses more discourse markers than any of the other characters, although Booker comes very close. Discourse markers are words that are used to connect, organise and manage sentences while speaking. Nile uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers that Nile uses are:

Sentence openers: so, well, wait, here, yeah, now

Sentence closers: or something, maybe, you know, okay, man

Interjections: come on, what, no way

Responses: yeah

Nile uses some fillers when speaking, however she doesn’t use them often. The fillers she uses are: uh, yeah

While Nile does occasionally use the imperative mood, she’s far more likely to give commands based on intonation alone, rather than syntax.

Intonation: “You do not listen to her, you listen to me,” “We gotta get out of here!”

Imperative: “Land this plane.”

Nile uses elliptical construction when speaking, which means that when words are omitted from a sentence, the sentence can still be understood. Again, this in and of itself is not very noteworthy, see Nicky for more details.

“South side of Chicago, a million different ways we could’ve went left.”

She also uses answer ellipsis, meaning that when answering questions, she speaks in sentence fragments.

Answer ellipsis: [You have someone?] “Just my family” instead of “[I have] just my family.”

Nile frequently uses null subject elliptical construction. When using null subject construction, she drops personal pronouns.

“Talked to Copley. Said he could fix it.” instead of “I talked to Copley. He said he could fix it.”

Nile’s use of ellipsis is mostly characterized by her usage of null auxiliary, which is when she drops auxiliary verbs from sentences. The way she does this is very distinct and she’s the only character who speaks like this. While the other characters who use null auxiliary construction do so in the specific context of asking questions, Nile’s usage is more complicated.

Like the others, Nile frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion, but unlike the others, she also sometimes drops the auxiliary in wh- questions. For more on zero copula, see below.

"You gonna be okay?" "So, you good guys or bad guys?"

“Where you taking me?”

Outside of asking questions, Nile also occasionally uses both null auxiliary construction and the zero copula. She is the only character who does this (Andy does this, but only with one specific word/phrase. Nile's usage is less restrictive). Zero copula is a linguistic phenomena where the subject is joined to the predicate without marking that relationship (i.e. there’s no verb). In English, the main copula is the verb “to be”, so zero copula in English describes situations where inflections of “to be” are omitted. When the characters use null auxiliary construction to omit the inflected forms of “to be” while asking questions, they are using the copula deletion.

In the above example questions, all of them are examples of copula deletion as they are omitting inflections of the verb "to be"

When Nile says “I got people that love me”, she uses null auxiliary construction to omit the auxiliary “have”. Nile always drops the auxiliary “have” when using the “have got” form.

When Nile says “This the shit you into?” she’s actually using the zero copula twice. You’ll notice that she’s missing the leading “is” and in the dependent clause, she’s missing the “are (“Is this the shit you’re into?” in Standard English).

At one point in the movie, Nile includes a further truncated null subject, where she doesn’t use both the subject and the auxiliary verb. Joe does something similar in the present tense.

Nile says “Killed in action when I was eleven” instead of “He was killed in action when I was eleven.”

When asking questions, outside of wh- questions, Nile usually relies on intonation or dropping the auxiliary from subject-auxiliary inversion questions as described above. She does occasionally use inversion for yes/no questions without dropping the auxiliary.

Intonation: “You have my phone?”

Indirect: “So... you’re even older than him.”

As the audience surrogate, Nile asks the most questions in the movie (she asks 69 questions LMAO)

Another way that Nile formalizes her speech is by inserting the subordinating conjunction “that” into sentences where they would normally be omitted.

“And that was a blank that you shot me with.” “But... you said that we were immortal.”

Nile says “Uh uh” to mean “no” or “don’t even think about it”

Phrases, idioms and expressions used by Nile: a little help, backed down, brains of [the] outfit, come on, follow the money, gave [them] up, honest-to-God, how the hell, what kind of [noun], killed in action, let’s go, move on, never hurts to, no way, one more time, one way or another, roger that, sit your ass down, some bullshit, son of a bitch, stay tight, steal away, went left, what’s up (greeting),

Profanity used by Nile: ass, bitch, bullshit, damn, fuck, hell, shit

Sentence composition**: 60% of Nile’s sentences are simple sentences, 30% are sentence fragments, 3% are compound sentences, 6% are complex sentences and 1% are compound-complex sentences.

Adjectives and adjective phrases appear in 18% of Nile’s sentences. Adverbs appear in 4% of her sentences. Nile doesn’t use any adverb phrases.

Languages spoken on-screen: English, Pashto

Of all the characters, Nile’s use of English is the most deliberate. While the others are obviously fluent and capable in English, Nile’s use of style-shifting throughout the movie demonstrates a mastery of the language that the other characters simply don’t have. The way that she shifts between formal and colloquial language for emphasis, for clarity, to express disbelief or disapproval, to act authoritatively, to appear casual and friendly, and to invite others to engage with her, speaks to what she is capable of by her word and syntax choices. All of this is obviously enhanced by her tone, her cadence, her pitch, her volume and her speaking speed.

When Nile speaks, she doesn’t speak in AAVE. That being said, her speech does contain vernacular features. The two elements of Nile’s syntax that are most noticeable are her use of the zero copula and her deletion of “have” in situations where it can be contracted (to clarify: using copula deletion is not necessarily an indicator of AAVE. When the other characters use the zero copula, they are not speaking AAVE. The subtle differences in the context of their usage of copula deletion is what makes Nile’s speech distinctly Black). Some of Nile’s word choices and noun phrases are also reflective of the typical speech of Black people, as pointed out to me by this anon. It’s very likely that Nile can speak AAVE, but doesn’t in the movie. She was raised by two Black parents in a very residentially segregated city, and while Nile didn’t specify the neighborhood she grew up in (you can make some guesses to the general area based on how she talks about it, but that’s not quite the same), Chicago’s South Side is predominantly Black, so the people she was around, the place she attended school and the church she went to were all likely predominantly Black as well. Due to the fact that Standard English is the language taught in public schools in the United States, Nile has obviously also developed a fluency in that dialect as well and can probably code switch between the two dialects. The fact that she doesn’t speak AAVE in the movie isn’t particularly unusual. Society is largely hostile towards Black people speaking AAVE, so language self-policing becomes a survival tool. Nile had also just spent an indefinite amount of time in the US military, which has its own style which has its own style of speaking as well which she would have been using. And then she basically got kidnapped by mostly white people, some of whom have noticeable accents, so having her speak AAVE would’ve been an odd character choice, but not totally implausible.

The way that Nile switches between formal and colloquial English is a type of code switching that I would honestly refer to more as style-shifting. Because she isn’t actually speaking AAVE, I can’t say how the dialect factors into her speech patterns. I think it’s possible that Nile’s ability to style-shift between formal and informal language could have been an ability that she developed as a result of needing to code switch between AAVE and Standard English in an educational environment. I do want to make it very clear however, that when I’m talking about Nile style-shifting, it has very little bearing on the vernacular features of her speech, but rather the colloquial features like contractions, verb choice, ellipsis and her use of phrasal verbs. It’s possible that she uses code switching in the same way, however we don’t have evidence of that in the movie.

Booker

Booker uses most contractions, but not all, and with much less consistency than Andy or deliberate purpose like Nile. He uses contractions for auxiliaries and their inflected forms for personal pronouns. When speaking casually, he uses contractions, but when he’s upset, he uses them far less consistently. He doesn’t use contractions with the past tense inflected form of have (i.e. “had”).

Booker uses contractions with demonstrative, interrogative, relative and indefinite pronouns. He also uses contractions with "there", "where" and “how. He uses contractions with negative modal verbs.

Booker uses both the simple future and the going-to future construction at various points in the movie. He doesn’t seem to have a preference either way.

Simple future: “They will get to learn your secret.”

Going-to future: “It’s gonna take time.”

Booker always uses the colloquialism “gonna” when using going-to future construction.

Booker doesn’t seem to use the phrasal verb “have got” but I could only find one instance of him using the verb “to have” in the present tense, so this isn’t definitive either way. If I had to take a guess, I’d say that, like Andy, he uses “to have” and “have got” interchangeably.

Even though Booker speaks less than Nile and Andy, he uses close to the same amount of discourse markers as them, meaning that they appear far more regularly in his speech. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Booker uses discourse markers to start sentences, as responses, as interjections, etc. The discourse markers he uses are:

Sentence openers: come on, hey, oh, well, listen, I mean, ooh (expressing pleasure), yeah

Sentence closers: right, of course

Responses: yeah, alright

Interjections: hey, ow! (expressing victory)

Connections: by the way, tell you what

Of all the characters, Booker uses the most fillers when speaking. The fillers that he uses are: oh, uh, um, yeah

Booker pauses and repeats himself as needed. He only does this when he’s upset. Otherwise, he seems to use fillers instead.

“Everyone you love is gonna... is gonna suffer and is gonna die."

When Booker repeats himself for emphasis, he always does it in pairs.

Booker often uses elliptical construction, and the most frequent type seems to be null auxiliary construction. He does use other types of ellipses though (For more about ellipsis, see Nicky).

“Just because we keep living doesn’t mean we stop hurting.”

Booker uses answer ellipsis, but almost to the point of incomprehensibility. Dude just gives the bare minimum. That means that when he answers questions, he speaks in sentence fragments rather than full sentences.

Answer ellipsis: [You found Copley?] “Nothing, but dead ends” instead of “[I found] nothing but dead ends.”

Booker frequently uses sentences with a truncated null subject (i.e. he doesn’t use subject pronouns).

“Lost the plot after that” instead of “I lost the plot after that”

Booker frequently uses null auxiliary construction and zero copula when asking questions that normally use subject-auxiliary inversion. For more information about zero copula, see Nile.

Booker says “You good?” instead of “Are you good?” and “You have someone?” instead of “Do you have someone?”

When asking questions, Booker almost always uses either the method described above, or intonation. The only time Booker asks a question without dropping the auxiliary is when he says “Are you all right, boss?” to Andy in the cave.

Intonation: “Oh, she gave it back?”

Booker doesn’t generally use the subordinating clause “that,” but he will sometimes.

“What I do know is she was alone for a long time before she found anyone like her.”

“And they will tell you... that you don’t love them.”

At two separate points in the movie, Booker references Elizabethan literature. “Misery loves company” is from Dr. Faustus by Marlowe and “That way madness lies” is from King Lear by Shakespeare

Phrases, expressions and idioms used by Booker: all in, by the way, calm down, change of clothes, come on, dead ends, give [her] time, give me your hand, how’s it going?, I’ll see you soon, in the open, leave no footprints, let’s go, lost the plot, moving out, misery loves company, reach out, stick to the plan, take time, tell you what, what’s going on, won’t hurt

Profanity used by Booker: shit, putain de merde

Sentence composition**: 59% of Booker’s sentences are simple sentences, 24% are sentence fragments, 3% are compound sentences, 9% are complex sentences, 1% are compound-complex sentences and 4% are not in English

Adjectives and adjective phrases appear in 16% of Booker’s sentences. Adverbs and adverb phrases appear in 8% of Booker’s sentences.

Languages spoken on-screen: English, French, Italian

We know from Booker’s backstory that he’s French and he’s from Marseilles, and other people have spoken about how Booker’s native language would likely have been Occitan, although he speaks French as well. Like Andy, Joe and Nicky, English is not Booker’s native language, although he does speak it with a high degree of fluency. While there are aspects of Booker’s speech that are more related to him being a non-native English speaker, I wanted to talk about French first. It’s worth noting that French is the only Romance language that isn't a null subject language (and as far as I can tell, Occitan isn’t either). This means that when Booker uses null subject construction, that’s either something he picked up from another language or from being around people speaking colloquial English. The thing that stands out to me the most about Booker’s speech though, is actually the way he uses intonation (and to a certain extent, null auxiliary construction as well) when asking questions. While French can use subject-auxiliary inversion, for the most part, you just ask questions by intonation. In the French dub of the movie when Booker asks “You travel?” he says “T’as voyagé?” which in English directly translates to “You travelled?” or “You’ve travelled?” While I could get into semantics about verb tenses, do-support and modality, what I’m getting at here is that both “You travel?” and “T’as voyagé?” mean the same thing and are expressed in a form that feels semantically similar to me even if it’s not syntactically similar, in the same way that ending a question with the tag “right?” (which Booker uses a lot) feels the same as the tag “non?”

There are a couple of things that I think are interesting about Booker’s manner of speech. Booker primarily speaks in simple and fragmented sentences, which is pretty normal, but what’s different about him is the way that a lot of his speech is referential. What I mean is that Booker relies on a lot of common phrases, common clauses, clichés and quotations when he speaks. In a lot of ways, Booker speaks the way your typical action hero is supposed to. You get a sense of Booker engaging in a broader cultural and literary conversation. I don’t know how to explain this exactly, but when Booker speaks, you just know he reads and that he watches tv and movies. And not just that, but that he borrows and imitates aspects of what he reads. But besides the pragmatic element of Booker’s speech, all of the things that are notable about Booker’s speech are things that you also see in Andy, Joe and Nicky. Syntactically, there’s nothing about Booker’s speech that is distinctly unique to him, unlike the rest of the characters who all have their own little quirks. It’s almost like Booker is imitating the others, or borrowing someone else’s words. There is one notable exception, and that’s when Booker is talking to Nile in the cave. As the conversation goes on, you see this breakdown of Booker’s language as he attempts to tell his own story. Suddenly, a lot of the conventions established about Booker’s speech prior to this scene don’t apply. Obviously there are multiple explanations for this, ranging from English not being his first language to the fact that he was talking about something deeply personal and traumatizing to someone who was essentially a stranger. But what makes this scene stand out is the fact that in his next major scene, Booker is clearly on the verge of a full breakdown, but because he’s again relying on this established lexicon, you don’t see it reflected in his speech the same way that it is in the cave.

Joe

When Joe bothers with personal pronouns, he usually uses contractions with auxiliary verbs (e.g. I’m, she’s, it’s, etc). The exception to this is that Joe doesn’t use contractions with the past tense inflected auxiliary form of have (i.e. “had”).

Joe uses contractions with demonstrative, interrogative, relative and indefinite pronouns. He also uses contractions with "there". He uses contractions with negative modal verbs.

Joe only uses a future tense once in the entire film, and when he does, he uses going-to future construction. When he uses going-to future construction he uses the colloquialism “gonna"

“What are you gonna do?”

Joe doesn’t use the colloquial “have got” and always uses “to have”.

“We have to find her”, “Well, now you have even more.”

This may be because Joe isn’t in the movie as much as the first three, or that he just genuinely doesn't use them often, but he uses considerably fewer discourse markers. Discourse markers are words that are used to connect, organize and manage sentences while speaking. Joe uses discourse markers to start sentences, and as interjections. The discourse markers that Joe uses are:

Sentence openers: oh, so, well, yeah

Interjections: hey, what

After Booker, Joe uses the second most amount of fillers. He uses more fillers when having a back-and-forth style conversation with someone than when he’s essentially monologuing. The fillers that Joe uses are: mmm, uh

Joe sometimes uses ellipses when speaking. Again, not super noteworthy, but I wanted to mention it nonetheless.

“He’s the moon when I’m lost in darkness and warmth when I shiver in cold.”

Joe uses answer ellipsis in the movie, but he doesn’t actually speak in sentence fragments when he does this. While answer ellipsis is pretty standard in English, Joe’s commitment to saying more than was asked of him isn’t.

[So... you’re even older than him.] “Nicky and I met in the Crusades.” instead of “[Yes, we are.] Nicky and I met in the Crusades.”

Joe uses sentences with a null subject (i.e. he doesn’t use subject pronouns).

“Depends on the century.” “Fought thousands of battles side by side.”

Joe uses sentences which have both a null subject and uses copula deletion. See Nile for more details on zero copula.

“Very pissed off.” “Faster than the elevator.”

In the movie, Joe only really asks wh- questions. He does ask a few using intonation, although most of those questions act more like additional tags on a wh-question, rather than a question by itself. As such, it's unclear whether Joe uses null auxiliary construction or the zero copula when asking questions.

Intonation: "Bedhead?” “So we just leave her out in the open?”

When Joe repeats himself for emphasis, it’s usually in groups of three.

Joe says “what” when he doesn’t hear something/doesn’t understand something

As previously mentioned, Joe uses some formal words like "thus" and the impersonal pronoun "one". Here are some other words to consider having Joe use unironically as well: alas, amidst, await, behest, ergo, hence, latter, much, nor, notwithstanding, promptly, quite, shall (modal), thence, thereupon, thoroughly, whereas, whom (used correctly of course), yield

Even though Joe speaks quite formally a lot of the time, he never uses the subordinating conjunction “that” when it can be omitted.

“The first immortal Andy found.”

Phrases, expressions and idioms used by Joe: all in, attention to detail, come on, I guess, out in the open, measure and reason, over a [time period], piece of shit, proved [their] case, side by side, way back

Profanity used by Joe: goddamnit, shit

Unrelated to word count or time spent speaking, Joe says the least amount of sentences out of the five main characters, although this doesn’t mean very much, considering Nicky says exactly one more sentence than him.

Sentence composition**: 57% of Joe’s sentences are simple sentences, 21% are sentence fragments, 5% are compound sentences, 4% are complex sentences, 4% are compound complex sentences and 9% are not in English.

Adjectives and adjective phrases appear in 29% of Joe’s sentences. Adverbs and adverb phrases appear in 8% of Joe’s sentences.

Languages spoken on-screen: English, Italian

The best way to describe Joe’s manner of speaking is that it’s like he has two different styles. You get the sense that sometimes Joe just says whatever and sometimes he says something that he’s rehearsed in his head. Joe is a Maghrebi Muslim man from the Islamic Golden Age so he comes from a culture and time with a rich history of and respect for both written and spoken poetry, both impromptu and memorized. I think he carries that tradition quite well. When Joe is orating (van speech and Quynh backstory), his sentences are much more structured and he uses more formal language. He doesn't speak in sentence fragments, he doesn't use any colloquial language besides contractions and he doesn't use discourse markers or fillers like he does in the more casual back-and-forth conversations. If you look at Joe's sentence composition percentages, you'll notice that Joe has comparatively less sentence fragments than other characters and that’s purely because when he orates, it's in full sentences (minus poetic ellipsis, but that's allowed). That's why it seems to me as though Joe rehearses some of what he says in advance. I don’t know the extent to which he does that, but at the very least it seems like he’s sat down and thought “how would I explain Quynh to the new immortal?” or “What would I say to someone belittling my relationship with Nicky?” Even in the delivery of the line “Faster than the elevator” there is quite a long pause between him seeing that Nile jumped out a window and actually making the joke, as if he’s thinking about it first. The majority of the sentences Joe says are in the van speech and while telling Quynh’s backstory. In casual conversations, Nicky seems to take the lead more than Joe.

I’d also speculate that Joe is quite literate. Obviously there’s his own affinity for storytelling and oration, but his use of language hints at a larger vocabulary. You see him use a frequently neglected pronoun in English and a relatively formal adverb. He also uses adjectives like “grotesque” and “infantile”. He does end sentences while prepositions though, so he obviously does not give a fuck about John Dryden and Joshua Poole. That being said, I think the idea of rearranging Joe’s sentences so they don’t end in prepositions is funny and fits his whole vibe.

Joe uses null subject construction in English, and while that’s pretty common in everyday speech in English, it is worth noting that both Italian and Arabic are null subject languages. The way that Joe uses null construction in English is far more similar to Italian than Arabic, which requires a change in sentence sequencing but I still think it’s neat. The thing that Arabic brings to the table that I’m more intrigued by is the fact that it’s a zero copula language. It’s not a matter of copula deletion like AAVE, there straight up is not a copula in the present tense, so the lack of a verb (and specific sentence sequencing) is the copula in the present tense. When Joe drops both subject and verb in the present tense he is, in effect, simulating a similar situation due to the ambiguity of the sentences themselves where the only way you can correctly interpret the sentence is by understanding that the missing verb must be a copula. He gets rid of a subject pronoun as a shout out to Italian, I guess, but also because it would sound so silly if he didn’t. I don’t think Joe necessarily picked up this habit from Arabic, but I do think it’s a fun coincidence.

Nicky

Of all the characters, Nicky has the least consistent contraction usage for personal pronouns and auxiliaries (e.g. I’ve, you’re, it’s, etc). There are examples throughout the film of him using a contraction and then in the next scene he just doesn’t. Unlike with the other characters, who have a discernable pattern (Andy always uses contractions, Nile uses contractions for dramatic emphasis, Booker becomes more inconsistent with contractions when upset, Joe doesn’t use contractions in certain tenses), Nicky is totally random in his contraction usage.

My personal favourite example of this is: “She’s more alone than she has ever been in her entire life.”

Nicky uses contractions with demonstrative, interrogative, relative and indefinite pronouns, however this usage is just as inconsistent as with personal pronouns. He also uses contractions with "there.” He uses contractions with negative modal verbs.

Outside of contractions, Nicky doesn't seem to use colloquialisms in the movie.

Nicky doesn’t use the colloquial going-to future construction and relies on simple future construction

“You will not be able to give him what he wants”, “If it’s now Andromache’s, nothing you do will stop it.

Nicky doesn’t use the colloquial phrasal verb “have got” and instead uses “have”

“I have something for you”

Nicky only has a few discourse markers in the movie. Discourse markers are words that are used to connect, organise and manage sentences while speaking. Nicky uses discourse markers to start sentences, as interjections and as responses. The discourse markers that he uses are:

Sentence openers: so

Interjections: hey, wait, what

Responses: yeah

Nicky doesn’t use any fillers. Instead, he pauses and repeats himself as needed.

"I believe it's because we... we are meant to find each other"

In my other post, I mentioned that Nicky speaks in full sentences, and while that is mostly true, it’s a bit of an oversimplification. While that kind of a statement is fine for an overview post, I felt it would be disingenuous to leave it at that. Nicky speaks in sentence fragments just like everyone else. In fact, he speaks in sentence fragments more than Joe does. He uses ellipsis, but the way he does it is functionally different from the specific methods of null subject, null auxiliary and zero copula that I’ve talked about with the other characters. While the others are quite formulaic about their usage of ellipses, Nicky’s is far more nebulous because it’s very much dependent on context.

Nicky uses answer ellipses, like the others.

[Bedhead?] “Nicely tousled.”

The next way that Nicky uses ellipses might better be described as anaphora. That means when he’s eliding words, the omitted words in the sentence can be found through the context of the sentence preceding it.

The sentence “The only reason we haven’t... is that it’s not our time yet” is missing a past participle. The missing verb is found in the previous sentence: “Everything has to die, Mr. Merrick.”

In fact, almost all of Nicky’s use of sentence fragments and ellipses can most easily be characterized this way. If the sentence that Nicky says is incomplete in some way by itself, that’s usually because he’s referring to something either he, or someone else, has said. In some cases, it’s as if he’s continuing or adding additional information to the sentence preceding it.

“We killed each other.” “Many times.”

“It was a woman. A Black woman.”

Another way of characterizing some of his use of ellipses is to imagine he’s using answer ellipsis to a question nobody asked him.

[What did you see?] “Dirt floor, clay walls.”

In one particular instance, Nicky says the noun phrase “A fine justification.” It’s already an example of anaphora, as it is referring back to Kozak’s “I believe this can change the world.” Nicky’s sentence bears some similarity to Joe’s “Faster than the elevator” as it’s also an example of a sentence which is missing both verb and subject, however when Joe uses this kind of construction, he only does so before an adjective phrase. One could extrapolate from this that Nicky uses null subject and zero copula construction with adjective phrases and Joe similarly uses it for noun phrases, but that’s just speculation.

The final way that we see Nicky use ellipsis is honestly the most baffling and I’m still not entirely sure how to best explain it. The sentence is “Spend eternity in a cage.” It is clearly not the imperative mood, it wouldn't make sense for Nicky to be telling Nile to spend eternity in a cage. Unlike the other examples of Nicky’s use of ellipsis, the preceding sentence (“That’s the reason we dread capture”) provides context but not specific form. Breaking it down from an English language perspective, the only thing that makes sense to me is that “spend” is actually the infinitive phrase “to spend” where the infinitive "to" has been elided and there is an implied “[We are afraid][to] spend eternity in a cage.” I want to be clear here: I understand this sentence. I know what Nicky is saying, I simply have no idea why I know what he's saying. I don't understand why this sentence works. For further theories, look at the section on sociolinguistics at the bottom.

Sometimes Nicky adds unnecessary pronouns to a sentence.

“But then, Andy and Quynh, they were accused of witchcraft themselves and they were trapped and caught.”

Nicky does use the subordinating conjunction “that” but there are also times when he doesn’t. The common Nicky pattern of *shrug*

“The only reason we haven’t... is that it’s not our time yet”

“As much as I like watching you sleep, I’m glad you’re awake.”

When Nicky asks questions, he doesn’t use any kind of null auxiliary construction or zero copula for subject-auxiliary inversion questions. Nicky is also the only other character (after Andy) polite enough to ask indirect questions, and he uses them when talking to people who kidnapped him, which is kind of a power move. Nicky doesn’t seem to use intonation much when asking questions either.

Subject auxiliary inversion (yes/no questions): “Are we too late?” “Are you sure?”

Indirect: “I don’t suppose it would be possible to get these chains off of us?”

Intonation: “Nile?”

Phrases, expressions and idioms used by Nicky: as much, cast off, do you know, get some rest, getting away, I suppose/don’t suppose, judge of character, love of my life,

Sentence composition**: 47% of Nicky’s sentences are simple sentences, 24% are sentence fragments, 3% are compound sentences, 15% are complex sentences, 2% are compound complex and 9% are not in English.

Adjectives and adjective phrases appear in 23% of Nicky’s sentences. Adverbs appear in 6% of Nicky’s sentences. Nicky doesn’t use adverb phrases.

Languages: English, Italian, Nuer

Before I start this, I want to say that despite having a strong accent, I think Nicky is quite proficient in English. He knows the subtle differences between words like “unethical” and “immoral,” he’s aware of and capable of using expressions with irregular syntax and he uses sophisticated linguistic phenomena in English. He uses so many complex sentences it makes my head spin. Leaving all that aside, I think that Nicky probably translates from Italian into English while speaking. Like Nile, Nicky is very deliberate about his language but in a different way. While Nile uses style-shifting to accomplish a number of different things, Nicky is primarily concerned with clarity. I think that Nicky’s tendency towards more formal language is a kind of overcompensation to make sure that he’s being understood. Another thing worth noting is that I think Nicky has actively studied language before, in a class setting or by himself, and has at least some knowledge of linguistics (specifically syntax). At the very least, he is knowledgeable about both Italian and English syntax.

This theory is largely based around the idea of overcompensation. Nicky is primarily concerned with the clarity of speech and because of that, he doubles-down on grammar and structure. Italian is a null subject language so you actually see Nicky use null subject construction when he says “Sono qui” and “Dovremmo tonarci” but you don’t see anything similar in the way that he speaks English even though all the other characters frequently rely on truncated null subjects. He demonstrates a clear awareness of the standard language restrictions of English and how that compares to the restrictions of Italian. And not just that: there’s actually an example in the movie where Nicky adds an extra and unnecessary pronoun in English. In another sentence, Nicky could have used a contraction on two separate instances and deliberately only contracted one of them because the contractions were two different tenses. For the most part, this overcompensation makes it so Nicky’s speech—while unconventional—is still grammatically correct. That’s how you get things like Nicky saying, “The love of my life was of the people I’ve been taught to hate,” which isn’t how most native-speakers would intuitively phrase it themselves and as a result, a further layer of nuance is added by the use of the Present Perfect Continuous. Despite the fact that Nicky uses some unconventional phrasing in English, he doesn’t seem particularly bothered by it or concerned about it. He’s more than willing to experiment with his speech and seems very confident in it as well. That’s why I think he has some kind of formal language training with English, because he clearly understands the system that he’s working with but is less aware of some of the common ways of speaking. I seriously doubt that Joe and Nicky spend much time speaking to each other in English.

Another point that I think is worth mentioning: while Joe seems to thrive while orating and speaks relatively simply otherwise, Nicky is the exact opposite. Nicky’s language capabilities are on full display when he’s engaging in discourse, but when he’s telling Nile about Quynh, you see a lot more irregular syntax structure from him. It’s during this discussion that you hear the line “Spend eternity in a cage,” that I’ve struggled with above. The other possible explanation for the use of this unconventional sentence construction was actually given to me by @rhubarbdreams, who said that the sentence actually makes more sense syntactically in Italian, which has an impersonal imperative. In fact, in the Italian dub, that’s allegedly what it does (“per non passare l'eternità in una gabbia.”) Whether Nicky’s apparent tendency towards unconventional speech in this circumstance is a chronic tendency from overthinking while speaking English or a result of the specific topic they were discussing is up for personal interpretation, although I do think it’s interesting that Nicky was the one primarily leading conversation up until Joe took over specifically when they were recounting a story. I think this is especially interesting considering Nicky was apparently a priest, however this might just be a limitation to him in languages he doesn’t use as often.

Bonus: Quynh

Quynh doesn’t have that many lines, so it’s not really possible to do any kind of meaningful analysis about her speech patterns (she says 16 sentences and 10 of those are screaming “no” or someone’s name). That being said, I do want to look at all the lines she presumably said in English (I’m ignoring Lykon’s death scene because if Lykon really did die in the 6th or 7th century, then they absolutely weren’t speaking Modern English, you know?)

So first we have the lines from the witch trials:

“I’ve never been burned alive before. What do you think it’s gonna be like?”

“Just you and me.”

Okay so obviously there’s some ambiguity over exactly when this happened, since Joe said 500 years in a box and TOGTH lists it happening around 1750. In the comics, Noriko fell overboard around 1590. I simply think the 1750 date is incorrect based on when people were being burned at the stake for witchcraft and heresy. I could talk more about that and my own headcanons about when it happened, but this is a post about linguistics, so what’s important to take from all this is that it probably took place at the earliest sometime in the late 15th century and, at the latest, the very beginning of the 17th century.

Taking all that into consideration, I can say almost certainly that all of Quynh’s lines are some kind of misremembered modern translation of what she actually said. She uses two contractions (I’ve and it’s) that were maybe in use, but likely uncommon. “It’s” was used, although you would be far more likely to see its counterpart “tis”, and contractions with “have” and “had” were only becoming common towards the end of the 16th century. There’s also the problem of the pronoun “you” and how singular “you” would not have been used in this informal context. And since “you” should be the singular “thou”, the archaic singular second-person conjugation of “do” would instead be correct. And finally: going-to future construction may have been used at the time (I can’t speak to the commonality of it), but I honestly can’t say with any certainty whether the colloquial “gonna” was in use. The first recorded use seems to be the 19th century. I’m sure there are other things that are anachronistic about the speech but I don’t know enough about Early Modern English morphology and syntax to speculate any more about it.

So yeah, Andy and Quynh’s conversation is either Andy’s misremembering of it in Modern English, it was never in English in the first place like the other scene, or just Hollywood movie magic for the viewers (I would love to see someone attempt to translate it back into Early Modern English though, I’m just saying).

“It’s nice to finally meet you.”

The one line that I feel has legitimate value in the analysis of Quynh’s speech patterns in English is the final one that she says to Booker. She’s using ME, obviously, with its contractions and singular “you.” She’s also using a modified idiom, “Nice to meet you”, which is interesting because that absolutely wouldn’t have been used when she went under water considering the word “nice” was derogatory at the time. All of this implies to me that Quynh has definitely spent time on land before she finds Booker. Also she split the infinitive ("to meet"). I don't know what that says about her speech, but I sure am looking at it.

Fun Quynh fact: of the 6 times that Andy’s full name is used in the movie, half of them are said by Quynh

**A note on sentence composition: I intentionally didn't go into detail about sentence composition outside of brief mentions. If any of you are curious about it, you can ask. I'm more than willing to discuss sentence clause structure, but I didn't want this to become even longer and more convoluted than it already is. Part of why I’m reluctant to give it any weight here is because of how lenient I was with what was considered a sentence fragment vs. a simple sentence, as the characters are speaking colloquial English. A movie isn’t formal writing and to evaluate dialogue by that same metric is silly. Also, I considered interjections sentence fragments to start and then realized halfway through that that was a bad idea and they should have had their own separate section, but at that point I was in too deep, and didn’t want to go back and do it all again. In the same way, there are sentences that I considered compound or complex sentences, but that “technically” aren’t because a lot of characters drop pronominal subjects and like. Officially you can’t have null subject clauses in English, because that’s not how the language works on paper (imperative mood aside). Or they elided part of the sentence so that technically it's not a clause. But people don’t actually care about stuff like that when they talk. Also I may have messed up a few times, because complex sentences are hard and sometimes I get phrases and clauses confused. It can be difficult to tell when there’s a lot happening, you know? (this is about Nicky. Sir, why do you talk like that)

If you’re a fanfic writer, I’m going to advise that you take the part about sentence composition with a grain of salt or ignore it entirely, unless you’re already familiar with sentence clause structure in English. It will not be helpful to you for writing character dialogue until you’ve actually put in the work to understand it and practice. As mentioned, I still mess it up sometimes if a sentence has too many phrases. Basically, if you think too hard about it, I guarantee it’ll stress you out.

#the old guard #andromache the scythian #nicolo di genova #yusuf al kaysani #nile freeman #sebastien le livre #quynh #tog meta #tog linguistics #long post #like reallyyyyyyy long #it's around 9.5k words #anyway i'm really excited to chare this with everyone!!#i've been working very hard on it #also in terms of formatting i like how it looks on ao3 much more than here so that's how i would recommend viewing it

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misnomera · 4 years

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On racial stereotyping of the Haans in TMA...

Right so as someone who is ethnically Chinese I have NO FUCKING clue how I didn’t notice this more distinctly in my initial binge of tma (going too fast and not paying closer attention to character names and descriptions, probably) but the Haan family storyline is, all horror elements aside, pretty fucked up in terms of racial representation re: stereotyping. This got long as hell, but please please please take a moment to read through if you’ve got time for it. thanks.

To start off, the Haans are one of the few characters in tma with an explicitly specified race and ethnicity—Chinese—and pretty much the only explicitly Chinese characters in tma, other than the mostly unimportant librarian (Zhang Xiaoling) from Beijing. But like, Haan isn’t even a properly Chinese surname, at least not in the way that it’s spelled in canon (it should be Han, one a. A quick google search tells me that Haan as a surname has...Dutch origins??).

Of course, that could be chalked up to shoddy anglicization processes within family histories, which certainly isn’t uncommon with immigrant families, so I’m not going to dwell on names too much (although I also find it interesting that John Haan’s name is so specifically and weirdly anglicized that he changed his own surname?? Hun Yung to John Haan is a very big leap of a name change and frankly not very believable. ANYWAY, this is not that important. I don’t expect Jonny, a white Englishman, to come up with perfectly unquestionable non-Cho-Chang-like Chinese names, though it certainly would be nice. Moving on).

What really bothers me about the Haans is how they almost exclusively and explicitly play into negative Chinese immigrant stereotypes. I don’t even feel like I need to say it because it’s like...it’s literally Right There, folks. John Haan (in ep 72) owns and operates a sketchy takeout restaurant. They’re all avatars of the Flesh—and John Haan is Specifically horrific and terrifying because he cooked his wife’s human meat and fed it to his unknowing customers. Does that remind you of any stereotypes which accuse Chinese people of consuming societally unacceptable and ethically questionable things like dog/cat/bat meat (which, if it’s not already crystal fucking clear, we don’t. do that.), which in turn characterize us as horrible unfeeling monsters? John Haan’s characterization feeds (haha, badum tss) directly into this harmful stereotype that have caused very real pain for Chinese people and East Asians in general.

And Jonny does nothing to address that from within his writing (and not out of it either). And, speaking on a more meta level, Jonny could’ve easily had these flesh avatars be individuals of any race (like, what’s Jared Hopworth’s ethnicity? Do we know? No? Well then). Conversely, he could’ve easily, easily had a Chinese person be an avatar of any other entity. So why did he have to chose specifically the Flesh?

(This is a rhetorical question. You know why. Racial stereotyping and invoking a fear of the other in an attempt to enhance horror, babey~)

On Tom Haan’s side, Jonny seems weirdly intent on having other characters repeatedly comment on his accent (or rather, lack thereof) in relation to his race. Think about how, in ep 30 (killing floor), the fact that Tom Haan had spoken a line to the statement giver in “perfect English” was an emphasized beat in that statement, and a beat that was supposed to be “chilling” and meant to signify to us that something was, quote-unquote, “not right” with Tom Haan. Implicitly, that’s saying that it was unexpected, not “normal”, and in this case even eerie, for someone who looks Chinese to have spoken in fluid, unbroken English. Mind you, the line itself was perfectly scary on its own (“you cannot stop the slaughter by closing the door”), so why did Jonny feel the need to note the accent in which it was spoken in? Why did Jonny HAVE to have that statement giver note, that he initially “wasn’t even sure how much English [Haan] spoke”?

This happens again in episode 72 with a Chinese man (and again, his ethnicity is Explicitly Noted) who we assume is also Tom Haan. This one is rather ironically funny and kind of painfully self aware, because the statement giver expresses surprise at Haan’s “crisp RP accent” and then immediately “felt bad about making the assumption that he couldn’t speak English,” and subsequently admitted that thought was “low-key racist.” Like, from a writing perspective, this entire passage is roundabout, pointless, and says absolutely nothing helpful to enhance the horror genre experience for listeners (instead it just sounded like some sort of half-assed excuse so Jonny or other listeners could say “look! We’ve addressed the racism!” You didn’t. It just made me vaguely uncomfortable). And again, having other people comment on our accents/lack thereof while assuming we are foreign is a Very Real microaggression that east asians face on the daily. If Jonny needed some filler sentences for pacing he could’ve written about Literally anything else. So why point out, yet again, that the crazy murderous man was foreign and Chinese?

At this point, you might say, right, but yknow, it was just that the statement givers were kind of racist! It happens! Yeah sure, ok, that’s a passable in-universe explanation for descriptions of Tom Haan (though not John Haan, mind you), but the statement givers are fake made up people, and statement’s still written by Jonny, who absolutely has all the power to write overt discrimination out of his stories. And he does! Think about just how many minor (and major!!) characters are so, so carefully written as completely aracial, and do not have their ethnicity implicated at all in whatever horrors they may or may not be committing. Think about how many lgbtq+ characters have given statements, and have been in statements, without having faced direct forms of discrimination, or portrayed as embodying blatant stereotypes in their stories (though lgbtq+ rep in tma certainly has their own issues that I won’t go into here). Jonny can clearly write characters this way, and he can do it well. So why, why, am I being constantly, repeatedly reminded in-text of the fact that the Haans are East Asian, that they’re from China, that they’re Chinese immigrants, that they’re second-generation British Chinese or whatever the fuck, and that they’re also horrifying conduits for blood, gore, and general fucked-up-ness? It’s absolutely not something that is Needed for the stories to be an effective piece of horror; the only thing it does is perpetuate incredibly harmful and hurtful stereotypes.

And listen, I love tma to bits. It’s taken over my blog. I’ve really loved my interactions with the fandom. And I am consistently blown away by Jonny’s writing and how well he’s able to weave foreshadowing and plot into an incredibly complex collection of stories. But I absolutely Cannot stop thinking about the Haans because it’s just. It’s such a blatant display of racial stereotyping in writing. And I’ve certainly seen a few voices talking about it here and there, and I don’t know if I’m just not looking in the right places, but it certainly feels like something that is just straight up not on the radar for a lot of tma fans. And I’m disappointed about that.

Just, I don’t know. Take a look at those episodes again and do some of your own thinking about why these characters had to be specifically Chinese (answer: they didn’t.). And in general, PLEASE for the love of god turn a critical eye on character portrayals and descriptions whenever they are assigned specific races/ethnicities (Some examples that come to mind are Jude Perry, Annabelle Cane, and Diego Molina), because similar issues, to an extent, extend beyond the Haans, though I haven’t covered them here.

You shouldn’t need a POC to do point out these problems for you when they’re so glaringly There. But for those of you who really didn’t know, hope this was informative in some way. I’m tired, man. If some of the only significant Chinese characters you write are violent cannibalistic men with a perverted relationship with meat, just don’t do it. Please don’t do it.

EDIT: Since the making of this post Jonny has acknowledged and apologized for these portrayals on his twitter and in the Rusty Quill Operations Update, which went up September 2020. A long time coming, but better late than never. This of course doesn’t necessarily negate the harm done by Jonny’s writing, and doesn’t make me much less angry about it, but is appreciated nonetheless. For more on this topic there’s a lot of productive discussions happening in my “#tma crit” tag and in the notes of this post

#tma #the magnus archives #magnuspod #tma 30 #tma 72 #tma crit #racism #sinophobia #racist stereotyping #tw cannibalism #tw violence #long post #tom haan #john haan

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drabsyo · 3 years

Note

Drabs, I know that you usually draw Fleur with slightly darker blonde hair than Narcissa. Was it a choice so that it’s easier to distinguish them from each other or was your Fleur maybe slightly influenced by the actress from the movie who had darker hair?

In the books Fleur didn’t seem to have much description other than having long silvery hair (waist length?) and having this glow around her. So like with Narcissa, what works have influenced your design of Fleur?

It’s fascinating sometimes to read the artist’s perspective and your previous reply to the anon about Narcissa has been very interesting.

Thank you!!! 🥺

I was actually pretty embarrassed over how enthusiastic I got over the whole hair thing, but I'm glad it made some sense at least 😂 And now that I've been given even more reason to talk about it... (Let's face it, I shouldn't even be allowed on this website to begin with, ya'll have been way too nice to me.)

Only click on keep reading if you want to read Some Nonsense.

I did consider Fleur's actress when I thought about her hair color. Though I pictured it to be something of a mix between movie Fleur and Elsa’s (from Frozen) hair. But the way I drew Fleur's hair, the way it falls across her shoulders, that was more of... well, I imagined Fleur to have effortlessly perfect hair, like she doesn't seem to need to style it so much because it's already whimsical as it is, what with her being part-Veela. There were a lot of fanfictions that helped me to sort of see a better image of Fleur in my head so really, I owe it to all the talented writers out there!

It's also the same with Narcissa's case. Though I decided to give her paler hair, compared to Fleur's, because I wanted to emphasize that air of vulnerability Narcissa has—this image she conjures, like she's this fragile thing made of glass, which typically in fanfiction is what Narcissa uses so that Voldemort would overlook her a lot, hence why she wasn't given any "missions" or "tasks" while Voldemort was in Malfoy Manor. Slytherin preservation. This "fragile" image was something Narcissa capitalized on and maintained perfectly, but in post-war Cissamione fanfictions, she no longer has to put on that façade—she starts living for herself, but the quiet sadness about her never really goes away.

I really did struggle at first, I had to find a way where I could draw them without confusing people and myself.

So, again, I sifted through a lot of canon and non canon material about these two characters which funnily enough made me see some kind of parallel going on between them. I know. Fleur Delacour and Narcissa Black. Parallels?! It's nuts. But again, this is only within Fleurmione and Cissamione fanfiction, and it really helped me to draw them better. (At least in a way that made them distinguishable from one other at first glance, I’d like to think.)

These 'hair scenes' are mostly the bits where Hermione "first" sees Fleur. Hermione is entranced, a little curious, sometimes she feels indifferent, but the general theme is Hermione immediately finds Fleur beautiful—which probably explains why Hermione in fanfiction sometimes thinks Narcissa could be part-Veela like Fleur. And as you can imagine, that's where my struggle began.

You'll see what I mean in a minute. And just like last time, remember that this part comes with spoilers.

🔹 In Fighting is our form of Flirting by InsomniacAndBi in Chapter 2 Hermione sees Fleur for the first time. This is the first Fleurmione fanfiction I've ever read, and also the first time I've encountered Fleur's character. Tall, bright blonde hair, won the genetic lottery, aristocratic features, face held in a scowl, floats into the room with effortless poise, immediately starts demanding things out of people... Sounds vaguely familiar, doesn't it. Like some other blonde we know.

"Non!" A voice from the doorway said. "This is not what was agreed."

For a moment, Hermione thought about ignoring it but turned to glance over there if only to quell her curiosity. A girl stepped into the room and Hermione's phone call was forgotten in a moment. She knew that it wasn't nice to stare but Hermione couldn't help but do it because, in all honesty, this was the prettiest girl she had ever seen. She was definitely taller than Hermione was, with bright blonde hair and...clearly she had won the genetic lottery.

Her skin practically glowed and it looked so smooth and soft. It made Hermione wonder if she used those fancy beautification charms or had a very lengthy skincare routine. Or maybe, just maybe, this is what being rich did to people's faces. There was no doubt in Hermione's mind that this girl was rich - like extremely rich, like even rich people thought she was rich. That kind of rich. That was the type of rich that this girl was.

Also, only super rich people curled up their lip like this girl was doing.

She breezed into the room like she was floating and Hermione hastily ended her phone call and promised to call back later.

"This is not what was agreed," The girl said again and Hermione felt incredibly small sitting in front of her. Not to mention, the girl's clothes screamed 'I'm rich and I know it' and Hermione's screamed 'I'm so out of place that I might as well be a bull in a China shop'.

"I have no idea what you're talking about," Hermione managed to get out when it became apparent that the girl was waiting for her response.

"You are English." The girl looked shock for a moment at Hermione's accent before shaking her head angrily. "This is not what was agreed."

🔹 In Oath of Silver by i_shall_wear_midnight immediately in the first chapter, when Witcher Hermione first meets Fleur, it's something Hermione quickly notices. Vivid sapphire eyes. Silvery blonde hair that shimmered in the torchlight. And once again, right off the bat, Fleur is pushy. She wants things done her way. It’s just so cute how she doesn’t even let the fact that Hermione is a Witcher, an extremely dangerous outcast in society, get in the way of that.

(I'm sorry for this but I just have to gush about Oath of Silver. Hermione as a witcher is just so fitting for her character; she possesses that natural eye for detail that remarkable witchers have, witchers like Geralt and Vesimir (a skill that gets even more honed through the Witcher Trials). Hermione even has Geralt's dry sense of humor, a bit rough around the edges, brilliant, snippy without really meaning to (because she asks a lot of questions and would rather get to the point), but has a good heart.)

The witcher figured that would be the end of her human interactions for the evening, but only a few minutes later, the stunning newcomer from before appeared before her. Upon closer inspection, Hermione couldn’t imagine she wouldn’t be conspicuous in any group of people she happened to find herself immersed in. The woman was looking back at her with vivid sapphire eyes, and silvery blonde hair that shimmered even in torchlight. Her attire was travel-ready, but elegant.

“Bonsoir. You are a witcher, oui? Or perhaps a ‘witcheress’ is more accurate? I am not familiar with all the terms…” She watched the beautiful stranger patiently while she fumbled through Hermione’s professional title. As if the distinctive, amber colored cat-eyes hadn’t given her away, the brunette mused wryly. Eventually, the blonde gave up and sat herself down at Hermione’s table, her medallion twitching faintly as the stranger got settled. Hermione filed that away for later. Her new dinner buddy seemed to be oblivious to the curious and concerned looks now being thrown her way at boldly taking a seat at a mutant’s table.

“I came from Ellander,” she began in a non sequitur. “The temple, and spoke to the priestess Nenneke, who told me about you.” Hermione continued eating her second serving of stew and waited for her to get to the point. “I would like to hire you as an escort as I travel back to Toussaint.” The witcher finally put her spoon down.

“Sounds like you ought to be asking some mercenaries to be your bodyguards,” she responded, eyeing the bow the woman was carrying on her pack meaningfully.

“A pair seems doable, and I’d prefer you.”

“I’m not a bodyguard.”

“Yes, technically, I am aware,” she replied, beginning to show signs of impatience.

“Then why are you soliciting a monster-slayer?”

🔹 Witnessed here in Time and Blood by whistle.the.silver is probably the most interesting one because it uses the concept of Veela hair as a wand core brilliantly. Again, this comes with huge 🛑spoilers🛑. Read the italicized words at your own risk. I can't add the entire clip here, as the topic of Fleur's hair is littered throughout several other chapters. But this story shows us a Fleur who is willing to do anything in order to protect Hermione during the course of the war.

My memory is a bit foggy, I haven't read this story in months, but here's what I remember:

This takes place during the time of Shell Cottage, where Fleur is married to Bill and takes care of Hermione. Fleur didn't expect to fall in love with the young brunette and, as the Golden Trio's time in Shell Cottage comes to an end, she worries over Hermione's safety. Fleur, using magic only known to the Veela tribes, does her best to offer Hermione protection in any way that she can--even going as far as to study what Lily Potter did so Harry could live. At one point, Fleur cuts her own hair with a length now roughly above her shoulders to give Hermione a new wand. But this isn't the only bridge Fleur is willing to cross to make sure Hermione survives the incoming battle. Fleur's grandmother, Ron, and even Bill himself, is a little sceptic over the propriety of Fleur's actions, but Fleur is determined to do whatever it takes to make sure Hermione makes it out of the war safe and alive.

So that was a lot to wade through, I know.

But if you've skipped all those parts for the sake of missing spoilers then let me go ahead and explain why the parallel between Fleur and Narcissa are there. Sure, it's plain to see that they have similar physical characteristics, but they're also similar in other ways.

In Witnessed here in Time and Blood, Fleur is willing to do whatever it takes to protect Hermione during the war: sacrifice the secrets of the Veela, make Hermione a wand, make her marriage and friendship with Bill suffer, be scrutinized by her Veela tribe, etc. And didn't Narcissa do the exact same thing during the war to make sure Draco made it out alive? They both chose to 'betray' everyone else for the sake of this one person. Not to mention, in Extinction by rubikanon Narcissa even makes Hermione a wand. (I’m telling you, there are so many parallels between these two ships and I can probably list more but I'd rather not make this post longer.)

Here, I’m just going to go ahead and say it—it’s almost like Fleur and Narcissa in fanfiction have the same love language.

A glaringly obvious difference between them is their upbringing, and we could argue that this why Fleur tends to be more open with her emotions while Narcissa tends to be more carefully guarded with hers. And I don't know if writers realize these parallels but as someone who's a huge fan of both characters and as someone who makes the occasional fanart of them, it's a pretty difficult detail to ignore. This crazy conspiracy all started because I had to find a way to make both characters look distinct from one another... It's just so interesting that writers from two different ships unknowingly make these parallels with two completely separate characters who are often at the opposite ends of the seesaw.

But again, let's take a look at Extinction by rubikanon. (I know. Extinction?! AGAIN?! Always.)

Spoiler warning!

🔹 Extinction by rubikanon has a marvelous take on this, as it turns out Fleur and Narcissa are actually good friends, and if I remember correctly, occasionally exchange letters (I’m unsure about this bit, I might have read it in a different story). They just get along remarkably well; I imagine they both share a kind of mutual respect for each other, a quiet understanding for the way the other woman carries herself: poised, meticulous, they pride themselves in their work, they both know how to handle an Ocean Of Secrets™, they're both accustomed to being under the spotlight of the public eye, and they’re both dedicated to their loved ones. Needless to say, Fleur and Narcissa are both giddy over the prospect of being with someone they love and adore, and end up meticulously planning numerous (I think it was hinted) double dates (Fleur with Bill, and Narcissa with Hermione) with the same kind of endearing enthusiasm that leave Hermione and Bill with no choice but to agree to the whims of their respective lovers.

(Scene seen in Chapter 23: Build Up Your Defense 2 of 2)

Narcissa and (Hermione) I were sitting together on one of the couches when Bill and Fleur arrived later. They showered Teddy with kisses on his little cheeks. He'd gotten past his clingy phase and adored us all, struggling to walk around the room by bracing himself on everyone's knees.

Suddenly Narcissa reached up and grabbed onto someone's wrist behind her head. "Don't even think about it," she said.

"That's just scary. How did you know I was there?" George stood up from behind the couch, a toy spider dangling from his hand. Teddy shrieked with laughter.

"She has eyes in the back of her head," Draco said.

"Mothers," George grumbled, sitting down close to Angelina. "Dump her, Hermione. I need you to date someone more prankable."

Fleur looked in surprise at the two of us on the couch. "Oh, la vache! How did I not know zees? You are lovers?"

"We're dating," I said mildly, though we really were lovers. In every sense. I glanced at Narcissa and bit my lip as heat spread through me. My imagination started planning a middle-of-the-night rendezvous.

"No wonder she (Narcissa) was so adamant about healing that curse," Bill said thoughtfully.

"Adorable! Simply adorable!" Fleur exclaimed, sitting down on Narcissa's other side. "We must go out for a double date next week, all four of us. We'll dine at L'Escargot!"

Narcissa's eyes lit up.

"Oh, no," I said.

"You won't have to eat snails," Narcissa said. "Please, mon amour?"

"French doesn't work on me."

"Please?" She kissed my cheek again and again. "Please? Please?"

Laughing now, I pulled her in for a kiss on the lips and said, "Yes, alright. But only because I have fond memories of trying new foods with you."

"As do I," she agreed.

Then we realized everyone was staring. Narcissa cleared her throat and straightened up, blushing. Draco made a face. Ginny looked a little more favorable. Harry held in laughter, and Andromeda hid her camera.

"Adorable!" Fleur declared again.

🔹 Also, I just have to add Sugar and Spice by waltzlikeits1698 because Chapter 4: Happy Birthday, Harry is absolutely hysterical. During Harry's birthday party, Hermione sulks in a corner because Fleur has apparently been avoiding her. Ginny decides to do something barking mad, something Hermione typically falls for.

“Ooh, someone’s grouchy,” Ginny teased, retracting her arm and facing Hermione fully. “What’s wrong with you?”

“Nothing,” Hermione insisted, although even she could hear the pout in her voice.

“Sure seems like it,” she snarked, summoning two shots and offering one to Hermione with a waggle of her eyebrows. Hermione pulled a face and Ginny shrugged before downing both, one after the other. (...) “You know, I spotted a tall, blonde drink of water hanging around the stairs.”

“What!?” Hermione exclaimed, whirling around and leaning out of the room to look at the staircase. Sure enough, standing at the bottom and resting a slender hand on the bannister was a tall, blonde witch who made Hermione’s heart stop with her mere presence. She had started forward before she knew it, her heart taking up an even quicker beat as she crossed the few steps and reached out a hand to clasp her elbow. The woman turned, that beautiful blonde hair catching the candlelight as it moved in one long sheet.

Hermione retracted her hand in horror, her eyes widening. “Mrs Malfoy!?”

Narcissa Malfoy raised an eyebrow at the witch who had practically accosted her. “Miss Granger. Can I help?”

What was she even doing here?

“Uh,” Hermione said dumbly, “sorry, I just… need the loo. Can I-?”

She gestured lamely to the staircase. Both women stared at the perfectly reasonable gap that Hermione could easily pass through. The moment stretched on.

Slowly, Narcissa returned her inscrutable gaze to Hermione, who squirmed uncomfortably in response. She then took a small step to the side and gestured for Hermione to pass. She did so and, as she turned the corner of the staircase, sent a deadly glare at Ginny, who was practically pissing herself with laughter.

(...)

Fleur had arrived. Hermione couldn’t explain exactly how she could tell, considering she had been in the duplicated bathroom for the last ten minutes after humiliating herself in front of Narcissa, but she knew it like she knew that it was levi-O-sa.

(...) (Hermione) She tried to avoid eye contact with Narcissa on the way back down and was thoroughly unsuccessful: the witch had physically reached out and laid her own hand over Hermione’s on the bannister, forcing her to stop and look up. Then, with an intention behind her eyes that Hermione had neither the brain capacity nor the energy to delve into, she said “It’s Ms Black now.”

Then she had released Hermione’s hand and turned back to her conversation with Andromeda and two wizards Hermione didn’t recognise.

Come to think of it, there were a lot of people Hermione didn’t recognise.

Anyway, long story short, this is the result of reading both Fleurmione and Cissamione—

But RIGHT. At the end of the day, again, these are just some crazy little things I picked up on and I may or may not be right, no one has to agree with me, everyone can disagree with me. Actually, yes feel free to disagree with me. I need to get out of this damn site and you know, touch grass.

Okay. Well. I'm gonna stop here now. So. Bye. But thank you anon for this lovely ask!! I’m really touched that you wanted to know what inspired the way I drew Fleur 🥺💕💖 But still. So sorry for this massive word vomit!! 😂

#fleurmione #cissamione #fleur delacour #narcissa black #narcissa malfoy #hermione granger #stupid rants #drabstuff #yall im telling you im the mad scientist but remove all the science

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welllpthisishappening · 3 years

Text

It all kind of happens in slow motion.

One second, Emma hears the crack of the bat and the requisite roar of the crowd, and the next her eyes have widened to a size most scientists would likely advise against. Because, standing at home plate, that same home plate multiple baseball players are sprinting toward, is her kid. More or less waiting to be run over. That is, of course, until Killian Jones.

———

Word Count: 4.1K Rating: Flufffy fluff fluff of the fluffiest variety AN: Writing has been something of a legitimate challenge for me in the last few weeks, but earlier this week @ohmightydevviepuu sent a link to this tweet, tagged me, and said what I basically took as an unspoken prompt. Like, you’re going to send me video of a bat boy getting scooped up at home by a player in the middle of the game and then think I won’t write about it? Not possible. Even with the aforementioned writing challenges. Nothing stands a chance against my love of baseball. Here’s hoping the Yankees turn it around in the second half. Neither Aaron Judge or I deserve the season we’ve had so far.

———

Biologically speaking, Emma Swan is perfectly aware that the current positioning of her heart is more or less impossible.

Stuck somewhere between the back of her throat and the pit of her stomach, it makes her all too aware of the now-empty chasm in her chest, stretching out toward her arms and threatening the structural integrity of her lungs, neither of which appear all that intent on working properly. Oxygen is a luxury not currently afforded to her capillaries. Instead, nerves mix with anxiety and the telltale flush of adrenaline that probably also makes her look relatively crazy because her pupils are definitely dilated and she does not know nearly enough about science to be making any of these claims.

Whatever, really.

It feels like that ooze from that movie. FernGully, Emma thinks. With the fairies. She thinks they were fairies. She’s not entirely certain they were fairies.

And the ooze was definitely oil, obviously. There was a message involved in that movie. Not one that she appreciated when she was seven and Tim Curry’s animated-oil voice sort of freaked her out. But, like, she gets it now. The environment, and everything. With or without fairies. With Robin Williams, though.

She’s positive about that, at least.

Robin Williams was definitely in that movie.

Less positive about the ability of her heart to actually split itself in half, as it seems wont to do at the moment. So, as to make it easier when it inevitably soars out of her mouth and falls onto the scuffed-up clubhouse floor beneath her feet. Naturally, this will happen simultaneously. For maximum effect.

Much like the fireworks currently exploding over the left-field bleachers.

She’s not sure if fireworks do explode, actually. That seems dangerous. Likely to lead to injuries and sounds that don’t resemble the oohs and ahhs a ballpark generally inspires. Explode probably isn’t the right word. Maybe something more like…detonate.

No, that’s worse. Way worse. She’s got to learn more words. Find a thesaurus or a dictionary or—a fireworks expert would be ideal, honestly.

Someone who could give her a detailed description of the inner-workings of a Yankee Stadium pyrotechnics display on a Tuesday in July, enough words that Emma’s mind would still for a few moments, allowing her to catch her breath and reestablish a consistent heart rate, and both of those problems could also likely be solved by sitting down, but the chair to her left looks a little wobbly, and her legs appear to have minds of their own because science is rather quickly becoming a lie and—

“Is he alright?” She spins. Nearly falls over. Her knees are also awfully wobbly, that’s why.

Despite all of that, and the overall circumference of her pupils, the voice doesn’t retreat. Doesn’t even flinch. Shows absolutely no signs of imminent stumbling. And that’s probably because the voice is a man, one who is in possession of world-class instinctual reactions, and his hair is still damp from his post-game shower and it absolutely makes her something of an atrocious mother to acknowledge that last thing as quickly as she does.

His shirt sleeves are noticeably sticking to his biceps, so that helps too.

Opening her mouth, Emma is going to say words that are both vaguely intelligent and passably accurate, absolving this Major League Baseball player of any of the guilt he so obviously feels. Which is just patently stupid, really. None of this was his fault. None of it was anyone’s fault, really.

Except maybe the idiot who left his bat at that particular angle across home plate, but Emma’s an adrenaline expert these days and walk-offs are understandably exciting. First walk-offs more so.

She’s happy for Scarlet, really.

They won the game.

Everything is fine. Great, even. She nearly jumps twenty-six feet in the air at the next boom of fireworks.

The pinch between the Major League Baseball player’s eyebrows gets—

Pinchier.

The little roll of skin draws Emma’s attention, effectively robbing her of the ability to respond like an almost-sane person, but she’s also still trying to rationalize why she can remember the words to several FernGully songs while also being unable to recall what flavor PopTart she had for breakfast earlier this week and she figures watching her kid nearly get run over by professional athletes approximately forty-two minutes before gives her a fairly reasonable excuse.

For opening and closing her mouth no less than eight consecutive times.

Like a goddamn fish. There were no fish in FernGully. Least not so far as she remembers.

It’s entirely possible she squeaks on attempt number five.

The Major League Baseball player’s eyebrows do not move. It’s equal parts frustrating and incredible to behold.

“I should probably thank you, right?” Emma asks, not quite regretting the words immediately, but it’s awfully close. That gets her some movement. Of the eyebrow variety. One eyebrow, specifically. Arching up, it somehow still manages to pull her attention directly toward eyes that should be the star of their own marketing campaign. Not quite Yankee blue, but distractingly blue, and it takes everything in her not to huff as dramatically as she wants to. Once the athletic trainer is done with Henry, Emma is going to make him examine her lungs. Rationality rules the day.

Major League Baseball player shakes his head. It’s dumb to call him that. She knows his name. Knows at least some of his history. Is still staring obnoxiously at his freakishly attractive face.

Freakishly is kind of mean, too. As far as descriptions go.

“Unnecessary,” he says, an undercurrent of worry still clear in the letters. Ducking his head, he takes a cautious step forward, almost as if he’s wary of what Emma will do, and she supposes that’s fair. What with the impressive vertical she’s in possession of these days. “Anyone would do that.” “I’m not sure they could, actually.”

At some point in this otherwise shitty experience of a night, Emma is vaguely confident something will go the way she wants it to. Aside from winning. She’s glad they won. Seriously.

“No?” “No,” she echoes, and it’s not like she can feel him. A few feet of space separates them, so whatever heat appears to be wafting off the Major League Baseball player in front of her, with his damp hair, and stupid, stupid, stupid eyes is as impossible as any of the various impossibilities currently taking place within her person.

And yet.

He sticks his hand out.

It’s disarmingly earnest.

“Killian Jones,” he says, confidence replacing the nerves, and Emma begins to see why there are so many stories. And Twitter threads. Regarding his face and the potential for that face to date a variety of other attractive faces across at least four of the five boroughs. Somehow Emma doesn’t think Killian Jones, New York Yankees third baseman, is schlepping out to Staten Island for a date.

Nor does she believe that Killian Jones, New York Yankees third baseman, has ever once let the word schlep pass through his conscious mind.

She takes his hand.

It is—

Surprisingly warm. And...not quite soft, that’d be impossible with the job he performs almost nightly. But the calluses on the pads of his fingers aren’t as rough as Emma expects, which also suggests she’s managed to ponder the overall texture of Killian Jones’s fingers in the last twelve point six seconds, and that’s not entirely true. What is true is that Ruby thinks Killian Jones is real good-looking and has determined that the phrase quite a catch is the pinnacle of humor, so, sure, Emma has possibly considered the possibility of paths crossing and intersecting, and her hand looks minuscule wrapped up in his. So, that’s something to think about later.

Their arms move. Bob up and down as society dictates they should, and he’s smiling at her, and she’s trying not to look like a serial killer, straining to hear the voices behind the door, and it does not work.

“Why do you think people are so consistently fascinated by fireworks?” If he’s surprised by her absolutely inane question, he doesn’t show it. That’s points. For what, Emma hasn’t totally decided yet, but it’s something, and it’s probably good, and they’re going to play that clip on loop for weeks. Longer, probably.

Every goddamn day if the Yankees make the postseason.

When the Yankees make the postseason.

Her dad wouldn’t appreciate the buffer. Leaves room for loss, and that is not the Nolan way. Not when there are championships to win, and this was supposed to be the best possible time. Smack dab in the middle of the season, with the All-Star break looming, Henry would get to suit up as batboy for one game that didn’t mean much and wouldn’t draw too strong of a spotlight, no murmurs about nepotism by internet trolls who couldn’t possibly define the word with any sort of accuracy, but also like to shout about canceling and culture with an almost alarming sense of self-righteousness, so, of course, the whole thing was now blowing up in their face.

Much like the goddamn fireworks.

It wasn’t Will Scarlet’s fault.

Wasn’t Henry’s fault, either.

His job was to get the bats out of the field of play. Doing it while the field of play was still active was a mistake any kid could have made. Just so happens that it’s Emma’s kid, and the grandkid of the Yankees’ hitting coach, and that means something to the New York media and the New York fans, and if Killian Jones, New York Yankees third baseman with an arm that can make cross-field throws with ease, wasn’t also so quick-thinking and sure-footed, scooping Henry up as he crossed home plate and avoiding the ensuing swarm of players at home plate, all intent on celebrating Will Scarlet’s first-ever career walk-off, Emma can only imagine what would have happened.

Trampled. Stepped on. Broken bones. Concussions.

They’re checking Henry for a concussion now. He absolutely does not have a concussion. He was laughing while he was carried off the field. Like he hit the walk-off.

Front office is absolutely petrified she’s going to sue them.

The thought hadn’t even once crossed Emma’s mind. Plus, she’s sort of busy. Holding Killian Jones’s hand. His stupid, warm hand.

“Bright colors,” he says, responding to a question Emma’s nearly forgotten about. Jumping is more challenging when his fingers tighten ever so slightly. “Flash, boom. Taps into baser instincts, I think.” “You think people’s base instinct is to enjoy explosions.” “Phrasing that as a statement makes me think you don’t agree with me.” “You didn’t want me to thank you,” Emma points out.

“Well, no,” he says, and the precise way his eyes drop does something specific to all of her instincts. Leaves her flush with a heat that reminds her of Fourth of July sparklers rather than any sort of massive explosion, and that’s not bad, per se, although it’s admittedly a little surprising. As is the slight uptick of precisely one side of his mouth. It takes her a moment to realize he’s smirking at her. And another for her subconscious to admit that it’s working as intended. Her shoulders drop half an inch. While Emma pulls her hand back to her side. “Thanking me suggests I did anything to warrant the thanks.” “Big words.” “For a dumb athlete, you mean.” “That wasn’t a question, either.” “No,” Killian repeats, “it wasn’t.” “I’d really like to thank you. I—Dad told him when to come out of the dugout, so he definitely knew the rules, but I think he was super worried about you tripping over the bat.”

The smirk becomes a full-blown smile. Which is no less than forty-seven thousand times more powerful. Equivalent to staring directly into a solar eclipse or gazing upon the dark side of the moon, and Emma should at least do some research before coming up with these internal examples. Basic Google searches would provide her with the necessary information.

“That’s more or less what he told me, yeah.” Emma’s nose creases. “Talked your ear off after your daring rescue, huh?” “Keep complimenting me like this, and my ego won’t know what to do with it.”

She hopes she’s not blushing as much as it feels like she is. The state of Killian’s eyebrows and the precise curl of his lips make that seem unlikely. “Your reflexes are unparalleled.” “Something about big bucks and why I get paid them.” “Oh,” Emma laughs, unable to stop herself, and she doesn’t remember deciding to stop pacing, only that her knees appreciate it once she has, “you think you’re real funny, don’t you?” “I think I’m moderately funny, not the hero you’re suggesting I am—” “Oh, I never used the word hero.” “—And you never actually told me your name.”

“Because you don’t know who I am.” It’s not a question, either. Neither one of them mention that.

“I do,” Killian concedes, “Henry was also fairly quick to mention exactly who he was and where his mother was sitting.” Emma’s nose is going to freeze in this position. “But I gave you my name, which makes it only fair that we’re all square and whatnot.” “Whatnot, huh?” “Yup.” He pops his lips on the letter. Which is also unfair. In, like, the grand scheme of the world. The black ooze that is not actually oil when used in this particular metaphor recedes. Leaves Emma with a chest cavity that is partially full of butterfly wings and the growing sense of anticipation that isn’t quite as nerve-wracking as it should be. Like she’s about to step into the batter’s box with two outs and runners in scoring position. She’s totally going to hit against the shift. Fluttering her fingers at her side, Emma doesn’t lift her hand. It doesn’t matter.

Killian’s eyes drop. To the movement. And her. And part of her shies away from that because part of her has spent a lifetime tucked into a shadow that didn’t belong to her and doesn’t belong to Henry, but now there’s some joke about Peter Pan to be made because they live in an internet-age and Killian Jones has a very good face. So. Viral video, enter stage right. Starring Henry Swan, Killian Jones, and the inevitably uneven pitter-patter of Emma’s traitorous heart.

“Emma Swan.” “I think you should sit down.”

“Why is that, exactly?” “I’m worried about your legs.”

Whatever noise she makes can’t quite be classified as a scoff. It hurts her throat too much. And it’s not a laugh, either. Even as the butterflies threaten to rise up in mutiny of Emma’s more rational feelings, and she gets the distinct impression that Killian is reading her mind. Trying very hard, at least.

“Sounds like a line.” “Might be a line,” he admits, which draws another wholly inhuman sound out of Emma’s barely-functioning lungs.

“Did he kick you on the lift?” Killian hums. “You’d kick too if you were just hauled off your feet, so I understand the reaction. What I’m more worried about is the inevitable bruise on my foot from the bat landing there.” “Ah shit, really?” “I’ve had worse.” “But not in 4K video that people will play on loop for the rest of the news cycle. If not longer.” Narrowing his eyes, Killian doesn’t immediately respond. Mind reading requires a modicum of focus, Emma assumes. Instead, he rests a hand on her shoulder, directing her toward the chair and ignoring the soft crack her left knee as it bends. “That’s what you’re worried about.” “Stop sounding so confident.” “I can only sound how I am, Swan.” “Oh, I’m not sure we’ve reached nickname status yet,” she mumbles, pushing down the soft rush of metaphorical insects doing their beset to soar out of her barely-parted lips. “But, yeah, I—I mean, don’t get me wrong, I was totally terrified in the moment.”

“Understandable. Grown men barrelling down the third-base line at your kid are a lot to take in.” She snorts. It’s not cute. Not dignified. Killian smirks. “Should you be concerned that the Scarlet was making such solid headway behind you? Are you exceedingly slow?” “I am league average.” “How fast can you get out of the box to first?” “I’ve never timed it.” “Liar, liar.” “Please don’t make a crack about my pants,” Killian says, “I won’t be able to cope.”

“Oh God, you think you’re charming, too.” “I’ve had no complaints.” “To your face, at least.”

Throwing his head back, the laugh that erupts out of him is not of volcano proportions. Of which there was also one in FernGully if Emma’s memory is to be trusted. An arm circles his middle, stretching muscle and ensuring that Emma notices just how corded that same muscle is, the slight bend of his wrist leaving her off-kilter. When he meets her gaze, she swears his eyes are brighter. “Yeah, yeah, that’s true,” Killian concedes, “no one has flat out told me I was lacking charm to my face.” “This thanking you thing is going great.” “And I continue to not need thanks. Why are you worried about the video getting out there? Filmed in 4K like you suggest, at least we’ll all look great. Sharp pixels and whatnot.” “What do you know about pixels?” “You basically heard the extent just now.”

She’s getting better at laughing. The ooze has almost all but disappeared, Emma twirling a strand of hair around fingers that are intent on moving, and it’s an old habit. One Killian’s gaze catches on. Immediately. Quickly. Seriously, Emma needs a thesaurus. “Baseball’s always been my dad,” she says. “And that’s—well, we’ve lived this game, me and my mom, weekend series and West Coast swings, waiting up for him to get home because the flight got delayed, but Henry’s just a kid, getting thrown into this world because of his last name and who his family is? That sucks. Nothing was supposed to happen tonight.” “Nothing did happen.” “Because of you.” “I’d like to believe Scarlet, ridiculously fast as he might be, would not run over a small child,” Killian says. “And, uh, for the record and all that, I got a bad jump off first because I didn’t know if they were going to catch it in left. No one wants to get caught on the base paths.” “Yeah, that’d be embarrassing.”

He must hear the hitch in her voice because the next thing Emma realizes, her fingers are twisted back up in Killian’s, and she’s warm and falling and flying, and it’s good and weird, and the door swings open.

They both jump.

So, that’s something.

Rushing out quickly enough that he nearly trips over his own feet, Henry’s head leads the way and finds Emma’s stomach, a tangle of limbs, and overly-excited words, all of which rival the now-finished fireworks display in volume.

It takes Henry about five and a half run-on sentences to notice Killian standing there.

His eyes widen. His mouth drops. Killian grins. Emma tries very hard not to die. It only sort of works.

She blames the faulty body parts she’s in possession of.

“Killian,” Henry exclaims, clamoring back to his feet and nearly falling again in the process. Hands that belong to both Emma and Killian dart out, steadying Henry while their eyes meet over the top of his head. Killian winks. He tries. It’s more like a blink than anything. “Hi, hi! You did so good tonight! And we won, and I got to go on the field and—and, it was so,” Henry heaves a deep breath, “we were so good.”

Collective pronouns do something to Emma’s entire state of being.

Flips it on an axis she hadn’t been aware previously existed until it almost feels as if this was the path they’d been directing themselves toward from the start. Her eyes flit toward Killian. Who is already watching her.

“We did,” he nods, “maybe next time, though, you wait one extra second to grab Scarlet’s bat, ok?” Seeing her own nose scrunch reflected back on her kid is not the worst thing that’s ever happened to Emma. The vibrating phone in her back pocket, might be.

It’s one-hundred percent, Ruby.

“That’s what grandpa said too,” Henry grumbles, digging a toe of the cleats Emma’s mother bought him last week into the ground, “but I wanted to make sure you didn’t fall.”

Definitely dying, then. A systematic shut down of all necessary internal organs. It’s not as bad as Emma would have expected.

Neither one of Killian’s knees crack when he bends. That seems heavy-handed.

“And I don’t want you to fall either,” he says, “so we agree, right here, right now, not to let the other one fall, huh?” Emma holds her breath. Ignores the pinch in her lungs and the clearly unstable nature of both her mind and her heart, digging her nails into her palms. To ensure she isn’t tempted to haul Henry back toward her. Or push that one strand of hair away from Killian’s forehead.

Henry nods. “Deal.”

They hook their pinkies together.

It’s adorable and as endearingly charming as everything else Killian Jones, New York Yankees third baseman, has done since he walked into that hallway. Less so when her dad emerges from the office, the athletic trainer on his heels to not-so-quietly inform Killian that he can’t just blow off post-game like that, and the second wink is as bad as the first.

She does her very best to memorize the movement.

And the joy on Henry’s face the next morning when a box arrives on their doorstep, a genuine, game-worn Killian Jones jersey inside. She doesn’t notice the note at first, tucked between the cardboard and the tissue paper someone must have bought for him. He can’t have bought that tissue paper himself. He just—it’s unfathomable.

Emma knows he bought the tissue paper himself.

As clearly as she knows that those numbers in that particular order will lead to Killian Jones answering his phone and that her voice likely won’t shake when she replies to the question written in surprisingly loopy script. Which is why, Emma will argue, she does reply. In the affirmative. To several questions over the course of the remaining season, and they don’t star in any more viral videos, but there are a few pictures once they clinch the division.

Drops of champagne cling to the tips of Emma’s eyelashes and the ends of Killian’s hair, hands on her waist that blaze a quick path up her back and around her middle, and she has to tilt her head up to get the right angles. Of lips. While they kiss in the middle of the clubhouse, the hat someone forced onto Emma’s head falling and it’s impossible to hear over the sound of celebratory fireworks, but she can somehow still hear Henry’s laugh ringing out from the general area near Scarlet’s locker, and his jersey collection is growing at an impressive rate.

No one can withstand the overall cuteness of him.

Emma included. Emma, especially.

Sometimes she worries she’s so happy she’ll burst, unable to contain the sort of emotion her body is still acclimating itself to. But then she realizes just how dumb that is and happiness cannot possibly be quantified, and her head is buzzing enough from champagne that she nearly misses Killian when he says, “people love the bright spots, Swan.” It’s not the most romantic thing he’s told her. Doesn’t crack the top five, quite frankly. She swoons all the same. With her kid laughing and her team winning and that’s about all the sentiment she’s willing to acknowledge before her tongue is in Killian’s mouth. He groans. She grins.

And he’d been right about the video. It wasn’t the embarrassment Emma worried it could be. Was mostly relegated to the corners of the internet set aside for formerly popular content as soon as the season ended, spoken about only in fond recollection as the other seasons went on and the wins kept coming and all three of them stand on a parade float with the World Series trophy a few dozen feet away, several Novembers after that first game.

It’s a Thursday afternoon, then.

And yet Emma never entirely forgets. What the video meant and what it did and she’s not remotely surprised when it finds its way back to the forefront of the sports zeitgeist on a Wednesday in July. Most mentions come with similar taglines and messages. Something about feeling our age and wanna feel old because that bot boy, David Nolan’s grandson, Killian Jones’s stepson, he’s getting drafted now.

Got drafted, technically.

Third round, video of the soon-to-be third baseman for the San Diego Padres makes the internet circuits and garners plenty of interest. It’s not the most exciting video, though. Henry just hugs his family. Who hug tightly back.

What is more exciting is the box that arrives on Emma and Killian’s doorstep. With a note that eventually earns a frame next to the last one and a wholly official, game-worn jersey that has a noticeable streak of dirt across the left sleeve. From sliding head-first into home plate.

#cs ff #captain swan #captain swan ff #cs fic #captain swan fic #do not ask me why this is so full of ferngully references #i do not have an answer for you #the google doc title for this was: BaseballCuresWritersBlock #thanks baseball

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theleftovertaco · 3 years

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The Boys in Lingerie

OK FIRST EVEN VAGUELY SMUTTISH POST

Basic warnings in order please don’t interact if you don’t want to see this. Use basic judgement. You know if you’re too young to read something

Once again, I try to keep it house, gender, and year neutral so anyone can fill in the blanks where they wish, guys, gals, and nonbinary pals alike

We have standard lineup- Fred, George, Draco, Neville, Harry, Ron, Oliver, Cedric, and now Charlie and Blaise have been added!

ON TO THE FEMBOYS IN LINGERIE

Fred

You and Fred had messed around before with kinks and lingerie

He always liked how it looked on you, how the lace hugged you perfectly

Freddie is a very forthright person, if he wants to try something he will tell you in advance, and so he talks to you about him wearing some

You agree immediately and the two of you find a magazine to order some because there is no shop that sells that in Hogsmeade, unfortunately

He finds a pair of pink panties and chooses those because of course he does and when the box arrives (he has to avoid George’s questions about what's in the box)

He puts them on and then sends you a notes asking you to come to his room while no one else is there

And when you find him

“Baby boy, you look amazing.” He smirks and spins in a circle before leaping on the bed, you following close after

George

George wandered into a strange shop in muggle London when you and him were exploring during Christmas break

He found a sex shop where they sold a lot of lingerie and before he got yelled at by the shop owner to “get out, you tosser!”

He couldn’t get the lingerie out of his head

He didn’t think about you wearing it, well maybe a little. No he actually thought more about the cloth on his own body

So about a couple weeks after seeing those and getting back to school he plucked up the courage to ask you (he was a Gryffindor, dammit, he shouldn’t be scared)

“How would you feel if I... wanted to wear panties?” “Sure, love, sounds good if that’s what you want.” “Wait, that’s it?” “Yea.” “Ok good, cause I kinda already ordered them.”

He darts into the restroom to put them on and then comes out to show you and holy fuck

He’s in this pale blue pair of flower lace bikini panties and walks out looking just a little timid and you fucking jump him

Draco

Draco saw a pair of Pansy’s underwear during a game of strip poker and while most of the other guys were ogling her, he was thinking about how the silk would feel on him

He buys a pair, but then they just sit at the bottom of his trunk for about a month and a half

Then he wears them once or twice around the common room under his trousers before he even thinks of telling you

He writes you a note during History of Magic (its not like Binns will notice anyways): “Can you come to my dorm after classes today? I want to show you something.”

So you go thinking its gonna be some gift his mum sent again but you enter the dorm and see him in a pair of silk black panties

“Honey, you look fantastic!”

You may or may not have torn them off of him

He may or may not have had to buy another 10 pairs

Neville

Neville sees a girl in a thong in one of his dormmates old magazines and he just gets a little spooked

Because his immediate thought isn’t about you in them

It’s about him in them

So he panics

Slowly but surely, as your relationship progresses he gets a little more bold, in general, since you make his confidence skyrocket when you’re around him

So he wears them around during the day and when he pulls you into a empty classroom you’re a little scared about what he’s gonna do because of the timid look on his face

But he pulls down his trousers to show the pastel yellow thong he’s wearing and he slips on his old cat ears

You let out an audible groan

“Kitten, you look beautiful.”

He blushes and looks down in embarrassment just a little

“Nuh-Uh, don’t you dare look embarrassed kitten, come here.”

“Yes, ma’am.”

Harry

You and Harry had a very honest relationship

He is a rather frank person and is not afraid to tell you want he wants in a relationship, but of course, you know that right out of the gate

Plus after the heels debacle, he knew never to try and hide what he wanted to wear from you

So when he discovers your collection of lingerie, he straight up asks you if he can try them on

“You sure?” “Yes please.” “Yeah ok go ahead, sunshine.”

He grins and snatches his favorite pair, a red set of satin underwear that barely cover anything

“You ready love?” “Of course sunshine, come on out!”

He steps out and you are speechless to say the least

He looks amazing and you pretty much drag him over to sit on your lap while you kiss him

So now he wears panties all the damn time because why not

If he likes it and he’s confident wearing them, you’re all for it

Ron

Ron is still a bit wary about wearing lingerie

He’s been wearing more stereotypically feminine clothes, but wearing panties is a whole other game to him

But you suggested it, and he was willing to try

It takes him a bit to warm up to the idea of lingerie

Ron has you walk him through it, what would be comfortable, what wouldn’t be, and he settles on a pair of black satin ones “They’ll be comfortable, promise!” “If you’re sure...”

You do a trial run where he just kind of lounges around the common room wearing them underneath his normal clothes

By the end of the day he’s hooked on it and you are too

He likes the softness of them

Ron has always felt like he had to be strong, and measure up to his brothers masculinity, but when he’s in the lingerie, he feels like he doesn’t have to conform to that

Anyways yes he likes the panties

Oliver

Oliver saw a pair on you once under your sweatpants when you were cuddling

“Oh, what are these?” “My panties???” “They’re pretty... do they make them for guys?”

Bro was straightforward

So you buy him a pair “I trust your judgement love, buy whatever you want!”

So he ends up with a pair of red silk ones that feel amazing

He wears them whenever possible

About a week after he starts wearing them, Angelina somehow finds out and the Gryffindor quidditch team dares him to ride on the broom in only his panties

So he tries it... before immediately slipping off and falling on his ass

“Stupid fabric.”

He manages to stay on the second time, and well, now you have a few candid shots of your boyfriend riding a broom in lingerie

Not that you’re complaining

Cedric

I need to stop calling Cedric Pretty boy, but does that mean i will? no

Pretty boy loves you in lingerie

The fabrics are always so pretty

And he has never been shy about this, so he just asks you if he can try on a pair of yours

“Yeah, of course pretty boy go ahead.” he kisses you on the cheek and runs off to find a pair

He puts on a pale yellow satin pair of briefs

And walks back into your dorm

“Fuck, pretty boy!” “You like it?” “Baby, I adore it!”

Cedric begins wearing them around campus

He likes how his thighs look in them, and soon he starts wearing them under his skirts

If he bends over, you can see it pretty easily, he knows exactly what he’s doing

He tries to rile you up

Fucking tease

Charlie

Charlie is a very muscular person

It isn’t that he doesn’t like traditionally feminine stuff, he just never thought he had the build for it

It takes a while for him to change his mind, since contrary to popular belief, he is actually pretty insecure

“Don’t you think I’d look strange in them, stocky kid in girls underwear?” “Well, it’s not just for girls, and no you would not! I happen to think that you would look beautiful!”

He likes that word. Beautiful

People have always described him as handsome, cute, but never beautiful

So he agrees

Maybe it’s something about wizarding Romania that’s more accepting but when the lady at the shop you go to sees that the panties are more fit for Charlie, she winks at the two of you and says to “have fun with those”

So he puts them on and holy shit

He understands it now

He feels beautiful

Blaise

Blaise likes being pretty lets be real

He doesn’t really give a flying fuck what people think of him

So he jumps on panties real quick

Finds the prettiest pair of emerald panties he can find and he loves them almost immediately

He likes putting on a short skirt and makeup on to top off his whole vibe because why not

Another thing about Blaise is that he is a fucking flirt

With everyone, not just you

And while you trust that he would never cheat on you or betray you, if he gets a little too flirty with anyone else, all you have to do is creep your hand up to the satin undergarment and give it a little tug to remind him who he belongs to

You, bitch, it’s you

Ok that’s it for now idk what I’m doing next so if you want me to write something please send me an ask. Also I rarely write suggestive/smut fics if you know ways that I can make this better please for the love of god let me know.

This feels like a good time to say that this is the final set of characters. I have 10 right now, and if I keep accepting more people I’ll just end up doing 20 characters every time. I love doing these but I don’t have the time or energy to do every single character, it just would not be good for my mental health. That being said, if you want a specific headcanon of a specific character, please SEND ME AN ASK so I know that you want that directly. I would be more than happy to write it for you.

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rataltouille · 3 years

Text

GEOMETRY OF THE HOLY MOON (1 AM): A SHORT STORY

GENRE: surrealism, literary fiction.

POV & TENSE: this little space is not enough for how wild the form is so i talk about this later!!

SETTING: a small desi village, 1924-25.

TONE: dreamy, unsettling, melancholic.

THEMES: faith vs reality, how people perceive others and how they perceive themselves, grief dealt the wrong way.

AESTHETICS: the splash of water on a quiet night, thick clouds obscuring the sky, rippling the moon’s reflection on the water. the intensity of a garden in spring, the emptiness of a dying town, the suffocation from being singled out. hands grazing lightly but never fully held. a lingering sadness behind your laugh. believing in things you shouldn't believe in. putting faith on a starless sky.

STAGE: completed first draft, 4085 words.

LOGLINE: a young boy, surrounded by loss, claims to talk to god. the story follows him and his conversations with this god, all while his village spies on him as he weaves his way around the two most crucial and lonely years of his life.

LITERAL LOGLINE: on today’s news let’s talk about a small backward town that hates sad little boys who worship god, even though the place is lowkey a cult!!

CHARACTERS:

THE SUMMER BOY: he’s around thirteen, and he’s very emotionally attached to his past. he lost his family at a young age to an unstable force, so he spends his time talking to himself. he’s a quiet, demure and sweet person, always willing to help others. he’s outwardly oblivious and sees only the good in people to a point where he doesn't understand when they’re trying to do him wrong. but! considering how the story [like a lot of my others] has themes of perception vs reality, it needs to be said that he isn't all that innocent. he’s rather impulsive and rash, never afraid of hurting himself [and thus accidentally harming others].

A GOD: is he real? do we even know if he’s an actual god? a very elusive figure despite having a lot of screentime. he’s a surprisingly humanised character and arguably the one with the most empathy. he has a soft spot for the boy and the two have a deep bond which is not common for a human and a god to have. you don’t get insight to what the other gods are like, but they’re implied to exist. this story has a very messy and hazy view towards religion and godhood and their nature towards humanity, and this vague figure, a dreamlike character, is proof enough of that.

THE VILLAGE: okay so in general these people suck. the village consists of, well, the village, but they’re very fluid in the way they appear in the story? as in for the most part they appear as a collective, a unit. one character, the summer boy’s “friend”, is somewhat separate considering he’s a pretty important character. it’s very hard describing this unit of a character but essentially they’re the main antagonistic force and they hate the protagonist for seemingly no reason.

WHAT GOES DOWN:

sometime around this time, the boy chances upon meeting his “god”, this being who lives up in the clouds and whom he talks with often, except you don't know if this god is real or not. that’s one of the recurring themes of this story: what’s real and what isn’t. it’s :) a fun time :) for sure :)

essentially Things Happen And It Only Gets Weirder. i cannot even try describing what happens because it’s all very spoilery but let’s just say that this is a very sad story but not even in a “this makes me cry” manner, but rather in a “this is so fucked up wtf why”. the prose of this is very, very hazy and thick, in a manner that’s both smooth and suffocating. there’s also a lot of moon and water imagery which we love. i love the atmosphere + the setting—colonial india— as it’s a subtle but key element to the plot.

FORM:

OKAY YES be prepared for the true colours of how unhinged i am. i apologize for the form brainrot.

POV: so in this story i really said “what if it had all three of the main povs... jk jk... unless 😳😳” and then proceeded to use all three povs. you’re probably wondering, how did i do that? WHY did i do that? and my answer to that is: 🙂

the first-person pov: the summer boy narrates in first person. his pov takes up about 40% of the story, and this is where we unlock family backstory + how he feels about the various forces playing into his life. he’s an extremely unreliable narrator and he knows it; his narration oscillates between very naive and very self-aware, and this effect is pretty disconcerting. the summer boy is kind of a walking contradiction and we love that conflict.

the second-person pov: a god narrates in second person. his pov takes around 20% of the story, and his scenes all involve his conversations with the boy. his pov is extremely detached, and suspends belief because he seems awfully made up. there’s an edge to the prose in his narration, where you know that something's off, but you can’t exactly pinpoint what.

the third-person pov: the villagers narrate, either as a collective, or as an individual figure, in third person. they take up the other 40% of the story, and there are so many different people and differing opinions with this, and every time we read a third person excerpt it’s a different person, and this is mostly used to add onto the different ways in which the boy is perceived. this is also where the structural part of the form gets really wacky.

STRUCTURE: if my story isn't told in vignettes is it my story though /j. gothm is told in vignettes, each one between 50 to 500 words. the first and second person bits are normal-ish vignettes, with straightforward narration. the third person vignettes, on the other hand, are super assorted. we have a lot of epistolaric sections— there’s a letter, a folk song [which was found around the summer boy], and most of the conversation is told as just plain dialogue without tags. there’s also a phone call transcript, and finally some normal chunks of prose. what am i doing wtf.

also to add onto this the story is told non-linearly. 😀 the only thing that keeps me from going insane is the fact that there are chronological tags before most vignettes [also the manner in which they're tagged differs from pov to pov. for example a few of the third person conversations are marked just as “sunday” or “thursday”, while the summer boy’s narration is marked with the full date and year]

in all this clownery i completely forgot to mention what the tense was [the way everything else was so complicated that i forgot tense was a thing lmao] and good news!! it’s the only sane thing about this story!! it’s told fully in present tense. thank everything.

AN EXCERPT:

okay i’m once again not sharing much because this will be submitted to litmags 🧞

[The boy is scrawny as always. He carries an air of diswant— even death had rejected him when the plague killed only his grandmother— but walks like he doesn’t notice. He smiles at them, jitters, and wipes his hand across his knees. Blood comes away in thin, translucent lines. He saves it on the kerchief he keeps tucked in his shirt, careful to dirty the cloth even more. The villagers scrunch their noses in disgust; who knew how old and rotten the kerchief was, or how long it had carried blood like the unwashed sword of a warrior?]

also by the way this excerpt is in square brackets because it is a third-person interjection in a vignette that is otherwise first-person [at this point...]

SPARE THOUGHTS:

this was inspired by a conversation i had with my grandfather, where he was telling me about how people used to sing songs to the skies, as a way of devotion to a specific god. he used the [loose translation of] the english word “yearning” to refer to the emotion the singers would invoke, and that sparked the concept of a disillusioned young boy who talks to the moon as a way to please the god he’s in love with. it’s a very softly disconcerting story and once again deals with the theme of “perception vs reality” which if you know me and my work, is the theme i’m forever obsessed with.

i really like how this turned out? the atmosphere is exactly how i wanted it to be, and there’s so much i have to add on as i edit and i’m really looking forward to that. this is also the only short story i’ve written where i knew which litmag i’d love for it to be published in? like i never write things with publishing in mind, but for some reason while writing this story it occurred to me that it would be a perfect fit for this specific magazine and i love that. anyway if you’ve made it through the post till here,,,, bless you and your braincells. and that’s all for today!!

#am writing #writeblr #wtwcommunity #atlastracking #ofcolourtracking #crabappletracking #tw death #tw plague #tw blood #the way this post gets increasingly incomprehensible...#love how my blog has just descended into pure chaos post-hiatus #geometry of the holy moon (1 am)#god complex #god complex intro

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idontlikeem · 3 years

Note

Sick/Injured Fic + I Didn't Mean to Turn You On

you can find the fic tropes mashup game here!

REALLY great combo, oh man! I had this idea right away—be warned, nonsense ahead!

sidney i promise i love your vocal fry

Zhenya’s never paid much attention to how Sidney talks.

He’s familiar with Sidney’s laughs—the slightly-stilted media chuckle he uses when he’s trying to buy time to think through an uncomfortable question, the gentle camera-friendly laugh when something genuinely amuses him but he’s very aware of the public within earshot, and of course the ridiculous high-pitched honking giggle that comes out when he really, really thinks something’s funny and can’t modulate his response.

Zhenya covets that last laugh, goes out of his way to elicit it, makes a fool of himself far more frequently than he’s willing to cop to in order to hear it, to watch the way it squinches Sidney’s whole face up, making his eyes disappear into half-moons above his cheeks, which get so, so pink.

So, yeah. Sidney’s laughs—Zhenya can categorize them all. But his voice? He’s never thought much about it. Sidney’s soft-spoken, and his singing is terrible, and Zhenya can easily drown him out in the room simply by virtue of having a lower voice.

Zhenya tends to not pay attention to the interviews they do. He doesn’t watch the stupid Christmas specials they make, he doesn’t stick around for postgames unless he’s actively participating, and he generally does his own thing during team media days if he can manage it. So, whenever Tanger teases Sidney with who are you trying to be when you talk to reporters, Kim Kardashian? you’ve already got the ass—, Zhenya’s ignored it—he doesn’t know what Sidney’s getting up to in his interviews, but it certainly isn’t any of his business.

(Tanger might be onto something, though. About the ass, at least.)

Finally, though, for the first time ever, they get roped into a joint interview during the league media day, and it’s clear when they get on the plane that Sidney has a cold.

He’s taken a decongestant so at least he’s not sniffling and sneezing all over, but his eyes are red-rimmed, and he’s sucking down cough drops like they’re pieces of candy.

Jen outright laughs at him on the plane. “Well, that’ll make at least that part of your interview easier, won’t it?” she asks as she holds up her phone and snaps a few pictures of them sprawled out in their seats.

Zhenya frowns. “What she mean?” he demands. In his experience, being sick only makes an interview worse, unless they’ve given him the good drugs beforehand.

Sid looks miserable. “Ugh,” he mutters, clearing his throat. “I kind of...I do this voice thing, sometimes. I don’t mean to,” he shoots Jen a glare, but she raises an unimpressed eyebrow and goes back to ignoring them, “but I guess sometimes I talk...lower, you know. Lower than usual.”

His voice sounds a little harsh, sure, but Zhenya probably wouldn’t have noticed unless he was listening for it.

He shrugs. “Okay, is fine. You do all questions, since special voice easier for you today.”

Sidney frowns heavily at him. Zhenya serenely ignores it in favor of demanding the picture from Jen to post to his Instagram. They look good, and Sid’s smiling—not quite one of his best smiles, but close. The internet will like it.

As the day wears on, though, Zhenya...figures it out.

When Sidney’s being interviewed, he can’t mainline cough drops, and his voice gets rougher and rougher as the day goes on. By the time they sit down with Friedman, he’s downright husky, and Zhenya—has a problem.

He’s distracted all through the questions, brushing past being asked about his desires to leave the Penguins (as if) and smiling vaguely down at the video Sportsnet took of him the previous year at his house. He’s babbling a little bit, he knows it, but if he doesn’t fill the silence—

Well, if he isn’t talking, Sidney is, and Tanger’s jokes about Kim Kardashian are suddenly, horribly explained.

It’s not right, Zhenya thinks miserably, listening to Sidney earnestly spill out the same meaningless platitudes about winning as a team he’s no doubt used a dozen times today already and trying not to shift too obviously. It’s not right that he feels so shitty and sounds like...like…

Christ in heaven, Sidney sounds sexy, and there is something seriously, seriously wrong for Zhenya to be thinking so when Sidney is so clearly miserable.

The interview ends, eventually, and Jen picks them up and chats at them the entire drive back to the hotel. Zhenya’s not required to contribute, thank god; he’s so past being able to hold polite conversation in public, it’s not even funny.

Naturally, this means Sidney follows Zhenya back to his room, recapping the day and whining about his sore throat. He stands too close when Zhenya fumbles the keycard into his room’s lock, like always. He smells like menthol from the cough drops, and his shirt is wrinkled and one side of his collar is flipped weirdly, and really, how hadn’t Zhenya realized how desperately, hopelessly attracted he is to Sidney before today?

Zhenya beelines for the minibar as soon as he’s got his shoes off inside his room, hoping that a few tiny bottles of mediocre vodka will at least kill off the semi he’s been sporting since halfway through the interview, if not distract him from the problem entirely.

It would help if Sidney would stop. Talking.

Instead, though, he flops back on Zhenya’s bed—he’s in my bed, Zhenya thinks hysterically, throwing one of the shitty flavored rums Sidney pretends he doesn’t like over before Sidney can ask—and keeps it up, talking about the other players they saw and what did Zhenya think of doing a co-interview, and did he really mean it when he said he’d seriously considered leaving, because—

“Sid,” Zhenya finally interrupts desperately, turning to look over his shoulder at the bed. Sidney’s voice is getting raspier by the second—he’s starting to sound like a girlfriend Zhenya used to have who was a heavy smoker, especially after she had been… He wrenches himself away from that train of thought. “Sid, please, stop talk, please.”

Sidney snaps his mouth shut and stares at him, eyes big and sad.

Zhenya winces and downs a bottle of—god, is that Svedka, disgusting—before jumping to try and smooth this over. “Not— Don’t mean, like, not want to talk, just…” He trails off and turns around, facing Sidney and scrambling to come up with something that doesn’t make him sound like an asshole, or insane.

Too late, though, he remembers his situation, and before he can sit down or do something to cover himself, Sidney’s gaze has already settled at Zhenya’s waist.

“Geno,” Sidney rasps out. “Geno, are you…?”

“Is your voice, I’m sorry!” Zhenya wails, sitting heavily in the desk chair and dropping his head in his hands. “I’m not mean! Is just, you sound…” He shrugs and trails off. There’s no point in trying to explain—he doesn’t have the words in English for it, and frankly, he’d rather Sidney not put together how much of a perv he is.

Sidney’s quiet for a minute, and when Zhenya dares to peek at him from between his fingers, he’s chewing on his lip, color high in his cheeks.

“I sound like I’ve been giving head, don’t I?” Sidney says abruptly, the corner of his mouth curling a little, and Zhenya’s whole body jolts. “I sound like I’ve had a cock down my throat, and now you’re thinking about that, and it’s making you—” He gestures vaguely at where Zhenya’s dick has now definitively gone from semi to fully hard.

“Please, Sid, I’m not—” Zhenya starts desperately. This is going off the rails, fast, and he doesn’t know what to do to fix it.

“I think you are,” Sidney says softly, and oh, now he’s doing it on purpose, Zhenya just knows it, and all he can do is stare when Sidney gets up and crosses the room, before dropping to his knees between Zhenya’s legs, holy shit.

“Sid, you—” Zhenya chokes when Sidney runs his hands up the inside of Zhenya’s thighs. His hands are hot through the thin suit fabric.

“Wanna hear what I really sound like, after?” Sid says, a gleam in his eye.

#sidgeno #flash fic #fic asks #my fic #hockey rpf

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selenuntius · 3 years

Text

DMBJ Scene Comparison: Book 6 Post-Meteorite

Bit of a vague title, but the gist of this is that I’m going to be looking at the chapter or so around when Xiaoge comes out of the meteorite in DMBJ 6 c.24, A Stone from Heaven, in the licensed TL and comparing it to the original. Feel free to follow along for the full context.

I will not be noting everything that’s different, just things that stood out to me, personally, for extremely subjective reasons. I will be mostly focusing on the things that I think are bad for characterisation.

If you’ve already seen me talk about this in other places, I will not being including any new information and you can ignore this post.

I’ve also looked at the scene where Xiaoge goes into the gate btw and the only difference that stood out to me is that they left out he smiled mysteriously (or meaningfully, but that also loses some connotation and mysterious is a decent approximation of the meaning here. I can’t think of many alternatives).

I didn’t say a word. I knew that it would be almost impossible for Qilin to be shocked by things that would annihilate anybody else. Whatever happened to him inside this meteorite must have been more terrifying than anything Fats or I could imagine. What could be so frightening that it would cause Qilin to break down as he had? Was it something that had hurt WenJin? Had she gone mad and was she trapped within the meteorite? If that were true, I had to get in there somehow and save her.

Now that we know where we are in the text, I’d like to show the difference between the licensed translation (or abridgement, as I like to call it at this point...) and the corresponding original sentences.

I knew that it would be almost impossible for Qilin to be shocked by things that would annihilate anybody else.

I didn't know what Menyouping was like as a person, but I could vouch for his mental fortitude [loose tl, could be better]. His type of person had achieved a certain level of mental strength. It was exceedingly difficult to shock him to this extent.

Whatever happened to him inside this meteorite must have been more terrifying than anything Fats or I could imagine. What could be so frightening that it would cause Qilin to break down as he had? Was it something that had hurt WenJin?

But I couldn't imagine what could be so frightening to make even someone as collected and rational as him break down. I knew that it definitely wasn't any sort of monster. No matter how scary a monster could be, it wouldn't be able to frighten him to this extent - after all, even I could overcome a fear of dead bodies. What he saw had to be a situation that was inexplicable to the extreme. Then, I thought of Wenjin. Where was she now?

Also notable here that although the licensed translation brings up Chen Wenjin a little earlier, the original does not, and he only remembers Wenjin now. Make of that what you will, but I think my conclusion is obvious.

Fats grabbed my arm. “What good will we be to her, if she comes out to find us all dead? And don’t forget about Qilin—even if you’re willing to die, he might not feel the same way. At least we’ll be able to save one of them. And we’ll leave some food in case Wen-Jin emerges.”

“All right, Fats. You win. We’ll leave—but which way should we go?”

This part is interesting because it’s melded together from a back-and-forth between Pangzi and Wu Xie. To summarise, in the original, Pangzi begins with talking about his plan for them to leave food for Chen Wenjin and how they’ll still make it out, Wu Xie responds, Pangzi brings up Xiaoge, and then Wu Xie agrees.

So the original scene would look something more like:

Fats patted me my arm. “I know you're soft-hearted, but I've thought this through. We'll leave all our food here, and get back outside without food. If we can make it back to the campsite, we can get more supplies. Also, I've actually left a packet of hardtack at every of the spots we rested. As long as we take the right path, we can still make it out. What good will we be to her, if she comes out to find us all dead?”

I waved him off, knowing what he had to say, and noticed that even though Fats was talking slowly and meticulously, his tone was very firm and the logic undebatable. Fats probably kept it to himself for quite a while.

“And don’t forget about Qilin—even if you’re willing to die, he might not feel the same way. At least we’ll be able to save one of them. And we’ll leave some food in case Wen-Jin emerges.”

I looked at Menyouping, and immediately acquiesced. Indeed, I was consumed by wanting everyone to make it out alive, but I might bring even Menyouping down with me in the end. Fats did have a point, and I realised that this may be the only way for us all to survive. I sighed, staring at the holes, and said, “All right, Fats. You win. We’ll leave—but which way should we go?”

Personally, I think these changes affect how Pangzi’s speech is perceived and diminishes Wu Xie’s struggle between his principles and reality. Pangzi’s speech is actually very thoughtful in my opinion. He understood how difficult it was for Wu Xie so he opens with a compromise of sorts, with them leaving food behind for Chen Wenjin when they leave. The fact that he probably held onto these thoughts for a while just further shows how well they know each other - Pangzi for knowing how Wu Xie would react to leaving Chen Wenjin, and Wu Xie for knowing Pangzi did that. Wu Xie isn’t entirely convinced yet - but he knows Pangzi’s right. What finally gets him to cave is Xiaoge and realising that his wishes for everyone to be alive and well aren’t realistic. Take notes everyone, this is going to be a recurring theme. By omitting some of his thought processes and just shortening the interaction, I think it paints Wu Xie as just indecisive rather than a principled but still rational person.

Just a short line that spells out their changed dynamic that was cut. This occurs when a sinkhole opens in the water and Xiaoge’s stuck:

We didn't manage to keep an eye on Menyouping just now. To tell the truth, it had always been him who was protecting us, and we weren't used to taking care of him yet.

Sure, this can be inferred from context, but why cut it? It’s not that redundant, is it?

Finally, there’re just a few smaller changes that frustrate me because, again, they make the characters feel a bit dumbed down.

“You may be right,” Fats admitted, “but what the hell is that?” He jerked his chin in the direction of his flashlight. Something was floating up from the middle of the pit. Fats reached out and grabbed at it.

There’s a missing line here. Pangzi warned to stay away, Wu Xie grabbed Xiaoge and instinctively backed off, Pangzi shone his lamp at it before seeing what it was then grabbing it.

“We’re dead, Fats. We can’t win against this monster,” I said. (c.25)

This isn’t general pessimism in the original. He's specifically telling Pangzi to not waste his energy trying to shoot the snake because they knew the gun was useless against even snakes smaller than it. Yes, earlier in the chapter Wu Xie does think to himself that they’re done for, but what he actually voices is very specific and driven by logic rather than emotions.

#dmbj books #daomu biji #dmbj #iron triangle #wu xie #zhang qiling #wang pangzi

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schmergo · 2 years

Text

Perhaps appropriately for Election Day, I'm a little perturbed by what I've seen as a rise in... conspiratorial thinking, I guess you could call it, paired with maybe an over-confidence in one's own reasoning skills. I don't think this started with the major conspiracies that have become mainstream like Q*non or pandemic conspiracies or birtherism, but I can't pinpoint when I started noticing this becoming a bigger deal.

I think it's good that information is more available to the general public than ever, that the internet makes self-guided learning easier, and that many aspects of our society and culture are becoming less elitist and valuing lived experience more. It's healthy to question the information you're presented and think critically. All that said, I think many people are less talented at analyzing the information they're presented than they think they are, and I'm seeing more people completely dismiss expert opinions in favor of what 'feels right' to them. This isn't always political, it's not limited to one political party, and it's not always malevolent. Sometimes it just boils down to poor reading comprehension rather than particularly bigoted or biased thinking

. I've been super vague and general up until now, but I want to share an example from popular response to a major news story that isn't really about politics. I closely followed the Gabby Petito/ Brian Laundrie case and some other missing person cases because I'm currently writing a piece of fiction about a missing person case. I already posted earlier about how the rather benign but troubling "Missing 411" conspiracy theory had their hands on this case, but things have leveled up since then. When the news of the discovery of Brian Laundrie's remains broke (they were identified by dental records), I did what everyone says never to do: I looked at the comments.

Most of the comments seemed to feel there was something weird about the timely recovery of remains, saying something along the lines of 'This seems suspicious,' 'This is fishy,' 'There's more to the story here,' 'This is too convenient,' etc. I think those comments are perfectly fair, though they do point to that general trend I'm talking about. I'm sure there IS more to the story. In high-profile cases like these, there is often a lot of information that's not revealed to the public. And I wouldn't be surprised if the parents knew more than they let on, if he went missing earlier than reported, that kind of thing. And it does sound like police bungled several aspects of this case. There's a lot of mysteriousness and vague information here.

But here are some of the more far-fetched actual comments that I screenshotted and saved from the news article:

CH: "He ain't dead!"

TD" "I still think he's alive."

KH: "What did he say too much to read"

SW: "A body does not deteriate in just a matter of weeks sorry there is corruption involved"

(COMMENTARY: Yes, sadly, a body can deteriorate in a matter of weeks. If he meant that based on the information we have that the body seemed MORE decomposed than expected-- skeletonized remains-- that's fair, but also entirely possible based on the surroundings, wild animals, etc. He was missing for over a month, more than long enough for remains to skeletonize.)

JR: "sorry people there was no remains for brian only a piece of his skull"(COMMENTARY: The information released about what remains were recovered is vague, but it does not say that 'only a piece of his skull' was recovered. Also, does this guy think maybe somehow Brian got away, missing a piece of his skull?)

TM: "I think they were both killed by the same people and they moved his body much further from Gabby's to throw law enforcement off."

(COMMENTARY: Wait, so this person thinks that he and Gabby were both murdered in Wyoming and the killer drove the van to his Brian's house with Brian's body and hid the remains nearby and the parents didn't become suspicious for weeks that the van showed up but there was no sign of their kid? This is an interesting conspiracy theory... but the question I have is why?)

DB: "I still think it's not him. I read that the dental records were found at site of remains... all of the sudden finding of items, etc too fishy."

(COMMENTARY: This person interpreted the news to think that his actual dental records, like print-outs of x-rays and stuff, were with his body... not that the remains were compared to dental records on file. This wild misinterpretation tells me that she knows very little about how missing people are usually identified, but she clearly felt she's more knowledgeable about this topic than the forensic pathologists and stuff working on the case.)

MW: "There's too much fishy business going on to believe what we've been told. The evidence was planted so we'd believe he is dead. His parents have been uncooperative since the beginning and have been misleading the FBI all along."

(COMMENTARY: Yes, the parents have been uncooperative, and it's possible they've been misleading the FBI. Could the evidence have been planted? Possibly. This comment is mostly fair. But wait... SO WE'D BELIEVE HE IS DEAD? Whose remains does this person think Brian's parents got a hold of?)

AC: "It's not a whole body. The way they're making it sound is it was just teeth."

VA: "I read that they found a few teeth. I'm not satisfied that he's dead"

PL: "Teeth can be pulled. Brian's uncle is a dentist."

(COMMENTARY: When a body is identified by dental records, it means that the body is too decomposed to be visually recognizable and so the teeth are compared to the records on file with their dentist and photos of them in life. It doesn't mean teeth were the ONLY thing found. If authorities found nothing but a 'few teeth' that could have been pulled and placed there, they would not refer to that as 'skeletal remains.' Where did VA read this information?)

OT: "If they were hoping to find him alive, why do you need dental records. I don't carry my daughter or grand daughters around with me. To allow them to help hunt for him is not something I have ever heard of... I also do not believe it was him."

(COMMENTARY: This person seems to think that the dental records that were compared to the remains were... conveniently being carried around by Brian's parents at the time the remains were recovered and that a visual comparison was made at the site. That's not how dental record identification works. There's a reason that 'forensic dentist' is a career.)

ER: "A coworker of mine was just saying that they verified it wasn't his skull."(COMMENTARY: So this person thinks their coworker is a more reliable source of information?)

KA: "I don't think it's him... too much doesn't add up. It took like a week to get the girls ID bak now 24 hours for him?"

(COMMENTARY: Another commenter said, "Gabby's remains were found on 9/19 and confirmed to be her on 9/21. It took like 2 days. Same as his." That's what I would have said, too. That information could be easily checked before posting.)

JM: "They said it's not him"

SR: "When? I haven't seen that news report"

JM: "it was on fb last night"

(COMMENTARY: Wait, so Facebook is now a more valid source?)

MI: "first the FBI comes out & says it was his partial skull found, then last night iwas reported No conclusive DNA results on it being him? It Was him it it wasn't? Conflicting reports... nothing is adding up. DNA does not lie."

(COMMENTARY: The AUTOPSY was inconclusive in terms of cause of death. There was no DNA test yet. Also, tests can be inconclusive without negating other evidence.)

NP: "I saw someone say that they believe Roberta saved his baby teeth and glued them to the skull"

(COMMENTARY: That's not what dental records means! It would be easy to identify if it was someone's baby teeth rather than their adult teeth! Also... where did his mom get a skull?)

So I guess the conclusion I come to over all of this is that people think they are able to deduce the truth better than people who are trained in forensic investigation or that everything is a cover-up or a lie-- and the question you have to ask when you look at a news article and claim it's false or misleading (which I know I have done on several occasions, not saying it's bad to do that), is WHY you think it's false or misleading. Why is misleading news circulating? What is gained by spreading this falsehood?

In this case, a lot of people think his parents were able to pull the wool over investigators' eyes and are doing anything to protect their kid, or else they bribed corrupt officials to release false information to protect their kid, but other comments seem to just say, "NO! FAKE!" without thinking more deeply about why a fake story would be released. It's these situations that I find the most troubling: when people believe that official news, stats, data, etc., are just almost always fake simply because... because the media is bad, and the government is bad, and they tell us fake stuff so that we'll believe other fake stuff, and you can't trust anything you read, and therefore only their own opinions matter and are equally valid as anything else that's circulating on the internet. A coworker or Facebook is more trusted than any major publication or the word of an expert.

You might wonder why I bring up a case about a missing person/ murder investigation as an example, but it's for this reason. People who believe far-fetched conspiracy theories about major political issues often display this thought pattern in terms of smaller news stories where the stakes don't affect them at all, too. If you ever start wondering how people could believe in ridiculous theories like "P*zzagate" or the election being stolen or mass shootings being staged, look at how people engage with other new information presented to them.

A healthy distrust of authority is good. Critical thinking is good. But please don't assume that EVERYTHING that doesn't make sense to you is a sign of a deeper conspiracy. Sometimes we just don't understand stuff, and that's okay. Many people spend years in specialized training and education for highly specific careers in science and medicine, so no, not everything they know will be accessible to me or you, and that isn't a bad thing. I've seen some people complain that they think the public is getting dumber, but I don't believe that's true. I think more people than ever have a platform to express their opinions and believe that their opinion is as valuable as everyone else's, regardless of topic. And I think a lot of people believe they NEED opinions on every issue today, and I really think we should bring back the concept of admitting that you might be out of your depth!

#gabby petito #brian laundrie #conspiracy theories #conspiracy #current events

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nervousladytraveler · 3 years

Text

From Duty (Chapter 4? 5?)

“What shall we do?” Demelza asked, her voice almost dreamy. To whom was she even speaking and about which of the thousands of human dilemmas?

“We go down to your shelter,” Ross said quickly, slipping on his shirt and fumbling with his buttons in the dark.

The whining rise and fall of the siren was louder now. Closer.

Instantly she seemed to snap out of her fog and into action, leaping to her feet and reaching for an old cotton frock that laid over a chair. A routine she’d had weeks to practice. Ross noticed she didn’t bother with any underwear and worried she’d be cold.

“You’ll come down? With me?” She sounded relieved. “Of course you will.” She shook her head.

Now was not the time to worry about what the neighbours thought. If Ross stayed in her flat and died, they'd talk just as much as if she brought a live man down with her. What other options did he have really other than to risk his life going out to seek shelter in the nearby Underground?

“Introduce me as your cousin, ” Ross suggested and by feel found both their woolen coats on hooks by the door. “Come, we have to go.” He reached for her hand, urgently, protectively, as she slipped into her shoes.

“Yes, Ross,” she said and followed him out into the darkness.

They emerged from the cellar four hours later.

Demelza needn’t have worried--the neighbours asked no questions about her visitor, perhaps they’d been too preoccupied with the possibility of impending doom to make a fuss. Still she’d introduced him as a cousin as they settled into a far--and airless--corner.

“I was visiting and it got late,” Ross had mumbled.

“And naturally once curfew fell you couldn’t leave,” Mrs. Boylan had offered, generously. The woman had five children so she knew a thing or two about what happened between a man and a woman under the cover of night.

No one noticed when Demelza leaned wearily against Ross. And despite the thunderous roars, compliments of their German guests outside, and the near-constant wails from the terrified British children inside, she managed to fall asleep. Ross’s arms wrapped tightly around her, warming her from the December chill.

Once they emerged, silent but alive, they saw the air in the streets was thick with mist and smog and smoke--the unmistakable smell of destruction. It was still dark but soon a triumphant sun would beam down on them all.

Survival was measured one night at a time. For some--not all. Demelza’s building was still standing but at the end of the road, a pile of rubble lay where Pally’s locksmith shop had stood only the day before.

“What will you do now?” Demelza asked closing the flat door behind her, once they were back upstairs. Without saying a word she began to make tea, although what Ross really wanted was a slug of whisky.

“I’ll walk home,” he said.

“But it’s so far!” she cried.

“I’ve done it before...and I’ve walked further distances. I was a soldier once, don’t forget.”

She knew he was right--taxis weren’t exactly plentiful after an air raid and the Underground might not yet be running.

“But I’ll be alright and should make it to the office by nine.” He kissed the top of her head.

“I’ll be watching the clock,” she said and looked up at him. “Ross, what are you thinking?” she said. He hadn’t said a word but she’d read his worries.

“Nothing...” He turned to gather his remaining belongings scattered about her flat. No, better to be truthful--besides, she’d know if he was hiding something. “I’m thinking that I don’t like your shelter.”

“My shelter? I’m not overly fond of it either but I’m certainly grateful it’s there when the need arises,” she laughed.

“It’s entirely too close, not nearly enough air for the number of people it supports. How many were we? Fourteen?”

“Mrs. Boylan was holding her infant son, so really it was fifteen,” she said.

“Christ! And I examined the framing--the timber is ancient, you know--and the whole thing will collapse easily with just the smallest rumble. Not to mention it's a fire hazard on the best of days, even without the threat of an incendiary bomb…”

“Ross…” She put her hand on his arm. She meant what choice did she have? Did any of them have, really?

“Mine is better,” he said.

“What?”

“The shelter in my building. It’s newer, reinforced concrete, steel...It isn’t just a cellar or even one of those corrugated garden constructions. It was actually built in the last war specifically for this sort of thing…”

“And a bit of a jog for me when the sirens go off here,” she laughed.

“No, I mean...come live with me.”

“Oh Ross, you are daft,” she said with a smile. Was it lack of sleep? Lack of oxygen? Surely something was impairing his senses.

“Leave your post. I could employ you as a maid and you could live-in. I have a servant’s room--it’s warm and dry.” Had he noticed the leak in her bedroom ceiling?

“And what would people say of us?”

“What people?” he asked.

“Your wife wouldn’t hear of this? Technically it’s still her flat as well. And once I start to show…”

“Yes?”

“Oh Ross, anyone would guess what had occurred. Unless you kept me locked in a cage, the arrangement would be hardly discreet!”

“Demelza…”

“Besides I’m a shit maid, you’ll find.” She pointed to the unwashed dishes in the basin.

“I doubt that.” He seemed to believe what he said. “Look, I’m not letting go of this idea.”

“Then you are as stubborn as you are handsome, Ross Poldark,” she laughed. “It’s getting late--you’d better go, my dear.” She hated to say it but it was true. He had no way of knowing what obstacles he might come across in his journey through the ravaged roads that morning.

“I will see you later then, Miss Carne, in the halls outside Room 4…”

“Shh,” she teased and put a finger to his lips. “You mustn’t say it aloud…”

“Room 443.” He said defiantly and kissed her hand. Then remembering that she was bare under her frock, he squeezed her bottom for good measure.

“Tut tut, Poldark. Such careless talk!” she laughed and repaid him with a playful tug of his hair. “And as you pass by--in those halls that must not be spoken of--I will modestly avert my gaze but you will see by my secret smile that I’m imagining your…”

“My what?” He pressed his body to hers so she could feel the not-so-secret bulge in his trousers.

“Your toes,” she laughed. “I was going to say your toes.”

“My toes?”

“Yes, I enjoy how you drag them along my ankle when you lie beside me. And I’m rather fond of your feet as well.”

“You’ll have to demonstrate your fondness later then. Will I see you tonight?” he asked and wrapped his arms even tighter around her.

“No, darling, you have a meeting with Sir Francis Bassett. Don’t you remember?”

“Vaguely,” he said, which they both knew was code for no. “How is it that you remember?”

“I scheduled it for you,” she smiled. “And then no doubt you’ll dine with him and let's face it, there will be drinks afterwards. No, my dear Ross, when you're done with the fine cigars and even finer cognac, tuck yourself safely into a taxi and go straight home.”

To your warm dry flat and your reinforced shelter. Strangely she wasn't at all concerned that he’d find a girl and go home with her, even though they’d never spoken of an exclusive understanding.

“But Thursday?” he asked, unable to conceal his desperation.

“Yes, Thursday you will come to me,” she said and rested her cheek on his shoulder. “And I will be waiting.”

#wip wednesday #poldark fanfic #ross poldark #demelza carne #london blitz #poldark modern au #lucretiassister #duty

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camilliar · 3 years

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recs for someone new to omgcp

[February 2021.]

Reading, or not reading, OMGCP fics has come up in a couple of conversations I’ve had recently with artists newish to the fandom (ie. @jovishark; @decafffff), who are making OMGCP art (!!!) but haven’t started exploring fic -- but maybe want to? Which of course reminded me that I’ve never bothered to make an actual, concrete recs list for this fandom. So, I mean. Here is one.

The approach is, what do I think about when I think about OMGCP fanfic? What comes to mind, what stands out to me? I have excluded some very popular fics. Some of these I just don’t think are very good, and others I do think are good, and/or I enjoy them, but I don’t see why you’d need me, specifically, to recommend them. I am thinking of a story like maybe i’m waking up, which I discuss below because I link to a podfic of it. It has a lot of merits, to be sure, but it’s the second-most-read fic in this fandom by hits, and it’s got thousands of comments, and it’s by an author whose work is relatively widely praised and circulated. I am not sure what telling you more about this fic will add to the conversation; if you want to find and read it, you inevitably will. I’m happy to, say, answer asks about these kinds of fics, or talk more generally about them via DM or whatever. Feel free.

Also, I don’t think there’s a point to pretending to be objective about fanfic; this list has a perspective and that perspective is mine. In this fandom I largely read stories that navigate the tension around Jack, Bitty, and Parse, in various permutations. This is not to say that I’ve never read fic about the frogs, or that I have no interest at all in other pairings, but I am by no means an expert on Dex/Nursey and can really only speak to the one fic about them that sticks out to me because it goes beyond being merely Dex/Nursey and does something else. This is just to say that I am sure there are great and interesting fics about other things and ideas--but I’m not the person to hear about those from.

Likewise, I’m not super interested in stories that really reproduce that which is already in OMGCP. I like Zimbits--albeit maybe not in the ways or for the reasons most fans would--but I do not really need to see endless iterations of the same story about them falling in love and being cute together. I don’t think these stories are bad or they shouldn’t exist or that they have no merit by default. Still, I don’t need fanfic to give me more OMGCP. I need fanfic to complicate, to comment on, and to transform OMGCP. Many people don’t work like this! Totally okay! But I can’t rec you fics that do that.

What I have noticed, however, is that over time there appears to have been a shift in how people do write fic for this fandom. (Other than, you know, increases and decreases in activity pending the status of the comic, pairings going in and out of vogue, and so on.) Early on, say during Y1 and Y2, the comic was about the group of friends having a cool time at college together; about whether the burgeoning attraction between Jack and Bitty would manifest and, if so, how; and, especially, Jack’s past coming into fuller view for Bitty and how it would have to be dealt with in order for a relationship between them to work. YMMV on how great the comic executed there, but as Y3 went on these themes increasingly disappeared from the story. I think this means a lot of fic written over 2015-2016 or 2017 has one kind of tone, and was written mostly around these questions; after that, it feels like a new crop of writers and a new crop of ideas started circulating, that is, either embracing Jack and Bitty’s canon relationship and accepting its relative straightforwardness in text--or deconstructing it, imagining what readers aren’t seeing, or how problems not dealt with in the comic would manifest later. People who have read my fic know which of these I’m mainly interested in exploring.

All of which is to say, looking at what I’m reccing here, when the fics were posted or when I first read them probably has a lot to do with why they stick out to me so much. Because there’s no real culture of fanfic criticism--and I mean that in the positivist sense of broad evaluation not explicitly for fault and merit but rather, for context--I think it’s really hard to keep this in mind. But I’m obnoxious and I can’t just be easy about things.

Fic recs

In alphabetical order, somewhat unsorted; if a stand-alone fic has a summary I’ve included it, but in other cases I’ve recced a couple of conceptually related fics or series, which I’ve tried to just describe or explain as opposed to copying the summary off AO3.

There are so many more fanfics I think are great and worth reading! In an ideal world I’d come back and add more later, or create a secondary list that’s more along the lines of “if you like this, read these,” or whatever. But, being realistic, this is a starter kit. I’m open to talking about fanfic.

- - - - - - - - - - -

7-0-2 by Idday; Friends in Low Places and Sorry for the Blood in Your Mouth; I Wish it was Mine by blue_rocket_frost | I’m not sure it would be correct to say that I don’t like Parse/Tater, or that I’m not interested in Parse/Tater. I’m not interested in Patater a priori; I think it could be interesting, with teeth. These fics stick out to me when I think about this pairing, because they feel different. Accusations of a preference for just linking any two white men who happen to be hanging around have validity, but because of what hockey is and how it works and who’s hanging around it, it’s not exactly a leap to imagine what kind of gritty spark the friction between two closeted NHL players would create. A little violence in your sex? A little sex in your violence.

A Sight Worth Seeing by sadtomato | A four-fic Jack/Bitty/Shitty/Lardo explicit BDSM series. Either you want that or you don’t. It’s nothing hardcore, and not properly a four-way, really; more properly a kind of voyeuristic round-robin. There’s a more open and egalitarian view of sex here than I really get from the characters in the back end of the comic. It’s an expansive, propulsive view of sex and relationships that’s really nice to see. I love Lardo's detached coolness, and Bitty as a smooth operator; if you’re looking for some kind of Dom/sub dynamics world, this really isn’t it, but it’s a lively exploration into the sexual dynamics in a group of friends that’s super close to the good-times vibe you get from Haus scenes in the first couple years of extras.

call me son (one more time) by Summerfrost, Verbyna, and blithelybonny | This is a series, incomplete, and you will love it or be massively put off by it. I mean that as a compliment. I love it. The premise is, Bob Zimmermann and Kent Parson have been having sex since Kent was, like, 19. Everyone in this story has been chewed up: by themselves, by each other, by hockey. Plainly, this is a pretty bleak view of what OMGCP, as a story, is supposedly offering. If you want fic that is dark and glamorous, treading the toxic melange of substance abuse, sex-as-sublimation, and so much money you can’t possibly throw all of it away without trying, this series has that sick-inducing shimmer to it. But, again, its strength is its examination of Kent Parson, textually and meta-textually, as someone to be projected onto. Bob, Alicia, Jack, and Bitty all impute certain feelings of their own onto him, displacing their own issues to a character who’s centralized in every fic but defies neat or total comprehension. Some critiques I’ve read of this series feel it’s too dark, and I’ve also seen it argued on FFA that an overwhelming amount of praise heaped onto these stories has made it tough for other writers to make headway in writing Bob/Kent fic. But I’m also not sure you could engage with Bob/Kent fic without going down this road at some point? I’m sure there are ways to scale it back, but ultimately it’s a story about how hockey’s violent, homophobic, old-guard gatekeeping has continued to set the terms for a younger and ostensibly less toxic culture. I fully embrace PWP fics that tread on the power dynamic without fully excavating it, but buried within any PWP is the fact that a 53-year-old man is ensnaring a 19-year-old, no matter how much the latter is, realistically, into it, and legally empowered to consent. Not to mention the dynamics of it being a 53-year-old man who is the father of the 19-year-old’s ex-boyfriend, and a 53-year-old man who is an eminence grise in the field the 19-year-old is trying to make a career in The sexual element--the vaguely incestuous nature of it--is making textual the subtext of how hockey works, actually: objectification of teenage bodies as older men’s capital.

Coach Z by thistidalwave | Just before the 2009 NHL Entry Draft, tp prospect Jack Zimmermann overdoses on his anxiety medication and is admitted to rehab. His future turns from a clear-cut road to the top into an uncertain path filled with therapy appointments, ignored text messages, a group of boys who aren't there to teach him a lesson about himself, and, of course, hockey. | I keep reccing this fic because it has 360 comments on AO3 but nobody, as far as I can tell, has ever read it; it never appears on rec lists. This isn’t the kind of fanfic I usually go in for, but I can’t help being charmed by it. This is a character study in the truest sense, a kind of Mighty Ducks-but-better view on what Jack’s time coaching peewee hockey might have been like. I have no interest in kids and my own aesthetic is maybe a little darker than this, but I admire this story because it injects vibrancy into a period of Jack’s life that OMGCP has left largely unexplored, and so has the fandom. We know nothing about what made Jack want to go to college, nothing about how he spent his days in between juniors and Samwell. It posits a very sympathetic and patient Jack/Parse dynamic, showcasing the exact kind of ragged teenage push-and-pull that would have led to the circumstances we see in Parse I-III. The outside perspective Jack needs is largely present in an OFC who’s not a love interest. Super unique, somehow both engrossing and low-key.

#dirtbags by angularmomentum | A series that is a Kent Parson/Claude Giroux fuckfest with feelings. I’ve long suspected that Parse is popular in part because he is the character who most easily elides OMGCP with the actual NHL, or rather, NHL fandom; I think he made it appealing to write OMGCP fics where the NHL is a factor. Case in point, this series, which is basically “what if Kent Parson was a real hockey player and therefore part of NHL RPS”? I have only read some NHL RPS, so I’m not the person to assess accuracy, but what I do know is superstar IRL hockey players take turns here as the caricature fanfic versions of themselves, and since Kent Parson is already that, it’s great how seamlessly he integrates into their social fabric. Rambunctious energy peppered with regret and loss, but ultimately this series is farcical, and it doesn’t take its sentimental ending too seriously--which, good.

fated to pretend by nighimpossible | 5 Jack/Kent fics that Ransom and Holster dramatically reenact for the Haus + the truth. | As a fic format, 5+1 doesn’t usually work for me, but this one isn’t just front-loaded with five too-knowing vignettes; it then wraps up by using its +1 better than you might expect. Sometimes I talk about economy of fic, and this one exemplifies it. A zero-waste fic.

go ahead and move along by originally | "Leave, Parse," Jack says. Again. Or: Kent finds himself stuck in a time loop. | Kent Parson is trapped in a Groundhog Day scenario on the day of Epikegster. I’m sure you can imagine, just from that, what happens. And yet I think this fic is super entertaining, reserving some key surprises. What this story is doing is something a lot, and perhaps even the majority, of great Jack/Parse fic wants to do: digging into the question of just why this can’t work in comic canon. Most often this is approached from the past, by writing teenage Jack/Parse deep-dives that examine their lives mid-juniors, or by writing AUs where enough circumstances are shifted that it does work, or via future fics that posit enough growth has happened, and enough things have changed. But this fic makes Parse live the same bad day again and again, testing multiple theories about just how dependent on circumstance and incident real life actually is. Another day, another tone, 10 minutes sooner, not at all--you just can’t know why it didn’t work until you exhaust every possible variable. I worry that this rec has sucked the life out of the story, though--it’s so fun!

I Saw a Life and Strange Lovers by @bluegrasshole | Most AUs in this fandom seem to retell the story in a new setting or with some big detail change, following OMGCP’s rhythm beat-for-beat. I think of this as, “It’s the plot of Check, Please, but” -- they’re doing high school football? They’re acrobats? They’re a/b/o? They’re in a DIY punk band? And so on. These two stories are not that! They’re both 1950s AUs, each deeply felt, and yet hugely different from each other. I Saw a Life is about displacement and fragmentation, two sides of a similar but incongruent social critique; Strange Lovers is a finely wrought social drama about coal mining in Nova Scotia in the 1950s, centered around historical events. I suppose a theme on this rec list is something like, “I don’t even like this, but” -- yes, okay, I don’t even like Dex/Nursey, but--! This fic is so overwhelmingly complete, the AU laid out so carefully that the story breathes with all the background details informing the writing that aren’t actually, in the story; you just know they’re below the surface. (With the exception of one investigation of Jack’s character in a short, separate fic.) I Saw a Life, meanwhile, really tests the limits of the notion that Jack and Bitty are soulmates--not by calling it into question but by asking, rather innovatively, how the setting and place of the comic itself activates that.

Les Hivers de mon enfance by staranise | What do you do when hockey is the language of prayer for your soul, and also the toxic thing that almost killed you? 2009: Jack Zimmermann takes a mental health year. God knows he needs it. | Here’s a fic by someone who’s no longer around so much, but she felt ubiquitous in 2016-2019 OMGCP fandom. Before any of that, though, she wrote this one lovely fic about Jack’s pre-Samwell recovery. The author is Canadian and really irritated by hockey culture, and I think this fic benefits greatly because she is clear-eyed about Jack’s being caught in an exploitative system; it’s hockey he’s in recovery for, in a way. There’s an epistolary element that works for me, too. I read this early on in my time in OMGCP fandom and it really stuck with me.

Lysistrata? I Hardly Know Her! (by which I mean everything) by @tomatowrites | It feels somehow like cheating to recommend OMGCP fanfics by my OMGCP BFF with whom I make an OMGCP podcast where we talk about OMGCP. You know the fics I really want to rec, like truly the ones that speak to some kind of shared depravity, are the ones where Jack is miserably mpreg for the second time and accidentally lets his kid see Kent Parson’s Long John Silver’s shrimp scampi promo spot, which obviously would get twisted into a self-hating three-way. How many times do I have to rec this fic? As many as I need to, is my feeling. If you don’t know, Long John Silver’s is an American fast-food chain that sells, like, fried pollock sandwiches; it is nautical-themed; I have never eaten there; I don’t know where there is one; I don’t eat fried fish. (Shrimp, on the other hand?) All of which is to say that it takes a real genius to investigate a premise that far out. And while a lot of people almost certainly will start reading this humanity’s depths-themed sex scene and back the fuck out, readers with refined taste will note that Kent, the point-of-view character, is right there with you, despairing that he can’t help himself. And so long as you’re in that story collection, honestly, you’ll love petite gems like Jack is transmasc, Jack and Shitty play hockey in 18th-century England, and oh, right, he’s from Georgia. Tomato holds the distinction of being probably the gamest author I know in this fandom, just really like fearless in her pursuit of any range of concept she’s pushed to. (I can push her to?) See, for example, a sublime bandom AU; Bitty is cancelled for buying a maybe-unethically exported Roman fragment of a youth’s torso; or, god, the masterwork that is this future fic series where Jack keeps relapsing and Bitty exiles him to their guesthouse. Do I think you need to read a fic where Bitty is snide about the teen prostitute whose baby they’re adopting? Yes, I mean, he would be snide, don’t tell me he wouldn’t. I could go on, but my main thing here is, if I have to pick just one, I’m going to pick this Lysistrata fic. The premise, literally, is that Bitty reads the Lysistrata and it gives him ideas. Like most of Tomato’s OMGCP fic, it’s a stripping away of the comic’s polite fiction that Jack and Bitty could possibly attain the ideal it reaches in the comic without some kind of messy, efflusive breakdown. Life is like that, you see! Tricky. Like a lot of people, although it’s tough to say precisely how many, I have always intuited that maybe Bitty is kind of a natural top? But obviously when you meet him, as a literal virgin, it’s hard to see how he’d go from zero to self-actualization so neatly. This fic floats a theory, and it has a fun little side plot for Whiskey, something I never thought about or needed before Tomato built it out herein. In conclusion, BONUS: Dex’s gay lobster novel.

only fools rush in and the light of all lights by decinq | This person wrote of the nature of the wound, one of the early, formative Jack/Bitty fics that was oft-recced when I was getting into the fandom in 2016. It forms part of a larger series that deals deeply with how Jack has been shaped by his struggles (? I hate this word) with homophobia and his own mental health. It’s a picture of the character as you might have imagined him much earlier in the comic’s run. The formatting is atrocious and he author’s flair is what Tomato would call “AO3 house style.” It’s a voice that works great for her writing. I think it’s at its best in these shorter fics; the former is about Parse and Shitty stumbling into a relationship almost accidentally; the latter, an eerie PBJ vampire fic. I had begun writing a fic where Parse is a vampire early on in this fandom, only to read this and immediately quit, because you only need one, and this one’s all I need. The Parse/Shitty rare pair fic shares its exuberance with hockey RPS when it’s good: here’s how fun it can be when you’re young, rich, and jocular. And I don’t even like accidental marriage AUs, they’re usually boring, so that says a lot. By all means, read the wound fic; read the entire series. But these are highly unusual.

OVERDOSE and Oomph and a little spin-o-rama by jedusaur | None of these are long, or plotty, and they’re all a little experimental. OVERDOSE is an AU set in a world where you know how you’ll die, but no details; Oomph, a little fic where Jack hears hockey pucks talking to him. This is the kind of stuff I used to think I’d find in fandom forever, coming out of Lotrips lurking in the 2000s: short, zany bursts of energy that surprise and delight. a little spin-o-rama peers at Kent’s character through the grim reality of being the hypertalented superstar stuck on a dead-last team. All three are sparse and stylish in a way that’s really smart, practically economical.

Sowing Season by @agrossunderstatement | Parse and Zimms, Zimms and Parse. Kent Parson's life, from the Q, through his early years with the Aces, to Jack's senior year. Canon divergent. A story of love, loss, moving on, regressing, hockey, and found families of all kinds. | Effectively a novel, digging into Kent’s personal history, mostly concerning his life in juniors but expanding into his present, overlapping with the plot of OMGCP. I think there is room enough for endless speculations on what went down pre-canon; this one offers a fuller life for Kent than nearly any others, digging into him as a whole person rather than as a satellite to Jack or the plot of the comic. Which isn’t to say that the Kent/Jack stuff isn’t dealt with here; it explicitly is. But the fact of Kent Parson’s life, if we can begin to imagine it beyond mere text, would exist before, after, and alongside Jack; he gets to juniors without Jack, presumably, and he is the captain of a hockey team without Jack, and Pinkerton lays the foundation of Parse’s character within a junior hockey that Jack also inhabits, more so that Parse existing for Jack, so to speak. And I’m not implying this latter tactic is wrong; I have certainly employed it, and others have employed it to great impact and effect. But, still, the title of this series tells you what you ought to know: Kent and his story are the potentiality of OMGCP, up to a point; seeds being planted. Young hockey players, similarly. The question implied there is, what will be reaped? And the answer to the latter, in a sense, that reaping is a sort of violence. Which makes this series sound pretty heavy, but it’s not -- more like, realistic.

(tell everyone) you were a good wife by @queerofcups | The biggest problem with pretending that he doesn’t know that Kent Parson is fucking his husband is that Jack can’t tell Kent how grateful he is. | The ne plus ultra of PBJ triangulation; I’ve been squealing to the writer about how good it is since August, begging for behind-the-scenes insights, and I’d only do that if I really meant it. The precarious social fabric stretched across these three chapters is fraying before the reader’s eyes. The details are delicious, and I don’t want to spoil them, but they sing in chorus with the plot. My favorite OMGCP fics, honestly, remove the romance narrative guardrails that keep things in the comic itself humming along. I think Dann’s take is to ask who in this comic has power and what they would end up doing with it. (Or not doing, from another angle.) At one point, early on in its telling, OMGCP looked like it was going to be a story dealing with the compounded traumas of hockey’s discontents. Then, of course, it wasn’t. This is a fic that steps back and asks what the fallout of that oversight would be. But that’s just the moldering core of this fanfic; it’s actually embroidered, like I said, with glittering detail. The color of the suit Bitty wears to his wedding is burned into my brain. The gray manicure of a woman Jack knows. The ingredients in a cake. This is one of those fics I still haven’t reviewed because the thought of stacking everything I could say about it into mere AO3 comments is inadequate.

when you’re ready by megancrtr | The Aces’ director of communications gets the call at 3:13 a.m. Jack Zimmermann has withdrawn from the draft. | “What happened at the draft” is so mythological it gets asked in the comic proper, and I’ve never counted how many fics attempt to answer this question--from Kent’s point of view, even--but it’s gotta be, oh, hundreds. This story replays the situation from the perspective of an Aces staffer who just wants to do her job, and gets at the jarring discordance between the plot of OMGCP in its quest for social justice and the business of actual hockey. Important context is that this story was written around the time the comic was playing out the end of Y3 and start of Y4, and Bitty pointedly asked Jack the question, “why can’t we?” This story reframes the question as literal, rather than rhetorical. A sterling example of fanfic being a gloss on its source.

BONUS, podfics

hockeyed up | There are many things on Jack's mind. Namely: hockey, hockey, Bitty, hockey, anxiety, hockey, hockey, anxiety, Bitty, hockey, hockey, anxiety, and hockey. | A fic read aloud by its French-Canadian author. Also a relatively early OMGCP fanfic; composed while the first semester of Y2 was posting, the story suggests a version of OMGCP that was in some ways more and in other ways less complex than what it would turn into not long after. The real power of this podfic, however, is that it’s read by the writer, so you can hear the intended emphasis in every line. Also, because she’s French-Canadian, Sophie’s intonation is what I picture when I read or write dialogue for Jack.

maybe i’m waking up | It’s almost funny. All he ever wanted was to play hockey, to play in the NHL, to win the Cup. This—Samwell, the team, the Haus—was supposed to be just a detour, but now it feels more like a destination he failed to realize he’s already reached.(Or: Jack signs with the Falconers, graduates, and leaves. It's the hardest thing he's ever done. What comes after is even harder.) | Don’t get too excited; this isn’t finished. A podfic of probably the best-known, most-recced fic in OMGCP fandom. Striking for its use of metatext woven into the story, this is one of several early longform Jack/Bitty fics that posits that maybe Jack has a lot more development to undergo before he can really, truly, be okay--or be okay enough to be with Bitty? To be honest, this story strikes me now as too long, but the parts in it that work are effective beyond that which fanfic demands. Meanwhile, this audio version only covers six chapters, but it’s so slick, so well-realized, so true to the story. Podfic as art.

my own dear friends | Ever since the day he met Jack Zimmermann, Shitty has seen it as his solemn duty to aggressively love him. (He just didn't know how aggressive the love Jack needed would be.) | There’s previous little Jack/Shitty in this fandom and a lot less quality BDSM,

the city’s ours until the fall | Kent has been, historically, good at this—forgetting about things until suddenly he doesn’t, and then it’s like the scar has never been there in the first place, just the wound. (Or: Kent Parson lets himself be happy, after all this time.) | I’ve never read this fic and I never will. I cannot imagine how, no matter how good it is, it could compare to the version that lives in my head, with Kent’s voice so totally realized. Vocal fry and pathos, a languid energy that I still think about when I think about Parse.

the model home | It’s going to be better, and that’s great, but sometimes Jack thinks, why can’t it be good right now? | j/k j/k, this is a self-reminder to finally one day review this.

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subwalls · 3 years

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Tales from the SMP Presents: The Pit

Another Tales, another Kingdom Hearts comparison post! “The Other Side” is a mix between the soundtrack The Other Promise and the cinematic “Another Side, Another Story” (both of which come from Kingdom Hearts, of course), which evokes a very specific KH character that... yeah. So let’s get into it.

Karl gets stabbed by the king’s new general and finds himself back in the Inbetween. A cool new logo pops up as we enter the Inbetween, which actually is a... very typical example of a Kingdom Hearts world logo / intro card / name card? I honestly don’t know what it’s called, it doesn’t have a name, it’s just a thing that happens every time the character enters a new world.

Castle Oblivion is just one (1) example, but if you just look up “Kingdom Hearts worlds” and scroll a bit, you’ll see what I’m talking about, haha. This doesn’t really change anything, it’s just another little wink and nod to the Kingdom Hearts series.

... Except, of course, the fact that there’s a title placard for this world implies the existence of other worlds. Which we eventually find out is, in fact, true. Fun! There’s a number of associations I could make based off the aesthetic of the logo (the castle reminds me of Radiant Garden, etc) but honestly they’re not worth much without more information.

So, the Inbetween is vividly aware of Karl’s straying from “the path”. It makes a huge attempt to still be pleasant and “nice” and whatever, but we can tell quite obviously that there’s an undercurrent of threat under all those pretty quartz blocks and smiles :]

Speaking of the :] smile, the reveal of Quackity’s previous lore stream actually doesn’t push me to think that it’s directly related to him in any way. It’s not impossible that c!Quackity achieved such heights as... becoming? The Inbetween? Because he’s got reason to be invested in Karl’s powers and keeping him in line. But it’s a reach or long-term thing at best, honestly, so I’m shelving the Quackity-smile association until further evidence appears.

(I could go bonkers and say that this is the culmination of c!Quackity’s ascension after ripping Information out of Dream or even XD, but that’s well into AU territory, so it’s all just shrug emojis for now.)

Which, of course, leads to the question of who that smile actually is associated with, and I think as clear an answer as we’re going to get is... The Inbetween itself. Clearly.

There’s a lot of meaning I could take from that; is it associated with Dream or XD then? Or maybe is it tapping into Karl’s memories of c!Dream doing the :) thing and it’s appropriating that for itself? Why? To intimidate Karl into obeying it?

Mayhaps. Mayhaps!

Anyway, Karl goes up to the tree, and as he approaches, the video feed distorts as the game abruptly switches to a higher-level shader like BSL or something.

Now, I haven’t confirmed it, but the way the audio shifts makes me think it suddenly started playing backwards, too. It’s just the way it sounds; it’s got that... sucking effect that’s pretty typical of musical tracks played backwards.

Karl swims down to the hidden room, which is very dark now. There is a book that tells him to go up the ladder for a surprise.

Also, by the way, I’m back on my wither rose pot association brainrot, because I can’t help but notice that there isn’t one here. There was one in the previous Inbetween segment, but it’s gone now. Now there’s a new book with the :] smiley, which of course should set the audience on edge, since we just saw the first book use it in a... mildly threatening manner.

We know that in Dream SMP it’s a pretty common thing to use redstone as blood. Other characters have used it in bits, some more seriously than others, and I think that’s what this room is trying to emulate.

If I had to guess, I’d... hm.

A part of me wants to say that the blood is probably from the different versions of Karl wandering around. Nobody’s going to notice if a few abruptly take a swerve to bleed themselves out in a room or something, right? But that carries a lot of implications, namely that of control so perfect it borders on possession. So either the Inbetween can control Karls, or it has some other agent capable of dragging something into this chamber to bleed it all over the room.

Neither of those options are particularly nice, I’ll admit!

There’s no Kingdom Hearts associations here, by the way. Due to being so closely tied with Disney, KH is deathly allergic to portraying blood in any way lmao. Not so many messages carved into the walls.

Or painted onto the walls with blood, if that’s what that is. Color correction gets a bit odd with shaders, so I’m not saying anything for certain; the closed books don’t look enchantment-purple, for example.

What does catch my eye are the torches, which will later be the flickering lights that guide Karl to the portal. The fact that they are here makes me think that this was definitely the scene of either a battle or some other conflict between the two sides to this story (haha, get it, Another Side, Another Story, because that’s a Thing in KH—), or at least proves that an influence from The Other Side was here at some point in time.

Karl quickly gets the fuck out of there, and when he swims back to the surface the shaders/music switch back to normal.

Oh, and for all you people who like to point fingers at anything vaguely false and scream “that’s gAsLiGhTiNg!!!1!!111″ about it, here’s an actual attempt at gaslighting. Note the language used here: “Your mind seems to be playing tricks on you :]”. It’s explicitly trying to convince him not to trust his own senses and mind. It’s saying, let me think for you. And that is a very dangerous thing.

Wither rose pot exists again, yay. Definitely a Inbetween voice, this book.

More wither rose book, this time in the, uh, grand entrance hall? The lobby? Yeah.

This book basically goes on a spiel about how the Inbetween is so great for Karl (a declaration, by the way, rather than a hope) and says that he is doubting himself or being less like himself, which is odd, because what he’s really doing is doubting the Inbetween and the path it has laid out for him. In a way, by questioning the Inbetween, Karl is being truer to himself than anything else.

The malicious way this place frames its words becomes more and more obvious with each passing page; it again reminds him that it’s a place to be “feel at ease”, which is super sketch that it has to tell him outright rather than actually being that place. It continues attempting to gaslight him, telling him that his imagination is getting away from him and that he can’t trust himself or anything else but this “path”.

I’ll get back to the “path” thing in a minute, but I really want to drive home that this is the truest instance of gaslighting we’ve ever had on the Dream SMP. Nothing has ever so clearly declared that it must be trusted over the victim’s own senses, practically infantilizing the victim’s concerns and trying to make them think that their worries are just flights of fancy. Please, please keep this in mind any time you want to accuse a character of gaslighting in the future; not all psychological abuse is a form of gaslighting. Sometimes it’s just... abuse. It’s not any more or less worse than gaslighting, it’s just different.

Anyway, about the “path” that the Inbetween is so obsessed with. No idea what the fuck that’s talking about.

In Kingdom Hearts, the only paths that are really of import are is a specific character’s “road to dawn” (redemption without fully yielding his edginess, essentially) or the “paths” that characters take to traverse between different worlds. I really don’t think the Inbetween has anything to do with either of them, but I’ll leave the options there if you want to peruse the possibilities.

What’s more likely, I think, is that this is a vaguely more subtle version of control/possession. The “path” is just “whatever the Inbetween wants you to do”.

Our next book is from the other side, and is plastered nonchalantly but boldly against the wall with no flower pot or anything.

Karl picks it up, puts it in his inventory (which probably indicates that he’s keeping this particular route close to his heart, rather than whatever the Inbetween is trying to make him do), and then the video stutters and he teleports back to the main entrance.

There’s a new book. It’s spooky as fuck, and hilariously hypocritical.

The tone shift is immediate, of course, aided by the abrupt change in background music since he got teleported back here. (I can’t quite nail it down; I assume it’s a slowed KH track like the others, but it doesn’t quite ring any bells for me.) The way the Inbetween speaks through these books has changed too, though; it addresses him by name without any attempt to cover up its intentions with flowery softness.

It does a cool fun thing where it says that it knows more than Karl, and knows what’s right, and then goes on to say that those visions shouldn’t dictate his opinion on the inbetween. (I’m keeping an eye on that lowercase, by the way. Not sure if it’s a typo or intentional, since it’s still one word, but.) As though he should trust the Inbetween’s opinions of itself rather than his own brain? A’ight. Sure, Jan.

Again it tries to tell him that it’s safe here. The lying is getting more transparent now.

He puts this book back, the previous book back, and runs after a double of himself until the shaders and music glitch again.

Fun thing about shaders is that they make dark areas... much, much darker. Especially since we saw that Karl’s got night vision (the effect, for cinematic purposes) on.

The music has a few notes that again sound as though they’re being played backwards.

The book on the tree in this courtyard does not come with its own little wither rose pot, and neither does it seem to come from the Inbetween, since it’s telling him some awful things about these other versions of himself.

It confirms a few things about the mystery other selves, namely that they’re definitely condemned to walk the castle forever, but it doesn’t really tell us why this happens or why the Inbetween (probably) wants this to happen. What’s the end goal?

We’re probably a bit early in the story to figure that out, but they’re questions worth keeping in mind as this storyline progresses.

Karl gets teleported back to the main lobby, which looks very dark and spooky, though in the transition we do see a glimpse of that portal. There are torches around the wither pot book pedestal, and the audio really kicks into high gear with the creepy notes and the visuals get stretched and glitch quite a bit as he opens the book.

Funnily enough, the audio kind of reminded me of some pokemon encounter music, but I think that’s just because I’ve got those notes wired into my brain from years of playing those games. Anyway! The book tells him this is not a warning, and that they’re gonna fucking come for him to make sure he sticks with their path.

“We”.

Who is “we”? Is the Inbetween a collective? Is the Inbetween just part of a different whole? Maybe it counts all the different Karls as a part of it.

Either way, it’s creepy and threatening. Karl starts running; the screen glitches and tells him to follow the torches, which at first I was kind of leery about trusting, but the next series of words helped clear up exactly what side those words are on.

Also, you’ll notice that some other text kinda skitters across the screen before the English, like it’s getting translated. I think it’s Galactic, which is something different from the thing that Ranboo uses for Ender? I think Ranboo uses the Alien language thing or something? I’m not 100% sure on that, feel free to correct me and I’ll fix this portion.

It certainly implies that the speaker isn’t communicating in the server equivalent of “common”, however. Not sure if they’re translating into English or if Karl inherently understands it and it’s translated into English for the audience’s convenience, but either way, the other speaker might be linked to something completely different.

Karl runs on with encouragement and creepy music until he finally arrives at the portal, which is not barred off like it was last time. Thanks, whoever’s responsible for that!

The music dies for this final book.

The Inbetween’s last-ditch attempt to make him stay. It calls him silly a couple of times, and smiles at the end with a :]

Problem is, we and Karl already know that staying with the Inbetween will keep him from his friends. And the voice tells him to leave for his friends.

Karl looks around at this place that calls itself his sanctuary, and makes his decision.

He arrives at The Other Side.

The music appears to be drawn from parts of either The Other Promise or Roxas’ Theme, both of which are heavily tied to the character known as Roxas. The version that Karl uses is slower and lower, the same as with the Dearly Beloved track he uses for his Inbetween segments.

Honestly, I’m not as certain on this as I could be, because I couldn’t find the exact variation on Youtube and there are parts that could just be Emotional rather than Roxas-related, I’m not sure. I’ll probably come back and fix this if it’s untrue.

EDIT: Yeah, uh, it’s Ven’s theme, not Roxas’, but the world itself is still heavily associated with Roxas in naming themes.

For now, I’m going off the assumption that the decision to make both the name and the theme of this world relevant to Roxas is purposeful, which means I’m... going to attempt to explain who Roxas is and what his story is.

Oh boy.

To grossly oversimplify the situation, Roxas is a “part” of Sora who develops his own sense of identity, is betrayed, gets coerced into murdering his best friend, gets kidnapped, gets memory wiped, and then—when he gets his memory back and realizes he super hates his captors—is convinced by those same captors to give up his existence because he “isn’t a real person” and if he lives then Sora will never wake up. So he “dies” and becomes a part of Sora again until later.

(Sora, by the way, is asleep due to the events in Castle Oblivion, which you might recognize as That Place I Keep Associating The Inbetween With.)

He’s also a fan favorite lmao. Take from that as you will, and, I don’t know, flip through his wiki page or something. Can’t guarantee it’s all understandable though.

My point to bringing Roxas up is that his arc... kind of parallels Karl’s. He did his job working for superiors he didn’t really understand in a white castle, with the higher-ups trying to control him, until he realized he was losing his friend/s to them. At that point, he defects. I think this is the point that Karl has reached, in his own storyline. He’s pulled away from the thing that’s made itself known to him, and now he’s wandering down something that hopefully isn’t as awful as the beast he’s just left behind.

Roxas also doesn’t get his happy ending for a long, long time.

Let’s hope Karl is different.

Off the top of my head, I can tell you that the mood this world creates is very reminiscent of some areas that the Kingdom Hearts games explore in 0.2 (yes, zero point two, that is the number of that game. This fucking series, man), specifically Castle Town, in which the player character has to smack a bunch of clock gears to make time go backwards in order to proceed, which is fun. But no exact inspirations come to mind the same way that Castle Oblivion did for the Inbetween.

Until we get a better look at the interiors, I’m going to gently claim that this build is more original and doesn’t take inspiration quite as directly from a Kingdom Hearts source, so there might not be an exact parallel. There isn’t a black castle in Kingdom Hearts that I can think of, honestly.

Also, I will say that I’m going to take this episode as confirmation that the wither roses are associated with the Inbetween and appear next to books that come from / are related to the Inbetween, especially since The Other Side associates itself with a completely different flower: the white tulip.

Anyway, The Other Side tells him he’s home, and that they’ll explore more soon.

This... eerily parallels the Inbetween, which told him that he’s safe, and has lots to explore.

I can’t say that I immediately trust The Other Side, but neither can I say that I inherently distrusted it the same way I did with the Inbetween. We’re going to have to wait and see how this place behaves in future episodes to get a good grasp of it. Who built these places? Are they alive, and writing the books, or is there a mastermind behind them? We still don’t have a lot of the answers, but that’s okay.

For now, I’m content to know that Karl is away from the more obvious perils of the Inbetween.

It could still be a trap, but for now, it’s a refuge.

#dream smp #tales from the smp #tftsmp #im exciteeddddd #general thoughts

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occasionalsnippets · 3 years

Text

Escapism AU (Y/n) & Passione

This is mostly about mc’s interactions with the gang including a bit of La Squadra and Unita Speciale. I’ll probably add more as I think.

Bucciarati’s Gang

Mc crashes at their house from time to time even though she has her own apartment

This either because she wants to sleep over for fun

Or because she’s finished a mission and their house is closer

Sometimes she shows up at 2 AM and just passes out on their couch

It happens more often than it should

Bruno eventually gives her a copy of the key

She steals food from the fridge too but makes up for it by buying groceries

They leave a toothbrush and cup for her in one of the bathrooms since she comes over so much

Before everyone was recuited, there were extra bedrooms in the house that weren’t being used

They left a guest room for mc but she doesn’t use it all the time, opting to pass out on the couch first

Either Bruno or Abbacchio usually brings her to her room though Abbacchio would never admit to it

Mista draws on her face with marker sometimes but leaves her on the couch most of the time. He can’t ruin her cute face all the time

Narancia cuddles with her on the couch or join Mista in doodling

Fugo leaves her on the couch but gets a blanket and readjusts her position if it’s uncomfortable

However, after Mista got recruited, mc gave up her room so Mista didn’t have to room with anyone

Now, she just sleeps on the couch or whoever’s okay with her borrowing their bed

She has tried several times to get them to wear normal clothes outside (they dressed perfectly normally before joining the mafia!) and only about half those times did it actually work

Mc is strong enough carry everyone in the group bridal style

The only ones who gets particularly mouthy when she does is Abbacchio and Mista but only because Mista wants to carry her too

She joins Fugo, Narancia and Mista in doing stupid things but it’s fun

She knows the torture dance

Mc isn’t technically a part of their team but they consider her to be because of how often she stays over and tags along for missions

She doesn’t expect anyone to really like her the way they do despite how obvious their feelings are

Part of it is because she isn’t supposed to be in this universe in the first place, that she’s an outsider of sorts. She’s here to make sure they don’t die

The other part of it is the guilt of leaving them to die in the first timeline. She feels like she doesn’t deserve how highly they think of her because of how readily she was to let fate run it’s course the first time around, even if they don’t remember it

She’s sooner die then let any of them do the same

Giorno

Mc meets Giorno before he’s recruited into the gang since she does go to the same school as him even though she doesn’t really show up to classes that often

She’s about 2 years older than Giorno

They became friends prior to his hair turning blond and she almost didn’t recognize him but his eyes are rather distinctive

When it did turn blond, mc got a vaguely panicked call in the morning from him saying his hair turned blond for some reason

She’s the first person to braid his hair with the needlessly extra loop at the end after it turned blond

She wasn’t sure how the donuts worked but the next time she saw him he had the signature donut hair so she guessed he figured out how to do it

It becomes routine for her to braid Giorno’s hair when she notices it’s undone

She gave him a crash course on stands when he found out she had one

They spend a lot of time in libraries

Mc insists on paying for food when they get lunch together though Giorno always refuses

I feel like Giorno lowkey craves intimacy?

Mc calls him “GioGio” sometimes

Trish

Hmmmmm, gay

I really like Trish hence why she’s included in the harem

Out of everyone in the gang guarding her, she’s the closest with mc since they’re both girls which is also why Bruno assigns mc to her the most often

Convenient for Trish since it means more time to flirt

Unfortunately, mc does fall under the “are we just being nice to each other or are we flirting” when Trish is just about ready to ask for her hand in marriage

She’s flirting, no doubt

Trish lets mc rest her head on her thighs which mc can confirm is very comfortable

Trish is one of the two people she trusts to do her make up, the other one being Abbacchio

You know that picture where there’s one girl sitting on the other girl doing her makeup

That’s basically Trish and mc

Post-Vento Aureo, they stay in contact and remain good friends as Trish pursues a career as a singer

Narancia

Mc joined Fugo on that walk where they found Narancia in the alleyway so she’s partially responsible for him joining the mafia

They bring him to Libecco where Bruno is and he gets food before going to the hospital to get his eye treated like in canon

She goes shopping with him after he’s out of the hospital

They get normal clothes but the next she sees him, he’s wearing his canon outfit and she wonders why she even bothered with his fashion sense in the first place

She’s the one who buys him his bandana that he wears in his canon outfit

They’re pretty cute together actually

She calls him “Nara”

While she isn’t available all the time to help Fugo tutor him, when she is around, she tries her best to help

They listen to music together and mc ends up reccomending a lot though some songs haven’t come out yet so she’s only able to play them on her phone

“If I run and jump at (Y/n), she’ll definately catch me!” “Wait, I’m holding a mug-” *Drops the mug and catches Narancia*

Hugs with Narancia often end with his face buried in the crook of her neck

Fugo

Probably the one mc goes with on missions the most

Part of it is because they’re the closest in age prior to everyone else joining, another part is due to mc’s nullifying ability effectively making her immune to Purple Haze’s virus

Mc be like “if I got infected with purple haze’s virus, I would simply become immune. rip to everyone else but I’m different.”

Still, Fugo is still very cautious when it comes to pulling out Purple Haze

Fugo buys her lavender hand lotion once and she decided she liked it so she continued to use it

He sorta associates lavender with mc

Mc buys him strawberry earrings. Sometimes she spontaneously buys stuff that reminds her of him

Fugo isn’t particularily fond of contact (backstory trauma) so mc tries to keep it to a minimum unless he gives an okay

Probably a few missions together where mc saves him, they’re walking down a street together and he just slips his hand into hers

Asadlskjh, I want them to hold hands

When she’s doing school assignments over at the Bucci house, Fugo helps her look over and proofread them despite the fact she has access to the internet through her phone and can search stuff literally from the future (not that he knows). She appreciates the input

I think that after Fugo leaves the group during Vento Aureo, I would like to bring him back somehow before the end of Vento Aureo

Abbacchio

He didn’t like mc at first, no surprises here, but after they went on a few missions together where she saved his life, he begrudgingly opened up

She reminds him of his dead partner due to how reckless she is in saving people

She an idiot but she’s his idiot

He’s likely one of the most worried when she gets hurt since he doesn’t want to lose another person who died protecting him

Abbacchio does come off as very tsundere seeing how prickly he is to everyone except Bruno but everyone except for mc notices that he isn’t that prickly to her either

Mc doesn’t expect him to like her to any degree so whenever anyone points out that he’s nicer to her, she’s like “what?”

They have late night talks a lot

Abbacchio stays up late drinking and mc doesn’t sleep consistently enough

Sometimes they go up to the roof of the house to talk

She has fallen alseep on him multiple times. His tiddies make great pillows.

Generally, she’s got her head resting on his tiddies, one arm hanging over his body, the other spawled out somewhere. He keeps one arm around her head and the other around her waist

Bruno

Mc with Bruno is oddly domestic?

she helps around the house, buying groceries, helping out in the kitchen and cleaning from time to time

Bruno appreciates it a lot

If Abbacchio and mc have late night talks, Bruno and her have early morning talks when everyone else is asleep and the sun is just barely rising

Bruno keeps telling her it isn’t healthy to sleep only 3 hours so he convinces her to fall asleep for a few more hours

He spoils her a lot and brings her to cafes

Bruno is one of the last people she would expect to like her more than a friend due to the “bruno’s a mom” memes and he’s nice to everyone (almost everyone, excluding ememies), there’s no way he would like her more

Sure, he kisses the crown of her head and the back of her hand from time to time and they cook together

But they’re just good friends, right?

He frequently lectures her on being more careful and not being so reckless

Mista

They discuss weird stuff a lot

The combination of mc’s general knowledge of random things due to the internet and Mista’s bad timing when bringing up topics leads to interesting conversations

Like, your tongue never sits comfortably in your mouth, your skeleton is wet, are you inside your skeleton or is your skeleton inside you?

Mc is always in a constant state of worry when he’s on a mission because his bullets always end up in his own body something

The only reason he isn’t dead yet is because his dumb*ss aura surrounds him

Mc qualifies as a cute girl 11/10

He flirts with her casually and the pistols tell her his thought even when he doesn’t want them to but she never seems to notice

“You’ve been flirting with me?” “Have been for the last year, thanks for noticing.”

Mc gets Mista a gun holster after the events of Vento Aureo because he really shouldn’t be tucking his gun in his pants like that

If someone was really angry, they could lean over and shoot his d*ck off

La Squadra

I sorta debated whether la squadra should be a part of the harem or not but I think mostly no

That’s because I don’t really have an age range for them but Risotto’s like 28 and big age gaps are creepy. So, I guess for some of the la squadra members, it’s up to interpretation whether it’s romantic or platonic. I’m inclined towards platonic though

I’m not sure if I want to save Sorbet and Gelato yet

Mc, of course, goes along for missions as she’s ordered to

La squadra is so broke. Why doesn’t Diavolo pay them more? They literally kill people for their job

Mc doesn’t crash at their house very often but she stops by to hang out and drop off food

She buys them groceries when she notices their fridge is super empty. She doesn’t need them to pay her back (her paycheck is suprisingly big), but they should stop eating takeout all the time

She usually calls Risotto to ask if there’s anything specific they want

She’s rather fond of Pesci. They go fishing together when they have time

Illuso and mc are gossip buddies

Melone gets kink shamed during missions

Ghiaccio and mc have gone ice skating together before

I don’t really have anything else for the others... I’ll think about it

When Vento Aureo begins, mc is trying to save them though she isn’t directly working with them

La Unita Speciale

These are pretty random

Tizano and Squalo are gay, mc was there when they proposed to each other

Mc gets ordered to buy food when they have meetings though it’s pretty rare

When she does show up to drop off food, it’s a constant feeling of “let me leave quicker please” because Cioccolata is freaky

She thinks she runs into Doppio way too often when she’s doing missions

The only good thing about it is that Doppio is pretty nice when Diavolo isn’t kicking about. On one hand, Doppio=nice, on the other Doppio=Diavolo

Mc feeds Secco sugar cubes when Cioccolata isn’t looking

She would not trust Cioccolata to patch up any of her wounds, he’s likely to dissect her

Mc gets missions through calls and emails but sometimes Doppio’s around to tell her what they are

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