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lucky-sevens · 3 years

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mechanisms basics & lore

welcome to my updated mechanisms intro post! this post will cover both the topics discussed in my mechanisms basics post, which is geared towards people who don’t know what the mechanisms are, and my deep lore post, which aimed to be a comprehensive compilation of all the important character and world lore. this post should serve the above group, but it’s geared towards people who have listened but feel there’s a lot of lore that seems to be common knowledge they’re missing. we’ll start out with a basic introduction, and then go into crew lore and a semi-comprehensive guide on where to go for further information.

basics

the mechanisms were a steampunk concept band, known for their queer representation and their tragic stories. they are no longer together, their last performance being january 2020, but several of their members are still creating related spinoff content.

they follow the trope many steampunk bands do, which is albums that tell a story; think similar to listening to a musical soundtrack, but geared to a visual-less experience. what distinguishes them is 1) narration tracks between each song, making the plot very easy to follow, and 2) being meant to be watched live, meaning there’s layers of meta that are more easily understood by watching recorded gigs rather than studio recordings of albums. specifically, there’s a focus on the narrators, known as the mechanisms or the crew of the aurora, who are immortal space pirates telling the stories and occasionally inserting themselves into them. though they are tragic figures themselves, their banter serves the purpose of bringing a lightheartedness and dark humor to the stories. if there’s an aspect of the lore you’re confused on, it’s probably related to the narrators!

to watch the mechanisms live, you can find recordings on youtube, dropbox, google drive, soundcloud, or vimeo, which are all compiled in this post (including transcripts!). if visuals aren’t your thing, i’ve linked the studio recordings later on in this post when they come up, and here are the mechanisms’ official spotify, bandcamp, and youtube, as well as an unofficial comprehensive lyric videos channel.

the albums

regarding the albums specifically, there are 4 main ones (once upon a time (in space), ulysses dies at dawn, high noon over camelot, and the bifrost incident), 2 that are compilations of miscellaneous songs (tales to be told 1 & 2), 1 single (frankenstein), and 1 album that’s a high-quality recording of their last live show, including an alternative performance of the bifrost incident, 2 songs only performed at live shows, and 'the deathsong’, which details how they all eventually die (death to the mechanisms).

as you might have been able to tell from the titles, they’re all based off of various myths, folklore, literature, and/or fairy tales, using different genres on top of a sci-fi setting to add a fresh twist to them! for example, high noon over camelot is a western based on arthurian mythos, set on a space station. (the albums are known for all ending in tragedy, so be careful if that isn’t your cup of tea!) if your goal is to get into the mechanisms, i’d suggest sitting down and listening to them all in full; links will be provided below, or alternatively you can watch once upon a time (in space) live here, ulysses dies at dawn live here, or the bifrost incident live here. (there is no full live recording with visuals of high noon over camelot, sadly, but there are partial and audio only recordings.)

once upon a time (in space) - spotify/bandcamp/youtube

ulysses dies at dawn - spotify/bandcamp/youtube

high noon over camelot - spotify/bandcamp/youtube

the bifrost incident - spotify/bandcamp/youtube

tales to be told, volume 1 - spotify/bandcamp/youtube

tales to be told, volume 2 - spotify/bandcamp/youtube

frankenstein - spotify/bandcamp/youtube

death to the mechanisms - edited video with the stream corruption fixed + subtitles / stream / spotify / bandcamp / youtube / transcript pt. 1 / transcript pt. 2

reading the fiction is integral to understanding both the albums and the mechanisms themselves. the fiction is a collection of short stories set in the mechanisms universe posted on their website here and compiled by me here, with an extra high noon over camelot story here. (there are also audio versions for ‘mirror mirror’ and ‘a rebel yell’ included on both the website and the compilation).

the crew of the aurora

as for the crew, at their peak there were nine members played by people, as well as the ex-member dr carmilla, who has extensive solo lore and is still active (which we’ll touch on in a few paragraphs). there is also their ship, the aurora, who is sentient and has her own lore. in fact, every member of the crew has their own backstory, set in a different genre or historical period; for example, nastya rasputina's is historical, jonny d’ville’s is a western and marius von raum’s is a mecha anime. however, they’re all still different flavors of steampunk! below, i’ll list each member, their performer, and the main sources of lore about them. for the majority of them, they have their own song in tales to be told, but there are a few outliers. everyone also has their own bio up on the website, which can all be found here.

the aurora (n/a, ship)- on aurora (meta)

jonny d’ville (jonny sims)- one eyed jacks (song), jonny before he was mechanized (meta)

nastya rasputina (anonymous)- cyberian demons (song)

ivy alexandria (morgan wilkinson)- archive footage (fiction), crew bio

ashes o’reilly (frank voss)- lucky sevens (song)

drumbot brian (ben below)- lost in the cosmos (song), crew bio

the toy soldier (jessica law)- the story of the toy soldier (fiction)

gunpowder tim (tim ledsam)- gunpowder tim vs the moon kaiser (song/minialbum)

marius von raum (kofi young)- the death of byron von raum summary (blog post)

raphaella la cognizi (r l hughes)- crew bio

if you’ve noticed the crew bio doesn’t say much about raphaella, that’s because we know little to nothing about her backstory. the only thing we have to go on is a quote from the tv tropes page, which looking at the edit history, was likely written by one of the mechanisms. the quote is ‘Science officer who may or may not have cheated her way onto the ship after becoming a little too interested.‘ and the page is here.

the majority of fandom content is about the crew, working off of what we get from the tales to be told songs, the live gigs, and the fiction.

dr carmilla

speaking of characters with obscure lore, let’s talk about dr carmilla! rather than linger, i’ll just link my carmilla basics post, which is a comprehensive summary of who she is in and out of universe. to summarize, she’s a character based on the novella ‘carmilla’ by sheridan le fanu, commonly regarded as the first vampire novel, but her lore has diverged heavily from that original starting point since then. she is the oldest out of all of the crew, and made the majority of the other crew members immortal. she, as well as aurora, is from a planet called terra, which was destroyed partially as a result of her actions. her character is defined by her immortality and how she deals with it, her experiences on terra, her relationship with the mechanisms, and her dysfunctional relationship with her ex-girlfriend loreli, the last of which is the most covered by her songs. out of universe, she is played by maki yamazaki. all her lore lines up with what happened out of universe, and ties to the fact the mechanisms were originally dr carmilla and the mechanisms. she has two solo albums and two singles, which i’ll link below.

ageha (prototype edition) (album)- bandcamp | youtube

exhumed and {un}plugged (album)- bandcamp | youtube

the city {nex:type mix} (single, in-character cover)- bandcamp | youtube

eleven (single)- bandcamp | youtube

the majority of her lore is still to be officially revealed, and will be in the trilogy of albums maki yamazaki is working on.

further reading

if you’d like to delve further into the lore, there are a few sources i use! there are official, in-character, blogs, as well as things that are harder to dredge up; i won’t link them here, but some sources include @/thedreadvampy (the band’s artist, as well as morgan wilkinson’s sister and kofi young’s partner; don’t bother her for lore or anything, but she’s previously made posts sharing previously unknown information), old websites and deleted content found on the wayback machine, the tv tropes pages, and most notably the lore doc.

the ‘maki forbidden lore doc’ is an archive of all the lore maki yamazaki has shared on the mechscord, the official mechanisms discord which she’s on, and her own personal server, where she’s running an arg (alternate reality game) as a way of relaying more lore about the dr carmilla universe. for an idea of the scale, the doc is currently 91 pages and 28346 words, and recontextualizes much of what is known about dr carmilla and maki’s canon of the mechanisms universe. it is confidential to anyone not in her discord or the mechscord, as she’s said that this lore isn’t thought out nearly as much as the albums and is subject to change, so she’d rather it not be out in the open. however, information on how to join the mechscord can be found here. there is also a non-canonical fan project based on the arg in progress, but information on it is also confidential for now.

with regards to the above phrase ‘maki’s canon’ it’s worth noting that all of the individual band members have their own idea of what counts as canon and what doesn’t, and as you foray deeper into lore that division becomes more and more apparent.

with that, here are the mechanisms’ blogs. they are all both run in-character by the main nine band members and inactive unless i note otherwise.

twitter

tumblr

facebook

website/wordpress (run ic by tereshkova’s ghost, the blogbot, for the most part)

carmilla twitter (active, run ic by dr carmilla)

conclusion

now that we’re coming to the end of this, i’d like to thank whoever got this far, and to say a few words. my interest in the mechanisms has been slowly fading, and i’ve been writing less and less meta and lapsing in keeping up with new lore myself. honestly, i’m pretty worn out by how much i’ve done on this blog and in this fandom, and the commitments i’ve assigned myself. i do have plans for future meta, but it’s unlikely they’ll come to fruition. so, i thought i’d do a new version of my two oldest posts on this blog, and hopefully enable other people to look into the lore and theorize themselves with the new information.

to find more information, remember there’s a mechanisms wiki, and that my askbox is always open.

thanks for reading!

#the mechanisms #the mechs #meta #my posts

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kanerallels · 3 years

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111 Followers Fic Ask Prompts!!

Alrighty, this is not going to go exactly how I thought it was, but I shall do my best!! Let's get going, my good hobbi-- FOLLOWERS I MEANT FOLLOWERS

Rules: Choose a fandom, and two characters and/or a ship from that fandom. Then, choose a prompt/au-- you can have two of those. Send them to me in an ask, and I'll get you a ficlet asap!!!

I will not be writing any smut/explicit sex/NSFW content, and if your ship isn't on the list, I probably won't write it.

Fandoms:

1. Star Wars. Ships: Kanera, Obitine, Merrical, Foxiyo, Damerey, Jyn x Cassian, Finnrey, Blyla, Hanleia, Skyjade, D'ukarrde, Vos x Ventress, Fenn Rau x Bo-Katan. I'm most comfortable writing for SWR, but I will write for the sequels, TCW, the original trilogy, Rogue One, Star Wars Legends, The High Republic, etc. There are very characters I won't write about (hint: Rush Clovis, Arinhda Pryce, Lux Bonteri)

2. Agents of S.H.I.E.L.D. Ships: Mackelena, Philinda, Fitzsimmons, Huntingbird, Staticquake, Dousy (although that one might take a little longer)

3. Six of Crows duology/ Nikolai duology. Ships: Kanej, Zoyalai, Adrik x Leoni, Genyadavid, Helnik

4. The Ascendance Series. Ships: Jaron x Imogen, Tobias x Amarinda

5. The Silver Eye. Ships: Runo, Donicus, Aperlyne

6. Avatar: The Last Airbender. Ships: Kataang, Maiko, Sukka

7. Dragons in Our Midst/Oracles of Fire: Ships: Bonnie x Billy, Walter x Ashley, Sapphira Adi x Elam

(list of prompts under the cut)

Prompts:

- Soulmates

- Time Travel

- Platonic Soulmates

- Fix It

- Unlikely friendship

- Loss

- Holiday

- Domesticity

- Princess Carry

- Disney Movie Au

- First Meeting

- Lost a bet

- Working together as cops

- Karaoke

- Crossover (send two fandoms!)

- Rescue

- Doug Judy Au

- Found family

- Dancing

- Waffles

- Bailing out of jail

- Band on tour

- Sparring

- Stars

-Bending (ATLA style)

- Grisha

- PAIN

- Art/singing

- Modern au (crossovers are basically mandatory. Jk, but they're high key welcome!)

- *gets adopted by the Ghost Crew* (crossovers welcome!)

-Fake relationship (romantic or platonic)

- Send your favorite quote from a Marvel or Star Wars movie

- Imagine your OTP (I'll choose from a list of prompts)

It's worth noting, some of these are specifically geared towards couples, while others could work for platonic with ease. I'm totally happy to accept platonic requests as well!!

Alrighty, that should be about it!! I'll link this in my original post so people can find it easily. Send me an ask if you have any questions, and let's hope this doesn't blow up in my face!

#writing #111 followers celebration #writing prompts #fan fiction #fan fic #star wars #aos #atla #diom #tse #tas #soc #kos

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agentnico · 4 years

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Top 20 Best Movies of the Decade (2010′s)

Now that we have entered the 2020s, it’s time to look back on a decade of movie magic. To emphasise the importance of each year, I’ll balance things out by including two films from each year for my Top 20 list. I’ve tried to pick films that both defined this decade as well as appealed to me personally, so my list will of course, as always, be different from yours, but hopefully, I won’t totally irritate you with my humble choice, which I deem worthy to post online for the public eye to witness.

2010:

INCEPTION - “You’re waiting for a train...” Christopher Nolan unarguably is the most exciting and original directors working today. Each time he releases a movie, its an event. A literal must-see at the cinema. Which is why this isn’t the only film of his you will find on this list. With Inception, Nolan gives us a movie that is both enjoyable and imaginative, rewarding the audience for the attention that it demands. Filled with so much detail that if you miss certain shots, you will completely get lost in confusion of the narrative (as confusing as it already is). It’s intense and complex, with great performances from the likes of Leonardo DiCaprio and Tom Hardy, this movie will leave you lingering for more even after that mysterious ending.

SCOTT PILGRIM VS. THE WORLD - “You cocky cock! You'll pay for your crimes against humanity!” Once again, another exciting director on this list (oh there are so so many!). Ever since Edgar Wright emerged from the British isles, he’s given us some of the funniest films of the past decade and onwards. His Cornetto Trilogy is a blast, Baby Driver is a blast, Ant-Man was going to be even more of a blast if Marvel allowed Wright to do his magical shenanigans his way, and the upcoming Last Night in Soho will surely be a blast also. With Scott Pilgrim vs. The World Wright creates a meta-clever universe taking inspiration from comic books and video games and filled to the brink with wink-wink-nudge-nudge humour, this is an exciting and very sarcastic over the top endeavor. Also, Brie Larson in this movie.....phew!! And unsurprisingly, its all a blast!

2011:

DRIVE - “I just wanted you to know, just getting to be around you, that was the best thing that ever happened to me.” Drive is more of an elegant exercise in style, and its emotions may be hidden but they run deep. A shamelessly disreputable, stylish, stoic, ultra-violent thriller with amazing stunt work, one of the best opening sequences of any movie this decade and a neon-pumped soundtrack that’s a must-own for all vinyl users, if you still haven’t seen Drive, there’s only one thing you can do. Clue: it’s to go watch Drive.

MISSION: IMPOSSIBLE - GHOST PROTOCOL - “Your mission, should you choose to accept it...” Tom Cruise’s deal with the devil allows him to do some literally impossible stuff, and though I don’t condone his Scientology ways, the man’s stunt work and efforts in his area of expertise are worth all the praise and respect. To be honest, I’m commemorating all three of the Mission Impossible flicks that graced our screen this year (Ghost Protocol, Rogue Nation and Fallout). This franchise is like a game of dodgeball, except that Tom Cruise is the dodgeBALL, being thrown and thrust left and right like nobody cares. Also, with me being Russian, the fact that a movie manages to destroy the Kremlin and then have me not hate the film in the aftermath shows that this film is way too fun to hate.

2012:

DJANGO UNCHAINED - “Gentlemen, you had my curiosity, but now you have my attention.” Quentin Tarantino is one of my favourite directors working today. And Django Unchained happens to be my favourite film of his. The writing for this film is orgasmic (I went there!). The way the actors deliver the lines and the lines of dialogue themselves sound almost poetic to my ears. I can quote so many lines from this darn thing. The cinematography is immaculate. The soundtrack choice is great. The performances, my goodness, the PERFORMANCES!! Jamie Foxx does arguably his career-best work here, but also we have Christoph Waltz and Leonardo DiCaprio both chewing up the scenery, and I’m sure everyone has heard the story involving DiCaprio and the broken glass. Django Unchained is an easy choice on this list for me, and possibly in my Top 10 of all time.

LES MISERABLES - “Do you hear the people sing?” The film that is based on a musical that is based on a book that is based on certain true events. Tom Hooper did an interesting choice of having actors sing live in front of the camera during filming rather than pre-record their voices, and it works to grand effect, though Russell Crowe should have probably been given more singing lessons. The movie is one hell of a way to adapt such a popular stage musical. With an opening shot that emphasises the scale of this picture with a zoom-in towards this big ship during a storm being pulled by these poor prisoners, we are plunged into the despair and conflicts of various characters with adroit narrative thrust so that not a moment feels wasted or redundant. You’d think that a film with hardly any dialogue and an overall reliance on singing wouldn’t be so emotional. Yet, somehow, it works. Also props to Anne Hathaway for winning an Academy Award for being in a film for only 5 MINUTES!!

2013:

THE WOLF OF WALL STREET - “Sell me this pen.” Martin Scorsese’s mad look into Wall Street life is a bombastic caper and running at nearly 3 hours, Scorsese and his editing team manage to keep an astoundingly intoxicating pace that keeps you enthralled and engaged throughout. This one is definitely not for the families, as this R-rated fest is filled with drugs, money, sex and everything you can possibly imagine and paints quite the picture of the rich folks of Wall Street. And the middle of it all a bravura performance from Leonardo DiCaprio. Someone needs to give DiCaprio’s agent a raise, this is Leo’s third appearance on this list and we’re only in 2013!

THE WAY WAY BACK - “I'm afraid I'm going to have to ask you to leave. You're having way too much fun, it's making everyone uncomfortable.” Sometimes a little indie flick is enough to lift a human spirit. Real, fun, uplifting and innocent, The Way Way Back dedicated to anyone who felt awkward or out of place at some point in their life, which, let’s be honest, counts all of us. I’m not afraid to admit that. So stop being a b*** and reveal your sensitive side too! Yes, you, the person reading this. Who else could I possibly be talking to? Myself? Maybe. The Way Way Back though is one of the best feel-good indie films of this decade, with the loveable Steve Carell acting very unloveable and Sam Rockwell Rockwelling himself to charm city! If you’ve missed this one, treat yo’self and check it out.

2014:

THE GRAND BUDAPEST HOTEL - “And?? Where is it? What's it all about dammit don't keep us in suspense this has been a complete f***ing nightmare! Just tell us what the f*** is going on!!!” Easily Wes Anderson’s best in my opinion (I have a friend who would argue Rushmore and The Royal Tenenbaums has the better hand but I think my opinion is more valid because it's me), this movie is a glossy, colorful, whimsical deadpan affair with an energetic turn from Ralph Fiennes as the hotel concierge M. Gustave H. as he and his lobby boy run into various Wes Anderson regulars and deal with murderers, stolen paintings, love affairs, prison breaks, and all kinds of crazy shindigs, but all shown in such a casual Wes Anderson way. This movie is like a slice of cherry pie - damn fine!

INTERSTELLAR - “Murphy’s Law doesn’t mean that something bad will happen. It means that whatever can happen, will happen.” As promised, Christopher Nolan makes another appearance on this list, now with his space time-traveling epic Interstellar, where he takes inspiration from the likes of Kubrick and Tarkovsky to give us, as always, a tad bit confusing adventure with great visuals and an interesting narrative (though it does sometimes get lost in its own way), however, the key thing holding this piece together is the father-daughter relationship with Matthew McConaughey and Mackenzie Foy (and Jessica Chastain) managing to bring so much raw emotion to their respective roles that you can’t help but want to shed a tear. I mean, I haven’t cried for over 14 years, but I remember when I first watched this film, the audience around me was sobbing quite a few times during the duration of this movie. Give it to Nolan to give us the emotional moments!

2015:

MAD MAX: FURY ROAD - “Oh what a day! What a lovely day!!” Easily the best action movie of this decade. Sorry John Wick, neither you or Tom Cruise could defeat this beast. The sheer, limitless invention behind this movie's exhilarating, preposterous chase scenes highlights action filmmaking at its finest. With big monster trucks and a random guitarist rocking-it in the middle of all the action, it’s like a nihilistic version of a Cirque du Soleil show! And it makes Tom Hardy the calmest person on-screen; no idea how it managed that.

STEVE JOBS - “I sat in a garage and invented the future because artists lead and hacks ask for show of hands.” If there is anyone who can make formulaic, mathematical or technological sound fun and exciting, its Aaron Sorkin. The man has a talent for writing screenplays about difficult and complicated topics yet turning them approachable for the casual moviegoer. Pair him with director Danny Boyle, and the result is Steve Jobs, a look at the man behind the phone. Narratively set during three important product launches of Jobs’, we get to see the behind-the-scenes of his relationships with his colleagues and family members, and this character study is one that could have easily fallen into generic biopic tropes, but it holds it’s own right till the credits roll. Also props for showing that Seth Rogen can actually do a serious role. Who would’ve thought that pot-smoking fella had dramatic chops in him?

2016:

NOCTURNAL ANIMALS - “Susan, enjoy the absurdity of our world. It’s a lot less painful. Believe me, our world is a lot less painful than the real world.” Fashion designer Tom Ford does sew his suits well. Apparently, he can also make great films too, with 2009′s A Single Man and with said Nocturnal Animals. This movie is truly incredible and I remember it taking me and my friend by surprise when we first watched it at the cinema. It’s shocking. Horrifying. Depressing. Upsetting. Altogether exhilarating. Being of a fashion background, Tom Ford directs the hell out of this movie, with gorgeous shots and great use of colour as well as managing to masterfully create tension and suspense when necessary. Honestly, I know Tom Ford is probably busy at a department store somewhere, but the guy needs to make another movie. The man has a talent.

LA LA LAND - “Here’s to the ones who dream, foolish as they may seem. Here’s to the hearts that ache; here’s to the mess we make.” Oh, La La Land. Damien Chazelle’s follow-up to the also excellent Whiplash. People who know me well know how much I love this movie. An old-school tour-de-force musical that’s a love letter to jazz and the golden age of Hollywood. The city of stars never looked so good. Featuring catchy original songs, excellent dance choreography (the sequence to the song “Lovely Night” is especially memorable) and a romance tale ten times better than the forsaken The Notebook, La La Land is one special movie. I know many are put off by the film’s not so happy ending, however for me it was the only way this narrative could have ended.

2017:

BLADE RUNNER 2049 - “We’re all just looking out for something real.” Similarly to Nolan, Denis Villeneuve is proving to be one of the most exciting directors working today. He’s the man behind such films as *deep breath* Prisoners, Enemy, Sicario, Arrival and Blade Runner 2049. And those have all been done within the last decade. The man constantly makes quality movies of various genres, though lately, he has been leaning more towards science fiction, which is a-okay in my books, since as Blade Runner 2049 proves, he can turn science into fiction like butter on bread. A sequel made 30 years after Ridley Scott’s classic, this visually breathtaking piece is arguably even better than its predecessor with many moments giving you the “wow wow wow wow wow WOW!” factor, and when Ryan Gosling and Harrison Ford are both on-screen they are dynamite. Forget the new Star Wars film (that’s right, I'm throwing shade there), Blade Runner is where it’s at!

PHANTOM THREAD - “The tea is going out. The interruption is staying right here with me.” The supposed last Daniel Day-Lewis film, as he has now apparently retired from acting, but let’s be honest, nothing stops him from simply unretiring at any point. Exhibit A - Joe Pesci. However, like Pesci, if he comes back I’ll only be happy. He’s one of acting greats of our time, and his collaborations will director Paul Thomas Anderson bring out some of his best roles. Phantom Thread is a marvel of a movie. No, I don’t mean that’s its part of the Marvel Cinematic Universe, I mean as in it can fill one with wonder and astonishment. Phantom Thread is PTA’s Gothic dark fairy-tale romance film, which expertly planned shots and scenes where every word of the dialogue counts. There is no wasted moment. And as the film transpires to its dark and unsettling climax, one begins to realize that this, THIS, is what filmmaking is about. Telling an engrossing story in an interesting way with crisp-clear shots and off-the-chart acting at play, with great costume design on display, although the latter is unsurprising due to a major aspect of the movie revolving around fashion.

2018:

MANDY - “You ripped ma shirt!! You ripped maaa shiirrt!!” An acquired taste for sure, however, Mandy is indeed something truly special. From first glance, this film might seem like nothing out of the ordinary, especially from the point of view of the plot. Its the usual revenge flick. However director Panos Cosmatos’ vision and how he presents it is so much more unique. And what’s not love in this film? There’s something for everyone! It’s artsy and slow enough for the critics, hip and metal for the nonchalant, gory and violent for the hardcore genre fanatics and of course the Nic-Cage-rage factor is present for the fans of the actor. Alright, it may not be a family film, but this one is worth a watch. The whole thing is bound together by this psychedelic otherworldly environment, with the whole movie conceived in this dark, unsettlingly beautiful yet horror-filled aura that might stray people away, as it might be just too different for them, however, if you are looking for something different to watch, take mandy. I mean, watch Mandy!

A STAR IS BORN - “Music is essentially 12 notes between any octave. Twelve notes and the octave repeats. It’s the same story told over and over. All the artist can offer the world is how they see those 12 notes.” The film that began all the rumours surrounding Bradley Cooper’s and Lady Gaga’s affair. People, heads up, they are actors! They were putting on a performance! Jeez. That being said, I totally ship them. Nuff’ said. The film though? Yes, it’s good. Some country-style music, romance blooming, Gaga can apparently act, people sing about shallows for some reason...all together works for a pretty decent motion picture. Also, the fact that Bradley Cooper wrote, directed, produced and starred in this gives me so much respect for the guy. He poured his heart and soul into this. And Lady Gaga absolutely shines!

2019:

PAIN & GLORY - “Writing is like drawing but with letters.” Director Pedro Almodovar semi-autobiographical film takes a close look at how one deals with acceptance, being forgotten, symptoms of depression and generally all fairly negative attributes, but delivered in such an honest and profound way that there is a strange lightness that emerges from it all. Antonio Banderas is uncannily vulnerable in the lead role, delivering such an earnest performance that shows a man that is filled with melancholic regret who seeks his own form of redemption. This movie is a thing of beauty.

PARASITE - “You know what kind of plan never fails? No plan at all. If you make a plan, life never works out that way.” Parasite is easily the most original and surprising films of 2019, and possibly the decade, managing to subvert expectations and blend together so many different genres so naturally. To spoil any narrative element of this movie would be a sin, like this one in particular works best when not knowing anything about it. This movie comes to us from Bong Joon-Ho, a South Korean director behind such films as The Host, Memories of Murder, Okja, and Snowpiercer. It’s nice to see the awards ceremonies giving him the proper recognition finally. He deserves it.

That sums up my Top 20 Best Movies of the Decade list. Of course, there are so many other great films that came out in these 10 years, such as Whiplash, When Marnie Was There, Paterson, Silence, Kubo and the Two Strings, The Nice Guys...I can go on forever. Cinema is a constant ever-growing medium, and it is fascinating to see how it changes through the years, in some ways improving and in some parts not so much. In any case, I look forward towards a new decade of, hopefully, great movies, however, let’s be honest, for all these great films there’s always a Norm of the North, a Scout’s Guide to the Zombie Apocalypse or frickin’ Cats. But let’s hope those will be kept to a minimum. In any case, bring on the 2020s!

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ephemeral-afterlight · 5 years

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Mourning at Midnight

(UwU so Hey. i’m back with some more trash)

Word Count: 7480

Summary: It’s scary, in a way, how in moments like this one, Logan feels as if his consciousness floats away from him, leaving behind only a wave of white-hot, searing anger that drains out of him just as quickly as it comes. There’s sleet running through his veins, and his brain has frostbite, and his fingertips are numb in the face of the ringing resonance after his outburst. The pain comes next, a simmering heat blistering below his fist until it’s coated and red and the beginnings of a bruise are starting to form. He can’t help but stare helplessly in front of himself, eyes burning and filling and blazing with how much they beg to close.

He doesn’t want to look up, to face the suffocating silence that’s fallen over the room. He doesn’t want to see their faces, their disappointment, their anger, their contempt. He wants to yell. He wants to sleep.

Logan sinks out.

Warnings (could potentially be small spoilers, nothing too big, but if you don’t have any triggers I’d suggest you skip reading this!):

There are no u!sides in this, nor does anyone have malicious intent, but the other main three (Virgil, Patton, Roman) and Thomas, to a lesser extent, treat Logan unkindly (not on purpose) and don’t realize their errors. This will be resolved! Just… not yet OwO

Being ignored/talked over

Mental/emotional breakdown

An unidentified illness with symptoms including: [extreme persistent nausea (lots of mentions), vomiting (once), bile, weakness/weariness, shaking, lightheadedness, double vision (once), headache, body aches/pains, breathing difficulties]

General negativity including: [self-doubt, self-deprecation/depreciation, feeling worthless or unloveable, self-hatred]

Anger management/temperament issues

Unintentional self-harm (not anything like c-tting, Logan gets a bruise as a result of an angry outburst)

Separate small, vague allusion to self-harm, but it’s not outright and not detailed in the slightest. Could be read as not even talking about self-harm

Potentially triggering descriptive imagery (metaphors and similes to describe how a character feels or percieves a situation, not anything that actually happens) including but not limited to: [glass, sharp things, blood, injection, live wires, loud noises, screaming, general mentions of pain, masochism, sound torture, knives/blades, wounds, drowning/suffocating, pressure]

Temporarily unresolved tension between Logan/Deceit/Remus and the other sides/Thomas (there will be a happy ending in the next fic, though, don’t worry!)

A few vulgar threats of violence (somewhat explicit, be careful) to the other sides from Remus (out of protectiveness; Remus means well but he does Not express it in a healthy way) that is not carried out or even humoured

Remus’ morning star and descriptions of its destructive capabilites

Loceit as a romantic pairing (for now…. UwU)

Sympathetic “dark” sides

That should be it for warnings! Let me know if I need to add anything!

A/N: So! This is finally done :D !! I’ve been working on it on and off for the past week or so, and although I know it could be way better, I think this is where I’ll keep it! This is technically a sequel to my other fic Tea at Twilight and it takes place in the same universe, and although you don’t need to read that before this to understand the story, I strongly suggest reading that first to get more of a feel for the dynamic!

This is inspired by @illogicallyinclined and her absolutely amazing Disaster Trio™ headcanons/au, and was prompted by this post so I just started writing! I meant for it to be a bit shorter, but of course my brain would Not let it go, even despite my ADHD, executive dysfunction, and massive amounts of writer’s block.

This is also unfinished! It is the second of three main works, all happening chronologically in the same universe. The first one is Tea at Twilight as stated previously, then this one, and there will be a third and final installment added to finish off this short little trilogy! I’ll be adding this to the series on AO3, so when the final fic is up, it’ll all be together for an easy reading experience. It is also possible that there will be other small fics in this universe (UA, as has been recently coined) that operate outside of the timeline of the main story, so be sure to watch out for that!

Thanks to Jay once again for creating these lovely headcanons that haunt my dreams every night, and for inspiring me to get back into my writing groove despite a writer’s block that’s lasted for over three years! Hope this isn’t too terrible, Jay! ilyy <333</p>

Also, a huge thank you to @illogical-anxieties for being such a good cheerleader/enabler! You really do help to keep me motivated and on track (and keep my ADHD in check), which is probably why this was even able to become a full-fledged story rather than a WIP to be buried where unfinished fics go to die T~T Love you tons <3</p>

(If I’m being honest with myself, this is just an excuse for me to live up to my IRL title of “Living Thesaurus”, coined by a friend many years ago and has since spread around to other friends and family. My title is thriving, and I suppose that means I should actually have proof of it, so there’s that.)

(Cross-posted to AO3)

(Read Part 1 here)

He can feel it building.

There’s far too much left to be desired when it comes to frustration. The natural helplessness that makes way for anger when you try so hard to do something or be something for someone and you’re pushed down by anything and everything between ignorance and antipathy. The fear that nothing you can do or say will ever be good enough. The buzzing, ticking, pinpricks upon pinpricks of heat injected into you until your blood and heart have been replaced with glass, fragile as a crumbling stone wall. It’s not as if he hasn’t had his outbursts before, spurred on by the familiar sharp pulse of rage that courses through him in a split-second whirlwind. It builds inside him, and he can feel the pressure in his limbs expand until it feels like his muscles are being squeezed out of existence and then he snaps like a rubber band that’s been pulled too taut. He’s not in denial of the fact that his impulsive, blinding reaction when met with frustration is not okay, and only detrimental to the demeanour he’s trying to retain. He knows it’s childish. He knows it’s immature, and pathetic, and wholly invigorating, at least until the adrenaline has worn off and he’s in the aftermath of his knee-jerk reaction to the tension coiled in his arms and legs and head.

It doesn’t mean that Logan is particularly in control of it though, despite his self-awareness being far above the level that most people with anger management issues are at. Maybe there’s a certain quality to it that allows for growth; it’s not as if Logan stays angry, or that he wants to hurt people. He loves the others, painfully so (as much as he loathes to admit it), to the point where he’s so desperate for their approval that he tampers down his passion, that spark that used to drive him to learn and speak and be happy just to avoid being cast out and abandoned, alone in the way he never wants to be. He wants to find a way to temper the fall into those dark, consuming waters, a way to mute the buzzing and ticking. He wants to seal those exposed live wires and release the tension to the point where he never lashes out ever again. He wants to, and he doesn’t know how to, and that fact infuriates him in an ironic, endless cycle of self-imposed and self-directed enmity.

Logan still thinks on this often, even now, wracking his brain for solutions to problems that realistically won’t be solved as easily as he wishes they would. Excerpts and quotes and data and statistics from many different studies about anger and temper management and irritability and everything in between seem to figuratively run amok through his brain, a screaming crowd of witnesses to the chaos and failure found in his ability to filter through the nonsense and come to a satisfying conclusion, any conclusion at all. He notices how his fingers tremble as they slip into the handle of his coffee mug, endures the dull ache in his mid-to-lower back from falling asleep at his desk for the majority of the day under the guise of work so important he holed himself up in his room to complete it. He ignores the way his head pounds, how he feels so dizzy that he might fall over and pass out any second from lightheadedness. He suffers through the loud conversations between the other three that are typical to the dinner routine that Logan cannot deal with today, not with this headache poking at him like figurative needles in his head.

When he senses the summons from Thomas stirring up the familiar but nonetheless odd ticklish sensation on the back of his neck, Logan can feel the tension knot up his muscles, and the combination of the two just makes him want to growl in irritation. The others, having also felt the summoning, seem to get impossibly louder, ringing and stinging and singing in his head. He still persists, despite the fact that he knows he shouldn’t be out doing anything today that’s likely to exacerbate his sickness, because Thomas is important, more so than Logan himself. No matter how much he wants to hole himself up in his room and sleep the day away, his host needs him, so Logan simply forces his mask of indifference to melt into steel. He refuses to budge, not for the first or last time, and he rises up in the real world standing straight and rigid and as put together as he’s always expected to be.

When he’s finally settled into his usual spot, as still as he can possibly be to not exacerbate the roiling nausea disquieting his stomach, he’s able to take in the other four arranged in their usual positions in Thomas’ living room, already having begun a conversation that Logan has missed the premise of entirely through his all-eclipsing, obfuscating malady. His vision doubles, like broken fractals of glass reflecting onto themselves, and then it pulls back together, merging back into something visible, something manageable.

“Well, I’m sure Danny likes you, too! You just gotta ask him, kiddo!” Patton exclaims, high voice pushing through the heavy, suffocating cotton in Logan’s ears, and the words snap the bespectacled side to attention. He needs context, needs to know what they’re talking about, needs to be able to help for once. Maybe he has to endure the bad to be able to put out the good, and this is where the climax is, the top of the rollercoaster at such a high altitude that oxygen is thin and dispersed before he shoots down the tracks in a rush of fresh air, relieving and calm and sanguine as he’s finally able to ground himself. A shiver runs through Logan’s body, between his shoulder blades and down his hip and through his leg, and his eyes flutter under the weight of consciousness. It recedes, the flow is ebbed, and his head clears to a more sustainable level.

“Oh, that’s so boring, Padre! Thomas should hire a band to play! And we can rig up streamers and confetti and there can be a cake and dancing and a party to celebrate!” Roman crows, throwing his arms and hands up into his signature pose to match his full, booming tone. Patton squeals, clutching his cardigan in his hands to pull excitedly at the sleeves as he bounces giddily on his feet. At the suggestion, as the polar opposite to Patton’s reaction, Virgil grimaces, hunching over even further in his jacket as he protests with every way he can think of that the situation could go wrong. Unsurprisingly, Roman takes personal offense to it and refutes Virgil’s points with the same intensity and fervour that’s been present in himself and his interactions with the anxious side since day one. Logan sort of understands, can infer that they’re discussing how to ask out Danny, a new friend of Thomas’ who has very quickly turned into a crush. In that case…

“If I may interrupt? While I don’t share all of Virgil’s worries, I do agree with his position in regards to the fact that there isn’t a need for such extravagance. It might embarrass Danny, for one, and for two, there are many ways such an excessive venture could backfire, such as technical difficulties or general human error. The idea is, while exciting, frankly outrageous,” Logan says, his role as the voice of reason renewed once more. It’s his job to sift through the conversations they have and get to the important parts, and he likes his job. He’s good at micromanaging, mediating the chaos, good at storing information to sort and consider and veto and bolster. It’s how he operates, how he copes. “We can think of something else to–”

“Oh, shut it, Pocket Protector. We all know you don’t care about romance, but this is important! Thomas wishes to find love with the second most handsome prince in the world! After me, of course,” Roman exclaims, in that boisterous, self-aggrandizing way of his, the way that hides his real insecurities he buries so deeply in himself he doesn’t know how to find them again. Oddly enough, it’s not Roman’s defense mechanism that throws Logan off, it’s the way that Logan stopped talking almost reflexively to allow the other side to finish his statement, as if the prince’s words were more important than his own, and it speaks as testament to how much Logan’s been conditioned (or maybe he’s conditioned himself all on his own) into putting everyone else before himself, even when it hurts him or Thomas. Logan is ignored in the face of his implicit trust, and he hates that even as it pours salt in the open wound, he finds himself taking a depraved, spiteful comfort in the familiarity of it all.

“That’s not what I–”

“Awe, c'mon, Logan! Thomas deserves to have a happy relationship and someone he can live out the rest of his life with! Doesn’t that sound nice, to grow old together with someone you love? Isn’t that romantic? Oh, it just makes me so warm and fuzzy thinking about it!” Patton interrupts, hands clutching each other over his heart as he swoons. Logan knows Patton doesn’t mean to be rude, but he still can’t help but be a little hurt by it, especially since he’s now been ignored twice consecutively. He’s just trying to help, and if that means reigning in Roman’s exorbitant ideas that border on egregious at times, then Logan knows it must be done. Although he encourages Thomas to seek a relationship to improve his mental health and provide more financial stability, there is a limit to how much he can disregard himself and others in doing so, and that doesn’t mean that Logan is the bad guy for pointing that out. He knows that. He knows that, so why does the dismissal still feel so sharp in his chest?

“Yeah, romance is cool and all, but what if it doesn’t work? What if Danny actually hates us? What if we ask and he laughs at us or says no and then we’ll be standing there like an idiot and then he’ll never wanna talk to us again because he thinks we’re pathetic and stupid and–”

“Hey, now, don’t be such a Debby Downer, kiddo! I’m sure it’ll go just fine! We’ll just ask him. The worst thing that can happen is he’ll say no, right? Shouldn’t we give it a shot?” Patton consoles before Virgil can go into a spiral. Although his well-meaning reassurances are meant to be comforting, his voice just grates on Logan’s ears, tinny and hollow and misdirected.

“That’s what I’m afraid of!”

Logan wants to keep listening, he really does, but the noise is rising to levels where it’s too much to handle. He’s already sensitive from his illness, but the discussion that is very quickly turning into an argument falls in pulses through his head, sound torture to the broken, hopeless masochist. He’s barely holding onto himself at this point, consciousness like a dangling thread that swirls and dances and twirls with even the tiniest breeze, a hint of movement sending it shivering and quivering as it spins. It wouldn’t take much for the thread to fray from the weight pulling it down, or to saw through it in a clean slice that leaves it floating feather-light upon air currents, petals spiraling to the ground.

Petals. Flowers. Thomas could bring Danny flowers! It’s perfect! Danny is especially predisposed to gardening, and he frequently talks about different flowers and what they mean based on the type and colour. His interest in botany could make this a sweet gift, to show that Thomas pays attention to what Danny enjoys, and can be the perfect segue into asking him on a romantic outing. Yes, this could work! It would appease Roman’s inclination to classic romanticism while still being practical and not unreasonably expensive, give Patton his ideal relationship fantasy (and a “warm and fuzzy feeling”, apparently), and allow Virgil a little more breathing room, so-to-speak. This is something they all should be agreeable towards, and that confidence is enough to supply Logan with enough energy to push past his lightheadedness and offer a solution. He’s proud of himself for taking the others’ feelings into account, something he knows he’s not always been the most proficient at, and for coming up with a compromise that will likely satisfy everyone’s wants and needs.

“What about bringing him flowers?” Logan asks, pleased and antsy as he feels hope well up in his chest. He doesn’t push it down this time, and he thinks maybe, just maybe they’ll finally listen to him, that they’ll tell him that he did well, that he’s being considerate and maybe even say thank you–

“How would you even know, Roman? It’s not like we just go out and hire mariachi bands every Saturday!” Virgil says with furrowed brows, and Roman huffs in indignation, and Patton sighs as he looks between the two of them, and Logan’s words fall on deaf ears. They didn’t even hear. They didn’t listen. They didn’t care they didn’t care–

“Uh, hey, Virgil, what if–” Logan tries once more to speak, nausea rolling angrily in his gut, head spinning dizzy round and round and round and round and Virgil flinches.

He flinches. Because of Logan.

Virgil hasn’t been afraid of any of them for a long time. Sure, in the beginning, when they fought one another on nearly a day-to-day basis, there would be a moment before he could pull on his figurative mask that a flash of fear would go through Virgil’s eyes, and the sadness kept within wouldn’t subside even when he growled and snapped and blustered whichever side had the misfortune of picking a fight with him during a time where his first instinct was to keep away the pain and longing and loneliness the only way he knew how. Over time, that flash of fear dulled, morphed into something more manageable, more trusting. The sadness never really went away, but it was met with warmth, a soft contentedness that danced in his eyes when he realized he had a family to turn to. He hasn’t been afraid for a long time. And yet, he flinches away from Logan, just from him speaking.

Is he really that bad?

Does even simply the sound of his voice have such a negative association for Virgil that it prompts genuine fear and discomfort? Has he really scared Virgil that much? What did he do? How can he fix this?

Maybe he shouldn’t.

Logan’s felt disconnected from the others for quite a while now. He loves them, of course he does, but he doesn’t feel like he fits. He’s the metaphorical jagged puzzle piece, the one that should snap into the final vacant space but is so broken beyond repair that it doesn’t fit quite right. He wants to belong, to feel at home whenever he’s with them, but he doesn’t. He yearns for the acceptance that Virgil earned, the support that Roman is held up by, the respect and adoration Patton seems to acquire so casually and naturally that it’s like he doesn’t even have to try. Logan wants to be like them. He wants to be loved, but… that isn’t really his place, is it?

Love is not an inherent thing. It’s something that’s earned, by doing good things and being important enough to someone that they give it freely. It’s something Logan doesn’t understand, but despite that, still desperately, painfully yearns for. He wants to be loved, the way he loves the others. He wants to be a part of their famILY, to have that implicit trust in each other that only comes from acute, profound, deep-seated love. He wants that fondness directed towards himself, that devotion borne from hapless, radiating appreciation. The humbled esteem, the maudlin, theatrical longing, the passion and yearning and helpless, acquiescent love that bursts from the seams in a manner that will never diminish or fade. He wants that. Badly. And he’s finally ready to accept that he will never have it. He’s okay. He’s okay. He just needs a moment. He just needs to breathe.

The others must have continued with their arguments long ago, seemingly unaware of anything outside of themselves. Logan supposes he shouldn’t really berate them for that since he often falls victim to getting lost in debate as well, but something is wrong with Thomas, going by his expression and demeanour and the logical side can’t ignore it anymore. It’s highly unlikely that the other three will come away from themselves for long enough to notice, and it doesn’t sound like they’re anywhere close to coming to a conclusion amongst themselves, so Logan is perfectly fine with bearing that responsibility upon himself to check up on his host and make sure he’s okay. He’s the most important one here, after all, and it’s Logan’s job to help him, guide him in his life and decisions.

“Thomas? Is there something wrong?” Although the words come out clear and precise as usual, Logan’s throat burns, and he can barely breathe. He wants to sleep, he wants to sleep, but Thomas needs him, and that doesn’t happen often nowadays, so Logan does nothing but wait impassively. His host bites the inside of his cheek, then sighs as he stares off at the wall, lost in thought. Since he says nothing, the logical side assumes he will continue to say nothing for a few more moments, and decides to give him a once-over to gather more information and any possible context. Thomas’ eyebrows are furrowed, and his posture far from adequate. His expression is troubled, and his arms are crossed loosely, a pointer finger scratching at his elbow unconsciously. There is no obvious cause for his confusion and/or upset in himself or anywhere in the room, apart from the current dilemma, but he was fine before, so something must have changed to distress him now. Logan cannot ascertain what Thomas needs simply from observing him, so he concludes that the best thing for him to do is wait.

So he does. And he does so for a minute, two, five. Every second that ticks by feels like a needle is being shoved into his eyes, his brain, his legs, his everything and it takes more effort to stand than he’s used to. Breathing is difficult, but that isn’t exactly a new development, so at least he knows how to ignore it. Eventually, ten minutes pass with only the sound of the other three arguing in the background, and it doesn’t seem like Thomas is really all there. Although the action makes him want to throw up, Logan shifts forward, moving out of his usual spot and into Thomas’ own. He still doesn’t acknowledge any kind of input outside himself, so Logan lays a hand on his host’s arm gently, which snaps him out of his trance in a slow, unhurried kind of way. Thomas gives him a glance when his logical side sighs, tampering down any audible signs of his nausea in a manner that is unbeknownst to the host, but returns to staring at the wall without a second regard.

“Thomas?” Logan murmurs, bile rising in his throat and shoving his hidden suffering even closer to the forefront of his mind, as though it hasn’t been there all along. It’s hard to think, through all of the white noise and weary irritation and the tiniest sliver of hope that he crushes immediately, but thinking is his job, and he needs to help. “Are you alright? You can talk to me.”

And then Thomas is shrugging him off, turning away as he tells him he should “just stop” with piercing words, that he “can’t do anything to help”, and the rejection feels like a metaphorical knife has been shoved into his gut. Logan can feel the pain and the heartbreak and the insecurity materialize into a cold blade, twisting and twisting just to make him hurt more. Logan is ignored for the fourth time today, by the person it hurts to come from the most, and he can feel the sun whipping and screaming in his chest. His breath is stuck, sucked down into his throat, a sharp pain localizing in his neck, and he can’t help but bring his hand up to rub at the spot with trembling fingertips as he unsteadily lurches back to his regular spot. The others don’t notice, of course, or if they did, they don’t care. Then the nausea he’s been fighting against surges like a violent wave at full force, drowning him and the hurt is forcing its way into his mouth, his throat, his lungs, and he can’t breathe–

His fist flashes down from his neck to the banister, punching the railing so hard it echoes in the reverberation created from his vicious, angry snarl.

It’s scary, in a way, how in moments like this one, Logan feels as if his consciousness floats away from him, leaving behind only a wave of white-hot, searing anger that drains out of him just as quickly as it comes. There’s sleet running through his veins, and his brain has frostbite, and his fingertips are numb in the face of the ringing resonance after his outburst. The pain comes next, a simmering heat blistering below his fist until it’s coated and red and the beginnings of a bruise are starting to form. He can’t help but stare helplessly in front of himself, eyes burning and filling and blazing with how much they beg to close.

Logan sinks out.

There’s a very short window of time where the logical side rushes into the en-suite bathroom after rising up in his bedroom, trembling legs aching with exhaustion. Barely a second passes between him falling to the floor and emptying the meager contents of his stomach into the toilet, the bile burning in his tender throat as a reminder of his failure. The floor is cold and hard beneath him, ridges of tiles pressing unrelenting into his knees through his wrinkled jeans. His head spins, unbalanced as it whirls through itself, words and thoughts and ideas that mean nothing and everything simultaneously existing hollowly in a falling echo. There is pain, and aching, and soreness, and exhaustion, and Logan wants to sleep.

It’s hard to rise to his feet, head throbbing and knees shaking as he wipes the spit from his mouth on a folded square of toilet paper. The pain nags at him, persistent and irritating in its attempts to shut Logan out, almost clear in a way that belies the foggy haze blanketing his nearly incoherent thought process. Marking a clear vantage, a faultline to anchor onto is no easy task, and all Logan wants as he stumbles over to his bed is a landmark to pinpoint and find his way back to. He careens toward the mattress once he’s close enough, finally letting his legs give out underneath him when he’s as near as he can bear. It’s so difficult to stay upright in stiff misery, pangs and twinges of sharp pain coursing through his limbs and his back as his muscles are forced together under pressure.

In another familiar, frustrating bout of anger that seizes his breath before it can escape his lungs, Logan shoves his fingers in the knot of his tie, yanking it forcefully even as the motion jerks his own head forward uncomfortably along with it. His fingers run down the length of the fabric, and it falls apart at the end of its cycle, much like Logan has, and he snaps his arm back to chuck the dark blue, silky length to the ground in a motion that does little to relieve the rage built up inside him.

He can feel it building. The buzzing, the pressure, the glass in his veins running on shards. He feels the pinpricks upon pinpricks, the fire burning in his lungs, and the stone crumbles, and tumbles down, and he’s like a rubber band pulled taut.

He cracks, shrill pressure in his knuckles and head and torso, and nothing happens.

Then Logan hears the telltale squeak of his door swiveling on mildly rusty hinges, and a familiar voice echoes right through his bubble, shatters the stone wall like a bulldozer running at full speed, and then the wetness spills over his lashes and over his stony, impassive face.

“Oh, Lo,” Deceit murmurs, sad and tender as the breath rushes out of him and Logan can’t do this. He wants to throw out his fist in a wide arc and pummel the wall next to him until his knuckles are raw and bloodied and bruised beyond repair. He wants to scream until his throat is torn and his voice is gone, lost in the uncaring, empty void that coldly swallowed up his passion. Happiness has never seemed further away, and he knows he deserves it. But then he remembers all of the times where the pressure in his limbs and the buzzing in his brain forced him to lash out, to hurt others, and he thinks that maybe it’s okay for him to hurt right now to even the score. With the last of the metaphorical wall around him in tiny pieces, fragments of a life he never wanted to live but he desperately fought to keep, he lets his guard down for the first time in years.

Logan’s face crumples under the weight he’s burdened his being with, body immediately drooping under the heaviness that he’s forced himself to fight through. He finally submits, and the tears come in an endless stream over his cheekbones, itchy and hot and terribly, mindlessly relieving. It feels so good to finally let the negative emotion he’s pent up inside him out, to fall out of his cage he’s lived in high above a swirling ocean of release and fear and freedom. And he’s so, so lucky because he has someone to save him from the fall.

Deceit’s kneeled down in front of him, wiping away the tears as they fall with uncharacteristically degloved thumbs, and Logan can feel the smoothness of the scales twisting and trailing down his fingers. Every so often, Deceit’s pointed thumbnails catch lightly on the skin of Logan’s cheek, and it just causes him to cry harder. The vulnerability in the room is palpable, a wispy breath of worry and insecurity and trust trailing over their skin, blanketing the room in a warmth that runs even warmer when Logan reaches up to gently lay his hand over Deceit’s own. He shows his appreciation through tactility when the words he so desperately wishes to say are lost in his throat, blocked by the barrier that separates his newfound submission and the part of him that’s still clinging to the feeble grasp at acceptance he craves so dearly.

Logan can barely tell what’s in front of him through the kaleidoscope in his vision, but he doesn’t really need to see to throw himself forward off the bed and bury himself in Deceit’s chest, of whom lets out a surprised noise but doesn’t hesitate a single second in wrapping his arms tightly around the other side. He strokes Logan’s back comfortingly and offers him whispered reassurances through the heart-wrenching sobs and broken, croaky whines that disappear into his cloak, hand coming up to cradle his head in the overwhelming reflexive instinct to keep the logical side safe and happy. It feels like a dagger has gone through Deceit’s chest at the knowledge that Logan has been suffering for so long and hasn’t been able to let it out or just simply be held, the self-preservation that is at the core of his function as a side going off like alarm bells with every sniffle. Logan curls into the first person who’s ever offered him physical affection and emotional safety, and his fists clench the fabric at the snake-like side’s shoulders as tightly as he would if he were to never, ever let go.

Logan is out of breath even as his heart begins to calm, beating and beating in his ribcage and in his lungs. The lump in his throat prevents him from speaking, but he figures it’s okay to not be heard audibly, just this once, and speak with his actions. Although he doesn’t know what he’s saying when he pulls back and wraps his arms around Deceit’s neck, laying his face in the crook of other side’s neck like a small child would, not really, he hopes that his intent still comes across in some sort of intelligible, hopeful way. Deceit seems to take this as a request, a promise, and slides his grip to a point where he can hoist the smaller side up in his hold, carrying him just like a parent carrying their kid to their bed after they fell asleep during a visit to a friend’s house. This situation is much more loaded, stained with impurities and unsure withering, but it’s just as raw, just as real, and Logan finds himself feeling safer than he ever has before.

At some point, they end up on the bed, Logan having been manhandled into a more comfortable position for both of them, which is laying across Deceit’s lap without ever having let go of his neck. The logical side feels small and vulnerable, something that he would normally hate, squash down, bury so deep within himself that he doesn’t even have to acknowledge it. But honestly, right here, right now, he’s so goddamn exhausted, and forcing himself back into the state of repression he’s been in for so much of his life would take too much of a toll, more than he already has on himself. The wetness rolls down his cheeks, bold, blue precipitation falling in droplets onto his skin and the fabric of Deceit’s cape, sinking and spreading and thinning out into airy nothingness. And the nothingness enraptures him, pulls him in even as he breaks and whimpers and spills wisps of forgotten feelings into empty space, at least until his bedroom door opens once more with a loud click, because nothing Remus ever does is truly quiet.

“Hey, are you guys having a sexy party without me? How c–… are you… crying?” Remus asks, suggestive tone split and watered down into something confused, and surprised, and angry. The younger twin kicks the door shut behind him with his foot, more out of muscle memory than conscious forethought, something that stands with nearly every action Remus executes. Logan turns his head wearily, not lifting it from where it rests on Deceit’s collarbone. The latter of the two takes that chance to clear away some of the tears that didn’t get absorbed into his clothing, hoping that since the stream is slowly dispersing, his cheeks will stay dry this time. Remus slowly approaches, body tense and eyes piercing as Logan’s face is wiped off for the nth time, offering no other sounds or words as he crouches down to examine how the bespectacled side’s skin is rubbed red and sensitive.

Logan just whines softly, stare falling to the bedsheets, observing nothing in particular as he tries to figure out why words are failing him. Something that’s such an intricate part of himself, the communication of thoughts and ideas and knowledge that defines so much of who he is and how he exists, it’s dwindled and diminished into nothing. Deceit seems to understand, he always does, and reads him so perfectly it’s a wonder the two didn’t become closer in the beginning, with how much they truly are alike. A scaled hand makes it’s way up to Logan’s head and cards through the soft, disheveled hair there, scratching lightly at his scalp in a motion that seems to draw the aching tension caused by his distress out of his body, leaving his muscles to relax and melt into the chest that holds him upright.

“Something happened before I came in here. I assume it has to do with the others,” Deceit murmurs into thick, heavy air, stale with shame and tired hopelessness. Remus’ eyes flick to Logan’s own, actively searching for some sort of confirmation or denial. There’s a beat of silence, and Logan’s eyes flutter in a fatigued attempt to stay awake, and the nausea creeps its way into his stomach once again like a predator stalking its prey. Deceit repositions himself quietly, pulling the smaller side impossibly closer, as if he knows that he’ll need the added comfort. With his body squished into a protective embrace, and his tie laying flat on the floor below, forgotten and scorned for what it represents, Logan swallows hard around the sharp block in his neck and nods through his nonverbal affliction.

At the minimal admission, something in Remus’ eyes darkens, bathing the bright craze that typically resides there in something hateful, and vicious, and dripping with chemical absolution. He shifts away, rolls onto his haunches in a way that doesn’t read as entirely intentional, as though he’s been physically forced back with the weight of the confession. There’s so much there, in the way his breath comes out shallow and gravelly and low like a beast biting and snapping at the bars that contain it, fighting against the cage it’s locked inside. Nostrils flare, and jaw sets, and fists clench white as bone, and Remus straightens up to his full height, intimidating and looming and dangerous.

“Who?” he spits, venom coursing through the single word in molten streams. It’s a protective fire, serious in a way Remus rarely is, and the storm in his eyes and aura only becomes more turbulent and intense and solid as he reaches behind himself to slowly seize his morning star from where he keeps it at the ready. Pulling it to the front of him is an unexpectedly slow event, yet still ferocious in its quiet, cold fervour. The silver weapon swings in a steady arc around the side of Remus’ body, catching the dim light in a threatening glint, the gleam alluding to its deadliness in a way that’s almost unexplainable. The spiked mace finally comes to its resting point, hovering in the air just beside the fierce side’s leg, unassuming and ready to drive its way into an unlucky antagonist’s skull.

“I’ll cut their fucking throats. I’ll rip off every single limb from their bodies until they’re nothing but a pile of flesh and blood. They’re gonna pay for this,” Remus snarls, each threat bathed in acrimony and malice and choked by fury ripping through the tempest. Logan stares through misty eyes, half-lidded and concerned but too out of it to muster much of a coherent thought. Thankfully, Deceit is still there, soft and warm and well-equipped to deal with Remus and his behaviour. The snake-like side sighs, reaching out to just barely snatch up a frilly black sleeve, tugging him closer and meeting surprisingly little resistance despite the rigidity of the tallest side’s posture. Each breath from Remus comes out like a bullet, brisk and arduous and punctuated by a pang of impermeable guilt.

Even as Deceit motions Remus to lower himself onto the bed in front of them, the latter of the two is still apprehensive, terse movements and restless eyes that flit between anything and everything they can to avoid stagnation. It’s almost fearful, in a way, primal in its aptitude to think, and cultivate, and vindicate a wrongdoing that was never his fault or responsibility in the first place. Logan hates that they need to save him, hates that he doesn’t truly believe they actually care. There’s a level of certainty with himself and with others that the logical side hasn’t reached yet, and it feels too close and yet too far, kept obscure and secluded and almost clandestine in the way it’s ostensibly unreachable.

With the help of Deceit’s hand to guide his way, Remus slowly lets go of his morning star, tossing it to the side with a pensive, trembling swallow. It clatters to the ground, metallic clang resounding in vibrations, tilde-shaped waves that bounce off the façade and yell out to one another. Muted shrieks upon perfect, flat, neutral paint, sepulchral oscillations attacking the drywall.

“You can’t hurt them. I know you’re angry. I am too. But hurting them won’t solve anything, Rem, you know that more than anyone,” Deceit says meaningfully, smiling in a way that’s sad and distant but caring and compelling and relaxing for the tension wrapped so tightly around the three of them. The snake-like side lifts the hand that’s not in Logan’s hair and reaches out to grab Remus’ own, firmly but gently as he squeezes his fingers in a way that reassures, and consoles, and reprimands, not unkindly. He admonishes, and breaks that anger and frustration, and builds up positivity and alleviation and reprieve from everything that allows that buzzing, ticking, those pinpricks upon pinpricks. His care and concern washes over you, paternal in a different way than Patton operates, and it’s why Deceit is so comforting to be around. He manages a respite from vexation, a refuge in sanctuary, discreet freedom for the flawed, defeated dreamer.

“I’m mad. I’m mad that they hurt you, Lo-Lo. I want them to feel the pain you’re feeling,” Remus mutters, frigid and defeated, head bowed and gaze distant in that transparent manner of his that easily broadcasts all of his thoughts and feelings and wishes. Logan feels the pride welling up in his chest without even realizing it, quietly delighted at the progress Remus has made in being clear and forthcoming with his emotions and impulsivity. A weary grin makes its way onto his face, predictably aggravating the soreness in his cheeks, yet he finds himself indifferent to it, unperturbed by the plight that’s ravaged his body for the day, and probably longer without his notice. He wants to reassure the younger twin, to smile and laugh and brush all of it off, but his eyelids droop, and a pathetic mewl is the only thing able to escape his lungs. Of course, since there’s something Logan wants to say, Deceit somehow knows how to communicate it, just as prompt and courteous and perceptive as always.

“We can talk about this later after Logan has slept. Don’t worry too much, Rem, and don’t do anything stupid. If you get angry again, please go to your paints instead of your legs,” Deceit instructs, more of a suggestion than a demand, but he hopes Remus will listen and be mindful anyway. The latter of the two bounces his leg anxiously, grumbling unintelligibly under his breath as he stands up in one swift, fluid motion. As Remus makes his way over to exit the room, Logan nudges Deceit’s hand with his head gently, trying to bring his attention back to the massaging motion that ceased sometime during the conversation. The snake-like side’s eyes flick downward to meet the smaller side’s own half-lidded, teetering gaze, and he huffs a laugh after a moment of searching. Logan doesn’t know what he finds, but he realizes that he doesn’t really care that much about worrying over every little interaction anymore.

Remus finally turns and glances back as he swings the door open, brows still furrowed and shoulders still hunched, but simply shakes his head and leaves. The door closes much softer than before, thankfully, so as not to be too harsh on Logan’s migraine, an unusually conscientious thought from someone that rarely shows consideration to the needs of others that the logical side appreciates that much more. As the sound of Remus’ footsteps slowly fade with his retreat down the hallway, the two of them left are bathed in silence, one that is marginally less heavy and thick than before.

A small while passes afterward, only punctuated by soft breathing and light scratching noises from nails trailing through messy hair. Logan feels like he might pass out any minute, what with the comfortable, quiet understanding the two have come to rest at, but some part of him says to wait, to push through the mind-numbing exhaustion for just a little while longer. That part of him is probably just being considerate toward Deceit, who Logan can’t imagine would be very comfortable with another side falling asleep on him and laying on him for an extended period of time, but he figures that it’s a good of a reason as any. It’s not about him feeling like a burden. It’s not.

Eventually, Deceit must start to get tired as well, or maybe he’s sore from Logan’s weight on his legs, so he sits forward, apologizing quietly for disturbing the peace, and he moves them into a more comfortable position. The new arrangement is far more snug and cozy than the previous one, Logan thinks drowsily, as his head hits the pillow across from Deceit. They lay there on top of the blankets but make no move to pull them up, just content to stare lazily at one another in the dim, ambient light cast by the desk lamp in the opposite corner of the room.

“Why?” Logan finally asks, and although he loathes disrupting the silence, he needs to ask. The words are scratchy in his tender throat, a charcoal whisper on a steel canvas that scratches and sketches away with nothing viable left to keep through the wind that blows the dark dust off the surface. “Why are you helping me? Why do you care?”

Deceit just hums, sending Logan a weak, distracted smile. He mulls over the words, tossing about the meaning and possibilities in his head and on his silver tongue, rushing in an uncertain river through valleys of golden sand.

“I am self-preservation at its core. I exist to keep Thomas safe and healthy and thriving, and that also means you and the other sides by extension. But… it’s not just that. Even though I feel physical pain whenever one of you or Thomas is hurt, I specifically want to help you because… I care about you, Logan. I love you, and want to see you healthy and happy. I haven’t really been doing a good job of that lately,” Deceit mutters, gaze somewhere on their shared pillow, and there’s a quality to his tone that’s bitter beyond the line of frustration. Although Deceit doesn’t expand on it, doesn’t offer up a single clarification despite the heavy air and his resigned demeanour, Logan gets it. He understands, and he wants to prove him wrong.

So he does.

And that comes in the form of surging forward, fighting against the current, the pinpricks in his stomach and shoulders and abdomen, disregarding the exhaustion for just a little while longer so that he can let Deceit’s lips meet his own. Logan’s so close he can feel the shocked rush of air leave Deceit’s nose, feel the vibrations through the air as his body trembles in fear and anticipation and relief. The other side eases in, sinks closer, closer, and finally moves his lips in a careful, emotional dance that leaves Logan dizzy and breathless, for entirely different reasons that have plagued him for the past day.

“Lo,” Deceit breathes, low, wanting, and he pulls back to give Logan a chance to catch up. A scaled hand comes up to caress the logical side’s cheek, a soothing, cool balm for the raw skin beginning to heal there. “I didn’t… I didn’t think…”

“I love you,” Logan breathes, the words he’s refused to say, to acknowledge, to confront welling up through his throat and for the first time, he lets them spill out. The dam has broken, debris left to descend and submerge in the depths of the sentiment crashing through in a roaring, passionate rapid at the narrowest point yet. The words come, and they don’t stop, and Logan almost can’t believe how right they feel on his tongue. “I love you, I love you, I–I love you so much, Dee.”

Logan is like a rubber band, pulled taut and still and trembling under the pressure. And maybe he’ll split, shoot apart, torn in two pieces that will never fit back together again. But maybe he won’t. Maybe instead of snapping in half, he’ll snap back, and that thought alone gives him a quiet comfort that he’s not used to allowing himself. He’s waiting, hoping, and he’s okay enough for now.

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sebastien-le-booker · 4 years

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I just finished reading six of crows, for the second time and despite the fact that i knew what was gonna happen, it still was a rollercoaster and my heart was broken and i cried and uuuuuuuuuuuurrrgrrrrrrrrrrrrrrrrrrrrrrgqhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh

so, i decided to make a post with my favorite quotes and parts. again, english is not my first language, the book is not in english, so some of the quotes will be translated by me and google translate.

Also, i decided to post this again bc it doesn’t show up in the tags anymore and it kinda took me a while to edit this because of how “amazing” tumblr works...

"We'll be kings and queens Inej. Kings and queens"

“I’m going to get my money, Kaz vowed. And I’m going to get my girl”

Those 2 are probably my favorite and idk why but they are. the one with kings and queens just feels so full of hope and i loved how kaz said those words, i just absolutely love it.

and what got me at the second one, was the “I’m going to get my girl” Despite how difficult it is for him to admit his feelings for Inej, even to himself tbh, right now, nothing else matters but “his girl”. The money might matter, but i think that is more about the fact that he got screwed over and you don’t screw over Kaz, but it’s his girl that matters the most.

“Scheming face. Jesper whispered to Inej.

She nodded. ‘Definitely”

From the same category “Kaz and his scheming face”

“Kaz looked south toward Ketterdam’s harbors. The beginnings of an idea scratched at the back of his skull, an itch, the barest inkling. It wasn’t a plan, but it might be the start of one. He could see the shape it would take—impossible, absurd, and requiring a serious chunk of cash.

‘Scheming face,’ murmured Jesper.

‘Definitely,’ agreed Wylan.”

I love Jesper and Inej and now Wylan being familiar with Kaz scheming face, for me this is sort of like they paid enough attention to Kaz to know what some of his expressions mean and i love the part where it is described how an idea is starting to crawl inside Kaz head. I love it because it was mentioned a lot of the times how smart kaz is, and we see him talk about how he learnt all those tricks from the magicians and set up the plan for breaking into the ice court but now, it’s like we’re inside his brain and we slightly see how it works.

“Fine. But if Pekka Rollins kills us all, I’m going to get Wylan’s ghost to teach my ghost how to play the flute so that I can annoy the hell out of your ghost.”

“I’ll just hire Matthias’ ghost to kick your ghost’s ass.”

“My ghost won’t associate with your ghost. Matthias said primply, and then wondered if the sea air was rotting his brain”

“’When we get our money, you can burn kruge to keep you warm.’

‘I'm going to pay someone to burn my kruge for me.’

‘Why don't you pay someone else to pay someone to burn your kruge for you? That's what the big players do.’

‘Want me to tell you what real players do?’ Jesper said. ‘The pay someone to pay someone else to…’”

I love these scenes because they’re just sweet, casual moments between them and I’m wondering how many conversations like these did they have and how does a conversation like this sounds for an outsider dhsjldfjs

“’I’ll get us out. You know that.’

Tell me you know that. He needed her to say it. (...) He needed to know that she believed he could do this (...) He needed to know she believed in him.”

“He turned his head. They were sitting close together, their shoulders nearly touching. (...) he thought, What happens if i move closer?

‘I don’t want your prayers’ he said

‘What do you want, then?’

(...) a different reply roared to life inside him, loud, insistent, unwelcomed. You, Inej. You“

“Because I’ve been looking for an excuse to talk to you for two days”

“You okay? Inej asked and Kaz felt himself drawn toward her voice like water rolling down hill.”

“Kaz took her hand.

‘Inej, he said, his finger stroking her wrist. ‘If we don’t get out alive tonight, I want you to know that…’

Inej was waiting. She felt hope opening its wings inside of her, ready to fly if Kaz would push it with the right words (…). She lifted her hand and touched Kaz cheek. (…) Inej cupped his cheek in her palm.

‘If we don’t get out of here alive, I’ll die with no regrets, Kaz. Can you say the same thing?’

She could see it took every last bit of his terrible will for him to remain still beneath her touch. And yet, he did not pull away. She knew it was the best he could offer”

"He had felt horror and compulsion, but in spite of the chaos that had taken over them, he had also felt a desire that had remained imprinted in his soul, the hope that it would touch him again."

“’You shouldn’t make friends with crows.’

‘Why not?’

He’d looked up from his desk to answer, but whatever he’d been about to say had vanished on his tongue.

The sun was out for once, and Inej had turned her face to it. Her eyes were shut, her oil-black lashes fanned over her cheeks. The harbor wind had lifted her dark hair, and for a moment Kaz was a boy again, sure that there was magic in this world.

‘Why not?’ she’d repeated, eyes still closed.

He said the first thing that popped into his head. ‘They don’t have any manners.’

‘Neither do you, Kaz.’ She’d laughed, and if he could have bottled the sound and got drunk on it every night, he would have. It terrified him.”

“Kaz seized her hand, keeping it on the railing. He didn’t look at her. ‘Stay,’ he said, his voice rough stone. ‘Stay in Ketterdam. Stay with me.’

He took a breath. ‘I want you to stay. I want you to … I want you.’

‘You want me.’ She turned the words over. Gently, she squeezed his hand. ‘And how will you have me, Kaz?’

‘How will you have me?’ she repeated. ‘Fully clothed, gloves on, your head turned away so our lips can never touch?’

Speak, she begged silently. Give me a reason to stay. For all his selfishness and cruelty, Kaz was still the boy who had saved her. She wanted to believe he was worth saving, too.”

“But he could think only about Inej. Inej had to live. She must’ve escaped the Ice Court. And if she hadn’t, Kaz had to survive to save her”

All of these are all the moments they could have confessed their feelings for each other and some of the moments Kaz thought that Inej is the reason for which the sun still rises and there’s still some good left in the world. Poor boy is trying really hard sometimes but considering the things he’s been through it’s understandable that he doesn’t know how to say how he feels and that he’s probably afraid. But I also understand Inej and why she said “and how will you have me kaz? Fully clothed with your gloves on?” she wants more than what kaz can offer her at the moment but at the same time she also doesn’t exactly blame him and understands that it’s what he can right now.

Honestly, Kaz is “an idiot sandwich”, unable of showing appreciation like a functional person, but I think, the fact that he lets Inej into her office to feed the crows, or takes off his gloves and shirt when she’s around, it shows how much trust there is between them and understanding. I know they’re not perfect, but I love them both as individual characters and how they are together.

I love the hints to shadow and bone trilogy like:

“I could read to you if i had anything to read. There’s a Heartrender at the Little Palace who can recite epic poetry for hours. Then you’d wish you had died.”

We all know this is about Tolya, who I love very much and I love how everyone seems to be annoyed by his poems and makes them wanna die just so they won’t have to hear them, but that doesn’t stop him.

Or, how Nina says that people in Ravka are starting to question the existence of the saints and that maybe they were just some powerful Grisha bc look at Sankta Alina… she was no saint and she had the same thought about the saints after finding out that Sankt Ilya was just a Grisha.

“Toffee?

Her eyes slid away guilty. ‘Kaz said to pack what we needed for the journey. ‘A girl has to eat”

My girl considers toffee as being essentials and I couldn’t agree more with her. I’ll forever be grateful for having a character like Nina.

“I can tell you’ve never picked a pocket.’

‘And i can tell you’ve never given enough thought to your haircut. Kaz frowned and ran a self-conscious hand along the side of his head ‘There’s nothing wrong with my haircut that can’t be fixed by four million kruge”

Idk what I think it’s funnier, Nina picking up on Kaz hair or him being embarrassed by it. She knew how her words would affect kaz and she went for it

“Inej heard a grunt and then a loud whump as Nina hit the bottom of the shaft like a sack of laundry. Inej winced”

“ Jesper like a limber insect, Wylan in stops and starts, wiggling like a caterpillar trying to make its way out of a cocoon.”

Yeah, ok Inej, sorry not all of us are as good as you at landings and jumping from buildings and all of that… I love that both of these are from Inej pov because this is her thing and she notices

“We'll see what's in store for us tonight, Matthias thought. It's true that tricks are not my language, but I might learn them in the end. "

Uhm… is this the moment this boy started to accept that the Dregs are not That bad and being anything other than a Fjerdan and living your life slightly differently isn’t a crime? *growth*

“’And you're right. I have no right to judge you.’

‘Don't start doing this.’

‘What?’

‘Agree with me. It's a sure way to dying.’

‘I don't like the idea of killing people, either. I don't even like chemistry.’

‘What do you like?’

‘Music. Numbers. Equations. They're not like words. They ... they don't get mixed up.’

‘If only you could talk to girls in equations.’

There was a long silence, and then, eyes trained on the notch they'd created in the link, Wylan said, ‘Just girls?’

Jesper restrained a grin. ‘No. Not just girls.’ It really was a shame they were all probably going to die tonight.”

Two things, Jepser, honey, Wylan will start agreeing with you and it will not lead to anything bad but actually something beautiful called love and you will spend the rest of your lives together and will be happy and in love for the rest of time.

Second thing, I love the “what a shame we could die tonight cause you and I could have so much fun together, oh boy, you’ve got no idea, the things we could do”

“Had he just killed two of his kind? Jesper had only wanted to survive. He thought of tthe banner on the wall, all those strips of red, blue and purple. He felt dizzy and confused. He knew the others were counting on him. He had to move on. But he felt that he had left a part of him in the yard, something he had not even known was important to him, something impalpable like fog. "

This made me cry so hard because, yes, Jesper has problems, it’s obvious from the first moment he’s introduced, but I don’t think he’s entirely aware of his problems and if he is, he is avoiding them and I don’t think he actually tries to understand why he enjoys the things that he does. In this scene, tho he is actually affected by what’s happening, he is visibly shaken up. He is a lot of things and I think this is the moment that he actually understands what his power means, why the other Grisha are choosing to use their powers and fight against the people that want to hurt them for their powers and that simply choosing not to use his powers, deny that he’s a Grisha, maybe is not an option anymore.

#six of crows #kaz brekker #inej ghafa #jesper fahey #nina zenik #wylan van eck #matthias helvar #soc mine

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philosopherking1887 · 5 years

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Letter to Tom Hiddleston

As I posted before I saw Tom in Betrayal in London, I wrote a letter (composed on the computer then transcribed by hand on nice stationery, which caused some flare-up of my tennis elbow...) to give to him after the show. I didn’t get into the stage door line fast enough to be able to see Tom; he only went partway down the line before going back in. (I’m not sure if that was his idea or his handler’s. Charlie Cox, meanwhile, did go all the way down the line; I got his autograph on my program and a couple of photos of him, though not with him.) But some house manager/handler person was collecting letters, cards, and gifts, and when I asked skeptically whether he would actually give them to Tom, he said, “100%”. So in theory, Tom actually received this and might read it. Maybe it was dumb, or presumptuous, or outright rude, but I expressed my condolences for what the MCU did to his character. If Tom isn’t actually as depressed about it as he seems, it won’t matter -- he’ll ignore it like the rest of the nonsense fans probably write to him -- but if he is, maybe it’ll help a little to know he has allies.

Anyway, here’s what I wrote.

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

Dear Mr. Hiddleston (or Tom, if I may),

I’m a philosophy postdoc at [redacted], in London for an on-campus interview for a lectureship at [redacted]… which actually isn’t until next week; I extended my trip a few days on the front end so that I could catch one of the last shows of Betrayal before the run ended. It’s more than a little silly, but I’ll admit that a large part of the reason I was hoping [redacted] would invite me for a visit no later than mid-June was so that I’d have an opportunity (or excuse) to come see you act in person.

Like many people you’ve heard from, I’m sure, I became a fan of yours through your portrayal of Loki. I was blissfully ignorant of the MCU until 2015, when a friend invited me to see Avengers: Age of Ultron. My interest was piqued when I learned that Joss Whedon wrote and directed it, since I greatly admire his work. So of course, because I wasn’t raised by wolves, I had to go back and watch all the previous MCU films in chronological order. I wasn’t really hooked until I watched Thor, but not because of the title character.

Loki’s story was deeper, more tragic, more Shakespearean than I expected from a comic book movie, even in this golden age (though perhaps not from one directed by Kenneth Branagh). It was striking that the villain (seemingly) died not as a direct result of his wicked actions, in the Wile E. Coyote-like fashion favored by Marvel and Disney movies, but by suicide, prompted by his father’s rejection. He was three-dimensional, flesh and blood, and never lost the audience’s sympathy even in his cruelest moments—like Shylock, Cassius, or Macbeth. Then, when Loki turned up again in The Avengers, more desperate and ruthless but fundamentally the same proud, wounded spirit, I was fully drawn in. (Whedon’s incisive writing certainly didn’t hurt.)

I needed to know who played Loki with such poise, charm, and pathos. After getting caught up on the MCU (including another nuanced, twisty, show-stealing appearance from Loki in The Dark World), I needed to find more of your work. I watched Unrelated, Archipelago (ouch), The Deep Blue Sea, and the Henry installments of The Hollow Crown. I went to see Coriolanus when it was shown in a local movie theater; I watched Crimson Peak, The Night Manager, and I Saw the Light when they came out.

And the amazing thing all of these performances had in common is that you disappear into each role, inhabiting each character completely. You make the most diverse characters equally believable, from the selfish frivolity, with an undercurrent of sadness, of Freddie Page or Prince Hal to the grim inflexibility of Caius Marcius to the inscrutable chameleon Jonathan Pine and, of course, the mercurial, self-destructive Loki. When you speak Shakespeare, the words flow as naturally as if you grew up in Elizabethan England, and the meaning comes across so lucidly that I feel like I did, too. I had no idea what Coriolanus was about when I went to see it (generally not recommended with Shakespeare), but I found myself as effortlessly caught up in it as if it were an episode of Game of Thrones. Nonetheless—and this is what drew me to your work in the first place—you put the same kind of thoughtfulness and conviction into the most (apparently) frivolous roles that you do into Shakespeare.

I haven’t heard anyone say this or ask you about it in interviews, maybe because they know you wouldn’t be able to say anything publicly if you agree or maybe because there are so few people who feel this way, but I want to express how sorry I am about what was done to your character, how thoughtlessly all your masterful work and dedication were thrown away—in Infinity War, yes, but even more insultingly in Thor: Ragnarok. Maybe I was just imagining it, but I sensed from your comportment during the press for Ragnarok, however gamely you talked up the humorous new tone (you are, after all, a professional), that you weren’t entirely happy with the way Loki and (to an even greater extent) Thor were “reinvented”—or, more accurately, bowdlerized, made into caricatures rather than characters: Loki was turned into an effete, hedonistic cartoon cut-out “trickster” who betrays people for shits and giggles because it’s “in his nature”—completely disregarding, or rather attempting (successfully, for most audiences) to erase, his complicated, compelling motives for his misdeeds in previous films; and Thor was turned into a compassionless, narcissistic bully (however much the movie tried to make out that Loki was the narcissist) and, to use some technical terminology, a fratty douchebro. This mean-spirited retcon, which gleefully mocked its predecessors and the people who liked them (especially with the parody of Loki’s death scene in The Dark World), was not the conclusion to the trilogy that Thor, Loki, or their fans deserved. It was not the conclusion you deserved, after the heart and soul you put into the character.

All that is to say: even if Marvel didn’t understand or appreciate what they had in your Loki, some of us do, and we are grateful for the dignity and compassion with which you incarnated a character who suffered from emotional abuse, social ostracism, and mental illness (Ragnarok cannot make us believe that all of these problems are mere “childish fixations,” to quote the director, or a lazy failure to “grow and change”). I hope the Loki TV show turns out to be worthy of the character as you, Branagh, and Whedon shaped him, not another cynical effort to cash in on Loki’s fans while making no secret of the contempt in which we are held, especially because most of us are female, and bowing to the dislike of the Reddit crowd that can’t understand why a cerebral, slightly androgynous, morally ambiguous character is more appealing to women than the standard self-certain male power fantasies (must be because women always go for assholes, right?). I haven’t decided yet whether I want to subscribe to Disney+ so that Marvel knows exactly how many people care about Loki, or boycott it in protest of how the MCU has treated Loki and his fans. Maybe I’ll compromise by using someone else’s login…

To conclude (finally; we academics tend to wax long-winded): Thank you for all your magnificent work, which clearly demonstrates your respect for both your craft and your audience. You’re a true artist, and you manage to elevate everything you act in (your eyebrow movements furnished most of the sincere pathos in Ragnarok). I hope you will continue to act both in the theater, which is obviously your true passion, and in film and TV so that your work is accessible to a larger audience. Or do more of those National Theatre Live things; best of both worlds.

Sincerely, etc.

#letter to tom hiddleston #tom hiddleston #tom hiddleston as loki #tom hiddleston's acting #anti thor ragnarok

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jchb32273 · 5 years

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Favorite movies through Gifs...

I was Tagged by @th3morrigan (who also posted many of MY favorite movies on her post!! LOL!! I really ADORE Labyrinth (David Bowie, those awesome goblins, David Bowie, the amazing music and songs, oh... and did I mention David Bowie... in tight pants!! ^_^), Trainspotting is also a favorite of mine probably for the same reason as th3morrigan’s... Ewan McGregor!, Devil’s Advocate... I like Keanu Reeves, but damn, Al Pachino WAS the PERFECT Devil!, and Moulin Rouge... again, LOVE the music (and Ewan McGregor! ^_~)

So, I will ADD to this list... keeping it to just my top picks, which won’t be easy!

PRINCES BRIDE! I have loved this since the first moment I saw it!! Easily one of the most quotable movies EVER (Scared my husband once when I was still able to quote it verbatim... while drunk!) LOL! To make matters even better, yesterday @ambellinaleander made amazing and lovely art featuring Inigo Montoya during her live stream... <3

I know he has taken forever to get the sequels made (and we are still WAITING until... what is it? 2021 now for the first of four sequels?) But I still love the first film a lot. Avatar was stunningly gorgeous and I love that bioluminescent forest! Beautiful!

Another brilliant Jim Henson masterpiece! I was blessed to be able to see The Dark Crystal movie when it first came out in cinemas (yes, I am that old!)... and while the Skeksis frightened me as a child, I still LOVED this movie! I am very excited to see the Netflix “sequel” when it comes out (I think September)!

Dragonheart. Sean Connery as Draco. This was movie was so amazing (and while it’s CGI is a little outdated now, it still is a fantastic achievement!) I wish it had done a little better so its sequels could have had a better budget... while they were entertaining stories... the quality just wasn’t there for the following films.

I adore the HtTYD series! Toothless is just TOO adorable!! Damn, I want my own dragon now!! (I mean, if you have seen my blog, you know it is 99.9% Dragon Age, but I LOVE Dragons!! If I could pick a fantasy world to live in, I would have loved to live in Berk... (Pandora, from Avatar, is a VERY close 2nd... Their Banshees are pretty dam close to being dragon-like for me!)

One of my absolute favorite animated movies of my childhood! The Last Unicorn was so beautiful! I think it is almost every little girl’s fantasy that unicorns are real, and I was no exception! While Dragons take my top pick now, I do still love unicorns!

Honestly, I could go on and on and on about movies... I am a definite movie buff! I will stop here with Pan’s Labyrinth as my last pick. Not a family-friendly pick like many of the above movies, it is a beautifully told tale. A dark movie with amazing (and terrifying creatures)! If you do watch it, I recommend that you listen to it in its original Spanish language track. Worth it!!

Honorable mentions (and it is only b/c I didn’t want this list to go on forever... lol! The movies of the MCU, Harry Potter (and the Fantastic Beasts films), Star Wars (original trilogy... aka IV, V, & VI), Pixar and (most) Disney films, and I didn’t want to put it here, but I can’t pick a favorite - b/c I LOVE EVERY SINGLE STUDIO GHIBLI FILM!! They are ALL magnificent masterpieces!!

So, if you’d like to play along... I’ll tag @ambellinaleander @captain-savvy @aurlyn @wickedpixi81 @staciewilkerson @gingerbreton @cloakinghawk @starsandskies and @allenvooreef

#princess bride #james cameron avatar #the dark crystal #dragonheart #how to train your dragon #the last unicorn #pan's labyrinth #favorite movies in gifs #for fun

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prairiedust · 5 years

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The Folktales of Supernatural

Here is the third and probably last post in my trilogy of the folkloristics, folklore, and folktales of Supernatural. You do not have to read the first and second posts necessarily, but it is a series, so…

Anyways, in Unhuman Nature, Ross-Leming and Buckner gave us a thumbnail of season three’s main arc-- Dean’s imminent hell deal-- in Jack’s perfectest day evaar. However, Dean got to do for Jack what no one was able to do for him when he was living under the shadow of his own death. Instead of taking a joy ride, going fishing (or to the beach, come ON show,) or fine okay spending some time with a girl with daddy issues (come ON buckleming,) Dean took care of business and showed Sam how to take care of the car. When Sam was also undergoing the Trials, they were again racing against the clock. Cas, too, was under the shadow of the Leviathan infestation, and there was very little carpe in the few diems he had left until the creatures destroyed him. There was always the understanding in Unhuman Nature that TFW would be doing everything possible to save Jack, but while Sam and Cas were best tasked with trying to find a cure, Dean knew that what would be the right thing for Jack was not being in the bunker dwelling on his imminent demise, and living is a particularly Dean thing.

It was a wonderful way of retelling this particular series legend, and using that series “motif” in a new way (anyone want to tackle a Supernatural Motif Index LOLOLOL) to do the “what happens when a story is retold” theme.

So, to tie up this trilogy of close readings, I want to talk a little about how the European version of Sleeping Beauty is a good way to understand what else is going on thematically with the trifecta of recursion-retelling-mirroring that’s been going on.

There are very few citations here as the evolution of Sleeping Beauty is more or less accepted as general knowledge now-- the concept is explored in Folk and Fairy Tales 2nd edition, edited by Martin Hallett and Barbara Karasek. It’s also on Wikipedia, if you’re into that.

CW for discussion of the non-est con to ever non-con and other unsettling themes that are nonetheless perfectly ordinary in folklore.

Sleeping Beauty was once considered to be perhaps one of the most wholesome of the Grimms’ fairy tales, but (in pop culture at least) the shine is starting to wear off. I was playing the Ellen edition of Outburst with some people I didn’t even know about a month ago and one of the “clues” was “Sleeping Beauty” and as soon as the guesser put that card up on her forehead, a guy shouts out, “That story is about sexual assault, fight me!”

Which makes this particular “folk tale” a neat way to show how folklore, or storytelling and retelling, is such a good frame for season 14.

I mentioned in the first post of this series that Sleeping Beauty is a great example of the intercycling of folklore and literature-- oral tales can become literary works, and vice versa, and they can comment on one another in surprising ways.

Let’s start with one of the most recent iterations of the Sleeping Beauty story and a move from one kind of text to another-- Disney’s 1959 animated movie, “Sleeping Beauty.” I know a lot of readers on here will know it-- and we’ll work our way down to the centuries-old bones of this tale.

Right off the bat, we get a really great (and subverted!) example of that “rule of three” 2/1 pattern I already talked about. The king and queen invite three “good fairies” to their daughter’s christening. They are even called “good fairies” by the herald as they enter on a sunbeam, so you already know there’s gonna be a bad one. The first fairy, Flora, gives Princess Aurora the gift of beauty. The next, Fauna, blesses the baby with the gift of song. Before fairy #3-- Merryweather-- can bestow her gift, Maleficent arrives, totally pissed that she hadn’t been invited but cool as a frozen cucumber, casually lies about her reason for showing up and then curses Aurora to prick her finger on the spindle of a spinning wheel and die on the evening of her 16th birthday. Merryweather uses her turn to alter Maleficent’s curse, as she does not have the power to nullify it: Aurora will fall into a deep sleep that only “true love’s kiss” can awaken her from. In hopes of protecting her from the curse in any way shape or form, King Stephan orders every spinning wheel in the kingdom to be burned, but the fairies say that this will not be enough so they sequester her in the woods under the alias Briar Rose, and they all live as peasants, eschewing magic and raising her in almost total isolation so that Maleficent can not find her to work the curse. Neat. Briar Rose gets into mischief anyway, gads about the forest singing like a klaxon, meets a prince named Phillip who is having Adventures in the Woods, falls In Love™ with him despite some now-creepy hand-grabbing. Later the fairies tell her not to worry about mysterious forest dudes and traumatize her by telling her that her entire life has been a lie, and then inexplicably send her home to the palace for her 16th birthday celebration despite the fact that the whole reason for hiding out was to keep Maleficent from being able to find her. Maleficent discovers that Aurora is at the palace, games the anti-spindle situation by luring Aurora up to a tower to a magical spinning wheel; Aurora pricks her finger on the spindle, and Bob’s your uncle. The good fairies put everyone in the castle into a deep sleep (so that while they are waiting for some weirdo to fall in True Love with a sleeping teenager, eugh, the people she knows (aka JUST MET) will sleep with her so that they won’t be upset by the complete failure of their plans) the fairies realize that Prince Phillip, the guy that Aurora has been betrothed to since she popped out of the womb, is one and the same as Mysterious Forest Dude that she fell in love with, and they send him to Aurora’s castle. Maleficent imprisons him, the fairies help him escape, he tears through a thorn bush that Maleficent creates as an impediment, kills the witch, and wakes Aurora with a chaste kiss. It’s fine, they met once, it was only a kiss (IT WAS ONLY A KISS), and this was 1959. So, that’s the Disney text in a nutshell. Folklorist Kay Stone says in her book Some Day Your Witch Will Come that while Disney had been called “a ‘Master of Fantasy’ in fact Disney removed most of the powerful fantasy of the Marchen and replaced it with false magic.” While her criticism of the Disnified Grimms tales is explicitly feminist, the criticism stands as Disney’s product is far divorced from the folk “originals.”

Most people are familiar with the Grimms’ written version of “Sleeping Beauty,” or “Little Briar Rose,” as they titled it when they published it in their first collection. This is the version that Disney partly modeled their story after. I won’t retell it, I’ll just discuss differences between the two versions, so please go read D. L. Ashliman’s translation here. It’s short. And. It turns out that the German “folk tale” that the Grimms brothers harvested is more than likely based on a story that was published by Charles Perrault in France which re-entered the Germanic oral tradition at some point. In this version, there are thirteen “wise women” (as opposed to fairies) in Briar Rose’s estimable father’s kingdom, but he only has twelve golden plates for them at the celebration of her birth, so he only actually invites twelve wise women (which is a hilarious commentary on what the lower classes thought of the nobility, am I right? Heaven forbid you don’t have enough fancy plates, quelle horreur or rather wie schrecklich or whatever the German equivalent would be.) Again, after eleven blessings, the evil crone who was disrespected barges in and curses the princess to prick her finger on a spindle (not the spindle of a spinning wheel, though) and die at fifteen; The next-eldest of the wise women modifies the curse and dad has all the spindles destroyed. Fifteen was apparently too young for a sexual awakening in 1959 but it was fine in 1812. Also, there were no shenanigans in the woods-- Briar Rose grows up a princess. She finds an old woman illicitly spinning in the castle one day and wants to try it, pricks herself with the spindle (the German version never specifies where) and her sleep is so profound that the entire castle falls asleep with her. A massive thorn hedge grows up because neglect, and eventually conceals the castle, and all that is left of the kingdom is a legend. Many other princes met agonizing deaths in that thorn hedge trying to get to Briar Rose but one day Her ACTUAL Prince shows up. The thorns turn to blossoms, he sails right through, kisses the girl, and as she wakes up so does the whole castle. The tale is over with an “and they lived happily ever after” ending.

Charles Perrault, the Frenchman who wrote the version of “La belle au bois dormant” or “The Sleeping Beauty in the Woods” that the Grimms’ informant possibly retold a hundred years later, has seven good fairies invited to the shindig, because everyone assumes that fairy number eight is dead or too ill to travel or senile or whatever. Here you can see that this isn’t an error made because a king was afraid of committing a faux pas and not from being afraid of the “bad” fairy, but because no one bothered to check on the old woman and find out what the reality was. You know what they say about what happens when you assume. So this time a young fairy steps forward and changes the curse, and instead of violently burning all the spinning wheels and spindles, the king merely outlaws their use. When the princess is sixteen or seventeen, (French nobles apparently had a little more childhood than German peasants,) she finds an old woman spinning in a tower who has remarkably never heard of the spinning ban. She hands over the spindle and the princess pricks her hand, and faints dead away. The king puts her on a bed of gold and I’m gonna quote Ashliman for this next part: “When the accident happened to the princess, the good fairy who had saved her life by condemning her to sleep a hundred years was in the kingdom of Mataquin, twelve thousand leagues away. She was instantly warned of it... [and] set off at once, and within an hour her chariot of fire, drawn by dragons, was seen approaching.” She puts everyone in the castle to sleep and this time the thorn hedge is actually a privacy fence that sprouts up under the good fairy’s magic. A hundred years later, some prince is having Adventures in the Woods when he sees the tops of the castle towers from a distance. One of his retinue tells him there’s a pretty girl inside, so he goes to check it out. Bruh, the brambles part for him magically, but allow only him, out of all of his party, to enter. He doesn’t awaken this princess with a kiss, but by the mere act of falling down beside her and being so genuinely and enormously in love with her that she wakes up on her own. Ol’ Charlie’s story is not over by half, though. They talk for hours, Perrault has a lot about eating and getting dressed and then they nap together a little, and finally get married. The prince’s mother is an ogre, however, and wants to eat her grandkids, Dawn and Day. Where does this come from? Why is it in here? What the actual heck? And it gets crazier from there. The prince becomes king and rides forth to wage war in a distant land, and the queen actually tells her steward that she wants to eat the little girl for her dinner. He tricks her by hiding Dawn and serving the queen a lamb instead. Next day, she wants to eat the little boy. He tricks her again by serving her a baby goat. Then, she wants to eat her daughter-in-law and they serve the evil queen venison. Then one day she hears the voices of her erstwhile entrees in the castle, discovers that she had been tricked, and prepares a cauldron full of venomous reptiles to throw the three innocents into to their deaths. The prince-turned-king shows up just in time and his mother is so beside herself with rage that she actually throws herself into the vat instead. So, yeah, weird stuff. Stuff that the Germans left out, or forgot, or decided that there was no “moral” that they wanted anything to do with. Was Perrault out of his damn mind?

WELL AS IT TURNS OUT, Perrault was actually retelling a Neapolitan folk tale that had been collected long before by a fellow named Giambattista Basile. He called the story “Sun, Moon, and Talia.” There is some evidence that it predates Basile, but most folklorists start there because the problem with oral tradition is that it’s rarely written down (ba-dump-tsss.) So we can definitively pick up the European version of Sleeping Beauty in Naples, Italy, in the early seventeenth century, when this mid-level clerk and author writes down a whole bunch of “nursery tales” and then dies. One of the stories he writes down is called “Sun, Moon, and Talia.” And I didn’t want to talk about it much before, except that I think understanding that Perrault seriously sanitized Basile’s story is the perfect illustration of “what happens when a story is retold.” In Basile’s story, to which I’m linking an okay version here with a content warning for rape and for the fact that they linked that painting “Nightmare” to the story, http://www.mftd.org/index.php?action=story&act=select&id=3364, Talia the princess is not cursed, but her father’s scholars tell her fortune and say to the king that she would “incur great danger from a splinter of flax.” He forbade flax (from which linen is made) from entering the castle. So in this version, it is the material, not necessarily the method of transforming it, that imperils the princess. Yes this is a giant metaphor for sexual intercourse and/or loss of innocence. Nonetheless, she comes across a woman who is spinning flax into thread, wants to try it, and gets a splinter under her nail. She falls down dead. The king is heartbroken, shutters the castle, and leaves her propped up on a throne. Some time later, another king comes across the castle, explores it, sees the dead Talia who seems to be weathering her death remarkably well, and has his way with her. I can only imagine what ran through Perrault’s head when he came across this. “Sacre bleu!!! Non, non ma petite chere, this will not do. A true king would never!” or something like that. ANYWAY, Basile’s story is still the frame on which Perrault based his literary fairy tale, for Talia gives birth to twins, a boy and a girl, Moon and Sun, one of which sucks the splinter out of her finger, and she awakens. The king finds her but keeps her a secret. The king’s wife (he has a wife!) sends for them, and then to get revenge on her husband she orders the children cooked and served to him one day, but again there is a switcheroo and the cook uses lambs instead, and later it all comes out and Talia marries the king and Basile’s moral (vastly different than that of Perrault) is “Those whom fortune favors find good luck even in their sleep.” I don’t know if that was written in “sarcasm gothic” or not.

The bones of all of the stories are the same, but in each iteration something has changed which makes a huge impact on the overall themes of each telling. First, Perrault drops the rape of Talia, and slides the villain role over to the prince’s mother and makes the rape-king a virtuous prince to erase the royal philandering and necrophilia, and there is no kiss at all. The Germans bring the kiss back, weirdly enough, to somehow reach back through Perrault’s chivalrication to the sexual component of Briar Rose’s awakening-- it might be the imagery of the spindle, which in some cases is a big rod typically dropped between a spinner’s knees to make the yarn or thread, or it could be the completely bonkers idea that just kneeling beside her bed would not be enough to break the kiss (but then again, why wouldn’t a test of virtue be enough? Indeed, in the Disney version, the three fairies arm Phillip with “the shield of virtue.”) In Basile’s version, Talia dead, not sleeping, and in the Disney version there is the totally weird seclusion until young adulthood (that weirdly enough hearkens to the Irish legend of Deirdre, a woman who was betrothed to the king of Ulster and was sequestered to both preserve her innocence and thwart a dire prophecy but who still managed to run off with another guy and cause an epic war) and they rename the princess Aurora, which is Latin for Dawn, which is the name of her daughter in the French version. It’s all very intermangled.

Did other stories with similarities come from a single stalk, an ur-story like the Great Hunt may have? D. L. Ashliman in Folk and Fairy Tales: A Handbook tells us that Grimm and other folklorists believe that these SB stories are the vestiges of myths (132) such as the story of Brunhilde, who was put to sleep with an enchanted thorn for reaping a warrior favored by Odin. Or does this particular metaphor just crop up in cultures everywhere through synchronicity? In the Japanese folktale The Matsuyama Mirror, a young girl is given a mirror by her father, who tells her that whenever she is sad she can look in the mirror and see her mother, and eventually the mirror’s symbolism thwarts her evil stepmother, much as in the story of Snow White. Is there an even older story that connects these two?

I chose these four versions of Sleeping Beauty because for one thing this story was mentioned in the text of The Scar, they are clearly family, and the American/European versions are the most familiar to me (and I assume at least the American audience of Supernatural) so it easy to demonstrate this “digging down” to get to the seed of a story-- in this case the sterilization of the Sleeping Beauty story is an excellent metaphor for a powerful trauma weathering and being repressed-- or healed-- over time. Many scholars have noted the sexual symbolism of the spindle, which if you’ve never seen one is a rod of varying lengths with a round weight at the bottom, and in hand-spinning, typically a spinner hangs the spidle between their legs and it can pump up and down as it spins. Even the later versions of the story that feature spinning wheels have a spindle on them, and it is an unmistakably phallic component of the rig, coupled with the pistoning action of the spinner’s foot on the treadle to spin the flywheel. So hm. However, not all spindles are sharp enough to possibly prick a hand or a finger, and in the original “Talia” it is the flax splinter that inserts itself into her flesh. At any rate, it’s a metaphor for sexual penetration retold for an audience that has increasingly moved further and further away from being able to see (or is unwilling to acknowledge) sexual subtext.

Jack’s perfect day was bittersweet, but was also unmistakably idyllic and idealized, almost Disnified, although the magic was still unmistakably powerful. The scene by the river, where Jack explicitly invokes the memory of John, should also illuminate scenes from the series’ past, such as Dean’s dream sequence where he was fishing off of a dock, or where rogue angel Daniel was fishing when he was found by Castiel and Hannah. Fishing is a motif, if you will; it’s been featured in the show before. Jack’s eventual death is one of the show’s tale types. Dean, Sam, and Cas have all been through it-- as Cas says in The Spear, it’s “something of a rite of passage.” But we’re being told this story again from a point of view that was almost tragically abbreviated the first time-- when John trades his soul for Dean’s in In My Time of Dying, we got very little of what it means for a parent to sacrifice themselves for a child. Likewise, the other times that TFW faced their dooms, they had (albeit under duress) volunteered themselves. Jack was an innocent. Dying is perhaps the ultimate loss of innocence-- it certainly was for Talia. So by stripping away the halcyon glow of the river scene, we get to the bones of where the “under threat of impending death” tale type originated in the series.

This whole season so far has been the most clever way possible to do a “retrospective.” It’s not a sign that a show is tired, but that it has reached a point of self-reflection that very very few shows ever get to.

I have to wonder if this way of painting season 14’s arc through a constellation of motifs-- through callbacks as hysterical as the Scooby lunchbox full of pressurized gas in Mint Condition to returning characters as poignant as Lilly Sunder’s appearance in Byzantium, to thematic parallels to past seasons-- is going to continue into the second half of the season. We will know quickly, as the stakes have been raised after Dean’s repossession, whether Dabb and his writers continue to use the motif index of the show, or if this retrospective period is over and we’ll be covering new thematic ground. I will say, this theme has been tied up pretty neatly with the mid-season finale, that while Castiel essentially stepped into the Jack’s Fractured Fairy Tale much the same way that the way the good fairy modifies the evil fairy’s curse in Sleeping Beauty, that choice could shift everything in his mythos over to “beat the devil” which is another favorite SPN story, Tale Type 210a or whatever (and is irl ATU 330: The Smith Outwits the Devil and hopefully would be 330C which is the kind of “Devil Went Down to Georgia” classic American and African-American story.) (Imagine the SPN Tale Type Index starting with “1-199 - Origin Stories - 1a Burning Wife, 1b Burning Girlfriend, 1c House Burns Down, 2 Demon Blood Fed to Infant” and etcetera… anyways.) And we know that Cas and Sam are going into Dean’s headspace to get him, so there’s the rescuing forces storming the sleeping castle trope (remember the “sleeping” patron in Rocky’s Bar?) getting resolved potentially. But I do believe that this focused close reading brings to light a “healing trauma” theme that the history of Sleeping Beauty makes explicit. It is not the only reading of the show to do that, but again, if I could describe Dabb’s era with one phrase it would be “There’s no such thing as too much meta.”

See y’all Thursday night!

#the folkloristics of supernatural #the folklore of supernatural #the folktales of supernatural #spn meta #sleeping beauty

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darkfoxartstudio · 6 years

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The Sequel Trilogy and a Fairy Tale Heroine's Journey.

(I posted this right after TLJ, and I thought it would be worth reposting today)

The Reylo community is a beautiful place let me start by saying that. I have been a part-time meta writer/fanfic writer/silent observer of discourse/and an okay “artist.” It has been a pleasant experience for me over the last two years. I have learned quite a bit about literature, storytelling, cinematography just by being a fan of a fictional couple who I thought had a spark of something. We all invested a lot of time into theory and art of all mediums. I have made friends that I wouldn't have otherwise. The ride has at times been bumpy.

As I sit and try to take in everything in The Last Jedi I admit I am overwhelmed and rightfully so. Rian Johnson has given us so much in this movie to pick through, and over analyze for the next two years. I admit like some of you, I was confused after my first viewing and very conflicted. I wanted Ben and Rey together so badly that when they didn't end up together, I was a bit upset. I was mad at Ben for rejecting Rey, but then I was mad at Rey for rejecting Ben. My emotions were all over the map.

A lot of us felt the same way, some of us freaked out left the fandom, cried in a corner, and some took a minute to really start sifting through the wreckage.

What I have found in that wreckage (as well as many others) is a beautiful treasure. We got way more story than we could have hoped for. It is complex, it is layered and no doubt we will find tidbits of something new while rewatching it until Episode 9.

In this meta, I am going to attempt to shed light on the Heroine's Journey using a fairy tale template if you will. This will hopefully help decipher where we are in this cycle, even though it can at times skip around. I am going to give my full disclosure that I am an amateur. I don’t pretend to be the end all be all super meta writer who knows all of this as fact. I am simply using the Heroine's Journey as a guide and placing my own wet of views on what we’ve been given thus far. I highly recommend at the end of this analysis that you buy a copy of The Heroine’s Journey: Woman’s Quest for Wholeness by Maureen Murdock. I also suggest you read this blog by Theodora Gross. This is where I get the “template” for the breakdown of a Heroine's Journey as it is usually told in a fairy tale.

*Remember- This analysis is based on the fairy tale stories thus the template I am using provided by Theodora Gross.

The basic break down of a Heroine's Journey in a fairytale setting according to Theodora Gross is this

1. The heroine lives in the initial home.

2. The heroine receives gifts.

3. The heroine leaves her initial home.

4. The heroine enters the dark forest.

5. The heroine finds a temporary home.

6. The heroine finds friends and helpers.

7. The heroine is tested.

8. The heroine dies.

9. The heroine finds her true partner.

10. The heroine finds her true home.

Firstly, I am using this example for a few reasons.

JJ Abrams stated that Star Wars is more like a fairy tale or a western. Here is the actual quote from The Force Awakens Bluray commentary.

“This whole location of Maz’s, of course, mirrors the cantina from A New Hope, as this Starkiller Base mirrors the Death Star. These were the kind of locations that felt like a given in Star Wars. For example, we looked at it like a Western or a fairy tale. What are the elements that you’re going to see that makes it this genre, this specific genre? And clearly, in a Western, you’re going to have the dusty main street, the saloon. You’re going to have cowboys. You’re going to have the bad guy, who’s probably dressed in black. You’re probably going to have a castle, and a prince and a princess, if you’re looking at a fairy tale. We wanted to give these sort of, fundamental, not cosmetic, but, sort of, prerequisite elements. These locations in which we can set our new story and our new characters.”

2. George Lucas has stated Star Wars is for children and it is a fairy tale.

So if we apply Theodora’s template for the Fairytale version of the Heroine's Journey to Star Wars more particularly to the Sequel Trilogy and Rey, we get this breakdown.

The heroine lives in the initial home

The Force Awakens introduces us to our heroine, Rey. We get a glimpse into her harsh everyday life by following her through a Star Destroyer in the barren desert of Jakku- a junk planet on the outer rim. She lives alone in an overturned AT-AT working all day just to feed herself. Like most adventures or fairy tales the main character longs for a different life. Rey longs for her family and even watches a ship leave the planet. We see this in Beauty and the Beast, Sleeping Beauty, Snow White, and Cinderella. Another more similar example is how Luke wanted to leave Tatooine and looked longingly at the twin suns wishing for adventure-- this is part of Joseph Campbell's Hero’s Journey and yes there are similarities, but they are not the same at all. But for the sake of Star Wars and this discussion, I’ll throw in these comparisons.

The point of this setup is to show the audience how bad the conditions are for our heroine or how they are longing for something - a change, a person, adventure, etc.

“And this idea that she won’t share with him here is, of course, because she feels like the only belonging she’s ever going to have is her family and if she leaves she’ll never get a chance to see them. So there was a very powerful idea that what she desperately wanted was belonging, which she’ll get, but just not how she expects.” JJ Abrams TFA

The heroine receives gifts.

Unexpectedly Rey receives a gift in the form of a bright round orange droid- BB-8. This is not the only gift Rey receives. She acquires a blaster from Han Solo, and eventually the Skywalker Legacy lightsaber. I would like to take this moment to note these steps do occur in order. However, storytelling is fluid and just because the heroine receives a gift later in the steps does not void the order of the heroine's journey or take it back a step.

Another example of gifts would be Luke acquiring R2D2 and C-3PO. But he also gets the lightsaber later on. It's important to point out here as well, that in a lot of adventure type stories, we have a Call to Adventure, Refusal of the Call, The Mentor, etc. That is part of myth which is a part of every story in existence essentially in some form. Please watch these videos for reference (they are a bit long and old), but it goes over the themes and myth integrated into Star Wars. And please remember that George Lucas focused on Joseph Campbell's model of the Hero’s Journey when he first wrote A New Hope. Also yes as George has stated these stories are meant to rhyme. That does not mean they are a play by play of the plot. However, themes are similar, because the message of Star Wars is the same. “It is about love.”

The heroine leaves her initial home.

The First Order is hunting BB-8 and forces Finn and Rey to flee the planet for safety. According to Theodora sometimes the heroine is given away, runs away, or she chooses to leave. If the heroine decides to stay her home is destroyed in some way. An example of this is Cinderella. Her happy home is destroyed when her stepmother makes her work as a servant after the father dies.

In Star Wars Luke chose to leave after the death of his aunt and uncle. Anakin was taken by Qui Gon Jinn (Haaa, Liam Neeson - “Taken” get it- get it? I know I’m lame) and Obi-Wan Kenobi.

The heroine enters the dark forest.

Rey runs from the safety of Maz’s castle into a dense dimly lit forest after she Refuses the Call. In other fairy tales like The Lassie, the girl enters the dark forest after losing her temporary home. Sleeping beauty grows up in the forest, and Rapunzel enters the dark forest after leaving her tower.

The refusal of the call in Star Wars (hero’s journey) Luke initially tells Obi-Wan he can’t leave Tatooine because of his family. Anakin does not want to leave his mother. Since Rey is a heroine her journey is slightly different but similar at the same time. She doesn't want to go on this adventure because she is holding out hope that someone will come for her on Jakku. Looking back in hindsight after viewing The Last Jedi Maz is forcing Rey to face the truth. “I see it in your eyes, you already know the truth. Whoever you are waiting for on Jakku, they’re never coming back.”

Rey is not ready to face this reality yet. It is this belief that her parents were coming back is what kept her alive for so long. It was a survival coping mechanism that eventually she started to believe. However, deep down she’s always known.

“She’s telling Rey what she needs to hear, which is, “Stop trying to go home, it’s not right, it’s a waste. And that the belonging you seek is not behind you, it’s ahead.” And this is the thing that she can’t accept right now. The idea that she has anything to do with this man that she thought was a myth just this morning, and now here she is being told that his destiny is somehow tied into her choices and her actions. So, when Maz asks her to close her eyes and to feel it and to let it in, she’s not just setting up the moment at the end, when Rey is battling Kylo Ren, but she’s also telling her to stop looking and stop trying to understand and just feel and it is that great lesson of the Force. But she can’t do it. She’s not ready. She can’t take it in.”

The heroine finds a temporary home

Now we jump ahead a bit here because stories are fluid and there is no one formula or beat for beat plot that matches a heroine's journey even though they do follow a direct path. Rey’s temporary home in the entire arc of this story is physically Ahch-To and metaphorically the Resistance. If the story ended completely with The Force Awakens, then her temporary home would have been the Falcon and even her friends Han, Chewie, and Finn. But we know this is a trilogy, and the pace of this journey will be slower. Think back to the Hero’s Journey which is integrated into this framework and note that Rey didn't even Accept the Call to Adventure until the end of The Force Awakens.

Theodora notes that the heroine may think she can stay in this temporary home, but she will eventually have to leave again. Snow White's home was with the dwarves who helped care for her. Sometimes in the temporary home, she finds her true partner, but not in the right form or at the right time. Examples Beauty finds Beast in her temporary home, but he is still the Beast, selfish cruel and unkind. Rapunzel meets her prince but loses him again. Cinderella enters the castle to go to the ball, meets her Prince, but it isn't the right time. She has to leave this temporary “home.”

Rey takes up residence on Ahch-To until she can convince Luke to return. Rey knows this is a temporary home because once she succeeds, they will leave. But what is more interesting than anything else and more telling is that Rey meets her true partner, but he is not in the right form nor is it at the right time.

Ultimately Rey loses Ben again. And I want to stress this again the metaphorical home she has with the Resistance still stands. We are in the middle chapter of the story. Rey left the temporary physical home only to still hold onto the Resistance as the temporary home. And before you try to come at me with pitchforks-- when I say the Resistance, I mean it as an organization, not Leia and Finn or Poe. Those people are her friends, but she is seeking shelter in this metaphorical temporary home because Rey does not know fully who she is yet. Yes, she's a Jedi, but what is her place in all this? Wage war on the FO as the mascot Jedi for the Resistance? Or is it to find the true meaning of the Force, and try to establish some sort of balance with Ben Solo. Remember Luke played this role of legendary Mascot and embraced it-- it led to failure, hubris and the creation of Kylo Ren. Rey’s story is so much bigger than your standard Jedi or weapon of the Resistance... sorry got a tiny bit sidetracked here but you get my point.

The heroine finds friends and helpers.

Luke fills this role to a T albeit begrudgingly. The heroine finds them and enlists their aid by being kind to them and giving them what they need. Later on, they help her when she is forced to leave her temporary home.

Rey finds Luke and tries to enlists his help by telling him she won't fail he like Kylo Ren. Rey attempts to reassure Luke that she can do what Ben could not and at the same time pleads with him to help his sister, Leia. Luke does indeed help Rey after she flees Ahch-To by facing Ben on Crait. Giving her a chance to save her other friends (who have also helped her along the way Finn, Poe, Leia etc.) and what was left of the Resistance.

The heroine is tested.

Heroines can go through agonizing periods of testing. Rey is tested in The Force Awakens when she fights Kylo Ren. She is tested on Han’s freighter when she has to figure out how to help Han escape the gangs. She is tested when she goes up against Kylo in the interrogation room. Make no mistake about it, Rey will still run through the test and trials all the way up to the end of Episode 9. So what were her trials or test in The Last Jedi? If you thought The Force Awakens was tough on her, The Last Jedi was downright brutal and with good reason.

Most of Rey’s tests are not physical in The Last Jedi like they were in The Force Awakens.

The first test is to convince Luke Skywalker to return- she fails.

She fails at her Force training (according to Luke) when she goes straight to the dark and doesn't even try to stop herself.

In the cave when she asks the mirror to see her parents. The cave reveals Rey's deepest fear- she is alone, her parents are gone. But this test in the cave does have its positives even though it devastates her. It is forcing her to confront the truth she already knows - They are dead, and they were nobody.

Rey faces her biggest test in The Last Jedi when she refuses Ben's hand. At this point, Rey has already seen a vision of Ben’s future. It moved her to tears and prompted her to seek him out against all odds. When Rey realizes, Ben isn't in his true form she has to reject him. She begs him to not go down the path. But again it's not the right time yet. This is the part of the fairy tale/heroines journey where she loses the Prince/Partner again.

Although this is heartbreaking for both her and Ben the test does have its positives. Rey finally accepts the truth about her past with Bens help albeit he was a little harsh. But he also makes Rey say it. He doesn't lead the conversation by saying they sold you for drinking money, then forces her to admit it to herself. He prompts her to say it FIRST, then he confirms what they did/or his interpretation of the events. Notice Rey does not correct him. Rey learns to let go, even if it does means she has to let him go too.

The heroine dies.

Attached to the test and trials (again according to Theodora Gross) is a journey into death. Persephone's journey into the Underworld, Snow White’s temporary death/ deep sleep in the glass coffin. Sleeping Beauty and her hundred year sleep.

Rian does an excellent job showing us visually Rey’s death, during a time of testing. Rey ships herself into essentially Hell (Snoke represents the Devil) in an escape pod that looks like a coffin. Again visually this is stunning, it ties in Snow White’s death and Persephone’s journey into Hell. Also one could tie in Psyche’s descent into Hades. It all represents death.

In Star Wars we see literal death and metaphorical death. Han Solo went under a Sleeping Beauty type death. The trope was subverted, and the Princess woke the sleeping “Prince” giving him a kiss at the time of his awakening. There are other “clues” that give a nod to Han Solo’s slumber and Reys metaphorical death. The escape pod also says Property of Han Solo. Rian specifically asked for it to be written on the coffin-shaped escape pod. You have to stop and ask yourself why? General Audience viewers are not going to know it says that or even see that anything is written on it so why bother? Because Rian is telling a more in-depth story here. Nothing he has done throughout this entire movie is without thought and purpose.

What is the purpose of the death of the heroine? Well, let's think about what happened to cause Rey to run to the other side of the Galaxy-- and descend into the metaphorical underworld, to begin with. What was happening? Luke wasn't teaching her the way she thought he would. It was proving to be difficult especially once she learned the truth behind his self-imposed exile. Luke refused to get involved, his way was not working for her. Rey wanted to act.

According to because the Heroines Journey Project in this step, the new way of life is too limited. Success in this new way of life is either temporary, illusory, shallow, or requires a betrayal of self over time.

Wouldnt be Rey be betraying everything she stands for (Hope) if she just stayed away like Luke wanted her to? To give in, to let Ben Solo’s fate remain on its current destructive course? That is not Rey, it isn't what she represents in Star Wars at all. The purpose of this metaphorical death is to shed away this ideology Luke had about himself and about the Jedi.

The heroine finds her true partner.

We have not reached this point in the story. The Last Jedi ends with the heroines death (step 8). But we will get here in episode 9 and since there are only two steps left I say that is fitting for Rey’s overall arc.

In this step the partner is in his true form, the beast has transformed into the Prince. Theadora notes that in fairytales it may not seem like much of a love story because most tales are told shorthand (the prince dances with the princess three times) But lucky for us Star Wars although forced to tell such a story shorthand has and can do it. The core to this step in the journey is that the heroine and the partner recognize each other.

For Ben and Rey this could mean that they finally see each other clearly. Recognizing that the balance is not all Light or all Darkness. Or that both light and dark live in both of them. Perhaps they realize that both sides of the war are wrong and the only real way forward is through love and acceptance.

The heroine finds her true home

Rey had to leave her initial home to find her place in the world. This could be with Ben, Finn, and the rest of the Resistance which she has coveted as a second family or perhaps will occur in Episode 9. In fairy tales, Belle can finally live with the Beast, and Cinderella can live in the castle with her Prince.

There is usually a partner in these situations although it is possible to end the story without one. However, considering the heroine's journey, and the theme of Star Wars I believe we will get a happy ending for both Rey and Ben.

I’ll leave this quote from Theadora’s blog here.

“If you’re uncomfortable with the idea of the heroine finding her true partner (does she really need a man to be her partner?), you can think of it as a metaphor. The true partner is also the other side of herself, so the story shows us the integration of the feminine and masculine, human and animal, sides of the personality. I don’t know, really: I just know that the partner is usually there, that the heroine is eventually united to a prince. Perhaps it means that a union with the right other is one of the highest things we can achieve in this life, perhaps it’s about unity within the self. Either way, it seems to be part of the story.”

If you have read other meta on the Anima and Animus, you’ll understand that reference that I bolded above. Rey and Ben fit the Anima and Animus profile, I can’t express that enough. The theme of The Last Jedi throughout marketing was Balance. We have been given very blatant clues about the balance of the Prime Jedi First Order. The symbol on the floor of the temple was pretty close to a Yin and Yang symbol. We know that The Art of The Last Jedi had concepts of Rey seeing Kylo on the other side of the mirror in the Dark Side cave. Rey and Ben have been mirrors of each other since The Force Awakens. (I go into depth on Kylo/Ben’s mirror cave here). You can see it in their choreographed fighting at the end. They emotionally mirror each other (both are lonely, and were isolated). They are coded in dark and light clothing. Even when Ben speaks to Rey its as if he could be talking to himself in a mirror. This happens in both Episode 7 and 8.

The merging of the Anima and Animus is paramount to the end of a Heroine's Journey. Only then can they be complete. Rian has repeatedly stated (paraphrasing) They are both two sides of the same coin two halves of the protagonist. For Rey and Ben to not come together in balance at the end of Episode 9 would be odd, to say the least.

I've seen arguments that Ben has to die or endure some type of harm to be redeemed. But to that, I throw this line at them. “It isn't about fighting what we hate, it is saving what we love.” - Rose Tico

Sure, Ben will continue to suffer, as Rey will continue to go through trials but only until they recognize each other. I don’t think Ben has to be mortally wounded or die to gain redemption. Star Wars is about Love.

From a storytelling perspective, we’ve had a tragedy and redemption in death. Ending the Sequel trilogy (a heroine's journey) with redemption in death is repetitive and doesn't fit the structure. It is my own personal opinion that we will get happy ending with redemption in life.

#reylo #reylo and mythology #rey #rey of jakku #star wars #star wars meta #reylo meta #ben solo #rey x kylo #rey x kylo ren #kylo ren #ben x rey

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trashqueenkyloren · 6 years

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Longass Meta on Kylo Ren’s Redemption Arc/Rey and Kylo

SO, to begin, this is something I’ve wanted to write literally since Dec 2015 but the fear of being hated on has been so strong that I’ve just recently felt confident enough to post it and I really just want this out there before The Last Jedi comes out so I can compare although it’s so close to the release date this is all probably irrelevant now oh well

So I went into The Force Awakens basically as a blank slate (I’ll explain later) and I really just want to point out a few thoughts I had while watching it the first time that point to a potential Kylo Ren Redemption arc and the possibility of Rey and Kylo at least teaming up (this is mostly just my opinion, feel free to disagree!)

(way more under the cut guys, read on if you like!)

To begin, let me explain a little bit about myself

PART 1: BACKGROUND

When I went to go see TFA in theaters, I knew almost nothing about Star Wars. I had seen the originals like once when I was like 5 and had not really gotten into it. In fact all I knew was that

1) The force and the light/dark side are a thing

2) Darth Vader is Luke’s father

3) Han is Leia’s love interest and Luke is her brother (and even this I had to ask my friend to clarify/make sure I had it right)

and obviously I knew the names of yoda and r2d2 and other really basic knowledge, you get the idea

The Force Awakens is what made me become a Star Wars fan (don’t worry, I have since then made up for my mistakes by rewatching all the movies and such)

but anyway what this means is

I went into TFA as basically a blank slate, meaning I had no biased Star Wars thoughts to cloud my judgement

I saw what the filmmakers wanted me to see

In addition, being a person who currently studies Literature, Psychology, and Film Studies at college (yeah, yeah, I fit the stereotype, kill me), if there is something I know well it’s Storytelling

The only things I really knew about TFA before going into it were that

1) It was a sequel to the originals

2) Rey and Finn are the main characters (had seen pictures and was already lowkey shipping FinnRey)

3) The bad guy was some masked dude

That's it. I wasn't a huge fan so I hadn't bothered to look up anything else about the movie and hadn't seen any spoilers. But enough about me .

PART 2: THE CHARACTER OF KYLO REN

Now, while viewing TFA, one thing that struck me and captivated me in a way that no other Star Wars movie had was the character of Kylo Ren. I had definitely not expected to like this character at all. Two things changed this for me

1) The reveal that he is the son of Han and Leia

Never before (in the movies) had Star Wars had a character that was so clearly torn between the two sides. Him being the son of Han Solo and Leia gave him a legacy and a reason for us to want him to be good. We want Han and Leia to get the happiness they deserve. Honestly, if you don’t want a Kylo to be redeemed just think about poor Leia losing her son and still having hope for him (Do it for Leia!!) .

2) His feeling the pull to the light

This scene surprised me because the fact that Kylo is talking to an old helmet about his inner feelings means that

a) he has no one to confide in so he is withholding a lot of strong mixed emotions and feelings, which is unhealthy

b) he is tempted by the light side while being on the dark, which is very, very different from most villains, who (it seems to me) disregard the light completely. Which means despite wanting desperately to be bad he can’t even do it because of an inborn light side like a teenager going through a rebellious phase

and c) he is being honest about his call to the light because he has no reason to lie if he’s not talking to anyone, which means he really does still feel a compulsion to be good

Star Wars, being a family-friendly film saga, usually has a pretty clear dichotomy on good and evil (hence, light and dark sides). We root for the good guys, not the bad guys. It’s always been sort of a black and white morality going on, but Kylo is one of the few characters that enhances the Star Wars universe by bringing to light (heh) the potential for gray morality in an otherwise black and white world (as it is)

He is a person that really should be on the light side because of his family and such, but because of Snoke’s constant manipulation and unfortunate upbringing he’s been struggling with the dark side his entire life. It’s really a sad thing to think about.

Additionally

While initially hating him, I ended up feeling a great deal of sympathy for him throughout the film, so much so that I wondered why they had even made him a villain at all

He was not a weak villain like I had heard in reviews, just a conflicted one. A lot of people don’t like it when villains don’t fit perfectly into a “pure evil mustache-twirling-type”. I found Kylo infinitely more interesting because of this.

He’s no Darth Vader. But that’s the point. Both he and the audience, in a sort of meta twist, know that he’ll constantly be in the shadow of Darth Vader. So, instead, he’s younger, more volatile, more emotional, uncontrollable, unpredictable. He’s contrasted from all these villains to show how he stands out as different. He seemed to me separate from the Hux/Snoke kind of evil that didn’t have any sort of redeeming qualities at all. Evil for the sake of evil, if you will

The viewer’s sympathy for the villain and how obviously they showed his flaws and potential for good is the crucial foundation of a redemption arc

I liked him a lot as a character pretty much up until he killed Han Solo. Then, I obviously believed he was a lot more evil than he looked, although the fact that he definitely didn’t seem happier or better or more dark-side oriented in any way after this still suggested that he didn’t become completely evil

After this, it hit me that the ONLY sure-fire way to make people absolutely hate Kylo Ren as a villain and squashing people’s complaints that he was too wishy-washy or not bad enough as a villain was to have him kill off one of the most beloved characters in Star Wars history (who also happened to be his father)

He was so obviously drawn to the light and not bad enough throughout the first half of the movie that the writers had to take a huge step in order to get him to the actual level of villain and add a lot of unlikeability

PART 3: KYLO REN AND REY

(My favorite part of the movie ^ Has been my laptop’s background wallpaper since Dec 2015. I would get a poster of it if I could)

In this section, I will describe some things I picked up both about Kylo’s characterization around Rey and their interactions between them. I think that Kylo’s actions towards Rey played a large part in getting the audience to think he was “too weak” of a villain (Something I heard in reviews a lot after watching the movie)

1) The infamous bridal carry scene

Okay my first thought when I saw this was that he was way too gentle with her. Honestly, Kylo, you need your hands to use your lightsaber and the force, so this is much you rendering yourself completely useless on unsafe territory

He could’ve slung her over his shoulder? Or passed her off to a Stormtrooper? So this struck me as very strange, to say the least. To think that he would carry her so gently. But then we see this

Now, the importance of the combination of the bridal carry and the crossing of the threshold was not lost on me

It reminded me a lot of a movie a had scene only a few months earlier (which I would highly recommend), Crimson Peak.

While the bridal carry itself could indicate romantic interest between the two characters (somebody already wrote a really good meta about this so I won’t go into it here) the additional crossing of the threshold is a step in the traditional “Hero’s Journey,” a set of steps in a literary work that star wars loves to rely on, where the hero’s journey begins and the hero’s life is changed

Typically, it’s the point of no return for our hero, as things change in a permanent sort of way for their journey moving forward

2) The Unmasking Scene

I was shocked by this scene for a few reasons which I’ll go into here

a) First off, I was shocked by how youthful he looked. I was expecting a creepy looking old dude or someone with a bunch of scars on their face, but instead we get this young, handsome boy. (Yes, I find Kylo Ren attractive, but does this somehow invalidate my thinking in this meta? No. I can put aside attraction for an objective analysis.) But what I also realized is that he doesn’t need the mask to live, like Darth Vader did. He needs a mask for the entirely opposite reason, in order to make him seem intimidating. Without it he just looks like a lost child, he needs the mask in order to be taken seriously.

b) The second thing that shocked me was that this is the first installation of a trilogy and they’ve already unmasked the main villain. This speaks volumes to them wanting the audience to humanize him as early as possible. Darth Vader didn’t get unmasked until the later part of the last movie of the trilogy. If they wanted him to remain purely antagonistic, they would would have left his mask on. This means that they aren’t going to want us to view him as the one-dimensional cardboard cutout villain, they want us to view him as a human with flaws.

c) The final thing I want to touch on is that Kylo’s unmasked came directly after Rey’s quote “That’s what happens when your being hunted by a creature in a mask”. When Rey said this, my reaction in the theater was, So just take it off! And then he did. And I had really not expected him to actually take off his mask for her, as this meant he did not want her to view him as a “creature” or a “monster,” but he wanted her to see he is a human, just like her. He wanted to create empathy between them. This move, along with me noticing that Kylo was much younger and more attractive than I thought, coupled with his attempts to reassure her (tells her he doesn’t know where her friends are, “you’re my guest,” “don’t be afraid, I feel it too”) led me to believe the Kylo Ren might actually be Rey’s love interest, instead of Finn. It seemed like a unique plausible twist and it was just kind of an instinctual gut feeling that hit me. Of course, the thought of this went out the window when Kylo murdered Han, but, after reviewing the movie a couple more times, the thought kept coming back to me.

(Okay quick side note, my friend and I came across a Kylo Ren action figure for The Last Jedi that says different phrases in Barnes and Noble recently, so I pressed it, and one of the phrases is just Kylo saying “Don’t be afraid” in a gentle tone and my friend and I were laughing because what kind of villain just says “don’t be afraid” even in their action figure? That’s like, the least threatening thing, so anyways...)

3) The Final Fight

I really, really liked the fight at the end, aesthetically it was beautiful. I really liked that neither Rey nor Kylo seemed to overpower the other, even though Kylo should’ve easily been able to overpower Rey because he’s physically stronger and has had more experience and training.

The fact that Kylo says “It’s just us now” clearly to Rey honestly made me laugh because Finn is standing literally right there, but Kylo clearly doesn’t view him as a threat because he knows that Rey is strong with the force and therefore, she is more of a threat to him. A lot of what Kylo says can actually be applied to Rey too, which I find interesting. When he says “Han Solo can't save you,” yes he’s talking to Rey but he’s also talking about himself, as he believes Han Solo was unable to save him.Then he’s obviously not trying to flat-out kill Rey in their fight, he’s trying to get her to join him because he believes he can train her (“I can show you the ways of the Force”) which also surprised me.

It was interesting to see Kylo weakened by his wicked act, instead of strengthened as he thought. This, to me, meant that he still had the potential for light and redemption in him, given enough character development in future movies. I’m excited to see what The Last Jedi and Episode IX holds for him, and what they decide to do with his character. All I’m saying is, he has a lot of potential for a good redemption arc, as the foundation has already been laid for it.

PART 4: ENDING THOUGHTS

I think that both reylos and “antis” have a lot of valid points, but miscommunication seems to be a main problem.

I guarantee you that literally no reylo wants Kylo Ren and Rey to make out, like, right now, as it stands with the ending of The Force Awakens that we know. They need Kylo to go through a redemption arc FIRST and there needs to be a lot of things that need to change for this to occur. If Kylo Ren didn’t threaten Rey in any way in this movie then they would not be enemies, and there would practically be no plot. Also, I’m pretty sure no one wants Rey’s story to be eclipsed by Kylo or her story to revolve around saving him. This should come about through Leia/himself. But also, love does not make a character inherently weaker.

Right now, Rey and Kylo are enemies, on opposite sides of a war. But they have a lot of potential for the “Enemies to Allies to Lovers” classic trope (with TFA as enemies, TLJ as allies, and then ep 9 as Lovers) But things must proceed in this order for this to occur. There is no skipping stages here. It is their potential for more which intrigues reylo shippers so much.

Personally, I am intrigued by their yin and yang, with one person in the dark being drawn to the light, another in the light being tempted by the dark, and I want them at least to team up (it could remain platonic) to bring balance to the force. To me, seeing this play out would be extremely satisfying, and be something unlike what Star Wars has done before.

Now, if you don’t ship reylo or don’t want Kylo Ren to be redeemed, awesome. That’s your opinion and you are free to have it. I don’t wish to start arguments or discourse, I simply wanted to vent some thoughts. This post shows my opinions, which I am also free to have. Thanks for reading about it!

#kyloclub #reylo #kylo ren #rey #tlj #tfa #leia #meta #ben solo #my meta #the last jedi #the force awakens #star wars #sw #my thoughts

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hollyhark · 7 years

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CWU Soundtrack

Guys this CWU soundtrack is so ancient and sacred to me........... the doc I made for it in my g drive is titled ‘Kylo Hux Trilogy Soundtrack’

;_________________;

That’s how formative it was!! When I was in the initial throes of my obsession with this project I would just open the soundtrack doc in a tab and review it obsessively, tweaking the ~selected lyrics~ and sometimes swapping out songs, just. Basking in how cinematic this project felt in my mind. Wah.

I originally wanted the soundtrack (& my asinine notes on it) to be its own AO3 post as part of the series, for posterity, and these were my notes in that regard lol:

Title: Children, Wake Up

Summary: Now you see me / Now you don’t / Now you say you love me / Pretty soon you won’t.

A soundtrack for my Kylux series. [!!!]

(those lyrics are from Dilaudid by The Mountain Goats, which is SONG FOUR within~~)

THE SONGS (+more overly earnest commentary! This was the overly earnest period in my life, it served me well tbh) are under the cut:

1. Arcade Fire - Wake Up

The song that inspired the title! I actually don’t have a lot to say about this one, it just felt perfect in tone and lyrics for an opener/theme song for this fic.

2. Icona Pop - Sun Goes Down

My original note for this was “Ben Solo meets his new master” (the soundtrack is chronological for the events of the fic!) I know this is way way too on the nose for a Kylo song because of the vocoder-like effect lol but it did inspire Snoke/Dala’s character in the early stages...! And I still love it.

3. Perfume Genius - Learning

This is a Hux song. Hux at the Academy. All of these songs still make me emotional and probably always will but this one in particular takes me back to where I got my whole initial take on the Hux character from.

4. The Mountain Goats - Dilaudid

My original note for this song was “Kylo Ren destroys Ben Solo.” This was basically my BEN LEAVES HOME IN A BLAZE OF MURDER song. It would give me goosebumps every time I listened to it, especially ‘and take your foot off of the brake, for Christ’s sake!’ There’s so much menace and dread in this song but it’s this sad, empathizing menace, and the dread feels very active rather than passive?!

5. M83 �� Wait

This is the other song that I still get enormously emotional about (ok I’m gonna say this about at least half of them, I’m typing this as I go down the list SO). “Kylo leaves Rey on Jakku.” This was my tragic cousins song, and that this is the cover of the album (“Hurry Up, We’re Dreaming” ;__;), welp.

6. Ben Folds Five - Philosophy

My note for this one was “General Hux, lite.” This is the youthful, succeeding Hux! This song always makes me think of Mitaka serving under Hux, too.

7. Aimee Mann - Deathly

My note for this one was “Hux’s first and second impressions of Kylo Ren.” I think it’s the right tone for how he feels in the Life Sentence part of the story, like, he already knows this isn’t ending well for him. But he’s still into it.

8. Okkervil River - A Stone

Oh man this song. My note was “Ren leaves the Finalizer for the last time. Hux watches him go.” So the ‘stone’ in the song is Snoke & Snoke’s teachings. The long story behind my attachment to this song is really the long story behind the whole CWU series, in that I was working on an original project the year before and getting increasingly frustrated with it-- I realized why in part because I got fixated on this song, which is a(n intentionally, I assume) creepy “nice guy” song that made me realize my villain in the thing I was working on was much more well-developed and interesting than the MC’s blah love interest, and then I dove into writing this villain x villain verse for all of 2016 and it was cathartic. The ‘who once gave just one rose, one day, years ago’ still kills me because it’s the actual most romantic fucken thing.

9. Location – Freelance Whales

Song No. 9 was originally From Eden by Hozier, and I still like that song as a bonus track for their (somewhat happier??) times at the house on the cliff. But I was informed about this song by @eckcro in February 2016 and the more I listened to it the more I realized it was the Actual Perfect Song for the Ceasefire portion of the story. I don’t even know what to say, it’s perfect. It’s the house on the cliff song.

10. Bon Iver - Holocene

Oh mannnn this song was so important to the development of this story, it was the bridge between their leaving the house on the cliff and going to the island (my note on the original doc was “Kylo’s epiphany”) and in that sense it was also what first inspired me to think about the fic even beyond that, in terms of what would happen after they left the island. The ‘once I knew I was not magnificent’ [...] ‘I could see for miles, miles, miles’ still destroys me. Kylo ;__;

11. Aimee Mann - Just Like Anyone

Oh here’s another song that makes me cry. This is “Luke’s reflection on Ben’s leaving” according to my notes. Basically Luke’s feelings re: Ben. We’ll see if canon reflects this or not lol but I like the idea that Luke could feel this along with whatever rage and bitterness is there also.

12. Sufjan Stevens - Death With Dignity

This was a late-ish addition that saved my life when I wrote Chapter 14. “Ren faces Snoke” is my note. An anon rec’d Fourth of July by Sufjan to me in May 2016, as a song that reminded them of the series, and I loved it and ended up listening to the rest of the album, too, which lead me to this song, which I listened to on loop while writing Chapter 14 and Ren’s first confrontation with Dala. I feel like the lyrics fit what I had in store for Ren in this first confrontation eerily well.

13. Alice Boman – Waiting (PAL Remix)

My original note for this was “Now what” lol this was one of the first songs that became thematic for me as I was planning the story, when the plot was way more focused on Hux being angry and closed-off during his incarceration. At this point it’s more of a ‘writing CWU’ theme song for me than reflective of what the story turned into, but maybe even more sentimental therefore, and it still embodies my original feelings about this pairing.

14. Sting - Fortress Around Your Heart

My note for this was: “Life in the city after shit went down” fffff-- and in part because this was the theme song to a post-game FFVII epic that I got about halfway through back in 2005. The third part of CWU has a lot of the same themes and felt like a redemption arc FOR ME in terms of actually finishing a fic that was grand in scope like that one was. And the first line is the title of the third installment ofc.

15. Elliott Smith - Between the Bars

Jailbirds in separate cells song. The original idea of the third part was sooo focused on the jail, ha.

16. The Extra Glenns - Going to Marrakesh

I’ll just quote this one:

The fog is lifting from the water.

The bells are sounding on the boats.

And our love is a monster, plain and simple.

Though you weigh it down with stones to try to drown it,

It floats.

17. Hannah Georgas - Don’t Go

This wasn’t in the original soundtrack but was so important to me when I was working on the final action with the triangulation and the Infinite, it earned a spot. This is like, dreamy between-worlds desperate love stuff.

18. Pools To Bathe In -- The Japanese House

Another that wasn’t on the original soundtrack but I think it ultimately became the most important song. I could write a whole essay about how this song functioned for me at this time in my life, when I was trying to make the conclusion of this huge thing I’d worked on all year work, it was just hugely inspirational. Hearing it will always take me back to that scene where they leave in the transport that Wedge helped Hux repair and they’re finally alone together and headed into the unknown. I love huge epilogues so of course I wrote TWO in the final chapters, but the soundtrack ends where the climax of the main action does, which is in that moment <3

#cwu verse #music

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sfdfmoviereviews · 6 years

Text

Upcoming Flicks January 2018

Here are the upcoming films being released in Australia in January 2018, accompanied by my personal thoughts of them.

January 1

· Pitch Perfect 3

The girls have reteamed for one last hurrah and are on tour with the USO, singing for the troops overseas, along with some other musical groups. Genre: Musical Comedy Director: Trish Sie Stars: Anna Kendrick, Rebel Wilson, Brittany Snow, Hailee Steinfeld, Elizabeth Banks, Anna Camp, Alexis Knapp, Ruby Rose Recommendation: I reckon it won’t be worth the price of admission. The first one was a great success. The oddball characters thrown together were comedy gold, but should not have been repeated. The sequel provided nothing new and now I think they are milking a cow that’s giving sour milk. It’ll be aca-crapa.

· Three Billboards Outside Ebbing, Missouri

After the police fail to solver her daughter’s murder, Mildred Hayes buys advertising space on local billboards slamming the local police. Genre: Comedy/Crime/Drama Director: Martin McDonagh Stars: Frances McDormand, Woody Harrelson, Sam Rockwell, Abbie Cornish, Lucas Hedges, Caleb Landry Jones, John Hawkes, Peter Dinklage Recommendation: Three Billboards won the People’s Choice award at the Toronto Film Festival, is being critically acclaimed. There is a fantastic cast with what looks to be a compelling story and characters. I think this is the perfect movie to start 2018.

January 4

· All the Money in the World

Inspired by true events, All the Money in the World is the story of the kidnapping of John Paul Getty III, whose rich oil giant grandfather doesn’t hand over the $17M the kidnappers are demanding. Genre: Thriller Director: Ridley Scott Stars: Christopher Plummer, Mark Wahlberg, Michelle Williams, Charlie Shotwell, Charlie Plummer Recommendation: You may have heard about this movie after Ridley Scott recast and reshot the film with Christopher Plummer after the controversy around Kevin Spacey. Probably a better choice anyway as Plummer would be closer to the age of the tight-arse grandfather. The trailer looks good. It has an intense spy thriller vibe. See it.

January 11

· Darkest Hour

Darkest Hour is the war biopic of Winston Churchill as he is sworn in as Prime Minister of Great Britain just prior to the first World War. Genre: War/Biopic Director: Joe Wright Stars: Gary Oldman, Lily James, Ben Mendelsohn, John Hurt Recommendation: See it. It’s a great piece of history concerning an integral person who changed the course of the world. Plus, you cannot go wrong with Gary Oldman.

· The Nut Job 2: Nutty by Nature

Some animals need to stop a greedy mayor from destroying their bit of nature for an amusement park. Genre: Animation Director: Cal Brunker Stars: Will Arnett, Gabriel Iglesias, Jeff Dunham, Katherine Heigl, Jackie Chan, Maya Rudolph, Isabela Moner, Bobby Cannavale, Sebastian Maniscalco Recommendation: To quote my wife “There was a Nut Job 1?” I’m surprised they made the second. Skip it.

· The Post

The U.S.’s first female newspaper publisher uncovers government secrets that have spanned four presidents, and seeks to make them public. Genre: Biographical Drama Director: Steven Spielberg Stars: Meryl Streep, Tom Hanks, Sarah Paulson Recommendation: Spielberg, Streep and Hanks. The three biggest names in Hollywood comes together to make a hard hitting bio drama. Count me in. Spielberg is my favourite director and Hanks is, in my opinion, the greatest working actor today. You cannot miss this. Also, everything about it screams Academy Awards.

January 18

· Maze Runner: The Death Cure

Thomas and his mates must break into the Last City, the deadliest maze of all in the third and final instalment of the Maze Runner series. Genre: Sci-Fi/ Adventure Director: Wes Ball Stars: Dylan O'Brien, Thomas Brodie-Sangster, Ki Hong Lee, Kaya Scodelario, Katherine McNamara, Giancarlo Esposito, Rosa Salazar, Barry Pepper, Aidan Gillen, Patricia Clarkson Recommendation: At least the Pitch Perfect cow was giving sour milk. This is like milking a dead cow. Critics and audiences agree that the first was average at best, and the second was just plain terrible. May as well complete the trilogy, I suppose. Skip it.

· Swinging Safari

This Australian comedy shows us the sexual swinging 1970s in a small beach-side town. Fearless kids and carefree parenting by day, key party by night. Genre: Comedy Director: Stephan Elliott Stars: Guy Pearce, Kylie Minogue, Radha Mitchell, Julian McMahon, Asher Keddie, Jeremy Sims, Jack Thompson Recommendation: Australian comedies set in the 70s and 80s are hilarious. I loved the trailer for this. Elliott directing Pearce again with Neighbours legend Minogue (I also think she sings) tops it off for me. Julian McMahon… I haven’t seen him since he shimmered out of Charmed. See it.

· The Commuter

Michael, an insurance salesman, is riding the train home when things go amiss. Michael gets caught up in a criminal conspiracy and races the clock to uncover a mystery passenger before it is too late for them all. Genre: Action Director: Jaume Collet-Serra Stars: Liam Neeson, Vera Farmiga, Sam Neill, Patrick Wilson Recommendation: Collet-Serra sure likes to get himself a bit of Neeson. I suppose we are lucky he wasn’t cast in the Shallows or the shark would never have had a chance. It’s weird. The start of the trailer intrigues and surprises me. It mystery aspect has me yearning to see it but then the last half of the trailer makes it seem like a generic Liam Neeson actin flick on a train, which has me yawning, so I’ll give it a 50/50 chance of it being any good.

· The Shape of Water

During the Cold War, a mute cleaner of a top secret government laboratory forms a relationship with their experiment, a creature who looks like should have come from the Black Lagoon. Genre: Fantasy/Romance/Thriller Director: Guillermo del Toro Stars: Sally Hawkins, Michael Shannon, Doug Jones, Michael Stuhlbarg, Lauren Lee Smith, Octavia Spencer, Richard Jenkins Recommendation: This really looks fantastic. I have been looking forward to it for a long time. Coming from the mind of del Toro with this cast and Doug Jones (aka Suru from Star Trek Discovery) as the creature I have high hopes that I’ll be talking about this in my ‘Best of 2018’ list.

January 25

· Den of Thieves

Den of Thieves follows a group of bank robbers who have their eyes set on the Federal Bank, while the elite unit of cops with unconventional police morals chase them around every turn. Genre: Action Director: Christian Gudegast Stars: Gerard Butler, 50 Cent, Pablo Schreiber, O'Shea Jackson Jr., Recommendation: Skip it. There is nothing new here.

· I, Tonya

If you were curious about the upbringing and what led to Tonya Hardings ice skating success and her attack of a fellow competitor, this is your chance to find out. Genre: Biographical drama Director: Craig Gillespie Stars: Margot Robbie, Allison Janney, Sebastian Stan Recommendation: Who knew ice skating could hold so much potential for a decent crime drama. Surprisingly, I am keen for it. See it.

· Sweet Country

Based on a true story, Sam, an aboriginal stockman, in the Northern Territory in 1929, kills the white station owner in self defence and goes on the run. Sam and his wife flee into the outback only to give themselves up due to the health of his pregnant wife. Genre: Biographical Crime Drama Director: Warwick Thornton Stars: Bryan Brown, Sam Neill, Hamilton Morris Recommendation: Sweet Country looks to be a great Australian western. There is such a rich story to be told here and the trailer has me wanting to see how it all unfolds. See it.

As usual, January in Australia is mostly biopics and Oscar bait films with a few shit ones thrown in for good measure. My picks for the month are The Post, The Shape of Water and for a good laugh, Swinging Safari. Let us know what you are planning on seeing.

-Terry

#upcoming flicks #terry #pitch perfect #3 billboards #all the money in the world #darkest hour #nut job 2 #the post #steven spielberg #maze runner #swinging safari #the commuter #the shape of water #den of thieves #i tonya #sweet country

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lareinesophie · 7 years

Text

HELLO darlings!! I had originally intended to get this blog on a good start by posting a sober, scholarly (and as yet unfinished) essay on the intricacies of Lady Lesso’s character, but then I got a much better idea, that is—

Repost this prompt with your own response: Write that one thing you really desperately wish will happen in the second SGE trilogy, but which in all likelihood won’t, and CHALLENGE: COME UP WITH THE CRAZIEST, MOST CREATIVE, MOST OUTLANDISH, MOST ABSOLUTELY MENTAL EXPLANATION as to how it just might be possible, even as it’s highly improbable.

Mine is that Lady Lesso is the character resurrected, because “who ever heard of a witch that really died? You can always get them back.” (Chronicles of Narnia: Prince Caspian, Chapter XII). I’m not talking about a zombie!Lesso literally being brought back from the dead, tho I wouldn’t put it past Hester to sneak to Lady Lesso’s grave/probably-still-unburied coffin in the Garden for Good and Evil and attempt necromancy or whatever serious black magic that Rafal had performed to reanimate the Old villains. (Tbh Hester totally would bc she’s such a huge Lady Lesso fangirl; look at how she shamelessly appropriated Lady Lesso’s life advice to Sophie as her graduation quote in the Ev-Nev Handbook. I bet she reads The Tale of Sophie and Agatha again and again just for the bits in which Lady Lesso appears and cries heavy black mascara tears and spooks Anadil’s rats with this Overwhelming and Uncharacteristic Display of Sentiment.) But anyway, my pet wacko theory is: So we know that Lady Lesso had appointed Sophie her successor as Dean and gifted her her sharp-shouldered purple gown before tying Aric up & freeing Professor Dovey & all that, but what if she had also… *dramatic pause*… enchanted all the mirrors in the School for Good and Evil and saved fragments of her eternal soul in them (like with Horcruxes), not bc she was afraid that Aric would kill her, but rather she wanted to keep an eye on Dean Sophie and continue to guide her from beyond the grave!!

“[…]I’ll always see you as my student, Sophie. And when you lose your way, I’ll be there in the shadows, your Evil fairy godmother, pushing you towards your destiny like a wind behind a sail. Even when you lose sight of what that destiny is.” Sophie could see there was more Lady Lesso wanted to say, but she was holding back. Instead, they just gazed into each other’s eyes[…]”

The Last Ever After, Part ii Chapter 29. “Who’s Helping Who?”

Everyone knows about Sophie’s obsession with mirrors and that she spends all day preening in front of one, doing her make-up instead of her schoolwork. It’d make perfect sense to observe Sophie thru a mirror and it’s certainly the most effective method of spying on her. Also, although mirrors were more plentiful in the Good castle, they’re really an Evil artefact associated with vanity and with the greatest villains. For instance, the “Enchanted mirror belonging to Leandra of Frostplains (aka The Frost Queen)” is displayed in the Exhibition of Evil, and Little Snow-White’s Evil stepmother famously owned a rather opinionated talking mirror that basically mansplains her and makes her insecure about her body image, and in horror movies and the “Bloody Mary” urban legend the ghost always passes into the mortal realm through a mirror. Given her deep knowledge of fairytales and of everything Evil, Lady Lesso would have been very familiar with the magical properties of mirrors. Furthermore, having been a “sensational” witch back in the day (TLEA), she would have been well-versed in “the art of life-extension”. Indeed, being both Dean of Evil and Professor of Curses & Death-traps, she must have been until her death the most powerful and knowledgeable witch in the Woods; notice that she was revered even by Evers for her prowess in casting spells—the magical purple-tinged shield she cast in over the Schools for Boys and Girls could withstand the continuous onslaught of the entire prince population in the Woods. A life-preservation spell involving soul fragmentation & a mirror is likely child’s play for her.

[..]the two boys watched more feral princes climb through the hole in the broken shield. “You must be quite the magician to crack it,” said Tedros finally. “Lady Lesso cast that shield herself.” Aric didn’t reply.

A World without Princes, Part II Chapter 13. “The Supper Hall Book Club”

In short, Lady Lesso could and would cast a spell preserving part of her consciousness within a mirror/several mirrors; she had both the means and motivation for doing so. But — and things get even more FANTASTIC from here on — a tiny caveat: Remember that mirrors are more plentiful in the Good castle? In fact, practically all the mirrors in the School for Good and Evil are found exclusively in the Good castle; in Book 1 Sophie had complained about not being able to find a single mirror in the Evil school and had resorted to improvising one in her dorm by flooding the floor, and when she did get a proper mirror it was the one Agatha had removed from her dorm in the Good school. Professor Manley’s Uglification classroom did have “desks with rusty mirrors”, but you’d bet Dean Sophie had those thrown out in one of her first acts as Dean and replaced them with very classy and very expensive antique mirrored stations ordered from Putzi, much like those in Professor Anemone’s Beautification classroom (AWWP), Manley’s protests notwithstanding. (“BUT THEY’RE PRICELESS ANTIQUES!” “SO ARE MINE! AND MINE ARE ACTUALLY CLEAN AND FREE OF TRACES OF TADPOLE GUTS!”). And there’s the Ice Queen’s Enchanted Mirror in the Exhibition of Evil, which Lady Lesso did not touch due to it being a priceless artefact from Evil’s glory days and a token of Evil’s greatest triumphs (and for sentimental reasons too — The Frost Queen was her “favourite tale of all”), and which in any case was still languishing under a thick layer of dust in the tiny broom closet that housed the Exhibition, because Dean Sophie had evidently not seen fit to move the Old Evil relics to more dignified settings. Or rather, there simple was no room for them in the new museum (the ‘Temple de la Gloire de Sophie’) that housed all the items from her fairytale, and seeing that she was the only Never to win a fairytale in centuries, there wasn’t any point in making room for the remains of losers; it might demoralise new Nevers to see that their greatest heroes were this rotting vine of thorns (Vera of Woods Beyond) and a bunch of dead stuffed animals. And lastly, there’s probably a mirror in the private living quarters of the Dean’s office, given that Lady Lesso admitted she had “a vanity that is rare among Nevers”, but Sophie had taken up residence in the School Master’s Tower and set about renovating it into a five-star hotel, and decorated it not with massive jewelled mirrors from the Good School but with the finest silver-backed floor-to-ceiling mirrors ordered directly from the Putsi Metal Shop, the same company that supplied the chair-and-mirror stations for the new Evil Groom Room.

Sooooo mirror!Lady Lesso has had absolutely no opportunity to catch up on Dean Sophie’s doings and gleaned zero intelligence on what’s going on in the Evil School, and worse, is subject to a constant, unending barrage of vain, vapid Evers preening in front of the mirrors every spare moment. And she’s regretting her life decisions terribly and at first she vents by haunting the Evers but then feels bad bc the frightened Evers go crying to Professor Dovey who has to comfort them lest she receive angry letters from their haughty royal parents inquiring about “a POLTERGEIST in the GOOD SCHOOL?! WHAT HAS THIS SCHOOL COME TO? FIRST YOU LOSE EVERY COMPETITION, THEN YOU STOPPED HOSTING SNOW BALLS ETC. ETC.” and these missives are often laced with threats to sue the school for criminal incompetence.

BUT THEN Dean Sophie decides she wants to throw an Evil Snow Ball for Christmas, with the exact same winter wonderland aesthetic as that of previous Snow Balls, but as she invited the whole School and not just the Nevers, she needs more entertainment venues to ensure there’s room for everyone and that everyone has a good time, so the dungeon is converted into a carnival of wintry amusements, AND SHE TURNS LADY LESSO’S ICE CHAMBER CLASSROOM INTO AN ICE-SKATING RINK. Aaaand for final touches, as the dungeon walls are a little bare and gloomy for such a joyous occasion, Sophie convinces the Evers to loan those massive jewelled mirrors in the Good castle to Evil for a night, so as to pretty up the place and brighten the rooms by reflecting the dancing fairylights. And the Evers carry a whole lotta mirrors, practically every mirror in school, into the Evil castle, and Lady Lesso, who’s trapped within these mirrors, sees what Sophie has done to the Evil castle and FLIPS OUT, LIKE, WHY ARE THERE EVERS IN THE EVIL CASTLE!!??? IN HER CLASSROOM??! SOPHIE HAD DONE WHAT TO HER CLASSROOM?? AND WHY WAS EVERYONE GLIDING ON…KNIFE BLADES?? HOW TRIGGERING ESPECIALLY SINCE SHE HAD BEEN STABBED TO DEATH WITH ONE OF THOSE THINGS… Then Sophie pirouettes in and stops before a particularly handsome mirror (and mirror!Lesso) to admire her cute little ice-skating outfit and matching silver skates, her long golden locks swept elegantly upward and pulled into a tight dancer’s bun, and intoxicated by her own appearance, she leans in so close that her face is barely an inch away from the mirror and her eyelashes graze the mirror’s surface in a butterfly kiss, and she croons dreamily “Mirror, Mirror, on the wall,/ Who’s the fairest of them all?” And she opens her eyes to find…Lady Lesso glaring back at her, face literally white as snow (and thus fitting in perfectly with the ice decor) bc of how angry and horrified she is at what Sophie has done. Now, Lady Lesso had never shivered in her frozen classroom, but then and there during the Evil Snow Ball, she trembled uncontrollably with rage.

#i promise my actual essay is better than this trashfic #lady lesso #sophie of woods beyond #lareinesophie original #sge theories

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mrwrightcool · 7 years

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Answer all the gd asks!

Ok. Wow. As well @chitownpunkgirl asked for 6,8,10. 1. What’s your favourite album art?Probably warning, that picture of the boys sticks in my head. 2. Which era gd would you want to meet and why?RevRad! Without a doubt! The guys all seem happy and healthy and loving life. 3. Have you met any of the band members? Tell the story!I wish. :( 4. What’s your favourite track from each album?These are not in order...At the Library or 409 in your Coffeemaker (depending on which “first album”)Dominated Love Slave (kerplunk)Coming Clean (Dookie)Panic Song (Insomniac)King for a Day (Nimrod)I want to be on TV (Shenanigans)Homecoming (American Idiot)Blood, Sex and Booze (Warning)21 Guns (21CB)Let Yourself Go, Nightlife, X-Kid (Trilogy)Youngblood or Bouncing off the Walls (RevRad) 5. Which of Billies hairstyles is your favourite? Um. I dunno either the way it is now or Woodstock ‘94 Blue hair with or without mud. 6. What are some of your favourite lyrics?Jesus of Suburbia in its entirety. I also love the lyrics to Blood, Sex and Booze with its clever gender swap. 7. Do you have any gd tattoos? Nope, some day. 8. Why do you like Green Day so much?Other than being with the times and timeless at the same time they speak to my inner angst and my need to help others. They talk the talk and walk the walk even now as successful wealthy musicians. They have a way of drowning out the bad stuff in the world even temporarily for a little bit and reminding me that the bad stuff won’t last forever. 9. What’s your favourite picture or video of gd? Post it!On mobile, will post in a bit. 10. Do you have a favourite gd quote?I do, but I can’t find it. I’ll post it later. I’m not even sure if they said it. (Although I love what Mike says in BIAB about how he hates when people say “you’ll do great! You always do!” I relate)11. Fuck marry kill Billie Mike Tre?People always hate me when I do this. Fuck Mike, Marry Tre, Kill Billie. (Sorry Beej)12. Is there any songs you don’t like?I’m not a big fan of some of the trilogy songs and I don’t understand the appeal of Macy Day Parade. I’ll listen to any of their stuff though. 13. If you could only listen to three albums for the rest of your life what would they be?Dookie (American Release so I get All By Myself), American Idiot & RevRad. 14. What’s one question you’d ask the band if you got the chance?Other than to Tre can I have a hug? I’d ask what the secret to their long lasting friendship is.

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theonyxpath · 7 years

Link

Hi, everyone! Rich and Lisa are on vacation this week. Eddy sometimes picks up the slack when they’re gone, but he’s also on vacation, so I leaped at the opportunity to make a fool of myself here in my inaugural MMN post. So fair warning: if you have any questions about the minutiae of our different projects, my answer is probably going to be some variant of “gosh, I don’t know, but I’ll talk to Rich when he gets back.” Consequently, this post will probably be shorter than Rich’s posts tend to be.

Gen Con 50 looms ever closer, a mere ten days away (thus eight or nine days until we leave for Indianapolis), and we’re totally not panicking. At least, some of us aren’t. The Gen Con Twitter account announced earlier that almost all passes are completely sold out: they expect to sell out of their remaining Friday passes this week. So clearly, this year’s Gen Con is going to be huge. I have no idea how many passes are available in total, but there were just shy of 61,000 attendees last year. It’s crazy to think that there won’t actually be a booth from which to buy passes at the show, because all of them are already gone. We hope to see you there!

Those of you who have gone in recent years may remember the limited promotional buttons we’ve had on hand, such as the Pugmire breeds and callings or Scion 2nd Edition’s pantheons. This year’s buttons may be of interest to fans of the Trinity Continuum‘s Æon setting. If you’re not, fear not: other designs will still be available, as long as our limited supplies last.

Speaking of which, last year’s Storypath System Preview makes a return, although where last year’s was focused on Scion, this year’s is focused on the Trinity Continuum. The contents are similar, just with a different flavour. The cover illustration is absolutely amazing and I can’t wait to share it with everyone.

What I will share is this illustration from that upcoming preview. She occupies the same conceptual space as the Lara Crofts and Nathan Drakes of the world, in search of ancient artifacts and tomes of knowledge, armed with nothing but her wits (and maybe a sidearm or two). I haven’t named her yet, but she doubtless works with the Global Cartography Initiative. Or perhaps even Les Fantômes.

She’s the very first illustration made for the modern-day Trinity Continuum setting. She’s illustrated by the returning Leif Jones, who was one of the key artists who helped establish the look of both Trinity and Aberrant when they were originally released 20 years ago.

Gen Con prep aside, Saturday we wrapped up our Kickstarter for Chronicles of Darkness: Dark Eras 2, the sequel to our previous Dark Eras, and we closed with $60,593 of our original $40,000 goal! Thanks to everyone who contributed. We achieved a few extra eras out of stretch goals, and some of our backers will either expand on those eras or resurrect others from the polls we ran. We’re looking forward to seeing how the book comes together! As always, watch this space for more details as development continues.

The Dark Eras 2 Kickstarter was the first place we revealed the Deviant skull, which Rich posted last week, but I thought was cool enough that I’ll post it again. Also, I don’t have access to Rich’s vast store of yet-unpublished art so I’m trying to jazz this up as best as I can. Here’s that delicious Deviant teaser text again:

You woke up…different. Someone changed you; on a slab, an operating table, an altar. By luck or by fate, you escaped. Hunted by the ones who made you, they hold all the cards. Except one thing, what they don’t know is that a fire burns within you because what they did wasn’t right. What they don’t know is that YOU’RE hunting THEM.

Deviant presents a game where the victims of experiments band together to bring down the monolithic organizations that twisted and warped them.

Finally, I think I heard Mike say that the last couple of standalone chapters from Dark Eras will be ready for sale this Wednesday, but don’t quote me on that. I’m not sure if we’re going to have anything up for sale next Wednesday, because we’ll all be busy setting up our booth in Indianapolis, but we’ll at least be posting our 2017-2018 brochure sometime over the weekend, and I know you’re all looking forward to that.

I have no idea how Rich organizes the Blurbs section or how long he decides to keep something posted, so rather than risk his great and terrible wrath, I’ll just leave it as-is. Production status below has been kept with the same format, although the information’s been updated accordingly.

And, to channel the late Walter Cronkite, that’s the way it is. See you all next week!

BLURBS!

ON SALE!

ON AMAZON:

We’re delighted to announce the opening of our ebook store on Amazon! You can now read our fiction from the comfort and convenience of your Kindle. Our initial selection includes these fiction anthologies: Vampire: the Masquerade‘s Endless Ages, Werewolf: The Apocalypse 20th Anniversary Edition‘s Rites of Renown: When Will You Rage 2, Mage: The Ascension 20th Anniversary Edition‘s Truth Beyond Paradox, Chronicles of Darkness‘ God Machine Chronicle, Mummy: The Curse‘s Curse of the Blue Nile, and Beast: The Primordial‘s The Primordial Feast!

And now you can get these books in the Barnes and Noble Nook store too!

Vampire: The Masquerade: The Endless Ages Anthology

Werewolf: The Apocalypse: Rites of Renown: When Will You Rage II

Mage: The Ascension: Truth Beyond Paradox

Chronicles of Darkness: The God-Machine Chronicle Anthology

Mummy: The Curse: Curse of the Blue Nile

Beast: The Primordial: The Primordial Feast Anthology

And here are six more fiction books:

Vampire: The Masquerade: Of Predators and Prey: The Hunters Hunted II Anthology

Werewolf: The Apocalypse: The Poison Tree

Werewolf: The Apocalypse: Songs of the Sun and Moon: Tales of the Changing Breeds

Vampire: The Requiem: The Strix Chronicle Anthology

Werewolf: The Forsaken: The Idigam Chronicle Anthology

Mage: The Awakening: The Fallen World Chronicle Anthology

Andand six more more:

Vampire: The Masquerade: The Beast Within Anthology (Kindle, Nook)

Werewolf: The Apocalypse: W20 Cookbook (Kindle, Nook)

Exalted: Tales from the Age of Sorrows (Kindle, Nook)

Chronicles of Darkness: Tales of the Dark Eras (Kindle, Nook)

Promethean: The Created: The Firestorm Chronicle Anthology (Kindle, Nook)

Demon: The Descent: Demon: Interface (Kindle, Nook)

Looking for our Deluxe or Prestige Edition books? Here’s the link to the press release we put out about how Onyx Path is now selling through Indie Press Revolution: http://ift.tt/1ZlTT6z

You can now order wave 2 of our Deluxe and Prestige print overrun books, including Deluxe Mage 20th Anniversary, and Deluxe V20 Dark Ages! And Screens…so many Screens!

ON DRIVETHRURPG.COM:

This Wednesday we will be adding new Chronicles of Darkness: Dark Eras shirts to our RedBubble store! Now you can support your favorite game lines in their historical versions!

Satyr Phil Brucato beckons you once more into the Annex of Mage: The Ascension with this 300 page follow-up to M20. The M20 Book of Secrets is NOW on sale in PDF and PoD versions at DTRPG.com! http://ift.tt/2tKyJtb

More Than Magick

For mages who think they have everything, this trove of treasures expands upon the wealth of material presented throughout Mage: The Ascension’s 20th Anniversary Edition. New Traits, new rules, essays, answers, information… the Secrets are revealed within.

Enter the Annex

Building upon the M20 core rulebook, this Book of Secrets features updated rules and setting material, such as…

An M20 FAQ Genres & Resources

Matters of Focus Justice & Influence

New Abilities, Archetypes, Merits & Flaws

Expanded Rules for Combat, Resonance, Wonders, Computer Systems, and More

This Ascension Continues…

Chomping it’s way to you comes the Dagger of Spiragos adventure PDF for Scarred Lands! This second in the Spiragos trilogy for levels 4-6 is now in both 5e and Pathfinder PDF versions on DriveThruRPG.com!

PF: http://ift.tt/2uvy38a

5e: http://ift.tt/2uS6FDT

The Titans’ Relics Must Be Destroyed!

Artifacts from the fallen titan Spiragos have been recovered, and forces are at work that would see them used for ill. The Dagger of Spiragos and the Ring of Spiragos are now in the player characters’ hands — and they must do what they can to rid Scarn of the foul relics of the titans, whatever the cost!

What Came Before

Dagger of Spiragos is a sequel to the 2014 Gen Con Scarred Lands Special Preview adventure, Gauntlet of Spiragos (available as a free download on DriveThruRPG. com and RPGnow.com). It is also the second adventure in the Spiragos Saga, with Ring of Spiragos, the dramatic finale, as the third and culminating title.

In Gauntlet of Spiragos, the PCs traveled to the legendary Chasm of Flies, where they discovered a tribe of spider-eye goblins who possessed relics of their fallen master, Spiragos. Now, with those items in hand, the PCs travel to the city of Fangsfall, where they must seek aid in destroying the foul objects.

But others wish to possess these items, too,

Sailing out of the dark, the V20 Dark Ages Companion PDF and physical book PoD versions are going on sale Wednesday on DriveThruRPG.com! http://ift.tt/2pX42dq

Travel the long roads and deep seas in search of power and experience danger, or tackle the wilderness to hunt monsters and face death. Settlements large and small dot the black expanse with the promise of sanctuary, life, and community. These bastions of civilization present cold comfort, when playing host to vampire warlords and sadistic Cainite faiths. Whether led by a Prince, a coordinated belief, or hounded by monsters from without and within — no domain is truly the same as another.

Dark Ages Companion includes:

• Domains scattered across the world, from small fiefdoms to massive cities. Bath, Bjarkarey, Constantinople, Rome, Mogadishu, and Mangaluru each receive coverage.

• Apocrypha including plot hooks, new Paths, and mysteries to explore in your games.

• A how-to guide on building a domain within your chronicle, including events and servants necessary to make a domain as functional or dysfunctional as you wish.

• A study on warfare in the Dark Ages period, so combat in your chronicles can gain authenticity and lethality.

From the Primordial to your Chronicles, Beast‘s Building a Legend has risen in PDF and PoD formats on DTRPG.com!

http://ift.tt/2u1BBkU

CREATING A CHRONICLE IS REWARDING…

…so why should the Storyteller have all the fun?

The whole troupe should get in on the action, making for a chronicle that reflects the preferences and predilections of all the players.

Building a Legend is a guide for doing exactly that — making a cohesive chronicle, starting with character creation, for Beast: The Primordial. It includes advice on creating Storyteller characters, folding in real world history, and populating the Primordial Dream.

From the massive Chronicles of Darkness: Dark Eras main book, we have pulled this single chapter, Dark Eras: Requiem for Regina (Vampire: The Requiem Elizabethan London 1593). We have shared the world with monsters for millennia. In Elizabeth’s London, vampires built their own empire brick by bloody brick while Elizabeth I cemented her grip on newly Protestant England. Carefully balancing demands from those with Catholic and Lutheran sympathies, she forged a police state. Yet London emerged as a thriving cultural center, and from the crucible emerged a Kindred society forever changed.

http://ift.tt/2sl0Zh4

On sale in PDF and physical copy PoD versions on DTRPG!

What dark secrets do the eldest vampires hold? Find out in Thousand Years of Night for Vampire: The Requiem! Advance PDF version available now on DriveThruRPG.com. http://ift.tt/2sV8lZR

You may think that with a multitude of people coming, going, dying and running away, we’d be tired, done, or ready to give up. Instead, I find myself restless, looking for the next thing. There’s always a next thing, and I for one am not yet ready to die.

– Elder Kincaid, Daeva Crone

This book includes:

• Detailed instructions on creating elder vampires, including how to base chronicles around them

• A look into the lives of elders, how they spend their nights, who they work with, and why including their roles in both their clans and covenants

• New Devotions, Merits, and Rituals for elder vampires

• The kinds of creatures that pose a threat to elder vampires, including Inamorata, Lamia, Sons of Phobos, a new elder conspiracy, and more

From the massive Chronicles of Darkness: Dark Eras main book, we have pulled this single chapter, Dark Eras: To The Strongest (Mage Death of Alexander 330-320 BCE). In the rise and fall of Alexander the Great’s Empire, armies marched and cultures clashed. In the birth pangs of Hellenistic civilization, Awakened sorcerers all over the ancient world met, fought, and joined together. In the chaos of Alexander’s assassination and the wars that followed, Cults became Orders amid conflicts still burning in the present day.

http://ift.tt/2tmTVl6

On sale in PDF and physical copy PoD versions on DTRPG!

From the massive Chronicles of Darkness: Dark Eras main book, we have pulled this single chapter, Dark Eras: Three Kingdoms of Darkness (Changeling and Geist China 220-280). Famine weakens the empire, and war splits it apart. It is an age of ambition and strife, where the hungry dead walk the earth in great numbers, and the Lost must rely on their own kingdoms. Warlords and commoners, ghost-speakers and orphans — who truly serves the Mandate of Heaven?

On sale in PDF and physical copy PoD versions on DTRPG! http://ift.tt/2rp8hPL

From the massive Chronicles of Darkness: Dark Eras main book, we have pulled this single chapter, Dark Eras: The Wolf and the Raven (Werewolf and Geist Vikings 700-1100). The Viking expansion across Europe comes at a pivotal time in history, as new faiths rose to challenge the old and new ways threatened to sweep ancient tradition aside. The Forsaken sail with raiders and explorers, seeking new lands to claim and new spirits to conquer, while Sin-Eaters walk the battlefields bringing the honored dead to their final rewards. The world grows larger and more dangerous by the day, but there are great rewards for those brave enough to fight for them.

On sale in PDF and physical copy PoD versions on DTRPG! http://ift.tt/2rUjKtX

Curated by Matthew McFarland, developer of Changeling: the Dreaming Twentieth Anniversary Edition and featuring authors such as Myranda Kalis, Wren Handman, and Peter Woodworth, this C20 Anthology of Dreams is on sale in electronic/PDF and physical copy PoD formats on DTRPG.com! http://ift.tt/2snBT0X

We dream, and we tell stories. We dream of love and the sort of person who might complete us. We dream of horror and wake breathless. We dream of magic, of flying through the air, or breathing underwater. We dream of fantastic vistas and amazing monsters.

We dream, and then we wake, and we tell stories. Our dreams create the Kithain, the changelings. Our stories are sustenance.

CONVENTIONS!

Gen Con 50 IS IN TEN DAYS. August 17th – 20th, Indianapolis. Our booth will actually be 20′ x 30′ this year that we’ll be sharing with Nocturnal Media and White Wolf. We’re looking at new displays this year, like a back drop and magazine racks for the brochure(s). FYI, the con is almost entirely sold out for the first time ever! Here’s the map again of where we’ll be:

In November, we’ll be at Game Hole Con in Madison, WI. More news as we have it, and here’s their website: http://ift.tt/RIm6qP

And now, the new project status updates!

DEVELOPMENT STATUS FROM ROLLICKING ROSE (projects in bold have changed status since last week):

First Draft (The first phase of a project that is about the work being done by writers, not dev prep)

Trinity Continuum: Aeon Rulebook (The Trinity Continuum)

M20 Gods and Monsters (Mage: the Ascension 20th Anniversary Edition)

M20 Book of the Fallen (Mage: the Ascension 20th Anniversary Edition)

C20 Novel (Jackie Cassada) (Changeling: the Dreaming 20th Anniversary Edition)

Monarchies of Mau (Monarchies of Mau)

Night Horrors: The Tormented (Promethean: The Created 2nd Edition)

Deviant: The Renegades (Deviant: The Renegades)

Redlines

Kithbook Boggans (Changeling: the Dreaming 20th Anniversary Edition)

Hunter: the Vigil 2e core (Hunter: the Vigil 2nd Edition)

Exalted 3rd Novel by Matt Forbeck (Exalted 3rd Edition)

The Realm (Exalted 3rd Edition)

Second Draft

WoD Ghost Hunters (World of Darkness)

Pugmire Fiction Anthology (Pugmire)

Ex Novel 2 (Aaron Rosenberg) (Exalted 3rd Edition)

DtD Night Horrors: Enemy Action (Demon: the Descent)

Dragon-Blooded (Exalted 3rd Edition)

Development

Signs of Sorcery (Mage: the Awakening Second Edition)

SL Ring of Spiragos (Pathfinder – Scarred Lands 2nd Edition)

Ring of Spiragos (5e – Scarred Lands 2nd Edition)

Pugmire Pan’s Guide for New Pioneers (Pugmire)

Scion: Origin (Scion 2nd Edition)

Scion: Hero (Scion 2nd Edition)

Trinity Continuum Core Rulebook (The Trinity Continuum)

GtS Geist 2e core (Geist: the Sin-Eaters Second Edition)

WW Manuscript Approval:

M20 Cookbook (Mage: the Ascension 20th Anniversary Edition)

C20 Ready Made Characters (Changeling: the Dreaming 20th Anniversary Edition)

Editing:

Changeling: the Lost 2nd Edition, featuring the Huntsmen Chronicle (Changeling: the Lost 2nd Edition)

M20 Cookbook

Post-Editing Development:

W20 Changing Ways (Werewolf: the Apocalypse 20th Anniversary Edition)

Indexing:

ART DIRECTION FROM MIRTHFUL MIKE:

In Art Direction

W20 Pentex Employee Indoctrination Handbook – Ellis is working on painting everything up.

Cavaliers of Mars

Wraith 20

W20 Changing Ways – AD’d and Contracted.

Ex3 Monthly Stuff

VDA Jumpstart

Scion Origins

Ring of Spiragos

Ex 3 Arms of the Chosen – Finals coming in.

Beast PG – Finals rolling in for most of the stuff.

VtR Half Damned – AD’d and Contracted.

Book of Freeholds

Marketing Stuff

In Layout

Prince’s Gambit – New Cards out for playtesting.

Beckett’s Jyhad Diary – Working up a test chapter this week.

Proofing

M20 Art Book – In progress…

At Press

Beckett Screen – Shipped to shipper.

Scarred Land PGs & Wise and the Wicked PF & 5e

Mau Wallpaper

Monarchies of Mau Early Access

Dark Eras: Lily Sabre and Thorn

Dark Eras: A Grimm Dark Era

VTR: Thousand Years of Night

Gen Con 2017 Brochure

Changeling: the Dreaming 20th Anniversary Edition (Changeling: the Dreaming 20th Anniversary Edition) – PoD uploaded and processing…

C20 Jumpstart PDF

CtL Huntsmen Chronicle Anthology PDF

TODAY’S REASON TO CELEBRATE: 1976: Viking 2 enters orbit around Mars. The Viking orbiters and landers revolutionized our ideas about the geology of Mars and the historical presence of water.

#Onyx Path Publishing

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