that is actually my main principle of explicit fic is that the personalities stay On during sex.
Game of Thrones Daily
trying on a metaphor
Jules of Nature
cherry valley forever
d e v o n
No title available
will byers stan first human second
One Nice Bug Per Day
Aqua Utopia|海の底で記憶を紡ぐ

bliss lane
almost home

titsay
EXPECTATIONS
Sweet Seals For You, Always
Stranger Things
𓃗
NASA

Product Placement
art blog(derogatory)
Monterey Bay Aquarium
seen from United States
seen from Colombia
seen from Australia

seen from United States
seen from Sri Lanka

seen from United States

seen from Germany
seen from India
seen from Spain

seen from United States
seen from United Kingdom

seen from Colombia

seen from Poland
seen from France
seen from Jordan
seen from Thailand
seen from Finland

seen from United States
seen from United States

seen from United Kingdom
@centaurianthropology
that is actually my main principle of explicit fic is that the personalities stay On during sex.
With the whole "Markiplier making his own DVD copies of Iron Lung to sell" thing, it's been fascinating and slightly concerning how many people seem to genuinely believe that if a physical release isn't coming from a giant corporation, it must automatically be a bootleg.
Look at me.
Look me directly in the eyes while I say this.
You can just make things.
You can simply create something and put it into the world.
That's allowed.
People have been doing it for centuries.
They sell blank VHS tapes. They sell blank DVDs. Blank CDs. You can buy flash drives by the bucketful if you really want to. If you create a movie, an album, a game, a documentary, or a four-hour video essay about the mating habits of fictional space goblins, you are entirely permitted to put that thing on physical media and sell it.
That is not piracy.
Piracy is taking something that belongs to someone else and reproducing or distributing it without permission.
If I buy a DVD of a movie, I own that copy of the movie. I do not own the movie itself. I didn't acquire the rights to duplicate it, press a thousand copies, and start selling them out of my garage like I've become the regional distributor for Warner Bros.
The copyright, distribution rights, and intellectual property still belong to whoever created it or whoever legally acquired those rights.
If I start burning copies of Iron Lung and selling them myself without Markiplier's permission, that's piracy.
If Markiplier, who made and owns the rights to Iron Lung, burns copies and sells them himself, that's just distribution.
He's the rights holder.
He's distributing his own work.
If you made it, if it came from your own mind, your own work, your own time, your own resources, then congratulations. You own the thing. You don't need a corporation to bless it with legitimacy.
The corporation is not what makes it real.
The fact that it exists is what makes it real.
I think we've accidentally spent so many years living inside a world dominated by mass-produced media that some people have developed the strange assumption that all media emerges from a factory somewhere. As if films naturally occur in shrink-wrapped plastic cases and descend from the heavens aboard a pallet truck.
But independent artists have been burning discs, dubbing tapes, printing books, pressing records, and mailing things directly to people for longer than many of us have been alive.
That's not a bootleg.
That's just a product.
It's not "bootleg."
It's just... leg.
The normal kind.
The original, free-range, locally sourced leg.
People asking why Artemis II matters, lemme tell you
1. First woman to enter deep space, Christina Koch, went as a mission specialist to help test the preventative measures against the radiation that causes cancer in the ships, and primarily affects women. It affects men too but less so. Christina's literally so inspiring to me.
2. This mission and further Artemis missions are testing safety concerns to help push the boundary of what we've been able to explore up to this point. Safety is the primary purpose of the trip. This is the first step to exploring Mars and further planets! Including Europa (my beloved.)
3. Before this, only 24 humans have ever entered deep space. Of that 24, 5 are alive today and they're all in their 90s. We very much needed a newer trip to help confirm or change whatever information we had from years and years ago. Having 4 living testaments of space exploration is a very important part of keeping said exploration alive.
4. Even though it wasn't the primary purpose of the trip, we've gotten so many rare pictures! Including my favorite "Hello, World" taken by commander Reid Wiseman:
It's the second photo EVER to have a fulll illuminated Earth hemisphere, the first being "Blue Marble". All other photos of the Earth have been spliced. Blue Marble was taken during the day and Hello, World was taken at night (the exposure has been lifted for clarity). It's my new favorite photo, it's so beautiful.
Christina is genuinely so fucking awesome!! They all are but she’s kinda my favorite right now, because admittedly I’m biased.
She worked for NOAA (The National Oceanic and Atmospheric Administration) for a while before NASA! She has been a scientist the whole time and afaik, did not do the military pathway first!
She did research on Antartica and other cool places with NOAA, which from what I’ve read really seemed to help get her (and probably others) in general for the isolation of space travel.
She’s incredibly well spoken (they all are) and genuinely seems to care about humanity and not be blindly patriotic (again they all do tbh).
She WEARS ACTUAL GLASSES IN SPACE!!! She’s the one who made me realize it’s not a disqualification anymore to need glasses! I learned that at least one or two of the others did too but she’s the first one I saw. I genuinely cried a little seeing her wearing glasses in Integrity.
OP, re point two: so so so excited about that in particular, I would love so much to be on a mission to go launch dropsondes onto Jupiter or Venus or really planet with an atmosphere for it. Like holy shit, Artemis II has made me really realize that I love weather and the atmosphere, but it’s ALL of them, not just Earth’s. (Wishing I’d had all the realizations I’ve had over the past 6 years or so before I started and graduated college, but late is better than never.)
WE ARE BACK TO DOING SO MUCH SCIENCE IN SPACE!!!! As a WORLD! The European Space Agency and the Canadian Space Agency are people we ate actively working within! India is launching unmanned craft to hopefully eventually launch manned craft! I believe so is China! Likely others I’m unaware of!! The world is actively working back up to explore space in so much depth! I’m so excited!!!
THE ECLIPSE PHOTOS ARE SO FUCKING BEAUTIFUL!!! My personal favorite from the lunar flyby.
Oh I am having such feelings about space and space exploration today. For all humanity’s numerous flaws, we are capable of such wonders.
please recommend some good letter collections to read!!
Apologies for the late response! This isn’t my area of expertise but some letter collections that I’ve enjoyed:
Marsilio Ficino, it goes without saying (sample pages from the Shepheard-Walwyn translation of Vol. 1. There are 11 in total)
Angelo Poliziano (link to where you can buy Harvard's I Tatti translation of vol. 1. I'm sure there are excerpts online - but the full of Angelo's writing generally must be purchased or procured through your library)
Lives of the early Medici : As told in their correspondence (this is a compilation of various Medici correspondence and has some great letters. Link to the Project Gutenberg page)
General Correspondence of Napoleon (I really like vol 1 which ranges from 1784-1797 as it's fun to see the early years of his life. There's an online archive that's quite extensive - but you need French. There are also English translations that exist of his correspondence)
Heloise and Abelard (Link to the Project Gutenberg page)
Love-letters between a certain late nobleman and the famous Mr. Wilson (not actual people, per se, but a fascinating look into queerness in early 18th c England. I absolutely recommend reading them and then reading around the letters as the history of their composition and the purpose they may have served is fascinating. Link to Internet Archive of the 1723 publication. Link to a used copy on amazon (yeah, yeah, boo hiss etc.) - this copy has additional text about the historical background of the letters and provides a good lay of the land)
Voltaire (Link to a selection of his letters - but there are so many. The man was like Ficino when it came to letter writing)
If you want to browse general letters from the enlightenment era there's an online database that has a lot of them. You'll find stuff from John Locke, John le Clerc, Henry Newton etc.)
Oxford has a database that specializes in letters from women in the early modern period that is really interesting to peruse
I hope at least some of this hits the spot! My tastes run early modern for the most part, so that is generally what I have to recommend.
There are tonnes of letter collections out there that are great and I've barely scratched the surface!
I am craving plotty, completed, well-characterized Bloodymary fic recs. Can anyone recommend a fic (or more than one!) that is complete, has a cool plot, and really nails the characterization of all involved characters? I’d prefer no AUs (beyond the obvious AU that is the premise behind Bloodymary), no Simon-thinks-Grace-is-an-angel (sorry to all who love it, but it feels like a mischaracterization of Simon to me, and also frankly feels a bit racist), and no pure fluff. I’d love some meat on the story! I’d love something that really engages with the themes in both pieces of media! I’d love a thoughtful exploration of both characters in a cool new plot.
Thanks!
I retook that early modern europe movement quiz and I think I changed only one answer and got a different result:
this was fun
This was a lot of fun!
I love how clearly the despair and deprivation of the world of ‘Iron Lung’ is communicated through two small and, I think, often misunderstood actions that Simon takes throughout the film. I’ve seen quite a few people laughing about how ‘silly’ it is that he gets a small cup of isopropyl alcohol and then just drinks it, or immediately bolts the entire canteen of water he finds. But to me, that is a wordless means of communicating the world that he lives in and the exact state of mind he’s in.
Simon lives at the end of everything. There are only a few thousand people left alive, and both humans and everything else are dwindling resources. EVERYTHING is running out, including time.
Simon has likely never lived in a world where he had time, or was guaranteed his next meal, his next breath, his next moment. Drinking all the water as soon as he finds it not only speaks to how long he’s likely gone without water (because why would you waste more precious food or water on a convict that is almost certain to die at the bottom of a blood ocean beyond what is base-line necessary to keep him functional?), but it also shows a survival strategy. If everything is scarce, then trying to ration resources opens you up to having someone else take them away. It’s likely to be an instinct at this point: if he gets something, he consumes it immediately before someone else can take it from him. And that instinct is so ingrained that he does it right away, and then recriminates himself afterward. He has these mechanisms for survival that are betraying him, but the instinct is hard to overcome.
The rubbing alcohol moment is another great moment of world-building (and also a great moment of levity in a very grim film). Here is this tiny cup of alcohol, part of a barely-there first aid kit. He’s got bandages, and he’s got alcohol.
And he drinks the alcohol rather than using it on his injuries. Simon exists in a world of despair, in a near-hopeless situation after a string of near-hopeless situations, after being raised in a damn death cult. Why would he use that alcohol to prevent an infection he is almost certainly never going to have time to develop? Why would he care about a hypothetical maybe-future when he had to deal with isopropyl poisoning? He is staring down death.
Why not indulge in a moment of chemical escape? Why not give yourself that moment of oblivion? If there is no future, there are no consequences. So he drinks the alcohol, and it’s both funny and this exquisitely human moment of relief for him.
I feel like so many people aren’t engaging with the layers of despair and loss and hopelessness that even Simon—who is noticeably a defiantly hopeful person even in the face of everything—cannot escape and is thoroughly steeped in. His every action speaks to the world he lives in, and how he fights against it but is still defined by it. And I’m hoping that, now that the film is readily available for rent or purchase, people can really dive into the world and the story and everything created in this film. I am really hoping for a new surge of meta and dissection as people start seeing all the subtleties put in, and the care it took to tell you a story with very little dialogue.
collide like two stars for a while💫
Ah, the experience of getting into a fandom excited for new meta and fic, looking around and realizing that everyone seems to be about 13. I mean, very much congrats on writing your first fic or meta post ever! 100% an accomplishment to be proud of. I am excited to see where you go from here. Perhaps with a bit more punctuation and grammar next time.
ITS APRIL 13 YOU KNOW WHAT THAT MEANS
FETCH ME NEIL
HAPPY BIG TWENTY NEIL
Neil!!!!
One of the things I keep coming back to that I really liked about ‘Iron Lung’ was the lack of moral judgment in the movie. This was a film interested in telling a tight, self-contained story which obviously had moral implications, as everything does, but had no interest in preaching about those implications. And it had absolutely no interest in simplifying anything for anyone.
And so no one came into this story with perfectly clean hands. Everyone is stuck in a gray area of doing what they have to do because this is the tail-end of humanity dwindling into the darkness. There is no way to survive with clean hands in that circumstance. It isn’t morally just to send ANYONE into the ocean, no matter their crimes, but does that even matter? When the whole of humanity’s survival is on the line and someone has to go down, this is the sort of decision that makes a cold logical sense.
Ava is a ship captain turned prison warden, but was she always that? It seems like the initial expeditions into the blood ocean were scientists. People who likely volunteered to go down. Until the SM-8 was lost and a terrible calculation had to be made: there aren’t enough scientists left to chuck them at such a hazardous situation, but data collection must continue because this is the only new thing they’ve found in the entire empty universe. This is the ONLY hope they have. So what do you do?
The dreadful calculation is to send people who are ‘worth less’ than those scientists. You send prisoners who, by this logical through-line, have already proven themselves through their own actions to be the least worthy and most expendable lives available. Did Ava start off trying to rescue them and help them? Did she start off learning their names? Or had she already closed herself off for her own sanity and ability to do the job she knew she had to do? Was Simon just the unlucky one who came after all her empathy had been burned out, or had she already learned to ration her empathy, to treat it and everyone around her as just another dwindling resource?
For a character with so little screen-time, Ava fascinates me so much. Because even in the time we have with her, we do see her change. She finds herself empathizing with her prisoner because they are both survivors. They are both hungry rats clinging to the last scraps of humanity. Ava starts out putting all her faith and her hope into a bigger picture and a dream of a future that I am certain she knew she would never get to see. But through her interactions with Simon she rediscovered the necessity of seeing the individual in the big picture. You cannot believe in humanity and not believe in the people who make it up. And even if she could never quite thread the needle between knowing that Simon MUST do this job for the good of everyone and the unfairness of the universe that demands he be sacrificed for that good, she did try by the end. She ended up joining him in the ocean, both coming to the same conclusion: this is bigger than us.
Simon also does not have clean hands. He had a crisis of conscience on Filament Station and turned himself in, but that does not change a past in which he killed enough people to be dubbed ‘the Butcher’ by his own brothers. Simon was every bit the zealot that Ava is at the beginning of the movie. He was a true Son of Eden, and the deaths of those few remaining people left in the universe did not weigh on him enough to stop him until Filament Station.
We will never know what happened to change him there. We will never know what he was asked to do that the finally balked at, finally opened up his eyes and realized that he had been raised in what had become a death cult, a group of people mourning the loss of the last tree so much that all they wanted to do was follow it down.
And yet they didn’t simply commit some sort of mass suicide; they actively began taking others with them. Some part of Eden still wanted to live in spite of the prevailing belief that there was nothing to live for. And we see that contradiction in Simon himself. He wants to live so fiercely it overrides everything else. He is desperate for hope. Not the hope of death Eden offered, and not the hope of eking out survival the way the Consolidation of Iron offers, but something more. A perhaps-vain hope that the rest of the universe is fine, that the people trapped in this hell of ghostlight and emptiness are the ones who went away. That they may be trapped, but if they were snatched away once, maybe they could simply return some day.
He lost his belief in a greater good on Filament Station. He lost his belief in Eden, but not his stubborn love of home. So he is reduced, by the time we meet him in the film, to a man solely focused on himself and his own survival. Ava is purely facing outward, willing to pay whatever price she must for the greater good. Simon is purely facing inward, willing to pay whatever price he must for his own survival. These are both unhealthy extremes that damage them, but what else are they supposed to do at the bitter end of everything?
They can meet in the middle. A subtle through-line of the film is both of them changing their minds. Ava moves from only allowing herself to believe in the greater good to believing in Simon the individual, despite what he has done in the past. His current actions do not wash away who he used to be, but they can change his trajectory. They can even allow him to turn the Butcher into someone working for something better. She sees that will to live, but also that willingness to do what needs to be done, and that seems to break something in her. He is willing to risk it all for the information necessary to save them, so she must do the same. She has to see him as a person, to learn his name, to work with him rather than simply overseeing another piece in a collapsing machine.
And he moves from losing all his beliefs on Filament Station, to becoming entirely self-focused, to rediscovering his hope. That fragment of the tree hidden away in a panel--a reminder of a home he lost, but also of the hope for a tomorrow that Eden had turned its back on--reminds him of his own hopes, of the dream that there is still a universe out there that he could one day return to. Or that humanity could return to.
Ava dies trying to finally fulfill the promise she made Simon: if he got the data she would save him. He would be free. She gives herself to the ideal that his life, even if it is ‘worth less’, is not worthless. He is worth saving. He did not deserve to die alone at the bottom of an ocean of blood, because no one does. But she can’t save him by then; she can only join him.
Her death is Simon’s turning point. From then on he knows he’s not making it out. His will to survive transforms into a will to make a difference: to give this end some sort of meaning, to defy the ocean and the pinhole god that did this to humanity. Could that data save everyone? There is no way to tell; the answers to that and so many other questions are bigger than Simon. But that is his drive: he takes Ava’s own motto—the COI’s motto—and truly believes it. This is bigger than him. He will die, but he will make a difference. He believes in a greater good by the end, and gives everything to it.
And I think this is why I find the idea of the tree ending so satisfying. The ocean was transforming Simon against his will into itself. It was the same process he had lived through his whole life: being turned into a part of a greater whole without his consent. Only he’s no long a child able to be turned into a Butcher for Eden. He’s an adult who has already been a true believer once, became jaded, lost his purpose, and finally chose a new one. It is the choice that ties him to the hope that lies in the seed of a tree around his wrist. It is the hope that turns one of his red eyes to white near the end, even as the pendant shatters and white roots spread.
And it is that choice that brings him full circle to being the soil that nourishes a new tree, and so becoming the tree himself. Destroying the monster he could become and had been for so long, and instead becoming something greater that he chose. Is there a new god in the ocean? A new life? A tree fed on blood and light and the pinhole perspective of an eldritch god so vast that its perception reshapes reality? Is this why it chose Simon, of all the people who died and joined the ocean? Because his hope could bloom into something new?
We don’t get told answers, because this is a true cosmic horror film, and this movie has no interest in explaining anything to anyone. It is a story designed for us to make our own interpretations, to choose rather than be told. And given the paths both Ava and Simon travel through the movie, I find that very fitting.
Every now and then I wander into new fandoms, and recently I’ve wandered into two that are, on average, much younger than my usual. The fans seem, on average, to be early twenties at most? Possibly younger? Unclear.
But there are various trends I’ve seen in the way people relate to characters and works that have fascinated me, because I feel like I’m getting a perspective on a fundamental shift in how people interact with fiction.
I’ve been in fandom spaces since the ‘90s, and maybe it was the spaces I was in at the time, but I tended to see people utilizing fiction to interact with new perspectives/worlds/etc. Fiction was a lens to step outside yourself and see larger pictures and new ways of being.
But modern fiction trends seem to be focused much more inward. Fiction is now increasingly seen as an exploration of the self, rather than the other, and that’s led to new trends in how to create and interact with fiction. ‘Relatability’ of characters seems to be a huge one. A reader or viewer must be able to see themselves in the character, fitting that character into their own perspective, outlook, and issues in life. If a character is not relatable in that way, they aren’t considered a good character. A morally complex or even reprehensible character? That’s not a mirror people want held up to themselves, and so morally questionable characters are ‘problematic’.
I think it also reflects in the way that it seems increasingly like there is a prevailing belief that all fiction must teach moral lessons. If a story does not explicitly tell you who is good and who is bad, and show the bad being punished and the good being uplifted, the morality of the writer is questioned. Because again, fiction is no longer an exercise in exploring new perspectives, but is solely a mirror of the self.
I don’t really know where I’m going with this, but it’s been on my mind as I’ve been looking at younger perspectives on fiction and seeing how the way one interacts with characters has shifted. While I certainly don’t think that exploring the self through fictional perspectives is bad, I do wonder about the flattening effect of wanting everything to be ‘relatable’ and to show people the morally right way to live.
Maybe I’m just old, but I find myself hoping that we start shifting away from the notion of fiction-as-a-mirror, and start shifting once again toward fiction-as-a-window.
....but.... why?
To quote Cave Johnson: "Science isn't about why, it's about WHY NOT!"
I want a knife gun.
For an updated Ides of March
The Ides of March: Reloaded
brutus is back and this time….. he doesn’t need the whole senate
Happy ides of march 2026 I bring you Julius Caesar weighted pincushion for consideration
yes
I would like one please
There are some films that remind me of why I love films, and ‘Iron Lung’ was one of them. And one of the main reasons I think it resonated so much with me was actually its ‘flaws’. There are so many things filmmakers are taught as rules, and it leads to movies having a tendency to feel a bit same-y after a while. But ‘Iron Lung’ is clearly making it up as it goes. The creative team are finding their way, and doing it in unconventional, passionate ways. It feels deeply raw and deeply loved.
Generally filmmakers are taught not to overemphasize small details unless they’re critical to the film, to highlight certain things and let others fade into the background. But the way this film is shot and the way those shots are put together screams that EVERYTHING IS IMPORTANT, EVERY STEP AND THUD OF THE LEVER AND FLASH OF THE CAMERA AND DRIP OF THIS DEEPLY UNPLEASANT AND DAMP SUBMARINE IS IMPORTANT. Every shot is made like it’s the most critical shot in the film. It gives the film a bit of an odd pacing, sure. It’s constantly driving, constantly tense because everything is treated as important, so you find yourself compelled to watch everything. There is a rough three-act structure, but it feels a lot more like a constant crescendo toward a final thirty minutes of pure cosmic insanity, and I left that theatre grinning from ear to ear.
Because this is a film made with such exuberance, with such joy of the craft. It’s wonky and weird and jarring and a tiny bit broken and deeply imperfect, and that’s what makes it great. Too many movies have all their edges sanded down and all the remaining runtime polished into a corporate-approved sheen. Too many movies feel like a paycheck for everyone involved. But this movie was made by people who clearly loved it, and loved movies, and mostly wanted to make it to please themselves. And if you happen to love it too, great! But this is not a movie made for the nebulous ‘everyone’. And that is so refreshing.
I loved every intense detail. I loved how goopy and damp the film was. I loved the costuming, the way they took a bottle film with a single set and they made that set a living, breathing, SWEATING character in its own right. I love that this was made completely independently of any studio or more experienced filmmaker telling them they shouldn’t do it that way. I love that it was distributed because a bunch of people really wanted to see this film and asked for it enough it got picked up by theatres independently.
I just really loved ‘Iron Lung’ because it was so clear that everyone making it also loved ‘Iron Lung’, and that’s fucking awesome.
bigger than me...
I finally saw Iron Lung (I am a massive sucker for cosmic horror), and I loved it! What a beautiful mindfuck of a movie.
Occtis Tachonis and the Protective Shell of Helplessness
Occtis is an interesting character on many levels, but one I want to look at today is how he’s ended up crafting himself a protective persona. To be clear, I don’t think this was entirely intentional. I think that his circumstances and life made this a logical tact to take in order to protect himself. Alex described him as small, despite his average height. Occtis has a small voice, softer and higher and more awkward than the other people around him. He has a small presence. He exudes anxiety wherever he goes. And while I do think the anxiety is absolutely a core part of him, I think it has also been cultivated.
Occtis grew up in what can only be described as a negligent and likely outright abusive environment. He was the one without sorcerous ability, the kid every other kid could take their frustrations out on, likely with little to no consequence. He noted that Frons had always been terrible to him. He seems to have no one in his family he remembers fondly.
Without magic to protect him, or physical strength, I think Occtis instinctively tried to turn his weakness into armor. He made himself even smaller, infantalized himself to a degree that he hoped it felt bad to pick on him, rather than rewarding. And I think that the armor of helpless awkwardness, of smallness, followed him to the Penteveral, where suddenly he was a different sort of outcast. Rather than being the youngest, the useless, the failure of the bloodline, he was the weird boy obsessed with death. He was the scion of a noble house in an academic setting largely made up of people who came from nothing and had crafted their own way up, and saw him as an interloper who didn’t need the Penteveral the way they did. And they were right and wrong. He desperately needed the Penteveral, but he didn’t need it in the same way. He didn’t need a way up out of poverty or to climb the ladder of power and respect; he needed a way through to becoming someone he actually wanted to be, which is a very different and likely isolating trajectory. We know Murray hated him, which is no surprise. She tends to hate nobility on principle, and I also think that she could tell that whatever he was doing was as much an act as it was himself. He deliberately made himself seem like less of a threat, which made her perceive him as more of one.
He is twenty years old, but acts younger. Seems younger. Keeps getting mistaken for a kid. Gets maternal attention and pity and grief wherever he goes, but rarely respect. Rarely acknowledgement of an equal footing. I think in part that’s why he holds Thimble up as his best friend. I think Thimble, herself tiny by nature, is sort of who he wishes he could be: a massive presence despite her size, bold and dangerous and clever. He makes himself small to not threaten or draw attention. She makes herself larger to show everyone she’s a force to be reckoned with.
And that leads us to the last two episodes. Two episodes ago, Julien—likely in bad faith, because most of what he does with Occtis is probably in bad faith—more or less accused Occtis of faking it. He asked him directly what lay beneath the softness, and called it a persona directly.
And Occtis didn’t deny it. Instead, he smiled and said that the apple never fell too far from the tree. Every now and then—this instance, but also the first instance in which Aranessa discussed the magic of his family, and their castle in death—a cold calm descends over Occtis. There is a chilly smile, a joy in the nature of himself as a creature of death. Even if his feelings for his family are painful and mostly bad, his feelings for their domain, for the work he spent his entire time at the Penteveral crafting himself to be a part of, seems to be fully positive.
He loves the power of death, the feel of it, the nature of it. He tinkers with it as a necromancer in ways his family could never approach. They are shadow sorcerers, but he studies death. He looks at the roots of it, the feel of it, and then he recrafts it in new ways. He draws strength from death in a way that would feel alien to his family members, but also feels like he is almost striving for and occasionally reaching the ideal of what they could be.
And that is not a sweet or soft thing. Death is not sweet or soft. But it can still be gentle. It can be quiet, but relentless and consuming. And that is who Occtis is when he actually zeroes in and forgets to be scared. And through that, I do think he is going to find ways to love what he is now, much as he hates the way he had to get there. He just has to shatter that armor of helplessness first.
We saw the first real crack in that armor last episode when he intimidated the elven druid, his shadow growing long and freezing the water around him. In that moment he was not only very much a member of his family, but overtly and powerfully a unique sort of undead. And Thaisha instinctively recoiled from that. I think Thaisha has been able to rationalize her part in raising him from the dead by the fact that he was just a helpless kid, and her friend, and so she could frame guiding him off the path as something good.
But if he’s not just a helpless kid? If he’s truly something new, but also something old, growing into himself in a way that is both authentic to Occtis and in a way that he might never have been able to achieve in life? What then? What is he, if he’s starting to stop being the boy she thought she knew?
I’m really looking forward to Thaisha grappling with this, both as a druid seeing the unnatural thing she has created becoming more dangerous, but also someone with a maternal instinct toward a boy who is growing up into someone she could not have anticipated. How does she square that circle? Can she square it? How does their relationship necessarily change because of this? I can’t wait to see her explore her faith, her beliefs, and what they mean in the face of this new person and her actions that helped make him.
And I am really interested to see how Julien plays into this. Of all the party, he’s the only one who, through being an asshole, doesn’t coddle Occtis. He still treats him as lesser, but he does that to literally everyone except Aranessa and to a lesser extent Vaelus. But he is the one who actually called out the persona, and if it does start to crack and a more confident, powerful man emerges?
I honestly sort of think Julien would be into that. He had no problem with Occtis confronting the druid. They made a surprisingly effective team on the battlefield, and seemed to be able to communicate quickly and effectively when Julien was in the zone and Occtis forgot to be terrified and stormed up to stop Enmity from regenerating her health. I think Julien, of all people, may be the person who really understands this new Occtis as an equal. They are both disappointing sons, and both forced through circumstance to remake themselves in the crucible of this journey. They are both struggling with identities that have been completely shattered. They have both lost so much, and are the youngest members of the group.
They have shared goals, even if Julien is still trying to keep Occtis classified in his head as just another Tachonis. Julien was so angry that Occtis got brought back, that he got to be the miracle instead of all the other people slaughtered in the Palazzo Davinos. But I think now he’s seeing the flip-side. This new existence is a miracle, but also a curse, and Occtis may be the only person—through the experiences of his entire life—equipped to really grapple with and eventually come out embracing this second chance at a new and very altered existence. I really want to see them have an actual conversation for the first time since Occtis’ death. I want to see Julien step in as the first person who treats Occtis not as a son or a miracle or as Something New, but as an equal.