[X] Let her go.
- [X] Participate in the competition.
- [X] Participate in the competition.
Flandre's Quest (Touhou) World - (Madness Quest)
- Thread starter Entropy Judge
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Entropy Judge
Recurring Bouts of Misanthropy
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Karaoke V
Entropy Judge
Recurring Bouts of Misanthropy
[X] Let her go.
- [X] Participate in the competition.
You glance at Satsuki, but she shrugs uncertainly. "Mmm … I think we'll stay here. Take care on your way home," you say, and Souka gives you a look before shrugging.
"I'll be fine. See you around." She stands and waves as she walks quickly toward the stairs. A shame you probably won't; she seems kind of interesting. But you've only got a few days, and this is Satsuki's vacation, not yours. Your servant looks around as Souka heads toward the entrance.
"Um, shouldn't we go back to our table?" You shrug.
"Not much reason to, is there? They do everything with these bands and computers and stuff - oh, your drink is still there, right?" Satsuki shakes her head.
"No - er, I finished it, I mean. But … um …." You cock your head and she smiles. "No, you're right. It's just … so different. All this." You nod and slide your chair closer to hers so you can lean against her.
"Are you enjoying yourself?" She's quiet for a moment, but then she leans into you.
"I am. I had a lot of fun at the aquarium, and … it's nice, here. People all dressed up like it's Halloween, and people singing … it's like … like I fit in, here." She suddenly stiffens and twitches away, jerking her chair along with her. "Ah, ah, I mean! I don't feel like I don't fit in with you, Flandre-sama, and it's comfortable at Mid-Childa, too! I just meant …." She trails off and looks away. You watch her, curious and worried, and she shakes her head. "I feel … it's like most people here are pretending something, so if I come here and pretend I'm a normal human, I fit in with them because I'll be pretending, too. And if I don't pretend to be something else, then I still fit in, because everyone will just think I am pretending. Does … is that weird?" She looks at you hopefully and you cock your head to the side.
"… I don't know, Satsuki," you say carefully. "I think I'm pretty good at figuring out humans, most of the time, and most youkai are pretty predictable. I wouldn't feel the way you do, but that's because of who I am. And putting myself in your position is … hard. I guess … I guess I think it is weird, but also normal and understandable, because for so long you've been trying to hold onto your humanity and push away your vampire nature, and now you've started to trust yourself to be yourself, but you're still uncertain so you take refuge in the familiar. You used to be a student, so you like spending time being taught, for example. And here you have … an acceptable place to be someone besides who you used to be, but can still hold onto that old image." You hesitate, then shrug helplessly. "Does that seem right? I … this isn't something I'm good at, so it's probably not that helpful …." Satsuki shakes her head slowly and shuffles her chair back next to yours.
"No, it helped a lot." She leans toward you and waits; after a moment you smile and lean back against her. She giggles when you nuzzle your head against her shoulder. You pass almost a minute like that before realizing that you haven't heard anyone singing for a while. You start trying to look around without disturbing Satsuki too much, but she seems to notice it, too. "Ah," she starts to say something, and you turn around to see a server looking around. After a moment he notices you watching him and, face red, he walks up the steps.
"Um, there was another guest here - um, a pretty girl …." Satsuki looks away, but you just giggle, and the young man's blush deepens.
"Souka left a little bit ago. Sorry." He sighs despondently and holds up a small computer.
"Alright, so … um, if either of you have sung tonight, could you hold your wristband up?" He holds the computer out to you after tapping something and you reach out to let it scan your band. "Thank you … hm. Ah, your song is supposed to be … Ah-" He frowns and looks down at his computer. You sit up as high as you can and lean forward; he steps back, then shrugs and holds it so you can see.
"Ave Maria," you say, then scowl. "Really?" The server shrugs and backs away cautiously.
"Um, I didn't pick the songs. If you don't want to sing it …?" You shrug; it may not be something you're particularly fond of, but you do know the song.
"I'll sing it … isn't it supposed to be anime night, or something?" The young man shrugs.
"I'm afraid I don't know anything about the decision-making process," he says, a bit sullenly. "Um, the contestants are all supposed to wait down in the stage area. Good luck." He bows politely, then leaves. You grin at Satsuki.
"You'll be fine up here, right?" She smiles and nods.
"I'll be fine. Um, is that song difficult?" You snort and shake your head.
"No … well, not if it's one of the ones I'm familiar with. I just don't get why they'd have a church prayer for a song." Satsuki looks thoughtful for a moment, then smiles helplessly and shrugs.
"I don't know, either, but …," she leans forward and gives you a quick hug. "Good luck, Flandre-sama." You stick your tongue out at her, then giggle; she laughs back, and you make your way down to the stage.
You aren't alone, of course - the red-haired woman, and the two girls in red and blue, and a girl wearing some kind of school uniform. One man, dressed all in red and wearing sunglasses, walks in past you and sits down, barely keeping his trembling under control, and another girl wearing casual clothes - jeans and a yellow shirt - waits behind you. You aren't sure if the girls are just better singers in general, or if the men singing just felt less comfortable with the songs they were assigned. "So who goes first?" You walk in and sit down across from the lone man after the woman's question. The girl in the blue outfit raises a hand to get her attention.
"They'll display the songs in whatever order; pass your band over one of the scanners before you go up, though, or else they'll skip to the next one." The red girl scowls as the lights dim everywhere except around the stage.
"And none of the private rooms accepted. Again. Bah!" Her partner pats her shoulder. You look around for a display showing the first song, and the girl in casual clothes starts walking toward the stage, looking up at the wall. You raise an eyebrow - what kind of anime would have Una Furtiva Lagrima in it? She does not do particularly well at it, but she doesn't mess it up completely, and you clap politely with the others as she walks back to the waiting area and collapses next to you. The red-haired woman goes up next, to sing O diese Sonne … reasonably well. The man in red looks up and seems to relax - he even smiles. And when the woman comes down, he tips his hat to her and walks up to sing something called Home Sweet Home.
"You'll be fine," she says to the schoolgirl quietly. The girl nods but doesn't seem to believe her, and when the man comes down to muted applause - which you don't understand, because he actually sang it quite well - the girls in red and blue walk up. You glance at the schoolgirl - who is after them, you or her? The girls perform the Hallelujah Chorus quite well, although their voices aren't quite suitable for it … or it might be the microphones they're using. They obviously know the song, at least, and the applause for them is quite loud. And then it's your turn, but Ave Maria - and it is the hymn, not Ellens dritter Gesang - is simple and easy, and doesn't take you long at all. You curtsy to the applauding audience, of course, then leave the stage for the schoolgirl to sing Ode to Joy. She doesn't seem to know German, though, so her pronunciation is off enough to bother you … rather a lot. Still, it doesn't seem like the audience knows - or cares as much as you do - so you keep your comments to yourself and merely clap politely when she finishes and wiltingly makes way back down to the waiting area.
"Alright, it's done, we can go back to our seats now," says the girl in blue. She and the girl in red start walking off, leaving the rest of you looking around for a moment - but then a server comes by.
"Ah, thank you, everyone. You are free to return to your seats while the judging takes place." She bows politely and the rest of you withdraw; you smile and bob a quick curtsy to the server as you pass her, then scurry back up to Souka's table. Satsuki smiles as you walk up and drop into the chair.
"That was great, Flandre-sama!" You shrug dismissively, and she frowns.
"If I were judging, I'd probably give it to the duet. My song was not a difficult one - it's easier than the songs I sang without any warning whatsoever." She shakes her head.
"But … well, we know differently, but won't they be thinking that you're just a kid?" Her voice drops conspiratorially, but you just shrug again.
"They've heard me sing, they ought to know that regardless of age I am a talented singer." She nods and looks down at the stage.
What do you do?
[ ] Try to get Satsuki to sing before leaving.
[ ] Leave after hearing who won.
[ ] Go talk to one of the other performers.
- [ ] The three swordsmen.
- [ ] The girls in red and blue.
[ ] Other?
DM Note: If you'd made Souka stay, she'd have sung Erlkönig. Yeah, I didn't know it featured in an anime, either. Someone has class.
- [X] Participate in the competition.
You glance at Satsuki, but she shrugs uncertainly. "Mmm … I think we'll stay here. Take care on your way home," you say, and Souka gives you a look before shrugging.
"I'll be fine. See you around." She stands and waves as she walks quickly toward the stairs. A shame you probably won't; she seems kind of interesting. But you've only got a few days, and this is Satsuki's vacation, not yours. Your servant looks around as Souka heads toward the entrance.
"Um, shouldn't we go back to our table?" You shrug.
"Not much reason to, is there? They do everything with these bands and computers and stuff - oh, your drink is still there, right?" Satsuki shakes her head.
"No - er, I finished it, I mean. But … um …." You cock your head and she smiles. "No, you're right. It's just … so different. All this." You nod and slide your chair closer to hers so you can lean against her.
"Are you enjoying yourself?" She's quiet for a moment, but then she leans into you.
"I am. I had a lot of fun at the aquarium, and … it's nice, here. People all dressed up like it's Halloween, and people singing … it's like … like I fit in, here." She suddenly stiffens and twitches away, jerking her chair along with her. "Ah, ah, I mean! I don't feel like I don't fit in with you, Flandre-sama, and it's comfortable at Mid-Childa, too! I just meant …." She trails off and looks away. You watch her, curious and worried, and she shakes her head. "I feel … it's like most people here are pretending something, so if I come here and pretend I'm a normal human, I fit in with them because I'll be pretending, too. And if I don't pretend to be something else, then I still fit in, because everyone will just think I am pretending. Does … is that weird?" She looks at you hopefully and you cock your head to the side.
"… I don't know, Satsuki," you say carefully. "I think I'm pretty good at figuring out humans, most of the time, and most youkai are pretty predictable. I wouldn't feel the way you do, but that's because of who I am. And putting myself in your position is … hard. I guess … I guess I think it is weird, but also normal and understandable, because for so long you've been trying to hold onto your humanity and push away your vampire nature, and now you've started to trust yourself to be yourself, but you're still uncertain so you take refuge in the familiar. You used to be a student, so you like spending time being taught, for example. And here you have … an acceptable place to be someone besides who you used to be, but can still hold onto that old image." You hesitate, then shrug helplessly. "Does that seem right? I … this isn't something I'm good at, so it's probably not that helpful …." Satsuki shakes her head slowly and shuffles her chair back next to yours.
"No, it helped a lot." She leans toward you and waits; after a moment you smile and lean back against her. She giggles when you nuzzle your head against her shoulder. You pass almost a minute like that before realizing that you haven't heard anyone singing for a while. You start trying to look around without disturbing Satsuki too much, but she seems to notice it, too. "Ah," she starts to say something, and you turn around to see a server looking around. After a moment he notices you watching him and, face red, he walks up the steps.
"Um, there was another guest here - um, a pretty girl …." Satsuki looks away, but you just giggle, and the young man's blush deepens.
"Souka left a little bit ago. Sorry." He sighs despondently and holds up a small computer.
"Alright, so … um, if either of you have sung tonight, could you hold your wristband up?" He holds the computer out to you after tapping something and you reach out to let it scan your band. "Thank you … hm. Ah, your song is supposed to be … Ah-" He frowns and looks down at his computer. You sit up as high as you can and lean forward; he steps back, then shrugs and holds it so you can see.
"Ave Maria," you say, then scowl. "Really?" The server shrugs and backs away cautiously.
"Um, I didn't pick the songs. If you don't want to sing it …?" You shrug; it may not be something you're particularly fond of, but you do know the song.
"I'll sing it … isn't it supposed to be anime night, or something?" The young man shrugs.
"I'm afraid I don't know anything about the decision-making process," he says, a bit sullenly. "Um, the contestants are all supposed to wait down in the stage area. Good luck." He bows politely, then leaves. You grin at Satsuki.
"You'll be fine up here, right?" She smiles and nods.
"I'll be fine. Um, is that song difficult?" You snort and shake your head.
"No … well, not if it's one of the ones I'm familiar with. I just don't get why they'd have a church prayer for a song." Satsuki looks thoughtful for a moment, then smiles helplessly and shrugs.
"I don't know, either, but …," she leans forward and gives you a quick hug. "Good luck, Flandre-sama." You stick your tongue out at her, then giggle; she laughs back, and you make your way down to the stage.
You aren't alone, of course - the red-haired woman, and the two girls in red and blue, and a girl wearing some kind of school uniform. One man, dressed all in red and wearing sunglasses, walks in past you and sits down, barely keeping his trembling under control, and another girl wearing casual clothes - jeans and a yellow shirt - waits behind you. You aren't sure if the girls are just better singers in general, or if the men singing just felt less comfortable with the songs they were assigned. "So who goes first?" You walk in and sit down across from the lone man after the woman's question. The girl in the blue outfit raises a hand to get her attention.
"They'll display the songs in whatever order; pass your band over one of the scanners before you go up, though, or else they'll skip to the next one." The red girl scowls as the lights dim everywhere except around the stage.
"And none of the private rooms accepted. Again. Bah!" Her partner pats her shoulder. You look around for a display showing the first song, and the girl in casual clothes starts walking toward the stage, looking up at the wall. You raise an eyebrow - what kind of anime would have Una Furtiva Lagrima in it? She does not do particularly well at it, but she doesn't mess it up completely, and you clap politely with the others as she walks back to the waiting area and collapses next to you. The red-haired woman goes up next, to sing O diese Sonne … reasonably well. The man in red looks up and seems to relax - he even smiles. And when the woman comes down, he tips his hat to her and walks up to sing something called Home Sweet Home.
"You'll be fine," she says to the schoolgirl quietly. The girl nods but doesn't seem to believe her, and when the man comes down to muted applause - which you don't understand, because he actually sang it quite well - the girls in red and blue walk up. You glance at the schoolgirl - who is after them, you or her? The girls perform the Hallelujah Chorus quite well, although their voices aren't quite suitable for it … or it might be the microphones they're using. They obviously know the song, at least, and the applause for them is quite loud. And then it's your turn, but Ave Maria - and it is the hymn, not Ellens dritter Gesang - is simple and easy, and doesn't take you long at all. You curtsy to the applauding audience, of course, then leave the stage for the schoolgirl to sing Ode to Joy. She doesn't seem to know German, though, so her pronunciation is off enough to bother you … rather a lot. Still, it doesn't seem like the audience knows - or cares as much as you do - so you keep your comments to yourself and merely clap politely when she finishes and wiltingly makes way back down to the waiting area.
"Alright, it's done, we can go back to our seats now," says the girl in blue. She and the girl in red start walking off, leaving the rest of you looking around for a moment - but then a server comes by.
"Ah, thank you, everyone. You are free to return to your seats while the judging takes place." She bows politely and the rest of you withdraw; you smile and bob a quick curtsy to the server as you pass her, then scurry back up to Souka's table. Satsuki smiles as you walk up and drop into the chair.
"That was great, Flandre-sama!" You shrug dismissively, and she frowns.
"If I were judging, I'd probably give it to the duet. My song was not a difficult one - it's easier than the songs I sang without any warning whatsoever." She shakes her head.
"But … well, we know differently, but won't they be thinking that you're just a kid?" Her voice drops conspiratorially, but you just shrug again.
"They've heard me sing, they ought to know that regardless of age I am a talented singer." She nods and looks down at the stage.
What do you do?
[ ] Try to get Satsuki to sing before leaving.
[ ] Leave after hearing who won.
[ ] Go talk to one of the other performers.
- [ ] The three swordsmen.
- [ ] The girls in red and blue.
[ ] Other?
DM Note: If you'd made Souka stay, she'd have sung Erlkönig. Yeah, I didn't know it featured in an anime, either. Someone has class.
Sinsystems
Patron Librarian
[X] Try to get Satsuki to sing before leaving.
[X] Go talk to one of the other performers.
-[X] The girls in red and blue.
-[X] The girls in red and blue.
Entropy Judge
Recurring Bouts of Misanthropy
Votes are not locked.
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Karaoke VI
Entropy Judge
Recurring Bouts of Misanthropy
[X] Try to get Satsuki to sing before leaving.
You eye your servant mischievously. "So … are you going to sing?" She jerks toward you, startled, and your grin widens. She looks away nervously.
"I … I don't know any of these songs," she begins uncertainly, "and I'm not anywhere near a good enough singer to just pick up something I don't know." You keep a scowl firmly suppressed. "I mean, I know that's the whole point of karaoke, to see how well you can sing songs you don't know, but …." She trails off and suddenly draws her legs up and hugs her knees. You lean against her.
"What if you sing a song you do know?" She makes a cute little puzzled sound and looks at you. "Remember what the servers said? The first one said we could sing normal songs if we didn't take up too much time, and the second one said you can't request a song that's been performed too recently, so there must be some way to request particular songs." She pulls her shoulders in a little more.
"Oh. Then … I guess I should …." She starts to reach for the display with her wristband, but you jab her side with your elbow and sit up. "Ah! F-Flandre-sama?!" She stares at you, eyes wide, and this time you do scowl.
"In the second place, I would suggest calling a server so we can make sure that you can request a particular song. More importantly, however: no. Not because you think you should." Your expression softens. "If you want to, Satsuki. You aren't obligated to perform, and if you don't want to, I don't want you to." Her expression turns to one of confusion.
"Eh? But - you said - don't you want …?" You nod slowly.
"I do want to hear you sing - I think you have a good voice. But if you don't want to, I don't want you to. You understand the distinction I'm making? Between 'not wanting to' and 'wanting to'? You have to want to sing, not simply not 'not want' to sing. I don't care about your reason - if you want to sing because you want to prove something to someone, or because you think it will make me happy, or because if you don't you'll be followed home by a bunch of bats - but I want you to sing because you want to, not because you feel obligated to." She stares at you for a while, then looks away, down at the table. You keep an eye on her for a few more moments, but then clapping draws your attention as a server escorts the two girls back up to the stage. The clapping and cheering intensifies as they bow and wave, but they withdraw from the stage without singing. When the girl in red looks up at you, you wave, and she looks a bit surprised and waves cautiously back.
"Um … Flandre-sama?" You turn to look at Satsuki and she takes a deep breath. "I … I do want to sing something." You smile and dive toward her, wrapping your arms around her.
"Yay! You want to sing something in particular, or will you leave it to random chance?" She blushes and shakes her head.
"I - I'd like to request something I know, if that's alright …." You untangle yourself and jab the server-summoning button. Satsuki tries smiling back at you, but keeps slipping into nervousness. The server, the same boy as before, walks up the stairs.
"How may I help you?" You nod energetically as he approaches.
"Yep! Satsuki wants to sing something specific. We can do that, right? Request a certain song?" The server nods and taps at his computer.
"What song would you like to sing?" Satsuki hunches her shoulders.
"Um, Ue o Muite Aruko. It's an older song, so …." But the server simply nods.
"It's been used in a couple anime, too. If you could hold your wristband up to the computer?" Satsuki seems surprised that they have the song and hesitates, then resolutely holds up her arm. "Thank you very much, Yumizuka-san. Yours will be the second song after the break ends." The server bows and withdraws, and Satsuki heaves a sigh. You lean into her and nuzzle her shoulder.
"Th-thank you, Flandre-sama. I … I'm going to do my best." That hardly deserves a response, and you just nuzzle her a bit harder. Then music starts up, gentle and flowing … and the young man on the stage absolutely mangles the English words. Why do they do this? Did you just get the people who only know Japanese, or do they purposefully include Western songs just to mess with people?
"… Satsuki." She looks down at you and you wave at the blue light on the table. "You're up next, remember?" She stiffens, then takes a breath and nods.
"Right … thank you, Flandre-sama." You lean back so she can get up, and smile reassuringly as she makes her way toward the stage. She gets to the waiting area just as the man finishes his butchery of a foreign language … and after she gets onto the stage, the music starts, and she doesn't have time to worry. She sings into the microphone she holds in both hands, and she keeps her eyes closed, concentrating, deaf to all but the song. And she does wonderfully … a sentiment backed up by the wave of applause she receives. She stands motionless for a moment, taking in the surge of sound, then curtsies properly and withdraws from the stage. And when she gets back to the table you make sure she lands in the chair and not next to it.
"You were wonderful, Satsuki." She nods.
"… Thank you, Flandre-sama."
The two of you sit through a few more songs before leaving, making your way back to the subway, but instead of taking the bus from there to somewhere closer to Amy's, you and Satsuki just walk the rest of the way. The neighborhood is peaceful and quiet; the only problem you have is the ever-present street lights that destroy the night. The door is locked when you get there, of course, but you do have the key, and the two of you carefully move through the house - especially once you find Amy drowsing in the main room, the television showing some weird movie involving a giant bipedal lizard. Once you get back to your room, Satsuki flops into her bed and you walk over to the window. This must be what humans feel like when they look at the moon …. "So, have you thought about what you want to do tomorrow?" You turn to look at Satsuki.
What do you do?
[ ] Go shopping.
[ ] Go see the movies.
[ ] See if Satsuki likes cats.
[ ] See if Satsuki likes dogs.
[ ] Other?
You eye your servant mischievously. "So … are you going to sing?" She jerks toward you, startled, and your grin widens. She looks away nervously.
"I … I don't know any of these songs," she begins uncertainly, "and I'm not anywhere near a good enough singer to just pick up something I don't know." You keep a scowl firmly suppressed. "I mean, I know that's the whole point of karaoke, to see how well you can sing songs you don't know, but …." She trails off and suddenly draws her legs up and hugs her knees. You lean against her.
"What if you sing a song you do know?" She makes a cute little puzzled sound and looks at you. "Remember what the servers said? The first one said we could sing normal songs if we didn't take up too much time, and the second one said you can't request a song that's been performed too recently, so there must be some way to request particular songs." She pulls her shoulders in a little more.
"Oh. Then … I guess I should …." She starts to reach for the display with her wristband, but you jab her side with your elbow and sit up. "Ah! F-Flandre-sama?!" She stares at you, eyes wide, and this time you do scowl.
"In the second place, I would suggest calling a server so we can make sure that you can request a particular song. More importantly, however: no. Not because you think you should." Your expression softens. "If you want to, Satsuki. You aren't obligated to perform, and if you don't want to, I don't want you to." Her expression turns to one of confusion.
"Eh? But - you said - don't you want …?" You nod slowly.
"I do want to hear you sing - I think you have a good voice. But if you don't want to, I don't want you to. You understand the distinction I'm making? Between 'not wanting to' and 'wanting to'? You have to want to sing, not simply not 'not want' to sing. I don't care about your reason - if you want to sing because you want to prove something to someone, or because you think it will make me happy, or because if you don't you'll be followed home by a bunch of bats - but I want you to sing because you want to, not because you feel obligated to." She stares at you for a while, then looks away, down at the table. You keep an eye on her for a few more moments, but then clapping draws your attention as a server escorts the two girls back up to the stage. The clapping and cheering intensifies as they bow and wave, but they withdraw from the stage without singing. When the girl in red looks up at you, you wave, and she looks a bit surprised and waves cautiously back.
"Um … Flandre-sama?" You turn to look at Satsuki and she takes a deep breath. "I … I do want to sing something." You smile and dive toward her, wrapping your arms around her.
"Yay! You want to sing something in particular, or will you leave it to random chance?" She blushes and shakes her head.
"I - I'd like to request something I know, if that's alright …." You untangle yourself and jab the server-summoning button. Satsuki tries smiling back at you, but keeps slipping into nervousness. The server, the same boy as before, walks up the stairs.
"How may I help you?" You nod energetically as he approaches.
"Yep! Satsuki wants to sing something specific. We can do that, right? Request a certain song?" The server nods and taps at his computer.
"What song would you like to sing?" Satsuki hunches her shoulders.
"Um, Ue o Muite Aruko. It's an older song, so …." But the server simply nods.
"It's been used in a couple anime, too. If you could hold your wristband up to the computer?" Satsuki seems surprised that they have the song and hesitates, then resolutely holds up her arm. "Thank you very much, Yumizuka-san. Yours will be the second song after the break ends." The server bows and withdraws, and Satsuki heaves a sigh. You lean into her and nuzzle her shoulder.
"Th-thank you, Flandre-sama. I … I'm going to do my best." That hardly deserves a response, and you just nuzzle her a bit harder. Then music starts up, gentle and flowing … and the young man on the stage absolutely mangles the English words. Why do they do this? Did you just get the people who only know Japanese, or do they purposefully include Western songs just to mess with people?
"… Satsuki." She looks down at you and you wave at the blue light on the table. "You're up next, remember?" She stiffens, then takes a breath and nods.
"Right … thank you, Flandre-sama." You lean back so she can get up, and smile reassuringly as she makes her way toward the stage. She gets to the waiting area just as the man finishes his butchery of a foreign language … and after she gets onto the stage, the music starts, and she doesn't have time to worry. She sings into the microphone she holds in both hands, and she keeps her eyes closed, concentrating, deaf to all but the song. And she does wonderfully … a sentiment backed up by the wave of applause she receives. She stands motionless for a moment, taking in the surge of sound, then curtsies properly and withdraws from the stage. And when she gets back to the table you make sure she lands in the chair and not next to it.
"You were wonderful, Satsuki." She nods.
"… Thank you, Flandre-sama."
The two of you sit through a few more songs before leaving, making your way back to the subway, but instead of taking the bus from there to somewhere closer to Amy's, you and Satsuki just walk the rest of the way. The neighborhood is peaceful and quiet; the only problem you have is the ever-present street lights that destroy the night. The door is locked when you get there, of course, but you do have the key, and the two of you carefully move through the house - especially once you find Amy drowsing in the main room, the television showing some weird movie involving a giant bipedal lizard. Once you get back to your room, Satsuki flops into her bed and you walk over to the window. This must be what humans feel like when they look at the moon …. "So, have you thought about what you want to do tomorrow?" You turn to look at Satsuki.
What do you do?
[ ] Go shopping.
[ ] Go see the movies.
[ ] See if Satsuki likes cats.
[ ] See if Satsuki likes dogs.
[ ] Other?
SolipsistSerpent
Endlessly Devouring
She's singing Sukiyaki, eh? Not one I would have anticipated from someone her age.
[X] Go see the movies.
Sinsystems
Patron Librarian
[X] See if Satsuki likes cats.
I want to meet Nanoha's childhood friends.
I want to meet Nanoha's childhood friends.
[X] See if Satsuki likes cats.
Entropy Judge
Recurring Bouts of Misanthropy
Votes are not locked.
The subtitle options for Princess Mononoke have 'literal English translation' as well as the more normal 'captions for the hearing impaired'. Hm.
EDIT: Votes are locked. Update will be up in a bit.
The subtitle options for Princess Mononoke have 'literal English translation' as well as the more normal 'captions for the hearing impaired'. Hm.
EDIT: Votes are locked. Update will be up in a bit.
Last edited:
Movies I - Princess Mononoke
Entropy Judge
Recurring Bouts of Misanthropy
[X] Go see the movies.
Your servant lays on the bed for a moment, silent, before sitting up. "Um, Flandre-sama? Will we be here … after … after visiting Misaki?" You raise an eyebrow before shrugging.
"We might be able to persuade Fate to pick us up later in the night, rather than after coming home from Misaki. If you want to, of course. Why?" She hugs herself tightly and looks away ashamedly.
"I'm … scared. Of what we might find. I … I think I do want to meet those people Amy and Fate talked about, but … if we do it tomorrow, I'm afraid I'll be bad company. So … tomorrow, if we could, could we just … watch the movies?" You ignore the obvious retort - that if things go poorly at Misaki, she won't want to meet Nanoha and Fate's friends because she'll be unhappy - and merely nod. This is Satsuki's time.
"Of course, Satsuki," you say gently, and she looks at you. Your smile turns into a mischievous grin. "Of course, you'll have to teach me how to behave in a movie theater. Do we have to bring vegetables to throw at the screen, or will they be provided?" Her face lights up and she shakes her finger, scolding you.
"Flandre-sama! Why would anyone do that?" You shrug innocently.
"What if they don't like the movie?" Her face turns red with indignation and she begins lecturing you! You try to keep the smirk from your face - you're not sure what brought on this surge of emotion, but you really quite like it, and you don't want her to 'snap out' of it if she realizes what she's doing ….
"Alright, you two have fun, okay? Come on, Karel, Liera." The children pout as Amy pulls them to a different seating area. They reach out for you, but you wag a finger and make a shooing gesture, and they follow their mother obediently. She gives you a quick smile.
"You're really good with kids, aren't you, Flandre-sama?" You snort and shake your head; they just like your wings. You find your seats, and fortunately the theater isn't so crowded that you have immediate neighbors - the nearest is a few meters away, more than enough space for you to relax your wings and stretch out. Of course, you still have to obey the prescriptions that Satsuki told you about - no chatting, no laughing, and generally being quiet. The lights fade, and you sit through the previews and commercials, and the short clip of black-clad ninjas beating up people illegally recording a movie … and then the movie starts.
The very beginning shows that whoever made the movie has an understanding of the world - gods live in the forest, because the forest is where humans don't live. Humans aren't forest-dwellers, they don't have the senses and strengths for it. Things that kill humans live in forests, and that is why forests are places of mystery and darkness. Places where you find gods. The initial scene with the cursed boar is a little off-putting - even a minor youkai shouldn't be that easy to kill, and with the level of strength it demonstrates, it definitely shouldn't have died from those attacks unless the boy was some kind of priest - but the revelation that the magic stone is what killed the demon boar salvages the scene a little. Just as troubling, however, is the treatment of Ashitaka's people - the movie seems to want to present them as being right for trying to live in harmony with the world, without demonstrating just how fickle and dangerous the world actually is. Humans didn't come to dominate the world because some of them were greedy for power; they came to dominate the world because those who lived in harmony died, because they were small and weak and the rest of the world was strong and ruthless.
Then the boy sets out on his journey, and when he meets the samurai attacking the civilians you look over at Satsuki. Not to judge her reaction to the warriors, but to see if she reacts to Ashitaka at all - like her, he is cursed, and like her, his curse is a very useful one … but it's still a curse, from a human point of view. Ashitaka's curse will kill him; Satsuki's curse has already killed her. And now there are choices - to let the curse control her, or to fight it and try to use it. Like her, you find you rather like 'Satsuki,' so you hope she is able to remain herself. She cocks her head at you when she notices you watching her, but you just smile and lean into her, rubbing your head against her arm. You aren't supposed to talk, after all!
And then you realize what the 'magic stone' that killed the boar was. The humans with firearms killed him. Surprisingly effective firearms, too … and of only moderate use against the wolves. That is what you expect out of youkai - speed, ferocity, and mayhem. And strength, but not invincibility … it might as well be, against humans without firearms, though. You wonder at the Chronicles' description of youkai commonly being able to survive being split into multiple parts. That's a lie - a useful one, in a realm where humans need to continue fearing youkai, but a lie nonetheless: youkai are simply stronger, tougher, and faster, so any humans trying to fight one in hand-to-hand will be butchered. Even an exceptional human against a rather weak youkai will usually end with the youkai winning. Humans only get one chance … until the advent of firearms. Firearms are impossible for most youkai to dodge, and they hit very hard, so one or two bullets will put down most youkai, at least enough that closing in with swords or pikes will prove effective. Even if the movie doesn't make it explicit, it explains why youkai no longer have the dominating power they once did: guns kill them.
The ironworks are a familiar sight to you. The world you grew up in evolved from that, and by the time you existed humans had made their refineries more efficient and effective. The outspokenness of the women is a little surprising, but considering not only the fact that the leader is a woman but also the firearms they use, women becoming more powerful isn't that surprising. The poor guard captain, though. The information on the leader is somewhat interesting, and makes you wonder if the maker of the movie researched youkai extermination techniques … or if youkai extermination techniques work so well because of human belief. Regardless, the great boar's rampage is a further demonstration of power, only more clearly shown than with the wolf Moro. Humans with swords and shields and bows and arrows simply aren't capable of inflicting enough harm to slow him down, but a single shot from a hand cannon inflicted a mortal wound, shattering his body and poisoning him. As Ashitaka explores the village, however, one thing becomes clear: the central figure is Eboshi. She knows how to kill youkai; she brought together men and women and lepers and welded them together; she drives the production and improvement of firearms. If she died, youkai would - for a time - regain their ascendant position, until firearms matured enough. Until true guns appeared, matchlock arquebuses and muskets, and guns became simple and easy enough to create and use that those who disdained them died to those who didn't. And then, as in Europe, the natural world would finally bow to humanity's will.
When the ape youkai show up, and you start believing youkai in this world to have been driven to extinction and the makers of the movie having access to the records of their extinction, Headless brings up another, more realistic point. Youkai are stories. Monsters derived from human fears, human thoughts, imagination. Of course youkai in a story would act like youkai! It still is interesting to see human projections of youkai attitudes and behaviors, though - the apes are the perfect blend of stupidity and cleverness, fear and desire. Too stupid to realize that eating a human won't necessarily make them stronger, but clever enough to realize that one draws strength and power from those that are consumed. And, of course, it's all but impossible to change a youkai's mind once it's made a decision ….
Which makes Moro's wisdom so much the greater - and Okkoto's wise foolishness so much more tragic. He knows that his kind are dying out, returning to merely normal boars, but he believes that a suicidal charge will generate awe and respect from the humans. But not these humans. Humans who have firearms become cold and calculating, and the best response the boars would get from them would be pity, because Eboshi is a woman who understands how youkai work, and how best to slaughter them. The boars will attack, and they will die by gunfire. And when the ironworks are attacked by humans, you nod in understanding - women can fire guns as effectively as men, and guns are powerful and dangerous, and the ironworks are heavily fortified. The samurai may break through, eventually, but only at great cost. You nod to yourself - if the next two movies are as well-researched and -thought-out as this one, you will greatly enjoy yourself tonight.
The rising action of the fallen boars and Moro's attack on Eboshi are very well done, demonstrating the difference between human ingenuity and youkai strength, but the true climax of the movie confuses you. The Deer God … what is it? It isn't a youkai - can't be a youkai. It's much too powerful … it's a force, an avatar of a process, not a thinking being in and of itself. Is it something that came before youkai, or something that a youkai - or group of youkai - grew into? Ashitaka claims that it is life itself - life which would now be free from a fading will, thanks to Eboshi and the priest - but … would that make the movie about the world correcting itself? Ending an existence - a youkai of life - that had lived too long and grown too much to continue existing? Is the movie about how humans cannot truly defeat the natural world, no matter how much they dominate it, and that life will always continue? That there needs to be balance? And … which side is the movie supposed to be on? As the credits scroll past, you continue to think on the movie and what it could mean ….
DM Note: This will be continued in another update. Spirited Away first, then Howl's Moving Castle. Flan will talk to Satsuki a bit during the intermission - if you want to discuss Flan's thoughts and other possible interpretations (or if you think there's something she ought to have thought of that I didn't mention), go ahead. I'll try to get both movies done next update, but … we'll see. I might have to push back to Friday to do that.
Your servant lays on the bed for a moment, silent, before sitting up. "Um, Flandre-sama? Will we be here … after … after visiting Misaki?" You raise an eyebrow before shrugging.
"We might be able to persuade Fate to pick us up later in the night, rather than after coming home from Misaki. If you want to, of course. Why?" She hugs herself tightly and looks away ashamedly.
"I'm … scared. Of what we might find. I … I think I do want to meet those people Amy and Fate talked about, but … if we do it tomorrow, I'm afraid I'll be bad company. So … tomorrow, if we could, could we just … watch the movies?" You ignore the obvious retort - that if things go poorly at Misaki, she won't want to meet Nanoha and Fate's friends because she'll be unhappy - and merely nod. This is Satsuki's time.
"Of course, Satsuki," you say gently, and she looks at you. Your smile turns into a mischievous grin. "Of course, you'll have to teach me how to behave in a movie theater. Do we have to bring vegetables to throw at the screen, or will they be provided?" Her face lights up and she shakes her finger, scolding you.
"Flandre-sama! Why would anyone do that?" You shrug innocently.
"What if they don't like the movie?" Her face turns red with indignation and she begins lecturing you! You try to keep the smirk from your face - you're not sure what brought on this surge of emotion, but you really quite like it, and you don't want her to 'snap out' of it if she realizes what she's doing ….
"Alright, you two have fun, okay? Come on, Karel, Liera." The children pout as Amy pulls them to a different seating area. They reach out for you, but you wag a finger and make a shooing gesture, and they follow their mother obediently. She gives you a quick smile.
"You're really good with kids, aren't you, Flandre-sama?" You snort and shake your head; they just like your wings. You find your seats, and fortunately the theater isn't so crowded that you have immediate neighbors - the nearest is a few meters away, more than enough space for you to relax your wings and stretch out. Of course, you still have to obey the prescriptions that Satsuki told you about - no chatting, no laughing, and generally being quiet. The lights fade, and you sit through the previews and commercials, and the short clip of black-clad ninjas beating up people illegally recording a movie … and then the movie starts.
The very beginning shows that whoever made the movie has an understanding of the world - gods live in the forest, because the forest is where humans don't live. Humans aren't forest-dwellers, they don't have the senses and strengths for it. Things that kill humans live in forests, and that is why forests are places of mystery and darkness. Places where you find gods. The initial scene with the cursed boar is a little off-putting - even a minor youkai shouldn't be that easy to kill, and with the level of strength it demonstrates, it definitely shouldn't have died from those attacks unless the boy was some kind of priest - but the revelation that the magic stone is what killed the demon boar salvages the scene a little. Just as troubling, however, is the treatment of Ashitaka's people - the movie seems to want to present them as being right for trying to live in harmony with the world, without demonstrating just how fickle and dangerous the world actually is. Humans didn't come to dominate the world because some of them were greedy for power; they came to dominate the world because those who lived in harmony died, because they were small and weak and the rest of the world was strong and ruthless.
Then the boy sets out on his journey, and when he meets the samurai attacking the civilians you look over at Satsuki. Not to judge her reaction to the warriors, but to see if she reacts to Ashitaka at all - like her, he is cursed, and like her, his curse is a very useful one … but it's still a curse, from a human point of view. Ashitaka's curse will kill him; Satsuki's curse has already killed her. And now there are choices - to let the curse control her, or to fight it and try to use it. Like her, you find you rather like 'Satsuki,' so you hope she is able to remain herself. She cocks her head at you when she notices you watching her, but you just smile and lean into her, rubbing your head against her arm. You aren't supposed to talk, after all!
And then you realize what the 'magic stone' that killed the boar was. The humans with firearms killed him. Surprisingly effective firearms, too … and of only moderate use against the wolves. That is what you expect out of youkai - speed, ferocity, and mayhem. And strength, but not invincibility … it might as well be, against humans without firearms, though. You wonder at the Chronicles' description of youkai commonly being able to survive being split into multiple parts. That's a lie - a useful one, in a realm where humans need to continue fearing youkai, but a lie nonetheless: youkai are simply stronger, tougher, and faster, so any humans trying to fight one in hand-to-hand will be butchered. Even an exceptional human against a rather weak youkai will usually end with the youkai winning. Humans only get one chance … until the advent of firearms. Firearms are impossible for most youkai to dodge, and they hit very hard, so one or two bullets will put down most youkai, at least enough that closing in with swords or pikes will prove effective. Even if the movie doesn't make it explicit, it explains why youkai no longer have the dominating power they once did: guns kill them.
The ironworks are a familiar sight to you. The world you grew up in evolved from that, and by the time you existed humans had made their refineries more efficient and effective. The outspokenness of the women is a little surprising, but considering not only the fact that the leader is a woman but also the firearms they use, women becoming more powerful isn't that surprising. The poor guard captain, though. The information on the leader is somewhat interesting, and makes you wonder if the maker of the movie researched youkai extermination techniques … or if youkai extermination techniques work so well because of human belief. Regardless, the great boar's rampage is a further demonstration of power, only more clearly shown than with the wolf Moro. Humans with swords and shields and bows and arrows simply aren't capable of inflicting enough harm to slow him down, but a single shot from a hand cannon inflicted a mortal wound, shattering his body and poisoning him. As Ashitaka explores the village, however, one thing becomes clear: the central figure is Eboshi. She knows how to kill youkai; she brought together men and women and lepers and welded them together; she drives the production and improvement of firearms. If she died, youkai would - for a time - regain their ascendant position, until firearms matured enough. Until true guns appeared, matchlock arquebuses and muskets, and guns became simple and easy enough to create and use that those who disdained them died to those who didn't. And then, as in Europe, the natural world would finally bow to humanity's will.
When the ape youkai show up, and you start believing youkai in this world to have been driven to extinction and the makers of the movie having access to the records of their extinction, Headless brings up another, more realistic point. Youkai are stories. Monsters derived from human fears, human thoughts, imagination. Of course youkai in a story would act like youkai! It still is interesting to see human projections of youkai attitudes and behaviors, though - the apes are the perfect blend of stupidity and cleverness, fear and desire. Too stupid to realize that eating a human won't necessarily make them stronger, but clever enough to realize that one draws strength and power from those that are consumed. And, of course, it's all but impossible to change a youkai's mind once it's made a decision ….
Which makes Moro's wisdom so much the greater - and Okkoto's wise foolishness so much more tragic. He knows that his kind are dying out, returning to merely normal boars, but he believes that a suicidal charge will generate awe and respect from the humans. But not these humans. Humans who have firearms become cold and calculating, and the best response the boars would get from them would be pity, because Eboshi is a woman who understands how youkai work, and how best to slaughter them. The boars will attack, and they will die by gunfire. And when the ironworks are attacked by humans, you nod in understanding - women can fire guns as effectively as men, and guns are powerful and dangerous, and the ironworks are heavily fortified. The samurai may break through, eventually, but only at great cost. You nod to yourself - if the next two movies are as well-researched and -thought-out as this one, you will greatly enjoy yourself tonight.
The rising action of the fallen boars and Moro's attack on Eboshi are very well done, demonstrating the difference between human ingenuity and youkai strength, but the true climax of the movie confuses you. The Deer God … what is it? It isn't a youkai - can't be a youkai. It's much too powerful … it's a force, an avatar of a process, not a thinking being in and of itself. Is it something that came before youkai, or something that a youkai - or group of youkai - grew into? Ashitaka claims that it is life itself - life which would now be free from a fading will, thanks to Eboshi and the priest - but … would that make the movie about the world correcting itself? Ending an existence - a youkai of life - that had lived too long and grown too much to continue existing? Is the movie about how humans cannot truly defeat the natural world, no matter how much they dominate it, and that life will always continue? That there needs to be balance? And … which side is the movie supposed to be on? As the credits scroll past, you continue to think on the movie and what it could mean ….
DM Note: This will be continued in another update. Spirited Away first, then Howl's Moving Castle. Flan will talk to Satsuki a bit during the intermission - if you want to discuss Flan's thoughts and other possible interpretations (or if you think there's something she ought to have thought of that I didn't mention), go ahead. I'll try to get both movies done next update, but … we'll see. I might have to push back to Friday to do that.
Movies II - Spirited Away & Howl's Moving Castle
Entropy Judge
Recurring Bouts of Misanthropy
DM Note: Because I'm not good at sleep management, Howl's Moving Castle took a couple hours longer than it should have, and it's still lackluster. If I missed something really big, somehow, I may have to change Flan's thoughts at some point, but I didn't want to make everyone wait another 10+ hours. My apologies for the fading quality toward the end of the update.
The lights brighten to a level where humans can see clearly while you muse about the story's point, and you look over to see Satsuki looking thoughtful. "Did you like it?" She looks over at you, then nods.
"I did. It was …." She trails off and looks away. You rub her shoulder gently.
"Parallels between you and Ashitaka?" She nods and you hug her arm, snuggling close. "I thought you might see some. I know it probably won't help much, but I do like you the way you are, and if there's something I can help with, I'd like to at least try." After a moment she leans into you.
"Thank you, Flandre-sama," she murmurs. "Oh! Do … do you think humans can live with nature peacefully, like the end of the movie says?" You blink, confused, and look up at her. She nods. "Ashitaka will stay in the ironworks, and San will stay in the forest, and they'll work to make sure that humans and nature can live in peace and harmony! Do you think something like that can work out in real life?" You ponder the idea for a moment, then snort and shake your head.
"Impossible. Not unless it's forced on them by some other force." Satsuki pouts, but you just shake your head again. "Look, I do know a few things about the world. Humans practically wiped out forests, whole species of trees, just to build ships, or to gather enough firewood, or just to clear-cut land for farming. This was before rampant industrialization, before people became accustomed to luxuries, before there were so many people. Unless humans as a whole change, or there's an outside force able to make humans live in harmony, they'll continue the path the ironworks forged." That's not the answer Satsuki wanted, but she considers it seriously for a long moment before nodding sadly.
"I guess … I guess you're right …." You lean into her again and nuzzle her with your head. "Heheh. Alright, Flandre-sama, I'll stop being so gloomy." A tone sounds and the lights dim slightly. "Already?" You nod, still leaning into Satsuki.
"It has been a few minutes since the last one ended." She murmurs something, then wraps one arm around you and strokes your hair. Oh, how you wish you could purr! Instead, you simply coo happily. After another few minutes, the lights dim entirely, and the next movie begins. You scowl lightly at the modern setting, then gape disgustedly at the stupidity and gullibility of the humans. Really, it's such an obvious youkai trap! And they fall for it anyway, just like humans always have and probably always will. Because they're stupid. Imagination, when tied to such stupidity, seems like it isn't such a great thing after all, because it allows humans to fool themselves so utterly. … Granted, many youkai would likely commit similar offenses if the situation were reversed, but they wouldn't make up stupid excuses, they would just say 'I'm hungry, and the food isn't being watched,' or 'I'm strong enough that I don't care,' and do what they want.
You frown at the priest's appearance - he isn't dressed in the red and white you're familiar with, but then again, Reimu's religion isn't the only one in Japan. And when the girl runs back to her parents, you have to clap your hands over your mouth to keep from laughing at the father-pig being beaten by the shop-keeper. It's rather fun trying to see which youkai you recognize - not many, unfortunately. You'll have to sketch some of them and look them up when you get back to the library …. The frog-attendant's interruption of the 'priest's' spell makes you frown, distracting you. Obviously he's no priest, but a youkai as well - a magician, perhaps? One that certainly takes care of himself, unlike a certain other magician ….
The story itself irritates you, particularly with the magician's - Haku's - insistence on helping the girl. He seems to have known her from a previous event, so it's not entirely pointless, but it still reminds you of other folk stories where the useless hero befriends a series of entities that offer him advice or aid, or give him something valuable, and so the hero survives and thwarts his foes. And as the movie continues, and she meets her next two conspirators, you can't help but wonder at their insistence on helping. She causes trouble for Kamaji, interfering with his work and his workers, and the serving-woman should have no personal interest in Chihiro's survival, either … yet they assist her, apparently fully willingly. It is true that, having assisted with the boiler, the girl has technically worked for Kamaji - and therefore Yubaba - but … it's an irritating hole in the story.
… You have got to find out what the thing with a bowl on its head is …. And then you jerk up, startling Satsuki, because one of the oni looks remarkably like Suika. And you have to stifle another giggle when the bouncing heads are introduced. Such adorable pets! Yubaba herself is only moderately interesting; for a magician, she seems to hold her powers as a very distant second to her business … an oddity, to be sure, but maybe a human who turned herself into a magician to extend her life, rather than a youkai magician like Patchouli, who simply matured herself? You're glad that you aren't the only one to break the silence with a giggle or laugh when she gets kicked in the head. It's simply something so unexpected to happen to a supposedly-powerful magician!
But the movie does get two things absolutely right. Among youkai, especially magicians, oaths are deadly serious … and always protect your name. You nudge Satsuki during the signing and nod seriously; she looks a little confused, then nods. You'll make sure she understands after the movie.
The inner workings of the bathhouse are only a bit interesting - if there's anything like it in Gensokyo, it's probably run by either the tengu, and therefore dreary and business-like, more of a meeting-place than a place of relaxation … or it's run by the kappa. You definitely appreciate how Yubaba's bathhouse closes up in the rain; no one should be out in weather like that. And you do appreciate that Chihiro actually earns the assistance of the shunned youkai, instead of having it given to her for no reason. You must be working with a different set of values … although the Stink God in the tub is quite cute. And Yubaba shows that she's actually good at her chosen profession. Always good to see competent help, and even the customers helped cheer them on.
The shunned youkai, though - it's very strange. It wants something, obviously, or it wouldn't have been at the bathhouse … and it learns, apparently very quickly, that others want gold - just from the encounter with the river god. Perhaps it's some sort of glutton demon? And Chihiro is the only person in the bathhouse who isn't greedy …. Hm. Everyone else 'helped' the youkai because it offered them gold, but she let it in just because it was out in the rain. No one else even noticed it. Why?
The baby, too, is an oddity, but that is easily explained by Yubaba's attachment to it, and the way she treats everything else. Everything - the baby, the contracts, the bathhouse, all of it - they exist to empower Yubaba and make her feel better. The bathhouse gives her wealth; the contracts give her control over others; and the baby lets her take care of something that doesn't actually need that much care - whether it's a baby youkai or a youkai baby, it's something that needs only a modicum of effort to take care of because it's so much more than a human. It lets her play the mother without actually having to sacrifice things. And as the No-Face, purified by the River God's gift, rampages through the bathhouse, you realize something else: Yubaba is a terrible magician. She has some degree of power, true, but she has neither skill nor the mindset of a magician. She's a businesswoman who knows some magic, that's all.
Of all things you've seen so far, however, the train ride seems to have the most meaning. The world is an empty ocean, crossed by the tracks, dotted with stations and dwellings. It is a world of youkai: a world empty, marred by sealed realms like the bathhouse - like Gensokyo - and connected by the slimmest of threads, if you know the way and can pay the price. It's easier to transition to the human world than to go from one world to another, sometimes. … Although, if the movie is trying to make a point that youkai are fundamentally lonely, it's both correct and dreadfully wrong. Youkai are alone, but almost never feel lonely. They are fundamentally complete entities; they may desire things, but a youkai that feels loneliness is a youkai that is probably damaged somehow. Or that, like Satsuki, does not fully accept itself.
Having that thought pushed to the front of your mind, however, brings up a thought. You and Remilia. You never feel lonely, even without her … but that's because you know you'll meet her again. If you didn't know that - or if you knew that you wouldn't meet her again …. How would you act? What would you do?
You think on that, fail to come up with an answer, and return to the movie. Zeniba is a proper counterpart to her sister - humble, a skilled magician, requiring little in the way of companionship, and content with a simple cottage instead of a massive palace and bathhouse.
… And then the girl remembers who Haku was, and breaks his curse, and then frees her parents and returns to the human world. Dissatisfying, even if she could possibly return to the bathhouse …. The movie seems to be presenting the message that one should be content with what one has, that where you live is where you should live. Not necessarily a problem for youkai - they don't feel with the same intensity as humans, not unless they're supposed to - but for humans …. You shake your head, feeling that the movie is unfinished and incomplete. Its message is missing, patchy. But when you look over at Satsuki, you see her holding back tears. Curious, and not a little bit worried, you pull her against you. Still, she waits until the lights return before saying anything.
"She - she didn't forget about everyone, did she? About Haku, and Kamaji-san and Lin?" You blink and cock your head. "The ending, it was like the beginning, and she didn't say anything! So … so she might have gone back to how she was before, but … but that would be so sad!" You sigh and pat Satsuki's head.
"It's alright. She had the new hair tie, and it flashed right before she turned around, remember? She wasn't told to forget, and the baby asked her to visit, so she couldn't forget! She …." You trail off unhappily, and when Satsuki's eyes threaten to tear up again, you shake your head. "She managed to escape from the world of youkai, and she can go back to see her friends. And I was hoping you wouldn't feel so bad about not being able to do the same, because everything you knew is lost to you now. You have to stay in the world of youkai, whether you want to or not, and you weren't given the choice." She looks away sadly.
"You're … reading too much into it, Flandre-sama. It's just a story." You flick her forehead irritatedly.
"Stories exist for a purpose, Satsuki. Entertainment is rarely the sole purpose! They exist to tell you that monsters can be defeated, how to live properly … and that you shouldn't let yourself get lost in the world of youkai." She doesn't respond to that, and you let her sit up, hunching away from her. "… I'm sorry, Satsuki. This is supposed to be something you wanted to relax to, and here I am trying to teach you and making you remember painful things. I'm probably wrong about the purpose of the movie, anyway." But Satsuki just shakes her head.
"Thank you, Flandre-sama. But I don't think you're wrong. Maybe it wasn't the reason the movie was made, but I'm sure it's a real reason, anyway." She smiles, then, and stretches. "Anyway, I'm going to get some more popcorn. Do you want anything?" You blink, then narrow your eyes at her. You know she didn't eat during the breaks!
"I thought you said not to eat during the movie?" She giggles and smiles slyly.
"You're not supposed to get caught." Her smile fades, but only slightly. "I wasn't supposed to eat during class, either. I just got good at eating quietly." You snort and wave her away. She giggles again and scurries back to the food stand, and is back by the time the commercials for the final movie are beginning.
It certainly doesn't grab your attention the way the first movie did, although it's not quite as bad as the second's opening. But there's still far too much smoke and smog for your liking, even through a screen. And the uniforms and war machines - someone is preparing for war, but doesn't seem to realize how bad a major conflict actually is for people. The casual use of magic by the strange young man is a bit interesting, but it's the witch that finally gets you involved. A proper youkai introduction, casual malice followed by a strange request. And then she's gone. Yes, hopefully you'll see more of her!
Of course, one of the better benefits of being a youkai is that you don't get old. You've seen enough old humans to understand just how pitiful a condition that can be. You also appreciate that the story follows proper form, this time - the scarecrow does Sophie a good turn after she pulls it out of the bush, and the young man helps her mainly to create a smokescreen rather than out of the goodness of his heart. Still, you can't help but feel that entering a magician's abode unannounced and uninvited is a poor decision. The girl's meddling is a bit annoying, but Calcifer reminds you of some pets Remilia kept for … almost a year, before deciding that, intimidating as they were, they just weren't worth the continuous magic to repair and fortify the mansion.
And the young man turns out to be the fearsome wizard Howl, which means that the Witch's assault wasn't simply malice, but intended to target him somehow. Ah, and there it is - and he walked right into it, didn't he? And Sophie nearly caused a major disaster. Tsk, tsk, people who don't communicate with each other ….
How would Remilia create a moving mansion? Certainly not something so ramshackle! A simple flight spell, probably. Legs are too ungainly.
Oh. Oh. Again, you fight the urge to giggle. A poor little magician, obsessed with his own beauty. Worse than many, too. And a coward! And contrary to convention a laugh sweeps the theater as the Witch of the Waste struggles to walk up a flight of stairs. Patchouli could manage those stairs just fine, without magic … of course, Patchouli isn't two hundred kilograms of blob. And a demon stole Howl's heart? A fool boy, then - either a contract foolishly made or a mistake.
Suliman's trap is quite impressive, too - a torrent of illusions and partial realities, designed to confuse and manipulate. It nearly works, too! Although … it seems the Witch's curse is much the same: Sophie appears to be an elderly woman, and feels that way, but how old she appears and feels also depends on her current situation. Sleep brings with it youth, for example. Perhaps that is the difference between 'proper' magic and the effects of Howl's demonic pact? His magic actually changes him … although he did mention other wizards transforming, so perhaps it's simply a matter of safety? Certainly, there seem to be rules involved … maybe it would be a fun game to try and figure some of them out, if the movie doesn't explain them later on.
You'll have to ask Remilia for some of the 'deputies'. They're so cute! Round little bodies and those adorable hats. Surely some homunculi wouldn't be too hard to make up?
… An exploration of love, what it drives people to do and to avoid? Sophie loves Howl, Howl loved himself and now loves Sophie. The Witch loves … herself? Who or what does Suliman love, though, and why?
You spend the rest of the movie getting more frustrated - there's no antagonist. It's a good enough love story, but the conflict stumbles because there's no character behind it.
"… And everyone lived happily ever after," Satsuki says, and you glance over at her. She's smiling, of course, and seems genuinely happy.
"I suppose they do end that way, don't they," you mutter, and she giggles.
"I think I liked it the best. Everyone learned something, and people worked together because they wanted to, not because they had to. And in the end, everything was fixed up nice and tidy …." You keep your mouth from twisting too much. Maybe that's why you don't like it. It is too neat, compared to the first two movies that have conflict - or at least interest - built into the surrounding world. But this story of Howl and Sophie … it wraps it all up as neatly as it can, with only the prince possibly creating an issue. And all the good parts ended too soon! You look around to see Amy waving, and the two of you head over to meet with her. She smiles nervously and you shake your head - her kids are asleep.
"Um, I can take Karel, if you don't mind taking Liera." Satsuki, still smiling, nods and moves to pick up the boy; you snort gently and pick up the girl, ignoring Amy's squawk of protest.
"It's not like they're heavy, Amy, and they aren't so close in size that it'll look weird." Liera squirms in your awkward grip, but you squeeze her gently to keep her in place and start walking.
You sit at the desk, shaking your head. You just watched the movies, why did Satsuki need to buy them right now? It's not like they take up much space, of course, but …. You sigh and shake your head to clear it, then look at Satsuki. She fiddles with a blank sheet of paper before turning to look at you. "So, Satsuki. How do you want to do tomorrow night?"
What do you do?
[ ] Try to sneak into Satsuki's house and see what this Satsuki is interested in … if she exists.
[ ] Try sneaking into the school and looking up the student recrods.
[ ] Check out Tohno Shiki's old home.
[ ] Check out the Tohno mansion from the outside.
- [ ] Obviously.
- [ ] Sneakily.
[ ] Sneak into the Tohno mansion and see if you can find someone matching Satsuki's description.
[ ] Other?
The lights brighten to a level where humans can see clearly while you muse about the story's point, and you look over to see Satsuki looking thoughtful. "Did you like it?" She looks over at you, then nods.
"I did. It was …." She trails off and looks away. You rub her shoulder gently.
"Parallels between you and Ashitaka?" She nods and you hug her arm, snuggling close. "I thought you might see some. I know it probably won't help much, but I do like you the way you are, and if there's something I can help with, I'd like to at least try." After a moment she leans into you.
"Thank you, Flandre-sama," she murmurs. "Oh! Do … do you think humans can live with nature peacefully, like the end of the movie says?" You blink, confused, and look up at her. She nods. "Ashitaka will stay in the ironworks, and San will stay in the forest, and they'll work to make sure that humans and nature can live in peace and harmony! Do you think something like that can work out in real life?" You ponder the idea for a moment, then snort and shake your head.
"Impossible. Not unless it's forced on them by some other force." Satsuki pouts, but you just shake your head again. "Look, I do know a few things about the world. Humans practically wiped out forests, whole species of trees, just to build ships, or to gather enough firewood, or just to clear-cut land for farming. This was before rampant industrialization, before people became accustomed to luxuries, before there were so many people. Unless humans as a whole change, or there's an outside force able to make humans live in harmony, they'll continue the path the ironworks forged." That's not the answer Satsuki wanted, but she considers it seriously for a long moment before nodding sadly.
"I guess … I guess you're right …." You lean into her again and nuzzle her with your head. "Heheh. Alright, Flandre-sama, I'll stop being so gloomy." A tone sounds and the lights dim slightly. "Already?" You nod, still leaning into Satsuki.
"It has been a few minutes since the last one ended." She murmurs something, then wraps one arm around you and strokes your hair. Oh, how you wish you could purr! Instead, you simply coo happily. After another few minutes, the lights dim entirely, and the next movie begins. You scowl lightly at the modern setting, then gape disgustedly at the stupidity and gullibility of the humans. Really, it's such an obvious youkai trap! And they fall for it anyway, just like humans always have and probably always will. Because they're stupid. Imagination, when tied to such stupidity, seems like it isn't such a great thing after all, because it allows humans to fool themselves so utterly. … Granted, many youkai would likely commit similar offenses if the situation were reversed, but they wouldn't make up stupid excuses, they would just say 'I'm hungry, and the food isn't being watched,' or 'I'm strong enough that I don't care,' and do what they want.
You frown at the priest's appearance - he isn't dressed in the red and white you're familiar with, but then again, Reimu's religion isn't the only one in Japan. And when the girl runs back to her parents, you have to clap your hands over your mouth to keep from laughing at the father-pig being beaten by the shop-keeper. It's rather fun trying to see which youkai you recognize - not many, unfortunately. You'll have to sketch some of them and look them up when you get back to the library …. The frog-attendant's interruption of the 'priest's' spell makes you frown, distracting you. Obviously he's no priest, but a youkai as well - a magician, perhaps? One that certainly takes care of himself, unlike a certain other magician ….
The story itself irritates you, particularly with the magician's - Haku's - insistence on helping the girl. He seems to have known her from a previous event, so it's not entirely pointless, but it still reminds you of other folk stories where the useless hero befriends a series of entities that offer him advice or aid, or give him something valuable, and so the hero survives and thwarts his foes. And as the movie continues, and she meets her next two conspirators, you can't help but wonder at their insistence on helping. She causes trouble for Kamaji, interfering with his work and his workers, and the serving-woman should have no personal interest in Chihiro's survival, either … yet they assist her, apparently fully willingly. It is true that, having assisted with the boiler, the girl has technically worked for Kamaji - and therefore Yubaba - but … it's an irritating hole in the story.
… You have got to find out what the thing with a bowl on its head is …. And then you jerk up, startling Satsuki, because one of the oni looks remarkably like Suika. And you have to stifle another giggle when the bouncing heads are introduced. Such adorable pets! Yubaba herself is only moderately interesting; for a magician, she seems to hold her powers as a very distant second to her business … an oddity, to be sure, but maybe a human who turned herself into a magician to extend her life, rather than a youkai magician like Patchouli, who simply matured herself? You're glad that you aren't the only one to break the silence with a giggle or laugh when she gets kicked in the head. It's simply something so unexpected to happen to a supposedly-powerful magician!
But the movie does get two things absolutely right. Among youkai, especially magicians, oaths are deadly serious … and always protect your name. You nudge Satsuki during the signing and nod seriously; she looks a little confused, then nods. You'll make sure she understands after the movie.
The inner workings of the bathhouse are only a bit interesting - if there's anything like it in Gensokyo, it's probably run by either the tengu, and therefore dreary and business-like, more of a meeting-place than a place of relaxation … or it's run by the kappa. You definitely appreciate how Yubaba's bathhouse closes up in the rain; no one should be out in weather like that. And you do appreciate that Chihiro actually earns the assistance of the shunned youkai, instead of having it given to her for no reason. You must be working with a different set of values … although the Stink God in the tub is quite cute. And Yubaba shows that she's actually good at her chosen profession. Always good to see competent help, and even the customers helped cheer them on.
The shunned youkai, though - it's very strange. It wants something, obviously, or it wouldn't have been at the bathhouse … and it learns, apparently very quickly, that others want gold - just from the encounter with the river god. Perhaps it's some sort of glutton demon? And Chihiro is the only person in the bathhouse who isn't greedy …. Hm. Everyone else 'helped' the youkai because it offered them gold, but she let it in just because it was out in the rain. No one else even noticed it. Why?
The baby, too, is an oddity, but that is easily explained by Yubaba's attachment to it, and the way she treats everything else. Everything - the baby, the contracts, the bathhouse, all of it - they exist to empower Yubaba and make her feel better. The bathhouse gives her wealth; the contracts give her control over others; and the baby lets her take care of something that doesn't actually need that much care - whether it's a baby youkai or a youkai baby, it's something that needs only a modicum of effort to take care of because it's so much more than a human. It lets her play the mother without actually having to sacrifice things. And as the No-Face, purified by the River God's gift, rampages through the bathhouse, you realize something else: Yubaba is a terrible magician. She has some degree of power, true, but she has neither skill nor the mindset of a magician. She's a businesswoman who knows some magic, that's all.
Of all things you've seen so far, however, the train ride seems to have the most meaning. The world is an empty ocean, crossed by the tracks, dotted with stations and dwellings. It is a world of youkai: a world empty, marred by sealed realms like the bathhouse - like Gensokyo - and connected by the slimmest of threads, if you know the way and can pay the price. It's easier to transition to the human world than to go from one world to another, sometimes. … Although, if the movie is trying to make a point that youkai are fundamentally lonely, it's both correct and dreadfully wrong. Youkai are alone, but almost never feel lonely. They are fundamentally complete entities; they may desire things, but a youkai that feels loneliness is a youkai that is probably damaged somehow. Or that, like Satsuki, does not fully accept itself.
Having that thought pushed to the front of your mind, however, brings up a thought. You and Remilia. You never feel lonely, even without her … but that's because you know you'll meet her again. If you didn't know that - or if you knew that you wouldn't meet her again …. How would you act? What would you do?
You think on that, fail to come up with an answer, and return to the movie. Zeniba is a proper counterpart to her sister - humble, a skilled magician, requiring little in the way of companionship, and content with a simple cottage instead of a massive palace and bathhouse.
… And then the girl remembers who Haku was, and breaks his curse, and then frees her parents and returns to the human world. Dissatisfying, even if she could possibly return to the bathhouse …. The movie seems to be presenting the message that one should be content with what one has, that where you live is where you should live. Not necessarily a problem for youkai - they don't feel with the same intensity as humans, not unless they're supposed to - but for humans …. You shake your head, feeling that the movie is unfinished and incomplete. Its message is missing, patchy. But when you look over at Satsuki, you see her holding back tears. Curious, and not a little bit worried, you pull her against you. Still, she waits until the lights return before saying anything.
"She - she didn't forget about everyone, did she? About Haku, and Kamaji-san and Lin?" You blink and cock your head. "The ending, it was like the beginning, and she didn't say anything! So … so she might have gone back to how she was before, but … but that would be so sad!" You sigh and pat Satsuki's head.
"It's alright. She had the new hair tie, and it flashed right before she turned around, remember? She wasn't told to forget, and the baby asked her to visit, so she couldn't forget! She …." You trail off unhappily, and when Satsuki's eyes threaten to tear up again, you shake your head. "She managed to escape from the world of youkai, and she can go back to see her friends. And I was hoping you wouldn't feel so bad about not being able to do the same, because everything you knew is lost to you now. You have to stay in the world of youkai, whether you want to or not, and you weren't given the choice." She looks away sadly.
"You're … reading too much into it, Flandre-sama. It's just a story." You flick her forehead irritatedly.
"Stories exist for a purpose, Satsuki. Entertainment is rarely the sole purpose! They exist to tell you that monsters can be defeated, how to live properly … and that you shouldn't let yourself get lost in the world of youkai." She doesn't respond to that, and you let her sit up, hunching away from her. "… I'm sorry, Satsuki. This is supposed to be something you wanted to relax to, and here I am trying to teach you and making you remember painful things. I'm probably wrong about the purpose of the movie, anyway." But Satsuki just shakes her head.
"Thank you, Flandre-sama. But I don't think you're wrong. Maybe it wasn't the reason the movie was made, but I'm sure it's a real reason, anyway." She smiles, then, and stretches. "Anyway, I'm going to get some more popcorn. Do you want anything?" You blink, then narrow your eyes at her. You know she didn't eat during the breaks!
"I thought you said not to eat during the movie?" She giggles and smiles slyly.
"You're not supposed to get caught." Her smile fades, but only slightly. "I wasn't supposed to eat during class, either. I just got good at eating quietly." You snort and wave her away. She giggles again and scurries back to the food stand, and is back by the time the commercials for the final movie are beginning.
It certainly doesn't grab your attention the way the first movie did, although it's not quite as bad as the second's opening. But there's still far too much smoke and smog for your liking, even through a screen. And the uniforms and war machines - someone is preparing for war, but doesn't seem to realize how bad a major conflict actually is for people. The casual use of magic by the strange young man is a bit interesting, but it's the witch that finally gets you involved. A proper youkai introduction, casual malice followed by a strange request. And then she's gone. Yes, hopefully you'll see more of her!
Of course, one of the better benefits of being a youkai is that you don't get old. You've seen enough old humans to understand just how pitiful a condition that can be. You also appreciate that the story follows proper form, this time - the scarecrow does Sophie a good turn after she pulls it out of the bush, and the young man helps her mainly to create a smokescreen rather than out of the goodness of his heart. Still, you can't help but feel that entering a magician's abode unannounced and uninvited is a poor decision. The girl's meddling is a bit annoying, but Calcifer reminds you of some pets Remilia kept for … almost a year, before deciding that, intimidating as they were, they just weren't worth the continuous magic to repair and fortify the mansion.
And the young man turns out to be the fearsome wizard Howl, which means that the Witch's assault wasn't simply malice, but intended to target him somehow. Ah, and there it is - and he walked right into it, didn't he? And Sophie nearly caused a major disaster. Tsk, tsk, people who don't communicate with each other ….
How would Remilia create a moving mansion? Certainly not something so ramshackle! A simple flight spell, probably. Legs are too ungainly.
Oh. Oh. Again, you fight the urge to giggle. A poor little magician, obsessed with his own beauty. Worse than many, too. And a coward! And contrary to convention a laugh sweeps the theater as the Witch of the Waste struggles to walk up a flight of stairs. Patchouli could manage those stairs just fine, without magic … of course, Patchouli isn't two hundred kilograms of blob. And a demon stole Howl's heart? A fool boy, then - either a contract foolishly made or a mistake.
Suliman's trap is quite impressive, too - a torrent of illusions and partial realities, designed to confuse and manipulate. It nearly works, too! Although … it seems the Witch's curse is much the same: Sophie appears to be an elderly woman, and feels that way, but how old she appears and feels also depends on her current situation. Sleep brings with it youth, for example. Perhaps that is the difference between 'proper' magic and the effects of Howl's demonic pact? His magic actually changes him … although he did mention other wizards transforming, so perhaps it's simply a matter of safety? Certainly, there seem to be rules involved … maybe it would be a fun game to try and figure some of them out, if the movie doesn't explain them later on.
You'll have to ask Remilia for some of the 'deputies'. They're so cute! Round little bodies and those adorable hats. Surely some homunculi wouldn't be too hard to make up?
… An exploration of love, what it drives people to do and to avoid? Sophie loves Howl, Howl loved himself and now loves Sophie. The Witch loves … herself? Who or what does Suliman love, though, and why?
You spend the rest of the movie getting more frustrated - there's no antagonist. It's a good enough love story, but the conflict stumbles because there's no character behind it.
"… And everyone lived happily ever after," Satsuki says, and you glance over at her. She's smiling, of course, and seems genuinely happy.
"I suppose they do end that way, don't they," you mutter, and she giggles.
"I think I liked it the best. Everyone learned something, and people worked together because they wanted to, not because they had to. And in the end, everything was fixed up nice and tidy …." You keep your mouth from twisting too much. Maybe that's why you don't like it. It is too neat, compared to the first two movies that have conflict - or at least interest - built into the surrounding world. But this story of Howl and Sophie … it wraps it all up as neatly as it can, with only the prince possibly creating an issue. And all the good parts ended too soon! You look around to see Amy waving, and the two of you head over to meet with her. She smiles nervously and you shake your head - her kids are asleep.
"Um, I can take Karel, if you don't mind taking Liera." Satsuki, still smiling, nods and moves to pick up the boy; you snort gently and pick up the girl, ignoring Amy's squawk of protest.
"It's not like they're heavy, Amy, and they aren't so close in size that it'll look weird." Liera squirms in your awkward grip, but you squeeze her gently to keep her in place and start walking.
You sit at the desk, shaking your head. You just watched the movies, why did Satsuki need to buy them right now? It's not like they take up much space, of course, but …. You sigh and shake your head to clear it, then look at Satsuki. She fiddles with a blank sheet of paper before turning to look at you. "So, Satsuki. How do you want to do tomorrow night?"
What do you do?
[ ] Try to sneak into Satsuki's house and see what this Satsuki is interested in … if she exists.
[ ] Try sneaking into the school and looking up the student recrods.
[ ] Check out Tohno Shiki's old home.
[ ] Check out the Tohno mansion from the outside.
- [ ] Obviously.
- [ ] Sneakily.
[ ] Sneak into the Tohno mansion and see if you can find someone matching Satsuki's description.
[ ] Other?
[X] Try sneaking into the school and looking up the student records.
Entropy Judge
Recurring Bouts of Misanthropy
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