"Someone capitalized the first letter of every word in a sentence".

It is, to an extent, a normal and expected behavior for sheen inks: they tend to be more saturated (sometimes, a LOT more), so they'll usually have a much harder time flowing and they will crust up your nib; the more sheen, the more those happen. And sometimes it's so bad the manufacturer will load them up with ammonia to make it flow at all. That means feathering is a lot more likely to happen too.

The smear is also a product of the saturation, there is such a high concentration that the dye can't all be absorbed by the paper, and a lot of it will sit on top of the page, and from my own experience with other saturated inks, 20 years will not "dry" it (it is technically dry), and will even be able to imprint itself on another piece of paper with a bit of pressure. Blotter paper will absolutely help a lot, and it costs next to nothing, and you should definitely get yourself some.

My recommendation for a much better ink for similar looks (maybe a bit less sheen though) is Ostrich's sheen series Sea of Okinawa. I have used it a few pens, (Jinhao 88, Waterman Allure, Pilot Custom 74 and Waterman Exception), with no issues, including as a daily. It's the best behaved sheen I have tried so far: no real feathering issues (nothing worse than a typical fountain pen ink, though somehow less than a typical blue), flows well enough even if it's on the drier side, doesn't crust up on your nib, and hasn't stained anything so far in three or four years. It's perfectly usable without having to tune the nib, unless your pen is already pretty dry to begin with. Although as with most sheen inks, you will need the right paper to show its full potential, and it's also a bit of a nib creeper, but if your nib is highly polished, it doesn't happen. Usual prices for an 18mL bottle is around 3-4€ here, and they also have them in 30mL, but at 6-7€, it isn't worth it (the cost of a glass vs plastic bottle).

They also have a more saturated one called Aegean sea, but I have not tried it. And I am not eager to change that after my experience with their Glen of the sea, which is incredibly saturated (looks like the holographic safety ink on various currencies) and sheens on anything including toilet paper (that is only a slight exaggeration), but behaves very poorly: it crusts very quickly and even under the nib, has super dry flow, it imprints on facing pages, it looks like black ink but smears a pinkish purple. I tried to dilute it to 60% with DI water, I tried dish soap, nothing makes it flow well. Despite all that, I still like this ink though, just because of that crazy sheen... well and the intriguing fact that I can't get the purple component to show up on purpose, it's always been accidental. Either way, the Sea of Okinawa behaves so well that I never felt it was warranted to even bother looking for anything else in that shade.

There are also non sheen inks that can sheen on the right paper, like Waterman's Bleu sérénité or J. Herbin's Bleu des profondeurs, but both of these require a rather wet nib and good paper. If you like their base colors, they can be worth a try, though don't expect a crazy sheen, they are very subtle in that respect.

For me it started because it was mandatory in first grade, so starting to use them was not my choice. Then I stuck with it because the ink choices were boundless, which wasn't (ans still isn't) feasible with other pens (even if I do re-ink Uniball Deluxe pens with fountain pen inks), that's what kept me using them when I was a kid, and is also something I thoroughly enjoy still to this day.

Then there is the fact that nibs are much smoother, so less fatigue and more enjoyment in using them. Nibs also offer variety in size and shape that can't be matched. Using them, I can write a lot faster, more legibly and for longer.

There is also the less technically relevant aspect of aesthetics. If we overlook the kaküno, preppy and the likes, there is no arguing that they are more satisfying to look at and hold in hand.

I have used them my whole writing life, and even if do occasionally use the odd BIC cristal, or some gel pens, fountain pens are, have been and always will be my main writing instruments. I have around 25-30 inks and 70+ pens, I use around a half liter of black ink per year (I have plenty of other colors, but they see less consistent use, so it's much harder to track), so I can see I use them a LOT, and using disposable pens feels extremely wasteful.

On the rare occasion that I have to use a gel pen for the day, a full refill for a Uniball S207 or comparable pen barely lasts the day, and it can happen that one does not even last the whole day. I do write and sketch a lot for work sometimes, and while these are uncommon examples, they are significant enough that they are a factor in not relying on gel pens... except when I don't have a choice (and I usually pack two spare refills).

Outside of fountain pens, no pen can write the same as a J. Herbin Emeraude de Chivor, that shading and shimmering is just not achievable otherwise. And yes, this is my favorite ink, even if there are plenty I do love. But the breadth of colors and effects achievable for daily writing is just completely out of reach of any other form of pen.

Granted, all that has a cost, not just upfront; but also in terms of finding paper that works with the inks one desires to use. Though, where I live, high quality paper is very affordable (3,50€ for a Rhodia 80 sheets in 90g/m² velum for instance), so I am lucky enough not to have to worry about that aspect.

Edit: typo

I would check the user manual of the derailleur for the cable routing out the derailleur. I don't remember which RD it was, but I installed one on a friend's (gravel) bike, and my dumbass thinking I knew better didn't read the manual and installed as usual, but that specific RD wanted an "odd" route for its cable. I didn't know that because I didn't read, so the friend had bad shifting in the middle of the cassette until I read how I was supposed to do it.

I wouldn't be surprised if a pro missed it because it was a really unusually tight route, and actually doing it solved the unpleasant shifting, even if it's a little unsettling to look at.

My first thought on anything like that is always to redo an indexing but also make sure the B screw is set properly, because that can causes so many shifting issues.

The odd part, and what I don't fully understand here, is that it seems to work as a 10 speed? Am I understanding that properly? 9 clicks plus initial position?

It is not really odd per se, your V200 is just wetter than your V126.

I am not yet familiar with the level of knowledge in this community, so please forgive me if I am stating some obvious facts: the amount of ink a pen lays down on paper is referred to as wetness. This characteristic comes from both the feed and the nib, but the nib being the last link, it impacts the pen's wetness the most, and a tiny variation in the tine gap (it is what determines the nib's wetness) will impact the resulting wetness quite a lot.

Wetness is what makes an ink look darker and/or more saturated.

It is odd to an extent though, because usually, within a brand, using the same nibs and feeds, there isn't a noticeable deviation in wetness. And do note that wetness is also an ink quality in the same way it is for a pen. Some inks are considered dry (very little comes out of a known pen), some are wet (at lot comes out). That's something you'll learn with experience.

However, rereading your post, something else came to mind: cap seal. If your pen has a bad cap seal ink can look darker because over time, water evaporates, so it will lay some more saturated/darker looking strokes at first, then eventually go back to normal. I doubt this is at play here, but this is something to keep in mind too when considering saturation/darkness differences between two pens.