#Even though it applies to literally every character and relationship

[albinokittens300]

The second season being described with the word 'forgiveness' has me hanging on to hope by a thread ngl.

[saintsenara]

What is your rationale for disagreeing with the fanon that the horcruxes affected Voldemort's sanity?

that it's literally canon that they don't!

i obviously don't have an actual problem with people using the idea that the horcruxes affect voldemort's sanity as a trope, if that's what works for their story, but what irks me is that this idea is often repeated by voldemort enjoyers as canon fact, when the impact of horcruxes on cognitive function is spelled out clearly in half-blood prince:

Harry sat in thought for a moment, then asked, “So if all of his Horcruxes are destroyed, Voldemort could be killed?”  “Yes, I think so,” said Dumbledore. “Without his Horcruxes, Voldemort will be a mortal man with a maimed and diminished soul. Never forget, though, that while his soul may be damaged beyond repair, his brain and his magical powers remain intact. It will take uncommon skill and power to kill a wizard like Voldemort even without his Horcruxes.”

in half-blood prince - as in every book prior to deathly hallows - dumbledore functions as the "word of god" character, which is to say that the information he provides us - as long as it relates neither to harry nor himself - isn't up for interpretation, it's understood within the narrative as correct. we can also be sure that he's done his research on horcruxes, knows exactly how they work, and is speaking as an expert when it comes to their impact on the mind - and we can also note that slughorn [who also seems to know what he's talking about when it comes to horcruxes and their function] doesn't mention them causing any cognitive damage when discussing them with the teenage tom riddle.

but nobody has ever made as many horcruxes as voldemort! maybe one doesn't affect the mind, but seven certainly could.

except this doesn't align at all with how the series understands the relationship between the soul and the will.

one of the central themes of the harry potter series is the value of choice. all of its main characters have narrative arcs which hinge - in some way or other - on them making a choice, very often the choice between what is right and what is easy. ron chooses to leave and then chooses to come back; hermione chooses to stay. sirius chooses to take a stand against the life his family expect of him. snape chooses to repent of his sins and work forever to atone for them. harry chooses to walk into the forest and die. lily chooses to ignore voldemort's request for her to stand aside.

all of these choices are made of the character in question's own free will - and the same applies to everything voldemort does in the series. he chooses to kill and to keep killing of his own free will, with the full capacity to understand his actions, and he refuses, right until the very end, to show the slightest bit of remorse for what he's done - and it is this, in the narrative's view, which makes his behaviour so heinous and which causes his behaviour to have such an impact on the state of his soul.

if we assume that voldemort's grasp on rationality declines with the number of horcruxes he makes, we are also assuming that his capacity to understand the full wickedness of his actions also declines - but his motivation for killing myrtle to make a horcrux and his motivation for killing frank bryce to make a horcrux are exactly the same: he wants to, and he doesn't give a solitary fuck about the life he's just taken.

and this stands in contrast to something else we see in canon - the idea that killing does not automatically have an impact on the soul:

“And my soul, Dumbledore? Mine?” “You alone know whether it will harm your soul to help an old man avoid pain and humiliation,” said Dumbledore.

this - the set-up to snape's mercy-killing of dumbledore - suggests that your soul is not harmed if you know without question that the death you cause is justified.

snape kills dumbledore of his own free will, but this suggestion also implies that it would be perfectly possible for the soul to remain unharmed if a killer was understood to be non compos mentis. that is, if someone lacked the capacity to understand their actions were not justified, then their soul would see them as "not guilty by reason of insanity" and not splinter.

voldemort's ability to make so many horcruxes in the first place, then, must depend on his capacity to understand exactly what he's doing - to know he could choose not to kill and then still do it anyway.

and we do actually see in canon that - while he's shown to be someone who kills with the slightest provocation in the films - the voldemort of the books is clinical and methodical in his violence:

“Nice costume, mister!” He saw the small boy’s smile falter as he ran near enough to see beneath the hood of the cloak, saw the fear cloud his painted face: Then the child turned and ran away... Beneath the robe he fingered the handle of his wand... One simple movement and the child would never reach his mother... but unnecessary, quite unnecessary...

the canonical voldemort's known kill count is actually surprisingly low, and each of his victims is clearly selected with a rational [in the "does he have a disorder of thought?" sense, not in the "is this morally justifiable?" sense] motivation driving his decision to attack them - even if his actions are also affected by an emotional trigger [he does not, for example, kill his father or massacre the goblins who tell him that the cup was stolen for reasons which are irrational or delusional - incandescent fury or fear that your secret is out are not insanity].

voldemort kills and makes his horcruxes out of choice, and the series is clear that his capacity to understand that choice does not degrade across the course of his life.

ok, but you have to admit that he's definitely not... all there, personality wise...

sure. but i don't think this has anything to do with the horcruxes...

the idea that voldemort runs around shrieking and cackling to himself is an invention of the films. the canonical voldemort is shown to be lucid and thoughtful even in deathly hallows, he remains a formidable strategist right up until the end - and i think it's also worth noting that the films really gloss over just how successful his takeover of the government is - and his prodigious intellect and magical talent are acknowledged by the order throughout the series.

his more volatile personality traits - his fondness for monologuing, his rapid switching between being superficially charming and feral, his tendency to get lost in his own obsessions, his emotional brittleness - are all ones the eleven-year-old riddle is shown to possess, and i think it's much more interesting to explore the idea that they remain aspects of the person he once was which the adult voldemort cannot hide behind the mask he has constructed.

but - yes - its certainly true that the resurrected voldemort of order of the phoenix onwards is more paranoid, harder to soothe, crueller to his death eaters, more inflexible in his thinking and so on than he is implied to have been in the 1970s, and so i understand why many readers interpret this as evidence that his last two horcruxes [harry and nagini] - plus the arcane horror of his resurrection ritual - might have sent him round the bend.

but i think that the implication of canon is that this behaviour has much more mundane causes.

in october 1981, all the evidence we have is that voldemort is about to win. he is an unassailable terrorist kingpin with an army of highly-trained, highly loyal minions and - we can assume - widespread popular support.

and then only four of these supporters try to find him.

it's clear - as we can tell from the fact that barty crouch jr. is so shocked to discover that he didn't massacre the reassembled death eaters where they stood - that voldemort is livid that none of his "loyal" servants came to rescue him from the tree in albania his soul piece was hiding in, choosing instead to pretend they were under the imperius curse and that they'd never have been seen dead supporting him had they been in their right minds. it's also clear that he has no choice but to welcome these death eaters back to the fold once he's resurrected because he'd have no core supporters otherwise.

but it's also clear that he doesn't trust any of them one single bit once their commitment is proven to be so fragile - and that it is this, this evidence that he's just a human being with human feelings, rather than a creature of pure magic whose mind has been warped by that magic, which provides a much, much more interesting explanation for his increasing volatility as the war draws to its conclusion.

voldemort is at his most interesting - in my opinion - when his humanity [and his failure to outrun it] is foregrounded. this isn't incompatible with his creation of the horcruxes at all. but it is, i think, incompatible with the idea that they warp his mind.

[messiahzzz]

You’re one of the most annoying people on this site. And that really says A LOT because WOW! Shut the Fuck up about Gale wanting to be a father or not. He never says that he doesn’t want to be one. You projecting things onto him doesn’t make it Canon.

on a serious note: i’m certainly not the one that continuously brings up this topic unprompted. i personally really don’t understand the entire controversy around the topic or why fandom feels the need to rehash this conversation almost weekly. i truly believe that there’s nothing more of value to learn from it, to address, or add to it… yet fandom won’t let it rest.

to once again clarify: what i mean by “gale wanting to be a father isn’t canon” is that there is no evidence/neither hints anywhere in any of the dialogue that support the contrary. characters like h*lsin, w*ll and la*’zel have entire adoption subplots. all of them mention their children explicitly during the epilogue:

narrator: *your soul warms thinking of lily aurora ravengard, your adopted daughter. a treasure of a girl, found at the entrance of the open hand temple - one grey eye, one brown.* w*ll: ah, the girl could melt the staunchest heart. she might even have brought a smile to old withers' face! w*ll: but tonight is for us - and lily's only four months of age, besides. i promise, the temple will keep her in good care.

player: and our little hatchling? is he safe? la*'zel: of course. i have complete trust in our newest allies. xan is in fine hands tonight. la*'zel: what a wonder he is. he will be a fine warrior, if he chooses. or a poet, or an explorer, or a scholar.

h*lsin: being away from it... i cannot help but worry how they will fare in our absence. player: we'll be back before they know it. h*lsin: i hope so. the children shall miss their bedtime tale tonight - though perhaps i can glean a few new stories from our friends here, to make up for it.

even shad*wh*art has a line where she briefly mentions that children might be a possibility for her in the future.

shad*wh*art: and i get to see my parents almost every day - i need to make every moment with them count, after so much was stolen from us. but they're doing well, [...] shad*wh*art: who knows? perhaps they'll have grandchildren before long.

gale in comparison? he has none of that. he remains childfree during the entirety of the game + epilogue. in fact, his line in the epilogue that addresses the topic of grandkids is this one:

tara: this is why mrs. dekarios and i will be waiting an eternity more for grandchildren. nodecontext: self-pitying gale: psst! shoo, tara. nodecontext: shooing away tara like one would a naughty cat.

i already wrote a post about this entire discourse here [x] but to repeat myself once more: all of the dialogue that vaguely addresses the topic of children in any way in regards to gale are these snippets

player: gale… how would you feel about having another person in our relationship? gale: what, like a child? i’m not quite sure i’d consider myself father material, plus our current lifestyle isn’t exactly what i’d call settled…

gale, upon spotting oliver during their game of hide and seek: ah, i have you! just a shame i don’t want you.

gale treating the children the group comes across with respect isn’t an indicator either. this is a courtesy gale extends to everyone he meets. he’s a character that approves of a protagonist who systematically commits good deeds. whether it’s sparing animals, helping without compensation in mind, or aiding children. wanting children to be cared for… and you know… for them not to die is common etiquette that every adult should extend to a child in need. those are not “dad goals!!!” it’s quite literally just basic human decency. gale is genuinely kind and caring to everyone he meets, there is no reason why this also wouldn’t apply to children.

i often see fandom mention his encounter with mol at last light and how excited he is to talk to her. which i think greatly misinterprets the context of the scenario since he didn’t have much of a reaction to mol before either — gale is ecstatic about lanceboard. again evident by his reaction to the party finding the life-sized board during the wyrmway trials, and how he immediately offers to give tav pointers. explaining different approaches to them in enthusiastic detail if they allow him to. the man just really likes lanceboard… as well as being the smartest person in the room.

gale: ah, lanceboard! why, this might just be the highlight of our misadventures to date.

gale: lanceboard happens to be a game with which i have more than a passing familiarity. might i offer a suggestion? nodecontext: gale's a badass lanceboard player, anticipating showing off

if you want to headcanon your tav and gale raising a big family together that is more than fine and no one is stopping you. whatever you want to happen to these two after the storyline of the game is up to your respective fantasies. no one is policing you on what you should do with your own character. go wild and create whatever fan content you wish, no justification required.

yet once again, as there is no mention in canon anywhere — neither in the main game nor the epilogue — that this is something gale would ever want (whether that may mean immediately or somewhere down the line) gale wanting to be a father remains a headcanon. while gale being childfree is explicitly shown in the game, in strict comparison to other companions that either have children by the end of the game or voice the desire to (eventually) have them.

my personal preferences are of no relevance here whatsoever. i care about accurate and correct characterization and will point out inconsistencies/false information no matter the topic. i, for one, want to appreciate these characters in the way they're written, not how i ideally want them to be.

[lunastrophe]

Drow Lore 🕷️ Drow Terms Of Address (part 2)

More terms of address for drow characters and (Lolth-sworn) drow - drow interactions. This time a few tips on how to address your drow lover in various types of relationships 🖤

🕷️ Choosing A Lover - in a Lolth-sworn drow society, a female always makes the first move. In theory, she is free to sate her physical desire with whatever partner arouses her attention. In practice, though, it is not always that simple. Sometimes things get complicated: when the person she wants has already been claimed by another female, or is subjected to someone more powerful, or is a member of a rival noble house, or (in case of females) has much higher station than her.

Drow males cannot choose their lovers, at least not female ones. In a Lolth-sworn drow society, they have no right to consent - or to refuse to consent, for that matter. They are simply taken by females and they are expected to comply and satisfy them, since rejecting (or disappointing) a female is customarily punished. It is not uncommon for females to torture or even kill their male lovers on a whim.

Typical (female) drow pickup line is probably something similar to kla'ath ussa, jaluk ('serve me, male').

🔹 Drow can refer to their lovers as: xi'hum ('pet', 'plaything'), seriso ('lover'), m'ranndii ('mate'), also mrimm d'ssinss ('female lover') / mrann d'ssinss ('male lover').

Mrimm d'ssinss means literally 'inspiration of seduction / allure / charm'. Both mrimm d'ssinss and mrann d'ssinss are terms that may indicate some dose of admiration - they also sound quite intimately, like half-purrs, half-whispers.

🕷️ Lover Of A Noble Female - matron mother's chosen mate is called ilharn ('patron'), but she is free to take as many lovers as she wants to. A male lover who is not the patron of the House, but enjoys the matron's favors, is called parzdiamo ('male playmate'). A lover of a noble female with more or less established status can be called zil ('consort').

Being attached to a powerful female is often seen by drow males as a way to raise their social status - patrons (or favoured consorts) usually have rivals seeking to undermine their position.

Males born or adopted into noble houses, especially the most talented or promising ones, are treated in many ways like their matron mother's property. Matron mother has the right to decide which females can or cannot have them, and she may even "borrow" the most valuable males to females of other houses - in exchange for favors, information etc. Such males are sometimes "borrowed" for breeding purposes.

🕷️ Lover With Feelings - developing genuine feelings for your drow lover may be a very bad idea. Such a thing is not only dangerous (according to drow, all trust is foolish), but it is also seen as unbefitting a drow and forbidden - and can be punished with torture or even with death.

It applies especially to female-male relationships (the fact that Lolth really, really hates her ex-husband may have something to do with this aspect of Lolth-sworn drow culture).

Drow do fall in love, though - very rarely and mostly with other drow, since they tend to perceive non-drow as inferior. According to Drow of the Underdark, 3.5e: "the sudden urge to consider someone else's well-being is a strange and frightening experience [for a drow]. Many drow react violently to love, seeking to destroy the object of their affections before they are further "corrupted" by the odd sensations. Those who don’t become violent usually make every effort to either impress or dominate the object of their affections, depending on their relative social standing. (...) for even the most loving drow sees little difference between intimacy and possession."

🔹 Drow can refer to a loved one as 'che ('loved one' - or at least as close as a drow term can get to the meaning of this word) or 'chev ('beloved'), or even quor'vlosara ('soulmate').

🔹 Drow can also use terms of endearment like ussta ssinssrigg ('my love / longing / passion' - ssinssrigg traditionally means all these things, also 'greed' and 'lust'), or ussta alurlssrin ('my love' - alurlssrin means unselfish, deep love; it is a term introduced to drow language by Eilistraeans, so probably not widely known in the Underdark).

🔹 (From BG2) ussta mzilst ssin'urn ultrin ('my most handsome / beautiful conqueror') - words of a female drow who has fallen in love with a man from the surface.

In a Lolth-sworn drow society, lavishing your drow lover with sweet words and tender gestures is something that should be done only in private - being discovered can mean torture and / or death for one or both of you.

For more of my drow lore ramblings, feel free to check my pinned post 🕷️

[pygmi-cygni]

writing tips: adding nuance and that 'it' factor

you've read good fics, and you've read great fics. fics that make you squeal and kick your feet and ache for the next installment. and it's not always because his dick is ten inches long. (sorry)

(this also applies to reg stories)

how do authors do that??? it's fanfiction, how is it so good???

well, first of all, there are some amazing writers (love you guys) but also, there's nuance.

the little things.

give your characters a 'thing'. a running joke, a piece of symbolism, a secret handshake, something like that. give a character a recognizeable 'ism' (like a habit or a tell) that someone relentlessly teases them for. nicknames! adorable. these things add little bits of color to the relationship and to the character arcs. don't force it, but if it happens, let it!

2. dialogue!!! omfg dialogue.

good dialogue is the shit. seriously. dialogue is so fucking important for literally everything. 'but pygmi, i suck at dialogue!' get over it. just kidding, practice! bookmark your favorite pieces of dialogue and try to identify what makes it so good. my favorite tip: don't edit the dialogue. no filter. just have the characters go off and say what they want. later, when you've found the gems, edit the gunk out but seriously! use character ai for inspiration if you need. no shame.

3. relatability.

for some reason, people have equated relatability to cynicism. that's not accurate. relatability means your character doesn't always have witty comebacks. sometimes they deepthroat the boot, it you catch my drift. if your MC always has a retort or a snapback, the bickering gets old. add some stumbles. it's ok! ur character is still a badass xox

relatability can also mean being humble. not pitiful, humble. your character can be good at something, but maybe not the best. everyone has a 'thing', something they're good at, but we still have moments of insecurity. I'm tired of reading 'they were the best mechanic in the galaxy blah blah blah' can you tell i read mando and poe fics or what give it some spice! don't make them a useless mess tho. gross.

you know what being a person is like. you are one, and if you're not you are surrounded by them. guess what - the characters in your fandom are people too (maybe?). my point is, even though it seems like they are superhuman or unreal...they are. write them as such. you can do it.

4. personal touches.

your writing has a voice. use it!!!!!! you can tell the difference between different writers because of their little touches. as a reader, i love those! it makes me feel closer to the story, if you add funny commentary or whatever.

5. staying with the story.

not with canon necessarily, but keeping the plot steady and the characters consistent. it's hard, because comments on your story can influence your story, but stick to the script. stories change, but if you throw it every direction, your readers will be like 'this person needs to figure it tf out bye.' keep a little checklist, stay organized. organization is key for continuity.

xox love u

[theotterpenguin]

How LOK Fails to Do Katara Justice (part II)

In part one of this meta, I explained how Katara's character received the worst treatment in Legend of Korra compared to the other members of the gaang, and the sexist writing of lok!Katara so that she is only defined by her relationships to her husband and children. In the second part of this analysis, I will explain how the common arguments that are used in defense of LOK's poor writing do not provide an adequate in-universe explanation for Katara's drastic change from ATLA.

Defense of lok!Katara seems to boil down to three main points: 

1) The “leave it to the kids” excuse: Katara is from the previous generation so she shouldn’t be expected to be involved in the plot - it’s time for Korra’s team to have a turn.

2) The “old lady” excuse: Katara is too old to be fighting wars or getting involved in international politics.

3) The “people change” excuse: Katara’s character, personality, and goals would change over time because she’s older now.

I would be willing to accept these excuses under the condition that they are also applied to the other members of the gaang. Ignoring the fact that the Order of the White Lotus is literally a bunch of old guys fighting in wars in ATLA, if Toph and Zuko are also portrayed as too old to be fighting and leaving all their problems to the next generation to fix, along with Katara, it wouldn’t be as much of a problem. If Sokka, Aang, Toph, and Zuko are all portrayed as having different goals and motivations and characteristics than when they were younger, along with Katara, then again, it wouldn’t be as much of a problem. (It might be bad writing, but hey, at least it’s bad writing applied equally to every character). 

The problem is that it’s only Katara’s character that takes a complete 180 from how it was set up in ATLA, it’s only Katara’s character that is too old to fight to defend her family, it’s only Katara’s character who leaves all her problems to the kids and stays completely uninvolved from the geopolitical conflicts brewing around her.

 Returning to our original three excuses, let’s see how well they match with rest of the gaang’s portrayal in LOK:

1) “Leave it to the kids” excuse: 

I will be leaving Sokka and Aang out of this since they are dead at the time of the show (though it should be noted that flashbacks show both of them being heavily involved in global leadership roles and managing political conflicts). 

This excuse is not even close to applicable to Zuko. As soon as he finds out Zaheer has escaped from prison, he flies off on a dragon to check the other prisons. He warns Lin to look after Korra, but this doesn’t stop him from investigating with Tonraq on his own, without Korra and co's involvement. As soon as he hears his family may be in danger, he flies off on a dragon to protect them.

This excuse doesn’t apply to Toph. She does state that she agrees with Katara that it’s time to leave things to the kids, but her actions say differently. As soon as she finds out Suyin has been captured, she immediately attempts to find her - on her own, without consulting with the younger generation. When she realizes Suyin has been moved somewhere else, she works together with Korra and co to save her family - twice actually. She also involves herself in Korra’s life by helping her train and recover from her PTSD.

Meanwhile, Katara does nothing when her home is dragged into a civil war, does nothing when her family is kidnapped, and does nothing when a bloodbender is using his abilities to oppress others (despite being the one to outlaw bloodbending).

2) “Old lady” excuse:

Again, also not applicable to Aang and Sokka because they’re dead at the start of the show.

This excuse does not apply to Zuko whatsoever. He never mentions that being old prevents him from fighting or getting involved in the political conflicts that arise. He has no problem fighting Ghazan during the Red Lotus prison break-in and has no problem riding his dragon. He stays involved in international relations despite being “retired” from his position as Fire Lord - helping to track down the Red Lotus, attending important international events, and holding meetings with leaders of other nations (Tenzin, Raiko, Tonraq).

Toph tells Korra that her fighting days are over due to having back problems, but has no problem fighting Korra during training and easily takes out Kuvira’s army. 

Katara never fights during the entire show. And as far as I can remember, she never waterbends at all beyond healing on a few occasions.

I feel like it’s important to note that both excuses 1 and 2 are never even mentioned in regard to Zuko (or the Order of the White Lotus) - it’s only Toph and Katara that seem to be “too old” to fight and have to leave everything to the kids. Toph’s actions don’t align with her words, unlike Katara, but it doesn’t change the fact that these excuses are unequally applied to old women in Legend of Korra compared to the old men in Legend of Korra (and ATLA). Good old misogyny at work!

3) “People change” excuse:

Sokka: Begins his story in ATLA as son of the Chief of the Southern Water Tribe, desperately trying to fill his father's shoes when Hakoda goes off to war. He becomes the defacto leader of the gaang over time due to his fondness for schedules, his leadership abilities, and analytical thinking skills. Despite being a nonbender, he held his own with his trusty boomerang and strategic thinking. Ends his story in LOK having taken over from his father as Chief of the Southern Water Tribe, putting those leadership skills to use. His intelligence and strategic thinking made him an ideal candidate to be a Representative for the Southern Water Tribe on the Republic City Council, as he could be trusted to make smart decisions that were the best for his tribe. He was even elected chairman of the council due to these skills. A statue was built in his honor, which included his favorite boomerang.

Zuko: Begins his story in ATLA learning to heal from his father’s abuse and, in the process, slowly comes to understand the evils of Fire Nation imperialism. He replaces his father as Fire Lord and vows to start a new era of peace and harmony, ending the war and the Fire Nation’s colonialism and imperialism. He also vowed to work together with the Avatar to maintain balance. Ends his story in LOK having achieved peace and prosperity in the Fire Nation again. Turned previous Fire Nation colonies into the United Republic of Nations - meant to be a safe haven for anyone, regardless of nationality or bender status - by working together with Aang. Fights against the Red Lotus to protect Avatar Korra and his family. His statue, in contrast to Ozai’s former statue, is one representing peace and hope.

Toph: Begins her story in ATLA rebelling against her strict parents, who are overprotective of her due to her blindness. She learns to rely on and trust others over the course of the series, realizing that accepting help from others doesn’t mean she’s weak. She enjoyed pulling scams on naive civilians in the show using her earthbending seismic abilities and participated in the Earth Rumble in her youth. She also invented metalbending and worked as Aang’s earthbending teacher. Ends her story in LOK having created a metalbending academy to teach others the bending speciality, along with establishing the first metalbending police force. Metalbending is shown as having made significant contributions to technological innovation and progress in the avatar world. Helped to train Korra while she’s recovering from the her capture by the Red Lotus. Though she liked breaking the rules when she was younger, she found it more fun to be the person in charge of the rules - leading her to become Captain of the Police Force. Still suffering the consequences of poor parenting as a child, she became an overly-lenient parent, leading to problems with her daughters. She states that her fighting days are over, but still seems to enjoy fighting Korra.

(As a side note: I do not agree with how the writers chose to take Toph’s story. Do I think they should have - and realistically, could have - gone in a different direction that did more justice to Toph’s character? Yes. However, I also see how it could potentially be possible that she became a cop and uninvolved parent based on her background. I don’t like it, but I can at least see some logic behind her storyline - unlike Katara’s. If anyone feels differently, I'd love to know your thoughts.)

Aang: Begins his story in ATLA learning to become the Avatar by mastering all four elements, mastering the Avatar State, and acting as a bridge between the human world and Spirit World. Struggles with being the sole survivor of the Air Nomads and attempting to keep his culture alive. Works to keep balance in the world among the four nations by defeating the imperial Fire Nation. Ends his story in LOK having achieved his goals as Avatar, successfully keeping peace amongst the four nations and establishing the United Republic of Nations as a sanctuary for all, no matter nationality or bender status. Considered a spiritual leader and successfully kept peace between the spirit world and human world. Had an airbender child and airbender grandkids, traveled the world to spread his culture, including building a temple on Air Temple Island in the United Republic, and other characters repeatedly state that for his entire life, his dream was to revive Air Nomad culture. 

Katara: Begins her story in ATLA trying to master her waterbending abilities, trying to teach herself on their journey. Views waterbending as a way to connect with her culture. She challenges the Northern Water Tribe’s sexism for the right to learn how to fight. Famously declares, “I don’t want to heal, I want to fight!” Passionate about standing up against injustice - causes a prison riot through an inspiring speech she gives, dresses up as a Fire Nation spirit to heal sick villagers, and goes after her mother’s killer. She is forced to bloodbend, a traumatic experience for her. Teaches Aang how to waterbend and is eventually bestowed the title of “master waterbender” by Pakku. Occasionally heals others when they get injured, but main focus is on development of her waterbending fighting abilities. Ends her story in LOK known as the best healer in the world, but fails to heal Korra and Jinora. Spends her time during the civil war on the sidelines, healing the injured. Marries and has kids with Aang. She’s lonely and her family doesn’t visit much. No known achievements beyond outlawing bloodbending (which she is somehow able to do without holding any political titles beyond that of the Avatar’s wife).

Hopefully it should be clear that Sokka, Aang, Toph, and Zuko's characteristics, goals, and motivations don't change as drastically as Katara's do. The writing of Katara in LOK did a disservice to her character. I've always deeply admired Katara for never failing to stand up against injustice, for her empathy and kindness even for those who are different from her, and for her determination not to let patriarchal norms define what she can and can't do. While LOK's portrayal of other characters provides a glimpse at how their character arcs in atla influenced the way they shaped the world, we never get a glimpse of the original Katara - only a lackluster imitation of someone with the same name.

If the Avatar franchise continues to expand with more post-ATLA content of the gaang as adults, I certainly hope Katara's characterization is improved.

[snapscube]

question! in your art talking about shipping your sonas/characters, does this apply to people drawing you with joy as well?

please take every bit of info in the nsfw guidelines post as literally as possible. but do remember this is PRIMARILY about the boundaries for risqué fanart. obviously i have a real world relationship but if im going to welcome certain types of risqué/nsfw fanart of my sonas then i only want it to be in scenarios where i have the sole responsibility of consent. it would get extremely weird and dangerous extremely fast if that were not the case. thus, when it comes to nsfw fanart, of it is even relevant, ONLY fictional, female “scene partners” where the character is made up and the points don’t matter. these boundaries as well as the others listed are primarily for saucy fanart, since ppl were asking about it. obviously im not gonna be upset if you just draw me and joy together in a normal context LOL. though i do NOT vibe with actual full on shipping me w real people in basically any context. don’t come to me w that please.

[o-sachi]

Niko Ikki ₊⊹ Relationship Headcanons + mini scenario

ଳ Character; Niko Ikki (Bllk)

ଳ Tags; fluff central, sfw, gn reader, no y/n

ϵ( 'Θ' )϶ had to repost because tags aren't working sobbbb

— Niko is a quiet and gentle kind of lover. While he may not express his affection that much verbally or physically, he makes it up for quality time. He looooves spending time with you and would even go out of his way to clear as much of his schedule as possible if it meant having more time with you.

— But definitely the love language the he likes to receive from you are is words of affirmation. Even small compliments about his clothes or his smell can make this boy incredibly happy. But if you express admiration for his football skills... oh boy. You'll have him wrapped around your finger in no time.

— HE IS THE BEST LISTENER OUT THERE. If you are a certified yapper, then consider yourself lucky. It doesn't matter how ridiculous your story is; if it's coming from you, then best believe he's all ears. His gaze will never leave your face as he nods along to every arc of your tale. He has the best reactions as well. Please share with him the juiciest tea that you have.

— While we're on the topic of listening, Niko's always up for a late night conversation. It hardly matters to him if the convo is happening in person or through text. Any form of communication with you is valuable to him. Late night conversations usually conclude with you falling asleep first because Niko's a night owl.

— One of the reasons why he loves you so much is because he feels as though you encourage him to come out of his shell a bit. The more you spend time with him, the more comfortable he is to show off more of his personality. Seeing as how you gracefully accept every bit of him makes him more willing to let loose. Butttt don't expect him to become an extrovert any time soon.

— He's very much willing to do those tasks that you don't like. It's one of the subtle ways he shows his devotion to you. Too lazy to brush your own hair? Don't worry 'cuz he already has a comb ready for you. Too lazy to fold your laundry? He's already folding them as you share another mundane story about your day. You always insist that you'll do it yourself some other time, but he's absolutely going to ignore your protests.

— I think his soft spot are his eyes. I mean, he developed a crush on you simply because you complimented how adorable his eyes were once. With that said... he is a sucker for eye contact. Look him straight in the eye and smile a bit, and oop; there he goes. He's now a puddle on the floor. HE LITERALLY MELTS UNDER YOUR GAZE.

ᯓ Skin Care scenario

"Okay, close your eyes for a sec."

Niko happily does what he’s told and screws his eyes shut. He places his warm palms on your thighs for balance as you sit atop the bathroom counter with him between your legs. Several skin care products were scattered to your side and it took you a while to find the exact bottle of product that you needed.

You squeeze a dollop of product on your fingers before gently massaging it on his cheeks. You couldn't help but smile at the sight in front of you—your boyfriend with the most adorable expression wearing your fluffy headband to keep his hair away from his face.

"What step are we on now?"

"Hmm... step four," you softly reply.

"And how many steps are there in total?" You giggle, already knowing what reaction you'd receive once you answer his question.

"There are twelve."

"Twelve?!" he exclaims and his eyes shoot open. But he quickly closes them again once he realizes you were still applying the product to his face. "Sorry, sorry, continue."

Truth be told, he was only surprised at the absurd number of steps because who needs 12 steps of products to get nice skin? But he would never ever complain about spending more time with you. Niko loves skin care night routines with you because of the close proximity it offered. It was incredibly intimate and he adored every moment of it.

But the real kicker was the eye contact. You'd get lost in each other's eyes while he patiently waits for you to accomplish every step. He barely notices when his skin starts to sting from the product when he's so engrossed in studying every feature of your face. He was head over heels in love with you.

"Oookay, you can open your eyes now~"

He smiles a bit as soon as he is met with your toothy grin. This activity never gets old, but it doesn't mean that it couldn't be spiced up.

"How about I do your skin care next time?" he suggests. The prospect of smooshing your cheeks without any fuss from you sounds like a good thing to him.

You smirk at him. "Do you even know all 12 steps?"

Niko pouts and eyes the plethora of products on the bathroom counter. "Uhhhh..."

A giggle escapes your lips. You can tell how hard he's trying to find a way to convince you. "Fine, babe. You can be in charge next time. I'll guide you."

And you swore his eyes just lit up.

ε( ε ˙³˙)ɜ ｡° ⚬ ｡ Likes and reblogs are appreciated

o-sachi © 2024

[trans-luis-serra-navarro]

Knowing me I’m gonna absolutely make this into a longer post but like. Isn’t it just SOOOOOOOO SILLY AND SO GOOFY that Luis bestowed the role of Sancho Panza onto Leon even though they’d only JUST met

Like,,,, Don Quixote isn’t just a book Luis loves a lot- he bases his ENTIRE MORALITY on his own ideas of what Don Quixote means and what the messages behind it are. He SURROUNDS himself with chivalric ideals and so, obviously, he holds that book and it’s characters VERY near and dear to him- hell, he doesn’t even let Ada or Ashley in on just how much this damn book means to him!!!!!!! The other scientists who he worked with during his time with Los Illuminados also called him Don Quixote, but realistically, how much would they have known of Luis’ deep-seeded love for that novel??????

So like. Clearly. There is NO WAY IN HELL Luis doesn’t understand the impact of Alonso (Don Quixote himself) and Sancho’s relationship. He ABSOLUTELY understands the importance of it and how vital to the tale each other are and how intrinsically intertwined they are in each others lives and how one would quite literally have not survived without the other and how they’ve gone through hell and back for each other (in Alonso’s eyes LITERALLY) and how Sancho was there for him when his illusions of fantasy finally faded away

So. Like. Luis picking Leon to call his Sancho HAD to be purposeful right????????

He HAD to have understood the weight of his words and the weight of his decision. Maybe Leon didn’t quite understand at first but Luis????? Luis knew DAMN WELL that Don Quixote and Sancho Panza’s relationship went further than two people who just happen to be on the same adventure. Luis picking LEON to be his Sancho was PURPOSEFUL.

He’s not just any old chum he happens to he stuck with; Leon is a man who fully encompasses EVERYTHING GOOD Luis believes in in the world. Leon is EVERYTHING his chivalric ideals want him to be. He’s an inherently kind and caring and selfless human being and he’s everything Luis wants to see in himself. He saved him from certain death and now they’re connected more by just the circumstances of their situation- they’d go through hell and back for each other and they HAVE. He wants Leon not just to like him but to LOVE him. Because Leon sees past his actions; he sees past his mistakes and up until now, nobody has ever given him that privilege. Just like how Sancho still believed in Alonso and still believed that there was worth in his fantastical delusions.

So how does Luis express this gratitude without just straight up saying ‘I love you’????

By using language he understands and is comfortable using, of course.

By projecting a story that has meant SO MUCH to him onto the both of them.

And GOD. THATS SO POIGNANT TO ME. HES TELLING LEON HE LOVES HIM IN A WAY HES BEST AT AND MOST COMFORTABLE DOING. HES SAYING ‘I LOVE YOU’ IN ALL OF HIS ACTIONS AND PROJECTIONS. WHICH MEANS MORE THAN THOSE THREE WORDS EVER COULD. HES USING HIS OWN LOVE FOR THAT BOOK TO PROJECT HIS LOVE ONTO THE PEOPLE HE CARES ABT GODDAMNIT‼️‼️‼️

(ALSO SIDENOTE THIS DOESNT JUST APPLY TO LEON!!!!! THIS APPLIES TO ASHLEY AND ADA TOO!!!!!!!!!!! HE PROJECTS THIS SAME LAMGUAGE ONTO THEM AS WELL, JUST NOT TO THEIR FACES!!!!!!!!!! HE SHOWS THEM KINDNESS AND LOVE IN HIS ACTIONS!!!!!!!!!!!)

And I think on some level Leon knows this too. He probably hasn’t analysed Don Quixote from every angle possible like Luis has, but he knows- in those final actions, when he takes up the mantle of his Sancho and confirms to Luis that, yes, he WAS a fine knight, he WAS his Don Quixote- I think he knew exactly what Luis had been trying to say to him this whole time. Just…. Using words that best describes it in his own way.

[nothing-to-say-okay]

And Your Bird Can Sing - The Thesis

Tell me that you got everything you want and your bird can sing, but you don’t get me

Caught up in thinking about this song that we have conflicting reports and opinions on what it’s actually about and ready to present my thoughts.

TLDR: And Your Bird Can Sing is about a cycle of torment (or cycle of abuse, but I prefer to be careful with usage of that word for various obvious reasons).

Disclaimer: It is not my intention for my take to be seen as the ultimate reading, you can agree or disagree and I will be happy to discuss!

WARNING: THIS IS GONNA BE LONG!

INSPIRATION

First person to claim they served as an inspiration for this piece is Marianne Faithful in her relationship to Mick Jagger (sorry Marianne, the song can’t be inspired by you, you and Mick weren’t even together when it was written - AYBCS was recorded in April 1966 and written probably earlier, Marianne and Mick got together in November 1966. That does not mean that she cannot identify with something in it though).

Then we have Cynthia who said it’s about a golden bird cage that she says she gifted to John and while this seems a bit absurd as Cynthia does not appear to match the person addressed in the song, I wouldn’t be quick to disregard her as a partial inspiration for this song. I will talk about it later when applying a plausible autobiographical reading.

There’s also a theory that it’s actually inspired by an interview with Frank Sinatra and his criticism of The Beatles. We know that there was some sort of a rivalry going on between him and the band, a representation of a generational clash between the old world and the new. I actually like this interpretation and as Paul once said, “most of our songs start as a newspaper article”. I do think that this news piece probably inspired some lines and in a way, it is also about that - you can actually view the lyrics that way - remember that a song can be about multiple things at once. But I don’t think this is the ultimate reading.

More under the cut.

THE LYRICS

First of all, let’s forget all about the supposed inspiration and take a look at who’s who in these lyrics.

We have what looks like three characters in the song: the narrator, the ‘you’ that’s being addressed and a bird that seems to belong to the ‘you’.

Over the course of the song, the character of the narrator is chastising the ‘you’ character for manifesting several unflattering character traits akin to narcissism and not understanding them.

The ‘you’ person is:

materialistic (prized possessions, got everything they want) 

sort of know-it-all (they claim to have seen seven wonders and heard every sound there is)

yet they don’t get the narrator (to “not get” can either mean “not possess” or “not understand”, I assume it’s supposed to be both)

don’t see them and don’t hear them (therefore they don’t understand them or completely miss them and their point). 

Now, let’s take a look at the ‘bird’ character that belongs to the ‘you’ (I assume that I don’t have to remind Beatles fans that ‘bird’ can be synonymous to ‘woman’).

The bird:

can sing (which could mean this person is literally a singer or they are capable in doing something else, anything they are supposed to do), important takeaway - it makes noise that can be heard

is green (green is usually synonymous with jealous/envious or alternatively inexperienced, although I don’t think the latter makes sense for this song in particular. It can also be something else as ‘green bird’ is a recurring character in the lennon/mccartney-verse - hello, chica ferdi/Sun King), important takeaway - by being colored green the bird makes a visual impression that can be seen

can swing (the most puzzling part, I saw people interpret this in connection to the swinging London in the 60s and maybe), important takeaway - the bird can move independently to its ‘you’ """"owner""""

Now, I’m going to propose something a bit out there. The bird and the narrator could be (but also don’t have to be at the same time) interpreted as the same person.

Considering the important takeaways from the ‘bird’ character section:

your bird can sing (you can’t hear me)

your bird is green (you can’t see me)

your bird can swing (you don’t get/own me)

The narrator further complains:

When your prized posessions

Start to weigh you down

Look in my direction

I’ll be ‘round, I’ll be ‘round

The narrator worries that the ‘you’ prefers money/material things over them (and their spiritual experiences). But once they decide that the narrator means more than the prized possessions, they can come around. The narrator will be waiting.

When your bird is broken

Will it bring you down

You may be awoken

I’ll be ‘round, I’ll be ‘round

This gets a bit dark, I must admit, but it reads to me like the narrator is imposing some emotional manipulation here (either they are straight up threatening with self-harm or not so subtly reminding to the ‘you’ that their mental well-being is dependent on them and if they won’t clean up their behavior and wake up, shit will go down, yet the narrator doesn’t intend to leave). But the narrator is also doubtful that the ‘you’ will care - will it [even] bring you down?

This song is thematically very reminiscent of two particular songs on the preceding album Rubber Soul:

Girl - where the narrator also describes a person with narcissistic traits that they cannot leave and Nowhere Man (he’s as blind as he can be/can you see me at all?) about two lost characters who don’t understand each other. And Your Bird Can Sing is like these two songs were combined together but the stakes are higher.

AUTOBIOGRAPHICAL READING

First of all, I want to say that not every song has to be based on the author’s life. And if it is, maybe it’s a metaphor or an exaggeration due to poetic license. That said, let’s take a look at two likely subjects in John Lennon’s life and his relationship to them that could have inspired him to write this because I think it’s easier to understand the song that way. Also if you are uncomfortable discussing real life relationships in this way, I guess it's time to quit reading now.

CYNTHIA

Yes, Cynthia herself suggested that this song is about her. But how could that be? It doesn’t seem like her to be chasing prized possessions and ignoring John in the process and I don’t get the vibe that she would be emotionally manipulative like that though of course, we don’t know the reality. And I doubt she would have claimed to see “seven wonders”, even if it is a hyperbole.

What I think is more likely is that if Cynthia, in her relationship to John, is someone in this song, it’s the bird trapped in her golden cage (that she literally gave him or… he metaphorically gave her in some way?) and John is the ‘you’ who treats her poorly as well as he is the narrator. He is chastising himself for how he treats her. He knows he hurts her. He understands that she’s her own person who is strong and can do her own thing without him (sing, swing). And he doesn’t like it. He understands that he will break her if they will go on like this (when your bird is broken, will it bring you down?).

For this interpretation to be true, it requires a great deal of self awareness but also inability and/or lack of willingness to change and put his words into action. In my opinion, that tracks perfectly with what he said about himself in the interviews over the time. It’s cruel but also kind of soul crushing and difficult to live with, if he felt guilty about the situation at all (I want to say he probably did).

Cynthia is kind of a satisfactory answer for the second character casting in this song, although I don’t think this is all there is to it. And the second subject that likely had influence on this song is…

PAUL

Unpredictably. Now, I feel like I will get stormed by both skeptics (not every song has to be about Paul!) and Paul fans (he wouldn’t treat John like this!) for what I’m insinuating here. But give me a chance to explain.

Well first of all, John is the POV, feelings are subjective and the narrator, real or fictional, is not always reliable. It might as well be that the harm that is being inflicted on John is only perceived that way by himself because of his own issues which I won’t be getting into here. But also maybe not? Or not fully (something about the intent).

That said, the narcissistic traits described in the lyrics of both this song and the song Girl match up with traits John would later ascribe to Paul and explain John’s own Jealous Guy (green guy, hah) sort of behavior. It is not far-fetched to me to hypothetically assume this is how he could feel about him. Give it a couple years of bottled up hurt, some sort of a ‘final straw’ kind of action (not only leaving the Beatles but John flipping about Paul buying the prized possessions Northern Songs shares to "one up" him, something happening in India or whatever), a questionable primal scream therapy or whatever else went down and you might as well get resentful 70s Lennon.

If this is indeed about Paul, then I think John sees himself as the narrator and the bird. Paul is the ‘you’ in that case, just to be clear.

One more thing I want to propose as a part of their lyrical dialogue, let’s say, is the connection to another Rubber Soul special, I’m Looking Through You, a song largely recognized as a piece depicting a quarrel between Paul himself and his girlfriend, Jane Asher. I am not disputing that at all (as well as I’m not disputing Cynthia being an inspiration for this song), but a song can be about more things at the same time (let’s say, in this case, Paul’s general attitude towards people he loves but who in his opinion also mistreat him).

I’m looking through you, where did you go?

You can’t see me

I thought I knew you, what did I know?

You don’t get me

Your lips are moving, I cannot hear

You can’t hear me

Funny how that works, eh? And then you have this.

You’re thinking of me the same old way,

You were above me but not today,

The only difference is you’re down there,

I’m looking through you and you’re nowhere

Because he's a real nowhere man, sitting in his nowhere land.

(And I’m Looking Through You is also about perceived harm - why did you not treat me right? - caused by the subject of the song, it’s a cycle of… miscommunication and vindication, I hurt you, you hurt me, you won’t be above me, i won’t give you the pleasure, I won’t resign myself to you). It’s like a game of pride. Who’s going to give in first? Who will be the first one to be broken (or break the cycle)?

I also think it’s interesting, assuming I got things correct, to contrast how John views Paul and Cynthia as different characters in his inner world/the song, Paul views John and Jane as the same character.

IT'S ABOUT BOTH...

…and that’s the crux of my thesis. The song is, in my opinion, about both John’s relationship with Cynthia and with Paul. But whereas in his relationship to Cynthia, John sees himself as the tormentor but he also doesn’t want to let her go, in his relationship to Paul he sees himself as the person who’s being harmed but cannot make himself leave. (There’s three characters in this play after all). And my interpretation of Girl is similar, although it’s thematically a bit different as it concerns torment and desire (Girl is how John sees Paul but Girl is also a part of John’s personality who mistreats people).

(There’s also a part of me who believes that John on some level wanted his dream girl to treat him like that due to his self-deprecating turn on connected to oedipus' complex and him sort of fancying being a tortured artist but that would also make for a separate post).

Pain will lead to pleasure.

It’s a vicious cycle that repeats itself not only vertically within John and Paul’s relationship (and to them from their parental figures’ mistreatment). But also horizontally as it spreads from them to their respective partners (or rather from John to Cynthia - from his own POV, we don’t know much about Paul’s relationship with Jane and I am not insinuating he abused her!!! but if I’m Looking Through You is about her as well, he was looking through her, just like he was looking through John - he was ignoring them in a way - passive aggressive way - to feel in control - rather than facing the issue head on) and perhaps others (enter annoyed George). (I also think ILTY is meant to mirror Paul’s behavior with a behavior of his father Jim towards himself when he was younger based on the information available where Jim would be the emotionally unavailable character that also doesn’t treat Paul right - love has a nasty habit of disappearing overnight).

I want to also go back to the theory about Frank Sinatra as a representative of the old generation and generational abuse inflicted by parents on their children because I do think ultimately think the song is about that too. We are at the cusp of summer of love and the new generation that the Beatles represented is about to start a revolution - a fight for liberty of all kinds and freeing themselves of the old established rules. I already mentioned John’s abandonment issues but maybe he’s also being more general? Maybe he feels like the old conservative world is hurting him (and other young people) for whatever reason.

BUT WHAT ABOUT THE GIGGLING TAKE?

You know, fair question… The easiest explanation is that they just got high and forgot about their problems for a moment, it was not all dire (just like it wasn’t between John and Cynthia) - to paraphrase John, sometimes it was fun and sometimes it was not.

Maybe the autobiographical reading is not as biographical as we are lead to believe. Or it’s highly dramatized. Maybe it has nothing to do with real life J&P, really. Maybe they are just projecting their struggles with their girlfriends on each other in their made up fantasy world. I mean, who knows? Plausible explanations are many. It is not my goal to give an interpretation of their relationship as my take on the lyrics applies to many possibilities, in my opinion. Though I think it's meant to be connected like I suggested.

THAT'S ALL FOLKS

What do you think? And have you ever noticed something about Revolver and cycles?

[eowynstwin]

Ayo... you by chance got any Ghost headcannons?

BOY DO I. Here’s what I want to talk about though:

I don’t think Ghost resembles the frankly weird, ultra-dom sex god that fandom has made him out to be. Man wears a mask, self-reportedly, even to sleep. That is LITERALLY the most repressed thing I can think of outside of the church itself.

That’s not to say I don’t think he’s great in bed, but it’s for different reasons that apply also to his overarching character. I think the Ghost persona allows him to be Simon without actually being Simon. The mask allows Ghost to trick himself, to say, “Simon Riley is dead and I am his Ghost” in order to deal with the cognitive dissonance he has of living with extreme trauma.

Soooo, Ghost is more expressive, more himself, really, with the mask on. He can do things as Ghost that Simon Riley just would not have the strength to do anymore. He can connect with his teammates, spend time doing things he enjoys, and yes, he can have and enjoy sex.

While I don’t prefer to rely on actors’ interpretations of the characters they played, I do agree with Samuel Roukin on this—Ghost doesn’t date. Dating is a game for people who are alive. Simon is not. Ghost is “not.”

When Ghost wants to get laid, he follows the age old tradition of picking someone up when he’s gone out for drinks. He’s not opposed to having sex with coworkers, I think, but what happens in the bedroom holds absolutely no bearing on his professional relationships with them.

Boundaries on the whole are sharp and immutable—don’t ask him about work. Don’t ask him about his past. He’s not there for you to get to know him. Follow those rules? He’ll do anything you want.

Mostly though, he fucks you like he wants your body to be unable to forget his. Ghost, for all his insistence to keep things casual, still longs for human connection. He has a hunger for people, for intimacy, born naturally out of an incredible lack of it. So if you do get him into bed, it will feel like Ghost is desperate for you, has wanted you for longer than he’s even known you.

Also, if you follow his rules, he’ll usually come back to fuck you again. Ghost doesn’t want anonymous, doesn’t want someone new every time. Knowing you, knowing your body, knowing what you can do together, is a part of the act that stems the tide of his loneliness. He is very perceptive, and enjoys making a mental catalogue of the things that wreck you. The only thing he enjoys just as much is when you show that you know, too, how to wreck him. It is a deep, ineffable satisfaction, having sex as a vehicle for knowing and being known.

He will overindulge—in his opinion. Ghost always thinks he’s talked to someone too much, spent too much time with someone, fucked someone for too long. It’s a byproduct of trauma borne of a difficult family life. Building something real with someone else represents a massive risk that has only proven detrimental to Ghost in the past—to Simon.

If he catches feelings, his instinct is to sprint in the other direction. He will withdraw, become hard to get into contact with. It is never out of cruelty on his part, and if you do manage to get ahold of him, he won’t snarl at you like his father snarled at him, snarled at his mother. But if you pressure him, demand his time, push him for what he has explicitly told you he will not give, then he will pull out the explanation that always works for him: “You know what this was.”

If you don’t pressure him though—if, when you get ahold of him, you just tell him that you’d like to see him again? That he’s always welcome? Ghost is drawn like a moth to a fucking flame. He’ll hate himself for it, for needing you, for being stupid enough to want you, but he won’t be able to help it. And he won’t stop himself, either.

Give Ghost time, and he will become your shadow. You will never need to look very hard to find him. You will never need to worry about being alone. There is nothing, when he is yours, that will keep him from coming back to you.

[veronika-tserber]

Natal SUN/PLUTO Aspects The Quest for Authenticity🕯️

Let me set the vibe, first.

It's a brand-new playlist, and I do accept recommendations!

The Sun in astrology is the archetypal King figure. It represents our consciousness, the pure awareness that I AM. Every planet has its own WILL, and the Sun’s will is to BE — to shine and express itself into the world. This is our personality and ego, but also our Life Force, a.k.a Spirit. When we look at the Sun and its aspects/house placement, we see what gives us a sense of fulfillment and purpose in life.

On the other hand, Pluto is the Lord of the Underworld, the Sorcerer hidden away from the light. It’s a generational planet that helps us heal and evolve spiritually by putting us in critical situations. Similarly to Uranus and Neptune, Pluto is an Outcast , a Divergent— the opposite of the widely accepted and adored King. I personally imagine him as a Quasimodo-looking character, but make no mistake. Pluto is immensely powerful.

When these two unite, it’s uncomfortable for both. Pluto feels exposed, and it desperately wants to hide away from the light, whereas the Sun feels like it’s been covered with a thick cloak of darkness. 

The Aspect is Most Potent if:

it’s within 5 degrees (those are the orbs that I’m using)

it’s APPLYING instead of SEPARATING 

it's a conjunction, square, opposition, quincunx, or quintile (harmonious aspects are usually less intense, especially the Trine)

SUN/PLUTO NOTES

📌 This is a highly karmic aspect - especially karma from their father or paternal side of the family. They are essentially breaking the taboos and secrets their ancestors couldn't didn't dare to speak about and confront. These people are the ILLUMINATORS who shift their family's paradigm around heavier, darker topics. They don't have to dig for any familial secrets, though. If they do their personal shadow work, they will break the chains of karma for all past and future generations.

📌They might become socially powerful and be known for their power/sexuality/mystery/criminal activity or occult/healing abilities. They could also become self-obsessed, or obsessed with their goals and desire to be known.

📌The Sun represents a woman's ideal husband, which is why in a woman's chart, this aspect can be really dangerous. She might be unconsciously attracted to (and even marry) abusive, controlling, really DARK individuals. They will mirror, and take to an extreme, her own unintegrated Shadow and/or unresolved daddy issues.

📌You might know these people for a long time, and not actually know them. Some of them have IMPENETRABLE defenses. When they do let someone in, they are terrified of being truly seen - with their good, bad, and ugly sides. This vulnerability is the cave they fear to enter, but it holds the treasure they seek. Deep down, they DO want to be seen and accepted as they are. But they most likely won't get that love from another person until they learn to love themselves unconditionally, first. They have to stop trying to run away and hide from themselves (or their father).

📌 Their father, and specifically his relationship to his Shadow, and the darker aspects of life, played a big role in the formation of their personality, and how they view themselves.

There are three scenarios here - 1) he was either a PUNISHER of the shadows (could've literally worked as a policeman, for example); he was an EXPLORER (psychologist, investigator) or he was a HEALER - occultist, energy worker, etc.

These are three levels of consciousness. If he punished the shadows - his and the world's - the more shame and guilt he could've projected onto his child(ren). These people might feel as if he's always monitoring their steps, and they can't hide anything from him - especially their mistakes or anything "taboo". If they were heavily judged or punished, they will grow up feeling guilty and ashamed of a very big part of what makes them human.

This affects how they view themselves - they can either see themselves as a Divine Child, with both the Yin and Yang, light and dark within or as a Beast, some sort of a Devil responsible for all the evil in the world.

They should know that whatever it was, it had nothing to do with them and EVERYTHING to do with their father's own degree of self-acceptance and wholeness.

Nonetheless, their relationship with him is/was intense, and there might've been a lot of power struggles involved.

📌These people are MAGNETIC in a way people can't explain. Even if they aren't traditionally "beautiful" or "attractive", they just draw others in. Powerful presence and aura.  

📌 It might take them some time to realize the power hidden in their shadows. They are destined to become Alchemists, but how easily or quickly this will happen depends on their free will and desire to separate themselves from their father's projections/expectations.

The task here is to become SELF-AWARE. They can use a myriad of tools - therapy, meditation, yoga, energy healing, somatic work, OR ART to channel their Shadow and integrate it into their consciousness.

📌 During their lives, they are often called to the gates of the Underworld. They learn how to enter it fearlessly, and how to listen to the voice within. This process of illumination (Sun) will help them transform their subconscious mind (Pluto), and when they emerge from this metaphorical Underworld, their work and expression in the world will have a different quality, richness, and potency to it. This is how they step into their power and leadership - by making peace with the demons of the past.

📌 Introverted or extroverted? Both. It mostly depends on the specific aspect, but also on other placements. We know that Mars is Pluto's lower octave. So, in their early life, some of them might be quite extroverted, focused on worldly ambitions, and even be less selective about the people they let in their close circle. As they age though, their focus turns inwards. They can progressively become more introverted, self-reflective, and their goals/values can dramatically shift. As their vibration goes up, they go from being the Warrior to being The Wizard. 

📌 If they don’t work to reclaim their power and express themselves truthfully and unapologetically in the world, they can become jealous and bitter. They can lurk behind the scenes of life, and try to sabotage those who do what they want to do, or they might try to destroy themselves. Depression is possible, as well as suicide attempts and risky behavior.

Pluto wants them to kill something about themselves, which is most likely their cowardice/pride/vanity/past conditioning. But not their physical selves. It's never about the physical, although it can feel this way. These people will either feed the Collective Shadow or help heal it. When they do the latter, they become potent forces of transformation for other people, as well.

📌 Life wants them to be humbler. They can carry a lot of pride and might try to appear as perfect and "spotless" as possible. They might be afraid of their reputation being destroyed or bruised in some way.

📌They are on a Quest for Love. When they learn how to forgive themselves and others, their HEARTS will open, and the light of the Sun will shine through. They can become truly unconditionally loving, and they have to start with themselves, first.

📌 Pluto is connected to our Divine Feminine energy (although it's not a feminine planet) a.k.a Kundalini. So, these people need to learn how to SURRENDER to the Divine. This is a major lesson, so for a good portion of their life, they might feel tempted to gain power through CONTROL and domination, but this will only worsen their karma.

As they will understand, the only real power is the power of Truth and Unconditional Love.

- Foxbörn

The Ask Box is open for specific questions, folks! 😊

ᴍᴀꜱᴛᴇʀʟɪꜱᴛ 1

ᴄʜᴀʀᴛ ʀᴇᴀᴅɪɴɢꜱ

ᴡᴀɴᴛ ᴛᴏ ʙᴜʏ ᴍᴇ ᴀ ᴄᴏꜰꜰᴇᴇ?

[critter-genfic-events]

This week, we have nine (nein) fics that feature Time/Dimension Travel: Other universes, Isekai, time travel (in either direction)! Check them out beneath the cut and if you like them, remember to comment and kudos!

Remember Me in the Intervals by inkedinserendipity (70530,Teen) Warnings: the author doesn't warn for them but canon character backstory elements, major character death (implied) Pairings: The Mighty Nein & Caleb Widogast, Beau/Yasha, Yasha/Zuala, Caleb/Mollymauk

Caleb goes back to fix everyone's backstories instead of his own, basically.

Reccer says: It illustrates very clearly how much Caleb loves the Nein. Listen, this is SUCH a heart-wrenching story, I always cry when I read it BE WARNED! I usually read it twice: first in chapter order and then in chronological order.

In this World or any Other by Amrynth (1907,Teen) Warnings: Major Character Death (Canon) Pairings:

After Mollymauk's death in the Marrow Valley, he wakes up in the library with a burning need: to get back to his friends.

Reccer says: I liked it

The Worlds Between Us by Nellaplanet (159303,Mature) Warnings: graphic depictions of violence Pairings: Essek Thelyss/Caleb Widogast, Beauregard Lionett/Yasha Nydoorin, Beauregard Lionett/Jester Lavorre

Or; Caleb and Beau have to rapidly reexamine their worldview upon discovering that magic is not only real, but exists in a world all of its own (and that the people wielding it are unfairly attractive and very, very dangerous).

Reccer says: One of the great isekais in the fandom! I love all of the different elements they were able to weave in

every moment changes lifetimes (even moments we regret) by grayintogreen (789,Teen) Warnings: Major Character Death (time loops) Pairings:

Caleb is in a time loop, staring at the temporal dock

Reccer says: Heartbreaking and an interesting form

Fortune's Favor (Fortune's Fools) by flashhwing (30289,Teen) Warnings: Choose not to warn Pairings: Eventual Shadowgast

In another timeline, the Mighty Nein fall to Lucien. Essek, with Artagan-the-weasel's help, travels back in time to save them.

Reccer says: It's fun to see a late campaign Essek try to wrangle an Early Campaign Mighty Nein

What endures beyond the silent edge by Beleriandings (241985,Teen) Warnings: Choose not to warn Pairings: Canon relationships present

The Ring of Brass fall into the future during the Apogee Solstice. There, they meet the Nein.

Reccer says: It's fun seeing the various parallels and crossovers!

Fall Back by Killbothtwins (4050,Teen) Warnings: No archive warnings apply Pairings: Beauregard Lionett & Caleb Widogast

After the fight at the Malleus Key, mid-C3 Beau and Caleb are shunted not only through space but also through time, arriving back in early Campaign Two to friends who are very surprised by their sudden changes.

Reccer says: A really fun idea and a great way to highlight just how much change all of the Nein have gone through since the beginning of the series. Killbothtwins has a fun writing style and an excellent grasp of the characters' voices, the bantering reads just like what we hear around the table.

The Heart External by BeatriceEagle (3554,Teen) Warnings: CNTW Pairings: Caleb & Beau, Beau & Bren, Caleb & Bren, Caleb & OC, Beau/Yasha, Caleb/Essek

Post-C2. As Beau struggles with the challenges of being a new adoptive parent of a teenager, she receives an SOS from Caleb. She arrives to find him standing over his bound, unconscious younger self—and though Bren should be just an echo, it seems he isn't going anywhere.

Reccer says: A fantastic Caleb & Beau QPR—with all the warmth *and* friction of the original—as well as a nuanced, thoughtfully observed take on what Caleb being brought face-to-face (literally) with his younger self would really mean.

in the times inbetween by jakia (8098,Teen) Warnings: miscarriage, fantasy racism, homophobia (all mild but present) Pairings: Essek Thelyss/Caleb Widogast Una Ermendrud & Caleb Widogast Leofric Ermendrud & Caleb Widogast

Una Ermendrud meets Caleb Widogast for the first time when she is nineteen and pregnant, and he’s passed out in her azaleas.'

Reccer says: It's everything I ever wanted in a 'Caleb actually completes his goal' fic: Una immediately clocks Caleb as the 'weird but sweet and harmless' type of wizard! Caleb makes a tiny paradox happen! Leofric punches Essek in the face (and it was awesome!)

This is one of our weekly communally-generated gen rec lists. Every week we announce a new theme and allow anyone to submit a fic recommendation. Please note that the summary and content notes are provided by the reccer, and may be different than what the author has provided. Please assume good intentions all around. <3

And hey, anyone includes you!

Next week, it'll be Storytelling! Whether it be sharing backstories or spinning a brand new yarn, all are welcomed.

Then the weeks after that, it'll be Grog focused stories, Cross-Campaign works, and then Skill/Class Swap fics!

Any fics coming to mind? Well, then use this form to submit!

Oh! Also! Critter Gen Week is happening! Prompts have been announced, you should check them out.

And hey, if you're looking for some more good gen content, check out some fics written in the critter genfic bingo tag, or the older rec lists! Or you can request your own card and join in on the fun!

[puhpandas]

i think this one line actually does a lot for showing us how rocky ggy trios group is.

a lot of ppls first impressions while reading GGY are "wow, ellis and gregory are really bad friends. they just shrug off all Tonys interests and make him do everything on his own." and that is true and is a big part of their relationships

but also this line i think shows us blatantly how Tony is in the wrong too. yeah, Ellis and Gregory (though he gets a pass. hes literally being mind controlled) make Tony feel like they dont care about his interests and are fine with him running off and wont care if hes gone, and they'll change his work without caring about how he feels about it,

But to be fair, Tony is always so in his head about everything, and he has never mentioned telling his friends about these issues to fix them. Tony, in always being so focused on his internal monologuing and whatever obsession of the week hes found, never bothers to tell his friends how he feels about the things he doesnt like that they do.

so of course ellis and gregory would have no idea.

this line also applies to what i said. "tony hates that they always assume he'll do the work" but then he does all the work with no complaining. he never says that he doesnt like that, and on top of that he does exactly what ellis thinks he'll do.

Ellis is basically saying that Tony always runs off without them to do something himself. Tony is always so in his own head, he doesnt wait for his friends if they want to put off the story another day, and will go off without them every time.

of course Ellis is in thr wrong too, but i would also be annoyed if my friend ran off first hour for a 'group' project just to get it done faster without them. and it seems from Ellis' experience, he doesnt bother trying to join in later becasue by that time Tony already has a whole thing gotten into his brain that Ellis isnt included in (which is literally true. tony did do that in the book)

i wouldnt be suprised if Ellis (and gregory) changed GGY because its like a way of getting back at Tony. Ellis is frustrated with how he'll run off and start the story without him and then turn around and get mad when he isnt involved with its creation, so he just does this. immature? yeah. but Ellis is 12 and Tony is also 12 but tries so hard to be older.

and that makes him distance himslef from Ellis canonically. he talks about how hes frustrated with how Ellis is content to stay acting his age but Tony is starting to 'grow up', and he wonders how much longer they'll be friends. but with this in mind and how Tony handles conflicts with his friends its kinda clear that wow he is not mature enough to actually work through these issues

Tony gets defensive a lot of the time, and if Ellis challenged him and confronted Tony and talked about how he never tells them these things and gets mad when they arent mind readers like Tony believes himself is, Tony would take that as ellis telling him hes immature (because he would be) and would get pissed

but back to the Mr Rabbit thing, all of this is shown in this one line. Tony also never listens to his friends or takes them seriously, and he distances himself from them (which he then gets mad about them not being involved over) and then doesnt care enough to get Gregorys num de plume right. (even if Mr. Rabbit was something petty to get back at gregory because of tonys frustrations, once again goes towards how tony is more immature than he thinks he is)

i have lots of thoughts about these three and how their relationships could work, but this is an analysis on their strictly book characters with no fanon. of course theres a lot of potential with these three if the events of the book go differently (gregory is never mind controlled and is actually there as himself to resolve these issues, or tony doesnt die in ggy and has a wake up call later on that he acts on and apologizes + changes, or gregory goes missing and tony survives and he changes as a person going through that (and when gregory comes back later on)), so i think resolving their relationship issues within different scenarios is really interesting

[verosikastrikerstellaexcuser]

Gonna jsut put this put here....I think that Stolitz COULD have worked...if they had looked ahead and had a timeline

But no, instead they made Stolas....well, all that and are now desperately trying to retcon/undo his character to make Stolitz happen by the end of the show (instead of just planning ahead, or having, you know, actual character growth)

Like, you don't have to have a 100% complete timeline but you need to have at least an outline, if you wanted Blitz and Stolas to end up together you shouldn't have set Stolas up as someone who is using Blitz purely for sex and Blitz being uncomfortable with it :/

And honestly? this applies to literally every writing mistake in not only helluva boss but hazbin hotel as well

Oh 100% it could have worked and thats the saddest thing. If St*las was portrayed like his Instagram self he could have been. They wanted to make St*litz a cute fun ship with just some drama and issues they have to work past first but by the time they decided that, it was too late, they'd already written several fucking episodes and Murder Family had already happened.

The biggest problem is that damn deal. The deal turned St*litz into sexual extortion. I think if they wanted messy and imperfect and miscommunication, what should have been done instead is this:

They never knew each other as friends, that trope is fucking stupid and its unnecessary to their story, not to mention creepy with Blitz being purchased for a day as entertainment for St*las. Blitz seduces St*las to steal his grimoire. But then St*las has such a good time he tells Blitz after "Lol of course I know you're the reason its missing. Why do you want it?" and when Blitz explains his situation St*las is sympathetic to him not being able to obtain a crystal and allows him to keep it outside the full moon. Naturally from there because they see each other every full moon, they begin to hit it off and develop a flirty friendship. They both act like they did in the old instagram, going shopping and watching horse movies etc. They both get to actually have interests in common, just fucking something man. I like the idea of St*las finding Blitz's humor funny, especially since Blitz never had that with others when trying to perform in the circus etc. It would mean a lot to him I bet.

With this version of events you could still have had Blitz's fears about just being entertainment for rich ruling class St*las, and he could be "up and down" for lack of a better term with St*las, depending on whats going on. For example, after seeing Verosika again, you could make Blitz become cagey and irritable with St*las and push him away because it makes his fears of ruining yet another relationship if he had one bubble to the surface. But then other times, he reaches out to St*las when hes frightened of dying alone etc. While St*las is madly in love with Blitz but sees how cagey Blitz can get and how he often seems to need to pull away. Able to tell that Blitz has a lot of issues hes working through, St*las so doesn't dare push things too hard and tries to keep things non serious. This in turn would feed Blitz's idea of just being entertainment even more, even though of course its unintentional and has good motivations on the part of St*las as he'd try to not be putting too much on Blitz.

And there you go. You've written a flawed repressed gay dad that caused discord in the family home by going with the fling that was sprung on him without splitting from Stella first, humiliating her. He could also maybe sometimes get too distracted chasing Blitz that he forgets to prioritize his daughter. This would have made him a flawed dad thats trying and bad at communicating without making him a sexually exploiting piece of shit. If they wanted soft more wholesome St*las, this was how to do it, imo. Let them have actual chemistry and build up via meeting over and over on the full moon. Let St*las be a tease sometimes without it being too far and sexual harassment that is against Blitz's will. But nah. They made him a glorified SAer instead.

Given how St*las has resonated with a lot of gay men with the themes of repression etc, it fucking sucks. They could have had something great, I like the idea of either a villain or a genuinely nicer St*las honestly. The problem is that they needed to fucking pick one before being 1 season into the whole show. But they didn't. This is why you plan your shows.

[maximumqueer]

One Piece and Media Literacy

So this entire post was born out of me trying to understand why there are certain readings and interpretations of one piece that get under my skin so much. I like to think that I am normally pretty open to different readings of a text. I’m an English major, literally 90% of my degree is discussing different interpretations of fictional media, and that often involves encountering people with different readings than my own. That is good, and I think that as long as a reading can be backed up with good faith textual evidence it’s a valid reading. And that was the sticking point for me,  that the takes that I kept seeing had logic behind them. I could see how and why the person sharing them came to the conclusion they did. But, what I realized is that even though these conclusions did make sense, it also relied on an incredibly literal, surface level take on the scene that also oftentimes ignored the context of how and why the moment was taking place. In other words, a lack of media literacy. 

I’m going to use two scenes that I personally view as getting misconstrued as a result of this as examples. The first one is Shanks' conversation with Whitebeard, particularly this sentence Shanks says in response to Whitebeard questioning Shanks on the loss of his arm. 

I have seen this moment be interpreted as Shanks intentionally losing his arm to teach Luffy a lesson in leadership, that what makes a good captain is one who is willing to put themselves and their life on the line for the people they care about. I do think that is a lesson Luffy took away from this moment, but I don’t think that this scene is framing it as intentional. The meeting between  these two characters is grandiose, and the dialogue they use exemplifies that. Just before this, Whitebeard asked Shanks “What enemy did you give that left arm to?” (One Piece, Ch. 434, pg. 11).  Whitebeard isn’t asking Shanks if he literally gave his arm to an enemy, but rather asking who he lost his arm to, but in a verbose way. As such, Shanks doesn’t mean that he intentionally gave up his arm. And while he could have said that a sea monster took it, he instead switched focus from the thing that took it to the person who he lost it for. It shows Shanks' mindset towards losing his arm, and how he does not actually view it as a loss, as it was lost saving a kid Shanks saw potential in, a kid who would be a part of the new era. 

I will also say that the implication of Shanks intentionally losing his arm makes him a worse person, and cheapens his and Luffy’s relationship. The implication being that the emotional distress we saw him in when Luffy was kidnapped and in peril was at least to a point faked. A person in distress is not worrying about what lesson they can impart onto the person they’re saving, and as such saying that Shanks could have in that moment decided to intentionally give up his arm paints him as a much colder, more calculating character, which I would argue would be to the detriment of his character.

And I know that this reading is in part trying to explain why Shanks, a very powerful character, would lose his arm to a sea monster in the East Blue. But this was Shanks from 12 years ago, I don’t think it takes a massive leap in logic to assume that he simply wasn’t as strong of a character back then. Add to that his attention mainly being focused on making sure he got to Luffy in time, and I think him losing his arm in that moment makes perfect sense. 

The second scene is when Rob Lucci suggests that Luffy’s use of gear 2 is causing him to shave years off his life. 

What Lucci says here is often taken at face value, and then applied to every other gear we have seen Luffy use. This is also information that is stated as fact, more often than not. That every time Luffy uses gear 2 or 3 (pre - ts) or gear 4 or 5 (post - ts) that he is taking a couple years off his life. And as this all stems from Rob Lucci, we have to ask 1: Is Rob Lucci knowledgeable enough to actually make this claim? And 2: Is he a trustworthy source of information? 

The first question is up for debate. Lucci could very well make an educated guess about the strain Luffy is putting on his body. But at the end of the day he is only going off of very limited knowledge about both Luffy and his devil fruit. The second question, I would argue, is a resounding no. Lucci is a member of CP9 (now CP0) an intelligence agency that focuses on infiltration. Part of Lucci’s job is to lie and coerce people. This is also the man that killed his fellow soldiers that had been taken as POWs to prevent the county they were fighting from having the upper hand. That is not the kind of person whose word you can take at face value.

It is also worth noting that the broader scene that this line of dialogue belongs to involves Lucci trying to psyche Luffy out by telling him that there is no hope of him or his friends winning, using the claim that he is shortening his life, as well as information that his crew is in a tunnel that will soon flood, killing them. And while some of this info is true, that is not the reasoning behind Lucci telling him it. He wants Luffy to be discouraged and to feel like there is no possible way for him to win. The information he tells to Luffy does not have to be true for this tactic to work. 

What I’m trying to get at here is that analysis that does not take in the broader context of the story, or the established characterization of the people in the specific scene being analyzed leads to a reading based in ignorance, as not all of the information is being considered. It can also lead to misunderstandings within the fandom, like how I’ve seen it stated that Luffy using gear 5 shortens his life span. There is no canon backing for this, other than the literal interpretation of what a villain said about an entirely different gear nearly 20 years ago in real time. Or it can unintentionally paint a character that has previously been characterized as deeply caring for the protagonist as being cold and distant instead, more focused on making the next generation is strong - both physically and as leaders - than about saving the protagonist's (who at the time was a child) life.