#I had a lot to say apparently

[grimme-and-specs]

You know I had to do it to 'em too

Bonus:

EDIT, 2024-4-5:

If this gets to 213 notes before 4-13 I will personally redraw this earlier than planned.

[damn-daemon]

How long will it take to the princess to see that Daemon like Elyse ? How will she react ?

That is so difficult to say, because in one part, she can read Daemon like a book, but another part of her might be willfully ignorant. It's clear from the get-go that Rhaenyra harbors feelings for Daemon, even if it is initially a crush, and the idea of him having eyes for another might be something she doesn't want to acknowledge.

That said, it could also be powerful ammo, and if she notices at a young enough age, it might steer her away from the deeper feelings she gets when older. So, at the latest, I'd say the tournament gets her thinking (well, and probably half the realm given how he acts during it), and for now, my muse says she's entertained by it, because she wants to mock Daemon, because she's still a child at the end of the day.

[black-and-yellow]

[wynnyfryd]

Trailer park Steve AU part 58

part 1 | part 57 | ao3

@steddie-island said i wasn't allowed to cut this lol. cw: angst, canon typical horror, mentions of minor character death

“Lucas called me a ghost today.”

Steve almost laughs, bitter and sharp. Sure. Why not? What’s one more ghost in his passenger seat?

He doesn't really want to talk to her right now, if he's honest. It's been fifteen minutes and she still hasn't apologized for trying to rob him, or explained where they're going, or what spooked her, or why this car ride was so urgent that he had to risk his job for it — a job he actually needs, considering his, well, everything. She's hardly said anything beyond the occasional "turn here" or "next left" while sulking with her forehead pressed against the window.

But he can tell she has something she needs to get off her chest, so he swallows his annoyance and offers, "Yeah?"

"Yeah," she says back. Doesn't elaborate.

He gives her another minute to gather her words, watches her open and close her mouth a few times in his periphery, but nothing comes out. She scoffs at herself and abruptly changes the subject. “Eddie was being extra… well, extra today.”

“Was he?” Steve asks, his bones itching under his skin. He doesn't want to talk about Eddie. Doesn't want to think his name.

“Yeah, he, uh- he was kinda manic? He was, like, running all over the cafeteria and starting shit with Jason Carver...” And he's only half-listening, anger simmering as she goes on and on, because she promised that Dustin didn't put her up to this. Said that this wasn't some bullshit excuse to get him to talk about Eddie or hang out with Eddie or think about Eddie or kiss and make up with fucking Eddie, and now she's just talking about him, and it-

And it hurts; god, it still just hurts—

"....Then he started rambling about how he can’t wait to get the hell out of here when he graduates.”

Searing-stabbing-burning-sharp. Steve clutches at the flare of pain in his chest, the crushed soda-can feeling where his heart's supposed to be. His head pounds. He follows her next direction onto a winding, tree-lined road, the canopy suffocating overhead, and his skin feels too dry — too tight, too small, shrink-wrapping him inside of it, because he knows where they are now. Knows the tilt of the rusted lamp shade, the shape of the weather brick paths. He's tasted the metal tang of this stop sign in his nightmares.

Fuck. Fuck.

"Cool," he grits out as he drives through the cemetery gates. Past stone and wrought iron, past the empty central fountain. He hasn't been here since July. “Good for him.”

“Steve-"

“Why are you telling me this?" he snaps. He throws the car in park under an old oak and turns to glare at her, barking a frustrated, "Huh?"

Immediately, he feels bad for raising his voice. Feels even worse for the way she flinches away. The naked fear on her face, her hand reaching for the door. He takes a long, deep breath and lets it out slowly through his nose. “Sorry. Sorry. Just-" There's a leak inside him somewhere; some infected, gaping hole, and his stupid heart keeps pumping all his blood into the wound. "Why are you-?”

“Look,” she says sharply, "I know it sucks. To talk about him." She's staring at the rows of headstones up ahead, her face gone steely with determination, her shoulders squared, her big eyes wide and a little wet when she turns to meet his gaze. “But whatever you were— whatever happened, it just… it really messed him up.”

Good. "You sound like Dustin."

"Maybe Dustin had a point."

"Since when?"

She throws her hands up, nostrils flaring. "I'm trying to tell you that I think he still cares!"

“Yeah? He’s got a seriously fucked up way of showing it if so!”

“Yeah, well some of us don’t know how to show it!”

And oh.

Oh.

Silence blankets them like dust. Eyes locked; harsh breaths. This has nothing to do with him and Eddie, does it?

Lucas called me a ghost.

Steve sighs and slumps forward, his forearms on the wheel, his chin resting on his wrist. The late afternoon sun is warm through the glass, and his head gives another nasty throb as he looks out over the hill, at the polished stones glinting in the golden hour rays.

His dad is buried here.

A lot of people are.

“Hey,” he murmurs, rolling his neck to look at her. The skin under her eyes is red. "Sorry for yelling."

She sniffs quietly. "Me, too."

He reaches over and gives her hand a quick squeeze, keeping his voice low and gentle. "You know you can just talk to me, right? Max, talk to me. Please.”

Her bottom lip quivers. “It’s nothing, okay?” She sinks down in her seat, crossing her arms to shield herself. “Shit’s just been… it’s just been weird all week. Like- like bad weird, and I don't know if I'm just going crazy, or— I mean, maybe Ms. Kelley's right, maybe's it's just— but it feels like…”

"Like what?"

She holds a hand out flat in front of her; flips her wrist over slowly so her palm faces the sky.

Steve's blood runs cold. He thinks of his own nightmares: the weird visions, the headaches, the persistent haunted feeling.

"I don't know anything for sure," she insists, rushing to reassure him before he can fully start to panic. "Seriously, don't freak out; I haven't, like, seen any gates or anything, it's just— bad dreams. Nose bleeds. I don't know." She hoists her backpack onto her shoulder. "I thought coming here might help."

He catches her by the arm, raking his eyes over her face, looking for any signs of danger. "Is there anything I can do?"

She shakes her head no and tugs free of his grip, and then she's slipping out of the car, letting the door fall shut behind her, and Steve watches her crest the hill while sirens wail inside his head.

—

part 59

tag list in separate reblogs under '#trailer park steve au taglist' if you'd like to filter that content. if you want to be added please comment and let me know (must be over 21; please either verify in the comment or have your age visible on your blog)

[cy-cyborg]

Disability Tropes: The Miracle Cure

The miracle cure is a trope with a pretty negative reputation in disability circles, especially online. It describes a scenario in which, a disabled character, through either magic, advanced technology, divine intervention or some combination of the three, has their disability cured throughout the course of the story. Sometimes this is literally, as in the disability is completely and entirely cured with no strings attached. Other times, it looks like giving an amputee character a prosthetic so advanced that it's basically the same as "the real thing" and that they never take off or have any issue with, or giving the character with a spinal injury an implant that bypasses the physical spine's break, or connects to an exoskeleton that allows them to walk again. Sometimes, it can even look like giving a character some kind of magic item or power that negates the effects of the disability, like what I talked about in my post about "the super-crip" trope. Either way though, the effect is the same: The disability is functionally cured and is no longer an "issue" the author or character has to worry about.

But why would this be a bad thing? In a world with magic or super-advanced tech, if you can cure a character's disability, why wouldn't you?

[ID: a screenshot of Roy mustang from Full metal alchemist Brotherhood, a white man with short black hair in a hospital gown. In the corner of the screen is the hand of another person holding a small red gemstone. /End ID]

Well there's a few reasons. First, lets talk about the purely writing related ones. If you've been around the writing or even media critique communities for a bit, you've likely heard people voicing their frustrations with tropes like "The fake-out death" where a character is either implied to have died, but comes back later, or is explicitly shown to be dead and then resurrected. Often when this happens in media, it leaves the audience feeling cheated and like a character's actions and choices don't really matter if even the worst mistakes and consequences can be undone. In the case of the latter situation, where they die and are brought back, it can make the stakes of the whole story feel a lot lower, since even something like death is shown to be reversible, so the audience doesn't really have to worry about anything bad happening to their favourite character, and once you've used this trope one time, people will constantly wonder why you wouldn't use it every time it comes up.

The same is true for "fixing" a character's disability. It sets a precedent that even things as big and life-changing as disability aren't permanent in this setting. We don't have to worry about anything major happening to the characters, there's no risks associated with their actions if it can all be undone, and it will lower the stakes of the story for your audience. Personally, I also feel like it's often used as a cop-out. Like writers wanted to include a major injury the leads to something big like disability for shock value, but weren't sure how to actually deal with it afterwards, so they just made it go away. Even in cases where the character start the story with a disability and are cured, this can still cause issues with your story's stakes, because again, once we've seen you do it once, we know its possible, so we won't feel the need to worry about anything being permanent.

Ok, so that's the purely writing related reasons, but what if that situation doesn't apply to the story you're writing? What if they're "fixed" right at the end, or the way they're cured is really rare, so it can't be used multiple times?

I'm glad you asked, because no, this is far from the only reason to avoid the trope! In my opinion, the more important reason to avoid it is because of how the a lot of the disabled community feels about the miracle cure trope, and the ideas about disability it can perpetuate if you're not very, very careful.

You might have noticed that throughout this post, I've put words like "cured" and "fixed" in quotes, and that's because not every disabled person wants a cure or feels like their ideal to strive for is able-bodied and neurotypical. For many of us, we have come to see our disabilities as part of us, as part of our identities and our sense of self, the same way I, as a queer person might see my queerness as a part of my identity. This is an especially common view among people who were born with their disability or who had them from a young age, since this is all they've ever really known, or who's disability impacts the way they think, perceive and process the world around them, how they communicate with people or in communities who have a long history of forced conformity and erasure such as the autism and deaf communities. Many disabilities have such massive impacts on our lives that we literally wouldn't be who we are today if they were taken away. So often though, when non-disabled people write disabled characters, they assume we'd all take a "cure" in a heart-beat. They assumed we all desire to be just like them again, and this simply isn't the case. Some people absolutely would, and there's nothing wrong with that, but it's not as universal as media representation makes it out to be.

Another reason it's so heavily disliked is because this trope is often used in conjunction with other ableist and harmful tropes or it's used in ways that perpetuate misinformation about living with a disability and it can have ableist implications, even if that's not what the author necessarily intended.

If the miracle cure is used right at the end of the story for example, as a way to give characters a happy ending it can imply that the only way for a disabled character to be happy in the long run, is for them to be "fixed", especially if they were miserable all the way up until that point. If it's used earlier in the story as a way to get said character back into the action, it can also be read as the author thinking that disabled people can't be of use to the plot, and so the only way to keep them around is to "fix" them.

Of course, there's also the fact that some authors and writers will also play up how bad being disabled is in order to show why a cure is justified, playing into the "sad disabled person" trope in the process, which is pretty much what it says on the tin. Don't get me wrong, this isn't to say that being disabled is all easy-breezy, there are never any hard days and you should never show your character struggling, not at all, the "sad disabled person" trope has it's place (even if I personally am not a fan on it), but when both the "sad disabled person" trope and the miracle cure trope are used together, it's not a great look.

This is especially bad when the very thing that cures the disability, or perhaps the quest the heroes need to go on to get it, is shown to be harmful to others or the disabled person themselves. Portraying living with a disability as something so bad that it justifies hurting others, putting others at risk, loosing yourself or killing yourself in order to achieve this cure perpetuates the already harmful idea that disability is a fate worse than death, and anything is justified to avoid it.

I've also noticed the reasons the authors and writers give for wanting to cure their characters are very frequently based on stereotypes, a lack of research in to the actual limits of a person's disability and a lack of understanding. One story I recall reading years ago made sure to tell you how miserable it's main character, a former cyclist, was because he'd been in a car accident where he'd lost his arm, and now couldn't ride bikes anymore, seemingly unaware of the fact arm amputees can, in fact, ride bikes. There are several whole sports centred around it, and even entire companies dedicated to making prosthetic hands specifically for riding bikes. but no, the only way for this to resolve and for him to be happy was to give him his arm back as a magical Christmas miracle! It would be one thing if the story had acknowledged that he'd tried cycling again but just had difficulties with it, or something was stopping him from being able to do it like not being able to wear the required prosthetic or something, but it really did seem as though the author was entirely unaware it was even possible, which is an issue when it's the whole point of your story existing. This happens a lot more often than you'd think, and it's very clear when an author hasn't even bothered to google search if their character would be able to do something before deciding the only solution is to take the disability away.

There's also the frustration that comes from being part of an underrepresented minority, finally seeing a character like you on screen or in a book, only for that representation to be taken away. Disabled people make up roughly 16% of the population (though many estimate these numbers are actually much higher), but only about 2.8% of American TV shows and 4.1% of Australian TV shows feature explicitly disabled characters. In 2019, around 2.3% of films featured disabled characters in a speaking roll, and while it's slowly getting better as time goes on, progress on that front is very slow, which is why its so frustrating when we do see characters like ourselves and so much of their stories focus on wishing to be, trying to become or actually being "cured".

An finally, there's the fact this is just a really common trope. Even if we ignore the issues it can cause with your story's tone and stakes, the harm it can do to the community when not handled with care, the negative perceptions it can perpetuate and everything else. It's just a plain-old overdone trope. It shows up so often that I, and a lot of disabled people, are just getting tired of seeing it. Despite everything I've said, there are valid reasons for people to not want to be disabled, and just like how I made sure to emphasise that not everyone wants a cure, it's important to recognise that not everyone would refuse it either. So long as it's not done in a way that implies it's universal, in theory, depicting someone who would want and accept a cure is totally fine. The issue is though that this trope is so common and so overdone that it's starting to feel like it's all we ever see, especially in genres like sci-fi and fantasy (and also Christmas movies for some reason).

[ID: A Gif of a white man in a top hat nodding his head with the caption "Merry Christmas" down the bottom. /end ID]

Personally, because it's so common, I find even the few examples of the trope used well frustrating, and I honestly feel that it's at the point where it should be avoided entirely where possible.

Ok but Cy, you mentioned there are ways to use this trope well, what are they?

So, like I said, I'm of the opinion that this trope is better off not being in your work at all, but if, for whatever reason, you can't avoid it, or it's use is really that important to the story you want to tell, there are less harmful ways to implement it.

Don't have your only disabled character take the cure

If you really must cure your disabled character's disability, don't make them the only disabled person in the story. Show us another character who, when offered the same cure, chooses not to take it. This at least helps push back a little against the assumption of "of course everyone would want this" that these kinds of stories often imply and doesn't contribute (as much) to disability erasure in the media.

Don't make it a total cure

In real life, there are cures for some disabilities, but they rarely leave no trace. For example, an amputee's limb can sometimes be reattached if it was severed and they received medical treatment fast enough, but it usually results in at least a little nerve damage and difficulties with muscle strength, blood flow or co-ordination in that limb. Often times, these "cures" will fix one issue, but create another. You might not be an amputee anymore, but you're still disabled, just in a different way. You can reflect this in your fictional cures to avoid it feeling like you just wanted to avoid doing the work to write good disabled representation.

Do something interesting with it

I got a comment on my old tumblr or possibly Tik Tok account ages ago talking about their planned use for the miracle cure trope, where their character accepts the cure at the cost of the things that made her life enjoyable post-disability. Prior to accepting the cure, she had found other ways to be independent to some extent and her community and friends helped her bridge the gaps, but they were all taken from her when she was "cured" forcing her into isolation. Kind of like a "be careful what you wish for" sort of thing. The story was meant to be a critique on how society ignores alternative ways of getting the same result and how conforming to other people's ideas of "normal" isn't always what you need to bring you happiness. This was a genuinely interesting way to use the trope I think, and it's a perfect example of taking this trope and twisting it to make an interesting point. If you must use a trope like this, at least use it to say something other than "disability makes me sad so I don't want to think about it too much". Alternatively, on a less serious note, I'm also not entirely opposed to the miracle cure being used for comedy if it fits the tone. The Orville has some issues with it's use of the Miracle Cure trope, but I'd be lying if I said Isaac amputating Gordan's leg as a prank, knowing it could be reversed in a few hours did get a chuckle out of me.

If your villain's motivation is finding a cure for themselves, don't use it as justification for hurting people

Disabled villains need a post all their own honestly, but when a villain's motivation for doing all the terrible things they do is so they don't have to be disabled anymore, it's especially frustrating. Doubly so if the writer's are implying that they're justified in their actions, or at least that their actions are understandable because "who would want to live like that?" Honestly, as a general rule of thumb, avoid making your villains disabled if you aren't disabled yourself (especially if they're your only disabled character), but if they are disabled, don't use the disability as a justification for them hurting people while finding a cure.

So are there any examples currently out there to look at where the trope is used, if not well, at least tolerably?

Yeah, I'd say so, but they're few and far between. Two examples come to mind for me though.

The Dragon Prince:

[ID: A Gif of Ava the Wolf from the Dragon Prince, a light brown, fluffy wolf who is missing her front right leg. /End ID]

The Dragon Prince on Netflix uses the miracle cure twice, but I still really enjoyed the show (at least I did, up until my Netflix subscription ran out, so I've only seen up to season 4). The first time the trope is used in the series, it's actually a fake-out. Two of the main characters, while looking for someone to help them heal the dragon egg they're carrying, encounter a young girl named Ellis and her pet wolf Ava. The two explain their egg is not looking good and they need to find someone to help it, but no one they've found had the knowledge or ability to do anything to help. Ellis says she knows a healer who can help them, and tells them that this healer even restored Ava's amputated leg when she was a pup. When we actually reach this "miracle healer" however, she is revealed to be simply an illusionist. She explains that Ava is still missing her leg, she simply made it look as though she had restored it because Ellis's parents were planning to throw the puppy out, believing it would not survive with its disability and would only be a drain on supplies. This was not actually true and Ava adapted to her amputation very well, she simply needed more time, and hiding her disability and making her appear abled gave her the time she needed to fully recover and adjust. When they return to the healer with the main characters, she removes the illusion and explains why she did it, emphasising that the real problem was never with Ava, but with how people made assumptions about her.

While I do feel it was drawn out a bit too long, I do appreciate the use of the trope as the set up to an overall positive twist. Disability does come with down-sides, it's part of the deal and it would have been nice to see a bit more of that, but for disabilities like amputation in particular, the worst of our problems often come from a lack of adequate support and people's pre-conceived ideas about us, and it was nice to see this reflected, even if it is a little overly simplified.

The second time this trope comes up in the series is when one of the antagonists, Soren, is injured during a fight with a dragon, becoming paralysed from the neck down. His sister, Claudia is absolutely beside herself, believing it was her fault this even happened in the first place, but Soren actually takes his new disability very, very well, explaining that he understands there are things he can't do now, but that there's a lot of things he can still try, that his previous job as a soldier just didn't allow time for. It's possible this reaction was him being in denial but it came across to me as genuine acceptance. He is adamant that he doesn't want a cure right from the beginning because he knows that a cure would come at a cost that he doesn't want his sister to pay, and that he is content and happy with this new direction his life will be going in. Claudia, however, is not content. It had been shown that she was already using dark magic, but this event is what starts her down the path of using it in earnest, disregarding the harm it will cause to those around her. She ignores Soren's wishes, kills several animals in order to fuel the healing spell that will "fix" him, and Soren is pretty clearly shown to be horrified by her actions. What I like about this use of the miracle cure trope is that it touches on something I've seen happen a lot to disabled people in real-life, but that rarely shows up in media - the fact that just because we accept ourselves, our disabilities and our new limits, doesn't mean our friends and family will, unfortunately. In my own life, my mum and dad were always accepting of my disability when I was younger, but as I got older and my support needs changed, my body took longer to heal and I stopped being able to do a lot of things I could when I was little, they had a very hard time coming to terms with it and accepting it. I'm not alone in this either, a lot of disabled people end up cutting contact with friends and family members who refuse to accept the reality of our situations and insist "if we just try harder maybe we won't be so disabled" or "Maybe you will get better if you just do [xyz]". Unfortunately however, some disable people's wishes are ignored completely, like Soren's were. You see this a lot in autistic children who's parents are so desperate to find a cure that they hurt their kids through toxic and dangerous "treatments" or by putting them through abusive therapies that do more harm than good. Claudia has good intentions, but her complete disregard for Soren's decision still harm them both in the long run, leading to the deterioration of their relationship and causing her to spiral down a very dark path.

Full Metal Alchemist: Brotherhood

[ID: A Gif of Ed from full metal alchemist, a white boy with blond hair, staring angrily at a jar of milk on the table. His brother Al, a sentiant suit of armour, is in the background looking directly at the camera. The caption, spoken by Ed, says "So we meet again you little bastard" /end ID.]

The show does begin with Ed and Al looking for a way to cure their disabilities (which they gave themselves when trying to resurrect their mother as children went horribly wrong). However, when the boys discover that the object needed to do that - a philosopher's stone, can only by made through absolutely abhorrent and despicable means, and using one, likewise, comes at the cost of potentially hundreds or thousands of people's souls, they immediately stop, and shift their focus on finding the stones that had already been made so it can't fall into the wrong hands, and preventing the creation of new ones. The core theme of the show is that everything has a cost, and sometimes the cost is simply too great.

However, right at the end of the show, several characters are healed in a variety of ways. Ed gives up his ability to do alchemy to get his brother's body back, as well as his arm so he can save his friends in the final battle, but neither of the boys come away from this completely "healed". Al's body has not been used since he was a child, and so it is shown he has experienced severe muscular atrophy that will take a long time and a lot of work to recover from, acknowledging that he has a pretty tough road ahead of him. When we see him in the epilogue, he is still on crutches despite this being several months after getting his body back. Likewise Ed is not fully healed, and is still missing one of his legs even if he got his arm back.

The more... interesting use of the trope, however, is in the form of Colonel Mustang who was blinded in the final season. Mustang is shown to take to his blindness pretty well given the circumstances, finding a variety of ways to continue doing his job and reaching his goals. When other characters offer to let him use the philosopher's stone to heal himself however, he takes it, acknowledging that this is a horrible thing to do and that Ed and Al would be extremely disappointed in him if they ever found out. He uses it both to cure his own disability, and to cure another character who was injured earlier in the show. While I'll admit, I did not like this ending, I can at least appreciate that the show made sure to emphasis that a) Mustang was doing fine without the cure, and b) that this was not morally justified. The show spent a very long time drilling into the viewer how morally reprehensible using the stone was, and it didn't try to make an exception for Mustang - you weren't supposed to like that he did that.

When I talk about these tropes, I do try to give them a fair chance and discuss the ways it can potentially work, but I really do want to reiterate that this particular trope really is best avoided. There are ways to make it work, but they will still leave a bad taste in many of your viewer's or reader's mouths and you have to be exceptionally careful with your wording and framing, not just in the scenes where this trope is used, but in the lead up. If you really must use it, I highly recommend getting a few disability sensitivity readers and/or consultants (yes, even if you are disabled yourself) to help you avoid some of the often overlooked pitfalls.

[luck-of-the-drawings]

OH ARTHUR BENNETT.. such a gorgeous and intriguing character. terribly burdened by a GRUESOME set of crimes, his light suffocated by a HEAVY century of GUILT. so tragic, so dark and broody, and yet PAINFULLY awkward in any social setting ever

[oddly-casual]

Fiona and Cake spoilers seriously

(Something I noticed abt Betty and Simons relationship)

I love Betty and Simon’s relationship, I think their back story is so cute and romantic and all that lovely stuff don’t get me wrong.

But there’s this under tone of Betty constantly giving things up for Simon and we don’t really talk about it a lot???

Like, Betty let Simon have his moment with the artifact and the pubic, she also doesn’t go to her trip in favor of going on an expedition with Simon. Then when she goes to leave again she stays for Simon.

Even Fiona is like “you went with her on the bus?” And Simon just looks all confused like “what? No, why would I do that?” Like- hello???

Then after that she gave up her entire life and mind to get Simon back to the point where she literally says “I don’t know who I am without him anymore.” And that just sucks! Since the beginning Betty has been the one giving up the most, her mind, her own possible career, and it’s a story of love of course and it’s very sweet but it’s also a story of sacrifice.

Their love wasn’t a perfect solution, it was already sort of imbalanced when it started and I lowkey love how we see those cracks even before they’re together.

Again, I love their relationship and I think it’s sweet. I just think we should talk about Betty’s side more, especially when she tells a story of what most women do in relationships, sacrifice.

[scoliosisgoblin]

@marlomagica is this what you had in mind?

[spaceradars]

forever thinking about ray kowalski's "you ever feel like you don't know who you are? like if you weren't around somebody or somebody wasn't around you, that, uh, you wouldn't be you? or at least not the- the you that you think you are? you know you ever... you ever feel like that? me neither"

[wellwhatnowlove]

“He looks down at his feet, searching for words. When he finds them, he looks up at me with the raw emotion of his father, but without the anger or the pain. “Mother, your inheritance was guilt. Father’s was surrender. Because of you, because of Father, mine is struggle. That is better than guilt. It is better than surrender. I do not blame you. I thank you. You never pretended the world wasn’t broken, even when a broken world favored you.”

Light Bringer, pg.144

I GOT TO THINKIN TODAY ABOUT WHAT PAX SAID ABOUT HIS PARENTS’ INHERITANCE AND I HAD A REVELATION. okay sorry VERY LONG WINDED ESSAY BELOW. (Light Bringer spoilers too)

If Darrow’s inheritance has always been surrender and Virginia’s has always been guilt, then Light Bringer is a study in how they’ve swapped those burdens, and both grew immensely because of it. Virginia is forced to face the reality of surrender to keep Mars from falling. She must learn to sacrifice lives on an unimaginable scale. She literally has to surrender Phobos in order to hold Mars and save lives from a bloody battle over pride. She routinely seeks out the injured and dying to confront those she sacrifices. It’s heart breaking and hard to read at times, but not once did she not feel like the character we grew to love. She stays true to herself while mentioning multiple times that she now understands Darrow’s plight more than ever from the last decade.

Then on the flip side, Darrow is forced to reckon with his insurmountable guilt when he is put on trial before the daughters in the rim to answer for betraying them in order to secure a victory for the core rising/republic. He talks about how that guilt put a wedge between him and his family. That guilt made him feel unworthy of love, and, therefore, unable to properly express his love to those he would give everything for. This mirrors Virginia’s past struggle with one particularly potent example being her inability to believe that Darrow could love her after he reveals his true identity as a red in the tunnel under Lykos at the end of Golden Son. She says

“They are my family!” she shouts, face collapsing into grief. “My father hanged your wife. He hanged her. How can you even look at me?”

I think it’s this guilt (and probably some feelings of utter betrayal, panic, and overwhelm) that led her to leave Darrow in that tunnel and indirectly led him into the Jackal’s trap. Which I’m sure she also feels immense guilt for. But I think a large part of her journey off page and into morning star is her coming to terms with that guilt. In confronting it she learns to be vulnerable with Darrow again and comes to accept that he loves her despite the insane complexity of their history. This culminating with her leaning into her understanding of her part in the society and realizing that it puts her in a place to make a true change. All of this accomplished with an education in immense humility, flexibility, and compromise. Which is the lesson Darrow grapples with and I think truly leans into throughout this book. In a way, he is forced to reckon with how his guilt drove him away from Virginia and Pax and even veered him away from Eo’s dream.

I think on a character based level, this will exponentially strengthen their relationship when (please please Pierce) they finally reunite, and will make them a more formidable pair than even before. They now understand each others struggles in such intimate ways that idk if anyone can stop these two.

Then, on a larger plot based level it speaks to the larger themes of resilience, understanding and the fight for humanity. Virginia finds strength in surrender and Darrow finds redemption in humility and compromise. 

Then, add in some struggle, grit and pixie dust (and a cool head tattoo I guess. WE SEE YOU OVER THERE PAX AKA ADEPT AUGUSTUS. HELL YEAH KEEP IT UP BABY WOO) and the rising might just have a true shot. Not only at victory, but at redemption and continued effort in the name of what is just and good.

[sansalicent]

I initially found it strange that we Lucy Gray doesn’t seem too affected by what happened in the games, she says through music that she’s not going to let the capitol take anything from her and she’s not going to let the games change her or break her. Lucy Gray is a survivor, Because of this you could say that she’s accepted that she did what she had to to survive and she tried to do the least harm as she possibly could. However I find it hard to believe she never got angry or upset about what they put her and the others through, that she never thought about her friend jessup and the other tributes that she got to know, who died horrible deaths.

But then I realised WHY we don’t get to see her feel anything about the games and it’s victims. It’s because we only see the story through Coryo’s POV and he lacks the capacity for empathy. It’s that inability to empathise with people that stops us from witnessing Lucy Gray’s trauma and grief. He doesn’t think about what she went through, he never asks her about how she feels about it or even about how she’s feeling in general. Lucy Gray never confides in him or brings up the games herself because (perhaps unconsciously) she knows he won’t understand or truly empathise and therefore, he wouldn’t be the person she’d choose talk to about how she’s feeling.

We don’t see her trauma because snow never cared about her trauma, he only focuses on how they fell in love during the games, not the horrors of it or what the girl he believes he loves had to go through, despite having a small taste himself of what it would have been like for Lucy during the games despite having a front row seat when he went into the arena and had to kill a person to get out alive, but he lacks the capacity to empathise. Despite his front row seat to Lucy Gray’s trauma as well as the injustices, and poor quality of life that she faces in district 12.

[starheirxero]

Can I see a better ref of Servant Sun? Or some sketches of him?

(no reason at all, just wanna see the lil guy better)

YES OFC !!!! I ONLY HAVE SKETCHES RN SO HERE'S SOME STUFF I'VE THROWN AROUND 🙏🙏🙏

Tbh I feel like his outfit is subject to change at any moment BUT these 4 details are FOR SURE always gunna be there.

Did you know everytime he truly doubts his lord, he adds something eclipse themed to his body? Just thought I'd mention it......

[third-king-of-salmonids]

REMEMBER, YOU DONT HAVE TO BE EVERYONES FAVOURITE KING SALMONID YOU JUST GOTTA BE YOUR OWN FAVOURITE KING SALMONID <3

OR INKFISH I GUESS MAYBE?? >__>

[freaky-flawless]

Something that's really irritating me about the Off-White doll is that when you look at the concept art, she has 0 monster features aside from her green skin. Her monster type was such an after thought, and that's why its so poorly reflected in her design. Like she's supposed to be a fish (I think) where are her scales? Where are her fins? For such an expensive doll, I expected more than just a reused face mold, and a very easily recognizable one at that.

Her concept art really looks like a pale Casta Fierce. And honestly, I would probably like her more if that was the direction they took. Instead of being completely new, lazily designed characters, they could have done something like "Casta Fierce modelling for Off-Fright" or something, and added a witchy twist to the actual Off-White look. I mean, it would still be grossly overpriced, but I guarantee she'd sell better, especially considering Casta only ever got one doll. And it would've been SO PERFECT for an October Friday the 13th release.

[the-worms-in-your-bones]

How do time lord names work, an essay (sort of)

(also if anyone reading this has more info or corrections to things i say, please put it in the notes)

As with most things relating to Gallifrey and Time Lords, how their naming conventions work are not very clear. This rant/essay thing is basically just me trying to figure out a system that works based on the information that is given to us in the show (and some of the extended universe media)

So, first things first, Time Lord names are not consistent. Throughout the show we see two main styles of Time Lord names, the regular (enough) names and the titles. Some examples of this are Romana, Andred, and Rassilon vs the Doctor, the Master, and the Rani. (there are a few outliers, but I'll get to that later)

With these two types of names a relatively consistent pattern emerges. The ones with title names are mostly renegades while the ones with normal names are not. I don't really have a solid theory on why this is, something about rejecting the name given to you by the society that you are leaving. It also is said that these names are chosen, so that would fit with this theory.

We also see that most of the 'normal' names are just the beginning part of a much longer name, such as Romana being short for Romanadvoratrelundar. This is shown to be true for multiple other Time Lords, so I am assuming that to be the case for those who have no canon extended version of their name.

Now we get to the exceptions to these two naming styles that make things more confusing (ranked from least to most confusing) (in my opinion)

Susan Foreman - The name Susan was chosen to fit in with humans while she was on earth, doesn't actually contradict anything said above (not sure if she was ever given an actual time lord name though)

Drax and Morbius - Both renegade Time Lords who do not follow the pattern of having title names, doesn't really complicate things that much since they could have just chosen not to give themselves title names

The Other - One of the three founding members of Time Lord society? does he count in this if he was one of the first, also has a weird connection to the Doctor? (going to be honest I know very little about this guy)

Irving Braxiatel - His name would be fine without the first part, I just choose not to think about it, which means it can't be a problem

The Doctor - aka the worst one of them all when it comes to complicated things with names. To start off, they do follow the renegade having a title for a name pattern (though in Divided Loyalties we see that he chose to go by that name while still at the academy, because as with everything else with the doctor's name it is confusing), but after that they just complicate things more. Then we get to the problem of Theta Sigma, which on the surface has the same problems as Irving Braxiatel, but then you have the problem that that isn't actually the Doctor's name, but a nickname given to him at the academy. So then what is the Doctor's real name? Well, according to The Making Of Doctor Who his name is δ³Σx². In human language, this basically means nothing, but in The Five Doctors this equation appears on a piece of stone with other writing that is identified as Old High Gallifreyan (the ancient and no longer used language of the Time Lords). This leads me to my third point about how Time Lord names work,

Along with the two kinds of names I previously mentioned, I also believe that Time Lords have another 'true' name in Old High Gallifreyan that is rarely, if ever, used. This comes from the fact that the Doctor has repeatedly said that they can not (except in special circumstances) tell people their real name, and that even if they did people would not understand it. The not understanding it part is obvious since a) all the Time Lords are dead and b) even before then it was an unused language. It is also stated in the show that Old High Gallifreyan words held power, giving a pretty reasonable explanation for why the Doctor would only tell someone his name in special circumstances. I think there could also be a factor of a Time Lord's name being something very personal to them and there is no reason to share it with most other people.

Anyway tl;dr Time Lords have a 'true name' in Old High Gallifreyan that is only used in special circumstances. The rest of the time they usually use one of two naming systems, a 'normal' Time Lord name, which is often long but shortened (Romanadvoratrelundar to Romana for example) or a title name, which is often chosen by renegade Time Lords as part of their rejection of Time Lord society.

[sugarsnappeases]

fnvjfnbjgnjb I really hope this isn't weird but I am actually so desperate to hear some of your rosekiller headcanons (the more fucked up the better < 3)

hello!!!! i am. actually…. would you guys murder me if i said i didn’t think about rosekiller like all that often….. when i do think about them it’s normally prompted by things that saints @foursaints (lord and saviour of the rosekillers) posts. but. just for you, my dearest futurequibblerjournalist, i’ve been racking my brain for some vaguely interesting things to say. so:

to start off, in terms of characterisations, in my mind, barty is a ‘worshipper’ and evan is an ‘investigator’ if that makes sense - like my barty (and again this is heavily influenced by my whole barty michelangelo variant thing which i never shut up about) is someone who will completely offer himself up to, in this case, evan, like he’s trying to get under evan’s skin both idiomatically and literally, there’s this whole kinda masochistic self-dispossession thing going on which is him just entirely putting himself in evan’s hands, at his disposal, a ‘whatever rosie wants, rosie gets’ kinda thing (and all the things that rosie wants are a little fucked up… like evan wants. a rib, let’s say, and barty is immediately offering his up, like take mine please take mine i have a few to spare, and they do the surgery, no anaesthetic, lots of eye contact, and it’s the most romantic thing that’s ever happened to either of them… evan likes to run his fingers over the stitches before they’re fully healed up, maybe pull a few out, just to see….)

anyway i digress but also kinda not a huge digression bc that leads me on to evan as ‘investigator’ - disclaimer!!! evan as a character is a lot more nebulous to me than barty, like i feel like i haven’t entirely grasped him yet so allow me some wiggle room please and thank you but. evan is curious, that’s his central characteristic in my mind, he just wants to like… see, to understand. i think he doesn’t care much for people in terms of them being like actual people, he cares more about. how they work i guess biologically, like how their bones connect to allow them to move in particular ways, how the neurons in their brains do things (i’m really not a steminist i’m sorry guys) to make them say things and act in particular ways. his like. life mission. or whatever. is to figure out how ‘humanity’ works if that makes sense….

and barty is a bit of an aberration in some ways bc he doesn’t interact how he’s supposed to interact and he doesn’t move how he’s supposed to move and evan is curious, bc he normally doesn’t allow anything to bother him but barty is just. a bother. like in general. and evan wants to crack barty’s head open and get a good look at his brain, prod at it, investigate it, and barty would let him. barty would genuinely actually let him and that sort of power, someone being that devoted to you, is a little heady in a way that evan has never really experienced and barty would do anything bc he sees evan and he sees someone who wants to dig deep beneath the surface of him, someone who wouldn’t flinch away from whatever ugliness their digging revealed, bc both of them are so rotten at their cores imo, and he sees a sort of ascension, a higher purpose maybe… it’s absolute body and soul devotion, it’s ‘he could physically cut my heart to pieces and put it under a microscope and that would be divinity’