#I really love writing this series

[mokeonn]

me and kirby getting peeps on sale at winn-dixie :)

[ireallyamabear]

The choice to put Una Chin-Reily on a Starfleet recruitment poster in the late 2370s seems a nod to the extraordinary person she is and her exemplary service, but Boimler’s enthusiasm for her as a personal hero cannot mask the fact of what Starfleet execs are really doing here: while it is Starfleet tradition to honour esteemed personnel from its centuries of history, we have to look at the poster as a product of its time: it seems clear that, shortly after the devastating death toll and the rapid militarisation of the Dominion War, putting a prominent figure of the Great Exploration Age - and notedly someone who had not served in the Klingon War - as the poster person for Starfleet is an indictment that contemporary young people of the Federation are not drawn to the service as it is in their time anymore.

Critically, Starfleet has to use somebody from a 120 years ago, a timeframe that would lap generations of even especially long lived member species like Vulcans or Denobulans, to attract new recruits. Boimler says himself that seeing Una as a representative and her motto - “Ad astra per aspera” was: “Uh, it was a really big reason why I joined.” Clearly there is a wealth of recognisable Starfleet officers from 2370 and onwards, but their entanglement in the Dominion War, or at least in the Borg threat makes them unsuitable as role models for people like Boimler who cannot help but associate these contemporaries with the horrors of war and intergalactic conflict. Thus, the retreat to a “safe” historical narrative, with Starfleet still being about peaceful exploration reflects the growing divide between the realities of a colonised galaxy, the ongoing need of new bodies to fill the posts on all those ships and space stations and the aspirations and values of young people today. In this essay I will question whether Starfleet can keep its promise of scientific integrity in the face of growing political unrest in the UFP and ask what “Number One” herself would have thought about-

[galedekarios]

hearing about gale from tara is always such a treat because she's known him for so, so long, ever since he was just a boy and has watched him grow into who he is now:

Player: Excruciatingly awkward. On my side, at least. Tara the Tressym: Don't be too hard on yourself, sir. You've been like that all your life.

Player: It's very unsettling how you can tell what I've been up to just by looking at me... Tara the Tressym: Tressyms are exceptionally intuitive. And also, you wear your emotions like a very garish cravat.

Tara the Tressym: If that's all, then what comes after is for you to decide, Mr Dekarios. Think well on all that's happened, and stay true to that heart of yours. It's a good one.

which also sort of ties into this:

Player: I'd never want to lose you, Tara. I'll return the Crown to Mystra. Tara the Tressym: There's a good humanoid. You had me scared for a moment here. But you're wise - and wiser all the time. 

Player: That's just my boyish charm. Tara the Tressym: Boyish charm and knees that creak like rusted hinges! Quite the combination.

Player: I'm honestly not sure. But don't worry - it's nothing I can't handle. Tara the Tressym: Very tough.

Player: Must be the beard. Tara the Tressym: Don't be silly. What is it really?

she's absolutely not averse to teasing him. however, it's never cruel and always light-hearted, just like she's not afraid to call him out on evading questions or making him reflect on the choices he takes if she does disagree with him. it really speaks of how long they have been at each other's side.

Tara the Tressym: Mr Dekarios. Gale. You are the finest mind - the finest wizard - I have ever had the pleasure to know. If anyone can beat this thing, it is you. When you tried to control the Weave - when it all went, pardon my language, belly up - I was terrified. Scared you'd be hurt. Scared Mystra would punish you for your transgression. But do you know what never crossed my mind? That you wouldn't figure a way out of it. My clever friend never leaves a knot knotted. This parasite is one more knot, so get to tugging threads. And - Mr Dekarios - please. The beard. I'd cut it down myself if I could hold a razor.

so from tara's pov, gale's always been awkward and obvious with his emotions.

she's convinced he has a genuinely good heart, one that she hopes he'll stay true to.

tara thinks he's wise, and growing wiser (condition: gale rejects to take the crown for himself).

she also thinks he's clever and brilliant.

[ankahikoibaat]

[IMAGE TEXT: a thread of two posts from ‘aradhna.’ @/thebitterbeast.bsky.social.

POST ONE: me whenever it is clear either via marketing, interviews or the media itself that yet another Star Wars writer/director is ignoring the Buddhist and other Eastern influences on the Jedi to portray them as a flavour of Christian/Catholic and/or an institution not a religious order of monks:

POST TWO: *looks at said media* oh so this is just licensed fanfic then.

(hey Disney if you're just licensing fanfic now, I can direct you to some great ones that actually respect the real life religions and cultural influences of the main draw to Star Wars. heck, I wrote some!)]

[bunnakit]

i think what got me the most this episode is the very, very ending.

you can tell sakuna lives inside phaya now, that they've become one in the same.

"i'm sorry i didn't recognize you" because sakuna would never forget wansarut but he was locked away and limited by mortal phaya's memories.

"i wouldn't have let you stay close to that man." because sakuna would have never, ever allowed chalothorn anywhere near tharn, never would have tolerated his constant interference - but phaya didn't know, didn't know how that man had hurt them and torn his heart from his body the moment wansarut hit the cold hard ground.

"from now on, always stay close to me." because sakuna can't ever take his eyes off wansarut again, can't bear the thought of what may happen, can't stand the thought of what has already happened as tharn kept his mortal body safe. "you have to stay by my side."

"because you are only mine." because sakuna will not let chalothorn have him, he will not bend his knee to the snake that has torn them apart time and time again. tharn is not a petty trinket to be had, he is the most precious thing in his life and the very reason he and phaya still live today.

sakuna cradles tharn's face between his hands, knows he has finally come home, and he won't allow any force in the world to take his home from him again.

[samdeancrimespree]

in home when dean says “i carried you out the front door” sam says “ you did.” he looks at dean, and when he starts to give a common response “you did?”, it doesn’t come out as a question. instead it’s this realization, an of course you did. john was focused on mary, and dean was focused on sam. john spent the rest of his life in that burning house. dean carried sam out.

sam doesn’t question dean at all, even though asking something like “really?” is a normal response to being told something you didn’t know. he agrees, because the logic of his four year old brother carrying him out of a burning house makes perfect sense to him. he would’ve been more shocked if dean had said that john carried him out. and then dean says “you never knew that?” not “i didn’t tell you that?” as if he genuinely forgets that they don’t share one brain and all his memories aren’t burned into sam’s prefrontal cortex.

[12thbiologist]

Introduction by N. K. Jemisin, from 10th anniversary Authority reprint

"To my own shame, I've become a jaded reader in recent years. By this, I mean that my enthusiasm and curiosity, my drive to experience new worlds, have all been damaged by a persistent disjunct between reality and the speculative fiction I most enjoy.

"Is it any wonder? Given the horrors of Trump's first regime, the looming threat of another, a global plague allowed to run rampant, and a billionaire backed culture war on the rest of us. I'm more jaded about everything now. Escapism at this juncture feels like a way to temporarily pretend that everything is fine. And while there's value in taking a break from Hell, it also feels dangerous. Like drinking to drown my sorrows. Nothing wrong with alcohol now and again, but nobody needs a steady diet of oblivion.

"What I've found myself seeking instead are philosophies of entropy and survival. That is, fiction that addresses multifaceted decay and the psychology needed to survive it. At this point, to mangle Audre Lorde, the master has handed his tools out freely after designing them to break at first usage, buying out the only shop that could fix them and the only newspaper that tried to report on the scam, and charging all customers a subscription fee. And these days, it's no longer just us marginalized folks who need our media to acknowledge the slow motion apocalypse we're all trapped in.

"Enter, The Southern Reach books. When I first read Annihilation during the run-up to the 2016 election, it was a welcome breath of fungal, fetid air. Other fiction of the time seemed determined to suggest there was no need for alarm. Things couldn't be so bad. Anything broken could be fixed.

"Could it though? As I watched my country embrace a stupid, incompetent, and blatantly criminal fascist while insisting his spiteful, privileged sycophants somehow had a point—Well, when you're already queasy, sweet smells make the feeling worse. It helped to read instead about the smells and sights and horrors and haunting beauty of Area X. It helped me to imagine that creeping transformative infection warping body and mind and environment and institution. Because that was the world I was living in. It helped to meet the 12th expedition's nameless women who were simultaneously individuals, with selfish motivations, and archetypes, trapped in their roles. The biologist, driven by the loss of her mate and the need to integrate into a new ecosystem. The psychologist, a human subjects ethics violation in human flesh. We are dropped into danger with these women, immediately forced to confront an existential threat with courage and perseverance. And this? This was what I needed from my fiction.

"The second book, Authority, was even more what I needed. As we watch Control slowly realize he's never been in control, and that things are a lot worse than his complacency allowed him to see—it just resonated so powerfully. His over reliance on procedure and the assumed wisdom of his predecessor. His dogged refusal to see the undying plant in his office as a sign of something wrong. There was nothing of 2014's politics overtly visible in the book. And yet, they were all over it like mold.

"I've read and written reviews of these books and it seems to me that there's a common misreading that applies. Namely, that they are "climate fiction," or "cli-fi." This clunky label fits superficially, in that climate change occurs during the course of the book.

"However, Area X, with it's inexplicable reality warping power, is a poor metaphor for human caused destruction. Or even for the surreality of climate denial- talk about reality warping. I think a better analytic is to view the books as postcolonial fiction. Per Caribbean Canadian writer Nalo Hopkinson, postcolonial stories take the adventurous repertoire of science fiction—such as traveling to a distant realm and taming the exotic flora, fauna, and people who live there—and from the experience of the colonizee, critique it, pervert it, fuck with it. The characters of The Southern Reach books are only obliquely marginalized. Their races, ethnicities, class distinctions, and other markers of identity are deliberately downplayed, down to the lack of personal names. But they are all women, which is atypical of pretty much any US government agency. Two of them, the Asian biologist and the half-Indigenous psychologist, are racialized. Biology and psychology and anthropology are often dismissed as "soft sciences," in large part because too many women thrive in them. Or because they've done too good a job of reconsidering racial/cultural/ethnic equity and updating practices and personnel to suit.

"As the 12th expedition proceeds into Area X, on the surface it seems they are reenacting a thousand science fiction novels: going forth as intrepid strangers into a strange land. But for any reader who's familiar with those classic narratives, Annihilation's version feels like a setup. Our marginalized protagonists lacking the privileges and power of stalwart square-jawed white men seem doomed from pretty much the moment they enter Area X.

"So, they are the colonizees in this situation and Area X is definitely fucking with them. But as the story proceeds, it becomes clear that they are themselves fucking with that classic adventure dynamic. The psychologist has wholly focused her skills on taming her fellow adventurers, and perhaps herself. The biologist is trying to solve a mystery of identity: something unquantifiable and scientifically immeasurable, more felt than known, and deeply personal. The anthropologist has no one to study, save her fellow expedition members, and only the surveyor seems wholly focused on Area X at all. Perhaps this is why she later tries to kill the biologist. We see the irony of this setup most clearly with Control in Authority. He is the stalwart square jawed man that traditional science fiction has primed us to expect, even hope for, because he'll have the power to solve the situation, right? But Control becomes the proof that no colonizee can ever tame Area X. At best, they might manage to tame themselves.

"By the end of book one, the 12th expedition becomes the first successful one by a colonizer's rubric, in that they manage to share new understandings of Area X with those outside it and in that at least one member of the team survives with her mind and form somewhat intact. The beginning of book two seems to confirm this, as the story shifts to explore the Kafkaesque bureaucracy of the Southern Reach itself. But the expedition members' choices have become the choices of the colonized. Survive or not? Internalize or not? Assimilate or not? They bring these choices to Control, who adds his own familiar, horrifying existential questions. When change seems inevitable and irreversible, can it be controlled to some degree? Can the self remain intact after the mind and body have been "Ship of Theseus"-ed into something unrecognizable?

"This is not to say that climate focused readings are irrelevant to The Southern Reach series. I mean that climate issues are also colonization issues. In that, the worst effects of climate change fall hardest upon the most marginalized. We observe the breakdown of the 12th expedition, an invasive species to this new biome, even as we observe the breakdown of recognizable life within Area X. New configurations of life emerge from this collapse of old structures. Hybridizations, commensalisms, wholesale assimilations. Even our bureaucracies, as evidenced in Authority, form a kind of natural order that can be deconstructed and readapated. Control fails to contain Area X because of another key understanding that the colonized eventually develop: you cannot fight that with which you have become complicit. The best you can do is realize what's happening and hope its not too late by the time you do. Never fear, Area X reassures. Colonization and its associated harms, terrifying and painful as they might be, are not the end—however much traditional science fiction stories might suggest otherwise. Survival is possible if one is lucky, brave, and clever, but it might require a transformation far more nuanced and complex than mere death. And this is a reassurance. Speculative fiction has historically framed colonization as a contest with winners and losers, but its never been that simple. Human beings are syncretic, some element of who and what we were will always remain in what we become. Entropy cannot be stopped but new energy can be added to the system. And those who are caught up in the transformation can claim a degree of that power for themselves. And, ultimately, syncretism means that we are carried forwards regardless, if only in part. Still better than nothing.

"As I write these words, multiple genocides are in progress. I feel no certainty for the future. Half my nation is so enthralled to it's own bigoted fantasies that I neither expect nor particularly want the United States to survive. I do not fear the singularity, sentient AI, or any technological boogeyman. I fear the confluence of greed and shortsightedness and spite that human rights and human consciouses cannot survive intact.

"But new systems emerge, inevitably. After a climate extinction or a natural disaster, ecologies adapt, new entities eventually fill old empty niches, power changes hands, and stories can be deconstructed. Even when the situation is most terrifying, least stable, there will always be those who embrace the change, and perhaps gain new strength from it. It's a bittersweet understanding, but the change is upon us. We're all in Area X, now. If we are lucky, clever, and courageous, we might still recognize ourselves when its all said and done."

-N. K. Jemisin, Authority

[viperwhispered]

Too Hard

Woop part 2 of the trip inside Jamil's head. Part 1 here.

The next time Jamil caught sight of you on campus, his first instinct was to turn around on his heel.

What a stupid thought to have because of you.

Besides, that would only make him more conspicuous, not less.

So, when your eyes met his, Jamil gave you a short nod in greeting. He would’ve left it at that and kept on his way, had you not walked up to him.

“Hi Jamil! How’s it going?” you said with that impossibly disarming smile of yours.

Why was it so difficult to look at you like he normally would? You had no right to make him feel so stiff, so unnatural.

On autopilot, Jamil exchanged a few pleasantries with you - those lessons from his parents had been instilled too deep in him for him to falter too badly in a simple exchange such as this. Still, Jamil quickly excused himself by telling you he still had to find Kalim before his next class.

Jamil didn’t miss the way your smile faltered. Had you hoped to get something out of him?

“Oh, okay. I’ll see you two later, then.”

Something about that irked him, though Jamil did not allow himself to dwell on it further.

His heart really had no business still racing as it did when he walked away, unaware of the frown on his face.

Just act normal. That’s all he needed to do.

After all, he had no time for dwelling in silly fancies.

If Jamil had been acutely aware of you before, it only seemed to worsen now that he was making a conscious effort to not act any differently with you. In fact, the harder he tried to keep you out, the more you invaded his thoughts, unsettling him.

The most innocuous words from you looped in his mind, and even the simplest actions caught his eye. For goodness's sake, he’d found himself staring at you while you were queueing up in the cafeteria the other day, not even doing anything other than standing around and looking bored!

For once, Jamil found himself grateful for all his duties. At least they provided him with something else to occupy himself with.

After all, if he was busy enough, it was difficult to think about those bright eyes of yours, your sweet laugh, or the way you bit your lip while thinking.

Still, sometimes it felt like no matter which way he turned, you were there, ready to throw him off-kilter. Not like it was his fault that often the most convenient route to class intersected with your daily routines. Or that your face seemed to jump out from any crowd, catching his attention.

Which certainly did not help his basketball performance. Jamil certainly did not recall you having such an interest in sports before, yet suddenly you were always there, distracting him. What had changed?

Could you possibly-

Jamil scoffed to himself, forcing his thoughts back on track for the nth time that day.

He picked up the tray of food and started taking it to Kalim. After dinner, he’d need to help Kalim with his homework, there were some housewarden tasks that would need dealing with, not to mention the preparations for the next-

Jamil froze in his tracks.

The voice he heard was quiet, but it was unmistakably you.

Really, it should not have come as such a surprise to him. You had become a rather frequent visitor to Scarabia, and Kalim often invited you to stay for meals. In fact, Jamil had started planning the dorm’s meal prep with your tastes and dietary restrictions in mind, just in case.

Jamil rounded the corner with strange exhilaration, his heart fluttering needlessly.

Yet, his mood evaporated when he saw you.

Why did you stop talking and look so guilty as soon as you caught sight of Jamil?

Jamil knew that look you gave to Kalim, had used it himself a thousand times. The one telling Kalim to keep quiet about something.

What could there possibly be that you would be comfortable sharing with Kalim, but not with him? That would give Kalim reason to sit so close to you, a comforting hand on your shoulder?

Jamil's mind raced with possibilities, yet could not settle for any single explanation.

He’d have to ask Kalim about it later.

Jamil gave you a short, polite greeting, his eyes lingering on you in an attempt to read what you were hiding.

“If I’d known you were coming over, I would’ve prepared something for you to eat as well,” Jamil said, already thinking about which parts of the dorm’s dinner to spruce up for you.

“Oh, no need, just figured I’d pop by. I’ll get out of your hair soon enough,” you said, something sheepish about your expression.

As expected, Kalim asked you to stay and dine with them, and with just a bit more persuasion you agreed - though not before telling Jamil that he should join you too and have himself a breather.

And since Kalim agreed with you, Jamil soon found himself sharing a meal with you and Kalim. Yet, even as he sat down with the food, his mind raced.

Had you been getting particularly close to Kalim lately? But surely Jamil would’ve noticed such a thing. Maybe someone from the dorm had been giving you trouble? But if that was the case, then surely you could let Jamil know about it, too. Unless for some reason you did not want to? But if it was something that concerned Kalim, then sooner or later it was bound to concern Jamil, too.

All the while, Kalim was talking to you about this and that, the latest topic being the animals kept on the Asim estate.

“I’ve got some pictures, let me show you!” Kalim said with an excited grin.

Only, a thorough patting of his pockets and a look around confirmed that Kalim’s phone was nowhere to be seen.

Jamil pinched the bridge of his nose. Where had Kalim left it this time?

Before Jamil even had the chance to say that he would handle it, Kalim sprinted off. Jamil hesitated for a moment, automatically halfway up from his seat, before he decided that leaving a guest unattended would be a worse offense than not helping out his master.

Jamil slumped back down with a sigh, mentally tracing the path Kalim took today, trying to recall the last time he saw Kalim handle his phone.

“Breathe. He’ll manage,” you said. There was the faintest of smiles on your lips, and Jamil could not decide if it was knowing or amused. Perhaps both.

Somehow, despite his frustration, Jamil’s own lips wanted to curl up too.

“Hmm. Maybe he will.”

Sure, Jamil could’ve called Kalim’s phone, to make it easier to find, but it was not that urgent, was it?

Jamil took another bite of his food, keeping an eye on you from the corner of his eye.

How was his mind so empty and so buzzing at the same time?

“You know-”

“So-”

You looked at each other, both just as surprised that the other had spoken up at the same time.

Even your surprised look was so-

“You first,” Jamil said. The way you bit your lip... Jamil had to raise a cup to his lips, slowly sipping his drink.

“Just… Feels like it’s been quite a while since I’ve seen you be still, you know. Or exchanged more than two words with you,” you said. You were attempting a light, joking tone, yet it was quite clear there was more to it.

“You say that like it would be unusual for me to be busy.”

He was not prepared for the way your soft sigh tugged at his heartstrings.

“No. It is not.”

You were both quiet after, poking at your meals. Normally, Jamil would’ve cherished such a moment of peace, yet this particular silence between you two was decidedly awkward.

Where was your usual chatter? Why weren’t you looking at him like you usually did?

“If you’re worried about me, don’t. I’m fine,” Jamil said, some softness creeping into his tone despite his best intentions.

“That's what Kalim said too,” you said. Yet the way you looked at Jamil made it clear you were still skeptical.

Wait.

Had you clammed up earlier because it had been Jamil you had been talking about with Kalim? That Kalim had comforted you about?

The thought twisted his stomach into knots.

Eta: you can find part 3 here, part 4 here, and finally part 5 here. Hasdhfsdf the way I fought with that last scene I swear. I don't even want to know how many versions I went through, trying to figure out how to say what I wanted without rubbing it into your face or making it too veiled. The joys of trying to convey things through a limited pov. Hopefully it came out reasonably balanced in the end. Rip to all those sentences that were lovely on their own but didn’t work for the whole. Hopefully I can rehome y’all one day. I do have thoughts for part 3 and part x (might be some chapters between those two as well, who knows at this point), so maybe we'll see those at some point, too. Tag list: @colliope @crystallizsch @diodellet @jamilsimpno69 @jamilvapologist @twstgo If you'd like to be tagged for future works, let me know! (Just be aware that sometimes I do also write nsfw, though you can certainly ask to be tagged only for particular kinds of works.)

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[starlight-eclipsed]

With chapter 3 of Porcelain Veneer posted, I can now share Legato's design page! Ignore the part where I technically spoiled this chapter with a tiny Legato.

Below the cut are my design notes, along with some original concepts I drew a year ago when I first thought of this au. How far we've come...

It's fun to see which details I kept and which fell away in favor of other ideas.

​Fun fact! Legato was originally supposed to be confused with Linkle during Hyrule Warriors. The base concept for this au was that Legend was trying to use the Harp of Ages to visit the Chain, but he kept missing. This involved him saving baby Malon, having tea with a sorceress named Cialana, hanging out with baby Wild, crashing through Midna's window, and being a thorn in the side of Ghirahim. All with the punchline that everyone had shown up at his house the second he left.

Obviously, things didn't go the way I was expecting, but I think I'm happy with what I ended up doing :3

[zeddylux]

I genuinely had the best idea for a rewrite for some of Act 2. So say miss Vi in a drunken stupor (with real fucking symptoms thank you) stumbles into a certain brothel (we all know the one) and meets a certain girl. Could be an OC could be a self-insert either way but they start to become close. Vi come back after every fight, every night if she can manage and the girl eventually stops charging her. Which Vi starts feeling super guilty about (cue the self hatred) and starts fighting even harder so she can make sure to pay the girl (hence why she starts getting max beefcake). But the girl starts coming around her place (the place we saw in the trailer with her bed without a blankie) so she doesn't have to feel guilty. But there a general lack of communication. The girl idolizes Jinx and how she ignited the revolution and has blue streaks in her hair (one of Jinxs fans) but despises the Zaun enforcer that led Caitlyn down into the undercity. (I think this would still work because Vi had her mask on for alot of Act 1 where people might recognize her and her hair is dyed black now). Vi can't bring herself to tell the girl the truth so she keeps pretending she's also a fan of Jinx and not telling the girl everything. She can't lose anyone again she can't. (Perhaps insert a scene where the girl is admiring the mural of Jinx and Vi starts crying). Vi still has her gauntlets though and the girl eventually starts putting two and two together. She's a sex worker she's trained to pay attention. Especially when some enforcers and Caitlyn (desperate to find Jinx) raid the brothel possibly looking for Vi also to bring in for questioning. Jinx can still reunite with Vi and Isha can still have her relationship with her (I liked it think it's fine) but she doesn't die. Fuck that. Anyway Jinx needs Vi to help her with something (not sure what yet) and so the two work together but it's VERY hostile. The two keep trading insults and the girl is confused. She gets angry at Vi (how could you talk that way to her she SAVED US). Meanwhile Jinx is still intent on hurting her sister and spills the beans. Tells the girl everything. The girl breaks down and cries and says she can't even look at Vi anymore. Jinx leaves with a satisified look on her face while Isha gives her a disapproving look.

[yarmiko-art]

Watch out, kids, there's a man eating butterfly over there--!

Really wanted to make something like this with them for a while. I care for them so much. Wholeheartedly believe that those kids have a really deep bond

There's a lil tidbit down the post with me trying to do the character study on Gooey.

"I can't do it right," Gooey mutters quietly with clear sadness in their voice, looking at the crumpled wad of paper under their fingers. Whatever this thing was, it definitely wasn't a paper plane he worked so hard on for the ten minutes, sticking out his tongue with diligence.

The boy raises his head up, looking at a white speck among the green leaves. Kirby's planes flew easily and far without effort. One of them soared so high up that it got stuck in the crown of a tree, which stretched a huge pleasant shadow above them. A pretty orange butterfly perched itself on a white wing. Even it likes Kirby's plane better.

Kirby's paper frogs were better, too. They jumped on the grass as if they were alive - the boys just needed to lightly poke their flattened heads. Origami cranes gracefully positioned themselves in the shade with their wings spread out. Waiting for the wind to pick them up in the air. The doves were made of regular, even lines.

And Gooey couldn't even make a simple paper plane. Maybe the wings were too short to allow them to fly forward rather than fall, driven down by the force of the impact. Or maybe he was making too many bends on the sheet, constantly forgetting which corners to bend inwards. But it suppose to be so easy. Kirby made it look so easy.

Gooey looks at their hands in disappointment. Palm. Five splayed child fingers with a couple of scratches from carelessness. No different from a human one. Gooey grabs Kirby's wrist and puts his palm against his own, carefully comparing them. Frustrated eyes run from one hand to the other. Kirby doesn't mind. His free hand ruffles the blue dreadlocks on other's head in a soothing manner.

"Don't be upset. I didn't do it right the first time either."

Gooey unclenches the fingers, closing his eyes. He wouldn't be so upset about the first time. But this was the third one! Something was clearly wrong! He obviously did something wrong while morphing these hands—Huh?

The look of big dark eyes attracts something new. Kirby takes out a new sheet from the pile of paper pinned down by the picnic basket. He smoothes it out on the grass and lures Gooey closer.

"Fold it in half first," the boy draws an imaginary fold line across the sheet before Gooey hesitantly follows the instructions, "Neat! And now one more time. And then open it."

Fold the corners to the inside. Fold up the bottom. Corners again... Following Kirby's words was much easier than frantically trying to remember the next step in fear of ruining the sheet. Turn it on its side and in half again. Huh, Gooey doesn't remember such a step in the plane making. Although, maybe that's why they didn't couldn't do it right.

The sheet goes tightly under the fingers, bending unevenly. "It won't fly this time either," the boy tells himself, but completes the last instruction - pull the corners to the sides. He expects the paper to tear, but instead the origami in his hands opens up in--

"A boat?" Gooey blinks a little puzzled, and Kirby tugs at his elbow in the direction of the pond. The water was right next to them, splashing the knees, covered with herbal juice Two hands sink into the cool pool, allowing the boat to gently stand on the shiny surface. Gooey leans forward, hanging over the pond at a dangerous angle, about to fall into the water. But the boat is not sinking. Kirby takes a deep breath and blows - the light paper gives in, and moves forward, leaving a small ripple on the blue surface.

Gooey blinks again and their face breaks into a happy smile. It's strange, he can't remember what he was so upset about.

Out of the corner of his eye, he notices a reflection in the pond below him. Two little children - one in a white overalls, and the other in a blue robe. He raises his hand and the child from the pond waves back at him. Palm. Five children's fingers. Quite human.

[nieves-de-sugui]

A Quick History of BL

As someone who wrote a thesis on this very subject a few years ago, here is the short version of how BL has evolved throughout the years. For the new comers ❤ 

a minute of silence for the original form of this post that tumblr decied to not save right after I saved it

I am going to go with a chronological approach. Unfortunately, I cannot put everything in one post so if there’s any questions about this or that aspect of the history of BL that you want to know and it’s not talked about here, you are welcome to ask me directly :)

Context and influences - Japan in the 60′s

Before the US forced Japan to open its borders to the outside world in the 1800s, homosexual practices were common place between budist monks, samurais and kabuki actors. During the Edo period (1600s to 1800s) there was a very rich amount of poetry, art, books (such as Nanshoku Okagami (The Great Mirror of Male Love) by Ihara Saikaku) and codes of conduct about how to have a good master/aprentice relationship, kinda like the greeks if you know what I mean. However, with the arrival of western influences, in order to become a more “civilized” country, it was all put in the closet. 

Yet, in the 60′s Japan started to pick it up again through literature about young androginous beautiful boys (aka bishounen). On one hand, in 1961, the novel Koibitotachi no Mori (A Lover’s Forest) by Mari Mori was published. It tells the story of a young and beautiful 19 year old worker and a half french half japanese aristocrat, and their tragic romance. On the other hand, Taruho Inagaki wrote Shounen ai no Bigaku (The esthetics of boy-love), an essay on aesthetic eroticism (of which he wrote a lot of). All this was know as Tanbi (lit. aesthetic) literature. It generally refered to literature with implied homosexuality and homoeroticism such as works by Oscar Wilde, Jean Cocteau, etc. And of course, Mori and Inagaki. 

In chinese tanbi is read as danmei (term used to refer to BL novels in china today, ie: The Untamed it’s all connected friends).

From the birth of Shonen Ai  to Yaoi - 70′s to the late 80′s

Around the beginning of the 70′s, shoujo was being revolutionized by the Year 24 Group, a generation of women manga authors (mangaka) who started to explore new themes. Among them, their interest in tanbi gave birth to a new subgenre: Shounen ai. 

Their most known manga were:

Kaze to Ki no Uta (The Ballad of the Wind and Trees) by Keiko Takemiya, and Toma no Shinzo (The Heart of Thomas) by Moto Hagio

Their stories are characterized by having suffering eurpoean bishounen in boarding schools, living an idealized perfect love (meaning passionate) that, despite the tragic end of one of them, lives forever in the other. 

As this genre starts getting popular, more and more fans of these stories start making their own self published manga, aka doujinshi, of the genre. It is around this time that the term Yaoi is coined. Meaning “YAma nashi, Ochi nashi, Imi nashi” (no climax, no fall, no meaning). Basically PWP fanfiction, for the most part. Doujinshis could be considered an equivalent of fanfiction in manga form.  It is also here that the term Fujoshi (aka Rotten Girl, for liking rotten things) starts being used to refer to women readers of yaoi. 

With this rise in popularity come the start of the commercialization of the genre. Which meant the publication of magazines dedicated solely to yaoi/shonen ai/BL. The most popular yaoi manga magazine at the time was June. The common trait of their stories being the therapeutic power of the love between the mains. The traumatized character would heal throught this newfound love.

Most of the stories at this time happened in the West (Europe or the States) as the exploration of these dark themes intertwined with homosexual romance and homoeroticism still feel safer to explore as a foreign concept. One example would be Banana Fish (1985).

Commercialization and Yaoi Ronso -  90′s 

As more publishing houses pick the genre up, the term Boys Love is used to include every type of manga about homosexuality made for women. 

The increasing amount of BL series sees a changes in its themes: 

the start of the “gay for you” trope where one mantains their heterosexuality despite being in a homsexual relationship, 

the uke/seme dynamic (mirroring hetero realtionships) also relating to physical appearence (one being more feminine, the other being more masculine), 

the use of rape as an act love (sexual violence has always been present but here it becomes a staple),

anal sex as the only type of sex, 

older and more masculine men start to appear 

they now happen in Japan

Good examples of the presence of these themes in manga are Gravitation (1996) or Yatteranneeze (1995).

However in 1992, Masaki Sato (a gay activist/drag queen) wrote a letter in a small scale feminist magazine attacking yaoi and pointing out how it “represented a kind of misappropriation or distortion of gay life that impacted negatively upon Japanese gay men”. The female readers of yaoi responded, defending the genre as a means to escape gender roles and explore sexual themes that was never meant to represent the realities of gay men. This is know as the Yaoi Ronso (Yaoi Debates).

The debate ended with both sides understanding more of each other, with mangakas starting to include queer views in their works. It also started the academic reasearch of BL. 

Yet, it is a debate that has been restarted more than once, as it is still relevant despite the evolution of the genre.

more on this on another post

Globalization and coining of BL - 2000′s 

By the beginning of the 2000s BL is being sold all over the world (like all manga), and has become a stable industry. We could say it has finally become it’s own genre. 

Some of the most well known manga series, to us (in the west), of the time are:

Junjou Romantica 2002 Koi Suru Boukun 2004 Love Pistols 2004 Haru wo Daiteita 1999

all of these have anime adaptations for the curious ones

We also start seeing short anime adaptations or special episodes of the most popular series, with questionable themes, such as: adoptive father x adoptive son  (Papa to Kiss in the Dark 2005), father x son’s friend (Kirepapa 2008), etc... 

However the themes remain more or less the same. Junjou Romantica’s love story starts with a non-con sex scene by the older one (masc, seme) to the younger one (more feminine, uke) addressed years later in the manga btw. Koi Suru Boukun’s love story is triggered by aphrodisiacs and rape. They’re still very present in the stories but slowly going away. A mangaka that represents this era could be Natsume Isaku (Candy Color Paradox 2010).

Change is slow in Japan. Even though the voices of LGBT+ people started to be taken into account in the genre it is not until later that we see it reflect in the mangas themselves. However, we can already see the start of this in Doukyusei (Classmates) (2006) by Asumiko Nakamura. Also Kinou Nani Tabeta? (2007) which is actually part of a more mature genre: Seinen.

It is my personal (subjective) theory that the BL of this era was the one that got popular outside of Japan, which is why we see lots of references to the themes, tropes and dynamics of this time in today’s BL series. 

The LGBTzation of BL and the rise of webtoons - 2010′s to 2020′s

Slowly but surely LGBT characters and themes enter the scene of BL. Existing simultaneously with the previous tropes and themes, we start seeing a shift in these stories. We now see:

characters that identify as gay or some type of queer

discussions about homophobia

more mature themes about life and romance

At the same time as we get the usual love stories with the usual themes, a new trend starts to take over. And we get simultaneously, cute, sometimes questionable but light love stories:

Love Stage 2010 Ashita wa Docchi da! 2011 Kieta Hatsukoi 2019

More profound stories and darker or more complex themes:

Blue Sky Complex 2013  Saezuru Tori wa Habatakanai 2011 (mafias) Given 2013 (suicide) Hidamari ga Kikoeru 2013 (deafness)

And others that adress the queer experience in a more mature way (which might actually fall into the Seinen genre)

Itoshi no Nekokke 2010 (slice of life, queer characters) Smells like Green Spirit 2011 (two ways to deal with a homphobic society) Strange 2014 (relationships between men) Shimanami Tasogare 2015 (an LGBT group helps a closeted gay) Old Fashioned Cupcake 2019 (you know this one 😉) Bokura no Micro na Shuumatsu 2020 (the end of the world)

As queer stories are explored, BL mangakas and mangakas from other genres start to consider more stories about queer people such as the Josei Genderless Danshi ni Aisaretemasu (My Androgynous Boyfriend) (2018) by Tamekou, or the Shoujo Goukon ni Itarra Onna ga Inakatta Hanashi (The story of when I went to a mixer and there were no women) (2021) by Nana Aokawa. 

Still, we can see two realities live side by side. Doukyuusei gets adapted into an impactful animated movie in 2016, meanwhile Banana Fish gets an anime adaptation that keeps the homoeroticism but not the homosexuality.  

For those who might be interested. Here are some of the authors that represent the first half of this era, where they start to include newer points of view:

Scarlet Beriko, HAYAKAWA Nojiko, KURAHASHI Tomo, OGERETSU Tanaka, Harada, KII Kanna (Stranger by the Sea), etc...

And authors that while keeping classical themes break the stereotypes in a subtle manner:

CTK, ZAKK, Jyanome, Cocomi, Hidebu Takahashi, SUZUMARU Minta, etc...

Mangakas also no longer stick to one genre only. They explore whichever of them they want, from BL to Seinen to others. 

ie: Tamekou, 

or Asumiko Nakamura

The curious case of Webtoons

With the digitalization of mangas, throught Renta and Lehzin, it has become easier (and more expensive) to access these stories. Korea makes and appearence with their webtoons. Through the lack of piracy protections and the majority of them being digital, manhwa (korean webtoons) sees a rise in popularity. Through the digital medium the influencee can be the influencer.

However, like many other East Asian countries they have consumed BL, without hearing about the conversations about BL. So they end up mantaining the older themes and stereotypes that newer BL is trying to leave behind. Therefore, we end up with a mix of old and new, ie:

Killing Stalking 2016 Cherry Blossoms After Winter 2017 Painter of The Night 2019

Additionally, it is also thanks to the easy access to internet that Omegaverse, with its higher dramatic stakes (that parallel hetero dynamics), enters the mangasphere in 2016. It has grown in popularity ever since.

With the Thai BL Boom of 2020, Japan rediscovers its own BL market and starts investing in it more. Which is why we get live action adaptations of BL manga that was popular years ago (Candy Color Paradox was a manga from 2010), the more recent ones (The End of the World With You) or new anime adaptations (Saezuru Tori wa Habatakanai in 2020). 

more on this in my japanese live action BL post

What has it become now? is it BL? ML? or Seinen? Or is it all just gay manga?

It is clear that Shoujo manga (with BL, Josei and Seinen) is exploring queer themes such as gender and sexuality more and more. Japan is interested in this conversation, not only in manga (Genderless fashion). Which brings up the current question in BL studies: Does it make sense to keep these categories?

As a response to BL, ML (Male Love), which is made by gay men for gay men, started happening (around the 70s too). And Bara (gay manga porn) in response to Yaoi. However both gay men and women read BL and ML. We also see other themes being explored through BL, such as friendship (in BL Metamorphose), food (in Kinou Nani Tabeta), male relationships of all kinds (in Strange), and different queer views on life and its challenges (in Shimanami Tasogare). More and more what is LGBT and what is BL is merging, the line is blurred. 

Conclusion

BL has been in my life for longer than it hasn't. It is through shoujo and BL that I have come to understand people and romance.

It is flawed, like everything else this life, but it's flourishing in many ways.

The genre feels old and new at the same time. 

We can still find shounen ai/tanbi elements in more modern manga (All About J). Or the gay for you in a new light (Itoshi no Nekkoke). Or more educational manga on queer issues (My Brother’s Husband by Gengoroh Tagame). BL has around 50 years of existence but it is also being born anew in Thailand and Korea. 

BL manga will continue to evolve in acordance to Japanese tastes, as it is still a local market. Hopefully the korean webtoons that get popular will be the more daring ones in their themes. Who knows where it will go from here? The only thing we know for sure is that it will continue to change. Isn't it exciting?

A post on the evolution of live action BL in Japan is coming, to complement this post.  As well as a more detailed explanation of the Yaoi Debates and gay manga.

[itwoodbeprefect]

meow. meowmeowmeowmeow. meow! 😾

[rainy-day-revelry]

For all my Fairy!Hyrule lovers who also appreciate a bit of angst, may I remind you:

Faefolk hate the color red as it reminds them of iron filled blood, including red berries. Mayhaps they hurt to eat just like iron hurts to touch?

You can break fae magic by turning your clothing inside out. I’ve seen this shown as the fae being unable to see you, or in some cases unable to perceive your presence at all

Several plants are thought to repel fae, such as boxwood or rowan, but you could really use any plant for this purpose. I see daisies used a lot.

Fae can’t lie, only dance around the topic. Can Rulie?

As mentioned, iron hurts fae. You know what most armor contains at least a little of?

Dancing with a fae often leaves you trapped dancing forever until you die of exhaustion or your magical captor frees you. Rulie doesn’t have much experience with his fae powers, or with dancing. Would he know how?

Pretty please, run wild. Give me more full-fae Rulie, and give me consequences for that

[vegaseatsass]

DFF ep9 spoilers

I love gay revenge, I LOVE gay revenge, I love gay REVENGE, I love GAY revenge, HOWEVER

I also love brothers with an uncrossable chasm between them whose parents compare them who lose each other and their entire family along the way... guess what I'm saying is, I love guilty golden boy brother revenge, too