#I say though way too much lmao

[variant-archive]

(Preemptive apologies if I'm not entirely understanding your experiences) What you're describing sounds to me like a form of plurality! I will say from personal experience that what you're describing (awareness of other versions of yourself, sometimes off in their own space) is part of how I realized I have a system. If you ever feel like you change notably during kinshifts, or you "become" them temporarily, it could very well be introjects/fictives/whatever term you like most. I'm someone who's introjected my past lives as traumagenic headmates (complicated I know lol), and I've known other people who feel like many-in-one or that have their past/parallel lives as parts like I do for any number of reasons. Communication isn't necessary at all for being plural, nor is being fully aware of specific parts. Sometimes you just "feel" the shift/switch, and it clicks as another aspect of you but doesn't quite click as a headmate.

Even if what I said doesn't help, I wish you a lot of luck in your journey to find the words that best describe you :) I know how alienating it can be sometimes to not know whether you fit into something, but you're definitely not alone

Hey, I really genuinely appreciate you responding! See, the difference in my experience is that I don't shift or switch in any way other than feeling my astral body change from my true self (a love deity furrything lmao) to one of my kintypes (sylveon, alolan ninetales, etc) and my true self can also shapeshift into different body plans (biped, quadruped etc) so I identify as more of a shapeshifter than anything. I guess the fact that I do "become" my kintypes astrally is something. But my identity itself doesn't change at all, just how I percieve my body in my mind. It's so weird, I feel like I'm stretched across the alterhuman spectrum in such an awkward and unusual way to the point that I'm almost a lot of things. I do know I'm otherkin though so I typically use that. Instead of one body, many minds I feel like I'm many bodies, one mind. Although there are barriers between the other shards of my true self in other universes, likely because they're literally in different realities than me. I do have exomemories/exotrauma though, although vague (my memories for specific fictional characters is stronger because I can simply "re-live" them through the media though). I'm considering attempting to connect to both my true self and the other shards in a spiritual way since (to me) that's the only way to penetrate the barriers of reality. Unfortunately I have a lot of difficulty practicing my beliefs though :( because of my anxiety and trauma I never feel safe enough to do it.

Also it's funny but I never feel my astral body change to my humanoid kintypes (rainbow quartz 2.0 etc) but that could be that it's because they look less like my true self than my non-humanoid kins and I find myself seeking to become more like my true self within this life as it alleviates the dysphoria I get from being in this reality sometimes. I also wonder if my other shards are aware of me/kin with me or something. I don't see why not as all of my kintypes are sapient but they simply might not ever learn about what alterhumantiy is

Sorry for the rant lol but thank you, I'm just happy that anyone is open to listening to my experiences and relating to them even though they don't fit neatly into the alterhuman spectrum. I really don't want to intrude into plural spaces when I don't really feel plural but I can't deny how uncannily similar some of my experiences are. I think the way I'd describe myself is "other-self aware". I've been interested in coining new alterhuman terms if I can get the spoons so I might do that. I still want to explore my identity and figure out what would and would not be appropriate first, though. I don't wanna hurt anyone.

[deoidesign]

Doing master studies the only way I know how: Stealing them and making them my guys.

(Barberini Faun)

(The Fallen Angel - Alexandre Cabanel)

(Covent Garden - William Bruce Ellis Rankin)

[walk-the-fade]

Coming from DAi, Ive seen so many ppl write their inky as a kid or at youngest 18 bc it changes the dynamic between them and the party...

Has anyone done that/ considered how it would change the relationship with Tav?

Lae'zel being frustrated and terrified that her survival is dependent on a teenager. She's taking orders from someone barely old enough to know their way around life on a good day, but now finding her people and being purified fully hinges on this kid's survival and she will be damned if she doesn't die to protect them.

Wyll sees himself in them, wide eyed and terrified at 17 when he bound himself to a devil and his father cast him out. The gods are cruel for giving children their toughest battles. He's going to give them every piece of advice he has and pledge his blade to their cause.

Gale being even more hesistant to open about The Orb and Mystra and his condition because he thinks it's too much for them. They should be tucked away in a library, they should be walking through Baldur's Gate worried about trinkets and sweets and being home on time so they don't worry their mother... not tasked with saving Faerûn from a cult.

Astarion thinks its annoying at first. "Free" for the first time in 200 years. Illithid tadpole squirming in his head and he's stuck following a literal fetus in hopes of survival. Its laughable. He almost –almost– feels bad about having to feed from them, but young blood is always sweeter. And when they earn his approval he's bitter on their behalf. Forced to be a hero, some beacon of light before you've even explored life and it's simple pleasures? Appalling.

Karlach... oh boy Karlach burns hot when they tell her exactly how old they are. Its stupid- its unfair- ITS BULLSHIT quite honestly. The nickname Soldier becomes so much more. This kid doesn't give up. They can't, Mama K will do everything in her power to stop it. They need a friend in these tough times and shes more than willing to be that person. Gods....

Shadowheart is a little surprised, but she's the one that underestimates them the least, for sure. They're not that much older than when she was taken in by The Dark Lady and her followers. She knows that you become strong when you need to be. It may be unfair but that doesn't make them any less capable as long as they understand the task at hand. She will see to it that they stay on the right path. And when her faith shifts she realizes neither of them deserve to struggle.

As for Halsin, it makes his heart ACHE in his chest when someone so young comes to his rescue. His knee jerk reaction is that they need training, gudiance... protection. But he quickly realizes that's only half true. They are young sure, but they are not helpless. He will help them in anyway that he can whether it be in battle against The Absolute or by carving them little wooden animals while they sleep and leaving them in their tent. They deserve a little happiness amongst the chaos.

Minthara (assuming she has been recruited at Moonrise) is surprised more by the fact that they chose to show her mercy than by their age. Given her upbringing, survival and violence go hand in hand and if this kid has survived this long, faced power of absolute and survived? Than they are worthy of her respect, hands down. She may not always agree with their methods but she will certainly not hesistate to stand beside them.

[howtodisappearcompletelyand]

20/10 stars little guy

[tora-the-cat]

💚: What does everyone else get wrong about your favorite character(s)?

oh. oh we could be here for DAYS. okay. I'll do the first five characters that come to mind, and ONE thing for each character I'm thinking about lol

Sakura- because who else would I start with? I think the biggest pet-peeve I have with general characterization of her is she's just. too normal. Whether you're writing her as a lovesick teenager or a terrifying baby badass, so many people tend to overlook that she does NOT have typical responses to situations. She has moodswings. She's impulse. Her empathy is abysmally low. her capacity for self confidence should be studied. she's an annoying know-it-all. her priorities are FUCKED. The problem is that she THINKS she's the most normal person in any given room, and too many viewers have fallen for her act. she felt accountability for 5 seconds and proceeded to poison all of her friends to try and go kill sasuke without stopping to ask herself if that's even something she's emotionally capable of trying (it isn't).

Minato- honestly, my main complain about him is similar in principle- people ALSO write him as a Normal Cool Guy, because that's how he presents and thinks of himself. He's the Ideal Shinobi, almost perfect, almost a messiah, given how people- in and out of universe- talk about him. But the thing is...he is the Ideal Shinobi. And, by nature of that, there is something deeply wrong with him. He killed an entire army's worth of people in a day and is remembered as a peace-maker. Kishimoto thinks this is normal, so the narrative thinks Minato is a good guy, so he's remembered fondly in the story and most of the fandom. Kishimoto is wrong. Minato was suited for the life and glory of an S-Rank shinobi in the sort of way we only see otherwise presented in heartless nuke-nin for the rest of the show.

Sasuke- Everything that Sasuke has ever, ever done has been for love. He doesn't move a muscle without thinking about the people he loves. His heart doesn't beat unless it can do so for someone else. People miss this because of his obsession with revenge or whatever, but he was doing that out of love for his clan. for his family. for, even, his brother, who he somehow devestatingly loved even before he knew Itachi wasn't to blame. Itachi set his entire world on fire when he was seven and then put him in a torture hallucination replaying it for days, and Sasuke still loved him. After everything he heard Danzo did, he still gave that bastard the chance to plea his case before killing him. Sasuke doesn't have a single cruel bone in his body.

Hinata- Hinata is a fighter. She loves, and she watches, and she's never met a fight she won't pick given half a chance. She put herself between her father's wrath and her sister. She fought Neji because Naruto was cheering on the sidelines. She only managed to confess her love when she jumped in to an impossible fight against Pein for Naruto. I don't think she ever wins a fight in Naruto (which is bullshit), but that's never hindered her undying fighting spirit.

Obito- Obito's tricky cause his characterization is contradictory and murky by nature so it's hard to argue the details of it, but you will never get me on board with a canon interpretation of him that isn't literally chronically dissociated for his entire adult life. I don't think he knows his name. I don't think he's looked in a mirror in years. I don't think he can tell you the date. I don't think he's felt anything but conviction since he held Rin's body in his arms.

IM STOPPING THERE. I CAN DO THIS FOREVER BUT I'M STOPPING THERE.

[deva-arts]

zomg... the girls! Sketched out! And a few characters I never showed designs for! haha! I keep thinking about the beach, so this is their swimwear.

I hope to make a full fledged drawing for all of them soon~ then the guys~~

Some newbies are: Aura (blue!) Katya (Gold!) and more of Verra (Green!) We'll eventually see more about them as I draw more things and doodles.

[thepersonperson]

I think JJK going on break after the last chapter is a bit cruel. This is nerve-wracking. We still have 3 chapters left and so many things can happen there. 268 feels too good to be true and the title is weird.

I'm not sure what is the right translation and I don't have access to raws. Right now, it's 268 title is "Finale" or "Conclusion" but I heard from someone that it can be also be read as "Curtains".

If it can be read as "Curtains", then it could be a reference to "final curtains". The problem is JJK has its own version of "Curtains", right? Idk what to think.

Gosh I wish it was “Curtains”. The chapter title is 決着 (Kecchaku) which means settlement/conclusion/end.

For example, at the end of an extremely brutal fight in Jojo's Bizarre Adventure, Jolyne screams “Kechakuuuuuuu!” (決着ゥゥーーーッ!!) (It's actually a small Jojo meme in the JP fandom.) This got translated as "Game set!"

I love the localization they used for this since that entire battle was like struggling in arcade mode for a fighting game.

Anyways, in the context of JJK, especially since this has been a literal Sukuna Gauntlet and the previous chapter had the “Ringing the bell on a long fight.” editor’s comment, I don’t think there’s an ambiguous way to read Kecchaku. The Curtain/Veil kanji in JJK is 帳 (Tobari). (Though if there’s some fancy wordplay I’m missing please let me know.)

However…I would kneel before Gege if this was an elaborate trick by Sukuna—him giving Yuji delusions of a happy ending only to yank it away last second. It’s very hard to make characters feel familiar but slightly off on purpose for misdirection. That kind of tonal control is something I praise Umineko for. (Dungeon Meshi does it excellently for the shapeshifter scene.)

But that is pure copium I think. Sometimes otherwise good media just fumbles the endings. (Not an example of good media, but I was around for the Secret BBC Sherlock Season 4 Ending meltdown so I’m not too hopeful about a turnaround.) I personally blame the JP work culture/crunch since a lot of modern mangas have rushed endings due to burnout/unfair contracts.

I think the most heartbreaking examples of this phenomenon for me are The Owl House and Moral Orel. Those shows still stick the landing imo, but the creators are very open about how studio interference forced them to condense everything. You can feel that suffocation in the final episodes. Everything is just slightly off and you know it would be better if the creators were allowed their breathing room.

[lupins-hehim-pussy]

I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears

I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!

The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.

More:

Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.

Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)

Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.

Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.

Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.

The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.

They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.

And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.

I could go on, but this is already so long. But yeah, I hope this gave you an idea.

[corvid-language-library]

Starting to consider the possibility I'm not actually a beginner in Japanese anymore? Like I'm definitely not intermediate yet but I think I might actually be at that grey area of pre-intermediate.

[silverselfshippingchaos]

man... this crush is.. certainly something!

[stephantom]

I’d need to watch it again to confirm this, but I’m pretty sure that Thomas Becket is the only character who independently initiates touch with Henry?

There are plenty of people whom Henry touches, and it’s almost always possessive or threatening: the villager woman in the first flashback scene, the Saxon peasant girl (and possibly the old man? I think he prods at both of them with his riding crop), Gwendolen (holding her shoulders/neck), the French prostitute (kissing, leaning over, sitting on, slapping her butt), his sons (pushing and kicking them), the bishop (strangling), his barons (clutching onto one, tapping one’s head to indicate his vapidness), and Thomas too—(clasping his shoulders when he realizes Thomas is hurt, holding his hand to put on the chancellor ring).

Interestingly, I don’t think we ever see Henry touch or be touched by his mother or his wife. There’s the moment when he grabs/kicks their needlework, and later on he knocks all the plates off the table, possibly vaguely in their direction—so there are two physical interactions which are violent but still sort of… distant? And still the direction is just Henry to them (in terms of physicality, anyway—verbally, they do initiate conversations/fights with him).

Does anyone touch Henry? There are the monks who whip him in the end, but Henry has ordered them to do it. Likewise, there’s the servant/valet/page who begins to wipe him dry in the bath scene, but again, that’s someone performing a duty. Thomas Becket though, cuts in and takes over the drying, and the dialogue tells us explicitly that he’s not expected to do this, and doesn’t have to (“You’re a nobleman—why do you play at being my valet?”) but Becket seemingly wants to do it, and he knows Henry likes how he does it: enthusiastically, confidently, warmly, and freely (“No one does it like you, Thomas”). He towels Henry’s head, helps Henry put on his boots, and then casually uses Henry’s legs to push himself up to stand.

There’s the scene in Henry’s tent, after the French prostitute has left and the two of them are sitting on the bed: Becket sort of leans in and briefly clasps Henry’s arm where it’s lying in his lap, casually and warmly.

There’s also the getaway horse ride, where Becket is holding onto Henry, arms wrapped around him, and they’re both laughing and smiling. Henry’s shirt actually falls open a little and Becket’s hand winds up on his bare torso.

And then there are the thwarted attempts at touch, after the split: the two scenes where Henry accuses Becket of not loving him. Both times, Becket moves toward Henry and reaches out to touch him, and both times, Henry moves away and tells him to keep his distance.

They’re quick little things, but if they are actually the only instances of anyone touching Henry affectionately (or even of their own volition) that we see over the course of the movie, it does support an impression of Henry as fundamentally isolated—maybe there is truth to his claim that Becket is the only person who’s ever loved him.

What’s tragic is that 1) Henry doesn’t really know how to express love himself (see: Henry expressing nothing but violence and entitlement to everyone else around him, and even to Becket for the most part), and 2) Becket’s love, albeit huge in Henry’s world, is conflicted and unfulfilling—for both of them.

Becket might be the only person who’s dared to reach out to Henry and meet him on something close to a human level, and Henry loves him for it, but why does Becket do it? Part of it may just be an instinct of Becket’s to fulfill a need where he sees one, if he can, and if it benefits him. I think it’s so interesting that Henry seems obsessed with the question of whether Thomas really loves him, when it seems the truth might be that Thomas actually doesn’t know; maybe it’s an unanswerable, even nonsensical question to him. Like, what else could he do? I don’t know. “Insofar as I was capable of love, yes I did [love you].” But the fact that his last words, unwitnessed and private, are, “Poor Henry.” Fuck me up.

Ok, that last paragraph got away from me and now I can’t stop. Tempted to draw comparisons to “Beauty and the Beast” (this is a sad version where no magical transformation happens… unless you take a particular Catholic stance and consider that both of them maybe took real solace and meaning in Thomas being made a saint and that Henry maybe found real absolution through his penance).

I also want to compare all of this to “The Lion in Winter”, where it feels like, rather than a story about one lonely monster in a castle full of people he sees as objects, it’s a whole microcosm of traumatized and power-hungry people, reaching out for power and security and love and stabbing each other in the back, over and over. (Like, of course his mother and wife and kids have complex feelings for him—some of which involve love!) I think that depiction is better and less myopic, more true to life and probably a more accurate portrait of the historical figures involved (even when it comes to Henry and Becket—Becket was of that world too, after all), but I think I’ve rambled enough about all of this, so I’m going to end this post now. I’ll just say that there’s something nevertheless appealing about the boiled-down fairytale melodrama of “no one else ever loved me but you!”

[meowsticmarvels]

screaming to the crowd. zero escapers i need to know your thoughts/hcs on 1904!phi and her partner.... im thinking a lot about phis insane ass backstory. need to Know.....

[softdreamlesssleep]

God, "I missed you" sex is the best

[memento-morri-writes]

I've been thinking a lot about how Rook's reunion with his former mentor, Zara, is going to go, and since I can't predict what the DM is going to have her do or say, I can only dwell on what I know is going to happen. Which happens to include taking off the illusion ring that's been hiding his injuries from her. So have a snippet of the description I have planned for that moment:

tw for description of (mostly healed) injuries

He hesitates, twisting a ring on his finger. Looking at it more closely, she can tell it’s very finely crafted, and must have been very expensive. A large emerald is set into the band. Rook sighs, and pulls the ring off his finger in one quick motion.  Immediately she’s struck by the difference in his appearance as the illusion melts away. He looks awful. His warm, healthy skin fades to a dull and sickly grey. There’s huge bags under his deeply sunken eyes, and his cheeks are hollowed, as though they have been carved out by an overeager sculptor. He looks like he’s recently risen from the grave.  While he was thin before, now she can see his ribs under the skin, and his collarbones are exaggeratedly pronounce. Thin white lines left by dozens upon dozens of recently healed cuts are scattered across his body. On top of that, faded bruises cover most of his visible skin, a mottled mosaic of purple and yellow. They’re clearly days, maybe weeks old, and she can only begin to imagine what they must have looked like when fresh. Bandages are barely visible under his shirt, wrapping around his back, hinting at even more injuries.

[piplupod]

so there's a trans woman who goes to the centre and everyone calls her by her birthname which she is like... fine with but only because she has no choice but to be fine about it. anyways I've known her for a while through a trans group before the centre so I asked her today if she'd rather I call her by her birthname or her chosen name and she said she prefers her chosen name but I can call her by her birthname if I want and oh my god I was about to cry for her bc god I really feel that whole situation fjdkdl, I just told her "no I WANT to call you by the name you prefer, that's why I'm asking, I want to make sure it's safe for you if I call you [preferred name]" and she seemed so grateful and I'm just :') eeurrgghh i hate how we have to be grateful with crumbs !!!

its just absolutely wild to me that she's presenting femininely and wears skirts and dresses and everything and uses her preferred name when she writes her name down on stuff and yet everyone at the centre calls her by her birthname and he/him pronouns. like. how are people so fucking rude and oblivious ??? she's even worn a she/her pronoun pin to the centre like.... people are so fucking stupid about trans people I stg.

idk I'm just hoping to make her feel a bit more comfortable and maybe if I start calling her by the right name and pronouns then everyone else will too eventually because I know she doesnt feel safe correcting people. I'm not going to make a big thing of it obviously bc I don't want to put her in danger but I will be using the correct name and pronouns now that I've double-checked with her about it, and if I start feeling like it's making things worse for her then I'll check in with her again at that point. I've honestly been stumbling trying to use he/him for her when I mention her to other ppl because she is just... she/her in my brain. it's what I know she wants to use so it feel fucking awful to use anything else !!!

[welcometoteyvat]

jing yuan and yanqing are giving zhongli and xiao if the latter’s canon relationship was Actually fanon’s made up father figure/adopted child dynamic