#I've been wanting to articulate this for a while

[crouton-girlfriend]

The Feminist Boy's Talk

If you are a boy, and you want to be a feminist, then sooner or later someone is going to give you the Talk. I got the talk from my mom, back when I was a boy. Plenty of people get it from friends, partners, family, teachers, comrades - somebody, eventually, is going to give you the Talk. It goes like this:

"As a man, every second of your life you have benefited from the social system of patriarchy. Every time you've spoken, others have let you talk over women. Every time you've work hard to get something, it's been given to you over women who worked just as hard or harder. The world has been designed to be welcoming to you, and hostile to the women around you.

If you want to make things right, you will have to be watching for it constantly. When you speak, your first priority has to be making sure the women around you get the chance to talk - your own ideas come second. When you work for something, your first priority has to be lifting the women around you up. The power, and the responsibility, to change the shape of the whole world falls to you.

Nor is this a special sacrifice, this constant self-awareness, this endless paranoia of your social body. This is only a fraction of some of the mildest miseries of patriarchy, an echo of the nightmare some of the people around you are living through.

And so, if you want to be a feminist, you have to choose. You can volunteer - even put in work - to be exactly as free as the meanest of your sisters. Or you can ignore this horrid truth, and forget you ever heard any of it at all, but one day you will become a self-conscious misogynist."

As near as I can tell, in order to achieve their actual goals (discussing and deconstructing the social system of transmisogyny, especially in queer circles) the tumblr transfeminists had to give trans men on tumblr the Talk. "Transandrophobia" truthers seem to be made up of the men who didn't like what they heard.

[scrawlingskribbles]

honestly tho Drupe's slow-burn character glow-up over the course of the show was So Good actually

[wreckedhoney]

it might be the hormones talking but i am like in some throes of discouragement

[your-turn-to-role]

if it helps at all (reblogging directly from you starry bc can't tag you) - as someone who gave up on it pretty early on bc it wasn't really my thing, i have been wanting to look up more positive opinions on the campaign recently, i've just been really busy so haven't had time to respond to anything but what's on my dash, which yeah is a lot of critique, and with what i do know there's definitely stuff i'm not a fan of, sure

but also like. the critical role cast aren't some corporation just trying to squeeze money out of this show, like a lot of the things c3 has been compared to are

while they could have, in retrospect, probably made better decisions to really pull off whatever they were going for, they're also playing the game that makes them happiest (and they're putting it all online for free it's not like they're obligated to follow the fans' ideas of what should happen)

if you enjoyed it all start to finish, you're honestly a perspective i'd like to see round tumblr more! you're seeing what the cast see in this narrative and that definitely doesn't make you wrong or stupid. if there was no value in this story whatsoever they would have stopped a long time ago

as megs said, being able to articulate an opinion well doesn't make it objective truth. god knows i can pull out a million references for any of my essays but when i write them it's always gonna be me shining light on a specific angle of the narrative that appeals to me. other people can choose to pick a different angle and still be just as right, regardless of whether or not it's something i personally would enjoy looking at. and that's even more true in a fandom like this, where every narrative is in fact 7+ narratives that we hope will weave together well, and there's a million things to focus on that haven't all been handpicked by the creators for the sake of telling a singular story

if you're seeing an angle a lot of people aren't focusing on, hell, celebrate that! i love hearing about the moments that genuinely appealed to people, it just feels like there's been fewer and fewer of them focused on bells hells the longer the story went on. but i've also been in fandoms where i truly genuinely enjoyed the ending of a particular story and thought it was well told the whole way through, and then it turned out 99% of the fandom thought the ending was rushed and it ruined the whole thing, so i definitely get how that can feel a bit crushing and like you're fighting a tidal wave

(and hell to your tags about being worried c3 will become an automatic skip in the fandom - i also really love a lot of the c1 episodes before ep24 and think there's some great character stuff there that a lot of people skip bc orion or because the briarwood arc is where it gets 'good', so im with you on that one. it sucks but it doesn't mean i can't talk about, say, trial of the take, there still are and always will be people in the fandom who've watched it, and there will be even more people who didn't watch it but are glad to find out what's in it because they couldn't find out themselves)

so yeah all to say if you ever wanted to write about c3 stuff you loved, im on your side here

if you're just sad that the fandom reaction to stuff you liked has been overwhelmingly negative, that's also fine, and doesn't make you any less a valued member of this fandom

idk I kind of feel like I'm an idiot bc I actually enjoyed cr 3 from the jump to the end but like the blogs who follow bc I feel they are definitely more articulate and insightful than me are like "the whole thing was meaningless and pointless! matt fumbled everything!" so maybe I'm wrong to have liked it all? I'm not really sure where I'm going with this sorry

I think one thing to keep in mind is that many (and in fact, I would argue, most!) people who are critiquing the story and construction have also generally enjoyed the campaign as a whole! Certainly I don't know anyone who stuck it out through the end who did not overall enjoy watching it, for various reasons; I know there are people who hate watch, which I think is an absurd and honestly really stupid waste of time, but from my experience they are normally making snide and vicious tweet-length posts rather than long considerations of what isn't working for them.

There are also a lot of levels of critique—I've greatly enjoyed a lot of moments in isolation that I simultaneously felt weakened, contradicted, or even actively undermined the structure of the story as a whole, but those moments were still really fun and interesting beats. The Arch Heart's cameo comes to mind, as does, in hindsight, some of the construction of the post-Solstice split, but there are plenty of others of higher or lower impact on the story. In the finale the Raise Dead falls into this place very strongly, so I'm going to talk about it at length for a moment, since it was an absolutely stellar moment for me personally and as such I do think it serves as very illustrative of an example where I simultaneously fucking love a moment while finding it worth significant critique. I think it also touches on the critiques you're referring to, which I would summarize overall as the idea that many of the outcomes feel influenced negatively by pulled punches on the part of the DM rather than a flaw of one player or another. (Also, I want to talk about it cuz I love it. :3) This got very long but I think that to your point, it is worth examining in this amount of depth.

First, the good: it is an absolutely phenomenal culminating point of an arc that was only really concluded in summary; I have, as noted earlier this week, written at length about how Essek is never situated as a protagonist, which is functionally fine and even good. He ends up tied very strongly to Caleb's arc, and moves in the narrative in such a way after 2x97 that allows Caleb to reach a concluding note, and strengthens that narrative. So we only really hear about the outcome of Essek's choices, his inevitable leave from the Dynasty, in the summarization of the campaign 2 epilogue. This is not inherently a problem, because he is not a protagonist. But this moment does functionally create a material representation of that denouement, which does strengthen his arc in its own right.

This moment also, hilariously, bears out my argument from this post. That the resurrection should only work with this intervention, particularly while the Nein are involved, does follow through on the Nein's general positioning within Exandria. Essek's leave happening without a fight (and, frankly, with only one attempted Counterspell) both makes for a very well-paced moment and also maintains the overall sense of story that the Nein impart when they are on screen; I'm thinking again of how their Ruidus episodes feel, much like their campaign and their post-campaign one-shots, like an intrigue action thriller series, and this fits well in that framing.

So overall, it is a fantastic moment... for the Nein. The Nein are not the protagonists of this story. They exist in the world, and are such active agents that they do continue to develop and exert motion on the narrative into this campaign, and frankly, I think this would have been fine if the party given ownership of this story and campaign did not abdicate their responsibility for it with unfortunate frequency. They do not exert a strong control over their story, which is at odds with the fact that the Nein do, and are present and also involved by the nature of their ending. It completely overshadows Ashton's heroic moment, in that the culminating action beat of this sequence is Essek getting away, which kind of takes the wind out of the sails of the Hells' involvement in the gods' outcome. It doesn't negate it, certainly, but it does refocus the story from them to, for some reason, Essek. So in this sense, it occurs at the expense of the Hells.

I find that while the handwaving of using dunamantic intervention to push Raise Dead beyond its limits (if indeed the reason it didn't originally work was because Ashton's brain was essentially gone) fits fine and even well within the framework of the Nein's story, and an NPC being able to do so without a roll is fine, since NPCs are vehicles the DM uses to guide the story, this is a significant divergence from the overall mechanics of the world at large; even the Nein had to do a full ritual for the resurrection of their tiefling. Matt put those mechanics in place specifically to create narrative meaning behind resurrections, which can feel very unmotivated and like a get out of jail free card in D&D, and while it's been noted that this would've really strained the runtime beyond its existing length, prioritizing it at the cost of, for instance, more truncated end notes for the Nein and Vox would've bolstered the Hells' presence in an ending to their own story that even many of their fans felt was ultimately lacking.

Giving the resurrection full weight would've also given Ashton's sacrifice and the Hells' involvement more narrative weight; the reason the other parties are involved at all is because the Hells were truly running on fumes by that point, but any lack of involvement this created could've been alleviated by having them directly involved through pre-established ritual elements that are not contingent on them having any mechanical offerings. So this moment sits within the context of critique that I agree with: that it felt like a pulled punch that ultimately also served to decenter the Hells within their own narrative, when it could've been used with more deliberate narrative force.

At the same time, I fucking love it, and watched it four times in a row yesterday, because it is so good—and it is, as I described, narratively and thematically coherent in one sense! And I think that is one issue of the campaign: many, many great moments are excellent and coherent in a certain framework but are weaker to varying degrees when considered as one piece of a larger whole. There are so many frameworks at play in this narrative, and not enough direct intervention to manage those as frameworks rather than as a single story, but at the same time, I think those frameworks are far more apparent if you're really looking for them, and that's much more difficult, if not impossible, when you're in the midst of them and telling the story.

I also don't think this means one cannot critique this; in fact, I would say this is more an issue of being a serialized narrative than an improvised one, which is often how critique of it has been pushed back against within the fandom. I was thinking about this as I'm currently in a course on, quite literally, how to critique comics, and we discussed this week how Marjane Satrapi said in an interview after making the film adaptation of Persepolis, which was first a serialized comic, that she ended up preferring the film, and I speculated that was because with a film, one has the ability to make a more cohesive narrative purely by virtue of the fact that with a serialized form, you cannot go back and make retroactive edits when no developments come to light. This is something that long-running comics must constantly navigate (as do many long TV shows), and in extreme circumstances such as decades-old comic franchises, ends up resulting in infinite timelines and hand-waving, which becomes so ridiculous that at this point it's a meme. In that scenario, though, it is not presented as a non-contradictory story, let alone a cohesive one.

Many of the critiques of campaign 3 are operating within the idea that this is presented as one overarching narrative. (And honestly, comics and other narratives that don't utilize that presentation are also still critiqued on that merit by people who greatly enjoy the texts they're critiquing anyway.) Within that context, I feel that the framing of the Raise Dead, as well as much of what would be my critique of the other pieces I referenced (the Arch Heart's cameo and some of the party-split sections) if I was to do the same kind of rundown of those, actively undermine this presentation by introducing and forefronting too many conflicting frameworks that are not interwoven well enough to create a single, cohesive overarching narrative.

This is a very long-winded way to illustrate my point, which is that I would really encourage reading critique not as a lack of enjoyment of the campaign, let alone a suggestion that no one should've enjoyed it (and if you did, then you're not smart enough to know better), but as a way to engage with the text(s) as presented within one framework or another. I think this is sometimes obscured in online fandom spaces, where we're not engaging in critique in as formal of a sense as one would in, say, an academic setting, where the norms generally dictate the framework one is using is explicitly stated if not fully delineated within the critique, but it is, more often than not, still implicitly present within the critique.

And as a final note, I would also really urge everyone reading others' opinions on something they enjoy to resist the urge to elide their own opinions from the conversation, even if you don't feel as articulate or as well-versed in critique. Critique is a trained skill, so it is certainly something one can pick up if they are inclined, and at the same time, someone doing it does not mean they are inherently right—and in fact, with all argumentative writing, it is up to the reader to consider the argument and decide whether or not they agree with it. (You can decide that you disagree with me about the Raise Dead! Just because I wrote a thousand words on it does not inherently make my interpretation truth; it's just an interpretation. You get to say whether or not you think my interpretation makes sense based on the evidence presented.) Even here I'm using the framework of some critique that others have made, but I don't delineate in full myself. In doing do I'm not presuming that you agree, but I am presuming that you've read it and know what I'm referring to. Strictly speaking it's also not even saying that I take that critique as true; it's saying that I feel the conclusions drawn are applicable as a basis for my argument. If you wanted, you could even say that you feel that my argument is irrelevant to you because you don't feel those critiques are true! But you ultimately do have to be the one to decide any of that, which does involve a balance between a confidence in the formation of your own opinions on the text and an openness to entertaining others'.

[lazylama9]

You know, sometimes I feel like I don't have an opinion in some very important topics anymore. Cuz there are so many people who say stuff on internet and it's so polarizing. I don't know what of it is true or sometimes if it's okay or too radical. And it's so frustrating for me... Maybe it's a part of life but it's like I can't decide whether I am basically a good person in my mind. Like if my opinions are based on true facts or it's just some lies and biases that I grew up with and believe in only because of that. It's very confusing for me...

[youremyonlyhope]

.

[iamnotlookingidonotseeit]

sometimes I tell my parents things. often then i wonder why i even open my mouth. but when I keep it light I end up wondering why I can't seem to connect on any real kind of level. and I add another thing to the list for therapy

[boopboops22]

[blizzardfluffykpop]

my brain just finally registered that it's early summer - and being a creature of habit, decided to get a few specific songs stuck in my head

(this time of year is always my favorite when it comes to releases for K-pop because the brighter happy vibe is the thing that I lean towards the most when it comes to the genre lol)

All of that being said, I currently have Touch My Body by Sistar, Red Flavor by Red Velvet, and Dance The Night Away by Twice, all stuck in my head right now 💞

Do you have any songs that are your favorite for summertime? And do you have any songs currently stuck in your head right now?

I hope that you have a great day and pretty please take care

It is early summer~ I tend to get specific songs stuck in my head during this time too! I'm a creature of habit too~ (I love this time of year for that! They always become brighter and happier this time of year and it's so refreshing! I hope there will be lots of cbs to enjoy with that exact vibe 🥰💖) [Below is me endlessly rambling on about all my favorite summer songs... I could go on... summer songs are elite esp in kpop]

I love those songs! They're so perfectly summer in my heart! A summer playlist wouldn't be complete without them! To start simply before diving fully in: Candy Sugar Pop by Astro is just an essential to me!

Here's a deeper dive :) of my favorites for summertime:

I've been innnnnnn loveeee with Let It Be Summer by Young K- it really makes me excited for summer as a whole right now! Newton, Tropical Night, and Livin' It Up by Monsta X, Naughty Boy and Shine by Pentagon (side note: ptg has soooo many summer bangers), Lip Gloss, and Passion Fruit by The Boyz (honestly this whole album: Christmas In August) as well as their recent title track Nectar. Even before I was into tbz I'd always listen to D.D.D and Thrill Ride- they're just so good for summer! Die For Love by B.I, Love Scenario by iKon, and ofc Really Really by Winner and Drawing The Line by Royal Pirates. But since Oh My! by Seventeen came out on my birthday when I turned 17- I must include it- Svt truly has many good summer songs esp off you make my day! I always listen to that cd in the summer~

Now I know it's supposed to be kpop songs I'm supposed to talk about it- but it wouldn't be summer for me without the beach boys! If Surfin' Safari, Little Deuce Coupe, and Fun, Fun, Fun are just my essential getting into the mood of summer songs- I grew up listening to them and even went to see & meet them as a kiddo- they're forever my summer sounds. But continuing on that train of thought: Hot Tonight by Tokyo Police Club, Let's Live for Today by The Grass Roots, Summer in the City by The Lovin' Spoonful! (Who i'm gonna see later this year~)! Would also be my nonkpop essential summer songs!

(I realize I could go on... I love summer kpop songs and summer songs in general sm... truly such bangers come out during the summer) I'll just make a playlist about this because I realized I only have two and they aren't happy summer pop- *they're titled* 'Beach Sadness' & 'They Won't Turn On The AC' and neither have a kpop song in sight 😔 I will be changing that- And I mean I have a sleeeewwwwww of songs I didn't mention :)

ANYWAYS: I made one~ Soda Summer Pop : of just my personal summer kpop hits :)

[Honorary mention to the cd that ended up getting messed up in the cd jack because it was so hot in the car three summers ago: Your Choice by Svt- you'll always have a special place in my heart for summertime tunes *I was thankful my friend bought me another for my birthday that year 😂🤭*]

[fozmeadows]

There's a lot of conversations to be had around the current influx of Americans to Xiaohongshu (RedNote/Little Red Book) ahead of the TikTok ban, many of which are better articulated by more knowledgeable people than me. And for all the fun various parties of both nationalities seem to having with memes and wholesome interactions, it's undoubtedly true that there's also some American entitlement and exoticization going on, which sucks. But a sentiment I've seen repeatedly online is that, if it's taken actually speaking to Chinese people and viewing Chinese content for Americans to understand that they've been propagandized to about China and its people, then that just proves how racist they are, and I want to push back on that, because it strikes me as being a singularly reductive and unhelpful framing of something far more complex.

Firstly: while there's frequently overlap between racism and xenophobia, the distinction between them matters in this instance, because the primary point of American propaganda about China is that Communism Is Fundamentally Evil And Unamerican And Never Ever Works, and thinking a country's government sucks is not the same as thinking the population is racially inferior. The way most Republicans in particular talk about China, you'd think it was functionally indistinguishable from North Korea, which it really isn't. Does this mean there's no critique to be made of either communism in general or the CCP? Absolutely not! But if you've been told your whole life that communist countries are impoverished, corrupt and dangerous because Communism Never Works, and you've only really encountered members of the Chinese diaspora - i.e., people whose families left China, often under traumatic circumstances, because they thought America would be better or safer - rather than Chinese nationals, then no: it's not automatically racist to be surprised that their daily lives and standard of living don't match up with what you'd assumed. Secondly: TikTok's userbase skews young. While there's certainly Americans in their 30s and older investigating Xiaohongshu, it seems very reasonable to assume that the vast majority are in their teens or twenties - young enough that, barring a gateway interest in something like C-dramas, danmei or other Chinese cultural products, and assuming they're not of Chinese descent themselves, there's no reason why they'd know anything about China beyond what they've heard in the news, or from politicians, or from their parents, which is likely not much, and very little firsthand. But even with an interest in China, there's a difference between reading about or watching movies from a place, and engaging firsthand, in real time, with people from that place, not just through text exchanges, but in a visual medium that lets you see what their houses, markets, shopping centers, public transport, schools, businesses, infrastructure and landmarks look like. Does this mean that what's being observed isn't a curated perspective on China as determined both by Xiaohongshu's TOU and the demographic skewing of its userbase? Of course not! But that doesn't mean it isn't still a representative glimpse of a part of China, which is certainly more than most young Americans have ever had before.

Thirdly: I really need people to stop framing propaganda as something that only stupid bigots fall for, as though it's possible to natively resist all the implicit cultural biases you're raised with and exist as a perfect moral being without ever having to actively challenge yourself. To cite the sacred texts:

Like. Would the world be a better place if everyone could just Tell when they're being lied to and act accordingly? Obviously! But that is extremely not how anything actually works, and as much as it clearly discomforts some to witness, the most common way of realizing you've been propagandized to about a particular group of people is to interact with them. Can this be cringe and awkward and embarrassing at times? Yes! Will some people inevitably say something shitty or rude during this process? Also yes! But the reality is that cultural exchange is pretty much always bumpy to some extent; the difficulties are a feature, not a bug, because the process is inherently one of learning and conversation, and as individual people both learn at different rates and have different opinions on that learning, there's really no way to iron all that out such that nobody ever feels weird or annoyed or offput. Even interactions between career diplomats aren't guaranteed smooth sailing, and you're mad that random teenagers interacting through a language barrier in their first flush of enthusiasm for something new aren't doing it perfectly? Come on now.

Fourthly: Back before AO3 was banned in China, there was a period where the site was hit with an influx of Chinese users who, IIRC, were hopping over when one of their own fansites got shut down, which sparked a similar conversation around differences in site etiquette and how to engage respectfully. Which is also one of the many things that makes the current moment so deeply ironic: the US has historically criticized China for exactly the sort of censorship and redaction of free speech that led to AO3 being banned, and yet is now doing the very same thing with TikTok. Which is why what's happening on Xiaohongshu is, IMO, such an incredible cultural moment: because while there are, as mentioned, absolutely relevant things to be said about (say) Chinese censorship, US-centrism, orientalism and so on, what's ultimately happening is that, despite - or in some sense because of - the recent surge in anti-Chinese rhetoric from US politicians, a significant number of Americans who might otherwise never have done so are interacting directly with Chinese citizens in a way that, whatever else can be said of it, is actively undermining government propaganda, and that matters.

What it all most puts me in mind of, in fact, is a quote from French-Iranian novelist and cartoonist Marjane Satrapi, namely:

“The difference between you and your government is much bigger than the difference between you and me. And the difference between me and my government is much bigger than the difference between me and you. And our governments are very much the same.”

And at this particular moment in history, this strikes me as being a singularly powerful realization for Americans in particular to have.

[headspace-hotel]

I've been reading some more of the works of eugenicists while thinking about the state of education about this ideology. Yes, "Eugenics" is a dirty word nowadays; in my opinion, it's not nearly dirty enough.

Here's a fact to make your head spin: Eugenics wasn't about killing people. Yes, it ended up killing people, and if you examine the way eugenics has influenced the world, you realize it still does kill people, but the architects of eugenics weren't leading with, "My fellow countrymen, we should On Purpose Kill People."

The reason that's important is, people keep coming up with ideas labeled (by their critics) "uncomfortably similar to eugenics"--- ideas for a compassionate, scientifically-grounded way of improving humanity by understanding the heredity of good and bad traits and influencing the fertility rates of people with different genetic traits.

There is already a word for this kind of idea. That word is: eugenics. It is silly to set yourself apart from eugenicists by explicitly repudiating killing people or forcibly sterilizing them, when many founding eugenicists also explicitly repudiated killing people or forcibly sterilizing them.

Here is an Internet Archive link to "Heredity in relation to eugenics," a work by Charles Benedict Davenport, an early eugenicist. Please read at least the first four pages.

I'm afraid that his brief introduction to eugenics could sound, to the layperson, surprisingly less scary and disgusting than expected. Mister Davenport's word choices may provide a "red flag" to the reader: he refers to human babies as a "valuable crop," to marriage between people as "mating." The disquiet these word choices cause is because they dehumanize the subjects. Humans, from Davenport's perspective, are essentially the same as agricultural plants or animals, which in turn are assets, sources of economic gain---they are things.

Davenport articulates the contribution of a human being to the United States: "...forming a united, altruistic, God-serving, law-abiding, effective and productive nation." However, relatively few people are "fully effective" at this purpose, because a proportion of society is "non-productive"---either criminals or disabled, or among the people required to care for and control criminals and the disabled.

After you read the introduction of Davenport's book, read his wikipedia page. He was a Nazi. He was a Nazi until the day he died. He was rabidly and repugnantly racist, so much so that his later scientific works fudged together garbage conclusions that contradicted his actual data in order to prop up his racist beliefs. He lobbied Congress to restrict immigration into the USA, out of the belief that the immigrants would poison the blood of our country with inferior genetics.

Overwhelmingly, eugenicists were concerned with disability. They believed that disability would normally be eliminated by natural selection, and that caring for the disabled and allowing them to grow up and to have children would cause a steady increase in the proportion of society made up of disabled people---who were, as Davenport puts it, a "burden" on society.

Eugenicists were also concerned with race. They wanted to gather data that demonstrated what they already believed: that race was a biological reality, a reality that could only appear unclear or malleable because of harmful, aberrant, unnatural scenarios, namely miscegenation or race mixing. Basically, race was both a natural reality, and in need of enforcement.

But eugenicist ideology was not just about the inferiority of disabled people or people of color. Eugenicists thought of their ideas as a science and thought of themselves as scientists, and they broadly addressed virtually everything we would now consider a matter of "public health." Eugenicist writings almost universally address crime, and often don't recognize a clear distinction between crime and mental disability, or between either of those things and poverty. Criminals, disabled people and poor people were basically the same; they had something wrong with their genes that made them that way.

"Sexual deviance" is generally included in this, and Davenport explicitly references this in his introduction, where he says that "normal" people are not likely to have the kind of sex that leads to the transmission of STIs.

For many proponents (including Davenport), the key dogma of eugenics was that genes predetermined everything about a person. Tuberculosis was a huge problem at the time, and eugenicists were insisting that, although the disease was known to be bacterial, susceptibility to the disease was genetic, and therefore people who became sick with tuberculosis were genetically defective. Likewise if a child developed epilepsy after a head injury, the injury did not cause the epilepsy but instead revealed an inherent genetic weakness that was already there. This implied that spending resources on healing or rehabilitating anybody was a waste of time.

If you read more of Davenport's book, you will see that he makes some WILD statements---he asserts that artistic talent is a Mendelian trait controlled by a single gene, basically that you are either born an artist or you aren't. This seems absolutely absurd but, there is a good amount of popular belief in inherent aptitudes for art or music or math or what have you.

Eugenics isn't just about named prejudices like racism or ableism, it is even bigger than that, it is a set of beliefs encompassing how the potential and value of human beings is determined and how society should care for its members as a result of that.

[nerdalmighty]

UM UM UM UM UM????? HELLO????? SHE'S GORGEOUS!!!!!! THANK YOU SO MUCH ALI!!!!!

You absolutely nailed how she looks in my head, including the burgundy bandana!! While in my bg3 play through, her colors are more lavender and blue, in my IRL play through, her color IS burgundy, so it's crazy that you chose that out of EVERY color out there. Don't even WORRY about her siren heritage, she looks perfect just like this! Her scales are on her legs anyway and THAT would make for a weird portrait lol.

EEEEEEE YOU'RE SO SWEET, I'm so glad our little corner of the bg3 fandom exists and that I can call you my extremely talented, generous, and kind friend. I now have not one, but TWO Ali originals of Birdie, and I love both of them SO SO SO MUCH. I love them beyond words and YOU for taking the time to make them for little old me.

Like I said, you're so incredibly talented, and I love stalking your blog cuz I know that's where the good stuff is gonna be. Ofelia is a joy to read, I need to hunker down and dive into all your works this year as well! Her and Astarion are so cute together!! AND YOUR ART!!!! Do you know how rare it is for people to be multi-talented to the degree that you are?! I'm a goob who writes silly scenes and quips but YOU??? You write heart warming/wrenchingly powerful stuff AND you are an incredibly gifted artist!!! I am in awe of your skills everyday.

I can't wait to see what this new year brings for both of us, but I foresee us getting even closer as friends 🥰 Happy Belated Birthday and Heppy New Year Ali!!! ILY!!!!!!!

(Me attacking you with all my love)

✨Ali's Birthday Bash! #12✨

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11

Hi everyone! I've got another portrait today!! I probably won't be posting one tomorrow because I really want to take my time on the next one and make sure it looks right before I post it 💕 Thank you all for your patience and hope you have a good week!

divider here!

Birdie (for @nerdalmighty)

It's Birdie again!!! My second attempt!!! 💜💜 I had a lot of fun drawing this one and surprisingly enjoyed making the bandana as well!! I do regret not giving her pearl earrings or something more sea-like to highlight her half-siren heritage, but I tried to make it show up a bit in her face, even if faint I feel like it's giving "mermaid" slightly! I know her colors are more lavender and blue, but I felt like this one kind of contrasted better with the deep blue ocean-y background vibe I was going for! 😊

EMMA!!! I am so glad I've met you on here!!!! You're honestly one of the sweetest, most uplifting, and kind people I've ever met! I love the tags on all your posts, they make me so happy haha 💜 You make everyone smile and I know for a fact that every post I see from you will make me grin or laugh or just feel good. I appreciate you thinking of me, supporting me, and interacting with me more than I can say- I am so excited for this year so I can finally read your works and talk to you more 💜 You're amazing and I'm grateful I know you 🫂

Alright guys!! Like I said, I think there will be a break day tomorrow and then hopefully, I'll have this next portrait finished by then! I appreciate you all!!!

[totalswag]

just cause flowers ⎯ RAFE CAMERON

authors note i have a new theme for this year, i hope you guys like it. i've been going back an forth about a new theme (i like how it came out). this came into my mind yesterday and it just sounded so cute that i needed to write it. i love writing soft!rafe. hope you lovies enjoy reading. feedback is always appreciated!

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summary rafe, your boyfriend, coming to your house randomly surprising you with a bouquet of flowers and your favorite snacks.

warning(s) a whole lotta sweetness.

If someone asked you to count on your fingers how many times Rafe arrived at your house with a bouquet of flowers, jewelry, and handful of your favorite snacks. You could lose track of the count. One of his love languages is gift-giving. 

Rafe impacted your life in ways you cannot articulate. Rafe considers you the most significant woman in the world. He makes you feel cherished, valued, and understood.

You're not sure how you got so lucky with someone like Rafe. He consistently treats you nicely and makes you happy, even on your worst days. Every day, you tell him how grateful you are for him.

Rafe will show up with something in his hand whenever you two are together. You remember your first date he brought you to this beautiful restaurant on the island then you two walked on the beach for half an hour till it was time for you to go home.

As you dig through the fridge, you yell, "Scarlett, you have to spill the tea!" while holding the phone to your ear and shoulder, eager to hear what she's about to say.

Your best friend, Scarlett, told you about this guy she's been seeing for a while. They went on a date last night and you've been waiting to hear what happened.

Scarlett tells you it went good, she really likes him. Towards the end of their date when he was dropping her off at her house, he asked to kiss her.

"That's so cute, I'm so happy for you," you reply, feeling thrilled for your best friend. "Have you texted since then?" You inquire with curiosity.

"Yes, he wants to see me again," she exclaims over the phone, thrilled that this is even happening.

The phone call lasted for another thirty minutes. Following the call, you finished your food, cleaned the bowl, and walked into the living room to watch a show on Netflix. Your parents are at work right now, so you are at home alone.

In the middle of the show, your phone buzzed on your lap.

Rafe: come outside princess

Y/N: kk coming

As you stood up from the couch, you felt a rush of butterflies in your stomach. You grab your Crocs, put them on, and open the front door. Rafe was there, one hand holding a beautiful arrangement of flowers and the other holding all of your favorite munchies and one of his sweaters.

Get down on one knee now, Rafe.

Your palm covers your lips, slowly walking over to view what's in-front of you, "you've got to be kidding me," smiling before leaning in and smelling the flowers, which smelled fantastic.

He chuckles at your reaction, "I'm not kidding, princess," appreciating your expressions before going in for a passionate kiss on the lips.

"These are beautiful baby, thank you so much" you beam with such gratefulness scanning through the basket of snacks then grabbing the flowers, smelling them again.

You swiftly glance at Rafe before turning your attention to the big sweatshirt draped over his arm behind the basket. Carefully reaching for the mystery sweater, your eyes will light up as you unfold it. It smells just like him and is one of your favorite hoodies of his.

You smirk and clutch it against your chest, cuddling it. "Ah you shouldn't have," you remark cynically. "This is added to my millions of sweatshirts of yours."

Rafe throws his head back laughing at your comment knowing you steal majority of his clothes from his closet. He doesn't mind it.

"Anything for my gorgeous girlfriend who'm I love so much" Rafe smiles sweetly placing multiple kisses on your face⎯you giggle out loud feeling like a teenager all over again.

He pulls away, lips running over his bottom lip, both hands on your hips, keeping you close to him. All he can do is admire what's in front of him⎯you looking up at him with those gorgeous eyes and smile.

"Let's go inside?" You wiggle your brow as you motion to the house. 

Rafe responds by nodding, turning you around with his large hands and following closely after you.

"You know the moment you propose to me, I will probably faint," you say honestly, causing Rafe to chuckle out loud as he closes the front door. 

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[hexhomos]

Dropping into the Mel convo to add that I don't see how the stans that erase/ignore the Things She Actually Does And Says and claim she was just helping Jayce out of the goodness of her heart can claim that anyone pointing out that she's a billionaire imperialist who manipulated him for her own gain is racist when THEY'RE the ones claiming she spent all of season 1 helping a nonblack man for. idk. reasons. Why is it "better" for her to be a Black woman who supported a man and asked for nothing in return...?

That reading of her makes everything with her mother make no sense. Is she like, just mad her mom is interfering with her ability to Support and Love Jayce? Lmao.

The reading that the text and the inherent set up of the politics of Piltover/Zaun supports is a complex woman with her own personal motivations, wanting to live up to the image of the family she believes shunned her on her own (nonviolent) terms, using the craft of social engineering (manipulation, etc) within the political and economic sphere rather than through weaponry and warfare. She starts to shift due to growing some actual attachment to Jayce, but it's not a perfect switch flip, and then her mother arriving forces Mel to contend with what she had actually been doing by "preparing" the city for her family.

That's infinitely more interesting than "oh she just helped this guy out of the kindness of her pure heart and because he's hot" and also has canonical basis that can be pointed to In The Text. That's a complicated, multifaceted character. The fanon Mel who just helped Jayce because she's a good person is a flat, tired trope.

And personally, I find people who "love" characters but have completely inaccurate readings of them to be far more annoying than people who "hate" characters but understand them perfectly. Love/hate is just a matter of taste. If someone can spend time honestly analyzing a character, that's more important than ten thousand blandly positive comments or tweeted out fanfictions dressed up as appreciation.

Paragraph #2 on this actually blindsided me like I could kiss you on the cheek (consensually) rn I've never been able to properly articulate WHY the take rankled me so much even when I tried to see it from a completely best-possible-intentions perspective. And this gets it. It's like you're not even flattening her into a girlboss caricature, it's worse, you're actually making her a 2D saccharine pastry servant with no will of her own except furthering some man's narrative as his mommy and denying the one massive, defining character conflict Mel has in the entire show: she is her mother's daughter! She IS a wolf in sheepskin!

When you have all this power, all this privilege and resources at your disposal from day 1, and you choose to look the other way - what happens then? Is this really being kinder than her mother? Is this being merciful, or just prolonging a sort of system-wide torture? It's absolutely relevant to how we see kid-Mel in that flashback from s1 too. Her idea of mercy and salvation from her mother's more violent ends is to enslave someone. She puts it in gentle terms and dresses it up fancily as a beneficial thing to both parties, but that is what she is proposing, in the context of the Noxus' hostile invasion of Ionia; they'd chain that princess and mold her in training until she became an useful asset in their service. Is that kindness? Is that good? I don't think Mel is able to answer to this even in her big age during season 1.

She certainly thinks it could be, when compared to death, but it's also a lie she tells herself while she ignores the rest of the world and the place she holds within it. Mel hates getting her hands dirty, because she's never /had/ to do that to enjoy the brilliant spoils of success; her mother loves her enough to make sure she could avoid the bloodshed. She carries the strategist's fallacy of thinking whole wars and countries can be managed from the privileged seats up top, out of touch with the blood and gristle. From up there, when people die you don't see it. You can mark the numbers off as necessary collateral damage in the path to Exponential Growth.

The core assumption that has always bothered me is defining this as 'kindness' without actually examining what it says about her character and the story. She was created that way for a reason. She was clothed in this way for a reason. The first fact we learn about Mel in the first episode she appears in is that she is the richest person in the entire city, and then there is a 10 year timeskip, and she hasn't truly done anything to address or prop up the undercity at all (they are ONE city too, under her own philosophy; Zaun is only a separate entity in the mouths of the zaunites who want freedom.) In that context, when her goal of statecraft clearly is to continue advancing Piltover as much as it can be advanced and do nothing about the screaming bleeding diseased dying hordes below the bowels of her capital - is that goodness? Is that really better than mother? I think Mel's arc is about finding out really quickly and really horrifically that it isn't, and that she played a big part in making a lot of things worse.

It's not that she failed at her job, it's quite the opposite. She succeeded in her mission so incredibly well her mother could swoop into power in a single day and then put another hundred necks to the blade, no sweat, and Mel has to reckon with what that says about her, and what she thought of herself. The power she has obviously always had and never sought to use as it Should have been used.

The idealistic future-path here is that now in full control of her Mother's armies, she's returning to Noxus to challenge the predatory system it perpetuates on a world scale, but only god knows what we'll see come January. And all of this is infinitely more interesting to me than docile fandomized ship accessory n.9999

[gold-onthe-inside]

gingerbread kisses

who? spencer reid (s4) x bau!reader

summary: your first christmas as a couple with spencer involves baking, construction, and lots and lots of kisses

word count: 1.9k

content warnings: oral (f receiving), spencer calls r 'sweet girl', minors dni

"Yours looks so much better than mine," you whined, looking over at Spencer's gingerbread house, perfectly cut panels holding together to form a house while yours sagged at an angle.

"It's not that bad," he replied, if only to make you feel better and shifted closer to see if he could fix the angle of it, and you peered over his shoulder, watching his nimble fingers carefully adjust the panels, reapplying icing like it was glue. "There," Spencer said, pulling his hands away... and then it sagged lower and he frowned at it, puzzled, and you stifled a giggle against his shoulder at his utter confusion. Your nose pressed into his soft woollen sweater, arms wrapping around him. "Maybe if I--"

"Just leave it," you told him, kissing his cheek, your lip balm sticky against his warm skin. Even now, 6 months into dating, his cheeks flushed at your kiss, and he looked down at you, chasing your lips, his hands finding your cheeks, fingers equally sticky with icing. It was always so earnest, filled with as much longing as the first time you'd kissed him. He doesn’t want to let go when he pulls away, but then there's a streak of icing on your cheek and he can't help a wince.

"Sorry," he said, oblivious to your dazed look, moving to wipe his hands and you let out another soft groan of protest at the loss of him, only for him to come back to gently wipe your cheeks clean. "Can I tell you something?" he asked, looking at you intently.

"Always," you replied with your sweet smile and adoring gaze.

"This is the best Christmas I've ever had," he said, putting the cloth away, and you wished you could express how much you loved him in this moment, but you've never been as articulate with your affection as him. So you do what you know best; you tugged him closer, kissing him. You could live in this moment forever, his lips on yours, sitting on the floor of your apartment. Spencer pressed you back against the couch, his hands seeking your jaw, his tongue darting to your lower lip. He's always careful with you, slow and thoughtful, his thumb gently angling your chin higher.

You parted your lips, his tongue languidly exploring your mouth. His hand carefully slid down your neck, his thumb finding your pulse and he broke for breath, placing warm gentle kisses along your soft jaw. "My sweet girl," he murmured, reaching your ear. "I could do this forever."

Your heart fluttered the way it always did. He’d called you his since the beginning, sweet girl. He’d say it often, a gentle declaration of his affection. His hand slid down, thumb tracing the collar of your sweater, his face buried in your neck as he left his own mark on you, teeth grazing gently against the soft skin and your breath hitched. “God, Spence…” He felt you shift underneath him, already overwhelmed by his touch. Your fingers tangled in his hair, tugging a little when he mouthed at your neck. One of his hands rests on your hip, his thumb brushing the skin under your sweater.

He couldn’t help himself. You felt so warm and soft, so lovely wrapped in his arms. He pushed your sweater up gently, baring more of your skin, his touch warm, and light. He could spend hours just tracing his fingers across your skin. You tasted sweet, like sugar and vanilla, and he shifted, adjusting to slide between your legs. You tilted your head back, looking up at him, your eyes slightly unfocused, lips parted with your heavy breaths. His head dipped, mouth leaving marks along your neck as he pushed your sweater up again, just over your ribs, your breath stuttering as his teeth grazed over the sensitive skin. Your hand fisted in his sweater, a needy whisper escaping you, "Spencer..."

"Let me take care of you," he murmured against your shoulder, pushing your sweater high enough for you to wordlessly lift your arms so he could toss it to one side, and he needed to catch his breath as he looked down at you. He’d seen you a hundred times before, all those soft smooth curves, your soft sighs and breathless gasps that he lived for. You were so trusting in his arms, the way your fingers threaded through his hair, your back arching when his mouth found your stomach, kissing reverently at your soft skin. “So perfect,” he murmured.

You don't have the brainpower to spare to respond with anything other than his name, said so many times that it should have lost its meaning by now, but it never does. The way it came out all breathless and needy, desperate and reverent, the way you’d call his name as he pressed you into the couch, body over yours, pinning you in place as his mouth found your skin, tracing a path along your hip. You pulled uselessly at his sweater, biting your lower lip. “So impatient, my sweet girl,” he murmured, and your whine sent a spark straight through him.

"Want to see you, angel," you pleaded and he couldn’t deny you, even if he wanted to, not when your hands already reached to push under his sweater, your hands warm on his skin and he pulled back, pulling the offending garment off completely. You smiled, looking at him fondly. "Much better," you murmured, shifting up to kiss him again, your warm lips meeting his.

He met you readily, pressing you down again, his body covering yours, a warm comfortable weight. He could never get enough of how you fit against him, the feel of your soft skin against his fingers, the way your mouth moved against him, sweet and willing. The way your legs moved to wrap around him. "Okay if I take this off?" he whispered, hands finding the waistband of your pyjama pants, beige with little cookies printed over them, hot breath fanning over your face, eyes watching you as you nod. He slid the soft material down your legs, leaving you bare before him. It was a view he loved, all your bare skin, all his to touch and explore.

Your breath hitched as his hands gently nudged your thighs further apart, and he slowly sank onto his knees between them. You let out a small groan involuntarily, just at the sight of him between your thighs. "Angel..."

He shushed you gently, fingers tracing circles on your thighs, so close to where you wanted him. His eyes roamed over you, taking in every detail, your breathing and the way your legs twitched. “Just relax, my sweet girl,” he murmured, his thumbs rubbing soothing strokes across your skin.

"You're not making it easy," you muttered back.

He couldn’t help the smile at your comment, his hands slowly shifting your legs, lifting them to pull off your panties, and he could feel the way your breath caught, your body shifting slightly to help. He was so close to you he could practically feel your heat against his face. He was still gently running his fingers over the skin of your thighs, trying to keep you calm. “You’re so beautiful,” he said, voice impossibly soft.

His warm breath against you made your head spin, and you were too lost in the feel of his hands and mouth to do anything but gasp his name and tilt your head back. You were so wet, so needy for him, and you couldn’t help the way your legs shifted, pleading for more. He gently nudged at them, spreading you open further for him. He looked up at you, eyes dark with desire, the sight of you underneath him, leaning back against the foot of the couch, your chest heaving and your body tense, just for him.

He leaned in, and he didn’t miss the way your body jolted when his tongue licked over you, and he hummed against your skin. You tasted so sweet, so perfect, and he was slowly getting addicted to the taste, his hands holding your thighs in place as he slowly explored you. He’d wanted to make you fall apart, the way you’d done so many times for him, bringing him to the knife’s edge before pulling him over. But he couldn’t wait long, and he pushed forward, his tongue circling before he suddenly thrust forward, tasting as much of you as he could.

The effect was instant, and he felt you jerk against him, your gasp turning into a long moan. The sound made his hands squeeze at your thighs, wanting you closer. You were always so responsive to him, so sensitive, and you were already on edge from his light teasing. He loved the sounds you made, all those soft noises that you seemed unable to help when he was like this. He loved the way your skin felt under his hands, the way you would pull and tug at his hair when he was teasing you. He loved the way you felt, warm and soft all around him. He loved you, and he wanted you to fall apart. He was almost relentless, tongue working over you, delving into you, wanting you to come completely undone.

He didn’t want to pull away, wanted to keep going, to take you as close as he could, but you were already teetering on the edge, so close to climax. He loved how responsive you were, how he could pull those sweet moans and gasps so easily from you with just a few caresses. He wanted to see you come, wanted to feel your body shaking against him. He pulled back for a second, breathless, his voice already wrecked from how sweet you sounded, “Come for me, my sweet girl."

Your fingers scrabbled for his hair, needing something to hold onto as he brought you through your climax, his tongue not leaving you until you were begging him to stop, your body sensitive and overwhelmed. He let his hands gently trail across your thighs as you fell back onto the couch, boneless and still quivering. He couldn’t help a little smile at how wrecked you looked, your hair falling over your eyes, your body trembling. And yet you still looked beautiful, your bare body on display for him, your skin flush and warm. He shifted forward, his lips gently kissing your stomach and travelling up your body, until he laid down on top of you, his weight carefully resting between your legs, his head buried in your neck.

"I love you," you whispered, holding him, your fingers trailing over his back.

He lifted his head at your words, still so touched by your sweetness. After all this time, you still managed to surprise him. He shifted, propping himself up on an elbow to look down at you, his gaze soft and adoring. “I love you more,” he murmured, reaching up to gently brush a strand of hair out of your eyes, fingers tracing the line of your jaw.

"Not possible," you murmured.

He smiled, leaning down to kiss your forehead. “Agree to disagree,” he teased, his hand gently caressing your hair, fingers carding through the messy strands. He liked you like this; soft and pliable in his arms, your body still trembling from your orgasm. His fingers traced down the side of your face, before his knuckles grazed gently over your collarbone, tracing the line of your shoulder.

"You were right," you murmured, looking at him. "Best Christmas ever. Even if I can't build a gingerbread house for the life of me."

He looked at the wreckage of the house, then back to you, hiding a smile. “You’re good at a lot of things, sweetheart, but decorating is just not your strong suit,” he teased and you huffed and shoved at his shoulder in mock offence. He just pulled you on top of him, kissing you deeply all over again.

[danieyells]

@yuri-is-online @jadeleechsupportgroup

Taiga, Romeo, and Gluttony

NOTE: This post contains spoilers for the entirety of the recently released Auction chapter. Read at your own risk.

So the recent chapter was everything to me. It was the shortest, but in my opinion it showed us a lot about Taiga and Romeo and their relationship to one another, and it also helped me refine a specific thought I had about Taiga and his whole deal he has going on.

To put it shortly; I think Taiga has a gluttony curse, and I think it functions as a mirror to that of Romeo's stigma, and is part of why they had a falling out, and why they can't seem to get away from each other.

To put it horrifically, horribly long....

So what do I mean when I say Taiga is cursed? Well, exactly that. I believe he's cursed in a similar way Rui or the MC are; he has an insatiable need to eat anomalies. I believe that this grants certain side effects like the MC and Rui's curse, and that one of them is a sixth sense for anomalies and anomalous circumstances.

I want to explain this before the Romeo part, because it's the basis for my analysis and thoughts on the two of them.

To start from the very beginning; I think Taiga, during one of his missions, was cursed by something like a jikininki as punishment for his 'gluttony' — the rapid rate at which he completed missions in his first year. This left him with his insatiable need to eat anomalies, but more specifically, is the reason he doesn't seem to want to eat them.

While I'm not certain the anomaly is for certain a jikininki, especially because there's certainly other similar folk legends out there, I chose that one specifically because they are noted for their sharp teeth and for not liking the insatiable need to eat corpses.

Now, what does this mean for Taiga? I think he's stuck between being a ghoul and being a jikininki, or whatever anomaly it ends up being, and I think this has given him a sixth sense that messes with his perception of time, self, and memory. But why would it do that?

Jikininki are immortal creatures, and wish to be freed from the torment they're in for the most part. If one was cursed to be part Jikininki, it would make sense for their existence to be similarly excruciating, with a difference being a lack of full immortality.

Remember the Mortkranken chapter, with the failed mermaid flesh? How their bodies continued even as their minds didn't? Taiga has multiple lines detailing how his 'body' remembers, even if his mind doesn't. Yuri and Jiro also explain that part of the side effects of the reaction are rapid mental deterioration. If Taiga had gone through a similar deterioration, it would explain his seemingly sporadic memory loss (not total blackouts like Jiro, nor specific category based amnesia either, just like. Random shit) and the fact that he doesn't have a concrete sense of identity (showcased through his constantly shifting first-person pronoun choice in Japanese). His cells of his body are reverting to their pre-aged self, and his mind is attempting to do that too, but it's imperfect and messy.

The key to the idea of the sixth sense comes from the fact that he's specifically cursed for anomalous gluttony. I think that he can sense anomalous material or anomalies themselves, and as demonstrated from Ed, this includes some sort of future sense. While we don't know the full specifics of what a sixth sense grants, we can see him utilise it in multiple different places. It's also, in my opinion, why he was sent on the Prologue mission.

Some examples of his supposed sixth sense are how he intuitively understood the anomalous dealer's entire thing, the scenes where he knows the Like Dove will appear before it does, when he senses Romeo approaching (Romeo is carrying an anomaly: his artifact), how he understands the auction is an anomaly, when he gets the mask under unknown circumstances, when he directly knows there's no anomalies... the list honestly could go on forever.

There's one other fact that I personally believe sealed this theory for me; his association with Haku.

In the recent chapter, when the MC is thinking about who to talk to about curses, Taiga instantly knows who we're thinking of, and rejects it on the basis that '[He] can't get rid of curses unless the anomaly that did the deed's right in front of him.' and that he's a 'Simp for the rules anyway.'

... Which is interesting, since it seems like Taiga has tried to ask him about this before. But if you think of this as Haku's stigma, and imagine Taiga trying to get his curse cleansed before, it makes sense! It would also be a good reason to put Haku and Taiga together in the prologue; Taiga can track the anomaly with his sense, and Haku can cleanse whatever curse it gives so long as Taiga manages to capture it or subdue it for long enough.

(Which, side note, is so tragic for the MC...)

Okay, now that the basis of 'Taiga is cursed' is out of the way, how on earth does this relate to Romeo?

Simple. I think Taiga's curse directly mirror's Romeo's stigma, and it's what caused their rift.

Romeo's stigma, as we learn in the new chapter as well, is dependent on his attachment to the items he throws. This, thematically, works with Romeo, who is known to be greedy. Everything he does is motivated by a profit of some kind, whether that profit is social or monetary or whatever. He wants special privileges so he does special missions. He wants money so he raises fees and coerces people to gamble. He wants popularity so he dresses nicely and pampers himself. It doesn't always mean he is money grubbing and stingy (because we see he's willing to spend lavishly on grooming and decor!) but it means that he's attached to what he has. His stigma requires him to give up that attachment. It is a punishment, a sacrifice, as a result of the pact. Similar to how Luca lost his brother (and gained a protective stigma), Romeo has to lose what he feels is worth something in order to fully utilise his ability. Call it a sort of pride.

I think, on the other hand, Taiga's curse is one of envy. He has a desire to eat anomalies, yes, but the desire becomes stronger the more attached someone else is to the anomaly. He doesn't need any interest in it, really. If someone else likes it he will need to eat it.

Taiga covets Haru's Peekaboo to eat instead of the wild one that we also know is in Jabberwock. He's composed about the Like Dove (barely, but he restrains himself!) until Romeo wants it. He steals the plants from Rui's BAR, not the ones in the garden outside (both are Rui's, but his bar is arguably the more loved thing of his since it was fully his choice). He covets Mortkranken's anomalies, and becomes mildly obsessed with the immortal one as soon as it becomes a major research subject. He's also completely fine holding and handling the mask, presumably for a long time, up until Romeo sees it as valuable and worthy.

Now, this doesn't necessarily make them instantly incompatible. But when you take one of Romeo's core traits being 'Greed towards anomalies' (He wants to collect them and frequently complains that other houses are 'stealing' them from under him; he sells them; he gets missions from Hyde to get them; etc), it becomes evidently clear that Taiga's curse is directly oppositional to it.

I think it's pretty obvious by now that Taiga and Romeo have a pretty turbulent relationship now, but were extremely close in the past. Multiple characters state that it would be nice to see them on good terms again, and it's certainly worth mentioning that Romeo is one of the few people Taiga consistently remembers. They both know each other exceptionally well, too. Taiga knows how to get under Romeo's skin and Romeo knows Taiga's habits.

Going back to the idea of this curse causing their rift, if Romeo was constantly on the verge of an important capture, or even if there was just one mission that was important, and Taiga ruined it by eating the anomaly, I doubt Romeo would easily forgive and forget. I think it could very easily cause a massive rift that just kept growing with each new snack Taiga picked up.

I think a moment that gets its nuance overlooked a lot is the scene just before Taiga eats the dove. The Japanese line emphasises that Taiga is referring to HIS heart, that Romeo could shoot through HIS heart, not just a general appraisal of sharpshooting. He even points directly to his heart as he says this, and it makes Romeo hesitate. They're BOTH in pain in this scene. They're both conflicted; this is their ex-partner (which I don't mean in the romantic sense, just in the general sense) who they were very, very close with, and who is now literally at arms length with a loaded gun. Romeo could just shoot him. Romeo could put an end to all of this supposed pain. And Taiga might even let him. And wouldn't that be karma for all he's done? But he can't. He hesitates.

And you know what appears after that? The dove.

This dove that symbolises both general desire (flies over peoples' heads when they're thought about) and Romeo's desire. His desire to escape probation. His desire to make money. His desire to capture, not kill. His desire to reconcile instead of fight. His desire to shoot.

And Taiga kills it. Eats it.

I think this is the most tragic scene between the two of them. This is the crux of it; they both want to reconcile. They want to be friends, to be close, to stop the war raging between the two of them that has done nothing but hurt them both AND hurt the wellbeing of Sinostra, but they can't, because Romeo will ALWAYS desire, and Taiga will ALWAYS take that from him.

It's a cycle they can't escape. The auction chapter shows it too. Taiga is almost disappointed at Romeo's greed. He seems jaded by it, and seems proud and happy when Romeo gives it up for once. Romeo is happy too; MC goes out of her way to say that Taiga handing him the mask makes him look more peaceful than he ever has before. It is quite literally a perfect ending for the two of them and a perfect way to reconcile.

And then Taiga eats it! Again! But I think the most horrifying part of it is that he tries to warn Romeo.

The comic doesn't translate or even transcribe it, so it's so, so easy to miss, especially if you don't speak Japanese, but Taiga grunts out the words 'I', 'Eat', and 'Next' as he approaches Romeo and the mask, and it's the direct reason why Romeo is able to realise that Taiga is about to eat it before it actually happens. He basically just grunts out 'I'm gonna eat that next' as he's fighting against it! But inevitably, neither of them can stop it. The cycle continues.

As long as Romeo is greedy, and as long as Taiga is gluttonous, they will never be able to fully reconcile, no matter how much they both want it. Both of them have to change, but I want to point out that at this moment Romeo is the bigger active obstacle between the two of them. Romeo can't let things go, he holds onto everything and lets it build until it explodes in one way or another. Tiris, his stigma, is symbolic in that sense, that he has to learn to let things go, because if he lets it build too much it will explode spectacularly.

(All of the ghouls have this sort of symbolism with their stigma, so it's not just a Romeo thing, but it's definitely important to his character.)

But Romeo can't get over it yet. He can't get over his greed, he can't let go of things he can't achieve (like getting Kaito's necklace), he can't get over past betrayals (Taiga, what happened with his family, etc)... He's too stuck and stubborn, and his refusal to budge has therefore lead to Taiga's refusal to push. Taiga has stopped caring about getting on good terms because he knows it won't turn out well. He's given up and become cynical, which in turn means that IF Romeo were to change, Taiga... still probably wouldn't. They're cyclical again. Always, always missing each other. So close and yet so far.

I hope the MC can be the catalyst for this cycle to end. Or Ritsu, who is a good equalizer to the two of them. But until she learns to see her own worth in the Academy, and until Ritsu accepts that sometimes he's wrong / he doesn't always know the most out of everyone in the room, I'm afraid Romeo and Taiga will remain stuck in this loop forever...