#ITS JUST SO MUCH TO PREFACE AND THEN talk about .

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[sonknuxadow]

it's so wild to me that people talk like sonic and knuckles just now started acting gay in frontiers or that the sonknux ship only exists because of frontiers theyve been gay this whole TIME you just refused to admit it until now

[19871997]

.

[2n2n]

the Sounds of Nightmares...

Well specifically I'm being baited by the stupid Sounds of Nightmares podcast, despite my own insistence that I don't care about aside material or really consider any new content commissioned by Bandai-Namco, and the scattered independent producers of all the various things under the property, necessarily relevant when analyzing the 2 games helmed by Tarsier Studios ...

Which-- I do stand by that ! Here is... an important... precursor, to talking about it.

I think who produces something is very important. It's not the franchise name which makes something enjoyable to you, it is what voice is creating it. If there were JSHK stories written by someone other than Iro-sensei, or if the property was sold off to another artist & writer, would you still be a fan of JSHK? This is how properties like... Warrior Cats (which is a book packaging deal comprised of at least 7 ghost writers), Star Wars, Marvel, work-- those characters, worlds, are not anybody's baby, but are loose concepts which people are paid to contribute to, to generate money as a franchise. It banks not on artistic integrity, but recognition of the property.

For example, I don't love everything that 'Adventure Time' is, or has become. It has passed through different directors, artists, writers, to the point that the original team who made it what I love, is not a part of something as derived as Distant Lands or Fiona & Cake. I also think somebody could like Fiona & Cake and not like OG Adventure Time. Because these are entirely different creations, with different vibes. I'm sure everybody actually has a relationship like this to SOME franchise! Liking early seasons of AT under Pendleton Ward, doesn't incline me towards liking how Adam Muto directs things, once he takes over. If my favorite board artists gradually leave, and are replaced, then I may not relate to the new voices writing episodes. I may not recognize what I loved in the original thing at all, in these new voices. OR sometimes, I CAN like a new voice... that's the roulette spun when things change hands many times.

I mean, people can like or dislike any Star Wars movie, as a mundane example. There is not 1 voice for all trilogies. Or extended universe novels. Or games. Or cartoons. Or Spinoffs. Famously.

By design, art created this way can't represent a singular vision, goal, or worldview... so as a result, these things tend to be haphazard, sloppy, inconsistent, roguely retconning or redefining aspects of canon as different writers or artists want to remake, reinterpret, or ignore set-ups proposed by others, in favor of their own. You'll have characters... often forgotten, brought back, killed multiple times, imbued with significance as quickly as they are written off. Some writer might introduce a concept which the next installment's writer hates. Individual teams or studios for different disciplines (one may commission a wholly different place to make an app game, a podcast, and a comic), may have hardly any communication with one another, and may only be working off of a loose lore bible or rubric. It depends on... the integrity of the franchise ... but almost by uhm, virtue of being a franchise, I'd say most don't... have.... integrity. Because it's often better to just throw more and more darts at a board and test what your audience likes .... artist integrity doesn't necessarily make something popular or speak to what the audience wants, after all. If anything I'd say being an artist with integrity makes one stubborn and liable to act regardless of what the audience wants ...

SO. all that out of the way....

Where all Little Nightmares bonus material is concerned, I take in each on their own terms, and don't necessarily absorb it all into my 'canon'. I mean, I feel LN2 entirely threw away what VLN did, by locking the 2 games in an enclosed loop.

I can't think "this aside comic EXPLAINS this thing from the games" when the games writers don't often acknowledge or engage with what those teams are doing.

BUT BY ENGAGING WITH THINGS ON THEIR OWN TERMS, I CAN ALSO BE LIKE... UGHH??? urhghgg... any random thing COULD beguile me. I mean, nothing is STOPPING ME from LIKING a new installment of Adventure Time, it's just that I DON'T like them, as fate has it.

I think the Sounds of Nightmares, is ,, HILARIOUSLY badly written, like from a quality or believability of voice standpoint. The dialogue is so cartoonishly bad. Feels a bit like a fanfic written by a 14 year old 😭 unfortunately it do be sounding like the exact kind of dialogue the writer of 1&2 has mocked & talked about swerving to avoid in his own work. Like the lack of subtlety... its so funny when LN1&2 are, entirely composed of subtlety.

but you know what I cannot resist, in my godforsaken bones ................................................... the notion of Mono & Six having been siblings in their previous existence. For The Love of God!!!! THIS AVVY BAIT!!!!!!!!!!!!! AAOURUUGHHH ... Mono as a little brother growing older, struggling with the idea of his big sister abandoning him, refusing to believe she ever would willfully do such a thing... falling down an oubliette of moral decay, torturing children & sending them into oblivion in his desperation to reach her. The concept that he may do all of that only to become trapped in a loop where he both doesn't fully recognize her, or himself, but is also continuously abandoned by her endlessly. But also Did Find Her, Did Reunite, Does Have Her. So maybe the kid torture was the right choice.

I LIKE THE IDEA!!!!!!!!!!!!!!!!!!!!!!!!!!!!! But it is mildly frustrating to engage with, because of the lack of... absolutes. I feel like the implications are intentionally opaque yet ubsubtle all at the same time (Six's theme softly plays as Otto shouts at recognition of her yellow raincoat.... he is perfecting tuning the frequencies of the nightmares... he comments on the eyes watching him.... a tan trenchcoat is seen in the seamstress area wherein bodies are made to tether children into this other realm... otto mentions the importance of donning many masks...). There is a plausible deniability to it, and I wholly believe creating Red Herrings tastelessly is expected of the property, given the entire bait-and-switch of VLN is you thinking that girl is Six, But No She's An Unrelated Raincoat Girl (why?) (it helps the franchise recognizability by there always being SOME sort of girl in the iconic raincoat.. how could you sell an app game without that visual cache?)

I think the threat of "is this Six? Wouldn't that be interesting...." is frustratingly imperative to maintain audience attention, while the open possibility of saying "naaah lol nvm" is important to 'save' the lore (particularly if the audience doesn't like or rejects an idea ... you can pretend anything was the intention all along retroactively). This is the madness of franchises... *rubs temples*...

so what do I have to say. I do think the writing is not good, but I think the concept is delicious. I would love for Mono to have created a device to communicate with the Nowhere (and it as a semi-reality semi-dreamspace IS original canon...), and I like that suffering is essential to reaching towards it. I would love the creation of this device to be the inception of the Signal Tower, I would like his only window into this world to be the thing that will entrap him, as if the two cannot exist apart. I would like Six as a long-lost older sister who escaped through her dreams, but perhaps anticipated her brother following behind her.

The vibes of Otto, are great. I love a guy muttering "my beloved..." about his sister, and pathetically whining about how she'd never leave him. I like how much "Sisi" sounds like "sissy". I love how he speaks always in possessives about her "my Sisi" while Noone also fsr validates this by saying "your Sisi". Yeah!!!! I like how absorbed his life is in this, like he's had no pleasures or joys outside of his sister, and is always yearning for her.

I would say it suits Mono's description of being "uncommonly single-minded. When he sets himself to a task, he rarely gives up before it's completed." He's a uniquely determined person, to a fault. The Thin Man erodes many in his terrible city, so corrosive is the humm of his Signal Tower. I would like all of the irradiated child remains found in the Pale City to be children he treated with his machine, who were not only lost to their nightmares, but trapped within the Signal's call.

Imagining Six & Mono's lives before winding up in this nightmare... I haven't had anything in mind; I like to engage in the world as it is now, on its own terms. I would imagine neither remember what existed before this, anyway. Suddenly being proposed "Mono was Six's obsessive little brother" is like being electrocuted. UGUGHHH... YEAH??????? FINE!!!!!!!!!!!!!!!!!! if YOU want to, SAY THAT.... !!!! to ME.... ! it's designed specifically to torment ME.... to test my integrity....

It is also kind of HILARIOUS!!!!! Ahhhhh imagine working tirelessly to reunite with your sister, only to have the demons that be give you the ironic fate of being unable to remember or recognize her in such terms, yet there is a draw, a pull, a sense to need to protect & keep her at all costs. And then what ! It would be amazing to fall in love with her, to find her beautiful. It would be amazing to fuck her brains out like that !!

For the mostpart I don't have... interest at all in Noone's, visions or what have you, it feels a little mind-numbingly episodic, but I could probably enjoy plenty of it fully visualized...? I don't really vibe the podcast medium as a tool for storytelling I am afraid; it feels simultaneously less than a book and also less than a visual medium. Not enough immersive prose or opportunity for shifts in perspectives a book could offer, limited duration, a kind of hokey amount of SFX and the need for a contrived framing narrative (which basically demands a lot of unnatural exposition to convey anything), really dampens it for me. I read it all as transcripts because that's a little more tolerable, but that just leaves me wishing it didn't need to be in a scripted format, and was .... a book .

My favorite concept it did bring forth, which well-aligned with my own impressions, was that seamstress room. I liked the half-made doll stabbed onto the table, and Noone feeling a connection, as if that was her, and all of these awaiting clothes. I enjoy the idea that one's consciousness is sort of split & hobbled when in-between reality & dream, until a vessel is made on this other side, which 'completes' you at last. I like the mythology of that, of needing a new body... exploring the 'doll' aesthetic we've got here.

I also like.... the notion of time not being linear, the Ferryman simultaneously existing for a lot of children. Since I'm only willing to engage Sisi & Otto as Six & Mono... I would love the notion of timelessness, that despite 'searching' for his sister for years, they might come into existence in this world at just the same time; maybe the Ferryman could have promised Six that her brother will come, & the matter of time is relative here as everything warps. They won't be apart, actually. I am FOND of the idea of Six & Mono's clothes coexisting in a trunk... despite Six having disappeared much 'before' his, in our world. Perhaps her body isn't finished being stitched together until Mono appears. That would be what I would like... </3 Maybe sissy only left because it was promised that you would eventually come.............. only the illusion of abandonment. To motivate you </3 come chase meeeeeee otouto

[everybodysaycbx]

Tag people you'd like to know better

i was tagged by @chogiwah 😙💕 thanks bestie

Last Song: Before the Dawn by Infinite

Currently Watching: Boss-dol Mart (i only just started last night bc ive been busy but its super fun i love it so far)

Currently Reading: Seize the Time by Bobby Seale (i mostly read non fiction so im boring lol but this is a great read esp if you need more knowledge of the black panthers which ofc more people do need)

Current Obsession: my sister is replaying Corpse Party for the first time in years since its spooky season and i havent thought about it since Corpse Party: Blood Drive came out (which was absolute garbage) so ive been thinking about all of it (the characters, the themes, how it could be improved, how i wish i could fight the creator bc hes such a creep (if you know the game and manga you know what im talking about), all that jazz)

tagging @littlesunshinedae @cxsmicmyeon @baldyeosang @chaelinsbitch @saintloey @his-mochi-cheeks @amaranth @queenrendezvous @jonginnation @colognedecigarette and ofc anyone else who wants to just say that i tagged you thats just who i thought of while im on break at work lol

[cherrygarden]

,

[loveydive]

paper menagerie and other stories was mid

[pastadoughie]

alottt of transmascs seem 2 think tyhat vocal training is somehow superr hard n super difficult, but its rlly not! i think part of this is in part because of voice instructional videos, half of them are people spouting bullshit or not being descriptive enough, and the other half (by vocal coaches) are loaded with technical termonology witch is missmatched between them, making it very difficult to tell what part of the body they are talking abt just to preface, you probably will not have an extrordinarily deep voice, but you can absolutely get a passing male voice even if you have a super high pitched voice! vocal gender is not determined only by how deep your voice is, you can have a high pitched male voice and a low pitched female voice to give you an example of how much change you can expect, here is my voice, ive been doing vocal training for about 3 years now.

there isnt actually a massive difference in terms of the depth, but there is a noticable difference in terms of masculinity i sound a little bit uncomfortable in the normal voice example, this is because i pretty much never use my natural voice, so its not my "default" voice anymore you will not lose your normal voice as you do vocal training, you simply will get better at controling your mouth and throat muscles to make it deeper, so if you are closeted you can still do vocal training while maintaining your higher pitch voice, its a matter of building up a muscle memory, after a while it becomes automatic the examples were taken like, a minute from eachother, its just moving your mouth in the right way you can also see i have a bit of a thicker accent while doing my vocal training voice, this is because pronouncing words very clearly and distinctly while also making your voice deeper is very difficult & something i am still working on note that this is still good to do and to work on even if you plan on going on T !! unless you have been on puberty blockers or started hrt very very early (at puberty age) then HRT will not be perfect and is not identical to the effects of stereotypical amab puberty, this isnt to say that it wont help, but the differences in larynx height that you will naturally get are not the same intensity as what generally happens in male puberty. this means you will have a higher then average male voice, as well as transmasc voices absent of vocal training generally sound more buzzy and nasaly here is an example, given by a dear friend of mine who would prefer to be unnamed

this isnt to dunk on anybody who has this kind of voice, i personally like it, but it is clockable if you know what to look for, witch could be unsafe depending on where you live to start : anatomy you are not a guitar, youre more like a bottle. to speak you blow air through your windpipe, and depending on the width of your tube/windpipe you will have a lower/ higher pitched sound, your vocal cords/voicebox are a fold in that tube, witch can open and close to constrict or widen your tube thin tube = higher pitched wide tube = lower pitched within stereotypical male puberty, these folds thicken, making them close less easily then thinner folds, making the voice deeper the opening/closing of the folds is sometimes called the "glottal cycle" and thick folds are are sometimes refered to as having a "high closed quotient" having thicker vocal folds is something only achivable through testosterone, but you can get a deeper voice by making your tube bigger, sometimes refered to as "lowering your larynx", a lower larynx results in an adams apple, and you can use how much of an adams apple you have during training as a phisical reference point

beside your tube, you have a set of strap muscles, these you can move, its by controlling these that you can hold your tube open. you cannot move your windpipe itself, only the strap muscles

to find your strap muscles, you can do a small excersize - in a relaxed position and your mouth open, place your hand underneath your collarbone to one side firmly, pinning the skin down - tilt your head backwards and close your mouth - hold for a few secconds, then close your mouth and tilt your head back to a normal position - repeat on other side you should be able to feel a pulling in the strap muscle on eather side, generally one is tigher then the other. doing this excersise can help you make them a lil more flexable, witch helps you maintain your deep voice when you move your head around making your voice deeper / lowering the larynx :

on an anatomical level, you are going to control your strap muscles to tug your windpipe downwards, creating more space and a deeper sound you can feel this in your mouth, use your toungue to feel the bottom of your mouth, this bottom part of your mouth is what you wanna try to make bigger, kindof like a frog

people sometimes refer to this as speaking with a yawn, or liken it to trying to eat something large like a snowglobe, but this is a ultimately harmful way of thinking about it, and generally leads to people moving their larynx and mouth in a way that is straining, not very helpful for making your voice deeper, and also kindof slimey sounding you should not feel pressure in the back of your throat or the top of your mouth, you should only feel the pulling of your strap muscles and the expanding of the bottom portion of your mouth. below your toungue if you place your hand where your adams apple would be, you should be able to feel it bulge and tense up when you do this

you can do vocal slides in order to practice this - drink some water and clear your throat - take a deep breath and, at a volume and pitch that is comfortable and natural for you, open your mouth and go aaaaaa - trying to keep your mouth open the same ammount as you go, try and expand your tube, feeling the bottom of your mouth inflate a little, you can feel your throat to have phisical confermation of if you are doing it correctly - once you have reached the maximum ammount of open that is comfortable for you, try and hold that note as long as you can, being careful not to slide your pitch up if done correctly it should sound something like :

you need to make sure that you are pacing your air properly, you should be able to hold the note at a consistant volume for the length of the slide here is an example of a slide done without properly pacing your air, this is called "vocal fry"

you can help avoid this by doing the slide slower, you dont have to rush getting to the lowest note as fast as possible, try not to stress your vocal cords this slide is very difficult, if you are having trouble, you can modify the excersize if your issue is keeping your volume consistant, or keeping your jaw open the same ammount, you can do the same thing but humming instead

if your issue is pacing your air, and going into vocal fry, you can do the same thing, but you pant like a dog

being louder / vocal weight : vocal weight describes how loud you are / how much air you are pushing through your windpipe, if you find you are too quiet, you can try doing a volume slide

- drink some water and clear your throat - take a deep breath and, at LOW volume open your mouth and go aaaaaa, i would reccomend doing this at your normal pitch - trying to keep your mouth open the same ammount as you go, increase the ammount of air you let through your lungs, getting louder - hold it as loud as you can for as long as you can, and once you run out of air you can stop as with the other slide, you wanna make sure you do this one slowly, and make sure to start the slide at a low volume, this is to help you get more familiar with controlling the ammount of air you let through your windpipe once you get comfortable with that, you should combine that with the previous slide, and try to expand your tube/ lower your larynx as you get louder

maintaining that depth when speaking :

speaking is the same thing as singing, but it involves way more movement of the mouth, and if you dont change your technique a little between speaking and singing it will sound bad try to keep in mind the position of your tongue, while flattening it can help with getting the opening of your tube part down, you dont wanna actually talk like that, try to have your toungue in a natural position just resting against your bottom teeth try not to compress your throat, you shouldnt feel any kind of pressure against your windpipe, you should only feel a pulling in your strap muscles if you notice your voice sounds slimey or nasaly or muffled, youre focusing a little bit too hard on creating good mouth space that youre messing with your throat space

if you sound slimey, make sure you arent flattening your toungue against the bottom of your mouth, and that you arent straining or over exerting yourself, it shouldnt feel painful or tense at the back of your throat or top of your mouth if you have a hard time maintaining your voice while doing things you should stretch your strap muscles using the excersize in the anatomy section, if they arent super flexable then its going to be hard maintaining your voice while tilting your head when you start its gonna be pretty hard, so make sure that you dont overexert yourself or get hyperfixated on having a deep voice 24/7, you dont wanna damage your voice at all not being embarrassed / practical use :

alot of vocal training excersizes sound pretty stupid, but you dont have to do the excersizes exactly how they are shown here when doing my vocal training i generally sing or hum to a song, ideally one with alot of sustained notes and that doesnt require very fast pitch changes if you want a song i like to start with, i like this one by cats millionare, but you can really do whatever song you like as long as it works good for you

while not required having a male vocalist in the song can also help. it helps switch vocal training from a concious effort to a more subconcious thing, because your brain trys to mimic the voice of the people you listen to with speaking around people i used to feel a little embarrassed about using my deeper voice, because it made me feel like im just like. a stupid little boy trying to make my voice deeper to sound cool. but one thing you have to realize about this kind of thought is that its internalized transphobia if speaking in a certain way, even if its unnatural, makes you happier then you should do it, the idea of having a "natural" and "unnatural" voice is a common idea in transphobic retoric, this idea that youre "faking" a voice so you can "trick people" into "thinking that youre a different gender" ultimately, youre doing this to become more happy and comfortable in your voice, and if anybody HAS an issue with that or think that thats stupid, then theyre transphobic, though they probably dont realize it. if you dont like singing or humming, you can also just speak and read things out, there really is no reccomendation i have for this, maybe get on a call with your friends and play a visual novel or something, reading out all the dialougue. having friends while you do this helps, as you can have them remind you when you start losing or slipping up with the deeper voice you dont actually have to make sound to vocal train, you can do it in complete silence, anatomically youre just moving the muscles in your mouth a certain way, and the sound part is done by blowing air through, but the making sound part is just the final step of the excersizes and it is optional. you can vocal train in complete silence at any time i would reccomend doing it with sound to start, but as you get more used to it then you can do it without the sound to practice most importantly for doing it consistantly though is dont make it a chore to do, while the anatomical and technical aspects are important to learn the most important thing is having it be practical for you to do, so find a method to do it regularly that works for you you dont have to like, do it 24/7 or anything, though you will build a habit for it quicker if you do. if you need to switch how deep your voice is around family thats not gonna somehow take away your progress

fankyu 4 reading!! if you have any questions pleaseplease ask them and i will try to respond!! i know theres alot of formatting issues, i tried so hard to fix them but tumblr is just not having it, i dont know why

[dromaeotrash]

[fawnhunter]

cregan stark aka mr attitude adjustment.

sometimes cregan needs to check himself, and make sure ur good too

this is part of a series which at the moment also includes benjicot blackwood. if there's anyone you'd like to see done next please let me know! general NSFW content warning, talk of impregnation.

lalala cregan stark lalala tom taylor...can i just preface this by saying he causes the ultimate brain rot. i look at him and my brain just goes " big man in pelts and amour big man in pelts and-" anyway!

to me cregan stark is the physical embodiment of non sexual dominance. i mean we all know how well the men of the north treat their women, like they are queens even if they wear the crown or not. and being with the lord of winterfell himself only makes things better. He walks into a room and he demands control and attention, and when people see you his pretty little wife hanging off his arm it only makes him feel that much more powerful.

back to the n.s.d thing, lets just says he's a natural "father" figure. i can see him falling for someone who needs some... light correcting... are u following me. finding love with someone who may be a bit mouthy. who isn't afraid to look him in the face and disagree with him, to offer a different opinion from the other daft cunts int he room. someone who will watch him train, who will watch him knock new coming knights onto the ground without flinching away.

i just think he would find excitement in someone with a little fight in them. someone he can back into a corner with his body mass alone, looking down his nose at you no matter how much to try to stand tall in front of him. staring you down into submission until you don't have a peep left in you, giving him the talking space to tell you how exactly things are going to go from here on out. [nsfw]

its hard to imagine actual angry sex with cregan, a man made of honor like that would never try and apologize with his cock before he does so with his words. however, i can imagine jealous, possessive, and passionate sex with cregan after his honor towards you has been tested. maybe someone eludes to you having an hard time producing heirs, suggesting someone else. or maybe they have the audacity to marry you off or send you away for some sort of gain for winterfell. all of a sudden there's knocking on ur chamber doors, and ur being pushed into ur room instead of opening the door properly.

from there the evening existed entirely of hot and heavy breathing accompanied by his harsh grip moving along ur skin. he touches you with purpose, like he's trying to leave some sort of trace of him on ur skin. teeth biting into ur neck, the feeling similar to that of a wolfs fangs leaving bruises on ur skin after a harsh nip. if it was up to him he would've torn ur shift away from ur body and throw it into the fire, leaving you bare before his eyes for the rest of time. his war torn hands run up along whatever parts of you he can reach. his touches are desperate in the way he pushes you into the chaise, in way too much of a hurry to move both of you to the bed it seems. fingers prepping ur sweet cunt while muttering words of owners ship and adoration into ur neck. his hair tickles ur skin as you begin to claw at the part of him you can. its clumsy and desperate, the kind of intercourse where you know there's something he's trying to get off his chest but he just doesn't have the words to say it. its when he finally sheathes himself inside of you that he tells you all about the lords who dared to speak of you to his face. heavy girth pumping in and out of you while his voice gets louder and louder, crying out ur name over the sounds of lilted moans. making sure all the lords and ladies down the hall know that you won't be going anywhere. especially away from him.

this is my first work for cregan i love him so much that wolf of a man. my ask box is always open tbh i love to yap especially abt hotd

[prideprejudce]

I think alot more people would enjoy the show if they learned to see Rhaenyra and Alicent as Unreliable Narrators, and characters who are supposed to have glaring flaws and weaknesses.

Mandatory preface- There are Issues™️ with season 2 that are its own other ask- but the complaints ive seen about character assassination on both women kind of tells me ppl just wanted to see the two just GirlBossing around, not being tragic characters trapped in their own circumstances.

For Alicent specifically- she just isn't written to be Cersei 2.0, and while it was really interesting to see motherhood from cersei's point of view, its already been done!! I actually prefer seeing Alicent's mercurial clinging to and abandoning motherhood- its interesting!! She was made a mother at what- 15? An age where you truly arent mentally developed enough to raise 3 kids, AND be a child bride, AND be a queen, (AND be a lesbian).

Alicent is interesting to me because she's stunted at 15 years old, she's an adult woman who talks to and sometimes bullies her kids as if they are her peers, and is obsessed with her childhood crush(es). She hasn't built any new relationships* past the ones she was entangled with as a teenager, she's obsessed with both acting out to make SOMEONE see that shes suffering, (she's honestly pretty blatant for someone who prides themselves on being the Temperate Voice of Reason) but also to erase herself and reset to before she had to marry the king, before aemma died.

I think most of her 'bad out of character' decisions are just these two impulses winning out, her trying to force a reset, go back to a time where none of this had happened yet, when things were simpler and she had love and every day wasn't the worst day of her life™️.

She sleeps with cole, the man she thought was pretty at 15 (her last uncomplicated attraction just before it all went wrong and aemma died) -she doesnt seem to like it that much, but she does seem compelled to seek him out, esp when upset- shes obsessed with, and desperate to reconnect with Rhaenyra, her childhood best friend (and first love) and get back to where they were as kids, AND she still treats and asks her father for absolution as if he's still the only authority that matters to her just like she did at 15. Alot of her 'victim complex/bewildered they took it so far' behaviour in the plotting of rhaenyra's usurption reads to me like a teenager in over her head, she talked big game and now its real and shes panicking!! She's tragic BECAUSE she's still a teenager- so stunted shes unable to meaningfully grow up and learn to make healthier choices for herself, or move on and stop trying to grasp at the 'if i could just go back' urge.

As a mother, I think this creates an interesting dynamic as well, and I do like that in the casting even, she seems closer in age to her kids than rhaenyra does to hers. I think the contrast ppl are drawing with Alicent Protecting Her Kids in season1 compared to her giving them up in season two isn't bad writing to me, just massive differences in context. Sure she protected Aemond in driftmark, but we cant ignore that she probably felt humiliated by her husband choosing rhaenyra's side over hers in front of everyone, did it seem like a grown woman fighting for her son?? or a teenager furious with her ex winning one over her again? or both!! both sides twisted together is still interesting! When she protected Aegon from Rhaenys, is stepping in front of her son the king to protect him from the enemies dragon fire not the most romantic daydream of a deserving death a child bride could come up with?? Was it the impulse to protect the son she couldnt decide if she loved or hated, or was it to have the most heroic death possible to escape the reality that she sees coming. And if Rhaenyra hears about how Brave she was in the face of a dragons maw, and cries about it forever and feels sooo bad and regrets it til the day she dies, thats an added bonus. I think Alicent loves her kids, but is teenager selfish about HOW she loves and protects her kids, and is unable to be a mature, consistant, protective mother to them when she also sees them as having ruined her life. I think in season 2 when she 'gives them up' shes relieved, and once again following the compulsion of 'if i reset to when Rhaenyra was heir, i had no sons, and i wasn't married or queen, everything will be better'. I think theres complexity to it, i think she does love her sons and feels insane about it, but I think Alicent has been trying to Go Back in more and more Intense ways ever since she got married, and we might be giving her sanity more credit than it deserves when it comes to the need to wipe the board clean and go back to being 15.

hey anon are you trying to get married to me or what

[honeytonedhottie]

the art of conversation (from a professional yapper)⋆.ೃ࿔*:･🍉

just wanted to preface this by saying that NOT everyone is extremely sociable and thats totally okay. this post is to help improve ur conversational skills and charisma ✨

WHY LEARNING TO BE SOCIAL IS IMPORTANT ;

social skills are literally the FOUNDATION of effective communication. its important bcuz it allows u to build meaningful relationships, express urself, collaborate with others etc.

when ur learn how to be an effective communicator u can connect more deeply with the people around u. being more social can also provide u with opportunities, and in general make ur life SO much easier. not to mention u have a lot more fun.

SUPERIORITY/INFERIORITY COMPLEX ;

an inferiority complex is the feeling of inadequacy, an insecurity that ur not on the same level as someone else. a superiority complex is the opposite, u can come off as smug or condescending. both are bad in their own right.

the way that u can combat this is by adopting the mindset that you are neither below or above anyone else, and no one else is above or below you.

doing so can kind of even the playing field of conversation in ur mind and make sure that ur not feeling some kind of way before going into a conversation bcuz when u let ur superiority/inferiority complex go by un-fixed it can sabotage communication and not give ppl the change to get to know u.

UNLEARN SHAME ;

first u gotta start off with thinking about ways that shame has influenced ur thoughts or actions. an example that im sure a lot of us could relate to is the whole cringe concept.

to help unlearn shame i recommend journalling, therapy, and mindfulness so that then u can let urself ENJOY things again, without having the looming fear of the judgement of others.

also no genuinely happy person is going to take time out of their day to shame u, only a loser would do that. and if ur the one shaming others for liking something bcuz of ur own insecurity, get that fixed and get a life.

PREPPING FOR CONVERSATION ;

when approaching someone or starting conversation with someone for the first time, a rly good way to start it is with a compliment. dont start it by saying hi cuz i think thats so awkward 😭

compliment them for something, their response can also tell u a lot about them also bcuz some ppl will take the compliment well and some ppl will serve u a dirty look and that alone can tell u if u rly wanna be conversing with that person.

LEARN TO LAUGH ;

since we've already talked about why learning to not feel embarrassed about every little thing is important, here's what to do when something like that comes up. literally laugh.

for example the other day someone whom i've never spoken to before came up to me and started talking to me so familiarly, like with their arm around me and everything and i just went with it 💀 until he noticed that he had mistaked me for someone else, but its okay cuz now i have a new friend. LAUGH ABOUT IT.

dont take everything so seriously, being able to enjoy and take a joke is what makes conversation so much fun. note, do NOT mistake taking a joke as taking disrespect bcuz u should not take that, there is a distinct difference.

the biggest advice i can give as a yapper is to be more lighthearted and not take everything seriously. bcuz i feel like when we take everything so seriously we become rigid and thats not hot, be a breath of fresh air instead ✨

[writeyouin]

Lucifer (Hazbin Hotel) X Fem-Reader - Sinless Sinners - Chapter 5

Chapter 5 - Stories and Dolls

A/N – Okay, so I just quit my job and I’m freefalling right now. Time to channel my anxiety into fanfiction. Also, this chapter is darker so I’m raising the rating to M.

Warnings – MENTIONS OF RAPE, S/A, ABUSE, KIDNAPPING, AND TORTURE.

Rating – M

TAG-LIST: @xx-all-purpose-nerd-xx @sseleniaa @randomgurl2326 @22carolina08 @astrxwitch @yu-87 @clover-1767 @lil-bexie @thesimpybitch @reverse-soe @koirb @usernameunavailable2 @lavenderkita @kannakanan @mcueveryday @amarokofficial @mbruben-stein @tyrythewolf @lasagna-501 @bizzardvark @firefirefeline @kaylanotkk @missme-07 @memontica @angelsdemonsmonsters @tj4shy

MALE VERSION HERE

GN VERSION HERE

Lucifer had to admit, he was getting used to you. He enjoyed making breakfast a show in the morning, entertaining you with his parlour tricks and general showmanship. You were like a child, easily amused by flashing lights or some sleight of hand.

And of a night, he also found your company less than objectionable, whether you were reading a book in the library with Spick and Span curled up at your feet, in front of a roaring fire (you had conjured them medallions with their names on them, so as to tell them apart), or those nights when you came back from visiting the hotel and regaled him with the tales of its inhabitants. Lucifer was starting to like Angel Dust, even if he didn’t believe the porn star actually had a chance at redemption. Nifty also seemed entertaining, Husk could be a source of wisdom and comfort in equal measure, and Alastair… Well, he was there too, taking up too much of your attention.

Yet, despite his newfound almost-friendship with you, he couldn’t help thinking about what you had said on your first night in the manor.

‘You don’t even know why I’m down here, and you don’t want to know, right? ‘Cos all of us filthy Sinners must be the same.’

You were right. He didn’t know why you were there, and that was driving him crazy. He wanted to like you. Truly, he did. But how could he like you when he didn’t know your sin? People got sent to Hell for a reason! They wasted their free will. They sold drugs to kids, murdered people, trafficked victims, tricked and swindled others. For all Lucifer knew, you were there for drowning puppies.

The thought made him deeply uncomfortable.

Okay. He would ask you about it. No big deal. People probably talked about why they went to Hell a lot right? That was a normal conversation for Sinners, probably…

Lucifer wasn’t entirely wrong in thinking that. However, nearly all Sinners lied about what they went to Hell for, making it even more brutal or horrifying to try and earn some extra credit among their fellow Demons. Someone who had killed one person would claim to have been a serial killer. A low-life drug dealer would paint themselves as a mafioso with a drug empire, and arsonists… They didn’t have to lie much, as fires tended to spread quickly and they generally were as psychotic as they claimed to be.

It was all basic self-preservation in Hell. Be the toughest person there, so nobody could find new ways to hurt you. Kill or be killed (figuratively, since Demons couldn’t technically kill other Demons), sink or swim, do unto others before they did unto you.

Right. When Lucifer next saw you, he would ask.

“Hey Lucifer,” You said upon returning to the manor from the Hotel, “You doing okay?”

Lucifer froze. He hadn’t expected to see you so soon. Fuck.

“Hey bitch,” Lucifer greeted, feeling entirely awkward, yet trying to feign confidence.

“Uh… Back at ya,” You reciprocated confusedly.

“Sooooo,” Lucifer started, steepling his fingers together, and holding them to his mouth, his brow knitting together worriedly, “I have a question for you.”

“Oh.” You were surprised by Lucifer’s admission. While the two of you generally made conversation, he didn’t tend to ask too much. Besides, in the preface of announcing his question, it seemed that he was likely to ask you something personal.

You waved your hand casually, indicating that he was free to ask away.

“How- Uh how was everything at the Hotel? Is my little girl doing okay?”

As you smiled and fell into a description of how Charlie was doing and her general excitement about her meeting with Heaven, Lucifer cursed himself. He knew that what he wanted to ask was important, but it was just so personal. Well, at least he was happy to hear about his daughter. There were also some other colourful stories included in your conversation.

Finally, you wrapped up the conversation, effectively ending it when you casually said, “Anyway, I’m going to get ready for bed. I’m real tired, you know?”

Lucifer didn’t say much as you left, he was still pondering whether you might be a puppy killer or relative and accomplice to that Jeffrey Dahmer fellow, or something equally disturbing. If not… Why were you there?

Having gotten ready for bed, you sighed, letting the day’s events wash over you, lifting a weight off your shoulders. You were tired, but the day had been a good productive one. Moreover, it was nice to end the day by standing out on the balcony, overlooking the rest of Hell.

There was a time when you had died, during which you stood atop a building in the main streets watching all the fights, looting, and maiming, and you were horrified. Then, you met Charlie, and she had been so wonderfully pure, good, and non-judgemental that you had to agree with her. Hell could be a home to you, and all the other Sinners who lived there, and Sinners could always change for the better.

While you held onto the balcony railing, leaning over it, and staring at the red horizon, Lucifer approached your open door at the entrance of your room, knocking despite the open invitation to come in.

You turned and smiled at him, your smile putting him at ease.

“Come in,” You offered.

He did so, crossing the large room and taking quick mental notes of the changes you had made. They were minor, but they spoke of your personality. You had lit scented candles, brightening the room – the official scent name was Tapioca Tit-play.

Subconsciously, Lucifer worked his magic to remove the off-smell that he had placed there; it was redundant when your candles covered it, and he didn’t mind your company so much anymore.

He also observed several other items. There was a photograph of everyone at the Hotel, though you had drawn Alastor on the end in crayon since he didn’t love to be captured in photographs (he could bear it unlike being filmed, but he didn’t care much for it.)

Wrapped around your bedposts were nightlights to keep out the dark. On your bed, you had a teddy of one of Sir Pentious’ egg-bois, a gift from him. Husk had gifted you with a bottle of his best Whiskey, though it remained unopened on the nightstand. There was a cockroach/daisy hybrid necklace wrapped around a book. The candles were from Angel Dust. Beneath your pillow was a dagger, gifted by Vaggie, for your protection. Alastor had given you a collection of books from the store in Cannibal Town, including several that were rumoured to have been stolen from Heaven’s library, though nobody was certain where that rumour started or if it was even true, though there were no copies of the books anywhere else in Hell.

Although Lucifer had no way of knowing these items were all presents from your friends at the Hazbin Hotel, he could tell that you cared deeply for the odd assortment by their placement on the two bedside tables; they had been positioned with care, and were well looked after.

Then, his eye caught the rubber duck, slightly hidden behind the picture frame. He remembered making that one. As a hellhound imitation, it was meant to teleport to whoever needed it most inside the Manor, offering protection should they come under attack. Naturally, he and his family didn’t need such protection, but he had been experimenting with what powers he might imbue unto yet another duck.

He decided not to mention it as he joined you on the balcony, looking you over in your pyjamas.

You also spared him a glance, noting that he seemed more relaxed. Although he was still in his usual attire, he had removed his top-hat-crown and his overcoat, revealing the waistcoat and shirt beneath; the sleeves were rolled up, giving him a more casual appearance.

“Hell’s skies are beautiful, aren’t they,” You stated, returning your gaze to the horizon.

Lucifer looked up, but all he saw was Heaven, the home that didn’t want him.

“(Y/N),” He started, forcing himself to look down, so he wouldn’t have to stare at the painfully beautiful golden glow above.

“Hm?”

“How did you end up here?”

Your grip tightened on the railing drawing Lucifer’s gaze to the whites of your knuckles.

Your whole body became tense and you answered with a ragged breath, “I died.”

“Yes but-” Lucifer was about to lead into the question of your sins, but you spoke up again, seemingly misunderstanding the question as you continued, tears forming at the corners of your eyes.

“I was- I was murdered.”

Lucifer could have explained that the cause of your death wasn’t what he had been driving at, but now he was darkly fascinated. If you were the same kind-hearted, warm person in life, why would anyone wish to bring about your death?

He remained silent as you began recounting the manner in which you had been killed.

“I had a friend,” You started slowly, taking steady breaths between each part of the story that followed as if it would make it any easier. “I mean- I- I thought he was my friend. I loved him. He knew that. He counted on it.”

“I thought that he travelled for work. That’s what he told me. It’s why he was always coming and going. But no… He was just looking for more people like me. He found people. Made us fall for him. Then he- he took me out on a date. Blindfolded me. Said it was a surprise. I- I trusted him, but the blindfold just made it easier for him to- He knocked me out.”

You subconsciously touched the back of your head, remembering the blow that had come with no warning.

Lucifer turned to you, one hand holding onto the railing, the other planted firmly at his side.

“Did he-” He started to ask.

You shook your head. “It wasn’t rape. It was worse.”

You shivered, waiting until you were certain you weren’t going to vomit. Then you continued, your skin ashy.

“I woke up in a- It was like a cinderblock cell, but it had been sort of decorated to look like a fancy suite?”

You recalled the room. It was damp, and the floor was cheaply produced concrete, given away by the amount of air bubbles which had never been levelled and now pocked the surface, like a teenager with bad acne. The cinderblock walls were easy to see, though some talented artist had been paid to paint it with the likeness of the Ritz hotel or somewhere equally fancy. While that had made it look better, it was still clearly a cinderblock wall; then again, you can’t polish a turd, but you can roll it in glitter.

You had been handcuffed to a chair in the centre of the room. Your clothes had been taken, and you had been dressed in a skimpy shortened tuxedo, with a fitted vest instead of a jacket. You remembered screaming till your voice was raw. You screamed so much that you ended up spitting flecks of blood, but nobody came to save you.

“I- I was tied up,” You said simply, downplaying the memory to Lucifer, more for your own sake than his, though he could see the pain behind your eyes.  

Lucifer didn’t interrupt your story, but his anger was growing. Behind him his tail lashed furiously, his eyes became flaming red, and his fangs became sharper. You hadn’t noticed, you were lost in memory, and you had yet to look his way since beginning your story.

You sighed, thinking of the torture, humiliation, and suffering which followed, all at the hands of one man. It wasn’t your captor. It was who he had sold you to.

“It- I was- They were making snuff films. I don’t know how many people died there before or after me but- I was sold to an American. He- He liked to cut things. It was a while before- I don’t know if I bled out, or if my heart stopped, maybe both?”

For the first time, your skin changed colour, turning from your regular human shade to a pale seaweed-green. Against the colourful backdrop, Lucifer could see your now blinding white glowing scars. Upon your death they remained hidden, completely invisible, but now you were distressed… You seemingly did have something of a Demonic appearance after all.

You were a ragdoll.

There wasn’t a part of your body that hadn’t been cut, or originally sliced off, only to be repaired in death. In all likelihood, your real body was probably burned, buried, or dissolved in acid. In Hell, your scars were the stitches that held your body together. Lucifer now understood your human appearance since like a real ragdoll, you were good at playing dress-up. He bet that if you explored your abilities, you would have been able to look like anyone, a skin-changer, but you had adopted your appearance in life; it was likely an accident caused by the trauma of your memories.

“(Y/N),” Lucifer said through gritted teeth. He wanted to be comforting, but he was already thinking of all the ways he would punish your killer and any accomplice he may have had. There were worse things than Death in hell; he would torture those bastards for eternity, and then when he finally grew bored, he would end them with angelic weaponry, wiping their souls from existence, leaving no trace of such monsters.

You didn’t turn to face your King, who was now in his full Demonic form, his rage at its peak.

“Just go,” You murmured despondently, staring over the balcony, and down to the ground. A long drop and a short stop… It was a shame it wouldn’t kill you; at least the pain would end if you died.

“But-” Lucifer reached you to put a hand on your shoulder, his wings almost curling around you as if to envelop you.

“I- I would like to be alone. Please.”

Lucifer hesitantly withdrew his hand, “I’m sorry.”

That was all he said before walking away, leaving you alone.

You wished that you could have been left to wallow, but your phone soon buzzed and you opted to check it in case it was an emergency.

Retrieving it from the bed, you found a message from Charlie.

“EMERGENCY. ANGEL DUST. RELAPSE. GET OVER HERE. PLEASE!”

Damn it! If Charlie was texting you for this, it meant that Husk was either the cause or he wasn’t around to be the solution. Moreover, while Charlie would want to assist her friend, she was likely the last person Angel Dust wanted to see; sometimes, though she was well-intentioned, she just didn’t understand such issues or she could be a bit much.

Still stuck in your ragdoll body, you ran back to the balcony and vaulted over the edge. It wasn’t a smooth landing, and it hurt a lot. Anyone else would have broken their bones, but when you were like this, there wasn’t anything else that could be broken. Everything had already been torn off you. Ignoring the pain, you ran until you found a taxi. You took it to the Hotel.

[librarycards]

Hello! I am trying to read “the right to maim” by jasbir k puar and I am getting almost nothing out of it, bc of the depth + breadth of academic concepts :( I’m particularly frustrated by it bc it seems to talk about subjects I think about, talk about and do daily, like disability, transness, and (anti)colonialism. I’m most of the way through the intro and it’s gone almost entirely over my head except for a couple isolated paragraphs that are meaningful.

Do you have any advice for how I can get the most out of this book? My main limiter is time, bc I got it out from the library and it is highly requested so I can’t have it for very long

Hi anon! First of all, in terms of time, I recommend piracy. I recommend it in general. I'm not going to post links here in order to protect the places I use, but dm me if you want them.

If you're having difficulty with the concepts (which makes sense - right to maim is a challenging book!) I recommend going back to basics with some background reading. You can get some of Puar's rec'd background reading from the bibliography, and from the keywords she uses in the preface of the text. a few that I see (i'm looking at the PDF now) include debility, rhizome/rhizomatic, soverignty, biopolitics, homonationalism, impairment [in the disability studies sense], precarity, and neoliberalism. if i was teaching this preface, i'd have students break down each of these terms (and probably others, this is just from a skim) using outside readings. it's totally normal to feel overwhelmed when jumping into a scholarly text w/o any context, and most people who use and cite this book have past experience reading Puar's interlocutors and existing familiarity with this language.

you can get up-to-date while reading using resources in tandem with this text. For example, you can read Puar's discussion of debility at that link to get a sense of the context. You can read a decent summary of Foucault (the coiner of the term "biopower") and his thought at Brittanica. I recommend using Google Scholar for terms you're not familiar with, and taking quick notes so that you don't have to google them all over again each time. if you think you have enough context with a new word but aren't 100%, keep reading and use other clues. think about academic reading like learning a new language. the strategies are very similar! because it basically is.

I recommend using the annotation strategies i just mentioned in this post (and/or developing your own). i also recommend looking up Puar's talks on youtube - she's a well-known scholar who does a lot of events, and has spoken extensively about this book and its genealogy (especially in relation to praxis / Palestinian liberation). You can also read her talk with the hosts of Death Panel, my absolute favorite podcast.

Below, I'm going to give you an example of how I close-read, annotate, and analyze a paragraph from Right to Maim (and, by extension, other academic texts. This strategy may not work for you 100%, but hopefully it gives you some solid suggestions. Overall, remember that learning to read scholarly work takes time. A long ass time. Even when it's about things you've experienced yourself! Academia has its own conventions, verbiage, knowledge base, etc, and it's a learning curve for everyone. Don't expect yourself to read as fast or get as much as someone more familiar with the conventions of academic writing - anticipate reading all of these works many, many times, and getting more with each reading. Progress is more important than perfection, and improvement, even if slow, *will* happen, as long as you don't give up. <3

Below is a quote from the preface to Right to Maim, where Puar lays out her argument. I recommend everyone highlight/remember paragraphs like these (pretty much every ac text will have something like this in the beginning as a roadmap) to anchor their reading practice and help them get the most from a book (emphasis mine):

In The Right to Maim, I focus less on an impor­tant proj­ect of disability rights and disability studies, which is to refute disability as lack, as inherently undesirable, and as the sign, evidence, or fetish of injustice and victimhood. I am not sidestepping this issue. Rather, I centralize the quest for justice to situate what material conditions of possibility are necessary for such positive reenvisionings of disability to flourish, and what happens when those conditions are not available. My goal ­here is to examine how disability is produced, how certain bodies and populations come into biopoliti­cal being through having greater risk to become disabled than ­others. The difference between disability and debility that I schematize is not derived from expounding upon and contrasting phenomenological experiences of corporeality, but from evaluating the vio­lences of biopo­liti­cal risk and metrics of health, fertility, longevity, education, and geography.

In the bolded part, Puar outlines what she's not doing: she's not taking a mainstream (white, colonial) disability studies approach, which is, in her words, to refute disability as "lack." She's stating that her goal isn't simply to prove disabled people as equal to able-bodied people, or to claim that disability can be good and liberating (though it is/can be!). Her point is to look at the conditions in which people become disabled, and stay disabled. Often, these conditions are violent and unjust. Acknowledging this injustice kinda throws a wrench into western models of disability pride.

So, if she's not interested in just arguing that disability ≠ badness, what is she arguing? she's looking, in the latter half of the paragraph, to how people become disabled in multiple ways. One, using the verbiage in the book, she's interested in how people become debilitated - physically incapacitated in a way that may not line up with the social category of "disability"). She's also interested in how "disability" as a social identity is constructed - that is, why do disability rights groups look at Palestinians maimed by the IOF and see an injured civilian, but not a disabled comrade? words and context matter immensely. she's looking at why, and what are the implications.

that last sentence sums up the distinction she's making: "The difference between disability and debility that I schematize is not derived from expounding upon and contrasting phenomenological experiences of corporeality, but from evaluating the vio­lences of biopo­liti­cal risk and metrics of health, fertility, longevity, education, and geography."

the difference, she argues, between disability as western disability studies sees it and debility as experienced by people under colonial occupation isn't because we experience our bodyminds differently, or because Palestinians (for example) magically aren't as hurt by occupation as their white/western counterparts would be. rather, the reason she's using debility over disability is because the category of disability isn't objective: it's informed by biopolitical forces such as the ones she listed. her meta-argument is that what we call "disability" can't be divorced from its settler colonial context, not because colonized peoples are immune to disabling violence, but because the category of disability (and health, and violence) is itself affected by settler colonialism.

in "right to maim," Puar is offering a major shift in the way we collectively discuss disability, because the category is not applied equally across sociopolitical, geographical context. it means Palestinians and others living under occupation are either left out entirely, or unsuccessfully co-opted into western-/colonizer-centric disability discourse that doesn't acknowledge the different conditions under which they live. ultimately, "right to maim" means to make that difference, and its implications, visible.

Let me know if this makes sense! it's wordy and tedious, but lots of academic texts are. i hope that breakdown helps you make some more sense of Puar's main argument/the architecture of the text, and maybe serves as a model for future engagement. :)

[redjademilktea]

Last night's episode of 4 Sided Dive was absolutely wonderful in terms of the amount of insight and perspective we got. Not only the Crown Keepers interlude, but also for campaign 3's themes as a whole.

Specifically what fascinated me though, was the incredible analogy Aimee drew between the Ruidian culture and colonial influence on indigenous/colonized spaces in real life (around the 1h32m mark for reference). It was amazing question to ask and I'll love Aimee endlessly for it because it touches on am interesting parallel between the discourse surrounding the Exandiran gods and what they thematically can represent to us as an audience.

Before I dive into my thoughts, I want to preface this by saying this is my specific perspective as a queer woman of color and daughter of a refugee. While my year-5-in-a-PhD-program brain may just be over analyzing this too much, what Aimee brought up just deeply resonated with me in a way that I don't really see talked about in discussions around the themes of campaign 3. Additionally, the ideas I'll be talking about borrow heavily from Christine Taitano DeLisle's Placental Politics: CHamoru Women, White Womanhood, and Indigeneity under U.S. Colonialism in Guam (2023). Its an incredible piece on indigenous knowledge production and political action that importantly looks to decenter colonial perspectives and history (and more importantly recenter indigenous histories, knowledge, and perspectives in a way that allows us to dislodge the idea that colonialism is something that is immutable and inevitable.)

To quickly summarize Aimee's point/follow up question, she pointed out that the way Ruidians have engaged with, repurposed, and were resentful towards Exandrian cultures mirrors some of the real life experiences of colonized/marginalized communities in relation to colonialism. It was such a powerful comparison to make because in a lot of ways, the struggle of the Ruidian people over the course of the campaign along with the looming question about the gods and whether or not to save them is (intentional or not) deeply resonant with the idea of colonialism and the ways it is deeply ingrained in the even mundane aspects of our life.

In a lot of ways, the Exandrian pantheon can be seen as a colonial force. One that came in and displaced a preexisting order of things and entrenched itself in the new way of being it established. Ashton and Laudna have repeatedly pointed this out throughout the campaign. There was life and existence before the gods. The gods are merely a different mode of being, not the only and inevitable mode of being. Life, society, and being can and did exist without them.

And its important to recognize that aspect of the gods, because it helps us understand their motivations that much better. Aabria in her description of what Opal saw in the Spider Queen as she tried to take Opal as her champion was poignant. Opal did not see an omniscient, unknowable entity. She saw a woman. A woman who was frustrated, angry, and most importantly frightened. They keep Predathos chained away not to protect life on Exandria nor because they feel a moral obligation to do so. They are doing so because they are afraid. Their mortality is at stake. And, as Aabria keenly pointed out, their pride is as well. Every action, every move is out of self preservation. An attempt to save themselves because Predathos demonstrate that not even the gods are a permanent thing.

You'll find (as Anne Stoler writes about frequently) that colonial systems are much the same. They are vehemently intent on self preservation. Any action they undertake and any narrative they create about themselves is solely done to preserve the way things are currently. And that includes narratives that the way things are currently is somehow inevitable. That things were always coming to this moment. Often, this is done at the expense of framing other modes of being as somehow antithetical to the way things are now. That it needs to be this way. And that this way is right and forever.

To me, its important to recognize these parallels. While Ruidians may engage with, adapt, and innovate off of Exandrian ideas, culture, and art, it is only because - as Aimee aptly phrased it - Exandrian culture as a direct result of the gods actions has "sucked all the air out" everything. What is there to engage with, if not the looming orb in the sky that has shaped every aspect of their existence?

It really brings the campaign-wide question of "should we save the gods?" into new light, at least in my opinion. Because its suddenly not about "saving the gods in a morally righteous act to preserve all life." It becomes a layered and complicated network of issues that makes the answer to that question incredibly difficult to answer. Is preserving the status quo because its how things operate now worth it at the expense of the suffering of others? What would saving the gods and the Ruidians look like? Is it even possible to save both? What changes to how things operate would be a result of that? How would those changes be handled?

I bring this up because there is a tendency in some discourse that I've seen to frame questioning the validity of saving the gods as inherently the "wrong" choice to make. When instead, when you see the cast struggling over the question, its because the answer is not straight forward. The gods are not necessary for life. They never were. They just are necessary for life the way things are now. And the question of what disrupting that means is such a fascinating one to engage with.

[project-sekai-facts]

Hey I've been wondering, could you explain Akito and his death symbolism? It's been constantly mentioned or implied in his recent focus songs and VBS covers (getting lines about "death" or "dying" and the likes)

It's just because the fandom is using that to mischaracterize him as an overly depressed and suicidal guy (another Mafuyu copy; pls save him and Tsukasa) and I just don't think that's what the writers mean to say and the point of his whole character!!!

(prefacing this: I'm aware there was a thread about this going round twitter a while ago, I haven't read it specifically because of this ask and if anything is the same that wasn't intentional and I apologise)

A large part of Akito's character arc is his difficulty with improvement and his sheer determination and passion that goes alongside it. He had always viewed his lack of natural talent and unrefined skills as something that made him inferior, which only led to him pushing himself to his extremes, and trying to face things independently and head-on. This is something that's touched on heavily in the STRAY BAD DOG event, where we get to see him learn to rely on his teammates more and realise that he isn't alone. Find A Way Out continues his arc of personal development, with him realising he's actually not so different to the people he looks up to, and finally learning to accept and feel confident with his improvement instead of just pushing forward almost desperately. It's that idea of him finally realising that he won't always be a step behind everyone else and good things are actually coming with his hard work.

Building off that idea, it's like a sort of rebirth. And that's where the links to Kashika come in. Kashika is a song about death and longing which gets horribly misinterpreted and has led people to believe Akito is suicidal which is simply untrue. The thing that's dying in this context is Akito's old self. The child who had no talent and was falling so far behind everyone. The child who worked so, so, so hard to be perfect is dying. And that sounds like a negative thing but it's really not. It's a metaphor for Akito reflecting on himself and moving on from the past and breaking new ground.

The 2DMV adds another layer to this with its marigolds, which not only symbolise death, but also can symbolise a renewal. And in this case, renewal refers to Akito's growth following the events of FAWO. He finally faced up to his past mistakes and overcame them, but even then he won't let himself feel relief. It's only with the help of Taiga's story about Ken that he's finally able to be more satisfied with himself and how far he's managed to come. He's finally able to break out from that belief that he's forever going to be stuck behind, and he's able to have faith in himself. Realising that Ken was just like him and managed to get to such a high level of skill and be so respected by those around him finally lets Akito believe that he too can reach that same light.

The butterflies in the background again symbolise renewal or transformation. It's not about death as per se, it's about change. Change and growth and transformation are recurring themes in prsk's character writing, and Akito is no exception. While on a surface level, Kashika is about death, if you put it next to the story, it's about regeneration. Akito is moving forward and leaving the old him behind, he says as much in the FAWO story.

If you actually read the lyrics to Kashika, it's genuinely kinda shocking to me how much people misinterpret its connection to Akito as a character. Like I get the song talks about death a lot and wanting to die, but particularly in these extracts you can see some of the key points of the FAWO event - Akito's determination, passion and self-acceptance. It's a song about Akito growing up, physically and emotionally, and saying goodbye to his past self.

Now as anon pointed out, the marigolds previously appeared in his card from Light Up The Fire. And while in the case of this event, it was most likely drawn to connect with the story surrounding Nagi's death, but it's worth mentioning that every character had their own flower, so the marigolds are specific to him.

As I mentioned in today's fact, aside from being associated with death, grief, and mourning, marigolds can also have positive connotations of optimism and passion based on their warm and vibrant colors. One of the key elements of LUTF was despair and grief, shown through more ways than one. Whilst the truth of Nagi's death came as a shock to the VBS and the others, the following battle with Taiga crushed their hope to the point that everyone except VBS gave up. VBS decides to keep trying for Nagi, and again there's that idea of a renewal. They know the truth now, and are going to come back and get better. Now while this is more general about VBS, the marigolds are still specific to Akito, considering how he's always been the most determined one who has taught himself that the only way he can succeed is through sheer perseverance. Whilst it applies to all of VBS in this instance, it applies even moreso to him.

Also it leads very nicely into his fes card story, which follows after the events of LUTF from his point of view. Something notable about his fragment sekai is that it's a completely barren wasteland. It's dead. And to top it all off, he gets amnesia. However the whole point of his sekai is to remind him of his determination, remind him that he has never once given up on this dream, how he's fought and fought to hold onto it and shouldn't let what happened with Taiga and the truth behind RW strike him down. Despite the area being dead and barren, and despite the fact he can't even remember who he is at all, he still pushes forwards and keeps walking through the dangerous environment because he knows he can't just sit around, he knows he has to do something. He knows it's not a choice, it's a necessity for him to persevere, even if he can't remember why. In the end he does remember, and finds a single flower that is managing to flourish despite the harsh conditions, and he even compares himself to it because truthfully they're one in the same. Even in a hopeless situation, Akito manages to pull through. In a metaphorical sense, he can't truly die, he still finds a way to thrive even if the world is against him. His determination truly is the core of his character.

And that leads us nicely to BURN MY SOUL, which I would consider to be the end of his first character arc. Despite having learnt a lesson about his true strength and potential in FAWO, he still hasn't reached that full potential, and he still believes that he needs to keep pushing and keep working. Through Ken's advice, he's able to realise that he's been so focused on perfection that he's bottling up all the passion inside of him. Because he's so passionate about music and it's this passion that fuels his resolve that is ultimately his core, his soul. And especially after everything that's happened, the fact that there's still a lingering sense of despair after the incident with Taiga, he needs to truly let that passion burn and realise that his true potential has been inside of him all along. His role as assigned by Ken is to light up a fire amongst the people again, so he let's the fire within him burn freely for the first time, and it works exactly as needed and is able to rekindle hope throughout the town and in one of his teammates.

Back to that idea about how metaphorically Akito cannot die, I really like the symbolism of fire within VBS and Akito in particular because it's framed in such a way that the fire lit by RW is a flame that can't burn out. Even with things such as CRaZY's "I'm so ready to die" and the "I'm going to pry it open like I'm going to die" voiceline that plays when you pull his WL card, it's not meant in such a way that he wants to die, but in a way that he's going to put his all into it as if it is the last thing he'll ever do. Akito doesn't want to die, he wants to live to see things through to the end. He's too determined to let anything snuff out his flame, and even then that makes me think of the original usage of snuffing out a flame, which was actually to trim the wick so the flame could burn brighter. If you care enough about that dumb candle analogy, you could say that Taiga/the events of LUTF tried to extinguish Akito's flame, only for him to come back from the dead (and quite literally considering the wasteland in his fes card), and now he's only burning brighter and stronger.

Akito's death symbolism isn't a negative thing. Akito isn't someone who wants to die, he's too determined to die. No matter how much the universe tells him to give up he'll never stop pushing and never stop breaking down the walls around him until he sees his dreams through. All his death symbolism is equally tied to the idea of rebirth or even just living. Kashika is about him leaving his past behind and moving forward, his fes card is about his passion counteracting despair, and Burn my soul/CRaZY/Break down the wall are all about him being so fired up that he's going to act as if it's his final day. He's learning to be satisfied with his life and where he is. He's ready to live and to say he wants to die is a great injustice to his character arc.