soap's whole deal being sniper and demolitions gets me going bc on the surface they sound so different but when you get into it, you realise it's bc soap's smart
sniping is all math; calculating distances and wind interference and bullet drop. something i think people overlook is he was listed as a sniper first so it can be implied that he's better at it than demolitions. he does more sniping in both campaigns than demolitions work; in capture or kill, ghost specifically calls on him to take down the aq snipers
and demolitions is math with a hit of chemistry; knowing what mixes with what, knowing how much to use, recognising environmental factors and adjusting accordingly. it's not just about the boom; so much work goes into contained/ planned explosions. especially when having enough power for a breacher charge and not bringing down the whole building is the difference between mission success and failure
the chemical bombs he makes in alone can't just be any old cleaners, they have to have the correct reaction to each other; he just knew off the top of his head what would mix with what to create what reaction. he would also potentially have to recognise them by sight/smell bc they would’ve been written in spanish
soap would also have to know architecture; recognising structural integrity and weak points so he knows exactly where to plant a charge to bring it down and how it'll come down
he has an incredible soldier's mind people just forget that bc he's sociable which itself is a skill
we know he tends to buck against orders he doesn't agree with like when he pushes back against ghost in capture or kill and shepherd when he tells them to release hassan
he gets closer to people and sees if he can trust them and that's when he follows them without question. really think about how he talks to alejandro and rudy; he asks about their home and alejandro's family and rudy's relationship with him. those aren't questions you ask a stranger after a few hours of knowing them. that's not even touching on his relationship with ghost
he also deliberately brings people of higher ranks down to his level; talking informally with ghost and giving him a shoulder punch, addressing alejandro (a colonel!!) by his first name and rudy by his nickname despite literally just meeting them. he personalises all of them and it’s in direct opposition to the reason most characters do that; it’s not due to insubordination or lack of respect, the more he respects and trusts someone, the more casual he is with them
he digs into people; he wants to know what makes them tick and that determines if he can one, trust them and two, follow their orders. once he decides that, he's the ultimate soldier; he bleeds loyalty which makes him vicious when that loyalty is taken for granted
he isn't naive or bubbly or insecure; he's an incredibly smart and aware soldier. he's aggressive and bloodthirsty and loyal and intuitive and i love him so much
570 notes
·
View notes
be mine.
billy sighs. rests his forehead against the cool metal of his locker. tries to ignore the hum of people talking around him. holding hands. cuddling. it’s a shitty day. it’s a shitty day and billy knew it was going to be a shitty day before it even started.
he knew because he had been the one to say it. yesterday. to tell steve that they’re not- that billy doesn’t need to be treated like a fucking girl. that they’re just screwing around. that he doesn’t give a shit if steve wants to fuck someone else today.
that steve might as well go crawling back to wheeler because billy sure as shit can’t hold his hand or call him sweetheart in the hallways. that he gets enough heat at home without the whole of hawkins high knowing how much of a queer billy hargrove is.
and then billy had walked off. slammed the door behind him and gone home. had picked a fight with neil just to top it off.
all because he was scared.
is scared. scared of steve harrington with his preppy fuckin’ polos and dumb hair. his pretty eyes and pretty smile and ability to tilt billy’s world on its axis just by looking at him. scared that steve will get bored of him. that he’ll realise billy isn’t worth the effort.
scared.
billy sighs again. shuffles back slightly and glares down as he twists the lock. the door swings open and billy is halfway to grabbing the book he needs when something falls out. a scrap of paper. no bigger than the palm of his hand. a note.
it lands on billy’s boot.
he looks around. wonders who had felt brave enough- dumb enough to shove a note through billy’s locker on a day like today. he bends down. picks it up. reads the words in front of him.
quarry, 9.
there’s a little heart scribbled on the top right hand corner. billy traces the familiar writing with a thumb. feels that all too familiar feeling in his chest. he clenches his fist. hears the crinkle of paper as he does.
then he looks up again. into his locker. really looks, this time.
a pack of marlboro reds lay on top of his books. unopened. new.
next to those, something smaller. candy, billy realises. a sweetheart, specifically. the words kiss me etched in pink.
billy smiles. can’t help it, really. it’s restrained. barely there. just a small twitch of his lips but a smile nonetheless. his first smile of the day. credit to steve fuckin’ harrington and his inability to leave well alone.
billy smooths the note out. places it next to the reds. next to the heart. tries to tamp down on the butterflies swarming in his chest. he takes a deep breath before stuffing the cigarettes and note into his pocket.
his hand hovers over the sweetheart.
“hey.”
billy pulls his hand back. fast. as if he’d been burned. he looks to his left. locks eyes with the boy now standing next to him. feels his heart stutter. “hey.”
steve gives him a knowing smile. “good day?”
“no.” billy frowns. you already knew that. “pretty shitty actually.”
steve leans. folds his arms. “that bad, huh?”
better now that you’re here. billy swallows. turns away from steve. back to his locker. “did you want something, harrington?”
“nah, just..” steve smirks. reaches out. billy feels his breath hitch. steve’s smile gets wider. he flicks billy’s earring. once. before turning on his heel with a see you around thrown billy’s way.
a promise. something deeper to them but. casual. friendly to anyone watching.
billy watches him leave. wonders if steve might be okay with them having to do things differently. wonders if this might be enough for steve. for them. wonders if he could be enough for steve. hopes-
billy jumps when the bell rings.
-
they meet up later. at the quarry like steve had said. neil under the assumption that billy’s seeing some girl. steve’s parents likely thinking the same.
billy feels as though a weight has been lifted as soon him and steve tumble into the back of the beemer. all cold hands and fumbling with belts. awkward limbs and steamed up windows. and billy lets it happen. lets himself be held. lets steve be sweet to him.
billy lets it happen. finds himself thinking that today might not be all bad. and that he might be more than a little bit in love with steve harrington. he pushes the second thought down. focuses on winding a hand into steve’s hair and sucking a mark into the soft skin just below his jaw, instead.
not all bad.
-
later finds them huddled under a blanket in the back of steve's beemer. sharing a cigarette. marlboro. red. steve nudges billy after a few minutes. doesn't say anything just. nudges him. billy tilts his head to the side. gives steve a look. steve just looks down as his hand finds billy's under the blanket.
then he presses something small into the palm of billy’s hand.
billy raises an eyebrow in question but steve’s already looking away. staring out into the night. cigarette glowing in the dark. billy rolls his eyes. wiggles his arm free and holds the object up to the window to get a better look.
be mine.
he laughs. loudly. tries to hide the racing of his heart. calls steve a fuckin' cheese. and a sweetheart. waits until steve turns to face him again before pressing the candy to steve's lips and pulling him in to exchange kisses that are almost too soft. too sweet for whatever this is. whatever they agreed for this to be.
steve pulls back first. whispers against billy’s lips “hey, baby?”
“yeah?”
“happy valentine’s day.”
“…yeah.”
almost.
steve grins and reaches out to play with one of billy’s curls. billy laces their fingers together under the blanket.
or maybe it’s just right.
532 notes
·
View notes
hi I love your tags so so much! they were so sweet and so interesting and creative and the whole Aphrodite type of beauty thing sounds really interesting do you have any articles and recommendations to read further into it??
-hogoflight
Hello my fine feathered (I am assuming possession of feathers if you are, indeed, capable of flight) @hogoflight! I'm always always happy to hear that people appreciate my frenzied rambling in the tags :D! I have a lot of articles and recommendations :D!! Ancient Greek notions of beauty and representations of it in their art and sculptures is a pretty well studied topic! There isn't any way for us now to know definitively what the beauty standard was (it varied widely from region to region and culture to culture after all) but here are a couple of my favourite reads about Aphrodite and what her representations tell us about idealised beauty!
Probably the most empirically extensive one I can list is Krönström's thesis which compares statues of Aphrodite and literary text referring to both the goddess and mortal women to determine physical ideals for women in five specific eras of Grecian antiquity. Including measurements of the statues there are many descriptions of Aphrodite as 'curvy' with a 'voluptuous figure' and with 'ample buttocks and bosom'.
"When the beauty traits are
described in the texts, they are never extreme or anything that could not be found in normal
people just that they are more beautiful in every aspect. Furthermore, the sculptures’ physical
forms look healthy, they are tall and have distinct curves. Great examples of this are the Knida
sculpture and de Milo (the Melian) sculpture."
Of course, these images are still idealised, and there was still a concept such as 'too fat' or 'too skinny' found in written records (and this thesis even includes analysis of pornographic writings and descriptions of the fashion and stylings of pubic hair of women from different regions!!) but from an interpretational standpoint? There is absolutely no reason why these can't refer to a fuller figure. Height was also a very important factor after all and over the course of many eras, it seems like being well proportioned in addition to the length and appearance of one's hair were the most important factors (and, like Apollo, greater beauty was given to those with curlier hair)
Mireille M. Lee's 'Other Ways of Seeing' essay which talks about the forgotten female viewers of Knidian Aphrodite which is also extremely illuminating on how Aphroditic sexuality and sensuality was perceived totally differently from the well documented male voyeuristic gaze (which was overly preoccupied with the statue's nakedness and therefore over-sensationalised the statue's physical appearance) vs women's perspective on the statue which is more centered on the beauty of simplicity in Aphrodite's garment and decoration and in her power and ability to captivate both in her finery and without it. I think it's especially useful in exploring the importance of finery, jewellry and adornment in representations of Aphroditic beauty.
"Some of the small-scale copies are
heavily jeweled, especially those from the eastern Mediterranean, for example the Hellenistic gilded terracotta statuette in the Çanakkale Museum (Fig. 5) in which the goddess wears, in addition to the armband on her (right) arm, the following: a necklace with multiple pendants; cross-bands extending over both shoulders and hips, with a cascading pendant in the center; a coiled snake armband on the left arm and another snake on her left thigh, and a twisted anklet on her right leg. (The left leg has been restored, and might also have featured an anklet.)"
"Jewelry is especially associated with Aphrodite in Greek literature. As seen above, in the Homeric Hymn to Aphrodite, the goddess adorns herself with gold jewelry, dress-pins, and earrings in the shape of flowers (162–3)..."
Finally, and to me, the most important one in the argument for an interpretation of Hyacinthus as fat, beautiful and fundamentally Aphroditic comes from Brilmayer's brilliant brilliant thesis done on Aphrodite's work and influence in Archaic Greek Poetry which does away with all of that masculine preoccupation with physical proportion, measurement and bodily ideals for a focus on a Sapphic Aphroditic ideal centered in clothing, ornamentation and, most importantly cunning as symbols of Aphrodite and ultimately a feminine idealised form of beauty. This paper also discusses Pandora and Helen in these terms and it is just kind of a wonderful read tbh.
"Combining Homeric and Hesiodic elements
with her own ideas, she [Sappho] alters the way female beauty
is viewed. For example, the Homeric war chariot – a
symbol of male, military prowess - comes to
symbolise the totality of Aphrodite’s power uniting
in itself male and female qualities.
Having addressed the concept of beauty directly,
Sappho then concludes that beauty lies in the eye of
the beholder. With the help of Helen of Troy and her
beloved Anaktoria, Sappho sets out to reinvent the
concept of female beauty as a godlike, subjective
quality that may be expressed in many ways, yet
remains inspired by Aphrodite."
The conclusion to all of this of course is that Aphroditic ideal beauty is much more fluid compared to its stricter Apolline masculine standard. The nuances and understandings of both are of course, constantly being studied, analysed and scrutinised but really, if Dionysus who was both bearded and clean shorn, effeminate, birthed and rebirthed (and twice gestated!) and strongly associated with vegetation can be popularly portrayed as fat and handsome, why can't Hyacinthus?!
22 notes
·
View notes