#PoW Survival

[maddaddist]

I just imagined 201 but Rose with Nine

Sorry for the messy drawing

[sweetsmalldog]

I want to be real clear about the fact that I think all or at least most of the pirates are gonna fall or die. Aimsey and Quqqie were the audiences’ sacrificial lambs to show that anyone no matter how likable or interesting can and will meet a brutal end due to forces beyond anyone’s control. No character is safe. It doesn’t matter how interesting their story if they make the wrong choices they will fall just like Aimsey and Quqqie. It also acts as tension building for the audience, we know the corruption is not something to be taken lightly, we know that Olive’s slime is probably going to cause Olive and maybe more people to fall. We know how that those robed figures be they cultists or not are dangerous liars and not to be trusted. We have a much better idea about how twisted their world can be, beyond what any of them know. And we know none of them are safe.

[meyerlansky]

because i refuse to suffer alone, fun facts from 100thbg.com digging:

curt wasn't supposed to fly regensburg at all. escape kit was assigned to crew #28, pilot bill flesh, who was on a 3-day pass in london on the 17th so curt was swapped in with his crew, #30

richard snyder was flesh's co-pilot, not curt's; the only other member of crew #28 on escape kit for regensburg was the bombardier, dan mckay. weird decision to blur the lines there since there WAS actually someone on all three missions with curt that we see on screen, it just. wasn't dickie.

[fictional-at-heart]

So my brother and I have a sort of HTTYD World War II AU (it’s mainly our original characters, but Hiccup, Tuffnut, and Skulder are in there), and I just had to share a snippet we came up with tonight; we made the comment of how Hiccup and the Joneses wouldn’t smoke, but Stoick would, and Gobber? Well, he’d smoke like a fiend! He’d never be seen without a cigarette in his mouth:

Hiccup one day (sometime after the war ended), staring at Gobber:

Gobber: “What?”

Hiccup: “… how do you still have teeth? And lungs?”

Gobber: “Smokin’s good for the lungs! You know what I say: a pack a day keeps the doctor away!”

Hiccup, scoffing: “More like a pack a day calls the doctor…”

Gobber: “Oh, you’ve been spending too much time around those Jones boys.”

Stoick: “Their uncle was always the same way. Why, in the Great War-“

Hiccup, softly: “World War I…”

Stoick: “GREAT WAR, we were in the trenches one day, and every time I broke out a smoke, I’d feel his eyes on me. And sure enough, I look over and there he is. Staring at me, and I say ah! What’s it to you? And he says ‘you keep smoking them and it ain’t gonna be Germans that kill ya.’ So I told him it’s gonna be ripe old age! You know what he did? *clutches his chest and gasps* and then says ‘gonna be them smokes!”

[thatsrightice]

Floyd “Bucky” Mason was from Texas, the pilot of a replacement crew in the 100th. He was well-liked and highly respected as a command pilot.

On July 28, 1944, Bucky Mason set out with the low squadron on a mission over Merseberg, Germany on his last mission.

Everyone on base lined the runways, waiting anxiously for their return. As Crosby waited for his friend to return, two of the aircraft ran into each other on the runway. The explosion killed nineteen men boys right in front of him and everyone else.

[jaspertjunk]

Really bored in this class I don't even need so I drew Bang!Pow!Boom! if he weren't just a literal explosion

[pochapal]

So, considering Beatrice ‘exists’, you gonna go get a scorpion charm?

why would i openly carry a symbol of hostility towards beatrice.....i think i would be much better protected if i was just niceys about her and towards her..........

[keeps-ache]

it's 4 a.m. baby guess who finished those refs !!! m!! e !!!!

[the-fandom-queenxox]

Okay okay okay, I just had a very angsty idea about the ending of pirates smp. So you'll know how there are (were) 24 members in the server right? What if like only 6 people make it to the end of the smp, like just the quarter of the smp makes it out alive at the end, everyone else dies along the way.

I want a lot of blood to be shed in this smp.

[west1rosi]

i made my peace with season 8 in some way but my god rewatching it to make icons of gendry is making me boil.

[dimensionalspades]

I'm gonna get to those starters but I was looking up something about Sloan and tell me why everyone in a ten mile radius of Siddig just turns on the homoerotic subtext and hits the gas.

Can you imagine seeing Julian "If I stop gossiping I'll die" Bashir in all his autistic glory and going "yeah subterfuge seems to suit him because he has 2000 hours logged in Goldeneye"? Head of Section 31 Recruits Gossipy Little Bisexual Who Attempts to Sabotage Him at Every Opportunity, how did you get to be the head of this shitshow, my man?

And then after Julian directly works against Sloan on a mission he dragged Julian on he says section 31 exists to protect people like Julian like 'hey we're splitting up Julian and Garak because they're so so gay, so here's another spy that's in Julian's business and just does weird shit and yes it makes sense he's sitting at the foot of Julian's bed in full leather watching him sleep, why?'.

[nachoaveragejoe234]

not just americans

No citizens of any country are somehow inherently bad or evil because of their government. Full stop. That includes Russia citizens, Israeli citizens, Palestinian citizens, Chinese citizens, Iranian citizens, North Korean citizens, etc.

Everyone in this world is just living their lives, each with their own complex needs and desires and interests and emotions. They all have hobbies and friends and families and favorite foods. They all have their own motivations and varying political opinions and views on their governments. They all weigh the risks of standing out or speaking up and they all make their own decisions about that.

They all fear the same in times of danger. They all feel grief and pain and terror the same. They all love and hate and bleed the same.

They are people. They are no different from anyone else, they are not monsters or caricatures or nameless bodies in videos. Complexity and humanity are not exclusive to your country, to people like you.

[readerviews]

"Luck or Miracle" by Reginald Bollich

A Remarkable Story #books #bookreview #reading #readerviews

Luck or Miracle  Reginald BollichModern History Press (2023)ISBN: 978-1615997770Reviewed by Robert Leon Davis for Reader Views (04/2024) “Luck or Miracle” by Reginald Bollich, intimately recounts the remarkable real-life experiences of his 102-year-old cousin by the name of James “Jim” Joseph Bollich, a true American hero. At his astounding age, Mr. Bollich goes into great detail about his life…

[mewlabu]

People forget that while Ukraine isn't allowed to harm one hair on Russia's soil, Russia has been working hard to kill Ukrainians not just with misiles

- by destroying the medical infrastructure

- freezing or burning people to death by destroying the power grid that helps people survive during winter and increasingly hot summers

- by kidnapping and re-educating Ukrainian children and adopting them into Russian families

- by destroying Ukraine's food production capacity

- by targetting civilian areas, in broad daylight, such as shopping centres

- by destroying cultural institutions, museums, universities, schools

- by riddling farm land with mines it will take decades to remove that will maim and kill farmers and children

- by causing one of the worst environmental disasters when they blew up a dam

- by executing and torturing and raping men, women, children and elderly who are Ukrainian

- by creating generations of trauma and loss, some of which has and will end with people taking their own lives

- by convincing the whole world that it's ok for them to keep doing this without consequence whether in Chechnya, Syria, Ukraine, Georgia, Mali, Sudan, Central Africa, and the list goes on

And that all not even touching on how the operate in the actual battle field, using chemical weapons and white phosphorus, or executing POWs, and civilians in captured towns.

And this isn't touching on centuries of linguistic and cultural repression, political repression, forced starvation, forced labour, death by displacement, gulags, and summary executions.

Russia is a plague on the world. Hell, on its own people.

And it's been that way for centuries. Before Putin. Even before Stalin. Even before the Tzar.

Repression. Oppression. Violence. Totalitarianism. Subservience to power. Apathy in the face of it all. That's all it has to offer in its grotesque history, art and culture.

[veryaren]

hi. additional premanor luchinini thoughts. not for the faint of heart (aka it's a long list. Of dumb things. history buffs leav eme alone I know nothing about late victorian era) (be aware this is mega convoluted and just a mess of thoughts I've had over the span of this month)

- I keep thinking of the same scenario for them meeting.................. Some kind of party/ball/event whatever you want to call it. Luchino is fundraising with thompson, looking for investors whatever you want to call it. essentiallt, The university needs MONEY for his department buddy. He is not enjoying the social part. He thought he might get to talk about his actual work more but it's mostly social matters. Better luck next time bud

-Antonio is part of the orchestra hired for the event! Yahoo! Good for this guy. Getting those gigs. Great job man. He's also there to DRANK

-luchino sees him thru the night a few times....playinh during the orchestra's reps....walkbys.....servinh tables....More like a passing 'what a handsome guy.' Sitch. No real incessant urge to be this guy's house husband yet.

-maybe at one point. Luchino gets a teeny tipsy (likely from drinking just to look too busy for major verbal contribution. I do Not Think social events are his big thing.) (Take that one Eli letter for example. He just kinda sat there while they talked to each other and only really got semi interested when Eli asked about something herpetology-adjacent.) So he goes out to a balcony to sober up some. And what not

- antonio (drunk off his balls,yet still able to KILL on them strings), being the promiscuous freakateek he is has noticed those professor jubblies. those fun bags. double es. thru the night and finds him out there.

- he starts out flirting subtly. luchino cannot figure it out. it eventually gets very obvious, buy all luchino is registering is that "wow this guy is interested in what I want to talk about, first time the whole night .how fun" and eventually. Antonio just actually starts talking to him because he genuinely enjoys the chat

- eventually though. I think luchino would realize . Antonio's original intentions. But at this point he's like. Man. I fw this guy. Why not

- cue "I get off on you" by the rose brothers

- weirdly enough it starts as purely like a strange benefit friendship thing. neither mind the arrangement at all at first. Antonio will come find him at (usually predetermined ) times of the week. (Which isn't very hard considering he's either at home or at the uni. Dweeb) . He'll take him out somewhere or do something beforehand and then do that 𝓯𝓻𝓮𝓪𝓴𝔂 thang.

-its a very basic friendship at first! Until it isn't. And they start (dubiously) developing feelings. Luchino would need more time to think on it rather than being completely conflicted. Antonio on the other hand. He has a lifestyle. Maintained it for years. (I don't know if his past lover. The one he accidentally hurt is still canon for this weird universe. But for now let's say yes) and everytime he breaks it it does not end well. so he is very opposed. He likes the simplicity and inconsequential nature of his recreational relationships

-ALSO. about Antonio's deductions... Grins so evil.... Y know that one where he leaves a record ona window sill to one of his lovers. ... I know that was likely meant for the woman his letters..... But guess what. I'm from GAY LAND. he gives it to luchino in a moment of faggy weakness. And luchino wholly realizes his feelings there.

- from that point on, things seem pretty good for these guys. If this was a fic or something this point in the plot would be JAM PACKED with soft domestic beautiful majestic nwlnw LOVE... Antonio seems to even be cutting back ona few of his vices. If only for luchi. Also other silly self indulgent things like luchi going to his concerts or Antonio just watching him at the lab (Thompson hates when he's in the lab)

- again, IF THIS WAS a full fledged thing. The climax point would be where I would shove the timeline of luchino's mutation. OF COURSE, THOUGH I DON'T MENTION IT HERE. it would be nice to subtly mention in little tidbits building up to this point how dedicated luchi is to what he does. which would make his next choices make a bit more sense, seem less abrupt etc eyc

- he, of course, gives himself cabin fever. coops up and keeps documenting his progress. He is such a freak dude. Like have you seen his trailer video. This is horribly painful. BUT HE'S GREATLY EXCITED TO SEE THE PROGRESSION. even in his jp twt replies he's like "nah. this is scientific!" Hey, hey buddy, you're bleeding from where you peeled off your scales, just an FYI. NOT TO MENTION HIS SKILL DESC???? THE SCALE REMOVAL DRIVES HIM TO THE BRINK OF INSANITY???? (<- verbatim what it says) how's the brink of insanity treating you man

- Antonio quickly notices his absence (it really puts it into perspective for him, just how much of his time he's spent with luchino) and grows concerned. I would too if my boobily breasting situationship dropped off the face of the earth all of a sudden. But, having been dumped this exact same way before (ghosting,mentioned in his deductions), he's quick to assume the worst! Relapse hour

- I think luchi's main reason for avoiding Antonio like the plague would be. For the sake of his research. I think that if Antonio told him to stop it he would! and he knows it! So he can't jeopardize it. (Which is where the fire ass pussy papa Louie pals post comes from. yeah.)

- the scene that image is meant to be depicting is when luchino completely breaks it off. he's in that SICK ASS trenchcoat outfit just trying to buy essentials and what not. food is not something he can always just have without going outside unfortunately (I don't ever get to mention how hard that outfit is. I like it a lot even though he looks like inspector Gadget) in order to hide all the scales and what not. Imagine one of those cinematic caught in the rain dramatic breakups. Basically the vibe. Antonio is asking where he's been, if something's wrong, and Luchino (refusing to face him) breaks off what they had

-"it's over" "look me in the eye and say that" "goodbye" kinda thing. to put it in a tropey sense

- Antonio is obviously not ok. Complete relapse. Again, imagine a cinematic montage of someone just getting SHITFACED with deceptively energized music over it to avoid tradgedy. Someone needs to watch this guy or he's gonna end up on the news. Luchi either. Nobody is happy (except maybe Thompson, get the fags out the lab)

- by this point, luchino is GAWN gone. not sure what to say or how to phrase this very well. But he's out of the area, traveling to oletus now by this point likely. Antonio (Most likely drunkenly, I know he has been drunk very often through this but I promise that is not the intention, for it to be his only driving plot point for my vision) Wants to see him at least one more time.

- He goes to Thompson (the only guy who really might know where he is) he is then informed that, no, Thompson hasn't seen luchino for days. The last anyone had seen of him since weeks ago was a few bloody scales (see evil reptillian deductions)

-needing an out from the subsequent despair that follows after getting that tasty piece of news, Antonio takes up the Royals on their job opportunity!!! (Again, see his deductions) (this is another factor I would minorly sprinkle in here and there, just for it to make sense and feel less chunky later)

AKA THE GAYS DO NOT HAVE A HAPPY ENDING....... at least in premanor

If I were to write them happy . it would be in one of those "full manor" situations I like to call it. When all characters are living and participants at once. That'd be easier than trying to jam their canon games together. I already have a slight idea of how I would configure the full manor situation in general. Emm anyway it's 1am k need to sleep

hi

t4t luchininj

bye

[voluptuarian]

another thing that's weird about adults who make an identity out of reading children's books is what they hold up as representative of the values they find in YA/young reader's fiction. They typically bring up wish fulfillment fantasy, morals and clear cut lessons, adventure stories with mild peril, strong centering on friendship and found family, and stories that make them "feel good" and are extremely light on genuinely challenging themes or ethically dubious situations.

Meanwhile when I was neck-deep in YA as a kid in the 90s and early 2000s this was the kind of stuff I was reading, other kids were reading, and that was winning awards, being highlighted on shelves and recommended by librarians:

Hatchet by Gary Paulsen, in which a teenage boy survives a plane crash and is stranded in the Canadian wilderness and forced to survive on his own for months. He is ultimately rescued but is permanently altered by the experience. His navigating the drama of (I believe either currently separating or recently divorced) parents is also a major plot element.

Virtual War by Gloria Skurzynski, where real-life wars have been eradicated and instead are fought virtually, (inspired, if I remember correctly, by the disastrous results of a previous nuclear conflict) by specially chosen champions who are trained in combat strategy from childhood. Throughout, the three child champions are forced to question and push back against what the government has told them is the truth as well as against their own prejudices, including toward one of their own who is considered a "mutant" due to his dwarfism; it also details the grueling hours-long "war" in which the kids watch thousands of little 3D soldiers get blown up and dismembered and leaves them feeling genuine guilt for participating in.

Julie of the Wolves by Jean Craighead George, which focuses on a teenage Inuit girl who is orphaned, forced into marriage and sexually assaulted, then runs away and ends up lost in the Arctic and survives by befriending and living with a pack of wolves.

Out of the Dust by Karen Hesse, in which the heroine lives with her parents on a failing farm as the Dust Bowl is beginning, accidentally sets her pregnant mother on fire resulting in her mother's lingering death and the death of her baby, and the girl herself being permanently maimed, after which she and her father become estranged and she eventually tries to run away.

Summer of My German Soldier by Bette Greene, which follows a young Jewish American girl on the WWII homefront who befriends (and falls in love with) a German POW, and when he escapes, hides him in her home for months; eventually the prisoner is caught and killed and the girl is sent to prison after being ostracized from the community and disowned by her parents.

The Ramsey Scallop by Francis Temple, where the heroine, engaged since childhood to her current fiance, is sent on a pilgrimage with him as way of working out his trauma from serving in the crusades. Neither of them feels ready to get married and the fiance is dubious about doing much living at all, but they're able to get to know each other and build trust on the road. It's been ages since I read it but I'm pretty sure there's a scene where a hot single guy who helps patch up an injury she sustained then offers to have sex with her, which she decides to turn down.

Music of the Dolphins by Karen Hesse, where a feral child who has been raised by a pod of dolphins is rescued and taken to a center for rehabilitation. The whole thing follows her progress at understanding to how to be human, and eventually her decision to reject it all and go back to her dolphin family.

The Last Book In the Universe by Rodman Philbrick, whose hero is a teenage orphan living in a purposely abandoned dystopia, ostracized by his community for being epileptic, whose only friends are an old man who is the last literate person in the community and a monosyllabic feral child. The split between the have-nots and the haves, who live in sheltered futuristic cities, and discussion of privilege (one of the main characters is a girl from the cities who comes out to do charity work in the dystopian district) are major themes, and violence is a regular occurrence, including toward the finale when the boy's mentor is murdered by a mob while he watches.

(And of course there's Among the Hidden and its sequels by Margaret Peterson Haddix which I never read, but my sister did, and I know at some point a whole bunch of child characters are massacred by the government because it upset my sister so badly she cried.)

And I couldn't forget The Dear America series, which includes:

character who is finishing high school as the Vietnam War begins and watches her social circle split nastily over the issue, lives through classmates and friends getting drafted, and ends up working at a hospital as volunteer where she is assigned to help disabled veterans

character whose mother (and I think siblings), as well as numerous fellow travelers die while traveling alongside her on the Oregon Trail, and later accidentally poisons to death several of her friends after picking a look-alike plant for their dinner; only one survives, who she eventually marries

character who is kidnapped by a local native tribe and eventually adopted, then marries a fellow captive, only for him and other friends and family to be killed when the tribe is attacked by Europeans, putting her into a total crisis of identity and conflicting loyalties

character who is taken from her tribe to be put in residential school, during which she is forcefully acculturated, severely bullied by another classmate, and a childhood friend of hers is accidentally buried alive

multiple books about immigrants in the 1800 and 1900s which highlighted struggles with poverty, cultural pressures, and prejudice; one of them follows a pro-union factory worker who watches as multiple friends die in the Triangle Shirtwaist fire, and another whose father imports her to America at 13 to marry a coal miner

most of these stories emphasize the young protagonist ending up in situations were they are either on their own, or so alienated from the adults around them that they might as well be. The protagonists have to assume the adult duty of taking care of themselves, but also of thinking for themselves and making their own decisions and judgements about their lives and the world.

they are also going through big changes, often ones created by their parent's decisions, and which they frequently dislike or are straight up Bad for them. This contrasts with later, when the protagonists are able to make decisions for themselves-- often this comes through hardship and abandonment, but ultimately allows them to control their narrative going forward.

the setting and events are often harrowing, deeply unpleasant, and put the protagonist and their friends in danger of victimization by forces around them. Obviously this is exciting for kids to read, but it also allows them to see someone their age on their own, entering into Adult situations and taking on that role. It's also a break from the overtly positive or cartoonishly (but usually un-seriously) bad circumstances that dominate younger kids fiction and an introduction to the idea that life is just terrible most of the time, sometimes massively and unbelievably so. (It's going from the early childhood story of Madeline's thrilling adventures escaping forced labor in a factory, to the older kid's or YA story of seeing the protagonist work at one day after day, getting injured, having friends get sick, and then watching a girl's scalp get ripped off by the machine, something which creates not excitement but genuine horror and sympathy.) These plots also allow adolescents a chance to experience Big Emotions (like the ones they're about to fall head-first into themselves) in a stable, safe way. All of this aims to create a bridge from the juvenile reality to the genuine, adult one. Trite moral lessons are dispensed with in favor of allowing the child to go out and start thinking for themselves. And especially in stories like the Dear America books, it allows a look at things that happened in the past that we have, or should learn from, but also allows for a fuller emotional, ethical, and empathetic development.

often the introduction of sex is part of the story, from initial experiences of attraction (and the resulting self-consciousness, jealousy, etc.) but also sometimes actual sexual experience. Especially in the historical stories, marriage is also frequently part of the story-- either again, as a fantasy introduction to adult experiences, or as a realistic detail separating a child's historical experience from current ones and creating a better understanding of the hardships historical people went through.

and most include some form of rejection of prevailing authority and thought. Instead of blindly "doing what your parents tell you to" these protagonists must do what they think is practical or ethical. The boy in Hatchet cannot wait for an authority figure to guide him, he must figure out how to survive entirely on his own, while the kids in Virtual War are old enough to begin questioning the entire structure they've been raised in, and to develop empathy for figures that structure has deemed outsiders; the heroine of Music of the Dolphins decides the entire experience of being in human society is not for her, and returns to living with animals.

So these books offer harrowing circumstances, protagonists who are isolated literally or through moral or political alignment, and who must learn to live on their own and make decisions for themselves, often in defiance of prevailing attitudes. They usually emphasize finding one's place (even if that place is completely alone and unsupported), fostering understanding and sympathy with others, even with people who are considered "undesirable," who are different, or who have behaved badly to you in the past. And they frequently involve violence, budding sexuality, exploitation and abuse by authority figures/structures, and a heaping helping of death, including the deaths of beloved friends and family members. What is "feel good" and "unchallenging" about that? And like, I can't speak for what YA is bringing to the table now, but these people are overwhelmingly adults, they were reading YA at around the same time I was, I don't think it would be possible for them to have somehow missed the plethora of books with these hallmarks. So where did they get this idea that YA is some land of comfort where no complicated idea can ever reach you? Even Harry Potter is full of them, and we know they read that!