#Still there are a LOT of character tropes

[crooked-wasteland]

I think what annoys me so much about the way the show blasts Blitzo for being a cold and unromantic partner is that it’s a perfect example of ignoring worldbuilding to make a character look worse.

By human standards, Blitzo abandoning someone when they tell them that they love him is pretty cowardly and understandably upsetting. But in Hell standards? Verosika should’ve fucking known he’d run away because Hell seems to look down heavily at the concept of love. This is like knowing that it’s taboo to kiss and then getting mad at a character for not kissing you. You can’t blame someone for being adjusted to what society expects of you. Verosika can still be hurt but it’s genuinely insane how much she clings on to this hate like he did a crime.

And the fact that we just skip over seeing their relationship is also infuriating because I get the feeling that Viv was both not interested in actually showing us what Verosika was like and also afraid to make her do anything that feels more in line with her character which is act angsty and spiteful

I've had a thought about Verosika. From the we've seen this season, the writers have actually listened to and addressed criticism for the show. The Ghostfuckers leaks show an overhaul of the original story, the fact that episodes got shifted around at the start of the series, the blatant un-writing of the assassination plot, and the fact that Unhappy Campers was the only pre-special episode to not be in the season 2 trailer (most likely because it was still in the early stages of animation due to massive rewrites to incorporate more Millie) are all evidence to this. It's obvious the crew is not happy about it, but they are listening.

With that in mind, the show has repeatedly been accused of extremely sexist writing in favor of the male cast. As such, it's not surprising to see the pivot more towards "humanizing" the female characters in specific. I remember seeing a lot of comments about how they wouldn't forgive the show if they made another female character irredeemably cruel and brainless following The Circus, and even louder after Western Energy.

What fans had wanted was a complicated or even toxic dynamic where both characters weren't perfect, but still held Blitz accountable for his actions, fairly. What they got was the cheapest, laziest writing I've ever seen. Not only does it not make sense in regards to the established world building of Hell's attitude towards love, it still makes no sense for Blitz to run away just because Verosika said she loved him, only to then adopt a child. He explicitly goes to the pound looking for a pup, pivoting to taking in Loona out of pity. It's like saying marriage is too much of a commitment, but still having kids.

Instead, Medrano overcorrected to pander to critics the same way she panders to her fans. Verosika is not an irredeemably cruel and stupid, spiteful woman. She's a perfect victim actually. Not only is her only crime falling in love, but the relationship ended so fast and sudden that she didn't have any time to do anything.

All these choices feel not only deliberate, but resentful in how little care went into the writing. The most drastic overhaul being to Ghostfuckers where the entire narrative trimmed down and immensely reworked already existing elements into the script. It goes to show the level of improvement possible to an idea when given better direction, but it also shows the limitations of not having actual writers on the team.

Ghostfuckers does an amateur's best and comes out generally okay, but still suffers from over reliance on tropes without narrative substance. It's the genuine best that can be done with this team. And unfortunately that's still not good enough.

[effieotto]

I know some of the most popular Hayffie fanfics were written by people who left the fandom some time ago, which is unfortunate and i wish they would come back. However, recently we got some new writers who do A AMAZING JOB! Sensitive, engaging and deep stories with incredible writing skills, that i think you should know about. So here is a list of my recently favorite Hayffie fanfics of still active writers. I hope you’ll enjoy it

• Of course the first one had to be AGWIBDATM (big as fuck title but i swear it is good). It’s no secret to anyone that this is one of my favorite of all time

• Another of my favorites! TOS is long (there’s no arguing with that) but it is soooo worthy it! It address Haymitch’s alcoholism in such a sensitive way, and all the consequences it has in his life and relationship with Effie and the others. It also has one of my favorite tropes for Hayffie, so you have to read it now

• When it comes to enthralling post-war Effie, this one is definitely on the top of my list. The angst, the flashbacks, the PTSD and mainly Peeta and Effie’s relationship is just sooo good i can’t even describe

• And last but not least, YAMAYFD (another big as fuck title lol) is my current obsession. Dust_and_thunder got to my top list pretty quickly. And no, it’s not only because SHE WRITES EFFIE WITH A WHITE HAIR (although i almost burst in excitement when i first saw it). But it is because of her incredibly good narrative, and the way she explores other characters’s POVS as well during the chapters, which is soo unique…You have to read it

Well, the list it’s not over, i have some more, but these four are the ones i am currently devouring! And i’ll let you guys know, i love you all but if you leave any of these unfinished, i’ll have to slice my own wrists open with a filth knife (i have a lot of traumas in this front)

[guest-1-2-3]

idk how old that post was but u mentioned u had more zukka recs? modern au and such. would love to read those if you'd like to share, thnak you for that rec post btw it's great

omg anon i’m so sorry it’s definitely been months i just found this posts in my drafts and i think i was planning on adding more to the list but idk anymore !! hope ur still around i have some more for fics for you here you by go lol 😭

Absolutely! Here are some modern aus that I enjoyed :)

streetlights, sidewalks, and other complicated things by lesbianspikespiegel, Implied/Referenced Child Abuse, Rated T, 6k: "Sokka has been standing under the same streetlight at ten-thirty p.m. every other night for the past month. It’s nice, it’s quiet, it gets him out of the house, and it’s all to himself. That is until Zuko starts showing up, too." (I couldn't figure out a good way to describe this one so I put in the summary. It's cute, and while it does reference child abuse, I'd say it's pretty light overall. Quick and nice read!)

There Are Dragons in the Sky by ava_14_rose_9, Panic Attacks, Childhood Trauma, Child Abuse, Rated T, 39k: Eliza and Her Monsters au where Zuko is the anonymous author of a webcomic and has to navigate relationships with his new friend group who happen to be fans of said webcomic. He's also dealing with moving to another country, mental health, and family stuff. This fic had a very compelling plot and I really liked how the author wrote the different characters, their relationships, and conflict. Zuko-centric fic for the most part, but the main ship is Zukka :)

Here It Goes Again by firb (f_ing_ruthless_baz), Implied Sexual Content, Drinking, Mentions of Death, Rated M, 24k: Plant shop and tea shop au but also soulmates! A very nice au with getting together, some angst, some fluff, some miscommunication. I found it a nice read :)

and i'll do anything you say (if you say it with your hands) by nebulastucky, Non-Graphic Smut, Implied/Referenced Child Abuse, Rated M, 88k: Basically fuckbuddies to lovers Zukka with some miscommunication and angst but also a lot of humor and fluff imo. Sokka-centric. I really liked the character writing in this one! Also Sokka and Suki being roommates and exes to best friends is forever one of my favorite tropes lol

The Fine Art of Swordbending by mindbending, canon-typical abuse, Rated T, 20k: mindbending at it again writing all my favorite atla fics smh. Olympics au! This one had some secret identity moments which really satisfied the old ml fan in me lol. There's definitely angst but it really is hurt/comfort getting together. It's not too heavy, but you know. It's Zuko. Sokka-centric!

[evilmskitty]

Jurassic World Chaos Theory and communication

Season 2 spoilers, be warned: long post ahead~

(Now that I’ve simmered down from my high horse, and can look back at the opinions from fresh out of the oven)

Communication is a big theme throughout season 2 (and 1 really), often highlighting major points in certain episodes.

Miscommunication and lack of communication, were often intertwined with different characters. Just to be clear, I am not a big fan of the miscommunication trope because it gets me pissed off. Mostly because it can be very realistic, which hits close to home sometimes. Brooklyn’s character and story line are majorly in this trope.

Brooklyn spends time working on shady shit to get a story and put an end to the shady shit. In doing so, we see her neglect maintaining her friendships/relationship because she’s using it to cope. Then said shady shit comes back to wreck her life up, which she knows can harm her friends. Brooklyn does try to include Darius in last minute but then it gets skewed after the awkward confession. She gets attacked, not expecting to be alone, in a trap set for her. She entertains the idea of staying dead when it’s presented to her. Vetoes it. Andddd then is shown that it’s still very dangerous for her to return and tell her friends. So back to staying dead, because it’s safer for everyone.

Brooklyn continues to be radio silent and in doing so misses a lot of what happens in season 1. I don’t think she knows the group was hunted down or why they were all in Africa other than tracking the Broker there. What she knows is glimpsed from the news, the Broker, and Ben. Her conversation with Ben does irritate me, however it shows how difficult both their situations are. Brooklyn is trying to keep them safe and Ben is trying to find proof she is alive/what happened/what they’re dealing with, neither are in a good spot to really reach out and actually break down what’s happening.

Ben is left to either keep his promise not to say anything or tell the group. We watch it cause him such a visceral reaction he has a panic attack. Once he calms down, he thinks it over. Ben makes the decision to tell the group, and is immediately thwarted for plot reasons the rest of the episode and those following. Which causes more doubt and the desperate scramble for more proof. It builds up and he reaches out to the most levelheaded person he trusts to talk him through it. Yaz. Once again is thwarted by plot and because the doubt is eating at him but so is the guilt. Yet that scene also shows the build of up different communication issues.

We’re seeing Kenji having self sacrificing tendencies (borderline suicidal which is another topic altogether) to avoid feeling the heavy burden of emotions, worrying the group. Darius is wandering off to hyperfixate on dinosaurs to avoid having to discuss his feelings (as one does) or make sure Zayna is okay (if I see anyone shipping them I will cringe into dust). Sammy is also mostly making sure Zayna’s okay but is actually dealing with her emotions (improving from season 1) along with Yaz.

Darius is tasked with talking to Kenji, who Yaz has tried to get through to, both of them getting nothing but the mask he puts up. It isn’t until Ben is stuck in the position of telling them about Brooklyn or keeping quiet does anyone get through to Kenji. Also due to Darius wanting to avoid talking about his emotions again. Ben gets through to Kenji, but Kenji doesn’t get to what’s eating at Ben.

All of these come together during the last 3 episodes. Brooklyn who is unaware that the phone was eaten by a hippo, thinks Ben went out of his way to find her there. Ben who is overly baffled that his friend is here in person and not dead doesn’t really know what to say, much less willing to argue anything. Kenji who is an outsider watching the exchange, festering emotions explode. The rest of the group watch in horror as their supposedly dead friend works with the Broker. When they all meet back up, Ben is confronted with trying to explain his side and there’s a lot being thrown at him. Darius takes lead because he knows this won’t help anyone (in the moment) and they need to get out of the facility. But also because he’s still reeling from everything as well. (Someone pointed out he’s due for his breakdown next season which is very likely that boy is going through it).

In the end, the very thing Brooklyn had gone quiet for, didn’t really matter. The group was still targeted even after her death. They still ended up in Africa at the research facility. Still experienced danger and possible death many times. But she doesn’t know the whole scale and is desperate to keep them safe. So she continues to shut them out, continuing to get as much evidence as she can without involving them just she doesn’t know which is less she’ll have to lie and so they don’t know so they won’t be in harm’s way.

(There’s also my whole thoughts on the confession scene which is another unreliable narrator/miscommunication trope. Darius acts as if he made a huge confession to Brooklyn, likely due to the guilt of not being there during the attack, when in reality it wasn’t. Brooklyn fresh off a break up with their mutual friend catches the slip of tongue to mean exactly what it actually means for Darius. Love, in love, and she reacts to it. Which fair, but it shows how both sides dealt with it. Brooklyn brushes it off, Darius can’t stop feeling ashamed for it.)

(The recent posts I made were hot flash opinionated and fresh from watching the show in full bc I’m a certified slacker and knew I would hyper-fixate if I watched it when I had shit to do)

[wisteria-lodge]

Even in Pride and Prejudice there's a distinction between the Bennets, who are well-off (for now) the Bingleys (who are rich) and the Darcys (who are REALLY rich) even though they're all on basically even footing socially.

But I do think that for an American, it's easy to fall into the trap of thinking Sacred 28 = aristocrat = rich, classy (in a very homogenous way.) But even within British lit you get the trope of person who is well-born but absolutely broke - the aristocrat living in a crumbing manor or castle they can't repair, living off credit and their name. Or the family pretending to still have money, secretly selling off the family portraits. Marrying up is a thing. British aristocrats marrying new-money heiresses just to keep the estate going, absolutely a thing.

(I also agree that *in canon* the pureblood-only thing is really more of a social fiction. Snape can be the "Half-Blood Prince"... so obviously he's not *hiding* the fact that he's a half-blood. But so long as he commits to being culturally a pureblood, he's cool. "Blood-traitor" seems to mean less "marries a half-blood" and more "doesn't commit to pureblood cultural norms.")

I think this often hurts arranged-marriage fics. Why is the marriage being arranged? 'They're both purebloods of roughly the same age' isn't how this stuff seems to work. And it's not as though they're brokering *treaties,* so... does one family want the money and one family want the prestige? What are the relative power levels here? What's the consequence if the marriage breaks off?

My own personal pet-peeve is when wealthy characters have the wrong *flavor* of wealth. The Potters' Sleakeazy's Hair potion? That's turn-of-the century patent money, so absolutely New Money from the POV of like, the Blacks or the Malfoys. The Blacks feel like East India Company-type shipping money to me, that townhouse is a little commerce coded. I also get social-climber vibes off them: there are a lot of them, they are all very attractive, and they did a darn good job marrying into every other pureblood family. Now though, they're down to a only few members, and the house is in disrepair. They probably wouldn't be *able* to support the kind of huge clan they did historically.

And the Malfoys... now that's Norman Conquest LAND money. I'm thinking that the Malfoys also probably did the best job weathering the Statue of Secrecy. Pre-Statue, wizarding elite wealth would have been coming primarily from the muggle world... and in the case of the Malfoys, it probably still is, just with a couple layers of secrecy laid over the top. I bet they still own half of Wiltshire, and stock in Lloyds of London. The Crouches (maybe also the Longbottoms, etc) seem to have done pretty well siding with the Ministry in that particular conflict. They also seem to be quite politically powerful, while not as rich as the Malfoys. I'm thinking that the Gaunts and the Carrows probably lost a LOT of money and prestige during that shift.

But I definitely do see the tendency to write them all as, idk. *movie star* rich, across the board.

there's something i find particularly annoying in this fandom and it's the way purebloods are written as highly sophisticated extremely rich and straight up a rip off of regency period novels

i understand the choice of this specific portrayal, i can see it as an approximation to historical drama, where the social restrictions are compelling and are relevant to the story, and a good writer can make any concept believable and good

HOWEVER as much as the worldbuilding on wizarding costumes (and a lot of other things) is extremely inconsistent and gets progressively worse towards the later three books, the implications that i see don't point towards this version of a sophisticated performatic elite who interacts only with itself

while i tend to see the blood status in the harry potter universe as a distinction of class and not at all a distinction of race, i don't think the difference is, in practice, as marked as it is in real world contexts, mostly because of how numerically small and insulated the wizarding community is

this post is part of my personal vendetta against purebloods as charming aristocrats & what appears to be the necessity of writing each and all of them as so very well spoken and politically savvy and never-caught-dead-speaking-to-a-half-blood

for once, the sacred twenty-eight is extra canon information and is disputed IN UNIVERSE, because it was anonymously published and received backlash for the inclusion (weasley, ollivander) and exclusion (crabbe, goyle, potter) of certain names

the malfoys are the only extremely rich family we see in canon. extra canon information tells us they made money before the statute of secrecy by trading with muggles

compare that to the potters who are also very rich (there's no scale to tell us who is the richer family), but made most of their money from the invention of sleakezy in the 20th century

the blacks are also implied to be wealthy: sirius manages to live off his inheritance after buying harry an expensive broom, and he says his grandfather likely paid for an order of merlin

there's a lot to be said about the blacks (e.g. they should have at least a couple more properties other than grimmauld place), but the big picture and the similarity with the gaunts (not about the incest, stop fixating on that) suggest they were a family in decadence by the time sirius was growing up

i believe that the implication is that neither of them had a proper job, which creates a similarity with gentry, but gentry lived off rentals and while it is possible they had a country state i don't think grimmauld place was making a lot of money

lucius malfoy also didn't work and spent a portion of his time being a school counselor (and obviously not being paid for it, as it was a way to exercise his political power over the main learning institution in his community)

it's also extra canon that the nott family had equal footing with the malfoys, so we can assume that crabbe, goyle, parkinson and bulstrode were slightly beneath them, either in social standing or money, despite the later two being part of the sacred twenty-eight (or it could appear to be so because pansy and milicent are girls)

the weasleys are obviously the main example of a poor sacred twenty-eight family, as were the gaunts

the crouch family was most like rich (they could afford a house elf), but it's likely that most of that money came from mr. crouch having a high level ministry job. his family and connections were probably an advantage to getting the job, but it's possible he wouldn't be able to maintain the lifestyle without work

longbottom, prewett and macmillan are families that appear to be very traditional, but not remarkably wealthy

other working members of the sacred twenty-eight are: horace slughorn (school teacher, but it can be argued that teaching hogwarts is a prestigious position), garrick ollivander (wand maker and shop owner, but, again, the only wand maker, which holds a certain prestige in itself), mr. burke (shop owner), arthur weasley (ministry employee), frank longbottom and kingsley shacklebolt (both aurors). amycus and alecto carrow are also temporary hogwarts teachers

the blacks married out of the sacred twenty-eight many times (max, gamp, crabbe, potter)

all of these people and every single muggleborn goes to the same school, buys magical supplies at the same place, drinks from the same pubs, etc. that alone should serve as evidence that there aren't many exclusive pureblood hangouts around

the only place that seems to attract the malfoys (arguably the richest and most important pureblood family in the 90s) and not most other people, is the knockturn alley, which is hardly a high brow sophisticated spot

except for malfoy and flint, no slytherin quidditch player during the 90s is in the sacred twenty-eight, so that's hardly a criterion for making it into the team

mulciber is not a sacred twenty-eight name, they could very well be half-bloods

tom riddle and severus snape were half-blood students who formed ties with purebloods while in school and held blood supremacist views, assimilation to a certain level was possible

[annabellebuns]

And their pet cat…

[beescake]

PLEASE PLEASE MEGADUMP THE ARASOL!!! PLEAAASEE MR BEESCAKE I AM ON MY KNEES BEGGING YOU

HFHGHD GLADLY aaa i’ve been adding notes to it here and there for months but just hesitant to post it bcs im 🧍‍♂️🧍‍♂️🧍‍♂️🧍‍♂

also this is just my own takeaway of the events, it doesn’t necessarily comply to the Ultimate Truth of Canon-Alignment or represent the actual facts of what hussie intended! v sentimental smh but hopefully its still interesting to read

i love when characters inform each other by proximity, it's one of my fave things to see in media :') it feels even more significant when two characters deliberately choose to stick together, so that when one operates, you can tell the other is similarly aligned in associative solidarity.

sollux is a keystone of this trope — whoever he aligns with is a wordless statement, a nod of approval. this stood out to me bcs the main four humans were alr friends by default, but once you reach hivebent you realize the trolls can actively choose who they want to hang out with.

and as we all know, after assessing every troll's biases/loyalties, sollux is the only one who maintains his selective preference for innately Good 👍 people.

aradia is such a beautiful character honestly, she evokes such incredible feelings in me. she might not have been consistently written with care but the best parts of her character are truly stunning. i think it's easy to remember sollux as the self-sacrificing one bc he's so open about it (and his friends frequently react to his Moments) but when you compare him to aradia, it's always struck me

how much more. raw it is

to be so alone as an agent of time, having to orchestrate immeasurably harrowing events nobody understands or gives a fuck about

with your role painted in the story as one who must tend to the needs of the narrative, responsible to match every next note

because when you're given the capabilities, it becomes your duty to carry it out.

it becomes expected of you to keep experimenting and arranging the machinations to work for everyone, dusting off hundreds of necessary failures to keep going

and having to be so unwavering in your drive knowing miserably that there's no one who can help you but yourself.

or alternatively: to make things fun! so other people won't think twice about letting you go off on your own.

sure she's had some very good buds, notably thanks to Team Charge v Team Scourge antics.

and yet, at the end of the day, the one friend that kept choosing her time and time again was the friend with the highest standards.

i can see why people like to define arasol as moirails/matesprits but surprisingly i find the nondescript, unlabeled aspect of their relationship more straightforward to understand.

there's no shortage of people who would accommodate sollux. most of the surviving trolls are his oldest friends bcs he’d chosen them well. his transparency with his feelings had built him strong friendships that won’t falter or break, regardless of how much of a dick he can be. they’ve already seen and accepted him at his worst, and they still like him for who he is.

contrast that with aradia, who'd been so approachable, friendly and reliable in her exchanges it was super fun to talk to her. but the moment she became depressed, all her connections broke down.

her friends became hesitant to interact with her (until she became god tier, “happy” and amicable again) because her gloom and resignation didn’t serve them. she dealt with it alone.

there’s def something of note here abt the disparity between the way male & female characters are written+perceived in homestuck (esp parallel arasol with davejade) but i won’t go into that lmaoo

with this in mind i like to think of sollux as a gift to her, a loyal companion given to complement and commend her resolve. she's capable of doing so much alone but hussie took the time to build her and sollux's relationship as one of a unit; a set.

the ambiguity of their status does complicate things, but i do believe it makes sense with their characters. aradia's relationship with romance is a rocky one, the dubious stringalong equius had with her is a pointed reminder that her feelings of attraction are ultimately controlled by the author writing her.

unlike the other trolls who can openly address and own up to their crushes, aradia had romantic emotions forced upon her (especially when hussie implies 'she kissed equius back on her own volition'). and it seems like her character is so intrinsically neutral abt attraction that even when forced by the almighty powers above, she's unable to retain it wholly.

however, looking back to pre-game when she could actually "choose" her own feelings, she did have a crush on sollux.

their soft spots for each other were so obvious to the point where other people could see it.

taunting aside, when vriska comments on their unit as bf/gf it actually informs the audience that arasol's relationship is romantic in nature despite not aligning with the quadrant system.

even while dead, aradia could still describe her care for sollux, expressing that she would like to see him happy. if they had more time to explore their relationship on alternia, it's possible they could've settled in a quadrant once they grew older.

but going back to the lack of labels, their dynamic was affected once more when aradia became god tier.

to me, her ascension was both the perfect culmination and possible closure of her character. it's the light at the end of her journey toiling through countless of timelines where she had to actively assess and participate. that's why it's cool to see her being silly and having fun giving guidance, passively exploring and watching other people do their parts.

and yet the joy of her freedom makes it hard to explore further introspection. if we take her by her word, she'd already come to terms with the hurt she's been through and forgiven those involved.

i can't help feeling attuned to how impersonal and detached it can be, to devote and meld your identity so completely with your designated position as Maid of Time until you've become hard for your old friends (and even some readers!) to personally connect to.

idk post-canon but i assume there’s some degree of similarity to be bridged here with aradia's god tier and how the hs2 humans' Ultimate forms was described as a consolidation of all their possibilities. since aradia's classpect is inherently of service to Time, going god-tier may have elevated her beyond personhood with the "game construct" possessing her entirely. sollux doesn't realize the extent of it bcs he's still mortal, but a part of him may have subconsciously understood this.

i think there is a core aspect to aradia that was lost to the dehumanizing glory of god tier — a core aspect that may have contained an element of why sollux enjoyed talking to her in the first place.

to him, aradia hadn't just been a nice girl, she was a cool girl. despite not having much in common, he's still willing to chill next to her so she's not alone while she does what needs to get done.

back on alternia, they held a mutual and equal-level regard for each other that could've definitely settled into something permanent. but now, he's placed himself in a position where he can be kept around or left behind at will. the parameters of the relationship are largely in aradia's court, so any label she suggests to identify their relationship with he's likely to accept.

but that's why it's so difficult to label it. because god tier aradia may not necessarily Want quadrants or relationship labels. rather than the initial romantic attachment, their commitment to each other had evolved into one fundamentally of companionship.

no label? ok fine. no matter what, he still thinks she's a good soul worth latching on to. the best, actually. aradia > everyone else.

even if it gets stilted at times. there's an unexpected struggle to connect when sollux's go-to default for talking points is his feelings about things, and aradia may not want to talk about emotions all the time.

not to mention god tier aradia became an observer, especially of chaos. but sollux's avoidance of involvement comes partially from his innate pressure to get involved if something goes wrong. and he can't always tell when something goes wrong, because aradia doesn't mind if things go wrong anymore.

it's a non-negotiable preference that causes them to take the occasional time apart, a new boundary that wouldn't have existed before the game and aradia's god tier.

but just like how his friends tolerated his moods, sollux accepts aradia as she is. with no quadrants, their connection doesn't break down because there's no implicit romantic expectations to be disappointed by or resentful over.

sometimes when i see hs content that deliberately distances sollux from aradia, i assume this is the dissonance people might have felt. people might find it "easier" to be cynical about them bcs of this strange tension.

but idc lmao. grab that shit by the neck

lack of easy resolutions and cleanly tied ribbons is pretty standard of homestuck and imo it doesn't make arasol's dynamic any less incredible. with the right affection and consideration, there's still so much potential to develop the nuance of their relationship outside of the popular quadrant-based depictions.

hs has a lot of really great character compatibilities but the way aradia and sollux are in their own special orbit is why i can write this much about them in the first place. it's that frail innocence between first loves that makes it so sweet to me, two kids who grew up too fast playing guesswork without being clear where they're going.

ultimately i do think you're meant to feel a little tragedy for just how much they care for each other, even if they can't quite establish it in simple terms.

maybe they keep taking breaks to progress their own paths. maybe they remain as anchor partners while seeing other people. but even if you decide to separate them, they're still (awkwardly) texting each other updates all the while. and when they reunite it feels like coming home.

and well. more than anything, i like to believe that they do want to be exclusive.

they're just afraid. after all, they're still learning how to love, beyond the projections of the foursquare quadrant system they had inadvertently distanced themselves from since young.

they might not have everything figured out, but they'll get there eventually if you just hold them together and write them there.

optional post-canon segment:

one of the limitations of main hs is that (monogamous) relationships are often written as the go-to solution to wrap up character growth; it's an easy "patch" to imagine characters getting their happy ending because they have a partner, and those who don't end up with someone don't get that closure (most notably jade).

hs2 reaffirms this by suggesting that aradia's character cannot progress without letting sollux go, because happily settling in a relationship automatically locks your potential.

that pathetic panel of sollux staring emptily into the sky is still my fave hs2 spoiler ngl i find the impact of their parting so emotionally provoking precisely bcs they were written in original hs to be each other's forever, coming back together again and again

but now, they're subject to the decisions of the post-canon authors who might choose to deviate from that.

it's not new for them to part, but now there's an underlying worry that her dropping him off this time might be the last time. while i think the prospect of shattering their stability to make them grow separately sounds fun on paper, no amount of me desperately hoping for a good execution is gonna guarantee it

idk. i guess prediction-wise im expecting sollux in classic dramatic-hs2 fashion to tell dave to back off aradia LMAO. otherwise it's just gon be sollux and karkat pathetically watching aradia and dave from a distance swimming in their unresolved feelings for narratively-powerful time players smh obvs it sounds corny as hell but who knows its still plausible

srsly tho i hope they take the opportunity to develop arasol's relationship in a fresh direction that doesn't hurt me too badly...... and i hope they force sollux out of his comfort zone. i like watching him struggle :-)

[delicatewhumps]

characters reuniting after one of them was presumed dead >>

just think about it!

maybe whumpee faked their death.

maybe magic or something was involved, so they actually died, but somehow came back to life. like maybe they were a ghost who gained a physical body back, or maybe some otherworldly power granted them a return to the living world (ahem, cw’s once upon a time….)

maybe they were left for dead — fatally injured and caretaker had to leave them — but they miraculously survived and found their way home!

maybe they were lost in an accident / natural disasted, and caretaker finds them among the survivers in a shelter or hospital.

maybe they were wrongfully declared dead by doctors, sent to a morgue across the country so their body could be used in a cadaver lab, and then they woke up! (….totally not based on a plot to one of my own fics.)

however it happens, it’s perfect. especially if whumpee is still as physically injured as they were before…

caretaker gasping and crying and wrapping them in an enormous hug. or maybe rushing to their hospital bedside, taking their hand.

“i thought i lost you.”

“i went to your funeral, whumpee, i— i… this can’t… oh, god… oh, god!!”

“you died! how— how are you here?!”

caretaker might think they’re dreaming. after all, they saw whumpee. it was hopeless. they’ve spent god-knows-how-long grieving whumpee. but now whumpee is back, alive, in front of them!

“i’m never leaving your side.”

“don’t ever do that to me again, you asshole!”

“[insert setting-appropriate higher power here], thank you. thank you for giving them back to me.”

[medi-bee]

isat pokemon au, my liege?

my rambling in tags

[mariana-oconnor]

You know what genre of TV episode I love?

X is stuck in a bank heist and now we need to work out why the bank robber is doing this and take down the real bad guy.

It's got everything. High stakes. Limited resources. A ticking clock before SWAT starts shooting. Someone stuck outside unable to do much more than watch in fear. The inevitable twist. No notes, perfect concept.

[inkmaze]

rewatching big eden w my head in my hands. wheres more media where the surrounding background is so devoid of homophobia/etc that its so chill to just have this quiet gay story w/o a single scene incl them having to justify or explain themselves, or any degree of hatred at them or other gays. n the town is not only chill they're actively trying to help them get together I'm. this aired in 2000 how do we not have. idk. more shit like this truly pretty casual chill regular relationship issues gay media

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[bugcatcherkit]

having mrs suzuki thoughts again. specifically i always thought of her leaving as smth that she’d intended to be temporary. bc it was in direct response to toichirou saying that he Does have the power to control people, because he’s strong enough that he can just Make them do what he wants. and it was both an assertion of a boundary (“i will not tolerate this behavior. if you continue to act like this, i will remove myself from the situation”) and a direct response to toichirou’s stated belief (“oh yeah? control this, asshole”). and i think that her intention was to make him think about himself and what he was trying to accomplish and the consequences his actions have on himself and everyone around him, and that she’d originally intended to come back when he came to his senses. and COMPLETELY underestimated his total refusal to ever question or consider anything ever.

(btw i think shou’s murder attempt was if not the same, then at least a very similar principle. bc if it had really been about killing toichirou, he probably would’ve just “played the obedient son” and poisoned him or smth. but it wasn’t! it was about confronting him and trying to force him to understand and deal with the consequences of his actions, especially wrt the people who cared about him most! the message being communicated was “look! you’re going so dangerously overboard that even your son, who cares about you, who is still trying to reason with you, is willing to kill you if that’s what it takes to get you to stop!”) (and it just completely flies over toichirou’s head)

sorry for rambling but u know how it is with the suzukis

HI I FINALLY GOT TIME TO ANSWER THIS. I think you summed it up well though !!!

I definitely believe it was supposed to be temporary! It really plays out like a spur-of-the-moment thing, where she suddenly realizes Toichiro is not really who she Believed he was (<- she had a certain image of him in her head I think) and also that would not listen to her WORDS at all. So she had to do something impactful.

Their relationship was very important to them both, and I believe she expected her Absence to lead Toichiro to self-reflect and FINALLY push himself to change so they could KEEP it. But he sucks. And he was already so wound up in the power fantasy that he ignored anything he could not rationalize with it. You can't exactly make semi-divorce seem like a Super Epic Protagonist Battle.

She was making a point to him!!! Showing him that his idea of psychic power being absolute was WRONG because people have power over themselves (free will). Her leaving is like the physical culmination of everything she had been suggesting to him up until then (that he could change, if he CHOSE to).

She has a whole thing about free will. He was supposed to realize he does not, actually, have power over everyone. He ONLY has power over himself, just like everyone else. To think otherwise hurts himself and everyone around him because only focusing on power meant he didn't care about anything else. But yeah she totally overestimated his ability to Self Reflect and also Be Considerate. Aforementioned image she projected onto him, I think (not normal).

and that is where Shou gets it I BELIEVE!!!!!!! The thing with him is that. Like when you said his parents were his only examples and he kind of had to work with what he knew through them.

His philosophy (of kindness and free will and righteousness etc etc etc) was heavily based on what Mrs. Suzuki is shown to believe in, and this is what he based his opposition to Toichiro's ideals on.

Though, he also had to oppose his mom's Methods in favour of Toichiro's in this process. So he was kind of opposing them both while also Not at all doing that. Because he learned from them and was influenced by them. As per the themes. BUT ALSO with that its like. Nothing Shou did was ever really for himself or because of himself and it makes me. ggrhrgrge.

I forgot what else I was gonna say. Suzuki family drives me insane <3

[gladiatorcunt]

thinking about rafe & coryo & anakin & astarion and how imo their inherrent appeal (if you pick up on any) is supposed to be in the fact that something is extremely wrong with them (or they aren’t meant to have any appeal at all). bc i don’t understand the stans who are so selective with reading and hearing they try to argue otherwise like were you so blinded you ignored the glaringly & obviously bad things about them??????? rafe & coryo & anakin later especially?????????

[carnivalcarriondiscarded]

oooo it's been a while since the last snippet :]c it's another fantasy au one where I'm! Putting! Barnaby! Through It!

a minor warnings: implied/referenced major character death <3

 No one eats dinner, and Frank won’t stop tapping his spoon against his bowl. Tok tok tok it goes, over and over again.

Poppy made a simple stew from their provisions, but only Eddie and Sally make an attempt at tasting it. Their halfhearted ‘it’s good’s don’t pierce the pressure weighing down on them all. Barnaby swears he can taste it, thick and cloying. 

Already he keeps catching himself looking for Wally. Where is- he starts to think, and then he remembers the moment Wally fell with a spear piercing his chest, and the grief rises so fast it nearly drowns him in a heartbeat. Barnaby can’t bring himself to try and hide it behind anything but a stony mask. In any other situation he might try to put some levity into the group. Cheer up the sad and empty faces staring into their meals. 

He wouldn’t be able to think of a single lighthearted thing even if he wanted to. He doesn’t.

Tok tok tok-

Shuffling from Howdy’s tent has everyone glancing over at it, and Frank’s spoon stills. Howdy briefly woke up while Poppy was cooking. All he did was sit up, look at everyone, then pitch to the side and vomit. They got him into a tent before he passed out again, mumbling something about puppets. Frank made a comment about how Howdy was supposed to be a bit out of it, not at fae-drunk levels of hazy. Eddie had muttered back a dejected apology, and after that the camp was silent until Poppy’s announcement that dinner was ready. The spoon continues tapping when the shuffling stills.

Tok tok tok-

Since Eddie and Sally saying that dinner is good, there hasn’t been a noise beyond the occasional sniffle. It’s a good thing Julie isn’t trying her stew - it must be disgustingly salty from all the tears dripping into it. 

Tok tok tok-

Barnaby sighs through his nose and puts his bowl down, sick of looking at everyone’s misery. He would say that he’s going to go sleep, but he has a feeling that none of them are getting a wink tonight. 

Tok tok-

Before he can stand, Frank blurts, “We shouldn’t have attacked it. It was a mistake.”

“Please don’t,” Julie begs.

“There’s no need to rub salt in the wound,” Sally says firmly, her stew starting to sizzle from the rising heat in her hands.

“Not right now, Frank,” Eddie mutters. 

Frank visibly bristles, and he launches to his feet. “I refuse to pretend not to have seen what I did! The truth is a terrible thing, but someone needs to say it. Wally lied to us.”

“Frank…” Barnaby warns.

“We shouldn’t have attacked the demon,” Frank barrels on, ignoring him, “because there was no need to. It didn’t eat Wally until the end because the demon is his patron. Wally was never a wizard at all, he was a warlock-”

Barnaby lunges with a deep bark that echoes against the trees. The crickets symphony falls silent. Frank trips backwards over his seat, staring up with wide eyes as Barnaby stalks around the fire, growling. Eddie and Sally slowly stand, inching between him and Frank. 

Barnaby stops, snout bunched and canines bared. He jabs a claw at Frank. “Don’t you ever say that again. Ever.”

Frank’s mouth flaps uselessly for a moment. When he speaks, it comes out as a whisper, “I’m-”

“If you end that with right instead of sorry, I’ll make damn sure that you are.”

Frank wisely keeps his mouth shut. The crickets continue chirping.

Barnaby glares at him until Frank looks away. Barnaby straightens his vest with a sharp tug and strides away from the fire, towards his and- his tent. Just his, now. Murmuring breaks out at his back. He yanks the flap open, grabs his pipe and herb pouch, and heads towards the forest. He pauses only to listen by Howdy’s tent, waiting to hear proof of life before continuing on.

Once he can’t see the firelight anymore, Barnaby chooses a random tree and sits heavily in front of it. Rough bark digs into his back through his vest. A night bird hoots overhead. Crickets continue to make their music, but Barnaby wishes they would shut up for good. 

Light from the full moon pours through the branches to provide just enough light to see by. Barnaby holds up his pipe and quickly puts it to the side to take off a grimy glove. The heart-pad and blue fur underneath contrasts vibrantly with the dust-grayed rest of him. After a moment he removes the other glove, wincing as the leather drags over his injured knuckles. He turns his paw over and scowls at the dirty black edges of the red-raw scrapes. He should have punched harder. He hopes it scars, even though he knows it won’t.

The gloves themselves are scuffed up, but not beyond use. Barnaby folds them into his pocket and gets to work lighting his pipe. He packs it and instinctively opens his mouth to ask Wally to light it for him. The words die on his tongue as he turns only to see dark forest. Empty woods save for the tiny blue lights of night wisps floating on the breeze. 

Barnaby stares into the darkness with yawning dread. He keeps looking. How long will it take him to stop? How long until Wally’s face starts to smudge in his memories, until his voice is gone and Barnaby doesn’t even remember what his smile looked like? How long until Barnaby only thinks of him in passing? 

He doesn’t want to reach that point. He desperately does. 

Will it hurt more or less? Does it matter? He wants it to ache until he dies.

Barnaby frantically fishes his sparkrune out of the herb pouch - only there for emergencies, when Wally or Sally isn’t there to light it for him. It will wear down to a nub within the month. He strikes his thumb claw against it, and sparks fly expertly into the bowl of his pipe. It takes a moment to catch. Barnaby lifts the bit to his lips and takes a drag before enough smoke forms for a lungful. 

Maybe he should have grabbed the stronger stuff. If he breathes enough of it, maybe he’d be able to see Wally. 

But Barnaby doesn’t get up in the end. He sits against the base of a tree and hugs himself, the pipe’s intermittent glow betraying the shine in his eyes.

[megidoreyn]

Happy Satan Saturday! 🌞 Had to draw the canon Satan husbands fusion of Walter-Lucifer and Jonathan-Merkabah to celebrate😈🙏👼💕 I hope everyone has a great weekend! 💙💛

💙twitter 💙bluesky 💙misskey 💙pillowfort 💙poipiku