#There is also obviously a difference between stereotypes and stereotypes

[loverboyfae]

although humbert humbert is the kind of stereotypical image of a pedophile (does what he does because he’s attracted to children (though i mean unreliable narrator he could be lying)), lolita is SUCH a good text to childhood studies with. like humbert retains power over delores by telling her that he is her only guardian, and that escaping her would mean winding up as a ward of the state where she will be treated even worse. he uses the power he has over her and specifically draws attention to the fact that he has so much power over her because society leaves her completely powerless; were she to go to the police about him, she wouldn’t be able to choose to take care of herself or choose who gains ownership over her in the future, so she might as well stay with the guy who rapes her but at least buys her things

the tragedy of her ending, then, in part is the fact that the only person she could manage to go to for help is someone who will also sexually exploit her, but (at least she believes) less than humbert will. her school notices that she is struggling, but the only recourse they have or even seem interested in is informing the guardian who is causing the abuse, a very common issue for abused children in schools. as much as conservatives hand wring about schools taking over their parental rights, they really have nothing to fear even now into the modern day, as only the most blatant and obvious child abuse can be addressed without involving parents; every other action schools have available to them is to consult the child’s owner, their parent(s), first and foremost. nobody in a child’s life, as lolita reflects, is able to materially aid a child without the parents’ permission or else they are breaking the law. as such, delores’s only chance for escape was to go with a man fine with breaking the law, and that wound up being another pedophile.

the criticism of systems of power in lolita is criminally underdiscussed, but a lot of that is also because criticisms of systems is often glossed over in most discussions of csa. people are somewhat aware that pedophiles, like other rapists, are more interested in power than attraction, but the imbalance of power between child and adult is fully naturalized. while obviously some aspects of that are innate (the physical difference, for example), there is also plenty about that difference in power which is socially and legally constructed, ESPECIALLY between a child and their legal guardian, who retains ownership over them even above the child’s own autonomy

[shiroselia]

Something something if your media analysis starts and ends at “stereotypes bad because stereotypes bad” you’re really not doing all that I fear

Like there’s a whole thesis to write on this (in fact I’ve literally done media analysis involving dissecting stereotypes for school assignments before so there is Definitely theses to write on this), but there is a larger conversation to have about fictional stereotypes that doesn’t have to, and shouldn’t end, at “stereotypes bad/good” because at the end of the day it’s, well first and foremost incredibly telling about society at large (the interesting part) considering that stereotypes really is norms at their absolute most dense and eccentric peak, also dismissing actual people because there Are people who do act stereotypical or fit stereotypes (source: Hi, I’m sometimes so stereotypical I’m a statistic at times, like, y’know, they come from somewhere) (which seems kind of counterproductive since one of the most go-to arguments Against stereotypical portrayal is ‘nobody is like that’)

Idonno I just think it’s not doing media analysis any favour to still be stuck at “ew tropes” because it stops us from actually dissecting what’s actually up here because you refuse to acknowledge a very important aspect of a work, and if your first reaction to encountering stereotypical behaviour and dismissing it purely because “Oh but surely nobody acts like that hurdur” I think that says more about you at the end of the day

[becausegoodheroesdeservekidneys]

In response to the Mile High Job post, I hate that Parker implies that poor flight attendant slept her way to a promotion/better shift. Her day is super weird but her cat is fine and her life is saved. That rumor, however, might stick and that didn't really feel like Leverage to me.

Agreed!

The thing with Leverage is that it's a show from the late 2000s; it feels contemporary, but actually it is a bit dated. And, like all shows, it had some problematic elements, which get a bit more Obviously Problematic as time goes by (I am just waiting for someone to write a lengthy call-out post in 5 years' time and for the Discourse to start.) For example, Tumblr loves to declare that Leverage has a "canon" throuple, but if anyone read that and then watched the show they would be profoundly disappointed - while it's a fantastic ship with a great many shippy instances, Elliot has a lot of onscreen No Homo moments, and frequently is shown sleeping with random women (I personally read him as aromantic). Similarly, there are two big relationships in that show: Nate/Sophie, and Parker/Hardison. And we all wax lyrical about the brilliance of Parker/Hardison and how healthy it is, and for good reason; but we gloss over how unbearably "I hate my wife/father I cannot click the book" Boomer humour Nate/Sophie is.

(He literally calls her a shrew in one episode. She throws a tantrum and sulks if he doesn't remember the exact details of how/where they met. She's stereotypically 'romantic' and he's stereotypically 'cynical' and she has to Save Him From Himself, and he self-deprecatingly says he should just know when to stop arguing because she's always right. Like... it is a grubby and uncomfortable dynamic; but, it's also aimed at a different segment of the audience that is older than me, and that's okay, actually. It just means I don't much care for the ship myself.)

Anyway, this is one other such instance. Clearly someone in the writers' room thought that was a funny joke, and not enough people disagreed, and so in it went. What's nice is that Sandi McCree, who plays the other flight attendant that stays on the plane, actually kind of saves that joke for me with her performance. When Parker first boards and declares that her co-worker is not coming in, McCree looks disgruntled at the sudden change to her staff list when she wasn't informed; she's annoyed at management. Then Parker makes the sleeping-with-pilots comment, and McCree looks disgusted and furious -

An expression she then pulls at Parker every time she sees her for the rest of the episode, even when Parker is technically not doing anything particularly weird. It's not necessarily intentional on McCree's part (Parker IS very weird in this episode, so it very much can be a response to that), but to me it means you can read it as "This woman is absolutely furious at the lateral sexism of this white girl because We Love And Support Each Other On This Plane." So, for me, between that and the aforementioned revelations of the day (the plane was brought down by the domestic terrorists of a Fortune 500 company, but saved by... a few unexplained Official People who snuck aboard??? And the other flight attendant was made to miss the plane after all under mysterious circumstances and was not promoted??? What???), I don't think Sandi McCree's character wouldn't put those pieces together.

[svsss-fanon-exposed]

Exposing SVSSS Fanon: 25/∞

VIOLENCE AS COURTSHIP IS A PART OF DEMON CULTURE

Rating: CANON

A nearly universal trope, especially in Moshang fics, is the fact that courtship is performed through violence in demon culture, and that the misunderstandings between the pair are because of cultural differences. The fact that demons mistreat the targets of their affection is canon, however, it is important for fans to note that this sort of characterization and worldbuilding is rooted in racial and ethnic stereotypes.

This is one of the most-requested topics I've ever written on this blog, and I took a long time to think about how best to approach the subject in a way that both keeps to the intention of this blog (referencing canon & providing quotes) as well as raising awareness to the very real problematic aspects of what is a well-loved and often-used trope in fanon that I don't think most western fans are aware of.

First, the canon analysis:

“If you hold unique feelings for a certain person, how can you make them understand your intentions?” Luo Binghe asked. Obviously, no one dared to tear down Luo Binghe’s facade and expose him directly, but this question was really very…unsuited to the demonic approach. After a long moment, not a single person had answered. In fact, the answer was so simple that any normal human could have given it to you. If you liked someone, you should just tell them. Unfortunately, there was not a single “normal” person on the scene—and aside from Shang Qinghua, there also were no “humans” either. Mobei-Jun thought about it. With the paths his mind was given to take, there was no telling how he had interpreted “unique” feelings. “Beat them up three times a day?” (7 Seas, Ch. 26)

Most of the fandom remembers this passage, and some may think that this is where the interpretation of violence as courtship comes from-- however, that is not the case. This passage might actually not refer to courtship at all-- while that is one possible interpretation, Mobei-jun could also be interpreting "unique feelings" to mean something different than "romantic feelings," since Luo Binghe didn't specify romance directly.

The "violent demonic courtship" idea actually originates much earlier in the novel, just after the invasion of Qiong Ding Peak:

In truth, Shen Qingqiu didn’t intend to tease; he thought himself very straightforward. The one who’d tampered with Luo Binghe’s dream realm was Sha Hualing. Though she did have some harmful intentions, her underlying motive was obvious. Naturally, she was driven by a young girl’s secret yearning for love. Otherwise, she would have directed her aggressions toward others, not specifically Luo Binghe. Demons were compelled to viciously bully the person they liked. Only if the object of their affections failed to die would the demon accept them. If their target died, that meant they were useless and not worth nursing any lingering affections for. (7 Seas, Ch. 3)

This, in fact, has somewhat more serious connotations than the way I have often seen it interpreted in fanworks-- it is not merely beating up a potential partner, but pushing them to their limits, nearly driving them to death, and it is certainly implied that it is not uncommon for the object of a demon's affections to actually die.

Now that the canonical basis of the idea has been established, let us move on to the second, and arguably more important part of this post: the racism.

I would like to add a disclaimer here-- I am going to discuss this in hopes of raising more awareness in the fandom, but I am not North/West/Central Asian myself, so I will only mention things in brief and somewhat generally-- if anyone who belongs to the affected cultures would like to make corrections, or more detailed explanations, or any other additions to this post on this topic, I greatly welcome that, as I feel it is an important issue that should be addressed.

In Chinese fiction, particularly fantasy genres like xianxia/xuanhuan/xiuzhen, but also in historical and wuxia fiction, there is a pervasive, prevalent tendency for authors to use racial and ethnic stereotypes against Central, Northern, and Western Asian cultures such as Mongolian & Arab cultures in their worldbuilding regarding the North, while stereotypes against Southeast Asian cultures are used in worldbuilding regarding the South. These stereotypes are most typically applied to villains and villainous groups, and are so widespread as to be ubiquitous within the genre. MXTX has used these tropes before-- notably with the Banyue people in TGCF, with adaptations of both TGCF and MDZS including design stereotypes, such as CQL's portrayal of the Qinghe Nie (combining their tendency toward violence and 'unnatural' cultivation method, with design traits typically associated with Northern/Central Asian cultures).

It is worth noting, though, that most authors do not intentionally use these traits as racist stereotypes in their worldbuilding, especially when regarding a non-human species-- in the same way that western fantasy authors use goblin and orc characters and tropes without realizing or acknowledging their racist origins and connotiations, these stereotypes have simply become genre tropes without that direct connection to their origins. Nonetheless, it is still worth noting-- and worth trying not to fall into the trap of leaning into stereotypical traits in fanworks' character portrayals.

Stereotypes include but are not limited to barbaric and brutish cultural traits, association with animals/having animal features, dark or corrupt magical/spiritual practices, certain types of braided hairstyles & other fashion choices, and originating from the far north or south.

Some of the prejudice and stereotyping of Northern Asian cultures likely originates from the fact that in the past, China was invaded and subjugated by peoples from the north (under Mongolian rule during the Yuan dynasty, and under Manchurian rule during the Qing dynasty) as well as having many conflicts with these peoples throughout history. In fact, the Qing dynasty only ended in the early 1900s, so some of this oppression is still in recent memory-- nonetheless, people belonging to ethnic minorities in China are still affected by this negative stereotyping today, so regardless of the origin, racism is still racism and should be addressed, and China today is a majority Han Chinese nation-- even if Han Chinese are considered a minority and affected by systemic racism in other places in the world.

Additionally, many tropes specifically applied to the southern demons, but also used for demon culture as a whole, are tied to stereotypical portrayals of Southeast Asian culture, which is rooted in a long history of Imperial China's invasion and oppression.

All of those stereotypes listed above apply to SVSSS' demon culture. Even in Mobei-jun's name-- 漠北 meaning "northern desert," which is the real-world name for a region in the north of the Gobi desert in Mongolia.

Therefore, it is important to remember that though violence-as-courtship in demon culture is canonical within SVSSS' setting, it nonetheless originates from harmful racial and ethnic stereotypes. It would be a good idea for fans to keep this in mind when creating their fanworks, and to treat the topic with sensitivity-- but I will leave any direct suggestions on how to handle this to those who are actually part of the affected groups.

--

(thanks to @flidgetjerome for additional notes regarding SEAsian stereotyping and author intent!)

Also, to be absolutely clear: I am not saying that svsss’ demons are specifically coded as any real ethnic group— it’s only that in many ways the portrayal is similar to the common portrayal of various ethnic groups in cmedia. I don’t believe they are specifically meant to parallel a real life group, unlike for example TGCF’s Banyue— but it’s worth questioning why these traits, why these characters.

[dilatorywriting]

Monster Mayhem: Donkeys & Dragons [PART 2]

Gender Neutral Reader x Malleus Draconia Word Count: 3.1k

Summary: Everything's all fun and games until everyone assumes you're just being a Horny BardTM when you have, in fact, actually been kidnapped by a dragon.

🌶️ Obligatory Warning for Mild Spice

[PART 1] [PART 2] [PART 3] [PART 4] [EPILOGUE]

“Wow,” Ace whistled, long and low, and you fought a twitch in your jaw.

He and Deuce were certainly beat to shit, but not quite ‘hurled dozens of feet through the air and a roof’ level of shit, so your spell must have cushioned at least a little of the fall. The pair of idiots stood at the entrance of the cavernous room, shifting back and forth on their heels and faces twisted up in varying degrees of horror. 

“I mean, I know there’s a stereotype about bards and whatever,” he continued, aghast. “But, really? Really?”

You grit your teeth. The pointed chin resting atop your head shifted and you felt claws flex at your hips.

‘My friends will probably be coming back here soon to find me,’ you’d entreated, not five-minutes prior.

‘Your friends?’ the dragon had repeated, slow, like the concept of comradery was something completely alien. And then his eyes had narrowed. ‘Ah. They intend to steal you away,’ he’d said with all the indignation of someone who’d clearly forgotten he had literally just proclaimed his intent to the do the exact same thing.

Sparks had shot out from between his teeth, and the already too-sharp black nails tipping his fingers had curled into talons—ashy darkness trailing up his arms like a seeping stain.

‘What? No,’ you’d lied. ‘They would never. I’m sure they’re just curious. Whether I’m still alive or not, I mean.’

‘Oh,’ he’d blinked, that venomous ire seeping from his gaze as if it’d never been there to begin with. ‘I suppose that does make sense.’

So when your loveable idiots had eventually stormed in—swords drawn, banners flying—you schooled your countenance into something as placid as possible. Something that perhaps conveyed ‘I would love for you guys to help me out here, but also I would really like not to see the three of us become tonight’s entrée. So like. Maybe sit this one out.’ But whatever expression you ended up making clearly wasn’t doing what you were aiming for if Ace’s first instinct was to accuse you of Horny Bard Shenanigans.

Or maybe your face wasn’t the problem. Maybe it was just the nearly seven-foot-tall, naked, dragon man draped across your shoulders. Who’s to say.

“This has nothing to do with that,” you snapped, ears burning.

“Do with what?” The newly dubbed Tsunotarou rumbled. He was pressed close enough that you could feel the worlds roll through his chest—annnnd you were going to stop yourself right there and focus very, very, intently on getting through this conversation alive.

“Human things,” you spluttered frantically.

“Ah,” he hummed, his chin shifting from the crown of your head to dip down and instead rest atop the curve of your shoulder. “You’ll have to explain it to me later, then. I do find our cultural differences very intriguing. You humans are so… new age.”

“Explain it to you later…?” Deuce frowned, and you could see the words zipping around behind his eyes to slowly put themselves together into a cohesive thought. He shot ramrod straight and whipped his arm out accusatorily. “You’re staying?!”

“Of course,” you said, with all the enthusiasm of someone with a knife held to their throat. You locked eyes as obviously as you could—hoping he’d get the message. “It’s in everyone’s best interest.”

You could see the pinched look on his face, the heavy weight of discontentment tugging at his brow. There was a war being waged in that man’s head—a battle between what lingering, frail, shreds of rationality and comprehension remained, and the desire to be a good friend and save our bard! Because mama said I should be good to my friends! You stared him down hard, silently begging, pleading, to just let it go. The fingers gripping his axe tightened and you could hear the leather of his gauntlets creak with strain. Tsunotarou hummed, something like amusement coloring the throaty rumble, and it tingled all the way from the tips of your toes to the cheek he was tucked up against. The claws at your side flexed—not deep enough to hurt, but firm enough to know that funny as the notion of a teeny, human, barbarian hurling themselves at a dragon was, it wasn’t going to be a good enough joke to earn said dragon’s mercy.

“Well, duh, you’re staying!” Ace interrupted slickly, sliding in front of Deuce and his burbling rage like a fox finally skulking from its hole. “Look at what a great new friendyou’ve made! You can’t just leave him here all on his lonesome, now can you?”

The low rumble skirting along your back melted into something that was very nearly a purr. Your eyes flickered to your captor’s face—or as much of his face as you could manage to make out, considering he had plastered himself to your side like an overgrown cat. His lips were curled back into that smug, contented, smirk—the tips of his sharp canines just barely peeked out over his bottom lip.

“We’ll come back and check on you, of course,” Ace continued. He waved his hand at the dragon, like they were old chums shooting the shit over a pint of ale in a tavern. “You know how it is. Gotta make sure they’re settling in all right—make sure you’re keeping with your honorable intentions and whatnot. How’s two weeks from now sound?”

“Two weeks?!” you wailed.

Tsunotarou grumbled, clearly also displeased. “I agree. That seems far too soon.”

“Two months?” the ginger countered easily.

“Ace!”

The dragon seemed to consider this new proposal quite thoroughly. You could feel his long lashes flick down against your cheek as his eyes went hooded, heavy—slipping back into his thoughts to ponder upon this newly proffered timeline. After a long, long, moment, he lifted himself from your neck and plonked his chin back down atop the crown of your head.

“That is acceptable.”

Deuce looked entirely unimpressed. You had a feeling you looked like you were about to shit yourself. Ace, naturally, seemed more or less content.

“Well then!” the traitor chirped. “We’ll see you when we see you then, yeah?”

You grit you teeth, but your gaze flicked to your other, kinder, friend and you bit back the slew of heinous insults brewing on your tongue. Deuce still looked more than ready to jump into the fray, consequences be damned. And you were not going to let your terrible, horrible, no-good, rotten luck end all his valiant attempts at redemption when he inevitably attempted to go toe-to-toe with the business end of a dragon.

“…Are you sure you’re gonna be alright here?” Deuce asked, face twisted up in distaste.  

There was a pissy rumble from over your shoulder.

“Do you doubt my abilities as a host?”

“Of course he doesn’t!” Ace cut in, ever the bootlicker. “And besides,” he drawled, elbowing his companion in the ribs. “You know how bards are. I’m sure this is right up their alley.” He wiggled his eyebrows and Deuce went pale—then green. Ace turned on you with a smile that was all vinegar. “Right?”

‘I should not let them be murdered horribly,’ you repeated to yourself past the crimson rage leaking into your vision. ‘I should not let them be horribly murdered—’

“Righteo!” you forced yourself to spit. And if you somehow managed to survive these next two months, you were going to string that red haired traitor up by his pinkies and feed him to the crows that lived outside your window.

Your friends slipped away slowly, hesitantly—Deuce looking like he’d been struck down by a horrid case of food poisoning or something else equally as stomach churning. Once they were gone, Tsunotarou lifted his chin from your head so that he could crane his neck over your shoulder and look at you more directly. Not that he had to try very hard, seeing as he was gigantic, whether on two legs or four.

“What was the small, ugly, one referring to?” he asked curiously. “About your profession?”

Your life flashed before your eyes.

“Bards are known for their hearty curiosity and drive to experience new situations,” you repeated, verbatim, from the little adventurer’s handbook you’d been gifted by Lord Crewel all those years ago.

“Oh,” he hummed, nodding into your hair. “Of course.”

.

.

The first major hurdle cropped up barely two hours later.

“I need to use the bathroom.”

The dragon blinked slowly, as if mentally tallying through a list of human bodily functions to try and figure out just what on earth you were talking about.

“Ah,” he said after a moment. And then he began to melt away—limbs stretching and cracking, and porcelain complexion bubbling up with inky miasma so thick and dark it may as well have been tar. It was both horrifying and awe-inspiring to watch, like some great creature of old emerging from an arcane cocoon. And not two minutes later, a familiar, ebony, dragon was standing before you in all its glory.

He lowered his snout and nosed around your shoulders for a moment, snuffling and searching. And then he pinched your collar between his teeth and hauled you into the air.

You tried not to scream. Really, you did. But humans just weren’t meant for flying, let alone while suspended between the jaws of a beast that could swallow them whole. By the time you landed, you were so wobbly and windswept that you nearly collapsed to the ground then and there, bladder be damned. Tsunotarou warbled something deep in his chest, and you glanced up past the thin veil of icy sweat dripping into your eyes.

He'd placed you into a blown-out enclave that had probably once been a very nice hallway. And in the corner was the remains of what indeed looked like a bathroom. You straightened yourself as much as you could and began hobbling woozily towards what you hoped was a proper, enchanted, toilet and not just some block of stone with a bowl at the bottom.

There was an echoing thud from behind you and you jumped, startled, and turned to see what the ruckus was all about. Tsunotarou had sat his massive head at the entrance. And he continued to sit there. Watching.  

“Uhm,” you mumbled. “Thank you.”

He stared, unmoving. You sighed and squashed your fingers into your temples.

“…We’re going to have to establish some boundaries,” you said. The dragon’s gigantic, neon, eyes closed and opened—like a question. “Boundaries,” you repeated. “Things that we do on our own.”

The beast’s lips flattened into a grumpy line and he grumbled something unintelligible at you, spitting loose sparks from behind his overly long canines.

However, mouthful of razor-sharp teeth in your face or otherwise, everyone had to draw the line between pride and self-preservation somewhere. And having to piss in front of an audience was apparently yours.

You waved your hands in a shoo shoo motion and those amethyst crests flattened irritably atop his skull. He settled in further, the structure of the terrace groaning beneath the weight of his scaly chin. You worried your lower lip between your teeth. It wasn’t exactly like there was a door or anything that you could just, like, shut in his face. And beating him off with a broom or something like a stray cat was out of the question—just out of sheer impossibility. You were going to have to get creative here…

An idea popped into your head and you leaned forward with a charismatic little smile that you’d unleashed on so many traders, and shopkeepers, and unsuspecting bakers that it ought to be considered a weapon in its own right. You’d practiced it in the mirror for weeks.

“I’ll tell you a story,” you offered, and his slitted pupils rounded a bit—intrigued. “That’s what I was before all this, you know. A storyteller.” You had his full interest now, those purple crests rippling behind his horns. “But you have to close your eyes,” you said. “It makes it easier to imagine that way.”

He stared you down curiously for a heartbeat or three, and then Tsunotarou’s gigantic, luminous, eyes slipped shut.  

You sighed and plopped yourself down on the decrepit, stone, toilet.

“Once upon a time,” you began, sweeping your cloak out in front of you to give yourself at least a little bit more dignity. One of those crests twitched at the sound of swirling fabric, but his eyes remained dutifully closed. “There was a bard who made some very terrible life decisions—"

.

.

The next bump in the road came the following afternoon.

“People tend to wear clothes,” you said.

He canted his head at you. “I am not a person.”

Oh for fucks sake.

Tsunotarou was stretched out along one of the many, grand, banisters lining what you assumed had once been a ballroom—lounging in the dim light like a lizard sunning itself on a rock. Apparently, before your arrival, he’d very rarely, if ever, shed his wings and scales for this more compact form. And he seemed to be thoroughly enjoying spreading himself out across all the new surfaces that the change in size allowed him. Part of you would have thought it was a bit endearing—seeing this eldritch monster merrily falling into the ‘if I fits, I sits’ way of life. The other part was sick of nearly collapsing in cardiac arrest every time you caught sight of his very naked self reclining across some new piece of furniture.

“Yes,” you intoned, deadpan. “But you look like one.”

He blinked slowly, as if putting together a thought. “I see. The dissonance of observing a vestige of humanity which does not actually fit the mold of a human must be disconcerting to you.” He rested a knuckle lightly against his chin as he pondered. “In the same way I may feel uncomfortable if you took on the form a dragon with no teeth or tail.”

“Sure. Whatever,” you bemoaned. “Just. Pants? Please?”

He observed you quietly for a moment, amusement dancing across his features. And then he grinned, putting the pointed tips of those impressive canines of his on full display.

“Well I suppose if you’re going to ask so sweetly.”

He sat up with a stretch that was outright spitting in the face of your plea for modesty, and then spread his hands. His black-tipped fingers twisted gracefully, artfully, and the cavernous room filled with the scent of packed earth and ozone. Soft puffs of emerald light glided along his arms, and in their wake sprouted tendrils of sheer, silken, sleeves. Those dancing lights traveled merrily from his shoulders to his hips, and then back again—spinning magic into fabric like little, ghostly, seamstresses as they went.

The soft glow faded and the silk settled around him with all the delicacy of a cloud. It was stunning, certainly. A true work of beauty. With billowing sleeves that cinched neatly at his wrists, and swept into an open window across his front. The fabric wrapped itself snuggly at his waist and draped low enough to offer at least what should have been the bare minimum of modesty. It pooled across his shoulders, splaying out into a split cape that looked eerily similar to the wings he dawned in his other, scalier, form.

But this lovely new ensemble—as gloriously shiny and magical as it was—was still nearly fucking transparent. And yeah, the shadows curling along the spiraling silk did a decent enough job at obscuring what ought to be obscured. But at the same time, somehow this impression of cloth, of loose fabric that dipped below his collar bones and hung uneven and open across his pale chest, was worse than the outright fucking nudity. Scandalous. Like walking in on a seduction scene in a trashy novel.

“…maybe you should just do whatever makes you comfortable,” you managed to cough out, gaze slipping downwards of its own accord. And then more down. You gulped. “D-Don’t feel the need to change yourself on my account.”

He stared grumpily at his swanky new outfit. And then back at you. His lips pursed into a pout.

“You don’t find it pleasing.”

Your eyes rolled up to stare miserably, tormentedly, at the ceiling, and you began reciting every religious verse you could think of. Thou shall not steal or covet. In the name of the Mother, the Crone, and the Hallowed Throne. Head, shoulders, knees, and toes. Aye, Macarena—

“It looks perfectly nice. I just think that you have as much of a right to be happy in your skin as I do,” you reiterated. “I—I mean, you’re already keeping yourself human more often than not just so we can talk.” Which was true enough, but also mostly an attempt to make it seem like your concern was genuinely aimed at him and not your steadily rising blood pressure.

“…you’re incredibly strange,” he grumbled after a moment, his brow tugging low on his forehead. More pouting. “And impossibly frustrating to read.”

The heat radiating off your face like a fucking active volcano felt ‘possible’ enough to you, but what did you know.

“That’s why you’re keeping me around,” you reminded him.

Ten minutes later, he was sprawled out with his head in your lap, the ridges of his horns bumping your hips and inky black hair spilling over your thighs. Naked as a jaybird.

“Tell me another story,” he hummed, eyes slipping closed.

“Sure,” you agreed, gaze once again firmly locked on the hundreds of cracks in the ceiling. You’d probably have them all memorized by this evening, or at the very least have managed to count them all up a dozen times over.

You were halfway through some yarn about armies made of playing cards and worlds beyond looking glasses when Tsunotarou sighed, heavy and bone deep. Content. And then he turned to bury his cheek into the rough fabric of your traveler’s pants with a rumbling drawl that was not unlike a purr. His nose pressed itself into the inseam of your thigh and your brain fuzzed out like you’d been shot pointblank with a Wand of Lightning Bolts.

“Child of Man?” he huffed after a moment—one, neon, eye flicking open to glare up at you grumpily. “What happened then? To the cat that smiled too wide and the man with the mad hats?”

“R-Right,” you squawked. “Uhm—so as I was saying—”

You stared back at all those cracks and started counting again from zero.

[roguemonsterfucker]

Asking what’s “socially acceptable” for platonic intimacy is wild because it varies so much.

There are some people who think you shouldn’t even hold hands and there are some for whom cuddling with their friends is an important social activity.

It also depends on the genders in question. Men are supposed to stay away from each other. No touchy touchy beyond handshakes, back slaps, or butt slaps if they’re in sports.

Men and women aren’t supposed to touch at all unless they’re in a relationship. Otherwise either party will be accused of cheating if they’re in a relationship with someone else or, sorry to stereotype, the man will assume the woman is into him.

Women on the other hand, straight women at least, are allowed to be as touchy as they want with each other.

Obviously these examples are painting with a large brush but the question is a bit broad itself so.

This is why there’s no good single answer to what’s socially acceptable. Because there are so many variables. Plus this is just my perspective as a white American. Other cultures place different values in physical intimacy.

“What’s the socially acceptable level of physical intimacy between friends?” Is just kinda not a good question in my opinion. Not a good question for a poll that doesn’t allow for nuance at least.

Edit: I feel like the context has been lost in the reblogs so I’m disabling reblogs now.

[whenanafallsinlove]

BNHA CHARACTERS X GN! READER; - how they would act with a foreign s/o headcanons﹗

﹗warnings: none, pure fluff! :D

a/n: not proof read! Sorry if it's a little repetitive! Requests are open if you want pt 2 with other characters or fandoms :D

includes: Katsuki Bakugou, Shoto Todoroki, Hanta Sero, Denki Kaminari

Katsuki Bakugou:

definitely learns how to cook typical foods from your country

calls you dumbass if you mess up a sentence in japanese

likes to correct your pronunciation and grammar

if you typically eat a lot of spicy foods in your country, you two will challenge each other on who eats the most spice

he likes when you speak in your language

he told you he wanted to learn your language with the excuse that it would make him a better hero

but he wants to learn it because he is just nosy

specially after hearing you saying his name during a call with your family, and not understanding what you told them about him

you told him that if he wanted to know, he would have to learn your language

he obviously takes that as a challenge and learns a lot very quickly (and he's unsurprisingly good too)

Shoto Todoroki:

would be eager to help you learn japanese

he would surprise you by learning your language too

asks you to cook your favorite typical meals for him to try

if you were feeling homesick, he would search online and buy you a bunch of your country’s typical candy

gets embarassed when you catch him listening to podcasts to learn your language

he's like super proud of having a foreign s/o

he will bring the fact that you're from another country every chance he gets

when he brings you to meet his family, he's mortified when his father asks something stupid/stereotypical about your country

when you started dating, one of the first things he asked you was the cultural differences when dating in your country

just to make sure you were on the same page, and also to take into account important gestures that would be meaningful for you

Sero Hanta:

he would compliment you and use pet names in your language

he watched a tik tok of “trying typical candy from my s/o’s country!” and immediately asked you to do it

starts to listen to music in your language!

often asks you to teach him some phrases in your language, but gets frustrated when he just can’t get a grasp on the pronunciation

duolingo is secretly his best friend

admires you for knowing more than one language

would buy anything related to your country and gift it to you,

he sees a postcard at the store with a photo from your country? he buys it; he sees a fridge magnet from your contry? he gets it; he sees a turism magazine with 'top 10 places to visit this year' and your country's name on it, he's already checking out with it

he just wants to make you feel at home with him too

constantly checks on you to make sure you're not homesick

Denki Kaminari:

asks you A LOT about your country, specially the differences between where you are from and where you live now

he’s like a kid, always grabbing random stuff and asking “how do call… in your country?”

begs you to teach him how to curse in you language

probably tries to learn how to dance to music from your country

when you facetime your family he likes to greet them with the three words you have taught him

celebrates your important national festivities with you

he starts to follow and watch entertainment content in your language, claiming he starts to understand it (he does not)

everytime you cook something from your country, he asks you to make some for him too

claims that your voice and personality change when you speak in your language

[striped-carpet]

M. List

First Date Headcanons

Characters: Kuroo, Kenma, Bokuto, Akaashi, Oikawa, Iwaizumi

Kuroo:

A first date with Kuroo would probably consist of either a walk in the park or a movie

Maybe even both depending on the situation

I feel like he'd definitely be insistent that he pay if you two were to go get food

Or even if you just found a little trinket you like

I also think he'd be the type to walk you home and drop you off, and he might even be interested in a second date depending on if things went well

Kenma:

Kenma very obviously prefers low-activity, indoor sorts of things

That being said, I feel like to even get him to ask you out (if that's what happened), you two would have to be friends beforehand

I think the actual date part would consist of playing video games with him or something of that nature

And if video games aren't your thing, he'd offer to teach you how to play. But if you don't want to do that, either, he'd just have you watch

Either that or he'd put on a movie for the two of you

Bokuto:

For me, your first ever date with Bokuto is split between a casual movie date or something more energetic

I feel like he'd definitely be the type to take you out to a playground, and for some reason the kids there absolutely love him

The two of you would also probably grab some ice cream or something along those lines as the very last activity

Either way, it would definitely be a fun-filled date

Akaashi:

This feels so stereotypical, but I have a gut feeling that Akaashi would take you to a book store for your first date

You don't even have to buy anything, since he's mainly there to look around and get to know you

He'd follow it up by stopping at a local café for something to eat as his initial anxiety starts to fade away

To him, the first date is less about having fun as much as it is getting to know each other since he wants to make sure the two of you would be a good match

He's very sweet the whole time, though, and makes sure to take note of what makes you happy, sad, uncomfortable, etc.

Much like Kuroo, he's another one to walk you back home.

But i feel like instead of asking flat out, he'd send a follow up text to see if you'd be interested in going out again

Oikawa:

Oikawa's idea of a good first date is something fun, yet laidback

That being said, the two of you would probably meet up somewhere before heading to get something to eat

Afterwards, he'll start to actually try and get to know you

During this process, I feel like he'd either take you to something volleyball related, or to a cinema to see a movie

At first, I don't think he'd consider the date anything more than casual, but if he finds himself actually taking an interest in you, he'd try to show that a little more in hopes for a second date, and maybe even a third

Iwaizumi:

Unlike Oikawa, Iwaizumi would actually take your first date seriously, since I see him as the type of guy who dates to marry, or at the least be with someone for a while

He'd probably be decently nervous, but wouldn't show it, of course

I see him as a trampoline park on the first date type of guy, or if that's not really your thing, you could do something different

However, he'd prefer something activity based since-especially in the time skip-he seems like a fitness guy who doesn't really enjoy sitting around

The entire time, he definitely makes sure to be respectful of you and your interests, but also tries to make things as fun as possible for both of you

And again, he's the type of guy to walk you back to your place. He'd probably wait a day or two to ask you out again, though, since he wants to take time to process and think about how the date went and how he felt during it

---------------------------------------------

Thanks for reading! I apologize for any spelling/grammar mistakes, and hope you have a great rest of your day/night!

[foursaints]

“I don’t care what [Barty] says, Dumbledore’s not stupid”: On Barty as Machiavel

i think we're all forgetting the moment where harry explicitly draws a parallel between barty & remus and i wrote the world’s longest post about it 

under a close reading, moody!barty operates in a manner that is SO distinct from canon!moody, and i think it’s made especially apparent in the way he interacts with students & the virtues he emphasizes in his lessons. even when disguised, barty has a machiavellian tendency that comes through consistently in several different moments. 

i think this quote is a weaker example, but “very tactful” is NOT something that would be used to describe canon!moody under any circumstances. c!moody’s lack of social tact is a known characteristic, and barty uses his tactless reputation to get away with his machinations (see: the dustbin excuse, breaking into snape’s office, even the ferret to an extent).

on the other hand, BARTY is clever and subtle and manipulative, and we see this coming through in how he handles neville. the biggest difference between him and c!moody is the way that barty!moody tends to openly value or praise Cleverness & Craftiness above more moody-ish virtues like bravery, loyalty, or Taking Care of His Students’ Safety… but i think the most interesting part of all this is the way that harry reacts to it.

the hp books notoriously do this clumsy thing where the morality is starkly Black/White (as ursula leguin rightfully criticized). but seemingly arbitrary categories like “gryffindor” or “slytherin” are also conflated with this strict Good/Evil dichotomy. which results in these random-ass traits like “brave 😎🦁” and “cunning 💀🐍” also taking on moral associations within the world of the text (jkr has also done this with physical traits & racial stereotypes, which is vile) 

but an overarching theme in hp is harry grappling with this dumbass in-world black/white morality & unlearning part of it (ex: snape, the epilogue w albus severus about slytherin). but i think it’s sooo interesting that one of the few characters (aside from snape & dumbledore) to demonstrate & valorize a machiavellian tendency AND be admired for it (by harry) is LITERALLY barty jr. 

like! barty’s tact is not a good thing in-canon! he uses his tact to get away with murder & torture & elaborate terrorist plots (he’s part of a group of death eaters described as having "managed to talk their way out of azkaban” p. 527) but i looove that the same trait which allows him to do all sorts of Dastardly Evil is cast as positive and remus-like in this moment. obviously i don’t think jkr was doing of this on purpose, but i love how these little things are unintentionally more compelling than whatever the hell she was trying to do with snape. and it goes deeper!!

this moment is especially telling of barty’s character, to me. subbing out the names, “I don’t care what [Barty] says… Dumbledore’s not stupid” is a CRAZY line. 

it’s lowkey THE barty!moody thesis in comparison to c!moody: nothing we’ve seen from c!moody would even remotely suggest that he’d EVER imply that dumbledore is stupid. (c!moody adopts the “it’s imperative that we blindly trust dd’s mysterious plans” attitude that most of the adults in harry’s life take, that hermione re-emphasizes here). but barty’s attitude is something that harry heavily fucks with in this moment!! 

that’s all i really have to say about The Implications or whatever. but i want to call more attention to moments in canon where barty’s tendencies shine through his disguise because (unlike most marauders characters) his personality is really fleshed-out. especially this aspect of it. my silly 

i. "mind works the right way, granger"

barty speaking about dumbledore like he’s stupid (💀) is enjoyable for several reasons up to & including how big-dicked it is of him, but most importantly i think it’s symptomatic of an overarching theme of his character. in GOF, barty has a tendency to take stock of the people around him, according to what appears to be a really concrete & consistent set of internal values: he values cleverness matched with a certain degree of ruthlessness. 

this bit with hermione is fun. there are about ~6-7 other instances where he praises cleverness, but that’s not really a unique or noteworthy thing to value? but the phrasing in this quote is my favorite. i know that it’s in reference to the skillset required of an auror, but the phrasing of “mind works the right way” can be applied to so much of barty’s character if you reach hard. i love that barty’s language almost casts the mind as something rote & mechanical which can function right or wrong. 

but anyway it only becomes interesting when placed in context of THIS earlier interaction: 

there are endless ways barty could have gone about guiding harry to use his firebolt here, so his specific phrasing holds a lot of weight to me. (keep in mind: he’s prompting harry to feel that he came up with the firebolt/accio idea, but this whole plan was concocted by barty himself much earlier. he’s on the “convince harry to do my broomstick dragon thing” step of his overarching scheme) 

in a sense, by “inspiring” harry to do what HE already independently decided was best, he’s sort of… giving away his own reasoning, a little? the italicized emphasis on enabling oneself to “get what you need” feels… unnecessary, in context? i love that THAT is where emphasis slips into his voice because it betrays his values. 

barty’s Revenge Scheme is insanely fucking convoluted, but at every stage i think that logic is there. in his villain monologue where he rehashes the deranged level of micro-managing he was doing to get harry to resurrect voldemort, at every individual step he was following his own advice. to barty, sometimes murder is just the Simplest Spell to Get What He Needs. 

according his own advice, barty sees the clearest path between two points, and generally has 0 ethical qualms about closing that distance by the Simplest means possible. he later confirms this by describing harry’s morality introducing complications as “contend[ing] with [his] stupidity” (676) 

ii. “good boy,” growled [barty]. “i can make good use of this…”

the scene where barty acquires the marauders map is CRAZYY.. for a moment, barty is so excited & taken aback that we see a few of his genuine reactions. i love that absolutely nothing manages to faze him EXCEPT genuine delighted shock over an interesting new tool he can implement in his schemes. (sidenote: he probably recognized the marauders’ nicknames, which is so funny)

that fact that we have a canonical barty crouch jr “good boy” makes me claw at the walls. anyway. i feel that i don’t need to explain how “i can make good use of this… this might be exactly what i’ve been looking for” supports characterization of barty as a scheming little machiavel because it’s pretty much explicitly stated right there. 

but this quote stands out for his genuine preoccupation with it. from the instant that barty sees the map, his eyes don’t leave it— his eye “whizzed over [it’s] surface” (491), he questions harry about how his name appeared when he searched snape’s office (”’Crouch,’ he said. ‘You’re— you’re sure, Potter?’” (491))— all while harry is sinking into a trick staircase & getting concerned that moody is ignoring him.

“penetrating glare” ← top barty rights! 

the image of him getting new information, questioning harry about it tactfully, and then spending A FULL MINUTE silently integrating it, is one of my favorite instances of him in the book… it’s like you can hear the gears in his head whirring. i like that we can see this type of assessment that he does extends to other people, when he turns it on harry and “size[s] him up”. 

AND ALL OF THIS IS WITHOUT EVEN GETTING INTO WHAT HIS LESSONS WERE LIKE

this post is long enough as it is! but all that’s left to say is that barty will always be at his most interesting when you pay attention to canon… there’s another longpost that could be written about barty!moody’s differences in disposition. the jokes he cracks, his relative lightness, and the sheer number of times he was openly like “FUCK the law i do what i want” (while literally masquerading as a literal wizard cop) are so intriguing. but that’s for another time 

[relaxxattack]

you are so very homestuck knowledgeable. when you have the time and should inspiration strike, please tell all your headcanons about oliveblood trolls.

ooo what a great question! for this one i think first we'd need to break down current stereotypes about olivebloods. there's actually not much that we're given about them tbh

according to the homestuck wiki, which is based on info from both the comic and more dubiously canon things like friendsim and hiveswap, the olive caste's two singular traits seem to be "wild animal" and "romance liker". both of these, obviously, are traits pulled from our wonderful main girl nepeta, who was the singular representation of the olive caste for a long time; alongside her dancestors. which is quite cute, who doesn't love nepeta?

the thing is though that i am one of those nitpicky people who likes to say, "well, hey now, nepeta isn't actually representative of her caste at ALL." in fact, none of the beta trolls are. i honestly feel like it should be assumed that just like the beta kids, the beta trolls are weirdos, and not really the 'norm' in their society.

nepeta lives out in the wilderness very specifically away from society in a way that is remarked on as being unusual even for someone of her color; and she does not even understand what role her caste would have given her in normal society. and i mean... considering aradia tavros and sollux are LOWER than nepeta, it doesn't really make sense for them all to have nicer houses than her unless she's unusual in her situation.

^ nepeta is in fact NOT a good representation of olivebloods.

which means... no, i don't think all olive trolls are romance obsessed wilderness girls, actually, sorry, hiveswap friendsim, i have to shelve you from my alternia analysis for now.

luckily, there ARE other olivebloods in the series!

first of all, the other leijons. unfortunately, none of them are really "good" examples either. meulin is from an entirely different planet, and disciple is from an ancient history perhaps even less representative of "normal" life than nepeta is. all we really get from them is stuff we already knew from nepeta-- the wildness, the relationship interest. with an added fact that both meulins seem to be somewhat bookish.

and so who does that bring us to? the final canonical oliveblood.

that's right.

troll will smith.

troll will smith is canonically an oliveblood. not only that, but he's a famous actor, which means he is basically a "model" for society- for what it looks like once you "have it all made". i would imagine this goes even more for alternia, supposedly a very movie-geared society.

the two troll will smith features that canonically exist on alternia are Fresh Prince and Hitch. in both of these films, will smith plays a character that is self-made and clever, a regular guy who is just skilled. it should also be noted that while a "threshecutioner" is a job with a heavy blueblood populous, greenbloods can also be one, and it's common enough that a show about it wasn't cut by the alternian dictatorship.

so therefore, what traits can we pull that all of these olivebloods (and equius lol) display to us?

olive trolls are lower class, but they're capable of working up through their connections

likely due to this, olive trolls are often clever and self made. they're likely quick-witted and sharp

they're good at their jobs! most olive trolls that are seen in the comic are very good with their respective practices (be it drawing, writing, bookkeeping, or melee fighting)

it's possible that olive trolls have a good intuition, and are fairly in touch with their own instincts. this would explain why some of them seem to fare better in the wild or in fights, and also why they are stereotyped as having a natural inclination for relationships. i think this is also a good transition ground between the impressive physical psionics of the castes lower than olive, and the emotional/mental psionics of the highbloods above them.

so, there we go. these are my olive headcanons! they're not comfortably well off or anything, but they're not wild animals either-- they're hard workers and skilled at what they put their minds to. probably usually working a nine to five and doing their best in life hoping to move up with a good quadrant or promotion. at least, in my headcanon anyway- no need to take this as fact!

[tanoraqui]

Dungeon Meshi Liveblog: Golems, Orcs, & loser party that got TPKed by bugs (<3)

He's so competent, I love him. I really appreciate that post pointing out that this whole party is pretty near the top of the game in terms of genuine competency at adventuring. It's hard to tell when we rarely see other adventurers.

Just a few pages later, Senshi seamlessly takes out 3 golems on his own!

Water fountain shaped like a lion head!

.

Senshi has just been single-handedly keeping the dungeon from getting so dangerous that the Elves get to bully their way in, huh. Do you think dungeon experts have been wondering what's taking so long, and will one day find out that it's this one weird dwarf. I hope so.

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I like the dragon being so goat-like.

.

HUZZAH!

Side note: I think an ideal live action Senshi would be played by Nick Offerman.

.

Marcille and the orc chieftain fighting while Senshi pointedly makes bread gives me such "The Last Supper" vibes - that is, the song in Jesus Christ Superstar. Two people having an increasingly vicious argument over dinner while everyone else in the room says increasingly loudly, "Wow, this food is great!!"

.

HEY LOOK THE NEXT CHAPTER STARTS WITH MY MAN!!

I'm sure this isn't novel analysis but man I like how directly Kabru's party mirrors the original Touden party. (Side note: I wish each party had a name that wasn't just the name of the party leader...)

Toudens':

6 members

3 fighters (Laiois, Shuro, Namari)

2 mages, 1 for damage (Marcille) and 1 for healing (Falin)

1 lockpick (Chilchuck)

2 long-lived (1 dwarf, 1 elf)

4 short-lived (3 humans, 1 halffoot)

3 men, 3 women

4 tall, 2 short

1 Easterner

leader is a mall tallman fighter

lockpick is halffoot

1 mage is tallman, 1 is long-lived magic-heavy race

1 fighter is a dwarf

Kabru's:

6 members

3 fighters (Kabru, Kuro, Daya)

2 mages, 1 for damage (Rin) & 1 for healing (Holm)

1 lockpick (Mickbell)

2 long-lived (1 dwarf, 1 gnome)

4 short-lived (2 humans, 1 halffoot, 1 kobold)

4 men, 2 women

3 tall, 3 short

1 Easterner

leader is a male tallman fighter

lockpick is halffoot

1 mage is tallman, 1 is long-lived magic-heavy race

1 fighter is a dwarf

A) it's obviously a solid party composition in terms of classes, and playing into D&D stereotypes (born of Middle Earth, as many D&D stereotypes are) of correlations between PC race and class.

B) Ryoko Kui was like, "There are going to be PARALLELS in this story and you are going to APPRECIATE THEM", and she was so goddamn right. Subtle themes are great but you know what's even better? Like 5 different really overt themes that are all happening all the time and interweave so constantly that subtlety is created in the infinite nuances of overlap. Eat or be eaten and to eat is to live is to want and understanding is compassion but it's also violence and we're all incredibly different and we're all incredibly the same and we're all trying to eat or be eaten in an elaborately connected web of life, and--

I want an orchestral arrangement of this story.

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I'm not carefully counting all winged lion motifs but I AM going to count the number of Kabru Winks(TM). We're at 3 in this chapter.

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EXQUISITE SMASH CUT

[itsagrimm]

What is a Russian Character and How to write them

As @sarapaprikas-blog and I were working on this post, we noticed a gap of knowledge and public perception that we want to address. Plenty of characters get labelled as Russian in media without necessarily being Russian. On the other hand the Archetypal ”Russian” character often does not mirror the realities of being Russian. We are to talk about that.

What is Russia?

Russia is a country. It is the largest country in the world with over 140 million inhabitants, stretching over 11 time zones. It is often seen as the successor state to the Soviet Union, which in itself was the successor state of the Russian Empire. The Soviet Union and Russia do not have the same borders or government. However, modern Russia draws a lot from its history as the largest and dominant part of the Soviet Union. Before the Soviet Union, the area was governed by the Russian Empire. The Russian Empire, as the name already indicates, was imperialist. The history as an Empire with massive expansion, colonies and conquering different people, is arguably the biggest reason why modern Russia is as big as it is today.

What is Russian?

There is a difference between the language Russian, the ethnicity Russian, and the nationality Russian. In English the difference can be made out only by context. 

Who is Russian?

As aforementioned, there is a difference between Russian (Россиянин) meaning citizen of Russia, and ethnically Russian (Русские). The term Russian (Русские) usually refers to ethnicity, indicating a person who has Russian roots. Russian (Россиянин) implies Russian citizenship, regardless of ethnicity. Thus, a Russian can be someone with Russian citizenship, but not all Russian citizens are Russians in the ethnic sense. Also, not all ethnic Russians have Russian citizenship or live within Russia.

Ethnic-Russians are an East Slavic people. Obviously, they mainly live in Russia. But there are also large communities in Ukraine, Kazakhstan, Belarus, Latvia, Lithuania, and other countries. The traditional religion among Russians is Orthodox Christianity. The main language is Russian.

The country Russia is home to more than 190 ethnicities, including indigenous and autochthonous people, leading to a variety of languages, religions and practiced cultures. So, someone who holds a Russian citizenship, has ethnic Russian heritage and / or speaks Russian, can look very different than the cliche Russian bond girl or evil-doer indicates. That also means that those who get labelled Russian can live very different lives. Writing a Russian character gives you a lot of room outside of the prevalent stereotyped depictions.

Who is not Russian?

Simple - those who say they are not Russian, are not Russian.

Who are Slavs? What is Slavic? 

The slavic people are a variety of people, ethnically Russian people are part of that group. However, there are a lot of other ethnic groups that are Slavs without being Russian e.g. Poles, Sorbs, Czech, Ukrainians, and many more. Slavic is the corresponding adjective to Slavs. It is often used to describe the indo-Slavic language group. Slavic is also often used to describe the collectively perceived similarities of Slavic peoples' culture. However, that can be misleading and get’s often orientalised as not everything from Eastern-Europe or Russia is slavic.

Russian vocabulary Да - Yes Нет - No Привет - Hi Здравствуйте - Hello Как дела ? - How are you? Хорошо - Good Пожалуйста - Please Не за что - my pleasure  До свидания - Goodbye Пока - bye  Увидимся - See you later Хорошего дня - Have a nice day Простите - I'm sorry. (Plural or honoured addressee) Помогите, пожалуйста. - Help me please. (Plural or honoured addressee) Доброе утро - Good morning Доброй ночи - Good night. Добрый день - Good day / afternoon.

Pet names in Russian About pet names. They are either masculine of feminine . Please don't use words like darling, kitten, baby, pretty, sweetie, little one, little fox, etc. as they sound really strange in translation to native speakers. Pet names are common for close ones (family, close friends, spouses). Sometimes primary school teachers call students by affectionate names. Also sweet old lady may call you ( Дорогой/ Дорогая). But outside of that nobody calls each other by pet names, only using names because Russians are very reserved and private people in general. Gender neutral pet names: жизнь моя - my life солнце мое - my sun or my sunshine  ты мое все - you my everything. лучик - sunray. мое сокровище - my treasure.  мое золотце - my gold or sweetheart. моя любовь - my love. ты моя радость - you are my joy. ангелочек - Angel. прелесть моя - my precious.

Queerness and gender-neutral speech in Russian Being queer in Russia is hard as queers face oppression. Because of that, there is limited to no public discourse on how to adapt and diversify the language to include queer and especially non-binary identities. This is a problem as the Russian language is extremely gendered and expresses a gender binary in near default. While gender neutral pronouns in Russian exist, it's harder to use them in real life as the neutral pronoun “оно” is mostly associated with things or animals and not living humans, similar to the English “it”. Often words generally do not have gender neutral alternatives.  However, one way we suggest for a more gender neutral speech is to avoid most explicit gendering as the flexible syntax in combination with using plural pronouns in Russian allow for more gender neutral speech. For Example: Я люблю их всем моих сердцем - I love them with all my heart. Расскажи мне о них! - Tell me about them.  Дай им время- give them time. Я горжусь ими - I'm proud of them.  Они сделает это сами  -  they do it themselves. Read more about queerness in Russia here: one two three four

Russian swearing                             In Russia, swearing is considered a sign of rudeness and poor manners. Use accordingly. Also, as mentioned here, Russian syntax and inflection are different from English. Meaning one word can be a whole sentence. We punctuated every swearing that is technically a whole sentence and therefore can stand on its own grammatically. Блять - fuck Пошел нахуй. - fuck you  Хуй - dick Пизда - cunt Мы в пизде. - we are fucked / “We are stuck in the cunt.” Ебать - fuck Ахуел. - are you/they crazy?! Это пиздец. - this fucked up Мудак - asshole  Завали ебало. - shut the fuck up Сука - bitch Черт - damn Непизди. - stop fucking lying. / Cut your bullshit. Пиздобол - Person who lies a lot/ Don't lie  Мамку твою ебал. - i fucked your mom (mostly used by middle schoolers, here in grammatically masculine gender.) Заебись. - holy shit (could be bad or good depend on situation) Похуй! - I don't fucking care. Навешать пиздюлей - to beat up someone. Срать тебе в рот -  To crap in your mouth. Ты ебанулся. - Are you batshit crazy. Заебал. - I'm sick of you. Жопа - ass. Иди в баню. - soft version of Иди нахуй.

Explanation of the Russian Naming System & Patronyms

The Russian naming system consists of three main elements: first name, patronymic and last name. Name: This is the first name given to a child at birth. In Russia, the names are chosen by the parents or relatives of the child. Names can be both traditional (Alexander, Anna, Ekaterina) and modern (Sofia, Victoria, Yaroslav). Patronymic: this is the second name, which reflects the child's origin from his father. Some cultures in Russia also use the mothers name. The patronymic name among Russian people arose in the 10th - 11th centuries and was used infrequently at first, but became widespread around the 16th century. It is formed by adding the suffix "-ovich" or "-aries" to the father's name. For example, if the father's name is Ivan, then his child Ivan or Ivanna will be called Ivan Ivanovich or Ivanna Ivanovna. Last name: This is a family surname that is passed down from generation to generation. It is usually assigned at birth and does not change without special circumstances. Surnames can come from various sources, such as profession, place of residence, origin, or personal characteristics. As a result, a person's full name consists of a first name, a patronymic (if applicable) and a last name, for example: Ivan Ivanovich Petrov.

How to respectfully address a person in Russian. In Russian there are two ways to address someone. Using the polite you (Вы) amd using the formal you (Ты). The choice of mode depends on how well you know the other person and whether you are superior or inferior in terms of age and social position. If you know the person's first name you refer to them by first name and patronymic. For examples: Борис Юрьевич, Ваши рабочие отлично справились с ремонтом- Boris Yurievich, your workers did a great job with repairs. Adults never address a person by name, only by surname or patronymic unless the addressee gives permission to address them in an informal manner. Regulations of most military require their members address each other in formal you( Вы ); subordinates address commanders as товарищ (comrade) + rank , while higher ups address subordinates by military rank and surname. Example: [Colonel to Sgt. Sidorov] Сержант Сидоров, ко мне! Sergeant Sidorov, front and center! [sgt. Sidorov to colonel] По вашему приказанию прибыл, товарищ полковник! Reporting for duty [lit. arrived at your (pl.) request], comrade colonel! Military men sometimes use same forms of address, albeit in singular, in friendly conversation. Example: Сержант, дай сигарету. - Give (sing.) me a cigarette, Sarge. Military hierarchy in Russia You can find useful links here. One Two

[manstrans]

I agree with a lot of "fiction is just fiction" takes but you know I don't think it's said enough that like, there are a few lines that probably shouldn't be crossed, by which I mean bigotry. like, maybe it's the autism but I think it's weird to go back and forth between "all fiction is fine it's not real" and "south park is extremely bigoted and has set back progress against bigotry which is bad"

idk to me it's the same as how swear words can be offensive to some people but are ultimately just words, while slurs are also offensive but more than just words, they're tools of oppression

idk I just think there's a difference between like, someone's weird kink and stereotyping minorities. I mean obviously there's more nuance than that (who's writing this? what purpose does it serve? is it meant to be subversive?) and maybe I'm being pedantic but like. just my thoughts

[pumpkinandcoat]

My TUA4 thoughts

Its been a week now since the final season premiered and I have finally been able to compile all my thought together

This is an essay.

Spoilers for season 4 of The Umbrella Academy

(obviously)

With the fourth and final installment of The Umbrella Academy finally released, brings the long awaited conclusion of the Hargreeves family. And suffice to say… people hated it.

Even when this show is at its weakest with its plot, the thing that makes the show so good and what many people love about the show are its characters. They are all very distinct and memorable. And in TUA3, while it's riddled with plot holes and frustrating choices, is still a lot of fun to watch because of the character moments and the relationships between the different siblings.

That is why TUA4 is so infuriating, because it takes these special and memorable characters and it morphs them into these weird versions of themselves. Every single main character falls victim to this. They regress as characters into these versions of themselves that shouldn’t exist anymore.

Luther has become a stripper. His arc has almost no dignity from the get go. This only very loosely connects with his arc in TUA2 where he works at a bar, but as a bodyman and not as a ‘professional dancer’ so as to why the writers chose to make him a stripper is weird. He has returned to live in a run down version of the academy. There is no follow up on Sloane and he mentions her only one or twice in the whole season.

Diego is somewhat resentful of fatherhood, and he misses his old life of excitement when he was a vigilante. He is unhappy with his life and he seeks the higher purpose that he thinks being a criminal deterrent will give him.

Allison yearns again to be a star and neglects her relationship with Claire in the pursuit to regain her fame. 

Klaus, as soon as he regains his power, turns back to drugs. There is no attempt for him to hold onto his sobriety, even though as we see in TUA2 and TUA3 he is (mostly) sober for three years with his powers fully intact. We don’t even get a scene of him struggling with the ghosts coming back to haunt him before he is off to go buy drugs, and then he becomes a victim to sex trafficking. 

Five’s working at the CIA. After a lifetime of hardship and struggle, after he is forced into organizations where he has to complete different missions - first as a child with Reginald in the academy, and later as an adult with the commission - and after he is ready to retire at the end of TUA3, he joins into another organization instead.

Viktor moves away to Canada and is again isolated from his siblings and alone. Shown to have no lasting and meaningful relationships in his personal life.

Every single character is reverted back to an old version of themselves that they have grown from by now. The writers strip them of all of their character growth and substance and reset them to their base characteristics. Worse than that they write them as stereotypes that they are portrayed as at the beginning of the show, in which they are shown to be more than just those stereotypes and have at this point for a lot of them grown from them all together. They are now reduced back to them but without any of the nuance or layers that they had before, and again stripping them of all of their character growth and personality. 

The writers absolutely refuse to let these characters grow in meaningful and satisfying ways.

The relationships between these characters as well are also poorly written. Many of the strong relationships we see in the past seasons barely have interactions with each other, such as Klaus and Five, Diego and Klaus, Allison and Viktor to name a few. With Allison and Viktor we only really have one meaningful scene between them where they talk about how they aren’t close anymore and then there is no further discussion or resolution between the two. And with many others at best they get fleeting minor interactions where they maybe exchange one line or comment. Then there’s the characters who we’ve been waiting to interact for a long time, like Five and Claire, where in the first season Five expresses his desire to live long enough to meet his niece but in season 4 we don’t see them interact even once.

But by far the most insulting relationship is the one between Lila and Five and Diego. 

Two fucking words: Character Assassination.

The way that they wrote Five in this season is so completely baffling. Because the writers felt the need to give Five a love interest this season they decided to pair Lila and Five up and in doing so they destroy both Five and Lilas character, and the dynamic between Five and Lila, Five and Diego, and Diego and Lila.

There are two faucets as to why this relationship doesn’t work: the in-show context and the real life implications of the pairing.

In-show: Five and Lilas relationship hinges on the fact that they are stranded together on the subway for 7 years, unable to get back to their families. In the second to last episode of the entire show they are taken away from the rest of the characters to be put in this pocket dimension for the sole purpose to develop a romantic relationship between the two of them. 

For Lila as well, but especially for Five this makes no sense for their characters and butchers everything they represent and everything they stand for. Fives' driving force for his whole character is his family. Everything that Five does, every action that he takes, everything that he endures and pushes himself though, is for his family. His family's safety and survival matter more to him than his own physical, mental and emotional well being. They are the only people in the whole world that Five cares about.

Five survives 40 years in the apocalypse, with abysmal chances to get out, where any normal person would kill themselves, Five endures for the miniscule chance to get back and save his family. He spends years working for the commission, killing hundreds of people, after being the only surviving person on earth for 4 decades, to buy time so he can get back to his family. Five spends 45 years trying to claw his way back to his family. And when he does make it back to them, Five spends 28 straight days trying to prevent three different apocalypses across three different timelines so his family would live.

After 7 years on the subway Five gives up on getting back his family, and when he discovers a way back he keeps it a secret, even when he knows they are facing the apocalypse and certain death again? It doesn’t make sense for his character at all. Yes, he was tired at the end of TUA3 and was ready to lay down and die with his family by his side, but that was again after three failed attempts at preventing the apocalypse in a very short period of time. He also isn’t with his family, separated and isolated once again.

In terms of Five and Lilas relationship - It doesn’t make sense for Five, whose sole driving force throughout the entire show is his family, to turn around and betray his brother by engaging in a relationship with his wife. 

The dynamic between Five and Lila throughout the seasons has progressed from enemies to begrudging allies to a close friendship between the two, a progression that could not have happened without Diego. At the end of TUA2 and the start of TUA3 these two hate each other's guts, but because they both love Diego they are willing to put their shit aside and be somewhat amicable. Then, because they also both have a connection through the commission they team up and to go back and investigate and it's here where they can move past their past and are able to slowly form a friendship.

Yes, they are very similar characters and they have a unique bond. They can understand each other in a way none of the others can, because of their unique experiences at the commission and as being used as tools of The Handler. But this doesn’t mean they are suited for each other romantically and in fact is exactly why they aren’t. They both have deep trust issues, paranoia, and a kind of bitterness towards the world because of their experiences. With Lila and Diego, the reason that they work so well is because Diego's trusting nature and goodwill in people shows Lila that she can open herself up to people and to trust and love.

And the showrunners take all of this characterization, all of the love and devotion and the deep bonds between these characters and they throw it away because they wanted to give Five a love story. In the second to last episode of the entire series we see a three minute montage of Five and Lila on the subway for 7 years, and then three scenes of them in the greenhouse before they return back to the main time.

The writers destroy these characters and destroy these relationships for 15 minutes of screentime.

There is no resolution to this plotline. There is no reconciliation or understanding about what happened. Lila dies on dubious terms with both Diego and Five. Five and Diego die hating each other.

In real life: The actor who plays Five, Aidan Gallagher, was a minor during the filming of TUA1/2/3, and this was the first year he filmed where he was legally an adult, being 19 years old when filming TUA4. 

From the first season of the show, when he was 14 years old when filming, he has been heavily sexualised by a certain group of the fanbase. 

And the creators of the show, who have known him since he was a young teenager, at the first opportunity they could, paired him with his 34 year old costar - They met in the filming of the second season of the show, when Aidan was 15.

They waited - literally waited - for him to turn of legal age so that they could make his character have a love story, and then regardless of morals, regardless of plot relevance, regardless of if it even made sense for the characters, proceeded to pair Five and Lila up. Completely uncaring of the story, the established relationships between the characters and the overarching arcs of these characters.

The writers literally had to completely separate and isolate Five and Lila from the rest of the characters in their own timeline for over half a decade in order for it to make sense for them to develop a romantic relationship between them.

The decisions of the creators in this season are just so insane.

In continuation of Fives character this season - he abandons his family twice. Firstly when he finds the cipher to the subway and can return home, but chooses not to. Then secondly while his family are facing a life or death situation and another apocalypse, he physically fights Diego, and when Lila intervenes and implies that their relationship is over, he abandons them in the middle of the fight, to return to the subway.

And finally we get to the finale, where Five - again whose entire character is built on the love and devotion he has for his family - decides to erase himself and his entire family's existence from not just one timeline, but across every single timeline in order to correct the universe.

Five has never cared about the timeline. In fact he has always actively been working against it for his family's survival. They are supposed to die in TUA1 but Five will not allow that to happen and he goes against everything and every one to ensure that they live. He does this in every single season - goes directly against time and the universe to make sure his family makes it out on the other side. Now he is happy to give up and give in and not just to let his family die, but to have them permanently erased as if they hadn’t existed at all.

Even with the Five diner, we see all these Fives who have given up on trying to save their family after trying and failing to save them countless times - over 100,000 times - they resign themselves to a life of solitude with only alternate versions of themselves for company. Surely some of these Five have had to make the same connection that our Five makes, but they won’t sacrifice their families existence for the sake of the main timeline. But our Five, the Five that we follow, the Five we’ve personally seen struggle and fight to make sure his family is safe is the one who does.

I just cannot express how much this season disappoints me. The fundamental misunderstanding the creators have with their own characters and their own show is unbelievable. Even at the show's weakest, what makes it so engaging, what makes it so great, is this dysfunctional ass family who love each other. Their unbreakable bonds even when they are at odds with one another. How in their own weird way they do care deeply for one another. 

And the creators when telling the final story of these dearly beloved characters, destroy the bonds between them and send them off with a big old Fuck You to the audience to boot.

I cannot fathom how the same people who made TUA1 and TUA2, created this. Truly I cannot.

The conclusion from all of this I have come to is that the creators of this show are obsessed with writing perverse storylines. More subtle in the beginning, but now at the expense of the story and the characters themselves. Even since TUA1 there have been very weird romance story lines. Luther and Allison, and though not explicitly stated, the dynamic between Five and The Handler in the first two seasons is extremely uncomfortable.

And in TUA4 it all comes to the forefront where despite all of the complexity and nuance in the previous seasons of the show, they are willing to throw it all away to write these weird creepy storylines that nobody but themselves asked for or wanted. Luther becoming a stripper, Klaus being sex trafficked, Lila and Fives whole relationship.

Again I cannot express how much this season disappoints me. I cannot comprehend the decisions the creators of this show made. I cannot understand why they chose to destroy everything that made this show great. I cannot fathom how they could end this show in such a way and then pat themselves on the back for a job well done.

This has made me so deeply upset in a way that I just can't express. I have completely lost all respect for the creators of this show. I’m glad that it's finally come to an end so the creators can’t keep continuing to ruin this show and its characters.

Goodbye, Hargreeves family. You all deserve so much better.

[genderkoolaid]

hey i wanted to get this off my chest and i feel like u r someone who will get it! im an out trans guy and i work with mostly cis queer women, and the other day a trans man (wearing a trans shirt- we chatted :3) shopped in the store and afterwards one of my coworkers (who is my close friend and dating a transmasc person and i trusted her) LITERALLY said she could tell he was a trans guy “because he was too nice and trans guys who are nice are so obviously not actually men” and went on and on. she tried to walk it back a few minutes later with “i mean they’re the real men and cis guys aren’t” i didn’t say anything (i’m a coward) but like fuck. cis women are so comfortable calling us fake men and acting like that’s not a horrific thing to say. like it’s a compliment even. sorry for the rant i just feel so gross and stupid and evil for being a trans guy around women !!!!

need people to understand that "i can clock trans men because they're so nice and docile and polite" is one of those complementary-stereotypes-are-still-harmful things.

for one its kinda giving "women are kinder because they are biologically predisposed to caretaking and motherhood, so they are naturally kind and generous because thats how their brains work :)" misogyny. Obviously a lot of trans men do act differently than cis men because we had to personally confront toxic masculinity and what it means to be a man & likely personally experience (or have in the past) things like misogyny and menstruation. Similarly, a lot of women historically have been motivated to help others because they wanted justice and cared about others lives. But there are also trans men who are huge assholes and women who are deeply selfish and cruel, and a lot of how people are is based on their choices in reaction to the situation they find themselves in by birth, not the situation itself.

Its like. saying "Ashkenazi Jews are biologically smarter than others" sounds like a compliment, and someone might even say it trying to be genuinely nice. But its rooted deeply in antisemitism & notions that Jews are supervillains who could overpower White Christians. There's a difference between "Jewish culture values education and study" and "Jews have higher IQs, because they are essentially a different species, and I totally don't mean this in a Nazi way and if you think that, maybe you're the real antisemite!" Same thing here. If your "compliment" is othering to the people you are complimenting, then you should rethink it.

[girl4music]

“But I can tell you this, Xena… you’re the only constant in my life, and unless you know something I don’t, I’m not going anywhere. So I’m going to say the most selfish thing I’ve ever said to you: that baby’s my baby too, and I deserve a chance to fight for it as much as you.”

- Gabrielle, ‘Them Bones, Them Bones’ (Original script dialogue.)

They knew what they were doing with this scene. Especially the way Xena AND Gabrielle’s heads turn back to the baby at exactly the same time as if they were both proud of making that little bundle of joy between their arms. Also notice how Gabrielle only steps away after a glance towards Xena and Eve, clearly assessing that they both need to be alone while she responds to Hercules' request. As if to say "You stay here, I'll take care of business."

Dialogue is rarely ever needed between these two because the body language communicates so much in small intimate scenes like this. Both the mark of great acting and great chemistry between the actresses. I've always said that it's the quiet moments that truly reveal the depth of the loving relationship between Xena and Gabrielle. Whether you see it in a romantic way or not, you cannot deny that it is not filled with unconditional love. Especially where Gabrielle is concerned.

In fact...

I'm reminded of what Ares says in the ice cave in confession to what he believes to be a dead Xena about the dichotomy between his love for Xena and Gabrielle's love for Xena.

"You're with her now. I handled you all wrong. I know that. She knew what you needed - unconditional and unselfish love - and I couldn't give that to you. But I appreciated you in ways she never could. Your rage, your violence, your beauty. When you sacrificed yourself for others, you were hers. But when you kicked ass, you were mine. I love you, Xena."

- Ares, ‘Looking Death In The Eye’.

And I back up what I say in my character study thesis. The reason why Gabrielle won Xena's affection every time wasn't just because she was good at that moment. It's because she was given a CHOICE to be good in EVERY moment. Ares never offered her that choice. It was always "be mine, or die". Gabrielle always did - she would just take herself out of the picture if Xena chose evil or stand against her.

Such a striking difference is often not spoken about in this love triangle the writers obviously intended between Xena, Gabrielle and Ares. It says that the show never really went one way or the other on the romance not just because it couldn't... But because it didn't have to. There was importance in keeping the romance balanced although many wouldn't admit to it and would rather just complain about it instead. As for me, I think it's one of the most groundbreaking things about it. Rob was definetly right about keeping it this way and I back him up on it 100%. We knew that Gabrielle had Xena's heart. However, the conflict in Xena's heart would always remain because Ares would always be around to remind her of her former life. And in so doing this, we learn that Xena could never be definitively one way or the other either. This is what made her character so damn dynamic. And why it was leagues ahead of its time in queer representation. Even today, a bisexual narrative like this is never done. Or rather - it’s done but it’s never written this well. It’s never connected to the major narratives and themes. And that’s because the queer characters are never the major characters. They’re never the actual narrative. Instead, the queer characters have to wrap around it. And that’s the wrong way of going about doing this.

I don’t care what anyone says.

Gabby was the daddy.

Or the other mother, if you prefer. Although, I would definetly say Gabrielle’s role was typically that of a father. I don’t like gender norms, roles and stereotypes either but that doesn’t mean those are off-limits to a woman.

I’ve said before that the fact Gabrielle was depicted as doing the “typical father” role means the writers were abolishing the belief that only a man can do it and therefore using gender norms, roles and stereotypes as a way to promote equality and solidarity.

If you have a problem with me calling Gabrielle the “father” of Eve, you have to understand I am speaking from the point of view they would have in their time. There was no such thing as a same-sex couple in Ancient Greece in the sense that they could marry and have children without the participation of a male figure. Of course gay couples would exist but would not be socially accepted. Hell, it wasn’t even socially accepted a decade ago. What makes you think it was then? So me referring to Gabrielle as that male figure in Eve’s life should be seen as a compliment, not an insult. I’m saying she had the capability to fill that role and she wasn’t even a man. Just like how Xena could fill the role of a warlord and she wasn’t a man. Can’t you see that I am giving them respect as people who can take on both the feminine and masculine side of situations? Xena and Gabrielle were human anomalies and that’s bloody awesome as far as I’m concerned. I wish more shows today had that kind of gender roles representation with their characters. Sadly, they don’t.