#There is also obviously a difference between stereotypes and stereotypes

[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

[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

[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

[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.

[kayvsworld]

okay. like. giving it the benefit of the doubt, right, dipping my toe so slowly back into thinking about the mcu (piranha filled fish tank) as fictional analyzable media (cocks gun),

i just wrote like 3 paragraphs of an unrelated post about how iron man 1 is kind of weird because it puts so much focus on tony's internal struggles re: his social life and Image and Loss Of Agency, the gala sequence, etc.

and how obie's not the kind of villain/villain reveal i'm used to seeing in Superhero Brand Action Movies (family friend betraying you in a weirdly intimate dialogue-heavy scene on your couch in your dimly lit living room). and i had to delete it because like actually all of the iron man movies and their villains and their problems are just kind of Like That

obadiah is his dad's handsy gaslighty friend, hammer is some guy in his field who gets overly familiar when he's trying to avoid him in public, killian is a jilted stalker whose goons zip-tie tony to a bed frame this is not the kind of rogues gallery other guy-written dude superheroes are getting like that's fair i can nod at that i can get that i can see that

like i can't find the old article that went around about this (not the post not the post not the tumblr essay not the post) but insane literal interpretation of "tony stark is WOMAN CODED which makes him less privileged and hating him is misogynistic, losing your agency is INHERENTLY FEMININE" aside, flashbacks i'm having flashbacks, going "hey, they kind of give this guy the kinds of problems and narrative framing of those problems that you might more usually see from Men Writing Women TM during this time period" isn't altogether a meritless take

like we're walking a thin line here, but sure that's an interesting concept to try to dig into, if we're specifically like. evaluating tropes and structures in media that have been usually assigned to cisfemale characters and seeing similarities there and going "huh, neat". like i think that's fine. DOYLISTICALLY

to the anonymous person who helpfully sent me the tony stark is female-coded post when i said i was enjoying finding old tony meta: you are firing gunshots outside my home. through my window even

[literaryvein-reblogs]

How do you write a humorous character?

Writing Notes: Humorous Characters

Here are some ways you can explore and develop your characters to make them as rich and comedic as possible.

Base your characters on real people. Characters are fleshed out and made individual by drawing on the qualities of real people you know or have encountered. Real life offers up an abundance of eccentric and dysfunctional people who can become comedy characters. When you have a real model behind the character they become more individual, believable and idiosyncratic. If you don’t have a real-life model (or models) in mind you are more likely to draw on stereotype and cliché. You can draw on a number of real people to flesh out your character picking up on their mannerisms, speech patterns, attitudes, beliefs as well as their biography and life experience. Since you’re fictionalizing, do feel free to do them a terrible disservice and focus on and exaggerate all their worst qualities. And in terms of their biography, if they’ve done three really "stupid" things in the last five years, your character version of them will have done those three stupid things in the last three weeks – or if they’re a real "klutz", in the last three days. Then once you have identified the kinds of stupid things the real person does, you can invent more in a similar vein for your character.

Positives and negatives. It can be brilliantly cathartic to take dreadful people in your life and turn them into comedy characters. Your characters have a problem or a goal and they set about trying to get what they want with their limited skill set. They don’t have the skills, knowledge or ability to effectively achieve their goals, but still they try. (Just like your bad boss). A first question to ask of your boss is: What’s wrong with them? This will be where the comedy lies. All their negative qualities, failings and shortcomings. Have a clear, short list of these issues. This is enough to get started. A next step to ask is: Who else do I know who’s like this? Now you are drawing on bad qualities of other people to make this character even worse. Then having considered your boss’ negative sides ask: What’s right with them? If you really despise them or find them totally contemptible, this can be tricky! They must have some positive qualities. What are they? A balance of positives and negatives makes the character more rounded and engaging – even if the negatives are likely to dominate with many characters, that bit of humanity is important.

Two perspectives on your characters. Here’s another way of looking at your character from 2 perspectives: firstly, describe how they see themselves and secondly how others see them. If there is very little difference between these two perspectives then that would be a self-aware, functional person. The bigger the difference the more comic and/or tragic the character.

Likeability of characters. Often writers get feedback that their characters aren’t likeable enough and yet at the same time there are often sitcoms with characters who behave badly and aren’t obviously likeable. And yet so many viewers have an appalled fascination with the truly dark characters.

Developing an ensemble of characters. Once you have one clear character with strongly defined positives and negatives, to create another character – simply make them the polar opposite of the original character. Comedy thrives on opposites.

Ensemble of Characters. In summary, most successful sitcoms have this dynamic (and some unsuccessful ones lack some element of it):

BOSS – A character in position of power over the striver/protagonist and others – it may be a role or rank or just social status or family seniority. They may have real power or it may just be vested in them by their position but they are inept in some way.

STRIVER (PROTAGONIST) – The main comic character with all their flaws and failings.

FOIL – The more reasonable normal one (usually also a striver) who has to deal with the main striver. Often protagonist and foil are basically on the same side but they can be rivals. Usually the foil is the one the audience can identify with but sometimes they are less obviously likeable.

FOOL – Self-explanatory – the "stupid" or naive and awkward one. Often happy with their lot, they tend to be able to bounce back from the indignities heaped on them.

How to Write Funny Dialogue

Once you have your funny character, how do you write their dialogue? Here are some comedy writing tips and techniques to consider when creating dialogue that is both humorous and convincing.

Quote funny people: In nonfiction writing, one technique for getting laughs is simply to quote people with a sense of humor. When the people around you are funny, you can bring them into your work. They know they are being witty, and you are taking them with you into the essay (or other piece of writing) as part of the humor. In fiction writing, you can create funny characters to introduce jokes into the text in a way that feels natural and not forced. Whether you’re writing fiction or nonfiction, some characters in your story are bound to be funnier than others.

Exaggerate: Stretching a real scenario into the most ridiculous version you can imagine can be another way to get a laugh in nonfiction writing.

Compress: People don’t speak in real life like they do on the page, so there’s an art to writing speech to make it feel real. When quoting a funny person, one of its important tools is compression. By trimming down your characters’ speech, you can convey realistic sounds without dulling the reader. This is important for all types of dialogue, but especially humorous dialogue. A lot of funny dialogue comes from one-liners, humorous responses to situations that are short and punchy.

Keep a diary: Keeping a diary where you write down funny things that happen to you, dialogue you overhear and love, and character traits, will help you see the world differently. Tuning in to your surroundings will open you to moments that could become stories and the parts of your world that belong in your writing.

Be self-deprecating: When you’re writing a scene in which you’re a main character, deploy a trusty humor tool: being harder on yourself than any other character in the story. When you make yourself a relatable character, your reader will feel connected to you. Let go of thinking about how you come across and just try to be honest—learning how to laugh at yourself is crucial.

Twist a cliché or undermine any expectation you’ve set up: Humor relies in part on twisting a cliché—transforming or undermining it. You do this by setting up an expectation based on the cliché and then providing a surprise outcome. In humor writing, this process is called reforming.

Put your funny lines at the end of a sentence or scene: Humor is often a release of tension, so the sentence builds that tension, and the pay-off happens most naturally at the end (the punchline).

Use contrast: Are your characters in a terrifying situation? Add something light, like a man obsessing about his briefcase instead of the T-Rex looming behind him.

Find funny words: Some words are just funnier than others, so make a list of those that amuse you the most. When working with compressed text, word choice is especially important. Wordplay is one kind of humor writing that can make your dialogue funnier.

Manage expectations: It’s especially difficult to make people laugh when they’re expecting you to be funny—never set the expectation that you’re about to try to be funny. It’s much easier to be funny unexpectedly. Make these attempts to be funny a quiet side effect; think of humor as a pleasant deviation from an expectation. Then create a context where laughter is easily produced.

Use body language: A large part of real-life dialogue is non-verbal, and these cues make their way into fiction through the use of stage direction, which is any textual reference to the physical movement of the speakers. The term is borrowed from theater, where such directions are necessary tools to help actors and directors envision the physical set-up of a play. In fiction, stage directions can often do just as much as dialogue to convey a character’s mood, frame of mind, or responses. If your dialogue starts to feel repetitive, put your characters in motion—walking, driving, or distracted by their environment. In comedy, you can use gestures to enhance the humor of a scene, or you can take body language to the maximum of physical comedy: slapstick.

Use gossip: Gossip makes excellent dialogue because people unconsciously dramatize events for the benefit of the listener. They narrate not what happened, but the essence of what happened. When you gossip, your listener suspends disbelief. This is a great way to introduce exaggerated funny stories.

Pay attention to rhythm: Your dialogue should be rhythmic because human speech is naturally rhythmic. When you listen to people having a conversation, they’re creating rhythmic poetry; pauses are filled, sentences are capped by the other’s interruptions, all amounting to a patterned cadence. A play is essentially a poem written for several voices. When writing humorous dialogue, delivery and timing are especially important. Don’t be afraid to rewrite each line of dialogue in your first draft until you get the rhythm just right.

Read your work aloud (to an audience, if possible): Reading aloud is another layer of the editing process—kind of like live workshopping. Make notes on the page as you read, demarcating where the audience laughs and where there is silence. Even without having an audience’s reaction to gauge, reading your work out loud can be an invaluable tool in the writing process. Whether you do stand-up comedy or share a short story at an open mic night or reading, pay attention to your audience’s reactions: where people laugh out loud or where your jokes fall flat.

Use funny dialogue for character development: Dialogue serves the triple purpose of revealing character, advancing plot lines, and providing entertainment. The entertainment part will come more easily if you’re a naturally funny person, but it’s important not to sacrifice character development in dialogue-writing. Dialogue should always be appropriate to the character and should take their point of view, beliefs, and backstory into consideration. People’s desires motivate them to speak, so when writing dialogue, ask yourself what your characters want. Ideally, you will know your characters well enough to sense not only what they want but how they would express their desires verbally. Good jokes often hinge on subverting expectations, and the best jokes—the ones that will stick with your readers—tie into the story as a whole.

More information:

Researching Humor

Linking Sense of Humor to Personality

Sources: 1 2 ⚜ More: Insults & Dry Humor ⚜ Humour ⚜ Laughter & Humour

Hope this helps with your writing!

[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.

[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!

[frogaroundandfindout]

I used to give the 'lazarus pit madness' trope for jason so much shit unless it was a REALLY good fic that did something interesting with the idea. But the more I read of pre52 red hood the more I'm just like "yeah no I have absolutely no idea how I'd reconcile all this heinous shit he's done without finding a way to make it not his fault actually"

I hate the 'jason was always a monster and bruce couldn't save him' nonsense so much, he was literally just a homeless little boy. MY BUDDY LITERALLY WILLINGLY WENT BACK TO BEING HOMELESS BECAUSE HE DIDN'T WANT TO HURT PEOPLE FOR MA GUNN EVEN THOUGH IT MEANT GIVING UP FOOD AND SHELTER AND DECENT TREATMENT

jason sweetheart I'm so sorry dc butchered you like this my god

When the characterization is so inconsistent the fandom has to resort to literal magic to explain it.

But seriously, I haven’t read a whole lot of Jason as Robin but from what I did read he was so tiny and just wanted to do good. It’s a disservice to every character involved for Bruce to adopt him because he thought he’d be a criminal otherwise. It implies Bruce thinks of every kid living in poverty as a shoe in for crime and not as some of the most vulnerable individuals in low SE areas. Which is just…so bad considering he’s 1) a rich white man stereotyping a large group of people and 2) someone that fights crime because of an act of violence commited in front of him as a little boy. A Batman that doesn’t believe in the goodness of a child (especially one like Jason who, like you said, gave up basic necessities for the sake of his morals) and protecting it in a way he wasn’t protected is a very very weird Batman to me. So it turns Bruce into a white knight and redhood into confirmation of Bruce’s stereotyping and paranoia.

If it was just Jason thinking that’s why Bruce took him in it would be a completely different animal. I might have even enjoyed reading about how Jason rationalized their changed relationship after he came back swinging (literally) and thinking that it’s some innate characteristic about him that drove the wedge between him and Bruce before he even realized it was there. But it’s very much not just Jason. EVERYONE. FUCKING. SAYS. IT. And tbh that kinda ruins everyone just a bit in my eyes. If not agreement and support for Bruce’s bs, they’re at least silently complicit in perpetuating it.

But beyond that, it also makes me think of Devin Grayson’s run where she kept talking about how dick was “meant for crime” or would have obviously been a criminal if it wasn’t for Bruce. This was built on frankly awful stereotypes regarding Romani people. I bring this one up because the combination of the two does not make Bruce look as good as the writers seemed to think.

But if we ignore the bs involved and take the reason for Jason’s adoption at face value, I think it offers an interesting comparison between him and Damian. Jason is presented a child destined for a life of crime who eventually became one of The Villains despite Batman’s efforts. Damian was an heir destined for crime who eventually became one of The Heroes because of Batman’s efforts. Idk it’s just interesting to me.

[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!

[asarigg]

Inside the Character's Mind: Part 1

mentions of physical, psychological and sexual abuse towards both Koujaku and his mother

SELF DESTRUCTIVE BEHAVIOR

Let’s go back to the beginning. Or rather, what Koujaku tells us. He also talks about himself, of course, but usually when he talks about his past, most of the time he talks about his mother: because that’s what hurts him the most. He barely mentions the abuse towards him other than the tattoo and that one time his father punched him. But he always talks about all the hardships that his family put his mother through. And I’m sure you’ll agree with me that it is hard to believe that was it.

Koujaku’s father has proven to be an extremely violent piece of shit and a zero-empathetic person. I don’t doubt that Koujaku’s mother, because of her nature, was his favorite toy. What’s more, he did every cruel thing he could think of to her, his wife too, she had fresh wounds every day and she couldn’t even eat, and although it isn’t said nor implied I wouldn’t be surprised if Koujaku was a product of rape. I mean… most likely. We hardly know anything about his mother, not her appearance, not her name, not what she liked, not how the hell she ended up in that place, if there was any love involved in it or if it was something about debt, we only know that she was the perfect victim.

She was always saying sorry to her son, for everything Koujaku’s been witnessing, she feels guilty and responsible because he tries to stand up for her, and because she has brought him to a world where the one that decides for them is a criminal. She keeps a deep pain inside for everything that’s happening and she tries to hide it, especially from Koujaku, and seeing her son suffer doesn’t help. Smiling to him so he doesn’t worry, and saying sorry to try to comfort him. That’s why the last thing she repeats over and over to her son when she’s lethally wounded is “I’m sorry”, feeling sorry that it’s because of her that he has lived like this, because she wasn’t able to protect him, to give him a proper life.

Obviously all his father did was also psychological abuse towards Koujaku, even blackmailing him with hurting his mother. But I sincerely believe that his father would use physical abuse to teach the boy a lesson, nothing could stop him anyway, because Koujaku as a child complained and rebelled, he didn’t care if his father hit him, he would defend his mother regardless. This is why I sometimes give Koujaku more scars to his body, and besides defensive cuts I also give him cigarette burn marks. Lore expansion better known as adding trauma.

I think he just doesn’t talk about it that much because the abuse towards him isn’t what has hurt him the most. We ourselves often don’t give it much importance if someone tries to insult us, but maybe if it’s someone close to us, that does piss us off, some logic like that. Moreover, throughout the game Koujaku’s personality is just like that, always worrying about others and giving little importance to himself, to the point of being tremendously negative for him.

Don’t you think those scars would make him look more masculine, intimidating, as if he’s survived dozens of dangerous, tough fights? It seems the perfect image for an environment like organized crime.

Despite all of Koujaku’s feminine traits, the perception of him both in canon and in fandom (usually) is that of a stereotypically masculine, super straight man who fucks a different woman every night, always joking with “no homo, bro” (which, mind you, I’m not saying I don’t like these jokes, I make them myself too). But in reality that couldn't be further from the truth.

With that image that we have of him, sometimes it would seem that he is someone with prejudices or that he really had a hard time accepting that he’s not straight, specially when in the scene where he confesses to Aoba he says the following:

The reasons he tries to hide his feelings is a mix between the fact that they are friends and he doesn’t want to ruin the friendship they already have, that he wants to hide his past and that he doesn’t want to be a burden on Aoba, so he keeps all those things to himself. (And he’s also been educated a certain way and has always seen things one way, never gave it much thought so when it crosses his mind, of course he’s confused)

When he first met Aoba he thought he was a girl because he had really long hair, and after all, when we’re kids we don’t have very developed features anyway, it’s a pretty androgynous state. When Aoba corrects him and tells him he’s a boy his behavior is exactly the same, nothing changes. He corrects himself and never treats him as a girl.

He is someone who has no problem showing his affection for Aoba, neither in private nor in public, he’s very comfortable with his bisexuality, the only one who is reluctant to do so, either out of shame or fear, is Aoba.

What I’m trying to get at with all this is that all that “gentleman” facade and the “always accepting women who want to have something with him” that makes him look so stereotypical in a first impression has a much darker origin, although underneath all that there’s a much more sentimental, vulnerable and open Koujaku about his true feelings, expressing them even if he feels embarrassed, as we see on some occasions (touching his hair nervously when he confesses, of when he explains why Aoba's hair is so important to him).

The relationship he has with his mother is the most direct connection, or course. Being the son of an abused woman has made him hyper-aware of his position as a man (so much that sexism in this game almost goes full circle like the Bourbon family tree, but this is NC’s problem and it happens everywhere, it’s so obvious it’s a writers problem and it’s a shame it affects Koujaku so much because he’s basically the only one who isn’t scared of a bad bitch). We’ll talk about this in particular some more later, but let’s focus on what concerns his father for now.

Being the family of criminals that they are, abusers and… almost slavers, the most logical thing to assume is that they are specially conservative. It could very well be that his father, once he decided to make him his heir, wanted the image of his kid to be as intimidating and masculine as possible. A criminal, a murderer who could run his business in a world like this.

We know that the tattoo is an experiment by Toue, and it wouldn’t be strange if his father knew what was behind it, because after all it would also be beneficial for him to have a way to control him, to mold him to his liking and to make him obedient, unlike he had been behaving, refusing to be his heir and trying to defend his mother. The image of an effeminate, soft, sissy man was not exactly ideal for the future leader. For me, Koujaku’s father either already intended to name him heir before agreeing to the tattoo being an experiment with Toue and Ryuuhou, or he ended up deciding to name him the heir precisely because they had already talked about the tattoo and its possibilities beforehand.

His father would want to break him, drive him to despair so that he would stop resisting, take away his will and, although this is mostly headcanon, “make him a man”. Be a man, be strong, tenacious, learn to fight and find a woman to continue the family with, etc. So it is not surprising that at first he didn’t even reconsider his sexuality and thought that the affection he had for Aoba was just friendship, which over time, with such strong feelings, he realized was not the case. I sincerely love that he is shown to be so nervous and that he confesses to be kinda confused about it and in a state of denial, without having any external reference and too busy hating his father and Ryuuhou to even think about it, it’s normal that it took him so long.

He was trained to be a gangster, while his father insulted him, hit him and threatened him using his mother, on whom he took it out. This training also implies not only fighting but also for doing business, how to talk to be well-received, how to negotiate, how to give the best impression of himself at any given situation. This pack of skills seem to resonate with those that he uses to flirt and run his own business, even if he does it on an unconscious level, he just knows what to say to strike the person he’s talking to in their weak spots. His father’s physical treatment would not only be a punishment, but also to teach him a lesson, to learn to endure the pain, just like he endured the pain of the tattoo. If he cried, it would be shameful, he would be punished. He had to hide his pain, his feelings, his thoughts, for the sake of his mother’s safety and his own. Practically becoming a puppet, thus evolving into the life he carries in Midorijima as an adult.

Him not wanting to open up to Aoba wouldn’t be just an “oh he’s going to hate me”. It’s also what he learned would be the best, having a charismatic appearance that everyone likes. After all wouldn’t it be logical to not want any confrontation with anyone after all that? A tough guy, with people around him who admire him, who never gets tired or cries, because nothing’s wrong. In a way it’s also a shield, a protection, a defense mechanism. To be a man.

Now, the way he behaves that almost everyone without exception associates with his mother. And this, for sure, is the intention, his desire to protect his mother and therefore take care of the women he meets. But it’s also him actively wanting to be the opposite of his father.

What kind of relationship does he have with women? The contact he has with them is mostly through all his female fans, who are crazy to say the least. We’re not going to get much into the subject of sexism but first of all it’s a huge mistake that his fans are only young women or the way they make them all act.

Koujaku spends all his time building a character that he considers perfect, someone gentle, who never says no to a woman and is always available to entertain them, it would never occur to him to deny anything to any of them, as his mother was denied so many things. Unlike that hard and tenacious masculinity that he was taught to have in order to take on his role as the heir or the bestiality of his tattoo, he presents a gentle and chivalrous masculinity on the outside. What he does is pamper them and give them everything they ask for (almost, because has never really had serious relationships. Which makes sense because he would be telling them pretty big lies, right? That wouldn’t fit with his own code). He doesn’t think very highly of himself, he has a low self-esteem as he thinks he is nothing better than a worthless monster that should have probably died a long time ago.

Sometimes people who are abused go through abuse again, in a cycle. I think saying that Koujaku is a playboy is incorrect. (He acts flirty and likes playing around, sure, but there’s something deeper). That perception of him is natural, of course, because the way he behaves and how he is presented to you, is the image they want to give of him after all, in a basic and cliche way, so artificial that it is unsettling. I could believe that it sounds artificial on purpose, referring to that shell of how a confident and strong man should talk, if it weren’t for the fact that they do this kind of cliche and artificial situations quite often with other characters as well, and it makes it kinda hard to remain immersed. I honestly think that the foreshadowing could have been done a little better, but it still serves the narrative. Also this is practically almost all you see of his character the two first interactions he has with Aoba. Considering the structure of the game and how rushed everything is, it’s not very positive, but for the sake of your mental health it's better not to think too much about it.

In short, Koujaku is a very accommodating and attentive person. He listens and encourages others with their problems but doesn’t let anyone worry about him with his own, taking on everything himself. He even ironically tells Aoba that if he’s worried about what happened with Mizuki, he can blame him, and that he can always count on him to tell him anything. It’s a very lonely way to live, even though he has so many people around him.

Knowing this, it’s more than reasonable to think that more than him flirting with women, it’s simply him agreeing to give what those women ask of him. They come looking for something and he gives it to them. He’s a toy. It’s often joked that he’s practically a prostitute, and pretty much that’s what it is. And it’s in the balcony scene where we see a more personal side of him, where we can observe that in reality all this burden tires him, it’s not natural. It’s not like his character isn’t extroverted and charismatic, but that’s not everything, and in public he doesn’t allow himself to be “less”, so in private and in confidence is when he can afford to relax, with Aoba or in his own house.

Somehow, even though he is no longer with his family, the way he interacts with other people, or how he lets himself be used, be it consciously or not, even if there is a different intention behind, is not that different from before, people still use him.

BODY FOR SALE (child sexual abuse)

I’ve sometimes wondered if there was some sort of sexual abuse on Ryuuhou’s part towards Koujaku. Nothing is implied canonically, at least physically, but the erotic connotations of the story of the tattoo artist he’s based on, the sadism, the drugging in order to do something non-consensually, and his constant references to love make me think of it happening on a symbolic level. I think it’s obvious that Ryuuhou loves Koujaku, in his own way, as his creation, and he’s talking about love at first sight and the similarity of love and hate. Besides, the way Koujaku acts can be easily associated with it.

Even though he appears to be charming and flirty, he actually has a very low self-esteem, seeing himself as worthless, dirty, and constantly self-blaming for what happened. His tattoo being his shame and filth, something he doesn’t want to taint Aoba with, works just as an allegory of victims so commonly feeling guilty and dirty (causing them to. He shows unconformity when Aoba wants to touch him in bed (something that with time and the support of a loved one gets a little better), and when he tries to touch and wash away his dirt, his shame, his tattoo, Koujaku jumps at contact, which could also be interpreted as having a flashback or part of his ptsd.

All the anger he feels inside could also be part of the consequences. He mostly shows his hatred towards Ryuuhou, even though his father is supposedly still alive and was the one who did the most damage to them, especially his mother, whom he cared about the most. At the end of the day Ryuuhou “just” did the tattoo and his father has been treating them like that for years. So why does he tunnel all his rage only to him? Budget and time limit reasons? Maybe, but in this essay we’re not taking that. Obviously Ryuuhou was the one that made him lose it, torturing him ever since the beginning only to anger him, ultimately causing the death of his mother. But it can also be read as the response Koujaku had to a possible abuse. Ryuuhou took advantage of his situation, to stop him from resisting he could always use his mother. We’ve already seen Ryuuhou being referenced as male and Koujaku as the female counterpart, being lovers and enemies at the same time, with the female being associated with the powerless, abused victim, submissive, and being controlled by the male, as disgusting as it sounds. Ever since he was tattooed his body did not belong to him anymore, Ryuuhou made sure to mark his body and mind so that he could never forget him. He could have found refuge in his religious practices as well.

There’s always stigma around these cases, and the stigma around male victims makes it especially harder for them to speak about what happened to them. That sense of powerlessness, of losing control, of being less of a man, causing them having trouble with their identity, all of it is wrapped in toxic masculinity. All of this is seen in Koujaku. He keeps all his feelings for himself, feeling distant from other people and engaging in a lonely way of life.

There are people that report having trouble with their relationships with others not only because of the trauma that happened to them, but also out of fear of doing that very same thing to someone else.

This traumatic event usually makes victims apprehensive of any sexual activity, but there’s a considerable large number of victims that, opposite to this, develop hypersexuality. Sexuality is more important to Koujaku than it may seem at first, he sees his body as a tool for the pleasure of others, meanwhile his own pleasure is not important. He developed an unhealthy way of interacting with others, therefore he developed unhealthy sexual practices. This view of him being sort of a prostitute isn’t so far away, Flame Willow, the part of Platinum Jail they end in, pretty much looks like a red light district. It’s introduced as a palace for “passionate folks to get their thrills”, an euphemism.

He also smokes and drinks, which are not talked about a lot as an addiction to cope with his pain. In the Drama CD though they do talk about it as a way to escape the stress he’s facing because of the Tamaokuri, so we can assume that he uses these two and possibly developed an addiction, wanting to drink until blacking out to forget for a moment.

Even if the sexual abuse didn’t happen canonically, the metaphor is as close as it can be, so it’s in your hands how you want to see it. Even if it’s hard to talk about something like this, I really like how this was built, because something that isn’t sexual abuse (at least canonically, and I wonder if the allegory was intentional or not) actually feels like it, something that changed a person’s entire life, his perception of himself and the people he interacts with, an event with an actual weight, something I missed from literally any actual SA scene that we got in the rest of the game.

[genericpuff]

Who is your favorite LO character? Who is your favorite LR character?

i feeeeel like my answers change every time i get asked this question JFDSKLAFJSDALK but that's okay because it just means i'm constantly finding new ways to analyze and explore these characters >:3

LO faves: Minthe and Hephaestus.

Minthe because she obviously gets such shit treatment in the comic and subsequently from the fanbase, but she's a lot more relatable than 99% of the characters in the plot, she feels like she has actual depth and a real character arc, even if that arc ended with an unceremonious whisper. It goes to show how great of a character she was that Rachel practically had to nerf her out of the plot, because it was often only ever at its best when she was present. Funny how as soon as she was written out, there was nothing interesting going on with Hades or Persephone anymore - the plot was literally so boring without her that Rachel literally tried to create a Minthe 2.0 through Leuce, and we all know how well that went /s

As for Hephaestus, nothing super specific, I just like his vibes. Maybe it's just my absent older brother issues, but I would love to just like, hang out with him, game in the same room as him, just autistic parallel play stuff, I think he would be into that. Only complaint is the design flaw of giving him running blades as the default prosthetic, that can't be comfortable for his hips and joints. But that's not his fault u.u and that's basically my only complaint about him which makes him a winner in my book, esp compared to the rest of the cast. He might not be in the comic all that much, but that was clearly to his benefit because it seems the more attention Rachel pays to a character, the worse they wind up being in the long run due to poor writing. Hephaestus is in the comic just enough, not too little, not too often.

So yeah, Minthe and Hephaestus are both 10/10 characters written by a 0/10 writer. They did the best they could... not Rachel of course, she did literally the bare minimum of "representation" which often came across as ignorant white knighting at best and blatant stereotyping / stigmatizing at worst, I mean that Hephaestus and Minthe did the best they could as genuinely interesting characters with unique circumstances and disabilities who were being written by an amateur Wattpad-level writer with a privileged white guilt complex lmao

LR faves (within the cast that's currently been introduced): Persephone and Dionysus.

I know, very different from my LO choices, esp considering Persephone herself within LO is literally one of the most insufferable characters by the end, but I'm frankly having a great time rewriting her in my own way, especially in regards to her specific role as the "wrathful side" of Kore. I know I've gotten questions regarding the interpretation of Kore as a DID system, and while that interpretation is totally valid, the angle I always approached it from was that repressed trauma and emotional bottlenecking. Obviously those two things are, in and of themselves, contributing factors to DID, so far be it from me to tell people they can't identify with Kore / Persephone as DID representation. It just motivates me even more to give her the character arc she deserves and never got. It's gonna be messy. It's even gonna be downright ugly at times.

But I hope, in the end, that anyone who identifies with her struggles will find closure and comfort in the resolution of her story. It's certainly a challenging tightrope to walk, between honoring the themes of her original myth, retelling a version of her that almost existed in LO (a version that I was hoping for and never got), and dissecting the implications of my own version of her throughout LR's narrative, but it's a challenge that I've been having a great time undertaking and all I can hope for is that I can meet and possibly exceed my own expectations - as well as the readers - in the end. This is Kore's story - it's also Persephone's.

As for Dionysus... he's just a very, very fun character to write, and someone who I had the advantage of introducing before he was depicted in LO. It wasn't intentional but it sure as shit paid off because even though I'm sure some will assume that this is my own re-interpretation of Rachel's version of the character, myself and anyone else who was there at the time can vouch that Dionysus was aaaalllll me, baby LMAO

All that said, we're obviously going at it from a VERY different angle than how he was tackled in LO, but I'm hoping people enjoy his presence in the story, especially as he becomes more involved (which is very, very soon wink wink) The roles have definitely reversed here with Dionysus taking on more of a "parental" role to Kore rather than the other way around. I feel like his characterization has only grown stronger in hindsight compared to what we got in LO, especially where he's one of the only characters who beat LO to the punch and wound up being in a sort of arms race with Rachel's depiction ─=≡Σ((( つ•̀ω•́)つ

[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!

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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.

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HUZZAH!

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

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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!!"

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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

[anistarrose]

If you were an a-spec exclusionist (or even "neutral") in the 2010s on Tumblr, if you remember laughing at "cringe aces," and have since come around to realize "hey that was kinda shitty, obviously aces and aros are queer," then you've obviously taken a huge step forward. But if you haven't actually evaluated what subtler forms of aphobia look like and unlearned those too, then you absolutely need to do that, or else internalized biases will persist in this community that make a-specs feel unsafe.

The most rampant and insidious type of aphobia on Tumblr in the past few years hasn't been about explicitly saying you hate/want to exclude asexuals. People who don't consider themselves "exclusionists" regularly pass it around. The degree to which a-spec terminology and microlabels still get mocked, and used as punchlines, also cannot be overstated.

Below, I've linked a variety of posts about what aphobia looks like, what commonly misunderstood/mocked a-spec terminology really means, and how a-spec people differ from common stereotypes and misconceptions. I don't expect everyone to read every one of these posts. There are some long ones. But I know Tumblr would be a significantly less hostile experience for a-spec people if everyone unlearning aphobia looked at, and reflected critically about, at least a few.

Subtle Aphobia; A-Specs and Sex Positivity

[PT: "Subtle Aphobia, Aces and Sex Positivity."]

Common Modern Aphobia, Critical Thinking Questions About "Cringe" Ace Posts on the Dashboard

Tumblr Polls as Harassment Bait

Sex Repulsion Vs. Sex Negativity - Know the Difference

Acephobia and Ableism, Queer Social Spaces "Discourse"

Hey, What Do Those Terms We Mocked Actually Mean?

[PT: "Hey, What Do Those Terms We Mocked Actually Mean?"]

Origin, Use, and Etymology of "Allosexual"

Why "Queerplatonic" Doesn't Have a Set Definition, and Why That Matters (from the actual people who coined it!)

"Queerplatonic is to relationships what nonbinary is to gender"

"Amatonormativity" as Defined by Elizabeth Brake

Amatonormativity Affects More Than Just Aces and Aros

On mocking people's labels — "I want to limit your ability to communicate"

Masterpost of A-Spec Readings

Aromantic Allosexuals (Yes, Including Men)

[PT: "Aromantic Allosexuals (Yes, Including Men)"]

"Aroallos are often treated as inherently "more sexual" than other allosexuals. Here's why that assumption happens, and why it's bullshit."

Romantic Attraction Is Not Required To Respect Women

You can't support aroallos without unlearning sex negativity

Further Readings on Aphobia

[PT: "Further Readings on Aphobia"]

The problems with "Asterisk Acceptance"

"Aces are Valid" doesn't cut it

Aphobia Was Bad, It Was Bigotry, It Was Part of the TERF Pipeline

Bi person discusses parallels between aphobia and other queerphobia

Bi and trans person discusses parallels between aphobia and other queerphobia

Asexual Women of Color Navigating White Patriarchy

"Trauma is not a factor by which queerness should be measured" - excerpt from Refusing Compulsory Sexuality, and related discussion

Arophobia: "You say you accept aromanticism, but..."

"The World is Not Made For Single People"

[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