#also the way there is no true hell so therefore there is nothing to be afraid of when you die

[madeoftwinklingstars]

something i think is really interesting about judaism is that there are movements that simply. do not believe that the torah (the main book of judaism) was written by god. i mean in what other religion would this be widely adopted. why hasn’t similar ideas spread further? what makes judaism different from them? while orthodox claim that jews who believe this are heretical, they are still forced to engage with these arguments that the torah was simply written by people trying to make sense of the world. there are also multiple movements within orthodoxy that force them to engage with this argument as well— like the fact that there are orthodox individuals who believe in science and evolution. if the torah is wrong about adam and eve, what else could it be wrong about? it’s so just so interesting to me.

[val-of-the-north]

The "Hornsent deserved it" sentiments make me lose my goddamn mind

Short answer: No they didn't.

Long answer: Oh my gooooooooooood can we NOT do this shit, please???

There are two underlying sentiments to this line of thinking.

The Hornsent hurt Marika's people, thus Marika did nothing wrong, therefore they deserved to die badly

The Hornsent hurt Marika's people + Midra and some others, Marika is still evil, but the Hornsent deserved to be destroyed

Both may even come to the extreme of "Messmer wasn't cruel enough" or some other nonsense in the same vein.

-

Number 1

To tackle number one, we need to remember a little thing called Elden Ring's base game. The Hornsent's jar ritual is undoubtedly abhorrent, that much is true. But I urge you to remember the things that happened during Marika's reign. She:

Murdered all of the Fire Giants but one, subjecting him to a fate similar to hers but worse, forced into labor confined on the mountain among the remains of his people and culture. She mocked him, to boot. All of this because they might have burnt the Erdtree.

Enslaved the Misbegotten from birth "or worse" because their species just so happened to have made contact with the Crucible.

Rewarded her own loyal Crucible Knights with scorn because of it too, as they didn't fit her current society that they fought to establish.

Made sure the Albinaurics were seen as lesser just because they were graceless, which influenced the way they were treated. She even had her Inquisition, run by Rykard, torture them in needlessly cruel manners, as they appear to be their main victims.

Just in general, she allowed Rykard to run a sadistic Inquisition to torture heretics to the Golden Order in the first place, and she saw nothing wrong with it or their practices.

She entombed the entire Great Caravan over a false rumor, which is the sole reason why the Flame of Frenzy was even a problem during her reign. This has also scarred the remainder of their people greatly.

Made the lives of all Omen a living hell either by cutting their horns just as they were born which often kills them, hunting them down in as cruel a way as possible by using their trauma and body parts against them, or throwing them in a sewer to fester with evil spirits hidden from view. She also used to shackle them, including her two children, just to make extra sure they wouldn't crawl out.

Shunned anyone who saw a vision of the Erdtree burning, regardless of who it was, and chased them away from their homes.

Literally allowed the belief that shorter people are somehow lesser, for apparently no reason at all (her most random discrimination decision tbh). This forces them to band together and take up honorless jobs just to get by, and in turn, people start to spread rumors of their inhuman practices, which are likely all untrue.

Had people literally work as slaves for the nobility just by virtue of "being born into obscurity", whatever that means. As well as other accounts of slavery like the Fallen Hawks (likely tied to the defeated soldiers of ancient Stormveil).

Likely endorsed viewing anyone without Grace as inferior beings, which includes the Tarnished that only exist because she divested them of it. She has done nothing to ease their discrimination (despite potentially seeing them as a future asset of sorts), as even the members of the Crusade are more than ready to kill us, like Fire Knight Queelign.

All of this was done in service to HER religion and order. Killing all the Fire Giants and burying the Nomadic Merchants alive? Oh, they could have ruined her age with those pesky flames of theirs.

Systematically oppressing Omen, Misbegotten, Albinaurics and the likes? Oh, they are impure creatures, unlike her people, blessed with the Grace of Gold, elevated from the rest. (Which is the exact same line of thinking as the Hornsent and their horns for crying out loud).

"Oh but the Hornsent stuffed her people into jars" yeah, and I am not arguing the contrary! It was a cruel, deranged practice, born of simple superstition that their victims would be reborn as "good people". But Marika's answer if you don't fit her vision of the world is to either get rid of you and your people through extermination, by literally hounding you from your rightful home, or by enslaving you.

Both sides are genuinely awful... but there's only one side that people are justifying, and it sure as hell isn't the Hornsent.

Marika's backstory is meant to make her less a god, which is all we have ever known her to be before the DLC, and more a human, which is what she once was. It gives her complexity as a character, it's meant to be the catalyst from which we learn why she took the path that she took. It is absolutely not meant to make us go "holy shit guys, Marika was the good guy all along???", because what she brought upon this world through her burning desire for vengeance has ruined it irreparably, and ruined the lives of most of the creatures who inhabit it.

This includes her ruthless, honorless, pointless Crusade against the Hornsent. Sure, it was her own son that started it, but it was for her sake. It was her who allowed him to wage it, he had her full support... until the thing turned to such a slaughter-fest that even she could not associate with it anymore due to how appalling it all was. And what better way to do that than to seal her own son away to wage war endlessly? And not just because his actions made her look bad, but also for the same crippling fear and prejudice that saw her kill all Fire Giants but one and scar the Great Caravan.

Gratuitous violence across the board, and for what?

(I want to make it absolutely clear that I don't mean you can't like Marika now. In fact, I'd say the DLC made her much more of an interesting character to me as well. I just cannot fathom seeing the entirety of Elden Ring and coming out thinking "wow Marika was the good guy" because she isn't. Heck, coming out thinking that she'd be disgusted with what her grandson Godrick is doing with grafting as if she isn't the queen of having zero empathy for those who are graceless or aren't her family, which the Tarnished he grafts are neither. She'd probably be very proud if anything. Marika is a monster. She became one the moment she obtained godhood, because no milestone would quell her. She did all the wrongs, so take this whole section as a refresher in case you had forgotten)

-

Number 2

Now, to tackle number 2... this one seemingly has more nuance, but falls for the tried and true pitfall of "the many must pay for the crimes of the few" which is exactly where it rots and collapses onto itself.

Apparently, because of the perpetrators of the Jar Rituals, ALL Hornsent, INDISCRIMINATELY, deserve to be destroyed. They all, each and every single one, deserve the Crusade and the absolute pointless ruin that it brought them. From the children, to the ones who were friends with people with no horns, to the ones who found their own practices grotesque, to the ones that weren't even tied to the Tower's religion and were just simply living their lives.

They ALL, EQUALLY deserve to be burned, to have their cities destroyed, to have their lives ruined. All of them. Ok.

Number 2 works with the assumption that the Hornsent are some sort of hive mind. Some sort of all-encompassing religious order who believes in their superiority. But that's just the Tower's religion. Hornsent are a people. And people are individuals, with their own opinions, their own lives. In fact, from the perspective of the average Hornsent citizen, they were attacked out of nowhere as they were living in peace, which likely means they weren't even at war with Marika before this event.

People also have the assumption that all of the Hornsent were benefiting from their society, which is blatantly false. In fact, outside the treatment of the Shamans, the people that we know the Hornsent have hurt the most are their fellow Hornsent. We know of quite a few of them suffering at the hands of their kin BECAUSE of their religious and cultural practices.

Being Hornsent isn't a "free from mistreatment" card. If anything, the large Gaols where they were imprisoned were built specifically to house them. The main prisoners we find in large numbers are commoners, the same types as the ones scavenging the ruins of their ravaged towns. They are often seen eating maggots off the floor and cowering in fear. All of them were Hornsent too, locked away for who knows what crime. Could have been big and important, small and insignificant, or even just a failure to do something properly (there's precedent), point is, it's clear the Hornsent weren't having a good time in there.

The jar rituals were used mainly as punishment for the imprisoned Hornsent themselves, as a way to have them become "good people". This was just as horrifying for the Hornsent prisoners as it was for the Shamans I assume. Look how terrified this Hornsent seemed at the prospect of sharing that fate. This is the reason why they chopped up Shamans in the first place, as ritual ingredients for a punishment meant primarily for their kin.

And there were more Hornsent who suffered because of the leading ideology. Curseblades were once shunned because they failed to become tutelary deities, and so they were thrown in the Jar Gaols. They were only let out so they could use their expertise and flowing movements to defend their homeland when Messmer invaded, otherwise they'd be rotting with the Innard Shamans and the other Hornsent prisoners the way Labirith is.

It's also worth pointing out that Midra's Mense was filled with Hornsent attendants who sided with their sagely master regardless of his lack of horns and what the Inquisition believed of him. If we were to operate with reasoning number 2, they too would deserve to be murdered in the Crusade because they just so happened to be Hornsent. Because ALL Hornsent deserve extermination for what happened to the Shamans.

And we also know that the Hornsent can find what happens in Bonny Village revolting. In fact, we know that from someone who was born and raised there.

This sounds nothing like someone who thought any of that was ok. So who is to say other Hornsent weren't like this too, especially those who DIDN'T live in Bonny Village? Those who risked being stuffed into those same jars themselves? We make waaaay too many assumptions about an entire race, and that in itself is foolish enough.

If there's someone to blame, it's the Tower's Inquisition. They are the religious order that governs the Hornsent. They have all the power in their society... and yet, would you look at that? Enir-Ilim, their sanctum, the one place where those calling the shots reside, is completely untouched. And what about Bonny, the most structurally fine Hornsent settlement, when you'd expect it to be a black stain of char by now. But nope, no sign of Messmer activity and the Greater Potentates are just running around naked, doing their thing as usual.

The Crusade isn't even a good tool of vengeance, the only ones suffering are the civilians who were likely the ones with a higher risk of ritual jar punishment anyway. If this isn't proof enough that the Crusade is a completely petty, useless revenge war that accomplishes nothing I don't know what else to say. I'll just leave with what the people taking part in it were taking pride in doing.

These are people who, without a shadow of a doubt, would have chopped up most of the oppressed groups described earlier and stuffed them into jars if Marika had told them to do so. (Heck, something like this was being done to the Albinaurics already, as we have seen previously...)

They have zero moral superiority, their deranged zealotry is the only reason they act in the first place. Not to mention that they have no connection to Marika's struggles or past, nor were they informed of them I bet. It's likely only Messmer truly knows the reason for the Crusade, and that's only because he is her child and shoulders all the blame onto himself.

"Those stripped of the Grace of Gold shall all meet death" is LITERALLY their motto. Do you really think they stopped at the Hornsent? They were just their main target, but judging by the way all of Messmer's soldiers, including Queelign and the other Fire Knights, and even HE HIMSELF, attack us on sight for the simple fact we are Tarnished and lack Grace in our eyes, I have no doubt in my mind these people were just rounding up and killing anyone who didn't conform with the Golden Order.

THESE are the people who should be allowed to play judge, jury and executioner with the entire Hornsent race. And people will genuinely, with a straight face, tell you "That's right".

-

To conclude... I think I actually hate reasoning 2 more than reasoning 1 lol, despite not liking either at all. At least 1 is understandable. Marika is a very interesting character, one that we have known for a few years now. We have an attachment to her, heck, sentiments of her being some sort of misunderstood/rebellious figure were already there before the DLC. In that regard, I understand the emotional response, even though I still think it's a wrong mindset to have. I have at least some hope that it is purely in the realm of fiction because it's a beloved character, nothing more...

Reasoning 2, on the other hand, attempts to be nuanced, or at least pretends to be. In reality, all it peddles is the "an eye for an eye" mentality which is much too common irl as well. Not only that, but it deals in monoliths. All people belonging to a group or race are equally responsible for stuff they didn't even commit, stuff that could have even harmed them, because their leaders decided to commit crimes against another set of people. And don't get me wrong, there will be even commoners from that group or race that will agree with and celebrate that bad deed, but just as many will not, but will be either scared, powerless, already being punished for speaking up through physical violence or elaborate shunning, or currently protesting and doing something to hopefully ignite a change.

But that reasoning only exists to perpetuate cycles; of war, violence, and hate for the most part. And sadly, this mindset is very prevalent, a lot of people fail to see the issue with wanton violence as long as it's to stroke that lust for vengeance. And vengeance is a theme that Elden Ring criticizes multiple times in a row, even beyond the obvious horror of the Crusade.

[fushiglow]

Gojo cares a lot, actually

Perspective and empathy in Jujutsu Kaisen

Once again, I see accusations that Gojo only cared about people in relation to their strength. I can't believe that 236 and 261 haven't put this idea to bed already, but let's go over it again for the class. Here are some thoughts on the importance of perspective and empathy in JJK. Spoilers for chapter 266 ahead!

In 236, Gojo tells Geto he loves everyone. This single line, direct from the man's mouth, should be enough. However, moments later, Nanami says, "You never cared about protecting people". So why do some readers only take one of these perspectives at face value?

Perspective matters in JJK. Often, characters and even the narrator state things that are only true from their perspective in a given moment. What you choose to believe says more about you than it does about them — an idea I explored in my analysis of 236.

This is particularly important when it comes to Gojo and Megumi, because the moment they meet is the only (?) scene in the whole of JJK that we get to see from two perspectives.

The second time, the reader understands the emotional weight of it for Gojo — but Megumi doesn't. He's kept in the dark, so of course he thinks about their meeting in different terms.

Once again, whose perspective are we going to take at face value? From Megumi's point of view, he wasn't offered a choice. From Gojo's point of view, he extended to a child the little agency available to him.

Offering a choice is something Gojo does consistently throughout JJK — pick your hell. It's one of the ways he shows care for others that goes unrecognised, so it's ironic that readers and characters alike misinterpret it for a lack of empathy. However, this is no coincidence.

For much of the series, Gege keeps Gojo at a narrative distance from the reader. Most of what we know about Gojo comes from what other characters tell us, and our view of him is therefore coloured by their perspective.

However, while Gojo laments the distance between himself and others, he fails to recognise that he's the one maintaining it — and not because of his strength or his technique. He has admirable goals, but he chooses to work towards them alone.

There are many occasions where characters reach for Gojo, but he refuses to let them past his metaphorical Infinity out of a sense of duty and perhaps misplaced belief that he alone can or should bear this heavy burden.

All of Gojo's actions are about preserving the humanity of others at the expense of his own. That's precisely why he chooses to become the "monster" alone. In this way, Gojo is flawed but he isn't uncaring. Again, it's a matter of perspective.

Gojo sees strength as the solution because it's all he's ever known. However, recognising the strength of others doesn't mean that's all he sees — because Gojo knows that dehumanisation acutely. What's more, 261 also suggests he thinks of "strength" in different terms to others.

When they meet, Gojo tells Megumi not to get left behind. However, he later says he was "left behind" when Geto defected. We know Gojo's physical strength eclipsed Geto's, yet Gojo only refers to himself as "the strongest" alone after Geto dies.

Before that point, there's nothing in the text to suggest that Gojo ever stopped thinking of the pair of them as "the strongest" — as a unit, as a duo. This suggests that strength, for Gojo, is something much more intangible, much more sympathetic, and much more human too.

What do the strongest characters in JJK all have in common? Indomitable will, courage in their convictions, an overwhelming sense of self. Looking at strength through this lens shines a new light on Gojo's goal of raising "strong" allies.

When he forces a third option in Shibuya, Gojo proves that strength doesn't have to come at the expense of compassion. In the later chapters of the Shinjuku Showdown arc, Yuta, Yuji, and the rest of Gojo's allies reinforce that idea ten times over, and I have every belief that Megumi will soon do the same.

To suggest Gojo only saved Megumi for his technique is unfair when he has consistently proven himself committed to protecting the futures of others, even "weak" non-sorcerers who have nothing to offer him. Once again, it's all a matter of perspective.

Gojo's way of caring is still caring, even if it doesn't look familiar to you. His only flaw was closing himself off from others and choosing to care from afar. However, just like Gojo never stopped reaching for Geto after he left, Gojo's allies never stopped reaching for him.

There's a phrase we use to describe looking at things from another perspective: putting yourself in someone else's shoes. I think it's very telling that Gojo's allies have taken that literally — Yuta by stepping into his skin, and Yuji by standing in his place in 266.

TL;DR: Gojo cares a lot, actually. If Gojo talking about his innermost feelings can't make you empathise, and the students he supposedly "doesn't care about" recognising his burdens can't make you empathise?

Well, that says far more about you than it does about him.

Come read my fics about this!

In His Shadow explores the ways Gojo keeps his distance from Megumi, who isn't equipped with the tools he needs to reach him but finds his own ways to show he cares, born from ten years of history together.

Rivers Crossed, Mountains Scaled explores Gojo and Megumi's relationship through the vehicle of SatoSugu — why Gojo took him in, whether Gojo really gave him a choice, how Gojo sees him.

Hope you enjoyed the post! I love you, Gege Akutami ♥️

[dinocanid]

The voluntary/involuntary debate (-is making me lose my mind)

I don't see anyone saying this, but something being missed in the whole "therianthropy (and otherkinity) is completely involuntary!" conversation is that so much of the argument is overcorrection, and it's being treated as a binary when the lines are all grey. Which makes the constant back and forth feel very tiring.

First: context

10-ish years ago (even today in some crotchety circles), therianthropy-focused spaces were chomping at the bit to "weed out the fluff" due to the surrounding alt culture at the time (teen wolves) and the release of a few documentaries that many considered quite cringe-y and embarrassing. They went "oh god, we can't be associate with those weird people" and, while that wasn't the only contributor to the gatekeeping and grilling culture at the time, it was a significant one. So any new therians hoping to join communities were often grilled the hell out of, because people wanted to check if they were ""real"" therians and not those "fluffy teen werewolves" on TV. Therianthropy wasn't a game or a trend, it's a part of you, which is true. But "it's not a game" got bastardized into "it's involuntary" due to overcorrection and a lack of preserving nuance. Regardless if you think you were born a therian or if someone goes "I really want to be a [nonhuman animal]" and starts to embrace that identity, that's still therianthropy. "I want to be this, therefore I'm going to be this, and I am this" is still therianthropy.

This problem isn't unique to therianthropy either, "otherkinity must be involuntary" is also a result of overcorrection, more specifically due to the ableism and damage kinnie culture has done to the fictionkin community. Dragonheart Collective wrote a concise essay on this, so I will link that [right here] rather than repeat things, other than I have noticed "voluntary" be conflated with "kinnie" when it should not be. "Being kin isn't just relating to or liking something" got bastardized into "otherkinity is involuntary" by the community. Regardless if you think you were born otherkin or if someone goes "I really want to be a [character or nonhuman creature]" and starts to embrace that identity, that's still otherkinity "I want to be this, therefore I'm going to be this, and I am this" is still otherkinity.

Second: nuance.

No, involuntary doesn't inherently mean "it's a game". What counts as voluntary or involuntary is so blurry that a common conclusion can rarely even be reached on what it means. Things that have been seen considered voluntary:

Noticing the identity and choosing to embrace it versus shove it down and dismiss it

Waking up one day

Really wanting to be something and deciding to embrace it, versus dismissing it

Was born with the identity but picks and chooses which parts they prefer to focus on and explore

etc. along the above lines

And these are all perfectly fine ways of experiencing therianthropy and otherkinity, people have been having experiences like that for years. This is completely normal and nothing new and it's so tiring seeing people point fingers at places that these things didn't even come from, like TikTok.

"But what about linking then?"

This debate is much older than "-linking" terminology, which in and of itself is a product of this very debate. People made new words because so many were arguing if someone's identity is real if it originates in a particular way. This doesn't change how "-link" terminology should be used today, but it is worth noting that those are perfectly normal ways to experience otherkinity and therianthropy even if these other terms exist. It means you can use whichever personally feels best to you. It does not mean that people need to be shoved out of the non-link labels.

[princessbrunette]

https://www.tumblr.com/princessbrunette/742002162557714432/rafe-mansplainingdumbing-something-down-for-you

but do you think ward would ever say anything to rafe about how he treats/talks to her? like does he just turn a blind eye to everything or is he like ‘what the hell…’ 😭 also random but i feel like ward (when he was young) would be exactly like how rafe is now (except he knew how to control his anger unlike rafe!!)

yeah i definitely feel like ward was a lot better at keeping his cool than rafe is at that age, which is why he expresses so much disappointment in him! its true, ward has a temper — but you have to push him for a reaction like that. it takes almost nothing to get rafe freaking out which is the difference between them both. therefore i do think ward was a little better at being manipulative if that makes any sense. he wasn’t probably outright mean like rafe can be, probably a lot more charming and better overall at getting his way. rafe is very emotional, and it gets in the way of a lot.

i feel like ward tries to keep his nose out of you and rafes business for the most part. he knows how rafe can be, but there’s a part of him that recognises if you’re willingly with rafe, you’re probably a little messed up too. the two of you depend on eachother— he’s controlling and crazed, but you’re seeking desperate guidance and clearly enjoy the push and pull with rafe to an extent. ward doesn’t wanna get involved in all that.

i think he’d step in if rafe was being particularly inappropriate with you. ward may get offended on your behalf when rafe dumbs something down a ridiculous amount to explain it to you. but he won’t step in further than a tsk, disapproving head shake and a “son. c’mon. that’s just not appropriate.”

[cath-lic]

Hello, I was wondering if you believe non-Christians can be saved? I know many Catholics believe everyone that doesn't accept Jesus will go to hell. Personally, I find this outlook very sad and I was curious on other points of view so please anyone respond with their own opinions. I mean to ask you this: If God is love and is forgiving of our sins, why would he send everyone to hell simply because they could not find their way to him?

hi!! YES absolutely everyone is saved!! now, everyone and their brother has a conflicting opinion on this, but i’ll throw in my two cents.

my first, more concrete point: john 3:16. the everyman’s verse!!

For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.

okay, but what if someone doesn’t believeth? vatican ii’s lumen gentium, no. 16, also covers this. (italics added by me)

Those also can attain to everlasting salvation who through no fault of their own do not know the gospel of Christ or his Church, yet sincerely seek God and, moved by grace, strive by their deeds to do his will as it is known to them through the dictates of conscience. Nor does divine Providence deny the help necessary for salvation to those who, without blame on their part, have not yet arrived at an explicit knowledge of God, but who strive to live a good life, thanks to his grace.

however, it’s important to note LG no. 14. bear with me here.

Whosoever knowing that the Catholic Church was made necessary by God through Jesus Christ would refuse to enter her or to remain in her could not be saved.

i’m not a theologian, i’m just joe off the street—so i may be taking things out of context. forgive me!

however—as much as i am catholic, i believe that this is putting WAY too much importance on the catholic church as we know it today. it is far, far different than the original organization founded upon the rock of st. peter, and i believe that there are many things that god takes issue with in the catholic church (notoriously, jesus criticized large institutions like these). therefore, i don’t know how much i believe that the catholic church today, nor as a whole, was made necessary by god through christ.

my second point: my most fervent belief is that god is love. pretty much all of my friends are atheists, and they are kind and caring and loving people. it is, therefore, impossible for me to believe that they are not saved.

my second-and-a-half point: i take a little bit of issue with your phrasing of “send” to hell.

personally, i believe that hell is not necessarily Dante’s inferno, but a place of complete and total separation from god. i also believe that hell is not a place you are sent to, but rather a place you send yourself.

i mentioned purgatory in my earlier answer to a different anon; this is where that comes in. i generally concur with pope francis when he says that he likes to think of hell as empty (note: he was not issuing doctrine here). i believe that in purgatory, 99.999% (you get it) of people, if not 100%, are able to reconcile with god and see the consequences of their decisions, good and bad, throughout their life.

you know when you tell someone something that is true, but they keep on rejecting it, no matter what evidence you show them? that’s what i imagine is happening to the other .001%.

god is endlessly patient; he doesn’t mind spending eons trying to convince others to have empathy for their fellow man. however, humans are not as patient. they get fed up and walk away—and this is my (limited) understanding of the process of going to hell.

i’ll be honest, i don’t know if hell is permanent, temporary, etc. i’m not sure how helpful it is to debate it, either. but what i do know is very helpfully summarized in this post by the lovely hymnsofheresy.

whenever i have doubts about some aspect of what i believe being incorrect, i remind myself that god is love. he loves us more than anything in the world, and nothing we can do will ever change that. he doesn’t look for reasons for you to go to hell; he wants to be with us all the time.

thank you for sending in this ask, and i hope it helped ❤️❤️❤️

[strawberrykaon]

I think autistic primarchs would present very differently than in a baseline human. Its so much easier to cover up or explain away.

Like if Mortarion goes semi- verbal, he still sounds normal. But very stilted for a primarch. Its different from when I can only maybe say three words at a time. Usually I can only go "I don't know" or "no", or "go away". For him it's still full length sentences, like "I think I just need to be alone now". That can easily be explained to be exhaustion. But in reality he can't vocalize anything more complex right now.

Guilliman has be scripting since a child but no one notices. He just has over 100 scripts memorized for any occasion. Any question or change in the conversation. He already has a script lined up. He's capable of memorizing it. Conversations happen so naturally, you can't even tell the difference.

Even the way they stim can be so different to a baseline. Probably in ways a baseline can't comprehend. Traits like increased pattern recognition are standard in a primarch. All primarchs are far more "higher functioning" than any baseline.

Being behind their brothers developmentally by a few weeks is nothing compared to a baseline. What's walking at two months when most humans are closer to a year old when they start. Sure the other primarchs were walking much sooner. Some right out of the pod. But they often reached adulthood far sooner than any human. What constitutes a development delay to a primarch. If an apothecary can't tell what's a high blood pressure level in Guilliman. How can you tell?

Exhaustion that so many autistic face is so off from a baseline. They need less sleep. They can go through periods without rest for far longer. I think in cases like Mortarion, he can just push through an autistic burnout. Sure he's a bit more irritable, among other things. But hey, the point of a shutdown won't hit him till a few decades later. So therefore he must have high energy levels then even his brothers. Despite the toll on his mental health. Plus their recovery times are far shorter. Guilliman needs just a few days to feel normal after a year long campaign after all. Doesn't matter how he was acting prior. Any strange behavior can be hand waved away.

Mental conditioning can be used to suppress sensory overload. No point in having your super solider curl up screaming because he has super hearing. And you threw him into an active warzone. Lets make sure you can't process that information in way that would harm you. (Plus I think as a rule primarchs have a tendency to be more sensory seeking than sensory avoidant.)

Hell even their positions in the imperial society could make it easier to mask. If Perturabo wants something done in a certain way, you are going to do it that way. You're just some 25 year old iron warrior or serf that needs to follow command. Plus you don't know best compared to a primarch.

Of course they mask in typical ways. Mortarion hasn't rocked when upset since he was young. Because Nacrae told him that he should avoid such weakling behavior. Or still show more obvious traits like Dorn's flatter speaking style. (IDK how true this is but everyone says this and I'm not too familiar with Dorn to say otherwise.)

Also I like to imagine that the Emperor intentionally placed Autism into some of his designer babies. Thinking he could "avoid all the negatives but only gain those traits that would benefit them greatly." Only for his patience to slowly be drained. Like Perturabo having a meltdown while Dorn is trying to get the two of them to work together. But he's lost the ability to mask what little he does. And is just going, "We are to conclude this activity in an hour. I have to calibrate the ships sensors in an hour and half. You have already wasted 10 minutes. We must refocus so we can conclude in an hour..."

The problem start when understanding what's going on under the surface. Or when you start comparing them to their brothers. But hey you're below understanding what a primarch is thinking. And all the primarchs are little off. They're demigods. What makes these one's so different. Doesn't help they themselves won't consider it themselves. Or even be insulted by the implication. I'm not an invalid. Don't be ridiculous.

(I used Perturabo, Dorn, and Guilliman here because they're the common ones head cannoned as autistic. I went with Mortarion as well because I decided to just go with it. I know him the best. Plus this is all just headcannon. Just to be clear. Reasoning being his kids tend to present with a flat personality anyways. Also heard Mortarion was always behind his brothers, so developmental delays?? Idk yet where they got that in lore yet. Trying to get through all the books is a lot. Plus his other strange behaviors. But it could just be poor socialization as a child mixed with mental illness. Could also just be all three too. But more than these four could be autistic is my point. Sorry if this post was rambling or unclear. Or if anyone has done this before. I just wanted to get my thoughts out on the subject.)

[enlitment]

The Voltaire-Rousseau Beef aka V v. JJ part III.

for @stars-in-the-night , @headsinsand and other great (and amazingly patient) readers

part 1 ; part 2 ; part 3 ; part 4

7. THE ORPHANAGE (to be read in Eliza Hamilton's voice)

The one thing from his personal life that Rousseau is probably best remembered for is the fact that he gave up all five children he had with his long-term partner, Thérèse, to a Parisian orphanage. One after the other, in what could be called a rapid succession, a simple case of salut and adieu.

The reasons he gave for his behaviour differ from ‘I have fallen with a bad crowd in Paris and this is just what people around me did’ and ‘I basically had no other option anyway’ (not true, he could have married Thérèse and try to make it work. Sure, money was tight, and someone could make a few snarky remarks about the first baby looking surprisingly big for a six-month old or whatever, but these things happened quite regularly. Also, Diderot married his working-class mistress despite his father’s stern disapproval. Just saying) to – now this comes up somewhat later in the Confessions and is significantly darker – ‘I really hated Thérèse’s family and thought it would be better to let my kids be raised by the state than be around them’.

If this was him trying to break a cycle of generational trauma though – perhaps one of the side of his own family as well –  I’d argue there were far better ways of going about it. There’s also potentially one even darker, quasi-psychoanalytical reason for this now infamous choice, but it’s probably best to steer clear of Freud. Nothing good usually comes out of it.

Of course, doing something like this would make anyone seem like a douchebag, but a guy famous for writing a treatise on how to best raise children?* Guy who repeatedly argued that the single purpose of a woman’s life is to be a mother? Now that’s a hypocrisy so deliciously juicy that one simply cannot resist sharing it with the world!

*interestingly enough, he insists in the Confessions that he wanted to reveal this information in his On Education (aka Emile), and that in one of the book's passages, he alluded to this episode in such a way that he ‘basically confessed to it already’. I haven’t found that part yet, and I remain somewhat sceptical about whether this is truly the case.

8. SECOND INTERMEZZO: VOLTAIRE THE AVID HATE-READER

V on Julie, or the New Heloise: „silly, middle-class, dirty-minded and boring“

V on Profession of Faith of a Savoyard Vicar: „I read his On Education. These are reasonings of a stupid nurse in four volumes, of which forty pages directed against Christianity. They are among the most daring that have ever been written, [but] by virtue of inconsistency worthy of this head without a brain and this Diogenes* with no heart, he uttered as much abuse against the philosophers, as against Jesus Christ.“ (letter to Damilaville, 1762)

*calling JJ ‘Diogenes’ was definitely a trend in the 1700s, and what seems like V’s go-to insult for him. Calling him a ‘lackey of Diogenes’ does potentially get a bit kink-shame-y though...

9. A MOUNTAIN AND AN AVALENCHE

The last post featured an earthquake in Portugal, now get ready for a distinctly Swiss natural disaster!

To be perfectly fair to Voltaire, although he was certainly not a person who was above spreading gossip, he did have a good reason to publish what he knew about Rousseau and let all hell break loose, since...

in Rousseau’s Letters Written from the Mountain published in 1763, JJ had exposed Voltaire as the author of the infamous Sermon of the Fifty, an anti-christian work that had the potential to get its author into serious trouble. Voltaire could not and would not let this slide – especially when he had the perfect weapon on his hands. Payback time!

Voltaire therefore went on to publish a short anonymous pamphlet titled Sentiments des Citoyens (aka How Citizens Feel – since JJ proudly called himself ‘citizen of Geneva’ in his works and he championed sentiments over reason – see, it’s all very clever!) in which he exposed details from Rousseau’s personal life. This of course included the most shocking, most hypocritical, and most memorable detail of all: Rousseau, Mr. Family First, Mr. Let’s-raise-precious-children-in-a-way-that-won’t-corrupt-their-natural-godness had dumped all of his offspring into a Parisian orphanage! Not so virtuous now, is it?

Interestingly, Rousseau never put two and two together and realised Voltaire was the real author of the fateful pamphlet. It would be interesting to see how he would react had he known.

That said, much like d’Alembert’s article on Geneva a couple of years earlier, the Sentiments des Citoyens led JJ to pick up a pen once again to do what he did best: to defend the poorest and most oppressed souls against the cruel and unjust world. Which usually just happened to be himself.

And thus, as Roger Pearson, an author of one of Voltaire's many biographies concludes:

“we have Voltaire to thank for (…) being the catalyst of Rousseau’s Confessions” which he calls “one of the world’s great autobiographies”

(no, not like that @chaotic-history. Though now I cannot unsee it every time I read the quote)

->

Tune in next time for the (mis)adventure in Britain which will feature:

another philosopher - David Hume - dragged into the mess

a fake letter from Frederick the Great (that was actually penned by the most messy gossip of a person in the 18th century)

a genuinely funny statue story with an appearance from d'Alembert

[fishermanshook]

LOVING YOU IS ALL I NEED!

( batter , first officer & forward relationship h/c's ) + gn!reader

# think of this as a pt. 2 to this fic , grammar and spelling warning

INTRO

How these men show their undying love for their one and only—you.

꒰wc꒱ 1.1k

✦— THE BATTER

Ganji Gupta didn’t dare dream of the day he’d find his one and only, his true love, someone to grow old and tired with until his heart gave out on itself. Unfortunately, his newfound situation halted any progress he could’ve made.

That was until you arrived at the manor with a letter to hell in your hands. That was until he got to know you better. That was until you shared your first kiss on New Year’s Eve. Ever since then, he’s been completely and utterly yours.

Ganji Gupta is the type of man to show his love and devotion to you through meaningful Acts of Service. There’s little to nothing the Batter wouldn’t do for you. He isn’t above taking hits for you in matches when needed, and he will use his last ball to save you from getting sent back to the manor.

Ganji Gupta who, as much as he loves being on his own, gets a bit lonely at times. Therefore, he loves nothing more than to spend some Quality Time with you. He prefers long walks around the perimeter of the manor and also enjoys getting to rest his head in your lap as the two of you lounge about.

Ganji Gupta teaches you the recipes passed down to him by his Mother. It makes for a great way to spend time together whilst making sure he doesn’t forget them in the process. Cooking with you brings back bittersweet memories and reminds him of his Mother all too much.

Ganji Gupta frequently wakes up from relentless night terrors. He’s heard of other Survivors describing their own experiences with them but didn’t think it would happen to him. Now he finds himself waking up in a cold sweat and alone in bed with nobody to calm him down. This leads to him sleeping in your dorm room more often than not in a way to help combat these nightmares. Hopefully, he can get some rest tonight thanks to your help.

✦— FIRST OFFICER

Who doesn’t know the brave young man Jose Baden? The Sea Knight who wields a pocket watch said to have been blessed by Posiden himself, the artifact that always ensures smooth sailing? The First Officer is punctual, humble, and always knows what he wants. He just didn’t expect it to be you.

Nonetheless, the heart can guide a man better than any map can. He may indeed have fallen for you first, but you undeniably fell harder. Although, who wouldn’t with the way he constantly sweeps you off your feet?

Jose Baden is always true to his words when it comes to you, and therefore showers you with Words of Affirmation. It makes communication between the two of you much easier when there’s nothing to hide. And there are only so many words to describe his love for you, so we’ll have to start from the top and work our way down.

Jose Baden, who cannot keep his hands off you. No matter where the two of you are. Physical Affection is this man's specialty and has been embedded into his DNA. It's the simple things like his pinky finger being entwined with yours or his arm around your shoulder, holding you close.

Jose Baden isn’t afraid to show his love for you in front of others and would never shy away from it. It’s truly a gift to be head over heels, so why hide it? Why not show off what he’s got and everything that’s so precious about ‘em?

Jose Baden who can’t help but take a hit for you in games. He doesn’t ever want to see your blood spilled, and would rather have his coat on the map instead. He’s ready to face the stern talking you’ll give him after the match, but you’ll patch him up anyway.

Jose Baden doesn't like admitting the fact that he misses the sea badly. The things Jose would do just for an evening back on the ocean are wild and many. The closest thing he's got is Lakeside Village, but even the calming waves that brush upon the shore can't heal the pain in his heart. The Officer will admit his feelings to you in an act of desperation and comfort. And comfort he receives from you. From cuddling and listening to him rant about the ocean for the 100th time to peppering his face with soft kisses that seemingly never stop.

✦— FORWARD

Said to have been the creator of Rugby himself, you always want William Ellis on your team. He successfully lifts the spirits of all his teammates while headbutting into the Hunter just before they use excitement. It's the thought that counts, right?

To have William in your corner means to have someone who is with you through thick and thin. Someone who will stick by your side until the end of time itself. And until you can finally realize just how much the Rugby Star adores you.

William Ellis who can’t help but hold you close. Physical Affection is this man’s go-to for showing how much he loves you. Like Jose, he will never feel embarrassed or ashamed when showering you with his form of love and affection. He’s either got an arm around your waist or your hand in his—there’s no in-between.

William Ellis loves Giving Gifts just as much as he loves Receiving Them. While the Forward’s not the best at picking out pre-made gifts, he is the best at making ones straight from the heart. Using his clues and fragments, he’ll craft something he finds worthy of gifting you. Whether it be something like a small, red box in the shape of a heart or a bracelet that has your and his initials on it, the gifts are all made with you in mind.

That being said, William Ellis will treasure anything you gift him in return. And that can be anything. Silly little notes passed underneath the table during dinner. A beaded anklet that has left a tan mark because he never takes it off. Or a smaller version of his Ruby ball with every stitch being almost exact.

William Ellis who’s afraid he might not be good enough for you. Who fears that one day he may be forgotten by everyone he’s ever loved. Maybe that’s why he works so damn hard. To prove to himself (and others) that he’s worth remembering. Fortunately, there’s no need to go the extra mile when it comes to you. William’s proven himself more than enough already, hasn’t he?

note: a little gift for all my Ganji, William, and Jose lovers out there. made 4: @rieuvie + @williamkisser + @ch6douin +@jklovu + @5ku11h34rt

(2024) ©️fishermanshook — do not steal, translate, plagiarize, or repost my work on any other platform

[leporellian]

How are we meant to look at operas, anyway? (and what are they?)

Operas are my favorite art form of them all. This is because I think they are "just really neato" and "the most interesting to study". However, if you were to go around and ask what Defines an opera? Nobody would have a concrete and true answer to the question. They aren’t ‘sung through stage works’ because many operas aren’t sung through and non-operas that are. They have no specific orchestra or singing requirements. Even determining them on a cultural basis doesn’t entirely fit. I actually think ‘art’ is too loose and philosophical a term for what they are either. (I mean, yes, they are art. But how are they so?)  

I think that while there’s no concrete definition for what an opera actually is, there ARE certain sets of… rules (for lack of a better word) that dictate how operas Are and what we should do when Seeing them. Funnily enough, the most complete rules I’ve seen for operas I found in an essay that has nothing to do with operas at all- “Monster Culture: Seven Theses” by Jeffrey Jerome Cohen. My rules for How To Look At Operas are heavily derived from that essay, interpreted in ways to best fit the art form. 

My Rules of Opera (with apologies to Mr. Cohen):

1. The Opera’s Body is a Cultural Body.

Operas are sociological and anthropological records that entail a gap in time between their composition and their performance. They contain as many perspectives as there are people aware of them. Every time you watch an opera, you are negotiating with something or someone else. And these records are always being added onto- no opera is ever truly ‘complete’. 

Operas cannot truly be escapist entertainment because they directly reflect societal problems in both the composer’s time and ours. La Traviata’s main conflict- the way sex workers are demonized and unsupported among ‘polite society’ and how societal expectations and the pressure to conform destroys lives- is something that existed in Verdi’s time, and our own. La Traviata is about the sex workers of today who can’t find work anywhere. It is also about how Giuseppe Verdi’s wife was poorly-treated by the people around her for having been sexually active before their marriage. It is also about the gap between these two events, and how one thing became (or still is) another. 

An opera production is not a recreation. No matter how ‘original production accurate’ they claim to be, they are always a negotiation. There is no such thing as accuracy, as civic law. Once one is freed of the expectation of ‘canon’ or ‘what ought to be’ in an opera, one can deal with these creatures more handily. 

2. The Opera Always Escapes.

No matter how many times Don Giovanni is dragged off to hell at the end of Mozart’s opera of the same name, he always reappears again in a fresh new staging. He never stays down there. Maybe the gates to Hell are looser than we imagine- or, more likely, this is because he represents something that cannot be defeated. What does the character represent? Abuse, sexual violence, power (with class, with gender, with religion); grief, loss, death. None of these things will go away in our lifetimes or the next, and so Don Giovanni as an opera remains relevant. 

In fact, there are no ‘irrelevant’ operas in the standard canon as we know them. Any irrelevant operas that did exist are long gone because there would be no reason to revive them. Even operas that have ‘aged poorly’, like Turandot, confront us with why they’ve poorly aged and force us to reckon with some part of our current world. We react to them in some way and therefore they are worth further looking into.

I call this the “All Dogs go to Heaven” theorem because it doesn’t argue that all operas adhere to the same standard of quality, or are even written with good intentions in mind- but it does argue that they all are worth studying and experiencing. And any opera, as long as a copy of its score and libretto exists, can come back from the dead. So just like the movie, not all of them stay there.

3. The Opera is the Harbinger of Category Crisis.

One of the most common ways to explain away what an opera is, against a musical or a straight play, is to claim that operas are sung through while musicals feature spoken dialogue. Respectfully, this is wrong and insane. Two of the most famous operas of all- Carmen and The Magic Flute- feature extensive spoken dialogue, while Hamilton and Cats (both sung through) are musicals. The notion of operas having specific orchestral or voice requirements isn’t quite true, either- each era of opera, and each opera, is a separate animal.

Is Porgy and Bess an opera, or is it a musical? It features many musical qualities with the latter, and was written by musical-writers - yet it is referred to as an opera. Sometimes it is both. Maybe at some point it could also be neither. Operas do not participate in the general categorization of their Western theatrical siblings. Musical, straight play, ballet- these art forms are immediately distinguishable as themselves. (Note that musicals, despite having a lot of variety, do not have as wild a diversity as operas do owing to their relative youth as an artform.) But an opera can be all three of these and still be an opera. Not only that but there’s so many ways for operas to be- chamber opera, verismo, singspiel, music drama, opera-in-jazz. The opera may borrow from any art, at any time. Its incorporeal form grants it the ability to shift. This is both opera’s great weakness and its greatest boon of all, maybe its most defining operative feature of them all- it can be anything you want it to be.

4. The Opera Dwells at the Gates of Difference.

With their characteristic exaggeration and other oddities, operas are immediately recognized as depicting a world that isn’t quite our own. It’s a world rooted in our own (see point 1) but it isn’t our world. We don’t sing, or gesticulate to that degree, or stab people at the drop of a hat to solve a problem. As much as opera tries to be ‘like us’, it never is entirely so, in a sort of Frankenstein way. 

In this way it is no wonder that all operas focus around difference- from each other, from society, from ourselves. Sometimes this difference is explicit- the ‘othered’, shunned main characters characteristic of the Verdi operas, as in Rigoletto and La Forza del Destino- and sometimes it is more implicit (Tamino and Calaf being strangers to the people around them, Figaro’s position of a lowly barber among Counts and Dons, even Orpheus out of place in the Underworld). The opera seeks to represent the Other. Oftentimes the opera itself is the other. We are all made to learn a new set of social rules when we come to the opera- this equalizes us as an audience, and paradoxically renders us the Other. Opera is about othering and being othered. This is not necessarily good, or bad- it is just a neutral feature. 

5. The Opera Polices the Borders of the Possible.

Every opera begins with- and then revolves around- some kind of transgression. Moral (Don Giovanni slays the Commendatore), cultural (Pinkerton marries Cio-Cio San), societal (Alfredo falls for the courtesan Violetta). The way the opera’s narrative body reacts to this transgression is what will come to define that opera’s theme and what it stands for. Even in the most comic operas, the inciting incident is always a transgression; it is up to the interpreter to detect what the transgression actually is, and from this point the opera emerges all at once like a cracked egg.

Die Meistersinger Von Nurnberg is an interesting case study in transgression. The initial transgression may be seen as Walther joining the Meistersinger contest to win the hand of Eva- he is, after all, not initially a singer, and an intruder on the world of the (educated, cliquey) Meistersingers. But this is not true. Walther initially disrupts status quo when he boldly joins them but he doesn’t stay that way- he is a literal knight in shining armor; masculine and chivalrous, the exact image of how men ‘ought’ to be. Beckmesser, the clerk of the Meistersingers, is consistently depicted as an Other, the nitwit among geniuses; he is effeminate and overconfident, we laugh at his attempts at music making. It is Beckmesser entering the contest himself as a competitor to Walther that is the true transgression in the opera, and the opera surmises this as a bad thing that must be punished through public humiliation and further exclusion. While there is no proof that Wagner wrote Beckmesser to be explicitly antisemitic, the character appears to subconsciously reflect many of Wagner’s antisemitic talking points, adding a particularly cruel underbelly to the way the opera sees the transgression of Beckmesser’s inclusion.

6. Fear of the Opera is Really a Kind of Desire.

Operas are marked by multiple features: Their otherness, their transgressions, their propensity to shift. These all give operas a certain other quality: They are a vehicle for catharsis. The fact that opera is so physically demanding adds to this- an opera is a workout in which emotions about a certain endless topic can be expressed. Salome is terrifying, but through her we can express rage and pure obsession that otherwise would have no place in society. This is also where the falsehood of opera as escapism takes root: When the opera is not given the space to threaten, its catharsis is cauterized into fantasy.

Opera is a space where we can play- already something rare in adulthood- and through the opera we are allowed to play with terror (something even rarer). It is an abstract liminal location only maybe rivaled by a rollercoaster, a playroom, or a shrink’s couch. This sheer radical expression of emotion makes it also easily-mocked by a popular culture unfamiliar with it. I suspect this is because, really deep down, operas are envied. They are so upfront, so passionate, so heartbreakingly sincere that they make those who laugh at art seem small, laughable. But the art form carries on, being unapologetically itself because it cannot be anything else. 

7. The Opera Stands At The Threshold… of Becoming.

What Cohen writes here in the original essay is maybe my favorite paragraph about literary analysis ever written so I’m just going to leave it here in its entirety:

Why do we love opera? What are we meant to do with them, and why are they the way they are? We come to the opera to find ourselves. The rest is just postscript.

[missycolorful]

It's important to remember that the Antarctic Empire, and therefore SMP Earth, is essentially canon to QSMP. (as far as I'm aware) (it definitely will be for this post, so shhh)

Think about all the destruction, mayhem, and cruel things Philza did on SMPE. How nothing held him back. He committed so many war crimes with a damn smile on his face. As part of the Antarctic Empire, he took over the world.

And if SMP Earth Philza is also q!Philza, then it's interesting to see how much has changed since the old days. How, before being thrust into Purgatory, he's been chill and minding his own business. Never really got into conflicts, never caused mayhem or destruction. The only exceptions are two occasions: a) when he returned to the eggs being missing, and he lava casted the Presidential Building, and b) at the Guy Fawkes event.

(Which as I'm typing this I'm realizing. The Guy Fawkes day was an event set the day before things went to hell. An event designed to create mass destruction. An event in which the capybaras gave Philza all the power and control, to blow up with so many stacks of TNT. and Philza fucking loved it. Perhaps to just give us a taste of what's to come.)

But anyway! Philza hasn't really delved into chaos on this server all that much. And even in the beginning of Purgatory, what he has been saying about the Red Team being underdogs is true. They weren't off to a great start; the first day and a half were hell! And yes, he only killed in self defense. He didn't trust the eye worth shit. And of course, he didn't want to hurt anyone. And I'm sure that is still true.

But as time as gone on, as the days have passed, the underdog statement just isn't the case now, as they've embraced what has made them strong, even if they are lacking in other places (i.e. not a lot of PVP players, no enchanted equipment). And they've done some questionable stuff. The situation with q!Rivers, for example. And also one I don't see mentioned which, I think was Day 8? When Phil just. Stole a saddle and a stack of potatoes from Blue Team's base while he was taking/replanting their crops. But still, Philza wants to justify these actions. "It's the bolas way." "it was for a quest" "we did this cause this." He wants to believe that what he's doing isn't bad, because he's just trying to survive in purgatory, right? Philza is a survivalist, this is how he survives.

Then we had today, where Philza's intense gameplay shined. He fought so many people in PVP, didn't even take a second to hold back, used his impressive minecraft skills to work his way to Green's base, and he killed the statue. He went wild today. Just imagine, Philza, wearing the Bolas gas mask, descending upon you with a sword, with no mercy. No, not just Philza, but the Angel of Death.

I think this is what Purgatory wants out of him. Right? Because clearly, Purgatory wants to bring the worst out of everyone.

I also think the reason that q!Phil tries to justify so much of his actions isn't simply ruled as hypocrisy (though it's a bit, in a way) or, in meta, born from self deprecation. No, there's something more to it.

It's because Philza does not want to be corrupted by Purgatory. He refuses to accept that it's dragging him to a dark place. A familiar place, even. I genuinely believe that Philza simply does not want to be like how he was all those years ago. Destructive and cruel. He doesn't want to go back. He's not like that anymore. He's a better person now. He doesn't want to hurt people, and I absolutely believe that. That's different, though, than saying I won't.

[himiko-yumehellno]

Kodaka very obviously wants to make Danganronpa 4, but as many people have pointed out already, this would conflict with the ending of V3. I thought I would make things easier on our resident murder mystery writer who appears to really like making mascots that remind me of Whisper from Yo-Kai Watch, and come up with some solutions to this problem! Organized in approximate order of increasing silliness and grasping at straws, with some additional director's notes from ✨me✨!!

So, how can Kodaka make a new Danganronpa game that works with the ending of Danganronpa V3?:

Danganronpa isn't actually a killing game franchise loved around the world; Tsumugi either lied or was lied to herself (probably with the use of a Flashback Light to make her believe she was a willing ringleader). Allows for some interesting angst if it's the second option.

Despair made a sudden comeback and took over a good portion of the world. Tsumugi fudged some details, but it's true that a lot of the world now enjoys killing games, because normal life is just boring to them (a life without despair and death?! Ugh! Who'd want that, am I right?). We find out in a later installment that the survivors joined with other forces fighting against despair. Danganronpa 4 explores a separate killing game also put on in the name of this new global wave of despair.

Danganronpa 4 turns out to be a prequel (possibly featuring a killing game that the in-game franchise was inspired by, possibly just being one of the numerous previous installments Tsumugi threw out there in her exposition monologue, possibly some secret third option), and ends up with some ridiculous name so fans don't get confused on the sequence of events. Personally, I hope the name is Danganronpa Negative Four.

As so many postgame fics have taken to declaring, the entire game was a simulation. Except to make this work, it probably wouldn't be a simulation designed by Team Danganronpa – no, no, no! Perhaps this killing game was put on by Remnants of Despair or – *exaggerated gasp* – the Future Foundation themselves, hm?

Danganronpa V3 was a really fucked up social experiment and none of the "reality TV" backstory was real. No one knows how it got past the ethics committee, so don't ask.

It was all an alternate dimension/timeline. ... Look, if all it takes to brainwash someone into mass murder is forcing them to come to anime night, they can throw in a little time or dimension travel!

To piggyback on that last idea, the "reality TV" backstory was true; Danganronpa V3 and all the previous installments in this series were fiction... in the Rain Code universe. Or some other video game setting made by Kodaka. Nothing of the sort happened in the actual Danganronpa continuity, however.

Danganronpa V3 was Junko Enoshima's idea of heaven. Of course, it wouldn't have been complete without the despair of her ideal world being destroyed, hence the survivor trio shutting down her killing game show. Danganronpa 4, therefore, takes place in the living world, continuing off vaguely where the Danganronpa 3 anime left off. Notably, all questions about how Junko's heaven works and why she even got to go to heaven in the first place are not solved until a separate anime series, where we find out it was originally supposed to be her hell until she made the demon in charge of looking after her quit and give her full range of the place. It's never answered whether the participants of the killing game were other dead souls or just beings she created.

The entire thing was just the Monokuma Children playing with dolls. ... Or, knowing them, dead bodies.

Before V3 came out my brother had this whole theory that all of the characters were in a pseudo time loop where every time a killing game concluded, they'd just roll out a set of clones of everyone and start all over again, presumably killing off the survivors of the last game. I have no idea how this would solve Kodaka's issue but I want to see if they could find a way to make it work.

I'm excited to see what becomes of Kodaka's newest works, but apparently by his own admission he's interested in returning to Danganronpa at some point, so I thought I'd do the hard part for him. Feel free to take any of these ideas and run with them, Kodaka!

(feel free to add your own suggestions on how to make the ending of V3 work with a new Danganronpa game!)

[lovewanxian]

Greatest treasure

I wanted to write some fluffy dragonji for the Chinese new year, especially considering it's the year of the dragon, so I cooked this up.

The morning after their wedding, Wei Wuxian wakes alone in a bed covered in a random collection of items, including several bunnies. He quickly learns that even the esteemed Hanguang-jun, his beloved Lan Zhan, isn't immune to the dragon instinct to hoard the things he loves.

Read it on Ao3 or below the cut

The morning after their wedding, Wei wuxian woke up sore but happy, nestled up in his many tails and the blankets of the bed. Therefore, it took him several long minutes before he realized that his newly minted husband, the love of his life, Hanguang-jun, Lan Wangji, Lan Zhan, was not in bed with him. 

“Ugh, what is it with Lans and not being able to sleep in, not even the morning after their wedding” , he grumbled. He squinted his eyes open against the sunlight filtering into the room and threw his arms out as he stretched. There was a solid thunk as his hand hit something hard and he paused in confusion. 

Wei Wuxian opened his eyes completely and turned his head only to see Wangji the guqin lying on the bed where Lan Zhan had slept the night before. Bichen laid just further past it on the bed, right next to Suibian. There were also several books of poetry on the bed, a lot of really lovely robes and blankets, some of the art Wei Wuxian himself had drawn of Lan Zhan, clusters of gentian flowers, a basket of loquats, a steaming teapot, the statue of a turtle Wei Wuxian had given him while they courted and … five bunnies. Several other lumps hidden by the blankets hinted at even more items being hidden in the bed. Wei Wuxian was surrounded by so many items on all sides that he couldn't twitch without knocking into something. 

Why the hell were all these things on the bed? And how had Lan Zhan managed to put them there without waking him up? Where was his husband? Nothing made any sense.

It took a lot of effort to sit up, not only because of the many things surrounding him, but also because his body still ached - in a very lovely way, but still, it was criminal that Lan Zhan wasn’t here to cater to his every whim when it was his fault. Absentmindedly, he pulled out one of the bunnies that had buried itself in his tails and petted it. He noticed then that Lan Zhan’s forehead ribbon was still tied to one of his wrists and a smile spread over his face. He let go of the bunny to trace the cloud pattern on it.

It still felt unreal that after everything that had happened - all the death and tragedy and misunderstandings - that not only had Wei Wuxian married Lan Zhan, he had married him in front of the entire Lan sect in an extravagant but tasteful wedding. It was too good to be true, and yet he had the proof of it around his wrist and in the room around him. His home with Lan Zhan. A giddy giggle escaped him. 

Right then, his sensitive fox ears caught the sound of multiple people walking up the path to the Jingshi. He assumed it was Lan Zhan with some servants in tow, hopefully for a bath as he still felt sticky, and smiled in excitement. 

The door opened and Lan Zhan stepped inside. His face was serene with a tiny smile spreading over his face when he saw that Wei Wuxian was awake. He was dressed in only three layers of robes and his forehead was scandalously bare and he was so beautiful Wei Wuxian could die happy. Wei Wuxian loved him so much. 

“Lan Zhan!" Wei Wuxian called out, beaming at his husband even as he tried to sound scolding. “You were so cruel, leaving me to wake all alone in our marriage bed. And putting so many strange things in …”

He trailed off as Lan Zhan stepped into the Jingshi, pulling two people after him that very much were not servants with a bath. The first one was Lan Sizhui, who cast one look at Wei Wuxian, sitting in bed and only barely covered by a red blanket with his love-bite covered chest out in the open, and blushed so red Wei Wuxian was concerned he would faint. The other person was Lan Xichen, whose smile looked distinctly strained and he wouldn't meet Wei Wuxian’s eyes. 

“Lan Zhan!” Wei Wuxian shrieked and pulled the blanket up to cover himself, not caring for the crash it created as several items fell over. His face matched the red blankets. “What are you doing?”

There was no response. Instead, Lan Zhan continued into the room, pulling his brother and son with him. They struggled a little against his grip, but it was clear they had given up on resisting him some time ago. Lan Zhan walked straight up to the bed and Wei Wuxian shrieked again when he pushed Lan Sizhui and Lan Xichen into the bed. They sat themself down as far from Wei Wuxian as they could and just barely avoided crushing the many other things currently in the bed. 

Lan Zhan looked the bed over with a critical eye before nodding in satisfaction. Then he too crawled into the bed and pulled Wei Wuxian into his arms. Wei Wuxian scrambled to pull the blanket with him, lest he give his son and brother-in-law an(other) eyeful. He was pressed close to Lan Zhan’s front and could hear deep rumbles emitting from his chest. Lan Zhan’s dragon tail made a swishing sound as it dragged back and forth across the blankets in satisfaction. 

After several seconds of shocked, embarrassed silence, Wei Wuxian pulled back enough to look at Lan Xichen. The man was still not meeting his eyes. “Okay, someone explain what the fuck is happening right now. Not that I’m not happy to see you two, but why did Lan Zhan drag you into our bed? And all these other things! Why are the bunnies in our bed?”

Lan Xichen cleared his throat delicately. There was a red tint to his ears. “As you know, animal hybrids often take on … characteristics of their animal side.”

Boy did Wei Wuxian know that. He knew no one else that looked at worms like it was a delicious meal, and had never met someone who quite liked to dig in the earth as much as he did. Lan Qiren and Madam Yu - while she was still alive - had both yelled at him about mischievous fox spirits more than once. He also had a spot behind his ears that made him melt if scratched. 

Wei Wuxian knew that animal traits affected people, but what did that have to do with this? The Lans were dragons and as such were far too refined to display any such traits, unlike all lesser hybrid species. As the kings of the animal kingdom, Lans had long ago conquered such instincts. 

Or at least, so he had always presumed. 

“Are you telling me that Lan Zhan put a bunch of things in our bed because he’s a dragon?” he asked, skepticism dripping off his words. To his surprise, both Lan Xichen and Lan Sizhiu nodded. They didn’t elaborate. 

He turned back to his husband and poked him in the cheek until he opened his eyes and looked at him. His expression was blissed out - not dissimilar to how he had looked the night before and Wei Wuxian determinedly pushed those thoughts down considering the company. “Lan Zhan, why did you put all this in our bed?”

“Hoard”, he answered, humming happily. 

“Hoard?” Wei Wuxian asked. “Hoard of what ?”

“All my favorite things.”

It took him a second, looking around in confusion at all the items and the other two people in the bed. Then it hit him and he hid his face against Lan Zhan’s chest as blood rushed into his cheeks. His heart felt ready to burst from love. “Lan Zhaaaaan! You have to warn me first!”

“Mn”, he said, sounding smug and not at all like a person who would warn Wei Wuxian in the future. Wei Wuxian loved him so much. 

“But really, Lan Zhan, couldn't you have given me some warning that you would do this? A little shout out that you would be bringing your brother and our son into our room so I could at least have put on one layer before? Like, I love you and I love them, but this is awkward.”

“Oh”, Lan Zhan said, very quietly, and seemed to really see him for the first time since entering the room. In all his naked, love-bitten glory. His ears slowly turned red. 

Wei Wuxian gasped, half in delight, half in disbelief. “You forgot I’d be naked? I can’t believe you!”

“Baba … can you please stop talking about it?” Lan Sizhui said, his voice choked with mortification. His face was so red and in any other situation Wei Wuxian would tease him so much about it. 

“Sorry, A-Yuan”, he chuckled. “It’s just so ridiculous. Are all Lan dragons like this?”

Lan Xichen smiled kindly, but was still very much not looking at them. “I’m afraid so, though we are usually able to keep it under control once we get older. When we were young, Wangji and I would constantly hoard each other and every time we visited mother, we would bring things with us so we could hoard her too.”

“That is … so cute ”, Wei Wuxian squealed, imagining a chubby cheeked baby Lan Zhan piling toys on his mom and cuddling up to her with an equally chubby cheeked Lan Xichen. 

“When A-die’s adoption of me was finally made official, he put me in a hoard and wouldn't let me leave for three days”, Lan Sizhui laughed. Another squeal escaped Wei Wuxian as he thought of the small toddler A-Yuan had once been, bundled up in bed and surrounded by all the other things Lan Zhan loved.

“I had to do my sect work from a pile of bunnies”, Lan Xichen lamented, but his smile was widening. Lan Zhan let out a little put upon sound and there was a barely noticeable pout on his lips. 

“Oh?” Wei Wuxian grinned so hard his cheeks hurt. He poked Lan Zhan in the chest. “Lan Zhan, are you going to hoard me for three days too?”

“A week”, Lan Zhan said and though his voice lacked emotion, his arms tightened possessively around Wei Wuxian, making him laugh in delight. 

“And what about Xichen-gege and our sweet little radish? Are you going to hoard them too?”

“Hoard”, he agreed, very determinedly. 

Wei Wuxian stifled a snicker at the looks on said people’s faces. They looked like they had expected that answer yet dreaded it at the same time. It was very cute how willing they were to indulge Lan Zhan in his dragon tendencies. There was just one little problem. 

Shifting until his mouth was right next to Lan Zhan’s ear and whispering as quietly as he could, so the other two people in the room couldn't hear him, he said, “Then what about our everyday?”

Lan Zhan stiffened against him and a little gasp escaped his mouth. His grip turned bruising around Wei Wuxian and he purred in response, happy by the reaction he had enacted. “Sizhui, Xiongzhang, you can leave now.”

The two men startled, clearly surprised that Lan Zhan would let them go so quickly. Wei Wuxian winked at them from Lan Zhan’s arms and the color returned to their faces. They left the bed and hurried out of the Jingshi with none of their usual Lan grace. Wei Wuxian laughed after them and then some more when Lan Zhan pulled him in for a kiss. 

True to his word, Lan Zhan didn’t let him leave their bed for a week after that. Luckily, he had gathered quite the hoard of things around them. And the crown of them all was Wei Wuxian himself. He had never been happier being someone's greatest treasure.

[lovemyromance]

AND ANOTHER THING!!

(lol not me running back to make my 2nd ACOTAR post EVER because I've had it with the stupid ship drama)

I'm just going to say it: I don't even care if Elriel aren't true mates or whatever. I don't care if Elain has 2 mates. I don't care if the weird bond with Elucien is real, I don't care if Azriel's mate ends up being Mor, or Gwyn, or mf Alis.

It doesn't matter to me, for one SIMPLE reason.

The readers-us-me & you-are human. Mates, bonds- these concepts are fictional to us. They are not real. We do not understand them because we're not fae/animals/whatevers. The way SJM makes us understand the mating bond is by saying it is soul-level love, it is a love that craves the other person at all times, yada yada yada.

At the end of the day, we don't understand mating bonds unless you compare it to something we humans do understand - love.

THAT is why it was so important to have these couples fall in love/well on their way to the falling in love stage before the mating bond is revealed. That is what makes us understand the true implication of "fated mates". The mating bond isn't about fate about the Mother about whatever the hell spark and glow and fae territorial instincts. At its core, we only understand it and think of it as a positive thing because to us- we see it as everlasting LOVE.

That's why we didn't understand, nor applauded the pairings between Tamlin's parents, why there was no mating bond between Feyre and Tamlin, why Rhys's parents were mates and still had an awful relationship. We only like a mating bond if the pairing is clearly also in love.

That's why to me, the Elucien bond doesn't mean anything. Why are we revering a mating bond that doesn't have any love associated with it? Just what are we revering then? A claim to ownership? A chance of future everlasting soulmate love (aka, it doesn't currently exist though)?

What does it mean to have a mating bond if there is no love to us humans? Why are we cheering for something that's the equivalent of "oh I put a post-it note on your forehead that says you're mine...so...you must be with me now??" Make it make sense. Tell me why you are so hellbent on shipping these characters together who have shown no hint of any attraction or care towards one another.

If Elucien had fallen in love post Elain being yeeted out the Cauldron, I would've been all for it. But we got nothing from them. Nothing other than 3 more books of Elain avoiding him, Lucien avoiding her, no conversation, nothing, nada, zilch.

Why would I root for them? Just because they have a "mating bond"?

To put it in simple terms: A mating bond doesn't mean anything to me if it is not associated with love. Therefore, I am not going to cheer for an Elucien ship that has only a mating bond (not love, at least not currently), nor a Gw*nriel ship that has neither a mating bond (not printed or proven in the text), nor love (not proven or hinted anywhere in the text).

I am going to cheer for the obvious choice, because elriel the only ship that has shown they care for each other and are mutually attracted to each other.

That's all :)

Ok I'm done now someone please take my access to this platform away from me before I post 5000 other Elriel things

[petrichormore]

So about 4halo “dying…”

I’m watching the clip where Forever shows Baghera the book and supposedly “friendzones” Bad because I didn’t actually see the full thing and… why did people think the ship is dead? (I know Forever apparently revived it hours later but bear with me).

Because from where I’m standing, it’s perfectly fine? It’s been more dead in the past. So let’s break the scene down:

(Scene Analysis under cut - I felt like I was watching something straight out of a romcom movie. Also the following is about the CHARACTERS)

So. Forever shows Baghera the book and Baghera asks if he feels the same way. Forever says, “There’s a problem, Baghera - I love him back. (Pause) I love him back, but as a friend.”

Baghera goes “really?” because she’s skeptical and Forever claims that his “heart can’t take it anymore.” (Obviously in reference to Philza breaking it.) He then goes on to say that “After what happened to Philza, I think [thought] I had enough of it.”

I’d like to pause here to point out that at no point in this conversation does Forever sound confident in what he’s saying - he’s uncharacteristically shaken and unsure throughout. He uses phrases like “I thought” and “I’m trying” instead of “I know” and “I am” which imply uncertainty. He phrases his statements like questions, as though he doesn’t know what’s going on in his own mind.

Anyway, Forever says he likes Bad “as a friend” but his reasoning is literally just “I’m not ready for this right now” which… makes no sense to say if the first statement is true. If you aren’t interested in someone, you probably don’t justify by claiming you aren’t ready - because it’s just a fact relating to the other person. Saying “Oh there’s a big problem - I like this person as a friend because my heart can’t take the pain of heartbreak anymore!” Like. That doesn’t really make sense, does it?

He also tries to bring up a conversation dramatrio had a while back about how friendship is better (based, btw) - but to me it honestly just sounds as though he’s trying to convince himself rather than making a statement. Again, he sounds very confused. In response, Baghera points out that “not everyone is happy” with just friendship.

Forever also seems to be just generally confused with Bad’s behavior, as he sees it as uncharacteristic (which it is) and therefore disingenuous. This actually seems to be the main source of distress for him: whether or not Bad actually loves him. He talks to Baghera about how he doesn’t even know if it’s real because it’s so unlike Bad - Baghera agrees that it’s strange coming from Bad, but she believes Richarlyson when he says the book is genuine. Forever doesn’t, and later on in the stream he apparently reveals that he doesn’t understand how Bad could love him in a romantic sense and doesn’t want to be drawn in to something that might not be real? (Maybe???) As Forever is still streaming, I can’t go over it but I will when I can. Either way, this doesn’t seem like the type of worry a person who doesn’t reciprocate any romantic feelings would have? Like cool story bro but this really shouldn’t be relevant if your only feelings are platonic?

And Baghera? Baghera literally notices this! She sees Forever’s indecisiveness and says “Okay, but if you don’t like him like that, well, it’s not a question, you know?” She calls him out on it directly.

And Forever doesn’t acknowledge it at all. He just moves on and says that if Bad had approached him when he first joined, he would’ve been delighted to add another boyfriend in alongside Philza [Specifically, he brings up a song about Snow White and the phrase ‘Why have just one when I could have seven?] This, while funny as hell, has nothing to do with the conversation and it honestly comes across as Forever trying to examine his own feelings and failing miserably.

Baghera asks “So you’re sure you don’t want anything to happen with Bebou?”

Forever responds “yeah” and then immediately follows it up with “The problem is that after what happened, I’m really…” So ‘yeah’ is not an actual answer here, just a transitional word. (And again, notice the strange justification. The problem apparently not a lack of romantic attraction?)

Baghera follows that up by asking if Forever doesn’t want a relationship with Bad because he has been hurt by his previous ‘relationship’, or because he has no romantic interest in Bad specifically. Forever… doesn’t answer. He says, “Yeah, that’s a good question because I don’t even know if he likes me like that, or if he just loves me as a friend.” Once again, ‘yeah’ is not an answer, just a transition. Congratulations, Forever, you specified exactly nothing.

And thennnnn Forever is back to being worried over whether or not Bad likes him or like-likes him (it’s like they’re all gossiping 10 year olds hehe). He’s scared to ask him directly because he doesn’t want to “hurt him” (by ‘him’, I mean BBH) but it really just sounds like he’s a goddamn coward (affectionate) and is using that as an excuse. Especially since he phrases it like a question.

Baghera decides to take pity on him and offers to sneakily question Bad about it and then report back, which Forever immediately agrees to (it’s the most enthusiastic he sounds during the entire conversation). Forever than says that he really wants to “know what is happening” and to “take care of Badboy because he’s really important to me” (?? We all know, Forever, but okay cool I guess?? /j)

He finishes by reasserting (to himself, mostly) that he doesn’t want a relationship specifically because he’s trying to focus on his career, family, and friends (and because Philza broke his heart). He never says that he has no romantic interest in Bad besides the very first “as a friend” comment, and, in fact, somehow avoids saying it even when Baghera asks him directly to his face!

He honestly gives every reason for not wanting to be in a relationship except for “I’m not interested in the other person.” Like that’s the one thing he doesn’t say.

So. Take that however you will.

[kyouka-supremacy]

The very opening in BEAST and the implications of The Heartless Cur about Akutagawa constantly stuck in a dissociated state as a child in the slums does incomprehensible levels of damage to my brain. Living in a state where you're always starving, always fighting for scraps, being beaten by adults, waking up next to dead friends, having to maim or potentially kill at such an early age, escaping from traffickers so often, etc. are all so horrific that it's no wonder why he was called a child without emotions. Having to experience the grief, pain, and terror as it comes and goes in his situation would be a kind of hell that would be impossible to survive. Part of his brain probably shut itself off to avoid any more pain and distress. I have so many thoughts about it. There is something extremely heartbreaking about how despite living completely dissociated from his emotions, and possibly pain --to the point that he stared off into empty space while being beaten, or couldn't even express enjoyment at warm meals-- his priority had always been taking care of and protecting Gin and his friends. The one panels where he (gently, i have to mention) holds his friend that had frozen to death in their sleep, and him cutting a man's arm off for harming his friends imply that he either had the responsibility or took it upon himself to deal with the difficult and dangerous stuff. I am in the trenches losing the idgaf war

Akutagawa, upon feeling rage and hatred for the first time, thinks, "I've gained the ability to feel. Therefore, I'm no longer a heartless cur." Implies that he probably didn't see himself as anymore human than anybody other adult, which, considering that is all he had been called, he probably internalized. His friends were capable of smiling and experiencing joy with each other and also capable of experiencing sadness too. Did he ever look at his friends having fun and think something was wrong with him to be unable to feel anything or express it if he did? How did he feel looking at his sister--his other half, the most important person - while trying his best to take care of her and be the best for her while not being all there? How does it affect him now? So many questions and I'm going insane about it. Sorry for dumping this onto you but I needed a victim

Anon, have mercy on me

I think that Gin is such an important part of Ryuunosuke's character exactly for that. It is impossible to transcend from it– if you forget about her, you're just failing to comprehend Ryuunosuke. Gin is literally the only factor that keeps Ryuunosuke human. We see him lash out and we see him howl and we see him being beaten up and we see him act with not an ounce of reason; for most of the story, we see nothing of Ryuunosuke but a rabid animal. But I think the moment he shows to truly care about Gin, that's the moment the reader starts perceiving him as human, as well as the moment we start feeling sympathy for him. Unexpectedly and unpredictably, he shows a side of him that isn't violent and bestial, a side of him that is caring, that is loving towards a family member, something that is easy to relate to; then, even him can be human. Even in the slums, even when everything else of him seems numb and detached and heartless, he still cared for his family first. He still made flowers with his ability and retaliated against anyone who mistreated his siblings. When one of his friends got hurt, he carried them on his back. When a dog killed his friend, he mercilessly slaughtered all the dogs in the vicinity. What's that, if not the only way someone who never knew anything but violence and pain has left to express love?

Of course Ryuunosuke had internalized his being not human, of course he believes that. Of course he's the first who considers himself a dog. But that's what makes Ryuunosuke's character development so meaningful, isn't it? Isn't that true that it wouldn't result as impactful if such a strong ability to hate and such a strong ability to love didn't come from a place of true incapacity to feel? It is, alright, a simplistic perspective, but Ryuunosuke's story really is the succession of quests that have him gain emotions, and with every new one he becomes a little more human, till he's reached the fulfillment of his being. Maybe love really is the ultimate thing that makes us human.