#and I think BECAUSE of the way they changed the context it makes sense

[cheapshrimpysheep]

Hiii!! is it okay if I request a comfort(?) scenario/headcanons with Vil, Idia, Malleus and Lilia where a female protagonist feels self-conscious about having stretch marks and/or cellulite, thanks (Sorry if it's not spelled well, English is not my native language)

COMMENTS: So... even though I myself am a woman, I genuinely never saw stretch marks or cellulite as something bad or ugly, and I still don't. So maybe making the characters share the same vision as me would be accurate? The only exception to complete indifference is Vil, but not in the way you might be thinking.

Btw, I didn't see any point in writing this in a context other than an already advanced relationship given the topic. Fortunately, the 4 characters are 18 years or older so it doesn't end up being... you know, too weird.

I explain at the end why I couldn't write anything for Malleus or Lilia. But despite that, I hope you and all like what I managed to write. ❤️

CHARACTERS: Vil Schoenheit / Idia Shroud

TAGS: Fluff; Fem!Reader; Comfort; In a Relationship; Suggestive(?)

WORD COUNT: An average of 580 words per character

CONTEXT: I don't think it would make sense for two people to have this kind of intimate conversation outside of a romantic or even sexual relationship. So in that situation, he and you would be in a relationship.

This was an insecurity of yours from the beginning. After all, your boyfriend was none other than Vil Schoenheit. It would be worrying enough if he were a normal model, but he's not only a super model but one of the biggest in all of Twisted Wonderland.

He had already noticed that since you started dating you seemed more worried and less confident about your appearance and that was when he said to you:

“I am the one who needs to be perfect, not you. If I wanted to date a model I could do it, but my standards in romantic relationships are others. Different from some of my colleagues in this field. I will always help you to further improve your image if you wish and feel comfortable with it. Please don't see this as me wanting you to change your appearance, but as an attempt to make you as beautiful on the outside as you are on the inside.” He pauses for a second. “However, for some reason, there's something that bothers me about the possibility of making you start living the same lifestyle as me.”

But he would only get the answer to why that bothered him later.

“The truth is: you are my escape. I don't feel the pressure to be perfect with you because... you know I'm not and yet you look at me with more admiration than anyone else. You are my escape from the superficial and futile parts of my professional life. When you live in these types of environments, you start to lose track of what really matters and what really does you good. Thinking about you being swallowed up by this... and losing your genuine smile... because of me... I can't allow it! Please know that no opinion about your appearance matters other than your own. And it wasn't just that that made me fall in love.”

This may have made you feel more comfortable and confident about your appearance again, but as the relationship became more serious and you became more intimate, eventually your problem with stretch marks and cellulite began to affect your mood again.

At home, Vil had massage sessions from time to time not only to help him relax but also for other healthy effects it had on his body. He thought that now that he was dating you, maybe it would be interesting for him to buy massage products and for you to start having these sessions with each other.

“You deserve a massage probably even more than I do.” He tells you, referring to the hardships you go through with Grim and the others.

And that's when he realizes from your hesitation that something about your appearance has bothered you again. He asks you to tell him and that you can trust him. After all, if you couldn't, what kind of boyfriend would he be? And you end up talking about your stretch marks and cellulite.

“I see.” He says understandingly. “I've never had them myself, but I've met many women in the beauty industry who talk about it to each other. Not to mention the advertisements for products for it. Do you remember what I told you when we first started dating and you felt less confident about your appearance? I am the one who needs to be perfect, not you. Furthermore, from what I understand, these marks are usually found on areas around the stomach, hips, breasts, and thighs.” He looks at you seductively. “You don't really think I would have any kind of criticism if you gave me the honor of seeing these parts of your body, do you? Why don't you let me give you that massage? I'll show you what I truly find beautiful about you.”

At first you didn't even think about it. It was only when the relationship started to get more serious and you started to sleep together from time to time that you started to worry.

Especially when Idia started having less of a problem walking around you shirtless. And giving hints about how he would like to see you wearing his shirts, without pants.

One day he says he wants to acknowledge the elephant in the room, but instead of asking why you hide your body so much, he asks if you still don't consider him worthy of seeing his girlfriend comfortably sexy.

“You never hid the fact that you like to see me shirtless.” He says while playing some game on the computer. “I also want to see you like that. Not necessarily shirtless, that's another level, but like, you know I don't like to embody the confident handsome guy who likes to walk around with little clothing on." His hair starts to turn hot pink.” But... I like how you look at me when I do. And what you say. Which I never understood ‘cause I don't even have good physics. But you do! You would be that character that every player simps for.” He sinks into his chair. “But I understand, getting that kind of look from me is disgusting...”

You may have your insecurities, but he has them too. And finally you feel the need and the comfort enough to reveal to him that that isn’t the problem, that you would also like him to find you hot as you find him and that the problem is your marks.

“What marks? Like scars? Don't tell me you have cool battle scars, like doesn't that make a person even sexier?”

You say you're not talking about scars, but stretch marks and cellulite.

“... Yah... sorry, I think I rolled a natural 1 in intelligence for this. What was that again?”

You say they are marks, irregularities and dimples in the skin and that he can search them on the internet. He does that.

“It says that these are natural things that don't do any harm. But they can impact self-image.” He researches a little more. “Wait! Are you trying to tell me that you find these strips and irregularities ugly enough to the point that you have to hide them? THIS?” He smiles mockingly “Oh no! How horrible! Your skin looks like... skin! What a tragedy!”

He will be very happy if you can laugh with him.

“As if I would even notice that. It says here that these marks are usually found on areas around the stomach, hips, breasts, and thighs. Do you really think that if I saw these parts of your body it would be little stripes and dimples that would catch my attention?” The pink in his hair becomes more intense. “I may be a shut-in but don't lump me in with those worms who define their standards based on adult videos. I can assure you that's not what you'll have to worry about if you take your clothes off in front of me.”

He finally looks at you with a seductive look and smiles confidently when he sees that you are flustered.

I really really really tried to imagine scenarios with Malleus or Lilia, but I couldn't think of anything very meaningful.

Malleus wouldn't understand the problem even if you tried to explain it to him because... it doesn't make sense to him. They're just marks. He also has marks, like, on his forehead. Is there something wrong with this?

And Lilia would just laugh for you thinking this is a problem and just tell you to forget about it.

They wouldn't understand, because it wouldn't make any difference to them at all. And that's it.

With Vil and Idia I was able to think of something because they are, like, from this generation, and because one is in the beauty industry and the other is, probably, chronically online, they can see where your insecurity comes from. But for someone like Malleus or Lilia, this type of insecurity has no basis whatsoever. I really don't know what to write with them.

Sorry. 🥺

If you dropped in here out of the blue and want to read more from me, you can find it in my pinned post: INDEX

[michanvalentine]

I was asked if I had any thoughts on Astarion's character development in terms of taking responsibility and making choices. And him coming to terms with that part of his past he's ashamed of. In the past I didn't dwell on it in detail, normally I write down on the keyboard what spontaneously passes through my brain. But I think they are excellent food for thought, so I will try to express what I think about it.

Here’s a little ramble, just because I love psychology and think it’s something to always keep in mind when discussing Astarion. If you’re not interested, feel free to skip ahead!

(Let’s talk a bit about the self.

The self is quite a complex concept with many facets. Briefly put, it’s shaped by various internal and external factors and reflects a conscious image of "me." In psychology, it’s key to building the Ego of an individual—the capacity to act, understand, organize, and interpret experiences. The Ego provides a sense of uniqueness, coherence, and personal continuity since the self encompasses many "faces." All this forms the personality of an individual, which naturally develops (and changes) throughout life.

Particular attention in the formation of the self is given to sensitive periods, such as early childhood. The self determines the level of self-esteem based on an individual’s assessment of their worth and competence in the characteristics they attribute to themselves (Real Self), their future aspirations (Ideal Self), and what they want to avoid (Feared Selves). The greater the discrepancy between these aspects, the lower the level of self-esteem. Social support and approval, as well as competence in domains deemed important to the self, obviously contribute to perceiving oneself as a person of value.

I’ll stop here, or this will turn into a full-blown psychology lecture, diving into every possible personality disorder! xD)

Astarion, as we know, has had his sense of self fundamentally undermined. For him, the world is divided between those who have power and those who don’t, with the former always being the "winners" in his eyes. The magistrate he once was is long dead, along with his moral compass and the life he used to live—especially after 200 years of servitude to Cazador.

As vampire spawn, akin to a newborn in some respects, Astarion learned to exist solely within Cazador’s world, revolving around Cazador, for Cazador. He was the domineering father figure, and vampire society functions under strict rules handed down by vampire lords. In this hostile context, without any room for self-expression or choice, Astarion developed a fragmented and damaged self-image. Constantly belittled by Cazador as an individual (small, weak, useless, incapable, all words he uses in the game), always pitted against his brothers and sisters, and degraded from a magistrate to a prostitute (this is important because it’s the only skill—or "talent," as he calls it himself—that Astarion believes gives him any value or power, forming the basis for his self-image). It’s easy to imagine just how high his self-esteem must be, right? Most importantly, he never developed the skills to navigate life as a free individual—at least not in a healthy way.

This is why, even if reluctantly (and despite his fear), he ends up leaning on Tav/Durge. Astarion is a follower, not a leader—not yet, at least. He needs a guiding figure to help him figure out what to do because making decisions and acting independently don’t come naturally to him; they terrify him. Especially outside of his talents, sex and survival. He needs to be rehabilitated, re-educated, and to achieve this, he requires a safe and healthy environment where he can experiment and grow, perhaps developing other faces of the self on which to base a new evaluation. Like, I'm not just a slave or a whore: but I'm also a companion, a friend, a lover, a hero and I'm able to listen, to help, to learn, to collaborate, etc. For instance, I think his lack of attention to detail reflects this to some extent—not just his tendency to be dismissive or distracted. In fact, Astarion isn’t stupid at all; his intelligence and wisdom stats in D&D terms are above average. He knows how to move in the shadows, remain unnoticed, and is highly skilled with his hands. Additionally, we shouldn’t forget that Astarion is an excellent observer of bodies, particularly body language. This is especially common when someone has lived in a stressful environment with abusive parents or partners. Recognizing the early signs of what they fear most—abuse—is crucial for trying to avoid getting hurt. The inflection of a tone, the light in someone’s eyes, the posture of their shoulders, arms, torso, etc. Body language is the most direct and primal form of communication and reveals intentions.

This is a skill Astarion has naturally refined, not only through survival but also by interacting with countless partners. It inevitably helps him sense certain things before others do, often saving him from trouble. So, he’s far from just some clueless fool, no matter how frivolous he might seem at times.

Sure, stress kills neurons, but the issue is deeper than intellect. To execute a plan, one needs to make decisions and lead a group—something he simply isn’t equipped to do yet. This also ties to accountability, an inherent part of decision-making—especially when others are involved.

Throughout the game, Astarion grows and begins to reclaim his rights as an individual. He realizes he’s more than an object to be used (he is no longer small, weak, useless, incapable), and he starts to establish boundaries and discover what he truly wants or doesn’t want to do, always alongside Tav/Durge. By the good ending, he even states that with Cazador gone, he can finally find out who he really is and what he wants from the life he’s regained. He’s still afraid—the road to healing is long, and the trauma is deep—but he’s willing to work on himself, which he couldn’t or wouldn’t do before.

A significant part of Astarion’s defense mechanism is dissociation, the ability to separate himself from the terrible things that have happened to him—or that he has done.

This, in my opinion, is how he managed to survive without completely losing his mind. In the game, there’s even a dialogue choice that highlights how Astarion simply repressed everything inside and kept going—a deeply unhealthy way of coping. And rightly so, the vampiric spawn retorts that it’s easy to judge when you haven’t lived through such a situation.

However, when Astarion comes face to face with his victims, that mechanism begins to falter. This time, he’s forced to confront what he has done directly, with all the consequences it entails. He has to look them in the eye, listen to their harsh words, and endure both their pain and his own—without filters, without excuses. The sequence is heart-wrenching, as we all know, but what I particularly love is Astarion’s comment about the Gur children and how, when he delivered them to Cazador, he felt nothing. I love it because it’s followed by an “oh” that speaks volumes more than all the discussions about ascension up until that moment. That “oh” seems to say, “How the hell is that even possible?!”

Astarion is surprised, first and foremost, because what he felt then isn’t what he’s feeling now. Before, he was numb, alienated—a ghost wandering the streets. But now, he’s not. He’s more awake and lucid than he’s been in the last 200 years. This concept is crystal clear when, upon setting foot inside Cazador’s palace, the vampiric spawn states that everything feels different, even though the place hasn’t changed. It’s not the palace that’s different; it’s Astarion!

And at this point, after speaking with Sebastian and Chessa, Astarion is torn.

On one side, there’s ascension, with all the rational explanations—or justifications for Tav/Durge and himself—about why it must be done. The vampire spawn are too many and too hungry; they’ll cause a massacre, etc., etc. On another side, there’s the need to erase the evidence of what he was, of what Astarion endured, and what he inflicted upon others—what these wretches represent as a mirror reflecting his own helplessness and pathetic state. A victim, essentially. And that, for him, is humiliating because he was, in fact, humiliated for 200 years. He’s deeply ashamed of it.

But yet another part of him holds the desire to do the right thing.

In fact, if asked about the prisoners and what he intends to do, Astarion will say he’s weighing his options. Not only that, but Astarion also gives his approval when Tav/Durge tells Sebastian that their freedom depends on whether or not they know how to control hunger. Adding immediately after that they can succeed. Anyway, at this moment, for the first time, the choice and the responsibility are entirely on Astarion's shoulders—and on his conscience. There are no orders from Cazador to carry out, no Tav/Durge acting on his behalf. The most Tav/Durge can do is help him think clearly in a moment when, between fear, the scent of blood in the air, and power within reach, Astarion might not be the most clear-headed being on the planet. But ultimately, the decision is his to make. The first of many more to come.

However, I believe Astarion truly takes responsibility for his actions when, after freeing the vampire spawn, he becomes the leader of the coven in the Underdark in the ending. In this particular case, the transformation is complete—Astarion is a leader who plans, makes tough decisions every day, manages resources, takes care of his people (his old victims, let's not forget), and continually grows in his independence.

Naturally, returning to the concept of the self, each of the endings—whether he travels across Faerûn with Tav/Durge, becomes a nocturnal vigilante in Baldur’s Gate, or even ascends—offers a perspective on how Astarion has changed and how new experiences have added positive aspects to his self-concept. These enable him to increasingly perceive himself as competent and valuable. At this point, I’m afraid I might have gotten lost in the flood of words, and I’m not sure if I’ve managed to address the proposed topics thoroughly. My apologies—I tend to lose myself in my thoughts and ramble on freely! If needed, feel free to let me know, and I’ll add a follow-up! xD Anyone who made it this far is a true hero, just so you know!

[lesbianherald]

hiii I’m curious : what’s your process for creating your stories? like character development, plotting, creating arcs, etc?

thank you for asking !!! i'm going to get way longer and more thorough about this than necessary I feel it in my bones so I'm going to read more this now (I included a few tidbits from my miro board for carry the blade :) )

it's such a mixed bag ! part of this is my adhd lmao, and part of it is because, genuinely, I think each story needs something different.

almost ALWAYS (with one rare exception of a sci/fi fantasy world I've been building for years) I start with character, especially in original work. Because character is everything it's who we're following it's what the audience/readership will grab onto. Usually I have a basic premise and setting already there, but I don't build on it until I get to know who we're dealing with in the story. And then after building up the premise, setting, and plot I do even more character work after.

sometimes.... sometimes I get really impatient to start and start writing half way through the planning process. But anyways.

so I come up with character. do the basics. think about what their deal is. What is the journey they need to have, the lesson they need to learn, what themes and emotions do I want to explore with this character? Why is she important to me? Why will she be important to others?

I also think a lot about relationships

i just wrote a coming of age dramatic comedy for instance, and for that one, I broke up the story into my protagonists relationships. Wrote out the arc/story of each relationship and then combined each of these arcs into the key points that made up the film. Each relationship I wanted to be relevant to her grieving process, as she had just lost her mother. IDK if that makes sense. I wish I could show you but unfortunately I cannot.

for fic its honestly similar, but we already know character, so I usually ask what about this character/these characters am I most excited to explore.

that being said, coming home came to me in the idea for what they'd be like in modern day, and then a single idea for a single scene - their first kiss in the lab. I wrote that first, then asked myself what the context I wanted to give it was. Of course, I changed it a little once I actually got to writing and fleshing out chapter eight.

but this fantasy fic i'm writing is a fun example. I'm building out a lot. I'm building out characters, the world, the themes. - using visuals to help me kind of guide myself.

but because I have adhd and get impatient. I am outlining throughout this process to keep myself entertained. perhaps ideally you'd figure out everything first then outline then write but my brain just doesn't work that way.

in fics, especially, the relationship is so important that I really like to see how the obstacles they face, both due to their own psychology and internal pressures, can reflect the themes, create tension, etc.

but i also like to reflect on side characters too - their motivations and desires. So they don't just become like - flat little reflections of the central love story.

Finally, and this i learned from acting theory mostly - but I love it - is in each scene I like to think of what each character wants, what they are going to do to try and get that, and why they want it. In this fic, wants are something I also look at from a chapter by chapter basis.

side note - and i'm only saying this this far down so hopefully not too may people will see it - but I do have a secret subplot going on throughout the first half of this story that the audience doesn't know about.

in order to make this work I've been mapping out everything going on behind the scenes, and making sure they pair up well with events that people reading will see. it helps me plant little hints and seeds while hopefully not giving too much away (secret subplot in blue, actual story in red)

sorry i know this is such a ramble I just took my meds and had a double shot of expresso so I am buzzing right now lmao! Obviously I'm not the expert and there's not only one way. And also it really is so different for me every time. It's important to think about what the story actually calls for !

[thepunkmuppet]

approaching The Confession Scene and what the fuck. this is genuinely tragic like I’ve always seen it as a meme, a joke, an iconic moment in fandom history, whatever, I’m a tumblr user, but now that I’m actually here it’s just fucking SAD

season 15 as a whole is NOT bad. it’s really not. but there’s zero destiel. they rarely speak at all unless it’s plot-related, one (1) episode pairs them together, frankly season seven was ten times more focused on their friendship and that’s INSANE because cas is only in like five fucking episodes of that one. they have a mini arc midway through the season which is very gorgeous and well-done, but it then goes absolutely nowhere and nothing at all is done to make it textually romantic.

by which I mean: no episodes have dean or cas reacting personally to sam and eileen’s relationship, or any other romantic relationship they come across. we’re never shown anything even remotely romantic even in an unrequited sense (no post-realisation awkwardness, no lingering shots of cas pining from afar, etc etc). it reads like a normal season of the show, which, yeah, I think those two are pretty fucking gay regardless, but they’re always textually written as a friendship, with no explicit cues to clue the audience in that there are canon romantic feelings. and that doesn’t change here, at all.

so I guess what I’m saying is the confession scene is purely just a moment of fan service. as stunning as the speech itself is, and as well as it fits cas’s character, the writers throughout the season didn’t actually give a fuck to make destiel ROMANTIC even in a one-sided way. film is a language and as much as misha does in his acting, even from castiel’s perspective they’re still framed as a friendship within the show itself RIGHT up until he says the words I love you. they weren’t interested in actually depicting a (even one-sided) queer love story, just wanted to give fans their “okay here it is we did it guys!” moment at the end, so that way they didn’t have to actually show an explicitly romantic gay love story, they could just say some words, kill cas off and boom it’s canon! here you go people we’ve been leading on, mocking and low-key gaslighting for eleven years!

idk man it’s just so disappointing. I knew it was and I know everyone has been talking about it for years now but my GOD it’s so bad 😭 I can’t even tell you how bizzare it is to have seen destiel confession meme on here and in various fandom video essays EVERY DAY FOR FOUR PLUS YEARS and now here I am, watching it go down in real time with full context, having watched over 300 episodes of this show, invested, obsessed, and REALLY FUCKING UPSET AAAAHHH

EDIT: forgot to mention this originally. the actual concept of cas’s moment of perfect happiness killing him, while kind of stolen from buffy, is AMAZING. and the literal perfect opportunity to have a building textual confirmation of his feelings throughout the season, where he realises what that moment will be, and it ends in the tragic confession of his love. like that’s insane that’s perfect. but no it just comes out of nowhere so oh fucking well whatever I guess! they’re canon so we should all be happy! I hate this stupid bumhole show AUGH no one talk to me ever :(

[mythalism]

there is a bit of a discourse on twitter about whether Mythal was a slave owner. What is your take on this? I’ve seen arguments that her vallaslin was a mark of honour and she “protected her people”. But also if that was the case, why would Solas remove his marks and propose to do the same to Lavellan?

I wonder if that’s another evidence of her character being sanitised in DAV compared to lore, revealed in DAI

it has genuinely never occurred to me that mythal would not be a slave owner. we know the evanuris practiced slavery. we know the only one who did not was fen'harel, as a result there is no fen'harel vallaslin. there is however a mythal vallaslin both presently and anciently, worn by felassan, abelas, and all of the temple sentinels at the least, and by solas himself once if you assume that is the meaning of cole's comment about him burning her off his face, which i do make that assumption. solas says mythal "was the best" of the evanuris, but that is an extremely low bar. we also now know that she was a driving force behind the war with the titans and their tranquilization and the destruction of the dwarven empire, and she admits to using solas as a weapon of war. i am not sure why any of these things would lead anyone to believe that she is morally above enslaving people. we have literally met the people she enslaved. whether or not they were "devoted" or "willing" (ew) is irrelevant in the context of her power as an evanuris.

i think perhaps dragon age was gearing up pre-veilguard to explore the vallaslin much more in depth however it ended up erasing it completely so we will never know. its possible that vallaslin had multiple meanings, and did not always denote enslavement but could denote enslavement depending on the circumstances. my own understanding pre-vg was that the vallaslin probably interacted with other factors, such as class/wealth, power, and personal favoritism, to varying degrees of personal and political agency so that not every person with mythal's vallaslin would have the same exact experience. solas's experience clearly was unique and we see that in the way that their relationship is presented in his murals, and how they continue to have a relationship even after he has removed his own (assuming thats the timeline and not that they just completely retconned him having vallaslin in the first place lol). but just because solas sees mythal in a forgiving light (sometimes, he goes back and forth, which does make sense considering his complex feelings about her) does not mean mythal was, objectively, that way. its pretty heavily implied that he had major rose colored glasses on for her, and its likely he only saw a certain side of her. we can probably assume that elgar'nan saw a very different one. we have a lot of different perceptions of her from different sources, and different literal fragments of her personality. we also know she changed quite drastically overtime and was corrupted from benevolence into retribution. it is difficult to say with certainty what she was like because the game does not tell us.

however enslavement is enslavement and i think we should be frank about it even if veilguard isnt interested in touching on it. "but she was a good slave-owner!" is a dangerous sentiment reflective of real life, anti-abolition arguments during the american civil war that revisionist racists and white supremacists still use today and i think people should take great care not to espouse the same, even in the context of a fantasy world.

[bambi-kinos]

A question to be taken lightly but not meant to offend you or anything. But who was/ is the walrus? like in the video, in the song(s) and what can it mean, really? ( I "know" the "official" content) but I don't really believe neither wrote songs w/o meaning anything or used double meaning words for nothing. I also don't think everything has a meaning or an answer.

I think the concept of the Walrus is amorphous and shifted around depending on their moods. A meaning can't be pinned down because the meaning changes depending on the context. The most reliable interpretation of the Walrus is that it demonstrates John's mindset depending on how he uses it. Otherwise I don't think there's anything special about the Walrus in of itself.

So the official story is that John wrote I Am The Walrus to get back at the people who were convinced that every Beatles song had a special encoded meaning. John responded with one of his nonsense poems and he ended up choosing Lewis Carrol's creation The Walrus as a touchstone. Right? Right.

There used to be a post floating around waxing rhapsodic about how John modeled himself on the Walrus and Paul on the Carpenter and this was because the Carpenter could ONLY be Paul and zomg you guiz SYMBOLISM. It was all so intentional!!! (Personally I think that shit gets more and more pretentious the more I think about it.)

It's a cute idea but it's missing out on one important factor: John didn't think in those terms. There is a connection between him, Paul, and Carroll in John's mind but it would only make sense to John and perhaps Paul. When John says he wrote it to bite back at critics, who were using their Ovaltine decoder rings trying to figure out the DEEP INTENTIONAL SYMBOLISM OF BEATLE SONGS, I think he meant it. He made the Walrus a touchstone because John loved Carroll's wordplay and poetry. They were aiming for an animal motif and it fit. It was a cute shorthand nod to his genuinely sociopathic partner, John got to watch a bunch of overeducated pencil jockeys trying to figure it all out, he laughed, good times had by all. The important part is that it wasn't a big deal.

But for John there was dismay on the way. People would not shut the fuck up about the Walrus and what it meant and John is getting increasingly angry because it doesn't mean anything and now a bunch of people are getting fired up over nothing and OOOOHHH GLASS ONIONNNNNN. So John puts in the Walrus again on Plastic Ono Band, again as a big middle finger to all of these blowhards and me-tooers all pulling on his coattails going "hey John! hey John! what about the Beatles! what about the Beatles John! what does it all mean John!" So John writes "I was the walrus but now I'm John" on the track God. The Walrus itself still does not mean anything to John, he's just weaponizing the perceptions of fans against themselves. In their minds "the Walrus" represented The Beatles and John's own Beatleness and John knew that. The boomer fans at the time were absolutely convinced that I Am The Walrus was a secret masterwork of unbreakable code...simply because they didn't understand it. "I don't get it so it must be super deep!"

And the thing is John hated that kind of thinking. He appreciated mystery sure but he was a lot more invested in accessibility. He wanted art to be for everyone, he wanted everyone to invest their own meaning into art. That was why he was so taken with Yoko in the first place, because Yoko's artwork is based in creating open ended experiences where the art itself is created by the thoughts and feelings and sensations you experienced while you interact with her exhibits. You don't get in the bag to look cool, you do it so you can have the experience of being in the bag, even if it was just "well that sucked." What John loved about it was the "YES" factor, that Yoko Ono wants the audience to create the art with her by interacting with her exhibits. Art is not a static thing where you sit on your ass and stare at it or listen to it, art is the thing that happens inside your head when you hear "I am the Eggman/I am the walrus/googoo gah joob" and think "what the fuck does that mean" and then you develop a personal interpretation with your thoughts and feelings that belongs to you and you alone. (And that is why Yoko is actually kinda underrated! She was too hip for the room man. You just don't get it man....)

But the fans and overeducated idiots didn't want to do that. They wanted strict prescriptions for interpreting Beatle music. Many fans refused to appreciate I Am The Walrus for what it is: a silly and slightly lewd/violent nonsense poem John probably worked out on the back of an envelope. (Written with Paul's bottom as a table, I'm sure.) They wanted it to be more than it was instead of appreciating the joy that John gifted them by singing the song for them.

So John turned it around on them in God and on Plastic Ono Band. They want to believe in the Walrus so much? Fine. He'll kill the Walrus. It's dead. There is no more Walrus, there are no more Beatles, there is only John, and Yoko, and John&Yoko. The fans wanted the Walrus to mean something so badly that they strangled the poor thing to death and John had to put it out of its misery. That poor fucking creature, John just wanted it to amuse the children and look what the cretins made him do. The Walrus was supposed to be a cute nod to Lewis Carroll, not be a fucking Beatle thing!

It's important to note John's (warranted) bitter and volatile mindset towards the Beatles machine. I want to make a whole post about it someday but John was pretty furious and I think he was right to be. But he also chose to deal with it by killing what the fans loved. I think he was justified but also, oof.

Wrt the music video: I believe it's Paul in the Walrus costume right? George referenced this in the When We Was Fab music video where there's a left handed bass guitarist in the Walrus mask. So yes, there was a link to Paul and the Walrus in the beginning. I think this was part of John's private joke. Paul was the closest to his heart so of course Paul should get to play the character from John's favorite poet. John even references this in Glass Onion, the last time he tried throwing Paul a bone. But again, I don't think it meant anything overly deep or significant as a symbol in of itself. The Walrus doesn't mean anything innately.

But then we get into the interesting stuff: John referencing "the Walrus" in his Just Like Starting Over demo. Specifically referencing taking the Walrus back to bed! Well, well, well. And I believe there's an interesting line from Paul in 1979 isn't there where he says "I am the walrus/was the walrus but now I'm Paul" in an interview or something? I may be making that up, I'm not sure.

So what does this big slurry mean?

I think that the Walrus started out in John's mind as just a cute literary toy for Beatle fans to puzzle over. The overeducated and overeager pencil jockeys got one in the eye trying to make sense of gibberish and John got to indulge in his love of cosplay by sticking Paul in a Walrus suit. And it should have ended there, except it didn't, everyone and their dog assumed the Walrus meant something (what about the poor Eggman???) and John tried to pacify them and then that didn't work and then he goes FINE YOU DON'T GET TO HAVE A WALRUS ANYMORE. And he pulps the Walrus.

The change comes with John's shift in mood. Paul's arrest in Japan legitimately threw John for a loop IMO. That's when John started softening towards Paul, that's when Bermuda happened and his creativity came roaring back. The sudden reminder that he could lose Paul forever and then John's realization "I can steer my own ship, I'm in charge of my own life!" which resulted in John starting the process on leaving Yoko under his own power, a very vital point. John was getting his own divorce lawyer according to industry rumors. John was reemerging as the hero he needed to be to save himself and forgive Paul.

All of that culminated in "the time has come the walrus said/for you and me to stay bed again." If the Walrus charts John's inner landscape and his personal feelings towards Paul then this means he was coming out of the fugue and wanted to dote on Paul again, like he used to. Figure out where they could go from here. And it seems John was very optimistic about his future with Paul to be perfectly honest. Taking Paul back to bed after all that time? And Paul seems to have been the one who instigated it! He was still hot for John! Whew!

So all that IMO is what the Walrus "really means." I don't think it's definitive and there's lots of stuff I am definitely missing and didn't include here. Someone I used to know once said she didn't put anything past John because he read everything and kept it all stored in his head, so who knows maybe the jerk off interpretation about the Walrus and the Carpenter and Paul is true.

But ultimately it's just a word with no genuine connection to its animal counterpart and the purpose of it is as a demonstration of John's personal thoughts and feelings mostly (but not always) relating to Paul McCartney.

[schraubd]

Things People Blame the Jews For Volume LXXIII: Los Angeles Wildfires

The raging fires that have torn through the Los Angeles area are gripping the world's attention. Natural disasters like these don't typically have a direct culprit to blame, though of course, in a more abstract sense changing weather patterns brought on by global climate change play a role. Or, you know, it's a Jew thing. Jewish control over the weather is well-known trope to readers of this series, and few can forget congresswoman Marjorie Taylor Greene contributing "Jewish space lasers" to the antisemitic dictionary. But a variety of far-left groups now are making their own entry into the genre by tying the fires to America's support for Israel. For some, the rhetoric seems to be one of divine retribution, akin to how Mike Pence thinks of hurricanes ("When US taxes go to burning people alive in Gaza, we can’t be surprised when those fires come home."). Others play the game where America's foreign aid budget is presented as dollars out of hard-working American pockets, or, in this case, the Los Angeles Fire Department budget -- never mind that those pots of money have nothing to do with one another and in any event the widespread meme that the LAFD faced a draconian budget cut last year appears to be false (the fire budget is actually $53 million more than it was last year, but if I fact-checked every subclaim in this series I'd never get any sleep at all). More broadly, I was just thinking about how the immediate right-wing pivot to blame the fires on "DEI" (by which they mean, the fire department has women in its leadership) reminded me of classic antisemitic conspiracy theorizing -- the immediate impulse to find the Jewish connection and shriek "this explains everything!" Whereas some pin every bad thing in the world on "the Jews", others do the exact same thing but plug in "diversity" or some other analogous buzzword as their "explanation of first, middle, and last resort". Remember when the Wall Street Journal blamed the collapse of the Silicon Valley Bank on the fact that it had one (one!) Black director in its board? It's the same play. The conspiracy theory "explains everything" because it always "explains everything", because that what a conspiracy theory is -- it is a way to immediately, reflexively, and automatically explain anything and everything by reference to whatever it is you hate. The "wildfires are caused by DEI" takes the rhythm of an antisemitic conspiracy theory and applies it to a new context. But while I certainly enjoyed basking in that familiarity, it is always reassuring to know that someone would go the OG route and blame the Jews and Jewish institutions directly. Not that I had any doubt it would go that way -- it always does, sooner or later. via The Debate Link https://ift.tt/HbFjEmx

[goldentigerfestival]

honestly the basic way I can say it about Vesperia's dub is that like... it doesn't sound that bad when it's all you know for context, but then when you just hear it in the original context (not even also having the original context, but hearing it), you realize just how much tone they changed.

it all makes sense in the dub because of the context they changed to make the tone fit with it, but when you hear the original tone, suddenly the dub context starts losing its foundation. basically the only way, in some cases, the vocal tones work in the dub is because they changed the context itself, and changing context/meaning/the message of what's being said is just a HUGE no-no for me.

I've probably mentioned this before but most of the contextual changing happened with Yuri. in a lot of cases for me like with Raven and Karol I much prefer the original delivery and that's a preference, and in some cases there were little to no changes (primarily the first and second visit to Dahngrest were mostly the same). a lot of them just center around Yuri and given that he's my baby boy, I'm just naturally set off by it lol.

[epiphainie]

i can't with all these "the show is highlighting tommy's jealousy, they're planting seeds that it will cause problems" takes like bffr. he mentioned being envious over the 118's dynamic twice, sure, but in what world (literally how?) would that cause a relationship problem? do yall expect him to be in cahoots with gerrard behind their back and murder buck to take over his life or something?? like even with the hyperbole aside, i genuinely cannot see how they can turn this into relationship drama without going against everything they showed us with tommy so far

[plasterhound]

this is your sign to PLAY MR RAINER'S SOLVE-IT SERVICE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[maxiwaxipads]

Romarriche - “Your company is one of a kind… I would never lie to you. I would never say a half-truth or be quiet.” “What is it in your mind, Merold?” “Hearing your voice, complaint or not—it is music to me either way.” Merold - “If there is one constant in this world… Let it be you.” “You’re the cruelest and the kindest thing that happened to me.” “…If only you continued to look at me like that.” Romarriche - “…Merold?” Merold - “But~ It’s only a minor case of bad-mood-itis.” “So Romarriche, spoil me with a spar, will you?” Romarriche - “Merold.” Romarriche - “Look at me.” Merold - “…” Romarriche - “Is something… Wrong?” Merold - “Instead of a spar…” “I might want to lie down on your lap after all.”

[quietwingsinthesky]

oh, yeah, another thing i noticed that was odd about s5 in comparison to earlier seasons was how much they relied on like. not the history of the doctor, exactly, but the image of that history. whether from little easter eggs of the first doctor’s picture popping up everywhere to i think the two(?) times in the season we get a montage of past doctors. and i honestly can’t remember anything like that happening earlier (with the exception of the time crash short, which felt more substantial to me and was also like. 7 straight minutes of david tennant being allowed to fangirl.)

and i say ‘the image’ because hell knows the RTD era was pulling from doctor who past left, right, and center, but it rarely felt like a moment of ‘look at this old thing, you remember old thing? old thing was cool and so are we for continuing it.’ and more like ‘here’s a species/character/etc from classic who. and here’s how they’ve changed and fit into the new world we’ve built for the show.’

I guess, the difference here for me is that. i haven’t watched classic who. s5 shows me a slideshow of doctors and to me, those are the guys i once ranked by how sexy i think they are. and not much else. i don’t have an emotional connection to an image. but take, say, school reunion? an episode that was my favorite even back when i was a kid specifically because i adored sarah jane? i had no idea who she was then, i only just figured out a little bit ago which doctor she traveled with, and exclusively all i’ve watched of her is that episode in s2 and the sarah jane adventures. and yet, that episode, without the context there for me, managed to make sense to me. i’m sure it was probably even more impactful to fans of sarah jane from classic who, but it didn’t lose its impact without that knowledge.

so, that’s a shift. i don’t want to say it’s a negative one, exactly, because maybe people who have seen classic who like these references and i’m missing something. but, to me, it feels a little more shallow.

[featherymainffins]

Now this might be because I have issues but is it just me or does Slay The Princess feel like an allegory for a relationship?

[monomori3]

i love when character designs of non-human but humanoid characters includes details to work WITH the inhuman-ness rather than work AROUND the inhuman-ness

[nthflower]

I have things to say but no words to explain and my talking skills are not enough can someone telepathy me right now. I need to share my pure thoughts directly.

[girl-bateman]

Sleepless night </3