#and I'd love to read more

[marlynnofmany]

I'm tired of stories about eeeeevil shapeshifters who infiltrate humanity. Gimme a story about humans being the sneaky spies instead.

Depending on what the aliens look like, we won't need any special abilities other than a good costume/prosthetics department.

[poorly-drawn-mdzs]

HOT, SINGLE, UNSTUDIED SPONGES. 3000 NAUTICAL MILES AWAY. Come sail the distance and read Tiger Tiger!

[composeregg]

edit (10/23/2024) now that the poll is over: Original version, with 10 questions, from April 2023 here

And, given that the original is from April 2023, that means I can very easily say:

No, this was not an ISAT reference!

Just because I use parentheses and 2nd person pov and love the same concepts of what a time loop can do to a person doesn't mean it's ISAT

(Yes, I like ISAT, the original poll is why I was recommended the game! But if you look at the original, you can see all the origins of the options to choose from, including what spurred me on with the moss option from the replies)

If I were going to make something for ISAT, I would never be so vague, you can simply look at my ao3 for proof of that

[svtskneecaps]

i also just want to point out the qsmp members' commitment to like never letting the inactive members die. like dantdm logged on twice and is canonically dead and everyone continues to blame mysterious happenstance on him. spreen is canonically dead and yet people are still like namedropping him even tho the house façade he built has been demolished and also probably consumed by a mountain. they meme on kameto who's barely been on except that time he was a fed spy that was iconic as hell. they just immortalize their members and they're always so happy to see old faces come back and it lowkey makes me emotional lmfaoo like missa barely logged on for a while but goddamn nobody forgot his name bc philza can't go one day without mentioning him and mariana barely logs on but every time fit saw the homeless mariana in roier's city no matter what he'd stop dead and tell it "come home" and when slime came back to the server for elections after having logged off for the last like two months everyone was still excited to meet him bc the others had kept his memories on the server fresh and alive, maxo died canonically in the nuke and pierre pasted his face all over the server, luzu vanished for months and we never forgot him either thanks to the computers and foolish's wack ass family tree. like when purgatory teams were chosen and team red constantly joked about how it would be so over for the other teams once germán logged on despite the fact that germán had only ever logged on ONCE, the way they cheered when they snatched rubius in the split of green despite the fact that rubius hadn't logged on more than twice since march. they just keep the names alive all the time and it's like

it just makes me really happy to see. like it makes me really happy. like the admin team and the members alike are like 'no way in HELL are we letting your memory go' like damn once ur on isla quesadilla you really are stuck as an islander forever :D

[museaway]

this came up on discord yesterday & now I'm curious. think of the ship you have shipped the longest. how many years have you shipped it?

[ilk-insolence]

Raph Is A Great Strategist

Numerous times in the show Raph has shown to have a preference for straightforwardly punching his problems away rather than think up a more complex solution. Like how his immediate fix to getting Mayhem out of the mirror in Mystic Library was to punch everything in the bathroom but the mirror. However, when Raph understands the situation requires more in depth strategy, he’s shown to be an incredibly capable tactician.

(long post ahead!)

In nearly all the plot heavy episodes like Shadow of Evil, Many Unhappy Returns, and the season finales, Raph gets moments where he’s highlighted for his strategic thinking. In Insane in the Mama Train, he’s the one who figures out which eyeball-button goes to the front car with the dark armor, because “‘it was the only button [the Foot Clan] didn’t want me to press!’” [21:05]. He’s also the one who came up with the scheme to defeat all the (known) combatants in the train, with Leo specifically attributing Raph as the deviser during their mind meld [19:46]. In Many Unhappy Returns, after spending a single night waylaying the Shredder, Raph formulated a plan using all the tricks the team learned, seamlessly transitioning the mystic collar Leo acquired into it [19:53], to defeating the Shredder. Additionally, he’s repeatedly called for a retreat during fights, like in Shadow of Evil, Shreddy or Not (Finale pt 2), and the movie, when he can tactically recognize that a battle couldn’t be won. Each time, the show/movie implied that that was the right call, for the family to lose the fight but win the war.

And it’s not just that Raph is good at strategy when he’s pushed to be more serious; the show characterizes him as passionate about creating plans, he enjoys doing it. Literally in the first episode, Mystic Mayhem, after the turtles’ initial plan failed of getting Splinter out of the living room to touch his Do-Not-Touch Cabinet, Raph immediately started devising a new plan that involved “ten chickens [and] a gallon of rubber cement” [9:35]. It was convoluted, sure, and they didn’t end up using it, but it was inventive and the opposite of reluctant. This is also shown in Bug Busters, where Raph planned out dousing Mikey in honey to attract the oozequitoes [2:52]; Snow Day, with the idea to freeze Ghost Bear like in Jupiter Jim Pluto Vacation 4; and Raph’s Ride-Along (and also Bad Hair Day), where Mind Raph created multiple schemes to get the criminals arrested. The show wouldn’t have made Raph be so creative with his plans if they were trying to characterize him as someone who didn’t like strategizing.

So does why Raph do stupid shit sometimes where he doesn’t think things through at all? Well, even though Raph is good at strategy and enjoys doing it, it’s clear his immediate impulse is still “punch the problem in the face”. In fact, all the turtle boys contain the fascinating dichotomy of being incredibly smart in some areas, and the dumbest teenagers alive in others. Just look at Donnie. It’s also how Raph is a loving protective older brother, and the guy who shoved Leo into a wall so hard he disappeared in one frame for shits and giggles (The Mutant Menace x). None of this means that Raph is bad at strategy though.

tldr: Yeah, Raph has a lot of dumb and, frankly, insane moments in the show, but he’s still an incredible tactician who’s plans consistently saved his family and sometimes the world. He's a great strategist.

[hellsquills]

Disclaimer: I know about the duffle bag Filbrick threw at him, but you can ignore that if you want

My thoughts below the cut! (this turned into a whole ass fic lmao)

My personal headcanon is that Filbrick is as much of a coward as he is of an asshole. Therefore, he wouldn't have kicked Stan when he did in canon. Probably not for a while after that.

However, he does try to send him to military school. He keeps talking about how this kid needs to learn discipline and respect, and if he's not gonna bring money to the house, then he should at least bring some honor to his family.

Stan obviously does NOT want to go. Not only because it's a pointless war ("what've the vietnamese done to us anyways?") but because he remembers his mother's face when Shermie got drafted and he will NOT make her go through that hell again. Also, he doesn't wanna die!!!! Hello?????

He talks it out over the phone with Ford, who's obviously just as against it as he is. He tells Stan that, if he gets into a PhD program, he could skip military. Stan laughs in his face. It'd be easier to jump off the plane without a parachute.

And so, he comes up with a plan. When he goes to take his physical, he tries his best to botch it. If he is bad enough, if it looks like he can't do it, maybe he won't have to. Unfortunately, the recruiters are far too used to this by now, and they don't buy it. Stan goes home with a recruitment letter hidden in his jacket.

Everything goes downhill after that. He runs away from home, changes his name several times, does some crime here and there... The military is after him, and it doesn't take rejection kindly.

Stan stays out of contact with his family for a few years. He can't risk getting them involved in this mess. They don't deserve it. So he just leaves, without saying a word, in the middle of the night. No phone calls, no notes, nothing. Not even he knows where he's going. But if it just looks like he abandoned them, maybe they'll hate him. That will make them sound more believable with the police. They aren't covering for him, because they genuinely have no idea where he is. It's the best way to keep them safe.

In that time, Ford doesn't stop looking for him. He finds him every once in a while, but only his phone number, and he knows that could give away his brother's location and get the family in trouble. So, against his deepest instincts, he doesn't call.

One, three, five, seven years pass. Stan has been around almost all the country, and is genuinely considering leaving it. Maybe going to Mexico, or Colombia. Those sound nice. Maybe they'll be nicer to him.

He's passing his time and thinking about this in a small town restaurant in wherever he's in (somewhere he's not banned from, yet), when a family enters. He doesn't make eye contact, but he can't help but stare at them: a man and a woman, probably in their 50s, with 7 kids; one must be older than him, the second one around his age, the third one a little younger, the fourth one a teenager, and the last three between 10 and 15, no more. Except for the last three, they're all taller than him, even the mother, and they have various degrees of blond hair. Their clothes (overalls and plastic boots) suggest they must work in one of the farms he's seen around the state. They don't wear any accessories, except for the glasses that the father and four of the kids have. They're talking loudly and laughing. They look exhausted from a morning of hard work. They seem happy. They... look nothing like his family, and yet, he can't help but think about it.

He can't help the sob that comes to his throat. It's loud and messy from trying to suppress it, which obviously makes it worse. He covers his mouth immediately, and at that point he notices the tears that have run down his cheeks. "Great", he thinks, "that will make it easier to hide, for sure".

He doesn't move. He wants to escape, but that will draw even more attention to him, and he hasn't even paid for the food yet (normally he'd leave without paying, but the old waitress was kind enough to give him some extra food when she saw how little he ordered). He settles for not moving, lowering his head and covering his face, hoping that no one heard (unlikely) or cared (very likely).

"Ya'lright, son?"

The voice startles him. I wasn't very deep, but it was close enough to send his body into immediate danger mode. He looks up at the man towering over him, who's standing in front of him at a prudential distance.

"Y-Yeah, yeah, no worries."

He hates how broken his voice sounds. He's spent more than enough time sweet-talking his way out of trouble, he should be better at this by now. The man looks about as convinced by it as he is himself.

" 'lright then. Can I help ya?"

Damn villagers and their welcoming demeanor. If he wasn't a wanted man, he would appreciate it. But right now, it couldn't be worse timing.

"Come get ya food, kids!" The waitress' yell yanks him out of his thoughts.

"No", he blurts out, and he turns to the man. Least he can do is show him some respect and look him in the eyes. "I'm fine, thank you."

The man smiles lightly and nods. "Okay. Welcome to the town."

Stan watches as the man goes back to his table. He wishes he had been more polite, the guy was just worrying about him, but he can't afford it. They already know his face, he can't risk anyone else recognizing him-

"Sweet Mother of God almighty."

Stan turns to his right. One of the kids, the one about his age, is looking at him like he just grew a second head. He's frozen in place, his eyes wide as plates behind thick glasses. He doesn't say a word, and it's getting increasingly unnerving. Was the bruising on his face still visible? Maybe it's more apparent in broad daylight than in the shitty light that last motel had in the bathroom.

"I'm sorry, I- Can I ask your name?"

The fuck?

"No", answers Stan. Considering how nice his dad was, this guy is pretty rude.

"Son, leave him alone." The mother seems to have manners too, good to know.

The guy does pretty much the opposite. He comes closer to him, until he's right in his path, blocking his exit. That can't be good. Stan feels trapped.

"Are you Stanley Pines?"

Well, that's about it.

Stan tries his best to stay still. This guy doesn't look like a cop, not even an undercover one. But he knows his real name, so maybe someone in his family or friends works in the police; or worse, in the military.

"Listen man, I don't know who you're talking about, but that isn't my name. See?" He reaches for his wallet. He pulls out an ID, with a very clear Jackson Cage on it. He makes a mental note to change it soon, just in case his hunch is right and this guy has connections. "Now, if you excuse me, I'd like to pay for my food and leave. Move."

Stan is already on his feet, but the guy hasn't moved. Stan looks him up and down, trying to appear threatening despite his face probably still being a little red from before. He also gauges how feasible it'd be to escape if things turned bad; the dude is taller than him, sure, but he's also as thin as a toothpick, and by the anxious look on his face, he doesn't seem eager for a fight. The real problem would be evading the restaurant's staff and the other costumers, which include eight carbon copies of the guy in front of him. Probably better to try to de-escalate the situation.

"I- I can't let you leave. Please. I know who you are."

This man is making it really difficult to believe he's not a cop.

"No, you don't. I'm new in town. Move."

"Listen, I-"

"Move out of my way."

"I know your brother."

The words are like a bullet between his eyebrows.

"You look just like him-"

Against his better judgement, he quickly grabs he guy and pins him to the wood in between the booth benches, arm to his throat. If he knows Ford, he knows too much. God he just wanted to have lunch.

The commotion is immediate. He doesn't break eye contact with the guy who's grabbing his arm, whose strength is frankly surprising. He can hear, however, the screams from the dad and the siblings, as well as a couple of gasps from the other costumers. This is not going to go well, but fuck that. He's escaped worse.

"Stop!", the guy shouts as he keeps Stan's forearm from blocking his airway. "Don't hurt him! Don't get closer!"

It takes Stan a second to process what he said. The first part, sure, who wouldn't shout 'stop' when you're being attacked? But the second half doesn't make sense. Is he protecting him? The attacker?

Whatever it is, it works. The family stops in their tracks, still very ready to attack if needed. Out of the corner of his eye, he can see the three younger kids moving closer to their mother. For a split second, he feels a pang of remorse for the scene he just caused.

"Hang up the phone, Clarisse, it's okay. Please."

Stan looks in the direction the guy was talking to. Right behind him, the waitress reluctantly puts the phone down.

He looks back at the guy. He looks a little shaken up, probably from the impact his back (and his head?) made with the wooden plank, but he doesn't look scared. He almost looks... sympathetic? Stan is confused as hell.

"I know who you are", the guy whispers, low enough for Stan to hear alone. "You're Stanley Pines, and you have a brother named Stanford. I know him, okay? He's my friend. I met him a few years ago in a quantum physics congress and we've been talking ever since. He told me about his family in New Jersey, and about you. About how he hasn't seen you in years, and how he was trying to find you, to no avail."

Stan is gradually loosening his grip on the guy's neck, who takes a deep breath. He should know better, but- shit, hearing that Ford was looking for him was not what he expected. Even if he doesn't know yet if this guy is lying out of his ass, it's enough to make him doubt.

"I know you were called to Vietnam. He told me. I spent a week with him in his place when he found out, he was unconsollable. When you ran away, he called me. He knew what it meant for you and he thought he'd never see you again, whether you got caught or not. All because of that stupid war." Stan is now trembling a little, he knows it. This guy must know it too, with how close they are. If he stays here any longer he'll break down, but he can't move. Anything to hear his brother's name a little longer. "I know what it's like. Three of my cousins were drafted last year, and I know at least one of them won't be coming back home. Please... let me help you."

Stan meets his eyes. They're green and brown-ish, not unlike the immense fields he's seen in his last journey, the one that led him to this town. With the years, he's learned not to trust beautiful eyes, because they are better at hiding. These ones, however, seem serene and honest, just like his words, and he can't help but believing them. This guy, whoever the fuck he is, knows just about enough.

Stan lowers his right arm. The guy still has his hand on it, but this time is much less defensive and much more comforting. He doesn't complain.

"My name's Fiddleford McGucket, and I'm gonna help you find your brother."

______________________________

Essentially, after this Fidds calls Ford as if nothing happened (per Stan's request, since he's still paranoid about the police tracking his calls) and asks him to come to Tennessee. Ford argues that he's very busy and all, but Fidds convinces him in the end.

Obviously the twins have a dual breakdown and cry their heart out. In this AU they're much less emotionally constipated lol

Ford tells Stan that he's gonna build a house in a small town in Oregon as a part of his research, and asks him to move in with him once it's finished. Stan, of course, accepts.

In the meantime, Stan stays in the McGucket farm and helps them out as a way of laying low. He has a great relationship with his family, and they're very proud of him for what he did (i believe that the McGuckets are hippies at heart, and they're VERY anti-war, especially when it already took three of them)

I don't know how much of the canon storyline would this AU follow, but it's pretty much your average Mystery Trio AU with some different backstory

[cheschesterpossum]

I can't get that human created cybertronians AU post out of my head!!! 'Creators in the flesh' AU or something, that's the name for now.

have a CITF!Rung

I didn't change his design much aside from his lore to fit to the AU.

A few little hcs of mine:

-Rung mimic small actions from his creators at times.

-Get curious a lot after gained sentient, he peek over the scientist's shoulder everytime they're writing something.

-The humans put a name tag on him because they saw him staring at it, since some of them have name tags and wanted to make him feel included.

A little bonus under cut↓

Rung just want to make his creators proud, don't worry...kinda.

[heavenlymorals]

Biblical References in Both RDR games.

I love biblical references so much. When it comes to literature, it's probably my favorite type of symbolism. Like I genuinely get so happy when I connect things to the Bible which is what I'm going to do right now 😊😊 I also like the way that religion is incorporated into RDR as a whole, including the main characters' reaction to it.

So yup, here are just a few references or connections that I was able to make in no particular order.

Also, some of these are complete reaches and I'm aware of that, but fuck it, it's my blog and I do what I want 💪🏼

- The character and tragedy of Issac. In the Bible, Issac is the child of Abraham who is asked to be sacrificed by God by his father as a test of faith. God eventually intervenes to save Issac because he only wanted to test Abraham's faith. Dutch is shown as a God-like figure to the gang, as their devotion is to him. Arthur, indirectly, sacrifices Issac by not being there and by following what Dutch wanted. Arthur, Issac, and Dutch are parallels to Abraham, Issac, and God.

- Leviticus is the book that comes after the book of Exodus. After the gang's escape or exodus from Blackwater after the Blackwater massacre, they are met by Leviticus Cornwall, who becomes the next obstacle for the gang. After the gang's exodus, they get in trouble with Leviticus.

- The image of the deer and a mountain. Psalm 18:32-34 in the Bible says, "It is God who arms me with strength, and makes my way blameless? He makes my feet like deers' feet, and sets me upon my high places." In Arthur's condemnation of Dutch, Micah, and their evil, he becomes steady in his identity and beliefs, like a deer's feet on a mountain, which is where he dies in the end. W symbolism.

- The mission "Sodom? Back to Gomorrah." In the Bible, Sodom and Gomorrah were two cities that were so morally depraved and evil that God decided to destroy the both of them, saying that if there was even one good person in those cities, he'd spare them, but there weren't. In those missions, you also do two evil acts, going from one and then BACK to the other. You rob the bank and then go BACK to collect the debt from Edith Downes. So you finish one evil deed and to straight to the next. This can also show how morally bankrupt Arthur's apathy made him at this point in the game.

- Micah's guns say "Vengeance is hereby mine." This could be a reference to Roman's 12:19 "vengeance is mine sayeth the Lord." Micah's violent nature makes him take his anger out on the world.

- "Your father is seduced by him with the forked tongue. It's no use hoping." The blind prophet to Arthur. Pretty straight forward symbolism, it's a nod to the snake that seduced Eve, just like how Micah manipulates Dutch.

- Dutch walking away from Arthur when he dies and though he realizes his wrong doing and feels shame, his pride forbids him from apologizing or saying he was wrong. This can be a parallel to how Adam and Eve run away from God when they feel shame over believing in the snake, but their pride won't allow them to apologize to God, hence damning them like how Micah damned Dutch.

- There were twelve ACTIVE gang members before the Blackwater massacre. When I mean active, I mean gang members who are canonically consistent (so not uncle, Swanson, Strauss, or the girls) on going on jobs for the gang. Micah, Bill, Javier, John, Hosea, Arthur, Charles, Sean, Lenny, Josiah, Mac and Davey Callender. Christ had 12 disciples and Dutch is portrayed as a savior to the gang, or a Christ like figure. And would you look at that, there is a traitor in both groups of twelve (Micah and Judas).

- Both John and Arthur's graves have scripture from Jesus's sermon on the mountain (Matthew 5:1-12). John's is blessed are the peacemakers and Arthur's is blessed are those who hunger and thirst for righteousness.

- The go back for the money ending. If you go back for the money and have low honor, you'll see that the camp is engulfed in flames as you try to get the money. The fight with Micah is brutal and you die faced down in the dark. This death is an allegory for going to either hell and purgatory as you choose a final evil act of leaving your brother to possibly die just so you can get money as an act of revenge. If you have high honor, you are still surrounded by flames, but you still have a chance at heaven given that you die facing up seeing the light one final time.

- The help John ending has similar connotations. If you have low honor, you die by gunshot and are shrouded in darkness, which can symbolize the absence of God's light and how Arthur's final act couldn't absolve the lack of guilt he feels for the rest of the actions that he KNOWS are evil (click here for a my interpretation of Arthur's morality). In high honor, though, you get to crawl to the mountain side and see the rising sun, symbolizing heaven, warmth, and a new purity.

- In low honor, the coyote goes down to a dark cave, representing damnation and the rejection of holy light. In high honor, the deer steps into a heavenly field of light. Love that so much to be honest.

- Just the very Catholic vibe of Arthur's redemption. Doing good deeds, feeling guilt, all that.

- John's new life is basically this: "Let him who stole steal no longer, but rather let him labor, working with his hands what is good, that he may have something to give him who has need." -Ephesians 4:28. John gives up his old life to be an honest laborer, a rancher, and a proper man.

- The Strange Man in RDR rides on a donkey, which is pretty interesting because Jesus Christ also made his grand entry on a donkey.

- Just the Strange Man in general to be honest. Some say he's God, others say he's the Devil, and others say he's Cain from the Bible, which is my personal favorite theory but whatever.

- Dutch's horse could be a reference to Revelations 6:8- "And I looked, and behold, a pale horse! And its rider's name was Death, and Hades followed him." Dutch's rash actions caused the death of the gang and RDR's incarnate of Hades or Hell was Micah, following him. Dutch is the only one, canonically, to have a pale horse.

- "Am I prepared for eternal damnation? Am I passed any kind of saving? Or is that just fairy tales?" Arthur in his journal. I love this line so much because of its very agnostic nature whilst still showing the Christian mindset of 1899 America. This line also shows that Arthur is canonically agnostic which is a yippee from me because it's like the only thing me and this man have in common lmao 😭

- "Bad news awaits you, sir. Sadly, sooner than you think. But beyond the news, paradise awaits. Paradise.." Blind Man Cassidy to Arthur. Sorry but I just love that. High honor Arthur lived such an awful life but he still has a chance at paradise and heaven? Love that so much.

- God (pun intended), I love biblical symbolism. Couldn't you tell?

[partfae]

Sauron, Galadriel, & Tolkien's Theology of Repentance - Part One

Summary: Character meta analysis on Sauron (and Galadriel, through the lens of Sauron). Based on both Silmarillion & RoP canon. 3.5k words. Discussion of Catholic theology involved. Blanket TW for discussion of violence, manipulation, etc., because Sauron. Spoilers for S1 & S2 and the Silmarillion, of course. The tragedy of Sauron is that he gets offered so many legitimate chances at redemption and forgiveness, and he denies them every single time. But we know he wants absolution, because that’s what he sees Galadriel as: his chance to bind himself back to the light, to be Mairon again, to heal the pain that he caused and that was caused to him under Morgoth. But because he has such a warped view of himself and his actions, he dismisses genuine extensions of compassion, forgiveness, and care as simultaneously beneath him and too good for him. And yet, he still pursues redemption, but through none of the channels offered to him.

In The Rings of Power, he’s given the explicit instruction to change for the good in the village after he’s reborn. He’s given the chance leave his past behind and work meaningfully in Númenor. He’s given the chance to redeem himself by Galadriel's offer of friendship (or love, depending on your interpretation). In the Silmarillion, he's even given the chance by Eönwë himself, and comes close to leaving Morgoth behind completely!

Let's look at this passage from Of the Rings of Power and the Third Age (emphasis mine):

When Thangorodrim was broken and Morgoth overthrown, Sauron put on his fair hue again and did obeisance to Eönwë the herald of Manwë, and abjured all his evil deeds. And some hold that this was not at first falsely done, but that Sauron in truth repented, if only out of fear, being dismayed by the fall of Morgoth and the great wrath of the Lords of the West. But it was not in the power of Eönwë to pardon those of his own order, and he commanded Sauron to return to Aman and there receive the judgement of Manwë. Then Sauron was ashamed, and he was unwilling to return in humiliation to receive from the Valar a sentence, it might be, of long servitude in proof of his good faith; for under Morgoth his power had been great. Therefore when Eönwë departed he hid himself in Middle-earth; and he fell back into evil, for the bonds that Morgoth had laid upon him were very strong.

This passage is clear that Eönwë is willing to pardon Sauron--he simply did not posses the power to do so. But when Sauron was told he must appeal directly Manwë, he gave up entirely and skulked back to Middle-earth. There are a few ways to read this:

1. He was not wholly repentant

Sauron simply wanted the protection of a new master in the absence of Melkor. i.e., he was rather fickle and simply wanted to be on whatever the "winning" side was. This is supported by the text literally saying that at least some of his obeisance was completely false, and that he only made a point of feeling bad about anything once his master had been chucked into the Void and his armies and strongholds were being destroyed (Thangorodrim). In this reading, perhaps Eönwë saw Sauron's treachery and referred him to Manwë knowing that it would be a test of his true intent. However, while a valid interpretation, I believe this to be the less holistic of the two.

2. He was truly repentant

Sauron did truly feel badly and "abjured all his evil deeds," but he was unwilling/unable to humble himself after being so fundamentally broken by Melkor and developing an insatiable power lust (hey, he isn't defined in the narrative by lust and pride for nothing).

Earlier in this same chapter, Tolkien wrote that Sauron could "...deceive all but the most wary." This is in the specific context of his physical shapeshifting. But, I would argue that this can also be tied to his lies. Tolkien has a specific ethic of beauty, where physical perfection is equated with moral goodness. Sauron completely inverts what is otherwise a hard and fast rule within Tolkien's writings by being the character most frequently described as "fair"--seven times to Lúthien's six, and she was the most beautiful woman to have ever lived!

(Side note: I have another post on Tolkien & beauty in the works where I'll get more into this idea)

Why does this matter? Even though this interaction with Eönwë takes place in the First Age, Sauron could at this point be in the demonic form Mirdania describes in the forge. And, I am inclined to believe that Eönwë, as the head Maiar and herald of Manwë, would be a pretty wary guy, and thus able to sense any of Sauron's trickery. I read this to mean that Eönwë looked at Sauron and saw his potential to be Mairon again, either in absence of his evil form or in spite of it.

Because Sauron is incredibly beautiful. And even if it is a disguise of the true, depreciated form of his spiritual essence, he presented himself to Eönwë at his most beautiful. He wanted, even in his act of repentance, to make himself more favorable in Eönwë's eyes. To show up as Mairon (who was likely close friends with Eönwë before everything went down, since they are considered to be two of the most powerful Maia and would have worked closely together).

But I don't think this was all manipulation on Sauron's end. I agree with the scholars mentioned in the text who believed that Sauron was truly repentant--which is why Eönwë even bothered referring him to Manwë instead of kicking him into the Void with Melkor.

And this is the tragedy: Sauron is told exactly how to repent, and believes fundamentally that it is an impossible path for him. And yet, he still longs so intrinsically for it! He was, under Aulë, a Maia of precision, perfection, and order. Under Morgoth, he feels disordered, dis-regulated. He needs to correct the fundamental imbalance within him, so why does he flee Eönwë?

It comes back to Sauron's pride.

If he follows through with this path of reconciliation, there is no way he can hide or pretend his actions away. If he cannot trick his fellow Maiar, he certainly cannot trick the Valar. And he cannot stand the idea of submitting himself back under their rule, especially now that he has tasted power. This is a pride wound; it is why the idea of confessing to Manwë would be humiliating to him as opposed to just upsetting/uncomfortable.

Again, the pivotal moment: he is told how to make amends for crimes and determines that he cannot do it. So he returns to Middle-earth and stews in his own self-hated and self-pity for a few years. In that time, he consciously or subconsciously latches onto Eönwë's offer--forgiveness from penance. It is the way forward. And if he cannot earn penance at Manwë's hand, he will do it on his own.

The Prodigal Son

This is where we have to talk about the Catholic roots of Tolkien's work for a moment. The scene where Sauron approaches Eönwë mirrors the biblical parable of the prodigal son. In this story, a man abandons his family, spends all his money, and falls into ruin. But when he recognizes his failings and returns to his father to get help, he is welcomed back into the family without question--in other words, he is forgiven and restored to his former position.

17 But when he [the prodigal son] came to himself he said, “How many of my father’s hired hands have bread enough and to spare, but here I am dying of hunger! 18 I will get up and go to my father, and I will say to him, ‘Father, I have sinned against heaven and before you; 19 I am no longer worthy to be called your son; treat me like one of your hired hands.’” 20 So he set off and went to his father. But while he was still far off, his father saw him and was filled with compassion; he ran and put his arms around him and kissed him. - Luke 15:11-32, NRSV CE (emphasis mine)

The parallel is clear; Mairon, the repentant Maia, returns home with hopes of reconciliation. He is prescribed the same task that the prodigal son offered to his father: he must be bound in servitude to his father/creator in order to pay off his debts. This is a deliberate allusion from Tolkien. The story of the prodigal son models the path of reconciliation that Eönwë describes. Tolkien seems to be drawing a line in the sand with this: Sauron is unwilling to do the work required by the Valar for repentance, so he is unable to receive the grace of a warm welcome back into the fold of the Ainur. Since he did not humble himself, he has to be told to do it. And he does not want to! He wants to be loved, but he also wants his power--evidence, in a way, of how his character was fundamentally altered in his time with Morgoth.

His pride--and his fear--cut him off from the potential of grace. He does not know for certain that Manwë would subject him to servitude (though I would argue that it's textually evident that it is a custom), but this assumption leads him to flee, which allows him to slip back into his old ways.

He wants to be Mairon (admirable) again, not Sauron (abhorrent). He wants to be accepted and loved, but not punished. He wants the benefits of reconciliation without the work he would have to do to earn it or the shame he would feel as he did. It's pride, but it's also deep shame--the flip side of his extreme ego is an implicit self-hatred, one that we can see in the subtext of how he speaks about himself and about his time with Morgoth.

Even the language Tolkien uses is heavily shame-coded, especially in a Catholic context; Mairon did not go willingly, he was "seduced." He admits to Celebrimbor that he was "tortured by a god". It becomes exceedingly clear through both text and on-screen canon that Sauron was routinely broken and abused for centuries. This has fundamentally damaged his self-perception, which is ultimately what leads him to "[fall] back into evil"--whether due to pride or shame, he hides, perhaps because he consciously or subconsciously does not believe that he deserves forgiveness, no matter how much he craves it.

Naked in the Garden

His flight back to Middle-earth after meeting Eönwë is reminiscent of another biblical scene, where Adam and Eve, after committing the first sin, hide from God in shame and fear (emphasis mine):

7 Then the eyes of both were opened, and they knew that they were naked...9 But the Lord God called to the man, and said to him, “Where are you?” 10 He said, “I heard the sound of you in the garden, and I was afraid, because I was naked; and I hid myself.” -Genesis 7-10, NRSV CE

The image of nakedness is, here, one of vulnerability, and Tolkien establishes that Sauron fears that which he cannot control. He needs the Rings under his power. He needs his armies and his enemies under his watchful eye. He is petrified of letting his power slip away (possibly due to never wanting to feel powerless in the hands of a Vala, fallen or not, again).

The biblical allusion here hearkens back to the fear Tolkien describes Sauron as feeling regarding his return to the Ainur. In the religious system Tolkien has established, which is likely inspired by his own religious beliefs, Sauron has sinned, and must make penance. But he is afraid of God/Manwë, and does not want to "let go" of his sin. In other words, he is not truly repentant. This reflects the Catholic sacrament of confession, which requires self-reflection and resolve to never commit the sin again.

Instead of shame driving him to contrition, it drives him to isolation.

But he still wants forgiveness. So, in his years of hiding in Middle-earth, he decides to earn it himself. His own way.

Enter the Rings.

Sauron wants to perfect the wrong he wreaked so that he can both earn his way back into the Ainur and keep his power. But what he does not realize is that this does not work. Eönwë is clear that he must forsake his true temptation--absolute power--through penance by submission. Yet Sauron in his pride thinks he can have it all. Sauron is a very carefully controlled villain, and the only times he snaps or makes significant mistakes are when his inflated self-perception is challenged, revealing the self-loathing and/or self-pity underneath. The best example of this is when he kills Celebrimbor prematurely, and cries afterwards. Why? Because Celebrimbor was right about him, and he hates it. He hates knowing that he is nothing more than the Morgoth's shadow, because Morgoth was his master as much as he was his tormentor. As Sauron puts it, his relationship with Morgoth was often defined by pain as a test to see "whose will was the mightier":

This image carries more shame, both in its implicit sexual connotations and in the simple power dynamic of it. Sauron, even though misguided, is rallying against Morgoth. He wants to break what Morgoth has created and build something new, something better, something apart from his old master entirely. But Celebrimbor confronts him with reality: he has not created something new, and perfect, and special, as he so wanted to--he can only act in imitation, not in generation. And when he got close with the Rings, it cost him everything. It's almost like he wants the power of a Vala, and loathes that he cannot attain it.

And this is why he becomes so singularly obsessed with Galadriel.

She’s his foil. They both crave power and adoration, but in the end of things, she does not fold under his temptation. She turns down everything she has ever wanted for the greater good and for the sake of her own soul. Sauron looks at Galadriel and perceives that she would have succeeded at Eönwë's test because she is willing and able to humble herself. This maddens him to the point of both desiring her and desiring to break her.

She learns that she is easily tempted and becomes strong enough to handle it (through a lot of tough love from Elrond & co.). She has to learn how to do it, but she is able to.

She grows from someone who resisted and rejected authority to someone who is trusted as an authority because of her ability to wield it wisely (see: Gil-galad allowing her to answer for him in 2x08).

In other words, she earns the trust, love, and support of her community. Sauron has to force his to comply—it is an illusion of love.

His possessive obsession with her also stems from her fairness. She was the object of her uncle Fëanor's obsessive desire for creation as well. Her hair was the inspiration of the Silmarils (see: The History of Galadriel and Celeborn; The Shibboleth of Fëanor - source with page #s here), which Morgoth desired more than anything to possess.

Sauron, wanting to spite his master, wants one better--to own that which inspired the Silmarils, to own the image of fairness (and thus of moral good) completely. This is why he wants to bind himself to her. This is why he needs her. He sees Galadriel as his mechanism of repentance, and his last triumph over Morgoth. Winning her is his salvation as much as it is proving that his will is the mightier. It is his way of dominating Morgoth. This starts, I think, as a genuine effort at proving himself to the Valar, but quickly consumes him entirely. He is overcome with the desire for revenge, just as Galadriel was at the beginning of the First Age.

And he sees this in her. Sees their similarities. Sees that she, too, is angry and lonely and so afraid of losing her power. And he leverages that to befriend her. This is where it gets ambiguous and you can read RoP as either painting the image of Sauron being earnest but completely misguided in his proposal, or you can see it as him being entirely manipulative.

I think the truth of that scene probably falls somewhere in the middle; just like when he presents himself to Eönwë, he is sincere in his desire, but only knows how to present it in an inherently contriving way. He does want to bind her to him, so he tries to only reveal to her the good aspect of that desire (and also of his desire for power, which he allows her to see because he believes that it is good and also because she understands it), and not the ugly underside of his internal struggle against Morgoth, the Valar, and himself.

And I do think, in his own way, he cared about her. Galadriel consistently shows kindness and compassion to him. In S1, they grow to know each other's minds and souls, and she considers him a close friend. He finds comfort in this, that someone could see the blackness of his heart and care for him anyway. He thought, in his isolation, that he lost that chance when he fled back to Middle-earth. And here is the very picture of the light itself telling him that she supports him, that she sees the good in him, that she wants to help him set the world to rights! Of course he is infatuated by this. Of course he also wants to use it. He is Sauron.

But Galadriel succeeds where he fails, so he stops playing nice and tries to forcibly drag her down with him. First, by baiting her with the image of the man she cared deeply for:

Then, by reminding her of all she is losing by rejecting him:

And she is still strong enough to say no. And not just to say no, but to shut the door completely. To look in the face of everything she has desired for centuries and turn it down, understanding that it will ruin her. Yes, she hesitates. Yes, she still wants it (wants him). But she wins the day by holding fast to the light that Sauron wishes so badly to bind himself to.

Because she has lost everything--her brother, her husband, the station as commander, the trust of her high king and best friend--and earns it back only through her resistance of her greatest temptation. It is a struggle, it is painful, it nearly kills her--but she does it. She wins the test that Sauron could not even bear to face.

In their headlong, self-sacrificial tendencies, they are the same. Both view themselves as fundamentally stronger/better than their peers while also being deeply lonely due to their self-imposed isolation (Galadriel's laser-focused hunt for revenge, Sauron's exile in Middle-earth). But to Galadriel, the light is more important than her pride.

For Sauron, the light is his source of pride. He desires it more than anything, but condemns himself to never being able to touch it due to his rejection of Eönwë's offer. Paradoxically, he tries to grasp at it through Galadriel, the living silmaril, and succeeds only in darkening her. We learn from Gil-galad in 2x08 that his crown piercing her flesh in an act of brutal domination nearly strips her soul from her and pitches it into the unseen world. In this, Sauron is saying: If I cannot have you, I will force you to need me. I will break you into loving me.

He says this to Celebrimbor as well. He no longer knows how to love properly. He only knows how to inflict pain until this object of his obessive desire needs him--just like how his immortal spirit was broken into submission by Morgoth. And isn't this revealing of his own sense of self? He refuses to suffer the path of light, but willingly suffers the maddening path of darkness because it is a comfortable, familiar suffering. One, he tells Celebrimbor, he even grew to enjoy (2x08). As the path of the Rings drive him madder and madder, his desire for the light (Galadriel) and the return of his power (Celebrimbor) become further disordered and corrupted until they culminate in him destroying them--and his chance at earning/owning them--entirely.

And this is Sauron's ultimate point of no return (which we will hopefully see in S3 🤞). The razing of Eregion and slaying of Celebrimbor were acts of petty rage he committed when his pride was injured. This was the final nail in the coffin. Galadriel, in her rejection of him, ruins what he sees as his true chance for redemption.

Galadriel, now stepping into the role of Eönwë, re-opens the invitation: "Heal yourself!" (2x08). But in rage and shame and stubborn pride, he turns it down again. I believe this is where his desire to heal Middle-earth shifts fundamentally into desire to dominate Middle-earth. He always wanted to rule, but now he wants to own.

[youchangedmedestiel]

Friend: What are you doing right now?

Me: I have a lot of projects.

Friend: Oh so cool, what are those? New job, new business, new home, new relationship?

Me: Ok, I have a lot of SPN/Destiel projects.

[genesis-rhapsodass]

Just a found family on their way to a gentler life (hopefully)

So there's this really good fanfic by @eaymtb of Cloud being sent back in time together with child remnants that's got me SO hooked, I've been wanting to draw something for it for ages so here's some art of the boys on their way to Wutai

[dragoninahumancostume]

I don't get how people can just talk about their interests?? Like you have actual thoughts about it and you're able to express them correctly?? Mines are just a high-pitched "AAAAAAAH" and "it's so awesome it's so awesome and this guy does this and the other does that and IT'S. SO. AWESOME."

[thefrogdalorian]

A little love letter to Din Djarin writers... 🤍

I love that some of you write him as soft and gentle while others focus on the darker, harsher parts of his personality. I love that he can be both a quiet, kind man caring for his child or an intimidating, terrifying bounty hunter who is a lean, mean killing machine... depending on what the fic warrants.

I love how you write him with other characters from The Mandalorian or even with those who would never cross paths with him in canon, from Star Wars or elsewhere. I love how you write him interacting with yourselves and us, and some of you even create your own original characters to exist a long time ago in a galaxy far, far away alongside him.

I love that some of you ship him with that one other special person, while others recognise how desirable he is and ship alllllll the ships. Not forgetting those of you which are here for none of those ships and/or even headcanon him as ace. I love that any of those options allow you to explore your own identities and sexualities through him.

I love that you can write the most tooth-rotting fluff or filthiest smut, and all of those things in between. Whether it's for general audiences or explicit and strictly 18+ ... all of your fics have an audience and someone out there who appreciates your writing.

I love how differently you can interpret him, but there are also so many common themes and tropes running through your writing. I love that there is room for all of your Dins here.

I love that he means so much to you and that all of us here hold him in our hearts a little bit. I love that we can all watch the same episodes and come to entirely different conclusions about him. I love how much we love him.

Getting to be a part of this wonderful community and interact with so many people who love the space tin can man as much as I do has truly been one of the best things that happened to me recently. I'm so glad I made this little blog... It reminded me just how good fandom can be. I am blown away by the number of talented people here!

So, I just wanted to take a moment to express some gratitude towards all of you! Thank you for writing your Dins and please don't ever stop. Finally.... last, but not least:

I love Din Djarin!!!

[nieves-de-sugui]

A Quick History of BL

As someone who wrote a thesis on this very subject a few years ago, here is the short version of how BL has evolved throughout the years. For the new comers ❤ 

a minute of silence for the original form of this post that tumblr decied to not save right after I saved it

I am going to go with a chronological approach. Unfortunately, I cannot put everything in one post so if there’s any questions about this or that aspect of the history of BL that you want to know and it’s not talked about here, you are welcome to ask me directly :)

Context and influences - Japan in the 60′s

Before the US forced Japan to open its borders to the outside world in the 1800s, homosexual practices were common place between budist monks, samurais and kabuki actors. During the Edo period (1600s to 1800s) there was a very rich amount of poetry, art, books (such as Nanshoku Okagami (The Great Mirror of Male Love) by Ihara Saikaku) and codes of conduct about how to have a good master/aprentice relationship, kinda like the greeks if you know what I mean. However, with the arrival of western influences, in order to become a more “civilized” country, it was all put in the closet. 

Yet, in the 60′s Japan started to pick it up again through literature about young androginous beautiful boys (aka bishounen). On one hand, in 1961, the novel Koibitotachi no Mori (A Lover’s Forest) by Mari Mori was published. It tells the story of a young and beautiful 19 year old worker and a half french half japanese aristocrat, and their tragic romance. On the other hand, Taruho Inagaki wrote Shounen ai no Bigaku (The esthetics of boy-love), an essay on aesthetic eroticism (of which he wrote a lot of). All this was know as Tanbi (lit. aesthetic) literature. It generally refered to literature with implied homosexuality and homoeroticism such as works by Oscar Wilde, Jean Cocteau, etc. And of course, Mori and Inagaki. 

In chinese tanbi is read as danmei (term used to refer to BL novels in china today, ie: The Untamed it’s all connected friends).

From the birth of Shonen Ai  to Yaoi - 70′s to the late 80′s

Around the beginning of the 70′s, shoujo was being revolutionized by the Year 24 Group, a generation of women manga authors (mangaka) who started to explore new themes. Among them, their interest in tanbi gave birth to a new subgenre: Shounen ai. 

Their most known manga were:

Kaze to Ki no Uta (The Ballad of the Wind and Trees) by Keiko Takemiya, and Toma no Shinzo (The Heart of Thomas) by Moto Hagio

Their stories are characterized by having suffering eurpoean bishounen in boarding schools, living an idealized perfect love (meaning passionate) that, despite the tragic end of one of them, lives forever in the other. 

As this genre starts getting popular, more and more fans of these stories start making their own self published manga, aka doujinshi, of the genre. It is around this time that the term Yaoi is coined. Meaning “YAma nashi, Ochi nashi, Imi nashi” (no climax, no fall, no meaning). Basically PWP fanfiction, for the most part. Doujinshis could be considered an equivalent of fanfiction in manga form.  It is also here that the term Fujoshi (aka Rotten Girl, for liking rotten things) starts being used to refer to women readers of yaoi. 

With this rise in popularity come the start of the commercialization of the genre. Which meant the publication of magazines dedicated solely to yaoi/shonen ai/BL. The most popular yaoi manga magazine at the time was June. The common trait of their stories being the therapeutic power of the love between the mains. The traumatized character would heal throught this newfound love.

Most of the stories at this time happened in the West (Europe or the States) as the exploration of these dark themes intertwined with homosexual romance and homoeroticism still feel safer to explore as a foreign concept. One example would be Banana Fish (1985).

Commercialization and Yaoi Ronso -  90′s 

As more publishing houses pick the genre up, the term Boys Love is used to include every type of manga about homosexuality made for women. 

The increasing amount of BL series sees a changes in its themes: 

the start of the “gay for you” trope where one mantains their heterosexuality despite being in a homsexual relationship, 

the uke/seme dynamic (mirroring hetero realtionships) also relating to physical appearence (one being more feminine, the other being more masculine), 

the use of rape as an act love (sexual violence has always been present but here it becomes a staple),

anal sex as the only type of sex, 

older and more masculine men start to appear 

they now happen in Japan

Good examples of the presence of these themes in manga are Gravitation (1996) or Yatteranneeze (1995).

However in 1992, Masaki Sato (a gay activist/drag queen) wrote a letter in a small scale feminist magazine attacking yaoi and pointing out how it “represented a kind of misappropriation or distortion of gay life that impacted negatively upon Japanese gay men”. The female readers of yaoi responded, defending the genre as a means to escape gender roles and explore sexual themes that was never meant to represent the realities of gay men. This is know as the Yaoi Ronso (Yaoi Debates).

The debate ended with both sides understanding more of each other, with mangakas starting to include queer views in their works. It also started the academic reasearch of BL. 

Yet, it is a debate that has been restarted more than once, as it is still relevant despite the evolution of the genre.

more on this on another post

Globalization and coining of BL - 2000′s 

By the beginning of the 2000s BL is being sold all over the world (like all manga), and has become a stable industry. We could say it has finally become it’s own genre. 

Some of the most well known manga series, to us (in the west), of the time are:

Junjou Romantica 2002 Koi Suru Boukun 2004 Love Pistols 2004 Haru wo Daiteita 1999

all of these have anime adaptations for the curious ones

We also start seeing short anime adaptations or special episodes of the most popular series, with questionable themes, such as: adoptive father x adoptive son  (Papa to Kiss in the Dark 2005), father x son’s friend (Kirepapa 2008), etc... 

However the themes remain more or less the same. Junjou Romantica’s love story starts with a non-con sex scene by the older one (masc, seme) to the younger one (more feminine, uke) addressed years later in the manga btw. Koi Suru Boukun’s love story is triggered by aphrodisiacs and rape. They’re still very present in the stories but slowly going away. A mangaka that represents this era could be Natsume Isaku (Candy Color Paradox 2010).

Change is slow in Japan. Even though the voices of LGBT+ people started to be taken into account in the genre it is not until later that we see it reflect in the mangas themselves. However, we can already see the start of this in Doukyusei (Classmates) (2006) by Asumiko Nakamura. Also Kinou Nani Tabeta? (2007) which is actually part of a more mature genre: Seinen.

It is my personal (subjective) theory that the BL of this era was the one that got popular outside of Japan, which is why we see lots of references to the themes, tropes and dynamics of this time in today’s BL series. 

The LGBTzation of BL and the rise of webtoons - 2010′s to 2020′s

Slowly but surely LGBT characters and themes enter the scene of BL. Existing simultaneously with the previous tropes and themes, we start seeing a shift in these stories. We now see:

characters that identify as gay or some type of queer

discussions about homophobia

more mature themes about life and romance

At the same time as we get the usual love stories with the usual themes, a new trend starts to take over. And we get simultaneously, cute, sometimes questionable but light love stories:

Love Stage 2010 Ashita wa Docchi da! 2011 Kieta Hatsukoi 2019

More profound stories and darker or more complex themes:

Blue Sky Complex 2013  Saezuru Tori wa Habatakanai 2011 (mafias) Given 2013 (suicide) Hidamari ga Kikoeru 2013 (deafness)

And others that adress the queer experience in a more mature way (which might actually fall into the Seinen genre)

Itoshi no Nekokke 2010 (slice of life, queer characters) Smells like Green Spirit 2011 (two ways to deal with a homphobic society) Strange 2014 (relationships between men) Shimanami Tasogare 2015 (an LGBT group helps a closeted gay) Old Fashioned Cupcake 2019 (you know this one 😉) Bokura no Micro na Shuumatsu 2020 (the end of the world)

As queer stories are explored, BL mangakas and mangakas from other genres start to consider more stories about queer people such as the Josei Genderless Danshi ni Aisaretemasu (My Androgynous Boyfriend) (2018) by Tamekou, or the Shoujo Goukon ni Itarra Onna ga Inakatta Hanashi (The story of when I went to a mixer and there were no women) (2021) by Nana Aokawa. 

Still, we can see two realities live side by side. Doukyuusei gets adapted into an impactful animated movie in 2016, meanwhile Banana Fish gets an anime adaptation that keeps the homoeroticism but not the homosexuality.  

For those who might be interested. Here are some of the authors that represent the first half of this era, where they start to include newer points of view:

Scarlet Beriko, HAYAKAWA Nojiko, KURAHASHI Tomo, OGERETSU Tanaka, Harada, KII Kanna (Stranger by the Sea), etc...

And authors that while keeping classical themes break the stereotypes in a subtle manner:

CTK, ZAKK, Jyanome, Cocomi, Hidebu Takahashi, SUZUMARU Minta, etc...

Mangakas also no longer stick to one genre only. They explore whichever of them they want, from BL to Seinen to others. 

ie: Tamekou, 

or Asumiko Nakamura

The curious case of Webtoons

With the digitalization of mangas, throught Renta and Lehzin, it has become easier (and more expensive) to access these stories. Korea makes and appearence with their webtoons. Through the lack of piracy protections and the majority of them being digital, manhwa (korean webtoons) sees a rise in popularity. Through the digital medium the influencee can be the influencer.

However, like many other East Asian countries they have consumed BL, without hearing about the conversations about BL. So they end up mantaining the older themes and stereotypes that newer BL is trying to leave behind. Therefore, we end up with a mix of old and new, ie:

Killing Stalking 2016 Cherry Blossoms After Winter 2017 Painter of The Night 2019

Additionally, it is also thanks to the easy access to internet that Omegaverse, with its higher dramatic stakes (that parallel hetero dynamics), enters the mangasphere in 2016. It has grown in popularity ever since.

With the Thai BL Boom of 2020, Japan rediscovers its own BL market and starts investing in it more. Which is why we get live action adaptations of BL manga that was popular years ago (Candy Color Paradox was a manga from 2010), the more recent ones (The End of the World With You) or new anime adaptations (Saezuru Tori wa Habatakanai in 2020). 

more on this in my japanese live action BL post

What has it become now? is it BL? ML? or Seinen? Or is it all just gay manga?

It is clear that Shoujo manga (with BL, Josei and Seinen) is exploring queer themes such as gender and sexuality more and more. Japan is interested in this conversation, not only in manga (Genderless fashion). Which brings up the current question in BL studies: Does it make sense to keep these categories?

As a response to BL, ML (Male Love), which is made by gay men for gay men, started happening (around the 70s too). And Bara (gay manga porn) in response to Yaoi. However both gay men and women read BL and ML. We also see other themes being explored through BL, such as friendship (in BL Metamorphose), food (in Kinou Nani Tabeta), male relationships of all kinds (in Strange), and different queer views on life and its challenges (in Shimanami Tasogare). More and more what is LGBT and what is BL is merging, the line is blurred. 

Conclusion

BL has been in my life for longer than it hasn't. It is through shoujo and BL that I have come to understand people and romance.

It is flawed, like everything else this life, but it's flourishing in many ways.

The genre feels old and new at the same time. 

We can still find shounen ai/tanbi elements in more modern manga (All About J). Or the gay for you in a new light (Itoshi no Nekkoke). Or more educational manga on queer issues (My Brother’s Husband by Gengoroh Tagame). BL has around 50 years of existence but it is also being born anew in Thailand and Korea. 

BL manga will continue to evolve in acordance to Japanese tastes, as it is still a local market. Hopefully the korean webtoons that get popular will be the more daring ones in their themes. Who knows where it will go from here? The only thing we know for sure is that it will continue to change. Isn't it exciting?

A post on the evolution of live action BL in Japan is coming, to complement this post.  As well as a more detailed explanation of the Yaoi Debates and gay manga.

[juustozzi]

you might've seen this in an ask already, but decided to post here too; a collection of Tenmas from Yara's fics, since I love the differences that thrown into different timelines and happenings give him!