#and as a victim myself

[phosphostar]

ignoring jimmy’s actions just to fit your narrative for a silly and fun goofy mouthwashing game is no better than what curly did. just saying.

[inkskinned]

you know, you know. no gods, no masters, no kings on pedestals. everyone is fallible. death of the author. you know! you are balanced about your intake of media - you allow the wiggle room, the grace, the gratitude, the skepticism. nobody above criticism.

but still. a weird gut-punch feeling, something akin to betrayal. you read the article. surprise! an author you love is actually: a serial fucking predator.

well, shit. what now. no, you knew he was a person (all people are), but now you're wondering - what have i overlooked by accident? what messages have i internalized that are strange and cruel? and also, like, what the fuck?

his actions lay a thick glaze on top of everything. like each place is now ruined, opaque in a new way. but okay, fine, you've done this before. you knew better, right? you've been betrayed by many a cherished childhood author.

still, this stickiness. fuck. can you pick up that book again. will you read it to your children. you've recommended it to others - will you ever do that again? and of course, of course, no parasocial relationships. you were theoretically above this kind of sentiment. but the artist informs the art, right.

so it's not something as clear-cut as feeling he owed you, specifically (a stranger) better behavior - just that you kind of, in a distant and odd way... sort of trusted him to do better. it's not like a real trust or something speakable, just the faint hope that the product (good books) was a thin representation of the soul. now it feels like the product (good? books?) was a mask. in some small or insignificant way, your previous support of this person lent them power. your money and your time and your laughter.

and the thing is - you have this terrible, echoing sensation. how many times will this happen? over and over. you find out that the singer you love is actually a predator. you learn over drinks that your favorite high school english teacher is in jail for what he did to her. you listen to the news idly and suddenly discover that a woman you used to idolize has been abusing her kids for an actual eon.

what can you touch without the static melting off. you can't even really complain about it too much (you were supposed to know better, and besides, you don't want the same re-split "it's not your fault, love what you love" basic advice), but now it's here. somehow, it feels like - you let him into your life.

it's not that things need to be pure or an artist has to be like, endlessly perfect, mindful. demure. it's more just this terrible truth that has been replayed through your veins so often it feels criminally vain. power corrupts, absolute power corrupts absolutely. did you want any one person to be worth that power?

it's just that he wrote books where he seemed to understand that. he seemed to know about hierarchies and unfair systems and bigotry and privilege. you thought they were books about what it means to struggle. you thought they were about having power and still using it for good rather than for control. he spooned you a narrative of being a good guy, a kind soul. you fucking bought what that fucking monster sold.

maybe that's why they were fantasies, after all.

[everytimewetouch-dot-mp3]

i can’t stop thinking abt a bingge who just. doesn’t enjoy sex.

he slept with qin wanyue at the IAC because she was dying and he was afraid and wanted to be kind, and he didn’t know how to say no. and he kept just…not knowing how to say no. everyone always had one dying wish or a deadly poison or some sort of urgent need. and lbh wanted to be good. he was desperate for any sign that he wasn’t irredeemable, that there was something about him that anyone could ever want. and these women kept throwing themselves at him in moments of desperation. and he wanted to be good.

wouldn’t it be too cruel to say no to this woman when he said yes to that one, just because he didn’t particularly want to? wouldn’t that be too arbitrary and selfish? what makes one worthy of his ‘yes’ and another unworthy? lbh had no framework to evaluate that sort of thing, no sense that this was something he could just Not Want. he wanted to be wanted, and here these women were, wanting and wanting and wanting him. why would he turn down the only thing he really desired, just because it didn’t come to him in a way he liked?

and then he picked up xin mo, and all notions of desire fled him. he’d never wanted to sleep with any of those women, but now he needed to. it was either dual cultivate with whoever asked or be consumed by xin mo. what option did he have? he was often on the verge of qi deviation; much of his ‘wife collecting’ could probably be attributed to medical necessity. and what was he supposed to do afterward? disrespect those women by sleeping with them and then discarding them? of course he’d add them to his harem. what other dignity could he offer afterward?

he never really wanted any of it. he never enjoyed it particularly. it was nice, maybe, with ning yingying because she cared for him in a way he could trust. she cared for him in her own clumsy way before his name meant anything, and when she looked after him it always felt safe. he got along with liu mingyan well, trusted her wisdom and forthrightness—and she was never overly affectionate or insincere when they cultivated together. he believed, at the very least, that she respected him as an equal.

but all the other wives… they were there because they wanted something from him, or their families did; or they were there because luo binghe wanted to be good, and a good man would not lay with someone and then refuse to take responsibility by marrying her. he had the means to provide for them. and a bountiful garden suited his station, didn’t it? never mind that he’d never really had an interest in gardening; if flowers leapt into his hands, it was his duty to plant them where they could continue to grow. that was what a good man would do.

[ducktracy]

there are a lot of evil people in the world and a lot of darkness in the world and so it’s very important for me to stress that now more than ever is the time to spread kindness and compassion. combat the evil by not only not partaking in it, but actively refuting it. destroy the notion that being compassionate or generous or kind to someone is uncool or embarrassing or even scary. be the change you want to see. start a chain reaction. positivity only breeds more positivity. do an act of kindness for someone so that that person who is too afraid to do it themselves can see you, realize that they’re not alone, and perhaps sheepishly follow your example. and then the next person who is too afraid but sees that person can do the same. when bad news comes out about bad people or horrible atrocities in the world it’s such an easy impulse to despair, and obviously it’s important to feel what you need to feel. grieve. be angry. be sorrowful. be empathetic. but dust off your pants and get up and be a part of a chain reaction that, no matter how small the scale, and spread compassion and love and care. all the reasons why you might not—“it’s hard! it’s scary! people will make fun of me! it’s useless because there’s too much evil!” are all grade A arguments as to why you should. you have no idea how many people you could inspire to do the same. even if it doesn’t get you anyway far, you can at least say you have the nobility of trying. please choose love and please choose life. you are worth loving and you are worth inspiring others to love

[poorly-drawn-mdzs]

In the shape of you, something new.

[First] Prev <–-> Next

[ashfae]

Edit on 5/2/2025: I have mixed feelings about aspects of this essay these days but have chosen to keep it up and pinned as I'm still happy with my analysis even if I'm furious at NG, who is mentioned several times. TW for that. Argh.

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

The thing about romance is, it makes a good story.

As soon as NG described season 2 as "quiet, gentle, romantic" I figured we'd be in for it, because as he's the first to point out, writers are liars. And the best way to deceive is with truth.

Season 2 is romantic. The trappings of romance are everywhere. Crowley tries to set up Nina and Maggie by trapping them under an awning during a rainstorm, a classic cinematic bonding technique. Aziraphale's chosen method comes from his beloved books: the ball, the dancing, appearing as a pair in public, hands held as you twirl gracefully with your heart thrilled and racing. If they can set up a sensational kiss that will unlock the happy ever after. They've lived on earth, they've studied the tropes, they know how romance works.

The problem is a story is only a story.

Nina and Maggie had the classic romantic setup completely by accident before Aziraphale and Crowley ever began trying to interfere with them. They get locked in Nina's coffeeshop. They can't escape or communicate with anyone else, they end up talking by candlelight because there's no electricity, Nina offers wine. Maggie mentions how she'd hoped for a chance to talk to Nina, and now here they are. It's every bit as much a standard as what Aziraphale and Crowley attempt to arrange. Blanket scenarios galore exist because of that starting point. We love that story. And there's nothing wrong with that.

But it's still only a story, it's not enough. Because once that moment of connection is over, however lovely it was, all the rest of the world comes flooding back in in the form of dozens of angry text messages. Nina's messy entrapping relationship hasn't magically gone away just because she and Maggie shared a romantic encounter.

And it's so tempting think oh well, that's easy. We'll just give them more romantic encounters and eventually those will overwhelm the rest of the baggage. Must do, because it'll make them fall in love, and once they realize they're in love that trumps all other considerations, right? So it'll be fine. Love Conquers All.

Neil also mentioned Pride and Prejudice.

Darcy knows he's in love early on and makes a disasterous proposal that shows that he has no understanding of Elizabeth's perspective, possibly hasn't even thought about it. They've been meeting in forest lanes for walks, conversing, had tete-a-tetes in the sitting room, danced at a ball. And while his turn of phrase isn't as flattering as he thinks, he's still offering her everything he thinks she wants and needs: affection, security, his good name, wealth, an escape from the embarrassments of her situation, the world. How can there be anything to object to? Why would anyone ever refuse so much of value?

Elizabeth quite rightly cuts him to pieces. He lashes back with a few hard truths of his own and they separate. During that separation, he thinks and he learns. He takes to heart the criticisms she offered, re-examines his assumptions, opens his eyes. Thinks about her perspective and how sometimes the only difference between pride and arrogance is where you're standing. He does the work. When they meet again he tries to demonstrate that he's learned--not in order to court her again (yet), but because the only real apology he can offer, the only one that would have weight, is to show that he's grown, he listened to her. He changed.

Elizabeth of course has her own journey, accepting that many of her own conclusions about Darcy were erroneous because they were formed without her having the full picture to hand, and once she's done that she has to apply it to her own situation as well. She loves her family, but they do place her at a disadvantage on a number of levels, leading eventually to full-out disaster as her younger sister carelessly ruins all of their reputations. It's hard to admit, it's mortifying, but Darcy was offering her a great deal she needs. His offer did have worth for all that she dismissed it as an insult. And as she learns to value his own character more highly, and then as she sees that he did listen to her even though she insulted him so thoroughly...well, she grows too. And when they do eventually come together it's not because of courting and balls. There's a big romantic gesture in his rescue of her sister but even that isn't why they'll get their happy ever after. It was just the catalyst for the conversation. They win because they've learned how to understand each other and how to communicate for the future. How they can strengthen and support each other, how to balance their strengths and weaknesses. The films leave them at the wedding, but the book shows a bit of their marriage too, and during it they keep learning from each other. Their relationship is held up as a superior love story for good reasons.

The end of season one was romantic too. Crowley stopped time rather than face a world where Aziraphale would never speak to him again, Aziraphale walked into hell to protect Crowley, they dined at the Ritz and toasted the world. But then they stopped. Sure they spent time together, talked, enjoyed each other's company. But if they were talking about important things would Crowley still be living in his car? They had a bit of respite but all that real world baggage that exists outside of the romantic moment hasn't been faced, none of it. Four or five years sounds like a long while but for beings who are quite literally older than the earth? That's just an intermission.

Nina's relationship ends, leaving her with a tangled mess; Maggie realises the sweet dream of love she's been longing for isn't as important as the real Nina. They talk. They plan. Nina will sort through her life, get closure, figure out what went wrong with Lindsay and what she wants from a relationship, learn how to ask for respect instead of just bending under her partner's demands. Maggie will support Nina the way Nina needs, which sometimes means helping her get oat milk for the shop and sometimes means giving her processing space. They're on the same page; they're going to do the work. That's why most likely they'll succeed. To quote one of my favourite fanfics: it's not happily ever after, but it's a chance. It's all going to be okay. (The Profane Comedy by Mussimm, who absolutely nailed this theme)

The romance is nice, it's lovely. We need it to keep ourselves going. To give ourselves the dreams that help us get through the days and nights. But it's not the relationship. It's not enough on its own. The wedding can be the grandest most beautiful ceremony ever with doves flying and sweeping music and bells ringing, but that doesn't guarantee the marriage will last.

Crowley and Aziraphale have had their romantic gestures, oodles of them. One wing raised to protect the other from falling stars, another from rain. Shared ground, shared interests, hands offered in friendship and held on a bus. They've tried to get to the same page, they really have. They just aren't there yet. The biggest most important things still haven't been talked about, and season 2 showed there are even more of those big important things than we'd realised.

The show paints Maggie as Aziraphale's foil and Nina as Crowley's, even to the point of Nina casually calling Maggie 'angel'. But Aziraphale's baggage is Nina's. The toxic relationship has to be processed and understood and closed, and it hasn't been, despite season one. Lindsay never really liked Nina very much, for all that they tried to keep her trapped; Heaven never really liked Aziraphale very much for all that he believed in it. They both let themselves be used. But Lindsay left Nina and went to their sister's, whereas now the head of Heaven has reached out to Aziraphale and said here, we can fix this, you can fix this, don't you want to fix this? Others are already writing about that and maybe I'll add to it later, not sure. And Crowley, like Maggie, has had a sweet dream that he has to set aside. Maybe he'll be able to pick it up again eventually, maybe not. But sometimes you offer support by buying oat milk or rescuing your beloved from the legions of hell, and sometimes you do it by standing back while they sort through their shit.

Quiet, gentle, romantic. It was.

But that's only part of the story. Now they have to do the work. They thought they had, but they were wrong, because there's so much they just hadn't touched yet and tried to cover over with relief and sleight of hand and alcohol and forgiveness. The apology dance doesn't mean much without showing that you listened and learned. They've faced so much trauma already and that should have been enough, we wanted it to be enough and so did they and it's such a blow for it to turn out that there's still more to do, that the baggage hasn't just gone away and can't be hidden under blankets or soothed with cocoa. The texts are still coming in and demanding answers.

But it'll be okay. It will. It's still a chance. And one that in the long run makes them better, builds something real that lasts.

The best stories, the ones that last longest and become classics, are the ones that don't end with the kiss under the awning or the blanket scenario or the wedding. They're the ones that heal us while the characters heal themselves. It's hard to accept that there's still more to do. Harder to imagine how it can possibly work out. And yes, bloody frustrating to wait and see.

And we'll get through that interim by telling even more stories. Because the story is never just a story. It's how we get through the work, it's what we tell ourselves so we can do the damn work. Stories are what we cling to and how we remind ourselves we're human and connect. A book is a person you can carry with you. We're not alone, none of us, stories connect us because we love them and see ourselves in them, which means we see each other.

Aziraphale's back up in Heaven to deal with his unfinished baggage; Crowley left his behind long ago and it's clearly going to come back and bite him in the arse however much he tries to go his own way. And they can't help each other with that. Not yet.

But they'll get there. So will we.

[navree]

i think more people need to realize that the circumstances of how jason todd died would make him deeply untrusting of not only other people, not only himself and his own instincts, but specifically other people's proclamations of what they feel about/for him and how he reacts to that in turn

[prismalmelonman]

Touching on Gale, Wyll, and Halsin's traumas being a bit undermined in parts of the fandom

So one thing I notice on Twitter is how some people act about the bg3 characters whose abuses were perpetuated by women.

Gale specifically for this reason (but I will touch on others)bbecause I see him dismissed super often as "can't get over his ex".

But Gale's case obviously be has the line of Mystra being like "she was my muse, my teacher, and then my lover" and sure to some that's a red flag in itself (when it comes to adults I don't really give a fuck about teacher/student) but if you view it from not only Gale's own words "ive been connected with the weave for as long as i can remember"

And that doesn't distract from his genuine love of magic of course. And it also doesn't mean that he's actually been in connection with mystra for an amount of time.

However, if you ascend Gale, and he becomes a god, you get a bunch of new little things. Tara reminiscing of course, but you get a letter from Elminster, detailing that Mystra had Elminster scope out Gale when he was eight!

And sure is that pretty cool that he's a prodigy that got the attention of the goddess of magic at that age? Yes. Mystra is, however, known in forgotten Realms lore to seek young young boys who are in tune with magic to make into her chosen. And from context clues, her chosen can be anything from Elminster and Volo, dedicated wizards who try to keep things in check, etc etc. or they're somewhat of playthings to her.

Minsc also has a conversation where me mentions that weave-touched boys in his homeland were hidden away to hone their craft, then suspecting that it was because of Mystra, given Gale's case.

Gale always seems so proud that he got to bed a goddess, and on the surface, hell yeah, that's cool.

Gale continued to have her attention even as he went to Blackstaff Academy, and Mystra eventually did take him on as an apprentice directly to her, later making him her chosen, and sleeping with him.

The reason it bothers me that people dismiss all of Gale's stuff to just "he can't get over his ex" is because that's is like almost textbook grooming? She was in his life from a young age, shaping and moulding him up as he grew up to be her perfect chosen, rewarding him by sleeping with him, and so on. And then of course casting him away when he has his folly with the netherese orb (and to be fair, it very well could have looked like to her that he was trying to seize the power himself and yes the orb does siphon off weave. That is a problem for the mistress of the weave yes).

But she also tells gale to KILL HIMSELF for her forgiveness.

Gale is much more than "unable to be over his ex" this woman was in his life since he was a kid. She's almost all he has ever known. If course it's going to be difficult for him to 1. Say no to her. 2. Get over the fact that he's lost someone that he spent his literal entire life dedicated to. Honestly if asked, I don't even think Gale would acknowledge or really see that what he went through was, in fact, abuse until it was spelled out in front of him. (Which does happen somewhat with the player character pleading to him that killing himself for mystra's forgiveness is actually horrific and that he should in fact be angry for how he was treated)

Similarly, and this one has been discussed a lot, Wyll and Mizora. Wyll was 17 and actively trying to help his people. 17, in a vulnerable state, willing to do anything to help and prove himself. Mizora very clearly took advantage of him, and regards him as a "pet", refers to him being "leashed", and so on. Personally, I do dislike the sexualization of their relationship, because it very much is also grooming (although a different type. Rather than manipulating and shaping his life from the ground up, she takes advantage of a vulnerable and desperate state to manipulate and contract Wyll into doing her bidding. I won't go too deep I to this one because it has been discussed to hell and back. But I did wanna touch on Wyll's situation as well.

Also, Halsin as well, though that has also been discussed in many retrospectives by a very good friend of mine. Halsin's trauma often get dismissed due to his polyamory, open sexual nature, and his own somewhat diminishing/dismissal of it, which honestly I love the representation of, cause for a while I did that with my own trauma. Halsin was a sex slave to a house of Lolth-Sworn drow, a matriarchal society, where the men are generally used as fodder or for breeding, though male Lolth-Sworn drow can be wizards and rise in the ranks if wizardry, but are limited everywhere else. (Minthara mentions that the third male, and every subsequent male child after third are killed for being"useless"). Halsin often referred to them as "hosts" rather than being captors, (though he does touch on that if the Player Character threatens to sell him back into slavery). Again, everything I'd have to say here for Halsin has entirely been discussed top to bottom by a friend, their link is below!!

Anyway, long story short, I dislike it a lot when Gale, Wyll, and Halsin's traumas and abuses get diminished, even if/when the character themself doesn't see or acknowledge the abuse in the same lens that we, the players, do.

[sunbeamfemme]

If you're a white femme and you want to participate in our communities, you need to start doing self-reflective anti-racism learning and work. The amount of harrassment and gaslighting directed towards studs and butches of color by white femmes on this website is absolutely abhorrent. They're siblings, family, friends, lovers, and most importantly, people deserving of care and respect. If we're not working to make the world safer them, we're failing in our role as femmes. Do better.

[fixing-bad-posts]

things that continue to piss me off endlessly

fëanor

cops

pro-life people

[angelshizuka]

I love the visual storytelling in this show so much!

Because despite us never having seen Stella physically hit Stolas before this moment (she's thrown things at him, but that's technically a different thing, though, not any less abusive), everything in this scene proves it's happened before. They don't need to spell it out for us, they let the visuals speak for itself.

The way Stolas is backing away in fear, keeping his focus on her, because he knows exactly what's coming.

The only difference is that this time he's not scared anymore to defend himself (because he's officially hit his limit due to the night prior). Even Stella's shocked by it, showing us this really is the first time Stolas stopped her.

He tries to keep standing strong, but lets out a breath and sinks into himself the moment she leaves, because standing up to her took all the energy and willpower he had left in his body.

I feel like (well written) male abuse victim/female abuser is so hard to find in media, so I'm just so happy to see it here! I'm a firm believer of taking male abuse victims seriously, and that yes, even women can be their abusers.

[just-null]

i am OBSESSED with that one yandere hantengu clone art! but i do wonder, did you change their appearance a bit to make them look alike but at the same time not? this is hard to explain, but i observed the clones nose shape, sekidos hair being more different than the others, and facial structures making them each being different. very sorry if this doesn’t make sense it’s hard explaining what i noticed (T ^ T)

I think I understand what you mean, don't worry! you did wonderfully!

and basically, yes and no!

Some things were probably accidental (like facial structure), but the purposeful tweaks were their eyes and hair yeah!

I wanted the viewer to be able to tell the difference between them without being explicitly told who's who.

[design yapping under the cut]

I've heard that depending on what expression you're making often, it changes how you rest your face, and I wanted that to translate into how i drew them!

that and if you look REALLY closely, there are some subtle differences between them all in the anime/manga, so i accentuated those and added my own spin to it too.

So, if i were to draw the four making a neutral expression, it'd look something like this!

And that would HOPEFULLY be enough to give you an idea about who's who while also keeping their faces EXTREMELY similar yet a little different at the same time

but knowing me....... i'd probably still make it super obvious.......

I changed their nose because Hantengu had a sharp nose, and I thought it'd be hot cool to see them with one! I have no excuse for the eye bags and dimples.. they look like they have the type of hot guy aura to have those traits............... orz

i try not to forget small details but i probably do sometimes making them look different //slams head against wall

[kelin-is-writing]

I just can’t do this anymore guys… This is too much…

[caccry]

A WEREWOLF (in love)

[shuang-hua]

another one that i finished months ago and just never posteddd... handstand time :)

this has alt text. extended image description under the cut.

Wei Wuxian lies on the floor of the Jingshi, his head between Lan Wangji's hands as the latter balances in a handstand. Wei Wuxian speaks cheerfully and reaches up to touch Lan Wangji's cheek, his other hand resting on his own chest. Both men are dressed in light under robes. The scene is softly glowing with warm morning light.

Watercolour on paper.

[not-kayvalencourt]

Let's all put on our thinking caps and see that there is no actual evidence that iskall didn't do anything but his own word. There is, however, massive amounts of evidence that he did.

If you follow me and support iskall (or stress), unfollow me. The bullshit tantrum he just had and the amount of people there are supporting him is actually disgusting. If you genuinely believe him, you need to look up manipulation tactics. He is going to use his fame to get people to trust him, just like he did to his victims.