#and i don’t even think they’re haunted!!!

[still-a-dreamer-even-now]

she wants to understand, she tried to understand, she begs them to tell her what happened to them in the country and they all look at each other having a silent conversation she will never understand and edmund makes a joke that doesn’t quite ring true about their time and she wonders once again when her younger son became a diplomat and her children became a parliament

“the war changed them” she says to anyone that knew them before “i hardly know them myself anymore”

and she says it with false laughter and haunted eyes and a heavy sense that she has missed something crucial and the people that knew them don’t quite get it, “they’re growing up” they say “war changed everyone” but helen pevensie has never seen children who eyes tell her they’ve truly, really lived entire lifetimes at 15

i helen is so terrified her kids grew up without her while still being so young like they lost their childhood it was robbed from them but in reality their childhood was rich and wonderful and lovely and lively and yes even magical and they grew up at a normal rate and then were forced to live through that growing up again in a world less beautiful and she’s afraid they missed their childhood but really truly it was she who missed it

because every time they’ve started trying to explain it to sit her down and tell her, every time she frustratedly throws down a rag while washing the dishes and begs peter to act his age in a way most kids will never hear it said (be a kid!! for goodness sake be a kid, peter!!) and he opens his mouth to speak and then closes it again and shakes his head with such a noble tilt and tells her not to worry and that he’s fine and that’s he’s nearly old enough to worry about adult matters now anyhow

because how do you explain to your mother that you’re not really a child (i’ve grown so much in your absence mother) without sounding like you didn’t need her, without sounding like you’re telling a story or a joke instead of the truth (i wish i could show you our palace, our friends) and how do you tell your mother you learned swordsmanship from a mouse, or learned diplomacy from a centaur, that the trees taught you to waltz, you like your tea that way because of a dear old faun, won’t she think you’re playing? joking, teasing her relentlessly? isn’t it easier for her to think you’ve grown than for her to be so concerned that you’re still so childish? and wouldn’t it be wonderful if she would just believe you? but you know she won’t, so you sit silently at the table and hum a lullaby to yourself in a language you wish you could teach her and wonder if a lifetime apart is too long to get to know someone again

you have invited strangers into your home, helen pevensie, mother of four.

without the blurred sight of joy and relief, it has become impossible to ignore. all the love inside you cannot keep you from seeing the truth. your children are strangers to you. the country has seen them grow taller, your youngest daughter’s hair much longer than you would have it all years past. their hands have more strength in them, their voices ring with an odd lilt and their eyes—it has become hard to look at them straight on, hasn’t it? your children have changed, helen, and as much as you knew they would grow a little in the time away from you, your children have become strangers.

your youngest sings songs you do not know in a language that makes your chest twist in odd ways. you watch her dance in floating steps, bare feet barely touching the dewy grass. when you try and make her wear her sister’s old shoes—growing out of her own faster than you think she ought to—, she looks at you as though you are the child instead of her. her fingers brush leaves with tenderness, and you swear your daughter’s gentle hum makes the drooping plant stand taller than before. you follow her eager leaps to her siblings, her enthusiasm the only thing you still recognise from before the country. yet, she laughs strangely, no longer the giggling girl she used to be but free in a way you have never seen. her smile can drop so fast now, her now-old eyes can turn distant and glassy, and her tears, now rarer, are always silent. it scares you to wonder what robbed her of the heaving sobs a child ought to make use of in the face of upset.

your other daughter—older than your youngest yet still at an age that she cannot be anything but a child—smiles with all the knowledge in the world sitting in the corner of her mouth. her voice is even, without all traces of the desperate importance her peers carry still, that she used to fill her siblings’ ears with at all hours of the day. she folds her hands in her lap with patience and soothes the ache of war in your mind before you even realise she has started speaking. you watch her curl her hair with careful, steady fingers and a straight back, her words a melody as she tells your eldest which move to make without so much a glance at the board off to her right. she reads still, and what a relief you find this sliver of normalcy, even if she’s started taking notes in a shorthand you couldn’t even think to decipher. even if you feel her slipping away, now more like one of the young, confident women in town than a child desperately wishing for a mother’s approval.

your younger son reads plenty as well these days, and it fills you with pride. he is quiet now, sitting still when you find him bent over a book in the armchair of his father. he looks at you with eyes too knowing for a petulant child on the cusp of puberty, and no longer beats his fists against the furniture when one of his siblings dares approach him. he has settled, you realise one evening when you walk into the living room and find him writing in a looping script you don’t recognise, so different from the scratched signature he carved into the doors of your pantry barely a year ago. he speaks sense to your youngest and eldest, respects their contributions without jest. you watch your two middle children pass a book back and forth, each a pen in hand and sheets of paper bridging the gap between them, his face opening up with a smile rather than a scowl. it freezes you mid-step to find such simple joy in him. remember when you sent them away, helen, and how long it had been since he allowed you to see a smile then?

your eldest doesn’t sleep anymore. none of your children care much for bedtimes these days, but at least sleep still finds them. it’s not restful, you know it from the startled yelps that fill the house each night, but they sleep. your eldest makes sure of it. you have not slept through a night since the war began, so it’s easy to discover the way he wanders the halls like a ghost, silent and persistent in a duty he carries with pride. each door is opened, your children soothed before you can even think to make your own way to their beds. his voice sounds deeper than it used to, deeper still than you think possible for a child his age and size. then again, you are never sure if the notches on his door frame are an accurate way to measure whatever it is that makes you feel like your eldest has grown beyond your reach. you watch him open doors, soothe your children, spend his nights in the kitchen, his hands wrapped around a cup of tea with a weariness not even the war should bring to him, not after all the effort you put into keeping him safe.

your children mostly talk to each other now, in a whispered privacy you cannot hope to be a part of. their arms no longer fit around your waist. your daughters are wilder—even your older one, as she carries herself like royalty, has grown teeth too sharp for polite society— and they no longer lean into your hands. your sons are broad-shouldered even before their shirts start being too small again, filling up space you never thought was up for taking. your eldest doesn’t sleep, your middle children take notes when politicians speak on the wireless and shake their heads as though they know better, and your youngest sings for hours in your garden.

who are your children now, helen pevensie, and who pried their childhood out of your shaking hands?

[carlos-in-glasses]

Thank you for the tag @ironheartwriter @whatsintheboxmh @lemonlyman-dotcom @carlossreaders

@bonheur-cafe @strandnreyes @paperstorm

Today is hard and scary and I'm so sorry and I love you. I wish I had some wise words but at the moment the only thing I have up my sleeve is our two favourite idiots 🧡 I hope this snippet of my TK POV 4x12 coda brings you some cheer. Planning to post tomorrow.

Three hours later, Carlos is scurrying around the living room, picking up what they’ve already knocked over and knocking other things down in the process. Meanwhile, TK has been tasked with searching the bedroom for the fifth time.

“He’s not under the bed!” TK yells, “I can confirm – he’s not in the sex toys.”

“Good!” Carlos hollers, lifting up a throw pillow and jumping out of his skin even though nothing is there.

“We should use the purple plug more often,” TK calls.

“Okay!”

“And the rainbow beads. I know they’re gimmicky–”

“Sure, anything you want.”

“I’ve been thinking about your foreskin lately and how sensitive you–”

“TK, I really can’t talk about this right now!” Carlos cries, spinning around at the sound of scuttling. “I think he’s in the kitchen!”

“On my way!” TK yells, struggling to secure the lid onto their very-full toy box before rushing out of the bedroom.

Carlos, armed with a Swiffer mop, is poking at the gap between refrigerator and cupboard.

TK joins him there, poised with his hands out, ready to pounce.

They stand still, silent.

“I don’t hear anything,” TK whispers.

Carlos gazes all around with a haunted expression. “Neither do I anymore.”

Open tag and tags below!:

@thisbuildinghasfeelings @goodways @reyesstrand

@lightningboltreader @welcometololaland @rmd-writes

@alrightbuckaroo @heartstringsduet @herefortarlos

@ladytessa74 @cold-blooded-jelly-doughnut @liminalmemories21

@never-blooms @orchidscript @three-drink-amy

@chicgeekgirl89 @freneticfloetry @theghostofashton @honeybee-taskforce

@sugdenlovesdingle @tellmegoodbye @carlos-tk

@emsprovisions @sapphic--kiwi @irispurpurea

@pimento-playing-hopscotch @eclectic-sassycoweyes

@captain-gillian @butchreyes @kiwichaeng @anactualcaseofthetruth

@fifthrideroftheapocalypse @corsage @nisbanisba

@the-126-family @henrygrass @nancys-braids @mikibwrites - if you want to share/haven't already! No pressure ever! ❤️🩷🧡💛💚💙🩵💜

[hellishfig]

i aspire to be shane madej

unfortunately i live in new york city and the closest we have to haunted locations is semi-abandoned parking lots

[aroanthy]

i love how fraught and complicated discourse around various utena characters ‘dying’ is when anthy is literally stabbed to death eternally by a million swords imbued with human hatred. and then utena gets stabbed to death by them also. like. ‘death’ is incredibly interesting in rgu because most of the time it’s this ambiguous figurative thing that has interesting implications re: ohtori as a closed-off world one can escape. we are all trapped in our coffins. mamiya is the only named character with a grave. nemuro memorial hall functions as one all the same. ruka is implied to have died in the hospital— was he dead all along? who was the boy we saw for these two episodes? is this dead boy the same boy, or is this just another coincidence from the shadow girls, cutting like a knife? it’s heavily implied that akio and anthy murder kanae by poisoning her, adding to the previous implication that they were poisoning mr ohtori too, but there are no perceptible consequences of this. kanae’s absence is not felt. she’s fed an apple slice. what happens to the bodies? we know what happened to the 100 boys, but what about everyone else? and so on and so forth. ‘death’ is a tricky thing in utena, i think it’s constantly functioning on figurative and literal levels in very different ways for very different purposes. dios died. dios was dying. dios didn’t die. he grew up. etc etc

[fumifooms]

Makima, devils and self-fulfillment

Dumping some Makima and CSM thoughts after a part 1 binge bc I think about her forever and ever. I’m sure I’m forgetting some devil lore, feel free to correct what i get wrong/what’s been confirmed. On the table of contents there’s why & how Makima got fixated on Chainsaw, her revealing liking for the country mouse and discussion of her nature & emotions & desires. Was the scorpion doomed to be a scorpion?

The most of this post was thought of during a conversation with @saccharineomens and I don’t think it makes sense to jump into the spiral it sent me on without first laying down the interesting groundwork theorizing she did:

"Thinking about how makima herself wants to be deified. I wonder whether she recognizes the difference between Love As Worship and the love that Aki, Power, and Denji had. She says she wants to help humanity by having Chainsawman eat the “bad” devils, but why does she want to help humans? Because she was ordered to by the Prime Minister? No, her drive seems much more personal than that, it seems like she teamed up with the PM for contractual reasons. (In the most recent chapters we see governmental members wanting certain devils to be eaten, too. What was Makima’s relationship with them? She’s too independent to just follow THEIR orders, she’s Control.)

So is she wanting to better humanity for the accolades, or out of the goodness of her heart? She sees the big picture. She sees any small sacrifice as worth it for the end result, and she’s ruthless. Perhaps she thinks that a more sedate human race would be easier to control? But Makima doesn’t loathe humanity. She never acts like she sees all humans as lesser. She loves humanity’s creations, like good food and movies. She just wants Good Things all the time

She says she prefers the country mouse BUT adds a story where she helps exterminate country mice like vermin. She likes the simplicity yet rejects the idea of being simple. Makima the complex individual you are"

~

The story itself seems to prefr the country mouse. Well- it strikes a balance, shows that a risk to live good & fully can be very worth it, but still that stability over ambition is preferable, proning having a simple happy life over fame, a simple job instead of a dangerous one, etc etc. And I do find Makima’s answer on this so so interesting, she prefers the country mouse, but this preference isn’t out of affection or sympathy but because of how relaxing it feels to exterminate them when they cause problems.

Order satisfies her. Her order satisfies her. She likes the action of rooting out disorder. Maybe this is the devil part, like how Power especially wants blood and drinking it, I feel there’s an itch to every devil, and for Makima it’s a very rigid world view/morality/standards & making things follow her rules and submit to her order.

And maybe this is why she’s attached to humans too, why she felt it was worth it to stick with the government- because devils are chaotic by nature (it’s a whole plot point that hell is essentially a free-for-all battleground for example), meanwhile humans are the species that universally rule Earth with systems they invented and instilled. They made then enforced rules, complex and intricate webs of them. She feels alienated amongst devils but she understands the humans’ need for an orderly organised society, and now she wants to be part of it. Control and conquest require social dynamics after all, requires civilizations or groups. War is chaotic while peace is, well, peaceful— Makima resents her sisters for being death, famine and war, things that throw the world in such chaos. She wants a world of perfect order, no matter how much collateral damage there will be if the end result is control.

This is even more interesting if you consider that yes, Makima is untouchable of her own design, she deifies herself with her omnipresent amount of control and the sway over others that she seeks and encourages— There is this urge to dehumanize her for it, that yes, she is the devil of control and that means she was never going to be any different, have any more feeling be any less uncanny. And I love part 2 so much for this, because it shows us the war devil and the famine devil and we see how frankly uncharismatic with poor self-discipline they are, Nayuta too, and it helps us realize just how much Makima’s success was self-made.

She admires Chainsaw Devil, the Hero of Hell, because he had his own code and his own rules and he made Hell, the chaos pit, submit to them unfailingly. Wherever he goes he decides what he does and what happens to the people he encounters but does so consistently, he has his mechanism and his rules that he always obeys, and he fulfills them every time. It’s still a mystery the why of Chainsaw Devil’s behavior back then and how it works exactly, maybe Pochita left hell because he was tired of these rules he lived by like chains, but still, he was a servant to his code. Makima would have been glad being killed and eaten by Chainsaw Devil because it’d have been becoming part of his design, his conquest, his domination, she’d have been part of that —his— order. Through her death she would be shaping his world and be part of a conqueror’s making history. Like how she appreciates the country mice that die for the sake of order. Like how sacrifices must be made to herself, like listing the name of every person whose life was lost to the Gun Devil— All for the ~greater good~, for her vision for the world. Conquest always thinks its reasons are justified.

And she does mention with the country mice thing that she goes out to a friend’s farm every year! She has a human friend?? That she visits yearly and she genuinely likes it?? Ultimately she lives a busy city life because of her goal and drive and her urge & satisfaction with overseeing shaping the world herself, but part of her, like so many characters including Angel and Aki and Reze, wishes she could live a slow peaceful country life. Moviegoing and dogs and mice in a farm- Wouldn’t it be so much simpler if Makima could find fulfillment and happiness in being a farmer, in keeping control of her own farm, getting satisfaction from exterminating vermin and expertly getting everything right, the right crops grown at the right time on the right soil? Here, too, in a way it’s trying to have full control of an ecosystem, but her goals would be easier to achieve and better, without ceaseless sacrifice or much pressure. But Makima wants grandiosity and her goal does matter to her on a fundamental and moral level, she does think she knows what’s best for the world, and with the power to change it why wouldn’t she strive to? Visiting the farm is just a break, just something she does in fall to help out and just in time to see the vermin extermination. It calms her, then it’s back to actual work.

In capitalism, even the one at the very top of the ladder is ultimately alienated from others and often unsatisfied by their lifestyle, always wanting more and more power because surely that’s the extra edge they must be missing to be content— like how Makima thinks she wants to dominate Chainsaw Devil instead of being his equal. And she says it herself too, she likes humans the way humans like dogs…….. And she keeps so many dogs :( Makima prefers the country mice because they’re calming to root out, maybe because she usually mainly deals with city mice. It’s very easy to equate humans to the mice in this allegory because it’s pretty direct and she’s already likened humans to lesser animals compared to her. She’s self-isolating by design for her design but she still craves relationships and contentment, and the dogs are the embodiment or her want for bonds and occasional simplicity because there is no possible ulterior motive, no way they tie back into her wider plan. They’re her personal life— something that feels so alien when speaking about Makima. Personality and individuality and likes and preferences and friends they visit every year. She likes how easily she can train a dog and how they become putty in her hands, at her beck and call, how much they love her and how much she enjoys their love. How simple and straightforward and easy it is. She keeps them because she likes being loved by them and loving them, and she’s gotten and raised so many. A conqueror always wants more and more and more, is never satisfied.

Devils and agency

Like Power the blood devil wanting blood and having a fixation on drinking it like with Denji’s, or how it was shocking that the violence devil was pretty tame and nice and how he himself theorized it was because he was a fiend and possessing a human body… There’s something to be said about nature vs nurture with the devils. The way they reincarnate and always embody their fear makes it seem categorically like nature, that they always always end up fulfilling the role they were named after and born to fill… Outside influence they’re helpless but to conform with. Like the humans accepting their spot in the social ladder and the shittiness of their living conditions and job under capitalism. Makima craved being equals with someone despite being the control/conquest devil, Angel Devil despite claiming to be a devil who likes to see humans dying was haunted by their deaths and wanted to avoid ones like Aki’s. The Ghost Devil being ironically haunted by Himeno, seemingly helping Aki in her memory out of… Lasting affection? Or maybe it was less about being haunted itself and more about it recognizing how Himeno haunted Aki, and acknowledging that, with the memento, paying her respect to the ghost of her. It’s Angel Devil’s devil nature that makes him like human suffering, so then is it his angel nature too to still care about their deaths? Is there truth to this or is that just personality, just our confirmation bias haunting every part of their identity like it might in their own view of themselves too? We do know different reincarnations of devils do have different personalities after all.

Yoru, war devil, is the most interesting one when talking about the nature vs nurture debate with devils. There is how through her we see the perhaps the most the consequences of a devil stopping being feared— we see a horseman for a concept as universal and horrifying as war be reduced to some bird who needs a contract with a human to have any power even just on the situation when meeting Asa. And through the story we get to know her better, and it becomes clear that her goal is fueled in good part by simply wanting to be remembered and respected through fear. Liked, validated, seen a powerful. But what is more isolating than war? Or control? We also see Nayuta accepting others’ house rules. If part 1 shows perhaps the futility of running away from the truth, with Denji’s memory, with escapist coping mechanisms, with passivity and denial under a corrupt system and with abusive relationships- running away from your own feelings and from the reality of things and from all that you are, more complex than simply human or devil or both or neither— part 2 builds upon the theme of cult of personalities, the chainsaw church, etc. The apocalypse is coming, but this celebrity superhero might save us all, or doom us all uh, dunno. The hero of hell reliving the cycle of pressure from responsibilities and expectations, maybe the part will end with Denji running away like Pochita did~

But yes, on the reverse, I think Famine is a very interesting example of how a devil’s namesake may be more innate than coerced by circumstances. One would think that a famine devil would only like inflicting famine upon others, not being famished itself, but Famine has a bottomless stomach that can never, ever be satisfied, sated. I struggle to find a psychological explanation for this, except that maybe instead of her being hungry it’s her feeling empty when she’s not eating, tasting and having that high sensory experience that releases serotonin in humans, sort of like drugs? But I do take this as a step towards the compulsion theory overall, feels like a reach in the consistency otherwise. And compulsion does not mean it’s something that they like nor that it’s something that they fight against, pretty neutral, just a nature that nudges you towards one path. Maybe it’s even just their go-to for entertainment. Maybe it’s the only thing that makes them feel right and whole. But still the debate remains, what is it, a compulsion or an urge or an itch or an active desire or a conscious chosen want? Does it change anything in practice?

And because of all of this earlier, devils being self-fulfilling prophecies with their role is not in unsignificant part nurture, because doing their atrocities is how they stay remembered— feared, powerful, known— hell and devils are a very isolating place and breed after all, and we do see devils can want companionship. Existentially, it’s their purpose and how they justify their place in the world, in the terrifyingly vast and unknowable cosmos.

We still know so little of what makes Chainsaw Devil so special, why his carnage is so self-controlled. Despite a chainsaw maybe being possibly one of the most "nature" thing you can be— a tool to cut things, a human tool that can be helpful for many things, something to be wielding by another at their judgement on what they decide, but mainly something to cut, a tool suited for carnage, to hurt and to destroy. A blade with a toothed chain, spinning around and around and around endlessly on the same road at the same pace. Such a…. Innately circular concept. And yet the Chainsaw Devil is his own, not driven by an urge or by chaos but his very own brand of order, his own unique assigned purpose, a "if you call i’ll come running to help" policy equalizing everyone. He chooses to withhold his destruction and interference otherwise, and then he chooses to be used. If it’s a choice, of course.

Maybe this is what inspired Makima so much, that Chainsaw Devil could decide what to make of himself despite expectations or innate role. Because even Hell he decided & managed to subjugate under his will and whim, with a precise vision and process. When Chainsaw Devil acts like Denji or is defeated, Makima clicks her tongue and loses her admiration and respect. Makima admired and liked Chainsaw Devil, but only as long as he matched her great image of him in her mind, as long as he followed he rules for what she thinks he should be like. She admired him for his unrivaled self-made success, but once he stepped out of that to truly embody self-fulfillment and agency, disappearing from hell to live on his own road at the beat of his own drum… Well. Surely that was a mistake she has to correct. However their second battle ends, the better conqueror will have prevailed and she’s happy about that, all in the spirit of domination and subjugation.

Imo Makima’s biggest tool, similarly capitalism’s most helpful effect for its own purposes, is complacency. Resignation and passivity helps uphold the system and go along the flow of the will of the people in power. Aki and Reze go along with orders even when knowing their job is trash, etc. In Angel Devil especially we see him go along with the flow uncaring about anyhing, and we discover it was in part due to Makima taking away memories that motivated him. If every devil decides this is just how things are and how things should be that’s what they’ll continue to be and do mindlessly, not pursuing a better life like Chainsaw Devil and Denj and not seeking to change the world like Makima. I think even Makima veils herself to a lot of things, she doesn’t like to think deeply about some things, like her desire for connection, or how making bad movies disappear is strenuous and unsustainable and requiring sacrifices at best— how her judgement is as subjective as anyone else. How liking the country mouse and her friend back at the farm and her dogs could be not devoid of sentimality. Wanting bad movies erased is her one biggest show of selfishness, of pettiness and individuality, it’s about her tastes, simple as. About how she can have tastes, and cry seeing a scene of people hug, and want things that aren’t logical, her ideology and mind twisted into a pretzel to avoid acknowledging that she doesn’t live and breathe purely for the mission she’s made a single-minded robot out of herself to accomplish. Nayuta is assertive and selfish and loud, Makima is manipulative and strategically both for her goals and for coping hollow.

Everything in her plans and goals she says is for the greater good, necessary evil, manufactured happiness the way she’ll have decided for people— and that’s the thing isn’t it, like with War, it’s the crack that shows it was all truly about herself after all. Her self-made deification still had the flaw that a self made it. Makima is not omniscient, and it’s not Chainsaw Devil the not-so-fellow-kindred-soul conqueror who gets the best of her, but a city mouse, a dog, someone she would have never thought to respect, Denji.

[buddiesmutslut]

Has anyone edited the dinner @ the loft scene w/ the scene about Eddie asking Buck to talk to Chris in the finale?

I feel like they kind of parallel each other in the way that Buck is talking about his family, and his awkward smile/laugh thing he does bc he’s a little lost. In an episode rife with parent/child moments, Buck’s on both ends of it but i need to see them side by side to see if they’re actually comparing & contrasting or if I’m just over thinking it lol

[the-crooked-library]

so imagine, if you will, the vampire Armand staying in a gloomy Victorian-built hotel by a forest. he goes to sleep and has a disjointed surreal dream about Daniel Molloy sitting across the table laughing at him. the beautiful, beloved face glitches and splinters between young and old and inhuman, his laughter between genuine and taunting and chilling - and then he stands up, hatred in his eyes, and punches Armand in the face, upon which Armand wakes up and realizes he has floated up to the ceiling in his sleep and bumped his nose against it.

now, you might think that this is the premise of a post-season 2 fic, but no, I just fell asleep last night and had an absolutely haunting yet stupid dream, in which I, the vampire Armand -

[quietwingsinthesky]

the last unicorn post from earlier has me thinking about the master. that yana is still in there, you know? is still someone he was, if even for a brief flash across the life of a time lord. there’s no way to unlive that life. there are ways to twist it later, sure, to make utopia into hell on earth. but the life was lived. in much the same way that the doctor can remember, can feel, the love he held onto as john smith even as that life is ripped out of his hands. the doctor choose denial and then grief and then to shutter it all away. and so john smith died, and so professor yana died, and the doctor and the master live on. the doctor has done this before, and he lives in orbit around humanity, trying to keep the best parts of them and hold them deep enough to take root (which he can pretend he gets to choose, as a time lord. as a human, it all floods in and can’t be dug back out.) but what about the master, right?

to borrow a turn of phrase: i think there are two time lords left in the universe, and they both learned how to regret.

[ciderjacks]

Ok this is a story I wasn’t sure if I should tell, but I feel like maybe it’s relevant given the way some westerners tend to distance the victims of these bombings and massacres from humanity. Back when I was in DSMP fandom I followed an artist named Rice (@ was ricetronaut). They were a Lebanese artist. They were pretty talented, if I remember right they mostly made art of like. Tommyinnit, Tubbo, Ranboo. That circle.

They’d been shot by military forces, and when I followed them they were posting about their recovery. Specifically, I think the post I followed them for was a silly post about what their nurse thought the DSMP characters names were based on their Minecraft skins. Rice was also an orphan, their parents had been killed in an air strike, leaving them alone. With no parents to support them, they had to work constantly. Alongside this, they were still dealing with PTSD from being shot, and trauma from losing their parents. It was extremely stressful.

Eventually they couldn’t deal with the stress and pain, and took their own life.

Rice was 13. This was in 2021.

I’m only making this post because I really need people, especially those of us privileged enough to be living in a country that’s not subjected to these things, to recognize that these people are all human. The people you’re watching die were human. The people you’re watching survive are human. They’re the same as you are, they’re not naturally stronger or more resilient, they’re not any more prepared to deal with this shit than you, sitting at home, are. Their trauma doesn’t exist in a vacuum. This person, Rice, was a child. They were a 13 year old Minecraft fanartist. There are so many stories like this.

The people you see experiencing these genocides aren’t numbers—They also aren’t superheros. They’re just people. When you see them suffering you need to understand that person is no different than you, your cousins, your siblings, your friends, your classmates, the person you saw crossing the street yesterday. Remember that.

Here’s some poems Rice wrote.

[secondpersonpoetry]

you’ve probably already read it before, but the poem Party by Kim Addonizio really got me tonight. first thought was “oh man. yeah” and then my second thought was “how can i make this about my hockey guys somehow………..”anyway! have a good one! 

oh. oh.

​

[obstinaterixatrix]

So last week liz took me to see a local production of heathers, which was the first time I’ve actually seen the show the whole way through, which was really interesting. The thing is, the production had a Diversity Equity and Inclusion guy listed on staff, which makes sense for a black comedy from the 80s, but ALSO there were several asian americans in the main cast and I think they must’ve been pretty strategic about casting in a pretty interesting way. heather chandler, JD, and martha were the characters in the principle cast that were played by asian americans, and it reminded me of the book ‘Forever Foreigners or Honorary Whites?: The Asian Ethnic Experience Today’—if heather c was the only asian american, that’d have unfortunate implications with ideas of assimilation/privilege (sidebar, I’ve talked to friends who live/have lived on the west coast and they’ve told me ‘yeah asian americans on the west coast are SOOO DIFFERENT from asian americans in other parts of the usa’ which is pretty interesting, but I’d imagine it’s dependent on how high the asian population is in any given place—I’m not on the west coast but my high school was like 30% asam and I’m pretty sure I walk around with less baggage than asam folks who don’t have that experience) and if JD was the only asian american that’d have really unfortunate implications mirroring that whole Yellow Peril Those Barbaric Asian Men Are After Our White Women (which, with an ungenerous reading one could argue that those implications are there anyway, but I think that having heather c as asam it leaves room for that *dichotomy*—while it’s pretty common nowadays in the usa to consider asam folks as ‘honorary whites’ [when it’s convenient], having asam characters that counter that perspective [both JD and Martha] allows room for more nuance). (another sidebar, JD is a character where I feel like the narrative is less difficult to navigate if he’s played by a white actor because it becomes more delicate if he’s played by any actor of color—I think it worked for that production, and of course I’m mega biased [pan-ethnic solidarity] [lol] so this did get me way more sympathetic to JD than I no doubt would’ve been if he had been played by a white actor). and if only JD and heather c were played by asam actors—well imo that dichotomy would be enough for some nuance, but—it’s still kind of in the unfortunate implication zone with them both being primarily antagonists, and having martha played by an asam actor neutralizes some of those implications by being a purely sympathetic character. so to me it feels like it definitely works in a way that the tv show casting Really Did Not. anyway, I’m talking about all this separate from performances, but they were all really good too—heather c was doing high kicks in insane heels??? and ballet in bathroom slippers??? also my bias kicked in for her too, she did a great job playing a severe and ruthless terrible person (lol).

[malachitezmeyka]

You ever have your narrative haunted by a character who isn’t even yours

[smile-files]

bearer of the curse (too many good ideas)

[unfortunatelyilikebnha]

This has been haunting me since forever. How tf does Kourin’s hair work.

Like yes I know she’s not the only person in cfv with Anime Hair but at least Aichi’s lil swoopy bang thing and Kai’s hairstyle and even Chrono’s fucking spiral could happen with enough hairspray and patience but how does Kourin’s ponytail hold her hair up??? The ponytail only seems to be connected to the hair in the loop, by all logic it should fall off the top of her head but it doesn’t how does it work 😭

[ziracona]

Crying about this

Rewatched Blade Works again and I just.

[luna-azzurra]

12 Emotional Wounds in Fiction Storys

Betraying a Loved One. Your character made a choice, and it backfired, badly. They betrayed someone close to them, maybe on purpose, maybe by accident. Now, the guilt’s eating them alive. They might try to fix things, but can they even make up for what they did?

Guilt Over a Past Mistake. They made a mistake, one that cost someone else. Maybe it was reckless, maybe it was a dumb decision, but now it haunts them. They can’t stop thinking about it, and no matter how hard they try to make things right, the past keeps pulling them back.

Survivor’s Guilt. Imagine surviving something awful, an accident, a disaster, but someone else didn’t make it. Now your character is stuck asking, “Why me? Why am I still here?” They push people away, convinced they don’t deserve to be happy or even alive.

Feeling Powerless. Your character is trapped, maybe in an abusive home, a toxic relationship, or just in life itself. They feel stuck, with no control over their own future.

Being Wrongly Accused. They didn’t do it. But no one believes them. Your character has been falsely accused of something serious, maybe even a crime and now they’re fighting to clear their name. It’s not just about proving their innocence, though. They’re also battling the pain of being abandoned by people who were supposed to stand by them.

Public Humiliation. They’ve just been humiliated in front of everyone, maybe it’s a video gone viral, or they were betrayed by someone they trusted. Now, they can’t even look people in the eye.

Living in Someone’s Shadow. No matter what they do, it’s never enough. Someone else, a sibling, a friend, a partner, always shines brighter. They feel stuck in that person’s shadow, invisible and overlooked.

Abandoning a Dream. They had big dreams, but somewhere along the way, life got in the way, and now they’ve given up. Maybe it was because of fear or circumstances beyond their control, but the loss of that dream has left them feeling empty.

Childhood Trauma. Something happened to them when they were young, something painful that still affects them today. Whether it was abuse, neglect, or a significant loss, the trauma follows them into adulthood, shaping how they see themselves and the world.

Being an Outsider. They’ve never felt like they fit in, whether because of their background, their personality, or something else. They long for acceptance but fear they’ll never find it.

Struggling with Addiction. They’re caught in a destructive cycle, whether it’s with substances, behaviors, or even people. The shame and struggle to break free from addiction are real and raw.

Living with Chronic Illness. They’re living with a chronic illness or disability, and it’s not just the physical challenges that weigh them down, it’s the emotional toll, too. Maybe they feel isolated, or like they’re a burden to others.