#and quite fitting i suppose

[deputy-morgan-malone]

What Form of Love Does Your Ship Embody?

I was tagged by @socially-awkward-skeleton, @direwombat, @fourlittleseedlings​, @shellibisshe​, @clicheantagonist​ and @voidika​ to do this uquiz for my ship/s, thank you!

Not tagging anyone since it’s been a while and this quiz made the rounds, but as usual, feel free to take this as an open tag if you’d like to do it! :)

Deputy Morgan Malone x Joseph Seed (FC5)

Morgan:

love as religion

[ love as the sole object of your reverence--nothing about you is holy, but maybe your love for another is ] when sappho said "in the crooks of your body i find my religion" and when the cast of les mis sang "to love another person is to see the face of God" and when halsey said "i found God, i found him in a lover" and when katherine philips wrote "to the dull angry world let's prove there's a religion in our love"

 Joseph:

love as religion

[ love as the sole object of your reverence--nothing about you is holy, but maybe your love for another is ] when sappho said "in the crooks of your body i find my religion" and when the cast of les mis sang "to love another person is to see the face of God" and when halsey said "i found God, i found him in a lover" and when katherine philips wrote "to the dull angry world let's prove there's a religion in our love"

[Interesting fact - I thought I’d done this quiz before, and I had, here, and got a different result for Morgan, Love As Being Known.  This being the ship, I did fill it in this time around thinking specifically about how Morgan would feel about Joseph, and their situation, which maybe skewed the result a little bit?  Or it’s just been a while and she’s evolved a little as a character, or I was on the fence about a few questions and answered them differently]

[indulgentcosmos]

@stanuary

Decided to contribute for this week since I got inspired this time around

[greenheartart]

[shalomniscient]

as the world caves in. || multiple x reader

AND HERE IT IS / OUR FINAL NIGHT ALIVE / AND AS THE EARTH BURNS TO THE GROUND / OH GIRL IT’S YOU THAT I LIE WITH / AS THE ATOM BOMB LOCKS IN / OH GIRL IT’S YOU / I WATCH TV WITH / AS THE WORLD CAVES IN

cw. major character death

notes. felt silly

arlecchino

You find her against a broken pillar.

Her once pristine suit is in tatters. You can’t even discern anymore where red fabric ends and blood begins. The black feather-like horn in her hair has cracked, revealing crimson enamel, pulsing in tune with the balemoon above both your heads. Her curse, once up to her elbows, has creeped up to her shoulders, her neck, and just below her jaw. Each breath she takes is labored, pained. One of her wings lies uselessly by her side, while the other is just a stump.

She will die here.

But that’s fine, because you plan on dying right along with her.

Arlecchino’s head snaps up as you hobble over to her. The second coming of the cataclysm hadn’t exactly spared you either; a rifthound’s cursed teeth had sunk deep into your thigh. The wound is likely fatal on its own, though the abyssal corruption spreading through you at an alarming rate only solidifies your death sentence. Still, it doesn’t stop Arlecchino from snapping at you as you approach, brows furrowed, her clawed hands digging into dead soil.

“What are you doing here?” she hisses. You really know the extent of her injuries and exhaustion now—if she was in even slightly better condition, she’d have picked you up and flown you right back somewhere safe. But she isn’t, so you let yourself slide down the pillar next to her with a snort.

“What does it look like?” you huff. “I’m here for you, idiot.”

She gives you a look between incredulity and despair. “You—“

“If you think I’d ever leave you behind, I’m going to smack you.”

Arlecchino quiets at that briefly. You lean your head back against the pillar, a remnant of a building ravaged by the angry surge of the Abyss, and shut your eyes. You can feel Arlecchino’s eyes bore into the side of your face, tracing the line of your jaw, the swell of your cheek, then the shape of your lips, as if to memorize you. When she speaks again, her voice is remarkably soft.

“You’ll die,” she whispers, and you turn your head to her with a smile, meeting her eyes. You take her larger hand in your own—your wedding bands meet with a soft clink of metal.

“I’d follow you to oblivion and back, Peruere.”

Something in her expression shutters, and Peruere leans down to press her forehead against your own. She’s so close, like this. Close enough for you to see the way the veins and arteries in her neck pulse under curse-marked skin to a beat that mirrors your own; close enough for you to feel the way her breath fans over your cheek; close enough for you to kiss her.

And you do, free hand cradling her cheek while the other cups the nape of her neck. Peruere returns the kiss like she’s trying to press her soul against your lips. To give it to you instead of whatever higher power will claim it in the end. Her hand in yours squeezes gently, her thumb brushing over your knuckles. Her remaining wing rises, a little shakily, and wraps around you, pulling you closer. You smile into the kiss, even as wetness gathers in your lashes.

Peruere wipes them away with her thumb. Draws back just enough to look you in the eyes one last time, selfishly. The earth wails in the distance, cracking and splintering, and the wind howls above your heads. The crimson balemoon shines impassively down as the herald of the apocalypse, cold and unfeeling. But Peruere’s wing around you is warm, and her palm caressing your cheek feels like being at home.

“To oblivion and back,” Peruere whispers, and then the world ends—

—but at least for you and her, it ends in love.

shalom

Shalom has always known you would meet a solitary end. She had said as much to you, back in the bureau when she had first met you—or rather, when you had first met her, in your fragmented memory. And some part of her was content with the fact. She’s smart, diligent. A HUSH. She could learn you utterly and completely, dive into and discover the depths of your heart before her time runs out.

She does achieve her goal, in the end. But she also falls terribly in love with you, and now the thought of being without you makes her unbroken heart constrict in her chest.

Now here she stands, in this field of lillies she once haunted. This realm of Mania, deceptively beautiful, with a cloudless blue sky stretching on endlessly. She can feel the gaze of the Illusory Moon crawl up her spine, but that is not her concern. No, her concern is you, standing off into the distance, alone—a solitary figure of grey against the blinding white. And somehow, you just know she’s there; like Orpheus for Eurydice, like something bone deep in you compels you to turn around and look.

But Shalom doesn’t disappear like Eurydice. Instead, she steps forward and slots herself into your arms instead with a hum, her hands splaying on your shoulder blades, holding you close. She buries her head in your neck, breathes in your scent—lillies, always lillies—and speaks.

“This is it, then.”

You nod. Card your fingers through her wine-red hair. “This is it.”

“It’s quite peaceful,” she muses, shifting to rest her ear against your chest. Your heartbeat thuds, calm and powerful, and Shalom lets her eyes flutter shut at the rhythm. You manage a small chuckle.

“For now. It’ll get quite ugly soon, at least on the outside,” you murmur. Your lips press a kiss to the top of her head. “You shouldn’t be here.”

She laughs at that. “There are many things I shouldn’t be, and yet, here we are. Mostly because of you, you know.”

“You know what I mean,” you huff, and she smiles. Of course she does. This is your solitary end, the cold calculus of the universe that demands your life in exchange for the world. If she was still HUSH, she’d see it as a bargain. But she’s not HUSH anymore, just Shalom, and suddenly the price is too high, too unacceptable.

“I know.”

“Then why are you here?”

“I’m selfish,” she admits, voice barely above the breeze rustling the flowers by your feet. “I don’t want to be in a world without you.”

Not when you are the one who gives it meaning.

You’re silent for a moment, before a rueful expression pulls at your lips. You shake your head with an affectionate sigh, resting your forehead against hers. You know better than to argue with her. Your hand finds hers, intertwining your fingers and squeezing gently. No words are exchanged between you, but no words are necessary. Her hand squeezes back, and then you’re turning, facing the growing light at the end of the horizon. You’re her Orpheus amidst the flowers, leading her forward step by step until the light devours you both. To life, or to death, she doesn’t know. She doesn’t quite care.

For like Eurydice, what else mattered besides the hand in her own, the proof that she was loved?

kujou sara

Sara once thought she knew pain. Cuts and bruises, arrowheads and sword slashes—none of these are new to her. Her body is a canvas of scars from her time as a warrior, some pale and faded, while others are pink and freshly healed. Pain is inevitable, in a profession such as hers. Sara once thought she knew pain, but nothing could have ever prepared her for the agony of seeing tears paint your soft cheeks as you lie in her arms, staining the burnt soil below you red with your blood.

It feels like someone has reached into her chest, fingers curling around her heart and squeezing tight. Everything else has faded to a dull sensation; the arrows lodged in her wings as she shields you both from the world; the gash in her side from an axe-wielding hilichurl; the throb in her skull from when an Abyss Herald had managed to get a lucky hit in. The war around you both is now an afterthought, even as the skies rage and the Abyss spills forth like a hellish tide. No, the only thing she can focus on is you, as your lips painted red part and whisper to her brokenly.

“Sara,” you choke out, “I love you.”

Sara leans down, pressing her forehead to yours. Her golden eyes meet yours, and she hopes you can see the sincerity within. “I love you too, dearest.”

Your breathing rattles ominously in your chest, and Sara holds you tighter. Closer. A small comfort as death approaches you both on silent feet, ready to collect. Your fingers grip the front of her uniform tightly, staining her white uniform red. “Promise me,” you rasp, and Sara exhales shakily.

“Anything.”

“Find me again,” you plead, your voice so small she would not have heard you, were it not for her tengu senses. “In the next life, promise you’ll find me again—“

She grips your hand tightly. “I promise. I promise, my love, so wait for me.”

She doesn’t even know what awaits either of you beyond this. Is there even such thing as a next life? Heaven? Hell? She doesn’t know, but she doesn’t care. If there is a next life, she will find you, over and over again until the end of time. If heaven doesn’t exist, she’ll build it with her own hands for you. It it does, she’ll meet you there. If hell exists, she’ll carry you out on her back herself. Sara would do anything for you—all you have to do is ask. She kisses you as your breathing slows, your final breath mingling with hers. As death’s shroud settles on her shoulders, she memorises every line on your face, the set of your jaw, the arch of your brows like they’re her north star, to shine forever in her sky and lead her home. Home, wherever you are.

(In another universe, a pair of crows roost on a powerline. In another, a black obi is tied around a beautiful kimono. In another, a museum’s display katana rests peacefully in its delicate sheathe.

In another, she stands hand in hand with you again, looking at them all.)

[psychomusic]

oc time again! + her town & culture (heavily inspired by pre-roman italic populations)

she is suri sauthon. her story is linked to my swtor imperial agent, tar'x, but most of her life except for the one year away where she meets him, is spent in a town in the mountains of mirial.

despite mirial being cold and desert, and many cities developing underground, her town flourishes thanks to a force nexus, venerated in the form of an ancient, sacred, alive crystal. the ecosystem of that mountain depended on what "the horned crystal" was capable of giving them, but mirialans couldn't live off of that alone, so they developed trade and some rudimental technology, even if oftentimes it was bought thanks to the highly profitable trade of a plant used to make medicines that slowed down aging and had overall healing properties.

note: everything that's generated by this nexus has these healing properties BUT they have to be processed, except for those who bathed in the waters of the cavity under the crystal - the "real" nexus, but not the worshipped one. the waters were sacred but they were not thought to be miraculous, unlike the crystal, who instead was thought of as the keystone of the ecosystem: without it, everything would fall apart (and that is partially true: the cavity was the "real" nexus but thanks to the crystal, also strong in the force, the properties were spread all over the mountains). those who bathed in the cavity's waters - so, all of the town, who had a sort of baptism there - could eat the plant, make whatever food with it, and not only that plant, but everything generated by the nexus, that, again, had similar properties. this allowed people to live up to normal life-spans without advanced medicines or, much, really. to those who didn't live there, though, after the processing, had incredible effects, slowing down aging - for those who took it regularly - and making people able to live up to half a century more than the average]

originally, there were four tribes of nomads that lived thanks to horned farm animals that decided to settle down into one bigger town and other smaller settlements, to live off of transhumance. this division of the tribes stayed into the political and social organization: every person belonged to one tribe specifically, and had slightly different rituals and culture. for examples, each tribe had their own priests and healers, with different techniques and traditions. the town, tho, was guided by a group of people in the high priesthood, a position you could reach only by having earned the trust of all tribes. those high priests had many roles: they guided the people into sacred processions common to all the tribes, they managed the trading with outsiders, they did the maintenance of the temple of the summit (the one that functioned as casket to the crystal) and created a special liquid to offer the crystal that helps it grow.

this particular temple was important because 1. it was very visible, from every angle of the town, and it became an important identity symbol; 2. it stored the venerated horned crystal; 3. it had the altar where sacrifices were made for the crystals. that altar had a hole connected to the cavity, that allowed the liquids to reach the underground; 4. it had various symbols: statues representing each tribe + the high priesthood, and typical mirialan tattoos carved into the wood of the trees that served as columns for the temple, symbolizing 8 values that who dared to enter HAD to have; 5. it was on the way to an important lake (called "mother lake" because the lake the town was built around to depended on the waters of that other lake) where they traveled to in important processions; 6. it was said that a the wizard who unified the tribes made it with its magic, making the plant grow to hold the temple's roof. this wizard was, actually, a force user, obv.

BACK TO HER THOUGH: she's daughter of one of the high priests, who was in charge of managing the trades with outsiders, and lives in a house on the mountains with her mother and him. her parents are from different tribes (that's one of the things that earned him trust from the 4 tribes): when a child is born from two different tribes, they don't pick one to allign to, but they're usually linked automatically to the one with more relatives in it (in her case, the father's tribe: she had many uncles and aunts on his side while her mom only had one sister).

later, though, she got quite tied to her mother's tribe due to a mysterious illness that only her mother's tribe healer was able to cure. she spent 4 years (from 10 to 14 years old) living with the healer and learned her secrets. to better study, she wrote them down. when she returned home, she studied to become a priestess with her father. at 22 (the average age: you can't become priest before your 20s), she was supposed to take a test and become a priestess, but the healer of her mother's tribe died and the tribe asked her to take her place. she couldn't technically do that, but both tribes estimated both her and her parents and she was allowed to become both. she then decided to try to become a high priestess, and became one at 25 (a quite young age). being part of the council, she tried to convince the various tribe healers to unite their knowledges and write them down, and eventually made it. healers still remained tribe based but they now had an "upper, inter-tribe level" similar to high priesthood.

years later, the sacred horned crystal is stolen from the temple by some Hutt mercenaries looking for a profit. given the trust she has earned from all the tribes and the fact that her father is the high priest that deals with outsiders (and she's been hearing stories and advice about it since she was little), she is the one tasked with getting it back. without the growing crystal, the keystone to their ecosystem, the village would have lasted only a few years. in hrr quest, she meets imperial intelligence agent tar'x laran and, as they "solve the mystery" and fight to have it back, they get closer. they'll get married and have a daughter, Vegoia (who's the only one who actually will get to the plot of my story. this was all background)

[ashipikaur]

whoever reblogs this PLEASE put what you think kazu is showing them in the tags. TYVM

[descendant-of-truth]

If I may throw my hat into the ring here, I think the source of a lot of problems in the writing of Miraculous can be boiled down to its confusion over its target demographic.

There are two very clear audiences the show is trying to cater to:

Grade school girls around 5-10

Teens/young adults around 15-20

And this results in some. unique conflicts in the show's internal logic.

Because it's a superhero show for little kids, it's full of fun, bright colors, wacky villain-of-the-week designs, and the characters are all very straightforward with exaggerated personality traits. The cheerful, clumsy, scatterbrained girl protagonist, her utterly charming and goofy (but slightly clueless) love interest, her cool best friend, her mean bully, etc.

This extends to the romance; the show is so comedic that Marinette's nervous crush and Cat Noir's flirting are played up for laughs. Their more "problematic" behaviors read as cartoon shenanigans first and foremost, which I do think was the intention - they're both shown as being more than a little ridiculous for acting this way, so they're not exactly trying to encourage people to emulate them. They're allowed to be genuinely wholesome, too, because it's nice to give the kids something to go "aww!" at, but it's not meant to be more complicated or deep than that.

And of course, it's gotta follow a sweet and simple episodic formula! A conflict in Marinette's civilian life, an inciting incident to get a side character upset enough for Hawk Moth to turn into a villain, Ladybug and Cat Noir show up, there's fun banter, Ladybug uses her Lucky Charm to figure out a wacky solution to the problem, and boom! The day is saved, Marinette and/or someone else learns a moral, and we get a cute little end screen showing all the key players of the episode.

The one aspect of the show's setup that's a little more serious is the fact that Adrien has a super controlling and distant father, but even this is something that doesn't necessarily break the kid-friendly tone for the first season or two. Superhero shows in particular like to put in some stuff that's a little more emotionally challenging for the viewers, even when they're mostly comedic, so it's not totally out of place here.

For example, while they tend to have more grounded tones overall, Spider-Man cartoons are aimed at kids and regularly keep the conflict between Harry Osborn and his father, Norman, intact; often including the plot point of Norman being the Green Goblin, a notorious villain. It's a similar deal with Adrien, and his dad secretly being Hawk Moth.

You can easily anticipate drama coming from this, but the show primes you to expect it to work out fine in the end because every other conflict so far has been wrapped up in a nice little bow once the episode's over. Though I will say, the choice to have Hawk Moth be Gabriel instead of his own, separate character is perhaps the first sign of the tone shift to come.

And, uh. it sure is a shift.

See, Miraculous does not start out with what you'd call a... plot. It vaguely alludes to there being more going on behind the scenes, but the only thing it really tries to get you invested in is the Love Square dynamic. Marinette and Adrien dancing around each other while fighting crime IS the plot, and it's clearly going to end with a cool final confrontation with Hawk Moth.

You expect it to end like... well, like the movie. Identities are revealed, Gabriel realizes the error of his ways when he finds out he's been fighting his son this whole time, and they may or may not make up but he almost definitely gets arrested. Marinette and Adrien kiss, roll credits.

This is not what happens, because the plot the writers actually had in mind is complex in a way that I would argue is meant for the same audience as YA novels. And with that plot comes a lot of darker, weightier traits to these otherwise silly characters.

Marinette isn't just scatterbrained and nervous, she has debilitating anxiety and an increasing need to be in control of everything due to the stress she's under. She has panic attacks on-screen. She's not just great at strategizing, she also knows how to manipulate people, and does so with increasing frequency - and to Cat Noir at times, no less. Her positive traits haven't gone anywhere, she's still loving and creative and sweet and doing her best to help everyone she can, she just. has all of that other stuff going on, now.

Adrien isn't just a charming, goofy, clueless love interest with a gazillion skills and a controlling father, he's like. actively being abused, and in some cases straight-up mind controlled. His tendency to heroically sacrifice himself so that Ladybug can do her Cool Protagonist Thing is gradually but unmistakably reframed as being a sign of suicidal inclinations. He has identity issues out the wazoo and he doesn't even know he's an artificially created human yet, because everyone in his life is keeping secrets from him and/or lying to his face about crucial information.

Information like, uh. how his dad died???

Yeah, so we're at a point in the story now where there was no satisfying conclusion to the Gabriel plot, no team-up, no moment where he realizes he's been fighting his son, none of that. He still has something akin to a change of heart, but he also still kind of gets what he wants - the Miraculous of the Ladybug and Black Cat, which he uses to rewrite the universe with a wish. It's just that instead of reviving his wife, he trades his life for Natalie's. Of course, he was already dying anyway, which was his own fault but he did force Cat Noir's Cataclysm onto himself, so, that's another thing poor Adrien is going to have to deal with at some point.

And because there's all these astronomically messed up things in Adrien's life, and Marinette's the one who got to learn about all of it before him, she decides that maybe it would be better if he just. didn't know about it. Which is understandable, if I was 14 and had all this information about my boyfriend's life that he didn't, I wouldn't know how to begin telling him about it, either.

But. can you see how we've maybe lost the plot, here?

Here's the thing: starting with a simple framework and gradually getting more complex and subverting the audience's expectations for how the main villain is going to be dealt with is not a bad thing. The fact that it gets darker over time is not an issue. I actually think that all these developments are, themselves, pretty cool! I'm a sucker for angst and complex character dynamics and the show is absolutely giving me those things.

The problem is that it didn't just start with a simple framework, it started with the framework for a different demographic entirely, and perhaps just as importantly, it never actually... stopped.

For as much complexity and intensity they're injecting this story with, they're still working under the logic of it being "for young kids." We still get goofy villain-of-the-week designs with equally goofy motivations, and the supporting cast is stuck remaining two-dimensional no matter their circumstances. Chloe is the most blatant example of this - she was made to be a simple bully first, so no matter what else they do with her, she has to remain straightforwardly evil.

This, I think, is the reason that Gabriel is a more nuanced and "sympathetic" antagonist than her, and why so much care goes into Adrien's character as a victim of abuse while Chloe is just a Problem Child despite suffering similar neglect; she wasn't made to be interesting, and so the show is resistant to changing that. Gabriel and Adrien, however, were already made with nuance in mind, and so they're allowed to develop as characters. And at the same time, it's a kid's show! We need to teach the kids what kind of behavior is acceptable, and Chloe's home life isn't an excuse to treat people badly, so--!

...Oh crap we're supposed to be teaching kids about acceptable behavior. Uh. Um. Quick, bring back the ice cream akuma who cares way too much about his ships so that Cat Noir can learn about consent! Uhh, but don't change his character too much afterwards, he's only marketable because of his silly flirting, and we can't lose that.

Yeah, remember when I said that the romance having problematic elements to it used to work well enough because it was clearly just exaggerated cartooniness? It wasn't free from criticism or anything, but you could see how it was intended to be endearing and silly, right? You were supposed to point and laugh at Marinette's convoluted plans to spend time with Adrien, at Cat Noir's dramatic flirting attempts that Ladybug herself fondly rolled her eyes at.

The tonal shift into deep character exploration kinda paints the previous stuff in a worse light, and to an extent, I think the writers know that. It's hard to laugh at Cat Noir being flirty all the time when he's also supposed to be taken completely seriously, and the more Ladybug rejects him, the more it turns into harassment, and it. kinda just stops being funny, even with the comedic framing.

It's also hard to laugh at Marinette's crush being so all-consuming when they try to tell us (in what I can only assume was an attempt to get people to stop complaining) that she's like this because it's fueled by an event in her past, one that made her so scared of loving the wrong person that she now needs to know Everything about them before asking them out. Her cartoon antics aren't funny under that light, it's just concerning, but they're dedicated to keeping it up anyway.

The show runs on straightforward cartoon logic where you're not supposed to think about it too hard just as much as it runs on grounded, closer-to-real-life logic where people are messy and complicated and actions have consequences. It's so divided that you can hand-pick parts of the story that are influenced by one or the other pretty easily, and depending on the episode you can find instances of both in the same 20-minute time span. Maybe even multiple times!

Neither thing they're trying to go for is bad, and neither is a better approach than the other, but forcing them into the same show makes both sides suffer.

It's not just hard to laugh at the parts I mentioned earlier, it's hard to take Gabriel seriously as a villain whenever you rewatch an episode and remember that he has a once-per-episode pun-based speech that he says so self-seriously that you can't help but laugh at. It's hard to take him seriously when you remember that he repeatedly akumatized a Literal Baby and practically threw a tantrum every time it didn't work, or when he randomly steals (and enthusiastically performs) his nephew's musical dance number, or something similar that you would only do for a cartoon villain aimed at five-year-olds.

And I can only imagine this whole show is a marketing nightmare, too. Hey, little girls, here's your cool role model! She's cute and smart and talented and powerful and can fix anything by shouting the title of the show! Hope you're having fun watching her tell her boyfriend that his newly-deceased father (who used deepfakes of him to sell merchandise that's built to enslave the population and then locked him in a solitary confinement chamber in another country) was actually a hero who sacrificed himself to stop the main villain instead of, y'know, being the main villain! Aren't you excited to watch her wrestle with the guilt of this lie for the next season or so? Doesn't it just make you want to buy her merchandise??

Like. what is even happening right now. what am I watching. how did we get here and why did we start where we did if this was what the story was going to be about

[malicious-bog-creature]

Because I've realized that I really hate the holidays (and I already want the guests to leave even though they aren't here yet), here's some juicy angst that came to me in a vision just now

What if Nicky was never meant to live, not because of Rio but because of Agatha?

We haven't seen much of Agatha's power but usually it was to literally suck the life out of other witches. Rio, even though the literal embodiment of Death, isn't allowed (?) to kill anyone, only take them to the afterlife after they have already died. Plus, we've seen her create flowers which, yeah, not the same as a human life but still a form of life.

And it makes sense Rio would know this right? But doesn't say anything to Agatha because she would much rather Agatha hate her than herself. And I think she would have also kept it to herself for slightly selfish reasons as well, since, it has been implied, that Rio loves Agatha's powers. If Agatha had made the connection, she would probably have hated Rio even more for letting her go through with it even though she knew Agatha would never be able to give birth to something alive.

Happy new year everyone! :)

[bumblingbabooshka]

Oh, so we're all about 'I love my wife - I'd kill for my wife' guys here until it's Stonn?? My man Big Pebble????? [Patreon | Commissions]

[mihai-florescu]

...are u a proshipper?

I post about my opinions on shipping culture every other week so im going to share one of the latest ones, but tldr is i find both terms of pro and antishipping reductive and meaningless in the grand scheme of media analysis outside fandom infighting, which in itself is not very meaningful either. Sorry if this is an annoying or pretentious take but it's been my opinion for a long time. I find it a fascinating topic how fiction can affect reality through the messages and ideas inbedded by the author but not only, also the power of the fans who can change the perception of the work. I'll try to get back on track to the original question... there can be patterns indicative of an individual's personality and morals through the media they frequently engage with and by extension ships they like, and if you mainly engage with loli incest because you consider it hot then like. Thats offputting and i will be avoiding that personally. But i dont agree with policing what type of media can exist and which relationships are okay to explore and push to get an interesting character or story, or what certain relationships can mean to individuals. I will never stop people from engaging with things in a way i dont personally agree with, so nowadays i subscribe to the age old "dont like dont look" mindset, but i also question why im uncomfortable with certain depictions when i encounter them to better understand myself and maybe even the other person.

I hope this made sense? It's a topic i think there can be a lot said and im afraid i cant give a yes/no answer when i find both sides are limiting compared to my actual beliefs about engaging with media (i hate calling it media, i wish to call it art, but i fear thatll make me sound more pretentious if i refer to the games or shows i like as art considering their reputation...) I end up making fun of the labels especially when theyre used as character descriptors when theyre very situational... i dont think someone in a fantasy world would have the same mental framework about relationships as an internet user engaged in shipping wars. Thats what my post was about, since i think this ask was a result of that tag, just poking fun at fandom culture as i tend to do^_^

[devilheartsblog]

Laios doodle

He’s a fun character. I know he’s suppose to look generic but I still think he looks pretty unique, maybe because of his personality and lore carrying most of his character. Otherwise I love it when he’s drawn as some thumb monster.

Oh and also he wasn’t meant to be autistic according to an interview, personally I’m a bit bummed out that we don’t have a canon neurodivergent character as a protagonist, but hey, autistic headcannons are always welcome as long as they don’t harass the creator or are mean about it.

[lunarharp]

pretty & cute witch men

[bookshelf-in-progress]

It turns out that I never research because it makes me think the details are the point instead of the story.

The story is the point! It doesn't matter if I don't have an entire world with all its history and cultural and political customs realistically fleshed out! Focus on the story and fill in the details later!

[flowering-darkness]

..well, I can at least say I’ve written over 1300 words today

..they just haven’t been for anything I was supposed to be working on, like exam revision

(because they were for an arilio scene instead)

[lususnatura]

[microwavetoaster-selfships]

Hey, I was looking at your card and saw you had some F/Os listed under platonic and as secondary romantic? Is that on purpose or.....?

Hey!! I was actually looking to clear this up! There's actually a bit of a funny story between the reason why Leland and Mater are both listed and platonics and secondary romantic F/Os, I suppose I just never got around to explaining it or thought that anyone would properly pick up on it😅(Though I have had it recently pointed out to me by a friend).

So, with Mater, it's a bit funnier cause I'm not even entirely sure. Do I think he would make an awesome friend and I want to hang out with him? Yes. Would I mind doing things that I consider romantic gestures with him like kissing or holding his hand? No, I wouldn't mind I'd totally also do that. Is this queerplatonic? I don't know. Is this romantic? I don't know. Normally with my romantic F/Os I'm not like "They'd make a super cool awesome friend to have and I would also kiss them", normally it'd "Uh oh I've caught feelings." So this could just entirely be romantic but I'm too dumb to figure it out.

With Leland it is slightly a bit more complex. Now he mostly takes on the role of being a best friend and on this blog I mostly just talk about him in the scenario of him being Finn's best friend and being a pain in the ass(affectionately) to the both of us. But BEFORE that, a whiles ago I actually did consider him fully romantic, and I'd think about all that stuff with him. But as I slowly got out of denial with Finn and got closer to "Maybe I would have zero shot of a chance with Finn but I can pretend otherwise in my head" I sort of split off a seperate AU of where I would think about Finn, and Leland would take on the role of just being platonic, because Finn and Leland are just too good of buddies in my head for me to tear them apart. And as I focused more and more on that, that part of my relationship with Leland grew more.

I don't know if I've ever shared this here or to what extent, but all my stories with my F/Os are all slightly different AUs/timelines/whatever the proper term would be here. The one where I end up with Lightning is a separate one than the one where I end up with Chick or Jackson, Francesco, etc. In the same way, my story with Axlerod is different thank my one with Grem and Acer, however in my one with Axlerod, Grem and Acer still play a role because they are involved with Axlerod, it just isn't as heavy and isn't really focused on the romantic aspect there. Same similar thing with Leland. I had a seperate story with Leland, but in my story with Finn he still played a role there because he's connected to Finn. As my focus on Finn grew more and I thought about Finn really heavily, Leland's relationship to me, the focus shifted a lot more on just him being a friend/best friend.

But I still don't think I'd be comfortable seeing other people that romantically also like Leland(If those other people even exist) so I still have him there. Plus once in a blue moon on cloudy nights I still get thoughts of him.