#bashing your brains in bashing your brains in

[honeyhour]

when lily grudgingly begins to rouse again hours later, there’s an instant wave of relief thanks to the solid warmth wrapped around her frame, still keeping her in place. it’s been a long, long time since she's woken up next to bash and she allows herself another minute or two of peace before reality creeps back in; another minute to appreciate that despite all odds, things feel… good. calm. “you’re still here… that’s nice.” if she had it her way, they’d both be able to stay under the covers until noon at the earliest, but rosie will likely be waking soon and it really would be best for her not to find them in such a compromising position. there’s no chance lily’s tired brain could think of a decent enough excuse to explain that away. “i was a bit worried you might change your mind in the middle of the night.”

the softness of her touch, the way she idly strokes his hair... how did he ever abandon this? or maybe the better question back then was — how did they get to a state where this stopped being the norm? plenty of factors played into that, every one of them bash regrets in this moment. maybe it was necessary for growth, painful as it was, and there's no telling if tomorrow they'll revert right back to where they were but for now... for now he'll take advantage of peace. "i'll hold you to it. goodnight, lily," and with a brief squeeze in his embrace, bash rests heavy eyes and falls soundly asleep.

[whereispearlescentmoon]

I am really loving your deep, philosophical look at the characters in the life series, such as the one you did for Cleo and here loyalty and love for her allies. Could you perhaps do one for Mumbo?

So I actually hadn’t watched Mumbo’s pov of anything but Secret Life and a bit of Wild Life but I’m sick and you asked very nicely so I decided to watch some of his Last Life to answer this lol.

The thing about Mumbo that I love is that he is so afraid all the time. And I’m not saying as an insult, it’s just the truth. Of everyone in the series he (and Lizzie) feels the most like a person who was dropped into a death game that, and this is crucial, he knows he won’t win. Not to bash Mumbo’s skill, but he’s not good at PVP, and he’s not great at keeping himself alive. Neither of those things bode well for his survival and he knows that. So he spends the whole time afraid. But what he lacks in skill, he makes up for in smarts.

One of the first things he says in Last Life is that he’s A) Completely terrified and B) Bad at surviving in Minecraft. He’s determined to survive on the merit of his redstone skills, but unfortunately, brains can only get you so far when when you’re being chased down by someone. He looses two lives in his second episode, one right after very triumphantly killing Joel with only a stone axe, because even when he does something cool we must be reminded that he’s kind of pathetic. Every time the boogeyman was chosen, he would hide in fear for a little bit, unsure if he could trust anyone. He’s extremely jumpy. In episode two he gets genuinely startled by items coming up after he places a block on them. And like, he can’t really because for his first season he teamed up with people who actually took the whole “red names cant have alliances unless the other people are red and boogeymen lose all alliances” seriously. Hence the whole “join me” thing with Grian. If paranoia was a person, it would be Last Life Mumbo.

His secret life series is probably the best example of him driven by fear and the knowledge that he probably won’t win. Like, he was paranoid in Last Life, but there was almost a resignation to the fact that he wouldn’t win. In Secret Life, he’s really really trying. But no one else believes him, which only makes him more frantic to prove that he can be good at this. For example, Pearl, despite being his ally, dedicates herself to Bdubs and Joel (and later Scar) winning, but not him. And the second he goes red, when things start going really wrong, he falls apart completely. He panics, like he always does, and flails. And most importantly, he still holds true to the old Last Life rule that reds don’t have allies anymore, hence why he tries to kill Pearl. He can’t get any kills, he’s running around like a chicken without its head. And he dies to a stupid joke he set up himself.

And then the best way to prove that he ends up taking himself out by panicking is Wild Life. First, yes, he does die to a failed trap he himself set up which is funny for the guy who relies on his redstone to succeed in the series. But then when he comes back as a zombie and has no fear of dying, he actually gets a decent number of kills? Like, if he would just take Natasha Bedingfield’s advice and release his inhibitions, he could feel the rain (victory) on his skin.

[cowardlycowboys]

but if I say to kill yourself you fucking moron I'll get suspended

[vampv0id]

Hannibal and Will are two halves of the same person. This is true in the sentimental way but also physically because Hannibal is almost eyebrowless whereas Will has thick eyebrows and Hannibal has his iconic chest hair whereas Will has none. If merged together they will become strong enough to survive many winters.

[yantisocial]

more tips ! (hope you dont mind!)

➷ different headmates often have their own specific origins; these use the suffix -orma! Here's Pluralpedia's list of -orma terms for you to take inspo from.

➷ go out of your way to think about or write down your future headmates' source memories. It gives them much more info to form off of.

➷ start using WE/OUR/OURS instead of I/MY/MINE when it comes to things that the body/the collective owns.

➷ dedicate certain belongings (journals, sketchbooks, accounts, clothing, etc.) to specific alters. This will now associate them with the item and (likely) create a positive trigger for them! ONLY refer to those objects as theirs, never your own or as the collective's (unless its unsafe of course!)

➷ what are their interests? This is one of the most important things in my mind.

➷ do they have a job? This can be anything, from protecting you to "holding" urges/emotions/pain/etc. to even just hanging out with you and keeping you company. Some people also have no job, especially in larger systems like ours (it gets really common once you hit 500+ alters! Some brains just think making new people is cool lol)

➷ there's often times conflict between headmates due to differing opinions (its a huuugely impactful part of plurality). Who disagrees with who? Do they get along still or can they just straight up not stand each other? You can and SHOULD have people who disagree with YOU as well, imo!

➷ draw a map of headspace and/or create pintrest board/visionboard. Planning things out can help immensely. I like to make a vision board and then draw the rooms as a floor plan.

➷ I linked Pluralpedia as a reference earlier and I just want to point out how amazing of a resource it is! Its endo-friendly and never bashes nontraumagenics. (There is talk of dicourse but the site itself is completely pro/neutral!)

Do yoi have any tips for building a system and wotking on differeniating parts?

Yes , Hir Majesty does !

୨ৎ　How to Build a System . . .

( Your Idol will be using alter language for this section )

┄ First , Do research. In order to be a system you must know what a system is and how they work. Join system discord servers as a singlet or scroll the plural tumblr tags.

┄ Flesh out your body info. What age is the body? What does it look like? What disorders or disabilities does it have?

┄ Next , What’s the system like? Is it small , average , polyfragmented? What’s the innerworld like? What types of alters inhabit it? What genic is the system?

┄ Think of possible problems said alters would have with the body. Is it too short? Is its hair too long? Could any alters have species , gender , age , race , or other dysphoria?

୨ৎ　How to Differentiate Parts . . .

( Doll Who Meows will be using part language for this section )

┄ Using PluralKit or SimplyPlural helps greatly in Immortal De ' s experience. Letting parts front and use their PluralKit proxy works grand.

┄ Let parts be different. They can use typing quirks , specific phrases or slang , different emoticons or emojis , make spotify playlists , make tumblr blogs , make Pinterest boards , etc.

┄ Start a system journal. This helps tell how parts respond to eachother , situations , and people. It also gives a handwriting for each part.

If you would like more help with anything else , Let Hui-seon know !

[just-null]

Would/ Do you ship Mitsuri to any of the clones? Except Zohakuten for obvious reasons

i can see her with any of them. her personality just meshes really well with anyone in a romantic context. She's very lovable. (<- biased, really likes dumb strong ladies)

its really a choice of "what trope are you feeling today?"

sunshine x grump

flustered x tease

yapper x yapper

extrovert x introvert

I dont think of character/character ships often, ig you can call me a multi shipper since im pretty neutral abt them? BUT i do like looking at fanart.

the yume/self ship(?) side of fandoms interest me more!

[vivitalks]

this has definitely been said before but derek in 3b saying "i didn't think stiles was smart enough to frame us for murder" is such a lie. if any of the characters on this show could successfully frame someone for murder i think stiles is top of that list. literally the very first thing we learn about stiles is that he eavesdrops on police communications and has zero qualms using that information for his own benefit. his dad is the sheriff for fuck's sake. name one person better equipped to frame someone for murder than the 17 year old sheriff's son with a penchant for sticking his nose where it doesn't belong and lying his ass off with aplomb

[communistkenobi]

conversations about representation have always felt so navel-gazing to me, in part because those conversations tend to remain at the level of individual characters. the focus is on representing individuals as meaningful examples of the groups they belong to - to have “good” representation is to see some component(s) of your social identity reflected back at you by a character without those being the only traits of those characters. To measure representation you first look to see if there are visual or descriptive markers of identity - skin colour, gender, sexual attraction, ability - and then, once that evidence is established, one looks at how characters interact with and contribute to the narrative. does this gay character have a romantic partner? does this black character have interiority not related to their relationship to white characters? is this woman character motivated by something other than a desire to impress men? The goal is to avoid stereotypes, to be an anti-stereotype.

And so you ‘solve’ representation through the adequate presence of these characters. But I think this is an inherently individualistic and anti-liberatory way to approach representation, because it views minorities as individuals who can be cut from the social fabric of real life and transported into different fictional universes while leaving their identities fully intact. The presence of a disabled character does not also require the inclusion of structural ableism in the narrative, their individual presence is enough to represent disability. And so their presence in the narrative seems to emerge from nowhere - you don’t judge representation by looking at how the narrative represents and thinks about historical structures of race, gender, ability, you judge it by the amount of characters who contain those social markers. It means social identity exists primarily within the individual. There is no historical perspective given to characters, no acknowledgement of the fact that identity is dialectic and socially mediated. to paraphrase Gramsci, history impresses upon you an infinity of traces without leaving an inventory, and I think when discussing representation, people judge the quality of representation by those traces - race, gender, ability, sexuality, religion, etc - but ignores the inventory, the origins of those things, the social processes that produce race, produce gender, constantly and everyday. And so you get these characters that feel dislocated, alien to themselves and other people, because they express an identity that appears to have no origin point in the fictional world, no social backing. They are essentialised to what they “are” deep down inside. Characters are not made racial, not made gendered, not made disabled by the universe they exist in, they simply “are” those things.

And if narratives do tackle those histories, they tend to represent them primarily through misery. You know a character is gay because they get called slurs. You see a black character experience racism. You recognise a character is a woman by the fact that she is sexually assaulted. The history of their identities is represented as individual acts of violence or trauma, as if misogyny or racism are narrative objects themselves that occasionally collide with the characters to remind the audience that the authors take history very seriously. If an author is especially serious, they will get individual sensitivity readers to confirm or deny the authenticity of the social identity being expressed on the page; much less often you will hear of authors who rigorously consult, for example, books like Orientalism to ensure the structure of their work is not reproducing Western (and ultimately racist) conclusions about the world they are creating. Representational politics begins (and frequently ends) at the level of the individual. And so you get queer characters who endure homophobia or transphobia, but whose ultimate wish is to enter into a monogamous marriage and reproduce the social unit of the nuclear family, or the black character who finally finds community in a group of all white people that aren’t racist to their face. That’s not tackling history, that’s just allowing these character to be momentarily exempt from it. the historical norms and hegemonies present in the narrative are disconnected from the characters themselves. this is why you can have “good representation” in stories that are fundamentally racist or misogynistic or heteronormative (see: ofmd). If representation is only housed in your characters, if you view representation as a discrete trait that you can add more or less of, you are not thinking about the social identities that you are representing in a systemic way - you are, in effect, producing tokens.

And I think that sense of dislocation is part of what motivates people to cringe away from stories primarily billed as having “a diverse cast” or filled with “queer characters” or whatever, even when they are otherwise desperate for those things (excluding from this discussion the people who dislike the mere appearance of characters who are not strong white men, a perspective that is not worth entertaining). I do not want to watch stories that smash characters and identities together like barbie dolls, that treat race or gender as something to “tackle” in a B plot or a “police brutality episode” like you get in a show like Brooklyn 99. I do not want a character creation screen. Identity should, ideally, be part of the structure of the narrative, not a thing you merely choose to “include.” Which is much more difficult, of course - it requires a robust political imagination, but it’s a problem that is possible to solve.

[kenniex2]

you bitter ass white bitches need to leave this poor girl the fuck alone, transandrophobia doesn’t exist and if you’re mad at someone for criticizing someone with a rape fetish look into yourself and find out what the fuck is wrong with you. I expected the white website not to understand the greater nuances of gender expression within the POC community but if we seriously have to spell out sexism to you dumb fucks without getting paid imma need you to log off and read a fucking book. Y’all stop with this fucking blue-boy pink-girl bullshit and start to actually use your fucking brains. You’re never going to bash a black girl as a white woman in her 20s and be right. Look me in my face and tell me any black woman has power over a white trans person and i’ll pop you in your dumbass face. And calling this girl a terf for emphasizing very real social phenomena is insane to me. You can just watch ONE video and see how trans men realize they’re treated very differently after they transition. So funny how you think Aisha can’t speak on this but you, a white woman, can decide who’s oppressed or not? This is white tumblr bullshit at its finest I just can’t with you bitches.

My friend @princessefemmelesbian recieved this submission

Velvet has harrassed her in the past with multiple attempts at arguing with her in her inbox when Aisha said she,as a black lesbian,hates transandodorks for having corrective rape kinks and their racism to tmoc,most of all trans black men,including me,who she literally asked for permission to post about it.Aisha has boosted the voices of multiple trans women in the past and many transfems agree with her on her 'transandrophobia is just MRA shit' takes based on their personal expressions of harassment by transandrodorks.Aisha does not persecute trans women who disagree with her and Velvet is twisting the narrative-*She* came to *her* and won't leave her alone and mind you it's mainly twoc who're anti-transadrophobia truthing and Velvet is a white woman and in her mid-20s going after an 18 year old because she hates men with rape kinks about her identity and dosen't care if they're queer about it.Velvet has also hypocritically enough gone after many other transfems she disagrees with enough to garner a reputation on the transfemcentric side of tumblr as someone who cyberbullies other trans women to 'do solidarity with' tmascs.Velvet even goes as far as to allow repeated hateposting about Aisha,again,an 18 year old black lesbian,on her blog(screenshots provided by Aisha herself)

Aisha has never tried to argue with trans people on their oppression and her posting was partially motivated by me telling her how shitty transandrodorks have been to me for being a trans male femme and disregarding my blackness and girlhood/womanhood for their own comfort.She always asks me for permission as her trans friend to see if what she's saying is real allyship or just not true and goes into it extensively with my consent.This is not a callout post or 'warning post' for Velvet but me defending Aisha before things get out of hand and lies spread about her because a white woman with like ten years on her dosen't care if she's being misogynoiristic to a young black woman and very dangerously potentially putting her in a harrassment campaign

Please reblog this

[im-smart-i-swear]

putting these fucks in situations deliberately designed to make them miserable<3 yay<3

[brucewaynehater101]

I hate Bruce and I hate Joker.

However, their relationship is so fucking compelling that it's maddening. I want them both to die.

This is a semi-rant, semi-analysis and most definitely not 100% correct. It's more speculation than concrete fact/characterization on Bruce's part.

Joker has a one-sided toxic obsession with Batman. He wants Bruce to beat the shit out of him before returning him to Arkham. He wants to watch as Bruce decends further and further into madness as he grips onto his moral code of "no killing" as if it's the last lifeline he has. Joker is kicking his feet giddy as he watches Batman make excuses after excuses of why every action of his BUT murder is justified. Bruce falls further and further into being an abusive asshole, and Joker is so fucking happy about it. How far can Joker push and torment the Dark Knight until he finally just snaps? It's such a delectable mystery and experiment that Joker is testing on Batman, the "hero" to save Gotham. How far will he fall? How far will he go?

Will killing his son finally cause him to cross the line? Paralyzing his friend's daughter (Barbara [Joker didn't know she was Batgirl])? Killing hundreds of people? What will cause Batman to finally stop Joker for good?

On the flip side, Batman despises Joker with all of his being. He wants nothing more than to obliterate that monster until he is nothing but ash. He can't, though. Is getting rid of Joker truly worth letting go of that final moral line?

At least, that's what Bruce tells himself. He tells himself that he throws Joker in Arkham, not in the Watchtower prisons or the phantom zone or other more secure facilities, because that's the morally correct decision. The court of law, even incorrectly, deduced Joker was legally insane. This, legally, makes Joker not responsible for his actions. It doesn't matter that any hack with a law book could see that Joker doesn't qualify for the insanity plea. It doesn't matter that Gotham's legal system is known for being corrupt. It doesn't matter that Joker breaks out frequently. Joker was declared insane.

Bruce doesn't change the status quo, and he tells himself this is the way it must be. He makes sure to tell everyone around him as well. It's the way it always has been and Bruce is too far into his mistakes to correct it now (if Bruce changes Joker's situation now, does that make all of Joker's victims Bruce's as well? Is he responsible for their deaths due to his negligence and, at times, protection of Joker?).

After a while, one starts to wonder why Batman won't come up with permanent solutions for Joker. He has contingency plans for every hero and villain out there. Unlike some of the other villains, Joker is easily accessible. Batman could lock him in a more secure prison, destroy his ability to commit crime (as he did to Jason), or kill him. He has options.

He doesn't utilize them, though. In fact, he's even brought Joker back to life a few times.

It makes one wonder if he keeps Joker around for selfish reasons. Does he want to feel useful? Does he want an avenue to express the anger and hate burning inside him? Is he too deep in past mistakes to admit his wrongs?

Anyways, fuck Bruce and fuck Joker. I hope they both rot in hell as the worst couple to exist (not talking about Lego Batman, though. They are pretty cute in that).

[givehimthemedicine]

🛹🛼

lots of talk about why Mike reacted so negatively to this when he reacted so positively to this:

can we talk about how the Rinkomania reaction started in between those two things? right here:

at mid-season-2, all the times Mike has seen El use force against people have been super justified because there were lives at stake (or at very least, like in the case of tossing Lucas in the junkyard, she thought there were)

then Max wipes out, and goes "ooh it was like a magnet pulled on my board" and instead of taking that the way anyone would - that this annoying girl fell due to lack of skill and is trying to save face with a stupid excuse - INSTANTLY Mike suspects El. El, who's currently dead or lost in another dimension or whatever, must actually be lurking around here with nothing better to do than trip Max.

ok 100% accurate but I'm offended nonetheless

why did he jump to that conclusion?

the last time some inexplicable, physical but nonlethal hijinks befell someone he was talking to, he turned around and saw who was responsible:

so when Max fell, in that same gym btw, of course his brain goes turn around, look at what you seee

this was Mike learning that, oh, El isn't Superman and doesn't reserve her powers only for perfectly morally justified situations, but can in fact lash out about anything that bothers her, like the disturbed child she is.

BUT I don't think he actually processed that at that moment. he wasn't thinking about how Max did absolutely nothing that could be misinterpreted as a threat, and didn't deserve this. at that moment, any thought of justice for Max, or scrutiny of El's motives, was easily and completely drowned out by excitement that El might be there.

so later Mike sees Angela screaming on the ground with El standing over her, and remembers he has already seen El respond to a non-life-threatening situation with a level of force that didn't make sense to him.

plus he has that whole protection thing and I think seeing anyone get hurt is paladin catnip to him (see him rushing to Max's aid two seconds after telling her she's annoying). he has that instinct to support whoever's been knocked down undeservedly - yeah he knows Angela is an asshole, but El's response seems overboard to him, so while he doesn't go as far as rushing to Angela's side, he doesn't rush to El's side either.

he keeps distance between himself and El at the rink and leaves her sitting alone in the most literal demonstration of not wanting to take her side. he seems irritated in the car and downright pissed at the dinner table. I think it's true that he was overwhelmed in the moment and scared not of El but of the situation, but I don't think that's all of it, because then why would he be pissed.

maybe he's seeing patterns and thinking back on how Max didn't deserve that at all, and how neither of these things were very Superman of El and he's a bit disillusioned that she doesn't live up to the flawless superhero moral code he assigns her in his mind.

while the Angela thing seems WAY harsher than the Max thing, can I also say that a lot of that is due to circumstances?

Angela's pouring blood, wailing, an ambulance has to come, there's lots of witnesses. it looks baaaad. Max isn't injured, isn't too bothered, and there are no witnesses or real consequences. shrug. but it easily could've gone down much more like Angela. you can absolutely break a bone or get a concussion from a spill like Max's.

Max isn't hurt, so Mike just leaves the room, and nothing ever comes of it. compare to Mike watching an inevitably-to-be-arrested El sit stewing in the aftermath as dozens of Angela's sympathizers watch her get checked for brain damage by EMTs.

it's little wonder Mike has such a different reaction in the moment, even though El's actions in these two scenes actually isn't totally night and day.

El's force was more deliberately focused on Angela, and I think El did intend to hurt Angela in a way she didn't intend to hurt Max (El yoinked the skateboard rather than bodily targeting Max herself, but her intent was still to make Max fall, and she could have been comparably injured as a result).

like, up til the point of "El gets mad and lashes out" these are similar - the way the aftermath unfolds just happens to take the best and worst possible paths, respectively.

and before you want to point out that the Angela thing was a reaction of anger and the Max was just about puppy love jealousy, no, that was anger. Max is literally the first thing El thinks of when Kali says to think of something that angers her.

tldr; rinkomania is just a nightmare remix of the gym scene to Mike

[dandunn]

"what, you don't want to see my new ball-peen hammer?"

[geosabor]

Dominion of Hate Page 54

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[antipathy-arsonist]

HOW WAS MASOCHISM TANGO MADE IN 1953

[roadkill111]

the masochism tango is a freaking banger tho