#because its fiction and tragedy in fiction is GOOD

[lavellanlovesnugs]

Meh, I will say it's very much expected since it's their OC involved so I wouldn't take it personally and just let them rage

(can't tell you how many of them raged at me when I posted anything remotely Solas critical and he was literally my fav character like?? Y'all my inqy romanced him too?? I don't hate him?? calm please lol but they can post Mythal critical posts like? ok double standards right I SEE HOW IT IS)

I do still think it's unusual for them to focus on Mythal since Solas is just as flawed and terrible as she is (and I say that with genuine affection!)

imo If anything they should feel more betrayed / rage against Solas because a romanced Lavellan was used by Solas (not Mythal)

Technically Solas uses the inquisitor regardless of romance. But with romance included it adds another layer of issues because it was never a relationship he could fully invest in and he knew it and still went for it

As for Mythal and Solas, even if Mythal could return to her OG form... what happened between them was so intensely tragic that I think they would both just move on and focus on their duty to the world.

I think they are mature enough to forgive eachother by accepting that what happened is done and over with , but also wise enough to not make excuses for each others mistakes and betrayals. There's so much baggage that even if there's still love there, there's also regret and resentment.

And I think the same for Solas and Lavellan (mine at least).

Like these characters need to MOVE ON, focus on more important matters because the world is still shit because of them, and find healthier relationships 😂 but thinking about how tragic they are is still fun NGL

the reason #they hate mythal so much and are so threatened and insecure over a dead woman is because they know if solas could somehow have her alive again as she once was before being murdered he would drop their oc in a heartbeat to have her back

[arolesbianism]

Every now and then I get haunted by my past as a dr fan because someone mentions it or smth and lemme tell you the worst case scenario is if they bring up v3 in an even slightly positive light because nothing will make me start giving a shit abt dr again except for my burning hatred of that damn game, I just spent like 30 minutes ranting to myself about how much of a nothing character Kokichi is in the bathroom after showering just to vent it out because if I don't rant abt v3 every now and then I'll explode and kill someone

[timemachineyeah]

Keep seeing posts in solidarity with the WGA strike that say things like “no one cares about your favorite shows” and “fuck your tv show. I hope it gets canceled” and while I understand and agree with the underlying sentiment, which is clearly “Real people are more important than fictional ones, you dipshit” I don’t like the framing because, well, it feels shitty to dismiss the importance of the work made by the workers we’re trying to defend.

No one cares about your favorite shows more than the writers do.

No one understands the power and importance of tv and film more than the writers who created them.

No one loves tv, movies, games, and stories more than the people who fought tooth and nail in an incredibly competitive and underpaid profession for the chance to be part of it.

They know it’s important. They know it changes lives. They know it can be more than just a story, more than just a bit of entertainment. They’ve loved and respected this medium, continue to love and respect this medium, more than you ever will.

The person who wants a show to get canceled the least is the writer who poured their everything into making it good.

TV and movies are great, actually, and you are not wrong to be invested and care about them. That’s what the writers gave you. That’s what the writers wanted when they wrote it. That’s why they wrote it.

Which is why we respect them when they make the call that this strike and its demands are worth risking it.

The people on that picket line do not want their shows canceled. They want to keep writing them. They can’t, not under the current conditions.

So we accept the risk with them and support them.

But I don’t want to berate the power and importance of their work, the value they put into it and the love they have for it, in the same breath that I am defending their strike. Worthy shows will likely get canceled or derailed and that will be a tragedy worth mourning. The writers know that better than anyone.

So when they say something else is even more important, we listen. And when your favorite show gets ruined, you make sure your fully justified anger and grief is pointed in the right direction - at the CEOs who killed it.

[star2fishmeg]

ᴜɴᴅᴇʀ ᴡʀᴀᴘs

[4.4k] Pairing | bsf!Luke Hughes x bsf!afab!reader Summary | luke and y/n are tired of feeling left behind and help each other out…but in the company of their friends. but it makes a good story, right? Warnings | 18+ smut, kinda slow start, best friends to lovers, long haired luke!!! Bc I love long hair, umich!luke, (basically public) fingering, swearing, appearance and sex insecurities, tiny bit of angst but not really, mutual pining, making out Authors Note | im in such a luke brainrot it’s painful, this was supposed to be a blurb but I can’t control myself but anyway, this is my first hockey fic i hope its alright. Based on this after hours post! This is a work of fiction, please remember that my dudes

Luke felt like a creep. But she looked so at peace sitting on the lake's docks, feet dangling and toes skimming the water's surface. While she was nothing but a silhouette in the distance, the sunset cascading on the horizon complimenting her like a portrait in a museum. He also wasn’t sure on how long he’d been standing at the sliding patio doors, the UMich boy’s voices blended out into a white noise while his mind wandered to crevices of thoughts he’d been avoiding for months, but anything to escape Ethan and Luca’s conversations about girlfriend stories. Yes, he was happy for them, found it cute in fact, but when was it his turn to have that chapter in his life? He could have it if he didn’t panic and fumble at every party they threw, just a bit more alcohol and maybe he’d have a chance but like all victims of tragedy, no one would ever be her. Could ever replace her or even substitute her. So, while his curls bounced in the gentle breeze, Luke Hughes admired the only girl in the University of Michigan that’s ever made his heart ache and contort in bittersweet ways.

With a firm slap to his back, Luke’s daydream snapped back to reality, to Dylan Duke grinning and wiggling his eyebrows. The most painful thing Dylan had to endure since he met Luke was watching his friend follow y/n like a lost puppy begging for attention, and there was nothing more he wanted than for the two to just kiss already. They almost did, once, at someone’s birthday party when they both nursed a bottle of tequila. But Dylan never told them that, he wasn’t entirely sure if he dreamt it, if he was honest.

“Just go talk to her, be honest,” Dylan said with a light chuckle, nudging Luke towards the porch steps.

Luke’s legs stopped stiff, and spun to face Dylan in protest, “No! What do I even say? ‘Oh, hey y/n I know we’ve been friends for a while, but I’m in love with you haha hope this doesn’t make it awkward’? Like, come on.” With the way Dylan’s grin turned almost menacing, Luke felt his heart almost stop, his stupidity catching up with him, “This stays between us, Duker.”

He groaned and watched Dylan giggle his way back inside. Wingman or menace? Fine line, but at least he was better than Jack. Who quite literally tried trapping him and y/n in a closet when he found out, hoping for the best. Perhaps Dylan would actually help him get somewhere, he’d spent many parties coaxing Luke into making a move but Luke being the humble soul he took pride in, let her have her peace. Oh, how much he regretted it every time he heard her laugh because of another guy.

Thankfully the docks were at the far end of his garden, out of earshot and almost out of sight, if you weren’t spying. He stood silently, just taking in her very existence alone. If she weren’t wearing his hoodie so proudly, he would’ve sat down by now but the heat that flushed into his cheeks prominently just had to ease before he could show his face. Maybe she’d find it cute that his face flushed so easily, or maybe she’d think he was a fool for thinking he had a chance. Girls were hard to read, so many codes and hints, he couldn’t keep up with them all and God forbid you had an ugly code name. Watching her like that did raise the thought, what was his code name? Did he really want to know?

“I can feel you starin’,” her voice chimed, their eyes meeting as she craned her neck, “you gonna join or just stand?”

Luke’s lips pulled into his famous half-smirk, “I like lookin’ at pretty things, can you blame a man?” He sat next to her, thigh to thigh, shoulder to shoulder like they usually did, the weight of his boldness lifting off his chest. “What’s runnin’ through that mind of yours?”

“Who said I was thinking about anything? Maybe I was finally catching a break from the zoo. Maybe I was thinking that you need a haircut.” Her laugh was like music to his ears, her voice his favourite song and every word that rolled off her tongue felt like ecstasy surging through him and freezing the world around them.

Spending a summer in a lake house was the only way y/n ever wanted to live. An oasis of serenity and laughs, endless memories, and an escape. But while she dipped her toes in the water, watching her reflection ripple, the everlasting thought that it was fleeting crawled its way back to the surface whether she wanted it to or not. The boys had been doing this longer than she had, it was her first time at the lake house and possibly her last. But there was nothing wrong with enjoying it while it lasted, being trapped under the same roof as the boys wasn’t as bad as she’d assumed. Except for the smells, they were straight-up disrespectful. Would she still love it as much if she was with other friends? Hard to say, if Luke was there, everything would be fine. Maybe a couple more girls would’ve been nice too, though.

“Please, you’re staring blankly, don’t try me.” Luke scoffed playfully, shoulder gently nudging hers as she rolled her eyes, unable to resist a gleaming smile. As much as she wanted to rebuttal, he was right. They’d met on the first week of university, Luke starting hockey practice and y/n starting as their new social girl and since then the pair of them had been two peas in a pod. Completely enamoured with each other, attached at the hip, where Luke went, he’d bring y/n, his person.  “Wait, you think I need a haircut? Is it that bad?”

She laughed, Luke, stooping so she could thread her fingers through his unruly curls gently, something only she was allowed to do, “Nah, I like your hair long, cut it and I’ll cut you.” They pulled back, sitting in their original postures and watched the sun’s pinks fade to oranges, “I was thinking about how many girls you’ve brought here.”

He blinked twice, turning his head slowly to face her and to his surprise his eyes met hers. There was a gloss to them, illuminated brightly by the sunset but like glass as if she were about to break. Heart beating in his ears, he licked his lips, almost quivering when he began to speak.

“Just you.” His voice just above a whisper, husky, “Only you. Always you.” Their gazes lingered, and his eyes fluttered to her lips for just a split second before he found himself licking his lips again, feeling his throat dry at the way her eyes crinkled when she smiled. His heart ached, he didn’t have half the guts the Fantilli brothers did, if he had then maybe he would’ve at least wrapped his arm around her. Instead, he sat like he was paralysed, just shoulder to shoulder as she rubbed her bare foot against his leg, their skins touching, lighting little fires up his body and his stomach gaining a warmth he’d only felt in the after-hours of his bedroom.

“Lu?” she rested her head on his shoulder, staring back out towards the horizon, “Do you ever feel like you’re so far behind the people around you? Like you’re missing out.”

Luke leaned his head against hers, almost nuzzling into it as he thought. It was a heavy question, one that’d been weighing on her for a while. Or he assumed, considering she’d never openly asked the group. That’s what made him feel special. Her feet hung still, ending their teasing game and just fell limp. He exhaled, could he let his pride go and agree? Or could he completely one-up himself and disagree, which made him braver? He loathed the storms she started in him, thoughts he never imagined he would think in his hockey brain. One girl could change his entire train of thought, change his heartbeat, change his mood. One woman he pined like a lost puppy over.

“Sometimes. What do you mean?”

“Like, all my friends have these insane hook-ups and embarrassing sex stories and I have nothing. Yeah, I’ve had boyfriends before, but I was younger and stupid then. I go out with my friends and I’m basically invisible to any guy who approaches us, just feel unlovable. And now here I am, twenty years old and a fucking virgin with little experience and no wild stories.” She vented, barely taking a breath as the words spilt from her mouth. Luke’s chest twisted, his face softening when she snuggled into his side. “I don’t know where I’m going wrong, Lu.”

He paused and bit his lip when he wrapped his arm around her shoulders, pulling her body into his chest. She melted into his touch, getting a whiff of his woody, amber cologne, her favourite one at that, the one he always wore. She’d never had the chance to properly relish in his touch, was his chest always this firm? Arms always bring this much security? Fuck, when did his hand get so sexy when on her body, gliding down her arm to nestle in the curve of her waist. With her ear pressed to him, the thundering in his chest surrendered his cover entirely. Cool and collected Luke Hughes was secretly a bumbling mess.

“I get you.” he finally spoke, ears burning when her finger traced shapes on his thigh, “My entire life has been hockey, so not a lot of space for experiences either. Not enough time for relationships between practice and games, development camps and time with family. A lot of the girls who liked me didn’t really like that. That or they liked my brothers and friends more, they are a lot more attractive than me, so I don’t blame them. M’just average.”

Y/n pulled away almost instantly, her eyebrows knitted and jaw agape. For a moment she thought she heard him wrong, ‘a lot more attractive than me’, ‘just average’? Delving into Luke’s psyche turned out to be an entirely different road trip than she had thought, heartstrings tugged as her lips fell to a frown. Who in the world made him feel like that? Who did she need to hunt down? But then again, Luke’s blood boiled hearing how insignificant she felt and who exactly made her think that to start with?

“Luke Hughes you are not average! You’re the hottest guy I know!” she yelped, the hand that drew gentle patterns now clutching his thigh tight. Luke gulped but didn’t retract away from the noise. His brain was too busy short-circuiting over the fact her fingers were dangerously close to his crotch, doing his best to contain himself with slow breaths, “They just didn’t give you a chance, if they really knew you, they’d be heads over heels. You’re so fucking smart, and passionate. And-and if they saw you smile for real, not a half-smile, your full smile with your teeth, the one that feels like a warm summer’s day. It’s their loss, they’ll never know how sweet you are, that after a bad game, you want steak and head scratches, that you’re sentimental as fuck- like you wear that Yankees hat because Quinn got it for you when you fell ill and couldn’t make the game. You’re not average.”

Luke blinked, once, twice and thrice as her eyes bored into his, glazed with fire as the words tumbled from her mouth and circled his head. He watched the way her body rose and fell as she caught her breath, the grip on his thigh tightening and heat rising through his body. He felt the sweat building on the back of his neck, his collar suddenly becoming too tight. She thought he was hot? She remembered such little details about him like they’d known each other since they were kids. The hand around her waist slid to her lower back, his thumb rubbing the fabric of her (his) hoodie unconsciously.

He smiled, his warm smile she mentioned, where his eyes wrinkled and his chin tilted up triumphantly, “The hottest guy you know, huh?”

Y/n’s face dropped. Never in her life had she experienced her heart stop the way it did hearing those words. She stared like a deer in headlights, she slipped up and the heat rushing to her cheeks burned. This is what happens when you let your feelings take over, you make a fool of yourself in front of the one person who would never want to. She sighed, hung her head and hid her face in her hands, the butterflies in her stomach choking her when Luke let out a saccharine chuckle that made all the flowers bloom.

Large, warm hands wrapped around her wrists with a feather touch, and slowly pulled her hands away from her face and into her lap, soothing her nerves with a gentle rubbing of her knuckles with his thumbs. Although his hands felt clammy, the tingling in his stomach became too addicting to care about it too much anymore.

“Don’t hide,” she was radiant under what was left of the tangerine hues, eyes almost sparkling, “let me see that pretty face.”

She hesitantly raised her head, eyes meeting his and her body relaxed. She had no idea why she was so embarrassed, he hadn’t gagged, laughed in her face nor had he physically repulsed. Instead, he looked at her like she’d hung out the stars for him, wide eyes with rose-tinted ears.

“I think you’re very pretty too. Beautiful even, I-“ he hesitated, “you have no idea how many times I’ve thought about kissing you, asking you out. Honestly, the idea of you rejecting me is terrifying so I never did, plus, I’ve never kissed anyone before, and I didn’t wanna fuck it up.”

Her eyes fluttered to his lips, the world around them falling silent until it was just them in their own bubble. Luke gulped, his eyeline following the way she flickered between his eyes and his mouth before he found their bodies leaning into one another, noses ghosting. His hands released her wrists, one arm snaking around her waist sending an electric tingle through her veins and holding her firmly close. They’d been this close before, sure. Multiple occasions of having his arms around the back of the sofa they sat snug on, arm hooked around her shoulders because some guy couldn’t get the memo at bars, in fact, the root cause of their problem was undeniably because everyone assumed they were together except them.

Y/n’s palm held his cheek tenderly, the hot, carnal desire to devour the boy only being released from its cage when he melted into her touch as if he was opening his doors to vulnerability.

“I can teach you if you like,” she whispered, her thumb tracing across his bottom lip. Luke’s fingers gripped her waist as if she couldn’t be any closer than she already was, but he couldn’t risk letting her slip from his grasp again. He wanted to erase all those other guys who’d kissed her, he would be the last guy on Earth to taste the lips that words and giggles laced with a honey-like sweetness that cradled his heart.

“God, please-“  his heart beat twice as fast, y/n leaning in, closing the gap between them and pressing her lips gently to his. If he were to die right there, he’d die the happiest man alive. Her lips were soft and warm, igniting every firework inside of him and adrenaline shaking him back to life. He could do this for hours, drinking in her citrus fragrance, lips mimicking the way she moved hers against his. If she was a match, he was kerosene and he’d let her set him ablaze over and over if it meant he could feel like the only man in the world until the end of time.

They pulled away, eyes fluttering open to an exchange of giggly smiles. Despite it being a closed-mouth kiss, nothing extra, just soft and sweet, Luke’s thoughts raced at a million miles per hour. All the weight on his shoulders lifted and he nuzzled into her palm, placing a kiss on it.

Y/n raised an eyebrow, his puppy-like gaze almost distracting her from how his skin burned pink in her palm. But in a way, all her previous anxieties dissipated like dust in the wind, tummy flipping at the pathetically sweet and lovestruck expression spread on Luke’s face, “Your face is so red. Are you okay?-”

“-Can we do that again?” He pleaded, quickly, desperately, a certain yearning feeling on his lips that he couldn’t quite describe, except that he needed to taste her again. He needed more, so much more to quench his thirst, a kind of fuzziness he felt in his core.

“Uh- yeah, let me show you what a real kiss is.” No hesitation was needed, y/n’s hand slid from his cheek to the nape of his neck, fingers carding through his curls as she roughly connected their lips again, messier, teeth chattering from the impact. Luke’s other hand found comfort on her thighs, pulling them over his lap and giving gentle squeezes, moaning when y/n bit his lower lip. He opened his mouth with ease, failing to hold back another moan when her tongue lapped his. He wasn’t sure how to react, he’d never made out with anyone and it’s not like his brothers would’ve explained it well either. So, he repeated her movement, his tongue dancing with hers with saliva lubricating their lips each time they dove back in to devour each other. Y/n tugged his curls lightly, pulling him closer, savouring the kindling arousal leaking into her panties with the way he craved her.

Luke pulled away to breathe, his chest heavy but shorts becoming tight with the intense and fiery eye contact that screamed nothing but lust, “You,” he kissed her again, fervently, “taste,” another kiss, “amazing.” He mumbled into her lips and their tongues stirred again, whimpers drawing from the back of her throat when his hand travelled further up her thigh, under her shorts and found solace on the skin only he could touch. Any further and she couldn’t promise she wouldn’t pounce, her underwear was soaked through and sticking to her folds and even one measly brush on her clit would open the floodgates.

A foreign burst of confidence washed over him, and he detached their lips, a string of saliva between them and her hand still tugging at his curls and whether intentional or not, he discovered something carnal clawing away inside him. Wetting his lips, he dove into her neck, planting wet kisses along her column and nipping in the hope of hearing her mewl again. Y/n tilted her head to the side, giving him free rein over her skin and her jaw slacking, whining his name with her thighs clenching together for any kind of friction. As he began to run his hand along her thigh, his pocket vibrated continuously, earning a growl to rumble from his throat.

“Fuck, why’d you stop?” y/n whined, hand falling from his hair to his chest. Luke pulled his phone from his pocket with a disgruntled look, of course, his moment was ruined. Swiping the notification away, he clicked his tongue, sliding his phone back into his shorts.

His arms wrapped around her waist, and looked back into her adoring yet disappointed eyes, “Dylan wants to know if we’re joining them for a movie.”

“I’m quite happy staying here with you.”

“Who says we have to watch the whole movie?”

Silence hung over the living room, only the TV blaring and the light crunching of popcorn from different directions. The lights were off, just the TV and three boys crammed on one sofa, and three plus y/n on the other. Luke, y/n, Rutger and Adam on the sectional directly opposite the TV, Luke occupying the end with the chaise for his legs, and y/n sat between them and huddled under a blanket. Rutger sat in the middle with Adam on the furthest end. Dylan, Luca and Ethan huddled together on the sofa adjacent to the TV, popcorn littered between them from missing mouths and flinching.

Luke’s hands wrapped around her waist, keeping her snug against his chest while she slowly chewed Haribo’s, feeding them to him now and then. While his heart skipped beats, feeling like a meadow of tulips blooming in the Spring, y/n’s wiggling against his crotch lured all the heat and butterflies from earlier straight back to his stomach, sending it into twists and turns. Heat flushed to his neck when she pushed her arse back into him, in an innocent attempt to readjust. A deep exhale through his nose and his hands slithered to her thighs, fingers kneading the flesh like dough as his head dipped into her shoulder, breath hot on the skin and making her hairs stand on edge.

“Stop wigglin’, pretty girl,” he whispered into the shell of her ear, placing a kiss, “you’re drivin’ me crazy.”

She froze, body falling limp into his as he ran his hands under her hoodie, his stiffened cock poking into her backside as she caught on to what his problem was. The sex-deprived whore in her awakened with a jolt, his cock solid because of her, and there was nothing she wanted more than to feel him pressed up against her, unable to find his release and have the rasp of his voice reverberate through her being as her vibrator. 

“And if I don’t?” she whispered back, as close to him as possible without being heard. Instead of answering, Luke dipped his fingers down her shorts, middle finger brushing against her clothed clit. His eyes locked to the screen in front of him, resisting the urge to smirk when her breath hitched but continuing to glide his finger – in what was a lucky guess – over her bundle. She squirmed, clamping her thighs together, only to have them pried open by his free hand.

“Be a good girl and keep quiet, unless you want to be caught.” His playful tone sent chills down her spine, goosebumps swarming on her neck but melting into his touch. She plopped another sweet into her mouth, chewing intensely when Luke drew his long fingers away, only for her to feel them caress over her skin, cold on her warm body, and down her panties. To describe the sensation that zipped through her when the pad of his middle finger reunited with her clit would be the same shock if you were to be struck by lightning: sudden and sharp, rattling up the spine.

Y/n placed the bag of sweets in her lap, tucking both hands under the blanket with the hope of seeming less suspicious, but her hand skimmed down his arm and placed itself on his, slowly guiding his movements on her nub until he got the idea. Firm yet gentle circular movements, the slick seeping from her warm on his fingertips, so inviting he wished he could have a taste. She pulled the blanket to her chin, not only to cover Luke’s sudden mood but to form some form of distraction from the fuzzy feeling rising to her head. No, she’d never had this before, so the experience itself embraced her tight, addicting like nicotine.

He kissed her temple, two fingers sliding into her cunt almost perfectly, too perfect that another Haribo was abused between her teeth as her breathing struggled to remain neutral. The moan that would’ve slipped past if she hadn’t been concentrating would’ve been embarrassing enough. Luke began languid plunges into her, relishing in the way her walls squeezed his fingers tight, keeping shallow at first. The more her pussy swallowed him in their wetness, the faster his mind spiralled in greed and his pace sped up, y/n’s nails digging deep into his leg, leaving crescent shapes on the skin. The heat pooling in her stomach was riveting, knowing she would finally have an insane story to tell even more so. No one could say that Luke Hughes’ tongue tasted theirs like it was the best meal he’d ever lapped up and that he’d watched a movie with his friends while pushing the limits of both his and their sanity publicly.

With a rush of adrenaline and her nails marking him, he buried his fingers deep into her cunt, driving swiftly and curling in places that made her wriggle against him, his free hand having to hold her hips still with a bruising grip and his cock begged for attention in his shorts. Y/n popped two more sweets in her mouth, relying on their gummy nature to suppress the moans that threatened to tear through her as the knot inside her came dangerously close to snapping with the way he bullied her pussy with his bare hands. His breathing fell deep and shuddered, his heart infatuated with the ecstasy of finger-fucking the woman of his dreams in front of an entire room of his friends hammered in his chest while his face struggled to stay indifferent and jaw tight like his cock isn't throbbing violently and straining against her arse. Like she wasn’t bucking her hips into his touch like he couldn’t tell that her heart was going haywire because of just him alone. If this was what foreplay was like, the idea of piledriving balls deep in her until she couldn’t remember her name was divine.

He dragged out his last pumps, the knot in her stomach snapping and coating his fingers in hot, sticky release, kissing her temple upon her body physically shuddering. Y/n pulled the blanket up to her chin as if she had shivered naturally, stuffing her mouth into the fluffy material. Luke pulled his fingers out, wiping the residue on his shorts, practically drooling over the image of milking her dry. His arms snaked around her waist, snuggling close. Y/n sighed, slumping back into him. On the outside Luke was his collected and cool self, his breathing stable and attention on the movie, the heat in his face and hands that rested on her stomach, soothing her heart rate screamed that he was the happiest guy in the room. With every gentle stroke of his thumb on the flesh of her stomach, her heart soothed and her eyelids became increasingly heavier.

"Was that story worthy?" He whispered, kissing her cheek sweetly.

Luke’s pocket buzzed and he tutted, carefully sliding it from his pocket and unlocking it, trying his best to prevent the screen from blinding everyone.

Duker idk if ur freaky or brave u dog

Luke closed his phone and looked up towards Dylan, who sat with a shit-eating grin. He smiled and shook his head, mouthing a subtle, ‘this stays between us’.

[Masterlist]

[Requests CLOSED]

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[neptunes-sol-angel]

Pick the picture(s) that you're drawn to the most, then scroll down for its corresponding message for insight on what's next for you in love.

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Pile One ♡

I strongly feel that most people in this pile would be considered as someone who is inexperienced in love, maybe you guys are bookworms, maladaptive daydreamers, and writers yourselves when it comes to visualizing your future, different settings for how the world could be, and breathing life into the people that you haven’t gotten the chance or time to get to know yet. What’s next for you in love, is practice. You’re upgrading from being Bambi by becoming the Great Prince of the Forest by taking risks before you are able to know and find what is right for you. Some of you may believe in holding yourself tightly before you meet “the one” but the message is that you are being unfair to yourself by putting your life on hold to revolve it around someone who is also learning too, but isn’t waiting like you are doing. This doesn’t mean to be reckless or to feel coerced into going along with people you don’t have a good feeling about just for the sake of finally being in a relationship. This stage is about exploration and enjoying yourself before you meet your life partner. If you resonate with being a bookworm, you could be the type to read romantic fictional stories on a platform like wattpad, and while it serves its purpose which is to make you feel good, it could create an irregular perception of love for you, like subconsciously romanticizing traits that are toxic or wouldn’t be something that you would actually like if you were to actually experience it. For some, it could be re-evaluating your attraction to individuals, like when you crush on someone, you could find that they really look good, but do you yearn for more from them? Your path in love could be redirecting you to pay attention to how a person makes you feel than what you get from them on a surface level of interaction.

Pile Two ♡

There was someone in your life that you once felt like you couldn’t live without or took something from you that seemed irretrievable, but you’re being blessed in a way that’s shutting all of those lies down. You’re getting you back, in whichever way that it applies. This could be your motivation to take care of yourself, to do things that made you feel happy and at peace before this dwindle ending happened, like going to the gym, arts & craft, writing, solo trips or going out with friends, and even something simple as such as looking good for yourself, but it’s not limited to what was mentioned. This could even look like getting closer to who your deity or deities and spiritual maintenance. The best way that I can describe this, is that this phase in love is like this big circle of energy, stuff that was taken or borrowed from you, that’s being marinated before it is returned because it isn’t just aspects from the past, it’s also the time for creation. This whole entire time, your rain of tears that were collected from this heartbreak were observed yet not ignored, but transmuted into this empire that you’re building off of the corpses of failures that you’ve experienced with not just people but life circumstances, maybe when that break up happened it just seemed that more tragedies kept following you after that and it drove you into insanity like when does this pain ever end? Although you can’t forget about it, you’re learning how to soften from these things that stung you in the past, so that you can keep moving and consolidate your wishes. For some, this is personal, and an era that you’d like to be selfish with in order to see what else you can create, like developing a strong daily routine, starting that business, or maybe even working on yourself so that you can heal others, while the other side of this collective will open their hearts again to a new love which can be romance, friendship, or even adoption that is just as equally healing.

Pile Three ♡

The next thing in love for you is learning how to stop trying to win. I’m picking up multiple scenarios for this but the premise is that people in this pile are in love situations where there is no winner, and if there is, let the other person be the one to have it so that you can walk away and stop blocking yourself from better to come in. Some of you are in a long battle with a person by competing with them on who has the upperhand in the situationship, this involves the runner and chaser dynamic constantly reversing and both of you keeping tabs on each other when you’re supposed to be in no contact. The second scenario is sticking beside someone who has a wandering eye but trying relentlessly to get this person to choose you the way that you choose them. The third scenario is in general, trying to prove yourself in order to gain love from others by manipulating yourself and even them to win their affection. There is this storm brewing, you can even call this a tower moment, that could happen to finally get you to see the many ways that you are downplaying yourself with people who have stayed in your space and energy for far too long. You’re going to surrender from these situations to know what it means to pick yourself up and see how beautiful and worthy you are to the extent where you’ll be baffled by how much you’ve been settling for people who don’t deserve you. This phase will come with new connections, but what makes it different is realizing your authority in this by realizing how possible and freeing it is to choose people that choose you. Once you realize that you’re the prize in this game, let the winner take pride in being the fumbler, and be proud of yourself for not being the one to fumble you.

[gunsandspaceships]

About HP fandom and JKR

Hate is trending these days, isn't it? First, I want to state my position on JKR: I am a trans guy and I support trans women. To me, trans women are women. Period. I also fully support women's rights. But I do not support extreme views. Any extreme views. I do not support views or actions that are intended to harm people. Thus I do not support JKR's views on transgender women. I also do not support the views of people who hate J.K. Rowling just because of her views. I hope everything is clear with this.

Nobody is perfect. We are biological creatures. Look at our internal organs - it's gross. Why do we think that our inner worlds are better? Each of us has "good" and "bad" sides. JKR has a thing for transgender women, but she helps people with multiple sclerosis. To hate her and wish the worst for her is to hate those people who benefited from her charity. Better wish her understanding of the problems of transgender women. Sometimes people change for the better.

Next. What people have created throughout history is unique and important. We produce what no one else in the world can. No, not only plastic. We produce culture. We create stories. We produce art. We create lives. We live in a multiverse of fictional worlds that we have created for ourselves and for other people. Every one of them is valuable. Losing any of them is a tragedy because each one is unique and impacts other stories, even if sometimes it's not obvious.

Most people before us were homophobic, transphobic, nationalistic, treated women like property and animals like things without feelings. Some of them owned slaves and killed other people. But we all live in the world they created. With all its good and bad. Many of our parents are transphobic and homophobic, but they created us. Many writers, artists, scientists, philosophers, etc. held views that are problematic by modern standards. But they have shaped human literature, art, science and philosophy. Now all of it is ours to enrich with our own stories. We do not start from scratch - we stand on their shoulders.

JKR created Harry Potter fandom. But Harry Potter fandom is not only JKR. It's not her views on trans women. It's much more than that. It's the story she told, and millions of other stories. Including stories of transgender women. I'm sure there are fanfics written by them and fan art drawn by them in the fandom. Do you hate them too?

What you, cancel culture guys, want is to erase human history. Thus destroying the foundation of the present. And ultimately putting an end to the future. Censor all the inconvenient moments. Close eyes, shut mouths, put earplugs in ears. Burn books. Remove all inconvenient people. Witch hunters did the same. Nazi did the same. I know who you are. The worst enemy of humankind.

HP fandom - don't let cancel "culture" discourage you. Don't let it destroy worlds. Live and create.

[vaguelyaperson]

as much as i understand shigaraki's death, narratively speaking, i'm also so goddamn tired of society needing martyrs.

what made me fall in love with shigaraki is that he's an excellent villain. all his character development built towards him becoming a more competent, driven, effective villain. he became an incredible symbol of fear just as deku became an incredible symbol of peace. this is who he was, in entirety. there is nothing else shigaraki could be.

when shigaraki told izuku, in his final moments, to pass on the message to spinner that "shigaraki fought to destroy until the very end," it really emphasized how it would have dishonored him to be vegeta'd, as it were.

shigaraki made it his mission to tear down hero society. this was his noble mission. this is what made him a hero to the league of villains. because he saw the systemic evils, he saw the evils that hurt his friends, and sought to destroy it all.

there's something to be said about trying to change someone who doesn't want to change, but for shigaraki, it was more than just trying to rehabilitate him from mass murdering. because to him, and the league of villains, what he was doing WAS the right thing. to tell shigaraki not to destroy would be akin to telling deku not to save. "you may not understand, but that's what makes me the villain."

there was a binary choice here: either he'd be left free to complete his mission and destroy everything, or he'd be stopped, permanently.

Izuku, by reaching tenko's heart, but ultimately stopping shigaraki, was choosing the only third option he had: declaring that he would not let all of society be destroyed, but not without promising that he'd do everything he can to reform it here on out.

shigaraki destroys. deku saves.

that's it. that's the bnha narrative in its most basic foundation. horikoshi did not fail to tell that story.

I think what ultimately fucking sucks about this ending is that it's too realistic. society often DOES need a martyr - or often martyrs - to realize that they fucked up, that they let an evil persist too long. they need a shocking enough tragedy to point to and swear they'll never let it happen again. society needs to be rocked to its very core before people can be motivated to get their heads out of their asses and work together towards reforms.

and that in itself is an evil, that people can't see how much harm they're causing or condoning without some horrific tragedy.

i think we're all mad at horikoshi for failing to follow through on the story because we didn't WANT the realistic ending. we wanted the hopeful one. the against all odds one. we didn't want another story about society using the image of martyrs to get its shit together. because we already know that story. and we're so so so tired of it.

especially when we know it only leads to a temporary peace.

because people forget. they put in enough reforms to feel good, and then get comfortable and ignorant again. when does that cycle end? when can we finally notice the evil in time to PREVENT it? so that everyone, 'heroes and villains,' get a happy ending?

I think our anger with the bnha ending is good. we want different - not just in fiction, but in real life. we're willing to hope for different. we should hold onto hope and fight for different.

[askew-d]

Hello again....if you don't mind me asking, can I ask your top 5 (or top 3) favorite characters from MDZS? And why you loved them? And your top 5 favorite moments from the novel? Sorry if you've answered this question before....Thanks....

sure! its no trouble at all. sorry i am embarassingly late and thank you for the question, i loved making this list :)

1. wei wuxian, our selfless yiling laozu

alright, you can call me cliché, everyone loves him, right? but kendrick lamar said it’s all about love and hate in the game so let me tell you, i love this man. i love the way that he walks, the way that he kills, the way that he dresses, the way that he mocks others, the way that he protect those he loves, the way he’s unbearably and so utterly good to the core (no irony or pun intended), regardless of everything he’s been through. because let’s come clean: other characters, such as xue yang and meng yao, did have their reasons to be evil, i comprehend them! i validate their motives to be who they are, but it does not, for the love of god, excuses their actions.

and that’s the thing! because wei wuxian has been though hell and back, way worse than them, yet he chose to continue doing good things. it’s just who he is (unbelievable, right?). he is, essentialy, someone who pursues justice. he sought revenge for what he suffered, that he rightly did, but he didn’t lash out on innocent cultivators who had nothing to do with his injuries. and the amount of strength, resilience, kindness and sheer wisdom that resides in this makes my admiration for him grow as deep as the ocean. he’s the ultimate main character of every fictional world. no one’s doing tragedy, revenge, inteligence, selflessness, love and being a troublemaker like him, ok. he’s one for the history books. and with that we go to:

2. lan wangji, our beloved hanguang-jun

i said this before, but i will say it again: i feel like wei wuxian might kill me every time i go around saying ‘lan zhan’ or even start worshipping him too much. however, who wouldn’t worship him? he’s a god among humans; a superhero in a novel about cultivators. if wei wuxian’s considered by some an antihero, he’s the true, righteous captain america right here. and it’s not just the looks, he’s a whole package: a terrific father, a dedicated brother and nephew, an esteemed cultivator, a marvellous husband and a fair human being.

most of all, i dearly love him for the fact that he’s been loving wei wuxian since the beginning and never let that go. this man fought for his love like no one else did. he remembered wei wuxian when no one else did. he tried and tried, for him. he waited thirteen years, for him. in fact, if wei wuxian had never returned, he’d just have been waiting and waiting, living his life in grief, watching the moonlight alone…… but that’s a thought for another moment.

the amount of love this man carries is unbearable, really. it’s who he is too. and i also adore the fact that he has a lot of personas: he’s a serious senior for the disciples, a feral animal in bed, silly in some moments and painfully romantic in others. he’s just unreal!

3. lan jingyi, the most atypical lan that has ever lanned

if this boy was in the modern times, im sure i would make friends with him. hes everyones spirit inside this story. he is one of hell of a representation: he can judge, yell, put some sense into other peoples minds, act even more senseless and tell truths without caring for the consequences (and then crying when faced with the punishment of headstands). and the best part of all: he is, oddly, a lan! i love him! best boy ever (alright, perhaps after lan sizhui, but i relate to jingyi harder).

put him in a modern school. can you disagree with me that he would be the one student lurking in the far away desks acting all angelic when the teacher comes close only to act like a little devil, screaming, laughing loudly and hiding food in his backpack during activities? can you disagree with me that he would be the one to run and jump like a maniac when its time for p.e class and sleep out of boredom when the teacher starts explaining serious stuff? can you disagree with me he would pretend to enact the rules only to receive bad grades and pull the most stupid facades to hide it from his parents?

in some ways, he does have similarities with wei wuxian. but wei wuxian is a genius who wouldnt even go to class when he didnt want to, sleep instead of play-pretend and even so receive the best grades ever, annoying everyone. theres this difference. but lan jingyi isnt a genius, he is just one of us. and i love him for it.

4. wen qing, my beautiful doctor

wen qing, my beloved, you didnt deserve that backlash.... this woman deserved to have a happy family, alright. she deserved a little bit of happiness! she deserved to have her brother with her! she deserved to be well and to not have suffered so badly just because of her surname. if there is one thing i agree with (and i dont remember exactly who said it, but it was from twitter), is that the girls from mdzs are underrated, underappreciated and deserved tons more love. but anyway, let us mention wen qing!

this woman protected wei wuxian and jiang cheng, did a procedure to give jiang cheng a golden core, never killed anyone, ran from fighting in the war against innocent people because she does not share these wicked principles, and still ended up watching her family get tortured, his brother dead and was burned alive. the sheer cruelty of what they put her (and them) through is unbelievable. i wanted her to have a lovely family and to continue being a great friend to wei wuxian, seriously, they were such a great duo. i cannot get tired of aus in which they are rommates or something! she is usually sarcastic, fierce, bossy and so responsible. how could someone not like her?

5. a-qing, the girl who went to her limits and beyond

this girl went over the limits of heaven and hell, in fact. i love her determination and how clever she is! look at how long she managed to trick xue yang! who else who could that? i believe not even wei wuxian could have topped it. she deserved to continue living within that world with xiao xingchen. i also cannot avoid to point out that she was not a cultivator. she was a simple girl, left to struggle in the streets, who still achieved what she achieved. she lived with an esteemed rogue cultivator, manipulated one of the most essential antagonists, returned as a ghost to protect people from this specific antagonist, used a lot of her spiritual strenght to show wei wuxian the truth, continued to give wei wuxian and hanguang-jun directions to find xue yang, and received many support, compliments and faith from the main group of our story.

personally, i cannot think of another female character in the story who did more than her. wen qing did a lot, sure, but she came from a big sect. jiang yanli too. mianmian was a cultivator too. a-qing was not, and nonetheless, this girl rocks! unbelievable. if i went through what she did, i would have lost all will to persist long ago. that is another thing mdzs brought me: the perspective that, even when you are kind and did nothing wrong, you might still have tragedies happen to you. people will die anyway. including you. kindness is important, and sometimes it may save you, but sometimes it may also cause you harm. are you strong enough to have all the kindness and all that tragedy and still endure?

because a-qing, wei wuxian and so many of them did.

well, now onto my favorite parts from the novel! i will try and make this quicker. haha, lets go.

when wei wuxian and lan wangji were stuck (stuck? not actually, i believe, wei wuxian caused it) in that farm and our main character just simply laid on top of lan wangji. and he still dared... to call himself.... not a cut-sleeve. yeah, sure, bro, no homo and all that. and thats definitely not a boner beneath your clothes, huh.

when wei wuxian starts falling real hard and he wonders if he will ever be able to sleep in a bed without lan wangji again, and later on after they have sex, he f i n a l l y realizes that there is no wei wuxian without lan wangji. in a dramatic mood, even. like, seriously, dude?? what a way to pine, but ok. go get your man or something, we all waiting for it.

every extra. i just... love every bit from the extra.

in the scene where lan wangji is drunk and they start playing hide-and-seek. and lan wangji just hides himself behind smth. and shows only a bit of his face. he nods, pouts, begs with his face to continue. i died right there.

the confession. the confession. the tear. the confession. the shock from everyone else. the 'hug me tighter!' after. the confession. the hug. THE CONFESSION.

hahaha i admit it, for me everything is about them. is it not about them? you cannot tell me otherwise. i love wangxian with all my heart. also, your asks are all lovely, i love them, feel free to always send whatever you want :) hope you have a great day and week ahead of you.

[vvatchword]

In Defense of BioShock Infinite

Although I had preordered BioShock Infinite with all its bells and whistles, I did not actually play it until January 2023. And lordy, I had me another Experience with a capital E. How the hell a bunch of urban Yanks could capture my experience as a queer democratic-socialist atheist struggling with her roots as a rural evangelical-cum-fascist is kinda magical, honestly. As to the game itself, it didn’t hurt how good it looked—the kickass skyhook gun battles—that novel setting—the complex characters—that delicious historical setting—that bloodthirsty critique of America—and to top it all off, they had pulled yet another Cassandra. Hell, speaking of which—not only was the game fun, it was fucking smart. It was intelligent, memorable, and meaningful in a way I hadn’t experienced in video games for years.

Now, back in 2013, when I had realized that I would be spoiled for Infinite, I left the BioShock fandom. After completing the game, I headed to Tumblr to re-engage, wagging my whole body like an excitable golden retriever, only to discover that BioShock Infinite was remarkably absent, and when mentioned, brutally derided. 

“I hate BioShock Infinite and all my friends do, too,” someone said in the tags under a post. 

I was utterly befuddled and deeply sad. I wanted to talk about BioShock Infinite! I wanted to dig into it, uncover unexpected ideas, learn new things, talk shit, make new friends—the full fandom experience. And instead I kept stumbling into hateful diatribes and super-charged disgust.

Obviously, I first looked at myself and my own judgment. Had I missed some obvious problem or misread some theme or dialogue? This wouldn’t be the first time I’d snapped down on a hook. But the more I thought about it, the angrier I got.

There are two parts of BioShock Infinite that are unquestionably terrible: the fridging of Daisy Fitzroy and the false equivalence of violence between haves and have-nots (lol what are the have-nots supposed to do, ask nicely?). Additionally, one could look at the use of real Native American tragedies as tasteless. Personally, I do not—in the same way that I don’t find it tasteless that real war victims were used as inspiration for Splicer deformities. This is what really happened; this is commentary on events that really happened to real people. 

At this point, I’m sure I don’t have to explain why two of these themes are Unequivocally Bad. 

Anyway, I thought that perhaps these were the reasons BSI had been condemned to Super Hell.

I was wrong.

How Criitcsim Werk

This wasn’t the fandom I’d made friends in over 2010. Hell, this wasn’t the fandom of 2013. This was a fandom made up of Babies. They were making their first coltish stumblings into media criticism and with it, dredging up the same brain-dead bullshit from Tumblr circa 2008.

Suddenly I was brought face to face with people who seemed to think that if a character couldn’t be likable or good that the story itself couldn’t be likable or good; that one bad element means the story is unsalvageable (lol u pussies); the implication that one is bad for liking it; the destructive juvenile insistence that media accurately measures its fans’ moral qualities en masse like an astrological sign. This goes far beyond simple like or dislike and plunges head-first into Puritanism: praying loudly on street-corners instead of quietly in a dark corner where God might hear you.

At one point I had a kid go off about how they wouldn’t take time to understand Booker DeWitt’s perspective because he had (fictionally) taken part in a genocide. (That same person said the Native American element had been employed for shock value, a thought that sometimes keeps me up at night, because it is legitimately one of the dumbest criticisms the game has ever received.) At another point I saw someone acting personally offended that (fictional person) Dr. Suchong’s (fictional) data was being stolen (in a fiction) by a (fictional) racist who would (fictionally) take credit for (fictional person) Suchong’s (fictional) inventions “while calling him slurs”. Sure, a better question would have been, “Why would the creative team opt to do this” rather than assume intentional racism from a Jewish creative director with an in-office multi-ethnic team in the year of our lord 2013, but why not handwave the choice with prurient moral dismay so your audience won’t beat you to death with bats? 

It was as though fans were treating these completely fictional characters as real people whose personal gods had opted to torment them, and that their tormentors merited the kind of censure that psychopaths should receive. As I hope all of you understand, this is fucking madness.

More than once I saw people posting about hating the studio or the creative director in ways that seemed intense, unreasoning, and excessive—notably an “I Hate [Irrational Games creative director] Ken Levine” stamp (rofl the more things change amirite). People get so performatively moralistic about it that I started wondering if I missed something big along the way. Was there some secret Voxophone I missed swearing fealty to baby Hitler or some shit?

Double Standards

At the same time, I was utterly confused. BioShocks 1 and 2 both featured some absolutely ghastly bullshit based on real-life horrors and a thick mix of complicated human beings—many of them victims who have become monsters. The fact they are grounded in historical tragedies is a huge part of their appeal. Hell, I don’t think those games would have had half their meaning without World Wars I and II and the threat of a third.

A gay man who feels so cursed by his orientation that he is incapable of intimacy and systematically destroys his ex-lovers—including the man he loves the most. A Korean who survived Japanese occupation and a Jewish Holocaust survivor repeat the violence and traumas exacted upon them and their people, subjecting a new generation to agonies unthinkable. Chasing the shadows of Bolsheviks, a Russian citizen becomes the brutal tyrant that he loathed. A rich lawyer with an easygoing drawl designs a concentration camp and systematically harvests hundreds, if not thousands of political prisoners, selling them out to medical testing for a quick buck.

But a Native man who destroys his own people and class to ensure his own survival and social acceptability is too far? This character is where people drew the line, so much so that the entire game is disavowed? Hell, if you’re just talking about Booker (rather than Comstock), he doesn’t have anywhere near the largest bodycount. If we were to judge on the metric of human misery alone, Booker wouldn’t even hit the top ten. 

Keep in mind that the most-discussed BioShock game on Tumblr is BioShock 2, and that one of the biggest fandom favorites is Augustus Sinclair—the easy-talkin’ Georgia lawyer who sells your character into horrors past all human comprehension, as he sold hundreds before and after you. Sinclair is a motherfucker so vile that BioShock 2 gives you no choice but to murder him. But Sinclair is also pleasant; good-looking to some; spends the whole game making sweet love to your ear; is one of the only true positive experiences you experience in a horror story. Unlike DeWitt, a man who is brutal and awful from step one, Sinclair is smooth and sweet. Unlike DeWitt, Sinclair’s victims are faceless, completely fictional, and carry no political or social baggage.

People fuckin’ ship this guy with Subject Delta, his explicit victim. He’s usually described as a squishy cinnamon roll. In most fanfiction, he often gets to escape to the surface and fuck Delta while helping raise Eleanor as Dad 2. It is rare that I find fanfiction that acknowledges his monsterhood in all its glory. In fact, I can only think of two.

Literacy Comes in Levels

My problem with the over-the-top hatred of BioShock Infinite is along the same lines as my confusion at Twilight and Harry Potter hate: there is so much worse out there (how much do the haters actually engage with media if they think this is that bad—yes, even considering the shitty creators themselves!), the hatred far outweighs the sin committed (in BioShock’s case, the truly bad bits are not central enough to derail the larger narrative), people don’t seem to hate it so much as they want to be seen hating it, fans want to enforce an unspoken rule hating it (bitches this is poison. Stop this), and there’s something about the hate that stinks of poor reading comprehension.

A great metric for general literacy is the newspaper. In journalism, you’re writing for the lowest-common denominator, which for years here in the USA has been about a fifth-grade reading level (about 10-11 years old, for my non-American readers). The AP posted an article a couple years back about how the general reading comprehension of Americans needs to be dropped to a third-grade one (8-9 years), and baby, I’m here to say it’s true. 

Most of the problem is that the American education system is shitty as fuck. The rest of it is from an extremely American disdain of intellectualism and the arts. People are not taught how to interpret art or literature—a difficult and subtle skill which involves accepting such truths as “multiple contradictory readings can exist and yet be simultaneously correct”, “the author can be a complete tool and still be right about things”, “the author can be a great person and still write horrifyingly incorrect bullshit”, and “worthwhile works can be ridiculously long and it really is your fault for not having an attention span”. 

Media criticism must be learned through trial, error, asking questions, confidently swaggering into a public space to announce your brilliant insight only to have your ass handed to you (usually by your older self ten years later), being willing to admit you swaggered confidently into a public space to state bullshit and then amending your bullshit only to produce more bullshit, and otherwise making a complete and utter cock of yourself. We are taught to fear and flee pain and failure, despite the fact this is how we learn and improve. Because we judge our value by whether or not we are “smart,” we are afraid of displaying that we don’t know something or might be mistaken–better not to try at all than to reveal ourselves to be fools. And yet the best way to learn is to crash up against someone else and be proven wrong!

American parents are terrified of hurting their children to the point that they spare them cognitive dissonance of any kind, disavowing difficult art—without any appreciation for the fact that art is how we provide safe spaces to explore key human experiences, better preparing us to face those difficult subjects when there are real-world consequences (sex, gender and social expression, grief, violence, predation, illness, interacting with people of different ideologies, whatever new issue is pissing off some smooth-brained old motherfucker somewhere). 

If parents and teachers aren’t teaching us how to interpret art, we’re probably never going to develop the skill at all, or crash unsubtly into it in a piecemeal fashion (hello it me). Another unfortunate side effect is that these readers tend to be blitheringly superficial: they are literally intellectually incapable of reading deeper than the uppermost layer of a text. The curtains are always blue.

And let’s not forget the role moral performatism plays in media criticism, which although faaar from new, has reached hilarious levels in the age of social media. What’s important isn’t understanding something, it’s finding something to symbolically burn at the stake so everyone knows God loves us: please keep loving me, please don’t hurt me, please don’t throw me on the fire—for performatism is not for outsiders. We long for human connection so fucking much that it’s more important to destroy what might point out our fallibilities than it is to let ourselves stand in the furnace and burn out the dross.

What do you think the point of BioShock Infinite was?

Emotional Machines

Let’s face it. Human beings give a lot more credence to how something makes them feel than they do its complex invisible reality. We are not logical creatures; we are emotional ones. Our logic is too new a biological mechanism to override something as powerfully stupid as our primal lizard brains.

Knowing this, let’s take BioShock’s most popular characters. The first two are Subject Delta and Jack Wynand, the protagonists of BioShocks 2 and 1, respectively; and why not? They’re the characters we play. In the first two BioShocks, whether or not you kill Little Sisters determines the ending you receive. In other words, Delta and Jack can only be as “wicked” as the players are. 

How do people want to see themselves? As good. What do people want to see around themselves? Good. (What is “good”? Uh, well,,,,,,) What do they want? Simple moral questions with simple moral answers. And in the first two BioShocks, what is moral is obvious: don’t kill little girls. It’s actually kind of insulting once you say it out loud.

In-fandom, Jack and Subject Delta are almost never painted as murderers or monsters, but as victims and heroes; I saw someone musing about putting Subject Delta on a “gentle giants” poll and I nearly choked on my own tongue. I only saw that musing because someone put Subject Delta and Jack in a “Best Fathers” poll. Nobody in-fandom really considers the “evil” or “complicated” endings as canon choices, despite those versions being fully understandable alternate readings, with a story that doesn’t make sense without them. (I don’t believe Burial at Sea is necessarily canon; in fact, I would bet good money that it is a huge middle finger lol, mostly because a number of brain-dead motherfuckers won’t take unhappiness for an answer.)

Most fandom art and writing is gentle, sweet, good: the symbolic healing of the damaged, the salvation of innocents, the turning of new leaves. These things are not just saccharine sweet—they tend to be unrealistically sweet. Now, far be it from me to demand these works cease. There’s a reason they exist. People write them because they need hope and happiness; I have enjoyed them greatly myself and intend to enjoy them in the future. But if y’all get to have your dessert, I demand the right to have my dinner.

The Colours Out of Earth

Let there be media where the opposite can also be true: where everything is unbelievably complicated and unforgivably fucked-up. Let there be characters who slide slurs into their speech without thinking. Let there be characters who destroy themselves in a thousand different ways, not all of them obvious, some of them horrifying. Let there be well-meaning people struggling with all their mights to do what is right only to destroy everyone around them and then completely miss the fact it’s all their faults. Let there be wickedness painted as goodness, superficial appearances accepted over essential and inherent values, denial of change and transformation, failure to accept that what is old must die and what is new must live, human stupidity and short-sightedness and cruelty in all their flavors. Let’s smash it all together and see how it plays out. 

Oh, badly? No shit! But “badly” isn’t the point. How does it play out?

Let there be a world of gradients—a place I can float from color to color, hue to hue, value to value, while attempting to figure out where, why, how, and by whom they transform—to taste concepts in a hundred different ways, test their textures by a hundred different mediums, insert them into a hundred different contexts. I need to understand why I feel the way I do; I need to understand morality in all its hideous, fragmentary glory. For I have been sold to a ideology of blacks and whites, and let me tell you: it prepares you for nothing, and it will always destroy what is most precious about human life.

I can no longer believe in a world where what is lost always returns, because that world does not exist. I have a reflexive need to come to terms with Finality: what I have lost, what I have destroyed, what will never return, what will never be better. I have a reflexive need to understand Transformation: what I am now, what is as of the present, what has risen shambling from the ashes, what turns to gaze upon me in the darkness. I need to understand what is wretched about me as much as I need to heal myself. How can I heal if I can’t understand how I have hurt and been hurt? 

I need to shine a light in the dark. Not to remodel it, not to destroy it—because I also can’t believe in a world where the wicked is destroyed forever—but to behold it, to learn from it, to view my own impact upon it, to accept how it has become a part of me, to learn how to do my best (because that’s all one can do). I must learn to love people more than causes, I must learn to love people rather than the act of winning, I must learn to love people rather than battle. I need to stand in that endless black with the lamp off and my eyes closed, letting the agony roll over me, burning with a fire that throws no light, rolling back and forth from an intense self-loathing to a fury at a society that destroys what is most valuable because it didn’t make them feel the way they wanted.

The Unforgivable

I believe that there are only two differences between Booker DeWitt and his equally cursed cohorts.

In the Hall of Whores: The Unmarked Slate

First, unlike the previous two games, where you enter the world as a tabula rasa and might roleplay as what you perceive as a good person, you are explicitly put into the shoes of a monster, and nothing you do can save you.

With other shitty BioShock characters, you are passively watching other people, and you are able to hold yourself apart. Sure, everyone else is crazy as fuck from using biological Kryptonite, but you’re too smart to end up a crazy fucking asshole like them! Sure, you are now technically a mass murderer, but those fuckers deserved it, damn it! 

“Look at this crazy bastard!” you say, rolling your eyes at the Steinmans and Cohens and Ryans and Fontaines. “It sure is a great thing I’m not a crazy bastard!”

You are able to escape acknowledging that you, too, in certain circumstances, might be the crazy bastard. You are being challenged to stand in the body of a person who has committed unforgivable sins. Imagine if you yourself committed those sins. Imagine what sins you have already committed. Imagine what brutalities you cannot take back. Imagine what horrors you have wreaked just by breathing.

“Ahhhh!” said players, probably. “What do you mean I’m not allowed to be good?”

Because that’s what the game was designed to do. Because “good” is a fucking cop-out and if it’s how you live with yourself wait until you find out you’ve been doing horrifying bullshit all your life without question. You can be evil by association through no fault of your own.

Original Sin

Second, the plight of Native Americans is a sin that non-Natives will always carry, and the socially conscious are aware of this even if they don’t know how to put it into words. The state of affairs being what it is, it is unlikely that First Peoples will ever be treated humanely, much less have their land returned. They must struggle for scraps of what is rightfully theirs while we lounge on their corpses. We cannot help but benefit from their destruction; we are made unwitting partners with our forebears; we steal the fruits of their lands and make mockeries of their faiths and identities. We have destroyed part of what made this world fascinating and unique and most of it can never be returned. Even if everything were to be made right tomorrow, their genocide is a sin that we will carry until we die, because the only reason we could be here at all is because they were killed. 

The obvious solution stands before us, but the powers that be are so much greater than we that we are effectively powerless, and achieving anything less than total restoration smacks of anticlimax. 

This is unbearable.

How can one think of oneself as a good person if one sees the good that must be done, but cannot achieve it? If one’s actions are meaningless? Goodness without action is pretension.

We are all Booker DeWitt. We have all set fire to the tipi. We swept the ashes away, we ignored the sizes of the bones, we built a CVS on their graves, and then we made statues and holidays commemorating Native Americans like the world’s cheapest “Thinking of You” card. We have de-fanged them, transformed them into cardboard cutouts, and set them up as cute little side characters in our sweeping American dream.

Booker is not a man. Booker is America and Americans—and America and Americans are monstrous: one part hypocrisy, two parts incessant violence, three parts constant peacocking, and four parts dumb as a stump.

The Monsters We Make

Outside of the message about “choice,” an enormous part of BioShock’s thematic ensemble is the creation of monsters. How are monsters created? Who or what is responsible for creating them? What do the monsters think made them the ways they are? Can a monster be saved? How? Is it enough to acknowledge you did wrong and want to be a better person?

Maybe most people are aware on some instinctive level of what facing one’s own monsterhood means. No one wants it. It’s not fun. It hurts. It’s embarrassing. It’s destructive. It’s admitting you don’t have it all together and might never, ever—that despite your best actions, you can have it horribly wrong at any point. In an age where we demand moral perfection, it demands vulnerability: you must admit that sometimes you’re the racist, the transphobe, the sexist, the nationalist, the classist, the homophobe, the violent, the wrong, the dumbfuck. 

Human beings are not built to be moral; human beings are built to survive. We so rapidly learn how to deal with our contexts at such young ages that we don’t have the time or capabilities to question why those contexts are the ways they are or why it is demanded we perform the ways we do.

In a very real way, BioShock Infinite demands vulnerability of us. It demands you look in the mirror and see what is monstrous in you—how you have been created—manufactured—a tool, a machine, a trained animal. It asks you to recognize that you can be a monster simply by association. And if we can’t look into the mirror and truly acknowledge that monsterhood, we run very real risks of becoming or enabling those monsters in one way or another.

Worst of all: perhaps monsterhood isn’t optional. Perhaps the monster was inside of us from the very beginning. It’s not a matter of if you become a monster, but when, under what circumstances, by whose hand. What is more, believing the “right” moral stances will not save you. Monsterhood can afflict anyone, in any ideology, any political stance, in any social movement, in any faith. The only element that can save you is to truly love other people, and even then, you can fail, for there can be states where there is no winner and ways to misread how best to treat another person.

Environment and Society: Context Will Not Be Denied

BioShock 1’s original ending is Jack-as-monster, regardless of how many children he saves, regardless of your feelings as player. He passes through the gauntlet of Rapture, but he has supped of its poison. And he wasn’t poisoned when he entered Rapture the second time—he was poisoned the minute he was conceived. He was born of it. He had no hope of ever escaping it—he never could have—he’d never had a choice to begin with.

No matter what choices you make in BioShock Infinite, Elizabeth will always kill you. Why? Because she has seen every world—every context—every limitation—every boon. And there is no way to stop what has been; there is no way to undo what has been done. The minute you have committed to a decision, you have split the universe; there is no telling what kind of person it will make you. In fact, there’s no telling which of your decisions will matter at all. Only Elizabeth can see because she is the unlimited future: your offspring stands before you, judge and jury, and you will have no choice but to accept her verdict, for despite your name, you are incapable of controlling how you are interpreted. 

Elizabeth sits across from you in the boat and stares without blinking. She sees a million million similar Bookers. Some are a little bit taller, some a little bit shorter, some a little heavier or lighter. Some more-resemble one grandparent or another. They have different colored ties. This one blinks when rain hits him in the eyeball. That one took a brutal beating back on the airship and one eye is swollen shut. That one can’t stop shaking; this one is unable to speak at all; one hasn’t yet lost hope, although even he doesn’t realize it.

They all lowered the torch to the tipi.

The baptism determined Comstock; what determined Booker?

Why Booker Is

In BioShock 1, characters are often stand-ins for larger concepts. Thus Ryan stands in as Ayn Rand’s Objectivist Ubermensch; Bill McDonagh as Andrew Ryan’s conscience; Diane McClintock as the citizenry of Rapture; Captain Sullivan as law and order; Frank Fontaine as the truest expression of Objectivism in its distilled form.

Who is Booker? Most importantly: why is he?

Booker is a fictional character with a brutal background based on historical events, alternative and true. Booker might be Lakota; Booker might have undergone forced Anglicization; Booker might have been ripped from his parents; Booker is a product of violence, perhaps literally. Booker is American exceptionalism distilled. Booker is the past in constant judgment of itself, unable to live with itself and unable to die. Booker destroys what is best in him and around him in exchange for belonging. Booker has sold the future to absolve his sins. Booker has sold his daughter because he is a fictional character in a work of fiction who needs to be propelled.

Booker is a shell, a sluice, an environment. Booker is the broken shape you are meant to fill, horrified. His internal shape should torture you as it has tortured him: the messy slaggy soul of a shitty tin soldier.

Does Booker take the baptism and become Comstock? If so, it might be his second one. His last name literally means “the white.” His first name can mean “author.” It is most likely his second name: an attempt to rewrite himself. And when he was unable to rewrite himself the first time, when the cognitive dissonance boiled at the edges of his skull, he found there was only one way to cleanse himself the second: to remake the world entirely. To force transformation on everyone else. To take vengeance on a world that could never love him, never want him—to create a world that has no choice but to love him. If he can’t change the world’s mind, he’ll change the world.

Note what he opts to do: to take the fight to the environment–to the unyielding universe.

Context Is Everything

It is no mistake that BioShock Infinite occurs in 1912: the sinking of the Titanic is often credited with ending an unfettered optimism, a period when the Western world believed technology had brought the human race into a golden age. With World War I—which would follow a mere two years later—came modern warfare and all the horrors thereof, not the least of which was the realization that humans had created a kind of war that could destroy the entire world. World War I also seeded the rise of the United States: much of the wealth of warring Europe—itself fat on the blood of subjugated peoples and stolen lands—would rattle into America’s coffers.

It is also no mistake that BioShock 1 directly follows World War II. With WWII came a heightened terror—that this war is not the last war, that there will never be an end to war, that war will go on expanding and expanding until it has consumed us all. World War III would not be denied: prettily packaged in the ideals of its children, it simply followed the utopians down to their underwater tombs. According to BioShock 1’s original ending, World War III is not a matter of if—it’s a matter of when.

But even more important than the history in the BioShock games are their settings. Mute leviathans, Rapture and Columbia determine all of your behaviors: from where you can exist in space to all of your desires and goals to how you choose to present yourself to how you opt to behave. Isolated in extremism—whether that extremism is the crushing depths of the ocean or the unbearable lightness of the air—most of their power is that they simply cannot be escaped. You can’t outrun them. They are everywhere. They are everything.

Like Lovecraft before it, BioShock acknowledges the greatest horror of all: you cannot escape your context. Your context does not only involve your immediate surroundings. It is also historical; contains zeitgeists from various cultures and subcultures; is filled with pressures both personal and impersonal, human and nonhuman. Many of these forces can hurt you. Many more can destroy you. What you do to survive depends very much on where, when, and with whom you must live.

Human beings are not built to be moral.

The Death of the Future

In the film Operation, Burma!, a soldier asks Errol Flynn: “Who were you before the war?”

“An architect,” says Flynn.

Who were you? Because that “you” doesn’t matter now. That “you” is irrelevant. So you’re an architect. What the war does to you; what these deaths mean to you; your past, your education, your loves and desires and forward motivation, the you that could have been outside war, the you that slogs alone into the brutal future—all completely irrelevant. Your forebears don’t care so long as you can bleed. 

Children are the manufactured tools of their creators—helpless before the enormous strength of their elders and the zeitgeists that enclose them, poisoned by their parents’ insecurities and flaws, utilized like weapons regardless of the cost—often with great love.

Consider something more than the traumatized culture: consider the society filled with traumatized children; consider the traumatized society. Consider channeling children through that trauma over and over and over again, if you can. Poisoned—poisoned—poisoned—all of us poisoned. Poisoned by those who loved us most. Poisoned by the people we trusted. Poisoned by the people who meant to make a better world.

I believe it is notable that creative director Ken Levine is Jewish; I have read from multiple accounts that the European Jewish diaspora was uniquely traumatized from the Holocaust and passed that trauma down upon their own families. I sometimes wonder if he saw that firsthand.

The fathers eat sour grapes; their children’s teeth are set on edge.

Choice: Player Expectations and Entitlement

For players who experienced BioShocks 1 and 2 with their multiple endings (Good, Bad, and “ok bye then I guess” respectively), it must have been jarring to suddenly reckon with being a monster. How often I see players grousing that nothing they do will change their wicked pasts! These players completely miss that the only meaningful choice had already been made, that it had nothing to do with the player at all, and even if they had been there, DeWitt was still unforgivable. The only way to go on was to bow out and allow the future to redefine herself.

Nobody was ready for that shit. 

Like it or not, BioShock 1 had set a precedent. Not everyone’s going to read up on creator intentions. If any keyword came blaring through the noise, it would have been “choice.” Most players only recognize choice by the ability to make it, not the absence of it, and most of them weren’t equipped to recognize that its lack was the point. The meaningless choices were commentary, and they were as much about the player as they were about DeWitt himself. Not every choice will be meaningful, will it? And there will be choices you make that will be momentous, but they will seem very small when you make them.

Because most players had experienced what they thought was a basic moralistic tale in the first two games, and would see Infinite not as reflection upon America’s destructive personality, its obsession with a meaningless Good/Bad duocracy, and the infinite, cyclical nature of violence, they saw Booker’s death as corrupted artsy claptrap.

“I did the good schuut,” they say. “I want the good schuut end. Where happy end??? Where treat :(”

Bitch the future is here. 

Time to die.

It’s Not Me, It’s You

Generally I despise essays that end with, “But the real fault lay with the clueless motherfuckers who played the game!” Often, if enough people complain, there’s something to it; the message has been obscured somehow. Details or explanations weren’t clear or intuitive enough, some mechanism isn’t working somewhere, some character needs to talk more or less, some setting needs to be transformed. O artist: stop whining and get cracking. If everywhere you go smells like shit, it’s time to look under your shoe. 

But sometimes it’s true that a piece of media is on a level folks aren’t equipped for. Think of every literature and art class you’ve ever had, if you’ve been fortunate enough to have one. There’s always someone scoffing in a back row, like here are all these jokers making more of something than they should. Similarly, some of you have been arguing with me this entire time, saying: “I just wanted a video game. I just wanted to shoot something and feel better and instead I get this bullshit ending that makes no sense.”

First of all, smart bullshit (and even fucked-up attempts at smart bullshit! Hi BioShock 2) gets to exist on this Earth along with Gmod and Roblox or Schuut Big Tits 84 (there are 84 tits and you must shoot them all. They explode into smaller tits) or whatever-the-fuck-else you think is a worthwhile gaming experience. Second of all, miserable bullshit also gets to exist, and what did you fucking expect if you played through either BioShocks 1 or 2? When you hear a football player quavering out in the darkness for his mom to pick him up, how’d that make you feel? What did you think was going to happen to Jack after pounding back the entire Plasmid library, the cancer cocktail that explicitly destroys the fuck out of its users? Third of all, if you missed the smart bullshit going on in BioShock 1 and didn’t think BioShock Infinite might be larger in scope in more ways than one, that’s on you. Fourthly, if you were simply satisfied with saving like, 15 kids from a violently-perishing city of thousands and call it good, I mean… is that really where your thoughts end? Are you really that fucking small?

It’s Not You, It’s Me

You ever meet those motherfuckers who talk shit about Shakespeare or modern art? And you’re just left there staring with dead eyes at this poseur who mistakes playing devil’s advocate for intelligence, cheek resting on your fist, thinking about the fanfic you’re writing, wondering who it’s for, remembering that all your smut-writing friends get ten times the viewers, and considering throwing yourself in front of a bus.

Yeah, there’s a personal element to this: the fact that BioShock Infinite is the kind of art I like and long for and want to make myself, the fact that the game was successful and yet the studio was closed, the way its DLC was so rushed that the story plopped out like half-baked mystery meat—realizing that the same forced rush was at 2K’s behest for BioShock 2, as well, and wondering how good art can ever be made in this unforgiving capitalist hellscape. The game was weirdly niche and I’m not 100% sure I’ll ever experience anything quite like it again. And with the whiners in this fandom, the loud ones controlling the narrative, some fresh brain-dead exec in some brain-dead publisher might be like: “We must keep it safer and simpler for these fuckin babby adult!”

Nah bitch nah. Naaaah. Cry some more while I enjoy me my fucking dinner. I’ll eat it while making loud smacking noises and keeping unbroken eye contact. Come here. Let’s look at each other. It’ll be like Lady and the Tramp but we want to punch each other. What truer form of love can there be here in the modern world?

I keep having to remind myself that this response isn’t new. I keep having to remind myself of my place. I keep having to remind myself why I write, why I read, why I like to experience art to begin with. It’s not for the reasons other people do it. Oh, I want the same emotional release as everyone else, I want the same rollicking plots, I adore the same tropes. I seek out everything and anything for a good time; I’ll read Moby Dick today and a smutty 5,000-word abortion with the world’s most suspect grammar tomorrow. I don’t give a shit if it’s low- or high-brow; there are all kinds of ways to have fun and there are all kinds of ways to engage with art, and lord knows I’ve done my share of smooth-brain criticism. The problem is that I’ve always wandered off by myself, sunk into an all-consuming reverie, on tracks that no one else ever seems to be on, and then looked up to talk excitedly about something only to realize I’m alone. And whose fault is that?

By the same token, maybe I haven’t talked enough. Maybe I spend too much time with my mouth shut. Maybe I haven’t stood up enough for things that are worth our time, worth talking up, worth setting on pedestals.

I tell you, BioShock Infinite will stand the test of time. It’s too good for this. It’s too good for you, warts and all. Some of you will grow to understand that; some of you won’t; many of you will shrug and go on with your lives (and this is fine; it is only a video game). But I’ve truly not seen anything like it. I can’t believe a mainstream video game was allowed to be so fucking brutal about the American juggernaut, and what’s more, that it sold like hotcakes. Plus, I can’t think of any works in recent memory that have struck me so close to my own heart. No creative work has made me start beating a monster’s face into a washbasin for ten hours only to lift her by the scalp and see my own eyes looking back.

Look into those eyes. See your own stupid impulses pouring out. Your own stupid excuses, your violences, your sins—your claws, your teeth, your costumes, your hilarious attempts at interpretive dance. The beast doth protest too much.

O, monster—behold thyself—and tremble.

[arolesbianism]

Thinking abt how much I love oni's writing again... In particular, "a seed is planted" continues to be one of if not my favorite logs because despite the troubling details and implications that come with it, it's the one thing in the entirety of the decaying corpse of gravitas that genuinely leaves us with a grain of hope (a seed if you will) and makes oni as a whole a lot more bitter sweet as while earth may not have survived, the dupes did, and after their horrible origins and the shit that many of them went through, in due time they'll finally get to just live, they're free now, and even if Olivia's sleep is end of a tragedy, the world will keep moving forward with or without those who've been lost

[weirdstrangeandawful]

What is whump?

I get asked this question a lot so I figured I'd just make a post about it! I doubt a lot of people will see this since I'm a small whump blog but at least a few people will have a quick reference.

The short answer is that whump is a fictional genre of media. Like any genre, it's difficult for one person to entirely characterise but I'll do my best.

Whump is a fictional genre focused on the experience of pain. This can be physical pain or emotional pain. The pain could be acute or chronic. The focus could be on the recovery from the pain or on the pain itself. It's a super versatile genre!

Some frequently asked questions:

Okay, but how is this different from hurt/comfort?

This is a complicated question (hard to entirely characterise an entire genre, eh?) and it really depends on the writer. For me, hurt/comfort is a subset of whump where the comfort is required whilst whump is the larger, overarching genre where comfort is not an absolute necessity, but many others have different opinions!

What is a whumpee?

You'll often hear writers (especially prompt writers) in the whump community refer to characters as 'whumpee', 'whumper', and 'caretaker'. These are placeholder names like your good old A, B, and C. 'Whumpee' refers to the character experiencing the pain (literally 'the one being whumped'); 'whumper' is the (optional) character causing or contributing to the pain; and 'caretaker' is the (also optional) character helping care for the whumpee and alleviating the pain.

Why would I support someone who thinks people should experience pain?

Pain and adversity are facts of life. In fact, many of us as whump writers and readers engage with the genre to cope with pain and adversity in our real lives. It's important to remember that whump is a fictional genre and someone's interest in the fictional themes portrayed really aren't a reflection of what goes on in their real life. The name 'whump' may be contemporary but this is definitely not a contemporary genre (Shakespearean tragedies anyone?) so there is no use criticising its existence. If you don't like it, that's okay! Scroll on by and block the #whump tag if you need to. Like many artists, we're an accepting community and won't judge. In fact, we probably understand better than most that there is too much pain in the world and not everyone wants to read about more of it.

What's the difference between whump and BSDM/kink?

This is a complicated and very individualised answer. The oversimplified answer is that BDSM and kink are explicitly sexual/sensual whilst whump is not necessarily related to sex. But that is extremely oversimplified and doesn't cover all or even most people's experiences with either whump or BDSM/kink. The most generalised answer I can give is that whump is an overarching genre whilst BDSM and kink are individualised cultural practices and activites. But even that needs nuance and context to understand and apply. For me personally, I don't like combining the two because I experience them in very different ways, but that's just my experience!

Edit: I realise that I was not clear in the above answer. BDSM and kink are absolutely not inherently sexual at all. In my personal experience, I've found there to be a lot more overlap between BDSM/kink and sexual experiences than with whump but this is not true for many and maybe most people. No one person is qualified to answer this question.

[howtofightwrite]

Does Ser Arys Oakheart’s performance in The Queenmaker in AFFC (killing a handful of men and jumping clear of his palfrey before being swiftly dispatched by Areo Hotah) suggest a decent amount of martial competence on Arys’ part, in your view?

I’m going to make George R.R. Martin fans angry again and say, no. However, this is because I don’t feel any of Martin’s characters (throughout his work) really demonstrate any degree of martial competence. A lot of Martin’s characters aren’t supposed to possess any martial competence, but even the ones who are meant to don’t have it. Their “martial competence” is roughly the equivalent of action figures being angrily smashed together. For me, his fight scenes/battle scenes are the weakest part of his writing and I tune them out. Martin heavily focuses on “ironic” surprises and subversions of expectations like in the scene with Arys Oakheart, where everything is going well and then the character is just randomly and unceremoniously offed.

Boom. Goodbye.

“Like they would be in real life!”

I’m going to imagine someone yelling that because I’m sure someone, somewhere wants to.

Look, unlike Starke, I read A Feast for Crows and I genuinely have no memory of this character. They have been memory holed. They are gone. (Which is wild because I remember random minor character deaths from a lot of other major and minor fantasy properties that I read as a tween ages ago.)

The thing about reality is that real people are also capable of the following: Strategic and tactical awareness, long term strategic planning, working in unison with their fellow soldiers, and, yes, that includes knights in the Middle Ages. Knights in the Middle Ages might’ve (sometimes) been wealthy bastards, but they had to be functionally aware of violence and its impacts or they weren’t knights for very long.

Martin does not understand how armies and professional combatants function, their purpose, or their place in maintaining order in a feudal society. The irony is that politics are not his forte. His combat sequences read like they were written by someone who spent a great deal of time reading original historical accounts and not enough time thinking from the perspective of the people committing those gruesome atrocities. Make no mistake, medieval warfare was far, far more gruesome than anything you’ll find in Game of Thrones and the most terrifying part is the reasoning behind those atrocities was actually sound. Once you’re past the shock value, GOT is fairly comforting because the majority of the time no one makes sense. There’s a moral lesson hidden in the undercurrent ready to bludgeon the audience when they least expect it and all the violence works from that perspective, and all of it is written very specifically with the audience’s reaction in mind. Martin doesn’t seem to care how it works both on the technical front or in the utilization of violence to deliver narrative catharsis, he cares how the audience will react.

His violence doesn’t feel good, which is his intention, he doesn’t want it to feel good, but it also doesn’t feel bad. The violence just sort of exists.

One of the pieces of tragedy that is fundamentally important is a sense of foreboding. In fiction, death flags aren’t necessarily bad. In a tragedy, they’re necessary. Character death doesn’t need to be surprising to be meaningful. In fact, death is often more meaningful when the audience knows it’s coming. Whether it’s because they want the character to die or because they don’t want them to die. Their death creates narrative catharsis. The catharsis releases the tension, it feels good. Satisfaction through tears. When the audience and the narrative knows death is coming, it creates tension. If you invest early, the tension builds, and builds, and builds until it pops. The trouble is that, one way or another, the author has to invest in the character for that to happen. The surprise can be how the character dies, the manner of their death, and even who kills them, but not the fact they die. Shock value is sudden. The reason to use shock sparingly is that it lacks a lasting payout and eventually the audience acclimates. Too much shock obfuscates the narrative importance of a character’s death and shortens the long term impact of their loss. The impact of the death ends up as sudden as the death itself. Here, then gone, then forgotten.

In a well-structured tragedy, it doesn’t matter whether the audience cares about the character who dies or not. It helps, but the focus of the impact is on how it affects the other characters, how that loss is felt, and the way it’s internalized. An observation that’s always stuck with me is when I was in college studying Shakespeare, and my professor told us that Shakespeare structured his tragedies and his comedies the same way. They’re the same until the fourth act, and it’s the characters’ decisions leading into the final crisis which ultimately decides whether the story will end happily or tragically. All Shakespeare’s characters are important cogs in his play (including the bear.) When one of them goes, the narrative and the characters feel it. If a character is never important to the story, then the impact of their loss can’t be felt.

Martin’s characters don’t fight smart. They don’t fight cleverly. They don’t really fight stupid either. They fight with the combined equivalent of a single brain cell failing to function harmoniously. Probably the standout sequence for me that demonstrates this point is the Battle of the Crab from House of the Dragon. They had two dragons, a beach, an isolated cave system where their enemies were hiding to get away from the fire. They had corpses, and they had tar. And what didn’t they do?

Set shit on fire.

Smoke. Cave. Smoke. Cave. Smoke. Cave. Smoke.

The easiest and most low energy plan in the world that should be obvious to anyone who has ever cooked in an enclosed space. While this is a great way to signal that your characters suck at warfare, the characters involved were supposed to be the ones good at it! People being burned alive as they got smoked out of a cave is more gruesome than what actually happened and would have demonstrated the power of the dragons a lot better. Instead of, you know, the mighty House Targaryen being outwitted by… a cave.

If the dangers of dragons could be mitigated by a cave, people would just live in caves and not castles like they do on Pern.

Thank you for listening to my fanwank.

(No, the presence of saltwater would not have, in fact, saved the pirates. However, the Targaryens could have tarred the driftwood, set it ablaze, and let the tide carry it inside in addition to setting fire at every entrance like real military tacticians. Which shouldn’t be a reach given that half the army was made up of sailors.)

(They could’ve also used the crabbed up bodies for this with the added bonus of it being extremely horrifying, smelly, and gross.)

(We’re not talking about the Crab Army.)

(I mean it!)

-Michi

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[linkspooky]

BSD VS LITERATURE: NO LONGER HUMAN

The second entry in my long running series to analyze every single book referenced in Bungou Stray Dogs, to try piece together the author’s intended meaning in referencing the work. 

Osamu Dazai’s ability name comes from the author’s final novel “No Longer Human”, you may have heard of it. The novel contains several events from the author’s real life, but is considered semi-autobiographical because it depicts the life of a fictional character “Yozo” who much like the real life author attempted suicide a total of five times in his life before utlimately succeeding. Many believe the book to be his will as Dazai killed himself shortly after the last part of the book was published. As for the connection to the fictional character, more under the cut. 

1. Disqualified from Being Human

Dazai as a character borrows several traits from Yozo the protagonist of the novel. He has the same habit of clowning and engaging others in a false persona, while it happens mostly offscreen the audience and Dazai’s coworkers are aware of the fact he regularly indulges himself in vices like drinking, having illicit relationships with women (its often referenced he has a long line of exes and women he’s left upset over him) and that he’s also constantly in debt. 

Deeper than those surface level traits though, Dazai shares the same motivation as Yozo for his antics. They are both people who feel utterly alienated from the people around them, unable to connect with their thoughts and feelings and because of that they resort to always engaging them in a false, and comedic facade. They are fundamentally uncomfortable with ever presenting their true selves around others. 

As a child I had absolutely no notion of what others, even members of my own family, might be suffering from or what they were thinking. I was aware of my own unspeakable fears and embarrassments. Before anyone realized it, I had become an accomplished clown, a child who never spoke a single word. No Longer Human. 

Dazai is described as a child in the same way by Oda, who is arguably the character who knows him best. Even with Oda though, and the rest of the Buraiha trio as a whole though they were friends it carries the tragedy that they never were truly honest with one another, Oda never overstepped the clear boundaries between him and Dazai, Ango never let either of them into the secret that he was a government spy all along. Even that friendship which Dazai found comfortable, and was so significant to him he changed his entire life’s past around Oda’s dying words, he still placed an uncilimbable wall between the two of them. 

“I thought you were similiar to Dazai at first, rushing into battle and wishing for death without even considering the value of your own life. But he’s different. He’s sharp witted, with a mind like a steel trap. And he’s just a child - a sobbing child abandoned in the darkness of a world far emptier than the one we’re seeing.”

He was too smart for his own good. That was why he was always alone. The reason why Ango and I were unable to be by his side was that we understood the solitude that surrounded him, and we never stepped inside no matter how close we stood. 

But in that moment I kind of regretted not stepping in and invading that solitude. Bungo Stray Dogs, Volume 2. 

There’s a supposed difference in Yozo, who is a drunken layabout constantly in debt who fails out of college and Dazai the super genius who is apparently one of the smartest members of the cast, but honestly if you peel back the layers of Dazai’s “Superhuman / Godlike Genius” status his and Yozo’s behaviors and treatment of other people is actually pretty similar. 

Here is the secret of No Longer Human that a lot of readers miss in their interpretation. While Yozo can be a sympathetic character, because he’s genuinely miserable in his life, and the way he tells his story is highly relatable to the unhappiness of many readers, Yozo sucks. 

If you look at his actions outside of his self-pitying narration, Yozo is a serial manipulator of people, especially those with a status weaker than him in society (women, and even chidlren) he strings them along often taking money from them until he abandons them. Yozo is considered to be so pretty and likable, people often relate to his misery and give him what he wants without him giving anything in return.

There’s four major women he interacts with in the novel. A married women he gets to pay for his drinks a couple of times, doesn’t see for months, and then commits suicide with her. His reaction to her death is very minimal and he doesn’t even seem to mourn her. Then, he becomes a kept man for a woman with a child for awhile gets her to pay for his drinking habit, has multiple affairs on her while living at their house (or at least it’s implied).He also comes to view the child as an enemy of his. 

“I would like my real Daddy back.”  I felt dizzy with shock. An enemy. Was I Shigeko’s enemy, or was she mine?

No Longer Human.

He abandons them. (Surprise, surprise). Then moves on to marry a seventeen year old girl, specifically because she is a virgin. I probably don’t have to mention the predatory subtext there. 

Yoshiko’s pale face was smiling as she sat there inside the dimly lit shop. What a holy thing uncorrupted virginity is, I thought. I had never slept with a virgin, a girl younger than myself. I’d marry her. [...] I made up my mind on the spot: it was a then-and-there decision, and I did not hesitate to steal the flower. No Longer Human. 

That wife then gets raped and not only does Yozo feel little to no sympathy for her whatsoever, he then proceeds to just leave and abandon her because his image of her as a perfect image is ruined. He even refers to her as a possession he lost far earlier on in the novel. 

Once in a while, it is true I have experienced a vague sense of regret at losing something, but never strongly enough to affirm positively, or to contest with others my rights of possession. This was so true of me that some years later, I even watched in silence when my own wife was violated. No Longer Human.

The last woman he gets involved with only because he has a morphine addiction and he wants to string her along so she can keep supplying him with morphine. If you strip away the thin veneer of Dazai as a master manipulator and superhuman genius, you are just left with his actions which include his constant manipulation of other people (children younger and more vulnerable than him) and even his own allies. He is a user, much in the same way Yozo is. This is just named characters, it’s implied offscreen that Dazai has Yozo’s same habit of burning through relationships and women like jet fuel. 

Of course, there is a tragic reason for Yozo’s behavior it is implied he was violated by a female servant as a child, but that further adds onto the underlying point of the novel that Yozo’s genuinely miserable but he’s also the architect of his own misery. He is a victim who basically continues the cycle of abuse. His two primary methods of interacting with people is either manipulating them / stringing them along, or abandoning them. Even the Dazai who works at the agency keeps Akutagawa his biggest victim wearing the coat that Mori Gave him that represents the cycle of abuse just... wrapped around his little finger because it’s more convenient to use and dispose of him that way. 

Akutagawa’s so insanely devoted to Dazai that he believes being abandoned was just a secret little test and if he performs well than he’ll finally get the carrot that Dazai has been dangling in front of his head for a long time. Dazai’s treatment of Akutagawa as someone to just conveniently use and then dispose of is something that leads to Akutagawa getting himself killed trying to earn that praise. 

Dazai and Yozo have a similiar problem where they are pitiable in the fact they are victims themselves, they have been used in the past and it’s left them feeling alienated and unable to connect with others, but then they jump right into treating others as less than human too. Dazai has this strange paradox where he scolds Dostoevsky for believing in god and seeing himself as an agent of god or some kind of omniscient manipulator and that the real people who make a difference in the world are the people living in the world and struggling in it but Dazai... still doesn’t see himself as one of those people. Dazai’s like “You shouldn’t manipulate people like pieces on a gameboard...” but Dazai still views himself as one of the players sitting and watching things from on high rather than one of the pieces. 

Dazai and Yozo are incapable of seeing themselves as human beings and eternally feel like outsiders when they try to be around others. However, at the same time they give no respect to the humanity or the feelings of other people. They don’t treat others like humans. Which is why they are essentially the architects of their own misery, they are alone because they choose continually over and over to either only engage in other people with lives, or treat relationships as transactional. These flaws of Dazai’s have been toned down since the dark age, but even Detective Agency Dazai still has this habit of looking down on other people. He has good intentions he tries to live by, but also in crisis situations tends to fall back on old habits. 

2. Lover’s Suicide

Finally, there’s two relationships in the book that parallels Dazai’s two most significant relationships in the story. The tragedy of Oda in the dark era, actually mirrors what was Yozo’s most significant suicide attempt in the book. Yozo runs out of money and on a whim attempts to commit suicide with a married woman who had been more or less a longtime but distant acquiantance. 

We threw ourselves into the sea at Kamakura that night. She untied her sash saying she had borrowed it from a friend at the cafe, and left it folded neatly on a rock. I removed my coat and put it in the same spot. We entered the water together. 

She died. I was saved. No Longer Human. 

This event mirrors the defining tragedy of Dazai’s backstory as depicted in the second light novel, and his reason for leaving the mafia. Essentially, Dazai finally becomes close to someone his longtime acquaintance Oda, who unlike him has a reason to live in raising children and dreaming of one day becoming an author. However, by the end of the novel it’s Oda who commits suicide and Dazai who lives. 

“You’re such an idiot, Odasaku. The biggest idiot I know.”  “Yeah.” “You didn’t have to do this. You didn’t have to die.” “I know.” 

Bungo Stray Dogs, Vol. 2

If you want to sprinkle in an additional homosexual subtext what Oda basically does is commit a lover’s suicide with someone else, by choosing to die with Gide. Which means that not only does Dazai survive while Oda dies, but Oda chose to commit a lover’s suicide with someone other than him. 

Then there is Yozo’s acquiantance to longtime friend Horiki. HOriki is his only real significant friend in the novel, but Yozo absolutely despises him. Nothing healthy ever comes from their relationship, he gets Yozo addicted on cigarettes and alcohol, he drags him to secret communist meetings, however Yozo who frequently just abandons people never really gets rid of him. 

Horiki and myself. Despising each other as we did, we were constantly together, thereby degrading ourselves. If that is what the world calls friendship, the relationships between Horiki and myself were undoutably those of friendship. No Longer Human. 

The reason being that Yozo despite loathing Horiki senses that the two of them are alike in nature. There’s also something to be said about Yozo getting along more naturally with someone he hates, rather than the people in his life who constantly attempt to love him. 

Horiki and myself. Though outwardly he appeared to be a human being like the rest, I sometimes felt he was exactly like myself. No Longer Human. 

His relationship with Horiki reflects both the partnership of the double black duo, two individuals who loathe each other but had near perfect cooperation in their teamwork but also the foiling between Chuuya and Dazai. They are both people who do not view themselves as human, Chuuya because of the mystery of his origins as the host of Arahabaki and Dazai because his intelligence leaves him feelings isolated from the world. 

He looked up in the direction of the sudden voice. It was a familiar voice, one that belonged to the person he hated most in this world. 

Your birth itself was a mistake. We’re the same. Is there a really a point to suffering through all that pain for a life that isn’t real?” 

The voice was taunting him. 

[...]

“Screw you Dazi.”

Chuuya wanted nothing more than to slice off the ear the voice was whispering right into. He could see Dazai’s wavering shadow by his side, and he wanted to gauge out his eyes. 

“That’s just proof that you at least somewhat believe what I’m saying. Because deep down inside you’re the same as me.”

Like, they hate each other, but they hate each other for the real person they are deep down on the inside. Which results in him and Chuuya having an entirely antagonistic relationship and yet at the same time Chuuya is the one person that Dazai can’t really bullshit or lie to, because sharing so much in common gives Chuuya some insight into Dazai’s darker tendencies. 

Which results in a relationship where neither of them like each other, and yet both of them are just a little bit obsessed with each other. Despising each other and constantly together. 

So in summary, No Longer Human is a work about a character’s difficulty to form relationships with others because not only do they not see themselves as human they also treat the others around them as lesser than humans. Yozo is a character clearly stuck in that cycle of abuse, whereas Dazai Osamu himself is someone struggling in the story to break that cycle and curb his own manipulative tendencies inside of himself, ironically because of the close relatonship he had formed with the one person he was ever even a little bit honest with Odasaku. 

[puc-puggy]

i mean this good naturedly but @dieinct this response is making me howl. like laugh out loud in real life a few tears came down my face. the iceberg of discourse is colonization.

in the post, when i wrote that colonization is as deeply horrifying as the holocaust? i was underplaying it. there were up to 85 million people in north america when europeans arrived. because of intentional destruction of food sources, intentional spread of disease, violent displacement, theft of children (residential schools), and constant exposure to hazards like nuclear radiation, the genocidal effort wiped out millions and most usians and canadians now believe indigenous americans to be largely extinct, despite ongoing protest for environmental and civil rights like the water protectors. 85 million people. 85% of the world's biodiversity is protected by indigenous people in the here and now. it's not a historical issue, indigenous rights are a right now climate change issue.

the frozen boys were active participants at the height of the british empire. all of them except hickey were volunteers, right? they wanted to find the northwest passage, believed it was was ordained by god.

the show, the terror, is an anti-imperialist show. the colonizers, the frozen boys, are literally the bad guys. the narrative tells you that it's an incredible tragedy that the terror and erebus arrived, that they were frozen in due to the hubris of a blue light captain (Extremely Christian-God's Dominion-Colonization As Right Of Might In Glory And Conquest ass bitch), that they kill silna's father and forced her into a role that she had not yet fully trained for, and most of all, that they killed tuunbaq in the course of their unnecessary and fatal invasion. there is a reason crozier refuses to see his friend and tells no one to ever come back.

all of these themes are explicit in the show, and this Discourse is caused when some people would like to over-empathize with the actual real historical figures fictionalized in the show and in so doing, dismiss, undermine, or erase the crimes of colonization that the show was designed to show light on.

anyway, historically, the franklin expedition arrived to king william island expecting it to be abundant because it always had been before. unfortunately, a previous expedition overhunted and cast the entire region into famine, scattering the inuit inhabitants that survived and the trade networks the discovery service relied on. just add unbelievable ecological hubris on top of the scurvy, the lead poisoning, and the refusing to turn back.

the discourse is how much to empathize with imperialists and colonizers who died terrible deaths that they brought on themselves. i'm little inclined towards empathy beyond obviously fictional tobias menzies in a wig accompanied by his beautifully homoerotic performance. actual real james fitzjames helped establish the routes for the opium wars and the century long imperialist oppression of china, of which he was incredibly proud. the historical figure is a racist, brutal man who was proud of british conquest, and making excuses for a fully adult and extremely wealthy and influential man is a bit like saying "well he couldn't possibly have refused to jump off a bridge with his friends or he might have less money and wouldn't that be a terrible crime." if 'jumping off a bridge' was subjugating a foreign nation and brutalizing its populace.

anyway. love gayboy tobais menzies in a wig. no empathy whatsoever for commiters of war crimes no matter how far in the past or how painfully they died. imperial victims suffered worse fates for far longer, and ones they did not remotely seek. fitzjames had and utilized the privilege of acting on his and his peers' hubris, however many lives it cost. and his peers were not his crewman anywhere else but in fiction.

[spicyclover]

No one can hurt you

Summary : A dinner of revelation and tragedy.

Hope you’ll enjoy it. Let me know in the comment section.

Thank you! :)

Lots of love, xxx Spicy Clover

DISCLAIMER : Rewrite and final version of "All the things you said" | Netflix show: One Day at the Time | Elena’s Story part | Season 3, ep 2.  WARNING: mention of physical and verbal aggression! Su*c*de WARNING !R@PE! WARNING: mention of SU*C*DE WARNING TOUGH CONTENT, BE AWARE

DISCLAIMER:  This story is fiction and has no correlation with reality. All site names making acts, violence or any other type of aggression are used for artistic purposes, and they did not commit those acts

If you need help. Please get help. You are loved, and your life is valued. Even if you don’t see it, you are loved.

The Monaco Grand Prix is in a few days and you will be slowly preparing for tonight’s dinner. Charles decided to organize a small evening for the pilots and their respective companions. It is in a magnificent hotel overlooking the sea that Charles booked the room and privatized the chef of the restaurant. The luxurious life of Monaco in its greatest fullness, you are always amazed by all the secrets that this small principality shelters.

You were third-wheeling your best friend Heidi to that party. She and Daniel invited you after running into you in the afternoon at the marina. Since you were little you know most of the pilots. So you are happy to have been invited to celebrate this new year of racing in Monaco with them. The evening was going well until the subject of the conversation crumbled into something darker.

“I gotta admit, I’m getting kind of confused.” Ends up saying, Checo rubbing his nose with his glass. 

“Oh, my god, me too. What if someone says, “I am not sleeping with you tonight?” And then... an hour later, they’re like, “Eh, fine.” What’s that?” Ask Lando, completely confused. 

“Unsurprising,” Pierre whispers under his breath, laughing. You laugh at with him, ignoring Lando's thunder.

“How many women have said, “Eh, fine”?” Questions Heidi sarcastically. 

“Yeah, I got to make some calls.”

“Now I’m perplexed.” Says Max trying to make sense of everything he heard. 

“I know. It’s confusing. I hate to admit it, but I feel sorry for men. This consent thing is tricky.” Kelly responded and gets up to pour herself more wine. 

“No.” You exclaim annoyed by her comment. “Women always blame themselves, and then the man never has to take responsibility. During rape prevention week at the university, all the signs are aimed at women. “Girls, don’t dress provocatively. Girls, don’t walk alone.” How about, “Hey, guys, don’t rape.”" You look up at Pierre knowing perfectly it will trigger him.

“Oh, my god, why are we talking about that? I took a couple pictures as a joke, and Cece thought it was funny.” Pierre exclaims as he gets up from his chair to get himself another beer at the bar. 

“Did she? Or did she feel like she had to laugh ‘cause she doesn’t know what else to do with your hand on her boob?” Everyone around the table falls silent and waits. You get up from your chair and walk you way to Pierre.

“Ok, sweetie, take it easy.” Adds Sebastian taking your arm and tries to calm the conversation.

“No. He thinks what he did is cute. You are basically a predator.” You accuse, pointing your finger at him. 

“You’re basically a psycho.” Pierre replies, knowing full well it will trigger you.

“Good, call me crazy for defending a woman’s right not to be groped!”

“You’re mad ‘cause the internet told you to be. You don’t know my life or even leave this apartment!” Pierre screams as he approaches you.

“Because of guys like you!” You answer with the same intonation. 

“What are you talking about?” Charles asks, taking your hand for you to sit down.

You and Charles are special. You’ve been like ass and shirt since childhood. You’ve known him since you were six. For as long as you can remember, Charles has always been one of your dearest childhood friends. You have shared so much together. No one has ever made you vibrate like he does. Usually his simple touch makes you calmer and reassuring. But you are no longer able to appreciate this contact that you cherish so much.

“You want to know?” You said, scoffing. “Okay. A couple of weeks ago, Heidi and I were coming home from the movies, and we were holding hands. And we noticed these guys staring at us, and then we changed the sidewalks , and they followed us.” You speak with tears in your eyes. 

“What?” Sebastian says concerned in his voice. His turn your body to him.

“Yes. And they were going, “Come one, you guys, kiss. We really wanna see it. Just kiss.” They thought that was really funny, too.” You continue telling while drinking a sip of your glass.

“It was actually terrifying.” Ends up adding Heidi after Daniel stares at her intently. 

“It was terrifying. And then we finally lost them in a crowd and ran home...” You finish in a huff trying to hold back your tears. Your hand hides your eyes and you try at best to find your calm.

Charles, in his divine goodness, hastens to extinguish you warmly. At first, his touch hurts you and you have only one desire to remove his hands from your dirty body. Yet you cling to him like a lifeline. Deep down, you know it's time. Time to tell what happened that night, a year ago. Nobody dares to speak at your revelation and everyone feels guilty for not knowing sooner.

“Umm... Last year after the Monaco Grand Prix. Lance Stroll raped me. He was my friend, and he raped me in my own bedroom. And then, he threatened me not to tell anyone... but. Why did he do this?” You ask breaking down in tears. “Sorry, I don’t know what to say. I don’t know what... I feel.” 

“Why didn’t you say anything?” Sebastian asks tenderly, approaching you rubbing his hand on your back. 

“I tried, but... nobody listened to me.” You respond looking at Lando through your tears. Your eyes pierce Lando’s being. He doesn’t know where to put himself and his cheeks become red. He implores you to keep your mouth shut, but the situation no longer belongs to you. You feel the body of Charles being redeemed against yours and you notice that he followed your gaze.

“You knew.” He accuses Lando turning his attention abruptly towards him.

“I... I.” He tries to defend himself. “I didn’t know what to do.”

“Oh, you think she knew what to do either.” He yells, getting up from his chair and grabbing him by the collar. 

“Charles, let him go!” Orders Carlos. 

“You let her suffer silently when you knew what he did to her. I thought you were better than this. T’es qu’une grosse merde.” You’re a piece of shit

“Oh please, like you would have done something? We all know he’s untouchable and has done it before.” Admitted Lando, pushing Charles away. 

“What?” Sebastian speaks up. This is the first time he has heard this from his former teammate. He never thought he would ever see Lance in this light.

“Nothing.” 

“It’s nothing? He raped her, and now other girls too?” Charles advances again, preventing him from fleeing the situation.

“Don't play fouls, Charles. You were in his hotel room at the party in Abu Dhabi last year, and I quite remember your hands on some teenage girls, groping them.” He said suddenly, pushing Charles out of his way again.

“What?” You speak up, troubled by Lando's affirmation.

“It’s not what it looks like.” Charles turns to you, trying to explain himself. You get up from your chair and walk back as you see him approach.

“Don’t touch me.” You say, pushing him away. “Did you do it?”

“I... It’s not the same thing.” He justified himself.

“Yes. It actually is. Did you grope those teenage girls or worse raped them?” You ask scandalized. Charles, your best friend, your confidant, the one you most trust is capable of the same thing as the person who hurt you the most.

“Oui,” he admits in a small voice. “I didn’t want to.”

“You didn’t want to? What the fuck, Charles. What's wrong with you all?” You yell, taking your stuff and leaving as fast as possible. 

The thought of all this happening to so many more makes you sick. How could nobody speak up about this? You walk down the hotel hallway. You can hear footsteps and Charles's voice telling you to come back. When you get to the lobby, you ask for a taxi home. Tears fall down your cheeks, and you look at him as you push the door out. 

You take your taxi and give him your address. All you want right now is a shower. A warm and reassuring shower. To pull away all those memories and thoughts. You want to scream to the world. You want to smash your entire apartment down. You want to stay in bed for the rest of your life. You want to jump off the roof. You want to cut yourself so that the pain stops. You want to be set free.

You arrive at the complex. Your dark thought runs in circles in your head. Like a robot, you open the door, press the elevator, and finally unlock your apartment. You let your essentials fall on the ground with your bag and coat. Like a machine, you take your shoes off and open the lights. 

The sight of your home, which does not feel like home anymore. Since Lance pushes himself into you while you try to make him go away, this place hasn’t felt like home. You can’t even sleep in your own bed anymore. No matter how many times you clean the sheets, change the bed. This memory comes running back into your mind. Invade you like a parasite. 

You go to the bathroom and open the valve to fill the bathtub. You watch the water. You can hear your phone blowing up with notifications and calls. “Why does this world have to be this cruel?” You think, taking your clothes off. 

Your body envelops itself in the heat of the water, and you close your eyes. Your body slips in the bath. You head underwater. You hear focusing on your heart bit. You enjoy this moment of quietness and solitude. 

That’s it. You feel alone since that night he took your joy, your life, yourself. 

You can feel the water pressure you to gasp for air. Your head starts popping your blood. Your heart rises to find oxygen. You struggle. You have been struggling this long. You want to go, and you want to let go. 

You let the water go in, and suddenly, all the scary parts disappear. The explosion in your head fades away, and you’re not scared anymore. You find it relatively peaceful. Very peaceful. 

Strangely, you’re dreaming. Him with you. On a boat. Feeling the breeze in your hair. The warm sun on your skin. His light touches on your thigh. His breath on your neck. His lips are on your breast. You’re daydreaming. Are you? Is your mind trying to ease the pain in your heart? Is it even the day? 

Then. You open your eyes. You try to scream, but your head is under the water. You feel weak but strong. Sick but healthy. Chaos but at peace. You can feel your body wiggling, but your mind is different. No one can hurt you now. Quietly, your eyelids become heavy again, and what a moment ago hurt you the most now makes you feel good.

The water fills your lungs, and you sink more and more into the darkness. Nobody seems to pull you up. The seconds pass, but you no longer find the courage to go out. The bathtub disappears, and you find yourself in the sea. In a warm and welcoming sea; The Mediterranean. An infinity of blue. An infinity of sweetness. The noises are only deaf sounds, and you feel your brain more and more calm. The sun’s rays pass through the water, and you move further and further away from it. Your eyelids become more and more stretched.

Then you see beautiful blue eyes through the water. No fair. You can’t reach them but can’t stop staring at those ocean-blue eyes. Suddenly, you feel scared. Scared to leave those ocean eyes. You’re afraid, and you’re drowning under the waves of words you haven’t said to them, to you. 

You try to fight back this peaceful state, but darkness is an easier path than light. Suddenly the silence suffocates you, and you miss the sound surrounding you. 

Then comes the darkness.

When you leave the apartment, Sebastian watches Charles running after you. He can’t believe what has happened. He doesn’t want to consider it. How could he? He sees and goes to the door, and Charles is defeated on the ground. He passes by without a look and walk his way to the lobby. 

You have always been a fragile child. Even when you were a child. You were always this little fragile and precious porcelain doll. You’ve never been afraid of anything growing up. Sebastian always loved to see you grow up with him. Despite your age difference, he always considered you his little sister. The little one who needs to be protected from everything and at any cost. Knowing that you are suffering so much hurts him.

In the hallway, the walk seems long and endless, his thoughts wandering toward your shared memories. He remembers many summers spent in the countryside. At your grandparents' meadow, there was a vast field with a few horses grazing on the fresh grass. He remembers that beautiful-eyed little girl running in his direction.

You had dirt all over your clothes. Your hair was braided, and he still remembers the grass sticking in it. He remembers your laughter, which lit up the prairie thousands of miles away. Hearing you laugh has always been his favourite thing about you. Lost, it’s only when the doors block his way out that he remembers he has to go looking for you. He runs through the night towards your apartment.

Charles is devastated. Everything he tried to build with you has just broken in a moment. He feels lonely and ashamed. He wants you to know how much he loves you. How much you mean to him. How much you have become the center of his universe.

Before you, there was racing, and that was it. When you became something more his life change. It was as if you had lit the dormant fire in him. You have extinguished the flame since the death of his best companion, his father. You have given meaning to this quest. The stakes are not won but won for you.

He still remembers the first time he took you to his garage. You were with Sebastian. He was showing you around the Ferrari factory, showing you the different facilities, different parts. You were so captivated by his words, and your eyes were shining like stars in the sky. 

He remembers the moment when your eyes landed on him. The smile you had, and the dress you wore and the clip in your hair. He counts you. Unable to say anything. Captivated by your beauty.

“Hi, Charlie.” You said in your beautiful voice. 

He stuttered and blushed heavily. You laughed gently before putting your lips on each of his cheeks. He likes a kiss, and no, he likes your kisses. 

A hand falls on his shoulder, and he sees Pierre. Tears in his eyes prevent him from distinguishing himself perfectly, but he recognizes his friend.

“Don’t worry. She’ll come back.” He says softly. Taking him by the shoulders to lift him up and bring him back to the room. 

The others are still there. Confused and shaken, no one speaks. Silence reigns in the room, and no one knows what to say. Charles opens the patio door and leaves the fresh night air in the room. The city slowly began to calm down, and he heard the waves regularly hitting the harbour.

Daniel gets up and gets rid of the table. Putting this party away may make us forget the events that occurred. Heidi and Kelly help him while the others put orders in the room. No one dares to go to see Charles.

The hour passes quickly, and some decide to leave. They quickly greet the last remaining. Pierre observes his friend, who has not moved, and still looks at the sea.

It’s only when Charles' phone starts ringing that he looks away. He calmly enters the room and answers.

“Hello?”

You always liked the fields. You always loved hiding in the big wheat fields surrounding your grandparents' house when you were little. This stretch of yellow was as far as the eye could see. You liked feeling the stems between your fingers, the seeds melting to your touch, and the particular smell of wheat.

You remember a hot summer day. Lying on a tablecloth after a picnic, nature calms by this overwhelming heat, especially the calm of this yellow and green nature. You remember the farmer who held the farm. You spent days watching him working. Helping him through the mould. Watching him turn wheat powder into cereal. You remember this great man, always with a grain of wheat in his mouth that was constantly chewing.

You remember the hum that bees made at work. From wheat to wheat, pollen is harvested. You remember the nests in the hives that you created one summer. Your grandfather, with his jumpsuit, would go every morning and inspect the nests, and you loved watching him do it. You also loved to taste honey with each harvest. Honey is good. It’s sweet. It’s sweet. It’s wild.

You remember Sebastian. His blond hair, his smile, the sound of his kart engine. Many hours passed in his company at the track with his dad. You remember your big brother, following him and Sebastian all day long, like the annoying little sister you were. You remember falling from a tree after the boys thought it was a great idea to climb it. You see your brother jumping down the tree to get to you and hear Sebastian running back to the house to get help. You spent the night at the hospital. You broke your arms that summer, and you had a commotion. Your parents were furious and punished your brother for the rest of the vacation. 

You remember your first winter in the mountains. Mornings skiing, and afternoons making snowmen, eating maple syrup, drinking hot chocolate, just playing in the snow. See your happy brother’s face after he managed to get the last pancake.

You remember Sebastian’s victories. To see him move up from category to category. You remember his encounter with Hanna. You love Hanna. She is so sweet and kind. You remember your great jealousy towards her from the height of your twelve years. She who steals your Sebastian. She who steals your second brother. Oh yes, you were jealous, but she knew how to win your heart, and after all, she stayed.

You remember the Ferrari years. Everyone was in red. You saw the world with red glasses. Red like love. Red like anger. Red as the colour. Red as blood. It’s kind of at this time, when adolescence really starts that you start to change. Physically, mentally, and spiritually, you were no longer the wise little girl your parents admired and your brother despised. No, you grew up making mistakes, a lot of mistakes, until you met him.

Him. The golden boy. The one destined to be great.

You remember his perfume, his smell, his laughter, his mimics, his way of speaking, his way of being and his way of simply being. He intimidated you so much; this guy was destined for something big. Whereas you, we never expected much from you besides being pretty, lovely, not disturbing, quiet, and reserved.

Quiet. 

Reserved. 

Pretty. 

In those words, your brain falls into the dark side of your life. The darkened side of time. Painful and unhappy memories. The memories of him, the one who once was your best friend. He who once was your confidant. He who once saw fit to r*pe you.

To find you after the Grand Prix, in your apartment, in your house, in your home. To be a little too drunk, surely. To hold you firmly. To put his lips on yours. To hold your wrists. To put all his weight on your body. To force you into bed. To beg him to stop. To cry in silence. To feel it in you. To feel dirty. To feel unloved.

To feel alone, so lonely, too lonely. 

To find yourself curled up in a ball in a corner. To wait until morning for him to leave. To want to end your life. To end your nights. To seek help. To be abandoned. To be alone. To be dirty. To be silent. To be reserved. To be pretty.

To be pretty. 

To be pretty. 

To be. 

Silent is all you ask for. 

It’s been a long night. The hours have been staggering. The noises of monitors, nurses, doctors, and ambulances invade their ears. No one speaks, and no one dares speak. It is as if a white veil covers the weighing atmosphere and borrows all those present.

The wait is long, too long. They wait patiently for the outcome of this atrocious night, something that does not happen. Sebastian holds his head in his hands, tears have finished flowing, but his eyes are still red. He feels bad. He feels immense guilt. This mixture of shame, sadness, contempt and anger is eating him increasingly as the hours pass and pass before his eyes. He blames himself for not coming sooner. He blames himself for not holding you back. He blames himself for not seeing. He blames himself.

Full of life and ardour, this little girl was smothered under this icy water. Frozen in time. Only the repetitive sound of drops escaping from the pipe disrupted this freezing scene. She hides all her problems behind her smile. Never in his life has he thought of having this vision of you. This pure horror vision of an act yet so courageous. Because it takes courage to think about yourself before thinking about others. It takes courage to put yourself forward and not others. It takes courage to achieve what others have likely failed to achieve.

The roar of the machines stifled Charles. He closed his ears in the hope of silencing them. To see you with your tubes hanging around you, in you. On this hospital bed, this white bed, this room that feels the end. Eyes wet, Charles looks at your pale, serene face. The doctor’s words are dry and not encouraging. Your parents arrive a few hours later, a flight later. They cry. Your brother has tears in his eyes. Sebastian collapses in a corner. Hanna is there; a veil of sadness covers his eyes. Heidi cries in the arms of Daniel, who looks again in the eyes of Charles. Charles holds your hand, your hand. Your hands are cold, frozen by the consequences. Lando doesn’t dare to come in. He feels guilty because he refused to believe you, to reach out to you, see you, and see your distress. He preferred to become blind rather than awake. It haunts him.

Charles, sitting next to you, is watching people walk by. To say goodbye to you, goodbye, forever. He doesn’t want to. He can’t. You’re still breathing. Your heart is still beating. So why do you have to leave? Why did you choose to go?

“Why?” He mumbles one more time, his head against your ear. “Why are you not fighting?” 

“Cha... we have to go.”

“No... I-I-I can’t. I can’t leave her.” His voice breaks in a sob.

“Charles,” Pierre says, putting a comforting arm on his shoulder. “Let her go.”

“No...” Charles pushes him away, gripping your hand tighter. “She’s going to survive. She’s going to live. She has to live. You have to live.” He prays, kissing your cold skin.

Pierre sight and get out of the room. His family, her family, his friends, and her friends are here waiting for him. The visiting hours are almost over. Everyone wants to go back to their house and sleep a bit. They haven’t slept all night. Charles hasn’t slept all night. Pascale enters the room quietly. Staring at his son. 

“Charles. We need to let her rest. Will come back in the morning, d’accord mon bébé?” She says, taking him in her arm. 

He acquires at her request despite himself. Unable to fight anymore, fatigue slowly eats him away, and he knows that he is of no help if he is exhausted. He leaves the room not without a last kiss, a last look, a last goodbye.

On the following day, Charles came. Staying for hours next to you. Stroking your hair, mumbling your name, praying for you to wake up. He can't take you out of his brain. He can't take you out of him. You're haunting him. We realize how important it is in our life when we lose someone we take for granted. Charles looks at you as a friend until he realizes he loves you. Is it too late? Were you supposed to be?

Sebastian came a few times, only a few minutes. He can't unseen what he saw. He plays and plays the night in his head over and over again. Wondering what he could have done differently.

The doctors are not really optimistic about your recovery. Your body is tired. Your mind is exhausted. They did all they could do. All we have to do is wait. Wait for you to come back. Wait for you to fight for your life. How could you fight if you're not even awake? It's painful.

Strangely enough, he came. The rapist. The abomination of your life. You came late at night when everyone left. He felt bad. "It's too late to feel bad," you think when you feel his hand and you. You wanted to cry, to scream, but nothing. He left shortly after. Looking at you one last time. Looking at what he did to you. You hear from Lando a few days later that he got arrested. Other girls spoke, and there were enough accusations to start a trial. Even more strange, it did nothing to you. Well, how could you feel? When he toked everything you got and smashed it in a million pieces?

Sometimes, you can feel the warmth of the afterlife tingling your skin. You feel it right near you, calling you. Calling you to answer the call. You want to feel this feeling of peace, this quietness. You don't know how to feel. You just want to float. You forgot how to be happy. How to be. Why fight if you may never find yourself again? What were you made for? You wonder to yourself.

Time flies. A couple of weeks passed. You made some improvements for the doctors to feel optimistic for you to wake up eventually. You're stabilized by all those machines. Your parent finally arrived a few days after you were admitted. You can feel your mother's tears on your cold hands and the soft kisses of your father on your forehead. You can smell the sunflower Heidi brought you every time she comes to see you. Sometimes you want to react. To show her you listen. But you can't. Or you don't want?

The feeling of loneliness passed. You can see now how much you're loved. How they love you. You love to hear Arthur talking about your favourite series. You love to hear Sebastian remembering childhood moments whenever he found the courage to come. You love to listen to your mom singing your favourite songs. You love to hear Daniel telling dad jokes, hoping you'll smile in your sleep. You love hearing Lando talking about his latest Quadrant adventures or Twitch lives. You love to listen to Charles saying how much he loves you. How much his life is plain without you. You can't imagine somebody else cared so much about you.

That makes you cry. You can't show them you can hear. You can't show them you love them too. You can't show them how grateful you are or will be. More time passed, and the more you could slowly feel you were losing yourself. All you need to do is happen your eyes, but for some reason, it seems an impossible task to do.

"This is impossible," Alices says in disbelief at the creature rising upon her.

"Only if you believe it is." The hatter whispers, scared of the outcome of all this adventure. But wasn't this all the point of this madness?

"Sometimes, I believe as many as six impossible things before breakfast."

"That is an excellent practice." The hatters says. "However, just now, you might want to focus on the Jabberwocky."

"Six impossible things. Count them, Alice. One, there's a potion that can make you shrink. Two, and a cake that can make you grow. Three, animals can talk. Four, Alice, cats can disappear. Five, there's a place called Wonderland. Six, I can slay the Jabberwocky."

You feel yourself falling into the rabbit hole, and you have been in Wonderland all this time. That's it! You can do it. Six impossible things before breakfast.

"One, you will get a major in architecture."

"Two, you can drive an F1 car."

"Three, you can be happy again."

"Four, Y/n, there's a place for you in this universe."

"Six, I will fight for my life."

At this, though, he feels darkness rising upon you. Everything fades away slowly. You can hear the constant beep of the machines around you. You can feel Charles's hands against yours. You can smell the hospital room you're in. You can see the light shutters again you close your eyes.

Then... you breathe.

Feeling the grass on your feet. The autumn breeze cools down your spine. For the first time, you appreciate being alive. To fill your lungs with air, to hear the water crash against the rocks, to feel the sun warm up your skin, and to taste food again.

You feel a hand around your waist, and Charles brings you closer to him. He sticks you to his bare chest. He holds you firmly for fear that you will disappear again. It makes you smile to see him so loving, so gentle, and so attentive. You turn your gaze from the blue horizon to meet his emerald eyes. He smiles tenderly. His eyes sparkle with a thousand lights when you return his smile. You hold these eyes a few moments before you look wandering towards his lips.

If only it could be true.

If only you could be with him.

______________________________________________________________

Hi! Hope you enjoy this final version of the story. It took me sometimes to get back to writing but I'm getting there. I know some of you really like it and it's fill my heart with joy <3

Tag List : tyna-19 dessxoxsworld ynbutbetter alexander-hamilhoe honethatty12 janeholt3 mloyer karmabyfernando omgsuperstarg laura-naruto-fan1998

[rabbiteclair]

more Girls' Last Tour thoughts, which are admittedly mostly thoughts I had for the first time about five years ago only to resurface today upon having a long conversation about the series with a friend. this one is fully spoiler-y

as far as emotional suckerpunches go, I personally think it's like... [the entire Silence chapter] > [Chito's breakdown after she realizes the Kettenkrad's bricked] > [the end of the Art chapter] > [the end of the Life chapter] > 'the planet will finish life's long work and go to sleep as well' > [the actual end of the series]. This isn't a criticism of it, since I really like the end. I just find it kinda funny.

similarly I find it funny that this series, where every named character is strongly implied to die either during or shortly after its events, which is about 40% ruminations on death, containing the line "currently, you two are the only surviving humans of whom we are aware," is categorized as an Iyashikei. H E A L I N G. I mean I don't even necessarily disagree but goddamn.

One of the core dichotomies of the series, I think, is... it repeatedly makes it clear that people have done horrible things here, and the amount of deliberate destruction that's gone on is absolutely monstrous. They stumble onto nukes and giant war robots that can blow up a city, and there are destroyed tanks and giant craters everywhere. Basically everywhere they go is a former war zone. But it takes a really positive view of humanity. Outside of the attack on their hometown in the flashback, every single person they meet is nice and helpful. Any time it delves into human nature, the message is 'actually humans are pretty cool most of the time, and our basic drive is to take care of each other, not this survival of the fittest bullshit.'

which is one thing that I think sets it apart from a lot of fiction in this space? It never tries any kind of 'humanity is doomed in the long run because we're all violent animals beneath the facade of civilization' message or anything. Humanity rules, and it's a genuine tragedy that things have come to this.

kinda related, the series does a lot to make it clear how all of this is an unfathomably large tragedy. There are tons of background shots of entire abandoned cityscapes, there's the chapter with the mass grave, the gigantic library full of books, and so on. The actual scale of 'no, really, everyone and everything has an end sooner or later' gets driven in repeatedly. At the same time, it spends a lot of time on how something as small as destroying a single diary can be a tragedy in its own right, too. I guess I'm just kinda used to media that takes that kind of grand high-level view dismissing the small stuff as trite and unimportant when we could be putting up another number with lots of zeroes to say how many people died.

there are a lot of different ideas floating around on things like what it all means in the end, and whether it's meaningful to leave anything behind. The AI is overjoyed when she gets her chance for oblivion. The people in the graveyard have a statue to watch over them. Chito's attempt to leave something in the form of her diary is ultimately futile, and while she learns to find other meaning, destroying her diary and the books still isn't portrayed as a good thing. Other people are recorded forever in images and videos, and it's wonderful. Ultimately I don't think there's any one answer or message. Keeping with the general existentialist kinda themes, what matters is what the people involved find meaningful in that context, but that drive to create and preserve meaning for the future is both universal and noble.

while there's a lot to be said about the visuals overall... the fact that basically the only thing on the upper layer is a spiral staircase leading up into the air with no destination sure is some symbolism, huh.

similarly, while it wouldn't change the events any, symbolically I think it's very important that their long, ultimately pointless meandering journey that ends in death was upward, not downward.

on another level, though, it's kinda implied that the higher strata are newer/more recently maintained. So it's also essentially them moving through (and revisiting a lot of) human history to take their position at the very end.

Yuu's gun is never used for anything but target practice, and then she chucks it aside as soon as it's too much effort to carry. They use an old tank for a shower. They find a working military sub with nukes inside, and it's only useful because there's chocolate and a way to look at the storage on a camera. The one time they really fire a weapon, it's horrible, and the one thing they kill is portrayed as a tragedy. Even their helmets are mostly a running joke of 'oh my helmet totally would've stopped that falling building.' For a series that includes a lot of military stuff, it regards military stuff somewhere between 'disdain' and 'indifference.' Very 'the world is ending and you think a rocket launcher is going to be useful? Put that thing down and help me look for food.'

that said, the choice to give them a vehicle from WW2-era Germany is still a pretty damn unfortunate one. Considering the series's consistent stance against violence, disinterest in war, and casually disdainful treatment of weapons and military stuff, I'm comfortable saying that Tsukumizu almost certainly isn't a closet nazi, but still. At best it gives the wrong impression to anybody who hasn't gotten about a dozen chapters in and started thinking about the themes, and there's nothing the themes do with it that wouldn't work basically as well with any other military transport anyway.

the fungus things apparently being the inspiration for the god statues is clear enough, but just what their deal is remains surprisingly undefined. I've always figured they were genetically engineered or something, made specifically to clean up the environment. Which is itself a hell of a thing if so, deifying the creatures that basically symbolize 'maybe we can undo the harm we've done, and if that takes longer than we live, at least we'll leave something behind.'

I really don't know how to feel about the whole Shimeji Simulation connection. (if you aren't familiar) On one hand I feel like it undermines a lot of the series' messages to go 'oh but just kidding, everyone's fine and nobody really dies for good.' On the other hand, as somebody who's read/watched through the series about half a dozen times and really marinated in the despair, my primary immediate reaction is 'oh thank god they absolutely deserve this.' And it isn't like I haven't written multiple stories about characters embracing their imminent demise only to turn out okay against all odds in the epilogue.

Yuu's gay little run. this is still a thought