#because they are EXPLICITLY not the focus of the piece

[getvalentined]

A handful of work created for the Chaos Theory charity fanthology, because even if I can't draw I can repost work I'm still proud of.

[fiercynn]

poetry outlets that support a free palestine

after finding out that the poetry foundation/POETRY magazine pulled a piece that discussed anti-zionism because they "don't want to pick a side" during the current genocide, i decided to put together a list of online outlets who are explicitly in solidarity with palestine where you can read (english-language) poetry, including, except where otherwise stated, by palestinian poets!

my criteria for this is not simply that they have published palestinian poets or pro-palestine statements in the past; i only chose outlets that, since october 7, 2023, have done one of the following:

published a solidarity statement against israeli occupation & genocide

signed onto the open letter for writers against the war on gaza and/or the open letter boycotting the poetry foundation

published content that is explicitly pro-palestine or anti-zionist, including poetry that explicitly deals with israeli occupation & genocide

shared posts that are pro-palestine on their social media accounts

fyi this is undoubtedly a very small sample. also some of these sites primarily feature nonfiction or short stories, but they do all publish poetry.

outlets that focus entirely on palestinian or SWANA (southwest asia and north africa) literature

we are not numbers, a palestinian youth-led project to write about palestinian lives

arab lit, a magazine for arabic literature in translation that is run by a crowd-funded collective

sumuo, an arab magazine, platform, and community (they appear to have a forthcoming palestine special print issue edited by leena aboutaleb and zaina alsous)

mizna, a platform for contemporary SWANA (southwest asian & north africa) lit, film, and art

the markaz review, a literary arts publication and cultural institution that curates content and programs on the greater middle east and communities in diaspora

online magazines who have published special issues of all palestinian writers (and all of them publish palestinian poets in their regular issues too)

fiyah literary magazine in december 2021, edited by nadia shammas and summer farah (if you have $6 usd to spare, proceeds from the e-book go to medical aid for palestinians)

strange horizons in march 2021, edited by rasha abdulhadi

the baffler in june 2021, curated by poet/translators fady joudah & lena khalaf tuffaha

the markaz review has two palestine-specific issues, on gaza and on palestinians in israel, currently free to download

literary hub featured palestinian poets in 2018 for the anniversary of the 1948 nakba

adi magazine, who have shifted their current (october 2023) issue to be all palestinian writers

outlets that generally seem to be pro-palestine/publish pro-palestine pieces and palestinian poetry

protean magazine (here's their solidarity statement)

poetry online (offering no-fee submissions to palestinian writers)

sundog lit (offering no-fee submissions to palestinian writers through december 1, 2023)

guernica magazine (here's a twitter thread of palestinian poetry they've published) guernica ended up publishing a zionist piece so fuck them too

split this rock (here's their solidarity statement)

the margins by the asian-american writers' workshop

the offing magazine

rusted radishes

voicemail poems

jewish currents

the drift magazine

asymptote

the poetry project

ctrl + v journal

the funambulist magazine

n+1 magazine (signed onto the open letter and they have many pro-palestine articles, but i'm not sure if they have published palestinian poets specifically)

hammer & hope (signed onto the letter but they are a new magazine only on their second issue and don't appear to have published any palestinian poets yet)

if you know others, please add them on!

[codenamethebird]

God I have so much to say about Melinoe's characterization, and the fasinating implications about her future arc/the overarching plot of hades 2. I want to make a larger think piece with pictures but for the moment I'm just going to focus on this one specific thread.

In the wake of the Prometheus reveal, she has a slew of convos about his motivations for siding with Chronos, and the gods basically all go: this is his vengeance for us punishing him a tad cruelly. And Nemesis is like, yeah the gods 100% deserve it. But Meli's responds that he must have more motivation than just vengeance, it can't just be that. But when Prometheus explicitly goes, 'I'm doing this because the gods are horrible to humanity and I love humans,' she basically goes, no he must be lying. That motivation is both too pure, but also humans kind of suck why would you care about them?

Mel's humanity hot takes deserve it's own essay (Ms I think Humans should have never gotten fire and are better when they are dead), and I just want to focus on the former for now. She can not comprehend that Prometheus is fighting the gods for noble reasons. It just does not make sense to her. Mel's world is so black and white. She doesn't understand the nuance of the situation, and the thought that the gods might be actually in the wrong doesn't even get close to crossing her mind.

It's a fascinating (and horrifying) result of her upbringing. Of the constant state of war and the very convenient big bad that is Chronos, the evil monster who stole her family. If she accepts that his side isn't completely evil, that they might even be right in some (even many) respects, she would have to grapple with her whole life. Everything she believes would be thrown into question, the literal thing she was training her whole life for.

She can't have Prometheus fighting for a noble cause, because he fights for Chronos whose the Bad Guy tm. But he also can't be fighting for something as simple as vengeance, because that would also mean she would need to really think about what he's angry about. If the punishment was truly so unnecessary cruel.

When talking to Odysseus about Prometheus, when Ody's saying how much he respected him for stealing the fire despite knowing the consequences, Mel says that it was the price to be paid for breaking Olympus's decree. To her, Olympus's rules are sacred and ultimately good. Unquestionably. Prometheus broke the rules with intent, so to her, why would he be so angry at the consequences? Especially if he knew because of his power they were going to happen.

So he must have another reason, some secret machiavellian plan that drives him. Except as I already said, it brings her right back to him doing it for humanity, which she also can't accept. Because that would be admiting that the gods did something wrong to humans. She twists herself into knots to justify her worldview, and it's fascinating! She's so messy I adore her.

Please Supergiant please the final surface boss has to be a human pleeeaaasse (preferably a living one). Or at least have one (or more) show up in some other capacity. Mel needs to come face to face with the other side and have it utterly destroy her worldview.

And/or have (Pan)Dora betray her for Prometheus, that would also be very fun haha.

[emeryleewho]

I've noticed that people take writing advice way too literally and then get really mad about it, so here's a quick guide of what the typical "bad' writing advice is actually trying to tell you.

[Note: you don't have to take literally any piece of advice. It's just there for your consideration. If you hate it, leave it and do things the way you want. But the reason all of this advice is regurgitated so often is because it has helped a lot of people, so it's okay if it's not for you, but it may still be life changing for someone else.]

Write Every Day

"Write every day" is NOT supposed to be a prescriptivist, unbreakable rule that dictates anyone who doesn't write literally every day isn't a real writer. It's supposed to be a shorthand way of saying "establish a writing routine. Get used to writing at certain times or in certain places or in certain patterns, both so that you can trick yourself into writing even when you don't feel like it by recreating certain conditions, but also because if you only write "when you're in the mood", you may never get around to finishing a project and you likely won't be able to meet publishing deadlines if you decide to pursue publication."

The point of this advice is basically just to get used to seeing writing as part of your daily routine, something that you do regularly. But if you decide you can't write on Tuesdays or weekdays or any day when you have certain other activities, that's literally fine. Just try to make it a habit if you can.

2. Show Don't Tell

"Show don't tell" DOES NOT AND HAS NEVER meant "never state anything plainly and explicitly in the text". Again, "show don't tell" is a shorthand, and its intended message is "things tend to feel a lot more satisfying when your reader is able to come to that conclusion on their own rather than having the information given to them and being told they just have to accept it." It's about giving your reader the pieces to put the puzzle of your book together on their own rather than handing them a finished puzzle and saying "there. take it."

So if you have a character who's very short-tempered, it's typically more satisfying that you "show" them losing their cool a few times so that the reader can draw the conclusion on their own that this character is short-tempered rather than just saying "He was short-tempered". Oftentimes, readers don't want to take what you tell them at face value, so if you just state these sorts of details, readers will push back against that information. People are significantly more likely to believe literally any information they are able to draw conclusions on without being told what to believe, so that's where this advice comes in.

3. In Medias Res

This one is so often misunderstood. "In medias res" or "start in the middle", DOES NOT MEAN to literally start halfway through your plot. It also DOES NOT MEAN that you should start in the middle of an action packed scene. It just means that when you start your story, it should feel like the world and the characters already existed before we started following them. It shouldn't feel like everything was on pause and the world and characters only started acting the moment the story begins.

This is why starting with a character waking up or something similar can feel jarring and slow. We want to feel instantly compelled by your character, and the most efficient way to do that is [typically] to have them already doing something, but that something can be anything from taking a shower to commuting to school to chopping off a dragon head. We just want to feel like the story is already moving by the time we enter.

4. Shitty First Drafts

The idea that you should let your first draft suck and not revise it as you go is a tip presented to combat the struggle a lot of people have with not being able to finish a draft. If you find you've been working on the same first draft for five years and barely gotten anywhere, you might want to try this advice. The point is to just focus on getting to the ending because finishing a draft can give you renewed energy to work on the book and also makes it easier to get feedback from readers and friends.

That said, if your story is flowing fine even as you go back and make edits, then don't worry about this. This is advice specifically designed to target a problem. Likewise, this doesn't mean that you can't clean up typoes when you see them or even make minor edits if you want to. It just means not to let yourself get completely bogged down by making changes that you never move forward.

A "shitty first draft" also doesn't mean that your story has to be completely illegible. It just means that you shouldn't let perfectionism stop you yet. I see a lot of people say "well, I can't keep going until this first part makes sense", and that's totally reasonable! Again, the point of this advice is just to get you out of that rut that keeps you from making progress, but if you spend a couple weeks editing and then move on or you find the book is still making forward strides while you edit, then you're fine. You don't need this.

5. Adverbs

The idea that you "shouldn't use adverbs" DOES NOT MEAN that any time you use an adverb, you're ruining your story. It just means that you shouldn't *rely* on adverbs to carry your story, namely in places where stronger verbs or nouns would do a lot more heavy lifting.

For instance, you can write "she spoke quietly", but generally speaking, that "quietly" there is a lot weaker than just subbing out this clause for "she whispered". You probably have the word "spoke" all over your draft, so subbing out one instance of it here for a stronger verb in place of the same verb + an adverb makes for stronger prose. This doesn't mean that you'll never want to use the phrase "spoke quietly" over the word "whispered". For instance, if I write, "When she finally spoke, she spoke quietly, like that was all the volume her weakened lungs could muster." In this case, I'm using "spoke quietly" specifically *because* it echoes the previous spoke earlier in the sentence, and it evokes a certain level of emotion to have that repetition there. I also used it because she's not actually "whispering", but trying to speak at full volume only to come off sounding quiet.

So when people tell you to cut adverbs, they're saying this because people often use adverbs as a crutch to avoid having to seek out stronger verbs. If you're using your adverbs intentionally, having considered stronger verbs but ultimately deciding that this adverb is what does the job properly, then there's nothing wrong with using them. This is just a trick to help you spot one common weakness in prose that a lot of authors don't even realize they have.

6. Write What You Know

This is potentially the single worst-underestood piece of writing advice. "Write what you know" DOES NOT MEAN to write only what you know or that you have to put all of your life's knowledge on the page. It just means that drawing from your own experiences and already there knowledge will help you craft a better story.

So, for instance, being an eye doctor doesn't mean you have to write a story about an eye doctor. It doesn't even mean you need to write a story that directly deals with any eye knowledge. It just means that there are likely things you've experience as an eye doctor that can help inspire or inform your story. Maybe you remember a patient who always wore the same yellow shoes, and so you include a character who does exactly that. Maybe you spent a lot of hours dealing with insurance so you decide to write about insurance agents. Maybe your practice was located next to a grocery store so you decide to write a zombie apocalypse story that takes place in a location inspired by that shopping center.

The point is that, as people, our lived experiences allow us to relate to other people and craft more believable worlds. So don't limit yourself to your lived or experience or feel obligated to only write the things you've done, but when you find yourself wondering what to write about next or how to give a character more depth or how to describe this random location, pull things from your life and let what you already know bring a certain level of unique you-ness to your writing.

And the MOST important advice I can give you is to stop looking at writing advice as some holy, unbreakable rules passed down by the gods that you cannot ever deviate from. And if a piece of advice sounds totally bonkers, do some research on it. There's a good chance that whoever's passing it to you has no idea what they're talking about. But even if every other writer swears by a certain piece of advice, you absolutely do not need to take it. Try it on if you want, and throw it away if you don't, but stop making yourselves miserable by letting random internet people dictate your life. Most people giving advice on the internet aren't where you want to be anyway, so don't expect them to be able to guide you somewhere they've never been.

Everything's made up, and nothing matters. Write what you want.

[fllagellant]

Sometimes I cannot tell if you guys want villains who do not want to be redeemed or not bc we get gortash and everyone trips over themselves to make this version of him that is absolved from his actions and he’ s changed … Anyways another day another time Wyll gets put to the back burner with crumbs of content yet everyone huddles around like “ OMG THANK YOU LARIAN … oh yeah sorry about Wyll : ((( “

You guys get you are a part of the problem right . You are letting Larian know they can get away with being racist as long as they feed fandom and whatever . Instead of actual quality of life updates and patching in content that would Actually help the game run better and feel finished , they just bloat the game and let companions go untouched with minimal content while playing into whatever the loudest voices in fandom demand the most .

The studio account should not be interacting with fandom so often . This blur between creators and fans is bad ! This leads to fans blindly defending and protecting a Game Studio that they have no connection to because haha larian mad a funny reply . And this also causes a feeling of ownership that should not be there ! You do not own a piece of bg3 and you should not be dictating it ! This is different from criticism btw . Just so we are Clear . Larian deserves and needs criticism .

It is super telling that they voices they are choosing to listen to are not voices that actually care about the game at its story . If they were , we would not have Zero Story for the Son of the Duke of Baldur’ s Gate and yet we have so much for a character that isn’ t actually tied into any major story beat ! We have no more for the character directly tied to Gortash with a prototype of the Steel Watch in her chest , but we can take a side character a few people wanted to bang and speed to have him included ad a full companion ! Instead of Dark Urge getting more content with Orin , Savrok and anyone else that had a tie to Bhaal , they get their relationship with a guy unrelated to all that be made to be read more and more explicitly romantic when that is just ruining the character !

Wyll should have a proper sex scene . He should have a romanced greeting that changes after the proposal . He should have more personal story content . He should have scenes of him in Baldur’ s Gate . The Emperor reveal as Balduran should not have been the main focus of HIS FINAL STORY QUEST . He should have hug and kiss options in the epilogue . People should comment on the engagement ! He should have all of this !! AND MORE FRANKLY .

But because everyone is so quick to forgive Larian , they’ ll never feel pressured to add any of this . They’ ll never feel like they’ ll loose players if they don’ t . Because you guys don’ t actually care . No , I am not saying thank you to larian for not giving me anything I have been asking for and sending feedback on for months . I am not thanking larian for choosing to bend over backwards to random big name fandom people who are racist and just want to fuck the pale guys again and again .

Larian Studio is not your fucking friend, stop acting like they are .

[penaltyboxboxbox]

sorry for a long negative post but like idk man discussing more about why a lot of my art is deleted and not coming back

ive like held off on saying anything because i really dont want to focus on it and im grateful people like my work dont get me wrong but like? i probably receive an ask a day if not more asking when/where im going to reupload my removed work, asking for specific pieces to be sent to them, finding my friends and trying to ask them for pieces, its like?

part of why i deleted everything is just this increasing entitlement to my work. i have all comments moderated so i'd see all of them and of course i see my asks and it felt like more and more every comments and every ask i'd get would just be telling me to draw/asking when i will draw their ship or driver and telling me i need to/should draw whatever situation or current event or whatever and it just. it wasnt fun. it didnt feel like anyone cared what i was making just were sitting around waiting for me to crank out their weekly content or when it would be their turn for me to draw for them.

and in line with that- reuploads. i have always explicitly asked for my art never to be reuploaded, and with the proliferation of f1fandom into twitter and tiktok and people who just have zero fucking concept of boundaries, and honestly, team accounts and big f1 accounts being completely irresponsible with how they interact with shipping terms, and the kind of content posted, i in no way felt comfortable having the work up anymore. ive seen it reuploaded to places like twitter with tens of thousands of views and comments and quotes calling it disgusting and linking right to this fucking blog man. like. what.

so that sort of behavior, paired with this continued like? entitlement? need to possess to look at to have access to my drawings that i just made for fun and share with some people who liked them? is really weird and uncomfortable to me. i made these things because they were fun for me and i liked sharing them with my friends and thought others might enjoy but people in the last few months just really started treating them like commodities and content in a way i really just hated and made it not fun at all anymore. please stop asking for the files please stop asking me when im reposting them theyre not coming back 🤷‍♂️

[statisticalcats2]

Anyone else think it's really fuckin weird how the left would never attack a church, even though there's churches out there explicitly preaching terrorism? But we can attack a synagogue for. *Checks notes* a perfectly legal real estate event?

It's absolutely wild. Our country is literally steadily being taken over by Christofascists but all their churches are somehow safe from angry mobs. And even if they (the anti-Zionist activists) completely ignore their own country (it's not like they live here or anything!) and focus entirely on America's support of Israel, the Christofascists are still the big group supporting the worst aspects of Israel and Zionism. They'll sometimes acknowledge this when they fight against the idea that anti-Zionism can very easily bleed over into antisemitism and they need to watch themselves and listen, they'll throw out that little piece of trivia that there are more Christian Zionists in America than there are Jewish Zionists (hell, the number of Christian Zionists in America is at least in the range of, and possibly even higher than the number of Jews alive in the whole world) but it means nothing because they don't go after the Christian Zionists the way they do Jewish Zionists. They never threaten or attack their places of worship. They never pore over Christian publications or groups looking for events to call each other to action over. No, they always focus on everything Jewish, despite their acknowledgement of Christian Zionists. Those acknowledgements definitely seem to be a cop-out, a smokescreen to try and pretend they're genuine in only being anti-Zionist (for a given definition of Zionism).

There's a lot of talk over those types of Leftists who are obsessed with "punching up" but at least 95% of the time in practice are actually punching sideways or even down. And I think this is another example of that. Some probably actually believe that Jews are a super powerful, privileged group institution in America, on par with WASPs, but I'm sure some of them also realize they're not. And that's why they protest and threaten synagogues and not churches. That's why they march into Jewish neighborhoods and intimidate the inhabitants. It's low-hanging fruit. They want someone to attack and their list of targets very conveniently is almost identical to the list of targets of the supremacist culture they grew up in.

[level2janitor]

tactiquest structure

Edit: Play tactiquest here!

so i've posted a lot about tactiquest's classes and monsters and everything on here but i haven't really talked about the non-combat subsystems much yet and i wanted to go into detail about them, bc tactiquest has very different goals from most heroic fantasy systems.

tracking inventory, travel time, worrying about actually running out of your adventuring budget, are things a lot of big-damn-heroes fantasy systems throw out because they're just paperwork that gets in the way of your cool fights. that's not the case in Tactiquest! these systems are so core to the experience that removing them will make a lot of classes unusable. the game is built around them.

travel & exploration

tactiquest explicitly assumes you're running an open-sandbox hexcrawl and is designed to support that, including the fact the game is designed around random encounters. this is the sort of thing D&D 3e expected you to do, but people ditched random encounters because they thought they were boring and tedious. so classes balanced around that attrition of resources ended up with a huge spike in power other classes couldn't match.

the boring-and-tedious problem is mostly addressed by trying to make combat really good and resolve really fast. if i fucked that up the whole thing falls apart, but so far people are liking it

the second thing that helps with random encounters is your resources don't fully restore immediately at the end of each day like they do in 3e. resting is less effective in the wilderness and resources expended are a tomorrow problem, not just a today problem. so you don't have to have 3+ fights every single day just to maintain parity - 0-2 fights per day still adds up to difficult resource management.

because the game has such a focus on it, you can have classes like the ranger actually be good at travel and exploration instead of just giving them vaguely-naturey combat abilities.

economy

in most D&D-likes, even usually OSR ones, you accrue so much gold. just as a side effect of adventuring. to the point money no longer actually matters because you can throw piles of it at any problem. this is bad. it's a system that defeats its own purpose; there are no interesting choices involving money when you have so much the only real expense is like, 50,000-gold-piece magic items.

i don't just want players to care about money, i want them to worry about money, like a normal person. you're not batman who's a billionaire as a side hobby, you're spiderman who has to deliver pizzas in between superhero work because he's got bills to pay like everyone else. so a whole lot of effort has been put into actually designing prices and treasure amounts around this dynamic.

i also hate how games will usually go "oh adventuring gives you 900,000 gold for existing but a normal person's living wage is 2 gold a month". i don't want to be fantasy jeff bezos, thanks

inventory

this is something i just lifted from OSR games outright. you can carry ten things (and tiny things don't take up an item slot). that's the whole rule.

tracking inventory can add a lot of interesting decisions to a game and adds a new lever for abilities from classes and magic items. having a character play the merchant class which gets a bunch of extra inventory slots feels really impactful. finding a bag of holding that doubles your carry capacity feels so good when you actually have to watch your inventory.

supply

the only thing i felt was really unenjoyable when running games with strict inventory limits was tracking rations for each character that you eat every night; it felt too much like busywork with not enough payoff. so in Tactiquest rations are abstracted into a single Supply stat that's tied to the party rather than any individual character.

you can only restock Supply in towns, and it drops by 1 each time you rest. you can sleep without resting and this won't cost supply, but you won't regain any HP or other resources. this gives you the impactful decision-making of tracking rations without the annoyance of "okay it's been a day of travel, everyone make sure you dock a ration from your sheet" like twice per session

Supply is one of the things that slowly drains your funds and gives you a reason to keep seeking out treasure, tying back into the economy. it also gives merchants and rangers some extra mechanical levers for their class abilities to pull on.

[cosmicatta]

One Piece Novel: Law — a short analysis

So, after a long time trying to get my hands on the Law light novel, I was finally able to read it recently! And, because I'm an obnoxiously intense person who can't just be normal about things, I found myself taking notes about everything I judged interesting.

And I thought I could share! So here's a mostly improvised essay about the Law novel, how it portrays Law and what it reveals about him as a character.

Some notes before I start:

The edition I've read of this novel is the official Spanish translation by Planeta. When quoting and mentioning numbered pages, I'm referencing that edition.

I originally posted this on Twitter as a thread! If it sounds familiar, that might be why.

For those who haven't read the novel and might want to: be mindful of some trigger warnings, including gruesome medical descriptions, suicidal thoughts, mentions of abuse, and violence in general (I won't be touching on these subjects here though).

These are just my personal impressions, I'm not trying to tell anyone how they should interpret the novel or Law's character. I'm just doing this for fun!

The story takes place right after Cora dies, following young Law's journey as he makes it to Swallow Island and desperately tries to survive. There, he will meet Bepo, Penguin and Shachi, as well as Wolf, a novel-exclusive character that welcomes Law and the boys into his home as a family.

Overall, it's a very short read, agile and straightforward. The style is very juvenile, but that was to be expected, and I'd say it does a pretty good job at capturing the feeling of watching a One Piece episode. The novel does kinda feel like a mini arc.

I'm unsure if light novels can be considered 100% canon in general, but since the contents don't contradict anything from what we've already seen in the manga/anime, I'm going to assume we can at least take the events described in this one as canon.

But I'll leave the plot aside a little bit to focus more on Law's psyche, analyzing everything in the novel as material that helps us further understand him.

The entire book (save from a few specific passages) is written from Law's point of view and in first person, so it offers a more in-depth look at his way of thinking, motivations and ideals.

What I find most interesting in this sense is that the whole story is very centered around Law's kindness. Though he does admit several times that he had wanted to see the world burn when he was under Doflamingo's care (as we already know from the source material), the novel makes it very obvious that Law's true nature is compassionate. His inner voice even explicitly states that he enjoys helping and making others happy. (Quotes roughly translated from Spanish):

P. 27: "And I felt very comfortable collaborating with the task of helping others."

P. 92: "Knowing that I was going to free a person from their pain [...] gave me a joy I had never experienced before."

P. 136: "Just imagining the surprised faces of the Old Man, Bepo and the others brought a smile to my face" [when planning on getting fresh fish for dinner as a surprise].

And, despite living under Wolf's motto of "give to take," Law never expects anything in return for any of his good actions. In fact, he gets furious at Wolf himself when, after saving his life, the old man insists on giving Law anything he demands as compensation.

P. 120: "I didn't save you because I wanted a reward!" [...] They [Bepo, Shachi and Penguin] burst into tears of happiness when they realized that you had survived. That's more than enough for me! [...]" I won't let you belittle their tears!"

But even then, Law keeps arguing that he only saved Wolf "on a whim," much like he would say years later when asked why he chose to save Luffy's life. This is a common theme throughout the whole book (which is also pretty obvious in the manga)—Law doesn't recognize his own kindness.

It's not modesty or shyness, his inner monologue makes it very clear that he doesn't see himself as good-natured, and is often confused at his own motivations.

In their first meeting, when Bepo asks him why he is so nice to him, Law doesn't know what to answer; and after that, when Law finds himself wondering why he's trying so hard to save Shachi and Penguin despite their past history, he blames it all on "doctor's pride."

P. 48: "I wasn't even a good person."

Still, regardless of what Law might think of himself, living in Swallow Island seems to be making him progressively gentler. He was wary and hostile towards Wolf at first, but eventually lets himself trust people again, trying to honor Cora's memory and what he taught Law.

In Swallow Island he builds his new found family little by little, though never letting go of Cora and what he meant to Law.

P. 39: "Cora and I were family, that's what I felt at heart, I had no doubts. We had loved each other without saying it out loud [...] Would I feel the same for the Old Man and Bepo eventually?"

Slowly, he starts finding comfort and joy in community. He lets himself be carefree around his new friends, treating them with open affection, laughing and being surprisingly enthusiastic (although he quickly starts taking his role as a leader very seriously, and sometimes avoids showing weakness around them so as not to worry them.)

Law even gets to become an active part of life in Pleasure Town, where he and the other boys are cherished after 3 years living and working there. He's comfortable with his role in the community and appreciates the people in town. His sense of duty towards them shines especially when the pirates arrive to attack the town.

Again, this contrasts with how Law sees himself even in the manga/anime, where he insists that he acts mostly out of selfishness and only seeking his own benefit (or, in the best of cases "on a whim.")

But the truth is that Law's decisions are almost always related to other people's desires.

In this sense, the concept of guilt is also key to understand Law's motivations and his relationship with the world as a whole. This is especially obvious when it comes to Cora—Law even briefly wishes that they had never met, so that Cora would still be alive (p. 128-129.)

In a way, guilt is what moves Law forward, and what slowly starts transforming into a thirst for revenge, into rage and hatred towards Doflamingo and possibly towards himself too. It's a kind of tragic guilt born out of love.

His love for Cora still haunts him, his last wish for Law is the big enigma that he tries to solve during his 3 years in Swallow Island: be free. What is freedom to Law? How can he fulfill Cora's request? This is the question that gives meaning to the novel.

We know that Law wouldn't feel free until finally taking down Doflamingo and avenging Cora's death many years later, but he hasn't reached that point of determination in the novel yet. Maybe that's what gives the narration that hopeful and optimistic tone, with a young Law that's still finding himself, experiencing wonder in loving again, and learning what it means for him to be true to his values. It's the start of an adventure, and its core theme is love.

The ending illustrates this very well; I especially like the moment where Law names the crew as they're setting sail:

P. 243: "Cora's love that he showed me, Wolf's affection, the trust I had in my companions. One word embodied it all: Heart."

It is love that gives Law a reason to keep going. And I'm so glad that the novel doesn't shy away from this fact and isn't afraid of sounding "sappy" or "corny," because I do believe emotion is a very important part of Law's character.

The epilogue closes with a very interesting quote in the last page:

"You hear that, Cora? This is my... This is our pirate crew."

It is unclear if by "our" he is referring to himself and Cora, as if dedicating this new beginning to him, or if he means him and his crew. I'd personally like to think he means it both ways. But in any case, it's interesting that he openly shares the honor of "owning" his crew with someone else. He is the captain, but not the owner. It's another little way in which his generosity is evidenced.

Overall, it was a very enjoyable read, and it left me wanting more. Obviously, it's not a literature masterpiece, but it gives a lot of interesting material for character analysis, which is super fun.

Finally, here’s a few fun facts for those who can’t/don’t want to read the novel but enjoy the little trivia:

The Polar Tang was built and designed by Wolf.

Law’s first tattoo was "DEATH," and he got it at a local tattoo shop in Pleasure Town at around 15 years old.

Shachi and Penguin are childhood friends and likely met through their parents.

Shachi had always wanted to be a hair stylist.

Law is bad at cooking.

Both Shachi and Penguin are good at cooking, especially Penguin, who worked as a waiter in Pleasure Town.

The Hearts’ jolly roger was collectively designed by Law, Bepo, Shachi and Penguin days before leaving Swallow Island.

Law decided the name of their crew upon setting sail for the first time.

And I think that's all! ♥ I hope my rambling was enjoyable at least!

Edit: I've now posted an analysis of the Ace novels too!

[lilislegacy]

I'm not a big fan of Percabeth. But, I'm still open to see different sides of a thing. So, I would like to ask what do you see in the couple? What made you like Percabeth? Was the ship important to you when you were a child/teenager? Can you list the positive things that you may remember about Percabeth, please? If you can't, it's okay too. For the last one: What is the thing you love the most about them?

Oh my god I could go on and on about this question. I will try to keep it as short as possible. Basically, I just love how deep their relationship goes. There are so many things about them that makes them such an incredible pairing to me

1. There is so much mutual respect and support between them. They are battle partners. They respect each other's strengths and capabilities to the highest degree. Annabeth deeply values Percy's bravery and loyalty, while Percy deeply values and admires Annabeth's intelligence and strategic thinking. They support each other no matter what. No one respects Annabeth more than Percy, and no one respects Percy more than Annabeth. They trust one another explicitly. And that deep-rooted trust and respect is what separates them from so many other pairings.

2. They perfectly complement each other. Their contrasting personalities balance each other out so beautifully. Percy is impulsive and unpredictable, and Annabeth is thoughtful and strategic, which makes them an incredibly strong team. In any situation, whatever one of them lacks, the other has in abundance. Percy gets angry and worked up easily, but Annabeth can calm him down. Annabeth overthinks things and stresses herself out, but Percy can simplify things and bring her back down to earth. They keep each other level on a deep mental/emotional level. And the biggest one, in my opinion: Annabeth’s biggest fear is being betrayed and abandoned, and Percy’s defining trait is unwavering loyalty. They are like two different puzzle pieces that fit perfectly together.

3. They’ve been through so much togeher. The two of them share a history that no one else could possibly understand. They have learned and grown so much together. They started going on dangerous quests together when they were little baby 12 year olds, and have been fighting by each other’s side ever since. From going on quests, to being part of a prophecy, to dealing with the complexities of their identities as demigods, the challenges they’ve faced have impacted them both tremendously. And no one else would understand exactly why they’re the way they are. And you know, there’s the fact that they literally walked through hell together. Their experiences deepen their connection and understanding of each other more than words can describe. No one else could possibly understand them like they understand each other.

4. The chemistry is off the charts. The heat and attraction between them is abundantly clear, which adds a layer of realism and excitement to their relationship. In PJO it’s mainly tension - that’s clear in their banter and arguments and angsty thoughts - but when they’re older and together, it’s shown more through attraction and physical affection. Let me give some examples. When Annabeth touched his back in TLO, Percy says he feels as if jolts of electrify course through his body. In the demigod diaries, Percy mentions how beautiful she looks while in combat. There’s also a scene where he can’t focus because he’s literally staring at how her camp beads lay against her throat. Annabeth is constantly wanting to hug him and be in his arms. When she sees him in MoA, she literally has to restrain herself from continuously kissing him. And when they are about to fall into tartarus, to either death or torture, her dominating thought is how handsome he looks. Throughout all of HoO, they are super touchy and affectionate with each other, always touching and cuddling and kissing one another whenever they can. And of course, I have to mention the time that they literally made out in front of Piper in BoO, and Annabeth makes “grunt-whimper” sounds. I just love how down bad for each other they are. No one who can read can deny it. There is so much heat and attraction and affection between them.

5. Their loyalty to each other is unwavering. They consistently prioritize each other's well-being over anything and anyone else. They always have each other’s backs, both in battle and verbal interactions. They quite literally go across the country/world to find each other when they each get kidnapped. No distance, no person, nothing will stop them from finding each other and protecting each other.

6. They are equals. Given they are both legendary greek heroes who will go down in olympian history, it’s hard to find someone who compares. But they are both so equally extraordinary. Sure, they have different strengths, but neither is better than the other. They are both incredibly brave. They are both super witty. They both would do anything for their friends. They are both leaders. They just GET each other. They are on another level - and it’s the exact same level.

There’s more too. I could go on and on and on. (And on.) There is so much I didn’t say. But all of those elements combined is why I love them. They were made to love one another. They choose to love each other, every single moment of every day.

And my favorite thing? Probably that above all, they are best friends. There are all the things I mentioned above, but at the foundation of their relationship is an unwavering friendship. They just love being together. They love joking around together and hanging out, but also holding each other when times are rough. They take care of each other. I love that they are BFFs. Two besties who also happen to be soulmates, together against the world.

Ugh I just love them. I need to stop talking

[yujinslovr]

DAY 8 : gp!sakura x fem!reader

(kkuras a virgin but its not explicitly said)

KINKTOBER MASTERLIST

CW: voyeurism, creampie, degrading, aphrosidiac usage, kkuras highkey a stalker

word count: 1,296

a/n: this is ass

you and sakura had been roommates ever since you two started college, yet despite this you two barely ever spoke beyond the daily hi’s and hello’s. she was usually always locked in her room doing whatever it was she did (you assumed it was gaming) while you also kept to yourself. you would admit you were a bit promiscuous, but you had never heard any complaints from your roommate so you could only assume that you had done a good job at keeping quiet. 

sakura knew what you did, she wasn't deaf, your loud screams being heard even through her headphones. what you didn't know was that sakura enjoyed it whenever you brought people over. it started off as pure fascination, she could only wonder what exactly the guy you had brought over was doing so good to evoke such noises. she slightly pushed your room door open and watched through the small crack of where your door was open. seeing what was happening she couldn't help her erection, her body responding before her. she coulda sworn she had seen this same exact scene in one of the filthy hentais she had watched. following what she had watched she unzipped her jeans and fished her cock out through the hole in it. she spat on her hand and started off with a fast pace, beating one out to the sight of you getting fucked. it was like real life porn in sakura’s eyes, she didn't see anything wrong with what she was doing. 

and that was how it started. everytime you’d bring someone over sakura would unbeknownst to you be watching and jerk off to the sight of you, wishing that she was the one fucking you. 

soon enough, her actions escalated, even going as far as installing spy cameras all around your room so that she’d have a better view while watching you. all the while you stayed none the wiser. 

today was one of the unfortunate days in which you didn't bring anyone home, you had too much homework and couldn't afford to go out, seduce someone, and then bring them back to your room. you had spent this whole day buried in assignments, and surprisingly your sweet roommate sakura even made you food! you guessed it was because you hadn't left your room this whole day, and very obviously hadn't eaten. you were surprised when she entered your room, a plate of food in hand as she said she had cooked and asked if you wanted some. 

you barely talked to sakura and for her to be offering you food was something way out of the ordinary. despite this being out of the ordinary, you happily accepted the food with a smile and a bit excitedly. maybe you two could finally get closer! 

while you were copying down notes onto a piece of paper you suddenly felt heat spreading throughout your body but mainly downwards. your eyebrows furrowed at the unexpected and sudden horniess you were feeling. you tried to ignore the growing stickiness between your thighs but it proved almost impossible. today was supposed to be a study day but now you couldn't get your mind off of sex. you decided to take a quick break and calm yourself down so that you could focus better on your homework. deciding to close your laptop and go to lay down on your bed, slowly lowering your sweatpants and underwear.  

sakura was sat in her room, her attention focused on the live footage of you playing on her monitor screen. she had been watching you for a while now, just observing your actions and wondering when the aphrodisiac she had soaked your food in would kick in. as was seen now in the footage, she figured it had finally kicked in. sakura had this whole thing planned out for so long, not finding the courage nor a chance to do this before. but today when she checked her cameras and saw that you had your hair up in a messy bun and had your cute reading glasses rested on your nose she knew that today would be her only chance. you rarely had these ‘study days’ and she was for sure not gonna chicken out this time. she had made up her mind. 

her plan was that she was going to ���accidently’ walk in on you masturbating and then boom you two would have sex. if it was anyone else she knew she wouldn't have a chance but you let practically anyone in you so she knew this wouldn't be hard. 

when your moans got loud enough for sakura to hear them over her headphones she decided it was either now or never. she turned off her pc and walked over to your room, gently knocking on the door and cracking it open and sticking her head through. “hey y/n, i heard a lot of noises and i was just wondering if you were-” sakura cut herself off as she feigned shock. 

the sight of you being naked with three fingers shoved into your dripping cunt was what sakura had ‘surprisingly’ walked into. her mouth gaped open as she trailed her eyes along your sweaty figure, you on the other hand were too lost in your pleasure, you couldn't stop. you made eye contact with her as you fucked yourself, the embarassment of this situation not dawning on your horny brain. sakura could feel the throbbing erection that was now growing in her pants. the way you moaned while staring her dead in the eyes was doing nothing but turning her on. she lowered her pants to her ankles and took the silent invitation your eyes held. she gave her cock a few messy strokes before positioning herself at your entrance, she reached down and picked up your hand that was previously inside of you and brought it up to her mouth to taste you. as soon as she wrapped her mouth around your fingers she quickly bottomed out into you. 

your loud scream of her name did nothing but encourage her to go faster and rougher. she dropped your hand and put both of her hands next to your head as she started her impossibly fast pace. you were extremely wet and for some reason so horny to the point where her massive cock stretching your insides caused nothing but pleasure. 

“fuckin’ whore, how many cocks have you even taken in this slutty pussy of yours?” 

her raspy voice in your ear caused more moans to leave your throat, the degradation turning you on more.

“‘m surprised you're not gaping with how many people you’ve let into your used fuckin’ pussy.” 

sakura had her head leaned on the bed next to yours as she panted out the words directly into your ear. 

“‘m gna fuck you so good you wont want anyone in this whore pussy ‘sept me” 

you couldn’t even respond to her, the only thing coming out of your mouth being chants of her name. “can't wait to fill you up ‘n see my cum leakin’ out of you.” her filthy words being the last push you needed to fall over the edge, a high pitch scream of her name leaving your throat. she kept up the same pace all throughout your orgasm and only when the last bits of your orgasm faded was when she finally came, the tip of her cock touching the deepest parts of you as she released her hot sticky semen into you. sakura pulled out and collapsed next to you, you could feel her cum dripping down and out of you. you looked beside you to see sakura passed out and let out a small chuckle. 

that's one way of getting closer to her.

[koimethehorizon]

Fionna and Cake theory: Simon the Artist

Nothing like a good old creative panic attack.

Fionna and Cake good. Haven’t been excited about a show like this in a long time, though it being a part of Adventure Time does help quite a bit. I was holding on to some cautious optimism for the show when it was announced as yet another big IP series covering the multiverse (still waiting to groan at THAT scene where Prismo has to explain to us about there being infinite universes), but as usual, Adventure Time’s crew continues to surprise me with its creativity, humor, and thematic resonance.

The most striking part about Fionna and Cake so far is just how deliberately the show wants us to differentiate it from the original Adventure Time.

We’re getting shots where Simon pops an artery from his arm, a theme song that explicitly talks about suicidal ideation, discussions of rent and financial problems, and curses no longer disguised with AT’s usual dialogue. Adventure Time has always had violence, thematic density, and juvenile rating pushers, but they were always reserved at small points. Meanwhile, these are factors that are just casually shown and discussed in Fionna and Cake every 3 minutes or so. This is not an all-ages miniseries, it’s for young adults. (hint: this will be relevant later)

Let’s get right into it. This is much less a speculative lore theory and more on what thematic direction the story may be going.

Before we do, let’s get this out of the way first. This theory assumes that the current Fionna and Cake world is all a part of Simon’s head and not merely a separate multiverse, which… I’m certain is fact for the following reasons.

The immediately obvious piece is that Fionna and Cake was always the Ice King’s fanfiction. Now if you’re versed in AT’s continuity you’re probably going to be asking about the red light in Fionna and Cake + Fionna and… I’ve no answer for it unfortunately. It’ll probably be relevant later in the series and possibly age this post like milk but for now, we’re not here to focus on the how, but the why.

Second is that the intro and the ending of Ep 2 literally show Fionna’s world spilling right out of Simon’s head like an animated world out of a frozen brain. If that isn’t clear enough-

Didn't realize this until writing, but these glasses are just plastic made to look like Betty's

There’s no other explanation for this other than that this world is artificial or influenced by Simon in some sense. Fionna even specifies that the statue went under renovation 12 years ago, but nobody seems to know who it is. Considering how Finn looks in the episode, it’s likely that it’s been that long since Betty’s sacrifice in the finale.

With that out of the way, here it goes.

The reason Fionna and Cake exist in the first place is because the creators found Natasha Allegri’s genderswap designs charming and wanted an in-universe reason to use them the Ice King wanted to create trashy, wish fulfillment through art. It was a phase.

Definitely changed that image for publishing.

Simon can argue if they’re good or bad but it’s undeniably his art. It’s not just a portfolio he left behind in a closet, it’s an experience that was shared with a larger audience.

And even if wasn’t liked at first, the citizens of Ooo seemed to have come around to it. And some of them love it!

Whether Simon likes it or not, he has a fan base that is so endeared to the story he made all those years ago that they demand he makes more. Why let a good story, loved by many, go to rest when you still have some life and creativity left in you?

Can't move on in more ways than one.

Except, the problem is that Simon isn’t Ice King anymore. He’s aged out of it.

His real passion is history, he's an adult who who finds passion in the mundane and antiques from the past. And frankly, there isn’t much room for wish-fulfillment and fantasy anymore. Simon has responsibilities. He has a job and a daughter in a world that is moving faster than he can process.

And where Ice King wrote about looking for love, Simon has already had it.

And lost it. His mind isn’t focused on the rosiness of finding new love, it’s grieving the one he already thought was the one.

Wasn't he supposed to be good with kids?

Despite his new life experiences, all his peers seem to want from him is to make more of what they’re familiar with.

A story made from wants and wishes that he doesn’t even have anymore.

A story that was literally made by someone else at a different time. It’s a fiction he cannot connect to anymore, art that he’s embarrassed by. Yet also jealous of. Because at one point, the body Simon used to be in understood what exactly was missing from his life and could express that easily.

Seeing it again is like experiencing a retrospection of a cringey loser you don’t want to imagine having ever been. It’s not you anymore, and you don’t want to be reminded of that.

Because despite him having a new creative passion, no one seems to care about that. All they want is Fionna and Cake. And what is more lonely than other people misunderstanding what you’re trying to express?

If I failed to make it clear somehow, my theory is that: Simon’s relationship with Fionna and Cake is a metaphor for creators growing out of their art. And this new Fionna and Cake world is still comfort art born out of Simon’s current desires and perceptions.

The snippet subtitles this “child holding a phone”. I guess I’m wrong. Essay over.

Episode 1 and 2 both have direct parallels with each other. They’re both about a protagonist who are feeling displaced from their world, living a phase of losing a significant other, leaving a thankless job, wearing a mask of stability in front of the people they care for, seeking a guru at the heart of the forest, and concluding that they no longer belong in their current world.

But more importantly, Fionna and Cake (the characters, the world, and the show) are no longer for an all-ages crowd. Fionna and Cake now feature young adults, curses, gore, alcohol, partial nudity, financial issues, morning routines, mid-life crisis, and overt suicidal ideation. These are the feelings that Simon relates to and possibly desires to express through art. Thus, his story and our new miniseries have warped that way.

Am I overthinking this? No. How dare you assume that.

Is equating the unconscious writings of his dementia-ridden self to Simon as his younger self seem a bit odd? ….Kinda. Again, it’s not the how but the why that matters in this case. I'm NOT crazy, I have proof that there is some acknowledgment of this directly in the show.

Rewatch the bar scene and apply this reading of the episode to what Simon says there:

“Your old stuff, Fionna and Cake, honest to glob my man, is an inspiration to me.”

“My old stuff, I don’t really want to talk about my old stuff…”

“Why not? You should be proud! You wrote an entire extended universe in a fugue state if you think about it.”

"Simon cringes"

If you have ever shared art with a group of people in the past, you’ve had this conversation.

Not likely, not possibly, no perhapses. You HAVE.

And Fionna and Cake being an epilogue to a massive award-winning, near-decade-spanning, cultural sensation 5 years after it ended, might result in its creators feeling very retrospective about what audiences want from them now.

And how difficult it’s going to be to tell new experiences and tones from what’s come before. Also, come on. “Extended Universe?” That doesn’t sound like Fionna and Cake. That sounds a lot like something else.

Again, seems bad with this kid.

One of the more profound shots in the main trailer for the show features the inconspicuously Finn-like kid crouching at her Fionna and Cake book in Simon’s trash. I believe this character is going to have a major role in two ways. Convincing Simon to be proud of what he’s accomplished and/or embracing that Simon wants to move away from his original work in order to create something new, or perhaps more likely, reinvent Fionna and Cake into what Simon relates to now.

We’ll just have to see what Simon thinks of his new Fionna next week.

PS. Talking as a fan now, WHAT IS UP WITH THE 1000+ TREEHOUSE IN THE INTRO?!!! ARE WE REVISITING THIS TIMELINE AGAIN?

SOMEONE TELL ME NOW!!!

[fantastic-nonsense]

I wouldn't mind the heavy focus on warrior Amazons so much if they were allowed to be competent instead of just being used as red shirt cannon fodder. But it seems DC only hypes up the Amazons as deadly fighters so other characters can look more impressive when they take them down.

Oh and Happy New Year.

Happy New Year! Forgive me if I use your ask to talk about a piece of the Wonder Woman mythos I've wanted to discuss for some time, because your complaints offered me the perfect segue to write a nice, in-depth meta on it and I couldn't pass up the opportunity.

Honestly, I think a lot of people (both creatives and readers) either don't know, forget, or fundamentally misunderstand the nature of the Amazons' warrior status. So they often get reduced to "deadly warriors who strike first," "supposedly deadly but generally incompetent warriors when outside of their own books," or "militant man-haters" by a lot of people. None of which are true.

The Amazons are incredibly competent warriors and have been since Marston's first portrayal of them in the 1940s, so I don't inherently mind them being shown as such. However, where people get bogged down is insisting that they be shown as deadly and trigger-happy offensive fighters who are happy to strike first and hard, which fundamentally goes against the philosophy and thematic messaging built into Amazonian lore.

DC's Amazonia, lore-wise, is traditionally framed as an Aphrodite vs. Ares "peace and love vs. violence and war" story. In Marston's original rendition of the Amazon's backstory Aphrodite is not only their patron goddess but also their sole creator; it was only after Crisis on Infinite Earths and George Perez's long-overdue lore expansions that the rest of the goddesses became co-creators and co-patrons of the Amazons. Regardless, Ares and his domain are consistently invoked as what the Amazons don't want to be like or engage in. That behavior is the antithesis of what Amazons are supposed to be. This lore informs literally everything about how the Amazons view both their combat abilities and their duty to the goddesses.

The contemporary Amazons are, for the most part, women who died in terrible and traumatic ways at the hands of men (usually through domestic violence, murder, or as conquests of war). When the goddesses created the Amazons by reincarnating these women via the Well of Souls, they specifically charged them to become their champions. And what did these goddesses want? They explicitly wanted justice and protection for women in a violently patriarchial world. The Amazons being warriors is thus specifically tied to an understanding of necessary self-defense and protection (both of themselves and other women), not offense.

Which of course is what lands the Amazons on Themyscira in the first place: invoking the goddesses' ire by not obeying these commands after their rebellion against their enslavement by Heracles and his men crosses the line from the necessary battle to achieve their liberation into wanton violence and revenge:

"The battered Hippolyta prayed to her goddesses and found the courage and inspiration to free herself. Athena had reminded Hippolyta of the Amazons' purpose and mission—but not all of the Amazons remembered. Or cared. They yearned for vengeance. For retribution against those who violated them...and under Antiope, many found it." -Wonder Woman: Our Worlds at War (2001)

And as Hippolyta and Menalippe tell Antiope:

"No, Antiope. Never vengeance; never again!" /// "That is Ares' way, Antiope. We achieve no glory by embracing the Dark God's power!" -Wonder Woman (1987) #1

The Amazon way is promoting a society based on love, equality, truth, and peaceful conflict resolution, not vengeance and violent combat. It's a philosophy that defines Diana's mission in Man's World as an ambassador, teacher, and living example of her peoples' way of life:

Enraptured, they listen to her dissertation on equality between the sexes, tolerance, peaceful coexistence. Social Philosophy 101, Amazon Style. -Wonder Woman (1987) #170

Diana's gods-given mission was to spread the Amazonian ideals of conciliation—to give those living in the World of Man the proper tools to peacefully coexist with each other. It was her life's purpose to teach the possibilities of respect and love by being a living example of an upbringing founded in those ideals.

Truth-seeking, diplomacy, and peace are the Amazonian way of dealing with conflict, not violence. And when you are forced to engage in combat (and you should be prepared for that eventuality because sometimes it will happen), your goal should be self-defense and de-escalation, not offense and prolonging the conflict longer than necessary.

This is also, as an aside, why Diana (and specifically Diana in her capacity as Wonder Woman) does not usually carry offensive weapons like a sword and why her primary "weapons" are the Lasso of Truth and protective bracelets. She's the official representative of her peoples' culture and personally deeply believes in that cultural philosophy. Other Amazons have different views on the matter, including her mother, but Diana grew up completely separated from the World of Man and fully immersed in that belief system, which deeply informs how she views her mission as Wonder Woman.

Personally, I think many (but not all) of the problems re: depicting the Amazons in the modern era come from various writers attempting to solve contradictions that don't exist. They see "kickass trained warriors living peacefully on an island" and see that as a contradiction they have to solve: why do they train if they're pacifists? Why do they fight if they're peaceful? In reality, it's not a contradiction: their status as warriors and champions is specifically tied to self-defense and protection (both of themselves and others), but given the choice they don't want to have to take up arms to protect people because that goes against their fundamental cultural philosophy. Outsiders and meddlesome gods are the ones who force them to do that! What they want is for everyone to be treated with love, respect, and understanding so they don't have to!

And there's a lot of problematic elements built into the concept's execution, but this is the core thesis behind the split between Hippolyta's Themyscirans and Antiope's Bana-Mighdall. The Themysciran Amazons have had their fill of violence and war; they just want to live in peace. But a) they were specifically tasked with guarding Doom's Doorway when they were taken to the island, a duty which necessitates perfect combat readiness, and b) their history is littered with examples of people refusing to leave them alone. So they train, in case someone decides to take shots at them, but otherwise live in peaceful isolation. Meanwhile, the Banas looked at that same shared history and went "we need to take the fight to the outside world. Offense is the best defense, and the only way to protect ourselves and the other women of the world is to actively seek vengeance for the violence women face." So they chose to actively intervene in Man's World, fighting constant battles and exacting revenge for any women mistreated at the hands of men.

...which is also why Artemis was such a necessary and interesting addition to the Wonder Woman mythos (even if she's often handled...poorly), because she and Diana represent two diametrically opposed views of how to protect and represent both their cultures and the women of Man's World, but that's a rant for a different time.

Anyway, the Themysciran Amazons' martial pacifism as a cultural value isn't a contradiction; it's one way of looking at a history filled with violence and victimization and saying "no more." And it's a pretty subversive way of doing so, which (well-written) comics tend to note!

So yes, the "Amazons are warriors" mentality has always been there and has been solidly emphasized at various points throughout Wonder Woman's history, and it should be acknowledged and shown that they're all incredibly competent in battle when they're forced to engage in it. But the way in which it gets emphasized is what defines whether a writer has a solid understanding of the history and baggage that comes with depicting the Amazonian struggle and the socio-political issues embedded in their lore. And unfortunately...many writers just don't seem to get it.

[transmutationisms]

could you talk more on eds and biopolitics?

sure, so this is broad strokes and it's also worth reiterating that the energy deficit characteristic of EDs can have a lot of different causes besides intentional food restriction—food insecurity is a huge and underrecognised factor here but there are many others. so when i talk about intentional restriction and the desire to be thin / lose weight, i'm not suggesting these are universal characteristics or causes of EDs.

anyway though, in the context of discussing these things, and particularly the relationship between 'diet culture' and EDs, a perennial frustration to me is that i often hear people fall back on the idea that the desire to be thin comes about as a result of the beauty standards perpetuated in mass media, fashion adverts, &c, without any subsequent interrogation of why it is that beauty itself is now so heavily dependent on thinness. after all, plenty of people have pointed out this is not a universal; beauty varies in different times and places, what is described or depicted as beautiful in historical records doesn't necessarily have much overlap with today's hegemonic standards, and so forth.

so when historicising this phenomenon it becomes very clear that the euro/anglo standard of thinness as beauty is, one, part of the ideological apparatus justifying colonialism thru the creation of race and white supremacy. sabrina strings and da'shaun harrison have written on this. two, the thin ideal is also inextricably tied up in medical discourses defining the ideal body as one that is economically productive, with the promise being that if the populace can be transformed into 'healthy',*** useful, hardworking citizens, the state benefits. control of bodyweight is therefore certainly a means of demonstrating one's supposed self-control, moral discipline, &c, but it is also a demand expressed in medical terms: these two discourses merge and overlap, and are both part of the capitalist state's transformation of its citizenry into a biological resource that can be controlled, managed, and exploited to bourgeois ends (profit): hence, biopolitics.

(***the story of how 'health' itself comes to be so dependent on thinness is obviously a critical piece of all this but this post is long as shit already so suffice it to say that this conflation is also not obvious, necessary, universal, &c &c)

medico-political discourses in the 19th century tended to talk about the dangers of both over- and under-weight more than what we hear now; similarly, if you think about something like wilbur atwater's calorie-value charts, these were explicitly intended to guide labourers to the most calorie-dense foods, because to atwater the central danger to be avoided was starvation among the workforce. these days in wealthy countries like the us, you are much more likely to hear about weight management in the context of demands to reduce; this is of course following moves like the WHO declaring an 'obesity epidemic' in 1997, and the rise in the usa of more explicitly nationalist, militaristic weight-loss rhetoric in the post-9/11 era.

however, my position is that these demands for thinness, and the beauty standard that follows and justifies them, are not a departure from earlier 19th- and 20th-century scientific nutrition advice, just an evolution that, for a multitude of reasons (politics, medical professional interests, insurance company practices, &c) has simply come to focus more on the ostensible economic and national threat posed by fatness. the underlying logic bears the biopolitical throughline: the state has, or ought to have, an interest in enforcing the health of its population, and as part of this demands that you the individual surveil and alter your weight according to the scientific guidelines du jour.

this is fertile ground for the development of what, in extreme form, we regard as ED pathology. first, because even the most purely 'health'-motivated individual engaging in the required degree of bodily monitoring and caloric restriction is liable to respond to energy deficit in ways that can become diagnosably distressing. second, because the morals of 'health' are never far from standards of beauty; thinness is sold in overtly profitable ways (the diet and weight-loss industries) and furthermore, our idea of beauty is often a kind of post hoc justification for the thinness already being demanded by state and medical authorities. which is really just to say, beauty is part of the ideological superstructure both resulting from and invoked as a justification for the material conditions of capitalist biopolitics. again this is very broad strokes, but imo it is a much more useful framework to understand EDs than simply presenting them as a result of desiring thinness because it is glorified in The Media, because... reasons (essentially the rené girard model, lol).

[project-sonadow]

hello—i have a question to ask, and i figured it’d be better to do it here than to bother an individual artist about this. (sorry in advance for bringing the mood down w/ a serious question, btw.)

so, i’ve seen posts going around lately where people are like “hey, stop being explicit about sonadow, it’s weird”. and i agree that making explicit comments on sfw work is not cool. forcing the creator to see stuff that might make them uncomfortable is rude. /gen

however, if the characters are explicitly stated to be aged up (like, have lived several years beyond the games) or are in an au where they’re older, is that still bad? /genq because i always thought that the authors/artists were specifically going out of their way to say “we’re actively not wanting to make these pieces about children, we just want to see these two personalities and how they would behave in nsfw situations”.

sorry again. i’m just very confused (and a bit scared by the hostility /nm) and was hoping that i could maybe get some clarification.

(btw, thanks to all the artists on this blog for making such cute art. it’s all really nice stuff.)

Hi there. This isn't the type of thing we would typically address here, but your approach tells me that you're looking to learn and understand, so I'll give you my thoughts.

First of all, to address hostility - it's intimidating and intense, because this is the kind of thing that fires people up. We're not exempt from this, because we do not want to see explicit content about minors, and we will be direct about this fact. And for some reason, some people get very offended when you tell them this.

I'm going to respond to you in good faith, and I don't assume any bad intentions on your part.

On aging characters up. I will be specifically talking about the sonic franchise as my example here, but this applies to any series where the focus characters are children.

Sonic and Shadow are kids. They are teenagers. Age discourse is NOT relevant. They are depicted as teenagers, they act like teenagers, and they are meant to be viewed as teenagers. And so this begs the question: why is there a need to see them in adult situations? Why is there a drive to depict minors in explicit situations?

Even if a creator is theoretically not making a piece about minors, when they choose to age up minor characters, that tells me that they thought about those minors in explicit situations, or that they wanted to see those minors in those situations, but needed a way to justify it.

This is why I fundamentally disagree with aging characters up to put them in adult situations. The core characters are children. Wanting to see a child character in explicit situations so badly that there is a need to justify it by aging them up or making an au or whatever is strange and disturbing, and I personally would not want to associate with someone who does that kind of thing.

Reflect on the issue yourself. All I can do is explain my reasoning, and say that I will choose not to associate with people who make and/or consume content of minor characters in explicit situations.

I appreciate that you want to learn. I am answering this question specifically because of the way you asked it, and that I see this as a way to tell you why we think certain things, and why we vehemently disagree with certain types of content. To others reading this, this post is NOT an invitation to discourse with us. I will not be arguing about ages or logistics or whatever. Do not try to convince me that nsfw of minor characters is okay, you'll get blocked immediately.

[lem0nademouth]

i used to say i would never openly declare myself zionist or antizionist or nonzionist for my own personal sanity and safety but were a year into the simchat torah war and i’ve come to the conclusion that i’m tired of self righteous goyim using Zionist as a scarlet letter and i will no longer indulge their violent fantasies of Glorious Revolution so here’s an explanation of my stance re: zionism

in simple terms, i believe in labor zionism. this is the movement that created kibbutzim, and is also sometimes called socialist zionism. the focuses of labor zionism are the healing of eretz yisrael (the physical land) through jewish labor and the equitable distribution of resources among Israelis and Palestinians. most if not all kibbutzniks are labor zionists and this ideology has become synonymous with the Israeli peace camp. the ultimate goal of labor zionism is the reclamation of indigenous jewish land and peaceful coexistence with arab peoples (both Palestinians and our neighbors in Jordan, Syria, Lebanon, and Egypt). various methods of achieving this goal are “redemption of the soil” ie a focus on returning to being an agrarian society, agreement on a two-state solution, and doing mitzvot as a part of daily living. kibbutzim are obviously the biggest manifestation of labor zionism today, but mutual aid is also a major aspect of labor zionism. mutual aid in israel may look unfamiliar to westerners because it isn’t a massive organized fund, but rather a societal norm - for example, one woman i follow on instagram has a chronic illness and occasionally needs IV fluids, so the nurse in her neighborhood comes to her house and gets her set up with saline so she doesn’t have to leave her young son at home in order to get treatment, and in exchange the nurse takes a few pieces of the woman’s handmade pottery. to labor zionists, an ideal society is one in which we take the lesson of avraham and sarah’s tent to heart; our homes are open to all who wish to enter and we are welcome into each other’s homes in kind. labor zionism is explicitly anti-war and anti-violence, instead seeking peace through understanding and compassion for our Palestinian neighbors.

if you read all that and still want to call me a bloodthirsty genocidal maniac, i think you might have a judeophobia problem.