#being in a relationship is not a characters only defining characteristic!!!!

[scarlet--wiccan]

If you want more context on how Young Avengers (2013) is not only a product of its time, but is in direct conversation with the cultural moment that comics, as a medium and an industry, were occupying, I would recommend Adrienne Resha's article The Blue Age of Comic Books. A version of the article is available here.

Reshas' theoretical "Blue Age" is largely defined by the emergence of digital comics, and the resulting changes in audiences and demographics. This is underscored by the evolving relationship between fandom and mainstream social media and the genre's metatextual relationship with both its readers and the spaces they populated. Simultaneously, there was a renewed focus on diversity and inclusion, although the material impact may have left something to be desired.

Young Avengers was part of the first wave of Marvel Now!, a branding relaunch that lasted from 2012 to 2015, which in many ways defined the first, and formative, portion of the Blue Age. The book holds obvious aspirations towards a characteristic notion of diversity which teeters on the edge of self-conscious tokenism, and the creators were directly plugged into their tumblr-based audience in a way that seems almost inconceivable in today's landscape. Between that, the notably organic (for the time) use of social media formats and vernacular, and a surprisingly clear grasp on junior millennial voices, the book both courted and gave birth to a very specific fandom environment where titles like Ms. Marvel and Champions would later thrive.

To me, Young Avengers perfectly encapsulates the opening moments of the Blue Age. It precipitates so much of what comics, and comic book spaces, would become over the next five to eight years, and experiencing it first hand really informed my perspective on both the industry and fandom. But the book also suffers for its liminality-- tonally and stylistically, it doesn't quite fit into people's nostalgic image of either the Blue Age or the post-9/11 Modern Age which preceded it, and the characters-- now on the verge of legal drinking age-- resist the conventions of an archetypical "teen team."

It's a weird book that sits in an interstitial period for the characters, the genre and its creators, being Team Phonogram's singular dip into work-for-hire supeheroics before returning to making creator-owned, pup-infused urban fantasies at Image. As somebody who loves reading and learning about the medium, I think it's a really valuable and I've learned so much about comics just from poring over this series. You'll never make me hate it, but even if you don't like it, there's a lot to gain from being open to objective, academic conversation!

[mydemonsdrivealimo]

"mj why is bryce so blatantly queer in your hc???" BECAUSE THATS HOW HE IS !!!!!!! whether or not he's w jensen (a man) he is still fucking queer????

saying he's queer is not enough. let him be queer. let him dress queer. let him go to queer events. being w a woman does not make him less queer. even if he is w a woman in a straight presenting relationship, IT IS STILL A QUEER RELATIONSHIP. BC HE IS QUEER. THATS THE ONLY CRITERIA FOR HAVING A QUEER RELATIONSHIP.

he is "so" queer in my hc bc he is a queer person. not bc he's w a man. but bc he is a queer person.

[togglesbloggle]

For the Reverse Unpopular Opinion meme, Lamarckism!

(This is an excellent ask.)

Lamarck got done a bit dirty by the textbooks, as one so often is. He's billed as the guy who articulated an evolutionary theory of inherited characteristics, inevitably set up as an opponent made of straw for Darwin to knock down. The example I recall my own teachers using in grade school was the idea that a giraffe would strain to reach the highest branches of a tree, and as a result, its offspring would be born with slightly longer necks. Ha-ha-ha, isn't-that-silly, isn't natural selection so much more sensible?

But the thing is, this wasn't his idea, not even close. People have been running with ideas like that since antiquity at least. What Lamarck did was to systematize that claim, in the context of a wider and much more interesting theory.

Lamarck was born in to an era where natural philosophy was slowly giving way to Baconian science in the modern sense- that strange, eighteenth century, the one caught in an uneasy tension between Newton the alchemist and Darwin the naturalist. This is the century of Ben Franklin and his key and his kite, and the awed discovery that this "electricity" business was somehow involved in living organisms- the discovery that paved the way for Shelley's Frankenstein. This was the era when alchemy was fighting its last desperate battles with chemistry, when the division between 'organic' and 'inorganic' chemistry was fundamental- the first synthesis of organic molecules in the laboratory wouldn't occur until 1828, the year before Lamarck's death. We do not have atoms, not yet. Mendel and genetics are still more than a century away; we won't even have cells for another half-century or more.

Lamarck stepped in to that strange moment. I don't think he was a bold revolutionary, really, or had much interest in being one. He was profoundly interested in the structure and relationships between species, and when we're not using him as a punching bag in grade schools, some people manage to remember that he was a banging good taxonomist, and made real progress in the classification of invertebrates. He started life believing in the total immutability of species, but later was convinced that evolution really was occurring- not because somebody taught him in the classroom, or because it was the accepted wisdom of the time, but through deep, continued exposure to nature itself. He was convinced by the evidence of his senses.

(Mostly snails.)

His problem was complexity. When he'd been working as a botanist, he had this neat little idea to order organisms by complexity, starting with the grubbiest, saddest little seaweed or fern, up through lovely flowering plants. This was not an evolutionary theory, just an organizing structure; essentially, just a sort of museum display. But when he was asked to do the same thing with invertebrates, he realized rather quickly that this task had problems. A linear sorting from simple to complex seemed embarrassingly artificial, because it elided too many different kinds of complexity, and ignored obvious similarities and shared characteristics.

When he went back to the drawing board, he found better organizing schema; you'd recognize them today. There were hierarchies, nested identities. Simple forms with only basic, shared anatomical patterns, each functioning as a sort of superset implying more complex groups within it, defined additively by the addition of new organs or structures in the body. He'd made a taxonomic tree.

Even more shockingly, he realized something deep and true in what he was looking at: this wasn't just an abstract mapping of invertebrates to a conceptual diagram of their structures. This was a map in time. Complexities in invertebrates- in all organisms!- must have been accumulating in simpler forms, such that the most complicated organisms were also the youngest.

This is the essential revolution of Lamarckian evolution, not the inherited characteristics thing. His theory, in its full accounting, is actually quite elaborate. Summarized slightly less badly than it is in your grade school classroom (though still pretty badly, I'm by no means an expert on this stuff), it looks something like this:

As we all know, animals and plants are sometimes generated ex nihilo in different places, like maggots spontaneously appearing in middens. However, the spontaneous generation of life is much weaker than we have supposed; it can only result in the most basic, simple organisms (e.g. polyps). All the dizzying complexity we see in the world around us must have happened iteratively, in a sequence over time that operated on inheritance between one organism and its descendants.

As we all know, living things are dynamic in relation to inorganic matter, and this vital power includes an occasional tendency to gain in complexity. However, this tendency is not a spiritual or supernatural effect; it's a function of natural, material processes working over time. Probably this has something to do with fluids such as 'heat' and 'electricity' which are known to concentrate in living tissues. When features appear spontaneously in an organism, that should be understood as an intrinsic propensity of the organism itself, rather than being caused by the environment or by a divine entity. There is a specific, definite, and historically contingent pattern in which new features can appear in existing organisms.

As we all know, using different tissue groups more causes them to be expressed more in your descendants, and disuse weakens them in the same way. However, this is not a major feature in the development of new organic complexity, since it could only move 'laterally' on the complexity ladder and will never create new organs or tissue groups. At most, you might see lineages move from ape-like to human-like or vice versa, or between different types of birds or something; it's an adaptive tendency that helps organisms thrive in different environments. In species will less sophisticated neural systems, this will be even less flexible, because they can't supplement it with willpower the way that complex vertebrates can.

Lamarck isn't messing around here; this is a real, genuinely interesting model of the world. And what I think I'm prepared to argue here is that Lamarck's biggest errors aren't his. He has his own blind spots and mistakes, certainly. The focus on complexity is... fraught, at a minimum. But again and again, what really bites him in the ass is just his failure to break with his inherited assumptions enough. The parts of this that are actually Lamarckian, that is, are the ideas of Lamarck, are very clearly groping towards a recognizable kind of proto-evolutionary theory.

What makes Lamarck a punching bag in grade-school classes today is the same thing that made it interesting; it's that it was the best and most scientific explanation of biological complexity available at the time. It was the theory to beat, the one that had edged out all the other competitors and emerged as the most useful framework of the era. And precisely none of that complexity makes it in to our textbooks; they use "Lamarckianism" to refer to arguments made by freaking Aristotle, and which Lamarck himself accepted but de-emphasized as subordinate processes. What's even worse, Darwin didn't reject this mechanism either. Darwin was totally on board with the idea as a possible adaptive tendency; he just didn't particularly need it for his theory.

Lamarck had nothing. Not genetics, not chromosomes, not cells, not atomic theory. Geology was a hot new thing! Heat was a liquid! What Lamarck had was snails. And on the basis of snails, Lamarck deduced a profound theory of complexity emerging over time, of the biosphere as a(n al)chemical process rather than a divine pageant, of gradual adaptation punctuated by rapid innovation. That's incredible.

There's a lot of falsehood in the Lamarckian theory of evolution, and it never managed to entirely throw off the sloppy magical thinking of what came before. But his achievement was to approach biology and taxonomy with a profound scientific curiosity, and to improve and clarify our thinking about those subjects so dramatically that a theory of biology could finally, triumphantly, be proven wrong. Lamarck is falsifiable. That is a victory of the highest order.

[decepti-thots]

sorry, still thinking about whirl. imo the most important characteristic whirl has in MTMTE isn't the obvious ones. it's not that he's an asshole, it's not that he's funny, it's not that he's violent, it's not that he's done terrible things, it's not that he hates himself. all of those are important, and they're usually the immediately obvious traits that stick out panel to panel. but they're not what drives the narrative function of the character most across the whole run of the comic.

imo the thing that most defines the engine driving whirl's narrative function is that he is astute and perceptive. it doesn't come up in obviously quotable panels moment to moment, but the way his arc interacts with the overall arc of the comic is that whirl is the one who sees through a lot of the bullshit that's going on and the way he acts and the decisions he makes overwhelmingly rely on that knowledge. unlike most characters, his decisions are rarely defined by the emotional intensity of his own investment in this or that thing (an interpersonal relationship, an insecurity, a need to prove something) but instead by his sharp awareness of the dynamics of the people around him.

whirl knows the score with rodimus and what the whole mess that is their 'mission' is really about- or rather, what it isn't about, not really. he does not take it seriously because he understands in a very real way, it's just not serious, it's an excuse. whirl knows the score with cyclonus and tailgate and when to intervene in that whole mess instead of being kind about it. whirl understands what getaway is doing and where it's leading and that both makes his decision to initially back getaway's plan both an asshole move but also a decision made with total clarity, in contrast to almost everyone else who makes that decision. whirl knows how to get past drift's act and gets a punch in the face for it, because he smells the bullshit there immediately. whirl is not unaware of the social dynamics on the LL at all; he is choosing to be as abrasive and inhospitable as he usually is on purpose with full knowledge of what he's poking at. whirl gets to the supposed afterlife and immediately knows it cannot possibly be real!

unlike basically every other major character, there's really no point whirl makes a decision with his judgement meaningfully clouded by something. he has a strong interiority and motivations, absolutely, but above all else he is making every decision, no matter how bad or self destructive, with a level of genuine awareness and clarity that is pretty much unique, and his assessment of everyone and everything around him is pretty much unmatched if you read between his constant pisstaking. it's fantastically good, and what makes him a completely essential part of the ensemble all the way through the comic's run. nobody else can be so consistently relied on to respond to the situation presented to him as it is. (cyclonus is really the only person in the cast who recognises this, i think, and it explains why they wind up perfectly matched. see again: whirl's interventions with him and tailgate.)

[sluttysanemi]

Would Genya make a good dad?

sanemi exhibits a stronger paternal trait, but genya would still make a good father.

genya was perpetually protective and had prioritised his family from initiation. I believe that is one of his defining characteristics.

According to the one-winged butterfly novel, he assaulted someone who ridiculed his sibling. Though he later cowered, his first inclination was to defend his family.

i speculate he values family so strongly since he had little else. struggling with money while growing up, supporting his mother with arduous chores each day, family was the only pleasure he had.

(he knows what’s it like to take care of smaller children, having it been the core aspect of his childhood.)

even as he became older, the significance of ‘family’ remained with him.

he was determined to become a hashira to attempt to restore the relationship he and sanemi previously shared. even if it entailed forfeiting his life, all he wanted was to persevere a bond with the remaining relative.

—

slight digression, but needs to be underlined, genya is detailed as an impatient, hot-tempered boy who is unconcerned by the opinions of others. he will be upfront, even if it involves harming the feelings of others. he has no concern to sugarcoat things just because it could be painful to hear.

however, genya is hesitant and quiet as he confronts Sanemi, even as he is berated and ridiculed.

the multitude use of an ellipsis (…) implies hesitancy in his speech. he is much more cautious on what he says.

this then contradicts his later converse with Inosuke, in which he initiatives a physical wrestle with him after inosuke denigrated his strength.

this suggests that Genya values Sanemis' perspective of him. who happens… to be the only one to share a familial connection with! get it? get it? family… important! he loves his family!!

this seemingly irrelevant, minor tangent was intended to demonstrate Genya's devotion to family. it being one of his character's foundations, I believe he would make a strong father who prioritises his own life over his child's, just like he did for Sanemi.

[belovedmusings]

Poppy red.

Choso Kamo x You x Suguru Geto

Explicit Themes (🚫Minors DNI🚫)

Part six of the 'Two + One' story. Click for story masterlist.

Guitarist! Choso Kamo is your boyfriend, and today, after having gone no-contact with his bandmate, Suguru, for a month, you have him over at your house while Choso is visiting his brother. The two of you need to discuss your relationship...and hopefully exhibit much-needed self-control.

Relevant tags: sexual tension, thoughts of infidelity, characters with questionable morals, Suguru is hot, but so is Choso, slow burn, no "y/n" for immersion, 2nd POV, reader has no defining characteristics, explicit smut, missionary, oral sex (fem receiving)

Recommended songs to listen to while reading: HENTAI (Rosalía), Animal I Have Become (Three Days Grace)

A/N: Life has still been busy but I still am so in love with this story so I'll continue to update!! Here's a rather spicy chapter, enjoy :)

Read below cut:

The two of you take either side of the couch in the living room once you’re inside with the groceries all put away. 

Suguru had been watching television while you restocked the fridge and pantry, so once you join him, he faces you properly, beginning to speak.

“I want you in my life,” Suguru tells you right off the bat, seeming to want to avoid wasting time, “And before I…tell you how I really feel, I need you to know that I don’t want to take you away from Choso. I understand that you two are happy and I have no ill-feelings towards him.”

You nod, waiting for him to continue.

“That being said,” Suguru looks you deeply in the eyes. “I…what I feel for you isn’t like anything I’ve felt for anyone else. You’re constantly on my mind and I…I just want to be near you all the time. I want to hold you and…kiss you. Since I want to be completely blunt, I…I want more than that, too. I’m physically attracted to you, but also, I…I can picture us together.”

Hearing it out loud is a crazy experience, but Suguru is being open and honest with you. You want to meet him halfway. 

“I feel the same way, but I haven’t lost any feelings I have for Choso. It’s very confusing.”

“That’s another thing—I don’t want to hurt Choso. I really like him, and I’d never want to betray his trust.”

You sigh, looking down at your hands, which have begun fiddling with each other in your lap. Then, in one fluid motion, you feel Suguru move closer, his hand covering both of yours. 

“I…I don’t know how to move forward from here,” Suguru confesses as your eyes meet, your heart fluttering in your chest. “But I can’t say ‘goodbye’ to you.”

”Look…um, I just think it’s a good idea if we only see each other when he’s around,” you tell him, his palm warm over your skin. Your eyes are fixated on the sight. “We…can’t control ourselves when we’re alone together.’

Suguru sighs heavily beside you, giving your hands a small little pulse, his thumb gently running in small strokes. It makes you nervous, filling you with a pulsating warmth that ebbs and flows in rhythm with his touches. 

“See?” You say, “Even this…this is intimacy we shouldn’t be sharing. We wouldn’t do this with Choso around.”

He looks into your eyes, nodding minutely. “That’s true. I know what you’re saying is true. I just…have this urge to not keep my hands off of you. If you were my girlfriend…should you want it…I’d have trouble staying off of you.”

You suck in a slow, deep breath. “When you say things like that…”

“I know,” he shakes his head, “I know, I do. Just…why couldn’t I have found you first?”

“Suguru,” you look away, pulling your hand out of his. “I shouldn’t be entertaining you like this, but I just…there’s something about you that I just…”

“Why haven’t you told him about what we’ve done so far?” He asks suddenly, causing you to look at him again. Your lips part for a second in thought before the honest words come pouring out.

“I don’t want to hurt him,” you say, “He has a tough exterior but he’s incredibly soft and vulnerable on the inside. If I told him…it would…grow. Like a weed. Even if I assured him it was nothing to worry about, it’d be there in the back of his mind. It would make him see you differently too, and it might ruin the band. I can’t do that, Suguru.”

“So, your plan is to never tell him how you feel about me?”

“How can I?” You stand up, gesticulating as you speak, “Suguru, I can’t tell my boyfriend, ‘I think I have feelings for your bandmate even though I’m still every bit as in love with you as I was when we first got together.’ If he did that to me, I would be devastated.”

Suguru frowns. “But the longer this goes on…the worse the lie.”

“I can’t hurt him.”

“So tell him the truth. Tell him how you feel about me, but that you have no plans of ever leaving him.”

“Then what? Then he leaves the band and hates you?” You ask, the idea absurd to you.

“Then I talk to him, too,” Suguru says, “I tell him how I feel, and that I have no plans of taking you away.”

“You tried to kiss me the last time we were alone together.”

“I know,” He says, “but maybe if it’s out in the open…”

“He won’t want me ever near you again,” You protest, “it’s better if this stays a secret.”

“I don’t like secrets,” Suguru shakes his head. “What if I dropped hints? Let him figure out that I have feelings for you? And we’ll see what he does.”

“What good would that do?”

“Then he could control the situation. Would that make you feel better?”

If Choso was the one who picked up on it, he could approach you first, and then you could get a read for how he feels about it based off of the way he broaches the subject with you. 

You take a breath before nodding. “Yeah…it would.”

“Okay,” Suguru nods. “Then we’ll do that. It’s going to be okay.”

Your heart throbs painfully in your chest, and suddenly those words of comfort have a lump growing in your throat. Why? Do you like Suguru that much? Is it really having such a great effect on you?

His palm touches your cheek, and you look up at him to see his golden eyes staring into yours. His voice is soft as he says, “tell me how I make you feel.”

There’s a flutter in your chest and you breathe out shakily. “I…I feel a pull. You’re always on my mind, and your music is all I play. When I’m with you, I just…I want to do every bad thing in the book with you. I want to know how you kiss, how it feels, how you…”

Your words trail off as you realize how insane it sounds out loud. Still, he presses on. 

“How I taste?” He fills in for you, deep voice low and syrupy, just above a whisper. It robs your own voice from you. You nod your affirmation.

His hand soothes your hair back. “What else?”

You inhale slowly to try and gain miniscule composure. “How you’d hold me…what it would be like if we were together…the sort of things we’d say, how we’d act, if we could just be a couple…”

“You like me bad,” he teases you lightly, and it commands a hot flush to your face.

“Don’t…”

“I’m right there with you,” he murmurs, pressing his forehead against yours. “I want to wake up next to you, to see you wearing my clothes, to make meals for you, to go out with you and spoil you…I want to make you happy.”

Your eyes close, and he takes the opportunity to ghost his lips over yours, the metal of his lip rings prompting a hitch in your breath. You begin to pull away, but he chases you, tilting slightly to plant a kiss to your cheek instead. You meet his eyes, and his own hold such an intimate gaze within them that you feel it sear through a layer in your heart. He keeps going; his lips meet the skin of your jaw, hands holding you by your back, and soon he’s trailing a line down your neck, arising goosebumps over the flesh he touches, the soft clicks indicating the cadence of each kiss only heightening your insanity.

Having lost a part of your conscience in his embrace, you return it, holding him close to you and relishing in his affection. You thread your fingers through his hair, pulling it from the tie it had been in, and he breathes out in relief, the warm air brushing over your skin.

His mouth stops at the neckline of your shirt, eyes glancing up at yours. 

“I want to keep going,” He states, lowly and softly. You swallow thickly, afraid of the lack of control you might display if you told him what you really wanted to say. Luckily, he doesn’t put you in that position, and he takes a breath, straightening up and putting some distance between you. “I won’t, though.”

Your eyes hold his for a moment, and then you move to speak.

The lock in the front door turns. 

Choso.

You hurriedly sit on the couch, an appropriate distance from Suguru, and understanding the situation immediately he follows suit on the other end. The door opens just in time, and your boyfriend walks through the door.

“Chos’,” you greet with a smile, standing and moving to kiss him. 

“Hey,” He kisses you back before noticing Suguru on the couch. “Oh, hey. I didn’t know you’d be here.”

“Oh, yeah,” Suguru puts on his signature disarming smile. “We happened to be out at the same grocery store. I had to get more tea for Larue, and the place I usually go was out so I came over here.”

“Yeah, I ran into him and invited him over,” You corroborate. Nothing we said was a lie. Just not the entire truth.

“Cool,” Choso smiles easily, not phased or suspicious in the slightest. He removes his shoes and drops his keys in the basket near the door.

“How was hanging out with Kechizu?”

“Ah, same old,” Choso shrugs, “just played games and had pizza.”

“That’s good,” You say, moving to sit back down on the couch. “I got us restocked for the week with groceries since I got a little bored.”

“Oh, good. We can just use Sunday for a lazy day then,” Choso states, moving to sit where you were sitting on the couch. That leaves one spot; between him and Suguru.

Seeing the turmoil flash behind your eyes, Suguru stands.

“Well, it’s getting pretty late. I should get going home since it’s a little far from here.”

“Oh, you sure? You don’t want to stay for dinner?” Choso asks, “we can just order in and hang out, you’re not imposing.”

You take a breath, and Suguru shakes his head. “I appreciate it, but I gotta run some more errands before I go back. I’ll take you guys up on that on another day if you’ll have me.”

“Sure,” Choso shrugs, “you’re welcome any time.”

“Thanks,” Suguru smiles, then walks to the door. He passes you, and you get another whiff of his jasmine cologne, your last dose for the night. He starts putting his shoes on. “Thanks for having me over.”

Recognizing he’s talking to you, you smile in a way that you hope is convincing. “Sure, it’s no trouble. We’re friends now too, after all.”

Something gleams in his eyes at that. The denial you’d given him last time has been overwritten. “Yeah? Sweet. Hey, would you mind if I got her phone number, Choso? It’s not weird, right?”

What?

You look at your boyfriend, who shakes his head. “No, it’s not weird,” He chuckles lightly. “Go ahead. It’s probably a good idea in case of emergency anyway.”

“You’re right,” You agree, moving over to Suguru to take his phone and put your number in it. You text yourself so you have his. 

“Thanks,” He says, taking his phone back. “Well, I’ll see you Monday, Choso! You guys have a good night.”

“You too.”

Choso raises his hand in a wave, and you close the door behind him once he leaves, locking it.

Once you turn around, you see your boyfriend’s eyes traveling over your figure, and it makes you feel warm.

“Chos’?”

“You look really beautiful like that.”

You take a look at yourself. Your hair’s kind of messy, and all you’re wearing is one of his sweatshirts and shorts. 

“Thanks,” you laugh, moving to sit beside him. “I’m not wearing anything special.”

“So?”

That catches you by surprise. He’s usually not this bold. He reaches out and puts a hand on your leg, running it up your thigh. 

“I’ve been thinking about us…” Choso says, “and…that time when I got a little flustered after you wanted me to choke you.”

Your mouth dries up. “…oh?”

“Do you want me to be rougher?”

Your next breath is uneven. “W-well, I…”

“I need you to tell me what you want,” He says, voice dropping a bit in volume. “You know I’ll give you anything.”

“A-anything?” Your voice is thin. He nods seriously.

“Anything in the world.”

You find yourself nodding. “I want…I want to try it rough.”

His lips are on yours in the next instant, and everything after that is a blur of bruising touches, the hurried removal of clothes, and an insistence in your boyfriend you've never seen before.

He has you laid out on the couch, both of your clothes strung around the room unimportantly, his mouth trailing kisses down your neck. A reminder that Suguru had been there not even an hour ago has you feeling a whirlwind of emotions; the shame gives way to arousal.

Choso’s teeth near your nipple has you gasping right back to the present, and you look to see him sucking marks into the soft flesh of your chest. His hands are on your thighs, spreading them, and without warning you feel the glide of his length against your mound. 

He begins grinding against you as he marks your breast up in hickies, pulling noises from you that you don’t recognize. 

His tongue runs over your nipple and you cry out, arching your back as he doubles down and continues to run his tongue over the hardened peak, your sexes rubbing intimately together in a way that makes your heart feel close to bursting.

It’s like he’s a new man tonight…he’s never this into it.

His teeth graze the tip of your nipple and you shudder, wrapping your legs around his waist and beginning to move your hips with his. He groans at that, moving to the next breast and giving it the same attention the first one got. 

“Chos’,” you moan out, feeling one of his hands find the apex of your thigh. It’s only a second before two of his fingers find their way inside of you, slipping in with no resistance due to the way he’s masterfully turned you on. He starts pumping his fingers at a pace, the long digits reaching deep within you, making you shiver again. 

The combination of his mouth and hand are enough to make your head spin. 

He adds a third finger and begins moving down, sliding to his knees off the couch and readjusting you so that he supports your legs with his shoulders. 

His lips scatter kisses and marks over the insides of your thighs as he continues to finger you, and not wasting any time, his mouth finds exactly where you need him, lips wrapping around your pearl and sucking as he pushes his fingers in deeper.

“Fuck,” is what leaves your mouth in a hiss, your hand gripping the couch tightly as he starts eating you out with gusto. “C-Chos’…”

He hums, tongue working wonders on you, and you think for a moment that you might actually lose sanity. 

It’s not like he hasn’t done this before. It’s just that you didn’t think he could be so bold. Usually he goes slower, he never really leaves marks, and he sure as hell doesn’t curl his fingers inside you as he’s doing now—but you’re falling even deeper in love with him.

“Oh my god,” a moan leaves your mouth, and he licks a fat stripe up your swollen bud before attacking it again with a kiss. “Choso…”

His free hand finds your breast again, and it’s over soon after that—the way his fingers pinch and tease at your nipple combined with everything else he’s doing sweeps you over the edge swifter than you’re prepared for, and your orgasm slams into you with a cry of his name. 

Or, rather, your first orgasm of the night.

He doesn’t stop there. He straightens up and climbs back between your legs on the couch, kissing you deeply as he lines up. Instead of asking, he takes, driving himself inside of you and making you take him despite the sensitivity of your walls.

You gasp as he begins moving immediately, nails digging into his shoulders. When you clench around him he groans, right in your ear, and you look up at him to see his face flushed prettily, sweat dripping down his forehead.

Another wave of lust for him takes over and you kiss him hard, nails dragging over his back. He mewls into your mouth and picks his pace up, the lewd, wet slap of your skin tell-tale to anyone who may be walking by the front door of your apartment. 

That reminds you…the two of you have never done it on the couch before. He couldn’t wait long enough to get to bed. 

Another one of your flutters around him causes his hips to stutter, and he ducks down, dragging his teeth over your ear before leaning up on his hands above you.

Then, one of them finds the base of your neck. Your lips part as he squeezes gently, focusing more power on the slam of his hips into yours. You feel him deep inside of you, the dull, harsh stretch of him forcing you to accommodate, and your eyes roll to the back of your head, voice reaching octaves you didn’t think you were capable of. 

“I love you,” he breathes, kissing your open mouth, and you shiver from the contrast of his rough-fucking and the gentle declaration of devotion.

“I love you too,” it comes out of your throat like a wrecked sob, and amidst his panting, he reaches down and starts rubbing you in time with his thrusts, doing exactly what you need in order to finish for the second time. 

As soon as you do, you feel him twitch, pressing deep into you to give you his load. Your own body shakes at the feeling, a sense of euphoria washing over you akin to the rush of opium. 

When you open your eyes, his own mahogany ones are looking at you, a loose, dopey smile on his lips.

“Fuck,” you rasp intelligently, and he chuckles, burying his face in your neck.

“Yeah?”

“Yeah,” you nod, hugging him close. 

No one is on your mind but him. What else happened today? You can’t remember. You can’t think at all. 

Right now, Choso is your world. 

___

A/N: calm before the storm me thinks. Seriously though, if you're sticking with this and still waiting for the updates, thank you so much, I appreciate you. I still plan to post on AO3, I'm just not sure when I'll have the time. Keep your eyes out for the next update!

Please don't copy or repost, but feel free to reblog and share! Taglist (comment here or my masterlist if you want to be added): @jaegerstan222 , @cosmicstarlatte , @dabisdolly , @moonriseoverkyoto , @propheticfire , @bontensbabygirl , @crlyhairedwxtch , @alittlebirdahgaselx , @okkovtsu , @notbellasstuff , @uchihabbynic , @polaroidnana , @childofilluvatar , @shadowfoxy , @jordan-network , @dreamtravelersade , @unmatchxd , @lucyrocks86 , @spineyy , @k3lbade , @xxbuckpoppi , @naughtygobbo , @slammynics , @roseambers , @luvingyouwasreallyhard , @hinachaaan , @redladyrae-blog , @spiteless-xo , @slutforaz , @bellaabee082 , @thedorklingqueen , @delayedrage , @poopwons , @pandisastergod , @username23345 , @sleazymac-n-cheesy , @forest-haven , @midnaamethyste , @bihanspookies , @mysteriouskiller1 , @liyahthings

[theotterpenguin]

How LOK Fails to Do Katara Justice (part II)

In part one of this meta, I explained how Katara's character received the worst treatment in Legend of Korra compared to the other members of the gaang, and the sexist writing of lok!Katara so that she is only defined by her relationships to her husband and children. In the second part of this analysis, I will explain how the common arguments that are used in defense of LOK's poor writing do not provide an adequate in-universe explanation for Katara's drastic change from ATLA.

Defense of lok!Katara seems to boil down to three main points: 

1) The “leave it to the kids” excuse: Katara is from the previous generation so she shouldn’t be expected to be involved in the plot - it’s time for Korra’s team to have a turn.

2) The “old lady” excuse: Katara is too old to be fighting wars or getting involved in international politics.

3) The “people change” excuse: Katara’s character, personality, and goals would change over time because she’s older now.

I would be willing to accept these excuses under the condition that they are also applied to the other members of the gaang. Ignoring the fact that the Order of the White Lotus is literally a bunch of old guys fighting in wars in ATLA, if Toph and Zuko are also portrayed as too old to be fighting and leaving all their problems to the next generation to fix, along with Katara, it wouldn’t be as much of a problem. If Sokka, Aang, Toph, and Zuko are all portrayed as having different goals and motivations and characteristics than when they were younger, along with Katara, then again, it wouldn’t be as much of a problem. (It might be bad writing, but hey, at least it’s bad writing applied equally to every character). 

The problem is that it’s only Katara’s character that takes a complete 180 from how it was set up in ATLA, it’s only Katara’s character that is too old to fight to defend her family, it’s only Katara’s character who leaves all her problems to the kids and stays completely uninvolved from the geopolitical conflicts brewing around her.

 Returning to our original three excuses, let’s see how well they match with rest of the gaang’s portrayal in LOK:

1) “Leave it to the kids” excuse: 

I will be leaving Sokka and Aang out of this since they are dead at the time of the show (though it should be noted that flashbacks show both of them being heavily involved in global leadership roles and managing political conflicts). 

This excuse is not even close to applicable to Zuko. As soon as he finds out Zaheer has escaped from prison, he flies off on a dragon to check the other prisons. He warns Lin to look after Korra, but this doesn’t stop him from investigating with Tonraq on his own, without Korra and co's involvement. As soon as he hears his family may be in danger, he flies off on a dragon to protect them.

This excuse doesn’t apply to Toph. She does state that she agrees with Katara that it’s time to leave things to the kids, but her actions say differently. As soon as she finds out Suyin has been captured, she immediately attempts to find her - on her own, without consulting with the younger generation. When she realizes Suyin has been moved somewhere else, she works together with Korra and co to save her family - twice actually. She also involves herself in Korra’s life by helping her train and recover from her PTSD.

Meanwhile, Katara does nothing when her home is dragged into a civil war, does nothing when her family is kidnapped, and does nothing when a bloodbender is using his abilities to oppress others (despite being the one to outlaw bloodbending).

2) “Old lady” excuse:

Again, also not applicable to Aang and Sokka because they’re dead at the start of the show.

This excuse does not apply to Zuko whatsoever. He never mentions that being old prevents him from fighting or getting involved in the political conflicts that arise. He has no problem fighting Ghazan during the Red Lotus prison break-in and has no problem riding his dragon. He stays involved in international relations despite being “retired” from his position as Fire Lord - helping to track down the Red Lotus, attending important international events, and holding meetings with leaders of other nations (Tenzin, Raiko, Tonraq).

Toph tells Korra that her fighting days are over due to having back problems, but has no problem fighting Korra during training and easily takes out Kuvira’s army. 

Katara never fights during the entire show. And as far as I can remember, she never waterbends at all beyond healing on a few occasions.

I feel like it’s important to note that both excuses 1 and 2 are never even mentioned in regard to Zuko (or the Order of the White Lotus) - it’s only Toph and Katara that seem to be “too old” to fight and have to leave everything to the kids. Toph’s actions don’t align with her words, unlike Katara, but it doesn’t change the fact that these excuses are unequally applied to old women in Legend of Korra compared to the old men in Legend of Korra (and ATLA). Good old misogyny at work!

3) “People change” excuse:

Sokka: Begins his story in ATLA as son of the Chief of the Southern Water Tribe, desperately trying to fill his father's shoes when Hakoda goes off to war. He becomes the defacto leader of the gaang over time due to his fondness for schedules, his leadership abilities, and analytical thinking skills. Despite being a nonbender, he held his own with his trusty boomerang and strategic thinking. Ends his story in LOK having taken over from his father as Chief of the Southern Water Tribe, putting those leadership skills to use. His intelligence and strategic thinking made him an ideal candidate to be a Representative for the Southern Water Tribe on the Republic City Council, as he could be trusted to make smart decisions that were the best for his tribe. He was even elected chairman of the council due to these skills. A statue was built in his honor, which included his favorite boomerang.

Zuko: Begins his story in ATLA learning to heal from his father’s abuse and, in the process, slowly comes to understand the evils of Fire Nation imperialism. He replaces his father as Fire Lord and vows to start a new era of peace and harmony, ending the war and the Fire Nation’s colonialism and imperialism. He also vowed to work together with the Avatar to maintain balance. Ends his story in LOK having achieved peace and prosperity in the Fire Nation again. Turned previous Fire Nation colonies into the United Republic of Nations - meant to be a safe haven for anyone, regardless of nationality or bender status - by working together with Aang. Fights against the Red Lotus to protect Avatar Korra and his family. His statue, in contrast to Ozai’s former statue, is one representing peace and hope.

Toph: Begins her story in ATLA rebelling against her strict parents, who are overprotective of her due to her blindness. She learns to rely on and trust others over the course of the series, realizing that accepting help from others doesn’t mean she’s weak. She enjoyed pulling scams on naive civilians in the show using her earthbending seismic abilities and participated in the Earth Rumble in her youth. She also invented metalbending and worked as Aang’s earthbending teacher. Ends her story in LOK having created a metalbending academy to teach others the bending speciality, along with establishing the first metalbending police force. Metalbending is shown as having made significant contributions to technological innovation and progress in the avatar world. Helped to train Korra while she’s recovering from the her capture by the Red Lotus. Though she liked breaking the rules when she was younger, she found it more fun to be the person in charge of the rules - leading her to become Captain of the Police Force. Still suffering the consequences of poor parenting as a child, she became an overly-lenient parent, leading to problems with her daughters. She states that her fighting days are over, but still seems to enjoy fighting Korra.

(As a side note: I do not agree with how the writers chose to take Toph’s story. Do I think they should have - and realistically, could have - gone in a different direction that did more justice to Toph’s character? Yes. However, I also see how it could potentially be possible that she became a cop and uninvolved parent based on her background. I don’t like it, but I can at least see some logic behind her storyline - unlike Katara’s. If anyone feels differently, I'd love to know your thoughts.)

Aang: Begins his story in ATLA learning to become the Avatar by mastering all four elements, mastering the Avatar State, and acting as a bridge between the human world and Spirit World. Struggles with being the sole survivor of the Air Nomads and attempting to keep his culture alive. Works to keep balance in the world among the four nations by defeating the imperial Fire Nation. Ends his story in LOK having achieved his goals as Avatar, successfully keeping peace amongst the four nations and establishing the United Republic of Nations as a sanctuary for all, no matter nationality or bender status. Considered a spiritual leader and successfully kept peace between the spirit world and human world. Had an airbender child and airbender grandkids, traveled the world to spread his culture, including building a temple on Air Temple Island in the United Republic, and other characters repeatedly state that for his entire life, his dream was to revive Air Nomad culture. 

Katara: Begins her story in ATLA trying to master her waterbending abilities, trying to teach herself on their journey. Views waterbending as a way to connect with her culture. She challenges the Northern Water Tribe’s sexism for the right to learn how to fight. Famously declares, “I don’t want to heal, I want to fight!” Passionate about standing up against injustice - causes a prison riot through an inspiring speech she gives, dresses up as a Fire Nation spirit to heal sick villagers, and goes after her mother’s killer. She is forced to bloodbend, a traumatic experience for her. Teaches Aang how to waterbend and is eventually bestowed the title of “master waterbender” by Pakku. Occasionally heals others when they get injured, but main focus is on development of her waterbending fighting abilities. Ends her story in LOK known as the best healer in the world, but fails to heal Korra and Jinora. Spends her time during the civil war on the sidelines, healing the injured. Marries and has kids with Aang. She’s lonely and her family doesn’t visit much. No known achievements beyond outlawing bloodbending (which she is somehow able to do without holding any political titles beyond that of the Avatar’s wife).

Hopefully it should be clear that Sokka, Aang, Toph, and Zuko's characteristics, goals, and motivations don't change as drastically as Katara's do. The writing of Katara in LOK did a disservice to her character. I've always deeply admired Katara for never failing to stand up against injustice, for her empathy and kindness even for those who are different from her, and for her determination not to let patriarchal norms define what she can and can't do. While LOK's portrayal of other characters provides a glimpse at how their character arcs in atla influenced the way they shaped the world, we never get a glimpse of the original Katara - only a lackluster imitation of someone with the same name.

If the Avatar franchise continues to expand with more post-ATLA content of the gaang as adults, I certainly hope Katara's characterization is improved.

[oyasumicloseyoureyes]

I hate it when the Omori fandom shames people who ship Sunnflower because they think it's "trauma bonding", "manipulative" and "abusive", which is simply not true.

Basil isn't "obsessed" with Sunny as people claim, just because a person idolizes someone doesn't mean they're some crazy yandere. He saw one of his closest friends dying in front of his eyes, which left him traumatized, causing all the delusions and the denial. All of the stuff he did (like hanging Mari or "saving" Sunny from Something), he did with good intentions, even if he did end up making things worse. That's his character flaw and it makes him human. He tried his best to protect his friend, and people who say he's toxic or manipulative are just media illiterate.

And the fact that people think that Sunny legitimately hates Basil is so bizarre to me, the game has shown so many times how important Basil is to him. How Sunny dives into the lake, literally risking his own life to save him despite having aquaphobia, or how he wants to find and save Basil in Headspace despite the fact that Basil ruins everything by reminding Sunny of the truth, and it would be easier to forget about Basil altogether, like he did with Abbi, but Sunny doesn't do it because he can't see his dream world without Basil, are all examples of that. He even dreams of hugging him right after Basil stabbed him in the eye, for God's sake.

There are only two moments in the game when the player might think that Sunny dislikes Basil. The first one is when Omori kills Basil in Black Space, but that only happens because Omori wants to protect Sunny from the truth, not because Sunny hates him. The second moment is when Sunny leaves Basil in the bathroom. Again, he does it not because he hates him, but because he's afraid, Basil literally says himself:

"Sunny...W-Why...Why do you look so scared?"

Not angry or disgusted, but scared. Sunny was afraid and it made him leave. And that's Sunny's character flaw, he's afraid to face problems so he runs away from them, hurting people in the process. He didn't abandon his best friend for 4 years on purpose. Only in the final fight with Basil he found the courage to face his fears and stay to save him. Saving Basil is mandatory and without doing it you can't have the good ending and Sunny can't have a healthy, happy life. His healing is tied to Basil and people tend to ignore that.

Omori literally shows that these two care about each other more than anything. And yes, realistically their relationship would be unhealthy at first, but so would every other relationship in the main group, they all have problems that they need to work on, that's why therapy exist. So It's really hypocritical to hate on Sunnflower for being toxic and then ship the other characters.

On that note, If you think people with trauma can't form healthy relationships, don't deserve to be happy and won't ever get better - you're completely wrong.

The whole Sunnflower discourse proves people only see trauma victims through that lens, and completely disregard their previous relationships and characteristics.

Sunny and Basil's struggles make them feel real. Their trauma doesn't have to define them. They can grow and heal and be happy again and if you think otherwise then you completely missed the point of Omori.

[ghstsrock]

Dally is Irredeemable

! 🗯 ⋆ in which i persuade you into believing dally is irredeemable

( a/n : this is based off that poll I posted a while ago asking for help deciding what I should write my persuasive letter about. this the result of that. enjoy! )

Dear Reader,

My name is Jeremy, I’m a loser who runs a tumblr account. I am writing to you as someone who likes analyzing characters to express my views on the character of Dallas Winston.

Dallas Winston, one of the main characters in S.E Hinton’s iconic novel, The Outsiders, is often seen as a complex and intriguing character by many readers. However, his actions throughout the novel raise questions about his intentions and motivations. In this letter, I aim to present evidence and argue my belief that Dallas Winston is ultimately an irredeemable character, whose actions and choices cannot be excused or forgiven.

For context, Dallas Winston is described as being one of the older members of the book's main group. He’s mean, cold, tuff, and the most hardened and violent. He spent most of his life living on the streets of New York, getting into so much trouble that he was first arrested at the mere age of ten. While this does not define a person, it certainly does him.

This is the first reason I believe Dallas is irredeemable: Johnny Cade. The relationship and dynamics between Johnny and Dallas is nuanced. Despite their differences in mental and physical characteristics, they have a strong bond between them. Dallas constantly shows special treatment towards Johnny, which is evident in the second chapter when they are at the drive-in theater. Dallas is making inappropriate comments toward a soc girl named Cherry. While both Ponyboy and Johnny were uncomfortable by this behavior, Johnny is the only one who intervenes. “Dallas just scowled for a second. If it had been me, or Two-Bit, or Soda, or Steve or anyone but Johnny, Dally would have flattened him without hesitation,” (Hinton). This highlights the deep connection between the two characters, but how good can that really be? Johnny is seen idolizing Dallas throughout the book, this stems from his troubled relationship with his parents causing Johnny to feel the need to earn Dally’s approval. Dallas, on the other hand, uses this power imbalance to his advantage, lashing out at Johnny when he tries to assert independence. This relationship highlights the toxicity that has existed throughout Dally’s life.

Continuing that, I bring you to my second reason: Dallas has known nothing but a life of crime and hatred. Now, I know what you’re thinking. People change, right? Well, Dallas is a different story. He has allowed his upbringing to define who he is in the novel - his abusive dad, absent mother, numerous run-ins with the law, and other traumatic experiences have shaped his negative outlook on life. For example, in Chapter Five, Dally, Johnny, and Ponyboy are in Dally’s car outside a Dairy Queen. When Johnny asks Dallas if his parents have asked about him, Dallas gets rather upset at Johnny. “You think my old man gives a hang if I’m dead in a car wreck, or drunk, or jail or something’? He doesn’t care, and that doesn’t bother me none,” (Hinton). By saying this, Dallas shows that he has internalized the neglect he experienced from his father to the point where he has become desensitized to the feelings of others who have different ones. It also shows one of Dally’s biggest defense mechanisms, violence.

My final reason is that Dallas Winston is weak. When I say weak, I’m referring to Dally’s mental strength rather than his physical strength. I’m sure that boy is malnourished, lactose intolerant, and can’t handle gluten. But, I digress. Despite being portrayed as a strong character, his behavior shows nothing but weakness. He’s weaker than Johnny mentally. He’s weak with how he handles serious issues, relationships, and his own life. He recklessly deals with issues and his reaction to Johnny’s death serves as the perfect example of that. “Why can I take it when Dally can’t? And then I knew, Johnny was the only thing Dally loved. And now Johnny was gone,” (Hinton). As this iconic novel comes to a close, we witness two major character deaths, the first one being Johnny’s. As previously stated, Johnny and Dallas had a special relationship. Initially, Dallas doesn’t seem to react much to Johnny’s death, but as the moments pass, he becomes increasingly unstable, unable to cope with his emotions. He runs out following a moment of melodramatic whimpering, later we found out he robbed a magazine store with an empty gun. The way he handles his grief by resorting to violence, ultimately leading to his death, highlights his weaknesses. “Dally didn’t die a hero. He died violent, young, and desperate. Just like we all knew he’d die someday … But Johnny was right, He died gallant,” (Hinton).

Some individuals who hold an opposing view to mine believe that Dally is redeemable based on his loyalty to the gang and his good treatment of Johnny. However, Dallas has no actual sense of loyalty. He has a tendency to double-cross others for what appears to be his own amusement contradicts this viewpoint completely. The best example of this would be Dally’s on-and-off again friendship with Tim Shepard, the leader of a different gang in town. This is first brought up in the second chapter by Two-Bit Mathews when he says, “That’s why I came over. Mr. Timothy Shepard and Co. are looking for whoever so kindly slashed their car’s tires, and since Mr. Curly Shepard spotted Dallas doing it … well … does Dallas have a blade?” (Hinton). The fact that Dally’s tendency to betray people is a joke to his friends undermines any argument that attempts to redeem him based on his loyalty. Additionally, the incident where Dally lashed their tries and his lack of remorse for engaging in such petty and destructive behavior further demonstrates his lack of a moral compass.

I urge you to never find yourself in a position where you can actively sympathize with the man that was Dallas Winston. And that, if you do, you get the help you desperately need.

Thank you for your time and consideration.

Sincerely, Jeremy

﹙📦﹚ request inbox thing is open ��zᶻ

[ckret2]

hey ^^ I love your bill goldilocks cipher, and I was wondering why he possesses a female-presenting body. I am a huge fan of your art btw so don’t take this the wrong way, I just would love to know how you designed him!

The short answer: because he's canonically referred to with he/him pronouns.

The long answer: if you meet somebody who, at a first glance, appears to be anatomically female, and everyone refers to this person with he/him pronouns, you don't immediately know what's going on.

Maybe he's a trans man who's comfortable with his body the way it is as long as everyone around him still treats him as a man. Maybe she's a trans woman with really transphobic acquaintances. Maybe he's nonbinary, maybe he's genderfluid, maybe he's a drag queen who's dressed up for an event but not currently in character, maybe he's a he/him lesbian—you don't know, and it likely isn't your business.

There's only one thing you do know: whatever's going on here, it probably ain't cishet. This person has something going on that does not fit the gender binary. All you can say about him is that he's queer.

Bill's gender is triangle. This simply does not fit within humanity's popular ideas about the male-female binary. Whatever his sexual orientation is, it is not restricted to "only females/only males (as humanity defines femaleness/maleness)"—and so he can't possibly be heterosexual in a manner readily recognizable to human beings. Amongst Bill's own species, maybe he was the most cishet guy you've ever met, I haven't decided; but if you stick Bill amongst humans, regardless of how he sees himself, he'll look queer to us.

On top of that: stick Bill in a human body, and there's a disconnect between his self-identity and the shape he's wearing. Strangers will see him as something he's not: human. He feels trapped in a wrong-shaped form amongst people who think this is normal and what he feels he should be is strange—and if he ever explains that psychological weight of feeling wrong-shaped, the humans most likely to go "I think I get it" are the trans folks who know what dysphoria feels like.

I don't think Bill cares what pronouns humans give him; I think he's called "he/him" either because his human victims decided he sounds male-ish, or else because he consciously decided to take advantage of sexism by presenting himself as male to seem more authoritative. And I don't think Bill cares about the anatomy of the human body he's in; he could have been given any variety of genitalia, secondary sex characteristics, hormone balances, body fat distributions, etc., and he would have been equally uncomfortable in any because they're not a triangle. It makes no difference to him.

But it does something to you (you, The Readers In General): it makes you wonder about his relationship with his body.

Because we're speaking English on the Internet in the 21st century, you and I are participating in a culture that sees having both a vagina and he/him pronouns as Not The Default. It makes Bill look genderqueer-in-a-human-way, and that makes it easier to slide readers over to seeing him as genderqueer-in-a-nonhuman-way. It makes you think about queerness, about dysphoria, about nonbinary folks who defy the expected correlations between pronouns and anatomy without changing their bodies to make them "match."

This is the second or third time somebody's asked me why I put Bill in a female-presenting body. If I'd done the opposite, nobody would have ever asked me why I put Bill in a male-presenting body. Because that's "normal." And I want you to ask questions! I want you to think about Bill's self-image, his internal landscape, the gulf between who he is mentally and what he is physically.

Before I ever directly draw attention to queer topics, I can get folks primed to think about them and to understand that his body doesn't accurately represent his identity just by slapping a pair of boobs on him.

So I slapped a pair of boobs on him.

[myapothecarydiary]

Thoughts from reading The Apothecary Diaries Manga Ch. 1

Okay, I just first have to say I adore these little Maomao illustrations at the beginning of each volume. The art style is so cute!

And we get straight to it: the comparison of the pleasure district to the rear/inner palace. The similarities go to show how Maomao is in a position to successfully navigate and understand the rear palace due to her upbringing in the pleasure district. Her background gives her a unique, and in this case, advantageous perspective.

This introduction discussing eunuchs and the emperor's family is very hello! regarding Jinshi's real identity. I think it also introduces Apothecary's conversation on gender, specifically Maomao's perspective regarding it. She considers eunuchs to no longer be true men and to exist beyond the gender binary. She values frogs as a defining characteristic, if you will.

This here introduces Maomao's relationship with her own appearance and beauty. We later learn she draws her freckles on and so is trying to subdue her natural beauty, but she is also pragmatic about her appearance. She accepts what she looks like and utilizes her unassuming qualities, even accentuating them, but though she adds she's "not interested or anything" in becoming a concubine, I think there is some supressed disappointment in her looks. She can't fathom that someone like the Emperor would find her attractive. She is not just pragmatic but resigned.

There's a greater conversation to be had about how Maomao values beauty and recognizes how beauty gives someone value (within the environments of the rear palace and the pleasure district as well as within her own mind?). I'm going to put a pin in it for now, but I have thoughts on how Maomao views Jinshi's beauty (a waste on a man, disastrously powerful on a woman, extra wasteful on a man sans frog?) + the benefit of certain assets (big boobs XD)

Hello, future plot line and Jinshi's desire to increase literacy and education!

I find this important to note as it is how Maomao is characterized for the audience. "Forward-thinking" with "an insatiable thirst for knowledge and overwhelming curiosity" and "a budding sense of justice." It is interesting how her sense of justice goes against her insistence on the idea of "it is what it is" and that most matters are above her.

Feels like ominous foreshadowing for a later reveal + an indication of how the previous Emperor's shadow hangs over everything to some extent. (Side thought: there's no actual curse on the imperial family causing the current Emperor's heirs to die, but perhaps Jinshi would feel like there is one)

Introduction of Maomao's favorite concept/word–conjecture! She emphasizes how her dad drilled into her that she shouldn't go off of conjecture alone, yet she often engages in speculation to the point of it kind of being her "thing."

A fateful meeting. Jinshi notices Maomao but she doesn't see him (and is too busy thinking/working out a problem in her head–very on the nose for their relationship going forward).

I also like how this was drawn with the white outline around the both of them! I think it is more apparent around Jinshi, but it does envelop them both and put them together, which is interesting.

Maomao sees Jinshi for the first time. And going back to my prior pin on beauty! – Maomao's perception of Jinshi is tied to her thinking about the concept of him as a woman. There's almost a disappointment in how his beauty is not possessed by a woman.

This is very indicative of Maomao's actions. A large part of her character involves not only figuring things out and possessing/acquiring information, but obscuring things/holding things back (in regards to both what she figures out and how she presents herself). This also speaks to how Maomao even suppresses certain feelings and realizations in her own mind.

I feel like there is an instinct to write Maomao off as a cold loner type, and while part of this moment involves Maomao's relief at seeing the princess alive and healthy, I think (especially with how it is depicted) it shows a warmth for life and children. Maomao cares! You see this sweeter/softer (and protective) side of her in her interactions with Xiaolan as well.

Maomao is all about that social hierarchy and knowing her place. Beauty and status are perhaps lenses through which she sees the world (interesting that a certain character will land at the highest level of both of those XD)

My confession is that before I watched the anime and was just seeing people post about Jinshi as a sort of "silly little guy", I made assumptions about his intelligence and depth. I was very pleasantly surprised by the scene where he deduces Maomao left the note because she is the only one who can read. It even catches Maomao by surprise! Then again here, his ability to solve the sorts of little mysteries that will essentially become Maomao's main purpose goes to show their compatibility as a pair (that will work well together).

This moment and quote just hits me hard every time. Beauty and life, how they interact, and the value of both will continue to be explored. It also directly shows how Maomao's experience of the pleasure district informs her ability to understand and navigate the rear palace.

And that's all for chapter 1! Onto the next.

[mana-jjk]

jjk manga spoilers !!

if you aren’t caught up to the most recent chapters, you will be spoiled and i refuse responsibility because i’m just vibing my life away

something i use to kind of sway back and forth between inuokko is when i thought they’d get together.

i think it’s mutually agreed that the dynamic between toge and yuuta in their first and second year does have a slightly different vibe. not in a bad way, just in a mutual transition in their dynamic and relationship. of course, that’s just what we can gleam from a handful of pages.

first-year inuokko is definitely more of an awkwardly sweet, teenagers in love for the first time, trying to figure out who they are and how they interact. there’s room and space to grow, a singular year that only acts as an introduction to what is to come.

second-year inuokko is more of an established confidence, knowing each other as friends, fighters, and everything in between. they’re no longer the youngest generation of the school, now they’re established not just between themselves, but also in their lower class men. more than that, they’re also exploring the effects of new trauma and how that impacts who they are.

i’ve seen this characterization of first-year and second-year dynamics being turned on their head. yuuta transitioning from shyness to confidence, toge from being the reliable figure to learning how to rely on yuuta. that’s why it’s so hard to pinpoint where they would get together, because both dynamics are really sweet and strong. i think that’s why inuokko has remained so strong over the years.

lately though, i have been thinking about that in particular. trying to understand these characters and where their dynamic takes off because it sets the tone for a lot of the major events that take place.

toge losing his arm, yuuta in shibuya, killing yuuji, the reunion, and most definitely the recent manga chapters.

as much as i like to think about them in terms of an established relationship, i truly think that inuokko wouldn’t be successfully established until during or after. in other words, i think their strongest coming together comes after their first year, after yuuta returns from being abroad.

yuuta as a character is one that desperately craves connection. that is a defining characteristic that drives his motives throughout jjk 0. he’s lonely, he wants to feel a sense of belonging if with even one person.

however, the issue is that he is transitioning from several life-changing events that allow no time for process or recovery.

in less than a year, he was responsible for multiple injuries and deaths in classmates and sorcerers investigating them. he was sentenced to death, had the sentence lifted, and was sent to a school for sorcerers. he was immediately targeted by getou, faced several life-threatening situations, and even if just for a moment, thought that the tentative friends he made were dying by getou’s hand. he then proceeds to try and sacrifice his life to murder the absolute crap out of getou and then loses the remnants of the only friend he had for years. this is not to mention the bullying, being ostracized by his family, and being uprooted to a completely different environment.

even if yuuta grew up in a completely different world than the others, his relationship with human interaction is extremely poor. during this time was the only opportunity he had to finally grieve rika’s death.

that’s why it’s so vital that he’s not immediately jumping into a new relationship. even though i don’t see the dynamic between yuuta and rika as inherently romantic as they got older, it was the closest thing either of them had. (i say this because rika often conveyed a mentality of a little girl as a spirit, they might have loved each other as kids, but their mentalities are too different now).

yuuta needed to take that time to enjoy companionship platonically in order to develop emotionally. even more so, he needed to learn how to cope and live in a healthy and productive way. with the loss of rika came the loss of any power he had, a newfound freedom and disadvantage he had to work himself through again.

going to africa was essential for that reason !! he needed to learn how to navigate himself without placing too much dependency on any one person. it kept him from self-sabotaging, but also granted him the opportunity to learn that there were people willing to wait for him.

so that time in africa with miguel wasn’t just time to hone his physical and cursed abilities, it was an opportunity to grow into a more stable mindset before taking any other steps forward.

with that being said, yuuta is absolutely insane. like, i’m sorry but if you don’t agree, talk to the wall because i’m not budging on this. mr. okkotsu did grow into a more confident and self-assured person, but it doesn’t completely erase the traumatic experiences that developed him into the person he is today.

rika was and very much still is an extension to the kind of love he understands and conveys. becoming a monster for those you love, gladly and willingly, to sink your teeth into the viscera of their soul and hold tight. because otherwise, they might just slip away.

we see the frantic energy that rika used to utilize in protecting him not gone, but transitioned into a more clever application in yuuta’s actions. i see this especially in his speech that i discussed about gojo a while back. in how angry he was about toge’s arm. in the way he took on the culling games by himself as atonement.

rika always was a reflection of the darkness inside of yuuta. one that allowed him to pretend like he was helpless, when in truth, he always held a strong capability for the violence.

rika vs. yuuta’s bullies

yuuta vs. getou

he consumes darkness in order to protect the perceived light in his life.

it’s less that he needed to be sent away to address that, and more that he needed time to accept that.

we see a confident yuuta, not because the darkness has disappeared, but because he has learned to control and weaponize it.

his desperation for connection is still very prominent in his character, you can see it especially in how he lashes out in regards to gojo. it’s not that he’s especially angry with everyone else, and more that he needs them to feel these connections on the same level.

there’s visual relief in how he expresses himself when toge, maki, and panda audibly extend their support. he needs to have that tangible desperation and need returned in full. if loving means becoming, the boy who consumes curses will do beyond what is necessary.

in that, you can see an almost contradiction to the similarities between yuuta and yuuji. two boys cursed with immense love for their friends.

yuuji who consumed a finger to protect those around him, who set out on this life to save others and guide them to a proper death. who lost his friends, his mentors, everything and everyone who mattered most. who now straddles the line of life and death all in sacrifice.

yuuta who cursed his childhood friend, who consumes curses to absorb their abilities. who set out on this life to avoid the pain of loneliness and find connection in his lonely world. who somehow managed to not lose any of his friends. who chose to take the only casualty he suffered, his mentor, to sacrifice himself to bring him peace.

they’re so similar and yet so inherently different because of one key characteristic. where yuuji’s actions are selfless, yuuta’s motives have always been selfish.

he brings yuuji back to life, not because he cares too much about killing him, but because gojo and his classmates care about him.

he takes on the culling games because he feels guilty about not helping his friends before.

he kills his mentor’s best friend body snatcher, not because it’s right, but because he doesn’t want gojo to do it.

selfless actions, selfish reasons.

and yuuta knows it.

he accepts it, he embraces it, he doesn’t even try to hide it.

as a first year, he might have shied away from acknowledging it. flustered and avoided eye contact, tried to explain himself in a way that conveyed something good and positive. tried to not see himself a monster.

but he is a monster.

only monsters could possibly survive the blood-soaked remnants of his childhood and teenage years.

he’s a monster, and it only took a year of training for he himself to realize that, to embrace it.

because being a monster means that the people you love don’t have to be one.

and the cherry on top is that he picked the one group that would know that, would see him, would love him not just in spite of it, but because of it.

maki figured him out from day one, and panda doesn’t exactly have the importance of morals high enough to care.

toge is the biggest surprise, because his characterization might lead you to think that he would be heartbroken by the choices yuuta would make.

but it isn’t compassion that defines toge so strongly, it is acceptance.

his ability to not see past the viscera and gore covering his soul. his ability to watch with utmost vigilance and choose to move forward regardless. he wipes the blood streaking his cheeks, not to pretend it never happened, but to share in it. to share the responsibility.

to be a jujutsu sorcerer is to not hold life in the highest regard. instead, it is to learn how to live past the bounds of morality and personal responsibility. it is to understand that you walk a gray line that forever tips into an unending darkness.

second year yuuta is one all too aware of this, who knows it far more intimately than any person raised in this society. and in spite of it, he choose to dig his nails into the edge and tip back. trusting, knowing his friends are only a breath away.

he needed the time to understand that more than anything else.

lmfao i consider myself the biggest toge lover, but i also love yuuta very much. he’s so batshit and it’s so enjoyable to me. i think they should hold hands and stuff ! 1,700 words of me just rambling about them - now it’s mana pls stfu hours

[cherealta]

I've gone back into an huge high school story hyperfix for No apparent reason for this past month and half so i decide to make a new tumblr! it's been a while since i've been in an fandom space so i decide to stick to an more niche(? i guess) fandom with not so many people still here as it's not as overwhelming for me.

these girls have been with me since 2013 and 2014 respectively with many many different changes! however their core characteristics have stayed the same.

(more info under the cut!)

i was planning on drawing them about a week ago buuut my drawing tablet has decided to die on me and my only drawings of them are from <2022. which isn't ideal. then i remembered a few days ago i can just create them on sims, so for the time being i'll use ts4 as a way to visualize them until i get a new tablet!

a little brief introduction to them -

vivienne is my high school story prime mc and she transfers over to berry high in her sophomore year. bc of this the timeline is a bit different to the canon one (especially since the choices games are canon to the original timeline) as in my tl hss prime takes course from her sophomore to senior year (there's NO way all the stuff that happens in hssp happens in one year!!! pixelberry u can not convince me otherwises!!!). side confession but despite hss/hwu being an defining part of me i've never touched choices... which means i've just never considered were those games would fit into my timeline. so i guess i'd consider my tl an au.

agnieszka or angel is my hollywood u mc who i miss dearly and i'll forever be torn up by the fact that hwu is unplayable now. she's vivienne half sister (vivi is a product of affair. there's A LOT of lore that i'll hopefully go into in later posts) and the two aren't aware of eachothers existence until around 2010. despite this angel loves the fact she has an younger sister, even in unconventional circumstances, and wishes to grow closer to her. vivienne is hesitant at first but by 2018ish they have a very good relationship!! sure it takes a while but the two had to overcome a lot when it comes to their family.

for the years vivienne starts berry high in 2013 and agnieszka starts hwu in 2014 (basically when the games came out). they don't start having an consistent relationship until about mid-to-late 2015.

also this is my first time doing character sheets that aren't heavily drawn so hopefully they aren't too hard to read/understand. this is all i'll say for now as i don't want this post to get too long! i'll drop more info abt them as this month goes by.

[pynkhues]

https://x.com/lestatdelioncat/status/1858608673855336516?t=KsAra9iHb3aUiMDx21TF2w&s=19 I dont understand what Jacob meant by this and I definitely would argue that Louis isn't the most vampire but that Claudia is

Mmm, yeah. My interpretation of what Jacob’s saying there is that Louis has an enormous capacity for self-indulgence, and its because he has that, that he has to restrain himself so fully. That makes sense to me, I think we see that in 2.05 in particular between all the boys and the drugs, but I think we also see it in how he bottles things up until they explode out of him and he does things like murder the Alderman Fenwick in a pretty gory and performative way, and, y’know, swims the Mississippi to get at Lestat (in more ways than one!)

Does that make him more vampiric? I don’t know if I think that does, but it begs the question of what you think determines a vampire’s core characteristics? It’s an ever-evolving archetype, and has definitely gone through a lot of iterations in the last twenty years in particular, but I think if you’re looking at the origins in traditional gothic literature, Louis is in many ways the quintessential vampire.

So! Let's have a look at that.

The origins of the vampire

The concept of a vampire in literature was actually created in the same summer retreat that Mary Shelley wrote Frankenstein in, which is a delightful little slice of history. You can read more about it here if you’re interested, but the nuts and bolts of it is that a freshly-divorced Lord Byron, his doctor, Dr. Polidori, as well as Percy and Mary Shelly, and Mary’s stepsister, Claire Clairmont (who was pregnant with Byron’s child, a child he really didn’t want), went on a summer retreat to Switzerland together, and basically just spent months reading each other ghost stories which ultimately culminated in Byron suggesting they have a competition to see who could write the best one.

Hilariously, none of them really wrote a ghost story – Mary Shelley wrote Frankenstein, and Byron actually wrote two things, although he only finished one – a poem called The Darkness which is effectively a dystopian poem about the end of the world – and his unfinished project was a novel about a dying man who swears he’ll be resurrected to visit his friend after he dies.

It's this that’s actually taken up by Byron’s doctor, Dr. Polidori, who turns it into the 1819 short story, The Vampyre, with the lead character being heavily based on Byron himself.

In Polidori’s story, it features a man, Aubrey, observing his rich, sexy male friend, Lord Ruthven, who has superhuman strength and can’t be killed by bullets, and who seems to keep seducing women important to Aubrey right before they mysteriously die. Basically Aubrey slowly realizes through mounting dread that Lord Ruthven survives by drinking the blood of innocent women.

I’ve talked a lot about the Byronic Hero (and how I think Louis embodies the trope), so I won’t go too much into it here, but my point is that the original concept of a vampire is inherently built on those romantic ideas of class and wealth (which is important for reasons I’ll get into shortly), sophistication and intelligence, hiding in plain sight and seduction, and is generally understood to have queer subtext which many read into the relationship between Aubrey and Lord Ruthven (Ruthven literally seduces and murders Aubrey’s lover and his sister, isolating him to his companionship). He’s also inherently Byronic, being first started by him, and later based on him – Byron truly isthe I-don’t-know-if-I-want-to-be-him-or-be-with-him guy of literary history, haha.

Building on the origins and evolving the metaphor

It was the late 1800s though when some of the most genre-defining stories were published. The two biggest being Joseph Sheridan Le Fanu’s Carmilla (1871) and, of course, Bram Stoker’s Dracula (1897). The genre had evolved already at this point, but the archetype actually didn’t change all that much. In fact, the vampire as someone who is rich, predatory and seductive became character traits that became metaphors in and of themselves, namely as a class metaphor. This was started with Lord Ruthven in The Vampyre, but it’s really expanded here, particularly in Dracula, who’s understood in the context of the 1890s to represent the solitary nature of monopoly capital that sucks the life from the labouring classes. He hoards his wealth through land and gold, and preys on the working class.

There’s been a lot written on this, so I won’t labour the point, but the understanding of vampires as symbols of aristocracy and capitalism has always existed, and I know that we joke about Louis being the first vampire capitalist, but it’s actually not true. Capitalism has always been a vital part of the genre, because class has always been a central tenet of classic gothic fiction, for better and for worse.

Wealth and class is also central to Carmilla. It’s set in the 1800s in Austria while the wealth gap between the rich and poor is increasing, and Carmilla comes from an aristocratic, old money family. She benefits from being rich, and she uses her social power as a rich aristocrat in order to seduce and prey on people in the lower classes. Again, the entwining of wealth and class is really prevalent, but interestingly too, Carmilla’s the most explicitly queer of all of these early vampire stories, with the lesbian relationship woven through it effectively textual, but Joseph Sheridan Le Fanu also posits two means of being turned into a vampire, which is kind of uniquely interesting to me.

One is the way we know – vampires turn vampires, but the second is that vampires are people who’ve been rejected by God, whether due to suicide, as explicitly stated in the book, or excommunication from the church for a sinful life. While this hasn’t literally carried forward much in the genre, I do actually think its still there. The elements of sin and quote-unquote ‘corruption’ are still threaded through most vampire fiction even today, and while hedonism is more common in modern vampires, there are elements of misery that feel pervasive. The idea that vampires are born either through being turned, corrupted or dying by their own hand is just one that I find really interesting, and I think also speaks a bit to elements of the Byronic Hero that the vampire is inherently steeped in as an archetype.

…And evolving some more

It was actually Anne’s books in the 70s that relaunched vampires into the stratosphere popularity-wise, and they did evolve in theme and metaphor as a result. Vampires are understood to be manifestations of current anxieties, which yes, in the 1800s was the rise of monopolistic capitalism, female sexuality and homosexuality, and in the 70s through 80s became metaphors for anxieties around STIs, the AIDS crisis, and addiction in particular, but these themes of class and misery never left the genre.

That said, the Vampire as an archetype in and of itself was also informed in this period really by the Milton’s Satan archetype which has gone on to form the modern concept of the anti-hero. I talked a lot about the Milton’s Satan archetype here in terms of Lestat, but the important thing to note is that it holds to the idea of a protagonist as a fallen angel who becomes a hero-villain, hedonistic, vain, proud and horribly, terribly human.

So, do I think Louis’ the most vampiric of the vampires?

Yeah, actually. In a lot of ways, Louis marries all the foundations of the traditional vampire. He’s as wealthy, intelligent, and seductive as Lord Ruthven was, but he really feeds into the late 1800s vampire as a symbol of the parasitic nature of monopolistic capitalism and landed wealth. He chooses to be solitary and rejects community, he’s using women’s bodies to keep his family in wealth, he’s hoarding and commodifying art and wishing death on artists to increase profit, he’s gentrifying San Francisco, he’s turned in a church on a night he likely would’ve commit suicide, tying back into Le Fanu’s idea of alternate ways of vampires being turned, hell, he’s even doing drugs with addicts in the sprawl of the seventies, using his social power over Daniel by flaunting his wealth to get him into a room with him.

And he’s a Byronic Hero. So he’s miserable while he does it, haha.

That joy in the hunt that Claudia has to me is more like Lestat’s, which I do think as I said in the Milton’s Satan / Fallen Angel archetype post is more tied up in the demonic than the vampiric, traditionally speaking. There’s definitely crossover though, especially as Milton’s Satan has informed the modern anti hero, and vampires are generally always anti heroes in modern fiction. I don’t think Claudia necessarily is a Milton’s Satan either – I’ve said it before, but I think she’s a true Gothic Heroine – but she definitely has some of those attributes of a fallen angel, particularly in the sense of hedonism and perversion of form and family.

In a lot of ways, it’s part of the fun with Claudia – she gets these elements of both Louis and Lestat, and gets to be her own thing too. Her vampirism is its own unique monstrousness, but I don’t think she plays as cleanly into the traditional vampire as Louis does.

I'll leave it there, because this is way more than you asked for, anon, haha, sorry. Hopefully it's interesting.

[toastandjamie]

You know I think the most compelling thing about Mat is? He’s a subversion of literally everything his character is Supposed to be. He’s the rogue archetype but he’s not a lonewolf or even particularly cowardly despite his insistence in the contrary. His major character trait is his Loyalty, that’s his defining characteristic. Not his wit or even his charm though he has both, the thing that all other characters around him mention is that he’s loyal and true to his word. Not the most Rogue-like personality traits.

But he’s not even just a subversion of the rogue archetype. He’s also a subversion of masculinity in a lot of ways, he’s described as wiry and isn’t especially tall. He ISNT physically intimidating, which stands juxtaposed to him being one of the greatest generals and fighters in the book. I really like how the fact that he isn’t what people expect is one of his strengths, he’s chronically underestimated by other characters. When he’s hunted by darkfriends they often send big classic street thugs after him and expect him to be overpowered because unlike Rand or Perrin he doesn’t LOOK strong. Only the moment anyone actually gets into a fight with him they’re taken off guard by his absolutely brutally he fights. And he’s not actually that physically strong, he’s certainly not weak by any means, but compared to many of the other characters and enemies they face Mat isn’t particularly strong. He instead outsmarts his opponents, he’s faster and more agile, he takes advantage of distance fighting mostly with throwing knives, polearms, and long bows.

Compared to the other Ta’veren he’s also the least traditionally heroic, “he’s no bloody hero” isn’t entirely a false claim. He’s the only one the three Ta’veren boys that doesn’t have a crisis of conscious over being violent in battle, sure he’s got the sane hang up as Rand about killing women, but he had no issues with immediately employing guerrilla warfare against the Seanchen and never takes prisoners. The Aes Sedai tell him off for leaving leaving wounded enemies without aid, breaking the rules of warfare, and he tells them that he doesn’t care about being honorable. And he doesn’t, Perrin and Rand(particularly in the beginning and end of his character arc) tend to be very honorable and respectable opponents when they aren’t fighting Shadowspawn. Mat will cheat and trick throughout battles because he’s first and only priority is keeping himself and as many of his men alive as possible while killing as many enemies as he can. He’s vicious and efficient, Perrin went back for the Whitecloaks in Towers of Midnight, where Mat wouldn’t have. He helps invent canons and immediately begins trying to make the automatic crossbows faster, because his priority is always doing the most damage to the rival army before retreating to safety. Mat’s style of warfare is certainly reflective of RJ’s experience in Vietnam. The Band literally wears camo armor.

Lastly is Mat and Tuon’s relationship. When we first learn of the Daughter of Nine Moons prophecy, Mat always describes this future as her appearing from the ether and spiriting him away, and Egwene’s vision is of Tuon wrestling Mat to the ground and collaring him. We are set up with the expectation that Tuon is going to be the one chasing him down and capturing him. Then Mat kidnaps Tuon and you’d think “oh there’s the subversion Tuon’s the kidnapped damsel” but BAM we get another subversion because Tuon CHOSE to be kidnapped, and Mat fell head over heels in love with her, like tripping off a cliff. She didn’t capture him physically but she certainly captured his heart and that has always been a much more effective collar and leash than any physical one you could put on him.

I just love Mat being so unexpected to both the audience and other characters. I love how he’s just a walking contradiction, of being irresponsible but loyal, being vicious but compassionate, being foolish and clever. He’s everything and nothing, complicated and simple. I love him.

[breitzbachbea]

"The literature of the Hellenistic period began to place more emphasis on male sexuality. For instance, in Apollonios's Argonautika, the third-century BCE reinvention of the epic that narrated the journey of Jason and the Argonauts for the Golden Fleece, Jason is not only handsome, a common characteristic of heroes since the Homeric epics, but also sexually alluring. Charles Beye has argued that this is the defining aspect of his character. Jason's sexual allure attracts women, particularly Medea, whom Jason recruits to his cause and convinces to betray her family. It can be argued that it is the magic and cleverness of Medea, rather than the heroism of Jason (who is not portrayed by Apollonios as the smartest of men), that allows the Argonauts to succeed and propels the action of the story. Jason's contribution to the success of the endeavor is therefore his ability to make women, Medea particularly, fall in love with him and follow him despite the consequences. This makes Jason a distinctly Hellenistic hero, since in contrast to traditional epic heroes, like Achilles and Odysseus (who were certainly also attractive and who had numerous sexual relationships), Jason's dominant characteristic is his power of sexual attraction. As Beye states, "His sexuality is simply the essence of his being." The literary example of Jason demonstrates that men were now viewed not only as sexual aggressors but also as objects of sexual desire for both women and other men."

Herring, A., Sexy Beast: The Barberini Faun as an Object of Desire, in: Journal of the History of Sexuality 25/1 (2016), 59.