#but! we all have problems of this sort

[sylvanium]

Seriously, no field of study is safe from these kinds of jokes and judgmental words.

When you do history, you get to hear “Why do you waste your time learning about the past long gone? That’s soooo boring!” a lot. A lot a lot.

When you do astrophysics, you get the series of "Big Bang Theory" jokes on you, and you are usually called by the names of one of the characters.

If you do literature or language, you are either a “boring bookworm” or a "another wanna-be writer”.

When you do arts, you are a free-living spirit, not suited to live in the “real world with real problems” and “you probably end up a drug addict”.

And if any of the above-mentioned fields are connected to the word like “women / female / gender / queer / whatsoever”, you are doomed right away, because “why would anyone ever need a degree for that?”

You see, we all have this kind of problem. Just don’t take it too seriously. Would your colleagues say any shits like this? I don’t think so. They may tease you for something very field-specific, but still, they probably respect you and your research as well. Why do you care if your hairdresser doesn’t get it? Why do you care if your family is not understanding? Do they have a degree in the same field? Do they criticise your work as your peer reviewers? Yeah, I don’t think so.

You either want to do your thing and therefore you don’t give a shit about anyone saying anything about it, or you cry and feel misunderstood by the whole world - and that’s a waste of time you could spend studying. :)

The curse of a mathematician is to work in a disliked field

[sonknuxadow]

its kinda funny that the chaotix are like the only characters who mention having to pay rent or buy food or whatever and theyll take any job that pays because theyre desperate for money but none of the other characters are struggling in this department at all even though most of them dont seem to have jobs. its like the concept of needing money to live exists for no one in the sonic universe EXCEPT for vector espio and charmy

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[theaceace]

Hob is woken, not by the shrill cacophony of his alarm or the sunlight hitting his face where they'd forgotten to pull the curtains last night, or even the warmth of Morpheus' hands and mouth, but by the sudden dip in the mattress as another person flops onto the bed with them.

Several lifetimes' worth of instincts see him jolting awake in an instant, heart racing and sweat already beading on his back and brow. Hob may not be able to die, but he's been ambushed in his sleep more than enough times to be getting on with, ta very much, and he's not keen to do it again. Suddenly he's twenty-five, and exhausted after days of marching on Troyes, feet sore and heart sorer, waiting on a battle that never came. He's twenty-eight, and the knife that flashes in the darkness misses his throat only because Herry has ears like a bat and enough blind-foolish loyalty to leap on their attacker's back. He's seventy-three, and lying barely-conscious among the dead that need burying or burning, and he knows that he needs to rouse himself even with the arrow still in his chest, or he'll be burnt or buried with them. He's two-hundred and sixty-four, and they've come to the home he'd made for his family, to drag him from the bed he had shared with his wife some thirty years before, and haul him away as a witch.

He's gripped now by the same fear, and it has him up and moving, one hand fumbling at the bedside table for anything with enough heft to dent a skull before he realises that none of his attackers have ever smelt like peaches.

Beside him, Morpheus shifts just enough to free his face from the clutches of his pillow.

“That key was given to you for use in emergencies, my sibling,” he says, voice thick with sleep and the cotton pillowcase.

Desire stretches luxuriously between them and smiles, fox-sharp, at Morpheus. They roll their head to look at him – beneath the perfume and sweat and wet pavement smell of them, Hob catches a sour waft of alcohol.

“Oh but my dear brother, this is an emergency,” they say, and – look, Hob has been drunk enough to recognise the exquisitely deliberate care at the edges of their words. He huffs a little, pushes himself up so that he can slap a hand on the bedside lamp and blink furiously against the sudden light. It takes a few seconds for his vision to clear, and he rubs his hands over his face in a vain effort to convince himself that this is some new nightmare that Daniel is testing out, before he gives in to the inevitable and turns to examine their guest.

"And what could possibly be so pressing at –" Morpheus snatches Desire's wrist up to stare blearily at their watch "– two thirty-seven in the morning? That could not be expressed in a phone call or wait until a reasonable hour?"

"Do you know, brother mine, how many partners I found to dance with? Whose desire for me, once so integral as to be a given, I had to simply guess at? To read in the curve of a smile or the enticing lull of a question? I didn't know them, not a one, and can you guess, sweet Dream, how many of them took me to their beds?"

And Hob has heard quite enough of that. He stretches and tosses back the sheets, while Morpheus shoots him a filthy glower that softens immediately into a plea for respite with his sole visible eye. Desire either doesn't notice this silent communication, or doesn't care.

“None!” They crow gleefully, clasping their hands, and Morpheus scowls as he's jostled in place.

It's not that Hob wants to leave him to fend for himself against his sibling, only that he doesn’t fancy being in the firing line when Morpheus inevitably snaps and thumps Desire with a pillow.

Doing an admirable job of ignoring Morpheus' wounded expression, Hob groans and lurches himself in the vague direction of the kitchen. Might as well put the kettle on for this.

"Jasmine or apple tea, love?" He calls. No sense having any caffeine now. If they're lucky, Desire will wear themself out quickly and they'll be able to go back to sleep before the alarm goes off.

"Apple, if you would," Morpheus replies.

"Ooh, I'll have jasmine if you're making."

"Didn't ask you!" Hob shouts back, already adding a spoon of sugar to the third mug he'd fetched down for them. 

“Oh, so forceful! You know, if you ever get tired of my stick-in-the-mud brother here…” Desire trails off meaningfully, and Hob snorts, smiling a little to himself. They know full well it's not going to happen, however much or little they remember about his desires, and even if he were – impossibly – to change his mind about Morpheus, they'd get bored of him soon enough. 

He sets all three mugs on a tray, and grabs a pack of chocolate digestives while he's at it. Morpheus would never admit to being fond of them, but he doesn't need to. Hob's watched him absent-mindedly devour most of a packet while he pecks one-handed at the keyboard. Besides, Desire could probably do with something to line their stomach. 

“Is being human always this delightfully contradictory? So baffling and solid and… damp?” Desire asks, lifting their head just enough to peer at Hob as he re-enters the room. It's a moot question, of course. They've been human long enough now to know that the answer is, largely, yes. 

“Often. But do you know, my sibling, the very best part of being human?” Desire turns lazily to look at Morpheus, smiling wide. Their lipstick today is dark purple, and smudged at the corners of their mouth. 

“Mm, do tell. You know how much I crave your… wisdom,” they say, rolling the words indulgently over their tongue. Hob sighs and nudges Morpheus’ book to one side so he can set the tray down on the nightstand on his side of the bed.

“It is that it is no longer against the Old Laws for me to do this,” Morpheus says, planting one foot against their side and shoving hard enough that they topple off the bed with an outraged squawk and undignified thump. There's a blessed moment of stillness, the same kind of breathless anticipation that Hob remembers from the battlefield, before the charge and the mud and the pain. Then they pop back up over the side of the bed with a cry and launch themself at Morpheus. He'd be more worried if he couldn’t hear the laughter in their voice, nor see how their outstretched hands target Morpheus’ ribs and armpits, rather than his eyes.

Hob's sisters have been dead for centuries now, but he remembers this well enough.  Maybe if the Endless had ever been anything like children, they might have gotten all of the murderous posturing out of the way before they grew up enough for it to be a problem, he muses. Still. Better late than never.

He takes a sip of his own tea and grabs a biscuit. Lord knows he won't get a look in once Morpheus has finished trying to jam his elbow into Desire's stomach and realises they're there.

“It was never against the Old Laws for you to be a bastard, which is lucky because you always were one!” Desire gasps, writhing away from Morpheus’ pointy limbs. Hob's been at the receiving end of those elbows before, and even when Morpheus is being gentle, they're decently sharp. He wonders idly if either of them'll tire of this before their tea goes cold, and decides not to intervene either way. Serve them both right if they have to drink cold tea.

“You tried to kill me!”

“Don't tell me you're still hung up on that?”

“I am, because you tried to kill me!”

“Well it's not like it worked!”

Not really the point, Hob reckons, but then again he's had plenty of mates that have tried to kill him. 

“More by good fortune than good judgment,” Morpheus hisses.

“Oh, so you admit to your poor judgment?”

Hob snorts, and the wounded look Morpheus swings towards him would fell a lesser man. Hob takes another biscuit.

“Ha!” Desire takes advantage of his momentary distraction to lock their arms around his shoulders and blow a loud raspberry against his cheek. Hob doesn’t think he's entirely successful in hiding his smile. Morpheus doesn't even try to hide his look of disgust. 

Well, he had to learn the downsides of being an older brother at some point, Hob supposes. 

Judging that the worst of the scrapping is over, he perches on the edge of the bed and pats Morpheus’ flank idly. Desire, loose-limbed with alcohol and triumph, flops over him to reach for their tea. Morpheus magnanimously doesn't jab his fingers into their exposed side.

“Thank you, Robert darling,” Desire says, eyes half-lidded as they drink. It comes out far less coquettish than Hob imagines they intended; too genuinely content. Morpheus sighs, and frowns, and doesn't quite do a good enough job of hiding his own ease as he sits up and leans against Hob. 

“I suppose you intend to stay the night?” Morpheus asks. There's nothing of the dignified dreamlord about him now, with his hair flattened on one side and just a little lank, and pillow creases on his cheek. He peers at Desire, half of his weight still supported by Hob, who takes another slurp of tea and polishes off the last of his biscuit. It's still unbelievable, sometimes, that he may see his dour and distant old stranger like this. Something tangible, something grounded, something he can hold. Unbelievable, too, after the way they had almost parted, after the way Morpheus had almost –

Well. Doesn't bear thinking about, really.

“Mm, yes, if you'll have me.” Do they have to work to make everything they say sound like a double entendre,  Hob wonders, or does it come naturally? He's not entirely sure they even notice they're doing it. 

“You're always welcome,” Hob says. “Guest room's all made up, and there's a spare toothbrush under the sink you can have.”

“How very kind. Dream, dear, isn't your man kind?”

“Unreasonably so.”

“Ta, love,” Hob says, pressing a kiss to the corner of his mouth. Desire rolls their eyes theatrically, as though that might mask how their expression softens. “Now drink your tea, I'd like to get a few more hours’ sleep before I need to get up.”

Morpheus grumbles but straightens up, plucking his mug from the nightstand and cradling it in one hand while he reaches for a biscuit with the other. 

“Should we expect any of our other siblings to join us tonight?” He asks, managing somehow not to spray crumbs everywhere as he does so, which is a bit unfair. Hob has centuries more experience talking through mouthfuls of crumbly biscuits, and he still can't do as good a job of it. “I take it you did not venture out alone this night.”

“No I didn't, but don't worry,” Desire says, tilting their head back as they drain their mug, a neat ring of purple left behind on the ceramic. “My sweet twin is unlikely to make an appearance. I certainly hope, at least – she went home with that little exorcist friend of yours. If she comes here, then something’s gone dreadfully wrong.”

They grin, cat with the cream pleased at the expression on Morpheus’ face, and flick their hand in something like a wave. “Well, goodnight brother! Robert.”

They flounce away towards the spare room, and Hob presses his smile into the curve of Morpheus’ shoulder.

“I hate them,” Morpheus grumbles. Hob kisses the bony jut of skin where his t-shirt has slipped, once, twice.

“No you don't,” he says. Morpheus sighs, sets his mug down, and returns to hold Hob's face still for a proper kiss. Not that Hob would try to get out of it. 

“No,” he agrees softly, pulling Hob down with him for a cuddle onto pillows that still smell a little of peaches. “No. I do not.”

[rivkae-winters]

Happy Loveless opening day!!

This is pertaining to the next little write up I’m working on, coming… Eventually. In reactor 5 when Sephiroth and Genesis talk, Sephiroth refers to Genesis as “petty”. This exchange is relatively accurate to the initial Japanese as well.

Just like last time here is the Reunion version and here is the original English release. [Sorry for the time stamp link, I couldn't find a stand alone video.]

Like previously, this poll isn’t going to influence my analysis- I’ve already outlined my thoughts on the matter. I am simply curious what the general community perception is.

Please tell me your thoughts in tags, replies, or reblogs if you are so inclined! This goes even if you didn’t press the nuance button! I live off discussion, it fuels my being There are no dumb replies 💜

Lil guys courtesy of @thisteaistoosweet

Also sorry this is nowhere as polished as the last poll I had- I’m not doing that hot still but the timing of Loveless opening night was just too perfect.

[mxtxfanatic]

@transparent-internet-maker I feel bad about going back and forth on op’s post, especially since I can’t comment in the notes, so I’m just gonna make a new one. It’s come to my attention that idek if we’re discussing the same source material, so just to put it out there: I am discussing resentful energy as presented in the novel.

With that said: Wei Wuxian couldn’t have survived 3 months without food while heavily injured, but the Burial Mounds is never described as a land where no life can live. In fact, we at least know it’s wooded area. He very likely scavenged whatever edible (or at least non-fatal) plants he could find and hunted whatever meager animals may have wandered in. What he most definitely could not do, however, is survive off of resentful energy. In the novel, it is not conscious. It is not sentient. It’s not “deciding” to preserve him, and it’s not making any sort of contract with him like this is jjk, whether Wei Wuxian knows it or not. The overwhelming presence of resentment in the Burial Mounds would only have the power to make him feel terrible, and Wei Wuxian’s survival can be solely attributed to his life’s goal of living and living well without holding on to resentment, thus preventing the resentful energy from breaking him as it had likely done to others before him who may have initially survived their entrance into the cursed place. Resentful energy does not in any way, shape, or form benefit living beings when residing in them. That’s both the moral of the story and the physical mechanics of the world.

[lord-squiggletits]

Part of why I hate this fandom's take on Autobots vs Decepticons is ppl (mainly 'con fans honestly) who can't have any nuance of the situation whatsoever and love to write plots like "oh the humans are racist and abusive towards Cybertronians so this is how Megatron is right" no actually I don't think colonialism/imperialism and racism are justified so long as you can point the finger and say "they were the aggressors first" or "their hands are no cleaner than ours bc their society sucks too" sorry. Please come up with better sociopolitical narratives in your war story.

[dont-offend-the-bees]

Fuck I hate being an adult. I need a more adult adult to help with the volatile emotional situation.

[fisheito]

i am still sulking about no aster. (give me a few days and a couple watermelons and i'll be back to normal)

[astarab1aze]

hello! just an update since i ran off again. to be honest, i'm not sure when i'll be back. i'd like to say tomorrow and mean it, but...alas, i just don't have the spoons. i don't know when it suddenly became impossible for me to write, let alone socialize, and i feel terrible but i just can't get anything to come out?? like irl stuff completely aside, the words are just not coming. which is wild and y'all know me, motormouth who just be saying shit all the time, no matter if it's conversation or writing :/ (I've barely even left my house for basic errands, the struggle is real at this time). i'm not saying i'll never be back, but i am saying it'll probably a bit longer, maybe another couple of weeks.

[rearranging-deck-chairs]

Hi hello I watched all of carmilla in a weekend when I was 17 because a student teacher who in retrospect I had a bit of a crush on mentioned that she knew one of the actresses. also I am pretty invested in all your recent vampire stuff because I watched iwtv in 2 days last week because your edit intrigued me

oh hiiii 🫶 thank you for indulging me. thats so cool that you watched iwtv! did it live up to the expectation?

i also watched carmilla at 17! or like, 17-19. i found it when s2 had just started and followed it to the end. did something permanent to my brain but i think it was a good thing. on rewatch now im like, i was right to like this. like it's a solid show, it's good. it has its flaws obviously but it's well written, the emotional moments still get me, i can see why i liked it and i still like it now even when it's not anymore, you know, meeting every need that baby gay me didnt even know they had

what it doesnt reaallyy do though - i dont remember if i posted abt this or if i left it in my drafts but - is explore vampirism as a concept. their subject matter is more lesbianism than vampirism. which is great! thats what they wanted to do and they did it and it's very good. but reading interview with the vampire the book rn im realising how much potential vampires have to be metaphors for like so many things and i started wondering like 'wait, did carmilla just not really engage with it or did it all go over my head'. but it just didnt really engage with it all that much. which again is fine bc that wasnt what they were doing. im glad they were more about the lesbianism than the vampirism

but there's this interesting difference in framing, because in iwtv they keep calling armand 'ancient' right? and emphasising how old he is. and he's like 500? and i was like 'wait isnt carmilla like 400?'. she isnt, shes 340, but still, thats getting there, you know? and we know quite a lot about her history, but kind of just the Big Events. when she was turned, the events of the novella, coffin of blood, silas. thats sort of what we know. but none of the long lonely slog of history day to day you know? with armand i feel like we can really feel how much time everything takes. how every one of those years is made up of single days. with carmilla i dont feel that as much. i keep kind of thinking about daniel, when louis calls him a boy in the first episode, saying "im an old man, with all the triggers that come with it"

because carmilla might look 18 (or mid twenties at this point) but she has lived all that time. shes also seen her native land be claimed by like a succession of ruling powers, right? like armand. shes been buried alive, like louis. when lestat is born, shes already 80 years old, shes lived a whole human lifetime, and the entire adult part of it shes been a vampire. shes lived through 1680-1870 being a lure. i compared her to abigail hobbs in some tags on a post, i dont know if youre familiar with hannibal the tv show, but i do also kinda keep thinking about that comparison

if youre not familiar, in the first episode of hannibal the murderer of the week is this guy garrett jacob hobbs who kills and cannibalises girls who resemble his daughter. and later on it turns out she was made to be his lure. like they'd go places and he'd sent her to the victims to make friends and maybe get them back to their home or smth. not sure if they specified all the details. but that's what carmilla did for mother. and in s2 we hear from mattie that while every couple of decades carmilla had to lure victims for the fish god, she also seemed to just enjoy humans between those times, right? like the doctor, gets lonely, gets a new companion. but we've only sort of got mattie's mocking word for it ("dont eat him, hes a poet! or her, shes got such a wonderful voice. or that one, shes just too pretty to ruin"), we don't know exactly from carmilla's point of view what she was doing or why. if mattie's talking about stuff that happened after the blood coffin, 1950-now, then i think it's a fair assumption based on what carmilla says in the s1 sock puppet show that after she'd figured out what the real situation was and what her role in it was, when she'd started trying to save girls from being sacrificed, that she mightve been doing the same trying to save people from becoming mattie's victims. it's probably more likely that she was just trying to find excuses to stop mattie from sucking someone dry rather than actually having like an aesthetic based morality. but it might be a bit of both. im still trying to figure out what her philosophy actually is, like i dont know what existentialism actually means ghkfjghkj but i will

i also found it pretty striking in the movie when shes turning back into a vampire she says like "this was supposed to be done, you know? the blood lust, the self-loathing, the sleeping tied to a chair in my own bedroom". thats what defines her vampirism, wanting blood and hating yourself for it (the third part is a joke/reference to s1 but also i think meaningful for how she sees her relationship with laura when she IS a vampire. little bit of that 'she will reject me for my monstrousness' shining through). and thats what defines vampirism for lots of vampires across the genre obviously, but i dont know, it struck me. we dont get a lot from carmilla's pov, we know a fair amount about her, but the story is always told through laura. we get laura's diaries, but just snippets here and there from carmilla, what shes thinking, how shes feeling

and i love that shes a philosopher. i love that thats how she seems to try and find something to hold onto, in a world that kind of moves around her, having been murdered, kidnapped, turned and groomed to be a lure on the cusp of adulthood, never having been properly loved (the relationship with her father wasnt good she says in s3, and her mortal mother i dont think has ever been mentioned (like laura's)). the only good relationship she seems to have had for the better part of 3 centuries seems to have been mattie, and mattie seems to love being a vampire. i can imagine carmilla just sort of going along with anything mattie wants to do just because shes so desperate for that friendship. not like, against her will necessarily really. but more like, she hasnt even had the space to develop her own will, you know? and philosophy lets you do that. philosophy gives you frameworks to understand the world and to develop your own opinions on it. and by the 21st century she seems to have developed those opinions, she has a sense of her own values, but shes also still stuck in that same situation. shes jaded and cynical in the face of laura's optimism and strong moral code a lot of the time in s1 because she feels probably pretty powerless. like she does what she can to save some girls but at the end of the day shes scared of her mother and she has nowhere else to go really, right?

i like how she grapples with that over the course of the series, in tandem with laura grappling with her black and white morality. she sort of jumps ship from her mother to laura bc theyve fallen in love, but then laura still stuck in her hero thinking refuses to see her monstrous side. not literally bc i think the biological vampirism never seemed to be a problem for laura, but morally. the having murdered. carmilla needs laura to see that and love her while seeing it bc the last girl she loved rejected her for being a vampire.

but you see her kind of swing back and forth in s2. she softens first with laura but then they break up and she leans back hard into the sarcastic cynic defense mechanisms, leans hard into "im a monster, dont expect heroism from me". but thats like, it's sort of learned helplessness i think. it's powerlessness, resignation. bc morally shes not a monster. maybe she doesnt have as strong a drive to help other people as laura does and is a little more selfishly hedonistic in that she just wants to enjoy her/their life, but she doesnt hurt people for fun, she never has. she just sort of didnt have another option for a Really long time. so she pretends she doesnt care. "im a vampire, this is what i do, this is who i am". but clearly from the way she talks about it when she turns back into one, she doesnt enjoy it

and i like how she goes even further in s3, where she starts swinging even more to the heroic side, bc she sees hope. shes like "wow if we kill my mother, i'd be free". theres hope and she becomes like a lot more active. and shes like that at the start of the movie too, a lot happier, a lot more relaxed, and then vampirism is back and bam depression gfhgkjh like shes immediately more gloomy, ashamed of her past and her self, retreats into herself

sorry i just took this as an opportunity to dump all the carmilla thoughts floating in my head on you. you didnt ask fhkghgjh consider this an open invitation to you or anyone else to come talk to me about carmilla

[hajihiko]

That is generally sad because having parents who aren't really abusive or emotionally straining yet- they don't really feel like people who LOVE you? I guess? Like- Hajime's parents were probably just normal everyday parents like Makotos but, I'm just spit Ballin here, they're less optimistic than Makotos parents, who in contrast, always bonded with their children and loved them right off the bat.

You can feel like a stranger in your family, and that sucks. It's no one's direct fault and no one can point to any huge grievance, which makes it hard to pinpoint, which means you never get the Comfort Of Family or the Tools of Dealing With Abusive Parents- you just. Manage.

[dykedvonte]

I like to think in the P.E au that Anya and Curly specifically get haunted hard by Jimmy's weird reality crossing guilt manifested.

It's targeting them because Jimmy's guilt grows more around them. The idea of him acting and playing nice despite what he did. It's like a buffet that allows it to pick from their plates.

Anya sees this stagnant version of her, blood from her mouth, clutching her stomach with a bottle of pills in her other hand. She's talking about not being heard, a pixel, relief from a burden. She tries to ask a question and it's never the right one. She's not understanding but in a way, she's getting that this version of her is in pain. She tries to help, extends a hand and asks how she can help, stop it. She stares and there's utter despair and disappointment in her eyes.

What did you do?

Curly sees this burnt mangled thing. But he can't call it that. Even with no skin and chipping teeth, covered in sullied bandages and smelling of death overdue, he can see his face. He can recognized that eye, he stares at it a lot in the mirror, usually a second one is attached but he digresses. They are just watching, staring and unmoving. He asks himself what happened, how can he help and his own retched mangled voice comes out from a empty maw.

I told you.

They have no idea what it really means. They don't know who to tell. Flashes of a life they don't know or maybe a future they haven't lived yet. Perhaps they treat it as their own minds trying to tell them something. They bare that burden themselves and that alone makes it heavier. Plumper. More appetizing to the guilt causing it.

Tragically that guilt is not their own.

[envolvenuances]

and I think child modelling should be illegal I'm not even joking

[spotaus]

Thinking about Orchid and her connection to my take on Gender (because this was meant to be about her and the Crew but it just devolved into a character analysis kinda??? More trauma-dumping maybe???) This is very much an oc/personal rant so feel free to ignore it 🫡

So, Orchid started off as a character I didn't really think much of (hear me out this is going to be relevant) because I wanted to add a 'girl' character but didn't know what to *do* with her, y'know? She was always going to be the strongest one there, she had the odds stacked in her favor with her parents. She was always going to be the gloomy side-character to match Reset's energy. But I think she's gone through every stage of Generic Woman I could possibly find.

At first she was angry and abrasive (think Fell!Sans) where every other word was a curse and she was likely to throw the first punch then laugh as she kicks her enemy while they're down. This was when Reset was a cartoonishly self-centered villain whose goal was simply to prove others wrong. Then Orchid became a sort of sisterly figure. This was short-lived, but she was the one comforting people who Reset would torment, but would ultimately follow his orders, because at this point he was actually a danger and sadistic. And then there was the phase where the story mellowed out and she became the token Goth Girl who, yes she was strong, but was heavy on the 'whatever' energy. Then there was her Era of deep self-loathing and anxiety about her worth that held her back and made her a much more timid and meek character who would only lash out on occasion.

Now, Orchid is the best of those iterations I've written yet. She's calm, level-headed, and a natural leader. Her father raised those traits into her. But she's very reactive, and can be silly, and when she's comfortable it's likely that air of importance transforms into something more comfortable and familiar. She laughs loudly and grins wide, she likes loud video-games but loves to read in the quiet. She's extremely disciplined, and normally no one can get through her tough exterior besides her best friend, Reset. She does what she does for her own enjoyment, sure, but she's thought of every angle and makes her choice to help Reset and control the others with her whole chest. She still worries she won't live up to her invisible expectations, and that and her loyalty are her two driving forces.

I know that Orchid is important to me because she's the longest-running female oc I've had. I have a rough relationship with womanhood/girlhood and I know looking back that Orchid recieved every ounce of my distaste for being a woman that I could shovel into her. That never made her less of a character, she was actually always one of my favorites, and rarely was she a 'punching bag oc'. I just... projected onto her a lot. And she's a good sign of how I've learned who I am. I've decided that my own femininity is something I could live without. I'd rather not associate myself with it, and I'd like to leave it in my past, focusing on a future where I'm not tied down with any gender roles or expectations. That won't happen, but I've come to terms with it myself. Orchid though? I figured out through her that I don't have to hate women characters. My own distaste for my circumstances doesn't mean I have to push it onto my characters (on God I've never expressed anything rude to actual people, that'd be rude as hell and uncalled for, but I have a bad habit of disliking fictional women in media). So, Orchid is a well-roubded character finally. She has motivations abd goals and a *lot* more depth than I ever expected her to. She's happy with being a woman, she's content. She's not treated differently for it in unfair ways by those she cares about, so she doesn't mind it. She likes to wear pretty outfits and lets Reset add bows to her ribbons. She doesn't let being a woman hold her back in the slightest.

So, yeah. Orchid is one of my babies. If I ever leave this Fandom behind for good, she's one that's coming with (Ichor, Orchid, and Pretender all have human designs I can use elsewhere lol-) but in the meantime I'll just rotate her around in my brain for a while longer.

If I'm right, she's been with me for nearly 5-6 years and I went through a *lot* with her as an outlet. So, she's kinda just like an old stuffed animal. A lil ripped, matted fur, maybe a stain or two, but there's a story there and that makes it important beyond belief.

[simcardiac-arrested]

hi cream i dont know the meaning of this

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