#but also hard to stop doing when I live in a society that does not care if I live or die. I'm always reminded of it.

[torchickentacos]

If anyone else's windows device taskbar has been giving them too much world health news and prompting anxiety spirals, you can turn this thing off:

by right-clicking any blank part of the task bar, hitting this:

and turning this off.

Signed, 'oh my god I already mask indoors every day and live in constant fear of my jacked up immune system leading to my untimely demise, please stop telling me about fun new diseases'.

[eleu22]

just some random task force 141 headcanons

tw: drugs, dead baby jokes?

gaz

- has been approached by model scouts on nights out with the 141 and is so gassed by it but pretends not to be

- got holding onto his tactical vest straps from price because he thought it looked cool

- popular as fuck in school

- side eye king (canon)

- used to do ket when he was younger and is now paranoid price will find out somehow and be disappointed in him

- highlights during briefings and soap calls him a neek

- deleted tiktok because he got addicted to those ingrown hair removal videos

- borderline illegible handwriting

- type to laugh when hes really mad (its lowkey scary)

- has once described himself as a “thought daughter”

- paces when hes stressed

- terrys chocolate orange enjoyer

- tried to grow out a beard but it was weird and kind of patchy

soap

- will be looking at a nice view and will always say how a huge explosion would make it look so much cooler

- does that thing where he tells you to straighten your legs and then kicks the back of your knee

- cannot stay still in his sleep and has once woken up with half is body off the bed horizontally

- has a comic book collection and if you touch it he will kick you out

- goes to life drawing classes sometimes in his free time

- all of his exam papers had doodles on them

- the type of guy to draw a penis in ur notebook

- all of his socks have holes in them but refuses to buy new ones, some are literally the concept of a sock at this point

- smells his armpits unabashedly to see if he smells or not

- will ask to tell you a secret and burp in your ear

- when someone drops like a plate or a cup is the type to scream “wheey!!” and clap and he did that at a pub once and got them kicked out

- will make a fart noise and loudly blame it on you (especially in packed elevators)

-booger flicker

ghost

- makes zero noise when sneezing but still acts it out and he looks like hes bugging

- nose bridge pincher

- doesn’t clip off his fingernails he literally just bites them off and spits it into the bin

- type to say “well done.” sarcastically

- casual dead baby joke enjoyer

“how many babies does it take to paint a wall?”

“depends on how hard you throw them.”

(silence)

- really enjoys solitaire mobile is on level 177

- he once made a recruit run laps for microwaving tea

- off duty he has terrible posture

- chapped lips 24/7

- favourite takeout is chinese food and always get the vegetable spring rolls - he will buy takeout in bulk and then live off of leftovers instead of actually buying groceries

- has 3 forks one knife and one spoon

- has literally no sense of rhythm what so ever , cannot dance to save his life

- loves making social situations awkward in purpose but would never admit that so he just comes off as slightly off putting a lot of the time

price

- sneezes and coughs ridiculously loudly

- weirdly territorial about his hat (i find it so funny he has a waterproof version of it)

- has a weird mole on his back he refuses to get checked out - his reasoning is if he dies via mole it was natural selection

- has extensive knowledge on art history and hates conceptual art (has a tate membership card)

- licks his finger before turning a page

- casual moomin enjoyer

- cuts his cuticles - likes his maintenance has a beard grooming kit

- says he doesnt watch tiktoks but he watches tiktok dog video complications in youtube and they have the most npc ass audios

- is on the “cigar society” on facebook and gives reviews for them

- does the head tilt of disappointment (if its thrown at gaz he literally will not get over it for days)

- slaps his knee when laughing really hard

- also nose bridge pincher

- is the type of make those hiking comments to people who walk by

- really enjoyed the lego batman movie

- unabashedly itches himself

- takes fish oil supplements

- always puts his hand up to say thank you when cars stop for him

- flirts with baristas

- had a brief midlife crisis where he wanted to become a mystery novelist (still has the drafts hidden somewhere but you couldn’t waterboard that information out of him)

thank you

[dalekofchaos]

AU Asami is Amon by nikoniko_808

Give me the forbidden enemies to lovers Korrasami

Okay I wrote up my own au of Asami as Amon

Hiroshi and Asami witnessed the death of Asami’s mother at the hands of the Red Lotus society. Asami swore revenge on all benders. The corruption of Benders has gone too far and Asami and her father cannot let it continue. So they create a movement. The Equalists. Near the end of season 1. Asami would be nowhere to be seen. The Krew believes the Equalists have kidnapped Asami and when Korra confronts Amon, they don’t see her.

Tarrlok is still captured by Amon, when Korra sees him and they chat, he tells the whole story of Amon as it happened in the show to her and everything. Like it goes in the show. Korra and friends go to confront Amon at the arena where Tenzin and his family are about to lose their bending. But they don’t because she gets there in time. She accuses Amon of being a bender, as per Tarrlok’s story. Amon doesn’t unmask. And he isn’t a bender. Tarrlok lied to get Korra to confront Amon so that he could capture her and he could hopefully save his own skin for the service at least. They fight. Amon takes Korra’s bending in a big demonstrative way. So all the crowd can see what comes to any benders, especially The Avatar who stand against him. Then the reveal happens. Asami is Amon.

In order to get her bending back and learn how to give others their bending back (yeah, Korra wouldn’t get it back at the end of Book 1 because consequences? What’re those?), Korra has to go on a quest to learn her bending(her masters would be Toph, Katara, Izumi and Tenzin) in the Spirit World to understand everything. Korra does not cry about loosing her bending because she realized she’s still The Avatar and has to go to The Spirit World to get her bending back, to help everyone get their bending back and stop Asami

Throughout the series, we would meet Kya, Bumi, Izumi, Eska, Desna(Eska and Desna would be Korra’s siblings in this universe, because fuck Unaloq) Opal and Kai. We have the same romance between Bolin and Opal and Jinora and Kai. We would also meet Varrick and Zhu Li, because they are comedy gold. They would all help in the fight against Amon and the Equalists.

In Korra’s venture to the Spirit World,

she would still see Wan’s story(because that’s the only thing I liked about Book 2) and I think in her journey in the spirit world she would see Asami’s story, in which her family were victims of the Red Lotus society and Asami learned to take bending away in the spirit world. Not only that, we would find out that Asami would be bonded with Vaatu. Asami is the darker Avatar.

Before she leaves The Spirit World she connects with all her past lives to ask what she should do about Asami. Korra has her Aang moment where she has too has to decide what to do like he did with the fire lord, only this time there’s more to it than just stopping the bad guy. It’s about the person she loved. She can restore everyone’s bending by reversing Amon’s convergence, but she can’t do that so long as the avatar spirit is split. And as long as Asami is part avatar, she can go into the avatar state. That’s still pretty damn dangerous even with only water and blood bending. Korra realizes the only thing she can do to stop Asami? Love her.

After her journey to relearn her bending and journey in the spirit world, Korra travels the world to gain allies. From the Fire Nation, Earth Kingdom, Water Tribes and Air Nomads. Korra unites the world against Amon and the Equalists.

In the final fight, Korra defeats Amon. She exorcises Vaatu from Asami, thus ending the dark Avatar and stopping Amon’s convergence. She reverses what Asami has done and uses it to restore everyone’s bending. So she has to come to the hard part. Amon makes it clear, no matter what, even without the ability to energy bend or without Vaatu, Amon will never stop, Benders will never be safe. Korra shows Asami what she was denied. Korra loves her and forgives her. Asami gives up and accepts whatever punishment.

During Book 3, Asami would work with Korra in stopping and killing the Red Lotus society. However, when Zaheer is stopped. He is left at the mercy of Asami and for everything he’s done and turned her into. Asami kills him.

Book 4 happens. Asami’s redemption is rebuilding Republic City and using Future Industries to repair the damage she’s done as Amon. Blah blah blah Korra stops Kuvira blah blah. Asami earns her redemption and the love of Republic City, the krew and more importantly Korra. Ends with Korra and Asami venturing in the Spirit World and ends with a kiss.

[ryukatters]

don’t go - k. bakugo

a/n: I’m so horny for this man I can’t even think straight. This was supposed to be short and fluffy but now it’s turned into this. I would say sorry but I’m not. (Yes I am alive)

pairing: katsuki bakugo x fem! reader

wc: 1.5k

content/warnings: smut, unprotected morning s*x, begging, overstimulation, bkg is obsessed with you, also completely not proofread

Your boyfriend Katsuki is clingy. Very clingy— in all senses of the word, and you’re convinced that if you open a dictionary right now his name would show up as the very definition of it. Bakugo would live under your skin if he could, or at the very least come up with a way to keep you in his pocket. 

As lovely as your boyfriend is, his innate urge to smother you in affection poses a problem in times like these— early mornings where you have to get up and get ready for work. 

“Katsuki, I need to go to work. Go back to your side of the bed.”

“Just quit,” he murmurs, “I’ll take care of ya.” 

“As appealing as that sounds, no. I need to get up and do my part as a functioning member of society.” Any attempt to leave your shared bed is shut down by Bakugo, his strength easily overpowering yours as he wraps his arms around you and lays on top of you. 

“But you’re my pillow,” he says with a bit of a sigh, pressing his into the crook of your neck, melting further into you. His hot breath tickles your skin, and it’s enough to have your heart pounding along with a familiar warmth in between your legs. Katsuki is observant to a fault, he knows you better than the back of his own hand, and knows just what to do to turn you into putty. 

His hands snake up under your (read: his) shirt, kneading your breasts. You let out a sharp gasp as he tweaks your nipples and sucks a love bite at the junction of your neck. He hums in appreciation as he slowly leaves a trail of wet kisses down your stomach, stopping just as he reaches your underwear. 

He traces your slit, eyes darkening as the fabric begins to dampen with your slick. “So wet for me already, baby.” It’s not a question, it’s a fact that he already knew. Katsuki wastes no time sliding the garment down your legs. He takes a moment to run his hands up and down both your thighs before prying your legs further apart, exposing yourself to him completely. He can feel his mouth water at the sight of you. 

Katsuki can’t help but moan the minute his lips attach themselves to your clit, sucking fervently. “Always taste so good, princess.” 

You take a moment to glance down, which proves to be a mistake. Katsuki’s practically making out with your pussy, and when his eyes meet yours, they’re nothing short of lovesick. His vermillion orbs draw you in, and they’re absolutely magnetizing. You have to close your eyes to stave off your orgasm for a little longer. 

Katsuki can’t help but grind against the edge of the bed to feel some sort of release. He’s so fucking hard. He thinks he’s growing delirious. Katsuki swears he can cum from the taste of your pussy and the sound of your angelic voice filling the room with a sweet symphony. When you let out a particularly breathy call of his name, he has to will himself not to finish in his boxers, which is already usually a difficult enough task on its own, but now it's almost impossible from how impossibly hard he is with morning wood.

You grind against his mouth, hands carding through his hair as your orgasm rapidly approaches. Katsuki is more than eager to be used as a means of getting there. Even as you cum, he continues to fuck your hole with his tongue and lapping up your pussy. It’s only when you begin to push him away does he feel the need to lean back, a loud pop reverberating as he does. 

“You gonna be a good girl and let me take care of ya?”

“Mmm, fuck. Yes, ‘ki.”

“Good girl,” he coos, his lips pressing against yours with fervor. You allow him to deepen the kiss, sucking on his tongue. He moans appreciatively, hips stuttering as he continues to grind against you. The head of his cock bumps against your clit over and over, smearing precum all over your pussy. His tip just barely presses against your fluttering hole, and you can feel your insides ache with anticipation and utter need.

He’s teasing you. You’re overstimulated yet somehow unsatisfied. Your pussy is craving to be stretched out, and Katsuki is making sure he’s doing everything but that. He likes getting you like this— needy, clingy, nearly delirious as you beg for him. He likes to think of it as reparations for how insane you make him feel on the daily. 

You’re not sure how much more you can take. 

“Katsuki, please,” you whine, lifting your hips to grind against his dick, hoping to get what you want, what you need. You look up at Katsuki and for a moment, you think you’ve got him— think that you’d be able to look at him with those doe eyes and get what you want easily, like always. He never could refuse you.

But he merely smirks, and uses one hand to press you back down into the mattress. 

“Tell me what you want, princess. You know I’ll make it good for you.” 

“Want you to fuck me, ‘ki.” 

“Yeah?”

“Mhm,” you whine sweetly. 

“I’ll give you what you want baby,” he affirms, the timbres of his voice reaching the depths of your soul. He uses both hands to press both of your legs by your shoulders, cock lined at your entrance. I always do, don’t I?

You can’t stop the moan that tumbles out of your lips as he fills you up. Katsuki presses a kiss against your forehead, relishing in the way you tighten around his dick. 

The familiar coil that’s been forming in your tummy is threatening to unravel, if your stuttered moans and breaths are any indication. Katsuki seems to know this too, as he pulls out right before you hit your climax. You whine at the sudden lack of overwhelming pressure, and Katsuki’s quick to silence you with a hard stare. 

His breath ghosts against your lips, vermillion eyes burning into yours with intense, unspoken passion. “What’s wrong, princess?”

You shake your head in the negative. “Wanna cum, Katsuki. Please.” 

He starts thrusting again, slowly and with purpose. His eyes never leave yours. It doesn’t take long for you to be on the brink of an orgasm again. “You want to cum, right baby?” He smiles when he sees you nod. “You can cum,” he says carefully, “but only if you do one thing for me.” 

“I’ll do anything Kats,” you manage to choke out. Katsuki continues to pound into you, the sound of skin slapping filling the room. You really would do anything, Katsuki’s own desire and utter want for you is so persuasive that you feel compelled to follow. 

“Don’t leave,” he whispers, lips pressing a chaste kiss against yours. “Stay with me, today.” There’s an urgency behind his words despite them being said so softly. 

Fuck it. 

You barely manage to let out a stuttered “yes, ‘ki,” before you reach your peak. The pleasure rolls over you in waves, tears threatening to spill as Katsuki continues to drill into you, chasing his own high. A few particularly rough thrusts punctuated by staggered moans let you know that he’s cumming. 

Katsuki manages to plop right next to you, bed shifting under his weight. You lock eyes as you both try to catch your breaths. He gives you a quick smile before pressing a kiss to your sweaty temple, one arm wrapping around you to pull you against him.

“So…” he starts, his eyes brimming with satisfaction, lips upturned into a smirk. He knows he’s won. “Ready for round 2?”

[tiamathh]

Compliments from the Universe

Note: From the universe and me to you, you're all doing so well keep it up and take care of yourselves! My Paid Readings have been reopened if you want to check them out there's only 17 slots <3

Masterlist | Paid Readings | Paid Feedback

Hi Pile 1! The universe is here to complement you on your ability to stay truthful and vulnerable even in situations that make you want to lie and avoid and run away. You embrace change and don't run from it which makes life a tad bit easier for you than others who keep trying to claw their way out of inevitable situations. You are courageous and beautiful and people want to court you or ask you out because of how fun and flirty you seem.

Fast paced those are the words that can be used for you, but in a good way of course you want something and you go for it, you don't wait for life to happen and life rewards you by keeping things interesting whether for good or for bad, usually for the good though. You're free spirited and have the ability to be alone and stay with yourself and your thoughts which is very tough for some people (me) to do, this ability of yours does not only make you very self aware but also puts you on a path to self actualisation and being the best version of yourself.

You're sensual and I heard the song "All I do is win win win no matter what" so you have that going for you, even if it seems like things are not going your way, you somehow still keep control of yourself and ground yourself till you end up making things happen for you. You do not go down without a fight and have a natural affinity towards healing. Your presence itself is like a bandage on a cut, warm and safe and protective.

Hello Pile 2 <3 The universe is here to give you your flowers for being someone who knows how to protect your peace, you have the ability to save up and aren't a big spender which also provides you with stability and a good eye for investments. You may be someone who starts a lot of projects and even though you may not see them through, you still use whatever you've learnt from the previous project into new ones, whatever you learn you never let go to waste and always carry it with you. You have the kind of speech which can pull people in, the way you talk makes people want to listen to you, not only because of your words but also your voice helps calm others down.

You're blessed with the ability to see through people's bs and save yourself and the people close to you from such individuals as well. You carry yourself with a lot of grace and poise and may be very lucky when it comes to finances but this is not all luck it's also based on how you work hard for whatever you have. You don't shy away from controversy or conflict either, you know how to fight and you'll do it if you need to.

You refuse to trap yourself within the conventionality of society and let yourself do what you want and live how you want, you don't fear judgement, the only thing you fear is not being able to experience life the way you want which is very commendable. You entirely understand the concept of living for yourself and not for anyone else which makes the universe give you what you want if you ask nicely.

Hi Pile 3! The universe wants to tell you that they're proud of how you are extremely firm when it comes to any decision you make and how you have the ability to balance rationality and emotionality and do them both justice whenever you make your decisions. You're someone who has grown into this role which is even more commendable because you were able to overcome your inability to make decisions and may have been wishy washy.

You have this feeling of restlessness and freshness to you, like the wind at the top of a mountain, filled with energy and gusto but just so refreshing. However, you know when to stop and stand still, you know when it is right for you to take a step back and self evaluate. You're someone who's very sociable and loveable, a lot of people are naturally drawn to you and you may be someone who steps into the spotlight with ease, you do not have troubles when it comes to mingling with people from any walk of life and could also have a lot of wanderlust within you which encourages you to experience new things and everything the world has to offer.

You're generous and willing to help anyone out especially when they're just starting out, I heard start ups so that could be important for someone. You have this ability within you where you are very good at laying foundations for anything, your foundation with your life and what you want to do itself is very strong and almost unshakeable and you may not experience a lot of tower moments in your life because as soon as you clock that something is not working for you or meant for you, you get rid of it yourself and don't force the universe to intervene.

DO NOT PLAGIARISE, REWORD, REPHRASE, REPOST OR COPY MY CONTENT all rights reserved @tiamathh

[genderqueerdykes]

if as trans women & transfemmes we don't want trans men talking about our experiences for us, we can't do the same thing to trans men and transmascs. i don't care how hard the transfeminine experience is, that does not mean that a transfeminine trans woman who does not and has not ever identified as transmasculine and/or a trans man automatically "knows" what it's like to be transmasc and/or a trans man. yes, there are intersex trans women and other trans women who are also trans men. but these are not the people speaking like they know what transmasculinity and trans manhood is all about in a uniformly negatively light.

i will gladly be the one to tell every other transfem and trans woman that you do not know what the transmasculine and trans man experiences are like unless you've lived as one. you have NO clue. you do not know a singular thing about the transmasculine and trans male experiences just because you are also trans. trans men can be affected by transmisogyny but that doesn't mean you know what they're experiencing. you don't get to comment on transmasculine experiences if you haven't experienced them personally. it doesn't matter what transmascs or trans men you've met and how hard you've speculated on how hard they struggle in society. the cold hard truth is that you literally don't know what transmasculine and trans male struggles are like on a personal level and that's okay. that's your chance to stop speaking and start listening.

i'm dead serious. transfems and trans women who are not also transmasculine or trans men need to stop commenting on how "easy" transmasculine and trans male experiences are. transfems and trans women who have never lived as trans men need to stop talking about how much "privilege" trans men and transmascs gain after coming out and starting listening about what actually happens to transmascs and trans men when they come out, and how much harder and worse it gets. transfems and trans women who have never lived as trans men and transmascs need to stop talking about how queer spaces and queer feminism "doesn't exclude transmascs and trans men" and start listening to how most if not all forms of feminism desperately try to leave transmascs and trans men out as quickly as possible. we as transfemmes and trans women need to stop literally spreading lies about transmascs and trans men and start listening to transmascs and men when they talk.

a LOT of AMAB trans women believe that trans men instantly gain the exact same privilege they had when they identified as cis men before coming out as trans women. this is brutally, honestly not how this works, at all. i understand a lot of trans women and transfems lived as cis men for a while. i understand that you know what it's like to be perceived as a cis man and live that life. you can't assume you know what trans manhood is like just because for a while you lived as a cis man. they're not the same. that doesn't mean you know what it's like to be a trans man or a transmasculine person. they are not the same experience. they cannot be compared. they're not even remotely close. cis and trans manhood are not the same experience societally.

it doesn't matter if you've personally known a lot of transmascs and trans men. it doesn't matter if you've dated or befriended transmascs or trans men. it doesn't even matter if you've had transmasc or trans male family members. it still stands that you, personally, do not understand the experience, because you are not the one living it.

this has gone on for way, way too fucking long. if you don't want trans men and mascs speaking over and for you, don't speak over and for trans men and transmascs. you don't get to create a double standard like that. you're not the arbiter of every trans experience. speak on your own experiences, and listen when other people talk about theirs. if you want to be listened to, you also need to listen to other people, too, otherwise it ceases to be a conversation and becomes a lecture instead. you have to show respect for other people, too, you are not the only person in the conversation who deserves respect.

if you don't want to be talked over about your own lived experience, why are you doing it to other people? stop it. that's not how you get people to listen to you. that's how you control other people. telling people how THEY live THEIR lives is an attempt to control them. you don't need to control the narrative on transmasculinity and trans manhood to be heard and taken seriously. speak on what YOU know, and let other people do the same for themselves. it's not a great look to act like you literally can't trust any other queer group to be able to accurately define their own identities, and that you have to do it for them. that is yet again about controlling the narrative.

is this about queer rights for you, or telling other people how to feel? stop telling other trans people they don't suffer. illegitimizing someone else's pain will not make anyone understand yours better. dismissing others' pain will not make people take yours more seriously. there's not a finite amount of suffering in the world. trans women and transfemmes are not the only ones who suffer under cisheteronormative patriarchy. it can and does happen to people you don't like and you can't ignore that. feminism and trans rights are about liberating all of us from patriarchy, not just trans women and transfemmes.

[totokoismyfav]

hi i have a request for headcanons :] how would the sextuplets react to an s/o who is objectively a functional member of society (job and/or school, booming social life, well liked, etc) but for some reason simps really hard for them. it can by goofy or not, depends on what you think!

osomatsu san/reader | reader who is a functional member of society who is head over heels for the brothers

A functional member of society in love with a NEET? Oh, what a thought! All of them equally are just as infatuated with you, maybe even more so as you are just shining with confidence and wit. So imagine their surprise when you finally ask them to be your boyfriend! They all react differently so let’s see up close and personal.

Osomatsu: - How are you with him, seriously? Everyone wants to know. - A shitty NEET with such bad habits like gambling and drinking and you looked in his direction? He’s just as shocked as everyone else to be honest. - Although, he’s not complaining one bit.  - Proudly parades you around in front of his brothers, like damn he might as well have won the lottery. - Oh, they are so jealous by the way. - At first, he doesn’t really change besides that but a little bit into your relationship, he starts making small changes and working up to the big ones.  - At first, it’s picking up after himself and doing more chores around the house, then it’s actually looking for jobs and talking about moving out one day. - Soon enough, he ends up doing just that and moves in with you, even holding a job and stops complaining about it all the time. - He’s trying, for you, and that is a lot coming from him. 

Karamatsu:  - Oh, be prepared anon.  - This man will make it known that he is just as much in love with you back.  - Things like surprise flowers and gifts show up at your work’s front desk, only the best for his Karamatrsu darling! - “Oh my darling flower, it makes my heart palpitate just to know how much you adore me!”  - Of course, you are eating up every cheesy line and equally spoiling him despite his surprise when you do so, despite still living with his mother he’s not used to being spoiled like this. - Like you swear you saw tears when you gave him a gift on your first date, and it was something so simple too. A guitar pick with yours and his initials on it. He swears to use it all the time, and he does, especially when he serenades to you. He even started to freak out when the image on it started to fade.  - At first, he refuses to let you pay for things even though you have a job and he doesn’t. After a few high-priced dates, he finally lets you help with the costs and even slightly enjoys being spoiled by you. - To still help out and spoil you, he even starts working at a nearby clothing store. - Your love is so annoying to everyone around you but the both of you don’t care, not one bit. 

Choromatsu: - To his non-existent calculations, you two should NOT be a thing, but he doesn’t care at this point. - He’s also kinda jealous of you? Like you’re everything he wants to be but he quickly gets over that once you ask him out.  - At the beginning of your relationship, he is constantly stuttering and sweating from his nerves but he’s over the moon about finally dating you, he always has his signature smile on his face.  - When you start holding hands, you can physically feel his whole body shake just from your palm against his.  - Of course, you are no better as you are in LOVE with this man. - You’re both a couple who are head over heels for one another and very much show it instead of saying it. - It took you guys weeks just to say ‘I love you’ which ended in you running away with your hands covering your face and Choromastu shouting to the night sky of how he was in love.  - He also starts to become a functional member of society (with your help and motivation). - Soon enough, he’s living with you and has a job of his own, and surprisingly to him he couldn’t be happier getting out of the NEET lifestyle he was in for so long. 

Ichimatsu:  - He can barely believe it himself, how could someone like you be in love with him? - You were a knockout, a functional member of society and he was just a shitty NEET, a nobody who no one wants. You must be fucking around with him.   - And he really thinks that at first, it takes a bit of persuasion for him to believe you are actually infatuated with him.  - On your first date, he would sit tables away from you as you drank a milkshake. His face turned bright red as he tried to sip from four tables away with a long straw. - You would simply smile at him, telling him it’s ok to get closer and that you were truly interested in dating him. - Soon enough, you two were doing regular couple stuff like holding hands and regularly going on dates.  - As you both get further into the relationship you notice he starts to really change things, Ichimatsu even gets a job at a local cat cafe. - Soon enough, he’s living with you and holding down a job he actually enjoys (although interacting with people still irks him).  - Although, when you first asked him to spend the night at your house, he spontaneously combusted right on the bench. 

Jyushimatsu:  - Oh ho ho! This man is ecstatic! - His brothers swear that he’s been faster with his batting swing when you both start dating. - It’s like he has a new form of motivation when practicing baseball, running faster, swinging harder and throwing farther all at the same time. - He also seems happier than usual (somehow) , his smile widening whenever he sees you and your wonderful face.  - Will point you out to his brothers whenever he sees you, like he’s bragging or something. “Ha ha look, it’s my partner! Do you see them, huh? Huh?”  - He also starts working as well, hoping to start working as a baseball player in the future. - With your help, he eventually works up to that point and starts playing in local leagues!

Todomatsu:  - Oh he’s the most smug out of all of them. - Of course, he has no idea why you looked in his direction but he’s so glad you did.  - When you told him you were in love with him, he dropped his coffee you two had gotten minutes prior. Of course, he spilled it all over you and profusely apologized about it while helping to clean you up. - Luckily, it was iced so it didn’t burn or anything so you simply just smiled and told him he was fine and it was ok.  - Totally rubs it in his brother's faces, just like Oso and Jyushi but he’s more of a bitch about it.  - “Oh would you look at that, I have a partner now who’s actually interested in me. Score one for the youngest!” - He actually got a scoreboard for it too, the bastard. - He eventually goes back to Sutabaa, working the same position he did before. - He’s officially out of NEET status when he moves in with you and he’s so happy about it as he went up a level as a human once more!

[sandraharissa]

Another thing that I like about the Silco and Jinx dynamic as I see it in s1 is how we see how Powder in act I was already very troubled but despite that it didn’t show much. Sure she sulked and messed stuff up but Vander seemed like he was not interacting with Powder enough to know anything bad was going on inside her head or that it even was a problem that she messed stuff up, like he’s never told it was specifically Powder who lost the loot or that it caused issues within the group, Vi handles the matter completely on her own. Vi seemed oblivious to the possibility of Powder having a meltdown, Mylo clearly doesn’t think his complaining does any damage to her mind or he'd stop/tone it down, if Claggor thought it was that bad you’d think he’d protect Powder more too. We get all these close-ups to her face and some quiet moments like when she separates from the group in the apartment or when she’s cornered at the docks or when she eavesdrops on Mylo and Vi and of course when she has her meltdown. We the audience have a way better understanding of just in how much distress she is non-stop and how isolated and helpless she is and how everything scares/hurts her. Just like it often is the case with ppl who are struggling, bcos most times she’s shy and polite and so ppl around her are unaware of how bad it is.

And then Silco’s treatment of her, spoiling her, lack of discipline or boundaries or consequences etc. in the long run exacerbated certain issues but I’d argue that it primarily just created an environment where she’s showing her issues way more than she did beforehand. Before there was an attempt to fit into society/her environment and act properly, like a normal person. Living with Silco, neither of these matter cos they don’t matter to him, he himself is an evil weirdo who doesn’t care if ppl like him. Combine the understanding/safe space with a new parent who encourages self-isolation/self-acceptance to the point of embracing your bad traits/maladaptive coping mechanisms and with her own overwhelming experiences and it’s not hard to imagine her early on while living with Silco simply changing her attitude and self-expression to be more honest and open and unapologetic to how she acted before. years later resulting in her outwardly exhibiting unhinged behaviors and even intentionally playing into her ‘crazy’ reputation for strength/advantage when before she was hiding/suppressing her issues.

It's heart-warming that she feels safe and understood with Silco and trusts him more than anyone else and is more confident than before. However her displaying her issues more than ever only to be enabled no matter how bad it gets would of course only result in the further deterioration of her behavioral/social issues. But it’s also not like Silco has the external means (psychiatrists on runeterra) or internal means (healthy mind, knowledge of mental illnesses) to actually do anything about her issues anyway. just like Vi/Vander didn’t have the means to help her in any way, they could never 1)figure out what’s wrong and 2)be able to fix it.

[thesiltverses]

Hello! Writing first to thank you for such an extraordinary creation - as a piece of writing and even more so in performance. Every episode manages to somehow build on and outdo the last; you navigated that transition from a smaller scale story of grisly mysteries and personal crises of faith to a grand scale of war, revolution and political satire with absolute aplomb, and never lost that throughline of exceptional characterisation and sharp writing, always steering to the most interesting conflicts. You are always very humble in your public comments, but I hope you allow yourself a little pride, because this is absolutely top notch stuff.

I was struck by Paige's final words, that she hopes what they left would be found 'flawed, inadequate, yearning'. As the show went on, I was surprised - in a good way - that the show's politics gradually crystalised into a full-on nihilist anarchism, something perhaps even along the lines of Monsieur Dupont. (Muna used the 'a' word in one of the Q&As but it was pretty evident even before that). Taking these gods as a metaphor for ideologies and social systems, the scope of it becomes pretty universal - and unsparing. And, equally, hard to answer.

I wondered when the Many Below/Wound Tree was introduced what answers they would find: what political movement could truly resist cooption or becoming its own horrible self-sustaining egregore. And in the end the answer you express I suppose is a negative one: that even Paige's god of victims is a tool, one that must eventually be discarded to go into some unknown place beyond it all (to walk away from Omelas), towards something that narrative fiction - as a form of the 'endless words' that are derided so much in the third season - can no longer address. Which I respect - to pose the question is vital, even if the tools can't reach any answers if they even exist.

I think this struggle exists in many stories that address themes of making a break from the rapacious society that created them (and take it seriously) - your Baru Cormorants and Mononoke-himes. We can describe the problem vividly, but since we do not have a counterexample to hand, any story we tell about ~what is to be done~ and what it will look like when it is feels like it will be just as hollow as the spins and angles and parasitic fantasies that so many characters advance in the Silt Verses. (How could there possibly be a time where it finally works out, after we have seen all this? But then, what are we living for?)

To try to make this a question and not a ramble, I wanted to ask - what do you see as the role of fiction in addressing the horrible machinery of this world? Is it enough to pose the question particularly sharply, skewer the bad and inadequate answers, and leave the readers/listeners to figure out how to make the killing of gods concrete? How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

I don't know what answer I'm hoping for here, but given the themes of the show, I feel like this must be a kind of thing you've thought about, and probably have a far more developed line of thought than I do. And if this is a bit too much to drop in your inbox on a Saturday morning, I will say again thank you for writing this story and all the actors for making it so strikingly concrete - it truly means a lot, and I will treasure it.

Hi, and thank you for listening and for a beautifully written and thoughtful ask! ('Horrible machinery of the world' stopped me dead in my tracks.) And I am very proud, genuinely.

I don't have a good enough answer to your questions, and for me a lot of TSV is very much about trying to figure those answers out, but let me try and sum up my perspective bit by bit.

Is it enough for fiction to pose the question, without also proposing the answer?

I don't think it's enough for fiction as a collective body of work.

I'd argue there's probably a tendency towards open-endedness and irresolution in these individual narratives simply because it feels like a more honest acknowledgement that in real life, the foe has yet to take a real body blow and will not go down easy; that the foe, in fact, is the marketplace for the work itself and ironically profits from the popularity of stories with easy heroic victories over villains who represent capitalism. That these stories inevitably become a pleasant consumable that serves our complacency within the belly of the beast, a kind of daily tonic to reassure us that good always triumphs and regular people always come out on top.

I also think that the sheer scale and scope of the topic creates its own challenges; you probably can't engage thoroughly enough with both the dystopian question and your ideas for a utopian answer all in a single story, without ultimately turning the latter into that false reassurance, a quick handwave of a happy ending.

You mention Omelas, and I think we could illustrate the problem by looking at how LeGuin handles her two successive masterpieces:

The Ones Who Walk Away From Omelas, which gives us the titular resource-rich u(dys)topia built on invisible suffering, and the dissidents who turn their backs on that world and walk out into the inhospitable wilderness in search of something better.

The Dispossessed, which as its premise gives us Anarres, an imperfect but sympathetic anarchist society whose adherents turned their backs on a neighbouring world of capitalist plenty to live out in the inhospitable wilderness in search of something better.

Anarres can very reasonably be viewed as LeGuin's direct answer to the question posed by Omelas, and she would have likely had it in her mind already as she wrote Omelas. But if the short story had ended with 'I hear that against all odds, the ones who walk away have successfully founded an anarchist utopia where hardship is everywhere but it's shared as equitably as possible. THE END', the amount of lazy shorthand and empty comfort involved in that happier ending would inevitably make it a dishonest and unserious offering.

Instead, Anarres is a starting premise to be interrogated at length over the course of a separate story, rather than a happy ending to simply reassure the reader that better things are possible - and even at the end of the novel LeGuin's unresolved questions are still very similar to the ones that we're left with in Omelas (and the same questions that I feel like we were knocking about in The Silt Verses, and which I guess you could argue are all lingering concerns at the end of Mononoke, as well): how and where can we find space to create and sustain a genuine alternative when the narrative environment of capitalism is so powerfully all-subsuming and constantly growing to fill the space? Do we need to disconnect entirely, vanishing as if dead? If we disconnect, how can we possibly survive and what inhumanities or ethical compromises will be required of us? If we do survive, is our isolationism a dereliction of human responsibility to those left behind?

All of which is to say that I think present-day fiction absolutely can make the attempt to meaningfully explore potential alternative-utopian solutions in more depth and with far more tangibility than we attempted with TSV - but that dystopian fiction like ours which concludes with the unexplored promise of a revolutionary utopia and the vague reassurance that the irrepressible human spirit will figure things out from here on out (Chewbacca gets a medal, everyone's in the streets wearing a Guy Fawkes mask) doesn't do much more than dramatically undermine its own goal of disrupting the audience's comfort.

That said, one of my big regrets this season was that we didn't succeed in more engagingly exploring and articulating the Woundtree camp's development into a flawed but functioning society in Dispossessed fashion ahead of the ending. That was my intention, but what quickly became clear was that in a dramatic format, with a limited cast, it was just endless static meeting-room scenes with Paige and Elgin discussing difficult responses to impossible challenges, while everyone else was out having dynamic and exciting adventures with lots of fun and exciting gods. Dystopias remain too entertaining for utopias' own good.

What do you see as the role of fiction in addressing the horrible machinery of this world?

I believe that absurdist horror fiction specifically, founded on the principle of 'people in a world that makes no sense, deluding themselves that it definitely does make sense' can play a very powerful role in that stated purpose.

Many horror traditions carry the baggage of inbuilt or inadvertent conservatism - the concept of a peaceable, passive, safe, middle-class Normality which is then disrupted by a terrifying outside threat (alien, ultra-foreign, ultra-low-class, underworldly, wild, etc). But absurdist horror very directly identifies Normality as the true source of our terror and very directly confronts our human response to it. It creates the right environment for us to ask all of the good questions. Isn't this an unsustainable nightmare we're living in? Why are we expending so much energy pretending it isn't? How do we get out and what do we do if we can't?

Probably the only listener reaction that's genuinely frustrated me about both of our shows is the folks who come away turning their noses up at the bluntness of that approach and acting like they've Solved The Art simply for figuring out where our broad sympathies lie. "Hm, just listened to The Silt Verses and I understood it at once; it's clearly trying to say that capitalism is bad. A little heavy-handed in its messaging for my liking, hm-hm!"

Not to go full Garth Marenghi, but for me the directness of the provocation and the obvious outrageousness of the nightmare is the point; it then allows us to go to places that other genres (or more understated critiques) generally can't.

How do we punch through the bounds of it all being Content, another product to be bought and sold? What does it mean to sit here and fantasise about people making that revolutionary break when there is no revolution to be had?

God, I don't know.

Maybe it means nothing; maybe we can't punch through; maybe there is no story unruly enough to be truly unco-optable, and therefore even the most radical fiction ultimately serves as a distraction, a placebo, a reassurance (that we are not alone, that better things are possible) which will impact the wider world more by keeping us subscribed to the Kindle app than by any action we might feel inspired to take.

Amazon is paying Boots Riley to make TV shows. Disney won much praise for delivering a revolutionary fantasy in a Star Wars shell. Apple is funding excellent, discomfiting and furious corporate satires about how we happily ignore invisible worker abuses for the sake of our own lifestyles, but they also cannot be considered accountable for the deaths of Congolese child-labourers in the global cobalt supply chain. The Dispossessed is in development as a limited series and the LeGuin estate are closely involved.

The master doesn't just own the tools, he's been buying up the guillotines as well.

What if, as with the unknowable nothingness outside of Omelas, the only art that cannot be reduced to product in net service of the status quo is the art that's so invisible and inaccessible and disconnected as to not exist at all? Does being relatively small and ramshackle really lend us any ideological purity, any genuine detachment? You can listen to The Silt Verses on Apple and Spotify and Amazon Music. Brought to you by Acast.

Chapter 36 with Dev and Seb was to a large extent intended as an articulation of that worry. To what extent can we still trust in the integrity of a sincere love story (one that we want to believe in) it if takes place in an insincere and predatory environment? Can any meaningful story be told honestly within such a space?

This stuff really worries me. I think it's probably right to worry. I don't know the answer. I do know that there are some folks for whom the show has made a tangible difference in terms of their life's direction, and that's a huge comfort to me.

There was someone who said it helped them find their faith, strangely and wonderfully. Someone else who said it contributed to their decision not to go down a more lucrative career path within what they view as an exploitative industry. (I hope they don't regret that decision; I hope it makes them happy.)

So there's something there. Maybe.

[wheelie-sick]

going to just... dissect the whole "glasses make me disabled" thing as someone who is moderately disabled and mildly visually impaired because it annoys me to death. I know this is going to be controversial but if you have vision that is fully corrected by glasses then you are not disabled by your vision nor are you visually impaired.

Visual impairment

let's begin with the definition of visual impairment according to several universities

"Vision impairment means that a person’s eyesight cannot be corrected to a “normal” level." - University of Pittsburgh Department of Opthamology

"‘Visual impairment’ (VI) is a term used to describe a loss of sight that cannot be corrected using lenses." - University of Oxford

the US EEOC also answers the question of whether all people who wear glasses are disabled:

"No, not everyone who wears glasses is an individual with a disability under the ADA. When deciding if an individual with a vision impairment who uses (or used, in the case of a past impairment) “ordinary eyeglasses or contact lenses” is an individual with an “actual” or “record of” a disability, the ADA directs that their impairment should be assessed as it is corrected by the lenses." - US Equal Employment Opportunity Commission

visual impairment exists as a category for people with uncorrectable vision loss or other vision related conditions. most definitions of visual impairment also include eye movement disorders (e.g nystagmus) and other eye conditions that are not correctable but do not necessarily cause traditional vision loss. these are exceptions, but again, are not correctable with glasses.

if your vision is correctable with glasses it is not visual impairment. period. full stop.

Disability

there are two different ways you can look at disability and fully corrected vision fits neither:

the social model

the social model of disability looks at disability as it is caused by society's lack of access. let's start with a fact: 81% of adults wear some sort of corrective eyewear! that is the vast majority of people. people who wear glasses are just simply not facing structural barriers in the world because the world is built for people who wear glasses by people who wear glasses.

and, no, being bullied in the playground is not a form of structural disadvantage. children bully each other for any and every reason.

"but I can't drive without my glasses!"

I can't walk in hot concrete without shoes. that doesn't make shoes a disability aid nor does it make needing shoes a disability. plenty of things require something else to allow you to do something, that doesn't make needing those things a disability. not all forms of support for an action are disability aids.

the medical model

the medical model looks at disability through the lens of impairment. wearing glasses with fully corrected vision is not an impairment.

people often point to hearing aids and say "well deaf/hard of hearing people are disabled despite hearing aids!" and it makes it clear you have never worn hearing aids. disability aids do not correct they accommodate. glasses mean you get to see at 20/20 vision. hearing aids are imperfect accommodations. wheelchairs are imperfect accommodations. feeding tubes are imperfect accommodations. the list goes on.

glasses mean you get to live your life exactly how someone who doesn't wear glasses would. someone wearing hearing aids does not get that. a wheelchair user does not get that. etc. because those disability aids are something you have to live your life around. they define your day to day routine. the day to day routine with glasses is 1. wake up in the morning 2. put them on 3. take them off at night 4. possibly clean them somewhere in there. you get to forget about glasses. I do not get to forget about my hearing aids or FM system or crutches or wheelchair because they are ever present in my life.

* just a note: this post is not referring to people who wear glasses and don't have fully correctable vision

** OP wears glasses with a high prescription, his vision is just not fully correctable

[visenyaism]

Sorry if you’ve been asked this but what do you think of all the rot in asoiaf? Obv some of it is related to the problems with monarchy but I feel like a lot of it isn’t and it just leaves me curious. Like cold hands or people killed by the others idk what that symbolizes there. Jon is in a land in which rot is in stasis from the cold and it’s creepy as shit. And then there’s stuff that could have multiple interpretations like dany by proxy of selmy experiencing bio warfare with the corpses like I know some people see it as the fall of old ghis but I wondered if maybe it was a sign to dany about breaking the wheel and doing as her ancestors did. Idk I know it’s a nasty series and sometimes grrm is just doing stuff so that it’s gross but I feel like rot comes up SO much and I people are usually talking online about like Tywin when it comes to rot.

Oh one of my favorite things about the asoiaf series is how heavy-handed george rr martin is with the rot symbolism. and (at the risk of sounding like an mfa vomited on my keyboard) the way that the political, pestilential, societal, and climatological aspects of the rot symbolism all interconnect.

In a society founded on so many feudal evils that has perpetuated for centuries, something has to give. It is a recurring theme in these books that violations of human decency under feudalism cause cataclysmic societal collapse represented through literal and metaphorical pestilence.

There’s the sociopolitical collapse in the riverlands caused by war of human decency and norms like guest right and prohibitions on kinslaying or cannibalism just dedicating away as times get hard. broken men. bodies left to rot in the sun for the crows to feast on. There’s the fermenting wildfire under every major street in Kings Landing. There’s the familial/relational decay of incest especially the targaryens and the lannisters. The people who hold power and that society rot, despite everyone’s best efforts at keeping up appearances: Robert Baratheon the “war hero” dies of a very nasty festering stomach wound he got in a drunken hunting accident, Tywin gets shot on the privy and his corpse putefies in the sept.

The climate stuff is also very salient. The series starts during late summer and as things get worse and worse in the world declines into the autumn where the summer fruit and all of the abundance is literally rotting through the hands of the characters. (see: renly’s peach vs doran’s blood oranges!) The cold up at the wall keeps the rot at bay for a while, but it does not entirely stop it. Coldhands’ hands are still blackening. Things are still unraveling at the hinges of the world. that’s pretty representative of the way that the violence of the border wall and the penal colony stationed there to patrol it are not sustainable. The decline of the night’s watch from a once proud order to a penal colony full of cruel and often impoverished convicts dropped off there by circumstance is a symptom of the society that sends people up there. But something still has to give. The wall will fall down and the existential crisis will come, it’s just slowed.

Critically, there is also the forgotten parable of Old Valyria: a society founded on extreme cruelty and slavery which eventually experiences cataclysm coming up from the very tunnels they send the enslaved into to die for the empire. A lot of what Daenerys experiences in Essos is an extension of that commentary on slave societies to me. Like. as the slavers try and reconquer places dany has liberated, people fleeing the violence, bring disease like the bloody flux with them. The rot creeps back. (important: disease and rot in the series is not always something people get for being morally bad. it often happens to people who just have no choice but to live in these places.)

But that’s why I think the way Volantis is described really ties a lot of those elements of the rot symbolism together. This is a society that has founded itself up from out of the corpse of old valyria. The city maintains some veneer of old glory, but the fountains are dry and the paint is chipping. The people there eat food that is so sweet it literally causes your teeth to rot out if you were to consume it every day. In terms of climate, I think it’s relevant that it is described as extremely, almost disgustingly, humid, and everything is excessively perfumed to cover up a tangible smell of decay.The air is quite literally cloying and difficult to breathe. You feel dirty after walking through it. The evil of slavery is rotting the city to its core in the same way that the evil of feudalism and the wars for the iron throne is affecting the city of king’s landing.

To wrap allllll this up. Rot is a signal that obviously societal collapse is coming, but it’s also transitional: the empire of old ghis brought about its downfall, and then valyria found itself on the same principles which brought about its own downfall, and then the Targaryen went to westeros and engineered their collapse in Kings Landing while the freehold did the same essos. I think the climatological and disease aspects of it are really heavy-handed symbolism that something has to give in the societies and we’re at the point in the series where that’s about to happen.

I think the ultimate arc of the series ends in some form of significant societal collapse, but instead of building upon a rotten foundation again people are going to have try and hope for something new and gather the courage to build that.,quite literally dreaming of the spring.

[onesidedradiostatic]

aromantic alastor headcanons for aro-week (with some ace in there as well, because I think for alastor those things are so entwined, it's hard to separate them):

tried going out with girls a couple of times when he was alive, to make his mother happy, but always found a way to extricate himself from the attachment. this ties into his learning how to have complete control over any situation he's in

I wonder as well about whether or not he "passed" as white, or whether his community knew that he was creole, and how that affected his dating opportunities, and his paranoia, his need to be in control, basically his constant hyper-vigilance

got a lot of fanmail for his radio host work, women (and men, but more furtively) loooved his voice. this was acceptable, because (apart from some of the weirder ones) he could use this as a metric for how accepted he was in society, as well as how well he was passing -- both in terms of race and orientation, but also youknow, as someone who is definitely not clockable as a serial killer

although of course we know he also enjoyed company. he'd go out drinking and dancing a lot. was mimzy a bit in love with him? I just like the idea that people kept being incredibly taken with his charm and his politeness and his poise, because he does have all those traits. whether he notices...? (no). I mention this point not so much as headcanon, I just like that alastor as aroace and repulsed on both of those points, was never a shut-in about it. he's always been very lively (ha) and outgoing, and clearly likes being in the company of others... but maybe that last point has gotten to be a little difficult during his time in hell, due to having to be so careful about showing any kind of emotional "weakness." speaking of...

post-death became a more extreme version of himself -- that is, a man on a mission to be in control and create emotional distance between himself and others through the power of voice, rather than having to faff about pretending emotional connections where there were none. very suited for hell because of his precarious political lived reality whilst alive, and because hell is built on who has power and who doesn't. these are rituals he understands better than the strange romantic ones during life

the smile as mask and unhealthy coping mechanism -- wonder if when he was alive people swooned over his having a lovely smile (as well as its being useful to placate and to disorient people who had more violent intentions, and in both cases potentially to lure in victims). so the smile likewise became the most extreme version of itself. the smile in essence as the signifier of someone who doesn't fit into any boxes and needs to hide that fact, both by being mixed race and aroace, but then the smile itself becomes something that effectively owns him, because he literally cannot let it drop, ever (honestly if alastor ever stops smiling, it'll be the biggest gasp moment on this show)

all that being said, surprising connections do occur: rosie, I think, sees through him from the beginning, and she's so disarming (ha, disarming... cannibal joke) that she never feels like a threat + they're both cannibals, so there's a relaxed kinship there and maybe she reminds him of the parts of home he (secretly) misses a bit

I wonder how rosie figured out that alastor wasn't into dating. I think at first she might have thought he was gay, but then quite quickly seen that that's not it, he doesn't even like men much, and she feels like she's been around the block enough to piece together peoples' natures from one of a million other people she's known, so way before she knows the terminology, she knows, and crucially, she never judges or tries to force the point

I wonder how vox and alastor met -- whether vox was able to gain power on his own and this attracted alastor's attention, or if alastor saw something of himself (that turned out to be surface level) in vox, that is, they both wear smiles as masks, they're both presenters, their mediums may be different, but their aims feel similar. perhaps alastor was comfortable enough in hell at this point -- probably in a way he never was whilst alive -- that he was feeling magnanimous towards what must have felt a bit like an upstart. and most importantly, the constraints of alloromantic ideas are a comfortable 20 years in the past by now, alastor can barely remember that this was ever anything that was expected of him, or that others' could possibly feel about him

cue vox falling head over heels, the way people so often did while he was alive, and he... does not notice at all (barely a headcanon). I kind of feel like I don't have much to say on these two, because this blog is already a treasure trove of vox and alastor hcs!

I think rosie is the only one who knows alastor is aroace, although... maybe husk? not in so many words, but he knows alastor isn't interested in those things. nifty Does Not Notice Nor Care (in a good way). charlie i will forever think will at some point do a deep-dive on modern queer lingo and get everyone flags (this is practically word of god canon considering that older piece of art you shared). vox definitely doesn't know. val....... sort of kinda knows but in an evil way. vaggie does not care, but she'd be chill about it. mimzy... I don't think knows, mainly because she never cared to think about his behaviours, as someone who's quite self-centered on what alastor is to her. jeez, who am i missing... angel, does not know, head empty

speaking of angel, I think if he ever found out, especially with where he's at in his journey rn, would be very unhappy in some way about having stepped over his boundaries so often so casually at the beginning. dunno how he'd act about it, but i like the idea of vigilantly (and crudely, and bluntly) supportive angel if they ever manage to get alastor out on the town. more on the ace side of things but i can see him going: "do not try to fuck this guy! this guy is unfuckable!"

(i like hypersexual and deeply romantic angel + sex and romance repulsed alastor as unlikely friendship in my head. opposites finding common ground type stuff is always good)

at the end of the day, alastor living and dying in an amatonormative world and having to orient himself within that by building walls that persist/worsen after his death because of the culture of hell being predicated on who controls whom, veeeeery slowly discovering that he can be vulnerable on his own terms without people demanding things from him that he cannot give (smthinsmthin the hotel gang as the opposite of vox in that sense -- not only that sense, but also that)

also something about imagining his mother hoping he'd find a nice girl and settle down (in the way parents often do, because that's the metric of happiness right.....) and how he never could give her what she wanted, and maybe feels some very locked away guilt about that, which he thinks he'll never be able to deal with because his mother is in heaven, but perhaps in this story she'll get to see what he's built with the people at the hotel and that's really all she wanted for him in the end

OH MY GOD ANON THIS IS ALL SO GOOD?? THANK YOU SO MUCH HAHAHA. happy aro week everyone!! (x2)

[throughthewaves-if]

Demo TBA // Ask Boundaries

Should be noted that this is a side IF. Which means it’s something I work on whenever I’m bored of Aquarii or am in need of something a little more chill and wholesome. Main IF is @aquarii-if.

Sometimes, it feels like your life is falling apart.

Losing one family member is hard enough, but losing all of them at the same time is almost unheard of. All it took was one malfunction on an airplane, and suddenly your world ended.

Being fresh out of college with no direction, you weren’t sure what to do with the heap of inheritance money you got from their death. But upon seeing the ads for beach houses in Blue Mist, an island that finished emerging a few years ago and just finished some of its construction, you decided ‘why not’?

Now it’s time to wash your worries away in the pristine waters of Blue Mist. Enjoy taste testing the unique cuisines using the islands native ingredients, run along the boardwalk and find things to decorate your new house with, learn about this new island that brings all kinds of unprecedented adventures… Oh, and meet your new neighbors that happen to be a little more wet than usual. Don’t worry, it’s completely normal.

Choose your pronouns, sexuality, and appearance.

Swim with some mermaids, and learn about the large city beneath the waves.

Develop your relationship with your late family and how you mourn their loss. Seek comfort and stability in this quaint little island.

Choose between four unique gender-selectable RO's, some mermaid, some human, and some in-between. (Very high chance of more RO's being added.)

Explore the new island, and use its secrets to protect you and your newfound aquatic friends.

Simon/Sophia, Your Friendly Neighbor- S is considerate, welcoming, and an overall delight to be around. They're very supportive and you can always count on them to be a shoulder to cry on during your moments of grief. With how much they seem to care about living things, you're certain they'll be a great asset to the fight for the mermaids.

Idris/Iris, The Curious Mermaid- I scared you on your first encounter with them, but over time, you've found them to be quite sweet, if not a little naive. Mischievous and curious, I wants to know everything there is to know about humans, and they dream of a day humans and mermaids can live at peace with one another. They also seem happy to teach you about mermaid culture, and you enjoy trading knowledge with them.

Malachi/Madeline, The Hostile Mermaid- Though your encounter was a mistake on your part, M has never been one to hide their hatred for you and your kind. When they may not want humans dead as humans want mermaids dead, M does wish humans would stay out of the ocean, since mermaids stay off of the land, it's only fair humans respect their property as well. M has no interest in trying to solve the conflict between the species and would prefer everything to stay just as it is. Maybe you can convince them to open their eyes to peace between mermaids and humans?

Altair/Astrid, The Prince/Princess- While I loves humans and M hates them, A simply expresses no interest for your kind. They're polite and welcoming to you when you visit their kingdom, but outside of that, they're very clear about the fact that humans have no place in their kingdom, just as mermaids have no place in human society. All A wishes to do is stop the humans from harming the mermaids, but after that, they plan to make Blue Mist return to it's uninhabitable state and close off the mermaid kingdom from all outside contact. The world between humans and mermaids was once entirely closed off, and so it shall return.

RO's Physical Descriptions

[novelconcepts]

There’s a line from American Gods I keep coming back to in relation to Yellowjackets, an observation made early on by Shadow in prison: “The kind of behavior that works in a specialized environment, such as prison, can fail to work and in fact become harmful when used outside such an environment.” I keep rotating it in my head in thinking about the six survivors, the roles they occupy in the wilderness, and the way the show depicts them as adults in society.

Because in the wilderness, as in prison, they’re trapped—they’re suffering, they’re traumatized, they’re terrified—but they’re also able to construct very specific boxes to live in. And, in a way, that might make it easier. Cut away the fat, narrow the story down to its base arc. You are no longer the complex young woman who weighs a moral compass before acting. You no longer have the luxury of asking questions. You are a survivor. You have only to get to the next day.

Shauna: the scribe. Lottie: the prophet. Van: the acolyte. Taissa: the skeptic. Misty: the knight. Natalie: the queen. Neat, orderly, the bricks of a new kind of society. And it works in the woods; we know this because these six survive. (Add Travis: the hunter, while you’re at it, because he does make it to adulthood).

But then they’re rescued. And it’s not just lost purpose and PTSD they’re dealing with now, but a loss of that intrinsic identity each built in the woods. How do you go home again? How do you rejoin a so-called civilized world, where all the violence is restricted to a soccer field, to an argument, to your own nightmares?

How does the scribe, the one who wrote it all out in black and white to make sense of the horrors, cope with a world that would actively reject her story? She locks that story away. But she can’t stop turning it over in her head. She can’t forget the details. They’re waiting around every corner. In the husband beside her in bed. In the child she can’t connect with across the table. In the best friend whose parents draw her in, make her the object of their grief, the friend who lives on in every corner of their hometown. She can’t forget, so she tries so hard to write a different kind of story instead, to fool everyone into seeing the soft maternal mask and not the butcher beneath, and she winds up with blood on her hands just the same.

How does the prophet come back from the religion a desperate group made of her, a group that took her tortured visions, her slipping mental health, and built a hungry need around the very things whittling her down? She builds over the bones. She creates a place out of all that well-intended damage, and she tells herself she’s helping, she’s saving them, she has to save them, because the world is greedy and needs a leader, needs a martyr, needs someone to stand up tall and reassure everyone at the end of the day that they know what’s best. The world, any world, needs someone who will take those blows so the innocent don’t have to. She’s haunted by everyone she didn’t save, by the godhood assigned to her out of misplaced damage, and when the darkness comes knocking again, there is nothing else to do but repeat old rhymes until there is blood on her hands just the same.

How does the acolyte return to a world that cares nothing for the faith of the desperate, the faith that did nothing to save most of her friends, that indeed pushed her to destroy? She runs from it. She dives into things that are safe to believe in, things that rescue lonely girls from rough home lives, things that show a young queer kid there’s still sunshine out there somewhere. She delves into fiction, makes a home inside old stories to which she already knows the endings, coaxes herself away from the belief that damned her and into a cinemascope safety net where the real stuff never has to get in. She teaches herself surface-level interests, she avoids anything she might believe in too deeply, and still she’s dragged back to the place where blood winds up on her hands just the same.

How does the skeptic make peace with the things she knows happened, the things that she did even without meaning to, without realizing? She buries them. She leans hard into a refusal to believe those skeletons could ever crawl back out of the graves she stuffed them into, because belief is in some ways the opposite of control. She doesn’t talk to her wife. She doesn’t talk to anyone. It’s not about what’s underneath the surface, because that’s just a mess, so instead she actively discounts the girl she became in the woods. She makes something new, something rational and orderly, someone who can’t fail. She polishes the picture to a shine, and she stands up straight, the model achievement. She goes about her original plan like it was always going to be that way, and she winds up with blood on her hands just the same.

How does the knight exist in a world with no one to serve, no one to protect, no reason propelling the devastating choices she had grown comfortable making? She rechannels it. She convinces herself she’s the smartest person in the room, the most capable, the most observant. She convinces herself other people’s mysteries are hers to solve, that she is helping in every single action she takes. She makes a career out of assisting the most fragile, the most helpless souls she can find, and she makes a hobby out of patrolling for crimes to solve, and when a chance comes to strap her armor back on and ride into battle, she rejoices in the return to normalcy. She craves that station as someone needed, someone to rely upon in the darkest of hours, and she winds up with blood on her hands because, in a way, she never left the wilderness at all.

How does the queen keep going without a queendom, without a pack, without people to lead past the horrors of tomorrow? She doesn’t. She simply does not know how. She scrounges for something, anything, that will make her feel connected to the world the way that team did. She moves in and out of a world that rejects trauma, punishes the traumatized, heckles the grieving as a spectacle. She finds comfort in the cohesive ritual of rehabilitation, this place where she gets so close to finding herself again, only to stumble when she opens her eyes and sees she’s alone. All those months feeding and guiding and gripping fast to the fight of making it to another day, and she no longer knows how to rest. How to let go without falling. She no longer wears a crown, and she never wanted it in the first place, so how on earth does she survive a world that doesn’t understand the guilt and shame of being made the centerpiece of a specialized environment you can never explain to anyone else? How, how, how do you survive without winding up with blood on your hands just the same?

All six of these girls found, for better or worse, a place in the woods. All six of them found, for better or worse, a reason to get up the next day. For each other. And then they go home, and even if they all stayed close, stayed friends, it’d still be like stepping out of chains for the first time in years. Where do you go? How do you make small choices when every decision for months was life or death? How do you keep the part of yourself stitched so innately into your survival in a world that would scream to see it? How do you do away with the survivor and still keep going?

They brought it back with them. Of course they did. It was the only way.

[vidavalor]

Hmmm...I feel like I asked you this before,but why do you think Crowley doesn't like the 14th century??

I don't think you have actually, Rouge. Aww, the grumpy Crowley picture, my heart! I had missed him so. 😁 I can answer that, yeah, especially if you help me consume the holiday treats I'm lucky enough to have from some lovelies?

Why does Crowley hate the 14th century?

The short answer is also the only answer here and that's really just that the 14th century was, by all accounts, godawful. Especially if you lived in Europe, as Crowley and Aziraphale did then.

Yes, there is always hope and lovely people and somebody making art somewhere no matter what else is happening but heed this warning now: when we all start time-traveling, there will be these dirt cheap options to go to the 14th century and you should remember this post and definitely not do that. 😂

Here are some reasons why (and nowhere near all, as Tumblr only has so much space...):

Early in the century, The Great Famine of 1315-1317 hits Europe. Several years in a row of terrible weather ruins crops and, compounding the problem, a terrible disease rips through the cattle and sheep population at the same time as the crops fail, decimating the cattle and sheep population by an estimated 80%. Millions starve to death and millions more go half-mad from the lack of food, causing crime to also increase. The foundations of society start to shake as so many are sickly or dead that the ability to keep everything going begins to come close to collapsing. This is just the warm-up for the century...

This is already an era that is very hard to live in. We couldn't hack it then with our modern comforts and expectations. There's no indoor plumbing or heating or electricity. Medical and scientific knowledge was more limited so there were no vaccines and no understanding of germ theory. Diseases that we have eradicated today entirely or can treat and make no longer life-threatening would rip through populations in waves on the regular. Life expectancy was much shorter because of the inability to inoculate against viruses-- and, really, from a lack of understanding of germs and disease in the first place. No one understands enough about disease to even think about societal efforts to stop the spread because they don't yet know what a virus is.

These are the conditions when The Black Death-- bubonic plague-- shows up in 1346. It kills tens of millions. By the end of the 14th century, as a result of Black Death and wars, Europe's population has halved compared to what it was at the start of the century. Life expectancy was never great but now, with bubonic plague atop all of the other diseases already in existence, it becomes wild for someone to live past the age of 30. The average lifespan drops to 26 and families are having so many children because the diseases we've eradicated today through vaccines still exist and kill them in huge numbers, with 20-30% of all kids dying before they reach the age of 5.

In the midst of this? The average person was illiterate. Gutenberg's printing press wouldn't be invented until the 15th century and the ability to mass-produce written works with it is what helped it become the norm in Western societies for the average person to know how to read. Aziraphale and Crowley, in the 14th century, would have been able to get access to written works mostly by associating with priests and high-ranking members of royal courts, as these men were the main people who were able to read and write and were responsible for keeping records and transcribing materials.

There were still playwrights and artists and scientists and everything but the 14th century is also an age of rampant anti-intellectualism and all the insanity that comes with people being against knowledge and science and art. While there are always people making art and learning new things in every era, there's kind of a reason why when you think about great advancements in humanity, the 14th century is not really the time period of which you think. Technically, the Italian Renaissance began during the 14th century but basically every major work in it was made well after it and it's more like the foundations for it were put into place during this era-- probably by Crowley and Aziraphale having had enough lol.

It's an era of persecuting scientists, condemning art, being suspicious of people with knowledge in basically any field... there's a lot of calling people trying to do anything other than pray, starve or die sorcerers and witches and demonic and all that nonsense. There's hate everywhere, especially rampant antisemitism, with pogroms in the later part of the century where countless Jews were rounded up and murdered in the streets.

Atop all of this, Italy suffers an enormous earthquake that is also felt across parts of Europe that, when coupled with all the death and suffering, does what things like that have always done throughout history... increase the number of people who now think the End Times are upon them and usher in all sorts of extra doomsday-prep weirdness.

This is all egged on by the fact that societies across Europe are basically on the verge of collapse as a result of The Black Death killing so many people and everyone is grieving and afraid and on edge. It's also helpful to know that, in between all this famine and death? There's also wars on all over the planet. Basically every established country on Earth is at war with another one for the majority of the 14th century (to be fair, this is true of most of history) and the one happening in Crowley and Aziraphale's backyard of England was no picnic.

The Hundred Years War started in 1337. Historians consider its end date, uh... 1453. It was a war between England and France, who also had a whole civil war in there in the middle of it. There were some attempts at truces and some 'sorry, too many people are dying from the plague for us to keep trying to kill one another right now-- revisit this next year?' periods but the conflict continued for over a century. It was largely triggered by... what else?... the English king at the time-- Edward III-- trying to say that he should also be king of France. Surprisingly lol, no one in France was really into that idea... England and France both also see these massive revolts of working class people in response to the high taxes of the war, the limited resources, the plague, etc..

This is just a handful of the likely top reasons why the 14th century was not Crowley's favorite. I don't think Aziraphale was very fond of it, either. They're two curious, literate, food-loving, peaceful, warm-hearted people, and they would have spent that century drowning in the worst of the human experience.

I'm sure they think about all that misery sometimes when they're warm and comfortable without miracles and enjoying seeing greatly reduced child mortality and many people living past a century. They probably often think about it when they're eating food sourced from around the world that exists in plenty, especially in places like The Ritz, that would have been unimaginable for most during the 14th century.

[disruptivevoib]

Long Ramble about CCCC and my overall feelings on what the album means and such

Something I find important about CCCC is like.

The fact that all three of them are, in some way, trying.

Heart is emotion, he is prone to himself and being reactionary, in the moment. Prone to the past of learned behavior and trauma. Reactive and rapidly changing. He isn't going to make pure sense because he isn't based in logic or in societal ideals or views. He is an instinctual response to the environment and circumstances. His manipulation is not intentional. He has very little control of himself in the end. Its why Mind talks about claiming to relish entropy yet clearly needing help. But, Heart in earnest wants them to be okay and safe. He believes that Mind's control will drain the life from them. It will make things monotonous and the same. Too much order.

Mind in turn, believes Heart is manipulative with intention. He wants to control Soul or wants to just drag them all down with him into this depressive state. Mind is logic, he is the reasoning out of your emotional instinct. Your inner critique, and when unchecked, that inner critique goes from a guiding hand for your emotion to one that debates and bullies it. Invalidating its responses. Ultimately, though. Mind just believes he is helping. He is doing what must be done and telling the "hard truths" to Heart. And that Heart is being the petty child. Which- I mean. Sort of sure. But Mind is definitely fucking petty and childish. He's stubborn! Prideful! So ofc he is. Admitting you're wrong? No.. why would he EVER do that.. nuh uh.

Which is what makes Light so crucial. Mind asking Heart for help- but also. There is Soul.

Who while ambiguous in purpose, is mostly that background voice. Your inner narration. If Mind is Logic and Reason then Heart is Emotion and Instinct,, Soul is all that lives between it. And he is constantly silenced or spoken over or around. He does not get a word in edgewise until TSE. He may show up in the background occasionally but as much as Heart and Mind claim to want to keep him alive and help him, they also fail to actually acknowledge what he says.

Which is that they both are right and wrong. That this fighting is doing directly what they both feared it would. Soul is desperate by the end. He is angry and resentful because.. well. Self hatred due to intense self awareness and reflection is rather ig. Common. Im not a professional here but from personal experience, you get so tired of rehashing the same shit with yourself over and over. It all feels pointless.

The only out, by the end of it all to Soul is that if they cannot be Whole, whats the point? He is desperate. He does not want to die but he feels theres no other solution.

And. About Whole, Soul throughout the album seems to want that. At the beginning, to be Whole or Harmonious is to be mentally healthy, maybe even "normal" by society's standards. To be able to put a mask over your problems and be, again, "normal". It takes the entire album for Soul to realize that this:

1. isnt possible

And

2. There isn't anything evil or wrong with him for that.

Mental health is a struggle. But you are not evil and should not be othered because you struggle. You also do not need to be fixed for being a little different and people's opinion of you is not what matters most so long as you are happy (and not hurting others. Lol).

Thats what Two Wuv is entirely about as a song. Its a "fuck you. Fuck this! I thought I needed to be this! But I DON'T. Stop telling me who I am! How to be! I'm gonna be me!"

His entire arc is parallel to Heart and Mind's and is crucial in the culmination of becoming yourself again and accepting yourself.

But, as mental health will always be, this period of respite and self acceptance is not always forever. And as life continues or as you lapse back into a depressive episode.. you cannot help but forget what it is like when you're not this way- and hell! Vice versa too! Some people have this disconnect between the periods. Where the things from the depressive state seem dramatic or obtuse to you while you are doing better. And from the other end, you just want to be happy again.. but you get so lost in it all you can struggle to feel like you've ever been happy.

The album is about the human experience. It is about self-sabotage, mental illness, self-hatred and reflection and it is, maybe more importantly about self-acceptance and healing. Having a bit of mercy on yourself. Accepting that you are imperfect and that this is okay. And whatever flaws you may have that need to be mended or worked on, can be. And that who you are, for example, if you are queer, is okay. And no one has the right to take that identity from you! That the internalized ideas of how someone should be are not always correct or right. Not for you, at least. Stuff like that.