#but also how *fundamentally different* they are

[justrandomthoughtsforlater-blog]

new version of frankenstein where victor's friend henry or elizabeth becomes like his lady macbeth style accomplice, asking how was it to resurrect the dead??? You hate your creature but I love them, but I am also disconnected from their humanity and want to feel the power of God more than I realize the magnitude of what has happened.. I want them to also break down but take on making the bride of frankenstein first, and only when they do it themselves do they fail differently from victor.

*from this point on lady macbeth is stand in for new version of henry or elizabeth*

Victor is a perfectionist and a coward, revolted by his success who immediately lies to everyone to everyone's detriment. I want his lady macbeth to try to tell everyone about this new thing and be not believed, or imprisoned for it. Instead of abandonment I want them to be controlling and overly attached to the creature. I want the whole world to become strange to them as they find it revolting that it is not their own creation. I want them to have a toxic hate for the world that becomes destructive like a lion that kills cubs that aren't theirs. I want them to resent Victor getting credit and I want Victor to squirm that people know he's done this thing he now considers an abomination. I want Victor to be raised up by his lady macbeth against his will and have it intermittently reignite the indignant vanity and arrogance he arrived at university with. I want him to hate himself for liking the credit and attention, until things continue to go wrong and he hates it purely and resents his wife or friend for taking him to this place of influence and publicity.

They need to be fundamentally different in their flaws. Victor's cowardice and guilt leads his neglected creation to hate the world that rejects him, and violently harm it. His lady macbeth style counterpart should love their creature to the point the world seems like dust in comparison, enmeshed horribly, protecting the creature and taking personal risks for power. I want this creature to learn in the lap of it's mother the wrong things about the world, that it would never reject them, but that they are better than it's dirt. I want Lady Macbeth to die in the act of creating again. I want death to not make sense to this resurrected being.

I want the mate made for victor's monster to be uninterested in him with every need provided by lady macbeth, twisting the knife as the original monster is rejected by his own. For after all we are not with each other just because we are humans, and they will have such different experiences.

I want the new creature to seek the same godlike powers trying to resurrect lady macbeth. To be human is an abomination now that we have this knowledge, so the abominations we create are just as human as we are, facing rejection and God in the same breath.

I want this so bad. I want to explore invisibility of elizabeth if she makes a monster and then things get attributed to victor. I want her invisibility to parallel the original monsters as he hides while his mate is more palatable or more forced to be seen and scrutinized. I want the creature to recon with the fact that another one of his kind does not commit murder, but I want him to eloquently dissect their different circumstances. I want a monologue on the violence and hatred humans hurl at each other as they violently disagree about the status of the new monster. I want the new monster to feel violent urges not due to rejection but due to objectification, or invasion of privacy, or pain, or manipulation. I want public outrage and skepticism. I want lady macbeth to be cruel in different ways. Victor's struggle has been compared to postpartum depression, I want postpartum anxiety. I want victor's monster to continue to suffer from rejection, and the new monster to experience loneliness differently

One of the most frustrating things about contemplating humanity with frankenstein is Victor is barely relatable but an idiot, and sometimes I have felt so disconnected from the way both Victor and his monster react to life. You double the humans and monsters on stage, you double the ways they can differ and parallel.

It's always "I can't believe you dug up those graves" and "You really built a guy out of corpse parts?" and never “How was bringing the dead to life. Was it thrilling? Was it enthralling?”

[glitter-stained]

I always feel like a little sad seeing posts about how Jason's character is inherently tragic and that's what makes it good, how him being unloved, a tragic consequence of his own actions, is inevitable, and how that shouldn't change because any change on that regard is a fundamental misunderstanding of his character. Yes, Under the Hood is a tragedy. Yes, Jason survived and for a long time people have been pretty confused at what to do with the character that survives the tragic ending. That doesn't mean he should continue to be trapped in the tragedy, that there's only value in him as long as he's unloved. And maybe that's me preaching and being a party pooper again but the idea that the teenage-to-young adult character with a mental illness that has damaged all his relationships is doomed to be lonely and have bad/upended relationships forever, that he's only good as a character as long as he's hurting others and/or himself (and usually both) and isolated because of this... It's sad, at the very least. I refuse the presumption that tragedies are the only stories wise and worth telling.

Also I personally really dislike the idea that Jason isn't and shouldn't be anyone's favourite, because he made himself nobody's favourite on purpose. Did he make himself a villain on purpose? Fuck yeah. Does any of his early attempts at reaching out to people hurt them? Indubitably. I maintain that this is because he wants to be someone's favourite as he is, at his worst, with his hands covered in blood. And I think he should be. (Without contradicting or damaging, by comparison, the relationships between other characters, that's the tightrope we need to be weary of when making such things, of course.)

It's like this: love, in most relationships, is conditional: you don't owe your friend or your partner to continue to love them if the relationship changes, if you change, if you become violent etc. If my girlfriend started murdering puppies, I would stop loving her. Ideally, however a parent's love for their child is unconditional. That's very often unfortunately not the case, but ideally it'd be, it's really not great for a kid to have zero parents that love them unconditionally. And most importantly, it's not just about actual unconditional love, it's about it being perceived. So it doesn't matter in the debate if Bruce actually loves Jason in spite of the murder, it matters that Jason asks for confirmation of it at the end of UTH and receives a negative answer. (similar arguments to be made about Catherine loving Jason and dying of drug overdose and Willis going to jail and dying - it's the potential perceived abandonment of it that would matter, not their agency and actual love. And it's not a question of whether he would be angry at it so much as that he'd yearn and hurt for it. And of course Sheila didn't love him at all.) That's why he, upon learning about Mia and reaching previously unknown to man levels of projection*, tries to rally her with the hope that, because she's "so similar to him" she would understand him. That's why upon learning about Dick "killing" Blockbuster Jason, again projecting more violently than a bullet, Jason makes Dick into his new favourite person (god, the concept behind BiB has so much potential why did it have to suck so bad...) Anyway, Jason to me is a character with a very intense, very overwhelming conception of love both in who he loves and how, who struggles to understand that other people love and show it differently, and it makes so much sense for him to keep looking for a person who will love him unconditionally (something that's both very rare and not necessarily healthy since, again, most relationships aside from parent-child relationships do not and probably should not include unconditional love). This is particularly interesting in the context of him having bpd (again, using bpd because i'm focusing on the interpersonal dimension that's been mostly studied within that frame) because BPD often functions around a vicious circle of "is afraid of rejection/abandonment -> does maladaptive behaviour in attempt to prevent rejection/abandonment OR protect oneself by being the one to leave first" which is what leads to the instability in relationships. It's a doomed prophecy: i have maladaptive patterns that make me think my girlfriend is gonna leave me at any time, I keep demanding to see her phone, assuming she's cheating everytime she leaves and thus demonizing her even though I was glorifying her five minutes earlier" then she's going to leave me, which is gonna reinforce my thought pattern that everyone always leaves me. But that also means that in rare instances in which the other person in the interact, for whichever reason, sticks around through that, then these incorrect thought patterns begin to change through the sheet logic of extinction: if i think that people always leave me because of something fundamentally wrong with me and people don't leave then eventually the idea that people are doomed to abandon/reject me is going to lose its power. That's, btw, an important part of why therapy works.

(*that one's a joke, btw. He's not projecting onto mia and dick to levels impossible to mankind, just pretty intensely. Very human levels of projection, might I add'. Just to clarify.)

Now, be mindful: I'm not saying make Jason an abusive boyfriend. I'm not saying put him in a relationship where the other stays because they're afraid of him, that's not unconditional love or acceptance that's just fear. Of course, the ideal version of it would be Jason goes to therapy but because dc hates me specifically this is never gonna happen, but imagine him being in a relationship, romantic or otherwise, with someone who is as intense and "unwell" about him as he is about them. I'm not saying it would fix him (again, get him so goddamn therapy jfc) but it would change him. And just as it doesn't have to be healthy it doesn't have to be tragic.

I was asked a while ago my thoughts on Jason's current stagnancy as a character and if I thought he could become interesting again, and I said yes and talked about the directions I dream would be explored with his character and their potential. My answer hasn't changed, and it's completely compatible with this, but I will add: I think Jason as a character has largely and for long enough been defined through his yearning to be somebody's favourite, and that if you want his mode of interacting with others and dynamic with different characters to change then this is a very logical way to do it. And it would make a lot of sense for it to be the catalyst for other changes in his character (ie in his name or philosophy).

Get that boy into a super intense long-term codependent situationship, is what I'm saying. Please.

[sleepyparalysisdmon]

SVT with a partner that struggles with an ED

Requested? Yes!

Request: ‘hi, if you're comfortable, could you write svt with a partner who has eating disorders? im so sorry if you're not comfortable with that, i did read your guidelines post but maybe I've missed it! have a lovely day :) 💜’

TW/CW: This will discuss a sensitive topic. It is meant to be comforting and relatable, but if you’re not in a headspace for it right now, I recommend not reading. 

A/N: I recognize that idols often have issues like this of their own, but for the sake of this post, I won’t be addressing it in this reaction. The pressure to look a certain way is one of the many things I fundamentally disagree with about the idol industry. I’d really rather them carry a little more weight and be happier and healthier. I think most of us would. 

Focuses on the physical recovery - Seungcheol, Hoshi, Mingyu, Chan

The physical impact of the disorder is what makes him put his foot down about it. If you like to maintain a certain body type, he can’t say too much about it and really does want you to be happy with your body. But he can say plenty about the anemia, the low blood pressure, the GI issues, the hormonal issues, the dental problems, etc. You never feel good, and he’s tired of it. He won’t be mean, but he’ll be stubborn and insistent that you seek treatment of some sort, with the first goal to just start feeling better physically. 

Focuses on the behavioral recovery - Joshua, Wonwoo, DK, Seungkwan, Vernon

Encourages you to eat and also encourages you to keep said food down. Those are non-negotiables to him. But he also encourages you not to overdo it on the food and to pace yourself when it comes to exercising. He stresses moderation for those last two things. He’ll figure out what you feel comfortable eating until you’re ready to try a normal diet because a little food is better than nothing. And he’s so calm when that doesn’t go well sometimes, reminding you that it will be okay, but he wants you to be just as brave about it as he is patient. But if it does go well, he’ll give you endless amounts of praise for facing the issue head-on. 

Focuses on the psychological recovery - Jeonghan, Jun, Woozi, Minghao

Feels that it’s best to tackle this sort of thing at the root of the issue. He wants to know when this habit started and why you feel compelled to keep doing it. If it’s poor body image, he’ll listen patiently, but you have to listen to him explain how he sees you, which may be hard to do because his take is so different. If it has something to do with how you were raised regarding food, he’s dissecting that with you, so maybe one day it will click that it’s not the way to live life now. And if it’s about control or perfectionism, he’s encouraging you to start letting go of some of it and trust that it will be okay if you change your behavior or your weight. Exceedingly patient about it without ever making you feel that you’re being irrational when you struggle with this. 

[maniwannadiezz]

Thank you. You make me feel sane for hating on vivs art😭 (she did influence my art in middle school, but now I see all the issues with it)

no problem! I think her art had a lot of bad influence on newer artists simply because at first glance it’s appealing and people like you (and me) thought why can’t we just copy it and go from there? Welllll problem is that just copying an artist will lead to you consuming and producing the mistakes they make or not fully grasp why they exaggerated something the way they did. Unfortunately those anime hating art teachers held some truth in their words, just copying right off of another artist without fully understanding the rules of art will lead to getting stuck.

I’ve gotten “stuck” before, my art deformed contorted to the style and gave me a mess where the heads were too big and the proportions too wonky when I could have spent my time understanding anatomy and proper colouring techniques. Of course there’s nothing wrong with just wanting pretty looking art and nothing more but if you want to expand and not hit a ceiling it’s better to learn the rules before you break them. You’ll probably learn things you never knew you never knew! Find things about your style you never dreamed you could have drawn before and expand into your OWN person and your OWN artist, instead of being the vivziepop drawalike.

DECONSTRUCTING VIVZIEPOP ARTISTIC ISSUES WE MAY HAVE CONSUMED AS CHILDREN (if her art has improved I haven’t seen but I will give her the benefit of the doubt! So let’s just isolate this to the past for US ex hazbin artists to understand where our problems truly began)

Anatomy: Vivziepop has a habit of not properly following even the anatomy of her own drawings let alone anatomy rules at all. I had to bend and meld what I thought a limb may look like from its transition from in front to behind a limb (like the legs) since the lines didn’t properly match up. Arms change size, legs have no knees, one thigh thicker than the other and hands that have fingers which melt into the palms.

you could say it’s stylistic, but considering she’s ONLY ever drawing stylistically whether she liked to or not this bad anatomy has become a crutch and down fall. If she wished to draw more realistically I will assume she can’t or can’t anymore…

Here’s a draw over. You can keep the stylistic effects while keeping your anatomy at least somewhat readable, especially the hands 💀

Shading: shading plays a huge role in not only give us context to the image like where the light source is coming from but also the shapes of the body. the body is comprised of different shapes (cylinders for arms and legs, circles and ovals for head, different planes for the face) with shading like vivziepop’s we don’t know where the light is coming from but also the shading blends into the drawing as visual noise, or worse makes things look flat and lifeless. Her legs especially are shaded as if they are two pieces of paper sticking out from under her dress.

Colours: we all know her main appeal in art is her colours, but designing your piece by just how pretty you can make all the colours also is ignoring fundamentals in what makes your art from good to BEST. With too much of one shade your whole piece blends together in the eyes of the viewer. With not enough contrast in the right areas you will have a focal point that bounces around (like us her chest the focal point? It’s the darkest spot on the piece! Or is it all those eyes that clutter up the whole drawing with the random stripes in the back…. Ouch! I can’t tell what’s what!)

conclusion: I leave you and others with this quest, you wanna get better at art? Take a moment to critique even your own favourite artists. You can have inspiration of course but question their decisions before blindly hoping on the hype train. Or you could be consuming their own mistakes and end up STUCK, like I was, like many have become.

Give critiquing these pieces a try, deconstruct them, trace them (don’t post) see where the lines match up- do the limbs look as if they existed behind the limb or do they go to a void and come up the other side a completely different size? You tell me…

[physalian]

Lateral vs Vertical Magic Systems

I… think I’m the only one to use these terms? What I mean by this is different than hard and soft magic, slightly.

Quick recap:

Hard magic systems have rules and strict definition for what can and can’t be done

Soft magic systems go more off vibes, magic exists but the exact mechanics are not important or don’t exist

—

I think you can have a lateral or vertical magic system that’s either hard or soft, and what I mean by this is:

Vertical magic is where everyone has magic of wildly different flavors but hones them all for the same specific purpose.

Lateral magic is where everyone has magic of the same flavor but uses it for wildly different purposes.

Here’s some vertical magic examples:

Percy Jackson: Nobody uses their demigod powers for anything other than staying alive, by and large, and there’s a huge variety of demigod power possibilities and very little overlap. Whether it’s physical combat or mental, these kids’ powers exist so they can fight gods and monsters.

Naruto: I have not seen most of this show so correct me if I’m wrong but, this is a world where ninjitsu is almost exclusively for combat. While there’s core principles, the heaviest hitters in the show all have wild and exclusive powers or special moves that only they can use that go far beyond skill in martial arts (except for Rock Lee).

X-Men: By nature of it being a comic book, the premise of the world is built in heroes versus villains and how they use their powers to beat the snot out of each other. In X-men specifically, mutants are persecuted and can’t use their powers legally, and have little choice beyond using their mutation to stay alive and “do good”.

Lateral magic systems might be something like:

Tinker Bell: You’re a nature fairy, by and large, and everyone gets their power from the same source, pixie dust, each using their flavor of magic to suit their niche purpose in the environment

Danny Phantom: Yes, he’s a superhero and must have fights, but all of Danny’s super-powered rogues are ghosts, with no exceptions, and everyone is limited to how creatively and uniquely they use the same basic ghost principles of possession, telekinesis, invisibility, and intangibility, + their special trait, but all also suffer the same issue that unites them more than once: They are dead, and good or bad, the living fear them.

Fullmetal Alchemist: Alchemy isn’t limitless, and its practitioners typically focus on one very specific kind of alchemy of their choice with the hard rule that everyone must follow of construct, deconstruct, and reconstruct, and get really, really good at honing it mostly for combat, but also in fields of science, engineering, etc. There is alchemy and only alchemy, and it has rules.

—

Last Airbender is both! Its bending rules are strictly limited to the four elements and how creative you can get with your element… but it is also a show that heavily features martial arts and how that bending can be used in combat, but it also built a world where bending factors into other jobs, arts, and the very fabric of society.

Why does lateral vs vertical magic matter?

When you’re designing your magic system, you have to think about how this magic would integrate into a world as if its always existed there. Is it hidden magic, like in most urban fantasy? Or is it baked into the fabric of society, like with bending? Does everyone start with the same basic tools and go wild, or does everyone start wild, and all chase the same aspirations?

Whichever you pick does depend on the story you’re telling. A lot of the media I mentioned is action-adventure, which means that all magic, lateral, vertical, soft, or hard, leans toward one thing in the end: Combat.

But beyond combat, how can your magic be used? Are people allowed to practice it without regulations or is it heavily structured by their fantasy society? If it has always existed, how would their would be fundamentally different than ours?

[gorbalsvampire]

On Humanity, Tenets and Convictions

The V5 corebook does an appalling job of explaining how these mechanics fit together and what they represent; I don't think even the Players' Guide really hits it in the terms that are needed. I don't want to jack the excellent post by @vixensdungeon but nevertheless, the urge to explain things on Tumblr dot Com, the App and Website, is very strong in me this morning.

Humanity itself is objective. Each notch on the scale has defined, concrete mechanical impact on what the character can and cannot do, and these are consistent no matter what the character thinks or believes or feels, and these are universally applicable, no matter who your character and my character and her character might be. At one end of the scale your character is Literally Unplayable; at the other, they are more human than most humans, certainly than most RPG protagonists, and might as well be unplayable considering the role of the TTRPG as societally unacceptable behaviour simulator (cf. Power Kill, as usual).

Tenets are subjective but shared. They are the ethical rules on which our story operates: the things that we have agreed should provoke a moral crisis in our vampire protagonists. For Humanity loss to occur, you need these cues and triggers, these "thou shalt not" rules, and for that central fact of the game - that unlife isn't life and living it makes you less of a person - to come up in play, they need to be rules your character is going to break.

Without Tenets you have no idea what makes Humanity vulnerable and precious and worth saving; there are not many universal, objective, "doing this always gives you a Stain" rules in V5. You have to do the work here. The game needs you to decide what's horrific in order for its personal and political horror to exist at all. You cannot skip this. You cannot rely on a universal morality that isn't there and isn't shared to dictate Humanity loss. The game needs you to think about these things.

Convictions are subjective, and entirely personal. They are the "but thou must!" imperatives which allow your character (and only your character) to justify breaking the Tenets and retain a grip on their Humanity. They create the opportunity for your character to resolve their moral and ethical qualms in their own favour every so often; to stop the process of play being a nihilistic rush down the Humanity scale. VtM works if you all speedrun down to Humanity 4 and act like the usual "chaotic evil until proven otherwise" TTRPG protagonists but it aspires to make you think and feel things about that and the rules are set up to demand you meet that aspiration.

If you want a vampire game where the state of being a vampire isn't a moral issue, can I recommend Vampire: the Requiem Second Edition? A game with an objective, universal definition of Humanity and the threats to it as "experiences that remind you you are not a human being any more," and the more fundamental that reality check is, the less likely it is a character will retain Humanity when confronted with it? It's extremely tidy and doesn't demand that you establish and interrogate any of your own principles. It's not moral "degeneration," it's experiential "detachment," and that hits very differently.

Also, none of this is to do with Lines and Veils. Tenets are rules you want your characters to break. They are the substance of your morality play. They will come up in play and they will do so often. Lines and Veils are rules about what you as a player do not want to have to experience at the gaming table and they are not supposed to come up/be directly narrated. One of these things is part of a core gameplay function and one is a safety tool. Know the difference.

[ckret2]

That one anon you had confuses me bc I don't get the appeal in Bill cipher redemption fics that don't bash on him. Like what is the point if not to make him earn it??? Where is the juicy character development to be had? How can Bill fundamentally change as a person if no one is still angry with him? If he doesn't have to earn trust or otherwise actually change in order to be accepted??? Also it's funny, I love to see a character struggle. I am in love with your series for just the fact that YEAH when you've done what Bill has to that magnitude, itll take an insane amount of time in order to become better. It already took a lot of time to get the bare minimum in terms of living space. It'll be like that when you tried to destroy an entire dimension and have personally victimized the ppl around you.

---> also my ass totally somehow missed they weren't talking about the main fics of yours oops

I'm assuming that anon was using the term "bashing" the way it's usually used in fanfics.

It doesn't mean "make a character struggle and work to improve," but rather "make a character the author hates suffer for the entertainment of an audience who also hates him; make him struggle in order to put him down, not to eventually build him up."

I've seen or heard about plenty of works about/including Bill that do just that, so even if the anon was rude about it, it's not ridiculous for them to mistakenly assume a Bill fic would do that.

Big difference between "the characters are mad at Bill and want him to die" and "the writer is mad at Bill and wants him to die." Bashing fics aren't about character growth; in fact, someone who writes a bashing fic would probably be pretty pissed to see a story about that character growing & improving as a person. The goal of a bashing fic is to destroy a character—either metaphorically by OOCly misinterpreting them to demonize them as much as possible, or literally by torturing/killing them. The kind of people who'd write a Bill bashing fic aren't the kind of people who write about him being redeemed.

I'm a Bill basher's worst nightmare: someone who looks at all the terrible shit he did, acknowledges its full magnitude, writes him doing even more terrible shit, and still wants to give him a happy ending.

[talonabraxas]

Navagrahas Talon Abraxas Navagrahas: the planets of Vedic astrology Navagrahas fall under the the Hindu Astronomy and play a major part in the Hindu astronomical sphere. The Hindu astronomy whose origin dates back to the time of Vedas is concerned with the placement of nine planets and their influence on the world and on an individual. According to the Hindu astrology, the position of the planets when a person is born determines his potential in life. The nine planets collectively are called Navagrahas. These 9 planets are worshipped by Hindus to overcome any hindrance, obstacle or bad luck. They are found mostly in all the temples and faithful believers pray to the Navagrahas before they pray to any other deity. Out of those nine planets, seven are named after the planets in the Solar System and the other two are actually demons who managed their way into this group by trickery – Rahu and Ketu. Depending upon their location in the planetary system, they are deemed either auspicious or inauspicious. While Navagrahas are found in every temple, there are some temples that are solely dedicated to them. One such temple is the Navagraha temple located in the outskirts of Ujjain. Effects of Navagrahas – Vedic Astrology In Hindu Astrology, Navagrahas affects a person’s happiness, success and all-round prosperity. The good and bad, positive and negative influences of each of these nine planets are results of factors like the specific location of the planets on the birth chart, etc. Planets possessing Sattva nature are Jupiter, Sun and Moon. Planets bearing rajas are Venus and Mercury while planets with Tamas nature are Mars, Saturn, Rahu and Ketu. These nine planets in vedic astrology are treated as deities with specific powers, nature and characteristic qualities depending on what each of these offers – positive or negative to people. 1.Sun (Surya): In the group of other planets, he is normally shown facing towards east, standing in the center. Around him are the rest of the planets facing in all different direction but not towards each other. He rides are chariot with one wheel which is pulled by seven horses symbolizing the seven colors of white light and seven days of the week. He is also known as Ravi. 2.Moon (Chandra): In the images, he is never portrayed as a complete person. Only his upper body with two hands holding a lotus each, riding a chariot pulled by 10 horses is shown. He is also known as Soma. 3.Mars (Mangala): Mangala is a Ferocious God holding with two holding weapons and 2 in mudras. His transport is a ram. 4.Mercury (Budha): Budha has four hands and rides on a chariot or Lion. Out of which, three of his hands holds a sword, a shield and a mace and the fourth hand is in a mudra. 5.Jupiter (Brihaspathi): He is the teacher of Gods and is praised in Rig Veda. He is shown sitting on a chariot pulled by 8 horses each showing one branch of knowledge. 6.Venus (Sukra): Sukra is the teacher of the Demons. He has four hands and rides on a chariot pulled by 8 horses. Three of his hands hold a staff, a rosary, a vessel of gold while the fourth hand is held in a mudra. 7.Sani (Saturn): Sani is a god who makes or breaks fortunes by his planetary position for which individuals fear him. He is shown with four hands riding on a chariot or a buffalo or even a vulture. He has three hands in which he holds an arrow, a bow and a javelin while his other hand is held in a mudra. 8.Rahu: He somewhat looks like Budha (Mercury) but both Gods differ in fundamental nature. Just like how Budha rides a white lion, he is shown riding a black lion. But just like Budha, he carries all the same weapons. 9.Ketu: In Sanskrit, Ketu means comet. It is said that he has a tail of a serpent in his body and his nature very much matched to that of a comet. In pictures, he shown riding a vulture and holding a mace.

[dzvelinaskebiyars]

No because can we talk about team Sabbath? Not to say that they're hot and they're cool but like analyse them?

Can we talk about how they're different from others individually? How they're socially rejected as if they're fundamentally different from normals?

Firstly, Vinny Hong.

He was always discriminated for being different in every way one can be different from someone. His looks- red hair and Heterochromia which is said to be his albinism. He has been bullied for looking differently than what's beauty standard in Korea, for being different from normal people as he was convinced that he's abnormal one. He was also bullied a lot for being a poor, which sets his difference between rich or non poor people and him. He has been picked on a lot because of that and the fact that he was struggling with money affected his character a lot. We saw that society doesn't treat ppl with albinism and/or Heterochromia well, and plus poor people are often victims of bullying. On top of that, he got in troubles a lot and made himself a name "a thug" in school, which again set him apart from rest of students. He's called mad dog. Teachers can't deal with him, adults are having problems with him and etc. He's completely rejected by society. That's why he wants recognition so badly, so that he can deal with his inferiority complex.

Secondly, Hajun a.k.a Joker

Hajun is underground fighter, I think that already sets him apart from most people and most boxers (as they don't fight for underground fights) so that's one difference for you. Even his little brother hates that he's underground fighter, despite the fact that Hajun genuinely seems to like fighting just as cycling but despite that, his love for fighting isn't being accepted by his own family. He's also different from others as a character. For example, his attention span seems to be short and messy as he gets easily distracted. He's in middle of important race but he gets distracted and stops at red light when he actually doesn't have to. No one stopped in entire windbreaker at red light except Hajun. He also stopped to save the puppy during the race and came in last because of that. People were confused because what Hajun was doing was not making sense for them, that it was actually very different from what kind of players they're used to. Plus Hajun, just like Vinny, is facing money problems.

Thirdly, Wooin Yoo

Wooin was rejected by his own family but I think it's also said how people, even now, refuse to admit that he's normal. But first of all, his main issue is his family. Wooin has been trying for years to get recognition from his family, some love and acknowledgement but he never got one, in fact he got redeemed as useless, disappointment, troublemaker punk. All he honestly wanted was recognition from his family, no one else. He was locked up, yes fucking locked up, by his own father and the freedom got ripped away from his hands. I doubt he had much freedom from the beginning anyway. He got locked up for assumingly long time and even if his house was big and even if he was rich, he was extremely lonely. Now, he's seen as weird by people but I honestly think it's because he couldn't develop well due to his abusive family.

Lastly, Hyuk Kwon

We all know why Hyuk is being rejected: his style. He's pro Cyclist, he's really good and talented but unfortunately, he can be aggressive. Like his jack-knife, or how he tried to crush team ghost's member's head with his bike while telling them to die. That's what got him expelled from his previous team.

"i heard Hyuk is kicked out."

"Finally. Everyone who races against him ends up injured haha."

So it's obvious he was rejectec by his own team. If it hasn't been Wooin, he'd probably be dealing with this problem again.

Team Sabbath is being rejected by rest of the teams as well, as other crews don't welcome their style of cycling. But it's like Hummingbird and Sabbath aren't that different, they're both similar to found family but they have different morals.

[paintingpuff]

Often when I look into fandoms or discussions about a tragedy, I find some people imagining happy "what-ifs" of the story, and other people being very annoyed with the former and saying that they're missing the point of the story.

I do think it's true that viewers finding a "fix-it" with a story, especially one that's supposed to end poorly, can enter territory where they are just trying to outsmart it, or boxing a complex story into a series of archetypes.

However, it's also worth acknowledging that trying to find the way out of a tragedy is a very significant and fundamental approach to engage with a tragedy. In my experience, the most compelling tragedies are ones that do have escapes - even easy ones!

Exploring ways a story could have gone differently sheds light on the way it pans out. "Character could have done __ to survive" begs the question of "Why didn't they?" And if that latter question has a satisfactory answer, then you have a more solidly constructed story.

Exploring what could have saved a character also emphasizes the Tragic Downfall. Reimaginings of the cast entering a found family or romantic relationship can highlight the way isolation was a driving factor in the tragic ending.

Moreover, imagining the ways something could've have gone right just makes the tragedy hurt all the more. Each time you uncover how this could have all been avoided is another reminder of what could have been.

[moonedman]

All other sagas done in previous or future posts

Underworld Saga

this is probably my favorite saga. and also probably one of the most important, fundamentally. i think i filled five notebook pages on these three songs.

The Underworld

“I no longer dream” what my friend was once saying about how the screams he hears are real since he’s no heard them and knows what they sound like

“Past seems close behind” it’s catching up to him

Ough his crew asking “when does a man become a monster”

Ok so whatever the spirits are saying is the last thing they thought, meaning Odysseus’ crew considered him a monster, Polites is still upbeat and bright, his mom will wait for him

“Nothing is as it seems” possible that he’s just hallucinating this OR he doesn’t want to believe any of it.

I’m insane about Mr. Jorge Rivera-Herrans’ voice acting

Reminder! Greet the world with open arms! Don’t turn evil!

I know he’s not evil

HIS MOM

The realization finally hitting him that he’s been gone twelve years he’s lost and missed out on so much and he needs to get home

I’m going to blow up

Just. like. The beginning of realization

I’m going to blow up!!!!!!!!

No Longer You

“There is a world where I help you get home, but that’s not a world I know” opening us up to that no longer you idea

“Past romance” past is really interesting because he’s still married but it connects to the no longer you part

“Sacrifice of man” Previous sacrifices and also warning of future sacrifice

“Portrayal of betrayal” Scylla and Thunder bringer, but also in mutiny. Also when the wind bag was opened.

“Brother’s final stand” Eurylochus in mutiny, maybe Polites in Survive

“On the brink of death” well yes

“Man who gets to make it home alive/but it’s no longer you” he’s changed and lost so much that there’s like no way he’ll ever be the same king and husband and father. Also in the odyssey story Odysseus has to disguise himself as an old man so he can win back his wife

He also kills all the suitors i hope we get to see that

Denial is a river in Egypt your men are doomed

“Palace covered in red” please please please be the suitors dying but also those suitors are violent in general (I am so grateful my prayers were answered)

“I see a wife with a man who is haunting/a man with a trail of bodies” “WHO”

a) he’s haunting her. His leaving haunts her because of the men in her house, telemachus and his whole “no dad” thing, and just not having your husband around. His absence affects her just as greatly as it does him

b) odysseus doesn’t realize it’s him. He’s got the trail of bodies. He’s so absorbed by the thought of penelope.

“Past romance” [again] oooohhh their marriage is fucked. It’s so different now

Backing vocals of future things [“Siren’s call, Scylla’s throat, mutiny, lightning bolt, Poseidon, kill the suitors for love”]

That’s so cool I’m INSANE

I hate him

Monster

“How has everything been turned against us” …hmm. I wonder.

“Do I need to change” YOU ALREADY HAVE but now he’s considering doing it on purpose

You’re in the underworld of course the souls are around you

“I’m the only one whose line I haven’t crossed” and you’ll keep crossing them!

“What if the greatest threat we’ll find across the sea/Is me” BLOW UP [he’s like rethinking but also plotting? Like what if he was the biggest danger?]

Remember remember

“Too kind to foes but a monster to ourselves” he’s realizing he’s realizing he’s self aware he’s going to treat his men unfairly

All the foes he’s encountered are all doing what they can to protect those they love and odysseus is starting to see the similarities between them [and also the ones he wants to protect gets fewer until it’s just him almost [because he needs to see his wife and son so he needs to live]]

Plotting to keep his men safer by being more cruel

Anything for them

He’s willing to lose all morals in order to get home and keep as many people alive as possible but accidentally loses those base morals in the process of doing so

The animation i watched in the playlist i found showed a hallucination of Penelope taking the headband Odysseus took from Polites and that’s such a cool detail [throwing away the morals of being kind and keeping an open mind all for his wife]

I based my current DnD character off this song.

I’m so insane about the Ithaca saga do you tumblr people want to hear my full analysis of each song to celebrate

[crystallinecardinal]

So I was thinking about Starlo and Chujin

Hi. I love overanalysis. It’s in my blog title as “lore enthusiast.” Most of this probably means nothing and was unintentional, but I’m like an English teacher when it comes to media I like and am scrounging for canon content— I will see something that might have capital I Implications if you think about it hard enough, and I will shake you by the shoulders and go “WHAT DOES IT MEAAAN”

Which brings me to Starlo and Chujin and a thing I noticed while looking through the Spriter’s Resource for Starlo references. Long rant and UTY spoilers below the cut.

I should start off by saying that Starlo and Chujin are similar, in a way. Both of them are nerds, although for different things. Both are said to be caring. Both dedicated their lives to their work. Both wanted to help monsterkind. Both loved Ceroba. Both had secrets.

These similarities have not gone unnoticed, I’ve found— both by the fandom and the devs of UTY.

(Transcript:

Sword: “It does make sense that, like, Chujin and Starlo are kinda similar, and Ceroba, yknow…. She has a type, I guess.”)

So it’s not a secret these two are similar, and it’s probably intentional to make them parallel each other.

But from there, we get to the meat of this post:

These sprites.

This is where I dive into a lot of overanalysis— I’m giving that as a warning before I start. My point here though, is that these two sprites feel incredibly similar in a way where I speculate if it was intentional or not.

I’ll play devil’s advocate first, though. I’m an artist. I draw things, mostly characters and creatures. Sometimes you just have two pieces looking similar— not because you intended it that way, but because the blocking and composition was best that way.

For Starlo’s sprite, the answer feels simple. All of Starlo’s talk portraits are front facing, so this one doesn’t have a need to be any different. If it was, it may feel out of place amongst all the other sprites, especially because there isn’t a reason for him to have this sprite in particular face a different direction. He isn’t looking around, and isn’t averting his gaze. He’s being direct. The best way to convey that is with eye contact (or at least, implied eye contact) via a front facing sprite. Additionally, even if Starlo was averting his gaze, with how UT’s talk sprites work, there are better ways to convey that than changing the way his talk sprite faces.

Starlo’s character as himself also contributes to the way this sprite looks. It’s a direct contrast to the loud, boisterous North Star. This is the monster behind the persona— one who’s a lot less confident, one who thinks himself a ghost to the people around him. A “nobody farmer,” in his words. When trying to get this across, art-wise, the way Starlo’s talk sprites look as opposed to North Star’s talk sprites are a perfect fit! It’s in the subtle expressions versus animated expressions. This is even down to how Starlo’s glasses are drawn, not showing his eyes behind them, giving him a much more distant look.

As for Chujin’s sprite, the answer also feels fairly simple. The sprite pictured earlier was for his tapes, where it would make sense for most of his sprites to be front facing. He’s talking to the camera, it’s a video log. Being silhouetted also works here— it makes him more mysterious in a way.

That’s what I have to say if you look at it JUST from an art point. However, we like to be a little silly in this house (my blog), so I’m going to overanalyze the hell out of this.

So. The pose.

I’m probably going insane at this point. I’ve already explained the most likely reason for the poses being similar, and don’t get me wrong, that’s probably the main reason why. But also— note the eyes.

According to the Spriter’s Resource, Chujin’s sprites usually have his eyes visible from behind his goggles.

But.

There are exceptions.

I think the reason for this lies in the same reason we never see Starlo’s eyes behind his glasses after he takes the hat off. I explained this earlier when discussing the artistic reasoning behind these sprites— not seeing Starlo’s eyes makes him appear more distant, which highlights the part of his character that’s much less confident in himself. We go from seeing his eyes (or at least, the shape of them behind his glasses, this is a consistency with UTY sprites I can talk about later) to not at all.

This is what makes Chujin’s sprites so important to me.

We’re meant to like Chujin. At least, before we know the truth. We’re meant to think he was always a kindhearted man, a loving father and husband, and a good mentor. All the good things. It’s only as the game continues that you see the imperfections. By talking to Dina, you see he didn’t like the Wild East due to what it stood for, and you learn of the time he came into the saloon all disheveled, uncharacteristically asking for a drink, only mentioning he thought he “saw a ghost”. You learn in the Steamworks of his research, and how he wasn’t as good at robotics as he was made out to be.

That’s what makes Chujin flawed, though. It’s not necessarily a bad thing, none of these things will make a player dislike him. As said— we’re supposed to like Chujin. An opinion and a mysterious saloon visit isn’t the end of the world. We also grow to learn more and more about him, and he seems just like a kind man with a love for robotics (even if he struggled).

And then we learn of Ceroba’s plan. And we learn of something hidden in the abandoned Ketsukane Estate.

This is the first time in the Pacifist route that we actually SEE Chujin, first in a photo.

Note the eyes.

We see Chujin’s eyes behind his goggles here! Once again— this is likely for the reason mentioned before. We’ve only been told mostly good things about Chujin so far! Here’s a photo of him and his family— how could this kind man be wrapped in anything suspicious?

Which then makes the sudden change in the tapes crucial.

We can no longer see his eyes— he’s grown distant, mysterious. This is the part of Chujin that he kept secret from even Ceroba, up until he was on his deathbed. It’s the part of him that isn’t necessarily the loving husband and father we know him as, but rather, this is the part of him that was a determined researcher on a mission. And therefore, Chujin goes from lively to cold.

I’m sure that last bit doesn’t ring any alarm bells at all.

Hey! Remember how I said Starlo and Chujin are similar in ways? This is where I get into that. I’m applauding you from behind my screen if you’re still reading.

I’m now going to talk about Starlo and Chujin as characters, as well as the parallels between the two sprites that started this analysis. For simplicity, I’ll break these into sections. Funky names for a funky reading experience, so I’m not just word dumping at you.

1) Got a secret, can you keep it?

Soooo. Chujin and Starlo’s secrets.

One of the first things that rings alarm bells for me is the situation in which both of the sprites I’m analyzing pop up in. Context is key. Specifically, both of the sprites are used when we’re learning the truth about each character.

For Starlo, we’re learning about who he really is, the monster behind the persona. He takes his hat off, reveals the monster underneath, and we get his new talk sprite. He’s finally stopping, for a second— taking a moment to break the act he’s been playing for YEARS. And he does it all to show Ceroba he’s still there underneath it all, as well as reveal to Clover who he really is. He’s at his most vulnerable state, revealing how he sees himself as a nobody, and a fraud.

For Chujin, we’re learning part of the truth of who he was, when he’s at his most morally dubious. We learn of his experiments, the ones he worked on and hid from his family until he was about to die— only then did he tell Ceroba. We also learn of his views and opinions, the reasoning behind them, and how he lied about his job at the Steamworks. He couldn’t bring himself to tell Ceroba he was fired, because he didn’t want her to think less of him.

So, the main points of this:

Starlo and Chujin both had their own secrets

Both of their secrets are revealed when these sprites are used

Both secrets reveal more about the characters’ identities

Both want to be seen in a good light

The main difference, I think, other than what the secrets entail themselves, are what they mean for each character.

2) Light and dark symbolism?? In MY overanalysis??? It’s more likely than you think

Chujin and Starlo’s secrets both weigh on them. Starlo doesn’t want to break character— he enjoys being North Star and wants to bring a smile to the faces of monsterkind. Chujin doesn’t want Ceroba to think any lesser of him for his mistakes.

Additionally, the reveal of their secrets marks two different things for their characters. For Starlo, it’s a step forward. For Chujin, it’s spiraling down.

This gets really fun considering these two sprites, and light and dark symbolism (not in the traditional good versus evil way).

Starlo’s in the light. He’s showing himself, he’s maturing. He’s being incredibly vulnerable for probably the first time in a LONG time, and finally breaking the persona. He’s working towards a better goal, accepting both North Star and Starlo as facets of himself, but it starts with taking off the hat. It starts with coming into the light, and letting the shadows fade away.

Chujin is silhouetted in darkness. As said previously, we only ever hear mostly good things about Chujin from those who were around him (barring Starlo, although that’s secondhand information, and by some extent, Dina). Martlet and Ceroba saw the best in him, a mentor and loving husband respectively. But as he rambles off to his tapes, shrouded in shadow and secrecy, we learn of what was happening behind the scenes: he reveals part of who he really was, and how much he hid away from those he loved, all away from the rose colored glasses.

3) “Your opinion is wrong” -Chujin, probably

To just point out more ways Chujin and Starlo parallel yet also contrast one another (which I will mention for the section after this as well): I think it goes without saying that Starlo and Chujin have opposite worldviews when it comes to humans.

Chujin believes the worst in humans, primarily due to the Snowdin Attack. He hates them— The War was when the blade was plunged into monsterkind’s flesh, and the Snowdin Attack was only a twist of the knife.

Starlo admires humans, maybe a bit too much for some monsters. He loves their stories, loves the idea of cowboys and Westerns, so much so he creates the Wild East with his posse.

This is what makes these two different, only strengthening the light/dark contrast. The ideas of hate and admiration fit well into that theme, don’t they?

Stick with me here. I promise this is going somewhere.

4) “Monsterkind’s Hero is a title soaked in blood.”

So, the aforementioned views of humans? This gets really fun when you apply it to the crux of Starlo and Chujin’s missions: to help monsterkind during their time underground.

Both want to be heroes, in a way. They both want to help. Of course, this is in different ways— but the main intention behind it is the same.

Chujin, as said, hates humans. He wants monsters to be brought to justice. After the Snowdin Attack, he decides that if he can’t help through Axis, then he’ll help another way. Thus starts Chujin’s dedication to his experiments, which he makes his work and eventually the rest of his life. All of it for a chance to help monsterkind when the time comes.

Starlo’s dedication to the Wild East is similar, in a way, yet directly contrasts Chujin. His admiration for humans and Westerns goes to the point he wants to provide monsterkind with their own “slice of the Surface.” He wants to see those around him smile— his own way of helping monsterkind when they’re still stuck underground.

My point here is that while they find different ways to accomplish their missions (and you can drag more light/dark symbolism out of this— Chujin hidden away in the shadows of the basement in the Ketsukane Estate versus Starlo out in the spotlight), both have so much dedication to it that it becomes their lives.

Chujin, although having a family he loved and cared for, let his experiments drive him onwards to the point it cost him his life. Starlo willingly gave up who he was to be North Star, letting the Wild East become his life.

5) Yes, and?

I could go on and on about more similarities and differences between Starlo and Chujin, but I feel like I’ve brought up what I need to for now.

Why bring all of this up in the first place, though? What’s the point of going on about these characters’ missions, or their secrets, or all the light and dark symbolism you could hypothetically draw from it?

Let me talk about those sprites again.

I’ve spent ages going on about Starlo and Chujin, and how they parallel, yet contrast each other. They’re foils, in a way. These similarities and differences are what make these two little sprites so interesting to me.

You could say it’s all because that’s what the scene needed at the time, and that statement likely has truth to it. I already talked about how. But the knowledge of the context of the scenes and these two characters is what makes me wonder if it all was done on purpose.

Chujin, shrouded in shadow, revealing a part of him kept secret from even those he loved most. His reasoning for his hatred for humans comes on full display, and he begins to formulate a mission, the same one his life would eventually fall to. If the royals won’t see how much he cares for monsterkind, he’ll show it himself.

Starlo, left in the Swealterstone’s light, revealing a part of him the Wild East knows nothing of. His mission starts to redefine itself, and it’s original intent becomes more clear. He only ever wanted to be someone. He only ever wanted to help. Maybe now, with the hat off, he can learn to make others happy, but not forget himself in the process.

A conclusion:

So. Do I think that these two sprites for Starlo and Chujin were intentionally made to parallel yet also contrast each other?

My answer is a big fat Maybe. I can’t be entirely sure.

Truth is, I’m not a UTY dev. I literally only discovered and got into this game a little over a month ago. I don’t know the true intent behind the spritework, I don’t know the conversations that happened behind the scenes. I am literally just A Guy ranting on the internet about a silly little fangame that I have brainrot over.

But! I do have a finalized game and commentary I can analyze, and knowing that some spritework details were intentional (the way that Chujin’s talk sprites face are made to match Ceroba and Kanako’s), I could see something like this being either intentional or a really fun coincidence. The type of thing the devs can look back on and realize “oh! That’s funny how I accidentally made that parallel. I didn’t mean to do that, but it works.”

I can only hope it was intentional. Chujin and Starlo are both incredibly interesting characters to me, especially in how they can be seen as foils. Something as minor as this I think just shows the love put into this game and these characters. UTY is just a great game overall, in my opinion.

But yeah! That’s my ramble, all because I was doing sprite studies and looking for references in the Spriter’s Resource for art. Hopefully I made at least some sense :)

[cryptidmickle]

hough save me gay yaoi

[drenched-in-sunlight]

saying this as respectfully as possible but. Do not put fandom content creators on a pedestal. We are also just fans contributing to a community just as you are. We have boundary on our own work and that’s it. What I say is not and should not be considered sth the whole fandom should listen to. I’m just a normal ass person ranting about things on my blog. If it does not have a fandom tag for others to engage in, do not make it out to be me trying to start fights or addressing the whole community. Because it’s not.

I’ve said it before and I will say it again, my art, my lore talk, is biased. I’ve never tried to hide that I view Marika a certain way and will always develop my theory following that base assumption.

Aside from translation stuffs and pointing out in-game items, everything else I say you can look at it, agree or disagree, and move on to form your own opinions. Just because I draw stuffs doesn’t mean you get to saddle me with responsibilities about managing fandom expectations. What the hell? I’m a fan artist, I’m the last person who you should look at for “leaderism” (?) WHAT?

I can and will be a hater in my own space, like I know sometimes other artists will just post their stuffs and not engage too heavily with fandom, and for a while I did try to do that here (because I’m already a dramatic ass on twitter), that’s just not me though.

You will get art and you will get my opinions as well.

[dazedpuppydairies]

@zermaidz

By insisting that graysexuals and demisexuls don't experience asexuality your erasing their experience. I get that you think you're not doing that by acknowledging those orientations as valid, but you're erasing there asexual experience. Asexual, graysexual, and demisexuls are all different orientations, but the thing they have in common is that those orientations experience asexuality. Asexual is both an orientation and an umbrella term similar to how gay is both an orientation and an umbrella term. I understand your frustration, I understand it's frustrating for you that other ace-spec orientations have specific names. Asexual is both an orientation and an umbrella term for people who experience asexuality which is a spectrum. I don't want to argue either, I just don't want to be erased in my own community. You know how frustrating it is that you won't even acknowledge that I'm asexual? You literally won't acknowledge that I'm asexual and that I've repeatedly told you that I don't experience sexual attraction. You're sitting here crying erasure, and you won't acknowledge that I'm asexual. I'm not even gray, or demi, I don't experience sexual attraction at all. Also, if you don't want to identify with a label where people have different experiences than you, I'm afraid to say you're shit out of luck. Everyone has different experiences. Also, I do have a fundamentally different experience than allosexual people just like you. I don't experience sexual attraction, I just find other reasons to occasionally have sex which doesn't happen very often. What you're describing isn't just asexuality you're describing celibacy, tell people that you're asexual and a celibate. Tell people that you're averse to sex, and actually express your boundaries to people. You not wanting to communicate your boundaries with people isn't my problem. Action doesn't equal attraction. People have sex with people they're not attracted to all the time. Sex is an action, It's a thing to do it's not your orientation. Sometimes, people both asexual and allosexual have sex with people they're not attracted to because sex can be enjoyable outside of sexual attraction, and I'm sorry that you can't comprehend that. Also, there are literally terms to distinguish these experiences. Sex repulsed asexual, sex adverse asexual, sex indifferent asexual, and sex favorable asexual. Is using two extra words really that big of a deal? Telling people that you're a sex averse asexual completely gets your point across.

I'm becoming hyper aware of the fact that there's a group of radfem like exclusionist in the ace community. Like I kinda knew, but I didn't realize quite how bad it is. I understand that's likely because I'm not in and never have been in niche ace forums, so I apologize if I'm ignorant. Anyhow, it seems to be really seeping into the mainstream right now. These exclusionist think that asexuality isn't a spectrum and that only sex repulsed asexuals are real asexuals. I get SWERF vibes, too.

Also, I've noticed a lot of toxicity in general. I've been noticing a lot of sex negativity in online ace spaces, and when folks point out that things being said are toxic the folks pushing sex negative ideology argue that sex favorable aces are being exclusionary of sex repulsed aces, but that's generally not what I've seen happening. Sex repulsed ≠ sex negative. There's nothing wrong with being a sex repulsed asexual but pushing a sex negative ideology is toxic. Sex isn't inherently bad. I know some sex repulsed asexuals have trauma that has manifested in a disordered mindset surrounding sex and I sympathize with that, but that doesn't mean sex negativity should be encouraged and normalized in ace spaces. A while back, I saw a tiktok where a person talked about how an asexual person got a queer sex education class in their campus lgbtq+ center shut down because a sex education class makes the lgbtq+ center exclusionary of asexuals and that just makes my soul hurt. I've seen ace folks saying sexuality shouldn't be celebrated at pride because it alienates asexuals, which is a wild take.

I saw a person on one of the asexual subreddits earlier complaining about how they don't like when people, especially women, wear revealing clothes that display the body. I understand and respect wanting to dress more "conservatively" for lack of a better word. I actually often do. I really like Mori Kei fashion, which is known for being more "conservative" because it involves a more loose flowy silhouette and a lot of layering. I'd say Mori Kei has really inspired the silhouette of how I dress. Anyway, that's a side tangent. I understand wanting to dress more "conservative." I get feeling frustrated with the "womans" clothes on the market, but then to make comments about how you don't want to have to see others wearing revealing clothes feels icky. Like, if you sexualize the clothes women are wearing in public, that's a you problem. It's fine and dandy to have a preference, but this felt like purity culture.

I don't know, I'm frustrated. I'll probably have more thoughts on this later, but my brain hurts. Also, to make it clear, I'm not trying to demonize the ace community. I'm aroace, just hate seeing this kind of stuff I'm describing becoming so normalized.

[gildedpomegranates]

imo, Jinx and Vi's bio parents didn't need more screen time (the importance of their characters was their deaths at the hands of enforcers), but if they were so intent on exploring Felicia as a character in s2, it should've been through Vi and added onto her character/arc in some way. Not her memory brought up in that half-assed sisterly heart-to-heart in s2ep6, not her retconned connection to Silco and Vander. And, in my ideal world, it serves as a point of conflict between Vi and Jinx.

Imagine a similar scene as in s2ep6. Vi, grief-stricken and perpetually stuck in the past, demanding, "Do you even remember them?" and Jinx doesn't say anything, so Vi breaks. A torrent of memories shoots out of her. A flood of every detail she locked away, growing more and more frantic the longer Jinx doesn't react, possibly culminating with that comment about their mom's smell, if the writers felt that inclined to it.

Imagine they go the route of Sokka and Katara.

Vi is visibly devastated. The 'sit down on the ground, shut down' kind of devastated. Part of Jinx is still that same child wrapping her arms around Vi's waist on the bridge, part of her is always that little girl wanting to fix things, so she sits down next to her, but not too close. Not touching. And she admits that she remembers their mom, a little. But whenever she tries to picture her, Vi's is the only face she can see.

s2 suffers from the writers overestimating the importance of Powder's other caregivers. Her parents, Vander—they're all secondary. Vi has always been her number one.