#but i think fundamentally they could not understand each other

[thecoffinsys]

Slay the Princess is the perfect demonstration of trauma, dissociation, and systemhood.

I NEED MORE PEOPLE TO TALK ABOUT THIS. And it's NOT just for the reasons you may think. Yes, it is due to the multitude of voices, but that isn't all there is to systemhood. Slay the Princess dives into almost every fundamental stage of grief, trauma, stress, and body sensations regarding traumatic events that we as a collective have ever experienced. Stay with me.

SYSTEMHOOD

Not only does Slay the Princess display systemhood through the multitude of voices, inability to come to a conclusion on outerbody decisions, and having different methods of how to survive specific situations— it also displays systemhood through loss of time, depersonalization, loss of identity and sense of self, alters having abilities over the body that others do not, looping the same trauma over and over again, and rapidly splitting due to traumatic experiences — even down to not being believed by family members when you tell them something horrible happened to you.

The entire idea of jumping from one alternative world to the next after dying or making the incorrect choice perfectly displays a repetition of the same traumatic memory over and over again, the mind trying to logistically think of what could have been done differently as a means of coping with what really happened. When you fail to save the world in one reality, your mind restarts the entire scenario again, trying to find a better option to the mistake you've already made.

The Stranger rout perfect displays depersonalization, dissociation, loss of self and identity, and confusion regarding time. The second you step down a staircase, you completely and utterly forget yourself in the mundane action. Forgetting who you are, where you are, what your purpose truly is - and sinking deep within your own mind, until suddenly you're right where you are meant to be and have no memory of how you got there. It's so perfect in how it shows the confusion and distress.

This game is about becoming. whole. Gaining. A sense. Of self. And purpose. Gaining more perspectives, more understandings of what it means to be a person. (Oh my god I'm screaming)

In The Nightmare, the voice of the Paranoid displays perfectly symptoms of not only paranoia regarding trauma, but symptoms of OCD due to trauma. He has an ability that no other alter has, which is to keep their organs running by participating in his own compulsion. Which really displays how some alters have abilities that other do not, because to be a system, you must be fragmented. Several shards of glass attempting, to the best of their ability, to be a functional mirror- but never having the exact strength. And different shards will hold different capabilities than those who are smaller, weaker, and carry smaller and/or more specific burdens. Paranoid is a very big shard, I think.

Following that — mirrors are a huge motif of the game. Not only do you continuously see them in every rout, but you end each rout by finally looking at yourself and seeing you for you. And the more perspectives you gain, the less "you" you truly feel. You become tired, withered. But it is all in the efforts to "become whole". To make this being of perception finally understand what it means to be more than just broken worlds creating branching understandings.

In A Moment of Clarity, dozens of voices begin to cloud our understanding due to the very traumatic thing we experienced in the last world. A rapid split because of trauma! We become more broken; "losing ourselves". Now there are even more conflicting thoughts, feelings, and opinions regarding how we should go about surviving- and it displays our further descent from our sense of self. Which is ironic given the name of the ending!

And finally (but most definitely not finally, I could keep going on and on but no one would want to read all of that), The Narrator never believing you when you tell him you've been here before, have experienced horrors that he could never imagine, and have been through countless nightmares. But not only does he not believe you, he will also ridicule your idea, and go on to say "you failed because you didn't listen to me" or "you damned another world because of what you did". Puts the blame on us, once again. It's the same thing a lot of systems do experience in the real world. You try to reach out, you try to explain to someone you trust that something horrible happened to you, but you're met with disbelief and shamed for your own trauma. Made to feel like the guilty one when you are in fact the victim- the survivor. That one stood out to me very personally.

. . .

I really want to go on but this is already a billion paragraphs and I worry no one will even get this far. But this game means a lot to us as a system and as someone who experiences things very similar to what is displayed in the game on a daily basis. Slay the Princess might be one of our all time favorite games as of right now, especially considering the guy who traumatized us for 200 episodes straight is the main guy voicing the entire thing- that also helps with sentiment-

Uhhhh thank you for reading if you made it this far :]

[rookinthecrownest]

Discussion about romances + expectations under the cut (I'd put it as like..mildly critical, but also coming from a place of understanding?). As usual, will tag as such so you don't have to engage/read on if you don't wish to. I always invite open discussion, just keep it respectful (as I will endeavour to do so myself).

This is going to be a bit of a ramble, so I apologize if my thoughts are not clearly laid out like they should be.

I think I've found the reason why I (and maybe others), feel that the romances in Veilguard feel a bit... idk, hollow, at times (not BAD!!! just feeling like there could be MORE). And that's because of the trap of expectations. I may also be speaking completely for myself here.

Anyway, let's rewind to 2014.

Be me, 10 years ago. You're not really a gamer, but indulge in action RPG's casually.

See a commercial for this hot new game coming out called Dragon Age: Inquisition. Be intrigued by the character designs, but know nothing about the world. Come to find out it's part of a trilogy. So naturally, you buy the first two games and play through them before playing the third.

Be amazed, and completely hooked on the characters, the lore, the world, the darker elements and themes. It becomes your favourite game series of all time.

But you had no idea that you could romance any of the companions going into the experience. And man, does it fundamentally rewire your brain chemistry to fall in love with cRPG and get ridiculously attached to your Warden/Hawke/Inquisitor.

So, you romance Alistair first because he's funny as hell, and has a really interesting story/character arc. Then you romance Zevran, and love that too - he's charming and suave and awkward and funny. Then you go onto DA2 and romance Fenris and Anders, and each of those romances pack their own emotional gut punches. Then it's finally time for DAI, and predictably, you go for Solas (a veritable slow burn that spans TWO games), Cullen, and partially (I never finished those playthroughs lol) Blackwall and Dorian.

I had no idea you could romance companions going into these games. It was a pleasant surprise! It always felt like an important part of the story, while not overshadowing the main plot. There was enough material in the codexes, the cutscenes, and party banter to make each romance feel complete and whole and awesome and nuanced.

And then, like some of you I suspect, I read an article that touted Veilguard as "The Most Romantic Bioware Game Yet", and I thought - "Wow, if they're saying this then the romances must be something else", given the quality of the previous romances you've experienced in these games!

But you get to the game - and while you're having fun, it definitely leans more into the ARPG style where romances feel a bit more pushed to the side in order to tell a certain story than the traditional Bioware/Larian RPG experience you've come to love.

Which is fine! Again, once I stopped thinking of Veilguard as a classic Bioware CRPG, and more like GOW/The Witcher, I found I was able to appreciate it a lot more for what it is. Things have to Happen A Certain Way for the narrative to work, and that's not a bad thing. DA2 was similar - it was a harrowing, personal tragedy about the Hawke family and their struggle to survive in Kirkwall.

Just like DA2, there are aspects of Veilguard that make me glad things happened the way they did. I'm not mad that Rook has so much dialogue without a ton of player input and you can't 'be evil' - because the game doesn't make sense if you can. At its core, Veilguard's narrative is centered around Regret, after all - you can't have an evil protagonist running around because Solas' Regret prison would never work (evil people don't generally tend to regret their actions...)!

Now, if you're expecting a long-winded, fully researched academic breakdown of every romance I'm sorry but that ain't happening tonight lol. This is not based in any fact, this is all opinion.

I can't quite put my finger on it, but sometimes it feels like the romances in this game (and I say this with the biggest grain of salt as I've only done Emmrich and Lucanis' - and am going through Neve's now), are just missing....something, to take them from good to great.

I loved Emmrich's romance. I thought it was very well done. I think a lot of people would agree it's one of the stronger ones in the game - doubly so if you play as a Mourn Watch Rook (you get a TON of MW specific lines going this route, it's great). His side romance with Strife if you don't get together is very cute, I enjoyed it. But as superbly well done as it was, somehow, I wouldn't even put it in my top 4 Bioware romances.

With Lucanis' romance - whatever my hangups may be about how it was handled, certain parts of his romance were done excellently (even better than some of the previous Bioware romances, I'd say). You can read more about my thoughts on his romance here which is why I'm not going into detail about it. Unlike Emmrich's, I would put it in my top 4 because I fell in love with the character that much (both in the game but really, I've loved him since Tevinter Nights), and I've grown very attached to my first Rook and him as a pairing. I've seen others share a similar sentiment on here (and I hate to say it but I agree) - sometimes it feels like I fell in love with Rookanis despite the way it was handled, not because of it. I can't say that for many other romances. While it's been fun to think up a lot of HC/write fics/make art about those abandoned concept sketches and parts where I felt the game could have showed us more of their dynamic, I can't help but feel like his (and other) romances would have immensely benefited from even 1 or 2 extra small scenes to flesh it out a bit more if they weren't going to let us freely talk to our companions.

The issue with the romances might also have something to do with the pacing of the game itself. I think Act 2 is where the pacing goes a bit awry, before picking back up in Act 3 (which is great, I love it).

Sometimes I also felt that there was a little too much reliance on codex entries and party banter to tell the story of the romance rather than showing it explicitly through cutscenes. I think that's what makes the romances feel a bit truncated at times, compared to the previous entries? Some of the romance-specific party banter was so good, it probably deserved its own cutscene. But it's also highly dependent on the party you have, and it's easy to miss/not trigger. I remember absolutely living for the cutscenes in the first three entries and I can't explain why I feel like, subjectively speaking, Veilguard just has less romance content (this may not be objective reality - I haven't compared the amount of romance specific content head to head with other games).

I also couldn't tell you why I feel DA2 doesn't suffer the same problems as DATV in terms of romance interaction - because you can't freely talk to your companions in that game either. Yet somehow, it always felt like I was getting enough of them to not notice that. I do miss being able to chat my LI's ear off and ask them questions about their life/their views/etc. like I could in DAO and DAI. I think it's a shame we can't because the companions in DATV are SO interesting. I want to ask them all a billion questions about their lives/stories/etc even if they're not my love interest. The party banter in this game is immaculate but being able to talk to them individually about this stuff would've been SO nice. I feel that I've missed out on SO MUCH of these characters just because I didn't have two of them in my party at the same time!

Anyway, I need to wrap this up.

In closing, perhaps, if I hadn't read that article about how it was going to be Bioware's most romantic game ... maybe I wouldn't feel this way? I think it sent my expectations through the stratosphere, and that's no one's fault but my own. Not Bioware, not EA, mine.

I know that this game's development cycle was a unique sort of hell that the other games didn't suffer. To go from Joplin -> Morrison -> Veilguard. To have so many of the original staff leave the team when Joplin got scrapped. To have to pivot from Live Service and then back to single person RPG. More lay-offs. It's a miracle this game got made. I'm happy I can sit around thinking about it. And I hope its successful enough that we get DA5 so we can all sit around dissecting that in 5-10 yrs time.

Don't get me wrong - I enjoy the Veilguard romances for what they are. I'm enjoying them more I play and discover additional banter/codex/etc that I missed the first time around. Like any Bioware romance, there are spots where they hit their stride, and spots where they falter a bit. When they hit their stride they knock it out of the fucking park. But when they falter, you can really feel it. Romance is hard to write! And you'll never fully please everyone.

But a small part of me wishes I'd gone in blind, and checked my own expectations a bit.

Maybe you agree, maybe you don't. Tell me about it. What was your experience with the romances? Did you also read that article and get your expectations up?

I hope this makes sense.

Kind regards good fandom folks,

Keep the discussion respectful. And please don't use this post as an excuse to just blatantly hate on the game.

-Rookie

[fruitageoforanges]

apparently it’s eliarhaegar hours so:

the thing that drives me absolutely nuts about them is how they have so little in common. completely different frames of reference. dorne and king’s landing, the least repressive of the seven kingdoms and the epicentre of westerosi feudalism. a loving family, a family rotten to the core with incest and abuse. the political world, the world of prophecies and doom and dragon blood. they were doomed from the start. they were so, so doomed, they could barely begin to understand each other yet their lives are bound together, and that makes me insane. two completely different worlds colliding and, while they might’ve been able to coexist in each other’s orbit for a while, the collision and the shattering itself are slow, beautiful and inevitable.

[ruvviks]

PLEASE DO NOT TAG AS YOUR OWN OC OR PAIRING.

Nathan and Ruben share a bond more powerful than most; mutual understanding through past experiences no one should ever have to go through, and through past actions so horrible they cannot be spoken of. Their grief and the blood on their hands binds them to the STEM technology they created, which has alienated them from the rest of the world— but they give each other the comfort they have both longed for so desperately for years, and that is all they need. They are each other's counterpart; you cannot imagine one without the other, like two sides of the same coin. Through their pain, their grief, their desire, and their regret, they have become one.

anna akhmatova, the guest // bones; equinox // 'i won't become' by kim jakobsson // agustín gómez-arcos, the carnivorous lamb // by oxy // achilles come down; gang of youths // czeslaw milosz, from 'new and collected poems: 1931-2001' // 'extended ambience portrait from a resonant biostructure' and 'migraine tenfold times ten' by daniel vega // a little death; the neighbourhood // marina tsvetaeva, from 'poem of the end' // by drummnist // katie maria, winter // 'nocturne in black and gold the falling rocket' by james abbott mcneill whistler // micah nemerever, these violent delights // body language; we are fury // 'the penitent' by emil melmoth // chelsea dingman, from 'of those who can't afford to be gentle'

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree

[betty-bourgeoisie]

Also I like China and Iceland as metamours/ fuck buddies who are dating the same two guys, because ultimately the history of China-Iceland relations is a history of two nations just mutually going "Well Russia and America both seem to think they're important so I guess I should talk to them...." which is, at the end of the day, possibly the most realistic metamour relationship of all

[oofuri2003]

https://images.app.goo.gl/tg4tqHZU1wosnMza7

found your guy drawn by ryoko kui!

AND ZEVVY TOOOOOOOOOOOOO

[worstloki]

random thorki headcanon time (if u want)

they were both envious of what they perceived the other having for so long that they struggle with grasping the perspective of the other. their immediate assumption is always to doubt the other brother recounting their feelings of an event properly, making communication the largest hurdle between them when trying to repair their relationship.

[phagodyke]

ik its 4am I just woke up but I can't believe my roommate got upset with me bc she thought I thought she was "anti feminist" for shaving. girl I literally never fucking said that. sorry I was incessantly bullied by strangers friends and family for not shaving as a teen and so body hair positivity is important to me + sorry I like body hair on myself and other ppl and have explicitly said I find it attractive before. I don't care that u shave but I'm not going to clap and cheer abt it? ur already fulfilling societal expectations so why do u need my approval on top of that? its such a non issue like how the fuck is a masc dyke making u feel insecure abt ur cis femininity lmao

[shinynewmemories]

Listen to me Suzanne Collins did not have to give Katniss and Peeta a history before the games. She did NOT have to do that. She could have just had their story begin when Peeta's name was called. She could have had them be total strangers until the moment of the reaping.

Like: "And the boy tribute is... Peeta Mellark!" Katniss: Who's that? Or she could have made them vaguely familiar with each other! Peeta's name is called and Katniss just thinks, Oh, I know that name! He's in my class, actually. Poor boy... Anyway!

Either way, SC could have written the rest of the story exactly the same! I think many authors would have done that! Because if Peeta's purpose in the book was to be Gale's competition, to be one of the 3 corners of a love triangle, THAT WOULD HAVE BEEN THE WAY TO DO IT!! But that's NOT how she did it because that's NOT what Peeta is.

And who is he? To Katniss, Peeta's someone who saved her and her family and received nothing in return except a beating. Peeta's someone she has had her eye on but has never worked up the courage to talk to. Peeta's someone she associates with kindness and hope. And all this before the start of the events of the book! Just because WE, the READERS, met Gale before Peeta and immediately felt a connection with him does NOT mean that was Katniss's experience! And that's what SC is trying to tell us!

To dismiss Katniss and Peeta's past as unimportant or inconsequential compared to whatever Katniss and Gale have in the present is to fundamentally misunderstand Katniss as a character and, as a result, condemn oneself to never fully understand the choices she makes in the future.

Suzanne Collins wrote it that way on purpose because she had something to say. And no one will ever be able to convince me that something wasn't "It was always going to be Peeta".

[larrylimericks]

19Oct24

No matter how mad the word made us, It always held hope — a “hiatus.”

I’m sad for so many reasons — the fundamental sadness of death, and at such a young age; having to process the mortality of someone so extraordinary it seems they should transcend a fate as ordinary as dying; aching for his family and friends; angry that he had to navigate such a cruel world, one that continues to disrespect him in death. Yes, Liam was damaged and in turn damaged others; he had demons to face and amends to make — I like to think he would have, given a chance. His talent was so immense, and there was so much more to come. I believe he would have found a way to redemption, and then had such a beautiful renaissance.

The joy of being a 1D fan has always been policed and mocked. We’ve so frequently been laughed at, dismissed for the intensity of our love for the band. And now, the world wants to do the same with our grief, questioning its legitimacy, trivializing our feelings. But this loss is real. And this grief is valid.

And the grief of losing Liam is compounded by the grief of losing so much else. He wasn’t just a celebrity. They weren’t just a boyband. He was an integral part of an integral part of our formative years — no matter how old we were when we found them. So many of us are the people we are in part because of the people they are. Were. We’ve lost a beloved one, we’ve lost innocence, we’ve lost inspiration, we’ve lost a piece of our foundation.

We’ve lost hope.

It used to frustrate me, in retrospect, that they called it a “hiatus.” It felt dishonest — like a gentle lie to let us down easy. Why couldn’t they just say it was over? That being a boy band has a built-in shelf life, and it was time to explore solo careers. But now I understand the kindness in that word. For hope springs eternal, and it didn’t matter if it never came. All that matters was that it might. And “hiatus” wasn’t just for us; it held their optimism too. Especially Liam’s. It left the door open, even if only a crack, for the possibility of something more.

It’s been a remarkable gift to watch each one find his own path and his own voice. But when they announced a hiatus in 2015, they planted a seed of hope that someday we’d see the unrivaled magic of those boys on stage together again — the greatest team the world has ever seen. Maybe Zayn would join, probably not. Maybe it would’ve been a one-off thing for charity or a special anniversary. Maybe it would be in their 50s when the allure of easy money from a reunion tour was too tempting to resist. But surely, eventually, 1D would reunite in some capacity. I was excited to see how their once frenetic energy and youthful antics would meld with the mature solo artists they’ve become.

That hope sustained us through 18 months and eventually eight years, but now the hiatus is over. I would have happily clowned for every remaining day of my life than know this new certainty brought by the finality of Liam’s death. Maybe, someday, there will be a memorial performance. Maybe we’ll see three or four out of five come together to honor him — and what a poignant testament it will be that Liam was what could bring them together. Or maybe it will never feel right to them to take the stage without him, and that, too, will make all the sense in the world.

I wish I had an uplifting ending for this post. I don’t. I wake up and my first thought is “Liam isn’t here anymore,” and then I go about my day with that relentless realization lurking around the corner of every mundane task I do.

I haven’t been able to listen to their music yet. It’s a cruel trick that the thing that always brought comfort is now a trigger for grief. But I hope that will soon change. That, at some point, I’ll put on WMYB, get choked up at “You’re insecure” and second-guess my readiness. But then jump to History, and find solace in the lyrics that are currently rattling around my brain but aren’t ready to be heard yet: “This is not the end, this is not the end” … “We can live forever.”

❯❯❯❯

[casscainmainly]

My Top 10 Batgirl (2000) Moments

This is my list of top 10 Batgirl (2000) moments!! There were so many to choose from, but these are my personal favs :)). Counting down from 10 to my absolute favourite.

10. Volving

An absolute classic. Perfectly encapsulates what Cass does throughout the entire run, and more writers should play with Cass' use of language like this!

9. Beat Up Every Mob In Gotham

Perfect encapsulation of the early Barbara-Cass dynamic, and one of the funniest moments in the series. Just love the expressions and the way this shows so much of Cass' character.

8. Choosing to Write

The entirety of issue #2 builds up to this heart-wrenching moment. After delivering a dead man's final message to his wife, Cass sees the wife's reaction to the written message and decides to learn to write. A foundational moment for her character, and a nice motherly Babs scene too.

7. Alpha Redemption

Capping off issues 35 + 36, Batgirl unmasks herself to convince Alpha (an amnesiac villain) that he doesn't have to be defined by his past. Brilliantly displays her core belief that people can change, and the fact that her belief pays off makes this moment extremely moving.

6. For God's Sake

Possibly a controversial pick, but I really like this moment because it underscores some of the fundamental conflict between Babs and Cass. They love each other, but they don't always understand each other, particularly in regards to each other's disabilities. A painful moment that should have been explored more.

5. Fight For Your Life

My favourite Stephanie and Cass moment in this run. You can feel Cass' grief throughout this hallucination, but there's also so much hope and love (for Stephanie and for herself). It's an amazing conclusion to Cass' initial suicidal tendencies: instead of desiring death, she now actively fights to live.

4. Darknight Detectives

This interaction sums up a lot of Bruce and Cass' best moments. Cass' unwavering moral beliefs, Bruce's pride, their instinctive understanding of each other; they just get each other in a way few others do. I picked this one instead of the 'instinct/good answer' moment because it also marks Cass' development in her detective ability. From Moment 8 above to here, the confidence in her mental capacities has grown so much. She really volved!

3. Perfect For A Year

I mean of course this had to be here. These lines literally take up 90% of my brain space, it's an incredibly tense moment that illustrates Cass' desire to be perfect, her need to be useful and good. This issue is also just awesome.

2. You're... Not

Another absolute classic. Illustrates Cass' compassion and her belief that people aren't defined by their lineage, which is particularly personal to her, given her own dad. This struggle between good/bad, parent/child defines many of Cass' best stories.

1. Who Do You Think You Are? + Father's Day

What else would number 1 be?? Issue 33 is my favourite in the entire run, and the entire thing is stacked with moments that could fill up this list. I just love 'who do you think you are' because it's all of Cass' rage spilling out, and yet she still loves David Cain in her own complicated way (and he reciprocates, too). Then we have the ending, which is the BEST Bruce and Cass moment ever. The sparse, meaningful dialogue, the expressions, the reveal of the TITLE: comic book writing at its finest.

Honorary mention to the Shiva/Cass fight, which just narrowly missed out.

[nothorses]

This is a genuine ask and I hope it doesn't come off as rude, obviously people can do whatever they want forever, but what is the logic behind a lesbian dating a transgender man? (By lesbian I mean someone who is only attracted to women), wouldn't that exclude binary trans men then since trans men are men? Or is it like "Trans men can be lesbians because they have vaginas" which just feels like bioessentialism with progressive wording...

I think the core misunderstanding here might be in your use of the word "logic". And there's a super high chance I'm extrapolating more intention than you put into that word choice, but hear me out.

On a super basic level, I think it's important to understand the reasons people use words like "lesbian" and "trans man" in the first place. In certain contexts, it makes sense to assign these terms more rigid definitions: a study would likely have a single, clear definition for those words in order to talk about some research results. An academic essay might need a shared definition if they're talking about broad trends and systemic issues.

But when we're talking about an individual's choice of identity labels- the words they use to describe their own personal experiences and relationship to gender and orientation- it doesn't make as much sense to apply someone else's definition of those words to that individual's use of them. They're trying to describe their own internal world to you; what matters in that conversation is how they understand the words they use, and why they chose them.

Don't get me wrong: common understandings of a word can play a part in that conversation! My understanding of what "gay trans man" means has been shaped almost entirely by other people. I chose those words for myself because of what I think most people will understand them to mean. In twenty years, it's possible that the common understandings of those words could change, and I might use different words to better communicate the same internal experience.

But I also might not. I might decide that my personal connection to those words is more important to me, or even that saying I'm a "gay trans man", as a person 20 years older than I am now, better reflects my internal experience as one that was shaped by the time I came to understand myself in. Maybe it'll be important to me to communicate that I understand myself as a "gay trans man" because of what those words meant 20 years ago. Maybe it'll be important to me to ask tomorrow's queer people to learn about my context, and my story, in order to really understand me.

And maybe, when I fill out a survey for a queer study in 20 years, I'll read the definitions they use for all of these identity labels and categorize myself accordingly, even though I don't personally identify with those definitions or words.

So yeah, I could talk about all the reasons someone might identify as a "lesbian" and still be attracted to trans men. I could talk about trans men who still call themselves "lesbians" because of what the words meant 20 or 40 years ago, or some unique definition they heard in one place and decided they liked enough to keep, even though nobody else has even heard it. I could talk about lesbians whose partners turn out to be trans men, and who still feel attracted to them afterwards; whose partners are okay with, or even feel validated by, their lesbian partners still calling themselves "lesbians". I could talk about nonbinary trans men, and bigender or multigender trans men, who are women and/or lesbians as much as they are trans men. I could talk about bi and pan lesbians, who may find themselves attracted to one trans man or a handful of men- trans and cis both- but otherwise mostly experience attraction to women.

But like, the point shouldn't be to find a good enough reason to justify it. The point isn't the "logic". The point is to understand that everyone's internal experience is fundamentally different from yours, and to be curious about each individual.

It's great that you asked this question in sincerity, but I'm the wrong person to be asking.

When someone says they're a lesbian who's attracted to trans men, they're trying to share something about themselves with you! That is a precious, unique thing you are being entrusted with. Get curious! Ask them what those words mean to them, and take the opportunity to get to know them better. Learn their story! Connect!

I can't tell you that person's story any more than you can guess it on your own, no matter how much you try to logic it out. That's exciting! The world is big, and it's full of unique stories and perspectives you couldn't even dream of inventing! That's so much better than a logic puzzle, don't you think?

[absolutechaosss]

Do you ever go insane thinking about how every member of Laios' party is extremely atypical for their species, but a lack of exposure and understanding smoothes out these differences and makes everyone think they're the "typical" representation.

Senshi is terrible with other dwarves since he has no practical interest in mining or weapons craft. We cannot know this until Namari and later, Senshi's backstory are introduced. When we see him interact with dwarves, it's awkward and clear there's a fundamental disconnect.

Chilchuck is incredibly tall for a half foot and as such has to manage his weight more than other half foot dungeoneers so he doesnt set off traps. The first detail takes the changlings to properly understand, the second is referenced in text but is fully explained in additional materials. It is plot relevant that people who don't have the exposure to half foots might not even realize they're their own species.

Marcille as a half elf is kind of obvious to many of the elves who encounter her and they're deeply cruel and assume she's driven by a desire to be able to have children but the party never notices and Senshi especially thinks of her as a typical elf even though in truth she's so outcast she could never dine with her mother at the queens table.

Laios and Falin are a bit more complicated, since we as the audience do have context for most of tallman culture, since it mirrors our own mostly, but both of them have magical aptitude that both people like Marcille, who has a lot of access to mana and people like Chilchuck, who has very little and no magical training, fail to understand how isolating it is to have that much potential and aptitude.

Arguably Toshiro and Namari fall into this as well. Toshiro looks like the embodiment of the silent but noble warrior, but his own party and extra material confirm that he's abnormally shy and introverted, something that makes it hard for him even in his own family. Meanwhile Namari is able to stand on her own as a weapons expert and "typical" dwarf, but total dwarves who are total strangers like Dya know who she is and resent her.

Arguably a lot of dungeon meshi is about peeling back layers and assumptions not working out, but it's so great that every member of the core party gets interpreted by others (and maybe the reader) as "typical", especially with the skills line up, as a human fighter, halfling rogue, and an elven mage are so basic a stereotype. But none of are able to achieve that standard. These assumptions and misunderstandings only thrive because each party member is so inexperienced with both the biology and culture of the others. The only way they gain context is either interacting with a wider pool of people or experiencing it for themself. Everything in this story is so layered and I love it.

[queerfables]

The thing is, Crowley and Aziraphale's problem isn't miscommunication. I'm not the first person to point this out but I see enough posts taking this framing at face value that I feel it's worth saying again.

If Crowley and Aziraphale sat down and talked everything out calmly and rationally without hiding anything and while validating each other's feelings, they would still end up exactly where they are. Because they fundamentally DO NOT AGREE about the problem they're facing or how to address it.

Crowley should have told Aziraphale about apocalypse take two, sure, yeah, but if he had, Aziraphale would have seen it as just another reason to go back to Heaven. He finds out about the second coming and he's horrified but just as resolved in his decision.

Flip side: Aziraphale might have had a hundred good reasons for wanting Crowley to come back with him, none of which boiled down to thinking he was worth less as a demon, but it wouldn't have mattered how eloquently he articulated them. It was always going to be a deal breaker for Crowley.

To be slightly more nuanced about it, there are some things they've been avoiding saying that they really did need to put into words, even though in my opinion they both kind of knew it, already. But the painful fact is that their fight is that in action. Sometimes communicating with someone means exposing the failure points between you (and if you suspect that's going to be the case, that's a very human reason to avoid doing it).

At best, they could maybe have parted with less collateral damage to each other. But the real tragedy of their story is that there was no other way this could have gone. For a long time, their love has been thwarted by the external forces keeping them apart, but also - Aziraphale hasn't Fallen, and Crowley has never expressed any desire to return to Heaven. And just like I think they must have had at least some understanding of the depth of their feelings for each other, I think they must have understood the implications of that too. They're on opposite sides, and even with the danger, it's all very exciting and romantic - until they have to face the fact that the convictions they've held for millennia put them on opposite sides.

So if they're going to move forward together, they can't just talk about it. Crowley's right, actually, they've been talking since before the beginning of time. It isn't enough to understand each other. Together, they're going to have to change. That tentative middle ground between them is going to have to become a place they set down roots, and learn to choose and trust in even when everything else is falling apart.

[flowerandblood]

Incomprehension (Oneshot)

[ Michael • Gavey x math student • female ]

[ warnings: stalking, angst with comfort, depression ]

[ description: Michael Gavey seems to her to be an alien from another planet, and observing him becomes her daily routine. She decides to cheer him up by secretly putting his favorite Crunchie in his backpack, but one day she is caught red-handed. Requests regarding the character stalking Michael and her comforting him after the situation with Oliver at the bar. ]

I thought I'd post this between chapters of The Fall from the Heavens because I really like it even though there is no smut in the story! This will not affect the order in which new chapters will be published.

* English is not my first language. Please, do not repost. Enjoy! *

My other works: Masterlist

_____

She had no idea how it really started. She had watched him for a long time, knowing only that he was the best. Even though he was a student in the same year as her, equations that took her an hour to solve, he solved in a few minutes.

He worked like a machine: when he stood in front of the big board his face was stony. Unlike her, he wasn't frightened or stressed knowing that the whole room of students was watching him – on the contrary, seeing his lips clamped into a tight line, the wrinkles of concentration on his forehead and his wide-open blue eyes, she had the feeling that he derived satisfaction from it.

He wanted his genius to be admired.

They never exchanged a word with each other – even if she had wanted to, she wouldn't have known how to begin, and seeing his outbursts and behaviour that seemed bizarre to others, to say the least, she wasn't sure it would be worth taking the risk and stepping out of the shadows.

Something about him not knowing she was watching him filled her with peace and contentment.

Her year-mate had lamented to her as they sat in the library that one of the handsome, rich boys from a good house had not responded to her greeting as she passed him in the corridor. She nodded in understanding, looking thoughtfully towards the other table.

She didn't understand why he stayed close to Oliver.

This boy seemed too frisky to her, stretched out, wanting too many things at once. He wanted to be humble and feisty at the same time, lonely and surrounded by a group of friends, appreciated and unappreciated, for someone to comfort him.

He wanted to be noticed while remaining in a state of his own uniqueness.

Unlike him, Michael was authentic.

She showed up in the places he walked because he appeared in them like clockwork. His routine became her routine, allowing her to be a passive observer of his life instead of participating in her own.

She didn't want to return her thoughts again to her body and the emptiness she felt as she lay alone at night, thinking that she hated math.

However, it was the only thing she could do well.

The logic of formulas, the certainty of the fundamental, immutable laws that ruled the solving of equations gave her a sense of security.

Words were a strange and unnatural construct to her, and while her mind was full of thoughts, they did not usually find an outlet beyond the basic phrases that allowed her to turn in the company of others.

It wasn't her nature, but her choice: it seemed to her that every time she tried to explain the state of what was happening inside her, no one could comprehend her, giving her cloying advice she hadn't asked for at all.

She wanted to hear that she didn't need to change, instead however, everyone kept telling her that she should smile more, which she did reluctantly.

Why should she smile if she wasn't happy?

Michael was her opposite, and watching him was like observing a rare animal in the zoo: he was loud and unpredictable, his remarks often lacking tact and sometimes even sense, his chin raised in the confidence that emanated from him.

He was a mean bastard and she knew it, but she couldn't hate him.

To her despair, he seemed to evoke entirely different feelings in her.

His behaviour did not repel her: on the contrary, his explosive, quirky nature aroused a kind of admiration in her, as if he were an alien from another planet, someone who did not really exist.

She watched from the sidelines as Oliver slowly began to make his choice, more and more and more allowing Felix and the rest to absorb him like a large, voracious monsters.

She wasn't sure if the look of disappointment on Michael's face when he waved at him from afar and he didn't respond was a result of his sadness or his anger at having wasted his precious time.

It seemed to her that after he started eating and sitting alone again he quietened down and fell silent, disappearing before her eyes.

One day she got the idea of cheering him up and whenever she had the chance, she would slip a small Crunchie bar into his backpack, usually when he was busy talking to someone or when he put it down on the floor and left it in the corridor while going to the toilet.

She would then sit down next to it and, watching to make sure no one saw, slip the bar into the side pocket of his backpack and return to her seat.

Only twice had she seen his reaction to finding her gift tucked in one of his pockets. He would then look around, and she would lower her gaze, pretending that she was engrossed in a textbook on quantum physics.

She would smile involuntarily when she heard the rustling of the paper after a while, and then look at his thoughtful face, his gaze directed somewhere far away as he bit into the bar as if he were eating a burger.

He was so uncouth, so bright, so unpredictable.

However, her lack of vigilance doomed her: she wanted to do what she always did when she saw that he had thrown his backpack on the ground and headed for one of the rooms, apparently to talk to their professor. As soon as she sat down next to his bag, he came out and looked at her.

She froze, feeling her heart start pounding like crazy, cold sweat running down her back.

She picked herself up and moved to flee, unable to face the shame that spread throughout her body.

"– hey – wait – fuck –" He cursed, wanting to follow her, but remembered his backpack, so retreated to pick it up.

She stepped out into the courtyard, not hearing or seeing anything, blinded by the sun, stunned by the noise in her head and the shrill conviction that some kind of veil had fallen between them.

"– are you deaf? –" She heard him behind her, his large hand grabbing her arm too aggressively and too firmly, turning her away with a sharp, impatient jerk. She stopped, looking with big eyes at his blue checked shirt.

"– do you like rummaging through other people's things? –" He sneered, frustrated and amused at the same time. She simply remained silent, staring dully at the fabric of his shirt, smelling some cheap aftershave and his own scent.

He bowed his head, apparently wanting to meet the gaze of her eyes, but when she noticed his blue irises she turned her face away, quivering in his grasp.

"– you're weird –" He decided and let go of her, stepping around her, making her lower lip start to twitch, burning tears of shame, disappointment and regret gathered under her eyelids, running down her face one by one.

She adjusted the straps of her knapsack on her back and moved ahead on trembling legs wanting to forget it had ever happened.

The next day she felt like throwing up at the thought of their lectures together and ate nothing. She rushed to the classroom at the last minute, walking straight into the room without looking at the people who were waiting for their professor in the corridor.

She sat down in one of the last rows in her seat, far to the side, almost against the wall, where she felt safe.

When she saw out of the corner of her eye his silhouette walking into the hall she froze, lowering her gaze to her fingertips, feeling an uncomfortable constriction in her stomach, trying to blend into the background and not exist.

She shuddered when she noticed that instead of taking his seat in the front row across the hall he moved towards her, walking down the row below her, sitting down opposite her. She swallowed hard when he sat sideways to her, spreading his elbows comfortably on his and her desk, leaning his back against the wall.

"– what's up, little freak? –" He asked simply, tapping his fingers against the top of her table. She looked at him with big eyes, feeling a complete emptiness in her head, having the feeling that she was hot and cold at the same time.

For some reason she wanted to cry again.

Hearing that she didn't answer him he lifted his gaze to her, twisting so that he rested his arms on her desk, correcting his glasses that had slipped off his nose with the index finger of his hand.

"– you've got me used to eating one bar every day and you didn't give me one yesterday – you've ruined my daily routine and it's very fucking annoying, you know? –" He asked with anger and some kind of expectation that completely surprised her, but what she said had nothing to do with his words.

"– I didn't look inside –" She muttered.

"– what? –"

"– I wasn't rummaging through your things –" She explained in a trembling voice feeling that for some reason her eyebrows arched in pain, warm tears one by one began to run down her cheeks again.

"– are you crying? –" He asked in disbelief, wrinkles appeared on his forehead as they always did when someone made him uncomfortable.

"– yes –"

"– because I'm talking to you? –"

"– because I'm ashamed –" She whispered and lowered her gaze, swallowing hard, feeling that it had cost her a lot of strength to choke out these few sentences.

He fell silent for a moment – other students began to sit down around them, their professor announcing that they were about to begin their lecture.

He no longer responded to her words, returning to his previous position, leaning with his back against the wall, one of his hands remaining on her desk. She watched dully as his long fingers beat rhythmically against it, repeating the same movements again and again.

As always, he didn't even open his textbook, didn't write anything down or take notes, memorising everything he heard in his head.

She couldn't afford to do that, so she wrote down meticulously everything their professor spoke about, knowing that it would be one of the topics that would appear on the exam.

As soon as their class was over, she saw his silhouette standing in front of her with the textbook in his hand, which for some reason he carried with him. She packed her bag, pretending she didn't feel his expectant gaze on her.

"I want my Crunchie." He communicated, as if giving her some irrelevant piece of information. She looked at him in disbelief, feeling her lips part involuntarily.

Was he always this cheeky and spiteful?

"Here." He said, pulling a few coins out of his pocket, far too many for one bar, placing them in front of her.

"Just bring it to me." He said impatiently and moved ahead, running down the stairs, correcting his glasses on his nose, disappearing out the door.

She didn't feel like bringing him this fucking bar, but decided she didn't have the strength to stand up to him.

That's why she went to the vending machine standing in the corridor and, using the coins he'd given her, bought him as many bars as the money he'd given her was enough for.

She found him exactly where he always was at this hour, which was in the library.

She knew that he was solving equations not because it was a challenge for him, but because he was terribly bored. She pulled her fabric knapsack off her back and opened it, placing bar after bar on the table top where he sat.

"– I wanted one – are you mad? –"

"– give yourself one each day – you know how to count – have a nice day –"

"– do you have to be so fucking rude? –" He growled with a hint of malice, from which she turned to face him, feeling that for the first time in many years she had lost her temper.

"– take a look at yourself, you spiteful, spoilt brat –" She hissed and froze, wondering how she could have said such a thing, a hot feeling of shame and horror spreading through her stomach.

He stared at her with his lips clenched, furious, his nostrils twitching in an anxious, heavy breath.

She thought he was going to say something, humiliate her again, but they just looked at each other.

"– I – I'm sorry –" She mumbled and turned away, wanting to run away, to sink into the ground, to disappear.

She was sure he would be avoiding her now, telling everyone with amusement what a fucked up and stupid person she was, that she'd stalked him and then started yelling at him in the library.

She knew he commented on various people's behaviour in this way and she was sure he wouldn't spare her.

"– hi, nasty bar slut – what's up? –" He asked, walking up to her as she stood by the notice board, causing her to completely freeze.

"– please, don't call me a nasty slut –" She mumbled, looking at him with big eyes.

He shrugged his shoulders, correcting his glasses on his nose with his index finger, his gaze fixed on the sheets of paper on which the timetables were written.

"– fine – so? –"

She didn't understand what purpose this exchange of words was supposed to serve.

"– and what are you asking? –" She asked uncertainly and he shrugged his shoulders again.

"– I don't know –"

God.

"– are you still ashamed? –"

She swallowed hard, lowering her gaze to her feet, feeling her heart in her throat.

"– yes –"

"– why? –" He asked, as if he didn't understand what her condition was caused by. "– it was pleasant – finding a candy bar in my backpack pocket every day – unexpected – like magic with this dumb tooth fairy –"

She looked at him in disbelief, feeling a strange kind of warmth and relief spread across her chest. She pressed her lips together, adjusting the knapsack on her shoulders.

"– I saw how Oliver treated you – I think I just wanted to comfort you, but I couldn't speak to you like a normal human being –" She choked out finally, feeling that embarrassing sensation of a tightening in her gut again.

He snorted, correcting his glasses on his nose again.

"– sad bullshit is for poets – isn't it? –" He scoffed, still not looking at her, a mischievous grin on his lips.

She wasn't sure she understood him correctly, but it seemed to her that he was trying to tell her that he liked what she was doing in a way.

She shrugged her shoulders.

"– words have never come easily to me, although my head is full of them –"

"– right – I don't have a problem with talking, as long as someone doesn't start tendentious stories about their deep inner life – I don't give a shit, to be honest –"

He said, still avoiding eye contact. He scratched the back of his neck and rubbed the tip of his nose with the top of his hand, doing his best to look anywhere but at her.

"– it seems to me that you don't give a shit about a lot of things –" She stated finally and it was only when he heard this sentence that he looked at her, the intensity of the blue of his irises frightened her.

"– that's true – but that's who I am – I don't pretend to be anyone, unlike those rich losers who haven't earned anything themselves –" He hissed, and she nodded in agreement.

He hummed under his breath, pleased apparently to find in her a listener who didn't question his rather subjective, and therefore, in his mind, sincere judgements.

"– and you? – why do you behave in this way? –" He asked suddenly, and she blinked, feeling her whole body tense up at the urge in some primitive desire to protect herself.

"– what do you mean? –" She asked finally.

"– that whole crying thing of yours –" He said indifferently, once again correcting his glasses with his finger on his nose.

It seemed to her that he was treating her as an equation for which he lacked data, making it impossible for him to solve, much to his natural frustration as a scientist.

She thought she understood him.

"– I don't seem to feel alive – as if I'm a camera recording everything around me – when suddenly someone speaks to me as a person who should be experiencing and thinking something, I feel ashamed, as if someone has caught me in the act –" She choked out with difficulty, thinking in disbelief, terrified, that for the first time she had expressed in words what she was feeling.

She was more afraid than ever of hearing someone's response to what she had said.

He looked at her for a moment, furrowing his brow, as if analysing in his brain the details she had just provided him with.

"– you're lonely –" He stated finally, as if he had at last found a summary of what he thought of her. She pressed her lips together at his words, embarrassed that he had hit the nail on the head.

"– yes –"

"– me too – that's no reason to cry –" He said, shrugging his shoulders, sliding his hands into his trousers in some subconscious gesture of discomfort.

She nodded at his words, feeling her heart pounding hard in her chest.

"– so –" He began, looking at his shoe as if he saw something interesting on it. "– what now? –"

She swallowed hard, raising her eyebrows in surprise.

"– what are you asking? –"

"– me and you – are we mates now? –" He asked, and she involuntarily smiled sincerely for the first time in many years, feeling some pleasant warmth ripple through her lower abdomen.

"– yes –"

[erose-this-name]

Kabru is such a brilliantly written character, one of the best in Dungeon Meshi (which is a high bar as it is, most of the main cast are similarly genius). 

His thing is that he is very friendly and nice confident and maxed out his charisma stat, but is also kinda ambitious and manipulative. But not in an overtly malicious way. Which kinda scares me.

The most impressive thing about him, writing wise, is that it’s all show-don’t-tell. He very frequently uses his charm and empathy and understanding of how people think in really clever ways.

We’re often walked through his thought process of how he does these social deductions. We’re never told he’s scarily charismatic, besides other characters reacting to him being scarily charismatic.

Kabru is a natural-born leader and social engineer with superlative skills in both, which makes him the perfect foil for Laios, who’s too autistic and unambitious that he’s not even the de facto leader of his own party that he’s the official leader of. He’s so bad at leadership that his party just, sort of, doesn’t have a leader. They just kinda argue and do stuff.

What’s also neat, and perfectly inline with Meshi’s general theme of clever and logical subversions of fantasy tropes, is that Kabru’s character design in no way clues us in on this fundamental character trait of his.

He’s sort of a human fighter / knight archetype, which in the language of fantasy RPGs is a class most would associate with being a white bread jock, chivalrousness optional.

(Laios subverts the same trope in the same way. It’s really funny that the walking exposition dump of the group looks like the character creator default preset spec’d as the most generic class available.)

If Kabru was a bard or noble and Laios a wizard, their character traits would be far less interesting

Even better is that we would expect someone who looks like Laios to have Kabru’s personality, and vice versa. Their character designs are flipped; the confident super charismatic leader is a short wide-eyed twink, while the slightly naive and very autistic monster enthusiast is a tall conventionally attractive Aryan lookin’ mf.

(see what I mean by Kabru being such a good foil for Laios?? No wonder everyone ships them, they’re perfect for each other!)

Yet, their designs also work for them. Kabru just has a face that’s easy to talk to, his piercing blue eyes and curly hair gives him a false sense of naïveté, while his iconic 👁️👁️ expression hints that there’s actually quite a bit going on inside his head. Meanwhile, Laios believably looks like someone who doesn’t know what hair conditioner is. His armor’s collar gorget thing is also pretty dorky.

You can’t trust people like that (I mean overly charismatic people with a manipulative streak, not blue-eyed twinks) because you can’t know what their real motives are. You can’t know they aren’t pretending, you can’t know they aren’t trying to or haven’t already manipulated you. How could you? When he has so much more social intelligence than you do, average socially awkward Tumblr user? He’s touched all the grass!

In episode 16 (spoilers, btw) Kabru finally meets Laios’s party, who he’s been trying to find and fight for the better part of the season, and he just decides that no confrontation is necessary. Like, immediately upon meeting the guy. Just from how Laios looked at him. He figures that since Laios didn’t seem to recognize him, they either have never met meaning he has the wrong guy, or Laios forgot meaning he didn’t think it’d be a big deal, meaning the treasure was a trap or something. Which is pretty in line with Kabru’s established ability to always roll nat 20s for every charisma and deductive reasoning check, so cool.

But he doesn’t even seem curious about which of those cases is true. (He might be interested to find out some of the treasure wasn’t dangerous, but accidentally got thrown off a bridge). Much to Rin’s dismay, he’d rather just not bring it up because that could upset the leader of the party he might be working with for the foreseeable future.

Actions speak louder than words. So, all we really learn in this scene is that Kabru’s goals and M.O. can change on a dime, and that he values reputation and political capital more than money and vengeance. More than his own party’s desire for those things. Not only is he someone with a silver tongue, but he knows its value and is determined to use it at every opportunity.

Kabru and his party might not be very good at fighting or surviving in the dungeon, in fact their frequent TPKs are a running gag. But, he also doesn’t need to be when he can just manipulate Laios’ and Shuro’s much more proficient parties into helping him.

So far, Kabru seems like the most likely one to become king of the dungeon or whatever the mcguffin is. He is the only protagonist so far who has said that’s an actual goal of his. He’s said that he doesn’t think someone like Laios who isn’t a born leader should get it.

In fact, Kabru seems to have very strong opinions on what kinds of people should be allowed to adventure in the dungeon, evidenced by the fact that he murdered an entire party over it, justified or not. Kabru seems to think that Kabru is such a leader, and he’s probably right about that, but what kind of leader? 

What would Kabru do with that kind of power if he gets it? Because I’m not sure. All I know is that he is the kind of person with the ability to use real political power to its full potential. For good, or for very, very bad.

I’m not saying that Kabru is evil or that he’s secretly gonna be the surprise villain. I dunno, I haven’t read the manga. He could just be a nice guy that’s just, like, is like that. Everything he’s done could be justified by the explanations he’s given. He actually reminds me a lot of one of my IRL friends, and I’d trust him with my life.

But, I can’t help but feel a distinct sense of unease whenever he’s on-screen. I try not to trust confident natural-born leaders like him right out of the gate. I don’t like that our instinct as humans is to blindly follow them without thinking about it.

Tyrants and psychopaths also use confidence and charm and a friendly demeanor to make people think they’re a good guy, while manipulating everyone into thinking their self-serving actions are altruistic. Benevolent, confident, skilled leaders do exist. But there exists many more snakes wearing their skin. Wolves rarely bother with sheep’s clothing, they dress as shepherds and sheepdogs.

Anyway, my point is that I think it’s kinda neat that it’s possible to overthink this much about a character whose probably just a nice guy that is the mirror opposite of an autistic person. Writing that kind of ambiguity is hard, and employing it in this way is inspired.