#but it depends on which writer is handling them

[spaceflower07]

taang in the comics part 2

Last panel is literally THE taang panel fr. Also, the third pic is literally the only in-character moment of them. Even if Toph were canonically against the past so strongly (which she isnt the show,, she just wants her parents to love and recognize her properly. never does she want to run away from her past, she faces it head-on, like she does with everything else), THAT is how she would've done it. She would've at least explained herself like that, communicating about what she feels, instead of going straight to cruel behavior and rude insults. Is this rlly the same girl who felt so guilty about Appa, even though it wasn't her fault and she had done her best?

All in all, I HATE the Rift. I read it just for the smallest taang crumbs of seeing them side-by-side, even if it meant enduring the never-ending 'sweetie' of Kataang—Not that im entirely against Kataang, its just in these comics theyre so😭 like omg there is a time and place for that and its not here!!

Butchered my girl Katara so bad. Like theyre so...overly affectionate, kissing every few panels, calling each other 'sweetie' (im sorry thats so cringe), and its every soft romance wattpad I've ever read. Katara in the GLY comics is like those memes where the girl is so uwu crybaby-ified. I was a few pages into the Promise when I screamed WHY IS SHE JUST STANDING THERE. And when she finally did fight, she had to ruin the moment with "Don't set my boyfriend on fire!" girl...just fight they dont need to know Aang's ur bf omg, as if the sweetie wasn't obvious enough.

But honestly,, the worrying part for me is that the in-character Kataang IS the GLY comics imo. If Katara and Aang from the show were in a relationship, it's the GLY comics. Katara suppressing her feelings (like in the Promise with those fangirls) and apologizing to HIM even when he's the one in the wrong. Aang being irrationally angry and going into the Avatar State in emotional ways (like in the Promise,, again. Can you tell I HATE the promise). Katara having to calm him down with 'sweetie this isn't you🥺pls calm down sweetie🥺for me🥺🥺' the way she has to calm him down in the show (ofc not the sweetie part,, but she still has to, as if it's her responsibility). Her being damselled for the sake of Aang's development (like, again, in the Promise. When Zuko gripped her wrist a lil too tight to stop her from attacking his people, you know damn well Katara wouldve smacked the shit out of him with her own waterbending. But no, instead we got 'ow zuko ur hurting me!!' and Aang going into the Avatar State for it. No wonder he died early; the State shaves years off ur life, and he kept spamming it irrationally. And again in the Rift, when she was with Toph in the cave under the rubble. I feel like Katara was put there with Toph just so Aang would actually care. When he heard from Sokka that "Toph and the others are down there," he only asked about Katara, and visited them twice to, yet again, talk to Katara. And that's why he had sent for Toph's students to get them out. And! When they did get out, Katara ran straight to start making out with him instead of healing her friend, who passed out from saving them. Like hello?? There is a time and place for that. The Katara I know would've healed Toph first. No one, except her own students and dad, showed gratitude or worry for Toph for literally saving their lives. Another Appa situation I see.)

Another problem with Kataang I have in the comics is also in the Promise. Aang was about to ban mixed families bc he felt offended that a few well-meaning fangirls tried to participate in his culture, yelled at them, and ran off. He only changed his mind after he realized it would mean he and Katara couldn't be together—basically realized it would affect him too. Also rubbed me the wrong way that a girl who's such an activist looked at a family facing injustice and didn't feel defensive on their behalf (which she would be in the show—if she weren't with Aang), but instead, imagined herself having a family with her boyfriend. Its not too bad ig but it just rubbed me the wrong way when I read it. Like, why is THAT what you thought of when u saw them girl😭

Unfortunately, I believe that's how they would be canonically in a relationship, as their personalities in the GLY comics are regrettably more on par with the show (I can imagine Katara's character becoming like that post-show...unfortunately. Aang's influence.)

[theartingace]

Your centaurs differ pretty wildly from the base DnD centaurs, but what I am curious about is old people. DnD centaurs travel in migrations that last generations and just leave the old or infirm behind to keep on (at which point they become Chiron types); how do your centaurs handle the elderly?

I actually had no idea that DnD centaurs did that, kinda cool, kinda wild cultural practice?? While I have always encouraged folks to use my workarounds and patches for centaurs in their TTRPG games, I actually have very little idea of what ideas are already in any of the systems that do actually include centaurs! my advice on centaurs is usually much more niche daily life stuff than most game developers and story writers tend to delve into.

For my centaurs the elderly are treated much like any human elder, what do you do with them? You cherish them!! Particularly with my centaurs, who across all their cultures depend a lot on family and group dynamics to compensate for the challenges that come with having a horse body. So elders would be an important font of knowledge and cultural memory! Now MY centaurs in particular tend to be pre-history to medieval style cultures, with access to higher medicines pretty much limited to the Port city of the Merchant's culture so living to a super advanced age would be fairly rare, but that would just make those who DO get to that age generally more important and respected (at least according to Nana)

As mobility issues arise with advanced age, there's lots of options to keep Nana mobile and healthy, from supportive corsets and harnesses to support the back to senior comfort hoof trims and special shoes- but most end up opting for being (literally) carted around in small wagons by the grandkids. Or the more independent minded seniors may drive their own carts with pet ponies and donkeys (or even goats!)

Of course wheelchairs are also an excellent choice to help with mobility at any age!

And even in my semi-nomadic Rider culture, elders are simply packed up with the yurts and tents and travel in the carts that way. No reason to leave them behind when you have stuff to be carrying anyway in my opinion!

[lizardsfromspace]

Talking about Chris Columbus made me think about what was probably the most prophetic part of JK Rowling's bad wizard books at the time

If you go back to coverage from the time (which I did verifying the info in the Chris Columbus post, discovering this) you see that she wanted a capital-d Director for it. A visionary auteur worthy of her wizard book for children. She wanted Terry Gilliam; the studio said no. She wanted Guillermo del Toro; he said no. She wanted Steven Spielberg; he said yes, then dropped out due to "creative differences" (he wanted to do it as an animated film, and chose to make A.I. instead). Then with the third movie, they landed one: Y tu mamá también director Alfonso Cuarón. At last, she would get to see what it was like for a visionary creative to tackle her work, as she wanted all along

And when it came out, there was one problem. The reviews were really, really good...and all of them were praising Alfonso Cuarón. They were saying that he had added so much to the wizarding world of JK Rowling (TM). Some were even implying he handled the material better than she did, and a few were saying that outright, because it was true

Suddenly, the prospect of her work being handled by a Visionary Aueteur was less appealing. Cuarón couldn't give less of a shit, he went off to make Children of Men, so strange how basically everyone involved in the bad wizard movies used the money from it as a springboard to kickstart a successful career doing shit they actually care about it except its writer. So two movies later, we meet David Yates, whose filmography looks like this

He does have works other than this - all of it on TV. Miniseries/TV movies and TV episodes. Though his only TV work since Harry Potter was one TV pilot.

Someone who had spent years talking about her hopes that Spielberg or Gilliam or del Toro or M. Night Shyamalan would add their Visionary Touch to her books was now happy having some random TV director handle everything forever. A random TV director who hardly does anything except Harry Potter. Whose career depends on her and her series. Anyway I'm sure she just really liked his miniseries about human trafficking a lot

It reminds me of when the director & writer of the first 50 Shades movie did a lot of editing to remove the unnecessary guff that was only in the book bc it was in the original fanfic - like pointless side characters who were only around bc they were a Twilight character in the original - & make it work better as a film, and then E.L. James fired everyone and had her husband write the sequels so they wouldn't ruin her baby. JK Rowling really wanted the prestige of her movie being made by a Steven Spielberg but didn't realize that a director like that would alter the material for film even when adapting a good book. She just wanted a famous person to enthusiastically co-sign that her book was very good and perfect and required not one change before becoming a classic of cinema. Meanwhile Alice Walker, Michael Crichton, Philip K. Dick and H.G. Wells are all better writers than JK Rowling, and none of them were granted that level of deference

Anyway who could have foreseen that the writer who made sure her film series was made as bland as possible after having one director actually dare to change and adapt her work would one day get so mad at her movie's cast no longer speaking with her she tries to remake the whole series to "replace" them

[elysiansparadise]

A powerful individual with an unbreakable aura whose gaze reflects the most sensitive of hearts and the most resilient of souls.

Aries Rising: The Survivor

Many of these natives have a clear vision of life: "Things don't happen magically. Do them yourself." They are people with a confident appearance, often considered attractive or sexy thanks to Mars ruling over there. Mars energy not only influences your breath-taking appearance, but also your attitude, independent, authentic and will never take bad treatment from others. They have created a strong appearance to face life, projecting themselves as self-sufficient people who recognize their value and will not be afraid to fight if necessary or if they are threatened. Wary, observant and with an initiative and desire to get what they want and achieve many things. Tension in their early environment is likely, so they grew up learning to navigate the chaos or at least not to easily falter over what they consider to be just the tip of the iceberg. There is nothing they do not defend with more passion than themselves and their dignity. They will constantly seek to know themselves more, give themselves the satisfaction of being able to grow more and more, and do what they consider correct or necessary to preserve their well-being. Once they trust and feel comfortable with someone, they can be fun, outgoing, and more communicative. They will not be afraid to enter new environments, meet new people or appear confident, but entering their hearts and close circles can be a complicated task.

When Taurus falls in the 2nd house, natives highly value security in every sense, clearly including financial security. Many of them may have the belief that they have to work on their own to achieve this security, making them highly independent. These people place a great value on comfort and pleasure, they will not hesitate to stay away from places or people that are another headache in their lives. They are very selective people with what they want to keep in their lives. Their self-esteem is usually linked to what they have, and not only in material terms, but also skills, achievements, people. They know how to give themselves their place and will not think twice about moving away from environments or people who do not appreciate them as they are. They constantly work on ways to improve their self-esteem, whether it's taking care of their body, pampering themselves, or doing activities that make them feel better. One of the values ​​for which they stand out is their devotion and perseverance. When they focus their minds on something they want, they do not rest until they achieve it. Many of them tend to use this tough and strong exterior to face life, because they feel better after knowing that they have been able to handle whatever life has thrown at them. Their value system is strong and stable, so they will rarely act against them. This means that although they understand that people may be different from them, they will not allow someone to try to tell them what is right or wrong, or if their values ​​are correct. They have clear priorities and adhere firmly to their principles. Many of them may feel a strong need to be self-sufficient and not financially dependent on others. They are very careful when it comes to managing their money or what their possessions are concerned, they are not careless with what they value or what they have a hard time getting. Possessive tendencies may exist, especially if the ruler is making tense aspects with Sun, Moon, Neptune or Pluto.

One of the best overlays of this rising is Gemini in the 3rd house, as it makes them eloquent, versatile and adaptable people in their way of expressing themselves. They can be good speakers, writers or have talent for any activity that requires effective, clear and, why not, entertaining communication. These individuals are constantly seeking new information and knowledge, although it should be added that they may quickly become interested in topics only to later drop them if they have already learned everything that was available or if they lose passion or interest. They love to learn and share what they know with others, and as a result of their interests they can form important bonds. These natives usually have a wide range of interests and can be multitasking due to their energy level or demand. These natives like to learn about many different topics and may prefer to learn on their own. They process information quickly and have a natural ability to connect ideas and concepts, and even find patterns where it might go unnoticed. Their multitasking skills allow them to be very efficient and productive in their daily lives. Their mind is always active and looking for new intellectual challenges. They may prefer short trips and need a change of scenery from time to time, as monotony can overwhelm and bore them. This need for movement can manifest itself in your daily life, with frequent trips and changes in routine.

With Cancer in the 4th house, these natives have a need for security since childhood. They give a lot of importance to the issue of protection, whether due to lack of care and/or attention in childhood or exaggeration of it. They are emotionally deep people who hide their emotions perfectly, because they know that it is something that is not given to just anyone. They prefer to deal with their emotions independently, especially those they perceive as vulnerable or tense. In childhood they could be very emotional, and from that stage of their life they experienced situations that forced them not to leave anyone in, to reserve their thoughts and emotions. Despite being strong people, emotional security is crucial for them, and they can seek environments where they feel protected and understood. They have a strong instinct to care for others, especially those to whom they themselves provide the family title. They may take on caregiver roles and seek to ensure the emotional well-being of their loved ones. They can find home and security with what seems familiar, comfort food, movies or things that remind them of happy memories from the past. Memories and experiences from childhood home can have a lasting impact on their adult life, this is due to their great memory to remember their experiences in detail, good or bad. They like their space to reflect warmth and security, and may have a penchant for homey decor and the details that make a house truly be and feel like a home. Many of them built a strong armor not only that others decide not to mess with, but that the most vulnerable can count on. Behind this strong, unwavering appearance that has experienced all kinds of situations, there is a gentle, warm heart that longs for that tenderness, comfort and softness.

Leo in the 5th house usually grants strong self-esteem and confidence. They are proud of their abilities and very aware of them. They are usually charismatic and magnetic, attracting the romantic interest of others with ease. They stand out for their sensuality and that authentic way of projecting themselves, they do not like to wear masks and pretend to be what they are not and they have the idea that if someone is going to love them, they must know and accept their real selves. Intrigue, joy and excitement are crucial in their love relationships and they enjoy courtship and seduction, both being the one who initiates it and being the target of it. Pleasure and fun are important aspects for these natives and they will never feign interest in things in which they genuinely have no interest. They like to enjoy life to the fullest, seeking experiences that bring them joy and satisfaction. They may have occasional bursts of energy and hyperactivity where they want to do many things at the same time. They enjoy activities that allow them to express themselves freely and entertain themselves. They are people who enjoy expressing themselves artistically and creatively, whether through art, music, acting, or any other form of self-expression. They like to excel at whatever they do and, whether they are aware of it or not, they may have perfectionist inclinations. They easily stand out from the crowd and can easily gain recognition, both in close circles and on a large scale.  They can be loving, protective parents who enjoy spending time with their children and encouraging their creativity and self-expression. They tend to be a source of inspiration and leadership for children, encouraging them to be themselves and follow their passions. They can be seen as role models and guides who help children develop their confidence and self-esteem. Extroverted, independent children with strong self-confidence.

Many of them are dedicated and reliable workers thanks to the presence of Virgo in the 6th house. They have a strong sense of duty and are very responsible in their approach towards daily tasks or what they consider to be their duty. Although they appear confident and have a high opinion of themselves and their abilities, they can be perfectionists, always seeking to improve and perfect everything they do. It is likely that just because they are aware of what they are capable of, they easily feel that they can do a better job even if they have already done it, since they may judge themselves very harshly, especially if they have made a mistake that they consider very serious. obvious. They can be conscious of their diet, exercise, and daily habits, always looking for ways to keep their body and mind in optimal condition. They are likely to feel hyperactive at times, and the fact that Mercury rules this house can make them tend to overthink things or be very nervous. They are very disciplined when it comes to work or carrying out tasks that they consider very important to them, and many of these individuals can have a strong sense of self-discipline, managing to finish things before deadlines.  They set very high standards and many of them are likely to push themselves to work or be productive even when they are feeling bad emotionally. They have an analytical mind and are excellent at solving problems of any kind. Many people tend to rely on them precisely for this reason, because they advise objectively and their blunt way of being can make others put their feet on the ground. For them there is nothing more rewarding than seeing the results of their hard work. In fact, it is very likely that after finishing a job they feel relief instead of pride. Actions and tangibles are what are important to them.

The presence of Libra in the 7th house makes these natives very focused on creating healthy relationships that bring them happiness. They, in turn, are capable of giving a lot in a relationship in a selfless and selfish way. It is crucial for them that both they and their partner feel comfortable, satisfied and loved, for them neither has to dominate or control the other, being a couple they seek that balance, that they both help each other to cover those points in which they They may find difficulty, someone with whom they form a strong, loving and lasting team, a person to support unconditionally and who will help them in return. Despite this independent and strong personality they have, they are loving people, dedicated to their relationships and very emotional. They put a lot of emphasis on building lasting relationships in which there is not only love or affection, but common goals and intellectual connection. These people have learned to be independent since they were young, but in them lies the fear of falling to extremes in relation to others, that is, they fear feeling overwhelmed by loneliness while they fear showing their most vulnerable sides due to the possibility of being hurt or being hurt. take advantage of them, that is where Libra energy aims to guide them to balance these ideas, finding the middle point in which they gradually open their heart. These natives have the lesson of allowing themselves to be loved and understanding that they do not have to be different to be loved, just as they are they deserve love. Their future spouse may be a loving person they can rely on, someone calmer and grounded. They will have both beautiful physical attractiveness and heart. It is a great indicator of a loving marriage in which both feel trust and affection for each other.

One of the things that is not talked about in such detail about this rising is how secretive they can be, their secretive nature is usually one of the least talked about aspects of them, and we attribute that to Scorpio in the 8th house. This overlay that demonstrates this tendency that they have to keep to themselves aspects that they consider important in their life, also activates the focus of others on the intense nature of the natives. They are people who do things in a dedicated manner, putting in all their energy and motivation, and they not only show this intensity when carrying out their plans, defending their individuality or standing up for themselves. They are lovers who keep you on the edge of your seat, who intoxicate you with sensations that at first surprise you, but at the same time you find yourself wanting more and more. For them, sex is a way to unite with their partner, to become oneself and completely immerse themselves in them and their feelings. They make sex an unforgettable experience for others, because despite that fiery approach that devours you inside and out, they take care of really connecting with you through sex, they make it seem like an art in which they are especially good. They look for emotional and sexual connections that are not superficial, but that touch the deepest part of their being. However, in addition to being those lovers who will have you thinking about them and who know exactly what they are doing, they contain someone who has gone through a lot in their lives, from tough situations, betrayals or in general, a set of events that has built those walls between others and themselves. Many of them may fear being very intimate with someone, because they know perfectly well that they are capable of loving someone madly and totally, and they fear placing all that love and affection on the wrong person, on someone who is like the rest. They are resilient and brave people who are not afraid to stand up for themselves no matter what problem awaits. They have faced life, many times on their own, which has made them very aware of the strength of will and spirit they have. Although they are not the biggest fans of change, they know how to adapt to it very well. These people often go through crises that force them to reinvent themselves and transform. They often emerge from these crises stronger and wiser, with a greater understanding of themselves and life.

When Sagittarius is in the 9th house, natives have an innate desire to learn and explore the world. They are motivated by a relentless pursuit of truth and knowledge in their highest forms, whether through formal education, philosophy, or self-study. Many of them are in constant search for truth and seek to understand the deeper meaning of existence. They may be attracted to foreign cultures, and it is common for them to develop a deep interest in the languages, customs, and traditions of other countries. They stand out for the wisdom they acquire thanks to their experiences in life; they can eventually become sources of wisdom for others, offering teachings that come from their own experience and understanding of the world. This placement also tells us about someone who is very likely to be influential or a source of inspiration for others. They live in a constant search to discover who they are and it is very likely that from a young age they feel interest in ways to get to know themselves better. They need to feel like they have the space to explore, learn and grow at their own pace and in their own way. They hate restrictions that limit their pursuit of knowledge or their ability to explore and be themselves. With Jupiter ruling this house, natives can have beautiful, memorable and enlightening experiences on trips, feeling “renewed” when traveling. Likewise, university time can bring many opportunities for growth for these natives.

With Capricorn in the 10th house we find a combination of ambition and discipline. These people are willing to work hard to achieve their goals and build a solid reputation. Although they may face challenges related to self-criticism and fear of failure, their perseverance and ability to overcome adversity often leads to success, especially in adulthood. Reputation is very important for these people and not only from a superficial perspective, but many of them like to be seen just as they consciously want to project themselves: independent, strong and capable of achieving everything they set their minds to. They dislike being seen as weak, as someone who others can take advantage of or even think about playing tricks on. They take themselves seriously and hate not being taken seriously by others. They can become very successful after a while and patience and perseverance can take them to the tops of those mountains they seek to conquer. They have the ability to make difficult decisions and handle important responsibilities, and it is very likely that from a very young age they have had to take on responsibilities that people their age did not have or should have. Many of them project this aura of power, people can see them as unattainable and, depending on the aspects of Saturn, even unreachable or demanding. Likewise, these natives give the impression of being very clear people with what they think, skilled in everything related to their profession or hobbies, and people can feel that they are reliable, righteous and honest. They have excellent ability to manage resources, time and people. Their ability to organize and plan is one of their greatest advantages in the professional world, all of which makes them very suitable for leadership roles in their work or even for starting businesses/being their own bosses.

With Aquarius in the 11th house, they highly value freedom within their friendships, as they prefer relationships that are not possessive and allow for a lot of personal space and freedom of expression. Their friends tend to be independent, original, and often people they consider unique. This can be an indicator of a wide network of contacts and social connections. They enjoy interacting with people from diverse backgrounds and, although they may have many acquaintances, the title friend is not given to many. People with this placement tend to be very very focused on the future, which may lead to anxiety or stressing too much over what’s going to happen. They are interested in innovative ideas and may be in social or political movements that seek change and improvement of society. They have a strong desire to contribute to social change and improve people's lives. These natives are likely motivated by a sense of social justice and a desire to make the world a better place. They find it difficult to conform to what is conventional or what is socially expected, and there is nothing that bothers them more than people placing expectations on them. They prefer to follow their own path and associate with people who share this mentality. While they can be excellent friends, they don't mind being on their own or having hobbies that only they participate in. Many of them give this vibe of being relaxed and rational to their friends and this does not mean that they are not affectionate, but rather that they prefer to maintain an objective perspective and avoid emotional dramas. They value equality and justice in their relationships, preferring connections where everyone is treated with the same respect and consideration.

You look up and stare in that mirror... What do you see, Pisces in the 12th house? Why do you look away? Because it seems that only you see the pain of your gaze? Or those wounds deep inside you that you don't let anyone else see. You know you isolate yourself, you learned to deal with everything yourself. You thought it was the right thing to do, to not be a burden, to not be perceived as weak or dependent, but even the strongest can break at times. You find peace in solitude, but at the same time you can feel drowned in it. A kind of relationship with her where it seems like you just got used to it while you understand that it is necessary. Nothing in excess is good, neither depending too much on others, nor carrying everything on your own. You fear returning to tense emotions, those of fear and uncertainty that forced you to face life on your own, believe me, that already makes you strong. Within you lies an emotional person, intuitive and perceptive of what is happening around them. Someone with a strong sense of empathy, someone who is the support of others that they would like to have, although they do not know how to verbalize it. Even when you look for that time of retreat in which to be immersed, to search for the truth within you, to find inspiration and reconnect with what allows you to feel better after hits of reality. You may be very hard on yourself, hating the idea of ​​victimizing yourself or not taking responsibility for your own affairs... but you no longer need to take responsibility for others either. Free yourself from those burdens that do not belong to you and that others have placed on you, free yourself from guilt for situations in which you did not have control. Within you there is a beautiful world that deserves to be not only explored, but cherished and appreciated, an honest and empathic soul with the capacity to love unconditionally, to create great things from dust, to inspire others to dream. A spark of curiosity in an immense universe full of things to understand, one more star in the cosmos that shines in a singular and unique way. Your mind is a palace full of ideas, questions and occurrences that could captivate anyone. Your heart, guarded by walls that protect it from getting hurt, being fooled, or allowing others to walk all over you, is full of warmth and kindness.

[tackykachowch]

Silco was set up to be Fishbones from the start

Disclaimer: I won't take season 2 into account At All, because it can't work with setups and payoffs even if its life depends on it.

Alrighty. As we've seen Season 1 paid a lot of attention to set up canon things from LoL into the show as naturally and logically as possible, and at least from my point of view, it handled the job with flying colors. Jayce's hammer, Vi's gauntlets, Vander/Warwick etc, nothing felt out of place. But how does Silco fit into this at all? Let's get down to business to defeat the huns

First of all, what even is Fishbones? In the canon of LoL, it's one of if not the most iconic weapon Jinx has. And it is not only a weapon to her, but a loyal and "beloved" companion, as it's described in one of her skins. She constantly talks to it, and in contrast to her chaotic and impulsive nature, Fishbones is very pragmatic and calm. Sounds like a certain someone, doesn't it? But let's not get ahead of ourselves.

But how does Silco go from being Jinx's father to one of her weapons? There are a lot of points that support that actually, I was surprised myself ngl.

- Silco is the only character in the entire series who is directly and tightly connected to water and underwater creatures. Silco was "reborn" in the water when Vander tried to kill him, the first office he had was placed under the water, with a huge observational window. Silco is also fond of underwater creatures, and while other people call and see them as monsters, Silco pays no attention to it, as he thinks that there's "a monster inside all of us". And here's Fishbones, who is designed after a shark, arguably the most famous "underwater monster". But what is more interesting is that it debuted is the finale of season 1, which is titled "The monster you created". Quite a throughline there.

- Silco was the reason behind Fishbones' creation in the first place. While it does seem that it all started with Jinx, who stole the hex gemstone on the Progress Day, we also need to remember WHY she did it. She did it to impress Silco specifically, to make him to be proud of her. This want was triggered by her screwing up the smuggling mission earlier that day, and while Silco didn't scold her for it much and only advised her to rest for a bit, she saw this as him thinking that she's weak. So, after all of this Silco asks Jinx to make a weapon with the use of gemstone. Not necessarily to use it against Piltover, but to have it as a wild card if his plans go wrong. Jinx agrees and attempts to reverse engineer it, but it triggers her memories when she killed Mylo and Claggor with her bomb, so she tells Silco that she can't do it. He then goes to the river he was nearly killed in with her, and "baptises" her to help her let go of her fear of pain. This seemed to have worked, at least for a little while, because she managed to finish the weapon. So, in conclusion: Fishbones' creation was triggered by Jinx's want to impress Silco, and he helped her with its creation on every step of the way.

- this point is somewhat meta, but I'll use it anyway. In previously mentioned episode 9 Silco tells Jinx that everybody around them betrays them, and they have only each other to love and lean on. He says, quote: "Everyone betrays us, Jinx. Vander, her. It's only us". At the same time, in LoL Jinx says this line to Fishbones: "It's just you and me, Fishbones!". Well.....it's certainly a callback if I've seen one. Like- it's not even funny. They couldn't have written this line on accident.

- now onto the most interesting part for me personally. We all now that there are no accidents in animation, like. At all. Even if there are this is extremely rare, as every frame is created intentionally. Now, we do now that there are quite. A few discrepancies between writers and animators of arcane, but I don't think this applies in this particular case. Now onto the actual point. So, in the finale of season 1 Jinx kills Silco, and it's shown to us like this.

He's turned with right side ("human") of his face to the camera, while the left side ("monster") side is hidden.

As Jinx fires Fishbones at the council

It's positioned with its right side to the camera, which alignes with Silco's "monster eye". Also, Fishbone's eye has a black scar pattern around its eye, which again, resembles Silco's damadged eye. That could mean that Silco is once again "reborn", and now continues to live on in the monster Jinx created.

And here comes the most awesome part in all of this. When Silco adopts Powder, he hugs her and tells her

Do you see how the frame is positioned? Exactly. It is exactly the same framing scene with Jinx and Fishbones has. And, most importantly, when Jinx pulls the trigger, we hear the exactly same line on the background: "We will show them all". It simultaneously shows: that Jinx's attack on the council is her way of dealing with grief of killing Silco; her way of honoring Silco's fight against Piltover; and a direct transition of Silco into Fishbones. Although he's dead in body, but Jinx's memories of him and his voice now continue to live in Fishbones, her new eternal companion.

I am at awe with the fundamental work that's been done with this setup, and although s2 never followed up on this, I still can get enjoyment from the clear intent creators put here originally.

[edwin-paynes-bowtie]

Do you think there is a way to ethically watch Sandman and Good Omens? What about Dead Boy Detectives?

Andddd this was why I originally turned off anons. I knew this was coming eventually, but I guess I'll respond just this once so everyone knows where I stand.

I don't love that I feel the need to disclose this, but I have personally experienced grooming and sexual assault in the past. So this post is coming from someone who has Been There and understands the importance of supporting victims. I also love all of the efforts NG-related fandoms have been putting into raising money for sexual assault charities. It's wonderful to see people rallying behind the survivors and supporting them so vocally.

- DEAD BOY DETECTIVES: NOT A GAIMAN WORK

I do not think that there is a world where Dead Boy Detectives would be unethical to stream. It has virtually nothing to do with Neil Gaiman, by his own admission, and is the brain-child of Steve Yockey.

Besides the first chapter where Charles and Edwin were introduced (with no development), he didn't even write the comics! Several artists did, including Toby Litt and Mark Buckingham - whose run the show is based on and who the sprites are named after.

Yockey was the sole person to pitch DBDA to Warner Brothers. Gaiman did not do that.

Streaming Dead Boy Detectives primarily supports its writers, cast, and crew - Gaiman, who only wrote 2 scenes, is getting essentially nothing in terms of royalties.

Someone on Twitter did a really good job of unpacking why Dead Boy Detectives shouldn't be lumped in with Gaiman stuff - I'll link it here.

But this leads me to the next section.

- HANDLING GOOD OMENS AND SANDMAN

I think that there are a lot of valid reactions to the way people handle the consumption of Gaiman's shows after what he has done.

Some people are going to be unable to stomach anything he has written, and that is okay. Others whose lives have been massively impacted by his work aren't going to be able to let go since - and I know people like to deny this, but it's true - the art you love more than love itself is going to have a serious material impact on your personality.

Both of these approaches are alright! The only incorrect approach is to harass those who disagree with your personal choices.

It also is, in my opinion, Bad to give Gaiman money. Purchasing his books and buying Good Omens official merch puts cash in his pocket.

Streaming the shows, though, is a little more nuanced to me.

I'm going to use Good Omens as an example here. I personally will not be continuing with Good Omens. It gives me a Yucky Feeling. I may one day change my mind and stream a pirated version, but I don't think so.

However, I don't think Sheen and Tenant's fans are wrong to stream it in support of the actors who have brought their favourite characters to life.

But this leads me into my next point, and the point that will probably get me Canceled.

- THE IMPACT OF SHOWS ON PEOPLE

The way that people handle their favourite shows post-allegations is going to depend on the impact that the show had on their life.

I like Good Omens. It's a fun show. I enjoyed it while watching it, and think (see: thought) positively of it. But it had no real deep impact on my life - it's not part of me. When I look at Good Omens now, I see Gaiman's work above the finished product. It puts a sour taste in my mouth.

But in a hypothetical world, if Dead Boy Detectives were a Gaiman production? I have the self-awareness to know that I probably would still stream it to support the cast and crew. I am attached enough to it that I think I would divorce it entirely from Gaiman (if he were the creator, which he is not.) My point is that other people who are still streaming Sandman and GO probably don't look at it and see Gaiman. They see something that they have absorbed into themselves.

The part that's going to get me canceled is that if George cameos in Sandman, I will stream that one (1) episode to support George Rexstrew (Edwin Payne's actor). This is because Edwin has had a material impact on my life (hilariously, because I am a sexual violence survivor who did not get justice, and Edwin did not get justice for his murder and fights for that.) I feel that Edwin is part of me and my life, because Edwin (and George's work as Edwin) has made me feel less alone.

A lot of people feel that way about Crowley and Aziraphale.

I think that asking people to ditch a show, characters, and performers that have had a deep impact on their lives is unfair to them. Like, yes, Neil Gaiman is a bag of shit! Anyone who defends him is also a bag of shit! But I don't think that it's fair to stop people from supporting works that have had big material impacts on their own lives.

- HOW TO PROCEED

TL;DR

My personal ideal outcome here would be:

Wrap up Good Omens with the 90-minute movie and nothing else.

Wrap up Sandman with season 2, and do not renew.

Revive Dead Boy Detectives WITH THE CAVEAT that Gaiman gets his name removed from it, even if he currently isn't making much money off it. Take the Sandman characters and references from DBDA and let it become its own standalone thing.

Cancel all future Gaiman productions and never hire him to work on television or anything else again.

Let Gaiman's career die entirely and let him fade into obscurity.

Arrest Gaiman, which will never happen but it should.

I think people should:

Stop giving Neil Gaiman money through books or merch.

Make their own decisions about whether or not to officially stream the shows in support of the actors and crew members who have worked hard on it.

Not harass anyone for either their decision to stream the show, not stream the show, or stream a pirated version of the show.

Engage as much as they want with fandom and fanworks, as they are divorced from the source material's creator.

Vocally speak up against Neil Gaiman. Amplify the voices of the survivors, and don't let fear for the future of your show get in the way of that. At the end of the day, real women were put through the most traumatic and horrifying experience of their lives, and that's what matters most.

[hauntedradiotower]

I think it’s so beautiful that in some continuities, Earth is Unicron. Like this has the potential to be handled SO poetically and Transformers Prime actually did a pretty good job (compared with the movies (though if you ignore what the writers were actually going for you could argue those told a poignant and very different type of story in spite of themselves (Autobots and humanity are pure evil, the horrors of empire, etc. (but im four parentheses deep now so I’d better quit while I’m ahead). ). ). ).

Where was I? Ok, imagine you’re an Autobot, homesick and war-weary, but you’ve landed on a planet that isn’t half bad, and you’ve bonded with the natives of this planet more so than most planets in the cosmos. They look nothing like you, yet you click. They even drive around in vehicles that look like you (or that you can turn into, depending on continuity)! How did they know?

You always click with the earthlings, over and over and over throughout time and continuity. Like brothers from another mother.

But they are small, and weak, and have little capability to defend themselves against the greater weapons and forces out there in the cosmos. So you pledge your lives to defend this planet and its species. Earth becomes your home away from home; the Earthlings become your allies, your friends, your families.

And then you discover that the core of this home away from home is FUCKING UNICRON?! The devil from the Bible, greatest enemy of Primus, core of your homeworld???

The Earth’s inhabitants, your family, are by extension Unicron’s children. Oh yeah and suddenly all these human-built constructs which only serve to hurt the majority of their species suddenly start making a whole lot of sense. All their history? Starts making sense. And you realize you’ve let Unicron’s children into your spark and home. What does this mean for you and the future of your species? Do you still trust them? Are they by default pure evil, or is there hope for them? How do you separate them from their evil creator, the very core of their planet?

Naturally, this is the part of the narrative where fucking Unicron starts waking up and we don’t have time to have a crisis of eschatology right now, we’re rather busy trying to postpone eschatology another hundred years.

And the humans seem to be helping us put down the furious waking core of their own planet, hmm, maybe they’re not 100% evil. Maybe the line of good and evil is not so clear cut in this species. Thinking about Primus’ children as pure good does seem rather silly now that we think back on the centuries of war we’ve had.

Idk I just think there’s a lot that can be said here and I have only managed to scratch the surface of THE THEMES in this post. Every time media portrays the core of the earth as alive, it fills me with such a weird, thrilling feeling of meaning. The fact that transformers made it evil adds layers to the meaning. Idk what I’m trying to say yet. Just know that if I were in charge of directing a transformers movie, Unicron would be the slumbering earth’s core, and he would be hungry

[gatorbites-imagines]

Urggg I’ve been submitting this ask to multiple blogs for ages with different characters lol. How about the reader faking an orgasm with superboy or green lantern. Is it weird that I find how writers handle that prompt interesting? And when they take the route of the characters telling them to cut that shit out and doubling their efforts it makes me laugh.

Hal Jordan and Conner Kent/Kon-el

Headcanons

Since you didn’t specify which Green Lantern, I chose Hal since I love him very much. Individual headcanons for each won’t be as long as usual, since I wanted to write both.

couldnt find a good gif related to these too, so,,,

Hal Jordan

I think it depends on your guy’s relationship. If you two are a couple who’s been together for a while, Hal would notice one way or another. As a green lantern, Hal has gotten pretty damn good at reading body language, so he clocks you faking after a while.

I can see him huffing and sighing, not out of anger or anything, mainly just for show, before he hikes you into his lap or closer to him as he makes some comment about him not doing it good enough.

Hal would take it as a challenge, as long as you are into it of course. Don’t think you get out of talking about it, because you will. It becomes a bit annoying as pillow talk, but Hal wants feedback and wants to know how you’re doing.

He might even pull this in the middle of doing it, like making you look in his eyes to make you confirm that you’re good. When he gets the confirmation though, Hal doesn’t hold back. Since you felt the need to fake it, Hal feels the need to wring as many out of you as possible, just as payback, or so he says.

It’s no shocker that he’s great with his hands, and that the ring joins the fray at some point. Its just always so fun to catch you off guard with one of his projections, only to make you arch your back and moan about it five seconds after.

It ends up being a bit of an ego boost for Hal, but what else is new.

Conner Kent

I feel like Conner would clock it immediately. Having super senses gives him that advantage. Like hearing your heart does not stutter the same way as it normally does when you orgasm, or that he can’t immediately pick up the scent of your spend.

Depending on how far you guys are in your relationship, Conner would stop and ask. If it’s the very beginning of you two dating, he might not say anything, instead internalizing it and telling himself to try harder next time.

But if you guys are comfortable, Conner would just stop thrusting and look at you before asking if it doesn’t feel good and if you’re not up for it.

Conner would feel so bad if you felt like you had to sleep with him, which is why he asks and needs to know. And he’s always liked performing to the best of his abilities, so if he’s doing something you don’t like, he wants to know that too.

If its just one of those situations where you just… cant finish, then he wont feel bad about it either, though there’s a big chance he won’t want to keep going. Most of the fun is that you feel good, so you not enjoying it as much as he is takes the wind out his sails.

If its something he’s doing wrong, like not hitting the right place or grabbing you too tight, whatever, Conner will immediately take it as a challenge to make you see stars one way or another. His secret, not so secret weapon, is giving head, since he has no gag reflex, a very flexible tongue, and can hold his breath for probably hours if he wanted too.

[resart]

The Inconspicuous Writing Gem: Daeran’s Look-alike Contest Breakdown

The Dance of Masks brought the long-anticipated last hurrah to the Knight Commander’s story. Although it was announced that the DLC would focus on the companions, I wasn’t holding my breath for substantial content that would actually enrich the characters’ plots. The game is already massive and has a ton of variables, so expecting the writers to continue storylines that can have multiple outcomes would be unreasonable. But one scene far exceeded my expectations and set the bar high for the rest of the expansion, rendering me more critical about some of its elements than I would normally be. The event in question may not appear as much, but the true artistry in writing stories driven by the player’s choice fully reveals itself in what we don’t see on the surface. Daeran’s look-alike contest varies greatly, depending on how his personal quest was resolved, and, therefore, serves as a semi-epilogue to his arc. I wanted to post an analysis of his character’s progression for quite some time, and this send-off is a fitting opportunity to delve into this matter. I’ll break down the differences in the new scene as well as in a few others and share my overall thoughts on what this addition brings to the table. Brace yourself because it’s going to be long.

I'll start with a quick reminder of what Daeran’s questline outcomes are, because I'm going to reference them a lot:

Good, in which he’s openly grateful to the Knight Commander despite having to face the tribunal, and Liotr, noticing their bond, intervenes so the Inquisition doesn't lock him up;

Lobotomy, in which Daeran reluctantly accepts his predicament of having to face the trial, Liotr doesn't support him and after the crusade, the Count is sent to the asylum and lobotomized;

HappyEvil, in which the Commander kills Liotr to secure Daeran’s freedom;

ArchEvil, in which Daeran doesn't have any trust in the Commander, feels deserted and murders Liotr to avoid the trial.

At first glance, there's nothing profound about Daeran’s festival quest — it fits his image to indulge in the vain act of self-celebration by choosing the most accurate imitation of himself. However, this simple setup proves itself clever when we realize that, by observing the contestants, he sees himself in a distorting mirror. Coincidentally, each participant appears to represent a different facet of the Count’s character. Therefore, his reactions to them speak volumes of the self-image and mindset he developed during the crusade in each scenario.

Among the doubles, we have an aasimar who mimics Daeran's arrogance and cruelty, and constantly interrupts other participants' speeches with mocking remarks.

A woman who recreates Daeran's sophisticated bon vivant persona.

A drunkard who paints Daeran as a worthless and utterly unapologetic rake.

And finally, an innocent boy who keeps staring at Daeran with admiration and portrays him as a virtuous hero of the crusade.

After the presentation of the contestants is over, Daeran asks the Commander’s opinion. Again, his responses to their verdict vary in each case (unless they choose the cat), but the difference in how he reacts to being compared to the little boy is the most telling.

No matter what the protagonist suggests, the winner of the contest is fixed for each of the outcomes. If the Commander failed to earn Daeran's trust and he murdered Liotr himself, the conceited aasimar is declared the winner.

If the Commander killed Liotr, the Count awards the lady.

If the quest was resolved peacefully (either Good or Lobotomy), Daeran chooses the boy and has a heartwarming exchange with him.

This variety of possible scenarios and the way they are handled encapsulate why I consider Daeran's story so intricately woven and enjoyable to analyze. He's an incredibly flexible and dynamic character whose potential endings range from becoming a saint to a homicidal maniac. But what makes this duality and everything that comes in between so engaging is that all these vastly contradictory conclusions are equally organic and convincing, given his rich characterization and the player’s choices. The subtle yet significant divergences in the narrative paths maintain the integrity of his personality and prevent his evolution from seeming far-fetched while efficiently showcasing his growth or regression.

Regretfully, this attention to detail is missing from the other new scenes, which don't convey a similar sense of progression and can come off as somewhat disconnected from the rest of the playthrough. The rendezvous, for example, avoids references to how the player concluded Daeran's romance and quest. Given these plotlines' non-linearity, it's an understandable approach, but it prevents the scene from exploring deeper themes and hitting more emotional notes. What's particularly detrimental to the its overall intensity is the absence of exclusive dialogue for the True Love outcome. Ironically, it's the two worst endings that get unique and surprisingly heartfelt lines.

The difference is insignificant, however, because the conversation always plays out the same. All in all, the segment is nice and leaves a lot to the imagination, but only partially exploits its potential. Meanwhile, the festival mini-quest embraces the aforementioned strengths of the storyline's writing, giving every iteration of Daeran distinct dialogues that clearly demonstrate the impact the crusade and acquaintance with the Commander had on him.

I won't examine every dialogue branch in detail but will mainly focus on the Good scenario. As someone who likes this ending the best and even advocates the controversial writing in the final confrontation with Liotr, I always thought the narrative failed to properly sell its implied benefits. Apart from the closing conversation in the quest itself, late-game provides little reactivity to differentiate the outcomes, making it hard for the players to fully grasp the internal shift that Daeran undergoes. Comparison of said dialogue in various scenarios reveals his perspective in Good route as the least egocentric and overall most mature. Unfortunately, in an individual playthrough, these qualities can get overshadowed by the Count's dissatisfaction with the inconveniences he will eventually have to endure.

Aside from that, the effects of each resolution manifest only in Daeran's responses to one question in the romantic route and how he expressed his feelings regarding Galfrey’s death.

Even though they show evident contrast and serve as a much-needed emotional pay-off for the moral dilemma the player faced in the storyline finale, both are relatively minor, with the Queen one completely missable in most playthroughs. When combined with the similar omission of negative repercussions for Daeran’s moral condition and emotional maturity in other outcomes, it's not surprising many players believe he doesn’t ever change or that becoming better fundamentally clashes with his nature.

The discussed competition scene remedies the narrative’s deficiencies, ultimately proving this statement untrue. In the Good outcome, Daeran presents a reasonable dose of self-distance. When confronted with the drunk’s insults, he replies with humor and courtesy, which is a stark contrast to his reactions in the Evil outcomes and his past responses to criticism. Despite being hurt by the harsh judgment, he understands such a low opinion of himself is somewhat justified. The Count's mild response and his sensitivity to the suggestion that he's nothing more than an unfeeling scoundrel may even indicate that he has developed some remorse for his past actions. He also dismisses unwarranted flattery and distances himself from the brash egotism. All without falling into a spiral of gloom and self-deprecation that occurs in the Lobotomy scenario. Introspectiveness and vulnerability showcased here are a seamless continuation of the self-evaluation Daeran does in the High Trust version of his quest upon being supposedly betrayed by the Commander.

It's all the more unfortunate that the other interactions in the DLC don’t acknowledge these differences and instead return to the common denominator of all endings. As a result, the player will go from Daeran, who self-reflects and claims the aasimar presents an unfunny caricature of him, to Daeran in the tavern, who puffs himself up exactly like the guy (using even the same words) and seeks more sycophantic praise. While it's expected for him to put on an airy act and tease others, the absolute lack of self-awareness he previously exhibits in the Good route is quite jarring. Considering the complexity of the storyline as well as all sorts of limitations, such inconsistencies are inevitable (the base game already has a fair share of them) and in the end, one can easily reconcile them through their own interpretations. However, after being spoiled by a reactivity treat like the festival mini-quest, it's disappointing that the remaining dialogues lack similar nuance.

In the Good scenario, Daeran's behavior reinforces what we learn in the epilogue — that in this version, he has the most difficulty navigating through his newfound freedom and redefining himself in it. Choosing the winner of a silly contest shouldn't be hard for him, and it isn't in the Evil outcomes. There, the self-satisfied Count (who in both cases already has the blood of at least one innocent man on his hands) picks what he perceives as an idealized version of himself — be it the aestheticized depiction of his self-centredness or the unbridled and unyielding haughtiness. Noteworthily, in the Happy variant, Daeran openly flirts with the lady and, in both Evil paths, if not romanced, attempts to seduce his favored contestant. It’s peak narcissism, given the implications of the scene. In the peaceful outcomes, especially the Good one, the ordeal is a series of unpleasant self-reflections that even causes him to become overwhelmed by sorrow at one point. In the end, Daeran’s choice stems not from an ulterior motive or a desire to boost his ego but from genuine fondness for the boy. The youngster's belief in the Count’s kindness and heroism reminds him of his own innocence that was prematurely and brutally snatched from him. At his core, Daeran is not a self-sufficient master of his own fate but a helpless child thrown by unfortunate circumstances into otherworldly oppression and a vicious cycle of selfishness. In the Evil routes, he successfully deludes himself into believing he’s the former, but here, he realizes he’s the latter.

We're used to seeing Daeran scoffing at saccharine narratives and lofty ideals, and in the Evil versions, he's indeed annoyed with the boy’s portrayal of him. In one of them, he even anticipates him to be disenchanted, finding the prospect amusing. In the campaign's early stages, the Count voices his dissatisfaction with being enrolled in the crusade and laments the tarnishing of his ill reputation. Any suggestions that he may be secretly vulnerable are met with biting retorts. But now, Daeran doesn't disabuse the child and isn’t even bothered by being seen as a heroic figure. There also isn’t any objection when the Commander points out the similarity between him and the boy. He’s shocked they can see through him but decides to be honest and agrees with their assessment. Daeran’s sensitivity and his tendency to be more emotionally transparent with the protagonist is, at this point, a recurring theme in the peaceful outcomes, so it’s a shame that when they later choose to compliment his vulnerable soul, he's always equally dismissive.

Daeran is perfectly aware of how damaging cruel disillusionment can be to one’s psyche. As a child, he witnessed firsthand the powerlessness of good in the face of evil, the suffering adhering to moral principles can bring, and how those who claim to be righteous can turn out to be as callous and uncaring as hardened villains. These experiences left the young Count with a pessimistic view of the world and human nature, making him adopt coping mechanisms that only deepened his melancholy and loneliness. Knowing this, he wishes to spare the boy a similar fate and plays along to preserve his innocence.

In the non-peaceful outcomes, Daeran gives the signet away as if it was an insignificant bauble. But even though we barely ever see this side of him, some dialogues indicate he’s proud of his heritage and his ancestors' role in Mendev’s history. They were valiant defenders of the kingdom, who, for generations, protected its borders from any threat. This is who the Count, as a scion of the Arendae house, was originally destined to be and who, it so happens, the boy sees in him. Perhaps his take on him makes Daeran reflect on how differently things could have turned out had it not been for his family's demise and the Other’s interference. It undoubtedly revokes memories of his roots and deceased kin, since he not only rewards the child with the ring but also educates him on its meaning and sentimental value, expressing unexpected sincerity and kindness. In the Lobotomy scenario, this gesture is particularly bittersweet — with his impeding childless death, Daeran’s lineage is going to expire, making the memento the only way to keep its memory alive.

Finally, the Good version of the scene carries a deep symbolic significance. Daeran rewards one person who doesn't focus on his superficial traits or recreates the mask he hides behind. The image the boy paints of him may not be accurate, but while the other portrayals embody what the Count turned into under the Other's influence, this one shows what he could have been if he hadn’t lost the childish naivety he now longs for. And who he, despite his own skepticism, still can or perhaps even already started to become, thanks to the good protagonist's compassion and support. Just like the Commander, the boy views him as someone better than what his predicament forced him to be. And Daeran, confronted with sincere faith in him, cannot help but answer the call.

[zvezdacito]

Since we're only one day away from Diasomnia Part 13, I'm gonna re-articulate my story concerns with the new Silver card so my point is more clear:

I don't really think the imagery of the Knight of Dawn/Silver Owls is something that can be reclaimed/redeemed. Not even if it's to save Malleus, rather than kill him like Meleanor. The implications of morally saving him from himself through that image is a whole other can of worms (AKA the white savior vibes). And that's lowkey what I originally meant anyway by "heroically beat". Saving him from his OB is still beating him in the narrative...

I'm hoping that its either:

just named that due to Silver's dawn motifs in general and not because he'll actually have to wear something Silver Owls related😔 Original armour design would be cool

OR if he gets put in the armour because it represents the non-diasomnia characters' (and even audience) expectations of him as the good (Silver Owl motifs* popularly recognized as that due to the historical revisionism) defeating what is unquestionably evil in their eyes (Malleus and lowkey the Briar Valley). Only for him to subvert it by denouncing the role, maybe wrecking the armour after wearing it a bit, then stopping Malleus without it. Because he wants them to know that both he and Malleus as persons will be more than the boxes of good human vs evil dragon

Also I think when they make Silver denounce it because he wants them to be seen as more than the past, they have to be careful to not make it come off as "yeah the fae should just never acknowledge the long term con consequences on their land/lives because it's all in the past". Because that wouldn't be why Silver want himself and Malleus to be more than that. It's more to be more than stereotypes and prevent future conflict (he in the human side also has to make effort to compromise their comfort not just the colonized fae)

* Since in real life norms, knightly motifs are associated with good while dragons/darkness are associated with evil, subverting which side uses which in a colonization storyline (then having the colonized dragon motif people be seen as the evil ones due to propaganda) can be metacommentary on how the idea of Good vs Evil in fairytales and popular imagination is dependent on the Status Quo. With even the fandom perceiving the knightly motifs as savior in the narrative despite them being symbols of colonization in-universe due to their established association with heroism IRL

TWST is about how there's more to the stories of fairytale-like characters than binary Good and Evil, so I think Silver only having the card for fanservice but actually denouncing the armour in the story itself makes the most sense to TWST's themes.... IDK what level of faith I should have in the writers, but they are potentially cooking if they commit to this

Also I know people people are gonna bring up how this is about Silver forgiving his birth parents because he realizes they did love him and just tried to do what's best for him. I do think it makes sense for him to have a better opinion of them as individuals, but once again I don't think the place for that should be in the final battle against the face of the people they genocided💀 That still boils down to redeeming and reclaiming the Dawn Knight's role as the "hero" with moral high ground over the dragon. I don't think it's the Dawn Knight's place to have his vision succeed here. As I said it was a long time coming because it's the most obvious way to parallel to original Sleeping Beauty, but doesn't mean I won't side-eye a certain handling of it because they chose to contextualize the twst version with a colonization storyline of all things

And do NOT reply with explanations like "Oh but the Dawn Knight was getting manipulated yadda yadda💔" because ironically every point used to defend him are the exact reasons I think he's hateable /lh

I think he's a more interesting character when seen as intentional depiction individuals on an oppressing/priveleged class being sympathetic, but not being willing to do enough against their own benefits in the system/challenge the system as a whole, thinking isolated acts of charity are enough to offset the extent of the violence they participate in. And even that sympathy can feel patronizing to the colonized's capacity to progress without their involvement/centers the feelings of the colonizer side.

Dawn Knight being good-intentioned as a parent and him being irredeemable and spineless as a colonizer are not mutually exclusive. It would be interesting to have Silver try to reconcile that without the story suddenly making him think the former point compensates for the latter (that wouldn't really be his place either)

Also tbh I think people overestimate Henrik's manipulation. Like yeah he was saying "ur not good for anything than fighting/you owe us" but it was only harsh words rather than actual blackmail yet the Dawn Knight kinda just folded instantly so that's on him😭 And again this doesn't really change how he distastefully makes so much of the horrors of war about himself and his own feelings. All his sad monologue scenes have the same vibe as US veterans making their massacres about just wanting to pay for bills or how it gave them PTSD lmao💀

That's all... we will find out tomorrow... if they are cooking gourmet or poison

[hexb0nes]

welcome to "how to accurately write about disability" ft. viktor from arcane (by a dude with the same conditions/aids as viktor) !

pt 1. viktor’s mobility aids & assistive technologies

in the pre-timeskip of season 1, viktor solely uses a cane without any visible bracing; the way he holds his cane is indicative of whether he’s using it as support (handle facing forward) or to help walk (handle facing backwards)

in season 1 after the timeskip, his condition progresses and he upgrades to an unique, arcane-specific mobility aid; it’s a mesh of two types of crutches (forearm crutch & under-arm crutch)

therefore it’s more accurate to refer to viktor’s mobility aid after the timeskip in season 1 as a crutch

given the angles & mirroring, the leg impacted is the left leg (just like me fr) and actually features two different braces but due to the animation of it, sometimes it looks like their combined

viktor has a knee brace & an ankle-foot orthosis, which provides assistance to his knee/ankle/foot

the ankle-foot brace is likely made of metal to stabilize them for walking while the knee brace has some flexibility to it to allow the joint to bend while walking

now onto something very unique about viktor’s condition, his back; what he has on his back (in my opinion) is a blend of a spinal fusion (a surgery in which rods & other metal is inserted into the spine to stabilize the vertebrae) and a traditional back brace

i say it’s a blend of a visible spinal fusion & traditional back brace because of circular scars we can on viktor’s upper back, the aid’s design featuring an almost steampunk visual of the spine and its vertebrae; in addition, the other components of the aid match with ordinary back braces (supportive shoulder strap, full coverage of the spine, etc.)

when someone has a spinal fusion, their physical abilities become limited; they cannot lift over a certain weight, bend, twist, or do any movements that can compromise the spinal fusion

as for the back brace and its structure, i’m sure that it’s very uncomfortable to wear (picture being trapped in a metal corset) but viktor likely has to wear it 24/7 (unless for bathing, i presume? because it’s metal, but idk it’s a fantasy setting so anything comes)

pt 2. what to do before you write

for accuracy, determine what version of viktor you’re writing about; is it act 1 season 1 viktor with a cane? it is act 2-3 season 1 viktor with braces & a crutch? etc. this is important because viktor uses different assistive technology/devices depending on the act or season of the show. once you have that determined, you’re ready to write.

beyond viktor's mobility aids and braces, it's key to incorporate his chronic pain. as someone with his condition (spine disorder), chronic pain is a given. it's something that many writers fail to include when writing viktor or other physically disabled characters like him.

pt. 3 suggestions of what to write

cane & crutch

sounds (i.e. rubber tip thumping against the floor while viktor walks, sudden bang or crash sound effect if viktor drops his aid, etc.)

textures (i.e. feeling the refined wood of the cane, the smooth metal of the crutch, the plush foam of the handles)

visuals (i.e. describe the aid's design, the colors, the engravings, etc.)

complications (i.e. viktor not being able to reach the cane or crutch sometimes when it falls to the floor, the pain in his hand and underarm from constant use)

knee brace & ankle-foot orthosis

sounds (i.e. metal rods grinding against other metal components when viktor walks, the sound of metal hitting the ground with the AFO, creaking/whining of metal)

texture (i.e. how cold the metal is, how stiff the rods that hold the braces together are)

visuals (i.e. describe the details and design of the braces, include things like the color of the metal and the engravings)

complications (i.e. broken rods in the braces, metal cutting viktor when they takes them off)

spinal fusion brace

sounds (i.e. grinding metal against skin, the clicking of the brace's rods, etc.)

textures (i.e. the cold metal, the rigid notches of the vertebrae, etc.)

visuals (i.e. mention the circular scars above the brace, describe the brace's design with mentions of its color and structure, etc.)

misc. additions

try including viktor's thoughts and feelings towards his disabilities and aids; it's not all oh fuck i'm in hell 24/7 when it comes to be disabled. there's an unique humor in disability

viktor can poke people with his cane/crutch, trip people, use it as a pointer, etc.

viktor can make silly or dark jokes/jabs about his disabilities (i.e. jayce, i may be a cripple, but i'm no idiot. or this meeting is more agonizing than the time i fell down the stairwell by the lab- you fell down the stairs?!- i lived.)

include viktor's chronic pain, some areas likely impacted by his disabilities are: legs, back, hands, and underarms

an easy way to show this is through the mention of chronic pain relief tools (i.e. tiger's balm, pain medication (muscle relaxants, opioids), kinesiology tape)

remember that viktor is more than a disabled character; he's an inventor, a scientist, a good-hearted person. he's expressive and has lots of empathy for those like him and the people of zaun. his disabilities influence the path he's on and his experiences, but they are not the sole defining component of viktor's identity.

pt. 4 conclusion & final notes

thank you for taking the time to read this through! if you're able to, please share this with your fellow writers. i hope this post can help folks better represent disabled characters in their writing. if you have any specific questions, message me on tumblr! thanks <3

[7ndipity]

Bts As Subs

Sub!Ot7 x Dom!Reader

Summary: Headcanons about how the members would be as Subs

Warnings: +18 mdni, smut. Swearing. Mentions of dom/sub dynamics, bdsm, oral(f. and m. receiving), handjobs, edging, overstimulation, degradation, thigh riding, pegging, petplay, dacryphilia, marking, slapping, scratching, aftercare. Not proofread.

A/N: Thanks to the lovely anon who requested this! Working on this actually helped a lot with my writers block and gave me waay too many ideas for fics👀 But I hope you like ‘em!

Masterlist

°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•°•

Jin:

Is either the sweetest, best behaved baby boy or an absolute brat, depending on his mood.

Loves to run his mouth just to get a rise out of you, whining and complaining about your teasing, but turns into absolutely mush once you get him under you.

Likes when you tie him to the headboard and jerk him off while sitting on his lap, close enough to still kiss him but not letting him touch yet, letting him cry into your neck when he finally cums all over your hand.

He’s so loud and whiny, it almost sounds like he’s singing until his voice cracks.

Someone mentioned this on his nsfw list, and I had to mention it here, he has a slight oral fixation and needs access to your chest while you ride him, sucking and biting hard enough to leave marks(which he says he’s sorry for, but you know he isn’t really)

Lowkey masochistic and enjoys punishments, loving when you mark and scratch him up, or edge him till he cries.

But what he really loves when you just ride him soft and slow, moving just fast enough to make him needy, but not letting him cum, edging you both till he’s desperate and pleading to cum.

Yoongi:

Turns into the sweetest, vulnerable little kitten. You can always tell when he’s feeling subby from the way he buries his face in your chest or your neck, in both sexual and nonsexual situations. He's just so soft and just wants to be taken care of(pls protect him🥺)

So fucking whiny, but he tries to muffle them, biting his lip and scrunching his face up so hard, he almost looks in pain(until you bite/suck the sweet spot on his neck and he just starts wailing).

Prefers things to be half kinky, half vanilla(the vanilla stuff is always what makes him cum tho)

Like, he enjoys when you’re mean and tease him, but he really can’t handle much degradation, so it needs to be combined with a lot of sweet words and kisses.

Cries so prettily when you peg/breed him.

Is slightly embarrassed at how quickly he cums from thigh riding, hiding his face in your neck as his hips stutter against you.

Needs a fair bit of aftercare to ground him and help him come back down, mainly just sitting and holding each other.

Hobi:

Ooh the range of this boy😍, he's always so bright and eager, and tries so hard to be a good boy it’s almost painful, how could you not reward him?🥺

Loves it when you’re rough with him, wanting you to slap, scratch, mark, and degrade him, etc. He’ll take it all with a smile.

Tie him up and and tease him by making him watch while you touch yourself, his poor cock twitching and leaking with every noise you make(he may have broken a chair from pulling so hard on his restraints)

Absolutely melts tho when you’re soft with him, holding his hands while you ride him, caressing his arms and chest while leaving kisses all over his face.

Loves it when you edge and overstimulate him.

Needs lots of cuddles and praise afterwards, usually falls asleep on your chest.

He's just so cute and needy, literally everything you do turns him on. You’re cuddling? He’s hard. Dancing around the kitchen? Hard. Folding laundry? Hard.

Loves when you do extra little things to take care him or buy him lil gifts, it makes him feel special and appreciated!

Namjoon:

Honestly, it takes so much work for him to let go and fall into a sub headspace, but once he does, he turns into such a clingy baby.

Like normally he looks kinda intimidating, but deep down he’s just a giant teddy bear.

You’re gonna need the cuffs for this one, for multiple reasons.

He gets so impatient sometimes and almost involuntarily tries to take over, bucking up into you or gripping your hands/hips to guide your movements.

He literally has to have his hands on you at all times, whether that grasping at your waist hips, groping your chest, or just holding your hands(not letting him touch you in one the biggest punishments for him)

Will actually beg to taste you or for you to ride his face, like he needs to be between your thighs, however brief it may be, or he’ll sulk.

As vocal as he is when he doms, he goes almost non-verbal when he’s really in sub-space, only letting out little whimpers and whines of your name.

Actually prefers looking after you during aftercare to help him come down, needs a fair bit of reassurance afterwards. “Did I do good?”(of course you did, you djehfksjdkwjf)

Jimin:

The best behaved boy. Choke him, cuff him, blindfold him, he’ll take whatever you give him and say thank you🥺

Not exactly a brat, but he can’t resist making sassy little comments to rile you up sometimes when he wants to be punished.

On the flip side, he’s very much a people pleaser and has a massive praise kink, so he needs to hear that he’s doing good and making you happy.(could probably cum untouched from just you petting and praising him)

Lets out the prettiest whines and moans when you ride or peg him

Loves dressing up for you, whether in pretty little lingerie pieces, or a shirt/outfit in your favorite color for date night.

Lowkey sugarbaby vibes. He gets so blushy and smiley when you buy him lil gifts like jewelry or accessories and always makes sure to wear them for you cause he’s your pretty little baby.

Has a slight oral fixation and tends to fall asleep while sucking on your chest, fingers, or even your neck.

Taehyung:

Puppy. Just an absolute puppy, like actually call him that pls, he will dissolve.

He is slightly into petplay, but nothing too extreme, mainly just a pretty collar for you to pull him around by or to hold onto while he rides your strap-on.

Definitely has his bratty moments every now and then, but he really can’t handle a lot of punishment, so he’s always super apologetic.

Lowkey voyeuristic, loves the idea of someone seeing or overhearing the two of you together and just how much of a mess you make him.

Dresses up for you, whether that’s lingerie or just a sweater you really like on him(tho he will come to you wearing nothing but that, like a reverse of the ‘wearing their shirt’ thing)

He's surprisingly good at keeping edged and overstimulated, so he can handle and actually really likes long, drawn out handjobs.

Really likes non-sexual shows of dominance from you. Like when you treat him to meals/drinks, or hold onto him to guide him around, it makes him feel cared for.😊

Jungkook:

Right on the line between good boy and brat. He likes to run his mouth and challenge you, but once you start doling out punishments, he turns into the softest baby. “I’m sorry Jagi, I’ll be good, I promise. Please still let me cum!”🥺

Super unsubtle and touchy when he’s in a subby mood(tho, he’s not exactly subtle the rest of the time either, so), kneading your hips as he grinds against you, pleading softly for you to please come help take care of his ‘problem’.

So fucking squirmy, he can’t keep still even if he tried, hips bucking and twitching involuntarily with every little touch.

He’s just soo sensitive and cums super fast whenever he subs.

He’s very middle ground on kinks and everything. He likes a lot of the harder stuff like bondage and degradation, but he needs some softer treatment mixed in and a lot of aftercare to balance out or else he’ll feel bad.

He actually really loves it tho when you make him cry from teasing and overstimulation.

Lowkey loves when you look after him in non sexual ways, making sure he’s alright and letting your protective side show through.

Taglist: @sopebubbles-replies @btsw1fe @this-must-be-my-tardis @whitefoxgirl @bethanysnow @coffeedepressionsoup @main-bangtansmauyeondan @feminympho @a-gayish-unicorn @captainorangegoose @k4ngelz

[heretherebeturtles-comic]

How long does the process take you to get one (or more) comic page done? I love the idea of making comics but i suck at structure, you know with the script and posting/layout. I was wondering if you had any tips or what you wish you knew before you started.?

Sorry if this had been asked before

OOOooooo a fun question for me!! I love talking about comic creation :D

I do my best to keep the full process under 2 days (or 12-14 hours of work) per fully coloured page. I'm trying to get faster, but speed comes with time and experience.

Hmmm as for tips and things I wish I knew... so many things... I should let it be known that I am an artist and not really a writer, but your questions are focused on script/planning/structure, so I'm going to focus the advice on that.

Start with something small - Learn about making comics and find a comfortable style through making a couple smaller comics and then try your passion project. Writing and planning smaller comics with fewer pages takes a different kind of puzzle solving and thought process. Smaller page limits can force you to try new things which you can then apply to larger projects to save time; limitations breed creativity after all. Every attempt made (even an unfinished project) is knowledge gained that you can apply again for future projects.

Study comics! - It's hard to create if you aren't feeding the mind and giving it things to learn and create from. Read comics made by professionals and study how they handle pacing. How many pages are they dedicating to each moment? What do you think of their pacing and what would you change? Take a sketchbook and make small rectangles and draw out the panel layout from that comic. What are they doing that works and what don't you like about it? How would you do that differently? ... I think this is me assigning homework... i am so sorry.

Set a hard page limit - Try to get your story told within that limit, and then add more pages if necessary. More pages = more time you have to spend working on it. Most standard single issue American comics are roughly 24 pages. I try to work inside that limit using a rough 5 page per scene structure.

Condense or Cut - I struggle so hard with this one, but comics aren't written in the same way as a novel is. They have a slightly different plot structure and a much more limited amount of pages to tell the story in. Obviously it depends on the story being told, and what kind of scenes are important to that genre of story, but in general, unnecessary scenes should be cut out. examples...

CUT! Having the characters go out to get ice cream is cute, but you don't need to show them each ordering their ice cream unless the flavour they choose is an important plot point. Skip to the last one receiving their ice cream and turning to the others who already have theirs and are having that deep discussion. OR skip that scene entirely and have a quiet panel of them sitting in the park at sunset, already holding their ice cream, before delving into the deep emotional conversation they will be having.

CONDENSE! You can combine two scenes if you need to. If you have one scene where two characters are having a casual conversation and another where they are sneaking into a building? Stick them together. They can sneak AND talk and now you've only used up 5 pages instead of 10.

Comics take a LONG TIME to make!! - you have to make peace with that _(:Ⅰ」∠)_ Comics, especially full colour ones, are an extremely labour intensive and time consuming way of telling a story. If one page takes 1 day (8 hrs of work) and you have 24 pages, that is 24 days of working on one comic.

Thumbnails! - Draw the pages small and rough first! It's easier to plan things and mess around with the layouts when you don't have an emotional attachment to how the art inside looks. Once you have a layout you like, you can then draw it again in full page size and work on it from there.

Page and panel layouts are my favourite part of the whole process, I could talk forever about it, but I do not have the energy for it right now. I'll save panel/page layout for another time.

It doesn't have to be perfect!!! - IT DOESN'T HAVE TO BE PERFECT!!!! (shouted with excitement btw). Panels can be boring! A page can be extremely simple! The art can be messy! The dialog can be simple! The plot can go nowhere! In fact it is really really fun to make a messy imperfect comic on purpose. Destroy the perfectionist in you, because they will always and forever hold you back from actually creating things. "what if it's bad?" what if it's fun? what if you learn cool things?

Anyway, those are my tips/advice, idk if I actually answered what you were asking... sorry about all the time commitment ones, that is something I really wish I had figured out a few years ago lol.

Comics are fun to make and a lot of learning how to make them is just jumping in, encountering a problem, and then learning how to solve it.

[insipid-drivel]

Warhorses: Which horses are actually good candidates, anyway?

This post is in honor of @warrioreowynofrohan, who asked the question in the comments under my guide, "Horses: Since There Seems To Be A Knowledge Gap". Their question, "Given what you said about too much weight breaking a horse’s spine, how did that work with knights in plate armour?" is one I'm going to try to answer here, since the answer can be very nuanced depending on where and when you're talking about.

Also, while I was a stable hand for years as well as a rider, I never had the opportunity to directly learn more ancient styles of tacking, horse training, and combat, so I don't have any direct experience to draw from with regard to horses used for military purposes. I'm still gonna do my best here with what I know, and research what I don't.

As I've covered in the past, large horses (draft horses) make less-than-ideal warhorses, and so do carriage horses like the elegant and dramatic Friesians.

Let's begin by addressing this from the perspective of creative writing. For you writers and content creators out there, an essential part to the continuity of any historically-themed work you do involving horses will be depicting breeds of horses that didn't exist before a certain time in history. I'm going to approach this question from the stance of, "Medieval-type era warhorses". Horses were used in warfare as late was World War II, but actual horses you ride into battle with knights and archers and bannermen? We actually have to drop the subject of specific modern breeds altogether aside from using them for comparisons.

When discussing warhorses, various cultures have approached them differently. Some cultures will value a specific type of horse above all others, such as the Mongolian Steppe Horse or the American Mustang. Other cultures, which may be from biomes and territories where multiple types of horses are needed for different forms of warfare and tactics, value whichever horses can get their jobs done without their riders getting killed.

Carrying vs. Pulling:

Horses have been used in warfare since as far back as 4000 BC, but their first applications were more as chariot horses. Humans have been riding and working with horses since before we even had stirrups to more easily ride them with! As archaeologists and anthropologists make more discoveries, the more we learn that we humans have been working closely with horses since before we had specialized tools to ride them with. The very first warhorses pulled chariots or carts, which is much easier for a horse's anatomy to handle compared to carrying a heavy weight like an armored rider on their backs, which puts stress directly on their spines where they have very little supporting muscle for supporting a lot of heavy downward weight.

Warhorse Size Categories:

Really, any breed of horse can apply to a niche in warfare if it's needed enough. Even very small, delicate horses have had their place in the history of human combat! Before I continue, it's important to know that there's a unique unit of measuring a horse's height. Rather than measuring a horse's height in centimeters or inches, they're measured in units called "hands". A single "hand" = ~4 inches/10.16cm, and a horse's height is measured based upon the distance between the bottom of their hoof to the tallest part of their shoulders, just at the base of the back of their necks. We don't actually include neck length/head height in a horse's measurements with traditional measuring.

Another rule of thumb: The average horse cannot safely carry anything heavier than about 30% of their total body weight. This is a serious factor to take into mind when deciding on a type of or breed of horse for a mounted warrior of any kind: You need to factor in the OC's starting body weight, and then add on the weight of armor, weapons, and any armor the horse itself may wear along with the weight of its tack.

Light-Weight Horses:

A few examples of lightweight horse breeds whose ancestors have historically been used in combat are Arabians, Barber Horses, and the magnificent Akhal-Teke. Lightweight and delicately-boned horses like those are best applied for military maneuvers that require precision, speed, and endurance, and the rider themselves should specialize in some form of combat or reconnaissance that doesn't require them to wear heavy metal or laminated armors. Archers are good candidates for riding smaller horses, or lightly-armored swordsmen like an Ottoman Janissary.

Central-Asian and North African horses also benefit from having a higher tolerance for hot climates. They can absolutely suffer from heatstroke and cardiac arrest from being forced to run and work in extreme temperatures and should always be provided with the same protective measures in a heatwave as any other horse, but they have a little bit of an edge over horses descended from freezing and temperate climates.

Medium-Weight Horses:

Medium-weight horses started showing up in the archaeological record around about the Iron Age, where chariot warfare was becoming an increasingly utilized form of mobile combat, and people needed bigger, stronger horses capable of pulling heavier loads - such as a chariot with two passengers rather than just one. As cultures began to develop heavier-duty armors made of metals and laminated materials, it also became important to breed horses that were tall and stocky (muscular and with relatively short spines compared to their height), and therefore more capable of carrying riders in increasingly heavy armor. Medium-weight horses were also essential at the dawn of the gunpowder age when the cannon came into use in siege warfare for pulling the heavy, iron cannons into position.

Medium-weight horses are really where we see the beginnings of knights and other warrior classes on horseback come into the forefront of warfare. When you have a horse that's big and strong enough to carry heavier armor and heavier weapons along with a rider wielding them, you have a much deadlier force at your disposal. Strikes from a sword or spear from the back of a galloping horse basically results in a sword capable of cutting through enemy soldiers like a hot knife through butter.

Important Note: Traditionally, cavalrymen wield blunt swords when attacking from a charging horse's back. When a horse is charging at full speed, the sharpness of a blade becomes less important than the blade's ability to stay in one piece when it impacts hard armor and bone. A blunted edge basically turns a cavalryman's sword into a thin club that's better at holding up against smashing through multiple layers of armor and bone compared to a thinner, more delicate sharpened edge that can shatter from a high-speed impact.

Heavy-Weight Horses:

The direct ancestors of modern draft horses, such as the Shire Horse, only began to appear around about the beginning of the European Medieval Era, and were far and away not even close to the enormous sizes of the draft horses we have today. Any horse counts as a "Heavy-weight" classed horse if its weight exceeds 1500lbs/680kgs.

Heavy-weight horses were really more bred for pulling enormous weights rather than carrying knights. While yeah, there is some evidence that suggests that heavy-weight horses were used by heavily-armored knights, historians argue a lot about whether it was a rule or an exception (such as with Henry VIII, who continued to ride well after he had begun to weigh more than 350lbs/158kgs, and even went to war in France in his final years on horseback). Generally speaking, medium-weight horses tend to be the right balance of agile and strong for carrying someone that's going to actively be fighting. Heavy-weight horses were bred to be a lot more tolerant to the chaos and frightening stimulation of the sounds of battle, but medium-weighted horses generally tended to be more suited to moving efficiently through dense packs of soldiers and weaving around other horses.

Ponies:

While actually being the smallest class of warhorse, ponies were essential when it came to carrying cargo and working as pack-horses. In certain forms of terrain, such as mountains, large horses pulling big carts full of supplies or soldiers could often be extremely impractical. In situations where an army needed to move on foot and form a narrow line in order to travel, ponies were able to traverse much narrower and rougher terrain while carrying smaller loads to their destination, when heavier horses would struggle more under their own weight and dexterity.

Europe-Specific Terminologies:

If you're a writer reading this and writing a piece set in the European Medieval age, there are specific terms used for the different classes I listed of warhorses above that I'm gonna list:

Destriers: The Destrier was a universal term for the iconic knight-carrying, jousting horse. They were also sometimes referred to as "Great Horses" due to their reputations in combat settings. Destriers could have just about any appearance, but were rarely taller than 15.2 hands, or 62inches/157cm. They were capable of carrying heavily-armored knights (although knights in full plate mail rarely rode into battle and stayed on the horse the entire time - they tended to specialize at grouping up and killing a lot of footsoldiers swarming them at once and preventing breaks in defenses from being overwhelmed by an oncoming army; in the case of Edward the Black Prince, we have substantial evidence in the form of his surviving brigandine that a mounted soldier or knight was more likely to wear chainmail and brigandine with a tabard on their body with their arms, feet, and heads the most heavily armored in plate when they intended to fight on horseback, making them a little lighter and more maneuverable, but I may be waaay off base there because I'm thinking of more of Italian soldiers who used full plate and how they applied it in battle more than any other example) and wearing armor themselves.

Interestingly, the sex of a destrier was often chosen strategically. Stallions (horses that haven't been neutered) are more aggressive, and could both act as combatants on their own if their knight was dismounted or killed, but could give away an army's location if they were attempting to move stealthily. Stallions whinny and shriek a lot when they're horny or arguing with each other, which is most of the time.

Mares were often chosen by Muslim armies for being much less vocal, and therefore much more capable of stealth. Geldings (neutered males) were the preferred mounts of the Teutonic Knights, a Catholic military group, since they couldn't be stolen and used to breed more horses for the enemy army.

Coursers:

Coursers were the most common Medieval European warhorse. It's important to remember that in Medieval Europe, most armies were almost entirely comprised of common men - serfs subject to the will of their landlords, not far removed from slaves in many ways - who couldn't afford the highly-prized and expensive Destriers. Coursers were usually a bit lighter than Destriers, but were still strong enough to carry someone wearing armor. Coursers were also a little more utilitarian, because they were also sometimes used in hunting as well as warfare, so they had a valuable use outside of warfare that the owner could benefit from.

Rouncey:

A rouncey was an all-purpose horse that could be used for leisure and travel-riding as well as be trained for war. They were a lot more likely to be found on the farm of a serf or independent farmer of some kind, as they could fill a lot of different roles depending on what they were needed for. Their sizes weren't really important as much as their ability to get the job done.

It's also critical to remember that, when talking about warhorses, we're usually talking about eras long past. In general, thanks to resource availability and incredible advances in medicine, modern humans are significantly taller, and therefore heavier, than people from the European Medieval era and prior. While fatness was valued in many cultures for its suggestion of wealth, most working-class and serf-class people worked intensely physically-demanding daily lives just to maintain their own homes. They were a few inches shorter on average than we are today, had greater fluctuations in body fat distribution depending on how harsh or bountiful the harvest season had been and the season in which a war was taking place (the average person's weight would swing by 30lbs or more on average every year prior to the industrial era), and cavalry were usually chosen based upon skill in the saddle as well as physical size when considering the application of medium or heavy armor being placed on the horse's back and body.

[yoredoesmore]

Love Language - Physical Touch | Hoshina Soshiro

a/n: i'm having a writer's block so I'm starting a series where i write short drabbles about different love languages featuring our beloved vice captain! (i will forget about this in a week)

summary: even after an argument, both you and Soshiro find yourself longing for the other's touch.

genre: fluff/romance/slight angst

[wc: 729]

enjoy!

You had quite the harsh argument during one of your dates. The both of you were sitting in a fancy restaurant, discussing how you were going to spend Christmas this year. Soshiro wanted to have a special evening with just the two of you, a traditional Christmas celebration, meanwhile you insisted on inviting a group of friends over.

It was a trivial dispute, a fight that could have easily been avoided but both of you had fallen victim to the couple glasses of wine you gulped down so eagerly only hours ago.

So there you were, dragging your feet through the thick snow, neither of you saying a thing.

The cold weather and the strong wind tugged on your skin, making it quite difficult to walk. Especially with the shoes you were wearing, walking straight became a challenge.

Your body was aching for warmth, but not any type, the one that belonged to your boyfriend. His body stood close to yours, moving at a slightly faster pace than yours. You wanted to feel him, have the tip of his fingers dance around your skin and comfort you, but your own stubbornness was holding you back.

And you hated yourself for being this way.

You hated yourself for not standing your ground when in an argument, for always wanting to depend on your boyfriend and throwing your own morals away during a fight, even when you knew that you were right.

But this burning ache that longed for his touch always turned so unbearable at a certain point, so aggressive and strong that it could not be ignored.

You were about to call out for Soshiro, when all of a sudden you felt a soothing warmth engulf your hands. It felt comforting and familiar, like a tender kiss on your skin.

Soshiro had reached for your hand to hold it.

His hands felt slim to the touch and delicate, which was rather unexpected considering the work he pursued. But the tender skin and the familiar warmth made them so unique. Even if you were met with a hundred different hands, his would stand out like a tulip in a field of sunflowers.

Yours were the complete opposite. Upon touching your hands, one could immediately tell that you were handling weapons on a daily basis. Yet for some reason, Soshiro could not get enough of them.

He had wrapped his hands around yours so tight and pulled you slightly closer to him.

Soshiro wanted to say something, the words sat at the tips of his tongue. You wanted to say something, a soft tone sat humming in your throat. Yet neither of you spoke up and simply allowed your hands to communicate.

After a few moments of silence, Soshiro turned his gaze slightly to the side, catching a short glimpse of you.

“Yer always so jolly at work, talking to every soul that passes yer by and blessing their day with ya smile. Just for that one night..just for that one day, I wanna have ya all to myself. I don't want to share ya with anyone, I don't want anybody else but me to gaze upon ya. Especially now during the holidays, the cadets seem to be so merry and cheerful around ya and..its kinda annoying..”

His body suddenly came to a halt as he positioned himself in front of you. Before you could react in any way, Soshiro pulled your hand up to his face and placed a tender kiss on it.

“I'm sorry for being so selfish, Y/n..I can't help it.”

Your eyes widened upon hearing his words, your heart beating in uncontrollable motions.

Soshiro was not one who admitted feelings of jealousy easily and especially not in such delicate way. His eyes locked with yours, searching for reassurance behind their glimmer.

“Why didn't you just say so, Silly? If that is what you wish for then I shall grant your wish.” Your arms wrapped themselves around the man, embracing him in a much needed hug. His hands immediately found comfort on your back as you hugged him, holding onto you tight.

You stayed like that for a while, your bodies melting into one another as you blocked out the cold December air. And the very second you pulled away from one another, your hand was back in his, locked together as they belonged.

[itsgonnabmay]

Full disclosure, I am disabled (POTS, autism, ADHD) but I don't use a mobility aid, so I'm not an authority on this issue and my opinion should be taken with a grain of salt.

My interpretation of Nessarose was always that the tragedy of her character was the in-universe ableist portrayal of her. To be clear, I completely understand why people take issue with the way it's handled- if this was the writers' intention, (and that's a load bearing if), enough people don't see it that way that it's not portrayed clearly enough- but lines like "see that tragically beautiful girl" to me always seemed so blatantly ableist that had to be intentional.

Nessa, factually, isn't powerless. She literally becomes the governor of Munchkin land. It's not like Nessa doesn't have the resources to make her home more wheelchair accessible (or like Oz doesn't have the technology.) Having house staff to help her with certain tasks wouldn't be abnormal for someone in her social class even if she wasn't disabled, (nor would it make her completely helpless and dependent if she did need extra support with certain things). The problem is that Nessa has been made to feel like she's "pitiful" and "tragic" and like any support she might require is demeaning and further proof of her supposed helplessness. Even during Wicked Witch of the East she doesn't start with the wheelchair, the first thing she brings up is "all of my life I've depended on you".

Their whole lives, Elphaba has been treated like she's responsible for everything and Nessa has been treated like she can't be responsible for anything. Elphaba is assigned too much agency and Nessa isn't assigned any. Elphaba is cast as a villain and Nessa is cast as a victim. Nessa being a wheelchair user is treated as a curse when it should be treated as just a neutral facet of Nessa's identity, much like Elphaba's greenness. Their father fails both of them in equal and opposite ways.

The moment I think the writers screwed up is when Elphaba doesn't refute Nessa at all during the wicked witch of the east scene. In my opinion, just changing that dialogue to have Elphaba challenge Nessa's assertion that she needed Elphaba to "save her" and maybe having this lead to Nessa essentially saying "fine, if you won't help me", taking the grimorie earlier, and doing the spell on the shoes herself would fix a lot of the problematic implications of Nessa's plotline. I'm not saying it would be perfect, but this would make it seem more like "Nessa is a victim of her disability who needs saving" is her father's narrative and not The Narrative without requiring huge rewrites to the show.

Tldr I think the key to fixing the issues with the way Nessa is written is highlighting further that she's not a prisoner of her wheelchair, she's a prisoner of her internalized ableism, which is a product of the dysfunctional family dynamic created by her father's abuse and the general ableism surrounding her