#but please consider the alternative:

[lizarr7]

Salem gets another form/redesign by me? Who could have foreseen this??? Only her 3rd one so far. Surely there won't b anymore. SUrely.

However, while the other ones are like, headcanons for the show, this is from what I've been calling my RWBY Leviathan AU. Don't think I've ever mentioned it before.

[fonulyn]

since I've seen it talked about in several places recently:

if you are going to do a whump- or kink- or ANY-tober or other similar challenges please please please don't post them as one fic with 31 chapters unless it actually is one coherent fic. if they're 31 completely separate fics or ficlets then please just make a collection for them or just post them as separate fics. it doesn't matter if they're only 100 words or if you think they're too small or insignificant to post alone, they're not.

and why this?

because if you post all 31 of them in one fic the tagging is absolutely useless. if I look for things to read on ao3 I'm gonna look at the tags, and if the tags include something that's a dealbreaker for me, i won't even click on the fic. I might not even SEE the fic because I've filtered out the nope-tag! so I'm gonna lose out on reading 30 perfectly nice fics because of one fic that my nope-tag applied to.

ao3 is about archiving. it's about clear tagging and being informative. there is nothing informative about it if the tags in the fic apply to random chapters while others have nothing to do with it. it makes so much more sense to have each work as an individual fic with its own individual tags and warnings, so readers can make informed choices.

of course, you do you. I can't police what other people decide to do. but personally, I find it incredibly frustrating to weed through 31 chapters to find the ones I actually want to read. so I don't. I automatically scroll past all works posted like that. and I know some others do, too.

there is absolutely no shame in posting short things on ao3. there is no minimum word count. no one is going to look at you funny if you post a small ficlet on its own, I promise. it's just going to make some readers very happy when they can actually find the things they want to read.

so, please. at least consider the upsides of posting each work as their own fic.

signed, one very frustrated fandom grandma.

[winterswake]

AMY ADAMS as Susan Morrow in NOCTURNAL ANIMALS (2016)

[menuliso]

i think we as a society need more winter dkbk where izuku is the alpha instead of kacchan

[coffee-dere]

Hi hi~!!! Sorry I haven't been posting very much... This took a little while (Wayyyy longer than I expected T-T"), but it was fun!! I really should draw WxS more..

[applestorms]

the winners & losers of death note

after repeatedly trying and failing to write this death note essay i'm just gonna go for it:

the fundamental flaw of L, whether you see this as a flaw/discrepancy in his character or the writing surrounding him itself, is the fact that by the time of his death, he has no clear win state. let me explain... by first talking extensively about light aljdsflksd.

MAJOR spoiler warning after this point. 3-ish (very long) sections.

1. light's goals: kira & utopian ideals (ft. fem!light)

i discussed this a bit in my tags on this post talking about how light's core character traits would translate over to a female version of himself, but to elaborate/summarize my thoughts further: i believe that light's fundamental flaw/weakness comes down to his desire to be Seen, to be recognized & validated by the people around him. i often see/hear people describing light's ultimate flaw as "ego," and while that's definitely a part of it, i think this is perhaps a more nuanced/neutral way of understanding it.

as has been pointed out before, light's goal of becoming the "god of the new world," isn't really an idea he immediately comes up with but rather is more of a retroactive justification that he clings to for the rest of the series after the initial rush of guilt he feels for murdering two people without thinking. this is perhaps even more obvious in the manga, as while episode 1 of the anime ends with light's claim to godhood, in the manga it takes him a lot longer to build up to that conclusion and really develop the full extent of his hubris. (EDIT: he totally says this in ch1 of the manga too, i just forgot. the point about it being retroactive justification still stands, though.) even so, i think post-death note light takes to this justification so easily for a reason: again, his desire to be seen.

before the death note, light takes a very understandable if somewhat flawed/juvenile approach to this sating this desire, specifically in how he aims to excel in every single system he is presented with, whether that be academics, sports/physicality (not just tennis, but physical attractiveness/neatness/cleanliness), and social interactions. it's that last category that i think is the most notable here, as light wants to succeed socially on multiple levels: on a personal scale, he aims to be pleasing and charming and polite to everyone he speaks to, for the sake of manipulating them, sure, but also so that he can extend that victory past personal relationships and into something Greater, into the Image of Light Yagami as the studious, respectable son. it isn't just enough for him to do well, he needs the reputation to go along with it, and the recognition and respect that comes with it.

this is part of the reason why the lind l. tailor moment is such a beautiful part of the writing of death note, as it is a moment where L simultaneously fucks light over massively, pinpointing his location and sending a squad his way in an instant, but also a moment where L gives light exactly what he wants: recognition. L doesn't just establish himself as a rival to take seriously w/ this move, he also reveals kira's existence to the world, that the deaths are the actions of a single person consciously and carefully acting and not just some divine power. he see's light's humanity, the potential cracks in his ego and temper, the overwhelming humanity of his ideals, efficiently using such traits to get kira to reveal himself in the first place.

i tend to take a lot of light's explanations of his actions to ryuk with a grain of salt as i think he is a lot less skilled at planning than he lets on, with his real skill being his in-the-moment acting & reactions, but i'm inclined to believe him when he tells ryuk in ch1 that

as a justification for not writing more specific deaths and therefore hiding his existence for longer. keep in mind, kira is established on the internet long before L enters the picture & the lind l. tailor incident-- light is utilizing the death note to push himself into the spotlight of the entire globe, not just the limited social sphere he grew up with.

(sidenote1: i think you can also definitely read into this on a more internal level of why light would want to be recognized so badly in the first place, considering how busy soichiro yagami most likely is and what their relationship looks like throughout the series. i don't think there's any evidence that he's actively neglectful necessarily, if anything light is described as being pretty spoiled & soichiro cares about him when he's around, but it still feels notable to me how empty his life is pre-death note. you can just Feel the silence as he goes through the motions in the first episode, barely talking to anyone as he ghosts his way through life. he might be succeeding in everything system he approaches technically, but that sure as hell doesn't make him happy. whether or not the death note makes him happy is a whole nother question...)

ANYWAYS. this is all to say that light's ideals give him a pretty clear win state, both in terms of what he actually, physically wants in terms of world domination/godhood, but also emotionally when it comes to what truly satisfies him. on a meta level, kira gives light really good motivation-- for the sake of his ideals, for the sake of trying to create his vision of a utopian society, for the sake of being Seen, he needs to keep writing names and out-thinking anyone who tries to stop him. on an internal level, it just starts getting complicated when the one who Sees him best is the one who fully dedicated to stopping him.

speaking of which.

2. L's goals: no real win state?

the lind l. tailor moment is such a fantastic instance in the story because it really works both ways in setting up the rivalry/mutual satisfaction that L and light grant each other. i've already described what light gets out of it, and simultaneous terror and delight that he gets out of it, but this is mostly an L post so let's talk about his side of things.

to my understanding, if what light fundamentally wants is to be Seen, what L fundamentally wants is to Win. ok, yeah, the way he says it is that he "hates losing," but same difference.

the problem with this desire is that in order for L to win or lose, he needs circumstances under which those options are the two main choices in the first place-- he needs a game, someone to test himself against, a challenge(r). when lind l. tailor dies and L proves kira's meager human existence to the world he practically sounds like he's cumming his pants, so i think we can assume kira stands as a particularly alluring challenge for him.

this also explains why L gets so depressed and frustrated with light over the course of the yotsuba arc. not only is light somehow out-foxing him by creating a circumstance under which he can claim not to be kira and actually be correct insofar as his memories are concerned, light has also set the game so that he's stepped off the board entirely, trusting his planning and his own non-death note influenced psyche and denouncing his role as a player entirely. in a way you could read this as light utilizing the one strength he has over L to his advantage: not just his awareness of the supernatural, as people often say, but the fact that kira has goals outside of winning, which can't really be said for L (or at least not without some additional extrapolation/interpretations of his inner psyche).

this is why my main claim here is that L doesn't really have a clear win state. for kira, winning consists of a few clear, distinct things: a utopian world, free from crime, under the reign of kira, where light has the control & worship of a god. for L, winning is a lot less distinct: really just. not letting light do all that. as this other post points out, it really isn't that far off to assume that L's motivations might've shifted from his initial state goal of executing kira, particularly as he gets more attached to light on an individual level, even if it's more as a rival than a true friendship. L is a liar and a troll, yes, but he still has "flashes of sentiment," and it makes a lot of sense to me that so many people see L winning as him stealing light away for himself to be locked away for the rest of their lives.

(sidenote2: i believe it was one of the jdramas (?) that actually does portray L winning but specifically at the cost of his own life, which again fits considering everything i just went through. i don't think L is actively suicidal at the idea of no longer having kira as a rival (well. <3< rival, the children yearn for kismesissitude), but. well, see the final section of this essay where i talk more about boredom for more on that.)

ultimately, light and L kind of suffer for the same reason: living for the rivalry, but also because of that never being truly satisfied no matter which way they come out in the end. the tragic yaoi of it all. i guess one of the conclusions here is that you should read this fic time speaks by aSmallMoon333 for a fascinating evolution of the rivalry past the supposed ending point of canon. anywho.

3. L's death: a failure of writing, or character?

hot take (??? genuinely can't tell if this is hot anymore so ig mean this like, partially sarcastically) but L's death is kind of really fucking unsatisfying, especially if you're witnessing it for the first ever time. i remember distinctly reading the manga back in high school and being really caught off guard by it, despite already having been spoiled about it, and while i pinpointed the cause initially being the fact that light doesn't even bother to write down the damn name himself, i think there's a lot more to this than that.

i've been writing about this idea of L not having a clear win state primarily under the approach of character analysis, looking at L's motivations and emotional desires to see how they inform what him winning would look like, but you could very well read this as being a flaw in the writing surrounding him as well.

L's not really a moral character, primarily because that's one of the main ways he's a foil to light-- where light is painfully, excruciatingly human, naive in his ideals, dedicated to them at all costs, L is a lot more apathetic, perhaps not to the same degree as near sometimes comes across (though he has more to him too, even if the anime doesn't really give enough time for that), but still enough to be generally considered a pretty amoral character. L definitely comes across to me as the type of person that understands the world deeply on an intellectual level, but struggles to meaningfully emotionally connect with it. the way he interacts with people is the clearest example of this, again making him a foil to light in that he gives no shits about how people view him and prefers staying hidden as much as possible, creating detailed psychological profiles of the criminals he follows but still misreading details in-the-moment while speaking to people (the autism. the autism), but i think this could very well extend to how he views morals as well, deciding that kira is evil on a logical level because people dying=bad but not really emotionally connecting with that. like,

yeah yeah they're both JUSTICE!! or whatever, but is this really true? not to get into an in-depth discussion on the nature of ethics & morality in my tumblr essay (though i actually wouldn't mind doing that...), but as the series and especially the yotsuba arc goes on, it becomes more and more clear that L's lack of attachment to people extends to his lack of attachment to traditional ethics. time and time again, L does shady shit for the sake of finding kira, whether that be covering the yagami household in a truly absurd number of cameras, recruiting actual criminals to help with the investigation, or chaining some kid to him 24/7 for weeks on end. this is a large part of the reason behind why i question what winning would actually look like for L-- would he be willing to turn kira in, should he get sufficient evidence to put light through the actual justice system? even if he is willing to give that rivalry up, i have a hard time believing he wouldn't want to confirm the death by doing it himself or something. but if that's the case, then why bother waiting? clearly, he's pretty fucking sure that light is kira, and he basically does figure everything out by the end of the yotsuba arc. so, why? is he waiting to prove it to the task force? is he still waiting for light to incriminate himself? but that seems like an awfully stupid thing to still be waiting for. what does L actually want here?

^^^ this last entire paragraph was basically my motivation for writing this, btw. ultimately, i still don't know if i have a conclusion that i'm really satisfied with, here. perhaps it really is just that light isn't the one to pull the trigger in the end, the nerve of a move that bitchy that kinda instinctively icks me out. or maybe ohba just wrote it bad!! idk. final thoughts-wise.........

one satisfying thing: in a way, light wins because he wins over people (namely, the rest of the task force), which tracks. the only reason why he keeps winning post-L death is because of this win, actually, which keeps him going for years despite the fact that he's doing objectively a dogshit job as L, as near so sweetly points out.

one unsatisfying thing: you could read L as losing because ohba doesn't actually have all that extensive of a view of what a good view of justice would look like, particularly in opposition to kira's view. in a way, L kind of just ends up representing a return to the status quo, where the criminals that kira is so desperate to purge are simply dealt with in the usual way & their crimes are a fact of life. perhaps this is asking too much, the rivalry alone is fun enough to watch without having to get too in-depth asking question about ideal global justice systems and the nature of crime & criminals. i genuinely do think a part of my frustration here is just that light was too much of a bitch to kill his main rival by his own hand, despite holding himself to a more respectable Standard in desperate moments prior (e.g. not taking the eyes deal w/ naomi misora). but it's at least an adjacent question, and maybe establishing more clearly what L's true win would've looked like could have made light's eventual victory just a bit more satisfying, instead of feeling like it comes out of nowhere after his extensive planning miraculously works perfectly according to keikaku. it's almost the marvel problem as is... but i digress.

bonus: boredom

in my recent reread/rewatch of the series, i keep getting struck by how much i really like the beginning of death note, like the beginning beginning of the series and when each main character is initially introduced, especially light and ryuk.

i don't think it's too much of a stretch to equate "boredom" with "depression" in this context. long before L is introduced to the series ryuk is the one being presented as light's equal and opposite-- parallels from opposite worlds, mutually disgusted by their own kind and the miserable state the world around them has devolved to. for L this sentiment is a bit less overt, mostly because again, apathy, but the fact that he spends the majority of his time hyperfixated on the worst parts of humanity speaks of something. perhaps i'll have more feelings about this upon rereading the ending, as that's a bit (a lot) fuzzy in my mind, but it's one of the main points i emotionally resonated with the strongest, a point of connection i keep coming back to.

light really is just a kid, at the core of everything. a teenager that did everything he was supposed to and still couldn't make himself happy with it. that's the real tragedy of death note to me, that for all he did to create a better, more ideal world, he never felt all that happy with any of it. not that he would admit that. but what is light yagami's greatest skill if not his denial...

[ratatatastic]

florida panthers @ buffalo sabres | 10.28.24 (x)

[heliomanteia]

Another thought: Epic so far (surprisingly) gave no song to Penelope (while even Telemachus already had musical presence), which makes me perceive the whole narrative as an almost entirely Odysseus-centric one with his feelings and reading of the situation dominating the narration. The fact that by the end of the Vengeance Saga he is the only narrator that either escaped or got rid of all of his narrative mirrors also means a lot to me.

With that being said, I think Epic (accidentally?) raises a question of the making of the casus belli.

What I mean by that is, Penelope (and I'll focus on her mostly since she has most presence in Odysseus' thoughts) is consistently brought up as that bargain chip that Odysseus uses to reconcile with his own morals.

I'm just a man who wants to get back to his wife.

I need to see her.

...with my wife.

Looking past the surface "he just loves his wife", I want to specify that in none of these episodes do we see Penelope's perspective and her feelings. Specifically in Epic, Penelope is present through Odysseus' (and once through Telemachus' and Antinous') lens. She is not there as herself, yet. The choices Odysseus makes justified by Penelope — I wonder how she would feel about them? Obviously, they both want to reunite, I presume, in this media too; but will we ever get to hear her point of view on how much Odysseus changed? This is not the man she watched leave for war, this is a ruthless beast that justified many crimes with her name. How does it... feel, to be loved so much you're the reason someone betrays himself and turns into a person he once avoided and feared to become?

Epic omitting Penelope's narration for most of the musical makes it less clear, to me, how she feels. How hard it is for her. This musical is a primarily Odysseus-focused story and it's sure interesting.

[spookythesillyfella]

this is MY account and i can post as many miscellaneous sona related doodles as i want

puter variant of my current sona

doodle i made while i walked to school during the rain without an umbrella cuz i forgot to take one ://

me and my best friend :3 [we hate each other]

and also two featuring @jumjum-crafts 's colin because i like to not like him :33

[slatesoft]

"But sheep NEED to be shorn" my brother in christ humans bred them that way we aren't simply doing them a favor, and abuse and exploitation don't end at "killing for food."

[dracaelus]

From The Uncanny X-men #200

This godamn issue, I swear to god- !!

I'm crying my fucking heart out. This was just too good. It broke my heart

[ethosnap]

other hermits bother to explain their theme and concept for the season. welsknight puts down spruce and stone and you’re like “is he gonna build a” and then. well. 10 episodes later.

Who could’ve seen this coming

[halfusek]

great. gonna have to glaze/nightshade all my art. its not like i have an over 4500 images long comic. no problem at all

[catgirlkirigiri]

I told you it wouldn’t just be satosugu next time I posted jjk furries. This time there are even more gay people :)

[suckinitup]

we didn’t know magnus as much as we’d like but i wouldnt be surprised if he had some classic “Kill Vampires but Never Humans” rule. That said i think arthur bennett has literally eaten bigots when theyve been out and mistaken as a couple and it caused one of the most tormented “OH NO HES HOT” “HES A VAMPIRE” gay murder horror complex of magnus’ LIFE.

[space-ace-beleren]

I cannot stress this enough: if you still appreciate and enjoy the world of Harry Potter because of some association you have with it growing up, examine why.

Did you identify with Harry, kept in a literal closet and take his journey out of an abusive world into a fantastic one where he had some sense of agency and finally knew love and acceptance?

Did you find a sense of belonging with the way the houses were set up, signaling your values and finding like-minded folks by showing off a bit of house flair?

Was it a gripping escape from harsh reality where you could put yourself in a magical school like Hogwarts?

Was it the idea that together, we can stand against great evil?

Even if it was something else, I implore you to find those themes elsewhere. People a lot better informed than myself have had a lot to say on issues with JK Rowling's work and her political activism. She has used her position of privilege and amplified voice to frame all her detractors as abusive.

I understand that it is difficult to parse reasonable voices from hateful noise. When she mocked voices of reason like Jessie Gender, the message received is that she can hear us, she just doesn't care.

It's not just transphobia. It's not just antisemitism. It's not just racism. It's not just ableism. It's not just slavery apologia. It's not just imperialism. Those alone, with the kind of reach JKR has, would be bad enough. She's used her relevance to target marginalized creators and communities, while blatantly ignoring legitimate criticisms of her work.

Her essay has been quoted in the US Senate to block civil rights bills.

Nobody is perfect, but the difference for me between writers who have penned ignorant and problematic works and grown over time is that they listened, learned, and grew. I love Sir Terry Pratchett (GNU)'s works and have deep respect and appreciation for him, and also acknowledge some of his earlier works were rough to read.

So please, if you hang your hat in [insert house here]'s common room in your mind palace and consider me a friend or reasonable person, remember:

The author has implied that autistic folks are easily confused and cannot be trusted to know themselves.

She has profited from, and refused to listen to criticism of, her bigotry.

Her bigotry has been used as a bulwark against rights for trans folks and people with disabilities.

You deserve better.