#but that doesn't mean someone might not find it hurtful

[alarajrogers]

He's a leader, an inspiring figure, but not physically powerful. She's a badass -- a killer, a superhuman, someone the world fears -- and she will do anything to make sure his vision comes true. Including things he would hate to know about.

She's a leader, an inspiring figure. He's her strong second-in-command, totally loyal, smart and capable and people like him. He could be in command if he wanted to be, but he knows she's better at it, so he happily assists her.

One is a wizard. One is a sharpshooter, swordfighter, or martial artist. They fight crime!

She's his bodyguard.

They're on opposite sides of the conflict. They hate each other. They love each other. They try to kill each other but maybe not as hard as they could be trying.

He's a superhero. She was a superhero, until something disillusioned her, and now she tries to convince him he's on the wrong side, and he tries to convince her that she is. They are actually having sex, not just UST'ing.

He's a hero. She's a dragon. Do with that what you will.

He's naive and idealistic. She's cynical and jaded. But oh, how she wants to believe in the world he sees... even as she tries to convince him of the world as she knows it, because she doesn't want the world to hurt him.

One is a scientist. One is an elite government agent. They fight crime!

They're cops. They're partners. And when they find out how corrupt the department is, they have to rely on each other to survive as the entire police force they gave their working lives to come after them to kill them.

They're both spies. When will they find out the other one is an enemy spy?

She seems like a typical housewife. That's because the entire world wants to kill her for being the most dangerous human being alive, and no one would suspect a PTA mom of being that person. He knows what she is and will do anything he can to hide her... until the day she's forced to reveal herself to save him.

He's a starship captain. She's a trickster god.

She was born to a long line of humans who can control supernatural entities. He's a proud supernatural entity who hates how much he wants to submit to this inferior human... who has the power to control him, but won't invoke it until he asks her.

I mean, I could do this all day. Ships don't even have to be queer to be great. They just have to have the man and the woman on equal footing, with each having power though their power might be in different domains. The entire probelm with het ships is how the woman is generally in some way treated as an ancilliary to the man. Either she's better than him at everything and yet for some reason he's the chosen hero, or he's better than her at most things, or we are told she is awesome but she never gets to show it. So don't do that. Give them both power and show how they are separately both powerful, and how putting them together makes them both stronger (unless it doesn't because they're fighting each other.)

"how can m/f ships be good-" first of all through the power of bisexuality anything is possible so write that down. second of all if we start othering ships based on gender and nothing else we're no better than the opposition. third of all you need to watch more addams family

[kabsey]

rook/lucanis dessert scene rewrite

for a romance lock-in scene, this one was lacking to me. here's a quick draft of how i would have done it.

-------

Rook walks into the kitchen to find Lucanis cooking something. His back is to them, and he does not turn as they enter.

ROOK Something smells good.

LUCANIS (visibly startles) Rook! (glances behind him, then turns back, looking slightly disappointed) I... had hoped to finish this before you found me.

ROOK Planning to poison someone?

LUCANIS For that, I would have made soup. No, this is a dessert. For you.

ROOK Me?

LUCANIS To thank you for everything you have done. And to... apologize. The last time we spoke privately...

ROOK You mean the time we almost kissed and you ran away?

LUCANIS (smiles ruefully) Yes, that time. Spite was still angry with me then. He said things to hurt me.

ROOK Like?

LUCANIS Like that you could never care for someone like me.

ROOK Spite doesn't know my feelings.

LUCANIS He knows mine. My insecurities, my doubts... my desires. (moves closer to Rook) I can craft a death down to the smallest detail, but I don't know how to build a life. I might be terrible at it.

ROOK Or you might surprise yourself. You've certainly surprised me.

LUCANIS In a good way?

ROOK A very good way.

LUCANIS (moves closer until he stands just before Rook, their eyes locked) If you say you want this, then I will step right over the edge for you. With you. Gladly.

ROOK I want this. I want you.

They reach for each other and share a kiss full of promise... until Rook pulls back suddenly.

ROOK Is something burning?

LUCANIS Mierda! He rushes back to the stove as Rook laughs.

END SCENE

[prismatoxic]

I am too tired and too depressed to deal with it right now, but sometimes it drives me absolutely insane how people perceive the purity culture debate in fandom.

it's nice that it's not a big deal for you. it's nice that it just looks like petty squabbling to you. I'm glad you get to worry about "real" problems instead.

but I was harassed for multiple years by people who doxxed me, tried to call the cops on me, systematically ostracized me from the only social groups I had, and ultimately left me with a tremendous amount of trauma--and this was because of the fiction I consumed and supported.

I've known people whose lives were ruined. and I mean RUINED. I mean jobs lost, relationships severed, complete mental breaks from prolonged persecution. over fiction.

on top of it all, the freedom to depict anything in fiction is important to me, and I'd be on the side of that whether all the trauma had happened or not. but listen to me. I need you to understand that this isn't just ship wars, that no matter how insignificant the root issue of what people find acceptable in fandom seems to you, that you're not seeing the full picture.

people love an easy enemy. they love a valid target. it's so easy to moralize your discomfort to the point that you see people who make you uncomfortable as subhuman. do they really believe art can be equivalent to real life abuse? sometimes. but plenty of the time it's just a handy justification to be the boot on someone else's throat.

do you understand how damaging it is to be chased out of every community you care about, and every one you try to join after? do you know how terrifying it is to see your personal information in someone else's hands, to know they think you deserve the worst, to fear SWATing or accusatory calls to your employer or landlord or what the fuck ever? do you know how exhausting it is to fear every new relationship you make, every new community you join, worried that if their stances on fiction don't align with yours it might happen all over again? do you know how much it hurts to be called all sorts of monstrous things, things people BELIEVE about you, because of the fucking fanfic you wrote?

I get it, internet battles over fiction seem ridiculous. please look at the bigger picture. it's fascist controlling of the art other people can make, and it's a handy excuse to enact horrible abuse on people who ~clearly~ deserve it. do not belittle victims of these things just because it's all online, it doesn't seem like a threat to you, it seems pointless.

and it probably goes without saying that if you think anyone deserves any of that for the fiction they create or consume, get the fuck away from me.

[violetwanderer]

Raising Grogu with Din Would Include:

Din Djarin x Gender Neutral Reader

Warnings: Brief mentions of violence and injuries

Word Count: 723

Do not copy or translate my works

If you were traveling with Din before you two acquired Grogu:

Din would probably find this a lot easier to deal with, as he has someone to consult on everything. If you've known each other quite a while and the trust has already been built up, then this situation becomes a lot easier

From first picking up the child as a bounty, to taking him back from the Empire and even how to take care of him while you two travel. You talk everything through as a team

You might not always agree, but Din is glad to hear a different perspective. It helps him figure out if he's doing the right thing in each situation

It's especially handy when you two have to leave the ship for whatever reason. There's always an extra set of eyes on the child this way and an extra set of hands if someone needs to carry him 

If you're good in a fight, it means there's someone else willing to protect the child from the Empire as well. That's something he is eternally grateful for

Over time, Din starts to see the two of you as Grogu's parents, even when he knows he shouldn't, like when the Armourer told him he must bring Grogu back to his own kind

It makes it even harder to not get attached to the little one when the whole situation feels so domestic at times 

Like when he's watching you give Grogu a bath or rocking the little one to sleep after a long day

There's also someone to share his anguish when he has to give Grogu to Luke. You have each other to lean on, even if he isn't the best at showing his emotions

The joy you both feel when Grogu returns is indescribable. It's like you're a family once again

This time Din would want to make it more formal, more official. He'd want you all to be a clan of three

He would be nervous about making his feelings for you known, but so happy when they are reciprocated. The three of you would be a happy little family, with much fewer threats once Mandalore is taken back and Moff Gideon is killed

If you meet Din after he acquired Grogu:

Naturally Din is much less trusting of you

They've come across too many enemies in their travels and the child has been hunted across the galaxy 

He probably meets you through Peli Moto when he needs his ship fixed by her and needs someone to watch Grogu

It doesn't matter how nice you are or how much Grogu seems to like you from the moment he meets you, you're still a stranger to him 

Still, you prove yourself as someone willing to do anything for the child when you defend him against someone who tries to take him. Din arrives just in time to shoot the guy dead

He has needed someone to mind Grogu for quite a while now and he starts to think you're the perfect option 

He offers the job and you take it, even though you don't know him well. You can't say no to taking care of the little one, not when he looks up at you with those big eyes

It takes a while for Din to adjust to you living with him on the ship. It's harder than when Grogu joined him because you take up much more space 

Still, he remains polite at all times and slowly warms up to you, enjoying your company after being on his own for so long 

It isn't until you get injured protecting Grogu that he realises just how much he cares about you. Seeing you hurt nearly makes his heart stop 

After that, he's much more protective of you and always has his hand on your back when you're out in public together. He feels he can protect you better when he's touching you somehow 

It isn't long after this that Din realises he can't keep his feeling secret any longer and confesses them to you nervously

Of course, you feel the same way and the two of you naturally grow much closer, with him now seeing you as another parent to Grogu

You're not just someone he hired to mind the child anymore, you're part of his clan 

[sharticleaccelerator]

First, know that statements in my above reblog such as 'Clearly women don't care about them.' were rhetorical examples of the things that a young man influenced by conservative ideas might think, and so are not representative of how I think we should discuss the modern sex dynamic. This talk about men, women, and the dynamics between the two often times devolves into "Men (should do) this, women (should do) that, it's men's/women's fault" as if that's not a deluded way of talking about a society-scale problem. If a demographic underperforms in a sector, the sensible approach is to analyze that sector, determine how what may be contributing to the performance differential, then figure the best social change to restructure that sector to be more fair. It can be tempting to want to assign blame, but blame does not exist on this scale. No individual is solely accountable. The idea of holding a demographic accountable (blaming women/men at large) is just absurd. We cannot assign responsibility to a sex to solve a problem—men must participate in women's issues and vice versa. We need each other's efforts and votes.

So thinking about how the education system disadvantages men, you say that men generally hold the positions of power responsible for the structure of the education system, but that is not necessarily true. Women have always represented a greater proportion of teachers (at least since ~1890), but for nearly 8 years now have represented over half of public school principals (no data found for other administration staff). I can't find an official statement about the split in the U.S Department of Education, but independent sources estimate that over half of its employees are women. Women representing a larger proportion of teachers and staff likely accounts for the underperformance of boys in school, as students tend to do better under a teacher of the same sex—it might be tempting to say that means more men should go into education and so it is 'Men's fault', but as stated in my first paragraph such a thought is delusional. Men and women are not distinct factions.

I didn't say that the right wing is the fault of women. I said that the significant amount of vitriol towards men has had a role to play in pushing young men away from leftist politics, and that the pattern of overt hatred towards men in leftist spaces dissuades men who witness it from participating, but I didn't assign that to women. I assigned it to misandrists. It just happens that most misandrists are women.

We can absolutely fault sexist women who are hostile to men only because they're men. We must fault sexist people. You would ask the same of me, who should fault men who are remorseless about how they hurt the women in their lives. You said it yourself, 'someone who will get hate spewed at them, to try and reach out is a lot to ask.' You can't expect men to participate in progressive discussion if that discussion is accepting of open hostility toward them on the basis of their sex.

I'd like to challenge some of the ideas you hold about the ways you think that society advantages men. The gender pay gap is very coarse data, and often used in ways that reflect a poor understanding of what it actually represents. That women have to earn a greater degree to receive the same pay from the same job comes from a misinterpretation of the Department of Labor's data. The Department of Labor's data does not consider position, only sex and education level. I won't say that a pay gap for the same job doesn't exist—I simply don't have the confidence to say—but the reality that men on average value income more than women in choosing a career likely contributes to what the data actually represents—a reflection of pay differentials between the fields of careers that men and women are respectively more likely to pursue. This still is sexist—it has roots in the devaluing of 'women's work'—but if you pursue a particular career, the difference between your pay and the pay of your male peers will be much less than the gender pay gap indicates. That's assuming it exists at all; some places women out-earn men by the same metrics. It's a good point you make about women suffering greater loss of earnings with children, but in the cases where having children—and more so taking upon themselves the greater burden of child-rearing within their relationships—was a choice, I have a hard time rationalizing this as unfair to women who willingly made that choice. In the cases where children aren't a choice, you're right.

Men are not over-represented in higher education. You give that there are some isolated cases where they are, sure; those are exceptions. In the larger picture women are representing a greater percentage of college graduates each year, and have outpaced men in this regard for the last four decades.

Much of what you hear about the ways women are victimized are played up by people who want to be victims because they're drunk on justifying their hate. This isn't for some radical take like 'sexism is fake', just a reminder that solving real problems requires being rooted in reality. All the more reason to block the detached, chronically-online radfems you see. I wish I'd realized I was replying to one, but then I suppose wouldn't have had this dialogue with you. Silver lining.

I couldn't have said it better myself.

[pizzabox-box]

Ah this is cringe as heck for me, but screw it, the last ask you got about a person not feeling much sympathy all for Peppi-No really was great, kudos to the OP of that comment since it really got me thinking, why even if I agree what the dude is doing is awful... I actually feel pretty fucking bad for him XD.

Like, I think we can all agree we've done shit in our lives that wasn't great, and that doesn't diminish the harm done or the fact other people have gotten hurt from our own stupid decisions. I also just think sympathetic villains are so interesting. (when done right, and hell you could argue even if he is the protagonist of the DMW AU, Peppi-No is a bit of an anti-villian) it really makes you think about the fact its so normal for people do try to avoid the consequences of their actions. I'm sure everyone has done something bad and instead of admitting fault have doubled down and tried to save face because they were SURE they could "fix" it without getting hurt from it.

Sure most of the time, (...I hope) its not as bad as murdering a person and taking on their identity... I think there is something really human about wanting to not get hurt, and feeling like shit about regrets we've had.

I think that Peppi-No even if what he doing is wrong, still... I dunno I can empathize. I mean.. he's sooo sowwy 🥺, its kinda pathetic, like a more extreme version of a puppy that just destroyed something important to you. Like "awww... you asshole, you're so cute though but goddamn it..."

I both am loving the angst of this AU and know its going to be so cathartic to see Peppi-no finally deal with his lie blowing up in his face and suffering MORE >:). I feel sympathy yes but I also love angst hehe.

(sorry if that wasn't super well worded? I don't normally send things like these >//>)

I assure you, it’s not cringe! It’s nice to see both sides voice their opinions!

Personally, I’m pretty divided on how I feel about Peppi-no. Part of me wants to strangle him for what he did (and what he might still do*cough* ), but at the same time, he’s,like you said, a sad, pathetic "sowwy" puppy, and I can’t help but feel bad for him.

When he took a piece of Peppino, he may have gained a conscience but not emotional maturity. He’s like a kid who just realized he fucked up in the worst way possible and is terrified of the consequenses. And fear can drive people to do terrible things, after all. Before that, his entire existence was just scrambling around, making pizzas out of whatever he could find: pigs, other clones, pizza monsters. He ended many lives, that but never faced any sort of repercussions. Never got a chance to learn "murder bad" ,

Then he takes a bite out of one of the kind Peppino—bam! Conscience, coherent thoughts, and memories of the guy he killed flood into his head. Can you imagine the whiplash, the shock, the stress? I certainly can’t.

Obviously, I’m not some dough doppelgänger pretending to be someone I killed. That would just be silly… no, really, I’m not.. But I can relate a little to what Peppi-no’s going through.

And let’s be honest, how many of us would have the absolute balls of steel to admit we killed someone’s friend in cold blood? Sure, it’s the morally right thing to do, but… you know. I’m not sure I could. (Once again purely hypothetical scenario)

Peppi-no's actions are unexcusable, he should know better than this by now, but at the same time you can kinda understand why he acts the way he does.

[1nsomniacwriter]

Steddie as Romy

Steve is Seven with Rogue's mutation

Eddie is Ten with Gambit's mutation

Steve and Eddie were inseparable while in the lab and when they were 10/11 they escape however in the chaos Steve accidentally loses control and accidentally drains Eddie and they get separated.

Eddie loses his memories of Steve but not of the lab. He knows there was someone there he loved he just can't remember him. So Eddie knows about his powers and uses them to survive on the streets for a little. However Al finds him and takes him home and has Eddie help him out in return for safety. Al gets everything legal Eddie might need forged so he won't lose his little weapon. And so as far as anyone is aware when Al gets arrested Eddie is his kid so he goes to Wayne. From there things proceed as canon for Eddie.

Meanwhile Steve is found by the Harrington's who take him in to make themselves look better. However Steve has lost all control over his powers he once had and is terrified to touch anyone to the Harrington's irritation. Since they can't get rid of him without people talking they start leaving him. Steve never gets into sports in this world too scared of someone touching him. He does however befriend Robin very young. She understands without ever asking why he doesn't let anyone touch him and she never questions his gloves instead constantly gifting him new ones to go with every outfit. When Eddie moves in with Wayne Steve keeps his distance. Scared of hurting him again. Meanwhile Eddie is fascinated by Steve. Something he can't quite name drawing him in.

When Will gets taken Steve helps look for him. Having vaguely befriended Jonathan over the years. During the fight at the Byers Steve takes off the glove for the first time in years in order to save Jonathan, Nancy, and Robin. Nancy and Jonathan swear to keep Steve's secret and protect him from the government.

Season 2 plays out more or less the same without the Stancy fight and Billy is subdued pretty much as soon as he lays a hand on Steve. Dustin is fascinated by Steve's power and determined to help him gain control so Steve isn't forced to live in fear of it. Mike also ends up close to Steve since he doesn't have any reason to dislike him over dating Nancy since it never happened and El adores Steve.

The kids also definitely make the connection to Rogue and refer to him as Rogue constantly. El also gets dubbed Jean Gray. And Eddie will end up dubbed Gambit.

Meanwhile Eddie has just grown more and more fascinated with Steve and is determined to befriend him and figure out why he feels so familiar despite Eddie never having talked to him. This ends up resulting in Eddie helping them with the code in Season 3. Thanks to both Eddie and Steve's powers they don't get captured in the Russian bunker. Eddie is also able to help tremendously in keeping the Mind flayer back meaning Billy never dies. Not sure what but something during all this jogs Eddie's memory and he remembers Steve. Like with Rogue in the comics Steve's fear of his powers is why he can't control them and Eddie realizes this. So with Eddie, Robin, El, and Dustin's help he overcomes said fear and regains control. The first thing Steve does is finally probably hug Robin. The second is kiss Eddie.

[seyaryminamoto]

Any thought on Toph's writing and "arc" in ATLA? I personally think Toph was the most stunted and underdeveloped character. She never really develops at all and is mostly just a walking joke. It's clear that the writers loved her but also clear that they never did anything with her.

If you mean stunted and underdeveloped character in the main cast, definitely yes. A lot of minor characters were done a disservice by the show, given next to no complexity, so I wouldn't rank her as #1 altogether, but among the main cast, absolutely.

Now, I wouldn't say she had zero growth, it's just... not an arc. I also don't think she was only a joke, though they used her for comedy a lot. It's part of why it weirds me out when the fandom acts like Sokka, and only Sokka, was comic relief in ATLA. Toph, Aang, Iroh, even Zuko whenever the narrative wanted to poke fun at him, provided comic relief often, so it's kind of stupid to pretend it was only ever Sokka.

... But that ridiculous perception, then, caused the not-so-funny LOK phenomenon of "Bolin is the funny one", where basically all comedy was meant to be about/around this one character, which didn't work nearly as well as they expected it to, and did nothing for the team's synergy and bonding, but I digress...

What do I think about Toph's story and journey in ATLA?

Toph starts out as a girl who wants nothing more than to be independent and for people to stop underestimating her. When we consider that, in her final action scene in the show, she's clinging by her fingertips to someone else, and that her survival and life depend expressly on HIM, it suggests that she's learned that she doesn't have to go at everything alone, and also that she doesn't have all the answers to all situations. The first time we met her, it doesn't really feel like she wants to work alongside other people, as shown in her conflict with Katara in The Chase, where Toph felt absolutely no need to chip in and help out with anything but her personal needs.

I will say, in Toph's defense about that last thing, it's perfectly common for a child who has spent most her life being cared for, not having anyone expect a single thing out of her, to not understand why she needs to contribute ANYTHING to the team. It doesn't hurt that she's new, which implies that the others have been setting up camp, finding food, traveling across the world, without needing an earthbender's contributions. So it's fairly easy to see her side in this: why does she need to help at all? Why can't they handle things on their own when they always did?

But in her chance encounter with Iroh, Toph is given a chance to think on things and ponder that there's nothing wrong with relying on others. It's so effective that this scene concludes with Toph telling Iroh that maybe he should tell Zuko that he needs him too. This might even be one of Toph's strongest moments in the entire show, honestly. She has no idea who she's talking about, has never met Zuko or Iroh before, but what she tells Iroh doesn't sound like it comes only from having determined that IROH needs Zuko: it sounds like self-reflection, based on Toph realizing that maybe she can open up to needing her friends, too, and working alongside them isn't such a bad thing.

I think this is decent writing. Really!

The issue is... this is about as good as it gets with Toph.

I really like her character, she has a lot of good jokes, some interesting moments of vulnerability here and there, but this scene with Iroh is the only instance of the show I can think back on that actually features Toph questioning her strict ideas and reasoning with them, choosing a different path and abandoning something else she wasn't ready to forsake (complete and utter independence). What's more, this isn't even the kind of growth where Toph has COMPLETELY abandoned her individualistic mentality: she's adjusted it. She allows herself to consider she could be part of a team, to have friends, to work with others, but that doesn't mean she's tied down to them. It never stops feeling like Toph is more than ready to do things on her terms, in her own ways. No matter how much she bonds with the others, she will rely on them exclusively when she needs them (see how she clings to others when she has little to no visibility), or when they need her in combat and such, but outside of such spaces? It's unlikely that Toph will be the type of person who feels the need to be accompanied all the time, who feels better if someone is constantly watching over her. Her friends allow her to find some kind of balance between her need for independence and the comfort of having allies and friends to connect to... but that doesn't mean that she'll never break off on her own when the urge hits her, when the big battles are settled, when problems are resolved.

And I'm the last person to think Yang, of ALL PEOPLE, has any solid understanding of these characters, but whether it was his idea or Bryke's to feature Toph as a teacher, and to have the Gaang drop by to pick her up during The Promise? Ultimately, this just proves she doesn't feel the need to be with Aang, Sokka and Katara non-stop. If even someone like Yang thought she'd go do her own thing (... the quality of what he wrote is, of course, forever in question), down to even leaving her out of The Search entirely? It's clear that they're not trying to promote the idea that Toph is forever clinging to her friends now. She's still independent.

But like I said earlier... this balance Toph finds between her friends and her freedom isn't the product of multiple episodes and lots of hard work and bumping into obstacles to achieve. This... is literally just Toph's second episode. That's the last time the show actually challenged Toph on a PERSONAL level that doesn't involve "becoming a more powerful bender".

Take her relationship with her parents, for instance: the fandom is convinced they were abusive as fuck and that Toph would hate them forever. Ironically, the show DOESN'T promote this notion at all (which makes The Rift kind of insane when compared to the show's treatment of Toph's parents), for it features her parents as two idiots who underestimate Toph immensely and who simply want her to come home and stay out of danger. This could be deemed as abusive in some people's minds, as usual the word needs to be taken more seriously nowadays... they're not good parents, there's no denying that. They don't understand their daughter, outright. They allow their preconceptions of her disability to determine who they think their daughter is. There's nothing in the show that suggests otherwise.

So why, exactly, is it that every instance where Toph considers communicating with her parents or meeting them, she seems to be perfectly content with doing it?

Xin Fu's trap for Toph was completely cemented on the notion that Poppy Beifong had come to visit Ba Sing Se and that she finally accepted her daughter for who she was. Toph's reaction isn't some kind of jaded dismissal because there's noooo way her mom would ever accept her... she outright goes to see her. Which allows Xin Fu to trap her. Which then results in Toph discovering she can metalbend. But the thread that started this whole plotline? It... goes nowhere. Of course, Toph's parents AREN'T there, there's no real reason to assume they've changed, and this was just a trap... but we get no reaction from Toph when it comes to this. We see no conflict. She simply embraces her new abilities and runs back to Ba Sing Se. A quick glance through the transcript shows zero focus or interest in what she went through. Hell, there's not even any acknowledgement that she learned to metalbend. It's all about Aang's struggles with the Avatar State and Katara being in danger.

Next time? The Runaway. A very frustrating and annoying episode. What happens here? Katara decides to dig into Toph's old wounds regarding her parents, tries to psychoanalyze her and decides that all of Toph's rebelliousness against authority boil down to having a bad relationship with her parents. Which... maybe it's true? Doesn't really justify Katara trying to act like her mother anyway? And then the episode ends with Toph asking Katara to help her send a letter to her parents, which sounds like Toph has made her peace with them and like she's ready to accept that she would like them in her life too, and that she wants them to accept who she is. Yay.

... The issue here is there's no follow-up. This doesn't feel like development because nothing comes from it. Nothing really changed. It doesn't come from organic writing either: it comes from Katara's forced "mother friend" role that she didn't use to hold at all (as I said in the ask about why I think Katara loses her appeal as a character the deeper we go into ATLA), and it never actually confronts Toph with her parents again. It doesn't feature a deeper reflection from Toph regarding why she feels the way she does about her parents, nor does it feature Katara realizing that Toph's parents actually did fuck up a LOT with her and that she has every right to push back against them. It merely makes Katara calm down because she realizes the others care about her (while eavesdropping, ofc) and are ready to accept her for who she is... even though she, too, merits a LOT of reflection regarding this mom friend role and nobody else should be comfortable with that, let alone her :'D

Point being, the show really just holds this as the only thing about Toph that wasn't actually resolved, but it acts like it's fine because Toph sent a letter. What growth did we see in Toph that actually means this letter makes all the difference, though? We have no idea how it affected her parents -- as much as Yang acts like it didn't affect them at all, it could have made them rethink some things, or it could have made them mount an even more desperate search for their child, who knows? And it's a pretty solid thread to pull at, to tug loose, to TRULY challenge Toph's character... aaaaaaand they just don't do it at all.

The way I see it, that's really what it boils down to. The show doesn't challenge Toph in any significant way after her... second episode. This isn't the case for most main characters, and I'm not even asking for Toph's story to feature an intense, horrible, super harrowing and difficult plot...! Just, make some things complicated for her. Show her frustrations, show her difficulty to grasp things she hasn't experienced before. Confront her with realities that she, a sheltered girl from a pretty well-off city, has never really needed to face before. Her attitude towards Ba Sing Se is never questioned or challenged narratively: she's constantly proven right about the city being fucked up, and about her reads on all high society people. While all this makes Toph feel smart to a viewer, the issue really comes where this character basically only has her admittedly sizable charisma to win us over. She succeeds! But what does this show give her to work with besides a very quick "I don't wanna work in a team-I learned to work in a team" conflict that is resolved even faster than Sokka's sexism, which pretty much died out within 4 episodes?

There's definitely a component here were Toph is successful not only because of her personality, her abilities, her strength... but also because of the message she conveys regarding disabilities. A LOT of disabled people have clung to Toph as an example and inspiration to not allow whatever ails them to define them or hold them back. Whether the comparison between a blind girl with magical powers and a disabled person of our world without them is valid or not? The effect Toph has had on a lot of viewers who related to her struggles is undeniable. In a sense, it almost feels like the fandom's worship of Toph suggests that in not giving her further challenges on a personal level, they actually hit some kind of jackpot as far as social messages are concerned... but once you actually scope in and pay proper attention to her character, you might find she's got so much more potential that went ignored by this story in favor of presenting her as this unquestionably strong girl who relies on others when she really needs to but otherwise is independent and free from all of society's restraints on her.

Personally, I know this to be the case because of the pushback and reactions my version of Toph in Gladiator initially resulted in. She had no reason to think anything of Sokka and damn near killed him when they first clashed in the Gladiator League... and this horrified a LOT of people! They couldn't BELIEVE Toph could be like this! An older Toph, 7 years older to be precise, who broke free from her parents' hold, struck a bargain with her would-be-captor to get him MORE money than he'd find if he turned her in, and who wanted nothing but to measure her strength against other powerful fighters. If she doesn't have Aang's group's influence on her as early on as when she's 12-years-old, is it REALLY that crazy for Toph's problems with her parents and authority to fester, for her craving for independence to reach new heights, for her readiness to prove herself stronger than anyone to actually be a hazard for other people who stand in her way?

Thus... a lot of the work I've done with this character has been deconstructing these flaws, building her into someone who understands herself better. It's in learning from the examples Sokka and Azula set for her that she starts to realize what kind of person, what kind of LEADER she wants to be. One of my favorite scenes to write about Toph is when she's setting her city free from Fire Nation control, extending her earthbending reach all across Gaoling, putting a stop to the FN army while focusing on creation rather than destruction. On building up her people, on leading her forces with the power of her seismic sense, on capturing the enemy leader, all of it without razing her home city to the ground. Early Gladiator Toph? She wouldn't have cared one bit to join the war to begin with, and if someone had told her that her city, the place she associated with rules, limitations and restraints would be razed to the ground? She might have even encouraged it. Yes, a part of her would have felt guilt over her parents... but she would have been so emotionally stunted that she would have forced herself to ignore any part of her that still cared about them.

And worth noting? One of the biggest personal issues Toph faced was actually nearly killing Azula and Sokka because of her absolute determination to win against them during an event. They were already friends, but they were also each other's biggest rivals in the League... neither side holds back when it comes to this particular competition, and Azula and Sokka had actually beaten Toph and Iroh on their previous encounter! Which meant Toph's desperation for victory was driving her a bit crazy. But once Toph takes it too far at one point, she freaks out. It triggers guilt that actually jumpstarts a much deeper and more complicated arc than anything she'd been through before. Her determination to win at all costs, her pride over her lifelong winning streak within the League... she's suddenly facing the possibility that all this shit she used to cling to, so damn hard, means NOTHING when she could lose two of the people she cares most about if she continues to privilege all that stuff over their wellbeing and safety.

And this doesn't mean that she didn't like fighting as a Gladiator anymore... it means she really came to terms with the fact that other things mattered more. Later on? She realized there are BIGGER fights out there, too, than what's going on in the League: she was the last line of defense against a brutal attack by a rogue waterbender who killed a lot of people and could have killed many more... and after the fact, she spends quite some time worrying about what could have happened if she had failed to protect everyone, if her strength had faltered when she needed it most.

Yes, touting my own horn a lot... but everything I've typed about my own story is exactly why it can even piss me off, at times, to see Toph's potential as a character squandered to the extent it is in canon. I've done so much more with her than they ever did, and granted it's a huge story, but Toph ISN'T the main focus on it and I still managed to give her more to work with than canon ever did. It makes no sense, does it?

I don't think she was given the respect she deserved, and partly, I feel this happened with a lot of female characters who straight-up don't have arcs at all. There's this latent fear that in questioning a character, showing they're flawed, they could become unlikeable... ironic how this is seldom a concern over male characters, but it is with female ones. And mind you: it DOES happen to male characters, because Aang himself is the most egregious example of a male character showcasing flaws and people spiraling over them, turning them into something they never were, all be it to pretend SOMEONE ELSE (*cough* Zuko *cough*) is that much better than him. But they WEREN'T scared of writing Aang into complicated situations that showcased his flaws and resulted in his growth, though. They are with Katara, Toph, Suki, Mai, Ty Lee... :') wonder why, huh?

Ultimately, Toph is a much better character, boiled down to basics, than many characters I tend to talk about and criticize openly. The issue with Toph, for me, isn't really that she fails as a character, or conveys wrong messages, or that the narrative is biased in her favor (though sometimes it is...).

The problem with Toph is she has no chances to truly grow into her own. That her biggest growth comes from a singular conversation with Iroh in episode 2x08 is incredibly unfair to a character who can provide SO MUCH if you simply give her a chance and let her be... human. Flawed. Complex. There's so much more that can be done with her, and if given a chance? She really could have been the best character of the entire show. Too bad they didn't have the guts to let that happen.

[clonerightsagenda]

Observing various takes and tags on the content warnings poll and while my initial response was 'I see their utility but have a kneejerk assumption that the work that follows will be very Online' I am increasingly persuaded that the ideal solution is a folksonomy system a la 'does the dog die'. Because, frankly, the author may not realize what's most upsetting about their work. If an author deliberately writes about sexism, for example, it's easy enough to warn for. But if the author unconsciously writes something sexist, they're not going to think to warn for it, are they? If there are content warnings for other things, that just means the reader will be even more blindsided. Author-generated warnings leave you at the mercy of what they think is most upsetting, and that's a personal judgment. If we were going to hypothetically make this a Thing, I think crowdsourcing is your best bet.

[rendnotmyheart]

Soulmate aus are so interesting in an iwtv context. Like for humans it's easy, right? They get their soulmate mark, they find their soulmate, or maybe they don't, and they live their life. For vampires though? Do vampiric soulmates even exist? How could they when the soulmate marks are relics of their human life? When the other person who has the mark will be dead before their life as a vampire has even begun? Or were they always fated to become a vampire? Did the universe take that into account? Will they have to wait some hundreds of years for their soulmate to be born? Their soulmate could be anywhere, any time. Hell, their soulmate could be the person they just drained. Who knows. Even if they were somehow able to find them, what are the chances they'd stay together for eternity? It is eternity after all. Not even the universe or fate can guarantee that.

[lususnatura]

so, like, although blamore and one of my other characters are VERY different ofc ( and this other character in particular would be barton ) ... there is one thing that they have in common + that is that they believe in the fact that no one should be killing kids. though there is an important distinction between blamore and him whenever it comes to this and this is that, it IS willing to try to scare younger vigilantes like robin for example into thinking that it would hurt them with threats and stuff. which isn't right either OFC but blamore, in his mind, thinks that it's far better than the alternative. so he would do thing's like point the sharp end of his tail towards a vital point of theirs and threaten them if they were a vigilante / hero, but he wouldn't dare actually pierce their skin and is ALWAYS going to aim for incapacitating them rather than doing any serious harm to them.

( think of like handcuffing them to something with a bone or just with their hands + feet restrained with one because there ain't no WAY that he's taking the risk of leaving them being able to move their feet JSJSJ or, if he has to and since he does carry them around with it, just kind of... using the powder form of anaesthetic herbs to disable them through skin contact and/or inhalation 🫠 because no matter what way you look at it, even though there are some chokes used in martial arts that are viewed as 'safe,' they could go wrong somehow and cause someone grievous harm to blamore. thus, even though it's still arguably pretty morally questionable at the very least to force someone to be dazed and/or in a sleep-like state, he isn't going to do CHOKES on a dang kid. )

and whenever i say 'kids,' it also considers anyone that is 21 and under to be one because of it's background in psychology + the fact that your brain isn't fully developed until you're about 25 comes into play here too. so blamore's nature as an herbalist also does come into play during fights sometimes. but yeah, so he would go ' WTF ' if someone tried to seriously hurt or kill a kid in front of him because even blamore has lines that he is not willing to cross despite seemingly being this ruthless person who wants to restart EVERYTHING. and he will falter whenever it comes to some things. and it would tell them to get behind it if someone was trying to hurt them and actually isn't a bad caretaker if one were to somehow get stuck with it for a time, because blamore is VERY capable of being like a guard dog guys, ngl ☠️ LOL

[dutybcrne]

Lumine genuinely had a crush on Dainsleif, even in spite of their reservations about the man and the grudge he held against their sibling, though said crush was quashed very quickly upon witnessing the events of the Chasm, send tweet-

[eimearkuopio]

I think every finite life has wheat and chaff. The moments that must happen for us to become our truest selves, the observations around which the spline is fitted in this specific iteration that defines the underlying truth in a close enough approximation that we can identify the infinite self (but I believe every butterfly was once many, many caterpillars, and dying in a cocoon only means being born a cocoon the next time around).

Maybe we have more people with disabilities for a few reasons. Maybe because we have already built a better world than the one we inherited, generation after generation after generation. Mine is the first generation to have it worse than their parents in so many ways; to have too much circus and not enough bread. Maybe our parents' generation doesn't understand that if they cling to the reins because they fear the children they raised won't care for them, or will care as little as they cared for their own parents, they are doing us and themselves a disservice.

My Nana and I are very alike. I have already identified and sought and received treatment for ailments she suffered from her whole life, and she was brainwashed into believing that her suffering was the price of her reward in the next life. She applied that principle to everyone she knew and loved. As long as she thought she was suffering the most, she didn't care how much she hurt other people, and she didn't want to understand better or do better. The treatments I need for my physical limitations may shorten my lifespan; but they also nearly made me kill myself at 28, and I suffered (AND CAUSED OTHERS TO SUFFER IN SPITE OF MY BEST EFFORTS) my entire life until maybe a month ago. I don't know if I am cured, but I know that I finally have a treatment that works for me. I think it will work for some of you.

Do no harm, but take no shit. I had to be wounded and to heal so that I could learn what was truly intolerable. Nana couldn't tolerate things either, but she never resolved the contradictions. She just came up with her iterations of the solutions.

My mother's younger sister died this summer. I didn't know her as well as some of my other relatives. We bonded a lot last summer. She wasn't part of the Church as it currently stands, and that is a tragedy, because she was the greatest livestock guardian sheepdog I have ever known. More feral than me, but that's because I have Nana's blood to temper Grandma's. Sometimes when you cross two breeds, you get the best of both worlds. Sometimes when you breed two species, you can get offspring, but it's sterile. I don't want to live in a zoo. I want to be free. I know that I will always be apart from the world, but I still want to be in it. I want to live before I die, and I want the same thing for all of you, and I think He did, too. I think that's why He sacrificed Himself.

Put down your cross. Please. He didn't want you to be crucified. That's why He let you crucify Him: so you could finally learn how to stop fighting each other. I don't think He expected you to take this long to really get the message, but it's not too late. He is a patient God.

[shinraelectricpowercom]

To add onto this, I write things I like. When someone comments on my work and says "I don't usually like [thing] BUT", they are explicitly telling me that (1) they came into my work expecting they wouldn't enjoy it, and (2) they dislike the things I make art about (because I like them) enough to say so in direct response to that art. Neither of those are things that I, as an artist, want or need to hear.

I know some people see it as a very high compliment, and I presume that the people who say that to me intend it in a "high praise of my skill as an artist" way rather than in a backhanded way, but it's still annoying to hear, because like it or not, the inherent negative implications are as much a part of this phrase as the inherent positive implications. I don't get aggressive at people who say these things about my work, because I recognize that my irritation is my own problem; but I do think it's perfectly reasonable of me to express that irritation in my own space.

i feel like there was a time where people would get mad at people saying "i dont usually like ___ but this is great!" like it was some big insult. to me that always seemed like a deliberately bad faith interpretation of what would obviously read to anyone normal as "i dont usually like ____ but this has qualities so exceptional that it overrides my usual preferences"

[creature-wizard]

Okay y'all, going forward, this is what we're doing.

Shit's scary, I know. But we absolutely cannot afford to surrender to that fear, because that benefits the GOP. They want us to feel powerless, because they know we are not powerless. That's why they have so many shills and bots discouraging people from voting.

We will not demoralize ourselves and each other by doomposting in our moments of panic. If we have a panic attack, that's okay. But we are not going to spread that fear to other people in public. We will save our most scared thoughts for our private journals and close friends. And we will support our friends who are feeling hopeless.

We will remember that spreading awareness of Project 2025 and Agenda 47 has been hurting Trump. And we will continue to do this.

We will remember that right now, our only option is Biden, because without ranked choice voting, getting a third party candidate in is simply impossible. We might not like it, but that's why we're going to push like hell for ranked choice voting once we get his pruny old ass in to office for a second term. (And thank God, he can't have more than a second term; the Democrats will have to find someone else afterward.)

We will not spread conspiracy theories. Conspiracy theories are the weapon of the enemy. We don't need them.

We will not publicly mock Trump in all of this. Making Republicans feel even more victimized is a losing strategy. "But it's my blog-" I'm sorry, are you playing for political keeps or are you just here to fuck around and put everyone's life in even more danger?

We will emphasize the ways that Project 2025/Agenda 47 will hurt everyone. And we will keep talking about it.

We will remember that the UK and France have already avoided far right takeovers in their elections.

All right? You got that? Because we got this if we stick together and keep at this. Shit's bad right now but that doesn't mean it has to be bad forever. We got each other, and we can do this.

[shotmrmiller]

getting shot down by ghost without even asking him out or anything because he'd heard from one scottish bird that your type of guy was exactly like him and thinking back on it now, all the qualities you'd listed for your dream man do sound like as if you were describing him. yikes.

you don't take his rejection to heart, even though it does lightly sting but before you get a chance to explain that said scottish bird is an idiot and very mistaken in his assumption, ghost is telling you that it'd never work, you'd only get hurt and that you do take to heart because what does that mean, exactly? does he think you some dewy eyed farm girl looking for love? that you can't have casual sex with someone without eventually wanting for more?

"tha' ain't wha' i said. you'd get hurt, i mean look at ya." what about you? it's not like you'd let any of what happens behind closed doors affect your performance or anything, you and kyle always keep things professional while in the field.

also, is he aware that he doesn't have to have a reason to not want to sleep with you, or anyone else for that matter?

"you're small," he states, as if fact.

small? small where? your irritation dissipates, shoulders bleeding tension as genuine worry begins to set in. his vision might actually be going bad. could it be the black paint he wears under his mask? is it even safe to use on the face let alone near the eyes? did he read the instructions?

but then you realize he's looking at your legs, or specifically, what's between them and things click, and now you're wondering how someone so bloody brilliant could be this fucking stupid.

"while i appreciate your concern, lieutenant," you pointedly snap, "that's not even- i'd be just fine." he's a big guy, for sure. massive, if being honest. his neck alone is easily bigger than both your hands and you've caught him once or twice having to duck his head to enter the debriefing room but him being so endowed that it poses a threat to you is idiotic at best.

he hums, long and low in his throat, as he peers down at you through heavy lidded eyes, and raises his right shoulder in a shrug. "as you like," and that's the one and only warning you got.

simon had given you as much foreplay as needed, had lapped at your pussy until you forgot what day of the week it was, curled and scissored his fingers until his bedsheets were sodden and it still hadn't been enough. he'd only fit about a fourth of it in before he took pity on you and fucked your thighs instead until he got close, pushing his ruddy tip back into your aching cunt because "spillin' outside is a waste," and sent you on your merry way.

you're no quitter though and after some shopping online, your saving grace (dilators) will be here in a week.

(now to find soap and rip the rest of his hair right out his scalp for wagging his tongue.)