#but that's just a theory. an alternative history theory

[zhoras-bitch]

I’ve been thinking about Drakovia (as you do) and I think the only way you can write it into our world without completely breaking modern history is making it AU Romania which hypothetically sides with the Allies early in WW2 and does not fall under Soviet occupation afterwards. With its status as one of the victors in WW2 and stronger ties with Western European countries, it maintains economic and political independence throughout the 20th century, and that's how the Thorne royal family survives up until modern times. 

Drakovian church is some variation of Orthodox Christianity. Drakovian language would be a romance language like Romanian (with a lot of Slavic vocabulary mixed in). The odd mix of Greek, Slavic and Latin names is explained by the diverse ethnic makeup of Drakovia and migration from neighbouring countries. Thorne is still an odd surname because 'thorn' is of Germanic origin, but Romanian surnames can end in e, and hypothetically there could probably be a word in Drakovian that just happens to sound alike.

[random-movie-ideas]

Weird to think that, in the Stargate universe, the History channel could have evolved in the exact same way it did for us, and yet, for them, it would still be teaching actual history.

[rosemary-gimlet]

Another historically based theory here. Robert Hooke, the writer of this letter, might be referring to the Great Fire of London when he talks about enacting the Protocol.

The Great Fire of London took place in 1666 (this letter is dated to ‘84). This fire is credited with helping disrupt the unsanitary conditions that resulted in the Great Plague of London (1665-1666) by burning down a lot of unsanitary housing that existed in London at the time. This could be the “Dread emission” Hooke is referring to here as Hooke is one of the first Western scientists credited with observing and describing microscopic life (the “Microphagia” line). Of note is that he’s not recorded to have seen bacteria and we’re pretty far from the development of germ theory. So maybe this is wild speculation.

Hooke was also a deeply poor student of science and made his wealth by helping rebuild the city of London in the aftermath of the fire.

This would also fit the episodes theme of “Hard reset” referring not just to the dog but to the entire city of London

Source: Wikipedia

[getvalentined]

Thinking about finally throwing all my FF7 meta analysis and lore deep dive stuff onto a sideblog. It'd be reblogged from here, but I'd be able to organize it a little better, have a directory so people could find things more easily, and maybe it'd stop people from regurgitating things I say word-for-word for brownie points when they can just find and reblog the fucking original post(s).

[flock-of-cassowaries]

My most useful job would be bug remover, but I know myself, and I will always gravitate towards false prophesy.

[palms-upturned]

Frustrates me to no end seeing people say “what’s your alternative to voting blue? Stage a revolution right now? This second? Get real, you’re posting on your computer instead of firebombing walmarts.” I don’t think that you understand what people are actually doing. I know for myself, I’ve been reading more history and theory than I ever have before. I’ve been marching. I’ve been getting involved with labor activism. I’ve been doing strategic research. I’ve tried to archive and share resources. I’ve watched other people do WAY more than I ever have or probably could. I’ve seen people occupy arms manufacturing sites and hold wildcat strikes and disrupt daily life as much as possible. We’ve all seen this happening at unprecedented levels for months now. And most of all, I’ve seen Palestinians telling us, rightfully full of anger, do not ever go back to how things were before. Do not turn away from what’s happening and your own complicity in it.

This is not something that we can vote our way out of. Our state is built on the same violence being inflicted on the people of Palestine. We helped to build Israel. We are still arming it and funding the “war” right now. Even the most half hearted measures from international bodies like the UN to take the bare minimum of a stance against genocide are quashed by the US. As they always have been, our power and resources are used to reinforce imperial and colonial hegemony. That remains the same no matter who is sitting in the Oval Office. And so does our own struggle for liberation. Meaningful change is never, ever going to come from within. We force the change to happen, as we always have.

If you can understand intersectionality, then surely you can understand this: we are not going to free ourselves by sacrificing colonized people. You may vote blue, and for you it could be a matter of life and death. Believe me, as a poor disabled person in a red state who almost killed myself over medical debt, I know the stakes. But I think you have to own the fact that you are empowering perpetrators of genocide and breaking solidarity with colonized people, not even to liberate yourself, but just to bargain with the oppressor for your life. That Palestinians and everyone else who we have harmed are going to be angry and they are more than within their rights. Instead of deflecting by just assuming that no one else is capable of putting their money where their mouth is and actually trying to lay groundwork for change, just do whatever you feel you have to do and sit with the reality of the situation.

Palestine will be free, we will be free, the whole world will someday be free. But for now, this is where we are, and we won’t free ourselves by operating like crabs in a bucket. Get organized, take care of each other, commit to solidarity. Empower yourself and each other rather than the state.

[taliabhattwrites]

I don't think there is a significant or notable number of people who believe transmascs are not oppressed.

I feel slightly insane just having to type this out, but this is rhetoric you inevitably come across if you discuss transfeminism on Tumblr.

The mainstream, cissexist understanding of transmasculine people is the Irreversible Damage narrative (one that's old enough to show up in Transsexual Empire as well) of transmascs as "misguided little girls", "tricked" into "mutilating themselves". It is a deliberately emasculating and transphobic narrative that very explicitly centers on oppression, even if the fevered imaginings misattribute the cause. As anyone who's dealt with the gatekeeping medical establishment knows, they are far from giving away HRT or even consults with both hands, and most transfems I know have a hard enough time convincing people to take DIY T advice, leave alone "tricking" anyone into top surgery.

Arguably, the misogyny that transmasculine folks experience is the defining narrative surrounding their existence, as transmasculinity is frequently and erroneously attributed to "tomboyish women" who resent their position in the patriarchy so much they seek to transition out of it. This rhetoric is an invisiblization of transmasculinity, constructed deliberately to preserve gendered verticality, for if it were possible to "gain status" under the sexed regime, its entire basis, its ideological naturalization, would fall apart.

Honestly, the actual discussions I see are centered around whether "transmisogyny" is a term that should apply to transmascs and transfems alike. While I understand the impetus for that discussion, I feel like the assertion that transmisogyny is a specific oppression that transfems experience for our perceived abandonment of the "male sex" is often conflated with the incorrect idea that we believe transmasculine people are not oppressed at all. This is not true, and we understand, rather acutely, that our society is entirely organized around reproductive exploitation. That is, in fact, the source of transfeminine disposability!

I know I'm someone who "just got here" and there is a history here that I'm not a part of, but so much of that history is speckled with hearsay and fabrication that I can't even attempt to make sense of it. All I know is that I, in 2024, have been called a revived medieval slur for effeminate men by people who attribute certain beliefs to me based on my being a trans woman who is also a feminist, and I simply do not hold those views, nor do I know anyone who sincerely does.

If you're going to attempt to discredit a transfeminist, or transfeminism in general, then please at least do us the courtesy of responding to things we actually say and have actually argued instead of ascribing to us phantom ideologies in a frankly conspiratorial fashion. I also implore people to pay attention to how transphobic rhetoric operates out in the wider world, how actual reactionaries talk about and think of trans people, instead of fixating so hard on internecine social media clique drama that one enters an alternate reality--a phantasm, as Judith Butler would put it.

Speaking of which--do y'all have any idea how overrepresented transmascs are in trans studies and queer theory? Can we like, stop and reckon with reality-as-it-is, instead of hallucinating a transfeminine hegemony where it doesn't exist? I'm aware a lot of their output isn't particularly explicative on the material realities of transmasculine oppression despite their prominence in the academy, but that is ... not the fault of trans women, who face extremely harsh epistemic injustice even in trans studies.

The actual issue is how invisiblized transmasculine oppression is and how the epistemicide that transmasculine people face manifests as a refusal to differentiate between the misogyny all women face, reproductive exploitation in particular, and the contours of violence, erasure, and oppression directed at specifically transmasculine people.

You will notice that is a society-wide problem, motivated by a desire to erase the possibilities of transmasculinity, to the point of not even being willing to name it. You will notice that I am quite familiar with how this works, and how it's completely compatible with a materialist transfeminist framework that analyzes how our oppression is--while distinct--interlinked and stems from the same root.

I sincerely hope that whoever needs to see this post sees it, and that something productive--more productive dialogue, at least--can arise from it.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[reignpage]

Light Show

Summary: in which alien!reader and Gojo are getting to know each other Word Count: 2.5k Warnings: talks of nudity, fluff, a little sexual tension, not proofread

Day 3

“No.” Satoru tuts. “That’s not for eating.”

Hands on his hips, he sighs. 

You’re currently gnawing on a wooden spoon you found in his kitchen drawer, fully clothed in a baggy shirt and sweatpants (his, of course). Before, you were gnawing on one of his shoes, then it was the tv remote, and then it was his phone. Apparently, your kind explores with their mouth. He’s just glad you don’t have more than one of those; he’ll have teeth marks on everything at this rate. 

Tilting your head, you drop the spoon, and it falls on the counter with a clank. You mull your thoughts a little longer before you ask, “No?”

“That’s right,” he confirms with a nod.

“No eating?”

Your Japanese is coming along great, within three days you two have learnt how to communicate, albeit not by much. You’re not going to be discussing current events or the secrets of the universe any time soon, but at least you can understand him when he says ‘no biting’ when you come across something new.

For the most part though, you’re pretty normal. Satoru was surprised you can eat human food like bread and eggs, but pleasantly so — the alternative could have very well been human flesh. You seem to have a circadian rhythm (and yes, he did have to google what that is) because you sleep and wake up the same time he does. 

Over breakfast, he teaches you new words like ‘hungry’ and ‘sleepy’ so you can communicate your needs, and at night he explains movie plots to you. In your first night, he made sure you knew how to dress yourself, though you do still go to him to tie up his way too large sweats on your hips – he needs to buy you your own clothes but oddly enough, he feels no rush. It was kind of funny how you hissed at all sorts of things like the toaster, the kettle, his phone and the sound of footsteps outside his door. But he knew that to reduce the risk of you smashing his beloved coffeemaker on is shiny floor he'd have to teach you what was safe and what it isn’t. 

And it wasn’t easy. 

At times, it felt like teaching his students to keep their lives was so much easier. But you’re so earnest and eager to learn, he couldn’t even get frustrated when you took apart his speaker and tried to swallow a spring. 

The thing he’d been putting off teaching you, however, was how to shower. At first, he debated whether to even broach the topic; it’s inappropriate for him to be the one to teach you. But he also doesn’t have many girl friends who’d entertain the idea of harbouring a literal alien.

He was also aware of the possibility that aliens don’t bathe the way humans do. Maybe you simply need to, perhaps, press a hidden button on your body and BAM! Brand, spanking new.

Testing that theory out, you followed him into the bathroom and watched as he turned the shower on, fully intending to lecture you on the history of bathing. But, pleasantly and shockingly, you’re already stripped and stepping in, water beading down your supple body, dipping between the valleys of your breast and flowing down where he really shouldn’t be looking. 

Satoru cleared his throat and left you to do what you needed to do. He totally did not have to adjust as he stood outside, worried you might slip or turn the wrong knob and burn your perfect skin.

Much to his chagrin however, since then, he’s been struggling with teaching you not to drop your clothes at the sight of running water. When he turns the tap on to wash the dishes, he doesn’t need to look at you to know you’re already untying the knot of his sweatpants. He can’t even close his eyes and avoid the sight of your body. 

Curse his Six Eyes!

He’s working on teaching you a sense of decency and shame when it comes to nudity, but it feels wrong to do so when there’s not really anything wrong with being naked in front of him, right?

Your new friend would never take advantage of you, and he’d certainly never let anyone else in here before you’ve learnt enough things to stay safe and become independent, and that’ll be far, far in the future. So, for now, he’ll just settle for shaking his head and giving you a disappointed look and hope that’s get the message across eventually.

Apart from that, you guys have been getting along very well. You watch movies together and point and laugh at the things you like and then tuck your face in his chest at the things you don’t. When he orders food in, you follow behind, brows furrowed as you eye the delivery man like he’s a threat. 

Satoru knows he should tell you off for being aggressive with strangers, but with the policemen and hazmat suit guys still surveying the area, he’s just happy you have any survival instincts at all. Especially because you haven’t manifested any superpowers like in the movies. 

It would have been so cool if you could, like, move things with your mind or had super strength. So far, however, you’ve just been a normal, slightly disoriented, possibly amnesiac woman. 

A beautiful, amnesiac woman but that’s neither here nor there. 

Peeking through the curtains, he eyes all the people crowding in the parking lot where the crater you created is taped off. They’ve got vans full of doohickeys and weird gadgets, testing this and that, and though he was able to take you from there to his place too fast for the CCTV to pick up, he knows it’s not going to take long before they link it back to him. 

So, reluctantly, he calls Ijichi and informs him that he needs to pull his strings and get all the government interference waved away. Thankfully, experienced and efficient as he is, he asks minimal questions and Satoru’s able to get away with simply humming what sounds like an agreement when he asks if it was a curse. 

“Toru?” You pull at his sleeve, confusion marring your face. “Leaving again?”

That’s the thing about being Gojo Satoru: he’s always needed. Once or twice a day, he’s called away on a mission and expected to work his magic with a cursed technique here and a cursed technique there, blah blah blah. The last two days however, he’s taken a faster approach to those tedious things — with a simple wave of his fingers, the curses are evaporating, and the world is safe once more. No more of his silly joshing around, not when he has someone waiting for him at home. 

Regardless of how fast he’s able to exorcise the curses though, he still has to leave you. And the sad look on your face makes him wish he didn’t have to. Every time, he only ever has one thought in his head: is twenty-eight too young an age to retire?

“Yeah, sorry, E.”

“Stay?”

Satoru shakes his head and sighs out, “Can’t. But I’ll be back in an hour, okay? Then we can watch a movie.”

You smile at that. Nodding your head, you let go of his sleeve and jump onto the sofa with a bounce. In your tight grip is the remote, you’re cradling it like it’s the most precious thing in the world, head tilting and eyes blinking at your new friend. 

“Cute,” he mutters under his breath. Patting your head, he shakes up the hair there and reminds you, “Don’t open the door for anyone.”

Satisfied with your blink, he teleports away, leaving your smile dropping and legs folding, tucked to your chest whilst you hug them. Rhythmic vibrations thrum in your chest, whirring as you wait. 

He always comes back.

————

It’s nightfall when he returns, manifesting in the living room, in the exact same spot he disappeared from. The apartment is flooded in darkness, light dust settling in the air, but he finds your sleeping form with ease. 

You’re all curled up, the remote squeezed in your death grip, and your head lolled between your knees. His shirt is slipping down a shoulder, and his hand is reaching to fix it before he could realise the silliness of his actions — the last thing any lost, sleeping woman needs is a man touching them in the blanket of the night. 

He may be an idiot, but he’s not stupid. 

Satoru’s been sleeping on the couch whilst you’ve taken shelter in his bed, which is not ideal since his ridiculously long body far exceeds the length of his own furniture, and he makes a mental note to buy a longer one. That being said, he doesn’t grumble when he grabs a blanket and fluffs up a pillow, bidding you a goodnight. 

This is the first time, therefore, he’s ever seen you sleep, and it is the most curious thing. He has discovered one other thing that sets you apart from his human peers, even amidst the smooth skin, the eyes, nose, lips, mouth etc etc: your skin lights up when you’re sleeping. 

There are waves of blue light pulsing beneath the surface, flowing up your arms and disappearing under his shirt. And he’s so painfully curious to know if the rest of your body glows like that, if he’ll see that insanely fascinating blue light rising up your legs, if he can trace their paths and find their origin. It’s not the brightest light, in fact it’s barely perceptible, but Gojo Satoru has impeccable eyesight and it’s as clear as day. 

“I’ve found myself my very own night light,” he muses, thoroughly entertained. 

Taking slow and careful steps, he stands before you. He’s debating whether he should just leave you there, all comfortable and emitting light, or if he should wake you up. Maybe you’ll get a crick in your neck from the way your head is bent down. Maybe that’s not even possible for you. 

Maybe the right thing to do would be to carry you to bed, but it’s still early in the evening and you were both looking forward to watching a movie together. He didn’t work hard for hours dealing with ugly little things to not be rewarded. With an impatient huff, Satoru pats your head, gently jostling you awake.

“Hey, E,” he whispers. “Wakey wakey.”

You’re groggy and all confused when you lift your head up. Satoru’s lip twitches in amusement at the faint hum of light on your face, fading as you step back into consciousness. 

Despite the heaviness of lethargy weighing you down, you still manage to smile and gaze up at him in the dark. Huskily, you ask, “Toru back?”

“Toru home, E. Can you say that for me? Home? Home.”

Tasting the sound in your mouth, you mimic the opening and closing of his. “Huh um.”

He shakes his head, fingers pinching your chin with a thumb pulling at your bottom lip. Guiding your movements, he sounds it out with you. “No. Try again. Home. Hohmuh.”

You clutch his wrist with both hands, pinkie slipping under the sleeve, and he has to fight to keep his focus on your lips, soft and plump. He hadn’t even realised that he had bent down or that his face is far closer to you than it should be, but he doesn’t move. 

“Toru. Home,” you parrot back to him. 

Satoru grins. “Well done, E! Yes, Toru home! I’m home.”

“Toru home!” You grin back. And with agile strength, you’re wrestling him onto the couch with you, his gangly limbs flailing in the air as he falls with a laugh, harmonising with your excited giggles.

His head lands on your lap and his legs dangle over the armrest. Within seconds, you’re expertly switching the TV on and picking a movie that must have caught your eye before. It’s one he’s watched already, and he can’t decide if he likes it enough to rewatch it, but he knows better than to argue with you about movie choices since, on the first night he showed you E.T and likened you to the wrinkly creature, you tried to bite his arm off. 

Thank goodness, once more, for his infinity. 

“Alright, alright. No need to be all violent,” he playfully complains, “it hurts my ego when you easily throw me around like a rag doll.”

As the movie drones on, Satoru remains lying there, eyes spending more time scanning your face than the screen. In these three days, he’s developed a routine that feels so imbedded in his bones he can’t remember how he spent his days before.

His once quiet house has turned into a messy, chaotic home where most of his belongings have teeth marks, and his clothes are scattered all over the floor. It used to feel so big, so empty no matter how many fancy, shiny things he’s filled it up with but now he thinks, maybe his place is too small for the both of you, maybe it’s time he considered a proper house. 

One with a garden so you can run around, and you can have fresh air instead of being all cooped up here, hidden away. 

He wonders where you used to live before, whether it’s very similar to his humble Earthly abode or if it’s completely different and magnificent and captivating the way he imagines your world must be to produce you. 

He wishes he could ask and receive an answer. By all that is heavenly, he wishes he could see into that head and know all your thoughts, to be inside and feel you, unrestricted by a language barrier, undivided by what feels like a whole galaxy between you. In the depths of the night, he stares up at the ceiling, overwhelmed with a sense of injustice at the realisation that he’ll never know all of you, not your past, your current thoughts, or your future. 

“Toru okay?”

Satoru snaps back to reality. “Hmm?”

It’s only when you clutch his wrist again, he realises he’s brushing his knuckles against your jaw, skimming and tracing absentmindedly. You don’t stop him, you just hold him there like you’re also seeking his touch, adorable fingers tapping. 

How much of this is real?

How much of this dynamic, this relationship, is based on concrete things like trust and understanding and friendship, rather than mere reliance?

“Toru hurt?”

Sighing, he shakes his head and drags your hand down onto his chest, keeping it there whilst he turns to watch the movie. None of it matters. Because regardless of anything and everything that kept you apart to begin with, you’re here now, and he’s holding you and you can talk and laugh, and he’s happy. 

What else is there?

[dailyadventureprompts]

Hey friends, I was thinking of taking a crack at doing an oft requested "monsters reimagined" for lizardfolk in the next little while, but I found myself stalled out on creating an alternative pitch for their lore.

The problem is that there's so little to work with in the " Ignorant primordial savage" role that they've been pigeonholed into that I'm having genuine trouble finding inspiration.

As such, I figured I'd encourage you all to write your own favourite take on the lizardfolk in the replies/comments, and we'll see if we can't brainstorm our way to an awnser.

Here's some of my own thoughts to get you started:

Lizardfolk as they are presented primarily exist to fufill the role of stock primitive antagonists, a one step more fantastical version of the jungle dwelling cannibals often encountered like pulp heroes like Indiana Jones/Doc Savage/Conan the Barbarian.

In many ways they are the epitome of the "fill in the blank baddie", with everything from their culture to their religion to their motivations being wholly based on the fact that they're lizardy lizards who like to do lizard things and could never be anything but. This is flat and boring, and needs to change if we have any hope of doing something with them.

The whole "uninterested in knowledge", " think with their stomachs", "don't have emotions, just instinct" is one of d&d's most glaring examples of biological determinism. It assigns lizardfolk the concept of "spear chucking savages" and then works backwards to justify why they remain savage while detouring through 19th century race science talking points.

When dealing with any kind of anthropomorphic reptile we're inevitably going to get into the "lizard people" conspiracy theory milieu, with all the baked in antisemitism. On top of that, we're also open to ancient aliens style conspiracy theories given how often Lizardfolk are typecast as "ruin dwelling primitives descended from civilizations long before recorded history".

[bowditch]

every time i see a post talking about how alfred pennyworth failed bruce for not getting him into therapy as a kid i want to scream.

it did not exist. the idea that children could have PTSD was just starting to be discussed in the late 80s/early 90s at the FRINGE of child psychology, and then trauma therapy even for adults spent an unhelpful 2ish decades dominated by forced-conversation talk therapy. that's a thing that is detrimental to trauma recovery, because if someone doesn't feel safe or in control of the dialogue about their trauma and is repeatedly asked to describe their trauma when they're uneasy, it COMPOUNDS TRAUMA AND FEELINGS OF DANGER.

when bruce was a kid, even the best psychs available would have had training that taught them kids bounce back, that kids don't respond to or handle trauma the way adults do, and that any behaviors post-trauma were almost certainly unrelated mental illness.

i see this esp in fandom circles but a gentle reminder that therapy even when it's good doesn't fix everything. even if bruce had HAD access to good childhood PTSD therapy, he would still have grief, he would still potentially be socially awkward or withdrawn, he might have still decided to be Batman because it's a comic book where being a vigilante isn't as wild as it is irl.

therapy requires honesty, readiness, safety, sound application of theory, an accurate picture of life outside the therapy room (self-reporting is often flawed!), consistency, and more! it can help but it doesn't erase trauma or grief. it's dismissive of the history of trauma therapy to say an adult "should have" had a kid in a therapy approach that didn't exist, and it's dismissive of the actual work of therapy to act like therapy would have made everything ideal. bruce isn't going to be a normal, well-adjusted adult because his parents were murdered in front of him. he could be happy! he could have coping skills! but honestly it would be weirder if he didn't wrestle with residual trauma and grief throughout his life.

and maybe this is just because i love Batman, and love specifically Batman as a symbol/figure of hope and sacrifice and the belief that every life matters, but I don't think the worst ending here is Bruce deciding to give up a lot of his time, energy, and health to work in Gotham AND then choose to parent a traumatized child and actively meet his needs. like you think the alternative is that Alfred is a better parent by getting him into non-existent therapy and then he stays comfortably wealthy at home and is just another rich dude? that's the ideal version? the one who can't help Dick Grayson because Dick Grayson wants to run away and murder a man?

anyway tl;dr alfred should have flaws, yes, but there's a big gap between "flawed human parental figure" and "man who massively failed Bruce in multiple ways, one of which was not putting him in therapy."

[ozzgin]

So like unsure if this is worth meentioning or not, but I drew what I think the yandere school and darling school will look like, can you take a wild guess which is which?

(Sorry if the image is shit, the drawing was TINY)

I thought you were going to say you drew some characters, not like, whole 3D buildings. Holy cow, as someone who's (unsuccessfully) made the occasional house in Sims 4: big flex. I'm jealous.

At the time I started writing this post, I did notice the tiny scribbles on the welcome signs. So while the answer has been found, I will give you my pre-discovery reasoning as to why both cases work (at least in my mind).

First picture immediately made me think of a cute, dreamy school made for Darlings. Everything is nice and welcoming, you've got a little pond and a particularly slithering path, made for cozy walks. They're not in a hurry. They take their time, admire the scenery, and potentially miss out on someone stalking them: the true nature of a Darling.

But then I thought, well, alternatively, this could be an old, prestigious building fit for Yandere School and its rich history. It's imposing, somber, away from the city bustle, with a big tower so them hawk ass students can spy on others and hone their skills. The stalking tower.

For the second drawing, my initial assumption was "this must be a prison structure to keep the maniacs away from civilians". The closed inner courtyard and fat gate to the right ensure that the yandere students won't escape to do some borderline criminal tomfoolery. Eat your sandwich inside, you damn crazy rascal. Every now and then the nurse will receive a student with small burns or superficially stabbed rump: a failed attempt at jumping the electric, barbed fence to chase after (Y/N) (the only one allowed outside during school time).

Then I started doubting my theory. The opposite may be just as true: the inner yard and gated community could keep the danger outside instead. In other words, making sure that the poor Darling students can enjoy their breaks without the dangers of being stalked. Or maybe it's where they train their potential future imprisonment. "It's a little uncomfortable", one student confesses, curled up in a cage in the designated capture area. "You must work on your flexibility", the teacher remarks, observant and thoughtful. "See, you're too stiff in your knees. It adds pressure. Mind you, this is a generously sized cage. Some yanderes might go even smaller, so you should be prepared."

[chimerical-daydreams]

Will Loop ever tell or will there be a Plot that makes the King know who he could have been? Makes everyone else know his alternate history? Where is Loop from? In the end, I don't think they'll ever volunteer

Elaborating on my answers to a similar question, Loop is absolutely not telling anyone by their own will.

they are halfway decent at keeping their mask up while sif is around, but. uh. its starts to wear down after a while. they slip up and mention things they shouldn't, start acting kind of weird all of a sudden, and then Something happens (i havent decided what exactly what, but I have a list of options), and they just Fully Lose Their Shit. act 6 secret bossfight style. the truth abou loop comes out in a explosive manner, and they're fully ready to just Exile Themselves Forever or to just. Die. but as always, their family welcomes them back with open arms and a new understanding of them as a person.

But, as time goes by, and they find more of their family, it gets harder and harder to hide that they Know something that everyone else does not. By the time they cave and get Siffrin into the group, everyone is at least aware that Something is up, but no one is sure what, as Loop always finds a way to deflect if they ask about their past.

(Nille's theory is that their transformation into a star was physically destructive, and that it killed their family that was in the vicinity, and they haven't forgiven themselves for it. Odile's is that they have some kind of foresight or other impossible source of knowledge, and that they're calloused from knowing the death of those around them).

Much closer at the end of their travel, while the party is taking a stop in a small town, King goes off by himself, and Loop follows behind. They find him at the foot of the tallest tree, carefully sorting through the leaves. When he perks up, one shiny leaf in hand, Loop understands what he's doing. This is a Favor Tree. He's going to make a wish. They cannot, under any circumstances, let that happen.

Loop snap forward, grabbing the King by his forearm, and asking him what he thinks he's doing. A bit shaken by their sudden appearance, he explains that he wanted to make a wish, that their journey is coming to an end, and he wanted everything to go right on this last stretch of the way. They won't allow it, they can't. He asks why? What's wrong with what he's doing, and they just wish he'd just understand why-

King slumps forward, unconscious. Loop catches him. Oh no, that wasn't what they wanted, that's not what they meant, why did they have to phrase it like that, please oh no no no-

Meanwhile, the King is having a Very Bad Time, his mind sent to go meet the other version of himself. He, of course, gets frozen in time, forced to watch as a band of very familiar faces go against the monster that wears his face. They all fall before him in one fell swoop and all he can do is watch in horror as Vaugarde succumbs to static, only broken by the sound of sobbing from his other self.

Loop is pacing back and forth under the Favor Tree when the King wakes up, hyperventilating and clearly scared. They sit next to him, and after he calms down enough to talk, explains what he saw. Loop winces at the recollection. When he finishes, after a moment of silence, they ask if now he understands why they don't trust him around wishes. He says yes. They linger under the tree, embracing the quiet for now.

[jinjeriffic]

DCxDP Prophecy Universe Part 5

Part 4

After collecting their bags from the library lockers Jazz led him down the hallway until she found a small, unlocked, empty classroom. The room was barren except for desks and a whiteboard. I guess they don’t bother locking it if there’s nothing worth stealing.

Jazz sat her messenger bag down on the teacher’s desk and pulled a whiteboard marker out of a side pocket.

“Right,” Jazz began, “I don’t know how much you know about ecto-entities and since, as you said, the reports on them tend to be pretty biased, I’m just going to start from scratch. Sounds good?” she rambled.

Tim hopped up onto the front row desk and tried his best to look like an attentive teacher’s pet.

“Yes, Ms Fenton,” he said cheekily.

Jazz gave him an amused look.

“Careful Mr Taylor, or you’ll end up in detention,” she said lightly. She turned to the whiteboard and gathered her thoughts for a moment, then wrote ECTO-ENTITIES in large block letters, “Many people refer to all ecto-entities as ghosts, but this is actually a misnomer. Ghosts as most people think of them, i.e. the restless spirits of the dead, are only a small subset of the ectoplasmic population. There’s plenty of them that were never human to begin with,” higher up on the board, she wrote INFINITE REALMS, “Ecto-entities originate from a parallel dimension to ours, which is called the Infinite Realms by its inhabitants. Though my parents refer to it as the Ghost Zone, that name is woefully inadequate.” Jazz paused and glanced at him.

“Kinda like foreigners renaming places instead of using the one in the native language, gotcha,” Tim nodded. They had dealt with alternate realities before, so this wasn’t completely out of left field. He would go along with it for now. Jazz gave him a small smile.

“That’s right!” she said and tapped the whiteboard, “Now, the Infinite Realms and our dimension are closely interconnected, like two sides of the same coin. Large scale damage to one would cause similar devastation on the opposite side and vice versa,” she gave him a serious look.

“Which makes the hostile attitude of the paranormal research community rather worrying,” Tim mused, “If someone did something stupid the blowback would hit us too,” If he wasn’t trained to read people he would have missed the slight tightening around Jazz’s eyes.

“That’s the theory anyway. And it’s not like the US government ever dropped bombs on people just to see what would happen,” she chirped with false cheeriness.

There’s a story there, Tim thought, and not the kind you would find in a history book. What the hell has been going on?

“I’m guessing getting access to the Infinite Realms isn’t as easy as calling an Uber though,” he joked.

“You’d be surprised,” Jazz said wryly, receiving a raised eyebrow in response, “there are places where the barrier between worlds is naturally thin, allowing temporary rifts to form more easily, but they can pop up pretty much anywhere in the world. It’s what allows ecto-entities to enter our dimension. It’s also not unheard of for humans to stumble into the Realms either, though they’re lucky to return at all,” she twirled the marker between her fingers, “Time doesn’t seem to work the same way in the Realms as it does here. Just in case you ever come across one, make sure to leave through the same portal you entered. Otherwise you might find yourself stranded in the Middle Ages, or far in the future with everyone you know and love long dead.”

Tim had to fight to keep down a wince. The whole Bruce Lost In Time Debacle was still an emotional scar for the family, they really didn’t need a repeat performance.

“Duly noted.”

“Some entities are able to open and close rifts at will,” Jazz continued, unfazed by Tim’s dry tone, ”though that ability seems to be pretty rare. It probably requires an unusual level of power or incursions would be much more common.”

“That would explain the little disappearing trick Damian’s delivery guy pulled,” Jason murmured through Tim’s earpiece, “But does that mean we’re dealing with a fucking super ghost?”

Tim gave a thoughtful hum and drummed his fingers against the edge of the desk.

“Do you think humans could open a portal to the Realms?”

Jazz gave him a wry smile.

“You just summed up the bulk of my parents’ research over the last two decades. They managed to build a functioning portal about two years ago.”

Tim choked. Jason swore.

“What?! But that’s-! How is that not all over the news?!” Tim sputtered. Jazz just sighed.

“My parents have been ranting about ghosts since they were in college,” she said wearily, ”Most of the scientific community had written them off as crackpots years ago. It doesn’t help that large concentrations of ectoplasm generate some kind of interference that messes with recording equipment. Short of kidnapping the naysayers and shoving them bodily through the Fenton Ghost Portal it’s hard to prove anything. And thankfully even my parents aren’t that crazy,” she finished with an eye roll.

Tim buried his face in his hands. An interdimensional portal. What the fuck. He thought back on everything Jazz had told him so far.

“What’s ectoplasm?”

“You’ve been paying attention!” she smiled and added some notes to the whiteboard, “Ectoplasm is the basic building block of everything in the Infinite Realms, and by extension ecto-entities. Hence the name. It’s the equivalent of matter in our dimension; atoms, protons, quarks, etcetera. I’m not a physicist, so I can’t tell you exactly how it works, but that’s why ecto-entities are able to interact with our physical world in such fascinating ways. Flight, intangibility and invisibility are all common abilities for them.”

“Wow, what a fucking security nightmare. B is gonna freak,” Jason groused. Tim tuned him out to focus on Jazz’s continued explanation.

“My parents have been experimenting with using ectoplasm for power generation, but it’s proven extremely volatile. It seems like it’s affected by things like belief and emotion which is absolutely fascinating,” she said with a gleam in her eye, “not to mention its effects on organic tissue. Have you ever had your dinner come to life and try to eat you?”

Tim had a sudden, horrible suspicion.

“Can’t say that I have,” he managed to squeeze out past the lump in his throat, “Um… Jazz, what does ectoplasm look like?”

“Well that depends on what it’s been affected and shaped by but in its raw form it looks like a bright green, glowing liquid,” she tilted her head, “Why do you ask?”

Over the comms, Jason made a sound like someone had kicked him in the crotch.

“Lazarus water?! Is she talking about the fucking pits?!” he choked out.

Tim made a valiant effort to keep his own reaction in check.

“Oh, just wondering how I’ll recognize a ghost- er, ecto-entity when I see one,” he lied with fake casualness, “You mentioned something about powers?”

“Yes! All the entities we’ve encountered so far have exhibited powers which are common to their species, as well as additional powers that seem to depend on the individual core. I’ve theorized that powers develop as a response to stress related to either their Obsession or death trauma…” Jazz trailed off, “aaaaaand I’ve lost you.”

“Sorry.”

“It’s not your fault, I know I have a tendency to ramble,” she said sheepishly and considered the bullet points she had written so far, “Let me backtrack a bit. Not all ecto-entities are ghosts. There’s personifications of concepts, which I theorize are formed through the collective consciousness of living beings. They are entities which represent Hope or Justice or-”

“Time?” Tim interjected. Jazz gave him a calculating look.

“...sure. They are among the most powerful entities and have powers related to what they represent. I suspect they may have even been worshipped as gods at some point. You definitely wouldn’t want to mess with them,” at Tim’s nod, she continued, “There’s also the Neverborn, which are formed when ecto-entities choose to reproduce. They are entirely of the Infinite Realms, and thus were never ‘born’ into our world.”

“Ghosts can have children?” he said, surprised.

“Yes, although I’ve never been able to get the details on how it works. They don’t like to discuss it with outsiders. And considering they can look like dragons or disembodied floating eyeballs I’m not sure I’d want to know the exact mechanics,” she joked.

“I’m sure there’s plenty of people who’d disagree with you on that,” Tim muttered, then paused. “Wait, dragons?”

Jazz waved her hand dismissively. “Don’t worry about it. The point is that there’s way more to the other side than most people realize. There’s probably lots of things I’ve never even heard of. It’s quite exciting, really!”

Tim worried about it. A lot. Jason had also gone suspiciously quiet.

“So, ghosts are just the tip of the iceberg?” Tim hedged.

“Exactly. What sets them apart from other ecto-entities is that they are usually created upon the death of someone or something from our dimension, which gives them motivation to come back here,” Jazz added more notes and arrows to the whiteboard. “All entities have something they call a core; think of it as their central organ or brain. It houses their consciousness, and its nature affects what powers they get. There’s all kinds of elemental cores like fire and water, but also more esoteric ones like shadow or technology. An ecto-entity’s body is composed of ectoplasm and moulded by their core. Their physical form is malleable and heavily based on their self-perception. With experience they can change shape to suit their needs.”

Tim mentally added shapeshifting to the growing list of powers to worry about. So far it sounded a lot like a Martian’s.

“So can ecto-entities grow and age?”

“It depends. The Neverborn usually do, but a lot of ghosts have a bit of a Peter Pan thing going on where they don’t want to. They are often ‘stuck’ at the age they were when they died, physically and mentally. Though there’s always exceptions.”

Tim hummed thoughtfully. Something had been bothering him since ghosts had first entered the equation.

“Jazz, if ghosts don’t age or die, why aren’t they all over the place? Even if rifts are rare, shouldn’t there be hundreds of thousands of years worth of dead folks wandering the Earth?”

She gave him a sad smile.

“I never said ghosts couldn’t die, Adam,” she said carefully, ”And not everyone who dies comes back as a ghost. The ones who do typically have some unfinished business holding them back. Like an obsession they never got to fulfill, or a loved one they are watching over. Once they are done, they are free to move on to whatever Afterlife awaits them,” she sighed and crossed her arms, “It also takes a lot of energy for a ghost to do anything in our world. I think a majority of them never hit that level, or can’t keep it up for any significant amount of time. It’s also part of the reason my parents are so biased against them.”

“I’m not sure I follow.”

“Think about it. Most ecto-entities are just like regular people, going about their business and keeping their heads down. The ones who are both motivated to cross into our world, powerful enough to manifest and tend to make themselves known are the troublemakers. It would be like an alien looking at the population of Belle Reve and concluding that the majority of humans must be super villains! It’s sample bias.”

Tim bit his lip. This all sounded worryingly plausible, which would mean a literal world of trouble about to come down on their heads. Fuck, just what we needed.

“You mentioned that ghosts can die. I assume you don’t mean from old age, right?” he queried. Jazz looked at him wearily.

“You’d be right. If an ecto-entity’s core is too badly damaged, they will cease to exist,” she said cautiously, “It doesn’t help that ghosts tend to maintain a strength based social hierarchy and are fiercely protective of their territory. Ecto-entities usually have a lair within the Infinite Realms, and those who cross over to our dimension often establish a haunt to call their own. Any intruders would be met with violence,” she sighed and rubbed her forehead, “My parents have also been developing weapons to fight ghosts with… varying degrees of success. A lot of their tech runs on ectoplasm which makes it pretty temperamental.”

Seeing Jazz’s obvious discomfort with the topic, Tim decided to switch tracks.

“Is there any way to tell for sure if my brother came back as a ghost?”

Relieved at the change, Jazz made a see-sawing motion with her hand.

“Kind of? My parents tried for ages to build a ghost detector but they never got it to work quite right. Too much ambient ectoplasm in Amity I guess,” she shrugged as if that statement wasn’t extremely worrying. “You could always grab a ouija board or something and try asking. Just… don’t ask a ghost about their death. It’s a major trauma for most of them and there’s no better way to send them into a frothing rage. If they volunteer the information that’s one thing, but to ask about it is like the social faux pas among ecto-entities.”

Tim nodded and made a mental note to get his hands on some Fenton tech. He had a feeling it was going to be a long week for him.

Jason and Tim didn’t speak until they were safely back in the car. Tim was mentally composing the report they would have to make to Bruce. He was not looking forward to his reaction.

“So,” Jason began with fake casualness, “an interdimensional portal in Illinois.”

“Yep.”

“Creatures made of fucking Lazarus Water.”

“Sounds like it.”

“And we still don’t know if our mystery meta is Bruce’s dead kid or not.”

Tim groaned.

“It all adds up though, doesn’t it? The camera glitching, the powers, the portal…”

“And that damned prophecy. The personification of Time, huh?”

Tim pinched his nose to stave off the growing headache. They contemplated the fucked up situation they had stumbled into in silence for a few minutes. Finally, Jason sighed and started up the engine.

“Rock-paper-scissors for who has to tell B?”

Part 6

[vaspider]

My question about the AIDS crisis, I'm mostly asking you because like I said, I don't think I was googling the right things, so even if you could just suggest some things to google that would be more likely to get me answers, that would be really helpful.

I guess it's mostly how did AIDS (and to some extent, any STD) become so widespread? I know that it spread through sexual contact and shared blood, but can you really "six degrees of separation" (god, that sounds so flippant, but i genuinely can't think how else to describe it) a chain of sexual partners and shared needles through any two people with HIV in the entire world? Maybe it's just because I'm a bit of a hermit, but while I can understand how it was so devastating once it was already widespread, I guess I'm having trouble understanding how it got such a foothold in the first place. If the first person with HIV had happened to not have a lot of sex would the AIDS crisis never have happened?

I swear I have absolutely no judgement for people that like to have a lot of sex, maybe I just have an underestimate of the amount of sex the average person has because frankly I don't have any? So I hope this doesn't sound disrespectful or anything, it's just kind of hard for me to believe those "six degrees of separation" kind of things in general when it's not like, famous people, so the realization that theoretically any two people with the same STD, on different parts of the globe, would have this string of sexual partners connecting them almost feels like there has to be something I'm missing... But when I'm googling things like "how did HIV become so widespread" and "how do STDs spread" I'm just getting things about how you should use protection and histories of *where* HIV spread rather than answering this more specific question (probably didn't help I was trying to do this research at 1am)

I mean this as kindly as possible:

What is your proposed alternate theory as to the spread of a disease which is transmitted through contact with blood, semen (and pre-seminal fluid), rectal and vaginal fluids, and breast milk? The disease does not spread through saliva or through touch which does not involve those fluids.

There are relatively rare cases of HIV spread through accidental needle sticks - according to WebMD, there are approximately 385k accidental needle sticks among health care workers per year in the US. WHO says that .7% of the global population has HIV, so for some back-of-the-napkin math, at most, you'll have about 2,700 of those needle sticks involving someone with HIV. Since (again, according to that WebMD article on accidental needle sticks), in cases of an accidental needle stick where the patient has HIV, the health care worker only has about a 1 in 300 chance of catching it (as opposed to 1 in 3 for an unvaccinated person catching hepatitis B via accidental needle stick from an infected patient). So - nationwide - you have approximately 9 people per year catching HIV from a needle stick.

And, to be clear, that fucking sucks. However, according to the Bureau of Labor Statistics, in 2022 there were approximately 14.7 million health care workers in the US. Not all of these people have equal risk for accidental needle sticks, but there's only so much research I'm gonna do for rough math to answer an ask on Tumblr.

The average US health care worker has approximately - again, based on my back-of-the-napkin math - 0.00000544% chance of contracting HIV from an accidental needle stick. It's astronomically more likely that a random health care worker will die from tripping over an extension cord or breathing in a caustic chemical than that they will catch HIV.

The chances of getting HIV via blood transfusion before we started routinely testing for it were all but assured if you got blood from someone with HIV. Testing now is so stringent that you have about a one in two million chance of getting HIV from a transfusion. The last recorded case I could find was in 2010, and before that, it was 2002, and the 2010 case happened in part because the donor lied about his risk profile and often participated in anonymous and unprotected sex with partners of multiple genders. He really shouldn't have been accepted as a donor at all. Approximately 4.5 million Americans receive blood transfusions per year, so, like, nowadays, it is excessively unlikely, but even in the 80s, it was an edge case means of infection, not a main source of pandemic spread.

A breastfeeding parent with a detectable viral load has about a 15% chance of transmitting HIV through breast milk. Likewise, HIV can be - and was - transmitted to babies during birth because of contact with vaginal fluid or blood, but, again, these relative edge cases are not the things pandemics are made of.

I want to stress that I am not in any way minimizing the absolute tragedy of the AIDS crisis, and I am not dismissing the fact that these methods of transmission are possible and did cause significant disruption to blood banks, stress for pregnant people with HIV, and so on. They just simply are not major methods of transmission, and never were.

With all of that said... what is your proposed alternate method of transmission, with these facts in hand? What do you think happened? Genuinely, this question is so baffling to me.

I think it's important to understand that before the emergence of HIV, most of the STIs we had were at that point either considered an annoyance (warts, HPV) or were extremely easy to treat and cure (syphilis, once a death sentence, became basically a non-issue for most people in the US as long as they were getting tested relatively frequently, and most other common STIs even today can be cured with a single course or even a single dose of antibiotics).

With that in mind, a lot of people, including a lot of queer people, were having a lot of unprotected sex. For people who could become pregnant, the advent of the pill and access to legal abortion meant that they didn't have to become or stay pregnant if they didn't want to, and for cis gay men, the prevalence of antibiotics meant that the vast majority of STIs were a brief inconvenience at worst.

So allo people did one of the things that allo people (and some ace people!) love to do:

They fucked. A lot. They fucked without fear of much consequence in terms of infection, and because it was much riskier to bring someone home where you could be seen, a lot of gay men cruised, fucking in parks or in literal back alleys or the bathrooms of clubs. They worried about getting arrested or getting caught and having their names in the newspaper much more than they worried about STIs. Sex workers, including trans sex workers, fucked in cars or hotels or... wherever the money was, because survival sec work is ... survival.

So... yeah. What is your proposed alternate theory, here? I am truly baffled at what you think otherwise happened, given a disease with a very narrow route of infection.

[struggling-jpg]

Thoughts About the Potential Underlying Hidden Tragedy of Yanqing and Jing Yuan

that isn't just the "Yanqing will have to kill Jing Yuan eventually" red flags.

A relatively longer-ish post so thank you for bearing with me if you choose to do so!

I'd already been thinking about this whole mess of thoughts for a long while now, and so have other people, but the urge to write this came from a comment I saw on a post that mentioned how Yanqing had lost to "Jing Yuan's ghosts" and overall how it contributes to the dynamic of them being mentor/mentee + father/son. While the narrative seems to be leading to "Yanqing having to strike down a Mara-stricken Jing Yuan," there's just enough weird points that stick out to the point some alternative outcomes for Yanqing and Jing Yuan's fates to play out.

And while I anticipate HSR to follow that most expected point, I feel like there's enough there that could lead to a subversion or something more likely than that, an additional twist to the knife alongside the expected point.

Jing Yuan's Flaws as a Mentor and Father-Figure:

While most of us love the family fluff, I'm pretty sure we can all acknowledge the issues in Jing Yuan's approach and decisions in regards to Yanqing. Yeah, this is a fictional space game story where it's likely they aren't going to delve into the consequences of having someone as young as Yanqing be a soldier, there seems to be something there regardless. Like the brushes with death that he has and how we see him have to worry about the Xianzhou's security as a teen due to having a higher position in a military force. This is all set up for more of a coming-of-age type narrative for him, which HSR has done amazingly so far, but there are a lot of chances for this to explore something darker.

Among official media, the one time I could even remember the term "father" being used in relation to Jing Yuan is in Yanqing's official Character Introduction graphic:

Another notable thing that we see here is how we do have moments where Yanqing expresses thoughts and questions about his own origins and birth parents. The fact that even here, he wonders if the general is hiding something from him, sets off some alarm bells in my head. But he then brushes that off because he's always been with the General and Jing Yuan accepts him for who he is (which under the theory that Yanqing originates/is connected to the Abundace adds a whole heavy layer (this will be discussed in a later section)).

Yanqing does something similar in his texts:

As Huaiyan says to Jing Yuan:

"Yanqing can understand your concerns."

Alongside Yanqing generally being a considerate and polite boy, it can possibly be said that his eagerness to share Jing Yuan's burdens not only stems from his own gratitude towards him but possibly also Jing Yuan's distance.

As in, Jing Yuan doesn't really express his feelings so blatantly, and what we can clearly tell from when Yanqing first met "Jing Yuan's ghosts," neither does he speak much about his past too on a personal level. In Jingliu's quest, Yanqing says that Jing Yuan simply told him to forget everything he saw that day.

For Jing Yuan, the loss of the quintet is a grief that feels fresh in his heart, especially with echoes of them running around him. This is in the description for "Animated Short: A Flash":

(Will also talk about this in a different section)

While Yanqing learns about his General's past in a more direct manner (aka the people involved), it's sad how avoidant Jing Yuan is at times. While he's never been a upfront person, especially in the case of solving problems, I wonder if HSR would go as far as to show the negative side of that in terms of raising and teaching Yanqing.

History Repeats Itself (Sometimes It Don't Need A Reason):

+ the Jingliu parallels

Following up on that last image, Jing Yuan, especially in A Flash, has that whole "history repeating itself" thing going on for Jing Yuan. It points to Yanqing having to take down Jing Yuan but it also comes with a lot of its own possibilities and meanings.

It's blatant that Yanqing parallels Jingliu to an unsettling degree. Anyone who personally knows Jingliu and meets Yanqing sees her in him. Jingliu probably sees herself in him as well. Beyond powers and passion for the sword, her Myriad Celestia trailer shows that her principles before getting struck with Mara were the same as his. But it took her losing her dear friends in such a cruel and brutal manner (alongside how long she'd been alive) for all of that to fall out and form the version of her we see today.

And while it seems that Yanqing is deviating from Jingliu's due to the teachings he's learning, especially with Jing Yuan's effort, I feel like there's still a chance for things to go so wrong and mess with that. Yukong's line about him strikes me as concerning:

"A sword will vibrate and beg to be unsheathed if it is unused for too long... Once unsheathed, it will either paint the battlefield in blood, or break itself in the process..."

Even though I don't think HSR will go down a route of tragedy with Yanqing, like say, he gets Mara struck somehow or killed because that's not how Hoyo's writing has fully gone for playable characters (Misha and Gallagher aside in terms of death). Even in the most despairing parts for Hoyo's games, they're usually outlined and tinged with hope in one way or another. It's just that with what's been presented, there's got to be more here than meets the eye.

Yanqing's Origins - The Breaking Point:

From what we've been given, I think the number one thing that would have the potential of shaking Yanqing's entire sense of his life and the reality he lives in is learning where he comes from. Where he actually comes from has been a strange mystery since the beginning, how Jing Yuan getting him being recorded in the military annals of all places.

As shown from the screenshots of Yanqing's texts, he doesn't know and tries to brush it off because he's happy with Jing Yuan now. The choice to have this aspect here leaves a lot to ruminate on. What is Jing Yuan hiding? And if he really is witholding information, does he ever intend to tell Yanqing? If he doesn't and Yanqing finds out, how will it play out? And even if he does mean to tell him, depending on the severity, how will Yanqing take it?

It's why the theory that Yanqing is connected to the Abundance, possibly even coming from it directly, is as harrowing as it is.

With his arc in mind, will his development be enough to sustain him when he does find out the truth? If he finds out sooner than he should, will he be able to rise above it? And what of Jing Yuan? If confronted with a situation that's outside of his control again, what will he do and how will he react?

The potential in that scenario is so fascinating to me, because we can all anticipate the absolute gut punch that Yanqing killing his master would be. It fits Hoyo's writing style of something so sad but having a hopeful end for the future type beat. But the idea of that being twisted, that expectation being flipped on its head, could be so agonizing. It's not a narrative we see too often explored, at least in my experience, so maybe that's why I'm brainrotting over it so much lol.