#but the difference is that i changed my perspective and way of viewing things

[strawberrystepmom]

re: cancer men - the creators and dreamweavers of the zodiac:

okay hi hello. i was reading and am perpetually reading anthony bourdain's books and felt inspired to kind of break down at least astrologically the mystique of the cancer man. this is not a defensive essay but rather a piece that can offer a (hopeful) shift in perspective with regards to how we view these people in our world and our lives.

so the cancer man often has mommy issues. i hope you heard me sigh very loudly saying that because i hate using catch all terms for things that require nuance but it's a concept we are all familiar with based on term alone so it's what i'll use. my rebuttal to this is also - who doesn't? in some capacity? then i remember i'm a water sign and my mom was a cancer and i need to keep this moving on...

mommy issues aren't an indictment, they're most often just an indicator of areas where a person needs more support. perhaps they're a little scatter brained and need a partner who wants to help them get organized. perhaps they're a little emotional and have been told such their entire life to the point they're no longer wanting to be emotional so they need a partner who is willing to be a bending ear.

these areas of emotional need can lead to cancer men specifically tending to really need a lot of strong reinforcement from the women in their lives if they're unwilling to look inward and re-mother themselves so to speak. they can lean on their partners a lot because it's hard to talk about the deep feelings they have. when you agree to love a partner who shows you they need this support, you guys are gonna get mad at me for saying it, but it needs to be provided in a healthy and functional way. if you cannot provide that support do not take up with a man who already has inherent emotional distress just bc he dared to be born under a water sun.

that being said - i implore you, cancer man who may be reading this, to become your gentle inner voice. to reassure yourself that you're doing a good job and that you haven't done wrong. a cancer's fears can seem almost childlike to the uninitiated (do i know what i'm doing? is this going to last forever? what if they change their mind? what if? why? who? when?) but my rebuttal to that is also - all of our own inner monologues are our child selves or someone who hurt our child self. reserve judgement about the maturity of other's emotional processes.

cancers (all genders/identities) instinctively use their protective shell to get them through life. they are symbolized by the crab after all, so they sometimes assume costumes both literal and metaphorical.

in men these may be different personalities - you'll find the doer who shows up to your house with boxes and helping hands when you tell him you're moving, the quiet stoic lover who meets your needs in the most unassuming of ways, the man who is using macho as a defense mechanism who peacocks around and uses emotions as a weapon and finally, the man who is using his own machismo as a charming safe haven for others with hands that only wish to caress and heal (my favorite).

i mean god, a lot of cancer men either lean into the super affable cute sweet guy in hoodies and jeans while absolutely blasting the most insane screamo music in those headphones or they are tattooed, love to look alt because it hides that their top artist for this year was mitski just to give you an idea of the physical identities they may assume.

cancer men crave intimacy. their deep desire for enduring love, family, a place to call home no matter how transient everything else in their lives may feel isn't incidental, it's their birthday candle blow and falling star wish every time they see one.

they just have a tendency to rebuild their shells if they have broken through and start to feel unsafe with someone. they can become combative. the "yeah and what about you?" starts at that point and things can start to break down if you aren't willing to look deeper and realize he's hurting and that's why he's lashing out. it isn't okay, it isn't right, but it's the way cancers (and tbh all water signs why else do we have terror reputations) behave when they are retreating.

cancer men are gifted at making their loved ones dreams come true because almost always, they're making theirs come true as well through the process. they're life builders. commit to him and don't question him and he will give you everything you could ever want if he's done his inner work and he's ready to do so. let him build you the fantasy. embrace a man that loves you so much he wants to give you a babylonian garden of your own.

that being said, it's not your responsibility as someone who loves him to get him to that point so proceed as you wish but be aware that if you give up, you won't get the opportunity to come back once he's all fixed. don't cross a cancer - they're twice as vengeful as a scorpio with a virgo's very, very long memory and you will live your entire life being reminded that you didn't love them when they needed to be loved the most regardless of how true it may or not be. cancers deal in facts and feelings both and oftentimes their feelings are where the facts come from and experiences may vary.

but anyway yeah

[miwiheroes]

Hey! Miwiheroes

I saw you succesfully converting a mileven into a byler, and can you do the same to me plz? I don't like mileven community, they often are really close minded and I don't wanna be a part of it anymore. I open the debate and please try to justify this things that make me believe in mileven endgame:

1- Mike has insecurities since s1 about feeling needed and having somebody to lean on, I do believe Mike's family lacks love and is cold, and maybe that is why he has those insecurities. Where am I going with this? Well, when El disappeared, Mike got super upset and, in my opinion, he overprotected Will so he could FEEL like somebody needed him, I think Finn and the Duffers mention it in an interview a while ago. So maybe that is the cause he couldn't say "I love you" to Eleven, he even says it, he believes she will leave him eventually, like everybody does. That is probs the cause he is obsessed with El in s3, because he really loves her and is too scared of losing her.

I just can't see why byler is supposed to be the endgame. I think in s5 Mike will motivate El to fight and they eventually will come together at the end, having their happy ending.

+ Maybe he was sad in the snowball because he thought El would just leave him there

Those insecurities are not healthy for a relationship, but they show he really loves her

I would love to see this things from a byler perspective if you can

Tyyy

Hiya!! Glad you came to me it's such an honour tbh

Yes, Mike definitely has insecurities surrounding being needed. The thing is: character arcs being set up in season 4 suggest that El no longer needs him/ should no longer need love from a man who treats her badly, makes her feel insecure. The change from the beginning of season 4 to the end clearly shows this:

El thinks she needs Mike's love to know that she is not a monster.

El goes to the lab and figures out by herself without Mike's love that she is not a monster.

Mike says 'I love you' to her. He calls her a 'superhero'. It does not work and does not save Hawkins because she no longer needs that.

They are not on the best terms afterwards because El has a very different perspective on things.

So now we've established that it's pretty clear that she no longer needs him. I think she's realised by the end, that their relationship won't work. This is why they won't be endgame for me, it makes no sense for her storyline in S5 to be Mike 'motivating her'.

She does not need a man to motivate her, cmon. Come on now. A point in season 4's lab storyline is that she can do all this shit by herself, drawing on her mother's love. She was able to gain back her powers through love, but at that point she had no clue Mike loved her or not. And yet she still got them back. She did not need Papa either, and he was constantly paralleled to MIKE in season 4.

Okay back to the beginning of your ask.

Mike's always been protective of Will, and we can see how their relationship is very different compared to their other friends throughout season one. An example of him being protective is when he does stuff like:

"I'm the only one acting normal here. I'm the only one that cares about Will."

"So this is all Will's fault?!"

*Literally pushes his bully over onto the ground and is willing to fight him after he says homophobic things about him*

*Constantly urges Lucas that Will is alive when the rest of them don't think so*

Like, bro literally instigates all his friends to go out looking for him in the rain, because he believes that would be what Will would do for them ("he put himself in danger to help the party").

So in your point of view, Mike projected his protective feelings about someone needing him onto Will because he's upset about El being gone. Couldn't the EXACT same thing be said but the opposite way around then? Mike likes to be needed. And it just happens to be that these two people need him in that moment. However, THE DIFFERENCE is this:

When Will goes missing? Mike never gives up. He constantly urges his friends to do whatever it takes to find Will. The reason he keeps El around (before he makes friends with her) is because bad people are after her and because she recognises Will in a photo. He says that El is a weapon and that "we can't find Will if we're dead". Even when they all believe him to be dead, he says that Will isn't because of something he heard on the radio, just like how Joyce heard him on the phone.

When El goes missing? Mike gives up. To be honest, it's been a year. Maybe if Will went missing for a year, he would have given up then too. But, we can see in a flashback scene from the VERY DAY that El goes missing, Mike literally sees her and doesn't go after her. The government does, but he just squints at her and doesn't do anything. Mike calls her on the walkie, and on halloween, he stops, prioritising Will and later figuring out that meeting him was the best thing he's ever done, and it seems conclusive. He has no hope of her being alive because he says to Max, "But she's gone, just like Bob." (Bobs literally just died so hes saying shes dead). Mike never uses Will as a vessel to find El, even though he easily could, being that he's connected to the upside down.

So where am I going with this? No. Mike does not project his feelings onto Will from his feelings about El. The behaviours he exhibits are continuous from his feelings before El went missing, and he doesn't treat him in the same way.

Some other points you brought up were:

Mike is afraid to lose El and that is why he can't say I love you. Of course he is afraid to lose her. He cares about her, he's said that truthfully. He's afraid to lose Dustin, he's afraid to lose Will, he's afraid to lose Lucas, he's afraid to lose anyone. He feels that survivors' guilt from season one especially though, which is all the more upsetting about why he says I love you in the end. Will tells Mike that El needs him and always will. Mike gets the belief that El needs him to say I love you to her, and gets reminded by Will before he says it. AND SO that is why he says it to her in the end. In reality of course, it is Will that needs him. SOOOO the thing that makes him 'love' El is that fact that she needs him, but he's going to get a real shock when he realises he loved the version of El that's really Will and what he feels.

Mike lives in a loveless and cold family. No he's not in a completely loveless family. Karen loves both her kids and expresses it regularly, and we even see this in season 4 when Karen hugs Mike at the reunion scene. I guess what you might be talking about is Ted and Karen. Here's the fucking thing. Mike knows his parents are not in love. He thinks that's what relationships are supposed to look LIKE. He internalises his family's issues. So, he gets into a relationship like his parents', a loveless one. In season 3 we see him trying to act on logic not emotion, seeing that getting into a relationship like this is just the logical course of action and just part of growing up. That's exactly what NANCY DOES WITH STEVE and yet I don't see people going 'oH shE lOveS hiM sHe jUst nEvEr sEen hEr pAreNts sAy iT!!!!'. We can all agree that she just tried to emulate her parents, but she doesn't actually love him. (SHE EVEN SAID I LOVE YOU OUT LOUD but still can't mean it truthfully). But how about we break this cycle? Breaking cycles of loveless relationships is one of the themes in stranger things so it makes sense for this to happen again.

Maybe he's sad in the Snowball scene because he thinks maybe El will leave him there. He only seemed upset when Will went with someone else and the camera shots literally makes it clear? I have a whole post on this if you want to read it: Snowball Scene Analysis. When El comes in, he doesn't say anything like 'Oh I had no idea you'd be here'. I believe that he knew she was coming, and sitting on that chair, he was conflicted given everything that went on with him that season, the promises he's made to El vs. the way he feels about Will now. The one shot of him looking at her also doesn't make him seem happy, but yeah, take that scene and do what you want with it tbh.

OOF okay thankyou so much for your ask!! This was quite the challenge but it really actually gave me a whole new perspective on things and I really love these asks because it gives me a chance to better understand the show itself <3 Let me know if you're swayed or smth haha or if you have a counterpoint :)

Also thanks for not being toxic. If anyone wants to come and debate with me, do it in this way, because there is no space for negativity and toxicity on my page thankyou very much.

[pumpkinrootbeer]

i really do think the systematic execution of the jedi has kinda sorta ruined all future star wars media for in the sense that i am always going to be thinking about the space empath monks who were genocided. there used to be thousands of them and now there's like. 7. functionally an entire culture dead. they can show me all the grogus in the world, im always going to think about how they had to step over the dead babies.

[stairset]

It's been like a year since Tales of the Jedi came out but it's still hilarious to me that when returning to early Clone Wars Ahsoka they took one look at the age inappropriate tube top that's impossible to take seriously and said damn did we really put her in this and just retroactively gave her a better outfit and there was just an unspoken agreement with the audience that we would just roll with it and pretend that that was her outfit the whole time.

[dan-crimes]

The world isn't ready for all my amazing and wonderful takes on media but maybe my OCs will make them understand...

[creatingblackcharacters]

“The bulging eyes and the twisted mouth” - Violence, Violent Imagery & Black Horror

TRIGGER WARNING: mentions of death, violence, blood, hate crimes, antiblackness, police violence, rape

Note! I am going to be speaking from a Black American point of view, as my identity informs my experience. That said, antiblackness itself is international. The idea of my Blackness as a threat, as a source of fear and violence to repress and to destroy, is something every Black person in the world that has ever dealt with white supremacy has experienced.

There are two things, I think, that are important to note as we start this conversation.

One: there is a long history of violence towards Black bodies that is due to our dehumanization. People do not care for the killing of a mouse in the way they care about a human. But if you think the people you are dealing with are not people, but animals- more particularly, pests, something distasteful- then you will be able to rationalize treating them as such.

Two: even though we live in a time period where that overt belief of Blackness as inhuman is less likely, we must recognize that there are centuries of belief behind this concept; centuries of arguments and actions that cement in our minds that a certain amount of violence towards Blackness is normal. That subconscious belief you may hold is steeped in centuries of effort to convince you of it without even questioning it. And because of this very real re-enforcement of desensitization, naturally another place this will manifest itself is in how we tell and comprehend stories.

There are also three points I'm about to make first- not the only three that can ever be made, but the ones that stand out the most to me when we talk about violence with Black characters:

One: Your Black readers may experience that scene you wrote differently than you meant anyone to, just because our history may change our perspective on what’s happening.

Two: The idea that Black characters and people deserve the pain they are experiencing.

Three: The disbelief or dismissal of the pain of Black characters and people.

You Better Start Believing In Ghost Stories- You’re In One

I don’t need to tell Black viewers scary fairytales of sadists, body snatchers and noncoincidental disappearances, cannibals, monsters appearing in the night, and dystopian, unjust systems that bury people alive- real life suffices! We recognize the symbolism because we’ve seen real demons.

Some real examples of familiar, terrifying stories that feel like drama, but are real experiences:

12 Years a Slave: “This is no fiction, no exaggeration. If I have failed in anything, it has been in presenting to the reader too prominently the bright side of the picture. I doubt not hundreds have been as unfortunate as myself; that hundreds of free citizens have been kidnapped and sold into slavery, and are at this moment wearing out their lives on plantations in Texas and Louisiana.” – Solomon Northup

When They See Us: I can’t get myself to watch When They See Us, because I learned about the actual trial of the Central Park Five- now the Exonerated Five- in my undergrad program. Five teen Black and brown boys, subjected to racist and cruel policing and vilification in the media- from Donald Trump calling for their deaths in the newspaper, to being imprisoned under what the Clintons deemed a generation of “superpredators” during a “tough on crime” administration. And as audacious as it is to say, as Solomon Northup explained, they were fortunate. The average Black person funneled into the prison system doesn’t get the opportunity to make it back out redeemed or exonerated, because the system is designed to capture and keep them there regardless of their innocence or guilt. Their lives are irreparably changed; they are forever trapped.

Jasper, Texas: Learning about the vicious, gruesome murder of James Byrd Jr, was horrific- and that was just the movie. No matter how “community comes together” everyone tells that story, the reality is that there are people who will beat you, drag you chained down a gravel road for three miles as your body shreds away until you are decapitated, and leave your mangled body in front of a Black church to send a message… Because you’re Black and they hate you. To date I am scared when I’m walking and I see trucks passing me, and don’t let them have the American or the Confederate flag on them. Even Ahmaud Arbery, all he was doing was jogging in his hometown, and white men from out of town decided he should be murdered for that.

Do you want to know what all of these men and boys, from 1841 to 2020, had in common? What they did to warrant what happened to them? Being outside while Black. Some might call it “wrong place wrong time”, but the reality is that there is no “right place”. Sonya Massey, Breonna Taylor- murdered inside their home. Where else can you be, if the danger has every right to barge inside? There is no “safe”.

It is already Frightening to live while Black- not because being Black is inherently frightening, but because our society has made it horrific to do so. But that leads into my next point:

“They Shouldn’t Have Resisted”

Think of all the videos of assaulted and murdered Black people from police violence. If you can stomach going into the comments- which I don’t, anymore- you’ll see this classic comment of hate in the thousands, twisting your stomach into knots:

“if they obeyed the officer, if they didn’t resist, this wouldn’t have happened”

Another way our punitive society normalizes itself is via the idea of respectability politics; the idea that “if you are Good, if you do what you are Supposed to do, you will not be hurt- I will not have to hurt you”. Therefore, if my people are always suffering violence, it must be because we are Bad. And in a society that is already less gracious to Black people, that is more likely to think we are less human, that we are innately bad and must earn the right to be exceptional… the use of excessive violence towards me must be the natural outcome. “If your people weren’t more likely to be criminals, there wouldn’t be the need to be suspicious of you”- that is the way our society has taught us to frame these interactions, placing the blame for our own victimization on us.

Sidebar: I would highly suggest reading The New Jim Crow, written in 2010 by Michelle Alexander, to see how this mentality helps tie into large scale criminalization and mass incarceration, and how the cycle is purposely perpetuated.

You have to constantly be aware of how you look, walk and talk- and even then, that won’t be enough to save you if the time comes. The turning point for me, personally, was the murder of Sandra Bland. If she could be educated, beautiful, a beacon of her community, be everything a “Good” Black person is supposed to be… and still be murdered via police violence, they can kill any of us. And that’s a very terrifying thought- that anything at any point can be the reason for your death, and it will be validated because someone thinks you shouldn’t have “been that way”. And that way has far less to do with what you did, than it does who you are. Being “that way” is Black.

My point is, if this belief is so normalized in real life about violence on Black bodies- that somehow, we must have done something to deserve this- what makes you think that this belief does not affect how you comprehend Black people suffering in stories?

Hippocratic Oath

Human experimentation? Vivisection? Organ stealing? Begging for medicine? Dramatically bleeding out? Not trusting just anyone to see that you are hurt, because they might take advantage? All very real fears. The idea that pain is normal for Black people is especially rampant in the healthcare field, where ideas like our melanin making our skin thick enough to feel less pain (no), an overblown fear of ‘drug misuse’, and believing we are overexaggerating our pain makes many Black people being unwilling to trust the healthcare system. And it comes down to this thought:

If you think that I feel less pain, you will allow me to suffer long before you believe that I am in pain.

I was psychologically spiraling I was in so much pain after my wisdom teeth removal, and my surgeon was more concerned about “addiction to the medication”. Only because Hot Chocolate’s mom is a nurse, did I get an effective medicine schedule. My mother ended up with jaw rot because her surgeon outright claimed that she didn’t believe that she was in more than the ‘healing’ pain after her wisdom teeth were removed. She also has a gigantic, macabre (and awesome fr) scar on her stomach from a c-section she received after four days of labor attempting to have me… all because she was too poor and too Black to afford better doctors who wouldn’t have dismissed her struggles to push.

As a major example of dismissed Black pain: let’s discuss the mortality rate of Black women during childbirth, as well as the likelihood of our children to die. When we say “they will let you bleed to death”, we mean it.

“Black women have the highest maternal mortality rate in the United States — 69.9 per 100,000 live births for 2021, almost three times the rate for white women, according to the Centers for Disease Control and Prevention. Black babies are more likely to die, and also far more likely to be born prematurely, setting the stage for health issues that could follow them through their lives.”

Even gynecology roots in dismissal (and taking brutal advantage of) Black women's pain:

“The history of this particular medical branch … it begins on a slave farm in Alabama,” Owens said. “The advancement of obstetrics and gynecology had such an intimate relationship with slavery, and was literally built on the wounds of Black women.” Reproductive surgeries that were experimental at the time, like cesarean sections, were commonly performed on enslaved Black women. Physicians like the once-heralded J. Marion Sims, an Alabama doctor many call the “father of gynecology,” performed torturous surgical experiments on enslaved Black women in the 1840s without anesthesia. And well after the abolition of slavery, hospitals performed unnecessary hysterectomies on Black women, and eugenics programs sterilized them.”

If you think Black characters are not in pain, or that they’re overexaggerating, you’re more likely to be okay with them suffering more in comparison to those whose pain you take more seriously- to those you believe.

What’s My Point?

My point is that whatever terrifying scene you think you’re writing, whatever violent whump scenario you think you’re about to put your Black characters through, there’s a chance it has probably happened and was treated as nonimportant (damn shame, right?) And when those terrifying scenes are both written and read, the way their suffering will be felt depends on how much you as a reader care, how much you believe they are suffering.

There’s a joke amongst readers of color that many dystopian tales are tales of “what happened if white people experienced things that the rest of us have already been put through?” Think concepts like alien invasion and mass eradication of the existing population- you may think of that as an action flick, meanwhile peoples globally have suffered colonization for centuries. The Handmaid’s Tale- forced birthing and raising of “someone else’s” children, always subject to sexual harassment by the Master while subject to hate from the Mistress- that’s just being a Mammy.

There’s nothing wrong with having Black characters be violent or deal with violence, especially in a story where every character is going through shit. That is not the problem! What I am trying to tell you, though, is to be aware that certain violent imagery is going to evoke familiarity in Black viewers. And if I as a Black viewer see my very real traumas treated as entertainment fodder- or worse, dismissed- by the narrative and other viewers, I will probably not want to consume that piece of media anymore. I will also question the intentions and the beliefs of the people who treat said traumas so callously. Now, if that’s not something you care about, that’s on you! But for people who do care, it is something we need to make sure we are catching before we do it.

“So I just can’t write anything?!”

Stop that. There are plenty of examples of stories containing horror and violence with Black characters. There’s an entire genre of us telling our own stories, using the same violence as symbolism. I’m not telling you “no” (least not always). I’m telling you to take some consideration when you write the things that you do. There’s nothing wrong about writing your Black characters being violent or experiencing violence. But there is a difference between making it narratively relevant, and thoughtlessly using them as a “spook”, a stereotypical scary Black person, or a punching bag, especially in a way that may invoke certain trauma.

The Black Guy Dies First

The joke is that we never survive these horror movies because we either wouldn’t be there to begin with, or because we would make better decisions and the narrative can’t have that. But the reality is just that a lot of writers find Black characters- Black people- expendable in comparison to their white counterparts, and it shows. More of a “here, damn” sort of character, not worth investment and easy to shrug off. The book itself I haven’t read, just because it’s pretty new, but I’m looking forward to doing so. But from the summaries, it goes into horror media history and how Black characters have fared in these stories, as well as how that connects to the society those characters were written in. I.e., a thorough version of this lesson.

Instead, I wrote an entire list of questions you could possibly ask yourself involving violence or villainy involving a Black character. Feel free to print it and put it on your wall where you write if you have to! I cannot stress enough that asking yourself questions like these are good both for your creation and just… being less antiblack in general when you consume media.

Black Horror/Black Thriller

We, too, have turned our violent experiences into stories. I continue to highly suggest watching our films and reading our stories to see how we convey our fear, our terror, our violence and our pain. There are plenty of stories that work- Get Out, The Angry Black Girl and her Monster, Candyman, Lovecraft Country (the show) and Nanny are some examples. There’s even a blog by the co-writer of The Black Guy Dies First who runs BlackHorrorMovies where he reviews horror movies from throughout the decades.

Desiree Evans has a great essay, We Need Black Horror More Than Ever, that gets into why this genre is so creative and effective, that I think says what I have to say better than I could.

“Even before Peele, Black horror had a rich literary lineage going back to the folklore of Africa and its Diaspora. Stories of haints, witches, curses, and magic of all kinds can be found in the folktales collected by author and anthropologist Zora Neale Hurston and in the folktales retold by acclaimed children’s book author Virginia Hamilton. One of my earliest childhood literary memories is being entranced by Hamilton’s The House of Dies Drear and Patricia McKissack’s children’s book classic The Dark-Thirty: Southern Tales of the Supernatural, both examples of the ways Black authors have tapped into Black history along with our rich ghostlore.” “Black horror can be clever and subversive, allowing Black writers to move against racist tropes, to reconfigure who stands at the center of a story, and to shift the focus from the dominant narrative to that which is hidden, submerged. To ask: what happens when the group that was Othered, gets to tell their side of the story?”

For on the nose simplicity, I’m going to use hood classic Tales From The Hood (1994) as an example of how violence can be integrated into Black horror tales. Tales From The Hood is like… The Twilight Zone by Black people. Messages discussing issues in our community, done through a mystical twist. Free on Tubi! If you want to stop here before some spoilers, it’s an hour and a half. A great time!

In the first story, a Black political activist is murdered by the cops. The scene is reflective of the real-world efforts to discredit and even murder activists speaking out against police violence, as well as the types of things done to criminalize Black citizens for capture. The song Strange Fruit plays in the background, to drive the point home that this is a lynching.

The second story deals with a Black little boy experiencing abuse in the home, drawing a green monster to show his teacher why he’s covered in wounds and is lashing out at school.

The fourth story is about a gangbanger who undergoes “behavioral modification” to be released from prison early. Think of the classic scene from A Clockwork Orange. He must watch as imagery of the Klan and of happy whites lynching Black bodies (real-life pictures and video, mind you!) play into his mind alongside gang violence.

Isn’t Violence Stereotypical or antiblack?

That last story from Tales From The Hood leads into a good point. It can be! But it does not have to be! Violence is a human experience. By suggesting we don’t experience it or commit it, you would be denying everything I’ve just spoken about. We don’t have to be racist to write our Black characters in violent situations. We also don’t have to comprehend those situations through a racist lens.

Even experiences that seem “stereotypical” do not have to be comprehended that way. I get a LOT of questions about if something is stereotypical, and my response is always that it depends on the writing!!! You could give me a harmless prompt and it becomes the most racist story ever once you leave my inbox. But you could give me a “stereotypical” prompt and it be genuine writing.

Let’s take the movie Juice for example. Juice in my honest to God opinion becomes a thriller about halfway in. On its surface, Juice looks like bad Black boys shooting and cursing and doing things they aren’t supposed to be doing! Incredibly stereotypical- violent young thugs. You might think, “you shouldn’t write something like this- you’re telling everyone this is what your community is like”. First- there’s that respectability politics again! Just because something is not a “respectable” story does not mean it doesn’t need to be told!

But if we’re actually paying attention, what we’re looking at is four young boys dealing with their environment in different ways. All four of them originally stick together to feel power amongst their brotherhood as they all act tough and discover their own identities. They are not perfect, but they are still kids. In this environment, to be tough, to be strong, you do the things that they are doing. You run from cops, you steal from stores, you mess with all the girls and talk shit and wave weapons. That’s what makes you “big”. That’s what gives you the “juice”- and the “juice” can make you untouchable.

I want to focus particularly on Bishop, yes, played by Tupac. Bishop, the antagonist of Juice, is particularly powerless, angry, and scared of the world around him. He puts on a big front of bravado, yelling, cursing, and talking big because he’s tired of being afraid, and he doesn’t know how to deal with it otherwise. So when he gets access to a gun- to power- he quickly spirals out of control. His response to his fear is to wave around a tool that makes him feel stronger, that stops the things that scare him from scaring him.

Now, that is not a unique tale! That is a tale that any race could write about, particularly young white men with gun violence! If you ever cared for Fairuza Balk’s character in The Craft, it is a similar fall from grace. But because it is on a young, Black man in the hood, audiences are less likely to empathize with Bishop. And granted, Bishop is unhinged! But many a white character has been, and is not shoved into a stereotype that white people cannot escape from!

Now would I be comfortable if a nonblack person attempted to write a narrative like Juice? Yes, because I’d worry about the tendency to lose the messaging and just fall into stereotype outright. But it can be done! The story can be told!

“But if Black violence bad, why rap?”

The short answer:

“In order for me to write poetry that isn’t political, I must listen to the birds, and in order to hear the birds, the warplanes must be silent.”

Marwhan Makhoul, Palestinian Poet

First, rap is not “only violence and misogyny”. Step your understanding of the genre up; there are plenty of options outside of the mainstream that don’t discuss those things. Second, every genre of music has mainstream popular songs about vice and sin. The idea that Black rappers have to be held to a higher standard is yet another example of how we are seen as inherently bad and must prove ourselves good. We could speak about nothing but drugs and alcohol and 1) there would still be white artists who do the very same and 2) we would still deserve to be treated like humans.

That said, many- not all- rappers rap about violence for the same reason Billy Joel wrote We Didn’t Start the Fire, the same reason Homer first spoke The Iliad- because they have something to say about it! They stand in a long tradition of people using poetry and rhythm to tell stories. Rap is an art of storytelling!

Rap is often used as an expression of frustration and righteous anger against a system built to keep us trapped within it. I’m not allowed to be angry? Why wouldn’t I be angry? Anger is a protective emotion, often when one feels helpless. Young Black people also began to reclaim and glorify the violence they lived in within their music, to take pride in their survival and in their success in a world that otherwise wanted them to fail. If I think the world fights against me no matter what I do, I’d rather live in pride than in shame with a bent head. Is it right? Maybe, maybe not. But if you don’t want them to rap about violence, why not alleviate the things leading to the violence in their environment?

Whether you choose to listen to their words, because the delivery scares you- and trust, angry Black men scared the music industry and society- doesn’t make the story any less valid!

Conclusion

I am going to drop a classic by Slick Rick called Children’s Story. I think listening to it- and I mean genuinely listening- summarizes what I’ve said here about how Black creators can tell stories, even violent ones, and how even the delivery through Blackness can change how you perceive them. Please take the time to listen before continuing.

I’ve been alive for 28 years and have known this song my whole life, and it just hit me tonight: not once is the kid in this story identified as Black! My perception of this story was completely altered by my own experiences, who told the story, and how it was told.

That’s what I’m trying to tell you. You can tell stories of violence that involve Black characters. I love and adore a good hurt/comfort myself! But you need to be cognizant of your audience and how they’ll perceive the story you’re telling, and that includes the types of imagery you include. It’s not effective catharsis via hurt/comfort for the audience if your Black readers are being completely left out of the comfort. “I wrote this for myself” that’s cool, but… if you wrote racism for yourself, and you’re willing to admit that to yourself, that’s on you. I’d like to think that’s not your intention! You can write these stories of woe and pain without mistreating your Black characters- but that requires knowing and acknowledging when and how you’re doing that!

@afropiscesism makes a solid point in this post: our horror stories are not just fairytales full of amorphous boogiemen meant to teach lessons. Racial violence is very real, very alive, and we cannot act like the things we write can be dismissed outright as “oh well it’s not real”. Sure, those characters aren’t real. But the way you feel about Black bodies and violence is, and often it can slip into your writing as a pattern without you even realizing it. Be willing to get uncomfortable and check yourself on this as you write, as well as noticing it in other works!

If you’re constantly thinking “I would never do this”, you’ll never stop yourself when you inevitably do! If you know what violent imagery can be evoked, you can utilize it or avoid it altogether- but only if you’re willing to get honest about it. You might not intend to do any of this, but it doesn’t matter if you don’t change the pattern, because as always, it’s the thought that counts, but the action that delivers!

[miraculouslbcnreactions]

Wait, I was reading your posts and came across something I've found confusing. How is Adrien asking Ladybug wth she is doing in Volpina a bad thing? From Adrien's perspective, Ladybug's a celebrity tracking down a middle schooler with zero clout and humiliating her for lying about meeting her before. That's, uh yeah? Imagine if that happened irl lmao. Millions of teenage girls would perish at 1D's hands. My middle school would be a horror story. And it's made clear multiple times in the episode that her motivation is jealousy. It's one of the few episodes where the lesson Marinette gets makes sense I think, because she was genuinely spiteful in shitting on this random girl in front of her crush. That's significantly different than Ladybug just asking for a retraction from the Ladyblog. It's also one of the few times when Adrien's celebrity background actually affects how he acts, and it makes sense that Marinette doesn't make the connection between superhero=celebrity=not allowed to scream at middleschoolers in public. If half the kids in her school didn't lie about meeting Ladybug before, my suspension of disbelief is gone.

I've seen this argument before and it makes no sense to me, especially in the context of the lie that Lila actually told and the way the Lila confrontation actually goes down. A lot of people who have this take seem to think that Lila's lie was, "Ladybug saved me," and that Ladybug made a big public confrontation which is not what canon actually gave us. The confrontation was done in a mostly private setting and, while we never see Lila's full Ladyblog interview, this is how Ladybug sums up the interview in Volpina:

Ladybug:(sarcastically) Well hey Lila! How's it going? Long time no see. I saw your interview on the Ladyblog, awesome job. Oh sure! I remember our instant connection when I saved your life and we've been really good friends ever since! Practically BFF's! Uh actually, when did I save your life again, Lila? I don't recall. Oh yes! Of course, now I remember. Never! And we're not friends either! Miss Show-Off here was trying to impress you and everyone around her.

Lila didn't just lie about meeting Ladybug, she lied about having an ongoing, close relationship with Ladybug, two very different things. And Ladybug isn't just a celebrity, she's a superhero who is fighting an active terrorist. If I had to rewrite this confrontation, I'd keep it pretty much the same and just change the "Miss Show-Off" line to something like:

Miss Show-Off here was trying to impress you and everyone around her, putting herself and all of you at major risk! You know that Hawkmoth would do anything to get these, right? (gestures at her earrings) Did you even stop to think about what he'd do if he learned the identity of my supposed best friend? Of course not. You were too busy trying to look cool to stop and think things through like an actual superhero! We keep our identities and relationships secret for a reason!

Is this the kindest, most gentle way to confront someone like Lila? No, but it's very in character for Marinette to be filled with righteous fury when she sees someone using her name for their own personal gain. I really can't blame her for getting incredibly angry at this total stranger presenting herself as a Ladybug authority and using that authority to manipulate Marinette's friends. As I've said before, take away the crush complication and Marinette's actions still make total sense to me.

I'm not a huge proponent of virtue ethics. That's the idea that you need proper motivation for an act to be morally justified. If you do the right thing for the wrong reason, then the act is bad no matter how good the results and vice versa. If you view the world that way, then sure, you could possibly argue that Marinette's actions were wrong just like you can also argue that Gabriel's actions were totally fine, but I don't view the world that way. Switch Marinette's motivation from jealousy and a little righteous fury to pure righteous fury and almost nothing changes. She'd still need to confront Lila, the words would just be a little different.

It's not like this confrontation stops Lila, either. Chameleon gives us this:

Lila: (in flashback) Not only did Ladybug save my life, we've become very close friends. Marinette: She lies with every breath. Nino: Wait. You eavesdropped on Lila and Adrien? That's not cool. Alya: A good reporter always verifies her sources. Can you prove she doesn't actually know Ladybug?

Quick mini rant before I give the next Chameleon quote: this isn't how verifying your sources works, Alya! You should be verifying that Lila does know Ladybug, not the other way around! Right now, Marinette and Lila have equal authority on the topic as far as you know and there is no evidence to support either claim, so you should be looking for proof that Lila isn't lying! Proof isn't a first come, first serve problem even though a lot of people fall into that trap. This is especially true since Lila goes on to make claims like this:

Lila: Of course Ladybug saved my life. She never misses an opportunity to rescue her best friends. Max: Didn't your tinnitus give you vertigo when you went up the Eiffel Tower? Lila: Oh no. Ladybug knows me so well that she brought me an earplug to stick in my right ear.

So Lila keeps right on lying about her relationship with Ladybug, presenting them as close friends, making it even harder for me to get on the "Marinette was in the wrong for privately confronting Lila" train. If anything, Marinette was too tame! She needed to go full scorched earth and have Alya post a public retraction that included a message about the dangers of claiming to be personal friends with someone you don't actually know.

If the show went that route and had Ladybug give an equally furious smack-down and Alya posted it without a second thought, THEN I'd probably be on team "Marinette needed to tone herself down because she went too far" because that isn't a heat-of-the-moment reaction. It's something Marinette would have time to think through. But Volpina didn't go there. Instead, we just get Marinette reacting live to someone using her name to flirt with her crush. Remember, this is the setup to Marinette transforming and jumping in to stop Lila:

Lila: Not only did Ladybug save my life, we've become very close friends because we have something very special in common- it's what I wanted to tell you about. I'm the descendant of a vixen superheroine myself, Volpina. Adrien: Volpina? Marinette: Volpina? Adrien: Wait a minute! I think I read about her in my book. Lila:(stopping him from grabbing the book) Of course she's in your book. She's one of the most important superheroes. More powerful and more celebrated than Ladybug. Between you and me Ladybug doesn't even make the top ten. My grandma gave me this necklace. [Marinette runs off to transform] Adrien: (holding Lila's necklace) Are you telling me this is a Miraculous?! (Ladybug lands in front of them)

This wasn't a planned confrontation. It was Marinette reacting live to some pretty massive lies. If Ladybug had been swinging by and just overhead this, then the scene once again wouldn't change much. That's why blaming Marinette for confronting Lila in the "wrong way" feels so victim blame-y to me. "How dare Ladybug not be perfectly poised at all times and react with grace when someone lies about being her close friend and teammate!" is not a take I'm ever going to agree with. And if you want to use the middle schooler defense? Then it applies to Marinette, too. She and Lila are the same age. Why the different standards just because Marinette has fame that she never asked for or sought out?

I've never been much of a fan of holding celebrities to an "always on" standard where their every interaction needs to be done with poise and grace even if the interaction happens out in the wild and not at a planned even where the celebrity can be mentally prepared for dealing with fans. That's extra true for accidental celebrities like Ladybug. Marinette didn't take up the earrings for fame and they certainly haven't brought her fortune, plus she has no PR training. Expecting her to be a PR master who knows how to handle her accidental fame is, once again, a little too victim blame-y for my tastes. Ladybug is here to save the world, not sign autographs. You can hold her to politician standards when you start paying her for risking her life on the daily.

There's a version of Lila where I would have a different take. A version where the lie really is minor and Marinette really did "overreact", but even there my lesson wouldn't be "Marinette was totally in the wrong" because I genuinely think that sends the wrong message to kids and kids are the show's target audience. Think about what you're actually saying here, "Because Marinette is famous, she needs to accept that people will lie about her and just ignore them even if people believe the lie."

While that isn't exactly a wrong take, it's still really messed up. It's not okay for people to use Marinette's name like that just because she's famous. The reason she needs to learn to let it go is because that's what's best for her mental health, not because her fame makes her lesser than others when it comes to things like personal privacy. The lies are not magically okay just because she's well known.

Remember, Marinette is a fictional character, but the kids watching this show are very real and they're way more likely to be Lilas than Marinettes. And the kids that do relate to Marinette in this episode? They'll be kids who have dealt with the rumor mill spreading lies about them or their friends without the celebrity complication. The show should not be telling either set of kids that Marinette is the one in the wrong here. That is the wrong moral and why I hate this episode so much. I might feel differently if the intended audience was teens and if this plot was allowed to be more complex, but none of that is true. The show is aimed at kids ages 5 to 12 and every episode is supposed to teach its own moral with Volpina's moral being "Marinette was explicitly and totally in the wrong here."

This is the age of internet personalities where there are more easily-accessible celebrities than ever and where many of them do not have the wealth needed to protect themselves from fans nor the PR training to know how to handle extreme fans if there even is PR training for that! That means that it's honestly really important for kids to learn to view these individuals as people who it's wrong to lie about and who deserve the same respect as non-famous people. Treating celebrities as public commodities is how we get things like the Kit Connor scandal where an 18-year-old actor felt forced to publicly come out because the internet wouldn't shut up about his sexuality. Oh, and since you brought up one direction, I'll also note that the band members have publicly stated that online shipping discourse has negatively impacted their relationships. So, yeah, I'm never going to agree that kids should be told that it's okay to lie about celebrities or treat them as fictional characters to play with and that the celebrities are the ones who are wrong if they get upset about that behavior. That shit is toxic.

If we go the "minor" lie route, then my version of this episode would be a very sad one where Marinette learns that people are going to ignore her boundaries and lie about her and there's nothing she can do about it. A lesson in mental health training that will hopefully help kids who are dealing with bullies, but that does not present Marinette as totally in the wrong. It just teaches her when to pick a fight and when to let it go, which is a very important skill to learn even outside of lies about your own person. There will be many times when you hear people say something that you vehemently disagree with and it's important to learn when to pick a fight and when to just let it go, knowing that no good will come from speaking up even if you're 100% in the right. It's a very sad, but also very necessary skill.

I think Adrien has a place in that story. A place where he still tells Ladybug to let it go, but it should NOT have been played the way it was in canon where he acted like Ladybug was totally out of line. He needed to be way more compassionate and understanding of her very justified anger. I've written Adrien giving advice on this topic before and it's always presented as, "people are going to be assholes and you have to learn to ignore them for your own well being," not as, "you are wrong to be upset about strangers telling lies about you. You agreed to deal with this when you decided to be a hero" because what kind of asinine lesson is that?

You could also keep Adrien's canon reaction and have the lesson be him learning that it's okay to have boundaries. That his fame doesn't negate his bodily autonomy and right to be treated with dignity. That people chasing him down, invading his personal space, and otherwise preventing him from living a normal life is wrong. I love it when fanfics take this approach to Adrien's part in the Lila conflict. It's very cathartic to see his friends supporting him and protecting him from Lila.

I really have tried to see Volpina from the "Marinette was totally in the wrong" perspective because I've come across it several times, but I just can't wrap my head around it. If you've got a counter argument, then feel free to try to change my mind because I've given you my full thoughts here, but know that I'm probably not budging on this one. You'd have to make some pretty dramatic changes to canon for me to feel like this take has a point. I think the only way that I'd be on Lila's side is if it was very clear that no one believed Lila and Marinette still had the same reaction that we see in canon as that does feel like going too far. But everyone believed Lila so that's not a solid argument and I'm just never going to agree that people have to be cool with others lying about them just because they're famous. I honestly despise celebrity culture so much and hate that people are basically forced to deal with that bullshit if they want to be successful in certain artistic fields.

[flokali]

Hi!! I am brainrotting and cannot get it out of my mind, so I thought to share. A very simple thought.

Accolyte Zhongli. Very willing to please et cetera. But biting him? Like come on, biting a Dragon? Is it ownership? Is it playful bite? You know, the sudden urge to bite someone (or is it just me?). So biting a very willing Zhongli.

Sobbing. This will haunt me for a while.

Slight NSF_W

Thinking so many thoughts... happy belated valentines day every1 ><

Warnings: NB! Reader, yandere!Zhongli, SAGAU, implied Dom!Reader/Sub!Zhongli, unhealthy relationship dynamics, biting, soft-violence (?), possessive behavior, jealousy, ask to tag!

Dragons in Liyue are known to be loyal, fierce, and elegant; the stories always describe them as powerful beasts who are to be respected, with sincere hearts and wisdom beyond a mere mortal’s understanding.

In a way, such behaviors did translate to your acolyte, Zhongli. He was one of your oldest followers, not just in age but time serving you, over six millenia he has existed and can proudly state he’s worshiped you for most of it. You would think that the years would have mellowed him out, polished up the edges of his devotion, soothe the tempest in his heart into a much milder dribble, and yet – you knew very few of your acolytes who could rival the passion he seemed to hold towards you.

The relationship between you and all of your followers was strange, at least to you — going from a normal person to being worshiped as a God was not an easy process, much less in a world as different from your own as Teyvat was to Earth — however none were perhaps as strange as the relationship between you and Zhongli.

He is always at your side, from the moment you wake up to the moment you go to sleep. At first, his insistence on being your attendant had been met with heavy resistance from the others but his stubbornness greatly overpowered their annoyance; no matter what rotation you were in, Zhongli was always by your side.

You knew of his vessel, Morax, the large dragon that he’d used to fake his death, and you knew that “Zhongli” wasn’t his true form – you just hadn’t guessed some traits would have seeped into the other form or maybe it was simply part of his personality.

He was possessive and overprotective over you, it was like an internal struggle between submission and the need to monopolize you was constantly going on in his head, yet he refused to outwardly admit it.

“I am simply concerned for you, Your Grace.” He’d say whenever you’d bring up his overbearing nature, considering that he and the rest viewed you as an all-powerful being, you’d think he’d have more trust in your ability to protect yourself. And yet, whenever he’s allowed, he’ll always attempt to deter you from leaving his side. At some point you realized it was probably for his sake rather than your own, but by then you had grown endeared to the man and decided to allow it anyway.

Even as your most loyal follower who you spent most of your days with, Zhongli had his quirks and habits about him that simply baffled you – no matter how many days you’d spent with the former Archon, there were just things he’d do and say that’d leave you questioning all you knew about him prior.

All you really knew about him before was reduced to what had been revealed in game, from the Traveler’s perspective and the NPC’s who’d speak about him. Meeting him and interacting with him quickly let you know that his personality, at least when directed towards you, was quite different from what you had assumed from your previous observations.

An example of such discrepancies was his obsessive need to please you.

The traditional Liyue clothes you once complimented him on? Most of his wardrobe has changed to include such attires more frequently. The hair accessory you bought him once when you traveled to Fontaine? You don’t think you’ve seen him without it since. That one time you complimented him when he wore warmer tones? It seems his closet has been rid of any other color.

It was unsettling if not a bit cute, who wouldn’t be a little bit flattered to know their opinion held such weight to a man such as Morax; but it was only a matter of time before it all escalated

Somewhere, at some point, your relationship with Zhongli changed – morphing into something more complex than you would have expected. You would soon wonder if he was classified more so as a lover or some sort of concubinus than a mere helper, his role as an attendant seeming more like a guise so he could spend his time with you each day.

Fleeting touches now lasted longer, the feeling of his hot gaze on you burned stronger with every passing moment, it was a natural escalation; kisses now were no longer restrained to the hand, they now landed on your lips, your cheeks, your neck, wandering hands found their home in your waist and the small of your back.

When he told you he loved you, you knew not if he spoke as a devotee or a lover.

It was during a heated make out session that you found out his weakness to being marked and claimed, much to your surprise. He’d been quite insistent on not leaving a single mark on your person, not a hickey or bite, you guessed it must have been a preference but never asked about it either. You decided that, for the time being, you would avoid the topic until it naturally came up - and up did it come.

You had been on top of him, sitting on his lap and caressing his hair as your lips danced with one another’s, his golden eyes were shut tight in pleasure as he let you use his lips and body as you wished. His hands rested on your waist, tightly gripping at your robes and skin as he desperately clung onto your body. Soft whines left his lips periodically, his breathing was quick and you could feel his heart beating where your chests met.

You playfully decided to trail kisses across his face, at first he whined when he felt the loss of your lips on his but he soon fell quiet – other than a few moans and whimpers – as you left open mouthed kisses into his skin and down his neck.

It’s there that, in the heat of the moment, you decide to bite his neck, leaving a small hickey on his flushed skin. His reaction is immediate; his head falls backwards, his whole body heats up and you feel something stiffen below you, his face burns a bright red as a loud moan escapes his lips. His grip on you tightens, his fingers digging into your skin to a point you are certain it’ll leave a mark, and his heartbeat quickens; pleasure basically radiates off of his body the minute your teeth nib at his neck.

You stop, teeth sunken into his skin and hand tangled in his hair, his reaction so lewd and surprising you become flustered and stop dead in your tracks.

Zhongli, however, only pulls you tighter into his body, using a hand to press your face deeper into his neck, as if urging you to use more force in your bite – timidly you give in and nibble into his flesh, further deepening the imprint of your teeth in his skin. His whole body feels hot to the touch, his mind feels hazy, your soft bites into his skin send shockwaves through him.

You had no idea what you were doing to him, did you? Or else you wouldn’t have been so careless when picking the spot, but it doesn’t matter, in this moment of intense pleasure, the former Archon decides to give into delusion and believe you knew the meaning behind biting a draconic being such as himself — and in the neck of all places as well.

Old traditions dictate that a bite mark, especially in the jugular or neck, was a sign of ownership. It was often that mates would mark each other in the neck with enough force to leave scars, sinking sharp teeth into one another with ironic tenderness. It showed trust and care for the other, both to be marked and leave a mark, as it required vulnerability and care from both parties. It was a deeply intimate act, one that would be reserved to life-long partners and mates, it was a gesture of possessiveness and devotion tinted with love.

If he were to be honest, Zhongli would have thought himself to be the one to mark you instead of the other way around, it’d been something he’d often fantasized at night before your arrival, and yet, as he felt your — significantly duller teeth — bite into him he could feel his admiration and love for you grow as he became yours; even if you may not have known.

He’d always imagined himself on top of you, your naked form beneath him, as he sunk his canines into your flesh until he tasted your holy blood. He’d imagined himself cradling your pleasure stricken body while you moaned his name, a sinful sound coming from a divine being. Instead, it is himself that lays within your grasp, panting in ecstasy as he holds himself back from coming completely undone and showing a depraved side of himself even he did not know of.

If he was honest, he almost wishes you’d draw blood, sink your teeth so deep into his skin it breaks layers of flesh and leaves a deep scar that could never heal – a sign of your favoritism and ownership, one that he could proudly say was unique to him. If only you weren’t so careful with him, so scared of hurting him; he means no offense, but your current form is significantly weaker than his and he’s survived wars most have not heard of; even if you wanted to sink your nails into his skin and carve your name into his body, he thinks his strength and shear devotion to you alone would prove the pain to be nonexistent.

A gasp of your name leaves his parted lips, it’s erotic - the way his pink lips let a symphony of pleasured sounds - a wave of hormones rushing through his body, sending his brain into overdrive.

You look up at him, not having expected such a lewd reaction, but the sight of his half-lidded eyes as they burn into your own sends a hot-buzz down your spine. His cheeks are flushed, his lips bloodied as he bites them, his bare chest is heaving up and down; the expression on his face is orgasmic. His loose hair sticks to his forehead as sweat runs down his temples, clearly your gesture had taken quite an effect on him.

You slowly remove your lips from their spot, about to question his reaction - wondering if you’d perhaps crossed a line, but he stops you with a crooked smile and warm hands against the back of your head.

“It is okay, Your Grace,” he whispers, tongue darting to wet his drying lips, he guides your head back into his neck, “bite me all you want, my neck is yours for the taking.”

You giggle a bit at his eagerness, feeling his hard-on press against your ass. You playfully adjust yourself in his lap, softly nipping at his neck before biting down in a new spot.

“Ha-ah,” he moans once more, you feel him startle beneath you, “don’t be afraid to draw out blood, either… in fact, please, feel free to do so.”

He can only hope you take on the challenge, eager to flaunt your lovely bites to Neuvillette and any poor soul that even so much as thinks of questioning his position in your life.

[luna-loveboop]

Wars and Wild as knights in Lu

They have issues.

I have a lot of thoughts on Wild and Wars and their relationship (Order of this post is talking about saluting, Wild and Wars' different perspectives, memory issues, and fire) Rant time.

No saluting!!

So Wild took a formal- almost/awkwardly saluting pose when Wars confronted him in 'Entrance pt.2'

It's similar to the first time Wild addressed Wars as 'captain'. His left hand is up from where a salute should be, and his overall posture is awkward, with his shoulders and right hand raised, but it's clear he's trying to do a salute in the presence of a fellow knight.

In the second example his hand is behind his head, but his posture is very straight and his right arm stiff- he's again attempting a formal saluting position. Which is still awkward

It is less clear but his changes in posture clued me in. He goes from like a deer in the headlights to visibly sweating to straight backed and looking up at Wars- looking at the changes in his body language

Side note but I literally love how Jojo draws the champions tunic so much-

We can't see the action of Wild's body language in a comic, just the positions he went to. But he visibly leaned away from Wars before switching to a straight backed saluting-like posture. He's clearly freaked out, hence Twilight's face: >:(

I think that Wild taking somewhat military poses around Wars is important to their relationship issues because it comes from his struggle with memory and identity

.

So like. All of them have different perspectives

Wars

I adore Wars. He is baby and I love him. I think it is also important to acknowledge that he would not speak to any of the others this way.

And the scarf man cmon it's so pretty they are so cute-

Why is Wars talking to Wild like this? He's called him out and reprimanded him multiple times in front of the others. Wild has taken it well but tbh if it was Legend I think he would be on fire.

To some extent I think he is in captain mode. I think that he has trouble seeing Wild as not a knight. Wars gives Wild respect as a knight who sacrificed for his kingdom, but now it seems he's taking it away as a knight who's not doing well enough since he 'disregarded the plan'

At least I think that's the outside (or Wild's) view of it. But Wars internally really cares about Wild and he saw him run up to a giant and lose it. Different ways of showing concern perhaps?

Who wouldn't want to keep Wild from getting more scars?

I just. Don't doubt for a second Wars really cares about Wild- even if the way he's acting still isn't cool. He has no right to treat him like a soldier any more than the rest of the chain, and right now I think Wild is acting as the more mature person.

Wild

I adore Wild. He is baby and I love him. I think it is also important to acknowledge that although he is clearly making efforts after Twilight's injury, Wild has ignored Wars for the majority of Lu, by not speaking to him much, and not thanking or acknowledging Wars when he directly helped him. (Small example being walking with Hyrule not Wars when injured and not directly responding to Wars)

Wars cares about and respects Wild, but it seems Wild wants nothing to do with him, and he's been cold towards Wars for the majority of Lu. To Wild, Wars reminds him of his perceived failure. Which is valid feelings, but still not fair. And I think that ask is talking about these two.

The thing I love about this is each of them are right and wrong in some ways, leading to the tension between them. So fully blaming either of them is not logical

The rest of the chain is just vibing. Except twilight who's mad and wants them to just grow up, but. Heros of courage not wisdom @uniquevoidflowers ;)

And that ask- '''Are any of the Links ever jealous of another Link for adventures that were less difficult/life threatening?'' ''When you hear Wild say he 'hates' someone you'll have your answer.''' somewhat leads to my next point-

Wild's identity and memory issues exacerbate all of this

In Entrance, Twilight is being stressed and defensive, that's ok. What concerns me most is that Twilight has talked with Wild through stuff like this in his rough moments

Wild has tried to be formal several times- he is not very good at it

Four's face I can't didnwidkekfjej

Wild isn't and can't be 'him'- the same 'perfect' (<actually has crippling anxiety) knight he was before, and Twilight knows this. And I agree with him a bit, I think, that Wars is making things worse in Wild's mind by being that perfect soldier, and seemingly holding Wild to a standard he isn't

Wild's attempts at saluting is symbolic of that- Wars makes him feel like a failure trying to be the person he should be. But Wild shouldn't be anyone but himself.

Anyways. Fire.

Wars and Wild have issues, and I want them to work through all their relationship drama so they can reach their PEAK dynamic, which is obviously this

I mean like. We need these two to be friends

Anyways. Wild is in this constant state of identity crisis, and being around Wars has not been beneficial- neither of them is or has been showing the other the respect they deserve. Not as knights, but as people and brothers. They need a get along shirt.

All this Art is by Jojo @linkeduniverse au!

:)

[not-so-mundane-after-all]

I keep rewatching that epilogue scene and, the way Hunter and Omega talk about her joining the Rebellion... You can tell this is not the first time they're having this conversation. And I just can't help but wonder what the previous one(s) must have looked like.

Because something tells me it wasn't peaceful.

I just can't imagine Hunter having any other reaction than an immediate, definitive "absolutely not" the first time he hears about Omega wanting to join the Rebellion. Just like I can't imagine Omega being okay with that reaction.

Were they arguing about it? Were they butting heads and not backing down from their respective points? Because they would. Absolutely, they would.

Did their brothers have conversations with both of them separately? Did Wrecker tell Omega to give Hunter a break because he's old and worried? Did Crosshair convince Hunter that he can't keep a grown woman grounded just because he's scared about her? Did Echo tell him that if this is Omega's calling, he has to let her do her thing?

She tried to sneak off. As if she didn't want to go through this again. As if she thought leaving without a goodbye would be easier on everyone and this way no one can stop her. After all, she made up her mind. She's going. But when she turns the light on and spots Hunter sitting there, she's not even surprised. She nods to herself like of course. Of course he's here.

This literally sounds like they've been over this before. But this time the conversation is surely more peaceful. They both have the other's perspective in their minds now.

This is my choice and I know it scares you but I need you to understand.

I know I won't change your mind but I don't want you to go, I want you to be safe.

This must have been said before as well. Maybe in anger. Maybe in pleading. Or desperation. I wouldn't be surprised if Omega got very frustrated with Hunter for treating her like she's still a kid. Nor would I be shocked if Hunter had trouble articulating his point of view in all his worry and panic. But here, it's a confession. It's very vulnerable. It's the truth Hunter doesn't want to hear and gives a reason why.

Omega is a grown woman now. Skilled, capable, brave. Hunter doesn't doubt that. But to him, she's always going to be his little girl no matter how old she is and I am still speechless at the fact that we actually see him not only struggling with it but also admitting to it.

Back on Pabu, after they escaped Tantiss, Hunter told her: "We've all fought enough battles for one lifetime." And now, years later, Omega echoes this back to him. "You've all fought enough." Almost like she's reading Hunter's mind and knows that if he can't stop her, he's going to want to join her.

The way he wants to reach after her here when she gets up. Like he wants to say wait, no, don't go yet!

But this is her fight, just like she says. She's never been able to sit still, we know that, we've seen that. Just like Echo back in season 2, she can't stand the thought of staying down and doing nothing when there are people out there fighting for freedom. People she can help. She's a skilled pilot now (I can bet she'll become most famous in the Rebellion for her flawless Tech-Turn), she has absorbed everything her brothers have taught her over the years like a sponge and now she wants to use that. After years of living away from the fight, she's finally ready to get back out there and make a difference in the galaxy. Fight for peace because that is her calling.

She's ready, but Hunter is not.

You can tell it's literally tearing him apart to watch her go. That's his baby, the whole reason he's living the life he has now. He gave his blood, sweat and tears so she could grow up safe and happy and away from the Empire's clutches. And now she's going back right into them, willingly.

But she's all grown up. And he has no choice but to let her go do her thing. So he holds her close and I don't doubt sends out a prayer that she comes back to him safe and in one piece. He closes his eyes and commits the feeling to memory because who knows when will be the next time he gets to do this?

And it might be destroying him inside but he's so damn proud. And he knows she's got this. She doesn't need her old man to watch her back anymore.

And yet still this old man, with gray in his hair and beard, this old man whose posture is hunched and who is moving slowly and having difficulty standing up because of his accelerated age, is telling his very grown up and very capable daughter that if she needs him, he's going to pick up his blaster, don the armor and join her in the fight.

Because that's what fathers do.

[venomhoundfanworks]

Hazbin Hotel - Signs they Got a Crush

Dumb headcanons about ways you can tell Alastor, Charlie, Angel Dust, and Lucifer have a crush. Why this super specific lineup? Because my goat brain said so.

My other work can be found on my masterlist >>HERE<<

Contents/WARNINGS: Gender neutral reader; Valentino mention; nothing else just tons of fluff Actual diabetes brainrot below the cut ˋˏ✄┈┈┈┈

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Alastor ₊˚ ‿︵୨୧

NOTE: Gonna out myself here. I was the anon who put >>this ask<< into @6esiree's inbox. So if you notice my wording in here sounds familiar, thats why. Both idea were wrought from the same horrid brain

I know I've said it before, but this man is an enigma. Its very hard to distinguish if he 'just friend' likes you or if he 'like likes' you. From your perspective (and most people's perspective to be honest), you'll probably think he simply views you as a close friend.

The biggest cue that Alastor's feelings towards you have changed are his eyes. His eyes don't soften or anything like that, oh no. He just starts staring at you. All the time. You could literally be standing across the room and his eyes will still be glued to you.

Alastor starts studying you. Noticing all your tics, quirks, and body movements. Its actually quite uncanny how well he is able to track you with his gaze. You sometimes feel as if the man is hunting you.

Unfortunately, other then the whole 'staring at you like Mr. Darcy thing', Alastor has no 'big' tells. They are much more subtle.

Alastor's humor around you takes a weird shift. Not one your likely to notice, but its a shift nonetheless. Alastor's jokes/quips are normally fired out like shotgun blasts, hitting everyone and anyone. No one is safe from his sardonic humor.

But once he starts taking a liking to you, you strangely become exempt from his more piercing jokes. Don't get me wrong, he still jokes around you, its just more playful in tone rather then cutting.

Alastor will also start targeting specific people you dislike, or he will start using brand of humor that gets you to laugh. People will probably brush this behavior off as simply Alastor being an asshole. But its really because he is trying to get a reaction out of you. Alastor loves your laugh and feels a weird sense of pride when he gets you giggling.

Another subtle shift that happens is Alastor gets more... musical? I'm not sure how to put it exactly. Alastor is already fond of song and dance as it is. But when he has the love bug, Alastor starts humming to himself, he has music playing all the time, and he bursts into dance more frequently. His overall energy is just up.

What throws people off with this, is that Alastor's musical energy doesn't appear to be directed at anyone is particular. So true, he may be dancing more, but the guy will dance with whoever is available for him to swing around at the time. Its not a 'will only dance with you and when your around' thing.

If Alastor's feelings for you get too strong, and/or he has been repressing them for a long time, its going to start coming out in a new... strange way. His shadows will start behaving differently.

Alastor's shadows will start acting more independent of their master and being... gentle with you. Kind. They'll smile and wave to you behind his back, help you find things if you've lost something, or even leave you weird gifts.

There was even an incident where you were half sleeping on one of the couches in the hotel parlor. You vaguely registered Alastor walk by, before you felt the cold hands of one of his shadows pull a nearby blanket over you and tuck you in.

Alastor wont even be aware of this when it starts happening. And god forbid he finds out...

SUMMERY: 🦌 Will not. Stop. Staring at you. 🦌 His humor around you changes. Becomes more playful and interested in making you laugh 🦌 His love for music presents itself more; always ends up humming, singing, or dancing 🦌 If things go on too long, his shadows will start giving away his true feelings

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Charlie ₊˚ ‿︵୨୧

Charlie is a complete mess when she starts crushing on someone. Its not subtle, and its not pretty. You can blame her inability to handle her own emotions on her parents and their broken marriage to be honest. As a double whammy; Charlie absolutely takes after Lucifer in the Disaster Bisexual™ department. So she is already starting on the wrong foot here (buh dum tsh).

The ""Princess"" of Hell loses any sense of grace, balance, or concept of gravity. Charlie constantly has to have her eyes on you, which results in her not paying attention to where the fuck her limbs are at any given moment.

So she knocks things over while making big gestures, knocks things out of her own hands, walks into the doorframe, trips over herself, trips over nothing... you get the idea. Clutz meter is dialed up to 1000%. Please don't put her near anything fragile because it will be broken.

As is normal with crushes, you want to get to know about them, right? Well, Charlie knows, theoretically, that in order to get to know her crush and actually have a chance of something happening between them, she has to talk to them. However. Charlie is so nervous that she ends up talking their ear off instead.

Its strangely adorable. Charlie will go and seek her crush out, then just start rambling. The funniest part, is she always realizes when she does it too. Charlie will get super embarrassed and start apologizing profusely after realizing she went on the most random tangent about frogs for 5 solid minutes and didn't even let you get a word in

Silence is absolutely deafening to her. Charlie is incredibly anxious and tries so hard not to think about things too much because she will overthink it and start freaking out. So she just immediately fills any gaps in conversation with her own voice.

Also (much like Alastor), Charlie's energy goes way up when she gets a crush. She hums to herself, prances around, and sings even more then usual. The girl literally stops walking like a normal person, now opting to skip around and do little twirls.

If Charlie isnt dancing around and singing like a Disney princess, then she is drawing something. She always has a pencil in her hand (which is a WEAPON considering how much she falls over). Charlie will scribble down the most random ideas she has and illustrate them. All so she can talk to you about them in detail later.

Going back to taking after her dad; Charlie will pamper the heck out of you in the pre-dating stage. Although, inadvertently. She really wants to impress you, so she ends up going overboard instead.

You say that your hungry; Charlie grabs you by the arm and is dragging you to a 5 star restaurant. Your phone breaks; Charlie buys you a brand new one, and it already has her number in it. Heck, you could just ask her for a glass of water and Charlie would give you a entire goblet of fancy lemon water.

Charlie excuses all this under a thin veil of 'need'. Oh, you need to eat. You need a new phone to to be able to contact people. You need to drink. That's the weird logic she uses in her head of why she is getting you all this stuff. She is helping someone in need.

Of course, this neglects the full picture. You could have just eaten some chips, you didn't need steak at Hell's fanciest restaurant.

SUMMERY: 🌈 Gets two left feet. Trips and falls over herself constantly 🌈 Talks talks talks talks talkstalkstalks 🌈 Creative energy goes through the roof; sings, dances, and draws for you 🌈 Anything you need, Charlie will get you. Only its the 100x luxury version of what you needed

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Angel Dust ₊˚ ‿︵୨୧

Hot take, but Angel Dust is just as much of an enigma as Alastor is. Unlike Alastor, however, Angel actually does something about his feelings. He just... is super confusing about it.

You know how Angel flirts with everyone? Yeah, everyone except you. For once, Angel isnt interested in sex for sex sake. No, he wants more then that. The only way he knows to try and communicate that is to... not... flirt with you.

Since flirt mode is Angel's default mode, and he rarely turns it off, he gets stiff and awkward when interacting with you. His overall tone shifts to weirdly formal. Instead of using one of his trademark nicknames or a petname, Angel just straight up uses your actual name.

Its especially jarring when there are people like Charlie or Lucifer in the room. You know, royalty. People with actual status. Angel will throw a 'heya toots' at Charlie and a 'short king' at Lucifer, then he turns to you and uses your full name. Gives everyone in the room whiplash.

Your guaranteed to feel singled out if not insulted at first. But I promise, its the spider's attempt at showing he respects you and that your different to him by going a little too overboard with it.

Angel also starts wanting to show you everything the nightlife Pentagram City has to offer. The good and bad. Angel knows all the clubs and bars like the back of his hand, so he knows exactly where to take you.

Every single night, Angel Dust makes plans for you two or just spontaneously drags you out with him. He invites you to come bar hopping with him and Cherri, he takes you out dancing to one of his favorite nightclubs, Angel even lets you know what sex clubs are good and which ones to steer the hell clear from.

Angel is very careful to keep you as far away from Valentino as he can though. Not only for your protection, but the whole situation with his work and boss is a can of worms that he would rather you not get involved in. At all.

Angel might come across as a bit neurotic because of this whole Valentino wild card thrown into the mix of things. Angel will be taking you to a club, get word that Val is there, then start speeding you to a different one across town. Or you two will have plans, then Angel will just completely drop or change them so you don't end up running into the moth.

Since Angel is taking you everywhere and lowkey showing you off to everyone, he also starts getting super invested in your appearance. Especially if your insecure or haven't really dipped your toes in the nightlife before.

Angel offers to do your makeup before you two go out and gets incredibly giddy if you accept. Angel will then doll you up, making your makeup match his, and play it off as twining.

This doesn't stay to just makeup either. Angel loves to take you out shopping and will get you both matching or themed outfits. He absolutely LOVES it, and several people have assumed you two were already dating because of how well your outfits were coordinated.

SUMMERY: 🕸️ Counterintuitively gets less flirty and stiff; awkwardly uses your actual name and not a nickname 🕸️ Takes you out on the town; just wants to go out and have fun with you 🕸️ Becomes protective of you against Valentino. Purposely makes sure your not in locations he is and just stay the hell away from him 🕸️ Coordinates/matches his outfits and makeup to yours

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Lucifer ₊˚ ‿︵୨୧

Not subtle. At all. His crush is just a flashing neon light to everyone that even remotely knows him. However, because the subject of his affections presumably doesn't know him that well (if at all), Lucifer easily can come across as just being a goddamn weirdo. That is, if he doesn't end up making the person think he straight up dislikes them instead.

Lucifer gets so caught up in his own head that he cant actually interact with you to save his life. He is stuttering, weird noises are coming out of his mouth, some words are being hissed rather then spoken, and his brain to mouth filter is fucking busted.

So yeah. Even if you take out the fact that his mouth isnt working right; every other word in his sentences is actually wrong and he is just saying dumb shit. Complete disaster.

This results in Lucifer avoiding interacting with you. At least directly. He knows he is going to mess it up super bad so he tries to keep it to group settings so he can still be around you, but not look like a total idiot. Lucifer also does that thing where he will actually be talking to you, but doing it through a third party so he doesn't completely freak out and mess up his words.

On the off chance you two do interact alone, it always ends up with Lucifer apologizing. You will accidentally turn a corner, bump into him, and Lucifer is the one apologizing somehow. You could probably drop a cinderblock on the guy's foot and Lucifer would still be like 'I'm sorry my foot was in your way'.

Just because Lucifer cant... talk to you like a normal person doesn't mean he doesn't want your attention. Oh no. He wants all your attention.

This is where the 'Sin of Pride' really shows. If Lucifer even gets an inkling that you like something or it impresses you? He is all in on it to an absurd degree.

Oh, you said his wings were cool? Lucifer suddenly has them out all the time and keeps fluttering or stretching them to show off for you. You like men who can sing? Now Lucifer is gonna find any excuse to do a musical number in your presence. You start laughing at one of his jokes? Whelp. Clown man is now gonna turn into an entire clown show. You think he tells good stories? Get ready for Lucifer to start blabbing about his entire life story.

Unfortunately this happens with anything negative you might say as well. Lucifer takes it way too hard and either tries to prove you wrong, or takes whatever it is you said you don't like and throws it out a window.

You said bowties were silly? Lucifer suddenly shows up wearing an ascot. You made a comment that his cane is just a glorified apple on a stick? Whelp, its in a trashcan now and Lucifer is designing a much fancier one. You don't think Lucifer can hold his liquor? Now he is challenging Alastor to a drinking contest and getting absolutely trashed.

Look. This guy just really wants you to like him okay? Please love him. He is a disaster, but he can be your disaster.

SUMMERY: 🐤 Forgets how to form words or how human language even works 🐤 Can't handle interacting with you directly; so he uses a third party or group events 🐤 Apologizes. Alot. 🐤 CONSTANTLY trying to impress you, or at least, get your eyes on him. Embodiment of peacocking 🐤 Takes any negative comments to heart and goes out of his way to show how wrong they are

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FURTHER READING ₊˚ ‿︵୨୧

If you want a super cute fic about Lucifer courting the reader with his wings, check out >>this post<< by @nicoliine

If you want to see a really good post on what attracts Alastor and Lucifer to someone, check out >>this post<< by @liliannadelaphinehartifelt

Then lastly, one of my favorite fics actually, check out the Unknown to Me and You series by @beejunos for an amazing take on Alastor's feelings coming out through his shadows. First part is >>here<< and second part is >>here<<

[janmisali]

what do you think of tone indicators in general?

unfortunately my thoughts on tone indicators are somewhat nuanced. fortunately, this is tumblr not twitter, so I can just write out my full thoughts in one post and be as verbose about it as feels necessary.

speaking as an autistic person (and I know there are other autistic people who don't hold this same view, this is just my perspective), I think as an accessibility tool, the extended set tone indicators in current popular use is fundamentally misguided.

the oldest ones, /s for sarcasm and /j for jokes, make sense. their notation isn't the most intuitive thing ("does /s mean sarcastic or serious?") but it's not too difficult to explain what they mean. I've had to spend my whole life learning by brute force what different tones of voice mean and what they change about how I'm supposed to interpret something, so I already know what "read this in a sarcastic voice" and "read this as a joke" are supposed to mean. my existing skills can be translated into the new form without too much effort.

the same thing applies to emoji and emoticons. I know what facial expressions mean, because I had to learn what they mean. figuring out if :) is sincere or not from context is a skill I've already needed to develop. it doesn't come naturally for me, but it's something I already at least somewhat know how to do.

most of the tone indicators in current use uh. don't work like this.

tone indicators like /ref or /nbh don't correspond to specific tones of voice. I don't have a "I'm making a reference" voice or a "I'm not talking about a person who's here" voice that I can picture the sentence being read in. these do not indicate tones, they're purely disambiguators. they clarify what something means without necessarily changing how it would be read out loud.

and on paper, that's fine, right? like, it's theoretically a good thing to take an otherwise ambiguous statement and add something to it that clarifies what you meant by it. the problem is that these non-tone tone indicators are not even remotely self-explanatory. it's up to me, the person who is being clarified to, to know what all these acronyms are supposed to mean, and how they change the way I'm supposed to interpret what something means.

it's, quite literally, a newly-invented second set of social cues that I'm expected to learn separately from the set that I've already spent my whole life figuring out, and it works completely differently.

sure, these rules are (in principle) less arbitrary than the rules of facial expressions and tones of voice and how long you're supposed to wait before it's your turn to speak, but they're also fully artificial and recently invented, which means they're currently in a constant state of flux. tone indicators go in and out of fashion all the time, and the "comprehensive lists" are never helpful.

in theory, I appreciate the idea of people going out of their way to clarify what they mean by potentially ambiguous things they post online. if it worked, that would be a really nice thing to do.

however, sometimes I imagine what the internet would be like without them. what if instead of using /s, the expectation was that if you're sarcastic online there's no guarantee that strangers reading your post will know what you meant? what if instead of inventing more and more acronyms to cover every possible potentially confusing situation, we just... expected one another to speak less ambiguously in the first place?

so, I on paper like the idea of tone indicators. I think it's good that some people are trying to be considerate by being extra clear about what they mean by things. but if tone indicators didn't exist, and people who wanted to be considerate in this way instead just made a point of phrasing things more clearly to begin with, I think that would be vastly preferable to even the most well-implemented tone indicator system.

also /pos sucks because there's something deeply and profoundly wrong for an abbreviation that means "I don't mean this as an insult, don't worry" to be spelled the same way as an acronym that's an insult

[meo-eiru]

hi dear, I'm not sure if ur ask box is already open, sorry if it isn't, please take your time and stay healthy

soo I've been thinking about that whole concept of delulu elf babying us and BOY isn't that depressing?? like I'd have a whole ass existential crisis after some time

I mean in my perspective, it must be pretty humiliating for a grown person to be not be taken seriously to such extent. like our boy doesn't even trust us to leave the house and is convinced that his darling needs his absolute protection. no personal space, little to no social interactions except for him, etc.

ANND the worst part is that Silas doesn't even realize that he's doing something wrong, unlike classic yanderes. in his head, he's only doing what's best for darling, without any ill intentions (man's head is filled with unicorns and rainbows). in a way, he's the child here; one that accidentally breaks a kitten's paw because they hugged it too tight.

so can you really blame him? can you really bring yourself to hate him? even if you're upset at him for taking away your basic human rights, he's only trying his best for you!! even if his concept of that "best" is a bit twisted. it's a whole ass internal conflict for darling we have here!

and like, I'm a pretty empathetic person, so I'd hate to see him cry. I'd hate myself if I ever snapped at him (he should only cry from pleasure uh huh). so the only choice I have is to slowly convince Silas to change, but can that really work? what if I'd have to spend a millenia like this, slowly dying on the inside?

that's kind of a hilarious concept for me, like, he's the mama here, but you have to sit him down and patiently explain how your body works, to not die because of overfeeding or smth like that

you created a masterpiece, my brainworms are brainworming so hard rn. I also have some interesting thoughts abt Elias ^^

(DESPAIR!! SUFFERINGS!! ok I'm sorry I still want to squeeze his booba like a stress ball)

I love this ask a lot because that's exactly the vibe I was going for with him.

It's very contradicting. On one hand his mothering is appealing because someone taking care of you with such genuine love is... nice. No matter how you act, no matter what tricks you pull, Silas will forever and ever love you with all his heart. You are his precious flower and he has so much affection for you. He can heal you, he can keep you fed, he can give you the love no one else can.

But at the end of the day that love will be the thing that ruins you. The fundamental difference between you two's existence, how you two view life and each other is just too much. While Silas can take care of your basic needs and give you love, him being so unable to fully understand you and your capabilities can and will eventually break you.

Silas is nice but he isn't. Silas can keep you healthy but also can't. He thinks he's sufficient for you but he just isn't.

He's beautiful and lives in a bright world full of colors but will be the one who'll strip your world of color.

You'll slowly change as he continues to suffocate you with affection.

And he will do all of it with genuine love and good intent in his heart.

Which is what makes him so contradicting. He's like your doom wrapped in cute packaging and presented to you by someone who loves you. He's a poison turned into a warm homecooked meal.

[fishnapple]

What can bring true satisfaction to your heart?

Let's end this year by hearing what your heart yearns for. And also trying out my new AAB (Animal Advisory Board) set for divination ✨️

This is a general reading meant for multiple people. Take only what resonates and leave out the rest.

Your feedback is much appreciated. If you find the reading resonated with you, leave a comment, I’d love to know 🎐

About me | Masterpost Book a reading with me - KO-FI (→ personal reading)

ORANGE

On the surface level, what feels like satisfaction for you is recognition for your hard work. You feel a sense of lack when it comes to your material possessions, that that sense of lack can affect your sense of self greatly. You could feel that the more you have, the more confident and safe you are, you find safety in a familiar physical world. Working, earning money, and then being recognised for your effort can elevate your "worth" in this world, or so you believe. And being worthy is the solid proof of existence and meaning. But you will soon find that in chasing success and recognition, you risk burning out and losing your vitality, your jest for life. Being too focused on a goal, a task can narrow your perspective and make you feel like life is just a race, a competition. You want to show your best, to be known as the most hard working person, the one who contributes the most, the one who can take on any tasks without fear, the one who shines the brightest. Life seems like a stage where you have to perform constantly, even when you're alone, your actions are being observed by an invisible audience.

But your inner self disagrees with that approach, and it will demand a change from you. You can't keep running in "the race" forever because there's simply no race for you to run, just a life for you to be in and to live. A part of you is sleeping, latent inspirations are trapped inside without the means to be expressed. It's quite contradictory, on the outside, you look so busy and active, always doing something, but on the inside, the energy is stagnant and inactive. This feeling will continue to pile up until you can't take it anymore and want to burst out, to take off. The feeling of true freedom, of flying for the first time will open up a floodgate inside you, you will begin to nurture a different perspective, you will want to slow down your run and look around, suddenly you will find so many interesting things around you that you haven't noticed before.

By being free, you will also have a different view on relationships. Your heart yearns for freedom, freedom to be yourself, and freedom to love. You will want to bond deeply with people, to seek comfort in the emotional sense, not in the physical sense anymore. You seek true understanding, of yourself, of the other person and the world you live in. Deep connections can bring the most satisfaction, something that you might have been oblivious to up until now. You won't seek recognition from the general crowd anymore, you will seek the transparency of being seen completely by a loved one.

WHITE

For this group, I see a lot of images about predators attacking prey. This can mean that you are having contradictory thoughts and feelings inside yourself, like an inner critic, always watching and judging your every wish and action. This creates lots of unnecessary fears in you, you're held prisoner by your own mind. You desire many different things, or said in a different way, many different things can bring you satisfaction, but they can be at odds with each other. The solution for you is to go ahead and do them anyway, no matter how much your mind protest or try to "talk" you out of it, which sometimes can be in a really aggressive way. Your mind can create visions of people ridicule or criticise you for your decisions. What you need to do is triumph over those visions, shoo them away, and just do what you instinctively feel drawn to do and then see for yourself, with you own eyes, the actual outcome, only then will you have solid "proof" to chase away those intrusive thoughts in your mind. For you, getting over your myriad fears will be your biggest achievement and satisfaction. For every victory over your fear, no matter how small, you deserve to get a pat on your back. Be gentle with yourself, but firm enough to give yourself a chance to grow.

About your many desires, one is about receiving and giving love. You might just focus on romance and dating right now, without much serious thought about a long-term commitment and building a family with someone. But in the future, when you allow yourself to grow more and gain new perspectives, the thought of commitment will naturally arise in you. You won't just desire love and affection alone, you also desire a place to call home, a place where someone will be there to welcome you. You will want to nurture someone, and be nurtured back, work for the connection, and see your effort grow into a deep bond. You're working hard right now, but mostly to build your own foundation, later in life, you will want to work hard to build that foundation with another person. Your heart will flourish in the nurturing environment of a steady relationship.

For now, just focus your energy on getting to know yourself, every nook and cranny. Come to your rescue when your mind begins to nag, especially when you want to rest and contemplate hidden things behind the veil of mundane life. Use your resting time to let your mind explore foreign subjects, coax it gently when it tries to resist learning new things. The more you explore, the more your mind will soar, the more your heart will feel tranquil and happy.

PINK

Does the question of whether the person you're attracted to romantically can also be your friend ever cross your mind? Or the question of whether that person can truly connect with you on a mental level? I see the people who chose this group are ardent lovers. The kind that would focus their all on a connection, passionate and gripping. You might be the person who loves falling in love, the feeling of romance and relationships brings you great joy. But the pitfall here is that you tend to idealise the other person and the connection to the point of overlooking some glaring incompatibilities. On a surface level, a person might seem fun and physically ideal to be your partner, but let some time pass and look closer, you will find that you don't really connect on a more deeper level. A telling sign would be that conversations are lacklustre, there's an uncomfortable silence between you, the subjects of the conversation are superficial. In the long run, this can create dissatisfaction in the relationship.

What you might not realise is that a deep bond, especially forged over many conversations, is essential to your feeling of overall happiness about life. Friendship matters, even love should be built based upon friendship. Having many people who you can call friends is actually more satisfying than having many lovers, friends who come from many walks of life, from all around the world. Having a group of close friends who can go on adventures with you, who can nurture you, who can build you up, who can make your mind buzzing, who can be your family, that's what brings true satisfaction to your heart.

Can you see the stag nipping at a tree while the peacock is facing the opposite direction? I think right now, the way you express yourself can be like a form of reaction to the specific person whom you're interacting with, rather than just communicating who you are in general. In conversations, you might try to act more cool, showing the best of yourself in order to build a favourable image, which is what all of us do to some degrees, consciously or not. But this shape-shifting energy can be detrimental to really connect with the other person. Instead of letting the other person provide you with 'nutrition' for your mind and heart, you're busy impressing them. This can happen in all your interactions, whether with strangers, acquaintances, friends, family, lovers. You should take a more relaxed approach, allowing the words to seep into you leisurely, building friendship as if growing a tree, then you will have a flourished heart.

GREEN

The word 'Success' has a lot of meanings to you, and all meanings have weight that defines your life. For you, being successful doesn't have to be about earning lots of money of being famous, though that is a part of the 'Success' that you pursue, it's not all. You want to leave behind your legacies, the proof that you exist, the proof that you have lived hard and well, that your life has meaning.

Throughout your life, you will encounter various stumbling blocks that require you to reinvent yourself, like ascending a stairway, each step bring your higher, closer to your ideals. You're willing to change yourself, to bring about a complete overhaul, allow yourself to play various roles, don many masks, life is a big stage and you're a magician, a jester or a seller, who always has something to dazzle and sell to the audience. This 'performance' is not fake or disingenuous at all, it's what you're born to do, to achieve prestige and finally reach the top of the stairway.

You have a core that's very malleable and agile, constantly moving, though it can help you be flexible and move through situations with ease, it can create an inner confusion. You feel like you have to be at all places, here and there, never settle down, forever swimming, nothing can hold you down and keep you in one place for long. This fuels your desire to find an anchor in the physical world. To know what you've done, what you've achieved, where you need to go. You need external structure and stability so that your internal spirit can swim freely. You can move a lot, but you need to feel a sense of home wherever you're. And that's not easy to achieve. But you have the knack to connect instantly with people, you can make the most distant stranger your friend in no time. The more people surround you, the safer you feel. Community and sense of camaraderie soothe you nomad heart. As long as you have people around you, everywhere can be your home.

And in that hope will you work your magic, working tirelessly to build your foundation. Even though your spirit is a nomad, constantly moving, you have trouble letting go of things and people, gradually, the stuff you pack with you gets more and more heavy, slowing you down. The challenge for you is to learn when to let go, to travel light. What your heart truly wants is the feeling of ascending the ladder, of knowing that you've done something meaningful and left a mark, of giving away the fruits of your labour, not the feeling of possessing and holding on to as many things as possible.

[grison-in-space]

wondering about whether you could rec some "romance is a social construct" texts? ofc it is, but i like having books and articles to reference/learn specifics from/see how these ideas have developed.

Sure! Here's a quick reading list. Bear in mind that I am not a professional historian and my reading on this subject is a little diffuse. I'm not tackling the behavioral ecology stuff right now because a) I don't have a more direct book rec off the top of my head than Evolution's Rainbow, which is not technically focused on social monogamy, and also b) I approach that whole field with my eyes wide open for people letting their own perspectives and cultural views get in the way of their observations of animals, and I do not have the energy to go deal with it right now.

If you're going to read two books, read these two:

Stephanie Coontz, Marriage, A History: how love conquered marriage. 2006. All of Coontz' work, having to do with the social construction of the family, is relevant reading to this question (and I'd also recommend The Nostalgia Trap, because the historical context of how we conceptualize families is a major part of the construction of romantic love), but this one is most focused on the social construction of romantic love specifically and what it has replaced. Coontz is, I will disclose cheerfully, a major formative influence on my thinking.

Moira Wegel, Labor of Love: The Invention of Dating. 2016. Exactly what it says on the tin; focuses more closely on the modern invention of dating and romance.

Other useful readings to help inform your understanding of different ways that various people have conceptualized sex, sexuality, society and long-term connection include:

George Chauncey, Why Marriage? 2015. Chauncey is best known for Gay New York, which also offers a useful history of the way that relationship models and social constructs for understanding homosexuality changed among men having sex with men c. 1900 to 1950. This book, published just before Obergefell v. Hodges, is a discussion of why contemporary queer rights organizations focused on same-sex marriage as an activism plank in the wake of AIDS organizing. I find it really useful to read queer history when I'm thinking about how we understand and construct the concept of romantic relationships, because queers complicate the mainstream, heteronormative concepts of what marriage and romantic relationships actually are. More importantly, queer activist organizing around marriage has played a major role in shaping our collective understanding of romance and marriage in the past twenty years.

Elizabeth Abbott, A History of Celibacy, 2000. In order to understand how various cultures construct understandings of marriage and spousal relationships, it can be illustrative to consider what the people who are explicitly not participating in the institution are doing and why not. I found this an interesting pass over historical and social institutions that forbid (or forbade) marriage with a discussion about general trends driving these institutions, individuals, and movements towards celibacy.

Eleanor Janega, The Once and Future Sex, 2023. This is a very pointed historical look at gender roles, concepts of beauty, and concepts of sex, attraction, and marriage among medieval Europeans with an extended meditation on what ideas have and have not changed between that time and today. I include this work because I think a deep dive into medieval notions of courtly romance is useful, partly because it is an important origin of our modern notion of romantic love and partly because it is so usefully and starkly different from that modern notion! Sometimes the best way to understand the cultural construction of ideas in your own society is to go look at someone else's and see where things are the same versus different.

It's a mish-mash of recommendations, and I'm reaching more for books that have stuck with me over the years than a clean scholarly approach to the subject. I hope other folks will chime in for you with their own recommendations!

[bekolxeram]

I'm usually very block happy, but sometimes a couple of hot takes from the opposite side of the fandom manage to slip through. I'm no saint, I admit I do get quite worked up at first, but after some time, I realize they give me new perspectives to scenes I've watched countless times and discover things I didn't pick up before. So this one is for all of you, staunch Tommy haters, thank you for enriching my viewing experience.

In 7x04, when Tommy goes to Buck's loft to talk things out, this line gives some people the ick, because it echoes what Taylor said in 5x05. In that episode, Buck thought his team was off because they blamed him for Chimney leaving. He talked to Taylor about it, she shared her own experience with her boss being sulky around her, and it turned out her boss was just in a lot of physical pain, she ended the conversation with "maybe not everything is about you". While what she said was absolutely right, and she made an effort to make Buck feel appreciated at the end of the episode, but I can also see Buck not feeling supported emotionally at the time the conversation occurred. In a fashion true to her profession, Taylor delivered it in a very blunt, direct and advisory way. Her being right did not cancel out Buck feeling insecure about everyone acting weird around him and him not knowing why.

What Tommy says here though, is in a a completely different context.

Before all of this, Tommy has already reassured Buck that he's not trying to replace him, that his place in Eddie and Christopher's life is irreplaceable.

Look at Buck's smile, he's apparently in a better mood than before. It's like a weight has been lifted off his shoulders.

So going in this next part, Buck is more receptive to what he frankly needs to hear: Eddie isn't hanging out with Tommy because Buck did something wrong, he just enjoys Tommy's company.

We've witnessed Buck's growth over 7 seasons, now he can recognize that getting jealous easily is one of his character flaws, he tends to overthink and make other's action personal when he's feeling insecure in a relationship. He's telling Tommy this probably to signal that he understands he messed up and he understands what he did wrong. He never expected Tommy to validate his feelings.

But Tommy does empathize with his predicament.

Buck doesn't understand what Tommy, the cool, confident (and hot) pilot would be jealous over. And he almost can't believe Tommy gets what he's been feeling.

Tommy tells Buck that he's envious of the ride-or-die familial bonds within the 118 nowadays, as if he didn't also put his career and life in danger just to save Athena and Bobby (probably Hen's career as well), after one phone call from Chimney.

Now it's Buck's turn to reassure Tommy.

Another hot take I've seen from the other side goes like "if Tommy was nicer to Hen and Chimney back in the days, he wouldn't have to be jealous over what the 118 has now". You know what? Judging by Tommy's face here, he probably would agree. This is not the face of a man who is proud of what he did. This is the face of a man who is burdened by guilt and regret, this is a man haunted by his past, this is a man who doesn't think he deserves the praise.

Buck even cites fake mouth static as an example of Tommy's effort in aiding the 118's clandestine rescue mission, and they naturally fall into a flirty dynamic. I have no explanation for that, except, your honor, this is exhibit A against the "no chemistry" allegation.

Buck then spells it all out for Tommy that he also put everything on the line just for the 118, without hesitation. Tommy looks like he still has a hard time accepting it as an act worthy of redemption for his past behavior.

We've all made mistakes, and we all know we can't go back to the past and change what we did, so the best way forward is to change ourselves and be better. Judging by Tommy's "and [Gerrard] didn't make me a better person" line in 7x10, he quite possibly reflected on this a lot. Yet, sometimes you still can't help but doubt yourself over if you've learned enough from your past, if you're a good enough person now. I can't imagine how good it feels hearing Buck say out loud that he actually likes the person Tommy is now.

Apparently Buck likes Tommy so much that he came up with excuses just to hang out with him and get to know him.

Tommy is pleasantly surprised, because he did tell Buck to call him when he wants to go up. In fact, Buck can call him for whatever reason, Tommy accepted the Harbor tour request, there's nothing indicating that he would feel weird just hanging out with Buck. Tommy just doesn't know how much of a overthinker and bi disaster Buck truly is yet, but that's the story for another time.

Buck and Tommy really don't know much, if anything, about each other at this stage, as you can see in 7x05, but they're already validating each other's feelings. We've seen Buck get his feelings ignored, hurt, dismissed and kind of fetishized for 6 seasons, now this is something he's been looking for the whole time, for someone to understand what he's going through. At the same time, this interaction must also be quite freeing for Tommy, who's been haunted by demons from his own past.