#but thematically they fit on some parts

[autie-stuck]

hai!!! im currently struggling to decide between Maid of Life + Mage of Heart fr my classpect, could you go over your interpretations of each one?

Ohohohooooo my specialty

MAID OF LIFE

Maids of life, funnily enough start out with very little choice in what direction they want to go in life. Everything is very set for them, and they usually don’t see any reason they should stand up for themself/ do what they want.

One way or another, usually their friends have to drag them into doing what they need to do (make their own choices. We see this with Jane in the comic where Jake pushes her to her limit, and she finally releases everything she’s wanted to say to Jake all at once.

Obviously there are better ways for their friends to help guide them to their aspect, but this is what we see in canon.

From this point on they can handle themself and their aspect well (almost too well at times), they just need that first push into their aspect

MAGE OF HEART

Mages of heart… oh those poor sad meow meows. Mages as I like to say are beaten up and have their lunch money stolen by their aspect. Therefore, mages of heart are hurt by their own emotions and the people connected to them.

We can see this in canon with Meulin, she was deafened by kurloz, even if she acts like it doesn’t bother her, which actually leads into my next topic. She also has a problem with toxic positivity, not letting anyone around her or herself to feel bad.

Mages of heart definitely have a large issue with coming to terms with their emotions in general, wether they say how they feel and regret it later or they repress everything. Also yeah, a past lover hurting them is a high possibility.

Often times they’ll almost have this jaded feeling to them, or even a superior “I know more than you about this”. And you can’t even be mad at them or argue because they’re right. They learned everything about their aspect first hand.

[vaguely-concerned]

we've had a death in the family (a long expected one, to be clear, but sad nonetheless :( ) and the funeral is across the country on the day after veilguard releases, so my wait now has a few more days added to it. oh well if I've waited ten years I can wait until the monday after launch haha

[butterflysnowflake]

might have started another cosplay inspo/background music playlist last night, going to be doing some synthpop/yacht rock deep dives very soon now that spooky season's over

[vjonk]

i havent really been drawing at all for a bit now, but i have been crafting :)

lots of photos under the cut vvvvv

gnomes:

continued my marionette fursona project from last year:

(i still need to make the wooden cross thingy and string the doll up)

linocut:

crochet bunnies:

[blue-thief]

i've just watched tbosas and i feel like i could make an alt version of this but with light, lelouch, liam, rin, and coriolanus

same character different fonts in my eyes

[swampjawn]

Dungeon Meshi episode 21, being heavily dialogue-driven, was pretty straightforward animation-wise and let Ryoko Kui's stunning art speak for itself for the most part, but that doesn't mean that there aren't still some GENERALLY-INSIGNIFICANT-DETAILS-TO-SCRUTINIZE-AT-ARGUABLY-UNNECESSARY-LENGTH.

There was a strong emphasis on hands in this episode, particularly the second half, starting with this cut of Laios resting his on the Minotaur's snout.

The animators have taken this simple little panel (on the right) from the manga (btw, people who know more about this than I do, is there a name for this type of panel, which in film would be called an "insert shot"?)

and turned it into this highly detailed tracking shot that heightens the emotional impact of this moment for Laios. It feels very similar to the shot of Kabru bringing a piece of fish to his mouth that introduced him to the series!

The theme comes up again when Laios does a little bit of blair-witching in the corner after being rejected by house-kitty-pilled Izutsumi,

and once again a few seconds later with this added close-up of Marcille's hand when she tries to read the magical aura of the area.

This one clearly makes heavy use of reference footage, to the point that it almost looks rotoscoped until you notice little details like this line that warps unrealistically at the heel of her palm.

But with smooth, realistic motion like this, little details like that are much less important than the overall feeling of authentic shape and movement. This can be seen in a lot of Masaaki Yuasa's work, which often favors consistent motion and more frames over super polished individual drawings. Here's a thematically appropriate cut from Ping Pong for example:

(This one might actually be rotoscoped, I'm not sure)

If you pause on any individual frame, the lines look wobbly and inconsistent, but it comes together as a whole to create something that feels authentic - real.

The heavy detail in the hand anatomy and the way the skin wrinkles around the knuckles in these cuts feels like a hard departure from Studio TRIGGER's signature heavy stylization, but these realistic cuts have popped up here and there since the start of this show, and I think they fit Dungeon Meshi really well! It can be jarring go straight from wacky bombastic cartoonsmanship to realism, but while it is a show about the hungriest hungriest himbo and his family of weirdos, it's also simultaneously a show about anatomy, ecology, and the horrors of the human mindbrain.

This was expanded from an excerpt from this video where I break down the whole episode, so if you want to continue wallowing in the sludge with me, consider checking out the video!

Thanks for reading.

[azsazz]

Over Ice

Hockey!Rhysand x Reader

Summary: Anon Req: I think we could really have fun with the different courts and Illyrian values on a thematic basis but ALSO if the reader is in something very artsy and hasn’t really been into sports and then she’s walking around Campus and BOOM right smack dab into Broody McBrooder!! She THEN finds out he’s the tutor for one of her hardest courses (personally Psych would be a good one) and they become super duper close with him and the team!!! She decides to wear Cass’ jersey to make him mad and when he finally gets a hold of her after the game: *cue innocent shrug* he asked me to!

Warnings: None.

Word Count: 3032

Notes: While I work on a plot for an azzy hockey x figure skater au, please enjoy a rhys hockey au 🤪

This was originally an Az idea but I thought it fit better for Rhys bby so here we are. I feel like I've forgotten how to write and this is shit (dont judge me im going thru smthin rn)

_________________________________________

A giant FU stares up at you.

Well, actually, it’s only an F, but it may as well be the former with the way it’s circled in thick, red ink.

Three. Fucking. Times.

Tears sting the back of your eyes but you refuse to let them fall. It never feels good, failing, and even if you’d gotten a C+ like you hoped, you would’ve still beaten yourself up over the grade because plain and simple: that’s who you are.

Two months ago, at the beginning of the semester, psychology had seemed like a breeze. The lectures were easy to listen to and intriguing, and you had no trouble following along with the professors’ slideshows as you took detailed notes of everything on the screen. Your assigned readings were completed in a similar state, though they weren’t graded but included important information you’d find on the tests.

Somewhere along the line, your grade slipped, and you don’t remember if it had been between studying for Biology or reveling in your newfound freedom away from your parents, partying and enjoying a true college experience with your roommates.

Whatever happened, the repercussions are hitting you right in the face, the taunting letter you have never seen before on any of your assignments throughout all your years of learning.

If your parents saw this, they would bring the entire house down with their scolding.

It’s not like you didn’t try. You studied, even if the word is a loose term for what material you used. Things started piling up this month, with it being a new semester and all. You didn’t schedule out the time to focus on psychology when the classes you were really interested in—Introduction to Nutrition and Kinesiology—took first and second place for your attention. Plus, with the number of social events your best friends—who are also conveniently your roommates—invited you too, it was almost impossible to say no. Friends are a vital part of the college experience and you were in desperate need of some fun after having spent the summer lounging at home with your parents.

You found a psych support group that met at the library once a week to study together. It wasn’t anything like you thought it would be, a bunch of clueless students with grades similar to yours. All they seemed to want to do with your precious time was bitch and moan about the professor instead of actually trying to conquer the areas of study for the upcoming test.

And now the consequences of your actions have made themselves known.

Grumbling, you shove the test into your binder before shutting it with a snap that does nothing to ease your frustration. A few students still trail from the room, though most bolted right after being released. Some linger at the bottom of the lecture hall where the professor sits, answering their questions.

You have about a million-and-one of your own but you’re too worked up about your grade to go down there and hash it out with Mr. Hybern. His peppery colored hair is perfectly coiffed on this terrible day, his beard trimmed close to his jowls. His gleaming, golden skin makes you think that maybe he’d spent his weekend grading tests out in the sun, and you have half a mind to stomp your way down the stairs and demand a second review of your test.

It wouldn’t solve your irritation, and it would certainly be embarrassing if in fact your F is correct.

Placing your binder, notebook, and pens back into your bag, you zip it, sling it over your shoulder, and make your way to the exit, holding your chin high because if there’s one thing you’re not going to do, is cry over your terrible, awful grade in public.

The waterworks will just have to wait until you’re locked in your private bedroom in your shared dorm.

There is good news. It’s Friday, which means you can snag the pint of your favorite ice cream that your roommates won’t dare touch because ‘no ice cream that’s worth it should have fruit in it, that’s like asking for a steak on your spaghetti.’ You have no idea what Mor—one of your roommates—was on about when she brought up the awful comparison, and in reply all you’d done is scooped out a chunk of cherries embedded into the creamy, pink goodness and stuffed it into your mouth.

With it being the weekend, you can also wallow well into the night without having to worry about hiding your puffy eyes in the morning. You’ll have all day tomorrow to figure out a plan of action, once you allow yourself the time to properly grieve and process…and maybe have a drink or two.

You shoulder through the heavy lecture hall door with your head down, hiding the red stain to your cheeks. So, maybe you’re not going to hold you head high as you trail back to your dorm, but you will not cry.

The door swings open and you barely catch the noise of surprise before you’re barreling into something that’s akin to a brick wall. Your breath leaves your body in a whoosh and your balance slips out from under you, arms flailing as you fall.

You squeeze your eyes shut, bracing for impact, but it never comes.

Slowly, mortified because you know exactly what’s cushioned your fall, you peek your eyes open, carefully meeting a sapphire gaze that surely would take your breath away should you have any left.

This close, you can see the perfection of his angular features: a long, straight nose, high cheekbones under the dusting of pink that caresses his own face. His lashes are dark as charcoal, the same color of his hair that looks as soft as silk.

Whatever it is that has you entranced by his beauty, the sentiment seems to be mutual. Those bright eyes trace across your features, carefully drinking you in. You don’t know if you’re thankful that your face is already as red as the marker on your test or if you want him to see the way your cheeks go molten.

There’s a warmth against your hips that you don’t notice until he speaks, his hands that have a solid grip around you, keeping you steady to his chest. His whispered breath brushes across your lips. “By all means,” he teases softly, “Take your time.”

“Oh, my Gods, I am so sorry,” you squeak, rolling off his chest. You can hear his chuckling as you scramble to climb to your feet, but your knees are so weak at the sight—and touch—of the most handsome man you’ve ever seen lifting gracefully to his feet, holding a hand down to help you up.

You try not to notice just how big his hand is in yours, and for the second time today, you fail.

“Don’t worry about it, darling,” he says, displaying an easy grin that makes your heart stutter in your chest. The door opens with a loud click and the both of you startle. His hand comes down warmly on your spine, ushering you out of the way of the student that’s beaming grin falters into apology at the idea of almost running you down, already on the phone with someone and gushing over their test result.

It’s hard to reign in your glare.

The student’s conversation seems to jolt the man out of his stupor. He blinks, shaking his head as if to rid him of a spell you might have cast on him, or maybe he’s testing to see if he has a concussion from the fall.

When he returns his attention to you, it takes everything in your power not to melt into a puddle beneath that gaze.

“Is Mr. H still passing out tests?” he asks, and you swallow the sourness that accompanies the name of your professor. You and he are not on good terms right now, not that this boy knows that.

“Yeah,” you answer, remembering you saw him sitting on his throne (desk chair) with his loyal citizens (students) kissing his feet (talking through their tests). “I think so.” Then, because you’re pretty sure you would remember a face like his if he were in your lecture, you ask, “Are you in this class?”

“No,” he answers with a scoff that tells you he breezed by this class. “I took Psych 101 freshman year, but I have Professor Hybern again for Cognitive Psychology and I need to turn in my paper early.”

Turning in a paper early? What is he, some kind of genius?

“Oh,” you answer lamely, “Cool.”

His answering grin cracks open the casing of the butterflies you didn’t know were living in your stomach, taking off in a flurry of emotion.

He shrugs like he couldn’t really care less about any of it, but to you, the fact that he’s managed to pass Psych 101 at all is an impressive feat, though you don’t know why he’d sign up for even more torture. “Sure. Look, I’ve got to run, but are you sure you’re okay?”

It’s nice of him to ask if you’re okay when he’s the one who had his back painted to the floor only moments ago. “Yeah, I’m fine, but I should be the one asking you that. Are you okay?”

His laughter is rich and warm, and you want to melt into it. Before you have the chance to make even more a fool of yourself in front of this handsome stranger, he answers. “I’ve been checked harder, darling. You have a nice day now.”

“Thanks, you too,” your words trail off as he catches the door on its next outswing, ducking inside without waiting for your response.

Jeeze, he must really be in a rush, then.

It’s when you exit the doors to the psychology building that you curse yourself. You should’ve gotten his number, his name at least. You could’ve invited him over for something more distracting and yummier than the ice cream you’d planned on demolishing.

At least you have something better to think about tonight than your test.

With a heavy sigh, you allow your backpack to fall off your shoulder. Now that you’ve arrived back to your dorm, you’re suddenly feeling more exhausted than ever.

The walk home from class had been nice, your time spent thinking about the boy you’d run into. The broadness of his shoulders you didn’t seem to notice until he turned away, stretching wide beneath his tight t-shirt. The bulge of his biceps beneath said t-shirt, flexing as he pulled the door open for himself. The shape of his ass in those snug jeans.

The sight of that is what had your eyes nearly popping from your head. What’s he doing that gives him such a bubblicious ass? Squats? Lunges? You can do those. You choose not to, but if there’s a guarantee that you’d have an ass like that, you’d start right this second.

Tucking your lip into your mouth in concentration, you plant your hands on your hips, making your way to the refrigerator that your ice cream is housed in, lunging your way there.

It’s not that far, the communal space in your shared dorm is small, but your heartrate is elevated by the time you’re two lunges away from your prize: your ice cream.

“What the hell are you doing?”

“Mother!” You shout as the voice of your roommate breaks your concentration. Your knees wobble and your thighs shake, unable to hold you up from the burst of exertion you used. You clearly need to get into the gym more, another thing to add to your already busy schedule. “You scared me!”

Mor rolls her chocolate-brown eyes, sliding into one of the stools at your counter. It’s not built for it, the laminate countertop doesn’t hang over the island far enough for your legs to fit, but you and your roommates thought they were cute, nonetheless. You can suffer having to hunch over your knees to reach your cereal bowls in the mornings in favor of having more space for company to sit.

When you haul yourself off the ground, you take in your roommate. She’s wearing some kind of jersey, one you’ve never even seen in her wardrobe before, and you probably spend more time in there than her because she has every item of clothing you could ever imagine. The top she’s wearing now totally clashes with everything that screams Mor: silk scarves, tight bodice tops, leather pants, and what she has on now isn’t even red, a color that’s a staple in her closet.

“Well, if you were paying attention,” she scolds playfully, flipping open the compact in her hand, checking her makeup in the tiny mirror. She makes a few faces that would make you chuckle if you didn’t notice how she looks like she’s ready to go out, and that means she’s going to try to drag you with. “You would’ve heard me walk into the room. I am wearing heels, you know.”

Of course you know. Mor doesn’t do sneakers, only when it’s five in the morning and the sun is still sleeping, the perfect time for working out where nobody will catch her. Maybe I should join her, you think, mind wandering back to that boy’s butt.

“Why are your cheeks all red?” She asks, planting her palms on the counter and leaning towards you, eyes narrowed in inquisition.

“Nothing,” you wave her off, reaching for the door to the freezer. It’s the last thing between you and the cherry chunk ice cream calling your name.

Before you can open it more than an inch, it slams closed, Mor’s sharp, bright red fingernails splayed out to stop you.

Damnit, how does she move so silently?

“What do you think you’re doing?” You question each other at the same time, biting back your smiles at the mistake.

She answers first. “Why do you look like you’re about to get the ice cream, put your pajamas on, and wallow in bed all night?”

“Because that’s exactly what I’m going to do,” you cross your arms over your chest defiantly. “So, if you’ll excuse me…” You trail off, hoping she’ll step away and leave you to your peace.

She doesn’t. That’s not Mor.

“I had a rough day!”

“You say that every day,” she whines, stomping her heel-clad foot. “Don’t you even want to know what I’m inviting you to tonight?”

“From the look of your clothes, no, I don’t want to know what you’re doing tonight, Mor, and no, I don’t want to join you, either.”

Your roommate scrunches her nose, tipping it towards the ceiling. “I’ll have you know that this outfit is cute.”

“Yeah, if the definition of cute changed to ‘not pleasing or appealing to look at.’”

“You take that back,” Mor shouts, full naming you.

As your lips part in apology, because that was rude of you, your other roommate pads out of her room. Her reading glasses are perched up on her nose, blue eyes round and wide, and it always looks like she’s looking around the room in wonder. She has a blanket thrown over her shoulders and looks every bit of cozy you wish you were.

“Gwyn,” you sigh in relief at the sight of her. “Please, help.”

“I already said no,” she offers you a sympathetic wince. “I don’t think there’s any getting you out of the hockey game, sorry babe.”

Now it’s your jaw that falls to the floor. No, it falls through the floor and about five more floors down, hitting the lobby with a crack that echoes through the building.

You whirl on Mor. “Hockey game? Since when have you been interested in hockey?”

“Since my cousin got named team captain this year,” she says smugly, and you don’t know why she’s acting vain, it just means that he’s captain of the douchebags now, even you know that. Mor turns, showing off the back of her jersey. The number one stands out like a beacon, and you brush her blonde hair over her shoulder to read the smaller patches spelling out what is in fact, her family name.

Cunningham.

“Think of all the parties we’ll get into,” she says over her shoulder, and she does have a point there. The athletes at your college are a group of students that you don’t ever interact with, nor do you care. Mor is all about connections though, and if she wants to go to the hockey game, then it looks like you’re going with her.

You wonder what excuse Gwyn used to get out of it. She looks mighty comfy right now, slinking over the plop down on the couch and turn on a movie.

“Why do we have to go to the game? Can’t we just go to the parties?” You ask, grasping for anything to get out of this. You don’t want to go sit in the cold arena and watch a bunch of guys wearing full-body padding slide up and down the ice. Why couldn’t her cousin have been on the baseball team? They have nice, tight uniforms.

“Because,” Mor emphasizes with a glare, spinning to face you once more to give you the full effect of her irritation. “I’m a good cousin, and if we don’t attend the games, we’re going to be blacklisted from the parties,” she grumbles, the fight leaving her a little bit. “I’ve already argued about it with Rhys, I don’t want to have to argue with you too.”

It’s with your sigh that Mor brightens. “Fine. I’ll come with you, but I’m not going to be happy about it. And don’t expect me to cheer.”

Her squeal pierces the sound barrier. What the fuck have you gotten yourself into?

Mor grabs your hand, dragging you towards the empty single room that’s left in your dorm. She uses it as an extension of her closet until someone else gets placed with you. So far, you’ve been lucky, living here since freshman year, just the three of you. “Great! I got you a shirt!”

_________________________________________

Over Ice Taglist:

[jibunbosh]

Mesmerizer is a satire of TikTok, YouTube Shorts, and the rest of the modern short-form vertical video format

A brief thematic analysis.

I'm sure there are countless people already interpreting the imagery and details in this wonderful song & MV, like here and here, so I won't spend too much time retreading that ground. Miku and Teto are dancing. Miku gets hypnotized. Teto signals for help, but gets hypnotized at the end as well.

That part is obvious enough, but that's still pretty surface-level. What is this seemingly hyperspatial horror scenario supposed to mean to us?

While checking to see if anyone before me's already come to the same conclusions as I did and if I should bother not writing this text post at all (lol), I came across udin's great analysis video. She comes to the conclusion that the song tackles themes of disillusionment with reality and the ways we indulge in escapism to relieve ourselves of the pains of the world.

I agree with that reading! From practically the very beginning, we have Miku call to us - the viewer - to push away our true feelings. Teto comes in to peddle a solution, inviting us to surrender and empty our minds - in her words, "pretending to know nothing."

You, the viewer, are a critical character in this masquerade. For nearly the entire video, Miku and Teto's eyes are unfailingly trained on you. Or, well... perhaps they can't actually see you, but they can see a camera, or whatever other aperture the point of view is supposed to be from. And they know they're being watched. (Who else would Teto be sending distress signals to?)

Let's put a pin on that for later.

udin notes very early on that Miku and Teto are, conspicuously, kept in vertical frames - very similar to the video formats of TikTok (and Instagram Reels, and YouTube Shorts, and whatever other clones of the format exist.) You know, just like the animator Caststation's Rabbit Hole fan MV that went viral some months ago.

Hey wouldn't it be crazy if the song's producer, 32ki, released Mesmerizer shorts too haha. Wouldn't that be crazy.

Wow, wild.

These short-term vertical videos are captivating & alluring. If you're reading this, it's more likely than not that you've also found yourself caught up in them at least once, scrolling through the infinite algorithmic slurry and forgetting about the real-life issues you have at hand. Would you say, then, that you felt hypnotized? Mesmerized, even?

And so these two invite us to join their world and focus on the... uh... rectangle.

Their dances are repetitive, following the same loop. Their outfits are distinct, but their choreography isn't. They're copying the same formula, repeating it ad nauseam to the best of their ability.

They're doing a fucking TikTok dance.

Back to the pin I told you about earlier, with Miku and Teto looking at a camera.

Miku sways with the camera, eyes looking directly at it like a swinging pocket watch. She's been looking at it the entire time, after all. We've been seeing her via our screen this entire time, but, again, she doesn't necessarily see us. She's beholden to the camera, which she dances for day after day, caught up in its spell. She's hypnotized by it. Eventually, she breaks.

Teto, on the other hand, resists. For a while, anyway.

Despite her being the one jumping to us with the "solution" at the beginning of the MV, there's very quickly good reason to question how much agency she has in this. She dances for the camera as well, but she doesn't want to. She's signalling for help. She wants out.

Many content creators (as much as I personally loathe the non-specificity and soullessness of the term) have struggled with the adaptation to the short-form video format, and the preference the algorithm has had for these captivating, bite-sized videos. They're catchy, and easily drive up metrics. Practically anyone who's publishing their work via video format online needs to learn to adapt or fall behind, even if that means whittling their content down to fit the frame, the time, and people's shortening attention spans. Sometimes, that means compromising on specificity and completeness... or, in other words, the true representation of a full work.

The song's writer, 32ki, has been releasing songs on YouTube for several years. Their first YouTube Short, however, was posted only a year ago: a short, whittled-down segment of their previous song, CIRCUS PANIC!!!, hoping for it to win the ProsekaNEXT song contest. It was their first song to achieve widespread popularity and hit a million views.

The shorts, however, aren't the "true" versions of the song. The full song just won't fit.

We're being mesmerized as consumers of this endless stream of content, rather than appreciators of music and art. However, that relationship isn't completely symmetrical across the plane that is the 4th wall. Miku and Teto are trapped not by their attention spans, but by a compulsion to project their "truthful acting" and peddle that window into a colorful, problem-free world.

We, as the collective audience, need not dwell on any one thing for too long - we need only swipe, and move on to the next video. However, Miku and Teto are trapped behind the screen for eternity, day after day.

They're the only characters we get to see, of course. There's no evil 3rd voice synth character that's plotting to keep them trapped in there. We can't put a face to whatever force is hypnotizing them and trapping them behind the screen. It's faceless - like the inscrutable algorithms of YouTube recommendations or the TikTok For You page, or the impersonal corporations that develop & maintain those aforementioned apps. Miku and Teto's likenesses, on the other hand, are being exploited and extracted from for their entertainment value, being strung along by that metaphorical hypnotizing force like puppets on a string.

Many people, represented by Miku, enjoy their success on such platforms. It's freeing and liberating to throw oneself wholeheartedly into such an endeavor, of course! Others, represented by Teto, harbor their doubts of the emotional veracity of such a medium, but know they have little choice lest they face destruction... perhaps not literally as a person, but as an idea.

Wouldn't it be easier just to let oneself be swept away by it and give in?

[padmestrilogy]

Padmé’s death lands as a major societal taboo while embracing Star Wars' oldest influences. This reaches across aisles and gives everyone a reason to be pissed off. Padmé is a mother character who loves her kids but finds herself unable to go on: she is a woman who rejects motherhood in the most basic sense. She is also a classic Ophelia-lite character, a tragic heroine who dies when betrayed by her love. Moreover, Padmé operates as a withering personification of democracy, of peace, of hope for unconditional love in the face of brutality. The trilogy loses her as it plunges fully into darkness. All of this is blunt and operatic and not easy to fit into some pre-approved Good Female Character mold. So it is blanket-dismissed as degradation, an insult to Padmé's previous triumphs and unworthy of analysis. And so it goes that most call Padmé's death inexplicable, and shy away from the big word: suicide.  This essay aims to bridge that gap, taking Padmé's death seriously and arguing against commonly pitched fix-its. It also serves to set up my following essay, “The Skywalker Suicides Part II”, and establish a thematic connection to Luke. In short, this is a good faith, overwrought close reading of the one thing no Star Wars fan will stop laughing about. (x)

the first part of my "Skywalker Suicides" essay is up on my site! 7k words of padme suicide truthing! leave me a comment! :)

[sanguine-prince]

i’m sure i’m not the first to say something like this, but let me tell you about my poc-passing-as-white jay gatsby headcanon!!

for some background, in the 1920s there was an interesting shift regarding (white) skin tones. previously, tans were viewed as a sign that a person worked out in the fields, and therefore a trademark of the lower class. however, slowly after the industrial revolution, it increasingly became a representation of luxury, since the rich upper class would have the time to lounge about and sunbathe at their leisure.

i say all this to show that a poc gatsby would have the ostensible class and wealth for a tan, which would ‘excuse’ a slightly browner skin tone in the public eye.

(the 20s was also the setting of passing by nella larsen, so that’s neat.)

in my vision, he’s biracial (maybe his mother was black & his father was a german immigrant) with skin light enough to pass for white.

the fact that nick states that gatsby keeps his hair neatly groomed and cut might be to prevent it from curling up.

additionally, i think it could contrast tom’s white supremacy & his fear of poc social progress.

it would also create a deeper divide between gatsby and daisy, and once again the contrast between him and tom. in my mind, daisy wouldn’t know about it until the point where tom reveals everything about gatsby’s bootlegging etc. with jay revealing it to her in the car ride back (oops then she hits myrtle).

then, when she chooses tom and the life of comfort, wealth, status, etc that their marriage offers, she also rejects not only gatsby’s new money but also his race.

it’s a lot more thematically significant for the american dream as well—it’s still unattainable and essentially tainted by capitalism, and it also emphasizes that it’s restricted to the white upper class. social mobility only becomes available to gatsby when he disguises his racial identity.

similarly, it fits with gatsby’s identity reconstruction—the quintessential american is white, rich, and educated.

daisy and tom have that ticket into society because they have that inherent thing that he will never have—pedigree, in both class and race. that’s something that even nick has.

(in my mind, he tells nick all about it the night before he dies & nick understands as best he can and doesn’t think less of him, because it further highlights the differences between his & gatsby’s relationship v. gatsby’s relationship with daisy; namely, the transparency -> acceptance give-and-take that he and daisy never had. because of having to hide himself from daisy in order to maintain her affection, he builds an expectation that he must be someone that he is not as well as developing a transactional definition of love (he gives, and people love him as long as he can continue to give) in order to be loved. therefore, nick’s immediate curiosity and fascination with who he truly is is foreign to him. not to get too into their dynamic lmao i just think it’s really interesting.)

finally, the very last part where nick is sitting and looking at the bay and thinking about the first immigrants and their dreams and how gatsby embodied the purity and naivety of those dreams is further exemplified by his racial ‘otherness.’

and there’s,,, technically nothing in the book to explicitly refute this from what i remember!

(n.b.: it has been a hot second since i’ve read tgg, so lmk if i’ve got anything wrong!)

[physics-of-one-piece]

The One Piece World Timezones [Fixed]

Okay, so I did a big WHOOPS. I thought the Grand Line is the equator. Someone in the notes pointed out that no, the Grand Line is not the equator and honestly, yeah, my fault for not going a bit deeper into my research.

Here is how the globe is and how the Grand Line goes. The blue thingy is I suspect the actual equator.

The reasons I thought the Grand Line is on the equator is:

1) weather

2) natural occurences

3) map on the One Piece Wiki

Crazy shit happens in the equator in our world.

Here is how the Grand Line is positioned as told by Law.

(source)

Now, let's fix the mistake. (Sighs)

And... ROTATE THE MAP.

Here it is. I sighed many sighs while rotating this and maybe I cried a bit at getting everything 3 hours wrong and then cried some more that Dressrosa & Hawaii aren't in the same timezone bcs goddamn it, that fit, as did Mariejois.

But FINE. I'm doing this for all the Doffy x Reader writers, all the One Piece x Reader writers, all the One Piece fanfic writers, full stop. I REFUSE TO ALLOW MY MISTAKE TO BE A CURSE. I'll also edit the OG post and put this pic there so both posts have the correct one.

Okay, one more time, 100% correct this time:

Paradise:

Reverse Mountain [UTC -1]

Cape Valley [UTC 0]

Cactus Island [UTC 0]

Little Garden [UTC +1]

Drum Island [UTC +2]

Alabasta [UTC +3]

Island where Luffy Kicked Bellamy's Ass Vol 1 Jaya [UTC+4]

Skypiea [UTC +4]

The Arc I Skipped After Seeing It Became Filler Ring Long Island [UTC +5]

Water 7 [UTC +5]

I'm so sorry, Snail 😭

Ennies Lobby [UTC +6]

Florian Triangle [UTC +6]

Sabaody Archipelago [UTC +7]

Amazon Lily [UTC +7]

Impel Down [UTC +8]

Marineford [UTC +8]

Holy Land of Mariejois [UTC+8]

All the thematic representation of it being UTC +12, splash into the water 😭😭😭

Fishman Island [UTC +9]

New World:

New Marineford [UTC -8]

Punk Hazard [UTC -8]

Dressrosa [UTC -7]

Totto Land [UTC -5]

Wano [UTC -4]

Law vs Blackbeard Island [UTC -3]

Elbaf [UTC -3]

Weird that it's Elbaf that's Northeast, since shouldn't Law have gone there as his route? Maybe Kid lied and went there still after Law said Northeast is the quickest path, while Law took a detour onto Winner Island to fight Blackbeard.

Hachinosu (Pirate Island, Blackbeard's HQ) [UTC -3]

Egghead [UTC -3]

Even though Egghead's not shown on the map, Luffy went directly south from Wano, and by the line, the Sunny would have entered the UTC -3 zone.

Lodestar Island [UTC -2]

Calculating Guide:

From East to West

- if it's 17:00 (5 pm) in Marineford (UTC +8) and you want to know what time it is in Dressrosa, this is what you do:

1) (Current time in Marineford) - (UTC time number of Marineford) which is

17 (5pm) - 8 = 9 am (UTC 0)

2) now that you have UTC 0, you put another minus, this one from Dressrosa's UTC, which is UTC -7, so it goes

9 am - 7 = 2 am

So it's 2 am in Dressrosa, while it's 5 pm in Marineford!

From West to East

Say it's 22:00 (10 pm) on Saturday in Dressrosa, what time is it in Holy Land? Here are the steps.

1) (Dressrosa current time) + (Dressrosa's Timezone Number) = time at UTC 0

So that's:

10 pm + 7 = 5 am Sunday (UTC 0)

2) UTC 0 time + Holy Land Time Number

So: 5 am + 8 = 13:00 (1 pm) Sunday

So while it's 10 pm Saturday in Dressrosa and Doflamingo is conducting business with the Paradise part of the Grand Line, in the Holy Land, the ugly Celestials are eating lunch on Sunday or napping bcs they are freeloading cu- (censored) unlike Doflamingo who's actually working!

(looks at the maps of my previous timezone post) Okay. It's fine. I only missed Dressrosa by 3 hours. IT'S FINE.

(it's not fine, I'm crying, it's not FINE, my favourite island and I couldn't even get it right the first time, if Doffy turns me into a toy I deserve it)

I'll go climb the Red Line and jump off it. This is the greatest shame as a scientist. Wrong numbers.

A/N: Of course, if what the pic above said is true, it might as well could be that the original tinezone map I made is semi- correct and the entire territory up until Wano has a timezone from UTC -12 to UTC -9 if it's only the first third of the New World, as those are the "thirds" of the west timezones. I don't read the manga, but I'm caught up with the anime and if the manga does reveal a map, actual map like that curved one in the picture with Law or Oda finally makes one, I give the manga readers full permission to send it to me in an ask and I will update the posts again. For now, this is the most "official" map we have, and the most recent one. Also, the Grand Line being in the shape of a rollercoaster is fitting, haha.

Taglist: @fanaticsnail @moonbaby26

[diredeliverance]

Tags

#I think kasander has a way of managing the urge that's very high risk high reward compared to how asperia does it. #asperia feeds it very frequently at some low level (better not to think about that relationship with animals) #and by always leaning in and going with the flow they're not getting swept away. there's some direction to it and less total loss of control #it helps that asperia (like most of the others) has very little empathy. kas couldn't do that. #kasander is much better at blocking it out completely for periods but has absolutely no control over it as a result #it's not really possible to block it out forever though. it's a lot more sustainable to let asperia take charge of it sometimes but kasander is stubborn even when they're getting along.

🌺 Ok one for the new kid! Kasander likes animals but keeps their distance from them, on account of not trusting the Urges

6/10 on average, I think, spiking to a 10 depending on recency of the last Incident. Kasander really loves animals and is someone who talks to them a lot, and they struggle to balance that with the precautions that would keep other creatures safe. In the end it's the same way with their companions- they could easily hurt or kill one of them by mistake, but they still travel with others. They're learning themself better all the time, and they hope that will help them have a better sense of when it's about to take them and they need to get away. They withdraw much more completely when something has gone wrong recently though. It's hard to maintain that optimism when the strategy has just failed.

[headcanon prompt]

[cenvast]

Laios, Monsters, & Toshiro: On Racialized Desire and Identification with the Other

Arguably, the most significant part of Laios' character is the societal ostracization he faces because of his non-normative interests and behavior. For the majority of his life, Laios struggles socially, and other humans mistreat him. When he rescues Marcille from the Nightmares, his nightmare dredges up his inability to fit into school and the army. During his early dungeoneering days, he's lied to and exploited by his fellow party members.

One of his earliest and most formative negative experiences with people is his village's abuse of Falin as a magic user. He shares that after the villagers discovered that she can use magic, "adults who were just kind yesterday, all began to bully [her]." Instead of protecting Falin, his parent tell her to leave the village. The prejudice Falin faces and his parents' response to it upsets Laios to the point that he leaves home.

While Laios cares about his friends, the Demon points out that Laios understandably does not care for people in general. Laios doesn't disagree with the Demon's assessment and suspects that the Demon "can sense all [his] thoughts." The Demon goes on to say that Laios actually "despise[s] all humans." Laios denies this assessment, but given the Demon's uncanny ability to sniff out people's desires and Laios' ashamed expression, at least part of Laios likely agrees with the Demon. It's not a stretch to assume that he's held onto some hurt and resentment towards humans due to their mistreatment of him and Falin in their youth.

In response to how human society has othered him, Laios distances himself from humans and invests his time and energy into monsters and demi-humans instead. In the DunMeshi world, monsters and demi-humans are the ultimate societal Other. People fear them, exploit them, and even hunt and kill them. As someone who's similarly been mistreated by human society, Laios resonates deeply with monsters.

His desire to become a monster and/or beastman reflects his desire to reclaim agency over how society has ostracized him. If he chooses to become a monster, he gets to place value on what society has deemed despicable. He gets to choose why society hates him and be different on his own terms.

Both textually and thematically, Laios' identification with the Other bleeds into the erotic. More blatantly, he says that he'd have sex with orc women, and his succubus is a monstrous version of Marcille.

The entire story is also steeped in the theme of consumption as carnality. Laios and his party spend the entire manga eating monsters — a taboo physical act which they reap pleasure from; the underlying eroticism isn't difficult to see.

The story also presents consumption as a form of extreme identification. Eating a monster makes the monster part of you through digestion. The line between consuming the monster and becoming the monster — between erotic desire for the monster, demonstrated by eating their flesh, and identifying with the monster — is very blurred. Note that digesting a monster is an act of absorption; it destroys the original creature. Senshi states that consuming a monster erases "its individual identity," and major manga spoilers, but Laios defeats and pacifies the Demon by consuming its desire to eat. We'll come back to this concept later.

As previously mentioned, Laios is disinterested in most humans. The notable exception to this rule is Toshiro and by extension, the Eastern Archipelago. Laios doesn't seem to know much about the Archipelago before speaking to Toshiro, so he isn't drawn to Toshiro because he's an Easterner. Instead, he's drawn to his "odd appearance."

Just like Laios views monsters and demi-humans as a visible Other, Laios views Toshiro as another visible Other. On the Island, Toshiro stands out as a foreigner at first glance. While Laios as a white tallman doesn't appear visibly strange to other people, he's drawn again and again to people and creatures who are immediately visibly "odd." He sees them as understanding what it's like to be different and be mistreated for it, and since he relates to that experience, he wants to learn about them and be closer to them.

Essentially, Laios behaves towards Toshiro and his culture the same way he behaves towards monsters; he wants to know everything about Toshiro's foreign culture — the thing which makes him different. Unintentionally, Laios unintentionally reduces Toshiro to being Japanese; if he wasn't Japanese, Laios would never have approached him.

While Laios doesn't have bad intentions, as Toshiro himself acknowledges during their fight, his behavior towards Toshiro still has negative consequences. Laios' harmless interest in monsters translates to fetishization in the context of Japanese culture. He enacts multiple microaggressions against Toshiro and crossing his boundaries.

Laios goes beyond merely learning about Japanese culture. He takes parts of it for himself when he names his sword a Japanese name. Akin to his consumption of monsters, Laios attempts to participate in Toshiro's culture while failing to respect Toshiro himself. Just as eating monsters destroys them, Laios consuming Toshiro's culture while enacting racism against him causes real harm.

Many people have already written about Laios' microaggressions towards Toshiro, but a couple include Laios telling Toshiro that he looks "odd" and asking where he's from, mispronouncing his name as "Shuro," and assuming his favorite food is rice. Laios' treatment and fetishization of Toshiro is racist and harmful. However, I'd like to dive beyond the surface of Laios' micro-aggressive remarks and examine how his obsession with Toshiro becomes a racialized mode of desire, paralleling real world phenomena.

Though no concrete canonical evidence of Laios' feelings towards Toshiro being romantic and/or sexual exists, his interactions with Toshiro have erotic undertones. Their fight dialogue, in particular, revolves around eating, an act the story consistently shows as carnal. During this fight, Laios places his thumb in Toshiro's mouth and asks him, "What's the point of even having a mouth?" Laios' penetration of Toshiro's body via his mouth and his question's potential as an innuendo lend themselves to an erotic reading of the scene's more obvious conflict. Considering the overlap between consumption and carnality throughout the story, it's not a large jump to read eroticism into Laios demanding Toshiro meet his body's physical needs.

Furthermore, Laios is more enthusiastic about Toshiro than any other human in the series. While he cares deeply about his sister and his friends, Laios repeatedly expresses how much he admires Toshiro. He retains and brings up things like Toshiro's (perceived) favorite food. He wants to go to the East in Falin's place after she rejects Toshiro's marriage proposal, and in the "What-If" extra material, he's adamant about setting up a scenario where Toshiro travels with him through the Dungeon.

Undoubtedly, Laios is drawn to Toshiro. Since he sees non-white-ness and monstrosity as equivalent markers of societal othering, Toshiro's identity as a foreigner is what cultivates and maintains Laios' interest in him. Even if Laios learns to care for Toshiro as a person, his desire for Toshiro, platonically or otherwise, is still filtered heavily through race within the narrative.

Laios' relationship with his masculinity is also fraught. He broke off his engagement with a girl from his village and doesn't express normative interest in female tallmen. Seeing how the nightmare versions of his parents ask him when he's going to give them grandchildren, Laios experiences societal pressure to conform to a normative performance of masculinity through being attracted to and marrying a tallman woman and creating a family with her.

Laios frequently talks about how cool and admirable Toshiro is when he performs masculinity through combat, etc. He might find Toshiro's Asian masculinity more appealing and more accessible to him than the masculinity that's been forced onto him, precisely because Toshiro's Asian masculinity appears non-normative in a Western lens. But co-opting the masculinities of men of color as a white man would only further feed into the white consumption of cultures of color.

Overall, Laios' entitlement to and consumption of Toshiro's culture mirrors the real-life way white people co-opt and fetishize non-white cultures. Laios' fetishistic treatment of Japanese culture, because of his attraction (platonic or otherwise) to Toshiro, parallels white people's treatment of Asian people in the Western diaspora. I can only speak on the Asian American experience, but Laios immediately being drawn to Toshiro's "odd appearance," obsessing over his culture, and primarily treating Toshiro as a conduit for his said culture feels eerily close to how some white anime and/or K-pop fans act towards Japanese and Korean people.

Similarly to Laios, real queer, neurodivergent, and/or otherwise non-normative white people are marginalized by white Western society. They relate to how society others non-white cultures and/or people of color and latch onto them. While forming human connections based on curiosity and shared experiences is wonderful, white people are often unaware of the racial dynamics at play when they engage with non-white cultures and people of color and unintentionally, end up consuming and fetishizing non-white cultures in detrimental ways.

None of this negates the reality that Laios and Toshiro canonically care for each other. For instance, Toshiro's willingness to hug Laios reveals his genuine familiarity with and affection for him. The racial dynamics of their friendship complicate their relationship in fascinating ways and open up a potential path for Laios' growth. With time and effort, Laios could absolutely unlearn his racism and become a much better friend to Toshiro.

In conclusion, Laios' behavior towards Toshiro is a study in a marginalized white person's identification with and racialized desire for a non-white Other and how even a well-intentioned attempt at connection can replicate harmful racist dynamics. Toshiro's experience with Laios closely parallels real Asian people's struggles with racism and fetishization in our world today.

[fatalism-and-villainy]

I’m trying to untangle The Problem of Garashir (not the least because, well, I’m writing the pairing) -

and I think honestly one of the biggest… roadblocks? bits of untapped potential in the pairing? is that we never really see their relationship put a strain on their ideological convictions.

Which is to say, “the societal institutions we’re subject to are corrupt, but our love is pure, so we’re going to abandon those institutions for each other” is, whether implicitly or explicitly, a common framing in fanfic featuring them (such as I’ve seen) - and to be fair, it’s a common romance trope in general. But I can’t say it works for me for these characters. And part of that is that imo the show doesn’t sufficiently set that up with its development of the relationship between these two characters, but another part of that is that I simply don’t see a world in which that kind of relationship dynamic/approach would fit with their characterizations.

To address the first point - there are never any situations involving these characters in which their fundamental values or institutional loyalties are challenged as a result of their relationship. At no point does Garak, for example, have to choose between Cardassia and his affection for Bashir. (I’ve seen people read The Wire that way, but I don’t think the reading works - The Wire is a fantastic showcase for Garak’s worldview and value system and the cracks and contradictions therein, but even though Bashir’s unwavering commitment to helping him despite what he’s done is certainly unprecedented and moving to him, his underlying value system hasn’t changed by the end of that episode.) And while Bashir’s faith in Starfleet and the Federation does get rocked quite a bit over the course of the show, it’s never because of his friendship with Garak.

Instead, I’d say that with some exceptions (like The Wire), their friendship in the early seasons is usually framed as a respite from their serious responsibilities or moral dilemmas. This especially true of Garak, who is likely not used to someone simply enjoying his company with no ulterior motives whatsoever, but the narrative maneuvering of the show also does a lot to shield Bashir from the reality of who Garak is. Yes, he gets a taste of that in The Wire, when Garak goes out of his way to impress upon him what the reality of his life as a spy truly was. But that’s still only verbal testimony, and only confined to what Garak has done in the past. Bashir is largely absent from all the shit that Garak pulls during the show!

And I’m not complaining that, say, the events of The Die Is Cast take place between Garak and Odo, because it makes thematic sense for it to be Odo for that arc. (And I love that friendship.) But Garak and Bashir do not get a plot like that, or like In the Pale Moonlight, where Bashir is directly exposed to or complicit in Garak’s immoral behaviour. The closest we get to an actual serious ethical clash between them is in Our Man Bashir, which is a goofy comedy episode. (And it’s worth noting that Bashir calls Garak’s bluff and shoots him in that confrontation! Yeah, he likely missed on purpose, given what we later learn about his magic hand-eye coordination, but he’s still unwilling to compromise on his heroism for Garak’s sake. It’s actually a pretty Cardassian gesture, which is probably part of why Garak loves it so much, but it does say a lot about where their priorities are re: their commitment to their values vs. each other.)

And I think the lack of more serious, plot-relevant ethical conflict between Garak and Bashir is a real loss for the show, because one thing I find really interesting about their relationship is that - in contrast to the examples of Odo and Sisko up there - Bashir is the person in the cast most able to hold Garak accountable. He’s repeatedly established as one of the most firmly moral members of the cast, and his righteous anger at seeing those morals trodden upon is one of his most defining character traits in the later seasons. His unconditional forgiveness of Garak in The Wire is lovely, and it is an important moment in the development of both their relationship and Bashir’s character. But in the long term, once we get into actual serious, consequential war and espionage plots? And if we’re imagining them in a long term committed relationship? It wouldn’t be sustainable, and it doesn’t feel in keeping with Bashir’s character that’d he have endless reservoirs of patience and understanding specifically for Garak. And it’s precisely because Bashir is uniquely able to grant Garak forgiveness that he’d also potentially be uniquely able to chastise him.

(This is why, by the way, my headcanon as to the in-universe reason why they don’t seem as close in the later seasons, paternity deathbed reveals and occasional flirty bantering notwithstanding, is that Bashir was seriously fucking pissed at the stunt Garak pulled in Broken Link, both in terms of the personal betrayal and the destructiveness towards sentient life, and that it created a significant rift between them.)

All of that is to say - my biggest regret with the show’s sidelining of their dynamic isn’t the fact that their relationship never becomes romantic (not a chance of that in the 90s, and also these writers were pretty terrible at writing romance) but that they never get to have an argument. An actual serious, non-flirtatious, two-sided, genuinely-angry-at-each-other-argument. I want to see conflict! (I honestly think that their exchange in What You Leave Behind comes the closest to the kind of conflict I’d like to pick up on in post-canon fic - where they are conciliatory in the moment but still have this really wrenching chasm between them, and unresolved frustration as a result of that chasm.)

So as an extension of these thoughts, I actually really like that we’re not given the basis for a traditional “us against the world” style romance plot. I like that these characters are clearly deeply fond of each other and significant to each others’ development, but have other important connections (Garak especially, since despite being only a recurring character introduced through Bashir, he integrates into the broader cast) and other priorities besides each other.

Furthermore, despite the significant differences in their value systems, one very fundamental thing they have in common is how passionately devoted they are to their respective causes. For Garak, it’s Cardassia. And while his idea of what it means to serve Cardassia, and what Cardassia needs, undergoes a lot of change over the course of the show, I don’t see any version of Garak in which Cardassia is not his first love. For Bashir, it’s altruism and helping people, as well as his intellectual curiosity - aims which are reflected in Starfleet and the Federation for him but ultimately higher ideals.

And I don’t think either Garak or Bashir would admire the other nearly as much if they were willing to let go of everything they hold dear for the sake of romance. They’re both far too committed to being a part of the world. Garak may have some fun with trying to shake Bashir of his optimism, but ultimately Bashir’s goodness, his fierce conviction that no one deserves to suffer, are among the most compelling aspects of his personality. And if Bashir is ever going to actually enter a serious relationship with Garak, he’s got to move beyond flirty intrigue and literary banter and see Garak as someone who’s proactively committed to goals that Bashir can respect. If they’re coming together as a couple, it’s because their aims and beliefs have come into alignment in some way.

And to be fair, a lot of post-canon Cardassia stuff is doing the latter. But I also want more… conflict within that framework, I guess? I don’t want a romantic relationship and the act of getting together to be the endpoint of whatever reconciliation of values they need to work through. And that’s part of what I’m trying to untangle in planning this fic of mine - especially regarding how fraught romantic commitment feels for them. For Bashir, there’s the problem of not only reconciling himself with what Garak has done, but also of choosing to be with someone whose impulses and entire cultural belief system places duty and institutional loyalty above personal feelings. And for Garak, there’s the fact that the most devoted and emotionally intense relationship he’s had in his life thus far has been with Tain, who embodied Cardassia for him - and as a result, I doubt he quite knows what to do with the possibility of a serious relationship with Bashir, who is very emphatically not Cardassia. He’s not used to being divided in his passions!

It’s not that I’m never capable of being moved by post-canon stuff that involves Bashir being charmed by how slippery Garak is, or them generally being quippy and fond of each other (I’m not made of stone here). But I’m never satisfied with just that, because that escapist element never feels like it translates well from the early seasons of the show to post-canon, and because it never engages with what I find the most fascinating about what’s set up with their whole dynamic. (And I especially dislike it when it feels like Bashir’s character is getting shortchanged in terms of his complexity and moral convictions being excised in order for Garak to get everything he wants.)

[criticalcrusherbot]

The Compulsion to Justify Enjoyment: Fandom, Critique, and the Helluva Boss Phenomenon

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

The tendency for Helluva Boss fans to qualify their praise with statements like, “Well, the writing is kinda bad, but…” reveals something fascinating about contemporary media consumption and fandom culture. This pattern is not unique to Helluva Boss, but it’s especially pronounced in this fandom, where discourse oscillates between extreme praise and harsh criticism. To understand why fans feel pressured to justify their enjoyment, we can turn to media literacy, psychology, and sociology—while also reconciling this with our own stance: the writing is actually pretty good.

But here’s the twist: while we maintain that Helluva Boss is well-written in many ways, we also believe that determining whether something is “good” or “bad” isn’t always a meaningful or productive approach to media analysis

Why “Good” or “Bad” Doesn’t Matter (But the Writing Is Pretty Good)

One of the core arguments of our four-part thesis is that Helluva Boss demonstrates intentional, thoughtful narrative choices. Its handling of character arcs, emotional stakes, and thematic complexity often surpasses expectations for an indie animation project. However, the need to categorize media as either “good” or “bad” can distract from more interesting conversations about what the text is trying to do and how it resonates with its audience.

This is where the conflict arises: fans often preface their enjoyment with disclaimers—“Well, I know the writing has issues, but I like it anyway”—as though acknowledging perceived flaws is necessary to maintain credibility. This defensive posture reflects a broader cultural trend where media critique has become intertwined with moral judgment and social capital. In other words, liking something “uncritically” is seen as naive or intellectually lazy.

Yet, here’s the paradox: even as we argue that the writing is “pretty good,” we also recognize that media doesn’t have to be “good” by some objective standard to be valuable. Enjoyment and meaning-making are subjective experiences, and trying to fit every piece of media into a binary framework of quality often undermines the complexity of that experience.

Why Helluva Boss Gets Caught in This Trap

The unique position of Helluva Boss as an indie project with a large and vocal audience makes it particularly susceptible to this dynamic. Unlike mainstream media, which often benefits from established critical frameworks, Helluva Boss invites scrutiny because of its ambitious storytelling and the polarizing presence of its creator, Vivienne Medrano.

The result? Fans feel compelled to either defend the show endlessly or hedge every compliment with disclaimers. This stands in stark contrast to how other media, such as shonen anime, are consumed. No one feels the need to preface their love of Dragon Ball Z with an acknowledgment of its repetitive fights and shallow character development because those are accepted as genre conventions. Helluva Boss, however, with its more nuanced writing and complex emotional arcs, invites higher expectations—and harsher criticism.

The Psychology of Defensive Enjoyment

Psychologically, this defensive posture can be explained by cognitive dissonance: the tension between genuinely enjoying a show and the pressure to maintain credibility in a culture that prizes media literacy. Fans preemptively address perceived flaws to avoid being dismissed as uncritical “stans.”

This is compounded by the personalization of media discourse. Medrano’s online presence and the show’s status as a passion project have made her closely tied to its public perception. Praise can be interpreted as sycophantic, and criticism as a personal attack, further polarizing the conversation.

Reclaiming Joy: A Balanced Approach

So how do we reconcile these tensions? By acknowledging that media analysis doesn’t always need to revolve around determining if something is “good” or “bad.” We can appreciate the intentional, thoughtful narrative choices in Helluva Boss without feeling the need to hedge our enjoyment—or defend it against detractors.

Our position remains this: Helluva Boss is well-written, often clever, and narratively ambitious. But even if it weren’t, that wouldn’t negate its value or the joy it brings to its audience. Enjoyment doesn’t require intellectual justification, and media doesn’t have to be flawless to be meaningful.

Let’s normalize saying, “I love this thing” without a 500-word essay on why it isn’t perfect. And maybe even go a step further: acknowledge that the writing can be pretty good—and that sometimes, that doesn’t even matter.

[saurongorthaur9]

As we get closer to the end of S2, I'm going more insane over who the surprise kiss is going to involve and whether they are going to go You Know Where. I keep playing the process of elimination game with any character who might share a scene with Galadriel at this point, and I just can't conceive who it could possibly be other than Sauron.

Elrond? It would come out of nowhere, they've said in interviews that Galadriel and Elrond's relationship is platonic, and there'd be the weird "kissing my future MIL" aspect of it.

Celebrimbor? Again, it would come out of nowhere, and Charles Edwards said in an interview that they aren't going with the "Celebrimbor had an unrequited crush on Galadriel" direction.

Gil-galad? Once again, out of nowhere, and it would just be weird and uncomfortable?

Arondir (since we know he shows up for the Battle of Eregion)? Unless Galadriel is his rebound for losing Bronwyn, it would make no sense and they've barely interacted in the series.

A minor elf character (Camnir, Mirdania, etc)? Again, it would come totally out of nowhere, and if it's significant enough for Morfydd to mention it, I really think it'll be with a main character. Plus, where would they go with that, since we know she eventually ends up with Celeborn one way or another?

Speaking of which...Celeborn? Still not 100% convinced that he might not make a very surprise appearance, but it just doesn't seem to fit with the "shocking" description nor the fact that some reviewers who have seen it threw an absolute fit over it apparently.

Adar? This is the one contender that I could see making *some* sense (not as much as Sauron though). There's definitely chemistry there, if not of any romantic sort (as of now), and we know they're going to have some big scenes together in the upcoming episodes. It would fall into the "shocking" category for sure, and I could see lorebro reviewers losing it over it for the same reasons as they would over Sauron. However, right now, I don't see it fitting into the story anywhere, plot-wise or thematically. But right now, it would make more sense than any of the prior possibilities.

Am I crazy that this just leaves Sauron? The character who they have spent two seasons establishing a connection with her and emphasizing that they are still very hung up over each other? The character who, whether you ship them or not, she has the deepest and best chemistry with? The character with whom a kiss would fit thematically (touch the darkness, etc)? Plus, I can think of multiple likely scenarios that it could occur during (a vision, as part of a Galadriel corruption arc if they go there, etc). And it would definitely be shocking and send lorebros into absolute conniption fits.

Like, I know I'm biased because I want it to be them, but truly is there anyone else it would make any sort of sense with? Tell me I'm not crazy (or tell me I am and explain what you're guessing/seeing that I'm not)?