#changed how i view love

[youre-a-miracle-of-the-universe]

"You have already left kudos here :)"

Dear ao3, i know and I don't care. now if u'll excuse me, im gonna click this button as many times as it takes to feel like the appropriate amount of love i have for this work has been put into it

JUST LET ME LEAVE MULTIPLE KUDOS YOU BASTARDS

[poorly-drawn-mdzs]

Lan Wangji goes to Lotus Pier (No relation to the AU of the same name)

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[somewhereincairparavel]

whenever there are jason slander reels on instagram and basically 99.9% of the comments are defending him and saying 'you aren't cool for hating on him for absolutely nothing' and 'its not 2013 anymore, all of us have matured now, and we realize how overrated jason slander is' angels gain their wings :)

[pansyfemme]

its really hard to have a special interest in color when every art video on the internet is like "WOAG COLOR THEORY???" over a clip of a very standard example of simultaneous contrast. like yes i know i know can we please talk about something more interesting

[bonefall]

the worst parent poll made me realize just how many ppl in the fandom are willing to jump straight into abuse apologia. bc on one hand you have ppl dumbing down crow's abuse to "him just being mean" and on the other end you have ppl saying that curlfeather didnt abuse frostpaw because she sacrificed herself and frost + her siblings love her so she couldnt possibly be an abuser. truly mindboggling stuff take these serious topics away from the fandom asap.

Part of me feels like it's because many in this fandom have a feeling that if a character's actions are abusive, it means you're "not allowed" to like them. Like there's an impulse where if you liked a character, it MUST mean they weren't THAT bad, because you'd personally never like "an abuser."

As if it reflects poorly on your own morality, as a person, that you connected with An Abuser. Understood them, even. Even if it was just a character.

If it's immoral to Like Abusive Characters, of course your reaction is going to end up being abuse apologia. To enjoy something isn't logical, it's emotional, so you will get defensive about it when questioned. When you do, it's not going to be based on logic because you didn't reason yourself into that position in the first place. It's an attack on you as a person.

I feel like that's often the root of abuse apologia in this fandom, and sometimes the world at large; "If I admit that this character/person IS abusive, it means I was doing something bad by liking them, so I have to prove to everyone else that they weren't or it means I'm bad too."

And to that I say... That's a BAD impulse! Grow up and admit you resonated with a character that did a bad thing! If that's an uncomfortable thought, sit with it!

Sometimes abusers are likeable! They usually DO think they're justified in their actions, or doing it for "a good reason," or were just too preoccupied to care. MOST of the time, people who commit abusive actions are also hurt or traumatized in some way. You might even empathize with them. None of this means their actions have to be excused or downplayed.

"Abusers" aren't a type of goddamn yokai, they're people just like you and me. You don't help victims of abuse by putting the people who hurt us in an "untouchable" category.

In fact, all it does is make you less likely to recognize your own controlling behavior. You're capable of abuse. People you love are capable of it, too. People who love YOU can still hurt you.

In spite of how often people regurgitate "It's Ok To Like A Character As Long As You're Critical Of Their Actions," every day it is proven to me further and further that no one who says it actually understands what that means.

All that said; I think it's no contest which one's a worse parent, imo.

They both mistreated their children, but Curlfeather did it through manipulation without verbal or physical abuse. She politically groomed her into a position of power so that she could use her as a pawn. It can be argued if this counts as child abuse-- but it's firmly still under the broad category childhood maltreatment, which is damaging.

(though anon I'm with you 100% at seeing RED when "but she sacrificed herself" is used as an excuse. Curlfeather's death does NOT CHANGE what she did to Frostpaw in life. I think it's a valid point to bring up when comparing her to another terrible parent for judgement purposes, such as in the context of this poll, but I really hate the implication that redemption deaths "make up" for maltreatment.)

Crowfeather, meanwhile, is textually responsible for putting Breezepaw through verbal AND physical abuse, as well as child neglect. His motivations include embarrassment from a hurt ego, revenge on his ex, and being sad because of a dead girlfriend. This abuse drives Breezepelt towards radicalization in the Dark Forest.

You could argue Curlfeather is a worse person for Reedwhisker's murder, but as a parent? It's not even a question to me. Crowfeather's one of the worst dads in WC.

[ruporas]

studies from the finale

[somegrumpynerd]

Killer is the only one Nightmare can't track down easily, since he can feel the others by emotion but can't usually sense Killer's unless he's in stage 1.

This is a small part of why he and Color got off on the wrong foot, because the first time Color and Killer met was when he was helping Dream fight them and he managed to pull Killer away from the main fight to try and reason with him. While they were doing that, Nightmare decided to retreat but couldn't see Killer around and couldn't find him using emotions, so he had to leave without him. (He did return later to scour the place and found Killer waiting for him, since he'd refused Color's offer to go with them.)

This became a running theme, where sometimes after a battle Killer would be gone without a trace because he was off fighting/talking with Color and Nightmare would have to come back for him later. It's also what makes Nightmare a little uneasy in present day about Killer running off to hang out with Color sometimes, because if Color succeeds in convincing Killer not to return, Nightmare has no way of tracking him down anymore. He just has to trust that Killer will return at some point, and wait.

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[quirkedupkicks]

pretty risky plan, but yeah ..

panel redraw/ode to the hero killer arc 💙 no shade version + the ref pic that saved me ->

[pepperpixel]

SAID HE LIKES CRAZY GIRLS,

BUT HE HATES WHEN I ACT CRAZY,

IT TAKES TWO TO TOXIC!

FINALLY!!! Finished these pics of jinx I’ve been working on!!!!! HOLY SHIT, these took so long…. But finally… they’re done… pls enjoy this art of my beautiful princess w a disorder. Featuring alternate colors for the big pic and also a closeup! Cuz I rlly like how both the lines and coloring on her face turned out… like the pink gradients w her eye… her deer in headlights expression,, like uve just startled a raccoon digging thru ur trashcan and r two seconds away from getting mauled.. m proud of it!

[caeslxys]

I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)

As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)

He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.

(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)

It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.

(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)

[toadlessgirl]

when you guys said Interview with the Vampire was good I thought you meant like 'horny campy melodrama' good, not 'prestige television 2x5 may be the single best tv episode i've ever seen everyone involved in this deserves an Emmy HOLY SHIT' good

[poorly-drawn-mdzs]

Turtle Takedown Teamwork.

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[fatedroses]

When a test of a prince's taste backfires horribly. Or, how Alisaie gave herself psychic damage for not realizing this man may not act like how she imagines and she's suddenly being thanked for giving the worst food on the star to him.

(or, even, indirectly giving Meteor and Tsukiko psychic damage as Meteor refuses to let Zenos eat that god forsaken bread and has to hold him back like a misbehaving cat away from it.)

[symbologic]

Law thought he'd need to change the world to honor Cora's sacrifice

But he was already living Cora's legacy: Simply by being with the people he loves, the family he created for himself in the wake of Cora setting him free

You'd almost expect Law to wander alone for years after Cora's death. And in a different story? I think that's likely what would've happened so the MC could finally show him what love means

But Law met Bepo and the others within a few days of Cora's death

And so Law fulfilled Cora's dying wish — continued to fulfill that wish everyday after that, even — without ever realizing it. There is something so devastatingly beautiful about that

[puppppppppy]

i feel like im not making any sense but does anyone else feel like there are stories that let u run with them and ones that spell everything out for you