#cuz I'm pretty sure I need to tag this for violence

[kitsunebishake]

this is just a little rant about how queer fire emblem engage is

I abstained myself from going on this rant on the tags of anotjer post because I know I'm annoying as hell lmfao

also mild spoilers tho I already speak vaguely by nature so nothing huuuge

OK SO can we just take a moment??? to think about how fucking queer this game is???

we have diamant pondering how pretty alfred is and comparing him to a serene and beautiful flower covered scenery

we have rosado wanting fogado to think he's the cutest person ever

whatever the fuck was that support with alcryst and fogado

MARYGOLD AND ETIE???? FEELING EACH OTHER'S SKIN????? LIKE????

rosado's entire existence is queer no matter from which side you look at it too, transfem? transmasc? fem gay? nonbinary? all of them, literally could be all of them

ivy in general is peak pathetic woman OTD material, she IS the fictional lesbian standard

(yes I am aware they're technically all bisexual but me HC 2 of them as gay/lesbian is not bad... I think)

kagetsu and alfred @ diamant and boucheron is so fucking queer too like I couldn't stop laughing because they made me feel a bit self aware LMFAO (they could be a polycule too who knows)

and speaking of muscles, why the fuck bunet was so okay with the idea of alfred licking his muscles? 💀 THAT'S NOT NORMAL MY DUDE, I MEAN I KNOW ALFRED IS PRETTY BUT DAMN

I think celine and chloe were also very 🏳️���🌈

and merrin, which is literally inverse rosado

I have not watched all the supports but I'm sure if I did I'd find even more stuff to point at like a wojack meme and go "queer."

the resident cis gay man on my Facebook friend list who is constantly talking about wanting to get railed also has deemed male alear is extremely queer just for existing, so has one of the 50 lesbians on my twitter friend circles

and you know what? I think I can see why

there's also THAT scene during chapter 10 which made the VTuber I watch go from shaming his chat for being thirsty for the evil dragon to "oh shit, I get it now, that's kinda hot" which is like peak homoerotic violence

I'm sure there's more I've seen but I have forgotten

back to thinking about diamant and alfred kissing

EDIT: I wrote this on the 15th, it is currently the 16th and I have to say... I was right, there's a lot more queer

I have officially watched all of rosado's supports and some of them in Japanese, and it is incredible how they just didn't translate some parts? I need a transcript to confirm, but I'm pretty sure rosado uses 中性 to describe his townsfolk... that means gender neutral, literally the kanji for medium/middle + sex/gender

he also specifically mentions cutesy men and cool women, confirming people from his village are not just cute but in general showcase different types of beauty, regardless of gender (and yes! he also says the "regardless of gender" part in Japanese too! I love him sm)

there's also the first support with louis which I think is really funny because the ENGLISH VERSION JUST REMOVED TJE PART WITH "EVEN THOUGH I'M A BOY????" LMFAO

I imagine because they thought it was offensive or something? but I think it makes sense, fogado said to celine the firenese appear unsociable and closed off to those from other lands, closed off being the key word here

rosado obviously doesn't care about gender, much less his own, and he clearly doesn't even care when people find him cute and stare at him, he was quite comfortable with seadall and fogado staring, so he was probably just surprised a firenese (*he probs doesn't know mauvier was firenese, he doesn't seem to talk about that too much) would find him please to look at as well, much less on the level louis was staring lol

also, I think in general the Japanese version was cuter, cuz it has louis explicitly saying he doesn't give a shit about gender/sex :3

(also my HC is currently that rosado is a fem transmasc and merrin a masc transfem... balanced, as all things should be)

EDIT 2: it's the 18th and I have no idea why I didn't mention seadall at all

but he is also queer, everything he does is extremely queer

him watching rosado bathe is... certainly something

(also him being the "women looking unkempt after using 83738477448 skin and hair care products vs men looking perfect after washing with only water and soap" meme with rosado is god tier content)

[an-theduckin]

Hey since you made a few fics on A03 can I ask you how does the tag system works ? I don't get it- @w@

Ohh sure!! I'm happy to help u!! :3

So this is how it looks like alr

The first one, ratings is for choosing an age group. Like if u write smut u might choose "explicit" rating or if its just fluffy stuff n it'll be okay if kids read it, u can tag it as "general audiences". There's also "teens and up" and "mature" , which are pretty much self explanatory.

Second box, archive warnings, exist for like the main stuff that ppl might wanna avoid. Like some ppl might not wanna read graphic descriptions of violence, so if ur story has that u can choose that option so ppl who doesn't like that can avoid it. U can choose more than one warning obviously. If your story doesn't need any of these warnings, choose "No archive warnings apply" , NOT "Choose not to use warnings". Ik they sound similar but they're different. No archive warnings apply is when ur story doesn't have any of those listed warnings. Choose not to use warnings is when ur story MIGHT contain those warnings, but u don't wanna tell the readers what those warnings are cuz they might be a spoiler of the story (like for example, major character death) so you can choose that n the readers will be warned that it could be any of them but they won't know what exactly.

Then u choose the fandom, and if you're writing about romance choose if they're F/F (female X female), F/M (female X male), M/M (male X male), multi (more than two ppl in the relationship). If your story doesn't have romance in it, u can choose "Gen" which basically means that.

Then u choose relationships. If it's a romantic relationship, like for example Argos and Mr plant, write it as Argos/Mr plant. If it's a platonic relationship n its like a friendship or family or smth, like Mark n Argos, u write it as Argos&Mark. So basically use / sign if it's romantic, use & if it's platonic.

Then write which characters are in ur story.

Now comes the hardest part, "Additional tags". These tags are for tropes that aren't mentioned in the boxes before this one. Like Hurt/Comfort, Angst, Trans Argos etc etc these are just some examples. Oh n also that tagging system works like a tumblr tagging system, where u can just write whatever u want. Like "author was sleep deprived which writing this" or some jokes or smth u can do whatever u want. U can tag it with tropes u used in the story, as well as some warnings for triggering stuff that might not have been there in the main warnings section of the tagging system yk

If you're still confused, here's a really good YouTube video explaining how it works. I actually watched this b4 uploading my first ever ao3 fanfic, and it was SO helpful n the explanations r easy to understand and not confusing. I hope this helps, and happy writing! :3

[wowbright]

Redemptive (?) Violence in Two Scorsese Films: Goncharov (1973) and Silence (2016)

Tons has been written about the parallels between Goncharov and Scorsese's other mafia movies. But thematically, i wonder if we're not collectively missing something by considering its similarities to Scorsese's definitively non-mafia masterpiece, Silence (2016).

On the surface, these two movies don't seem to have a lot in common. Goncharov is--well, you know the plot. Silence (2016), on the other hand, is a historical drama about a persecuted Christian community in feudal Japan. And man, is it brutal. More brutal then all of Scorsese's mafia films combined. (I'm not joking here. After the initial scenes, I could not continue watching this film in increments longer than 5 minutes. It's a good film--a great film--but I absolutely do not recommend watching it to anyone.)

Silence, for those who aren't familiar, follows a pair of Portuguese Jesuit priests trying to shepherd their Japanese parish through government persecution. It's hard to watch because it's just one brutal martyrdom after martyrdom in this small community.

But unlike with cinematic narratives of Joan of Arc or even of the crucifixion of Christ himself, nothing good seems to come out of this sacrificial violence. We see people being burned alive, being crucified, being humiliated and tortured and killed in a myriad of ways--and there is no redemption in it. The martyrs don't express unalloyed joy in the face of their suffering. The musical score never wells up to ensure us that, yes, this pain and death was worth it.

It's just grim and awful and meaningless.

It's so bad that the Portuguese Jesuit missionary who serves as a priest in the community starts begging the believers to deny Christ publicly. They can believe it in their hearts, in the safety of their homes and village, but if anyone asks, they are not Christian. He assures them God will forgive them, because he cannot imagine this meaningless slaughter is what God wants.

Ultimately, Christians in the audience are prompted to wonder if even the crucifixion of Christ was worth it, if it was truly redemptive, or if it was just as grim and bleak and purposeless as every death portrayed in the film.

When I rewatch Goncharov, I see a young Scorsese struggling with the same themes. Sure, the characters in the film are terrible people, nothing like the good-hearted Japanese peasants portrayed in Silence. But Scorsese plays with the same ideas around redemptive violence. In Christianity, the death of martyrs is supposed to be redemptive by instructing and giving hope to other Christians. In Goncharov, we expect the deaths of Ice Pick Joe and Bruno and all those other horrible people to be redemptive in the sense that they are getting their just desserts, and by sacrificing them on the altar of death, we *should* be saving countless lives (because they can no longer kill).

But in Goncharov, these deaths are just as meaningless as the ones in Silence. Nothing good comes out of these people dying; the slaughter continues unabated. If anything, the pace increases, and the characters we thought could be redeemed fall further and further into hopelessness and despair.

The problem with Goncharov, and Scorsese's other mafia movies, is that the thrill of living underground, of having an alternate society, of pursuing riches and power at the expense of good--all those things seduce the viewer into romanticizing the struggles the characters go through. Scorsese's point might be that the violence is pointless and better avoided, but the audience is hesitant to adopt the same view.

So in a very real sense, Silence is a continuation of what Scorsese was trying to do with Goncharov. 40-plus years on in his career, though, Scorsese has learned to strip away every vestige of romanticism to ensure he gets his point across. No one is rich, no one is sexy. No one is engaged in a decades-long quest for revenge. No one is trying to set things right, to correct things, to make things even.

In Silence, violence is stripped down to its true essentials. It is cruel. It is unjust. It offers no hope.

These are also the things that Goncharov communicates. But they are communicated in a more palatable form, in a film you don't have to pause every 5 minutes just to get through, in a narrative where you can distract yourself with glamor and romance and what-ifs.

Look, I'm not condemning Goncharov fans for enjoying those things about the movie. Scorsese wanted you to enjoy them. He put them in there so you could actually get through the movie and receive its message at the end.

There's a risk that you won't get the message. But there's also a risk that you won't get the message in Silence, because chances are you're going to stop watching it before it's even finished.

And carrying out that narrative in both ways--in one version that is glamorized and easy to swallow, in another that is sparse and almost impossible to bear-- that's its own kind of genius.

[klanceficatalogue]

Hey! I wanna ask if there are some Klance fanfics with one of them having amnesia?? Cuz I'm in need of some klance amnesia angst TT

sure thing love

amnesia tag

so much more than space dust by ad_asterism (7/9 | 27,262 | Teen And Up)

“Allura!”

“-get him out of there-”

“It’s too soon, it’s not-”

“Look at him!”

Lance wasn’t sure where he ended and the stars began. Maybe he was the stars, maybe he’d always just been the pain and the stars and the voices.

“-OUT OF THE POD!”

When a cryopod malfunctions, Lance is left with amnesia. As he struggles to figure out where he fits in the new formation of the team, the rest of Voltron is racing against the clock to figure out where Lotor will strike next- and their only clue is hidden somewhere in Lance’s lost memories. Lance will have to find a way to remember what he’s missing- or come to terms with what he’s forgotten.

//injury //amnesia //implied torture //violence

i found love (in a space lion) by alphathorinrock (10/10 | 17,169 | Not Rated)

He was awake. He didn’t quite remember where he was, why he was in a glass egg, or what happened to his shoes, but he could remember the pain, sharp and clear and everywhere, and a voice, desperate and thin, telling him to stay.

‘Lance?’

He looked at the boy to his right, squinting at his unfamiliar face and losing himself in his lilac eyes. He cleared his throat.'What in the quiznack is a Lance?’

//amnesia

Pride and Paladins by ZenzaNightwing (16/16 | 38,692 | Teen And Up)

Keith is about as far from human as it gets. Issue is, he doesn’t remember that, or anything, really, not since he was somewhere between ten and eleven and all of his memories left with his mother in a car crash. And then comes the voices and Garrison and things that he feels he should know, and things really start to go downhill very fast.

Or: Amnesia’s a bitch, and Keith’s life is a rotating carousel of bad choices and he’s pretty much done with it anyway.

//child abuse //miscarriage //amnesia