#discussing trauma

[antvnger]

How do you manage to talk about the traumatic things that've happened to you without getting emotional or crying? I always found that hard and I usually get choked up. My throat pretty much clogs. It's weird and I hate it but all I can really do is laugh about it, you know?

Yeah, I totally get it, Anon. It’s taken a lot of practice and work - and if I’m being 100% honest, some therapy - but I can now talk about such things without like coming undone by it. 

Sooo I do have some tips I’ve learned that can hopefully help you, Anon.

Rehearse/roleplay conversations about the trauma out loud, either by yourself or with someone you trust. The out loud part is key here. It has to be out loud. Practicing it can help reduce the effects any triggering words can have on you. It allows you to envision delivering your message without the intense emotions derailing you.

If you know a conversation is coming like way ahead of time, prepare for it in other ways like making sure you get enough sleep and food to eat. Being hangry and sleepy makes things worse.

Find a good, safe space to have the conversation. Is there a place you feel more at ease than other places? It’s better to talk about the trauma there than somewhere that makes you uncomfortable.

Know what triggers your tears. Get specific about the parts of the conversation you’re going to have, even specific word phrases, that you foresee making you want to cry ahead of time when you’re calm, and you’ll be able to look at the situation more objectively.

Hope this helps, Anon.

[circular-jerkular]

I think for my first (actual) post on this blog, I really want to discuss just the concept of how my trauma impacts how I view sex. Most of this is going to go under a cut, just in case folks aren’t in a place right now to scroll through a huge long thing. I will put a TL;DR here though:

Basically, sexual trauma isn’t the only type of trauma that affects sexual relationships. All trauma can — and that’s not a bad thing. It’s just something you need to work through.

(Also if anyone has any notes what to tag this as, feel free to suggest)

The thing is, I’m a system with CSA trauma and COCSA. I have a difficult relationship with sex things because of that — but genuinely… I think there’s this idea that in order to have issues regarding sex as a traumatized person, that trauma has to come from sexual abuse.

This is absolutely not the case. The majority of my issues with sex aren’t relevant to my CSA experiences.

My trauma was caused very much by an environment where I felt I couldn’t speak up. I couldn’t voice my own feelings or desires; I had to solely focus on the feelings of those around me, and regulate them. I had to make certain that every single action of mine was to either appease others, or lessen the blow of something I couldn’t change. Every single moment of my life was dedicated to other people’s happiness.

So, when it came to my sex life, once I finally dived in, I had no idea how to consent. I had no idea how to voice my desires or wants. I had no idea how to set boundaries or say no.

Oh, I certainly knew the CONCEPT — I’d been reading BDSM fics since I was 14, and I had researched consent extensively. I knew that consent is something that comes and goes and can be retracted at any time, and that setting boundaries is part of a healthy relationship. The issue was… I couldn’t seem to bring myself to do it. When my partner asked me if something was okay, my default answer was “I don’t care, just fuck me” — because why would it matter if it was okay? I’m with them, and if they’re asking, it would make them happy, which would make me happy. Right? That’s how it’s supposed to work!

It took a very, very, VERY long time to get to where I am now. I still struggle some with consent, but we’ve worked out our own methods of communication before, during, and after that help work for us, and extensive conversations about trauma and consent. Obviously, my CSA/COCSA impact things (how could they not?) but I feel like everything else impacts it too.

The biggest thing to remember is… that’s okay? That’s absolutely okay. It makes things harder sometimes, sure, but everything about this disorder does. There’s no shame in needing to work through boundaries and consent, though. There’s no shame in having to learn. There’s no shame in being traumatized. You’ll find some, I’m sure, but… it’s a neutral thing. Not a bad thing.

And, if you find the right partner? It’ll actually be hotter that way, cause fun fact, safe consensual sex is a lot hotter than unsafe unconsensual sex. Just saying!

[bluerosefox]

Stellar Dynamics

You know what.

ANOTHER DPxDC idea (as if I write prompts for anything else lol ✍(◔◡◔)

And once again, I think I might have a hyperfixation rn, another deaged Dani (Ellie) and Dan (Dante)! and Dad!Danny.

And you know what, lets make it another DannyxConner idea.

Danny is on a field trip with his class (NOT in Gotham though, LOVE Gotham but lets go with a different city) in like Central City or Metropolis (If Metropolis, Danny is SUPER excited to see the space sections they have at the museum they no doubt have, because well SUPERMAN is an alien and based in their city. If in Central City Conner is visiting Bart.)

During the trip he bumps into Conner and the two just hit it off. Conner enjoys listening to Danny rant about space and the stars and finds watching Danny's eyes light up in joy kinda cute. And if he got his new hero name Supernova from listening to Danny's rants about the stars well... no one needs to know how he got it.

Danny likes how chill Conner is and how the guy stood against Dash and the other jocks when Dash decided he wanted to mess with Danny during the trip, a rare thing nowadays but sometimes Dash does try, and how he respects/likes Danny's friends.

He didn't even say anything negative or hurtful when he found out Danny has two kids back home.

In the end the two exchange numbers, flirt hard, and maybe set up a date in the future. And then more dates. Becoming boyfriends. AND meeting the family. Conner is smitten with just out of toddlerhood Ellie and toddler Dante and adores them. And he loves how the Fentons just love him the moment he stepped into their house and was introduced as Danny's boyfriend, he made sure to bring over a pie Ma should him how to make.

Things get a bit complicated when Conner, Supernova, is at a reunion of YJ members and his phone lights up with a text message from Danny.

He's smiling with a goofy/soft look when he opens the text and see's its a picture of Danny holding a pouting toddler Dante and Ellie on his lap smiling with a notable gap in her teeth at the camera. The message he got was 'Ellie wanted you to know she finally lost her first baby tooth. Dan's been grumpier, I think he misses you.'

He is pulled out of his happy thoughts and musings when he hears Bart gasp hard and drop a bowl of snacks onto the floor. Conner turns to from the future Speedster and see's him about to have a panic attack.

Bart, Impulse, is having a freak out after catching a glimpse of the text picture Conner had gotten and being nosy wanted to know what got his friend to smile so smitten. He knew of Conner's current boyfriend and the kids Conner adores but haven't had time to be introduced to them or even see a pic.

He wasn't expecting to see the very MONSTER of his NIGHTMARES that basically destroyed the world in the FUTURE as a toddler pouting at a camera and surrounded by two smiling identical looking people either. People he never saw in the future or with HIM AND-

Oh.... OH!

Was that why he turned evil? Did something happen to his family?

[inkwyvern]

I know we've seen the moment Blitzø decided to adopt Loona, but I want to see the moment Loona found out she was getting adopted. The moment she met Blitzø.

The first few agonising months where Blitzø didn't know how to be a dad, and Loona didn't know how to have a dad.

The awkward days of her avoiding him in the apartment, trying to figure out what exactly his goal was. Because why would he possibly want to adopt her?

And Blitzø avoiding her too, wanting to be the dad he never had growing up but having no idea how to start.

I want to see the moment Loona realises that Blitzø has been sleeping on the couch ever since she met him. She'd never noticed, because he's usually passed out on the couch before he can get to a bed most nights, but Blitzø doesn't have a bedroom. And her room's walls suddenly seem so freshly painted.

And then, I want to see the moment Loona fucks up. And when she completely expects him to send her back to the pound, Blitzø comforts her. In his awkward, doesn't-know-how-to-talk-about-emotions way, but still.

And after that, things get better. They find their own, strange rhythm. And slowly, together, they begin to heal.

[afterthelambs]

i adore Maruki as a character because he's simultaneously the most relatable depressing character that will make you cry with empathy, and the goofiest wettest cat loser in the game like what do you mean youre a licensed therapist and your first response to trauma is to brainwash a girl, project ur relationship issues onto a 17 yr old boy, and then rule the world in a golden leotard? bro went from 0 to 100 so fast??? anyway he's like 30% of the reason why p5r works as well as it does

[teapetal44]

TW: ABUSE, CHILD ABUSE

“He wants to air this dirty laundry to the world does he…? Dabi, you fiend…you’ve been waiting for this moment…when they couldn’t prevent mass destruction…and faith in heroes is wavering.” - chapter 292

I truly, wholeheartedly, believe that MHA as a story upholds the myth of the perfect victim. I do not want to discuss if Horikoshi did that on purpose, or subconsciously because of inner bias – I find no meaning in doing so. For me the execution of an idea, in the grand scheme of the narrative, holds more value than the intention of the author. I’ve also had my fair share of people infantilizing Asian authors in the anime community for their poor writing decisions for one lifetime. It’s patronizing to both the author and the people reading it. Whether or not Horikoshi intended for his themes of abuse to paint the picture they did does not matter, because that’s how it reads as.

MHA puts victims of abuse in narrow boxes and softly dictates what’s an acceptable reaction to said abuse. Victims are continuously walking a tightrope between being deserving of compassion and sympathy and being unredeemable monsters who are too far gone and are only good for martyrdom after being put down.  

Eri fits the clean cut depiction of abuse victims that media usually gears towards. She is untouched by the cruelty around her - she preserves her innocence and kindness. She isn't assertive, but rather meek and passive. She doesn't fight back with force. And when offered help, she is receptive to it. That is not to say that Eri's depiction doesn't have a place in fiction, or that her portrayal can't be representative of the experiences of some - as we all deal with trauma and the inhumanity people throw at us differently. We see the same thing in the portrayal of Fuyumi, who shares many of the qualities discussed above. The same thing applies to her - i personally love the idea of all the siblings having different reaction to their childhood trauma and abuse. It shows that victims are not some type of monolith.

But the narrative treats the "forgiving" or "receptive to help/support" victims of abuse with more grace and with much more kindness. if you are willing to forgive, or the very least be quietly tolerant, the story grants you a happy ending. Forgiveness isn't a bad thing, it is an individual choice - but an abuse victim shouldn't have to do it for them to have a happy ending.

In a vacuum Eri and Fuyumi's character arcs and depictions of abuse are good but it becomes a problem when that's the only experience and type of victim we ever hold in high value or recognize as valid and deserving of compassion. Which the story reinforces.

Touya and Tenko's backstories aren't pretty nor comfortable or easy to sit through. Their responses to abuse aren't either. Reactive abuse is very much real.

[idliketobeatree]

dead boy detectives characters as art objects and sculptures

edwin payne

author: glen martin taylor charles rowland

author: robert hudson

crystal palace

author: glen martin taylor

niko sasaki

author: justin cloud monty finch

author: anders krisár esther finch

author: magdalena abakanowicz the cat king

author: toshihiko bito jenny the butcher

author: emmanuelle dupont the night nurse

author: elizabeth turk

[extended version with notes]

[dolleriumfluffle]

I just desperately want more recognition of traumagenic experiences that lie outside of the usual "childhood abuse" assumption that everyone forces on that label. what about trauma from bullying? what about trauma from undiagnosed illnesses? what about trauma from queer experiences like transphobia? what about trauma from medical experiences like surgeries, hospitalizations, psych wards, and other areas where the medical field failed you? what about trauma from eating disorders? what about trauma from racism?

there are so many experiences that can fall under traumagenic, but are yet swept under a rug in favor of a strict, stereotypical narrative that's easier to comprehend. I think we as a community need to make an active effort to expand our understanding of traumagenic, especially where it may overlap with experiences traditionally considered endogenic, and understand that trauma can come in so many different forms. so often people are shunned for trying to create roles and labels that describe their specific traumagenic experiences, and I don't understand why. there can be no progress towards acceptance for all systems if we don't accept that traumagenic is an umbrella label too.

[triaelf9]

Just a lil post about Taash and how I'm feeling about how ppl are reacting to them as someone who relates to them very strongly not only on the gender journey front, but also on the mom-issues front.

Cut for length b/c of course this won't actually be a "little" post lol

So I hear a lot of "Taash is too young" "Taash acts like a child" "Taash is too brash" "Taash has wildly binary views of the world" "Taash is thinks their reality is the world's reality" etc etc etc

And I'm here to say that as someone who realized that non-binary was a thing later in life, grew up trying to be them, but society was not only unwelcoming to that, but openly hostile at points, with a mom who had totally different interests, who very much wanted to protect them from the outside world to a point where it left them unprepared to deal with nuances of the world, etc, a mom who thought they were "just doing their best" but was never meant to be a mom, and never wanted to be a mom, didn't have the tools for mom-hood, who wanted to protect their child, but had no real idea how, and how every comment turned into the mom trying to steer her kid the right way, but just came out as a dig or a "you're not good enough" remark, AND looking after your mom in a world that is wholly unsuited to her, that she can't really adapt to and fit into, and kinda becoming her mom to a point so that your life completely revolves around her until you leave home?

Yeah. I get Taash. It's actually kinda freaky how, fantasy elements aside, I get Taash on a frightening level. (aside from the dragon stuff, we're both the same with that HELL YEAH DRAGONS)

Taash doesn't read young to me because I've always read young because of how I was raised. I didn't get the chance to figure myself out until I left home. I also had the benefit of being able to leave for college at a younger age, and got a chance to experience things away from my mom earlier. But seeing things in such a binary way, that's how it is when you're protected like that.

You don't want to admit how similar you are to how your mom sees the world, b/c she sees it in one way, and as you go through life, you get to learn differently. You come out of this situation INCREDIBLY judgmental at first. Why aren't THESE things conforming to MY reality. You come across as brash and childish. And when you get treated as such, it's triggering b/c that's how your mom treats you.

You hate how you look, you think you look like a freak b/c your mom is constantly commenting on your appearance. She does it out of love (she wants you to be healthy & not mocked by your peers) but she doesn't consider that constantly telling you not to look a certain way does damage. My self confidence only recovered in my thirties. I'm 4 days from my 38th birthday, and it took getting pregnant to finally be like "you know what, I don't hate myself & my body" which is MASSIVE for me.

So where do we get our self confidence? In things we enjoy, in hyperfocuses that we're good at. For me that's comics, naginata, fantasy & DA lore lol XD For Taash it's dragons, fighting, and working out. And when we falter there, it's devastating b/c it's the only way we can feel good about ourselves b/c our SELVES are disconnected and tucked away b/c they make us feel bad.

So I totally get how Taash reads to people. The autism aspects are more like my wife (who is autistic & has issues with social cues, while I'm HYPER AWARE of social stuff which fuels my anxiety b/c of the type of person my mom was and how I had to look after her), but I get it.

But it makes me sad when I hear people dunk on Taash as "bad writing" and "unrealistic" and "annoying" and it's like...is that how you see people like that? Is that how you see me and people like my wife? I feel like people aren't willing to look deeper so often (an issue with all the companions tbh & some day I'll have to get into my Davrin feels b/c BOY do I have them. Neve too, WHOOF) but I feel like if you do that in a game, I hope you don't do that irl.

anyway TLDR this is a Taash defense post b/c while they have a lot of issues, stuff they need to work out & have wrong opinions on stuff, they're growing, they're learning & they have to do it later than most. They're an incredibly complicated character with tons of nuance, and I can't wait to get deeper into their story and banter with companions in round 2 of my playthroughs, and then again in round 3

Sorry this is too long, and I'm sure not all of this was intended when they were written, but this is how it all clicked with me as someone who has lived a large portion of that stuff. Like, again, I'm nearly fucking FOURTY and I don't feel like I should be there yet b/c I started so far back. It ALSO doesn't help that ADHD wild child I was, I was held back in preschool b/c neurodivergence also makes a kid read younger, AND the choice to have me be the youngest in the class would have been a very bad one. So I'm older than most of my peers BUT I've always read younger, felt younger, and have had a sore spot when it comes to all that.

Thank you for coming to my Taash Talk, I'll be here all week to think about more stuff, including how their body makes them read as lady, and they're not sure how to feel about that, but they don't want to CHANGE it, but is it right?

ANYWHO this is why Taash is a fascinating character & deserves better than to be regulated to "annoying kid"

[bread-wizards]

I actually think Dorian and Orym should fight more.

Remember when their slowly building tension over and entire episode (full of passive aggressive remarks and blame throwing) led to threats? And how after, Orym thanked Dorian for handing over the crown sadly because he knew Dorian would be mad at him? And Dorian couldn't even look at him because he was legitimately hurt, thinking Orym was disappointed in him for doing what he thought was right? That was peak.

The fact they went from that to their current closeness and trust is the best part of their entire dynamic. Their relationship was hard fought and still will be. They will fight for it because they respect and care for one another deeply, and their disagreements don't change that, only improve it.

[hopeinthebox]

bts + reductress headlines pt.12

[mythicamagic]

One thing that did strike me in 5.3 was how, when the group was sharing that they'd recently dreamed about the relatives or friends they'd lost- Kinich doesn't say anything.

And everyone who has read his character story knows why he wouldn't.

He can't talk about his father chasing him down in a drunken rage, only to fall to the bottom of a ravine.

He can't talk about the way rope burned the skin of his hands raw as he, a boy, pulled his father's corpse back up the cliff.

He can't talk about the way its 'almost' implied he subconsciously rejected receiving an Anemo vision because he hated the freedom that came with his father's death. Because solitude felt lonelier and more painful than being beaten.

He can't talk about his stiff relationship with mora and everything that comes with it because he knows what it's like to scrape by, alone, living off the land.

So Kinich doesn't say anything at all.

[stardust-moth]

In order to fully understand why it was so hard for Mike to express how deeply he loves El, and why his speech at the end of season 4 was one of the biggest, most important moments for his entire character, we need to look at not just who Mike is as a person, but also everything that has happened since he met her.

Every single time he opens up his heart to her, something horrible happens to her or she's taken away from him almost immediately afterwards.

1x08; he's an awkward little ball of feelings that are way too big for a boy so young. He makes a nervous attempt at confessing and asking her out on a date; when he can't find words that she'll understand, swoops in for a kiss instead. She lights up immediately and smiles. It's a brief moment of hope and pure happiness. Maybe they can have some semblance of a normal life and be normal kids after this is all over.

Minutes later, all hell breaks loose-- they're almost shot, El pushes herself too far until she can barely move, she's almost taken away by the Bad Men, the Demogorgon appears, and she uses the very last of her strength to sacrifice herself to save him and their friends.

He has to watch helplessly as she disappears.

He spends a year caught between believing she's dead and hoping she's still out there somewhere (but if she is alive then why won't she talk to him anymore...?). Kept silent under threat by the lab, he can't confide in anyone or even acknowledge her existence, not with anyone except those involved... but everyone else is keen on moving on and pretending it never happened. He can find some solidarity in Will, at least, who is in a similar kind of emotional turmoil... but it's not the same and it's not enough.

2x9; he is finally reunited with El, and she runs into his arms like she missed him too. She tells him that all those nights he called out to her, she heard him; she was there reciprocating his feelings the whole time.

In a burst of emotions that he's been forced to suppress for an entire year, he lashes out at the reason they've been kept apart (Hopper), screaming and sobbing. It's a massive catharsis for him, and for once an adult is understanding enough to hold him and not punish him for it.

Minutes later, she is going to go headfirst into a pit of monsters, the place where Mike had just firsthand witnessed dozens of people (if not more) get ripped to shreds only hours earlier, and she is going to attempt to close the Gate-- a feat that he knows may take every ounce of her power, just like last time. He cries. He can't lose her again. She promises he won't, and before she can seal that promise with a kiss, they're pulled apart again.

He has to watch helplessly as she drives away.

3x1; all seems to be okay now. He and El are happily together, and he feels comfortable enough to be playful, romantic, and intimate with her. It's the most emotionally open we've ever seen Mike thus far.

For reasons he can't understand (bc there's no way Hopper explained himself beyond "I'm in charge so do as I say or else"), Hopper is angry about it and threatens to never allow him to see her again: the one thing he fears most.

He panics big time and fucks it up in the process by lying to her. During a frantic attempt to apologize while also abiding by Hopper's rules, he runs into her at the mall. He panics again-- if anyone finds her here, and knows that he was here too, it's all over, and Hopper surely won't hear reason. El dumps him cold on the spot, spurred on by Max and her rebellious attitude (and without any context of course). He isn't given much opportunity to respond. He knows he's in the wrong for lying to her, so what could he even say...?

He has to watch helplessly as she drives away.

It's a hard blow, and he retreats back into himself, unable to get any joy out of playing D&D (which he clearly hasn't lost interest in), back to the deadpan sarcasm and accidentally snapping a little too harshly at anyone whom he feels would take El's place.

3x6; no one seems to understand the danger El is putting herself in. Everyone is berating him for worrying about her safety. He's seen firsthand what these monsters do to people, he's seen firsthand how El pushes her abilities too far. No one is listening.

The words "I love her and I can't lose her again" burst out in his desperation, perhaps before he's even had a chance to realize how deep those feelings run, despite whatever protective walls he's tried to build around his heart to keep it from getting broken again.

Soon after, all hell breaks loose. El is nearly killed several times over, her leg is ripped open, she pushes herself so hard that she breaks herself and loses her powers completely. Her father is taken from her. She's shattered by all of this, and there's absolutely nothing he could do or say to make it better.

She tells him that when he admitted he loves her, she heard him, and indeed she loves him, too... But now she's leaving.

He has to watch helplessly as she drives away.

4x1; they've been apart for a few months, and write letters back and forth to each other. El's letters paint a picture of an ideal new life: she and the Byers family are doing well; she's starting school and it's going well; she's made new friends, she likes her new home, everything is going well. She seems to be thriving. She sounds happy, maybe even happier than she had been living in Hawkins. Maybe Max was right, maybe she's better off being her own person without him, and maybe the respectful thing to do is step back... It's a small insecurity that creeps up subconsciously. In his replies he holds back, afraid of clinging too hard.

Though there's little logic in it, he's afraid that if he tells her he loves her again, another disaster might strike and this lovely happy life she's finally found might get taken from her. After all, that's what always seems to happen when he does.

4x2; after months of waiting, they can finally see each other again. He wears her favorite colors, picks a handful of flowers for her, and falls happily back into step with how they used to be. Soon that same day, however, reality becomes clear and the facade crumbles. People he was told were her friends show up to torment and publicly humiliate her. She had been lying. She isn't happy here, she hasn't healed, she is right at the edge of a breaking point that he doesn't see coming at all. He can't believe she would lie to him, she's not the kind of person to lie... especially not about something like bullying, something that she was always so understanding about with him.

On that logicless subconscious level, he wonders if it's all his fault-- he should have known somehow, he should have been there for her. She protected him from his bullies, he should have protected her from hers. He tries to come to her rescue. She runs away from him.

He's helpless to save her, again.

4x3; after a night to process everything that happened-- and deciding that the betrayal he feels from her lying to him is nothing compared to the turmoil she must be going through right now-- Mike approaches her in the gentlest way possible, wanting to listen and trying to understand. El, however, isn't receptive at all to his attempts at reassurance. She is at an all-time low, she's given up. She believes she is unlovable, irredeemable, a monster, just a thing that doesn't even have those superhuman abilities to compensate anymore. Mike can't believe what he's hearing-- doesn't she know that she's always been so much more than her powers? She's always been so much more than what she lacks in quote-unquote "normalcy"... None of those things matter, they have absolutely no bearing on whether she's worthy of being loved, because he loves her, completely regardless of any of these things. He always has...

El starts flinging his restrained words back at him, the products of his insecurity and trauma-induced fear. That fear takes hold yet again, and he stumbles, afraid of saying too much or not enough, because surely both could result in pushing her away-- she's retreating, hearing none of it; nothing he tries to say consoles her.

Moments later, local police come knocking. She's taken away in cuffs, and she's so broken inside that she won't even look at him when he chases the police car down the street and promises he'll get her out somehow...

Once again, he has to watch helplessly as she drives away.

4x8/4x9; after days of driving through the heat and dryness of southwest desert, having narrowly escaped being shot at with military-grade assault rifles, witnessing the death of and burying a man whose last words were that El is in danger... After watching dozens of people get mowed down by a sniper in a helicopter, and watching that same helicopter be smashed into the ground in a ball of flames...

There she is. Just as powerful and beautiful and alive as she's ever been. When he runs to her and embraces her, she looks at him like she can't believe he's real. She's beaming a smile right from her soul and it's like all the insecurity and self-doubt that have plagued them both just vanish from existence now that they're in each other's arms again.

Like always, however, the universe comes crashing down soon after. Max is marked for a gruesome death and all of Hawkins is in danger. They're miles away and helpless, and the only possible way for El to save everyone is if she goes in alone. She's stronger than ever, but so is her foe. Once again, she descends to face all the demons of hell on her own, and Mike can't do anything.

She's losing. She's choking. She's dying. He's helpless.

He must be cursed. He must be. Being with her, loving her, allowing himself to admit he loves her, it always brings only pain and suffering and loss. His heart is so full that it's aching, it's bursting out of his chest, and he can't contain it any longer.

She's going to die and it's going to be all his fault, because he fell in love, and it's cursed her.

Just before it all crumbles into utter despair, the earnest support from his oldest and dearest friend-- one who's always shared and understood his feelings of helplessness-- sparks a light of hope in him: "You're the Heart." You're not helpless. You can save her.

The words that come spilling out of Mike's mouth are truer than any he's ever dared to speak before, and it's the most terrified he's ever been, but he has enough courage for this moment. Despite all of the fears that have been building, stifling, choking him to death for years-- fears that the light of his life will inevitably disappear again, and there's nothing he can do to stop it-- despite it all, he pours out his heart to her.

He loves her. He's always loved her. He loves everything she ever was, is, and could be. He can't imagine a world without her in it. She saved him, in every way a person can be saved. And he needs her to live. He believes in her.

And it works. It's music to her ears.

[littlefeltsparrow]

For Sarah J Maas, it isn’t enough to just have Feyre and Rhysand be traumatized, she must emphasize that they have suffered the MOST and that they are the MOST traumatized (yet they oh-so-nobly rise above it).

Her idea of virtue is characters suffering and being traumatized, conveniently showing few signs of that trauma, and then giving them an air of superiority because other characters are “not trying” or haven’t suffered as much as they have. It’s almost like a competition, which in turn makes the character interactions feel hollow and removes any potential substance from in-text discussions about trauma.

[rustedhills]

Disney, releasing Wish: "so it's all about legacy--the new generation surpassing the old, overcoming the evils perpetuated by them, relinquishing singular power... and there's an old man in a tower, uh... animal sidekick, i guess..., ah... magic...?

Miyazaki, just out of frame, sledgehammer raised:

[srslylini]

I have some thoughts about the idea of forgiveness and moving on we see in media and fans. The thoughts mostly come from being in therapy and spending time with people who specialize in those fields and helped me come to terms with my own pain.

This can very well be taken in general but is mostly about Vi.

Right. So.

Vi is a genuinely interesting character, who has gone through hell and back to put it lightly. She lives in conditions in the undercity that has people who don't live in them wear masks to handle them. She grew up and saw her parents die, which means she had to step up. Vander did adopt her, her sister, Mylo and Claggor but Vander still put a lot of responsibilities on Vi. She was told she cannot be selfish when people look up to her.

Then, of course, the entire act 1 of season 1 happens, which in itself is already very much and not something that should have ever happened to anyone, let alone a kid/teenager. She then, on TOP of all of this, got thrown into Stillwater after seeing her entire family die (and presumed Powder also as dead, although she continued to hope), where she was canonically beaten, starved, put into isolation and... the rest is up to interpretation because I guess the writers did not care. But that interpretation is not a good one.

What I am trying to say with all of this is that Vi has been put through so much by the system and by people (Enforcers get a special mention here) all around her.

This gets me to the point. I see a lot of people, the writers themself even, talk about how Vi needs to (or already did) forgive and move on. And I just wonder where this idea comes from?

In all my time in therapy, no matter what and who I talked about, you know what I have never heard? That I need to forgive.

What I heard instead was rather close to this:

"What happened was not your fault. It happened and can't be changed. But there is still something you can do, because you stand here now. You can imagine yourself back then and guide yourself. Hold yourself and tell the younger version of you that what happened isn't ever going to be fine but that you are still here and that you need to be kind to yourself." She told me "take the hand of your younger version and walk her through it because in the end it will have always happened but you can choose to help yourself"

There is a lot more she told me, but that is between her and me. What I am trying to say with this is that not once did I ever get told that I need to forgive the people involved. I am also not trying to say that doing this works for everyone, because health does not work this way. The point I am making is that I find it incredibly weird that we came to the point of saying that the only way to let go is to forgive, when that could not be further from the truth.

I would say understanding it happened and being kind to yourself does a lot more than trying to forgive people who hurt you so much that it ends in you being broken to what seems beyond repair (it isn't I have learned that much, lol). That's what my therapist taught me.

Which brings me back to Vi and why I find the notion of "she needs to forgive and move on to get better" or the writers writing "she forgave and moved on" so weird.

What happened to her is not something that can be forgiven. And... that is okay. Or it should be okay. But for some reason it isn't?

I mean if you can and want to forgive that is for you to do but to say that it is a (or even THE) way to move on does not sit right with me. At all.