#do you see what I'm saying?

[blondthndrninja]

I just love the idea of Law and Nami being like Hades and Persephone. I know I wrote a fic like this a long time ago but damn I wish more people could see how they fit the allegory so well. He's the 'Surgeon of Death' and spends most of his time in the bottom of the ocean in his submarine and it probably gets really dark down there and he's always brooding over something while she is always lively, loves being outdoors, taking care of her mikans, and drawing maps.

[earthshipvoice]

Why write in a character ((Ma Eun-Young) and have her say she doesn't want to get married, break up with the guy, and have her radically change her mind? I get that she could have feelings for the man, but what if they got to live together like she was okay with (even though this was Mr. Gong's pushy idea) and let it be like that? Like why create so much opposition from her and then make her so passive to give in to what he wanted? Hello?

[dogin8]

I'm not claiming to have autism persay, but the autistic people I know have been able to give effective solutions to my problems with suspicious frequency.

[scrivellc]

The sleepiness continues

[lilflowerpot]

This is probably a spoiler if you decide to take this course of action, but I need to ask: Is krolia a member of the druidic church in little blade.

Because in the part in which keith is debriefing kolivan on what happened after he got attacked kolivan says something like ‘for you she will come’ which seemed really personal(?) to me.

I know that it could also have the implication of it being because he is a former paladin of voltron and is kinda like the middle man between the blade and voltron which makes his role important but it also implies that it could be due to personal relations.

I hope this made sense because i am so tired rn but oh well

Anyways love you!!

💜💜💜💜

Once again I shall direct your inquisitive little hearts towards my FAQ, because as I've said several times over: asking after the specifics of the narrative, irrespective of whether or not that is the direction I intend to take it, is inherently a spoiler,,, if I were to tell you yes? Spoiler! If I were to say no? Still a spoiler! Particularly when it comes to Krolia!! By the very nature of her role as Keith's absent galra space-spy mother, she raises a lot of questions and her character has a great deal of inherent emotional weight for our favourite marmorite, so while I love that you're engaging with / theorising about my writing, I simply will not answer queries of this nature one way or another.

[pangur-and-grim]

one thing that took me embarrassingly long to learn is "sometimes when people say things, they will not be true."

I used to tell people about this revelation and they'd be like yeah.....duh.....but like, why wouldn't my base assumption be that you're communicating to me in a straightforward manner. anyway, I get scammed a lot.

[trickstertox]

Me, unprompted: I've been awake since 8:50 AM. It's [time] PM.

[poorly-drawn-mdzs]

Hey now, Let her cook!

[bakedbakermom]

saying ao3 needs to censor certain content is like saying a museum can't have still life art that includes strawberries because you don't like them.

these are not real strawberries. you do not have to, and in fact cannot, eat them. no one with a strawberry allergy will be harmed by looking at them. no migrant workers were exploited in the picking of these strawberries. there were no questionable farming practices or negative environmental impacts from growing or transporting them.

because - and i cannot stress this enough - they are not real strawberries.

if you don't like strawberries, you don't have to look at the paintings. in fact, you can get a map of the museum that lists what works are in what rooms and just. not go in there. if you see one by mistake, you can look away. just keep walking. there's plenty of other stuff to see.

yes, real strawberries can cause real quantifiable harm to real people.

but again. these are not real strawberries.

you may have whatever feelings you like about strawberries, and so can i. you can draw and write about whatever fruit floats your boat, and so can i, even if that happens to be strawberries. and we can hang our art side by side in the same gallery, provided you understand that my strawberries are not about you (and your kumquats are, shocker, not about me) and that - and this is true - neither are real.

and when the fascists break down the doors and grab all the strawberry paintings and heap them in the street and set them on fire, please know that they are coming for your kumquats next.

so if you want a place where you can show off your beautiful kumquat art safely, you're gonna have to tolerate having some strawberries in the next room.

and that's okay. because the strawberries aren't real.

[emeraldthelynx]

Chiptune Music

I think the reason why modern-day music composes who try to make 8-bit, 16-bit, ect. sounding music for their games where they can use real instruments and really good synths is that they're trying so hard to make their chiptune sound retro that they forget that the instruments we're listening for is not the square synth but the instrument the synth tried to replicate. Does this make any sense?

[earthshipvoice]

i've made it to episode 5 (yay progress!), and a subtle unease lingers in the narrative. the father, without a doubt, saw the figure in the green jacket who fled with Mok-ha. what piques my curiosity is the deliberate omission by the writers to bridge an encounter between the father and the next green-jacket person who appeared on the scene, coinciding with the father's scene of holding the flowers.

[lotus-pear]

the dialogue choices in this game should be more diabolical

[technically-human]

Hey, don't cry. Ghost yuri, okay?

(Now that you know the girls, they need to meet the boys!)

[ankles-be-bitten]

idk, i just feel like if your primary argument against transandrophobia/antitransmasculinity theory is that you think it's transmisogynistic you're not being intellectually honest. who does it hurt when trans men and mascs coin a term to describe the intersection of transphobia and sexism as it most frequently affects them? because it does hurt trans men when they're told that they're not entitled to speak on the discrimination they themselves face.

what I'm hearing from people who oppose the antitransmasculinity movement is that transmisogyny is when trans men talk about their problems 👍, but obviously that's not true. i know that's not true. you know that's not true. so then what is the issue? genuinely, enlighten me. you want trans men to shut up and listen? I'm listening.

[vaguely-concerned]

thinking about not only the specific people lucanis pulls in to represent the 'locks' in his psyche, but the storytelling that happens in the structure/order of them. the underlying ideas are presented something like:

the lucanis who went into the ossuary never came back out again; he died down there (the boy caterina raised is gone forever) -> you're putting yourself in danger doing this (by being close to me), you should leave because I can't bear it if you get hurt because of me -> it doesn't matter even if we do try this, it won't work anyway (again because of me) ('you know what he's like, you can open the door but he won't walk through it' :'( oofie doofie) -> what if the real secret is that there was never anything but the monster in here from the beginning. you should leave, there was never anything here worth saving in the first place. (implicitly: what if I deserved what happened, all along.)

it runs pretty cleanly from outward-oriented attachment anxiety ('caterina won't even want me back like this, she won't recognize me (the same way I no longer recognize myself)) and gradually deeper inwards until we reach self-image and self worth. or you know, the harrowing basic lack of it lol.

"careful -- they'll know we're not right," spite says in one of their first scenes... but clearly, some very deep part of lucanis has feared or suspected for much longer than that that there's something inherently not right at the core of him, way before any demon entered the picture. and the voice he gives those lines to is the person who should know him better than anyone in the world, who he has loved more than anyone in the world -- and who deliberately chose to hurt him so horrifically anyway. 'It's better if I'm just a monster and deserved what happened than it is to allow for the idea that the brother I love doesn't really exist and maybe never did'. it's better if he's fundamentally flawed in some way that needed fixing to help him survive, and that's why caterina chose to hurt him again and again -- out of love. (this one I think he might have a very sad wakeup call on one day if he ever ends up with the responsibility and care of a child of his own in some way and realizes just how alien the idea of ever intentionally hurting them for any reason is to him. oh buddy. also interesting that he keeps caterina as the outermost lock -- there IS a distance he keeps there that he hasn't with illario. he doesn't resent her 'anymore' he says, but he also keeps her carefully further away from his deepest self.)

as far as I could tell the only note in the mind prison that's fully hidden and needs to be uncovered is the sad painful helpless stupid little truth that even after all this, even knowing what happened... he still loves his brother. is there anything illario could ever do that would make lucanis completely stop loving him, do you think? sometimes the trouble with unconditional love is that it is, well. unconditional, even when some terms and conditions probably would have been in order haha.

that's the pattern you see there again and again; he would rather destroy and abandon and imprison himself at every turn than let go of love, even when it's just scraps, even when there's only ever enough of it to hurt him. it's only when rook shows up and as it were takes his hand and walks along with him that he can entertain the idea of changing the story of what walking out the door might mean in the end.

[benevolenterrancy]

("Always. Continuously. With increasing apprehension, and decreasing hope. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as a corpse loves the beak of the vulture. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this." -- paraphrased from The Beatrice Letters, Lemony Snicket)