#ending in good versus evil

[hondacivicbrain]

One thing I've been thinking a lot about amid the argument over the Barbie movie's lack of nominations is the aggressive level of hate it gets.

FYI, this is not about whether I think the Barbie movie deserved more nominations or not because it doesn't matter. It doesn't even matter if it was a good movie or not. It doesn't matter that it was about feminism either. What matters — and what is at the core of all the hate — is that it's a movie for women. For girls.

Anything whose target audience is young women and teenage girls is inevitably slammed with hate.

It will be called overrated. It will be called basic. It will be shit on. The comments and reviews will be FULL of people saying how stupid or terrible it is, how they've always hated it, and how anyone who watches or listens or consumes it is too.

Again, it does not matter whether x product or y performer is overrated, or not talented, or a thousand other insults people (mostly men, but anyone seeking to set themselves, even subtly, apart from people who like popular, feminine things). What matters is the alarming level to which we've normalized the hate that gets thrown at young women — and especially at teenage girls — for daring to like something popular.

Since when has popular become a bad word? Products that are marketed towards women are hugely profitable, and yet critically shamed. Remember pumpkin spice lattes? I've never seen one girl fawn over them as much as I've seen 100 grownass men spew nonsense about how silly and childish and girly a flavor is. A flavor.

It doesn't matter what Taylor Swift's most adoring fans are like, even the ones who are over the top, because no one attacks men who get too enthusiastic about their favorite sports teams or fantasy football the way people attack her fans for being excited to see her in concerts. It's because her fanbase is predominantly young girls, and anything young women are into must be shamed.

The relative anonymity — or at least, the safety — of the internet has enabled people to be harsher than they might in real life, but bullying young women and girls for their interests is not a new phenomenon.

Romance has occupied the lowest rung of the genre ladder for arguably hundreds of years. Wholly romantic movies (meaning movies in which romance is the primary drama, rather than a subplot within another genre) must be *exemplary* to get critical praise. More male-centric genres like dramas or any movie seen as "intellectual" often only have to be *good* to get the same kind of attention. This is not a dig at Oppenheimer or any of the other movies nominated (nor am I saying Barbie is a romance). The point is that romance is held to a significantly higher critical standard because it is largely not for a male audience.

(As a side note, plenty of romance is genderless the way many other genres' audiences are, but as a society we've boxed it into a 'feminine' box and decided feminine=bad. I could write a whole essay as to why.)

I am absolutely not saying Barbie deserved or didn't deserve this or that, or that Taylor Swift should never be criticized, or that romance is a perfect genre. I am not saying these examples are the most important of their kind.

What I am saying is that anything that is both popular and centered around women is always, inevitably, and extremely harshly attacked by people who do not like it, and this has the potential to be incredibly damaging to teenage girls, especially in an age where social media use starts younger and younger.

What happened to, if you don't have anything nice to say, don't say anything at all? Or, let people like what they like? You don't have to like something, but you don't always have to voice your hate for it either.

[cdroloisms]

Oh I was just haunted by jmah!Dream’s deteriorating mental state

:C my BOYYY

and it's awful, too, because it's not like Dream is in a particularly good state of mind when the prison starts in the first place. and he's in here because he's terrified (and he's in here as punishment) and he's in here because even though Sam hates him--and he's ensured that Sam hates him, and he's planning to do more to make sure of that fact as well (in canon, c!Dream is talking to c!Sam 'all about exile' in those first few days)--Sam will do his job. he trusts him to do his job. he knows Sam, the man that he's worked with for the last month on this project, on making sure this prison is as secure as it can possibly be, one of the final few people to work with him before the events of the green festival, doomsday, staged finale etc. made sure he'd stand alone, just where he was supposed to. this is a Dream that's already been swimming in the lava before Sam travels back in time.

unlike Sam's betrayal in canon, there's nothing slow about what happens in JMAH. there's no ability for him to cope and go yeah, Sam's being kind of serious, but it's no big deal, yeah, this place kind of sucks, but it's survivable, yeah, there's some mistreatment, but I expected that. in an instant, Sam goes from a predictable cog in the machine meant to keep him alive into a stranger hellbent on torturing the fuck out of him, and he has no idea why. Sam is nowhere near as straightforward as Quackity in explaining what the hell he wants out of Dream--he asks for the book, sure, but also for information, also for complete obedience, also for explanations for things he shouldn't know and punishments for things he never did. there is no promise that the revive book will end anything, for this Dream, and no one to give him anything at all but the Warden.

just ,, the lengths to which this Sam is willing to go, the intensity of his obsession, the way he'd be left reeling with no choice other than to endure and wonder why breaks my heart. Dream has no fucking clue to what end this is all for, and i think he struggles a lot with that. worse than just the torture, perhaps, is the familiarity, the sparks of something that is almost fondness, the satisfaction in Sam's voice when he's gotten something and Dream isn't even sure what he's just given away--and maybe it'd be easier to understand if what Sam wanted from him were any more straightforward, if the desire could pan out as something as simple as sadistic pleasure at hurting him or deriving some kind of gratification from making him submit or wanting power or to eliminate a threat or anything, but all that is clear is that Sam wants something from him and will stop at nothing to get it.

c!Dream and identity is already a finicky thing as well as his whole complex about himself and evil--c!Dream thinks he's a person that does evil things to achieve good ends, but he struggles pretty heavily, honestly, with himself-as-evil and being viewed as evil-and-just-evil and actually being the tyrant-villain-monster-snake-that-just-bites, etc, which means that there is a level of vulnerability here when it comes to how he sees himself and builds his identity and the constant, relentless onslaught of . pain and torture combined with Sam justifying it all by Who He Is Innately and monologuing about how he deserves it all, because c!Dream isn't a person that doesn't think that punishment as a concept is wrong and doesn't necessarily disagree that he's evil either. and again. torture self harm box of mental illness. and part of the problem with a Sam that's fresh from Daedalus and then thrust into kind of the worst possible position of reflecting on those conversations by being in a place where he's able to fall hard on old habits to copium his way out of dealing with anything he personally might have done (because obviously he can just Fix It Now) while also having the additional cope of i-am-godsent-to-make-everything-better BY keeping dream in a box, you kind of get a situation where both Dream and Sam are psychologically in pretty vulnerable places and then you're taking a torture machine hammer to those stress points. so it's fun.

i have no clue if that last paragraph made any kind of sense btw.

but ... yeah. even for any character in any kind of state the insane torture contraption of torture efficiency would be. erm. extremely damaging to one's mental health, to say the least. the only good thing for dream i guess is that sam still has his head too far up his own ass to actually git gud at conditioning anyone deliberately and is therefore still largely skating by By Accident, because otherwise his head would've been even more blendered than it already gets.

[icedvanillas]

Hot take but a game about the intricacies of free will and how any one decision by any character can impact all aspects of the narrative because choices don't exist in a vacuum and will have consequences on the outcome should not have had a "best ending" where everyone survives at all.

[spacelazarwolf]

apparently a bunch of ppl on social media are trying to call for a boycott of rick riordan because of this statement in a blog post:

Becky and I are just back from a busy weekend with events at the Boston Book Festival and New York Comic-Con.

Before I get into that, however, some words to acknowledge the ongoing horrors in Israel and Gaza. As many of you may know, I am no longer on social media. My accounts post only updates on my books and related projects. I do not read posts, reply to posts, or share my thoughts about world events on those forums. That doesn’t mean I don’t have strong feelings and reactions. It means I am offline as completely as possible, except for the occasional blog post like this one.

I will say this: Over the last eighteen years, I have received many fan letters from young readers, both Israeli and Palestinian, who often told me that my books helped them escape the fear, grief and anxiety they were dealing with at the time. Some had lost family members to violence. Some were writing while in the distance they could hear explosions, gunfire, and the launching of rockets. They used my books as a way to escape into another world, where the monsters were fictional, and where demigods usually saved the day. While I am always glad that my books can help young readers find joy during difficult times, my heart breaks every time I hear about the things they have to deal with. I am grief-stricken by the horrific events now unfolding, especially because I know that they are part of a long historic pattern that has been robbing too many children of their childhood and perpetuating hatred for far too long.

I am also quite aware that when anyone, myself included, tries to speak about this issue, the reader is waiting to pounce, thinking, “Yes, but whose side are you on?” That is exactly the wrong question. If there are two sides to this issue, those sides are not Palestinian/Israeli or Muslim/Jewish. The two sides are humanitarian and dehumanizing. Dehumanizing has a long evil history. It is appealing and easy to buy into, because humans are tribal animals. We are hardwired to think in terms of ‘us’ versus ‘them.’ We are the real humans, the good guys, the ones with God on our side. Those other people are evil monsters who don’t deserve empathy. Hate mongers have thrived on dehumanizing for as long as there have been humans. It provides them with a purpose, a way to rally support, power, and scapegoats. It is easy to point to atrocities committed by our enemies, while justifying or minimizing the atrocities committed by ourselves or our allies.

Humanitarianism is a much harder sell. It requires us to empathize, to see other groups of people as equally deserving of dignity and quality of life. It requires not always putting ourselves and our needs first. But in the long run, humanitarianism is our only hope. If violence could end violence, if we could put an end to “those other people” once and for all, human history would read very differently than it does.

So yes, I am appalled by the Hamas attacks on Israeli civilians. I am appalled by the suffering of Palestinian civilians in Gaza. Both things can be true. Both things must be true. My thoughts are with all the people who have died, who have lost loved ones, who have had their worlds and their lives shattered, especially the children. More death and violence will not break this cycle, which has been going on for generations. There is no military solution. Even since I first wrote the post, only twenty-four hours ago, the Israeli government’s brutal retaliation against the entire population of Gaza has reached genocidal proportions. This is not only an atrocity. It is folly. Answering misery with misery only creates more fertile ground for extremism, dehumanizing the “other side,” letting hate mongers thrive, stay in power, and reduce us all to our most monstrous impulses. The only real solution is treating each other like equally worthy human beings, and negotiating a peace that allows all parties a chance to live in security and dignity, with hopes for a future that does not include bombs and rockets and gunfire. This means security and support for Israel, yes. It also means a secure Palestine which is allowed to get the international aid and recognition it needs to build a viable state.

Do I think that will happen? Unfortunately, no. Humans are simply too selfish, too ready to blame “the other” for all their problems, too ready to dehumanize, though I also believe, perhaps paradoxically, that most people just want to live their lives in peace and have a chance for their children to have a brighter future. The problem is when we don’t allow other people to have those same hopes and dreams — when it becomes a false choice of us versus them.

What can I do? I will continue to write books that I hope will give young readers some joy. I will resist the urge to demonize entire groups of people. I will call for less violence, not more violence. And when asked whose side I am on, I will tell you I am on the side of humanitarianism.

So with that said, I return to the world of books . . .

honestly, if you have a problem with this statement, it’s probably because he’s talking about you. this is exactly what legitimate activists (as in not just random westerners who share social media posts but on-the-ground activists who are doing real work) have been saying for decades. and i think all this really speaks to just how disconnected a lot of westerners who claim to be pro palestinian are from those activists.

if you can’t read a statement that says “i am on the side of humanitarianism and less violence” without immediately jumping to cancel them, you are the problem being discussed in the above statement.

[greenglowinspooks]

(DCXDP) The obligations of a rogue versus those of a parent (Pt. 5)

—

Tw: torture scene (GiW agent receiving), general angst, canon-typical violence (DC), nobody is having a good time

Will be crossposted to AO3 eventually

(Masterlist/subscription post)

—

It was pretty easy for Danny to forget that Dr. Crane was a rogue at times.

Most of the time he wasn’t comically evil, like what he’d expect of a Gotham rogue. He was helping Danny, even if only because he didn’t want to be taken in by the GiW as well. He was even downright nice most of the time, or at least neutral.

Sure, he had a strange obsession with fear and psychology, but that wasn’t really out of the ordinary for Danny. It didn’t feel like living with a rogue, just like…staying with a distant relative, or something.

He seemed like just an ordinary person.

Today, though, Danny was brought back to reality.

The GiW agent they’d tracked down together writhed on the ground, screaming in pain and terror. Scarecrow was sat a few feet away, setting up a syringe of the antidote he’d made.

After a few more moments, he injected the man with the antidote, watching him like a hawk the entire time.

Suddenly, the man surged forward, lunging at Scarecrow with a feral scream.

Unluckily for him, though, he was still weak from the fear toxin in his system, and from the beatings he’d received prior. Scarecrow easily wrestled him to the ground, settling himself on the broad part of the agent’s back with a vice grip on one of his arms.

“Let’s try again,” he said sharply, all of the warmth Danny had grown used to gone from his voice. “Where is the GiW base of operations?”

The agent took several shuddering breaths before spitting at Scarecrow, defiance and hatred written all over his face.

For just a moment, the room was utterly silent.

“Fine, have it your way.”

Scarecrow began to twist the man’s arm further. It wasn’t long before the agent began to squirm, then writhe, beneath him. Danny’s stomach churned.

“You know,” Scarecrow began, almost conversationally, “there are plenty of jobs that one can get without the use of their legs, especially with the level of education you have. Anything that doesn’t involve hard labor, really.”

The man’s face was beginning to turn red in his struggle not to scream. He took in gasping breaths, the way that his mouth moved almost reminding Danny of a goldfish.

(He felt awful for the comparison, but it was true.)

“However,” Scarecrow continued, “I find you’d be rather hard-pressed to find a job without the use of your arms. Especially in a place like Gotham, where you can always be replaced by someone eager to do your job for even less money. Of course, you could most likely coast off of savings and severance pay for a while, but…”

He leaned closer to the man’s head, his voice lowering.

“Would you be able to live like that? To live with yourself, if you no longer have a purpose?”

He allowed the agent a few seconds of rest before increasing the pressure on his arm. The agent gasped, letting out a strangled hiss. His arm bones were making fascinating noises in response to the strain. Danny felt sick.

“You seem like a rather driven young man. I’m sure your family would hate to see you unmotivated, directionless. Would they resent you, do you think?”

“Fuck you, you—”

The man was cut off by his own scream as Scarecrow finally allowed his arm to break, audibly splintering into thousands of useless shards of bone.

He had the exact pressure memorized. Clearly, he had done this before.

This was wrong. This was wrong.

Shouldn’t Danny step in, do something?

“That won’t heal cleanly. Even with the best medical care in the world, you’ll end up with permanent damage.”

The man below him wheezed and sobbed, choking on air as Scarecrow let go of his arm carelessly, letting it flop back onto the ground.

“Just the sort of thing something like you deserves,” Scarecrow hissed, his voice cold.

“You tortured a child, and you enjoyed it. You laughed with your friends about it. In your notes, one of your friends complained about the screaming,” Scarecrow brought his leg around, grinding his boot into the man’s broken arm. He howled in agony, writhing uncontrollably.

“Was it inconvenient to him, do you think? Too loud? If you were joking about it, clearly you thought so, too. I could fix that as well.”

He drew out another needle, this one once again filled with fear toxin.

“Scarecrow, wait,” Danny choked out.

Scarecrow turned to look at him.

Even his posture was different than usual. He looked… stiff, more like an animal than a man. When he tilted his head at Danny in a silent question, it looked like something in his neck had snapped, his head lolling to the side.

Danny wondered if he was consciously moving like that, or if it was habit at this point.

“You—we don’t have to do this. We can get information some other way, right? You don’t have to…”

Danny looked down at the GiW agent below Scarecrow. He didn’t even have it in him to glare up at Danny like he had before. Instead he laid limply on the ground, tremors rolling through his body uncontrollably.

“We’ve exhausted every other option and you know it,” Scarecrow said, his voice low, “this is the only way we can move forward.”

“Still, I—I don’t,” Danny swallowed, his throat tight, “this isn’t—this isn’t right. Isn’t there some other way to do this? Like—a truth serum, or something?”

“Truth serums are notoriously unreliable. They’re almost as bad as lie detectors. We’re much more likely to get a reliable result from this.”

Danny just stared at the GiW agent and his splintered, ruined arm. He began to weakly wriggle in Scarecrow’s grasp, which was graciously ignored.

He vaguely remembered himself doing the same thing when he was on the operating table; even if he knew there was no chance of escape, he still thrashed and screamed, desperate to get away. The jagged I-shaped incision on his torso felt uncomfortably warm.

What was there left to say?

“The Bat does the same thing at times, you know,” Scarecrow said, “him and the rest of his brood. By using my toxin, I’m actually lessening the amount of permanent damage that I’m doing. Physically.”

“Still, that doesn’t make it right,” Danny said desperately. “Even if—even if everyone in the world did this, it wouldn’t make it right.”

Scarecrow hummed.

They were both silent for a moment.

His next words were gentle, absurdly so when compared to the scene in front of him.

“I would love an alternative. But…”

He shrugged, hand coming to rest on the break in the GiW agent’s arm. Even without applying any pressure, the man stopped squirming immediately.

“There aren’t any other options,” Danny repeated, his voice flat and his body numb.

“Yes,” Scarecrow said. “I’m sorry.”

There was a pause. No one moved a muscle. Eventually Scarecrow spoke again, his voice strangely empty.

“You can stand outside and keep watch, if you’d like. At such a short distance their radars won’t pick us up.”

Danny said nothing, leaving the room silently.

He sat outside for quite a while.

He was grateful that Scarecrow had, with his help, dragged the agent to one of his previous hideouts. It was soundproofed, after all.

He was glad that he didn’t have to hear the rest of what Scarecrow did to the man.

After what felt like an eternity, Dr. Crane left the building, joining him outside. He guided Danny back to his beat up old truck and they drove home in silence.

“Did you at least…do you know where they are, now?” Danny asked as they entered the apartment, his voice small.

“They didn’t share the details of all of their locations with any one person. I know where one of their locations are, but not their main base of operations.”

Danny felt disgusted. With himself, with Dr. Crane, with the GiW.

He was disgusted by the agent, too. Did he just hate the restless dead so much that he would prefer to be tortured than to give them the upper hand? Did he really think he was in the right?

Was there a chance that he was?

Danny felt very, very small, and very stupid. Stupid and weak and cowardly.

“Danny,” Dr. Crane spoke, his voice soft.

“I’m truly sorry that this is happening to you. I really, truly wish that you didn’t have to endure my company. I…”

He fell quiet. Danny wondered if he was just saying this to pacify him, or if he truly meant it. He wondered if it really mattered in the end.

After a few moments of silence, Dr. Crane sighed, looking truly pained.

“I don’t know. I’m sorry.”

Danny was quiet.

“I’m going to bed early,” he finally said, turning away and leaving without a second glance.

—

[misscammiedawn]

Thinking about We Know The Devil and Heaven Will Be Mine today. A duology. WKTD the tells the story of accepting you're queer, framed as a horror story of 3 repressed teenagers at a christian summer camp fighting off their inherent queerness and HWBM tells the story of how one accepts their place in society after embracing their queerness.

WKTD uses magical girl tropes in a fairly grounded Midwestern teen experience.

Magical girl stories often involve the struggle of the forces of Good and Evil. Purity and Impurity. Corruption often being a core theme of any girl squad facing down the nightmarish forces. This can be seen from Madoka's approach to the concept which is often referred to as a deconstruction. The Pink Opaque from I Saw The TV Glow overtly uses these themes in the exact same allegory as WKTD with the evil forces attempting to suppress the queerness of the protagonists.

HWBM uses mech anime tropes in an allegorical wonderland where the setting fades away to have the audience engage with the ideas at play rather than the lore. Mech anime often uses the giant robot duels as a method of visualizing ideological struggles. Too often in these shows beam sabers will cross as the pilots yell at one another to embrace ideas of how the concepts of war and prejudice can be battled out of existence.

In HWBM the "war" in play is humans versus space... or more accurately humans versus those who are not of Earth. Versus those who are alien. Versus those who are not human.

The dominant culture versus queer culture.

WKTD frames its tropes via the dating sim mechanics popular within its visual novel medium. But rather than choosing which of the 3 girls the player wishes to romance you must choose which of the 3 you wish to exclude. The idea being to scapegoat one's struggle with queerness by attacking outward, blaming the other, by shaming others into the closet to keep yourself in there.

Lashing outward to prevent reflecting inward.

The only good ending of the game is to accept a polycule dynamic where everyone is seen, accepted and embraced for who they are unconditionally. God's love, in this world, is conditional and one must always be excluded. The devil has room for three.

There is no room in normal society for a polycule. It is inherently queer. The dominant culture is binary and there's no version of a polycule where only a 0 and a 1 are represented. The binary is incompatible.

I recently told a friend that the duology tells the journey of a thousand miles and how it begins with a single step. WKTD is the story of that first and all too important step acceptance.

HWBM is the story of what comes after acceptance. After that first step.

It tells the story of the thousand mile journey.

The ideologies at play are the concepts of assimilation, activism and separationism. In the allegory Earth/Humanity represents the dominant "straight" society and the three characters represent each of these ideologies. Assimilation is to return to Earth, to integrate into the dominant culture and lose some of the inherent joy and "otherness" that being queer brings. It's no coincidence that the character representing this path is a trans woman who is known for defecting from her faction and crossing over to every other side while repeating the mantra "I've never betrayed anyone in my life", it is a coincidence however that her faction's war efforts are lead in part by God's Strongest Chaser herself (as far as I'm aware the Halimede Twitter Account is not affiliated with the game, but I find it funny that the assimilation path is represented by someone who a character whose gimmick account argues "t4t is incest"). It is a life of peace. But it is a life of compromise. Of giving up humanity's dream of the stars. To be grounded and tethered to Earth forever.

The Activism Path represents the idea of staying in Earth's orbit but never surrendering even an ounce of the queer identity for the sake of acceptance. Forcing the dominant culture to argue with us on our terms. Accept us on our terms. It is a life of constant battle but in that battle we will save those on Earth, invite them into the stars, embrace them with acceptance and love. Let them join us or remain where they are. This is a life of constant war, knowing that until all are loved and accepted, no one is and so we continue fighting. Letting people change sides. Nothing changes but maybe it's better that way.

Separation is the idea of abandoning Earth entirely. To become so incompatible with the dominant culture that we are no longer "human" to those who remain tethered. We are unapproachable. Separate. Unique. Other. Queer above anything else and incapable of creating a rational dialogue with the dominant culture. It is picking up your toys and walking away. Going far enough away from the culture war that it will never be able to reach you.

The author of the Halimede account once wrote, while in character, that this is the saddest ending of them all because it's unsustainable and that it does not address the inherent intersectional fighting between communities, allowing wars to simply break out further away from our blue marble in the distant stars. It is a life of abandoning war without embracing peace. To live separate in bubbles apart.

The ending of the game forces you to pick. There is no existing outside of these options. Maybe one day we'll find other ways to be but within the view of this game they are all we have. Embrace Earth, declare war on Earth or abandon Earth.

Choose.

I admit. Since the pandemic and coming out as trans, I've favored Saturn's ideology more than others. Completely giving up on "humanity" and only working within circles of those whose acceptance of queer culture is baked in. I fought so hard to accept who I was and "know the devil", so to speak, that I pulled back and withdrew.

Both games have a lot of themes about the demons ones must face within queer culture and outside of it. The way we hurt ourselves, hurt our allies and how the world outside societal, structural and individual will force us to compromise, to cut away parts of ourselves.

These games are masterpieces.

I wish I found them earlier in my life. I want everyone able to read these words to find them now.

[literaryvein-reblogs]

Writing Notes: Story Plot

Plot - is what happens in a story.

Every story is made up of both events and characters.

A story happens because a pattern is interrupted.

If you are writing about a day that is like any other day, it is most likely a routine, not a story.

A Strong Plot

Centered on one moment—an interruption of a pattern, a turning point, or an action—that raises a dramatic question, which must be answered throughout the course of the story. This is also known as plot A.

Every element of the plot—each scene, each line—exists in service of answering that question. There are myriad plot devices that can bolster the main story; these are considered subplots.

7 Types of Plots

The nature of the dramatic question informs the plot and what kind of story it will be. Are the characters threatened by something external or internal? What genre will the story be?

Tragedy

Your main character should undergo a major change of fortune — almost always from good to bad, happy to sad.

Tragic characters have to suffer.

Comedy

Even though your characters have defects, their defects should never wind up being painful or destructive.

Comic characters make it through unscathed.

Hero’s Journey

The hero of a story must undergo two things:

Recognition and reversal of a situation.

Something has to happen from the outside that inspires the hero in a way that he/she didn’t realize before.

Then he has to undertake a quest to solve the situation.

Rags to Riches

Remember Cinderella? The classic fairy tale follows a simple rags-to-riches plot:

the protagonist is downtrodden, impoverished, or otherwise struggling, and through a series of events—either magical, like in Cinderella, or more realistic, like in Great Expectations — achieves success.

This type of plot often features a happy ending.

Rebirth

The rebirth style of plot follows a character’s transformation from bad to good.

The character will frequently have a tragic past that informs their current negative view of life, however, a series of events (usually set in motion by the protagonist or a narrator) will help them see the light.

See: Scrooge in A Christmas Carol, or the Beast in Beauty and the Beast.

Overcoming the Monster

Otherwise known as the good versus evil plot, this type of story features a protagonist (good) fighting an antagonist (evil).

The protagonist can be a singular character or a group united in their mission.

The antagonist is generally a big, bad evil (like Darth Vader in Star Wars) who continuously throws obstacles in the protagonist’s way—until the final battle.

Voyage & Return

This plot is a simple point A to point B and back to point A plot.

The protagonist sets off on a journey, only to return to his or her starting point having gained wisdom and experience (and sometimes treasure too).

Paulo Coelho's The Alchemist is a beloved contemporary illustration of this plot.

How to Outline a Story Plot: Three-Act Structure

Beginning

The beginning of your novel has to accomplish a lot.

It must introduce the hero, the villain, and the world of the story, as well as the story’s dramatic question, and it must do this with enough energy to grab your reader’s interest right away.

A prologue can be useful for seizing the reader’s attention.

Middle

Your job during the middle of the story is to make the hero’s quest as difficult as possible so that at every moment it seems less likely that the hero will triumph.

You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

The different plot points can include the basic plot, plus various subplots.

The main plot of a story always has to build up to the resolution.

End

The end of your story answers the dramatic question, which already has your ending hidden within it.

For example, if your question is:

Will Ahab catch the whale?

Then your story’s finale will be the moment when he does.

Often, tension evaporates in the middle of a novel, so it’s a good idea to write your ending first. It may not be perfect, and you can always change it later, but it’s useful to know the climax to which your characters are headed.

Having that destination will help you stay focused during the “middle muddle.”

Freytag’s Pyramid

German novelist Gustav Freytag expanded on Aristotle’s concept of plot by adding 2 additional components to the beginning, middle, and end:

Rising action and falling action.

Freytag’s dramatic arc, also known as Freytag’s Pyramid, includes the following:

Exposition. This is the beginning of the story.

Rising action. Once the story has begun, it is important to create tension by raising the stakes. You must raise the stakes along the way and create obstacles of ever-increasing intensity while keeping your eye firmly fixed on your conclusion.

Climax (middle). The pinnacle of your plot.

Falling action. The falling action occurs after the climax but before the end. Falling action frequently depicts the protagonist dealing with the consequences or fallout of the climax. The falling action is when the protagonist ties up loose ends and heads toward the conclusion. It is also referred to as the denouement.

Resolution. This is the end of the story.

Source ⚜ The 3-Act Structure: History & Elements ⚜ A Guide More References: Plot ⚜ Character ⚜ Worldbuilding ⚜ Writing Notes

[fellthemarvelous]

Aziraphale hate makes my brain hurt.

Like let's be really fuckin' for real here.

Neurodivergent fans have repeatedly said that Aziraphale is autistic coded. I agree with them. I have never been diagnosed but I wonder about myself. If only I could get a doctor to take me seriously enough to test me for it, but alas, I'm a 43-year-old woman living in the good ole US of A.

Those with religious trauma have repeatedly said that they identify with him as well. I'm one of those people. I endured 12 years of Catholic schools and just as much time being taught a very black and white view of things that I've had to spend more than 20 goddamn fucking years working to unlearn.

I find that my views as a survivor of religious abuse are often dismissed because people keep wanting to say "Aziraphale doesn't have religious trauma." Yes, thank you, I get that, but unless you've been indoctrinated and brainwashed into a very black and white view of the world, you probably don't understand the kind of feelings Aziraphale's onscreen experiences evoke in so many of us. Heaven might not be real, but the feelings of "God is always watching" still stick with me today even though I no longer believe in God. I have entirely denounced Christianity because of my own personal experience, and I refuse to allow people to try and guilt me or shame me for trauma that I didn't ask for. I wasn't given a choice.

As a child I was told that God was real and always watching everything you do (just like Santa Claus) and can hear everything you say and knows everything you are thinking. Do you know what I learned to do in order to cope with this overwhelming and anxiety-inducing information as a small child? I learned to censor my thoughts. I never spoke up, and I have always felt like I was putting on a show for people because I had to be who I was told to be or I would get into trouble.

Aziraphale said "poverty is a virtue" during The Resurrectionists, and as someone who grew up in the Bible belt and went to private schools, I was taught this very same shit by the Catholic church. He learned in that very same episode that "poverty is a virtue" is actually a tool of oppression to keep the poor poor and the wealthy wealthy. I know we all watched the episode. He went into that episode believing what he said, but by the end of it he knew it was actually utter bullshit. Aziraphale is not ignorant. He's highly intelligent, and he has never been too proud to admit when he has been wrong. He accepts that the information he learned before is not matching up with reality.

And it's so obvious some of you have zero experience with that type of indoctrination because of how very little empathy you show Aziraphale for his "mistake" of "choosing Heaven over Crowley" and "making Crowley sad" so clearly Aziraphale must somehow be "abusive" and "manipulative" and "selfish" and "self-centered" because he didn't choose to run away with Crowley at the end of season two.

First of all.

FIRST OF ALL...

Aziraphale has a mind of his own.

Aziraphale is always going to try and do what is right.

Aziraphale is an angel. He's a being of love. And the reason he's so "bad" at being an angel is because he actually wants to protect humanity. He has always loved humanity. He repeatedly has to contend with what is "right" versus what is "good" and "wrong" versus "evil". Yeah, he has flaws. He's an angel, not a goddamn fucking saint. He has lived on Earth for more than 6,000 years. He has seen everything. He loves doing human things.

He's obsessed with magic. It makes him so happy. He's not very good at it...well not when he's trying to put on a show for Crowley.

He chose to learn French the hard way, so even though he knows every single language in the world, he chooses to be mediocre at French. Something that annoys and amuses Crowley at the same time.

He loves to dance even though angels aren't supposed to dance, and dancing with Crowley was what he wanted the most.

He owns a bookshop and refuses to sell any of his books because they are books he's had for as long as there have been books. He will chase customers away from his collection, and Crowley understands how much they mean to Aziraphale because he refuses to sell any when Aziraphale leaves him in charge.

He and Crowley have been speaking to each other in coded language for more than 6,000 years. They have to be very careful about what they say because Heaven and Hell are always watching.

Heaven has photographs of Crowley and Aziraphale sitting or standing together throughout history. Hell had one photo of Crowley and Aziraphale actually working together and it was Aziraphale's quick thinking and how good he actually is at sleight of hand tricks that managed to get that photo out of Furfur's hands so he wouldn't be able to turn Crowley over to the Dark Council.

Aziraphale saved Crowley from being taken to Hell again. He wasn't able to save Crowley from Hell in Edinburgh, but he sure as heck managed to save Crowley from Hell during WWII. He took Crowley to his bookshop and showed Crowley that he stole the picture from Furfur. He saved Crowley.

You get that, right?

Aziraphale SAVED Crowley.

People always talk about how it's "always Crowley saving Aziraphale" because apparently heroic acts are only heroic when they are grand gestures. The sleight of hand wasn't heroic at all, am I right? It wasn't sparkly and showy. It wasn't interesting enough, therefore not heroic. At least that's all I'm hearing when people start with their "blah Aziraphale deserves to suffer because I have no imagination or ability to understand the media in front of me blah", and all these reasons he deserves to suffer is because Crowley almost got hurt.

Aziraphale did that without flinching and I watch that part closely every single time. He's not scared for himself. He's scared for Crowley, and he managed to hold onto that photograph. He did not fail Crowley. He protected Crowley.

And so here's another thing that we like to point out. The way that Aziraphale, an angel who is effeminate and male presenting, an angel who is soft and full of love, an angel who is kind and forgiving because he has empathy and compassion, is somehow painted as abusive and manipulative. He's not violent, but he could easily fuck up your world. He doesn't use his powers. We have no idea how powerful he is because we only ever see him do small acts. He's used to hiding. It's the only way he has ever been able to protect Crowley.

And I'm not saying that Aziraphale has actually saved Crowley before means that Crowley hasn't also saved Aziraphale. Like, you get that those are not mutually exclusive and their relationship is not transactional, right? They have spent their entire existence protecting each other but never actually getting to be together because Heaven and Hell are always watching.

Yeah, Crowley fell. We all know this. We are aware of this. He was the serpent of Eden. He gave humanity the knowledge of free will.

But what we don't talk about is what Aziraphale gave humanity.

What did he give them?

We all know what it is!

Let's say it together!

He gave Adam and Eve his flaming sword because it was dangerous outside the garden and Eve was pregnant and she was already having a really bad day. He showed them compassion and gave them his extremely powerful angelic weapon so they would stand a chance on the outside of the garden. He gave humanity the gift of compassion. It's just unfortunate that his flaming sword became a weapon of War.

And then what did he do after that?

Ooooh, yeah, that's right.

God asked him about it and he straight up lied to her and pretended he had no idea where he'd managed to misplace it. She didn't say anything after that. He told Crowley the truth though. He told Crowley the truth even though Crowley fell.

Yeah, we know Aziraphale has done some really fucking questionable things. He and Crowley both suck at passing for human in front of observant people like Nina. They're not human. They are still learning, but they managed to experience human history together despite being on opposite sides and their experiences with humanity are what has shaped them into the compassionate and loving duo they are now. One of them is not better from the other.

This, my friends, is what we call meeting in the middle. It's why shades of gray is so important. Aziraphale constantly breaks the rules. Crowley refused to play by Heaven's rules. It's the reason he fell. He doesn't play by Hell's rules either. These two dorks figured out how to cancel each others' miracles out throughout human history in order to have more time learning about humanity and each other because working all day every day sucks when there are so many new things to learn and experience with the people you love.

We know Crowley and Aziraphale both love each other. Neither of them are good at hiding the hearts stars in their eyes.

But here's what's really fucking annoying about the Aziraphale hate.

Aziraphale was already crying when Crowley grabbed him and kissed him. Aziraphale is trying so very hard to do the right thing. He loves Crowley. He does. But he also has a duty to humanity, and he has taken that job very seriously since the creation of Adam and Eve. He sent them out into the world with a flaming sword so they would have a chance at surviving beyond the walls of the garden.

And he knows that Something Terrible is going to happen and he spent all of second season trying to figure out what that Something Terrible was while trying to have some sort of more honest and open relationship with Crowley, but again, they aren't human, they are a demon and an angel approaching life from opposite sides who met in the middle and fell in love with humanity together.

He wants more than anything to tell Crowley how he feels about him, but he wants to do something grand for Crowley because Crowley has always been grand and dramatic and sexy and a little bit scary.

Crowley is impulsive and has a temper and sometimes says the wrong thing but he has always trusted Aziraphale because Aziraphale gave him a chance even after he fell. Aziraphale chose to shelter him instead of smiting him while they stood on top of that wall. He knew he was supposed to kill Crowley, but oops, he gave his sword away to the humans so he didn't really have anything to kill him with and Crowley is the one who created nebulas. The Pillars of Creation is Crowley's work and Aziraphale was there to witness that, but he watched Crowley more than he watched the nebula. He witnessed the pure joy on Crowley's face when he said "let there be light" as a nebula full of colors exploded before their eyes. He was fascinated by Crowley.

But Aziraphale is going back to Heaven even though he has made it perfectly clear he absolutely has no desire to go back to Heaven. He told the Metatron this during their conversation. He spoke these words out loud. They exist.

But then The Metatron said this....

The Metatron. The very same angel who told Aziraphale in season one "to speak to me is to speak to the Almighty." He's the boss. He's the big guy. He's used to existing as a giant head and he had to give himself a body so he wouldn't stand out on Earth. And he knows that Aziraphale and Crowley have been working together since the beginning. He knows they worked together to prevent Armageddon in season one, and now he's made it clear he knows they were working together long before that. And let's face it, Aziraphale really wants to know what this Something Terrible is that Gabriel is running from so he can try to prevent it from happening.

It makes sense that he would want to take Crowley to Heaven with him because he would be able to keep Hell from getting their hands on him again. Aziraphale hates it in Heaven. He doesn't want to go, but Something Terrible is happening and Metatron isn't taking no for an answer, and maybe Heaven won't be so bad if Crowley is there with him. At least they can fix Heaven together.

But Crowley can't go back. We all get that. We don't blame him for saying no. It doesn't change anything.

Something Terrible is about to happen and Aziraphale has to figure out what it is. He wants to change Heaven.

He is fully aware that Heaven sucks. He still has faith in God. His faith isn't in Heaven. He deserted his platoon in season one and threw himself back to Earth so he could figure out how to make sure the war between Heaven and Hell doesn't happen.

But see, here's the thing. Heaven is at the top. Heaven has all the resources. Heaven is responsible for the creation of Hell. Heaven is empty and Hell is overpopulated. Aziraphale knows this. Crowley knows this. It's obvious every time we see either place. Both sides are desperate to go to war and will not hesitate to destroy humanity in the process. This is the opposite of what Crowley and Aziraphale want for humanity. If anyone can change Heaven, it's Aziraphale. He's the only one up there who gives a shit about humanity as far as we know. No one else is going to speak on humanity's behalf.

Some of us are so busy getting mad at Aziraphale for going back to Heaven and giving Crowley a Big Sad. Newsflash: Crowley is not the main character of Good Omens. Aziraphale and Crowley are equals, yet we wanna hold Aziraphale to higher standards because he's an angel, and when he makes mistakes it's proof that he's the bad guy.

Holy mother of all things that trigger my religious trauma, let me tell you. I spent my entire life hating myself every time I made mistakes. I've had to teach myself that just because I mess up sometimes doesn't mean I'm bad. It means I'm human. I still struggle with it. I probably always will. So when you say that Aziraphale deserves to be punished for breaking Crowley's heart, you not only ignore that Aziraphale's heart is also broken, you're saying he deserves to be punished for doing what he thinks is right.

Wanting to change Heaven for the better is not a bad thing.

And some of y'all wanna see him suffer for going back into the lion's den that is Heaven, knowing that he is already an outcast, that they have already tried to kill him once, knowing that he is a deserter, that he has been lying to Heaven about a lot of things, and you still think he's blinded by Heaven? You think he's just so naive and that's the only reason he's going back. He doesn't show his emotions the same way Crowley does so it means he doesn't care as much. He's expected to consider Crowley's feelings over his own when making choices. Like holy shit if all of that hasn't defined my experience as a woman with religious trauma in this fucking society. He's expected to be subservient to Crowley and if he doesn't do what Crowley wants then he's being unreasonable and illogical.

What the actual fuck, y'all.

Like seriously.

I'm sick of this bullshit. I had to step away from this fandom because of how toxic some people in this fandom are. It's not chasing me away, but the fact that I chose to hang out in a a more toxic fandom that is already notorious for being really toxic over a fandom that claims to be more open-minded and welcoming should probably tell you something.

It gave me a lot of perspective, and yeah, I'm still gonna speak up against the bullshit Aziraphale hate.

People are entitled to their opinions, but the Aziraphale hate isn't an opinion. It's just ableist, misogynistic garbage. At this point we all know y'all say these extreme things about Aziraphale because y'all get more joy out of the harm and alienation it is causing others.

Keep being loudly wrong, but if you think I'm not entitled to challenge shitty-ass, harmful, hateful discourse, bite my ass.

I'm not the one who lost the plot in this fandom.

[giveamadeuschohisownmovie]

I’m gonna be honest. The more I think about it, the more I’m believing that the Star Wars Prequel Trilogy could’ve been better than the Original Trilogy if the script was tighter (a lot tighter). But George needed to let other people handle the script and he needed way more help with bringing his vision to life.

I mean, just think about it. The OG trilogy was a fairly straightforward, good vs evil storyline. Jedi and Rebels good, Emperor and Sith bad. Amazing storyline, but fairly simple. In comparison, the Prequel trilogy is far more complex in terms of what it was trying to achieve. If you look past the shitty dialogue and questionable storyline choices, the story that George came up with deals with:

1) Duty vs. Desire (Anakin trying to remain a Jedi but wanting to pursue Padme)

2) Questioning the Jedi Code instead of just blindly accepting it as gospel. Because despite how much Anakin was struggling with his complicated emotions, the Order doesn’t notice. In fact, the Order encouraged him to bury his emotions, which we see led to disaster since that led him right to the Dark Side.

3) An actual attempt at more complex politics rather than just evil empire versus good resistance. For example, it’s a meme that Anakin made an argument in favor of fascism, but in the hands of a better writer, that could’ve been a really good moment. We get an idea of why the Empire would have its supporters, despite being the obvious bad guys. It humanizes the Empire in a way that it doesn’t make you sympathize with them, but makes you understand how someone could end up on that path. That’s more true to life than just evil people being evil. (Andor is probably the one Star Wars media that understood this, which is partly why it’s one of the best Star Wars content out there)

4) The hero is genuinely a tragic character. He’s a child prodigy who was freed from slavery with the promise of a better life. But as he grows up, he becomes frustrated with how his life is turning out. He’s powerful, but not powerful enough to save his mom. He falls in love, but can’t be with Padme since it’s against the Jedi Code. Obi-Wan looks over him, but Anakin doesn’t feel he’s respected. The Order assigns him dangerous mission after dangerous mission, but he doesn’t get the rank of master. Anakin’s arc is about a man who feels like he’s not in control of his life (which is doubly sad when you remember he grew up in slavery) and, in his lowest moment, turns to a man who claims to be able to give Anakin everything he’s ever wanted. And that becomes his downfall since he ends up losing way more than he gained.

I’m sorry, but, that storyline is way more interesting than Luke and Leia’s story. No offense to Luke and Leia, but their dad’s story sounds like a Shakespearean tragedy. What messed it up was that George Lucas needed someone else to write the script.

[kissagii]

it's finals season, and nishinoya desperately needs a savior

cw: gender neutral reader, 2k words, reader is a bit of a nerd and noya is smitten, both are a little dense, i didn't proofread this nearly enough.

Nishinoya Yuu cannot fail high school. At least, not if he wants to go to the Tokyo training camp and meet the funny guys from Nekoma again. As it stands, the only obstacles between Noya and going to camp are the steadily approaching final exams - exams that he hasn’t spent nearly enough time studying for.

That’s how he found himself here: not-so-casually asking (read: begging) for help studying.

“But I can’t fail these exams!” He half-yells, smacking his hands dramatically onto your desk, “I’m too cool to fail! And I want to go to camp!”

You sigh, not thrilled to have the libero drawing so much attention to you, especially in the middle of the school day. But his pleas are pitiful - and bound to get annoying if left unanswered for too long - so your only real option is to offer whatever assistance he needs.

“Sure, I’ve got time, what do you need?” You offer, hoping desperately that you sound relatively nonchalant. You had grown fond of him as first-year classmates, and now being in separate classes made any opportunity to spend time with him one worth taking. Even if it ended in studying with Nishinoya Yuu, a man not exactly known for being studious. Loudness aside, he's a good guy: caring (at times overbearingly so), observant (but never when he needs to be), and unendingly passionate about his interests (and very little else). And undeniably attractive, though you’d never tell him that. It would go straight to his head.

His face lights up as soon as the offer is made. “You’re amazing! An angel sent from the heavens to help me go to camp!”

“Yeah, yeah, alright, now what subjects are giving you the most trouble?” You say, heart fluttering at the subtle words of appreciation. 

“Math. And physics, but that’s basically just math but more evil. Oh, and English. And history. And writing.” His expression shifts from joy to a pout with each subject, brows knitting together as he realizes just how inept (and uncool, he’s probably thinking) he is.

“Noya, you just listed every subject, that’s way too much,” You laugh, “But I’ll see what I can do. Give me a day to prepare?”

“Just try not to miss me too much!” Noya says as he jumps excitedly, waving to you as he walks backward out of the room. He waves the entire way until he walks back-first into the doorframe, letting out a squawk of surprise and continuing proudly like nothing ever happened.

This boy is going to be the death of you.

Exactly 24 hours after his first visit, Noya bounds into your classroom and over to your desk again. Despite expecting his visit this time, you’re caught off guard by his punctuality and higher-than-usual energy. 

“It is I, Nishinoya Yuu, Guardian Deity of Karasuno!” He announces, dropping into a neighboring desk.

“Yeah, I know that, Noya.”

“Hmph, but it’s more fun to do that,” He huffs, poking at the papers you have lined up on your desk, “What’s all this? For me?”

You stack up all the papers, creating a thick packet, and hand them to him. He loses interest the moment he realizes that the ridiculous-looking stack is indeed for him, mortified by the concept of having to do all of that. He pays minimal attention as you explain everything he’s supposed to do - something about the order of the subjects versus the tests, the problem difficulties, and suggested pacing - instead choosing to focus on something far more interesting. 

The way certain subjects make your eyes light up more than others. The way you tilt your body to face him as you talk. The way your lips move with each word. How much he wishes he could grab your face and kiss you.

And, ultimately, that which brings his attention back - the reward system. Your method of motivating him to put effort into his practice.

“The rewards are indicated with symbols, the key is at the back, and you don’t have to take any reward you don’t want. I’ll be here to check your work and help you with the harder ones, does that sound good? Oh, and no getting answers from your teammates. You’ll only get prizes for your own work.” 

“All this? really? These rewards better be good,” He sticks out his bottom lip, thumbing the papers, itching to flip straight to the back and see what he might have a chance at acquiring. 

You laugh, shooing him out of the chair he sits in, “Yeah, yeah, I’m sure you’ll like one or two of them. Now go get working, deal with your prizes when you have an actual chance at earning them.”

“Hey! At least let me try to get motivated!” He whines, making a point to struggle to carry the twenty-or-so pages in his hands, “I might never forgive you for this!”

Though he acts offended, the moment he’s out of your sight his posture straightens and he hurries to his classroom. Only there does he set down the papers and fumble to the back, finding the Prize Key at the very end.

♤ - 1 sticker (assorted themes)

Who do you think he is? A first grader? Though he has to admit, the concept is cute.

♧ - Snack coupon

Now this, this is good - he could use them to barter with the team… if he could convince himself to not hoard them.

♢ - 10 minutes letting you show off at practice

Finally, you’ll come through on your promise of visiting him at practice!!

☆ - Bento Box

So you had been paying attention to how he always ogled your food during lunch hour. Oh, Tanaka is gonna be so jealous.

♡ - Kiss

He rereads the single word again. And again. He blows away nonexistent eraser shards; wipes the paper with his sleeve; traces his finger over the word. And still, there it is, inked directly onto the paper, completely intentional. Kiss.

Frantically he flipped through the packet, searching for the problem sets marked with a heart. Just what would he have to do to earn the sweetness of your lips against his? He’d do just about anything, really, he’d craved your affection since midway through first year.

Nishinoya Yuu would do anything to kiss you just once - even a physics problem so brutal even the most genius of his classmates might shy away from it.

“Ok, fess up, which one of you gave Noya answers to his study work?!” You shout, storming into Karasuno’s volleyball gym as the team begins their practice. The underclassmen’s confused stares hardly dent your frustration with the team and whichever of them was insolent enough to go directly against your request.

Ennoshita winces, smiling bashfully. “Well… I didn’t help him, exactly. He just told me to check his work and it was right, I didn’t give away any answers.”

Noya smiles proudly from across the gymnasium, “See! I’m perfectly capable of doing physics on my own!”

“Suga? Daichi? Is this true?” You ask, turning to the reliable third-years on the team, who you’re sure were there to witness Noya’s breakthrough.

“Mhm,” Suga nods, “And he went skipping to first period like a little girl.”

“I do not skip!” Noya insists.

The first years giggle amongst themselves, clearly amused by the dispute. Though, in their shoes, you probably would’ve laughed too.

“No, you were skipping,” Daichi adds bluntly. Noya’s jaw drops, insulted.

“I do not- Oh, fine, whatever, maybe I skipped a little. But see, I didn’t get answers from anyone, I solved the problem by myself! So therefore I deserve my reward!”

So maybe he did solve the problem on his own. So maybe he did spend all night working on that one near-impossible problem just to get the reward. So maybe he does want to kiss you.

“Alright, alright, I accept it, you solved the problem yourself. Good job. Call me when you’re done with practice, you’ll get your reward then.” You say resignedly, turning to leave the club room.

“No, don’t make me wait so long! I gave you the problem at lunch, you’re so mean to me!” Noya calls after you.

As you leave, a redheaded first-year (Hintata, if you correctly remembered Noya's ramblings about his teammates) whispers to you: “I think he’s in love with you.”

Thank the heavens that your back was turned, because your flustered expression would’ve made your crush on the libero painfully obvious to all in the room. 

But oh how you hoped that first year was right.

Only minutes after the end of practice, Noya found you behind the gymnasium. Still sweaty and haphazardly changed, he jogged to you excitedly. 

“I’m here now! Now don’t tell me I sat on the sidelines through morning practice for nothing, Daichi was ready to kill me,” He said, breathing slightly heavier than usual but still energetic.

“Have you just been pretending to be stupid this whole time?” You ask, “I spent days making that problem for a different study group, days, doing everything I could to make it impossible. I gave it to you as a joke, more than anything, I didn’t think you’d actually solve it.” 

Noya inhales sharply, looking down to the ground. “So, the part about… the kiss… was that a joke too?” He begins stepping back, feeling a fool for getting his hopes up so high. Frustrated and confused, he begins running his mouth like he always does, muttering about being a fool, being hopeless, the evilness of your schemes, and having wasted his energy and time in search of something he would never get.

“Noya, shut up,” You say, but he pays you no mind. “Yuu!” 

The one lesson he needs to learn is how to quiet down, and you know he won’t learn it on his own. You grab him by the cheeks and pull his lips to yours, cutting him off mid-sentence, kissing him right there behind the gymnasium as night descends upon the city. When you part he remains speechless, cocoa-brown eyes darting between your eyes and lips.

“It was a joke because I didn’t think you’d want it,” You murmur, letting a hand slide into his sweaty but somehow still soft hair. “If I had known this was what you wanted I would’ve let you kiss me as many times as you wanted.” 

Noya leans into your hand, as if making sure that you’re actually there, actually touching him. Gently you bring your foreheads to touch, a silent reminder that you are indeed real. “You're more than just a friend to me, Yuu, and in every moment that you’re silent I’ll remind you.”

“Ehehe, guess I’ll just never speak again,” He laughs cheekily, stealing another kiss, quick and playful. 

You pull back, but don’t move your hand away. What an idiot, snapping from speechless to silly in such a quick moment, and absolutely desperate for affection to boot. And yet this dramatic idiot had you absolutely smitten and wanting to kiss him over and over until evening turned to night turned to morning.

“You didn’t earn that one, Yuu! I guess I’ll have to cut your showoff time rewards by half,” You tease, poking the tip of his nose with your finger. It’s a ridiculous facade on your part - he’d never have to earn a kiss from you, just ask and you’d gladly give it to him. But the way his face twisted yet again, horrified by your mock threat, was too cute to pass up.

“Half?!” He scoffs, “I guess I’ll have to be extra flashy for my sunshine!” 

“Sunshine? Since when am I your sunshine?”

“I dunno, since now? Come on, it’s cute!”

Sunshine it is, then. Though if either of the two of you is the sunshine, you’re sure it must be him, because his giddy grin is easily the most beautiful thing you’ve seen in your life.

:)

[zepskies]

The Boys S4: Is it just me or...

Okay, anyone who knows me knows I love this show. And I don't mean to be overly critical, but...there's something missing for me in season 4. 🤔

Episode 4 brought me back in a bit more this week, but I have thoughts and just wanted to get them out. Which of course you don't have to agree with, if you so choose to dive below the cut. 😂

So here we go! Highlights and lowlights (and **spoilers**): ⤵️

Sorry in advance for my slightly stream of conscious-style thought process.

Lowlights (so far):

Kimiko x Frenchie: Violently pushing down something you built up for 2.75 seasons? Because "being more than that/family" can also be romantic? Why do you hate the fans, Kripke? 😂

The political "satire" is getting a bit old for me. A lot of the same jokes over and over. However, the problem of taking out Victoria Neuman is a very intriguing conundrum (and Bob Singer sweating over it while trying to keep supes out of the military/law enforcement is keeping me hooked).

THAT Rob scene: lmfao come on now. This was for gross shock value and nothing else. Even the exploding dick and Love Sausage in S3 served a narrative purpose. (But I enjoyed the footnote commentary while watching it on Prime: Rob B. apparently wants to remind everyone that he's a Shakespearean-trained actor. 🤣) I’m actually more disappointed that he didn’t have a more meaningful role in the show, because he really is a fantastic actor and I was looking forward to seeing what his character would bring. (Not that lmao.)

Overall, the season just feels...emptier than seasons 1-3? Maybe that has to do with the lack of Soldier Boy's gravitas as a new antagonist, and connecting the entire narrative and various conflicts of the season -- all while shedding light on the grisly past of Payback, Grace Mallory, and Stan Edgar. Stormfront also brought that ante up in season 2 in a similar way, all while shedding light on Vought's sordid history with the creation of Compound V.

We're missing the layers here in season 4. Now, this could just be because we haven't seen the full season yet as well, but that's what I see so far.

I think it also has to do with the odd dynamic the boys side is in right now. With Butcher on the fringe of the group, and the others splintered off on their own side plots, it feels like the supes' side of things are more...for lack of a better term, "unified" in the narrative.

Which I realize is probably to reverse parallel the state of each side in season 3. But it just feels "off" to me somehow, since we're supposed to be just as invested in the boys side lol.

Highlights:

Butcher and Ryan: Butcher's doing his best there now, and it soothes my heart.

Ryan's slowly seeing the consequences of his choice to join Homelander. In fact, I'm wondering where Ryan is in episode 4. Hiding in his room?

The Khan Worm that appears to be inside Butcher is both frightening and intriguing. I wonder if this is the key to saving his life? Or just another lovely side effect of taking V24 long term. 🐛

JDM (Joe) and Butcher: All their scenes were golden. And that subtle John Winchester reference? Being willing to train up his son to be a killer? Being able to grieve at his son's funeral, knowing he "saved the world?" *Chef's kiss* 🤌🏽

(And if Butcher or Joe end up being the one to break Soldier Boy out of his cryo coffin, my fangirl heart will freak TF out. 🤣)

The way that Homelander is noticing his age is fucking hilarious. Bet you wish you had that life longevity from your father/sperm donor, dont'cha? 😂

But also the way Homelander "confronted" his past in E4 had some truly WTF/Holy Shit™️ moments, in a good way. As in, I'm once again afraid of this unhinged psychopath--kind of way. 😅

A-Train continuing to struggle internally with the place he's fought so hard to keep in the Seven, versus recognizing the evil around him, his own complicity, wanting forgiveness from Hughie, and wanting a true connection with others (namely his family).

It's interesting that Hughie's mom is being brought back in at this time. And even MORE interesting that she seems to be the one who gave her ex-husband Compound V. Her story of why she left her family seemed so normal that I actually got a little suspicious of her. But now, even more so. 🤨

M.M. doing his fucking best. (Except for the way he suddenly had a change of heart about Butcher in E4. Not sure about that one.)

Tilda effing Swinton voicing Ambrosius. PLEASE. My Queen. 😭🤣🤣

I actually had more lowlights before I watched episode 4. There were some really interesting moments that literally had me gasping in shock (this time in a good way), more so than in the first 3 episodes. However, I still think seasons 1-3 were stronger from the get-go.

But even with my lingering reservations, now I'm actually more so looking forward to getting into the meat of the season in this second-half coming up. 👏🏽

[mryoyo000]

Wicked book and musical: on Glinda (SPOILERS)

I waited a bit to write this until hopefully the Discourse™️ has settled a bit but I wanted to say something about Glinda in the novel “Wicked” vs. the musical/movie.

SPOILERS

One thing I’ve seen people talking about regarding the book vs. the show is expressing disappointment regarding Glinda as Maguire depicts her, versus how she is changed for the show. Glinda in the musical follows a fairly typical kind of character arc, beginning as the archetype of a superficial, popularity-obsessed rich girl, who grows in depth and maturity over the course of her life (kickstarted by her relationship with Elphaba) and by the end has become, if not the primary heroine of the musical (which is Elphaba), a character who we see has earned her title as the Good Witch.

I said this in my precious post, but again it bears repeating that “Wicked” the book and “Wicked” the movie have not only completely different target audiences but also completely different goals as stories. I’m not trying to criticize anyone who saw the show or movie first, and felt disappointed by the novel—or really anyone who didn’t care for the novel in general—but I think that some of the criticism the book has gotten recently, after the movie came out, doesn’t take into account that in many ways, the book and the musical are completely different works with the same character names and broad plot outline.

So I’ve seen some people expressing disappointment that in the book, Glinda “regresses”, that she’s racist, that she’s not actually a good person, etc. And I can definitely understand how this rubs people the wrong way—whether in comparison to the show or even just to the Oz books or the 1939 movie in general. Glinda in pop culture is about as synonymous with good as the Wicked Witch of the West is with evil, and seeing her depicted in such an unflattering way is probably not what a lot of people anticipate or necessarily enjoy reading.

(In my previous post I already addressed a different criticism, which is Glinda’s comparative lack of presence in the novel—she’s the POV during Elphaba’s time at Shiz and then largely fades out of the story before a final confrontation. I maintain my stance this is what works for the book, which saves Elphaba’s perspective for the end after showing us all of the people she’s lost first.)

But it is true that in the Maguire book, Glinda’s “goodness” is a cynical punchline for a character who, in her reunion with Elphaba, has become this:

[Glinda speaking] “‘Yes, I had been at an orphanage on the shores of Mossmere, and for a lark I thought I’d go to the game park—they have dragons there now, and I’d never seen a dragon—so I was scarcely a dozen miles away when the storm hit. We had terrible winds even there; I cannot imagine how a ceremony could have been in progress in Center Munch. In Mossmere there were whole sections of the park closed to visitors due to the fear of falling trees and escaping Animals—’ ‘Oh, so they call it a game park, with Animals?’ said the Witch. ‘You must go, dear, it’s a lark…’”

and this

“Glinda turned yellow-pink. ‘My dear,’ she said, ‘I was fond of Fiyero and he was a good man and a fine statesman. But among other things, you will remember he was dark-skinned…’”

Knowing about Elphaba’s history with Dr. Dillamond and general involvement with the cause of Animals makes Glinda’s casual mentions of Animals in game parks that she visits even more unpleasant. And while it is definitely indicated that Glinda was in love with Elphaba, I don’t think her comments about Fiyero here are some sort of deflection to hide her feelings about Elphaba—this would be overly convoluted and anyways Glinda could have denied the suggestion of an affair without making a racist comment.

Glinda here is an archetype that I think many people are familiar with especially in current discussions about society and politics: the idea of the supposedly “benevolent” elite, doing lots of public charity and good PR, while actually aligned with the forces of oppression out of convenience and material benefit. Elphaba explicitly calls her out on this:

“‘You are working in collusion with the Wizard to render Munchkinland ready for annexation,’ said the Witch. ‘You have no agenda of charity, Glinda. At least don’t fool yourself. Or are you really under some rusty spell of Madame Morrible, after all this time?’”

Glinda’s “goodness” in Maguire’s telling is the exact opposite of Elphaba’s “wickedness”—one is rewarded and praised for her participation in the Wizard’s regime where the other is ostracized and eventually treated as a criminal for her attempts to rebel and resist. The book “Wicked” is in some ways a story about failure, and while Elphaba’s lifelong failures are the focus of the story, Glinda adds to that thematic focus—she is yet another disappointment in Elphaba’s life (in addition to Nessarose, and Boq, and her father, and so on) and one that stings in particular because she could have been better. She was better, at one point. And Glinda has failed herself, too.

In the quote above, there is a nod to the suggestion that Glinda and Elphaba’s fate and even their actions as adults may have been influenced by Madame Morrible’s spell. But Glinda herself says to Elphaba: “‘I’m no pawn…you do have some choice.’” In that very same scene, in fact.

I can’t blame people who dislike the novel for being quite cynical and pessimistic in its outlook of humanity, but at the same time that cynicism is what drives a lot of the characterization. Glinda in the novel is not the friend to Elphaba or hero that she is in the musical, and she isn’t meant to be. Viewing the book primarily as a political satire, Glinda fits in well as a parody of a particular kind of figure, and it’s both intriguing (in my opinion) and controversial that Maguire uses a character so strongly associated with goodness to make that point.

[seeker-ophelia]

Ophelia’s Review, Part Two: Thedas, The Dragon Age System

Some things I need to get off my chest.

One. This does not feel like a Dragon Age game.

Two. That doesn’t mean I didn’t like it.

Three. I have a lot of feelings right now but I’ll come back when my brain has re-hydrated itself.

(I finished Veilguard at 10PM on Monday, and wrote this the morning after. And its still true, 5 days later.)

TLDR at the bottom

[Read Part 1 Here]

I do miss the heady blend of power, intrigue, danger, and sex that permeates these events games.

[Photo Cred: Dumped, Drunk & Dalish]

Because Veilguard is missing all of that.

Listen, it’s good. Great even. I loved it. Cried. Laughed. Dropped my controller and paced around the room for 5 minutes in anger and angst. Drank a bottle of wine in the bathtub after Solavellan’s happy ending (and my Rooks sad one). But this is not a Dragon Age game.

It is Dragon Age ADJACENT. Similar of course. The backbone is there. The direction, the vector, is there. But the execution…

Dragon Age (Origins through Inquisition) for me, was A Song of Ice and Fire. I love that series.

It was deep. It was harsh. It was MEAN. If offered me hope and then snatched it away. The world-building, the lore crafting, was intense and deep and required attention and critical thought. The characters were nuanced and troubled and real.

Veilguard, for me, is Eragon.

I also loved that series. It is pure and good and takes me on a journey through a fantastical land of dragons and heroes, of good versus evil, of mysteries and magic. But, it is juvenile. Its simple. It doesn’t try to be anything other than it is. Veilguard, is shallow.

The essence is there, beneath the surface Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas, the Tranquility of the Dragon Age world, if you would.

The Lore

I don’t want to go into to much about it (its going to be its own post, I think), but I love the lore of Dragon Age. I love learning about it. I love the questions, the pervasive theme that history is only as true as the historians who write it; things get lost, muddled, confused through and over time. And Veilguard, kind of feels like I’m being spoonfed? Like I’m a baby.

I think EA did BioWare a disservice by making this game for new players, instead of assuming that RPG players have the intelligence and wherewithal to comprehend at least a little bit of lore and history, or at the very least, introduce a cannon world state. You can have your cake and eat it to, but, as Veilguard shows, it diminishes the quality of the cake as a whole.

This game is an Action RPG. This is a game about combat. For the record, the first, second, third, 17th time I saw my Rook in their Takedown Animation, I said, out loud, ‘Dragon Age, G.O.T.Y.’ I swore at my inability to time dodges properly, I planned and schemed with primers and detonators and damage types. This is very reminiscent of The Witcher and Assassins Creed, for me (I have not played a ton of games, im sure there are others more like it). It was fun, it was challenging. But. This is not Dragon Age. Its Something Else™.

Dragon Age: Dark Origins

When people say Dragon Age is a dark game, they’re not talking about the gameplay, or the graphics, or the art direction.

Dragon Age deals with dark subject matter. Slavery. Racism. Religion. Politics. Power dynamics. Mages versus Templars. Addiction. Death. War. An unstoppable contagion that deals death indiscriminately. THAT’S what makes Dragon Age Dark.

These stories are deep. They’re hard. And yeah, they weren’t always handled properly (lookin’ at you, Gaider), but doing something wrong… looks like it might actually be better than pretending it doesn’t exist.

As a Sollavellan, I’m unspeakably glad they didn’t yassify Solas. He is still an unlikable character who has committed unspeakable war crimes. And we got a redemption arc that did not end in death. That’s a win for me.

But they kept his darkness at the expense of lightening literally EVERYTHING ELSE in Thedas.

What the fuck happened to Zevran’s Crows? I got the Puss-in-Boots-Found-Family Assassin Agency.

Where are the slaves in Minrathous? Where’s the trip to the upper city, gilded and clean, so we can compare it to the slums of Dock Town (which was not bad at all). Where is the “Rescue the Rabbits” Quest? Tevene Politics boils down to Dorian or Mave, “bad” or “good,” change from within, or power to the people.

The whole Qunari are just Bad™ now? The Antaam warriors turned into… what the fuck is even that? You know the advertising theory where women’s bodies are shown but not their heads or faces? This feels like that. Giant Grey Muscular Powerful Bodies with NoFace. THAT’S the Antaam? The Tamassrins really eliminate every embodiment of individuality from them? They’re just Storm Troopers?

And ‘Thal’enaste, what a lost plot thread to not have Lace and Solas meet in the deep roads, or Kal-Sharok, or fucking anywhere. Instead, you give her one little blurb of “companion banter.” Weak.

Where’s the racism towards the Elves? What happened to that? What happened to Dark Thedas? Oh, its actually all in the South, and thats destroyed now (lets put a pin in that for a minute).

The Companions

I have written and re-written this section 3 times. Its too long. I don’t need to mention them all. How to summarize them.

If you read my part 1, you’ll remember how I fell in love with Dragon Age 2, years after its release (after playing Inquisition, in fact), and how I fucking hard I fell for those very real, very troubled, very nuanced characters.

Anders and his quest for freedom, Fenris and his quest for vengeance. Merrill and her quest for knowledge, Isabella and her quest for… other cultures relics, I guess?

I hated the graphics in 2. It was the characters that carried that game. I don’t know how BioWare wrote them, but they failed to do that in VG.

My favourite character in Inquisition? Surprisingly, its not Solas. Its not even Cole, or the Iron Bull, or Dorian.

Its Cassandra.

I love her. Her story is SO complex. Her devotion to the Seekers, to the Andrastian Faith, is so pure, yet it does not impede her friendship with a Dalish elf who believes in gods that she does not. It does not stop her form forming close bonds with other people from different backgrounds, and although she is fearless in calling out the darkness in her own faith, its sins and its rot, she admits to her Herald that she is envious of the Heralds conviction.

Which character in Veilguard has that nuance?

The necromancer afraid of death? The Elvhen Engineer with ADHD? The literal Demon of Vyantium Puss-In-Boots? The smirking detective? The questioning Qunari? Or the gruff monster daddy?

Listen. I read trash. Smut, romantasy... I read objectively bad literature, for fun, all the time. And, I have a fantastic imagination. It is my own personal fleshing out of theses characters that saved me in this game.

But I should not have had to do that.

The Keep

I cannot explain to you, in words, how important those one-off codices and cameos are.

(Don’tThinkAboutIsabela Don’tThinkAboutIsabela Don’tThinkAboutIsabela).

*Grimaces* Okay.

I can speak no more about this. I am already writing a “Keep” DLC for Veilguard.

I would have rather lived in your world state than this abomination. Which leads me to…

‘The Soft Reboot’

So. The South is Gone. That’s the answer. The Hero of Ferelden. Hawke and their siblings. Everything is wiped clean, just as EA asked. All of the South, turned to the Hissings Wastes and the Anderfels, because of the Blight and the hubris of the Gods. What a tragedy. DA5 looks likes its overseas. Cool.

You know what would have been a better reboot?

Spite, taking over Lucanis’ body, walking through the Ossuary, or the catacombs of Minrathous, explaining to Rook how the heavy emotions of People manifest in the fade. The birth of a spirit. Or a demon.

Taash, meeting a spirit face to face in Arlathan, recoiling in disgust, until they help the spirit on its journey, and Taash begins to question their whole worldview surrounding demons. I- I mean spirits.

Emmerich, taking Rook on a lecture-walk through the fade, meeting spirits, solving puzzles, ‘you know, its not so bad in here, what’s the big deal?’

Bellara, instead of discovering Cyrian only to lose him, meets the demon formed of his death, and how to help him back into a spirit.

Neve, following a trail of wisps in the fade, learning things, memories, feelings, songs. Neve, reveling in the pure beauty of the wisps, until they lead her to Vir Dirthara, and her eyes grow wide, what is this place?

Davrin and Assan, after hard training in the High Anderfels, take a break, and while Rook and Davrin flirt, or joke, Assan finds a long string, and begins to play, the string growing and lengthening and thickening until a soft, feminine whisper fills the air, I Am So Sorry… And Rook and Davrin meet a strange spirit, a perfect combination of protection and regret, and they help her find her way home.

Harding, palms flat on the stone, pushing, working, threading her magic into a titan, tilting her face up to Rook, eyes shining blue, speaking in a thousand voices at once, let me show you what was lost, and for a millisecond, we FEEL Isatunoll.

The Dwarvhen was tranquil’d from their Memories, but the Elvhen were tranquil’d from the Fade.

And when Solas turns from Rook in Minrathous, I am sorry for this final betrayal, he is puzzled at the lack of retaliation, and turns to see the Veilguard, standing behind Rook, eyes locked on the giant eye-shaped rift in the sky.

Why are you not stopping me? He asks the group of misfits.

And Rook answers, I can admit when I was wrong. Tear it the fuck down.

And Solas, battered, bruised, and bloody, smiles, brandishes his ritual dagger with a flashy flip, banishes the blight, and tears down the Veil.

When I learned there were only going to be 3 choices carried over from the rest of the series into Veilguard, I tagged my complaint posts with something.

#You Cannot Dangle A Carrot In Front Of Me For 10 Years And Then Not Be Surprised At My Anger In Discovering It Was A Painted Dowel

Let me reiterate. I enjoyed this game. It was fun for me. I’m in the middle of my second playthrough and am planning a third, and a fourth. But this is NOT a Dragon Age game.

This is an EA game. And its good. But it could have been everything.

Bellanaris.

TLDR;

How torn I feel; lobotomized, rendered tranquil, separated from the memories, lore, and spirits, of the old Dragon Age, while still, like the Veilguard, wanting this world to endure.

Var lath vir suledin, BioWare.

For now.

[jokers-bat]

BatJokes Headcanons by Series:

Harley Quinn Show:

(This is my favorite Joker quote from this show! 😆)

- Complicated, long history. On again, off again boyfriends.

- Not together but still have feelings for each other.

- Bruce was legitimately happy for Joker having a new life and job…But he missed the old Joker too.

- Joker knows Batman/Bruce is a little crazy himself but he’s still shocked whenever he does something reckless and impulsive.

- They aren’t good for each other and they know it. Like they know each other’s vulnerable sides and their demons but neither are equipped to help them get better (with Joker not wanting to get better and Bruce turning to self-destruction rather than real help).

2004 Batman

- Night and day. Bruce is stability, peace, hope, and warmth while Joker is chaos, hate, destruction, and wacky.

- It’s rare, but there is a tenderness between them. Meeting on the roof at night, watching the sunrise, speaking freely and openly. Brief moments of peace and something more than just being enemies.

- Never said out loud, but Batman will come to save him if Joker was in danger. Similarly, Joker would protect Batman and his identity if he knew he was in trouble.

- ‘I love you’ is never said but they feel it.

Under The Red Hood

- Not good but ify. Depends on situation and/or circumstances (following canon versus fan fiction).

- They have a history together. Were a couple at one point but it’s complicated.

- All the ‘what could have been love songs’ mixed with the ‘not over you’ songs.

- Bruce is bitter, gloomy, and full of regret while Joker is crazy, out of control, and evil but both are violent and hate themselves more than anything else.

- Whatever is left of Joker’s former self deeply resents Batman for accidentally creating him but he’ll never show it. Bruce, meanwhile, wishes he could have known him before he became the Joker.

- If they were to get back together, it would require a decade’s worth of therapy.

- In an alternative universe where Batman and Joker were together and Joker continued to be a criminal (though not as deadly) and Jason still became the Red Hood, the bay family would be one heck of a complicated, dysfunctional, and kind of toxic family.

Lego Batman

- They got married and adopted Dick, the end!

- Fun dads. Bruce is the kickass, awesome dad with super cool cars and gadgets while Joker is the crazy and wild dad who knows all the best jokes and pranks.

- Pure wholesome love story. Just let it be!

- Joker was never really a criminal. Just a prankster who ultimately wanted to go out with Batman but didn’t know how to ask so he annoyed him instead. 😆

- Found family that makes each other better people!

- Very affectionate. Hand holding, fixing each other’s hair, hugs and kisses, Everyday is Valentine’s Day for them!

[phas3d]

Caught You || Tom Riddle

type :: fluff

tw/cw :: cringe, idc that he's "out of character" i'm delusional and stopped taking my meds

summary :: you catch your "evil" classmate doing very un-evil things, dare I say, kind things

Tom loves the idea of being an ultimate evil, having no redeeming traits in order to solidify himself as the strongest villain within the Wizarding world. But, he tends to fail his goal almost weekly.

Normally, Tom is able to keep secrets very well. For crying out loud, this man drafted, constructed, and furnished a whole fucking "chamber of secrets" without a single teacher knowing. But you, for some odd reason, were able to catch him over and over again.

It first started when one day you were going out for a walk to clear your mind after getting into a heated debate with your friend on some stupid topic. You marched down to the Black Lake for peace, only to get stopped in your tracks as you heard a voice.

"You know, for a homeless cat, you're pretty fat." You heard a deep voice say softly.

With gentle steps, you moved towards the sound and hid behind a tree as you saw Tom Riddle, the evilest and meanest boy in Hogwarts, cooing and feeding a chubby black cat, (he wasn't joking, the cat was on the brink of being a circle). You held your breathe, knowing that the slightest sound will alert Tom's hyper sensitive senses.

"I don't understand how you can survive in the wild when you can barely walk at 2 miles per hour." He continued to roast the poor cat, thank god the cat didn't understand.

You smiled on instinct and from that motion Tom was aware of you. It was scary and concerning how good he was at sensing people around him. It was as if he could hear your flesh tense up in order to create the small smile on your face.

"Shit..." You hear him say under his breathe, covering his face with his hand from embarrassment. For once, he was scared. If anything, he was mortified of the idea of turning around and facing someone he knew or even worse, respected!

To save him from the pain of having to ask you to come out, you stepped out on your own accord. "You're really mean to him" You say with a small chuckle as you glanced down to see Tom still squatting in front of the fat cat.

A sigh left Tom's lips, he got up from his squatted position and it quickly reminded you how he was able to tower over you. He turned to face you, holding two cans of empty cat food. You didn't know cats super well, but you did know they ate very small portions. From the two empty and licked clean tin cans, you could instantly tell that TOM was the reason why that cute cat was so fat.

It was like Tom was able to read your mind as he quickly defended himself, "Usually, there are more cats to feed but his fat ass could smell the container from miles away. So, blame him for overeating."

You couldn't help but notice how Tom's voice was less soft, sounding like his usual self. Although his voice to the cat wasn't extremely different, you could tell there was only pure admiration wrapped into his vocal chords as he spoke to the cat versus pure neutrality when he spoke to you.

Unsure of what to say, you stayed silent. You've tried to talk to Tom multiple times before and it's never ended well. In school you would try to create small talk but he would shut it down with 1 word answers. When you did succeed in a conversation lasting more than 2 sentences back and forth, any attempt to learn more about him was shut down by a dirty side-eye from him, silently tell you to shut up.

You were doing your best to think of a reply but you couldn't before Tom reached into his robe's pockets and pulled out two tins of cat food. He looked down into your eyes as he waited for you to take them.

With a smile, you happily grabbed the two tins and began to follow behind him as he took you to where the cats usually were.

From then on, you began to feed the cats with Tom as often as you could. It went from you joining him once a week to everyday. The cats began to remember your faces and scents as they instantly crowded you and Tom with small meows and rubs of their heads.

This tradition carried on for days and months, making your bond with Tom stronger as each day passed until he finally began to open up to you and start conversation. From that, you felt an instant spark and began to become friends with him which transitioned into a relationship.

Even after you both graduated from Hogwarts, you two would still visit the Black Lake to feed the cats, like an old elderly couple that feeds birds.

[francesderwent]

it seems to me that our task—as Christians but also just as people who care about this country and don’t want to see it like this—is to step outside the us-versus-them, black and white thinking which elections love to encourage, and begin imagining our neighbors more generously and compassionately.

our politicians have spent the whole election cycle appealing to the very lowest common denominator—but that does not mean that when we picture our political rivals we must imagine the lowest common denominator. it does not mean that that lowest common denominator defines everyone who voted one way or another. the people who voted for the worst possible reasons do exist—people who feel genuine hate for those different from them, the crass and the vitriolic and the cruel, the power-hungry and the callous. these people are all real, and our politics has undoubtedly given them a voice. but again: I think we must challenge ourselves to hold in our minds a version of the “other” who is more human and more complicated than that. our principle should be built off of “innocent until proven guilty”—we should consider people as being politically thoughtful and well-meaning and conflicted, until we are beyond a doubt proven wrong.

the objection, at this point, would be the objection I’ve seen all over the internet: “okay, maybe people had better reasons in mind, but voting for a rapist wasn’t a dealbreaker for them.” and that’s a powerful bit of rhetoric. but, first of all, both sides were using the same arguments leading up to the election to dissuade people from voting third party or sitting the election out: “you’re not supposed to vote for somebody perfect, you’re supposed to vote for the lesser of two evils/the policies you most agree with/the party you think will most support your interests and the common good.” so it’s hypocritical to then turn around and accuse your political opponents of voting for someone who’s personally (understatement of the year) not perfect. and second of all, the notion of “maybe they didn’t like such-and-such policy or quality, but it wasn’t a dealbreaker” is actually exactly my point.

every voter has to weigh for him or herself which issues are going to be regarded as most important. as long as I’ve been alive, people have been pearl-clutchingly scandalized that others have weighed the issues differently than themselves, so the moral panic certainly is not new. but despite that, this is literally what our country is founded upon: there is no set-in-stone hierarchy of values. we all get to decide for ourselves what good is worth pursuing. note: I’m not saying this is a good thing; I think what we’re seeing now is precisely the problem with that system. but the point remains that you cannot insist on the importance of a democratic election and then be horrified that democracy will sometimes vote in favor of a good that you think is subordinate, to the exclusion of a good you think is foundational—that’s democracy for you! that’s the system! you might view it as despicably selfish and shallow to vote based on the price of eggs—but for someone who is very poor, that reasoning might appear far more serious than it does to you. what would be a dealbreaker for you might not be a dealbreaker for someone else.

everyone has to determine for himself or herself what the greatest possible good is which can be achieved by the federal government, and what the greatest evil is we should avoid. at the end of this determination, everyone ends up with his or her own little hierarchy of values. the horror of two-party politics is that unless your hierarchy lines up point by point with the platform of one of the main parties—and it almost certainly doesn’t!!—your vote will either not align with the hierarchy you believe to be right and just, or it will not have the power to put that hierarchy into practice in the real world. this is where imagining people generously and compassionately comes into play: perhaps someone’s first priority in casting a vote for the republicans was the price of eggs. now, instead of jumping to the conclusion that their second priority was expelling hated foreigners from the country or making it so gay couples lose visitation rights at the hospital, imagine that their second priority was something you agree with, something compassionately-motivated and understandable, maybe even something that wasn’t a part of the republican platform. now imagine what priorities they might have that weren’t presented as an option by either of the main parties—priorities they might share with you.

”but my morality is right!” you might say. “their priorities are misaligned and their hierarchy of values is wrong!” that may very well be true. but American democracy cannot recognize it, cannot give any more weight to the true worldview, because that would be taking sides. if you want a democratic system you have to accept the possibility that the correct and the popular might not line up. you might also say, “but they’re wrong about which policies are actually going to help them! the price of eggs won’t go down!” that might also be true. in that case, it’s sort of on the people with the good policies for failing to convince the voters.

you might feel aghast that other people weighed the things you disagree with them about as more important than the things you agree with them about. it’s an understandable feeling. but the crucial thing is twofold: one, unless you acknowledge their right to disagree with you—both in essential matters of morality and in matters of the relative importance of specific moral issues—you don’t actually believe in American democracy. and two, if we are to move forward we have to start acting as if the things on which we agree are more important to our humanity than the things on which we disagree. even if we voted based on the things we disagree on! when we interact with each other we have to focus on the things we agree on.

we have to believe that people are trying their best. we have to, when we engage in political discourse, engage with a hypothetical opponent who is not the easiest possible punching bag. and when we’re confronted with our genuine enemies—those who hate us and hate everything good—instead of dehumanizing them, we have to love them. I don’t end there as a little glittery good-feeling flourish to smooth over the difficulties, because that is the most difficult part. there is no version of this story where all the hurt and fear and division are erased simply by the “right people” winning elections. there is also no version of this story where all the hatred and sin and despair is solved by good people contentedly praying rosaries in little self-satisfied prayer groups. Our Lord reconciled the world to Himself not by the worldly power of conquest, and also not by kindliness and miracles and convincing people one by one to change their lives, but by His suffering and death. the reconciliation of our world will require our suffering, and our death to self. there is no other way out than through the radical love of the Cross—that while we were yet sinners, Christ died for us. He asks us to follow in His footsteps. imagining our neighbor as lovable is a good first step. loving him when he is not lovable is the next one, and the necessary one.