#except for the part where she’s relevant to the world

[ccfever]

anyway after reading that piece... i really do believe that when cc says she wants her legacy to be her impact on young kids and the joy they’ve brought to people... she means that shit. once you get to where she is... with all the trophies she’s held and praises she’s received... you want more and more until you start asking yourself why you want it in the first place. and your reasons just start to sound so hollow. she also mentioned banners gathering dust and time eventually dulling all the achievements. one thing time doesn’t dull and actually sweetens is the good memories and emotions of the past. you can hold on to that being your legacy. it gives you a real reason that can’t be tarnished by debates and the faulty memories of people who’ll replace you with someone new as soon as your time is up.

[unproduciblesmackdown]

billions figuring winston shouldn't just also still be there in the end with the guys we accept so he needs to be sent out, which, it's also remarkable to recall like "okay does he still technically, partially work at/for axe global then? it's a 'maybe' but what matters is that he's not There even if so"....the way that even if we infer he did get to finally be sick of waiting on better, we weren't even given so much of an arc of a couple episode's leadup showing him markedly being more frustrated / fed up with The Usual bullshit or anything like that, the way it went with one ep to spare "oh right winston's catchphrases! we all know & loathe them" like don't strain yourselves....that even in giving up on things, winston still has to be further let down by everyone even after quitting, like well that's probably ultimately helpful for him but it was (a) forced on him and (b) not sure i'd give billions the credit for anything sympathetic towards winston versus "well the only thing to be done with winston material is have fun while epic winners shit on him however they want," the wags plotline had no point just like the later one that could've been scrapped & transformed into "how about taylor gets any dialogue this episode"....the way that billions may imagine like hmm what to do with winston? all that can Ultimately happen with him is he has to go away and die, for him it's [out of sight out of mind out of Existence], just as has been the show's approach for the consequences of him being shitted on all th time for years before this: there are none, b/c we're not looking at them, and winston is never not completely [othered] including right now, and if it helps for some reason we'll talk about how we might be fine if he literally dies. and so we're graced with a "who knows or cares, he's just gone, finally. after being kept around b/c it's so fun seeing winners torment him" ending as the only one they find imaginable for winston

[capaldiera]

far more important than which of mulcahy and his sister was born before the other. is the fact that she is his little sister and his older sister and his mom and he is her older brother and her little brother. i mean i do personally think she was technically born first but i guess it doesn't really matter

[balkanradfem]

So I've found Alyssa Grenfell on youtube. She shares her experience of leaving mormonism, and the inner workings of the religion. I had very little ideas about what mormonism is, only that it's a high-control religion, very difficult to leave, and has people knocking on doors trying to get converts. I've been interested to find out more, and I ended up watching almost all of her content, and some of the information I've got from it opened my eyes on other feminist topics, and I believe is relevant to the current discourse!

So if you, like me, don't know how mormonism works, it started when a guy decided that he too could be a part of the bible; he wrote a bible part two: mormon, and proclaimed himself a prophet. Then he started a religion based on his writings, decided it was more important than the bible itself because he 'translated it from gold tablets god gave him', and started gaining followers by convincing people he's the prophet. Once he had managed to get a following, he soon started to sexually exploit the wives and daughters of these followers, to the point where he had 20-40 wives and had married 14yo children. Families allowed it to happen because he would promise them to be royalty in the afterlife. He eventually got into a lot of trouble for stealing and raping children so he was killed by an angry mob, but the religion continued.

The religion is same as christianity except more rules (no coffee, no alcohol, no smoking), eternal worship of the predator who wrote it, followers are pressured to follow the rules exactly, and, the vital part, the followers have to give 10% of their income to the church. They developed a culture where once every young mormon kid comes of age, they have to go on a 'mission', which means they're removed from their home, and have to spend 2 years (1,5 for women) living in a foreign area, knocking on doors, sharing the gospel, trying to convert people. The conversion rate is extremely low, but at that point kids have invested so much time, effort, energy and passion for the religion, they become devoted to it and start to feel alienated in the world that rejects their religion. And even with the low conversion rate, every new convert means another continuous source of income for the church. So it's very profitable to send out young adults to make these sales. The kids are told that if they don't complete their missions, they will not be able to marry, and marriage is presented as their only life purpose.

So how rich is the church at this point? 230 billion dollars. I've been shocked to hear this because I had no idea. Alyssa explained that the mormon church is as rich as Pepsi, they have more money than Disney and McDonalds. So you might be wondering, like I did, well what are they doing with all that money? I've been left to wonder this for a while, until I watched the video called 'Why are so many influencers mormon?', which explained it. I didn't even realize a lot of influencers were mormon. But, this video showed me something both disturbing, and eye opening.

Before I go into that, I have to point out how patriarchal and misogynistic this religion is. Women are not given any options except marriage, and it's presented as the only righteous way to live. They're groomed for marriage from a very young age, encouraged to start writing letters to their future husbands at the age of 9. They're taught cooking, sewing and childcare, and to coddle any males in the family. It's taken for granted that m*n won't respect women, to the point where male children are allowed to harass grown women and their families will not intervene or consider it a problem. Chastity and purity are promoted to the level where members of the religion are expected to wear special underwear at all times, which hides their entire torso, shoulders, and legs down to their knees, and their clothing is expected to cover this up completely. They're rejected by the religion if they dare to have sex before marriage, or drink alcohol or coffee, or in some cases, tea. The church has a history of allowing and promoting polygamy, in the sense that a male was allowed to have as many wives as he wanted; they've since stopped this, but refused to break up the existing marriages. They're also promoting anti gay and racist propaganda, which Alyssa observed in school where she'd been teaching; a gay kid almost ended his life due to extreme homophobia.

I know all of this is somewhat common in all areas of society, all religions, and all cultures, but in mormonism it seems to be written into the core of it.

So now, why are so many influencers mormon? I didn't even know they were. The influencers themselves are not promoting the fact that they're mormon, nor does it come up in viral discussions. Ballerina farm is mormon. Tradwives are mormon. Whataboutaub, Rachel Parcel, brooklynandbailey, tanner_mann, thebucketlistfamily, Taylor Frankie Paul, Sarah Beeston, Ruby Franke, these are all mormon. Most of the Utah-based influencers are mormon, and there's a bigger amount of successful and popular influencers from Utah, than from LA or NY.

For me it immediately explained why this viral content is like that. Why we're having such influx of highly patriarchal, anti-feminist, very dangerous and sexist content, put in front of the eyes of young women. Why it's being promoted as an ideal way of life. How are these women able to share this life as if they truly believed it was good and ideal. How could they think it's harmless? If they're using the internet to the extent that they're creating content, how would they not be exposed to any feminism at all? And they wouldn't because it's against their religion to engage with content like that, or with people talking about it. Because being raised in a high-control religion, they would truly believe their lives are the ideal. They would be presented with it as their only option, the only way of life possible for a woman.

It's heartbreaking because I can now understand why it was so easy to push Ballerina Farm to give up her entire life ambition to get married and carry children for a male she didn't even want to go out with, the pressure from the religion to do so would be immense, she would have been raised to see this as the only option, everything else in her life would be considered pointless. She wouldn't have an actual choice, she'd be groomed for this from the moment she was born. Mormons don't advertise 'looking for your soulmate', they only instruct women to marry a mormon male who completed his mission and make it work.

So how does the immensely rich mormon church play into this? I couldn't see it until Alyssa explained in a very detailed way how youtube content advertising works. I didn't know about this either, but here's the overview:

How much you get paid on youtube, instagram, tik-tok, or other online content platform, depends on what type of content it is, based on how much advertisers are willing to pay to put adverts on it. For instance, you get paid much more for finance content, because banks will pay premium prices to be advertised in a finance-related video. If you're making content on cooking, you get paid way less, because it's not such a lucrative field. If you're making content on christianity, you get similarly low price as for cooking, christian church is not that rich. But, if you're making content as a mormon, that's showcasing some aspect of a mormon life, even if you don't specifically say you're mormon, the price goes way up, to the point where it's as lucrative as finance. The mormon church is making sure that the mormon influencers are being paid premium prices for their content, because people who get massively interested in the influencers, eventually find out that it's the mormon life being advertised, and some of them consider taking on mormonism. Which gives church more converts, which means the church will earn more money. The content we're watching is one huge advert sponspored by mormon church, and we don't even know it.

Alyssa figured this out because her content falls under the keyword 'mormon', and her comments warned her that the church is advertising on her videos, even when she's making mormon-critical content. She then realized that she too was being paid a premium price for her views, just because they're mormon themed. She went on to discover that even just being an influencer in Utah will fetch a premium price, because most of mormons are based in Utah. For more detailed and comprehensive explanation on this, watch her video!

Advertising is not the only way the mormon church is spending their money, they've also built a shopping mall, and are basically spending their money by investing and gambling and everything any corporation does with their profits. It's making me mad, and also makes the members of the church mad when they discover where 10% of their income goes, because they're told it's being used for charity and community service, and not advertisments and building malls.

For me this solves a mystery of how is it possible, in this day and age to have such influx of tradwives and influencers of 'traditional life', they're being sponsored by an organization making a profit off of it, making sure that anyone making this content is so well paid, they're able to live off of it, and keep creating more of it, and in the process of doing that, groom young women into their lifestyle.

Learning more about religions, specifically high-control religions, makes me realize just how much of it is happening all around us, but invisible, not naming what it is. It's similar to MLM's, the people inside are constantly trying to lure more people in, to make profit for those on the top, while the organization keeps changing names and hides their business structure in order to save their reputation. People can get influenced by it, and sucked in, without even knowing about it. Somehow most MLM's are also in Utah.

Mormon church also asked to no longer be called that, in order to stop being associated with the words like 'cult', which people have identified it as. Now they're working under more secretive names, and hidden business practices, so we wouldn't even know what we're being influenced by, and why is the content in front of us what it is.    

[saintsenara]

Riddle’s extremely fearful and aggressive reaction to Dumbledore when he thinks he’s a doctor (and the fact that he assumes this at all and believes he is being lied to) has some pretty dark implications (which of course no one follows up on). Do you have thoughts?

thank you very much for the ask, anon!

and yes - this has occurred to me too... which means that my thoughts come with a trigger warning for the sexual abuse of a child, and are under the cut.

the relevant scene in canon is, of course, this:

“I am Professor Dumbledore.” “Professor?” repeated Riddle. He looked wary. “Is that like doctor? What are you here for? Did she get you in to have a look at me?”  He was pointing at the door through which Mrs. Cole had just left. “No, no,” said Dumbledore, smiling.  “I don’t believe you,” said Riddle. “She wants me looked at, doesn’t she? Tell the truth!”  He spoke the last three words with a ringing force that was almost shocking. It was a command, and it sounded as though he had given it many times before. His eyes had widened and he was glaring at Dumbledore, who made no response except to continue smiling pleasantly. After a few seconds Riddle stopped glaring, though he looked, if anything, warier still. “Who are you?” “I have told you. My name is Professor Dumbledore and I work at a school called Hogwarts. I have come to offer you a place at my school - your new school, if you would like to come.”  Riddle’s reaction to this was most surprising. He leapt from the bed and backed away from Dumbledore, looking furious.  “You can’t kid me! The asylum, that’s where you’re from, isn’t it? ‘Professor,’ yes, of course - well, I’m not going, see? That old cat’s the one who should be in the asylum. I never did anything to little Amy Benson or Dennis Bishop, and you can ask them, they’ll tell you!”

the surface-level reading of this scene - which is clearly what the text wants us to go for - is that riddle thinks he's about to be institutionalised for being "mad" - and, specifically, that he thinks that what dumbledore has been told is his "madness" is actually his magic.

[he is also clearly meant to be read as panicking a little bit that he's fucked around torturing his fellow children and is now about to find out...]

that riddle accepts he's a wizard so easily - and that he is so reassured by dumbledore agreeing that he's not mad - is something the text wants us to read as sinister. him immediately describing himself as "special" is set up as a precursor to the adult voldemort's delusions of grandeur - which the entire arc of the series, ending in his death as an ordinary man, is designed to undermine.

but i've always disliked this reading. the eleven-year-old riddle - a magical child raised around non-magical people - is objectively correct to describe his powers as "special" [in that they make him identifiably different from the crowd] within the context in which he lives. the word choice is nowhere near as deep as dumbledore decides - he's clearly known since he was very young that he's a wizard, but he didn't have the precise language to describe this fundamental part of himself until dumbledore offered it; prior to that, "special" is a perfectly reasonable alternative term.

and, in always knowing that he's a wizard, he also knows that he doesn't have a mental illness - but he must also know that this is something it's near impossible for him to prove.

in the real world, if i spoke to a patient who told me:

“I can make things move without touching them. I can make animals do what I want them to do, without training them. I can make bad things happen to people who annoy me. I can make them hurt if I want to.”

then i would be correct to describe them as experiencing psychosis. and i might - depending on their other symptoms - have reasonable cause to admit them [voluntarily or not] for psychiatric treatment.

riddle is - of course - demonstrably not psychotic. but it's not unreasonable that mrs cole would assume he is - the world she lives in, as a muggle [even if she's a religious one], is one in which people do not possess the ability to move objects or control animals with their minds, and if one of her charges is convinced that he can, then she's justified in seeking medical intervention.

[that psychiatric treatment in the 1930s can be described without exaggeration as inhumane is another matter...]

which is to say, i think we can easily suppose that mrs cole has - prior to dumbledore's arrival - succeeded in having riddle "looked at", and that the idea that he's mentally ill and should be committed to an asylum has been mentioned before. i think most of us would be instinctively [and angrily] wary of doctors if this happened to us, regardless of how nice the doctors in question were.

and maybe that's all there is to it.

and maybe it isn't...

in the doylist text, the eleven-year-old riddle's personality is the way it is because he's the villain of the series. where harry is preternaturally capable, even as a child, of all the things the series defines as admirable - above all, enduring difficulty without complaint - riddle is preternaturally incapable of them. he's meant to come across as unambiguously sinister - and the fact that the text repeatedly emphasises that he has control over his unpleasant traits invites us to view him as someone who is acting with full agency. that he lives in an orphanage is a trope which the text uses, like a campy horror film might, predominately to underscore how creepy he is - and the text, in keeping with its general lack of interest in states and their institutions, never really prompts us to interrogate the impact of his childhood upon the course his life takes.

[this is despite the fact that voldemort's reliving of the night he killed the potters in deathly hallows is an incredibly accurate depiction of ptsd...]

but it's also the case that the eleven-year-old riddle's behaviour and personality fits a pattern we might expect to see in a child who is being abused, sexually or otherwise:

he's aggressive, he has a hair-trigger temper, and he becomes distressed even by behaviour - such as dumbledore speaking mildly and calmly - which would not ordinarily be expected to provoke such a reaction.

his broader emotional state is fractious. his mood changes sharply, he seems to feel emotions very profoundly, he struggles to control his emotional response to things, he's extremely easily irritated, he's attention-seeking - and he particularly seeks negative attention, and he's very highly-strung. his admission in deathly hallows that he feels calm before he kills - or before he otherwise eradicates a threat or a problem - comes with the flip-side that he's someone who appears, when things aren't going well or he finds himself in a situation which he can't control, to become quite anxious. which is a trauma response.

he's extremely isolated. the text presents the fact that he has no friends as a deliberate choice - "lord voldemort has never had a friend, nor do i believe that he has ever wanted one" - and his relationship with everyone else he ever meets, including his fellow orphans, is defined by the text as exclusively involving him controlling, manipulating, and punishing them. or: he is always the more powerful person in the pairing. but this need for control can be read as self-protective just as easily as it can be read as sinister. there are hints in canon that riddle is not just some malevolent force in the orphanage preying on mild-mannered innocents. for example, billy stubbs, the owner of the rabbit he kills, is targeted by riddle as revenge: “Billy Stubbs’s rabbit... well, Tom said he didn’t do it and I don’t see how he could have done, but even so, it didn’t hang itself from the rafters, did it? [...] But I’m jiggered if I know how he got up there to do it. All I know is he and Billy had argued the day before." on the rare occasions billy turns up in fics, he's usually - i find - written very like neville - sweet and guileless and a bit pathetic. but the alternative reading - especially when we take into account that riddle attacks the rabbit rather than billy himself - is that billy is someone he would be afraid to physically confront. indeed, it's striking that voldemort - at all stages of his life - is described as being quite physically fragile. not only is he very thin, but he's always cold and his heartbeat is described several times in canon as irregular. i think this is supposed to be a comment on the physical changes he undergoes the more horcruxes he makes - although the idea that the soul would affect the heart doesn't actually align with how the series understands the soul to relate to the body - but it can also be interpreted perfectly legitimately as something he was experiencing prior to splitting his soul. i am committed to the headcanon that riddle was quite a sickly child - and that this is one of the things which drives his fear of death - and i'm also committed to the idea that his obsession with magic is because the enormity of his magical power makes up for his physical lack. he can defeat - and humiliate and frighten and remove the threat of - billy or dennis [or even an adult man?] with magic. without it, if they were to physically overpower him, then he wouldn't be able to throw them off.

he is extremely nervous about being alone in a room with dumbledore - someone he doesn't know, and who he assumes is connected to a profession [and, maybe, who knows any other doctors he's been previously made to see...] of which he is frightened.

he doesn't trust or confide in anyone - which, as a child, means particularly that he doesn't trust or confide in adults in positions of responsibility. he's clearly uneasy with the idea of finding himself in the subordinate position in an adult-child relationship when dumbledore offers to take him shopping for school supplies - potentially because he's worried that dumbledore will try and dictate or restrict what he's allowed to buy unless he behaves in a certain way... and i am always very struck that dumbledore says in half-blood prince: "He was very guarded with me; he felt, I am sure, that in the thrill of discovering his true identity he had told me a little too much. He was careful never to reveal as much again." this is presented in the text as evidence that dumbledore is the only person of whom voldemort is afraid - by which the text means that voldemort acknowledges that dumbledore knows that an ordinary man, mortal and unimpressive, lurks behind the mask of unassailable power he has created for himself; and which the text thinks is a good thing. but we can also read it as a self-protective act on riddle's part. in his excitement, he offers dumbledore information [that he is known to be a liar, that he is in trouble a lot, that mrs cole dislikes him and is disinclined to believe anything he says] which would give dumbledore - or anyone in a similar position of power and presumed respectability - cover to abuse him, safe in the knowledge that he would be unlikely to be believed if he reported it.

he doesn't appear to feel safe in the orphanage and he's frequently absent from it - by his own admission, he spends a huge amount of time wandering around london on his own, which may even involve him staying away for several days at a time. nobody appears to notice or care about this.

he's very independent - which the text again presents as evidence of his deliberate self-isolation and rejection of the bonds of love and friendship - and his independence is unusual for a child his age [i.e. that he is capable of doing all his own shopping for school].

his knowledge of violence - i.e. how he designs the trip to the cave to be maximally psychologically devastating for dennis and amy and devoid of repercussions for himself - is also more advanced and methodical than would be expected in a child of his age. again, the text uses this to emphasise how inextricable the child-voldemort is from his adult self - and also, to some extent, to underscore the intellectual brilliance [his magic is also more advanced than is normal for a child] which his narrative archetype [the exceptional villain who is defeated by the everyman hero] requires. but we can also read it as evidence of his own victimisation. a common sign that a child is being sexually abused is that they display a knowledge of sexual behaviour which is more advanced than is reasonable for a child of their age - for example, knowing in detail how a sex act is performed, or fluently using sexual slang which they have no chance of knowing either from age-appropriate settings like school-based sex education or conversations with a parent or trusted adult, or from the sort of enthusiastic hoarding of rude words and phrases all children enjoy as they grow up. riddle's precise, clinical knowledge of how to manipulate, frighten, torture, and control can be seen as something similar. if he can - at eleven or younger - methodically break down another child until they're "never quite right" again, then this is because he's learned how to from someone.

he keeps secrets. and he also goes out of his way to extract them. his grooming of ginny in chamber of secrets - he manipulates her into confiding things she wants to keep to herself, promises he won't tell anyone, and then uses the threat that he will to get her to do his bidding - is an absolutely textbook example of how abusers use the idea of secrecy to control their victims. it doesn't make his abuse of ginny any less inexcusable if we assume he learns this from being on the other side of things.

dumbledore understands his little cache of objects as trophies he's taken from victims - and the text takes the view that dumbledore is correct in this assessment. that hoarding trophies is something widely associated with serial killers means that this is yet another thing which underlines how creepy - and how like his adult self - the child-voldemort is. but it's also the case that the adult - and teenage - voldemort places a lot of emphasis on gift-giving as part of his control over other people. the two most obvious examples in canon are wormtail being given his shiny hand as a reward for helping voldemort get his body back, and slughorn being buttered up with crystallised pineapple before voldemort asks him about horcruxes. the text thinks this is sinister - and one of the reasons it does this is because gift-giving is a grooming tactic. the text also clearly thinks this isn't behaviour voldemort has learned from the other side. and yet a common sign that a child is being abused is if they have possessions it doesn't make sense for them to own [i.e. a child from a low-income background who is suddenly decked in designer clothes] and which they can't or won't explain how they came by. riddle's cache isn't luxurious - although he's so poor that a yoyo or a mouth organ probably is a luxury to him - but there's also nothing in canon which precludes the objects being presents, rather than stolen goods. if the spell dumbledore uses to make the box rattle is caused by a statement which is both relatively ambiguous and dependent on dumbledore's subjective personal morality - is there anything in this room he's acquired through nefarious means? - then the spell would still work as it does in canon if riddle was an abuse victim given the objects as "rewards". dumbledore's tendency to locate right and wrong in the individual and dumbledore's belief that good people should steadfastly endure misery means he can be written entirely canon-coherently as someone who would think a victim who appeared to collude in their own abuse - such as a victim who "offered" a sexual act because their abuser promised them something if they did - was behaving consensually, manipulatively, and nefariously. and it's worth noting that when riddle doesn't know what dumbledore has done to make the box rattle, he is "unnerved". when he realises dumbledore thinks he's stolen the objects - and that he has no interest in forcing him to admit this aloud - he is "unabashed". perhaps because he's just received proof that an experience he doesn't want to talk about is still secret...

on the other hand, the objects could indeed be stolen - because petty criminality and anti-social behaviour, especially in pre-teen children, is also a sign of abuse.

he can be extremely obsequious - when dumbledore tells him to watch how he speaks he becomes "unrecognisably polite", he ruthlessly flatters slughorn, and he is cringingly deferential to hepzibah smith. the text understands this as evidence that his apparent charm is only superficial - another trait associated in the popular imagination with serial killers [and it's striking that so much about the young voldemort - handsome, charming, seemingly quiet and polite, true evil lurking underneath the mask - is exactly like the pop-culture persona which has been created for ted bundy...]. voldemort himself agrees that his charm is performative in chamber of secrets: “If I say it myself, Harry, I’ve always been able to charm the people I needed. So Ginny poured out her soul to me, and her soul happened to be exactly what I wanted." but his obsequiousness is also a fawn response - a way of minimising a threat by attempting to please the person issuing it. he becomes "unrecognisably polite" - after all - in response to this: Dumbledore raised his eyebrows. “If, as I take it, you are accepting your place at Hogwarts - ” “Of course I am!” “Then you will address me as ‘Professor’ or ‘sir.’ ”  Riddle’s expression hardened for the most fleeting moment before he said, in an unrecognisably polite voice, “I’m sorry, sir. I meant - please, Professor, could you show me - ?”  riddle could reasonably interpret what dumbledore says here as a threat to prevent him attending hogwarts - even though dumbledore evidently doesn't mean it in this way - and he switches to being fawning because this is something he really doesn't want to happen...

do i think that any of this is what the text was actually going for? no. and nor do i think that reading riddle as a victim of abuse excuses the violence which the adult voldemort goes on to perpetuate.

but i think it is a reading of his characterisation which is both canon-plausible and interesting - a strange, sickly child with a reputation for cruelty and dishonesty being abused by the respectable doctor who is constantly called in to treat his coughs and wheezes, who buys him little presents and charms him into telling him secrets, who then [to paraphrase the teenage voldemort] feeds him a few secrets of his own, safe in the knowledge that nobody will ever believe him if he tries to get help.

and i also think this a reading which is sincerely important.

a significant contributor to the prevalence of child abuse - no matter what exact form this abuse takes - is that we are culturally conditioned to imagine that both the abuser and the victim will look and behave in a certain way if the abuse is "real".

and this means, all too often, that we take child abuse more seriously when the victim is "sympathetic" - when they're from a stable home, and their family are respectable, and they do well in school, and they're polite and sweet, and they look innocent, and they behave perfectly appropriately for their age, and nobody would ever dare to say that they come across as older than they are, and they're white, and they don't have a history of lying, and they don't have a history of attention-seeking, and they don't have a criminal record, and they're not abusive themselves, and there's absolutely no way of suggesting that they colluded in their abuse, and the perpetrator was someone who looks like a child abuser.

someone who is creepy, low-status, ugly, unpopular. someone who everyone can tell is socially abnormal, someone who nobody would ever intentionally permit to be around their children. not someone who is charming, well-respected, attractive, rich, popular, trustworthy. not someone who has a loving family and a happy home. not someone we might be friends with.

but many perpetrators of child abuse are these second group of people. and many victims of child abuse are "unsympathetic", when their social positions and reputations are compared to their abusers' own.

they lie. they steal. they're attention-seeking. they're vindictive. they have trouble distinguishing between imagination and reality. they're violent. they're bullies. they hurt animals. they abuse other children. they take drugs. they're mentally-ill. they come from broken homes. they're in the care of the state. they're dirty. they're poor. they're odd. they're behind at school and badly-behaved in the classroom. they do things which allow their abuse to be dismissed as something they brought upon themselves - they speak or dress in certain ways, they pose provocatively in pictures and post them on the internet, they are known to be sexually active outside of the context of their abuse, they lie about being over the age of consent, they engage in sexual behaviour with an adult abuser in a way which appears [even though it isn't, and there's never a circumstance in which it will be] to be consensual or for their own personal gain, they are flattered by the attention they receive from someone who is important or attractive grooming them, they have complicated - and not always wholly negative - feelings towards their abusers.

and they are still - unequivocally - victims, and what happens to them is still - unequivocally - abuse.

tom riddle is an unsympathetic victim - not only of any potential abuse, but also of the horrors of his life which are explicit on the canon page: that he is raised in an orphanage; that he is grieving; that he knows nothing about his family; that he is thought to be mad.

the absence of any institutional response to his childhood experiences - dumbledore, by his own admission, discloses nothing about riddle to his fellow teachers - is a flaw repeated again and again in the worldbuilding of the harry potter series.

hogwarts - and the wizarding [and muggle] state more broadly - doesn't intervene in any case of neglect or abuse, from harry to snape to voldemort's own parents. the series' individualistic morality means that we aren't supposed to interrogate these collective failings. and the series' black-and-white view of good and evil - and its general belief that violence is fine if the person it happens to "deserves" it - means that it has no interest in examining the ways that poverty, isolation, and neglect are risk factors; that straightforwardly unpleasant people can still be victims; that victims can go on to become perpetrators without their victimhood ceasing to matter; and that the abuse of children usually takes place not in silence and secrecy, concealed in ways which make it fine for adults not to notice it and not to intervene, but in plain sight.

this is knowledge it never hurts to refresh. thinking about lord voldemort's childhood might be an usual way of doing so... but it is an effective one nonetheless...

[mayakern]

If you don't mind sharing, what happened to vanetta's ex Edmund and his new saintess gf?

oh boy, so, a LOT has happened here so BUCKLE UP.

(and here’s a picture of vanetta for context for the maybe 2 other ppl who will read this huge post, which i have tried to summarize)

TLDR: after vanetta “died” and was yeeted into time travel, edmund died and charlotte saved the world. but edmund got brought back… and he came back wrong.

but the full story is so much weirder than that:

the core conceit of this game is that we are time (and place) hopping every time the party levels up, and mostly this is pretty normal—someone who’s from an ancient time visits a future date and finds out their country no longer exists, someone from the future goes to an earlier time and is shocked by the severely lacking technology, etc etc

except for vanetta, who is not from the past or future. she is from a book series. and she has JUST discovered this.

our most recent time hop has taken us to a dystopian capitalist future that takes place in a big mall in outer space (think a combination of tron, zenon: girl of the 21st century, wall-e and other similar media), where our wizard comes from.

and as soon as we materialize there, vanetta is recognized as a “really high quality and authentic cosplayer” of, well. herself. the book series she is from (the briar path) is popular on a level that basically combines twilight, harry potter and the bible all in one. it is fantastically popular, but also pretty old, and also is continually getting remakes and re-releases and right now they are currently making a manga adaptation of it. and it has a very active fanbase that writes a lot of fan fiction. this is, somehow, incredibly plot relevant.

an npc shows vanetta the comic, which currently i think covers 2 of the books in the series, and it shows her being depicted as basically your typical shallow, unsympathetic villainess character. and it depicts her death: the moment when, on the ramparts of the palace she was meant to preside over, she is faced with an angry mob seeking her death on one side and the crown prince (edmund, her former fiance) and charlotte (the saintess, his new woman, who in the fiction of the book was isekai’d into the world of the briar path) on the other side. vanetta climbs onto the rampart and makes a big impassioned speech (aka a villain monologue) about how pathetic and horrible they all are and when charlotte makes a swipe at her, vanetta chooses to let it unbalance her, forcing charlotte to live on with the guilt of her death.

only, the real vanetta doesn’t die. she gets yeeted out of time and space with three other time travelers. and our story continues

anyway, back to present day, the manga adaptation has just reached the part of the series where edmund dies—something vanetta did not know about. but just because he died in the book doesn’t mean he died in real life.

see, edmund had some pretty devoted fans. and one of them, who thought edmund was robbed by the narrative, got into some ancient, evil magics and combining this with the immense power of FAN FICTION, he tried to bring edmund out of the novel and into real life, and in the process ended up fusing with him and also with a force called The Hunger, a roiling miasma of despair that was the ultimate evil in the novels.

and so they all fused together and became a new thing. a god. in fact, our yuan-ti paladin’s snake god. who uhh subjugates and eats all non-snake people. the creation of this god also uhh was a huge cataclysm that basically started the earth apocalypse that lead to everyone ending up in the sky.

vanetta has JUST managed to secure annotated copies of the entire series that include academic commentaries and notes on historical context and the first chance she gets she is reading them so hopefully i’ll get more info soon lol

[hughesysgirl28]

Request? No

Pairings: Nico Hischier x fem!reader

Summary: a girl has been starting a rumor that she’s dating Nico Hischier. Except, she isn’t. You are but it’s a secret so nobody else knows but you two and close friends. Getting tired of the girl and her rumor you decide to reveal your relationship during one of your concerts.

A/n: I’ve lowkey been obsessed with Karma by Taylor Swift lately so I thought of this!

Requests are closed!

Warnings: use of y/n, minor cursing

-

Karma

-

Sitting in the apartment you shared with your boyfriend Nico you sighed. You had a day off and were spending it with Nico before the last concert of the American leg of your tour at the Prudential Center tomorrow but low and behold the same girl who was saying she was dating Nico last week was still saying it and the worst part was a lot of people believed her. She had made some weird photoshopped pictures that actually looked real unless you knew who the hockey player was actually dating. Yourself.

��Liebe, don’t worry about it.” Nico mumbles to you pulling you to lean against his chest on the couch you both resided on currently. “But, Neeks, it’s getting worse now.” You sighed yet again while scrolling through the girls instagram.

“Maybe we should reveal our relationship then.” Nico says pressing a light kiss to your shoulder.

“Are you okay with that?” You ask now turning your head to look at him. “If it eases your mind and gets this girl to stop then yes.” He reassures you.

You think about it for a second then nod. “I have an idea. At my concert tomorrow, you’ll see.” You tell him after thinking of an idea. You’d reveal your relationship with your song Karma.

“Now let’s just enjoy our day together Y/n.” Nico says to you grabbing the remote and turning on the tv to your shared favorite show. You gave him a big smile putting your phone away as you both watched it while cuddling on the couch.

-

It was the next day. It was also about time for you to go out on stage. You paced around back stage doing breathing exercises.

Nico had came back a little bit earlier wishing you good luck hugging and giving you a short kiss. After that he had gone to where he and some of his teammates and their girlfriends/wives would be sitting.

Your chosen outfit for the night was a type of white dress with long white sleeves that had bows on the end. You also had a white bow in your hair. Your stage manager then came to you and said it was time to start the show. You nodded grabbing your mic and walked out there onto the stage.

“Hey Prudential!” You exclaim to the crowd with a big smile waving out to your fans. They all screamed happily as you came out on stage and talked.

“I hope you guys have a good time tonight cause I plan to make it an epic one! The first song is one of my personal favorites Karma!” You said into your mic. This was the song. You’d reveal yours and Nico’s relationship with the first one. The entire world would know before tomorrow.

“You’re talking shit for the hell of it. Addicted to betrayal, but you’re relevant.” You sang dancing around the stage with your dancers. You loved your job. Getting to sing and entertain people. This song you had actually written about Nico. You never told him it was but you had a feeling he knew.

“Sweet like justice, karma is a queen. Karma takes all my friends to the summit.” You sing then look to where Nico would be and grin.

“Karma is the captain of the Devils coming straight home to me.” You sing point to where Nico was. The camera had fanned over there to him showing him on the screen for a quick second as everyone screamed louder at the reveal.

You sway your hips in a dance as you continue the song. “Nico’s a relaxing thought. Aren’t you envious that for you he’s not?” You sing with a wicked grin looking to the middle camera as it points to you.

Soon the song was over and you continued the concert. Everyone enjoyed it from what you could tell considering all of the joyous screaming.

After, backstage, Nico came to you hugging and spinning you around with a grin his dimples showing. “That’s my girl!” He exclaims. “Always, Nico.” You say as he puts you down but still hugging you.

Your arms were wrapped around his neck. You both kissed a quick but meaningful kiss before you went and changed into regular clothes so you could go out with the rest of his team and their girlfriends/wives for the night.

[snowblack-charcoalwhite]

Something something the concept of granting meaning and importance to an object/phenomenon/person by giving them a name

It is especially relevant in the world like the one ASOIAF is set in, where the name serves as an extremely important defining factor for many characters (mostly a family name but also their given one). And boy, did HotD writers lean into this - in their own way.

I am not the first one to point out that Jaehaera's name hasn't been mentioned in the show at all - not once. But guess who got to have one?

Sure, everyone absolutely needs to remember a girl who was raped by the prince (who is now the king) and who, except for that fact - which serves the purpose of vilifying said prince (and, in some way, by association, the entire TG) - had zero relevance to the plot. And so we have Dyana - because this absolutely unbiased show can't have anyone forget that the Greens' candidate for the throne has some deplorable proclivities. She even got some extra screen time in season 2: once again, absolutely unnecessary except for reminding the audience of her existence - and of Aegon's sins.

But who cares about the only remaining child of the king; the girl who came within a hair's breadth from death and then lost her twin brother; the one true joy left to her mother? Why would she even need a name?

Jaehaera's fate in the show is uncertain (the writers didn't do away with her at the very least) - but for now she is not even a tool of the story but merely a dead weight that just had to be there for Blood and Cheese to have someone to choose from. And then she was simply conveniently (nearly) forgotten becoming just "Helaena's daughter" - no name, no face, no emotional attachment from the audience. I just wonder if the writers' unwilingness to actually involve Jaehaera in the story (or just let the viewers properly see her) comes from them being equally unwilling to make the audience remember her brother whose death and its consequences they are so eager to sweep under the rug in order to minimize the PR damage done to the Blacks.

P.S. Speaking about the importance of names - they need to be not only revealed but also remembered. Jaehaerys didn't end up nameless - but how many times was he actually called by his name in the show? Right off the bat I can remember only one such case: Aegon asking Helaena where he was in episode 1. And while I believe this was not the only time (I am terribly sorry but right now I can't make myself rewatch any part of season 2, not even for science - so feel free to point out the rest), I have a distinct feeling that he still was far more often referred to as "boy", "child", "son", "heir to the throne" and whatnot. Once again: no name, no memory - which IMO is exactly what the writers were going for.

[roach-works]

furiosa's hair

okay after a few days to chew on it i think here's what made me so deeply, resentfully uncomfortable about furiosa's long hair: it was a normative signifier. it broke the fourth wall, it broke the immersion, it broke the world she actually inhabited, in order to signal to US IN THE AUDIENCE that our culture's concept of womanhood was normal, correct, and relevant.

like, furiosa kept exiting these explicitly female positions-- she was taken from the green place, she rejected her position as dementus's daughter, and she escaped the immortan's harem. but again and again her long hair didn't mark the passage of time so much as it marked her AS A WOMAN, as a woman recognizable to us, as a girl, as a cisgender, heterosexual woman just trying to survive the expected cruelty's of man's world. it was meant to keep categorizing her as female in a way we all understand. long hair = girl, despite how dementus and the immortan also maintain long hair. unlike the men, though, her hair wasn't meant to be a symbol of power or freedom or even savagery, just that she was still a woman.

and i think that really bothers me because there was this whole time where, to survive, she became a boy, she lived as a boy, she didn't talk so no one would hear her voice, and whether or not she was masquerading as male or genuinely fluidly taking on a new gender in that life stage, she still somehow for some reason cultivated long and flowing hair, so at a dramatic moment we the viewers get the confirmation that yes she's certainly a beautiful woman, not a boy. she has a gender and it's our kind of gender! the normal kind! just your regular tough but beautiful woman's gender situation!

it bugs me. the furiosa of fury road, with her shaved head and powerfully confrontational violence, occupies a deliberately obscure gender space. she's got female pronouns but is macho as hell, she moves and acts and commands as a part of this intensely patriarchal structure, she's the exception that proves the immortan's rule, she embodies a ton of contradictions without explanation or apology.

a long haired furiosa feels like that apology. here's a furiosa that's younger, prettier, more reassuring, less confusing. here's a gender situation you can recognize: here's what women are and here's what men are! you already know this one!

here's a woman who takes power and commits violence without asking us any questions about how artificial, contextual, and permeable the laws of gender actually are. she's pretty even as she kills men, because she's not a man, because women aren't men, because women are beautiful. because women are for looking at and liking what you see. because what's the point of a woman you don't want to see?

it just bugs me.

[dedalvs]

Hey! I'm David Peterson, and a few years ago, I wrote a book called Create Your Own Secret Language. It's a book that introduces middle grade readers to codes, ciphers, and elementary language creation. The age range is like 10-14, but skews a little bit older, as the work gets pretty complicated pretty quick. I think 12-13 is the best age range.

Anyway, I decided to look at the Amazon page for it a bit ago, and it's rated fairly well (4.5 at the moment), but there are some 1 star reviews, and I'm always curious about those. Usually they're way off, or thought the book was going to be something different (e.g. "This book doesn't teach you a thing about computer coding!"), but every so often there's some truth in there. (Oh, one not 1 star but lower rated review said they gave it to their 2nd grader, but they found it too complicated. I appreciate a review like that, because I am not at all surprised—I think it is too complicated for a 2nd grader—and I think a review like that is much more effective than a simple 10+ age range on the book.) The first 1 star rating I came to, though, was this:

Now calling a completely mild description of a teenage girl who has a crush on another girl controversial is something I take exception to, but I don't want to pile on this person. Instead I wanted to share how this section came to be in the book.

The book is essentially divided into four parts. The first three parts deal with different ciphers or codes that become more complicated, while the last part describes elementary language creation. The first three sections are each built around a message that the reader can decode, but with language creation, the possibilities are too numerous and too complicated, so there isn't an example to decode, or anything. It would've been too difficult.

For what the messages to decode are about, though, I could do, potentially, anything, so at first I thought to tie them into a world of anthropomorphic animals (an ongoing series of battles between cats and mice), with messages that are being intercepted and decoded. My editor rejected that. Then I redid it so that each section had an individual story that had to do with some famous work of literature. My editor rejected that as well. He explained that it needed to be something that was relevant to kids of the target age range. I was kind of at a loss, for a bit, but then I thought of a story of kids sending secret messages about their uncle who eats too many onions. I shared that, my editor loved it, and I was like, all right. I can do this.

The tough part for me in coming up with mini-stories to plan these coded messages around was coming up with a reason for them to be secret. That's the whole point of a code/cipher: A message you want to be sure no one else but the intended recipient can read in case the message is intercepted. With the first one, two kids are poking gentle fun at a family member, so they want to be sure no one else can read what they're writing. For the last one, a boy is confessing to a diary, because he feels bad that he allowed his cat to escape, but no one knows he did it (he does find the cat again). For the other, I was trying to think of plausible message-sending scenarios for a preteen/teen, and I thought of how we used to write notes in, honestly, 4th and 5th grade, but I aged it up a bit, and decided to have a story about a girl writing a note to her friend because she has a crush on another girl, and wants her friend's opinion/help.

Here's where the point of sharing this comes in. As I had originally written it, the girl's note to her friend was not just telling her friend about her crush, it was also a coming out note, and she was concerned what her parents would react poorly.

Anyway, I sent that off with the rest of my draft, and I got a bunch of comments back on the whole draft (as expected), but my editor also commented on that story, in particular. Specifically, he noted that not every LGBTQ+ story has to be a coming out story, the part about potential friction between her and her parents because of it was a little heavy for the book, and, in general, not every coming out story has to be traumatic.

That was all he said, but I immediately recognized the, in hindsight, obvious truth of all three points, and I was completely embarrassed. I changed it immediately, so that the story beats are that it's a crush, she's not sure if it'll be reciprocated, and she's also very busy with school and band and feels like this will be adding even more busy-ness to her daily life as a student/teen. Then I apologized for making such a blunder. My editor was very good about it—after all, that's what drafts and editors are for—and that was a relief, but I'm still embarrassed that I didn't think of it first.

But, of course, this is not my lived experience, not being a member of the LGBTQ+ community. This is the very reason why you have sensitivity readers—to provide a vantage point you're blind to. In this case, I was very fortunate to have an editor who was thinking ahead, and I'm very grateful that he was there to catch it. That editor, by the way, is Justin Krasner.

One reason I wanted to share this, though, is that while it always is a bit of a difficult thing to speak up, because there might be a negative reaction, sometimes there is no pushback at all. Indeed, sometimes the one being called out is grateful, because we all have blindspots due to our own lived experiences. You can't live every life. For that reason, your own experience will end up being valuable to someone at some point in time for no other reason than that you lived it and they didn't. And, by the by, this is also true for the present, because the lives we've lived cause us to see what's going on right before our eyes in different lights.

Anyway, this is a story that wouldn't have come out otherwise, so I wanted to be sure to let everyone know that Justin Krasner ensured that my book was a better book. An editor's job is often silent and thankless, so on Thanksgiving, I wanted to say thank you, Justin. <3

[spotlightlowlife]

glutton for diminishment

and bonus lust for lies

Queen Bee has lost what little credibility she had at this point.

I'll start off by first calling out both Ozzie and Bee

Since that can easily be done together, they were pretty much the same character in mastermind but looking back on all we have got on these two, they're two sides of the same coin in general.

The last episode gave us some scenes with the sins we have met, we didn't get to hear from anyone new but Satan, it was his court but the alleged true boss was missing. Ozzie and Bee sat together and proved their allegiance and support of the defence, but not really.

They had fight in them to bicker with Mammon, much more than they had to speak up for IMP, even though they both initially spoke up in shallow defense of Blitzø and only Blitzø.

The fact that they were both quick to move on to an argument with their peer and quickly find entertainment in this spat dispite an execution going on that would not only go against their 'hangs out with the little guy image but upset their partners, also the little guys.

This indifference could easily show that those at the bottom of society truly mean nothing to them, they don't care, they may like the odd personality or two who is cute and looks up to them but so. This would actually make sense, they are leaders of the rings of hell, more than a business boss but world leaders and the residents of hell are customers who live and work to provide for them and act accordingly in their territory

no exceptions

but this won't be the case because they are 'nice' and being 'nice' they can't be ignorant or dismissive and if so l it's someone else's fault. So nice are they that they must love their mortal partners who were born the equivalent of yesterday to them.

Both Fizz and Tex had moments of insecurity and discomfort at the power imbalance of their relationships and where they stand

with Tex looking concerned at Bee's behaviour and what she could do to Loona who he kindly invited

and Fizz's lack of confidence turning out to be down to his fame being what lead him to Ozzie and without his brand where would thet be? Good question.

Both these characters got off to a good start, they spoke their agenda and were bothered by those who got in their way, Moxxie changed the tone and Ozzie had every right to eject him and Millie and Bee had every right to be bothered by a guest who was rude to her in her home, if the push to have them seem nice was relaxed, then these work as great powermoves rather than empty threat and their 'humblness' at having a club that's 'that place I wanted to go to' says a lowly imp and that party that anyone can get in, could be a manipulation to get lowest of classes comfortable which will equal profit. Makes sense. So far one character is safe to be doing this.

Now you see the parallels of these two and their matching situations, yet more can and has been done with Ozzie. Bee may be yet another female who needs a man for relevance.

The female curse

Mammon is better at Bee's sin than Bee. Greed and gluttony should mesh together well, gluttony is a major part of consumerism and that's a fact anyone can understand. But we can't have that because one is nice and the other isn't, even though this doesn't prevent Ozzie and Mammon working together.

Bee falls under the umbrella of outclassed females.

In breif

•Loona lives like a teenager and she's is spoilt by Blitzø who was good enough to adopt her, he also employs her, she knows transformation magic but how is unknown, we don't see her study, we don't see her taking phone calls, she is friendless and her interactions with IMP regress the episode after improvement

• Millie is given nothing to talk about, needs Moxxie and his perseved helplessness to show us her competence and now Blitzø is her bestie after one episode and credited for her life being what it is

• Barbie, edited out of her shared backstories with Fizz and her male lead character twin

• Verosika, a sucessful catch who got off lucky by getting robbed and abandoned by Blitzø reduced to bitter, petty and desperate ex

• Stella was the woman scored who's family and lifestyle just got wrecked, now just abusive wife, now doesn't even handle her own shit that's her brothers job

• Bel and Lev, they should be important characters yet they were introduced in silence, no speaking roles the whole episode yet the bird goatis guy talks

• dead mothers (or assumed so but it makes no difference) who didn't even get to speak in flashbacks, both major parts of their son's tragic background

I don't buy that it's a coincidence that the Bee is not shown enjoying being gluttonous in her own right AND happens to be in shape only for Mammon to be both gluttonous and fat upon debut. Yes, I'm sure there are merchandise reasons at play here yes misdeeds that should be Ozzie's have been ridiculously pushed onto Mammon too in order to have a bad guy, further proving Bee to be watered down Ozzie.

Crap vibes

The common defensive that Bee was disgusted by Mammon's gluttony because 'she picks up on good vibes' or 'table manners'

both are hopeless excuses because what's not good vibes about someone looking forward to their lunch break and enthusiastically eating a meal? Bee was the one encouraging her guests to eat, drink and enjoy a supersize, she wasn't watching how speedy and tidy they were in consuming and she is all for the depraved.

Another thing, she was quick to intimidate and threaten Loona and want to see the back of Blitzø, both for ruining the vibe, yet we didn't see people rushing to leave and there was nothing to tell us that 'good vibes' were something she imposed with subtle threat or they were just some young hipster standards and satire of PC.

We really could have seen Bee upkeep her flaky attitude by allowing Blitzø to get depraved as long as he was consuming (a lot like Mammon not intetupting Fizz's burn song because attention equal money) and it be Loona further proved right that this girl is a phoney and have her moment of looking for Blitzø without being prompted by an unlikely and irrelevant source. But no, Loona's rude anyway so her opinion on Bee doesn't matter, makes sense that she's jealous, there's enough reason to be.

Bee's shallow attitude and dismissal of what she doesn't want to roll with could easily be used for her own villainy, the power of toxic positivity, but no, she's reactive and what she enforces is unclear, yet again, what could be her thing has been done better.

[frozenjokes]

long list of mcyt ships and my dumbass opinions this post was getting too long and I have so much more to say

skizzpulse: needed to write about this because I don’t ship them at all but something is deeply weird about them in a way that is neither platonic or romantic. They have transcended human definitions of Relationship to me. No they’re not a QPR either. They’re weirder. Whatever you’re thinking they’re weirder. Do not separate. Attached at the hip.

etho: etho is in a realm of his own where I simply can not ship him. he’s not doing the romance. he’s not doing the qpr. he’s not doing shit. And it’s not because he can’t pull bitches; he is swagless and a loser in a way that brings ALL the boys to the yard (as opposed to Grian who is similar except he can’t pull anyone), he’s simply getting weird with it. He walks right past any sort of relationship into something deeper; resident sopping wet animal. aro/ace also but this isn’t nearly as relevant as the autism

cubscar/convex: favorite hermitcraft ship and it is not even close. It is NOT EVEN CLOSE. in the way scarian are both covered in lighter fluid and holding matches, convex are also doing that except it’s become a game of who can set the other on fire without being lit up themselves, and they’re both having the times of their lives (ends with both of them on fire every time without fail and it’s usually scar’s fault). they’re insane about it. the vex shit???? insane. their minds are beautiful and deeply wrong. I think they should kill each other.

solidaritimes: I will never forgive Scott smajor for separating scar and Jimmy in secret life he has no idea what he took from me. In a world where Jimmy is often the butt of the joke (by his own volition, I understand) the sheriff deputy thing was fucking beautiful. Sunshine and rainbows, love and support and adoration and everything good and healthy. A massive breath of fresh air and easily my favorite part of the hermitpires crossover. They mean everything to me. I’ve never seen such losers be so in love. Failgirl power.

redscape: another banger. These guys are GOOFY and I think Scar hits a magical combination of being Completely Exasperating vs Setting Off Mumbo’s Bullshit Radar which makes them bounce off each other in a lot of fun ways. They are versatile as a couple between banter and shenanigans and dedication, it’s a pairing I generally think of as very healthy and fun and if you also like all of these things don’t read my Boatem Ghosts AU because I make redscape awful and Mumbo pays the full price! Whoops! I love to think about them falling fast if I am writing them as romantically/sexually inclined characters, where Scar is frustrating but at the same time charming and silly in a way that draws Mumbo in. Mumbo on the other hand challenges Scar and chips away at his facade in ways he finds exciting. I like a Scar that wants to prove himself to Mumbo, win him over, where Mumbo is just lightly exasperated about the whole thing.

cleo/cub: probably the only pair on this list that I think are friends normal style. I just really adore normal style friends cleo and cub feuding about their museums so I had to tell you. I need to write them as friends more often. I love thinking about cub helping cleo fix up her stitches as well as other maintenance on their body. guys who nudity doesn’t matter to they’re both just chilling with their shirts off. special platonic dynamic to me.

ranchers: I don’t care about ranchers

moonrot: I don’t normally ship cleo and pearl in most of the smps or whatever. However. The specific dynamic they have in my boatem ghosts au makes me a little insane I really like them together. Pearl is a little bit deranged in her Wanting Revenge On Scar but ougghg that pirate scar’s hanging out with… she’s so cool… and then Cleo brings them to the ghost island and Pearl thinks she’s even cooler cleo is So Awesome ougghggh and then she gets worried because Scar is a Ultra Murderer TM so she’s quite protective over Cleo and doesn’t like Scar being around them AT ALL but her ass is dead so she’s not doing shit about it. The pining once Scar is out of the picture is Out Of Control. I should write a one shot about this.

ethubs: I think this is the only ship I can honestly say has ever been too weird for me. I think they’re deranged in a way that makes my skin crawl. I am deeply afraid of them. They’ve never kicked it normal style in their lives. I look at them and I don’t know what I’m seeing. It scares me. I respect this ship deeply and leave freshly slaughtered sacrifices at an altar once a week in a hope that will be enough for ethubs to leave me alone.

[anim-ttrpgs]

I heard y'all got elf kissing rules

Well, we’ve got elves in the form of the Fairy Monster Trait, and technically we have the tiniest little mechanic for determining if a curse placed by a fairy or witch can break a curse. That’s a pretty rare occurrence though. For kissing rules that are more likely to come up, a Comfort Skill check or Seduce Skill check could also involve a little kiss.

And I’m gonna use this as a jumping off point to talk about how Skill checks work in Eureka, something i know that @vixensdungeon will appreciate, hahaha.

There’s some exceptions, such as sometimes with Skills in the Knowledge category, but for the most part, if a character is going to do something in Eureka, they just do it, and it that thing they’re trying to do is something that would be difficult to accomplish, that’s when the most relevant Skill is rolled. The habit of doing it the other way around is one of those things from the D&D5e Oral Tradition that you have to unlearn to play Eureka right.

It still isn’t an absolute rule, though, and this is addressed in the rulebook too. Sometimes when we play Eureka, we play it a bit more by ear. For instance, one of my characters, Yvette Preux, has almost all really bad negatives in her Skills for the Interpersonal category. If I know that a Charm, Comfort, Manipulate, etc. roll is probably coming up, sometimes I’ll go ahead and roll the dice first, then determine how out-of-pocket what she says is based on how badly the dice roll went. Other times, she’ll just start talking and Interpersonal Skill checks just come as they come.

So anyway if a kiss is just a kiss, there’s probably no roll, but if a kiss is intended to cheer up a character and restore some of their Composure, then there would be a Comfort Skill check along with it. If a kiss is intended to get the recipient to come home with the character or otherwise leverage sexual attraction, then there would be a Seduce Skill check. (This reminds me of a time in a Eureka adventure where Yvette and Benedetta were trying to get this meathead guy, who was also a high-ranking member of an organization they were investigating, to take them home from a bar so they could search his house. A Seduce roll wasn’t necessary because everyone around the table agreed that there’s no world in which this guy would pass up two beautiful women trying to go home with him, no matter how weak their game. We rolled the dice anyway just because it was funny and of course they both would have failed if it had actually counted.)

If a kiss is meant to wake someone from an eternal slumber or turn a frog back into a human, that’s not a regular Skill check it’s just a 1D6 roll with modifiers added based on a few factors.

Ironically, Yvette would probably have the best possible chance to break a curse this way because she’s a woman of actual historical noble birth, and she has a lot of love in her cold, unbeating heart.

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[ashkav]

Rainy, her baby, and the Laughing Samurai theory

So Shioli Kutsuna's character has been revealed! Rainy, a pregnant woman on the crew of the Magellan who has the ability to cause rain fall (Shioli said this during the Tokyo Games show, though I can't find the relevant clip.)

several very interesting things are said during this cutscene, and when combined with what else we know from the promo materials and also from DS1, I think they can be combined to form some ideas. And boy, do I have Ideas about Rainy.

First, the foundation, all (very few) info from previous media that I think is relevant to Rainy.

a) The Songs:

We have so far had three songs about babies/ children in the promo material. Lou's lullaby twice, both connected to Higgs, on the electric guitar and then again with Troy Baker singing it very ominously. And then the broken down rock-a-bye baby tune right at the very end of the state of play announcement trailer during the credits. Obviously, songs to do with children that are usually happy or peaceful now inverted from comforting to something scary and unsettling = Bad Things are going to happen to the kids.

But Raindrops Keep Falling on my Head is not a song that has been made sad or unsettling - yet.

I absolutely feel this song is going to be called back to at a climatic moment in the story, possibly at Rainy's own death, possibly as the last thing she says to her baby. The song itself seems like a bad omen to sing to a fetus, what with Rainy's name being what it is and the lyrics being about perseverence through hardship - difficult not to instinctually think Rainy and her baby are about to suffer some pretty awful trauma that ends with one or both of them 'falling' to the Beach.

Raindrops keep falling seems very likely to continue the same pattern of a comforting song for children introduced at a peaceful time only to warp into horrifying due to a climatic moment - the only reason it hasn't already been warped is because the audience has to hear it the first way first and it didn't exist in the last game to be set up the same way, unlike the other two.

b) 'I just can't wait.'

This is a pretty innoccuos statement for a pregnant woman to say irl, but within the game verse, Rainy is literally the second woman we've ever seen who has expressed an actual desire to have children.

Let's very quickly run through the list of female characters who have children in DS1:

Lucy, Sam's wife who killed herself because the visions she was getting from Sam's DOOMS afflicted baby were so horrible she couldn't continue living.

Lisa Strand, Sam's bio mother who became brain dead early on in her pregnancy due to a car accident and who we never hear from, even in supplementals, and is shot in the head by Sam's dad.

Bridget Strand, Sam's adoptive mother who revived him after accidentally killing him and kept him to raise out of guilt, traumatising Sam so badly throughout his life that he suppresses his memories of her and doesn't really want to speak to her even as she lays dying of cancer in front of him.

A whole host of unnamed still-mothers, impregnated after brain-death and farmed for the BBs they produce.

and finally, Lockne, who actually wanted a baby not because of the baby itself, but because she wanted some part of her lover to live on even after his death. Due to issues with her uterus, she is incapable of becoming pregnant, and even when her twin agrees to surrogate, the baby and Mama both die in a terrorist bombing at the hospital.

(for the purposes of this list I am not counting the mountaineering couple, since they don't matter except to create stakes for that one timed mission.)

There's a pretty clear trend here - almost no one wants children, and those that have them are in incredible danger of losing the child or themselves. This makes sense in a world where hospitals no longer exist and the very act of childbirth is incredibly dangerous and mostly everyone is pretty much asexual anyway, so it's a massive outlier that Rainy expresseses wanting the baby, even if it would be a normal thing to say in our world.

Maybe this is a stretch, but I can't help but feel there's some thematic parrellel here between Rainy, who wants her baby to be born very much, and still-mothers, who are made pregnant but never truly give birth and who cannot ever consent - not that they don't consent, but that they are incapable of consent in the first place. All their children, except three (Sam, Lou, and the BB Coffin managed to save), die in the womb. They're always bridges and never babies, never born, never really living or dead. They are nearly unanimously incompatible with the concept of life, or growth, just the same as their still-mothers are incompatible with the idea of wanting them.

More on this later.

C) The Samurai

The Samurai is visibly pregnant. There is only one pregnant character in the cast (so far). There HAS to be a connection here.

This is not the first time we've seen a visibly pregant character do crazy insane shit - Sam, for instance, is 'pregnant' with Lou's glass womb for the whole first game and probably the second too, and he does some intense stuff.

The circumstances with Rainy are different though. For one, her womb is made out of the squishy human stuff, not bulletproof glass, and she can't take it off. Rainy doesn't seem particularly athletic either: in her and Tomorrow's intro, where they're stacking boxes into a shelf, she moves slowly and with effort, not to mention that the Samurai is taller than even Higgs (Troy Baker is 6'3), where Rainy is shorter than Sam (Norman Reedus is 5'10, and Shioli Kutsuna is 5'3). Plus, the Samurai suit has no way to see out of it, so even if somehow it augmented her height, strength and speed, she still wouldn't be able to see what she was doing.

It is very, very unlikely that she is the one inside the mech suit. No, instead, I think it's her baby in there.

Sounds insane, but listen: we've already seen Higgs' robots have some connection to BT's, floating like they do and having visible strands leading up like they do and potentially being vessels for them. Dollman is explicitly stated to have been a normal adult human person who used his medium powers to possess the doll and got stuck there when his human body died. Even Lou seems to have the ability to haunt her old pod, with the ghostly winged BT form and tentacles. The technology and precedent for soul-to-machine connection exist, the Samurai makes baby noises, it looks pregnant. And thematically...

Remember that earlier section, where I was talking about Rainy wanting the baby vs still-mothers who cannot want and produce babies who cannot live? Also remember how parents with DOOMs very often pass the trait onto their children, and that an adult with DOOMs (Sam) and a BB with DOOMs (Lou) connected through the umbilical made some very strange things happen?

I think that Rainy's desire for a child interacting with both of their DOOMs will produce something very strange. I have two major theories about what could happen to get the baby in the machine:

The baby and mother cannot both be on the same plane at the same time. Rainy's baby suffers some strange accident while Rainy is giving birth (maybe she gives birth as the Magellan is travelling through the Beach?), and the connection between them becomes like a still-mother and BB, but only in some aspects. The connection between the living and dead is swapped constantly between mother and fetus instead of mother alone tethering to the world of the dead. Metaphorically, you could compare this to a Drawbridge, evolving out of the previous Bridge-style that BRIDGES created with the still-mothers. With Rainy and her baby, either side can be 'drawn up', and the burden is shared between them. The tragedy of this is that even though both Rainy and her baby survive, they can never truly meet or meaningfully interact, as one must always be on the Beach when the other is in the living world. Possibly this could be made more extreme, where instead of being seperated in mind only they are also unable to interact physically - one must physically be in the Beach if the other is in the land of the living. We know it's possible to live on the Beach because Tomorrow confirmed it, even if Sam described it 'like hell', so maybe they build the baby a suit that it's pod can slot into to help it survive the time it has to spend on the Beach - we know BBs are quite smart and have an abnormal amount of dexterity and also increased senses that allow them to see BTs, so it could be possible that the BB became skilled at piloting the suit because it was literallly fighting for it's life on the Beach. This would thematically mirror Bridget/Amelie, or at least the lie that Bridget/Amelie told the world - that Amelie was Bridget's daughter who couldn't be removed from the Beach.

The baby is psychic pre-birth. The baby is believed to have died inside Rainy because it stops moving and scans show that it's funtionally brain dead - plot twist being that the baby is alive, but has just accidentally astral projected into a machine. The Samurai is an upgraded version of Higgs' BT robots that either Higgs built or Drawbridge built after they'd studied some of his work, and the pregnancy bump is an unconcious change that the baby makes to the robot, like how Dollman can minorly alter his appearance when he's mad.

I think this would give Dollman an interesting double - adult in a small, powerless puppet vs baby in a big, deadly, hypermobile machine. Brain vs brawn, thought vs impulse. It even fulfills Jester vs Sage if we want to get Jung's archetypes in here, what with the Samurai laughing and Dollman being an expository friend you carry with you, like Mimir from God of War.

The second one is the one I feel is most likely - it ties in so neatly and honestly I'm not too sure that Rainy would survive her time swapped out on the Beach if whatever the baby samurai was fighting was strong enough to make it so skilled against Higgs, even if there does seem to be a community there to help her.

Whatever ends up being the case, Rainy absolutely definitely is not going to have a 'normal' baby. There is no such thing as a normal baby in Kojima land.

[camellcat]

I need an answer why do y'all hate on s7 like it's in vogue here what is going on I fucking loved that season. like hello? I can't decide if s5 or now s7 is my favourite of the show it was that good of a watch to me

I missed the closeness of the scoobies so bad I didn't even realize until we hit episode three and I was aching for it. oh, god. and the spuffy of it all! I can't even get into it right here but ohhhh. oh. and DAWNIE my sweet girl oh sweet niblet I love her so much. anya's episode? probably one of my favourite episodes of the entire show tyvm. I really liked kennedy and honestly I think she made a great second in command for buffy when she actually listened, though I think she'd be a god-awful leader. almost all of the episodes held my attention that weren't, y'know, bewitched bothered bewildered part two electric boogaloo over there. and DRUSILLAAAAAA ik she wasn't real but IDC I was fawning every time she was on screen both as the first as actually her oh I just adore her I'll never understand her and I don't even care. taking it back actually getting into the spuffy of it all for a second because oh my GOD they had an actual conversation about themselves where she neither ran away nor punched him!! and the montage of everyone screwing, only to cut to spuffy simply cuddling? to show THAT'S their intimacy? 'bout fuckin killed me it did

them kicking buffy out of her house and then literally no one saying ANYTHING about how she was RIGHT except spike ofc really bothered me. and gosh the way they just kinda... did buffy's plan anyways. a little different, but not really? still invaded the vineyard when half the reason no one was listening to her was bc they didn't wanna go back that. but that was like the biggest issue I had the entire season honestly. there was no riley to make me furious, 15 minutes of angel that I hated every second of but is so small it's whatever, and robin wood kinda annoyed me once he turned on buffy and spike there but y'know he gets less relevant so pshh. I'll admit I also got a bit peeved at myself every time I smiled at something andrew said but he grew on me wayyy quicker than I was expecting or wanting I get why he shows up in fics so often now he's entertaining to watch

anyways. I'm sure there's like a billion million things I've missed in my endeavor to simply enjoy myself while watching but as it stands? I love this season. I love it to bits and pieces and I think it was incredibly fun. y'all might just be the biggest haters in the world cause I am SO glad I decided to actually give it a go

[zarvasace]

1931 Vampire AU!

For those unaware, I wrote a bit of a neat Linked Universe setting AU last year that I haven't done much with, but I really like it and want to share a bit more about it! Links to the existing fics where relevant.

The series on AO3 is here!

(It would also be fun to develop this AU a little more, and I'd like to draw some stuff for it, so if you send in an ask about it, I might answer with a doodle. ;) )

AU basics: a hidden magic world in America, the year 1931 after WWI. None of the boys are human (except Twilight, at least at first), but they all think they're hiding magic from everyone else, at least for a time. :) There are a lot of magical peoples in this world, organized in their own ways, e.g. merfolk kingdoms, fae courts, the vampire councils, entire hidden cults, and hunter organizations. Ganon exists, but he's a hidden threat that they've all faced in one way or another.

Character summaries!

Wind: the focus of this AU. (The original fic was an excuse to make him very cool.) He was born 1696 in Florida ish, at the height of the golden age of piracy. He was turned into a vampire by Tetra in about 1710 and is eternally physically 14. He sailed with her crew (all pirates) for a few decades. She was invited to the western vampire council in Spain in 1750 as the vampire pirate queen, but... stuff went down. (fic: Body and Soul Marooned) She and her whole crew died, along with a lot of vampires. Wind survived, getting a nice angsty scene in there where they said wedding vows as she died, and went on to try and warn other councils about the upcoming massacres. Because most vampires died during that time, Wind is one of the oldest vampires still alive, and most who survived that time owe their lives to him.

Warriors: the secondary focus of this AU. He was a legitimate soldier during WWI, proper age and everything. When Wind enlisted, Wars took it upon himself to guide this seemingly young kid, and got killed doing so. Wind turned him into a vampire, not wanting him to die. (fic: In the Chill of Battle) He has a fun relationship with Wind, both of them taking the big-brother role in turns. Wars is a younger vampire, but his brain and body was able to mature more, so. Before Wars knew Wind, he was also captain of a division with Time, not that Time remembers that right off. Wars acts the responsible adult, so he gets them both hired as part of Time's team.

Time: he's Twilight and Wild's uncle. When he was a kid, he was whisked away to Faerie and replaced by a changeling for a few years. He fought his way back to find that time had passed differently for him, so he's mentally older than he appears. He didn't get out without being touched by the fae, and is beholden to some of their rules. He's the only one old enough to have enlisted in the military at a legal age, and used his status as a veteran to get a job at a local police station as a sort of detective. That's how he collects all the boys. :)

Wild: half-vampire. He's aging slowly, but still aging. He's close to Twilight, but always felt like he didn't exactly belong. Vampires as an organization don't believe there are many dhampirs out there, and don't like them, but a few underground cells have been organizing. Wild had a few run-ins with them. He's aware of a lot more magic than people think he is, having networked out to several kinds of magical peoples. The Yiga are a cult of shapeshifters that are out for his blood. (fic: Caged) He joined the team when the existing members came to save him and Twilight from them, later in the "story." Wild is one of those in the group willing to do Mad Science. :)

Twilight: is human. He dealt with Wild his whole life, so he's aware of vampires, but not much else. Over the course of the "story," he gets turned into a werewolf, so all of the boys get to deal with that.

Sky: he's a lynchpin of the team! Without Sky, not everyone would be there. He's an air elemental by birth, fairly important in those familial circles but mostly separated from them these days. His natural form is not exactly... physical. He knows Time from the war (he enlisted at too young an age near the end, and didn't see much combat, but made connections), Legend from some of what Legend did (aka everything, but specifically some merchant connections in this case), and found Four on his own. Sky doesn't count as fae at all, but he's in-tune with the environment and flow of magic around him. (He's not happy about the dust bowl.) He is pretty oblivious to the others being magical, though.

Four: he's rather disconnected from the others, in terms of backstory. To understand him, you have to know that there are six courts of the fae: one for each season in the wheel, with a light and a dark in the center and outside. Four grew up in the Light Court, full fae. One of the princess's Minish advisors betrayed the Light Court and gave power to the Dark (hi Vaati), and Four helped to restore balance. In the process, he had to change. The courts didnt generally trust each other, so Four split into four fae with the help of magic, one for each seasonal court. More magic and betrayal happened, and Four is semi-stuck as a Dark fae now. He can become a shadow and hide in other shadows, but he's vulnerable to light in general. When he left Faerie for the mortal world, he found Sky, who pretty much adopted him as a little brother. He's very protective of Sky.

Legend: is a prince of one of the merfolk kingdoms. He saved each of the underwater kingdoms at least once, then ventured to the surface to find more wrongs that needed righting. He isn't obvious about it, but he has a good heart. He's kind of sort of employed as a spy and informant, but he focuses on supernatural issues. He's more of a special ops agent than anything, though he does like to find people who'll pay him for doing what he wants to do anyway. He's been practically everywhere and done practically everything. He definitely heard of Wind, but didn't connect the dots right off. Merfolk aren't considered fae, but his particular family line made contracts with fae long ago, and he has some of their geases in a lightened form. He figured out pretty quickly that everyone was magic and trying to hide it.

Hyrule: is full fae, like Four, but of the Spring Court. He lived in the human world his whole life, a street kid who had to keep his fae nature tightly under wraps, which could get difficult around the promises and names and iron of daily life. He moved around a lot. He was captured for a year or two by unscrupulous scientists and rescued by Legend, who took him to Sky and Time. (fic: EPISODE SEVEN: Lost and Found) He's the resident healer and mad scientist.

Other Fics

More Than You Can Chew: the beginning of the "story." Starts with Wars confessing he's a vampire, and then they go rescue Wind, who's been captured by wannabe hunters.

Council: sort-of ongoing fic about Wind taking the rest of the Chain to the latest vampire council meeting. >:)