#he leads me on so much in many different ways

[martian-astro10]

Astrology observations - Part 6 (use whole signs and sidereal)

🐻‍❄️ I said it before that moon in 6th house people can be great leaders, and since then I met 4 new people with moon in 6th and I've come to the conclusion that rather than being the leader, these people work better as the right hand person of a leader. They're much better at following the instructions rather than giving them.

🔵 If you are a girl, and you have mars aspecting Saturn and vice versa, I would HIGHLY recommend you guys to marry a non binary person. This placement can cause unpleasant situations to arise if you don't take the right measures. So I won't say, don't marry, or your married life will be bad, but rather, marry someone who is comfortable expressing both their feminine and masculine side.

🐻‍❄️ if your 7th lord of d1 is in the 3rd house of d9 and the planet is a natural malefic like, Saturn, mars or sun, then it can make you fight with your siblings after marriage. I know 3 people with this and now none of them talk to their siblings. So i would recommend you guys to not listen to your spouse when it comes to your siblings. If you have a good relationship with siblings then first, talk to them rather than believing someone who you just met.

🔵 In vedic, sun is considered to be dead when it's in the 12th house, and the common interpretation is that they cannot be good leaders but I view it a little differently. I know a lot of people with this who are SOO GOOD at leading people BUT they have zero self confidence and it genuinely pisses me off so much because one of my friend has this and I always push her to apply for HOD positions but she's like "no, I can't do it" like GIRL, ATLEAST TRY FIRST. So if you have this, just trust yourself and apply for that position. All I'll say is "A real loser is someone who is so afraid of not winning, they don't even try"

🐻‍❄️ I know quite a few people who say that mars in Aries/ scorpio is better when it's in the chart of a man but I don't agree with that. Maybe I'm being biased because I have it but I think that women handle this placement better. Men already have so much fucking audacity and with mars being so strong it just gets multiplied by 100. I feel like these are the men who make podcasts about how a woman's purpose is to be a submissive breedable bitch for a man. Whereas, some of the most successful businesswomen have their mars in Aries/Scorpio/ Capricorn (the effect is multiplied when it's in the 1,4,7, 10 house). women are literally taught to put everyone else's needs before theirs but with mars being so strong they don't give a fuck, because now they embody those traditional "masculine" traits like being a selfish asshole.

🔵 Honestly, the real men, the ones who embody all the good masculine traits are those who have Jupiter in 1,4,10 house. I can give 100 examples from my personal life but, all I'll say is that Keanu Reeves has this....they are the ones who are actually the protectors, providers, brave, strong and dominant in a gentle way. Also, I'm like 100% sure that Carlisle Cullen would have this if he was a real person.

🐻‍❄️ Also, 7th lord of d9 in 1st or 4th house of d9 gives you a future spouse who represents your "ideal type". As I've said many times before, I only know 2 happily married straight couples 🥲 and both of them have this, so in one couple, both the wife and the husband have it and in another, the wife has it. I also know a lesbian couple and both the wives have this. I didn't cross check it with celebrities since most of them put on a facade.

🔵 Jupiter in 6th house....these people have such good luck. It's like, they get everything so easily and the worst part is that they don't know how to work and yet they keep on getting promoted because of nepotism and corruption, and the person who says anything against them gets fired. I wish I was making this observation based on one person, but I know FIVE people with this and it's the same case with all of them.

🐻‍❄️ Mercury in 10th is a placement that I've been seeing quite a lot these days, literally every chart I see has this. These people can be GREAT therapists and journalists from what I've seen, or they may also be the "mom" friend in their group. They're also very social and love interacting with people, they may be the most beloved in their friend group like "if you don't go then we won't go either" type. I'm a little jealous of them tbh, love their ability to light up the room with their presence.

🔵 Venus in 8th, I feel like this is going to be a little negative 😭. These people are very much into the hook up culture, especially men. I feel like they would be happier in a polyamorous relationship. This is also the placement that I do not like seeing in d9, I don't fuck with people who have this but I know many people who are okay with such unconventional relationships, and if you're one of those, then good for you. You don't have to fit in boxes made by other people. If you like something, then you like that, period. (If you're not like this, good, don't start ranting in the comments, it's annoying)

© martian-astro All rights reserved, 2025

[feastingonchrist]

Amen!!!! This is what God has revealed to me. He is helping me with underlying layers of shame, embarrassment, insecurity perfectionism, fear, vulnerability - which all effect the way i interact socially. It's so hard to feel like i can relax and breathe in social settings and it stresses me out terribly. He also has highlighted another layer of abandonment issues and familial wounds stemming from the way my parents have treated me growing up until adulthood (like still to this day.)

He is letting me see through a tiny kaleidoscope, little moments of freedom, joy, and hope, and that has kept me hanging on. He has given me so much peace. I see the gospel in every situation. Celebrating Advent last year by focusing on hope, peace, joy and love each week, has helped me see the heart of the gospel. What God has to offer us as His children through believing in the gospel of Jesus Christ. It's so awesome and freeing, knowing that there is nothing i can do and the more i try to force things to "solve" the problems without God in it, i make things worse. But when i focus on Him during the trials, know that He wants to free me from bondage - bondage that He has already set me free from by making the path clear - actively saying no to fear and showing up anyways, repenting from that pride i have been feeling gently convicted of, by sitting and dining with Him and making Him my only source of hope and reliability..... I have been seeing so many breakthroughs in different areas!!! Ups and downs occur as a test of faith too, but i count those all joy!!!

i now get excited to go to church. i look forward to worship service and have lots of gratitude towards Him that it's a calm and peaceful place to worship that i have been searching for for so long. i look forward to talking to the people i know there and walk in a joyous anticipation and openness to interact with people. He is working on me being more free to open up, wanting to be vulnerable by creating genuine conversation and generating meaningful relationships. for giving me the heart to want to worship more freely and even sing along to the songs i know. i even am starting a new job there, too. i LOVE my church and the fact that everyone is so kind and connected. it even feels that way during worship, and when we recite the creed & Lord's Prayer. I just feel so full of joy and freedom and an overall sense of blessedness that i never knew was available to me. All i did was take a step of faith into my church last November - literally barely even two months ago, and ever since, He has been doing so much healing in my heart and mind. He is working rapidly in my church and i can see it!!!

so yeah!!!! i have learned the importance of dining with Christ and feasting on His goodness. Sitting at His table and letting Him feed me. He is our daily bread and the living water. We eat the bread and drink the wine in remembrance of what He did for us. We walk by faith, let Him lead us, and we produce fruits of the spirit that flow from within Christ in us. we eat of that sweet fruit and share the it with others and watch God put it back onto our plates yet again. He anoints our head with oil and our cups overflow. I love Him and am so grateful for His grace and love towards us!!!!! His words brings me peace and now joy. Just seek after Him continually and keep on praying. Let God take His time to see what He can do for you! i pray someone is blessed by this, amen <3

Thank you for sharing bc this inspired me to share some testimonies in my life as of late ♥*♡∞:｡.｡

When you start chasing after God, You'll find that the things you need will start chasing after you.

Matthew 6:33 "But seek first the kingdom of God and His righteousness, and all these things shall be added to you."

[raven-at-the-writing-desk]

I don't know if this was asked already, but I read your post about Sebek and why he has a hatred towards humans/himself. Sebek has been a character I grew to love so I loved seeing this break down (helped me love him a bit more, lol). However, do you think you could further that theory about about the faes and their views on humans? Silver's Bio dad had a blessing from diurnal faes. Could it be that diurnal faes are actually okay with humans and supported humans against the nocturne faes? Why?

[Referencing this post!]

Malleus states in Fairy Gala that, "The fae are no monolithic entity. We come in many different varieties [...] We come in different sizes, and speak different languages. Not all of us get along, either—much like humans, really." Silver clarifies in Fairy Gala: What If that, "The fairies who throw the gala are diurnal, and they fear nocturnal fae." So it's canonical that nocturnal fae and diurnal fae do not get along, though we do not know the reasons as to why other than I guess maybe being fearful due to size differences (as most diurnal fae appear much smaller than nocturnal fae).

I don't think there's anything to suggest that diurnal fae as a whole like humans. The diurnal fae in attendance at the Fairy Gala became hostile and attacked us non-fae for crashing their celebration. They actively did not want to include humans. Furthermore, it is diurnal fae who attack us during events like Vargas Camp. I also want to add that diurnal fae are shown to support their nocturnal fae brethren in several of the battle map sections in book 7. They are often the ones leading us in the correct direction or even providing support by healing us on our journey. Lilia, in return, thanks them and vows to drive off the human invaders for them. This all implies to me that diurnal fae are largely also anti-human.

The major exceptions to this we've been introduced to are the Dawn Knight's three guardian fairies, who are depicted as red, blue, and green balls of light floating around in the air. I assume these must be twisted versions of Aurora's own guardian fairies, Flora, Merryweather, and Fauna. The Dawn Knight is shown often praying to them for strength before combat, and it is these guardian fairies who are responsible for the sleeping curse/blessing cast on Silver to protect him after his kingdom fell into ruin. It's possible that they are the exception and not the rule among diurnal fae. Maybe they felt a certain kind of kinship with the Dawn Knight or are indebted to him in some way; we don't know the exact history of why they chose to side with the Dawn Knight, and I don't think we have enough information right now to theorize as to why they did what they did. However, as I said in another post on this topic, "[wanting] to keep your friend(s) safe does not instantly equate to wanting to harm [nocturnal fae] or [supporting humans] out of spite."

[bigbrotherboyfrnd]

All of your big brother's friends have agreed to help him teach you a lesson after you told him you fucked someone else for the first time. "I have something waiting for you in my room" he says, and you don't worry because big bro would never hurt you. You open the door and see all his friends sitting around, 8 or 9 of them, and you grab your big brother's hand, "hi" you say. Big bro pulls your hand into the room, forcing you to go on in front of him, "come on, you've met them before, don't be shy". Of course you obey him, because you're a good little brother. There's no space for you to sit, except one, but it doesn't matter because you're quickly distracted by the sudden sound of everybody unbuckling their belts. You look at your brother who's locking the door behind him. "You want to fuck everyone else so bad, so I thought I'd help you out" he says as he sits down at the one remaining seat which is by his desk.

His friends have all pulled their cocks out, and you can't help but look. "Wh- what is this?" you ask nervously. "Start at the beginning and make your way down, but you're only allowed a couple of bounces on each" he replies, unzipping his trousers but leaving his hard dick in his underwear. "No- No, I can't" you stutter, covering your eyes with your hands, feeling your throat tighten and ache, you can't cry now. "It's okay, don't be scared, you want this, remember?" your brother whispers, he's beside you now, one hand at the back of your neck. With your eyes still covered he leads you over to his friend, "look" says your big brother, squeezing the back of your neck. You move your hands and what catches your eyes is his friend's hard, pulsating cock. The hand on your neck is gone, and with one swift movement you feel your trousers being pulled down, "you can't get out of this, just do as I say, little bro". You're shocked by the sudden exposure, but you also notice how hard and soaked you are. As you finally release the built up tears, you realize there is no way out. Embarassed and teary eyed, you slowly pull down your wet underwear, dropping it down to your feet, ready to take the first cock. "Only a few bounces on each" he repeats, "I don't want you to cum on them". You nod and turn around to present your hole to his friend, and his much bigger hands, which are now holding your waist, lead you down on his dick. His head pushes on your hole, you feel it stretch and hurt, and before you know it you've swallowed him. Moans come from behind you, and you try your best to sob quietly while your big brother's friends have their way with you. You bounce once or thrice on his cock, and move on to the next one, each one making you harder and more needy. It gets increasingly difficult to stop bouncing, it feels so good to be filled and you need to cum after the first two cocks, but in fear of dissapointing, you try your best not to. Your head is all fuzzy now, drunk from cock, and the final one slides in with ease. He slams you down, once and then twice. You're done, you've had all his friends inside you. Looking around, you notice that everyone has been jerking off while you've been thrown around. The thought almost makes you cum. "Well done" your brother praises, "And you didn't even cum, I thought you would". Feeling light headed and used, you make your way over to your brother, needing somewhere to sit down. "Come here", he takes you into his arms to sit you on his lap. He grabs your face, and forces you to look into the room, "none of them have cum yet". The only sound you're able to produce is a whimper, which makes your big brother's cock twitch. You feel it poking at your naked skin. "Tell me what big bro does when he needs to get off and you're not there" he demands, still holding your face. You whimper again, unable to form thoughts or words. "He watches something, right?" he says. As you realize what is about to happen, you get pushed off his lap. You've taken your big brother many times, but this is different. All his friends are watching, waiting to cum to you getting fucked. Your big brother grabs your hips and forces your ass towards his cock. You're wet and leaking and rock hard, all you want to do is cum all over your brother. As you drool and whine he rubs his head on you before pushing himself in with one hard thrust, "you're gonna learn really quickly that your brother's cock is the only one you need". He lifts you a little off the floor as he fucks your used hole. They all moan and groan and stroke their cocks to the scene in front of them. Your head was fuzzy before, but you're completely gone now, all you feel is the pulsating dick going in and out of you. You cum over and over, squeezing his cock, making him fuck you harder. "Fuck- I'm gonna- fuck", each thrust gets slower and slower, and suddently you're not only filled with dick, but also thick, warm cum. All his friends groan and cum all over as your brother pulls out and shows them his work.

[presiding]

AITA? the guys at the pub told me to find a woman because she's sleeping with my enemy but all i had was a picture of her ass that i extorted from a well-known pervert. he couldn't name her and i didn't recognise her ass so i gatecrashed a party. i narrowed it to 1 of the 3 hosts but they were basically the same woman, idk, i cant tell them apart. some guy in a mask told me he was in love with the woman i needed and would deal with everything, i just needed to get her into the basement. so i told her she was in danger and she followed me into the basement where i strangled her. i never got proof she was involved but i guess it doesnt matter cause i found the ass i was told to find. i told my daughter's governess and she went quiet but the guys at the pub clapped me on the back. AITA?

poetic justice in revenge games: what's with lady boyle's last party in dishonored (2012)

a longpost i'd prefer someone else made tbh

references at the end

—

where to start?

dishonored 2012 is a revenge game (tagline: "revenge solves everything" [see also dh2: take back whats yours]), where high/low chaos story outcomes represent different types of power fantasies for the intended younger male (1) core audience.

the story & level design

each dh1 level is designed around the concept of revenge. with Corvo as the player character, each betrayal he experiences in the story gives the player rationale to seek out a target for justice in each level.

"The difference between Dishonored and how it works in Half-Life 2 is that it's a lot more personal. I think you get that involvement because the character has personal relationships with people from the beginning. And it's very clear that people have fucked with you in a very personal way," [Austin Grossman] said. "I'm biased, of course, but I think Dishonored grips you much more viscerally, more emotionally." (2)

dishonored is a game about choice: between low or high chaos options, each level's story can justify your decision to kill or neutralise - (nb: this means each target must have done enough wrong to "deserve" death) - and each level design prioritises player decision-making/freedom.

a common misconception about dishonored 1 is that its a game about morality, or right and wrong, but i argue its not that deep (affectionate). the chaos system is more about your role in the city's ecosystem than a morality simulator - kill more people, rats feast, the plague gets worse and the city becomes more chaotic.

poetic justice

because dishonored is a revenge game, each level involves choosing a fate for your primary target/s that will feel like justice to you, the player.

while assassination is always an option, the ultimate goal for each level is to engineer a fitting end for your victim.

this ‘low chaos’ option is reinforced in two ways - if poetic justice isn’t fun enough on its own, the game also rewards you with achievements for choosing ‘nonlethal’ fates.

[sidebar: enough players gave feedback that they didn't enjoy the confusion of choosing the 'right' way to play, that this feedback loop was removed from dh2:doto and deathloop (3)(4)]

storywise, low chaos/nonlethal endings are designed to feel like poetic justice.

to achieve this, the target's neutralisation must be 1) uniquely tailored 2) to the deserving victim.

a common phrase you’ll see in the dh fandom communities is:

“the nonlethal fate was worse”

but if you inspect the villain's actions/planned actions there’s an aspect of scale. your decision to incapacitate a single person leads to countless lives improved, in addition to avenging their role in the character's downfall (see also: the central premise of game called dishonored). this aspect of scale in wrongdoing (eg. villains extend their villainy to not just the player but in-universe to many people) gives a feeling of heroism to acts that might otherwise feel cruel.

because this game is designed around catharsis in revenge, it's important that the player feels that their actions are both fitting and justified - generally in a “turnabout is fair play” sense. these actions may be cruel viewed without context, but they are justified in terms of scale - this game isn't about being moral, or following the law, it's about revenge.

dishonored examples of poetic justice:

campbell branded a heretic and cast out because his power came from weaponising Overseer beliefs & systems

delilah trapped in the paintings she planned to capture a child in.

sokolov who trapped civilians for experimentation, was trapped in an animal cage

each villain demonstrably, within the game’s narrative, earned their fate - and because these are fates they planned to inflict on others, or already had done worse, the player character feels justified in their choice, and by additionally tailoring to each character, there's a sense of personalised and fitting revenge.

with the exception of…

who is Lady Boyle? good qn.

in dh1, there is only one female primary target - Lady Boyle.

canonically, the player must neutralize her because she is providing funding to the man on your daughter’s rightful throne.

in broad story terms, you are asked to find her because she is burrows' mistress.

the clue to her identity is a portrait of her ass ("finest hindquarters in all of Dunwall" - Sokolov), and when you get to the party, almost no one knows who she is even though she's the host.

in terms of level design, she is literally interchangeable with her sisters - the game randomly changes who your target is, and the character models only differ by colour. in terms of the universe, she's less a person, more of a sex symbol. as well as anton's comments about her ass, there's also the pendleton brothers' comments about wanting to fuck her, as well as multiple partygoers comments about the boyle sisters' sexual availability. there's a lot of gossip ingame but little is substantiated (as a reminder: the majority of dh players have only played dh1 and have not/will not read the canon books).

from both an internal logic perspective, and an external logic perspective, it “doesn’t matter” who this only female target is. she's barely a person, more a piece of ass.

poetic justice (for her)

unlike other primary targets with their tidy poetic endings, Lady Boyle (canonically Waverly) is not personally responsible for mass deaths (unlike, say, Sokolov), nor has played an active role in your downfall. let me expand on that.

a comment i've seen a bit:

"well she deserved it because she's partying while the city burns"

a woman planning to stay sober because she's afraid someone's after her doesn't sound like she's having fun.

her funding is not proven story-wise other than hearsay until Corvo has already finished the mission (a note from a guard in the next mission mentions the Boyle funding has dried up) (otherwise its speculation, its not actually in campbell's black book).

there’s no evidence she is providing this money willingly, nor even that she feels positively about Burrows (the letters in game hinting at romance are from him). one of the plot-points is that burrows was using his former role as Royal Spymaster to blackmail nobility with secrets. so, there's just as much a chance that she was his victim. (i've heard others say this is canon but i wasn't able to find evidence for that... if you know something i am curious!)

to complete this mission low chaos/nonlethal, you either need to lure her upstairs to drug her, or strangle her, or lure her to the basement before doing either of those things.

your options are to knock out a woman who has done you no direct harm, and you have no concrete proof she's done you indirect harm, and then traffick her unconscious body to someone you have no reason to trust.

let's review:

is her fate warranted in terms of scale? we only know it's true she was giving money to burrows in hindsight (eg. second runthrough), so not really no.

is her fate poetic justice? she is sex trafficked not because she regularly kidnaps people, but because she is the woman target, and is reduced to the sexual availability that so many NPCs comment on—she is not even a specific woman, given that she is gameplay wise randomly interchangeable with her sisters.

so it's not a case of turnabout being fair play.

yes, there’s a canon ending but that’s not the point here—we’re talking about the experience of playing dh1 first run.

let's rewind to another quote from the writer above:

“[...] it's very clear that people have fucked with you in a very personal way,"

assuming that the point of each level is catharsis for the assumed player, you can read this another way:

if your entire understanding of Lady Boyle as a character is that she is an unmarried woman who is presumably sleeping with your enemy (she's referred to as "the lord regent's mistress" regularly),

and she is someone that many people want to fuck, or at least comment on her sexual activity or attractiveness,

and as the assumed player you view any of this as punishable,

then... I suppose it is poetic justice that she will be locked in some creep’s sex dungeon for the rest of her life as revenge, regardless of her lack of role in your downfall, and regardless of how willingly she aided your enemy.

in other words, in this narrative's logic: sexually attractive women have this coming. as a target, lady boyle is less of a character and more of a trophy to be won.

contrary to poetic justice which is tailored and deserved, Lady Boyle’s fate of being handed unconscious to her stalker, is neither tailored (there was no precedent for this to happen to her - contrast with the targets who take lives), nor deserved (there’s no proof she had anything to do with corvo specifically, other than being his enemy's mistress. its debatable she was funding burrows willingly).

the purpose of a system is what it does

in a game that prioritises player choice, it is not possible to progress the game without choosing either to sex traffic Lady Boyle, or kill her.

this isn't equivalent to random bits of lore you can skip - you cannot get progress past the 5th level without making this call.

it's bad faith to argue "maybe he just locked her up and never intended to sexually assault her" within a universe that provides, unprompted, comments on this woman's body, attractiveness & sexual availability.

It is also canon. this is what corvo decided to do.

but isn’t the empire just sexist?

"when he says bring the bottles, i bring the bottles. when he says undress, I undress." - recurring maid NPC voiceline [multiple environments]

the world introduced within dh1 is sexist and sexually violent. this is valid - i include these themes in my own dishonored fics too, so the issue isn't the inclusion of these issues.

the difference here is that this is a game in which player choices are inherently about justice. rather than being a bystander trying to the right thing in a cruel world, you are an active participant in sex trafficking, and you are rewarded for this behaviour (achievements, a reward later in your room, and this contributes to the 'low chaos' ending).

this isn't corvo fighting the in-universe sexism, he's not even leveraging it --- this is corvo and therefore the player perpetuating it.

there’s no specific storyline reason to mete out a karmic punishment to lady boyle, then, well... is this cathartic to the player? given dh1's target audience, it's not a huge logical jump to say the story assumes you the player won't notice that this isn’t a deserved ending (accurately, given how few talk about this. and we've had years to talk about this). she's a sexy interchangeable woman who might be sleeping with your enemy, and there's rumours she's funding him too, and at that point ingame that's enough for her to deserve this fate.

my most generous take is that it’s lazy writing to forgo a poetic ending for a level/target.

a canonical retcon

the developers later expressed regret about this (see below harvey smith tweet).

presumably to address that "corvo is canonically a sex trafficker" thing, they added a storyline to a supplementary book which demonstrates that Lady Boyle was able to manipulate their way out of being kidnapped by her stalker.

imo this doesn't help:

this information is not in the game - almost no players will know of this (consider the # of book sales vs # of videogame sales). in writing, if it’s important, it will be both in the story and clear to the audience.

It reinforces myths that victims of sexual violence are deserving, or are lying/exaggerating etc. “you lived so why are you complaining?” and/or "well she was a manipulative bitch in the end so she deserved it all along”

gritty 'realism'

“its realistic because women are raped and stalked every day”

hiram burrows has cctv.

people love realism while the power fantasy caters to them. part of the power fantasy of corvo attano as a character is how the women in-game treat you (cecelia trusting you, emily being adoring/attentive/learning from you, esma boyle & lydia etc wanting to fuck you, piero talking to you/begging as though you're the arbiter of callista's honor in the bath scene, and saving countless NPC women). and this level, this target, is part of the power fantasy.

the thing about narratively punishing characters for being women, or having the wrong skin colour etc—is that, when you defend those writing choices by saying its realistic within the context of a fantasy game, you’re saying that inequality and the structural violence supporting it is inevitable, even when everything is made up.

additionally, it's gatekeeping: you're saying that escapist power fantasies are only for certain people. comparing “poetic endings”, there is a massive difference between the real-life statistical likelihood of, for example:

“put to work in your own slave mines,”

“getting kidnapped by a stalker.”

in my experience, people invoking ‘realism’ as a defense of their favourite media don’t want to discuss the ‘realistic’ things — more often, they want the people for whom their ‘realism in fantasy’ is reality to shut up so they can go back to enjoying their gritty fantasy, with other people's lives as wallpaper.

but pres i like this game

me too.

on that note, thanks for reading this far - its natural to resist analyses that critiques something you like. its easier and more comforting to shrug and say everything was justified.

as genius as many elements of dishonored 1 is, it is still a game for young men made in 2012... which isn't an excuse, just a reason. dh1 had every opportunity to not slip into this type of lazy writing - there's no particular reason to handle lady boyle & this mission this way as its not even satisfying at a player/audience level.

this isn't one miss-step, this is multiple miss-steps, and is less commentary on in-story/in-universe sexism, but more just regular sexism on the side of the devs, which is in turn excused at an audience level.

by working out what a game did well or poorly, we can learn how to do better in narrative design. we can also learn to identify similar plot shortcomings in other media.

and, from my perspective - it's another little contradiction to sit with in the things we enjoy. ah, dishonored, you beautiful ugly perfect fallible game.

talking about it

it's important to talk about this storyline.

don’t use the main fandom tags to criticise people who find this storyline shitty. it's weird. even if you don’t care about extending base-level empathy to people who have survived sex trafficking and rape/assault, it’s also citationless behaviour; the devs said lady boyle's fate was a miss-step.

part of why this is rarely talked about is - well, it’s hard. its emotionally difficult to talk about sincerely, and its even more rare to find an audience who will listen.

as a person who has survived similar violence, i feel like i need to write an 2,000 word essay with citations to prove that the only female villain in this game is treated in a way that isn’t justified in a doylist sense, nor in a watsonian sense. and honestly? that's not great.

citations:

1 - Dh demographics targeting (pdf) 2 - Quote source 3 - Dev interview & (4) article with dev quotes

[nadas-dirthalen]

I don't think I can ever forgive Solas personally for the way he used Varric's death as a manipulation tool against Rook. As someone who experienced the recent loss of a loved one in my life, realizing what he did to Rook and imagining someone taking away my autonomy to grieve and accept the loss makes me feel so disgust toward him. And to use the image of Varric, someone who was always protective and loyal to his friends? It angers me more, as it feel like such a disrespect act for Solas to do with Varric's image, especially as Solas was arguably once one of his friends. I still question if Solas ever understood what it meant to be alive as a mortal or if he was so caught up in continuing to see himself as some spirit of Wisdom, he denied how he had changed or that life is not as simple/much more vastly different than his once pure Spirit self believed. If he did, would he have treated Varric's death as a tool to use against Rook in the same callous way he did?

Absolutely love Solas' role as Veilguard's antagonist and how it provokes so many emotions and debates on his actions and how to deal with him. Hating his former colleagues is easy, they're batcrap insane and power hungry, but Solas? His actions hurt so much more than anything those two could ever do because we know him in Inquisition; we know, as flawed as he was, he was capable of good, and yet ends up taking actions similar to that of the people he once fought against. But yeah, even though I had the tools for the arguably 'good' ending, there's a reason I chose to fight him and force him into the Veil: He just lost a lot of my sympathy for what he did and I didn't think he deserved a gentle sending off, harsh as it may sound.

Hello anon!! First off, let me say this: you're totally valid to feel as you do about Solas, and even though I don't share your opinion of him, I definitely had a moment of, "Oh god, that was reprehensible."

I think the difference, here, is that my Rook was feeling the feelings you're describing. My Rook would have a hard time wanting to redeem Solas, and only did so for the sake of my Inquisitor.

But the longer I went on after playing Veilguard, the more I realized... that was intentional. That was the point BioWare was making in the third act of Veilguard, and they did it beautifully.

We're supposed to hate him. Let me explain.

We all know what Solas did in the end of Veilguard, and what we find out he's been doing from the very beginning with Varric. What I want to talk about is Solas' conversation with the Inquisitor in Trespasser.

PC: You said that the elven gods went too far. What did they do that made you move against them? Solas: They killed Mythal. (Chuckles.) A crime for which an eternity of torment is the only fitting punishment.

We find out in Veilguard that everything Solas has done, no matter how awful, no matter how violent, has been to bring back the world that Mythal knew before she was killed by the other Evanuris. The one where she was whole. Where Solas, in his mind, had not yet failed her.

Whether or not his actions are good for Thedas (and in most cases, they aren't), Solas does them anyway, consumed by his grief and his need to avenge Mythal. He doesn't think through the creation of the Veil. We see this in a note from Felassan to Solas that is found (I believe) in the Crossroads. He does it anyway, even though even the companions notice that the process hurts him. Badly.

We know, as players, that redeeming Solas leads to him vowing to help soothe the anger of the titans. He works toward his atonement. It is extremely important and powerful that there are many people out there who, knowing this, choose to fight Solas anyway.

Solas also knows, logically, that the world will burn if he takes down the Veil. That doesn't matter to him. What matters is his grief.

We know that, logically, Thedas is worse off if Solas is fought into Fade Jail rather than convinced to go of his own volition by redeeming him. To some players, that doesn't matter. What matters is their grief, like you're saying here.

"An eternity of torment is the only fitting punishment."

In this way, Rook becomes Solas. By choosing to fight him rather than swallowing down their own feelings and pain for the greater good, Rook perpetuates the cycle of violence—for better or worse. And here's the thing: you are justified in this. Your Rook is justified in this. That's why, I think, Solas is written the way he is in Veilguard. BioWare wanted to show that those people who hate Solas have ample reason to do so. They wanted to show what Solas is like with people he doesn't value—and Rook is one such person in act 1 of the story, when he chooses to do blood magic on them.

Redeeming him means Rook taking a chance on Solas' redemption despite the pain he's caused, even if he doesn't deserve it, for the chance at Solas becoming something better. This shows what I think is true of the cycle of violence: that sometimes, it is a deeply uncomfortable and counterintuitive process. But sometimes, that is the only way a cycle of violence is stopped, for better or worse. We acknowledge the pain caused by those who hurt us, but refuse to inflict the same pain upon others, no matter how much pain we feel. It is deeply uncomfortable and counter-intuitive, but sometimes walking away from a situation is all we can do. (and of course I do not believe this is the right course of action in all situations, but Solas is a fictional character, and I believe this angle on his story is reasonable and poignant because it is fiction. real life is infinitely more complex, but Solas' arc isn't meant to be an exact representation of real life: it's to mean something.)

This was the last way, I think, that BioWare drew a strong parallel between Solas and the player. During the DAI quest "In Hushed Whispers," they show us that our seeing the alternate timeline as "not real" mirrors how Solas feels about waking up in present-day Thedas after creating the Veil. Now, they show us that his singular desire for revenge is something that is possible for even us, the players, who knows these are all characters made of pixels, to feel.

I think this is why Epler has said he advocated for an ending where you can fight Solas. Not because he hates Solas (I assure you, he does not), but because it is of tremendous importance to Solas' thematic statement that the player can act on their anger, their pain, toward him—because that is what Solas has been doing to Thedas this entire time.

Thank you for sending me this. I hope you know that I think you're valid for wanting to fight Solas, even though that isn't the ending I choose. It's people like you who help make Solas such a fun, interesting character, and who help highlight just how cool he is to me. You can love him, you can hate him, but I have yet to find a person who's 100% neutral on him. And I love that for us.

[make-friends-with-the-rats]

Take this yap card!!

Feel free to yap about whatever in extensive detail:)

:O

for me?

I'll spare you Victor Hugo level yapping on some random subject and instead talk about how the musical adaptation of newsies took something away from every major character from the original.

Now, I've said several times before that I do not have any hate for the newsies musical and I really do mean it. If you've been here for a while you should know that I really do love the uk production and tutsies, but ultimately I prefer the 1992 movie. Really, I just think that Harvey Fierstein ran into the exact same problem in his adaptation that Kenny Ortega did two decades prior: newsies is just too complex a story with too many multifaceted characters to fit comfortably into a two hour runtime.

I think Fierstein tried too hard to make it fit and in the process had to cut important aspects of several characters. Namely: Jack, David, Medda, Sarah, Denton, Racetrack, and Crutchy. (For now we'll skip over the fact that most of the original ensemble was replaced.)

Beginning with the most obvious cut, Sarah and Denton were replaced with Katherine Plumber/Pulitzer. I personally really love Katherine as a character in her own right, but I think the issue with her replacing Sarah and Denton is that she is an attempt at combining two characters who serve two very different purposes. And the purpose that I think Katherine ends up serving turns out to be something very different too.

Denton is more than just a reporter who decides to report on the newsies strike, he is representative of all of the real adults who supported and aided the 1899 strike. If you aren't too familiar with the history of the 1899 strike, the newsboys' rally at Irving Hall was literally sponsored by the NY state senator, Timothy D. Sullivan (who by the way had once been a newsboy himself). The newsboys (and girls) had a lot of support from adults, and Denton in the film is helping the newsboys not because he's itching to further his career but because he truly believes from the start that the strike is an important story worth writing about. Yes, he gets reassigned and 'betrays' the strike, but he never stops encouraging the newsies to fight for their cause even when he feels he himself no longer can.

Denton is also very important in David's development as a character because Denton's betrayal (which comes before Jack's) is what really forces David to lead and to stop relying on other people to speak for him.

Sarah's purpose is to connect the strike to the other child workers (though admittedly, this isn't very well executed.) Sarah is the one who, in the aftermath of Jack scabbing and in the middle of her brother's anger, discovers Denton's article and becomes a catalyst for the Newsies Banner. It is she who realizes that the strike is so much bigger than Jack and her brother and she who understands it's impact better than anyone else because she's seen both the impact of child labor (being a newsie was actually a pretty good occupation in comparison to the jobs and working conditions of other kids) and the passion that Jack and the strike inspires first hand.

Again, Sarah's role in the film isn't as fleshed out as it should have been because so many of her scenes were cut, but when you fill in the blanks with context clues or by looking back at the scripts and what was cut, the purpose of her character becomes clear.

Keeping all of this in mind, Katherine isn't an adult like Denton and she isn't a child worker like Sarah. Katherine is very different from the both of them and brings an entirely different purpose to the story simply because she is her own character. And this isn't a bad thing by any means, but the meaning that Denton and Sarah brought to the story is lost by not including them. Katherine doesn't really 'replace' Denton and Sarah. So, to get the most out of Newsies, it shouldn't be Denton and Sarah or Katherine. It should be Denton and Sarah and Katherine.

Moving on to Jack and David, what these characters lose in adaptation is pretty similar. Jack visually loses his cowboy hat and bandana which might not seem like a big deal, but it is when you consider what these things represent. Jack's dream of Santa Fe in the film isn't about Santa Fe at all and Santa Fe itself is simply a form of escapism. It's a child's dream. The idealistic dream of a boy who's lost his family and is running from both his past and his fears. Jack also loses his moral ambiguity. In the musical, Jack isn't lying about his name or his family. His family hardly ever comes up and he freely tells Crutchie about his dad. In a way, the musical doesn't let Jack be a child. And not just because he's played by a grown man.

The musical sets Jack up to be misunderstood, he stole food and clothing to help his friends and dreams about Santa Fe because he wants something more out of his life. Yeah, that's fair. That's actually really darn reasonable. Jack isn't a scared little boy anymore, he's a young man who acts with a degree of maturity and clear moral intelligence. I don't like that change.

To me, Jack is seventeen and he feels trapped. He feels like he's suffocating. He has no family and he's left vulnerable because of their loss. 'Cowboy' is a façade to hide his fear. The musical just doesn't portray this as well as the original did.

David also loses a kind of childishness in the musical. Musical David (or Davey) scolds his brother for not wanting to go back to school/thinking being a newsie is better than school. Meanwhile in the film, Mayer Jacobs scolds David for expressing a similar sentiment. Maybe this change was simply to compensate for the exclusion of Mr. and Mrs. Jacobs and somebody had to say that David and Les were going back to school for plot reasons, but it's still at the expense of David. David isn't a parent. At the youngest he's fifteen, and at the oldest he's seventeen. He should be allowed to be selfish. He should be allowed to daydream about leaving school behind and doing something significant, or of being the 'man of the house' like his father. David should also be allowed to get angry and the musical robs him of that opportunity. Katherine's 'betrayal' doesn't effect Davey the way Denton's did and from what we see Jack's betrayal didn't effect him much either. He's disappointed, but he's not allowed to lash out. He's level-headed and reasonable and he knows that the show must go on. He isn't allowed to be impulsive, he isn't allowed to make mistakes, and he isn't important enough for other characters to have to earn his forgiveness.

Now you might be wondering how Medda's character loses anything from film to musical. First, we have to agree that there are really two Meddas. The first Medda is 'Miss Medda Lark[son/in] the Swedish Meadowlark' and the other Medda is the lady behind the stage name.

When Medda is on the stage, she's simply putting on a show. That's her job, after all, and we see this in both the film and the musical. What changes is the Medda we see in between her performances. Both Meddas very clearly care for Jack and the newsies and they are both given moments to show this. However, like the loss of Denton, the musical doesn't give Medda a moment where we see the injustice of how other adults treat the newsies in comparison to Medda. There's a heartbreaking scene in the original film where Medda, in the chaos at the rally, slaps a thug who's attacking Racetrack before she's dragged off the stage and out of harms way. "He's just a child! Can't you see that?" she screams. It's a case of an adult defending the newsies and shows us that these other adults are in the wrong. It's a small thing, but we just don't have an equivalent scene in the stage adaptation. Medda very clearly supports the newsies, but she's never given a scene that lets her directly challenge the adults who are actively harming and silencing the newsies, and I think that's a loss.

Finally, Racetrack and Crutchy(/ie) are both watered down. Racetrack's snark and serious side were projected onto the stage character Albert, leaving Racetrack himself to be mostly portrayed as comic relief. His older brotherly attitude towards Les is also lost.

Crutchy also looses his snark. His is more subtle, but it was still important because Crutchy isn't just a happy-go-lucky ball of sunshine. Remember when Crutchy snarked the Delancey brothers? Remember when he spat in Snyder's sauerkraut? Remember when he told Snyder to make friends with the rats? He also loses the line "I don't want nobody carrying me. Never, ya hear?" It's so important that Crutchy had pride, that he didn't want his friends to pity him or treat him any differently because of his disability. It's so important that his friends respected him and never did, even if they were just trying to help out of love for their friend. It's so important that Crutchy was defiant, that he fought back in his own ways.

There's just so much that wasn't included or explored in the stage musical in regard to the primary characters and it leaves them with less of themselves.

[otakumi]

hm.

[gingermintpepper]

Day 3: Asclepius

Interpretation notes and trivia under the cut!!

Woo boy, this guy was another difficult character to settle on both a design and an interpretation for! Asclepius tends to have two big schools of thought for his tale, either he's the tragic doctor who resorted to illicit methods in order to save his patients or he's a strict scientist who was so skilled at his art that his resuscitations were called magic but were just science. I don't actually mind either interpretation, but due to the way I personally see Coronis and the way I chose to interpret Asclepius' birth story, I chose to focus on a different facet of Asclepius; Asclepius the family man. The theme of geneology and the inheritance of 'curses' through blood and birth is one that permeates this work and Asclepius, in a lot of ways, has not only inherited both his mother and father's banes but his actions and talents create new ones for his children. Throughout this, and all the many messy crimes Asclepius will commit in the name of what he thinks is necessary and right, he will willfully ignore the warning signs staring him dead in his face screaming that he will leave the burden of his work to his children and it will be easy. After all, Asclepius has made a career out of ignoring his own father's warnings and cautions, what are a few more red flags to ignore?

Less of a character note and more of a personal thing, but for a very long time I used his teenaged design when sketching out scenes and ideas but after tidying up my timeline, I realised that he would be an older man throughout the events of the story!! Since he's properly mortal, he would have to look his age and while that was slightly intimidating since I've not drawn many older characters, it also made me very excited since characters in the 40+ age range are rarely protagonists of these sorts of adventure/fantasy stories and working in the physical differences between him and his brothers was extremely fun!

Some fun trivia:

Youngest of Apollo's children currently alive and kicking. Maybe it was because Apollo so intensely regretted the way he dealt with Coronis but he doted endlessly on Asclepius and essentially personally oversaw his education and training. Because of this, Asclepius, without a doubt, is the child with the best relationship with Apollo between the brothers and believes unfalteringly in his father even if they have many practical and philosophical differences.

Has a bit of a sixth sense when it comes to necromancy and communing with the dead and spirits beneath the earth. Because he was rescued from the torch of death when he was babe, he has retained a connection with the chthonic. While he cannot exactly see figures like Thanatos or Hermes, he can certainly sense when they are afoot. Is very aware that Thanatos cannot stand him and expects to be taken by Ker when he does finally die.

Always keeps gold coins on him on the off chance he is spontaneously struck down while doing research or healing some previously unhealable disease. His father, upon realising that his warnings would be thoroughly ignored, pleaded for him to do at least that since after Asclepius is dead, Apollo would be unable to intercede for him.

Happily married and has four children! His eldest Machaon chose to follow his footsteps and became a gifted surgeon in his own right while his second eldest Iaso chose to follow her mother's footsteps and become more of a nurse than a doctor. He's endlessly proud of all of his children and hopes his research makes the world a better place for them.

Was recognised by Apollo at 15 and became Doctor Laureate at 17. Lost said laurels at 22 after he revived his second corpse from the dead and since then has been on a strict probation when practicing his medicine. Has a mark on his left wrist that will fill itself out if he commits such an atrocity again and then he will be marked for death and supposedly tormented until he forfeits his soul.

On very good terms with Orpheus and the two often work together and catch up when they happen to meet up while travelling. Never knew Eurydice but he gets the feeling that he would've really liked her.

Despite being a son of Apollo, has absolutely zero musical talent and cannot dance. He can't maintain his hair either and would've cut it multiple times over if Apollo himself didn't stop him and chastise him for even thinking about such a thing. Epione does his hair. The little braids in his beard are courtesy of the twins Hygiea and Panacea who enjoy putting little braids in anything they can get their hands on.

Doesn't resemble his father or his mother actually! The relative he resembles most is his paternal grandfather Zeus, a fact that gives his wife endless grief because his hair is thick but not curly, a trait she covets. Asclepius having thick body and facial hair was also very awkward considering Apollo is incapable of growing body hair and, for a while, his lack of curls and cascade of body hair when Asclepius started puberty made Apollo doubt whether Asclepius was truly his or if he had saved Ischys' child instead.

Has zero self preservation and will hunt monsters and creatures for their blood, teeth, claws and hides for his medicines. Like his father, he has a personal 'wall of horrors' where he stores everything from gorgon blood to pegasus feathers to hydra venom. Sometimes gods in the guise of men will simply give him precious materials because they know Asclepius is the one who will take their unsolveable cases in the face of disaster. It is a very risky exchange and has only barely skirted by Zeus' notice because actual money hasn't been exchanged (yet).

Preferred weapon is the scalpel and doesn't like fighting humans. Has a fire-retardant mantle made from chimera skin Apollo gave him when he was a child that doubles as a very good shield in a pinch.

Favourite colour is withy purple and his favourite food is goat butter spread on bread and topped with celery, tomatoes and olive oil. Has a lot of snake themed jewellry that he's passed on to his son because he thinks they're too gaudy for his old self to be wearing.

[radioroxx]

hmmmm mal du pays thoughts tonight

[v-whitenoise]

"Soulmates? SOULMATES--" Another pause while his screen glitched out again, this time lasting a little longer before he came back online again. The frustration had pushed on his nerves. Written all over that screen of his with his swirling hypnotic eye and the way his brows furrowed over his eyes. Even the tones of his voice between glitches was full of anger. Why was he so angry? Because it wasn't anger he felt. Not really. Vox's grip around him tightened again, those claws pressing through the fabric, though not quite hard enough to pierce through to the skin beneath. He could hurt him right now, send a shock through him. That would be easy, or even ensnare him in his many cables. But he did neither of these things. In fact the only thing he was doing was holding onto him as if he was afraid of letting him go. Despite the tones of his voice and the constant overload it was causing him, Vox wasn't doing anything but holding him against himself. As though that might somehow fix the pain that was stabbing him in the chest currently. Over and over again with each added word, every truth that had been spilled to him. A tragic story revealed - a misunderstanding. Or maybe they just had a loss of communication. He stilled while he explained himself, though it didn't stop that eye from swirling in his frustration as he listened. His teeth clenched tightly. Now the what ifs flooded his mind as they were presented to him. What would he have done if he had known back then? Thinking back to the kind of young man he used to be -- a stand up fellow back in the day, full of ambition and vigor. It seemed he had a bright future ahead of him, even from a young age. But that was not where it went or how it had ended up. A lifetime of lying, cheating and stealing -- that's what had gotten him in Hell. He earned his place here just as much as Alastor had. But in a different way, maybe he hadn't killed anyone but he had convinced people to do things unsavory for him. He had stolen from them and sold lies to make himself wealthy. "So you killed people then... there's a fucking surprise." His words were flat, but calmer. Slowly his expression easing back into its normal state. Soulmates. He kept using that word. Did that actually exist? And if it did-- how the hell were they supposed to know? Vox pulled back enough to look at him, his brows were still knitted tightly over his eyes, which were narrowed, but the glare was mild now. It seemed the realization that they had drifted apart in life had been because of concern eased some of the rage coursing through him. Or... maybe he was just more accepting of the reason being concern because it confirmed that what he had felt back then might not have been so one sided. As one sided as it had felt. That was only a small portion of all the heartache he felt though. It barely scratched the surface of everything that they had been through.

"Did you really think it'd stop just because you pushed me away?" It appeared that his calming down had at least eased some of his glitching. For the moment anyway. "I left because I couldn't stand it anymore. I couldn't stand living in that town without you. And did I live a great life? Ha! Maybe for myself -- I left and created an entire following to do exactly what I asked them to do. I took advantage of weak minded people to advance my own career because it was the only thing I could control." "I lied to them. Took their money and led them like sheep into a web of false beliefs. All because I wanted to feel important--" His grip tightened again. "--And then I fucking died in an accident, go figure! Crushed to death during a god damn televised event!" Why was he admitting all of his sins? Was it because he had come clean too? Maybe so. But he had a point to make here. Leading a cult, selling lies... he brainwashed people just as much as he does now. But those were all things that had been unknown to Alastor. They'd been well established after his death. Vox just at the prime of his career whenever he had died on set. A loose monitor falling from where it had been rigged up and crushing him. It was a little ironic in the end that he should arrive to Hell with the head of the very thing that had been the end of him. The TV Demon. Fate was a twisted bitch, truly. "You want to know why I bothered? Because it never fucking stopped for me!" His voice was starting to pick up again, as the pain once more gripped his chest. It seemed to worsen whenever he started to talk about his feelings, specifically. "I died ALONE because I never got over it -- YOU! And then I come to Hell and have to go through it AGAIN?!!" His display flickered again while blue sparks ran through him once again. "I bother because I CAN--T STO--P!!" Loving him, he meant. He took a deep breath, attempting to calm down again. "If THIS is what soulmates are, then I want to know why the fuck I got dragged into it. And who decided I was the one on the short end of the fucking stick?" Because he was convinced that the demon before him had long sense gotten over anything he might have felt. It was all in the past for him, wasn't it?

Wide eyed, he stared at him. The words had been stripped from him, he'd been left completely speechless. He remembered who he was? After all this time...? Something deep inside Vox burned at that thought. His chest becoming tight from the thought -- the reality of it all. The irony... If he hadn't already been dead, he was sure he would have dropped dead of a heart attack right there. With how tight and painful his chest had become, leaving The TV Demon to grip at the front of shirt, as though the fabric itself was contributing to the fact that he couldn't breathe. He couldn't speak. Hell he couldn't even get his head to wrap coherently around any one emotion for a second. There was little room for him to react though to respond right away. Because the other Overlord had slid from his console and pulled him up out of his chair. The start of this conversation falling from his lap as he stood. A jolt ran through his body at the contact that was made between him and the other sinner. That blue static surging down and around his frame once again, but never striking Alastor. As if dancing around him to avoid touching him with it, avoiding the shock it could bring. Trembling hands rose from his sides to slowly close his side of the embrace. The question he had asked him seemed far away. He was shell shocked. Locked into a temporary stun. 'when did you start hating me?' 'the first time I ever felt love was with you... I realized that later though, too late.' Those words repeated in his mind over and over again. Like a form of code that he was trying to process. But he couldn't keep up with it. Blink at him in his shock, Vox's display flashed. 'ERROR. ERROR ERROR' His body nearly going limp in his arms for a moment until he seemingly rebooted himself a few seconds later. His screen coming back online with another flash and his expression was just as pained and mixed as it had been. Oh he could hardly handle all of this and he felt like he was about to explode. "Ha... haha. Hate you?" His intense feelings the ones he had held onto for so long here in Hell. They now mixed with the part of him he had left behind when he died. The longing he felt when he was alive. The way he'd watched him.. admired him. Genuinely enjoyed his company... his first love. His first heartbreak. A first everything. Had he ever truly hated him? Or had it all just manifested as something else because it was easier to accept his loss and heartbreak by being angry about it? That seemed much more plausible with the way he was feeling now. With how he was barely able to process anything that was happening.

Slowly his eyes shifted to focus on him, that heartbreaking smile forcing itself back across his display. "...Al I never hated you. I hated the way you made me feel--" His brows furrowed now. "I--I loved you and you -- YOU...!" Another glitch, his screen flashing for a moment before it came back on. His emotions were becoming too much. His claws sank into him a little harder, gripping onto the fabric of his coat as though that might ground him from glitching again. "Y-You push--ed me...AWAY..!" It didn't help though the more he tried to convey what he was feeling the more his screen flickered. Glitching out, the error flashing again and again. And yet he kept going, determined to until he shut down. "In life--an--d...s-seven years ago!--- FUCKER! You didn't think I'd make it here in Hell? Well what about you? Huh?" When some of his frustration returned though he seemed to stabilize himself a little bit.

[mars-ipan]

this post is not going to be very well planned out so i’d like you all to be niceys to me if i bungle the wording but i feel like the moment people understand that certain forms of bigotry stem from hatred for certain groups but can affect people not belonging to those groups and hurt them just the same is the moment a lot of our conversations about diversity, oppression, and how to combat marginalization stop going so hard in circles and start being productive

[mainfaggot]

just watched challengers at the cinema w my little sister. it was so intense wtf

[designernishiki]

I think I’ve said this before on here but. it really baffles and somewhat annoys me sometimes how people hear that a character is in their 40s-50s and immediately assume they should be weak or feeble or less attractive than they are. like. no. i think everyones just been brainwashed to think that attractiveness/health/worth is determined by how young someone is. why is it more understandable to view a teenager as more attractive and capable than a fit 40-50-something year old. kinda wack

[vigilantejustice]

the bruising + itching has eased up over the last couple days so hopefully that means that whatever was going on was just something funky my body was doing + not a symptom of something else

[cluescorner]

We need to bring back Gun Batman immediately where the FUCK is he

titans of tomorrow

aftermath: