#hes like such a big example of my original point

[abysshare]

Wow..i saw the leaks and just. Wow.

I was hoping they were fake and its everything i hate in a series. I was biting my tongue until i saw the episodes but here we are.

Before i go into spoilers i do want to say that i AM grateful that we even got anymore of Arcane, but sometimes less is more.

Spoilers underneath

Edit: these are kinda messy thoughts.

My biggest gripes:

Too many plot points for a finale

Family trade in ( Bio sister for found sister for bio sister again )

Vander dying, Alive but fucked up, okay, fucked up again, dead, alive but fucked up, dead.

Not bringing up Isha at all??? Not even a quick funeral?

People being brought back to life but Isha and Jinx has to die.

Jinx has to sacrifice herself to save Vi and herself. 😒

The SEX scene.

Better explaination:

Too many Plot points:

I knew it was gonna be too many. I KNOW we needed answers/resolved plots, as well as needing things to make sense. But it.. was too much. Like most media at this point.

Family Trade In:

So... no one really talks about this trope? Or whatever you want to call it. But it bugs me, so much. If you don't know what I'm talking about..

To me a family trade in is when a Character, no matter their role, has family, turns evil or gets lost and finds a family of their own, and then when it seems perfect for them, they end up back with their original family because the new family died for them/their old family or they just.. don't belong/want to go.

Perfect example that isn't Arcane: Amphibia. Anne has to leave her adoptive found family from another universe and can never go back ( until she dies basically ). As well as her friends have to leave their found families as well and also cannot go back. Anne loves both her families..

And while i understand life isn't fair, and that people are allowed to not want to stay here or there.. it just bugs me the trope is to always trade back in for the old.

With Jinx, she "loses" Vi ( and yes Silco but it isn't about him right now ), And gets Isha. I KNEW the second i saw her she was gonna die ( this isn't a bash against those who didn't see it coming ( /genuine ) at some point. While i adore Isha and i am fine with Jinx adopting her, i am not okay with the writers choice of adding her just to kill her and be practically a trade in for Vi later on.

It sucks. I'll just say it out right.

And i want to be very clear. By trade in i do NOT mean replace. I know Isha was never a replacement for Vi ( or Powder ).

Again, i know life sucks, and you just don't get everything you want in this world, especially when it comes to war. But since this is a trope or at least a thing i see constantly, whether its in a pg way or an R rated way... its annoying.

Which brings me to....

People dying / Jinx / Vander:

Why? Other than shock value?

Jinx Dies, and it felts uncomfortable to me as a Psychotic/Schizospec person like her. She should have lived, she should have been able to find her own happiness after properly grieving Isha.

Isha Dies, happy to do so for her big sister(s), but like.. it ends up not being worth it. It both does and doesn't. She saved them time but then-

Vander. Vander is killed, then brought back to life in a fucked up way, then okay for awhile, then fucked up again, then dies ( by Isha ) and then is fucked up again and alive, and then dead.......... and then fucked up and alive again! And then dies, with Jinx!

It doesn't feel satisfying. Of course that one moment was very sweet and worth it. But oh my god? Why do it at all if you're just gonna kill and reanimate him again and again. Its not shocking its annoying by the third time and a joke by the fourth.

Viktor.. Same deal with him? And I'm not even clear if he is dead or just fucked off to space-time with Jayce, but still. It wasn't shocking anymore. Or thrilling. Just like "ah. Okay. Cool mask".

Heimerdinger... when i read the leaks i thought he was gonna die. Then i was watching and thought "oh no okay, he's gonna stay in that universe. Thats nice he deserves that". Nope. He's either also dead or also in space time. I just sighed really hard rather than be sad.

And finally.. The Doctor's daughter gets to live- AND HIMSELF- even he gets a happy ending? Over Jinx or Vi? What.. i mean yes Vi gets Caitlyn , but.. ? Ugh

The Sex scene:

I'm glad for Sapphic rep i really really am. I like Caitvi a lot as well. But this didn't feel comfortable for me. Not because it was an intimate moment, but because neither of them talked things out properly. On top of that it was really random.

Vi was upset, then suddenly horny for i guess.. make up or grief sex? Or both? And Cait was obviously fine with it, but then to suddenly try and talk about Maddie. I'm glad Vi wasn't the typical ">:( you fucked someone else while i was hurting?!" It was so... random. This is why they needed to talk before hand. At LEAST say it before getting into it.

And doing it in Jinx's cell? It feels so.. weird and wrong in a way? I don't know how to describe it.

TLDR: what in the five marvel hells was that other than visuals pretty

[canmom]

This an interesting angle. I've never been particularly taken with trying to determine True Art from False Art on the basis of specific qualities of the piece.

(I did ok-ish but not exceptionally on the AI art quiz, probably with a slight bias for misattributing human pieces as AI ones - like many other respondees, I found the Impressionist pieces hardest to distinguish, since they very much play to the AI's strengths.)

There are many different ways you could describe "art" as a human activity, I'm sure there's a post somewhere where I make a list, but a really big one is its communicative function - one purpose of art is to somehow pass on some aspect of our 'inner world' to another person, through a lossy and limited channel.

That a signal can be easily imitated doesn't mean it doesn't carry contextual information. For example, I could ask a yes/no question of enormous emotional importance - "should I take the shot", "has the baby been born", "will you go out with me", "am I a good girl" - and be answered with either "yes" or "no". It would be trivial to generate a machine which randomly substitutes for this communication - that's basically all a magic eight-ball is.

The amount of information that can be contained in an image of a given size and colour depth can also be calculated. For example, the number of fullscreen images that would fill my current monitor at 8 bits per channel would be 2^(3440 × 1440 × 24) ≈ 3 × 10^35788372 - about 15 megabytes uncompressed. It's a number that seems astronomically huge, though effectively the amount of information is much less than you'd calculate since all the likely pixels are correlated. The same goes for other art forms, like novels (encoded as, say, UTF-8 strings or PDFs) or pieces of music (encoded as sound files, MIDI, MuseScore files, etc.). The exact number is complicated, you end up getting into Kolmogorov complexity and shit like that, but the point is that it's finite.

If we want to claim that all the information about a human life that Hofstadter describes (grief, despair etc.) is in there somehow, we're claiming that this finitely many bits is adequate to capture all the nuances of a human life. I don't know that that's true!

This, however, doesn't really seem to align with how we interact with art. Human production and exchange of "art" is a social act - I would describe it as being continuous with "play". When we observe a piece, we are opening a communications channel - at least a one-way channel. The person on the other side sends some information into the channel, and we process it somehow.

Since it is a lossy channel with limited information, we must infer various things about the other mind on the opposite side of it. If I show you an artwork that I made, we might have a conversation about how I did it, why I made the choices I did. If I feel something looking at the work, I might imagine that you felt something similar, and designed the piece to evoke it intentionally (a guess that will often be wrong but sometimes still productive). I might also look at what specific choices you have made, compare them to the choices others have made in the same medium, etc etc.

We form these inferences on the basis of experience - the more you learn about making art, the more you learn to appreciate other peoples' art and vice versa. And we project these experiences, usually plausibly, onto other artists.

(Perhaps I am saying all art is in a sense performance art? Seems like a tasty soundbite, though I'm not fully sure I wanna commit to it.)

I'm not meaning to claim that a computer couldn't simulate this kind of 'how did you make it' interaction too. This line of argument was anticipated by Turing in his original 1950 paper on the 'imitation game' that someone links in the comments above, where he describes a poet undergoing a viva voce test interrogating their word choices, and argues that a computer might be programmed to give convincing answers to such a test. I imagine he's right - for a paper written in 1950 he makes some surprisingly sharp predictions for how future AIs might be made, such as the idea that an AI could be built to be 'educated' like a child. (He also thought the evidence for ESP is 'overwhelming', but hey, can't win 'em all).

A lot of the context around art would be quite easy to forge, had you a mind to. For example, suppose I go to a film screening, and someone is introduced as the director so we can all clap them. Did they really direct it? I don't know! You could totally send an actor. Less conspiratorially, if someone says they made an artistic choice for x or y reason, they could be lying about it, or misremembering, or most likely oversimplifying a complex and inscrutable process down to a simpler story.

At some point you have to take something like that on trust, or else simply accept that being lied to about it is part of the game you're there to play! (c.f. Oshi no Ko.)

Anyway, the sudden arrival of a new process that can produce, at least sometimes, near-indistinguishable output to various types of communication, throws a spanner in the process. If we're feeling uncharitable, we could call it something like a DDOS attack, stuffing the channels with spurious inputs that don't fit our design assumptions. I think that goes too far, though. AI gen doesn't preclude communication, but it does need we need to think differently about what is being communicated.[1]

So to consider that last question, if art is like a game, could you train an AI art to produce art that is meaningful to humans only by 'playing against' itself, like AlphaGo Zero? I don't think this is so likely. The rules of Go are strict and well-defined; the rules of what humans find meaningful are inseparable from the history of interacting with other humans, which is why art constantly evolves. Training an AI on existing human artworks is training it to compress and interpolate/extrapolate that dataset; training it to optimise for "making novel art that expresses something in a form that its interlocutor could understand" requires it to be interacting with someone.

You could imagine a training process with an "artist" AI and a "critic" AI (a sort of more sophisticated GAN, where the adversary is optimising not to distinguish human/AI art but to judge it on aesthetic grounds) - but how would you get the "critic" AI? Whose taste would it express?

Admittedly, the developers of image generators are constantly refining their models in response to users, so they are being optimised to appeal to someone, not just interpolate existing artworks. But I think it would be very hard to remove humans from the equation entirely. And the present means of providing feedback to the AI are very crude.

For an AI to learn from interacting with other AI (and the world), I feel like you'd need a whole new process that isn't about minimising loss against input-output pairs. Romantically, I imagine it would be closer to how humans learn from life, but I don't really know what will 'work' in the end.

below: some other remarks that were excised from the main post.

[1] We can view AI image gen as another channel for communication between humans, with its own set of inferences to make. If someone shows me a picture they've generated with AI, there's no point asking why they painted this bit that way, but I might approach them more as a curator and ask why they chose this generation over others, or how they went about prompting it.

The AI artists who go to the trouble of finetuning their models with LoRAs for a specific end goal, or using more involved processes with multiple stages of generation, probably have most to 'say', either through the work they generate or how they'd discuss it. (I find it very endearing when someone trains an AI to serve up a hyperspecific fetish.) And the more I know about how AI images are generated, the more I can probably have a productive conversation.

In this light, the "problem" of AI is mostly one of deception, insofar as it tries to look like something else and thereby tell a misleading story. That's probably a big reason why why it brings the rancour it does, although it doesn't explain all of it. It's not (usually) a forgery of a specific human's work, but it is designed to forge spurious communications in this channel in general, so the channel is 'noisier' - and this could be thought to undermine many of the contexts, i.e. the operating narratives and social games, which are why we exchange art in the first place. Over time, we'll presumably end up renegotiating the 'games', and spawning new ones, as humans always have.

And of course, the issue of provenance and plagiarism in art - particularly when prestige and money get involved - long predates AI and is full of all sorts of bizarre contortions when you look at it closely.

More intriguing is whether there is some possibility for "real communication" between humans and AIs - that is, could there be an AI output that does respect the 'rules of the game' in some way. This is harder to imagine! Like, if you ask why we aren't solipsists, we could point to how much we resemble other humans and say, all things considered, seems very unlikely we aren't the same type of entity. But I only know 'what it's like to be' a human. Conversely, while I know a reasonable amount about how AIs work, the attention mechanism and latent-space vectors and so on (thanks 3blue1brown), the analogy isn't so clear anymore, so I don't even know how I'd determine whether there even is a 'what is it like to be' under all the 'noise' of communications aggressively optimised to fit the patterns of something a human might say. If there is, it's probably very alien to all of my experience.

Ironically I feel like the current model of 'AI', which teaches us to regard any generated output with suspicion of having 'nothing behind it', would make it harder for any 'real', agentive, subjective-experience-having AI to make itself known to us. But perhaps it's good that we're forced to sharpen our criteria of what we're looking for out of these things.

Anyway, all of this is probably just idle imaginings, because nobody can figure out how to make anything like enough money to justify the exorbitant costs of training and operating AIs, so at some point this whole speculative bubble will go up in smoke and whatever AIs continue to be in use will likely remain about as good as they are today, or stupider - at least until the next 'AI summer' when a new paradigm emerges.

Thinking about that that "slop accelerationism" post, and also Scott's AI art Turing test.

I also hope AI text- and image-generation will help shake us loose from cheap bad art. For example, the fact that you can now generate perfectly rendered anime girls at the click of button kindof suggests that there was never much content in those drawings. Though maybe we didn't really need AI for that insight? It feels very similar to that shift in fashion that rejected Bouguereau-style laboriously-rendered pretty girls in favor of more sketchy brush work.

But will we really be so lucky that only things that we already suspected was slop will prove valueless?

As usual with AI, Douglas Hofstadter already thought about this a long time ago, in an essay from 2001. Back in 1979 he had written

Will a computer program ever write beautiful music? Speculation: Yes, but not soon. Music is a language of emotions, and until programs have emotions as complex as ours, there is no way a program will write anything beautiful. There can be "forgeries"—shallow imitations of the syntax of earlier music—but despite what one might think at first, there is much more to musical expression than can be captured in syntactical rules. There will be no new kinds of beauty turned up for a long time by computer music-composing programs. Let me carry this thought a little further. To think—and I have heard this suggested—that we might soon be able to command a preprogrammed mass-produced mail-order twenty-dollar desk-model "music box" to bring forth from its sterile [sic!] circuitry pieces which Chopin or Bach might have written had they lived longer is a grotesque and shameful misestimation of the depth of the human spirit. A "program" which could produce music as they did would have to wander around the world on its own, fighting its way through the maze of life and feeling every moment of it. It would have to understand the joy and loneliness of a chilly night wind, the longing for a cherished hand, the inaccessibility of a distant town, the heartbreak and regeneration after a human death. It would have to have known resignation and world-weariness, grief and despair, determination and victory, piety and awe. In it would have had to commingle such opposites as hope and fear, anguish and jubilation, serenity and suspense. Part and parcel of it would have to be a sense of grace, humor, rhythm, a sense of the unexpected and of course an exquisite awareness of the magic of fresh creation. Therein, and therein only, lie the sources of meaning in music.

I think this is helpful in pinning down what we would have liked to be true. Because in 1995, somebody wrote a program that generates music by applying simple syntactic rules to combine patterns from existing pieces, and it sounded really good! (In fact, it passed a kind of AI turing test.) Oops!

The worry, then, is that we just found out that the computer has as complex emotions as us, and they aren't complex at all. It would be like adversarial examples for humans: the noise-like pattern added to the panda doesn't "represent" a gibbon, it's an artifact of the particular weights and topology of the image recognizer, and the resulting classification doesn't "mean" anything. Similarly, Arnulf Rainer wrote that when he reworked Wine-Crucifix, "the quality and truth of the picture only grew as it became darker and darker"—doesn't this sound a bit like gradient descent? Did he stumble on a pattern that triggers our "truth" detector, even though the pattern is merely a shallow stimulus made of copies of religious iconography that we imprinted on as kids?

One attempt to recover is to say Chopin really did write music based on the experience of fighting through the maze of life, and it's just that philistine consumers can't tell the difference between the real and the counterfeit. But this is not very helpful, it means that we were fooling ourselves, and the meaning that we imagined never existed.

More promising, maybe the program is a "plagiarism machine", which just copies the hard-won grief, despair, world-weariness &c that Chopin recorded? On it's own it's not impressive that a program can output an image indistinguishable from Gauguin's, I can write such a program in a single line:

print("https://commons.wikimedia.org/wiki/File:Gauguin,Paul-Still_Life_with_Profile_of_Laval-_Google_Art_Project.jpg")

I think this is the conclusion that Hofstadter leans towards: the value of Chopin and the other composers was to discover the "template" that can then be instantiated to make many beautiful music pieces. Kind of ironically, this seems to push us back to some very turn-of-the-20th-century notion of avant-garde art. Each particular painting that (say) Monet executed is of low value, and the actual valuable thing is the novel art style...

That view isn't falsified yet, but it feels precarious. You could have said that AlphaGo was merely a plagiarism machine that selected good moves from historical human games, except then AlphaGo Zero proved that the humans were superfluous after all. Surely a couple of years from now somebody might train an image model on a set of photographs and movies excluding paintings, and it might reinvent impressionism from first principles, and then where will we be? Better start prepare a fallback-philosophy now.

[roaringheat]

ANOTHER THING is I am absolutely obsessed with the way the gang's relationships with each other evolve so naturally throughout the game whether for better or for worse. I've only just started chapter 4 but seeing them grow and have problems or resolve them over a long period of time is so impressive... literally no other game compares to that level of effort and writing

[corkinavoid]

DPxDC Multiverse Police (pt. 2)

"You said you're going to ask questions, then can we ask questions?" Superman really tries to be polite here because, first, he was raised by Kents and, second, Jazz and the whole interdimensional police thing looks non-hostile. At least now.

The redhead nods, "Sure, ask away, I'll answer everything I can." Then, she notices Batman reaching to touch the green shield and makes a soft, warning noise, "Ah, sorry, please don't touch it. I can show how it works later, but it's not meant to keep you out. It's to keep everything else in."

Batman reluctantly puts his head down and turns to her.

"Elaborate."

The sci-fi ship in the air makes a loud hissing sound, like compressed air being released, and the bottom part of it slides open. Jazz nods in the direction of the now open ship.

"You know what they say, it's better to see it once than to hear it ten times."

There are three humanoid figures standing in there. All of them are mostly monochrome, black and white clothes, starkling white hair. They look like one adult and two children, but it's one of the kids who raises his hands to his mouth and yells so loud everyone in three miles radius is able to hear him:

"Step away from the shield, please, shit's about to get real!"

None of the heroes move, but Jazz does take a few steps away. Wonder Woman, after a moment of hesitation, follows her example.

A mechanical voice comes from the ship itself, "Countdown to the breach. Five... Four..."

On 'three,' all three of the monochrome figures step out from the ship. But, before any of the heroes have time to worry, they all float in the air, undeterred by gravity, and the ship door closes behind them.

The countdown reaches 'one'. And in the next moment, it looks like the hell breaks loose.

Countless giant vines shoot out from the portal up, reaching for the ship. True to what the red hoverboarder said, they are very much toothy, every vine splitting in two and attempting to bite the ship like some twisted idea of scissors.

None of them reach it.

The oldest of three kids claps his hands, and a wall of raging fire descends on the vines, throwing them off. In the next moment, the trio falls apart, flying through the lovecraftian mess of carnivorous plants with practiced ease, the younger ones using what looks like icicles and little storms.

"Who are they?" Batman asks Jazz, following the youngest one's - the only girl among the three - movements as she creates a strong gust of wind with a wave of her hand. None of the vines or attacks get past the shield, though.

"My siblings," the girl answers, pointing her hand at the oldest one, "That's Dan. He's the most violent. One time, he destroyed our original world, but that timeline doesn't exist anymore." She then points to the girl, "That's Dani, the youngest. She rarely joins the crew lately. And she is actually a clone, but at this point, most of us have been cloned once or twice, so it's not a big deal anymore." She then points her finger to the last one, a boy that flies past them quicker than a lightning, freezing everything he touches, "And this is Danny. He is the most powerful one. Technically, he could have just ended the fight with one Wail, but kids like to have fun. Also, they don't get to show off their elemental powers a lot, so they are mostly being dramatic for you."

She says all this so easily, just like a matter of fact, and it is at this moment that the members of JL realize the sheer power of whoever these people are. When she casually told them she bested Superman, it could have been written as a coincidence, a joke. But this?

Dan growls as one of the vines scratches his shoulder. He bleeds green, but it's only for a second before both the wound and the suit knit themselves back together. This is not just a simple accelerated healing, it almost looks like a miracle.

"Oi, brats, I'm done with show off, get out of the way!" He yells at the other two, and Danny and Dani quickly follow the order, flying closer to him and behind his back.

"Cover your ears," Jazz tells the heroes around her, and puts her helmet back on, as Dan takes a deep breath and screams.

It hurts even those who follow Jazz's advice. Batman feels like his eardrums are about to be shattered for the lack of better word. But the vines like the sonic attack even less - most of them subdue and pull back inside the portal, and the rest is dissipating like they are being burned from the inside out.

And then, just like it began, the scream - the wail - stops. The silence feels deafening after the end of it, but slowly, the sounds return, and the JL watches Danny flying down to the center of the portal. He puts his hands on the surface of it, and for a long moment, nothing happens.

And then the Pit starts closing up.

Or, no, it is Danny who absorbs it, the green flowing up through his hands, his veins that start glowing the same green. His eyes become the same toxic color, with no whites and no irises, just glowing green all over, and his hair shimmers like stars.

A few minutes later, the portal is gone, like it never even existed, and Danny plants his feet on the ground and stretches, like one would do after a good rest.

"Oof, that was nice!" He turns to the other two, who are still up in the air, "Do you want some?"

Dan flips him off before going back to the ship, but Dani floats down to him and extends her hands out.

"Sure. I like getting it from you better than from the portal itself anyway. Gives it a sparkling taste, like Sprite," she chuckles. Danny takes her hands in his, and the green glow slowly makes its way through their joined palms, now flowing through the girl’s body.

"What are they?" Flash whispers, horrified, but Jazz hears it nonetheless and turns her head to him, taking her helmet off once again.

"That is not a very appropriate question," she chastises and smiles at their faces, "But it's okay, I get it. They are ghosts. Or ectoplasmic entities, or halfas, or highly liminal beings. Or, if you want a very simplified version, they are dead kids who are enjoying their afterlife a little too much."

"Dead?" Batman zeros on the word, snapping his eyes at the girl. She smiles, and for the first time, it doesn't look human. Her teeth are too sharp, her grin too wide, and her eyes are suddenly not just teal, but neon bright and glowing, with vertical irises.

"Most of us are dead in one way or another. And I do not mean it in a metaphorical sense."

-------------------

What I'm thinking is they have a whole system going on. Amity Park generally resides in the Realms, but from time to time, they decide they want to go on a vacation, as a whole town, and they pop into existence on one of the Earths. They don't really care for the universe or dimension they end up in, as long as it is more or less peaceful (as in, no active wars going on right where they pop up), has sunlight and nice weather.

The GIW is taking care of legal things - imagine US government reaction when a whole ass town just boom, starts existing in a place where nothing existed before? So GIW does all the paperwork and discussions. Also, they are doing their basic research on the dimension they end up in, for science purposes.

I'm thinking Vlad is still a mayor of Amity. And sometimes, when a particular dimension is rather annoying, he straight up possesses the authorities because he hates official talks and couldn't care less for morals if he tried for a week. The GIW scolds him, but don't really say no. It's not a good solution to the problem, but hey, it works.

Meanwhile, Fentons are doing ectoplasmic research. They scan the dimension for troubles, basically, looking for natural portals and ghosts causing ruckus. Jazz is almost always the one who does the talking to the heroes native to the dimension - she is the one who has the most patience and social skills. Jack is in charge of transportation and Maddie is the head of biological, ecto-biological and other species research. Tucker is the tech specialist, of course - he is the sole reason why Amity has wi-fi wherever they go. Val and her father are, kind of, protectors? Security? But for the whole town, yeah. They do have GIW agents as subordinates.

Dani is not always living in Amity, she travels the Realms most of the time, but she joins when something interesting happens. Dan is, like, on an eternal probation period, GIW and Fentons keep an eye on him, but he is one of the heavy hitters for when shit goes down.

Danny is living his best life, he is mainly the protector spirit of Amity, but he also gets to protect all the dimensions from ghosts! He helps anyone and everyone - one day he is working with Val on defenses for their main ship they use to travel inside dimensions, and the next day he is joining Maddie in her studies of new species found.

Oh, I forgot Sam. She is probably the one responsible for the magic stuff - mostly everyone else focuses on scientific aspects, but she is the one to research on occult things.

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[teine-mallaichte]

Let's talk hallucinations in whump/general fiction.

So first off full disclosure, I have schizoaffective disorder - think some bits of bipolar and some bits of schizophrenia kind of squished together, and as such hallucinations are a BIG part of my general existence.

Definition: A hallucination is a perception of a sensory experience—such as sight, sound, smell, taste, or touch—that appears real but is created by the mind and lacks an external stimulus.

Now, I see a fair few "hallucinations" type prompts in whump events, and just generally within the whump community, and I see a LOT of auditory hallucinations type prompt fills - mainly in the form of malevolent whispers - and ye that's a thing, but there are so many other hallucinations.

The thing is hallucinations can effect literally any sense, not just hearing - though I will add that auditory is usually regarded as the most common.

this is a long post so I am going to put a cut here... below the cut is exploration of the tyoes of hallucination, the causes and a bit about insight.

So, I thought it could be "fun" to explore a few in a post. Lets explore the 5 "main" senses first:

Auditory Hallucinations

Description: These are the most common type of hallucinations. They involve hearing sounds that are not present. The sounds are hear as if they are coming from somewhere external to the body. So in my case I have a few of these, but my main one is a voice who is with me even when I am in meds (another good point there for anyone who wants to use mental illness in their fics even in meds we can do have symptoms). This voice has a name and most of the time he just sorts off passes comments about things and people around me, like a sarcastic narrator and it sounds like he is standing just behind me.

Common Examples:

Malevolent Whispers: Insidious voices that might threaten, taunt, or belittle you.

Hearing Music: Melodies or songs playing that no one else can hear. For me this kind of sounds like someone is playing a radio in a different room.

Environmental Sounds: Hearing footsteps, doors creaking, or other sounds suggesting someone else is present.

Command Hallucinations: Voices that instruct or suggest (its not always ademand, sometimes more subtle and manipulative) you to do certain things, often with a compelling and distressing sense of urgency.

Less used examples:

Kind/supportive hallucinations: Voices that are encouraging, reassuring and supportive.

Distortion: Rather than sounds with no origin hallucinations that disort or warp actual sounds/voices changing the meaning, making it as if the TV or Radio is addressing you personally, making it sound as if a friend is threatening you.

Fun fact: it actually is possible to have a two way (sort of) conversation with a hallucination - I know I do it relatively often. It will be different for everyone, but fo me its a bit like having a conversation on a bad phoneline, yes the voice will respond but often its almost as if he hasn't fully heard what I said - or is ignoring key points. I can do this both outloud and "in my head".

Visual Hallucinations

Description: Visual hallucinations involve seeing things that are not present. These can range from simple shapes and flashes of light to detailed images or scenes. They often appear as if they are in the physical world and can be very convincing.

Common Examples:

Shadowy Figures: Seeing indistinct, shadowy forms that may move or appear to watch the character.

Distorted Faces: Perceiving familiar faces as grotesque or altered in frightening ways.

Apparitions: Full-bodied figures that may interact with the character or appear menacing.

Lights/sparkles: The whump community seems to very much enjoy lights and sparkles, especially in drugging.

Less Used Examples:

Intrusive Visuals: Images of disturbing or graphic nature that suddenly appear in your line of sight.

Perceptual Distortions: Objects appearing to warp, change shape, or color in unnatural ways.

Double Vision: Seeing multiples of objects or people, creating a confusing and disorienting experience.

Scenery Shifts: The entire environment changes, making you believe they are in a completely different place.

Fun fact: Sleep deprivation can cause some wild visual hallucinations, even relatively "mild" sleep deprivation can start to effect a persons perceptions.

Gustatory Hallucinations

Description: Gustatory hallucinations involve tasting things that are not actually present in the mouth. These can range from pleasant to extremely unpleasant tastes and can be triggered without any external food or drink.

Officially these are considered "rare", but personally (as someone who has done a lot of peer support work in the psychosis/voice hearing community I think they are simply under reported.)

Common Examples:

Bitter or Metallic Taste: A persistent bitter or metallic taste in the mouth, often leading to a sense of unease or concern about poisoning.

Sweet or Sour Taste: Tasting something sweet or sour unexpectedly, which can be confusing if it doesn’t match the current context.

Less Used Examples:

Spoiled Food: Tasting something rancid or spoiled, causing nausea and distress.

Unfamiliar Tastes: Tasting something completely unfamiliar and hard to describe, adding to the character's sense of disorientation.

Mimicking Actual Foods: Tasting specific foods that trigger cravings or aversions, despite not eating anything.

Transforming food: Food tasting like other food - I know someone for whom everything tasted like strawberries for days.

Common Causes: Neurological conditions or can be a side effect of medications.

Olfactory Hallucinations

Description: Olfactory hallucinations involve smelling odors that are not actually present. These can be pleasant or unpleasant and occur without any corresponding external stimulus. They can be particularly disorienting because they may trigger memories or emotions associated with certain scents - extremely complex if the person also has PTSD.

Common Examples:

Burning Smell: Wood, rubber, or food, which can lead to panic and fear of a fire.

Rotting Flesh: An overpowering smell of decay or rotting flesh, causing distress and nausea.

Perfume or Flowers: Smelling strong scents like flowers or perfume - hallucinations don't have to be inherently unpleasant sensations.

Less Used Examples:

Chemical Smells: Smelling chemicals like bleach or petrol.

Unfamiliar Scents: Smelling odors that you cannot identify.

Food Smells: Smelling specific foods that trigger hunger or nausea, despite the absence of any actual food.

Tactile Hallucinations

Description: Tactile hallucinations involve feeling sensations on or under the skin that are not actually there. These can range from mild tingling to severe pain and can be extremely distressing.

Common Examples:

Crawling Sensation: Feeling as though insects or bugs are crawling on or under the skin - often leading to frantic scratching or picking.

Electric Shocks: Experiencing sudden, sharp, electric-like jolts.

Pressure: Feeling pressure or tightness around certain body parts, such as a hand gripping the arm or something heavy on the chest.

Less Used Examples:

Temperature Changes: Feeling extreme cold or heat on the skin without any external cause.

Wetness or Dripping: Feeling as though liquid is dripping or running down the skin, even when dry.

Phantom Touches: Sensations of being touched or grabbed, often when alone. Sometimes its an almost feather like touch, other times its more akin to a grab that if reak would leave a bruise.

Right now let's expand - because there are more than 5 senses.

Proprioceptive Hallucinations

Description: Proprioception is the sense of the relative positioning of one's body parts. Proprioceptive hallucinations involve distorted perceptions of where your body is in space or how it is moving.

Common Examples:

Floating Sensation: Feeling as if the body is levitating or moving without control.

Distorted Body Size: Perceiving limbs or the entire body as being unnaturally large or small.

Less Used Examples:

Misaligned Limbs: Feeling as though limbs are twisted or out of place.

Movement Hallucinations: Sensing movements that aren't occurring, like swaying or rotating.

Common causes: Neurological disorders or the effects of certain drugs, but can by caused by a huge array of things.

Vestibular Hallucinations

Description: Vestibular sensations involve balance and spatial orientation. Vestibular hallucinations affect your sense of balance, making you feel dizzy or as though you're moving when you're stationary.

Common Examples:

Vertigo: A spinning sensation, as if the environment or oneself is rotating.

Imbalance: Feeling as though you're about to fall over or can't maintain your balance.

Less Used Examples:

Motion Sensation: Sensing movement, like rocking or swaying, when you're still.

Gravity Distortions: Feeling as if gravity is stronger or weaker than it actually is.

Common caused: Inner ear issues, migraines, or anxiety.

Temporal Hallucinations

Description: Temporal hallucinations involve distorted perceptions of time. They can make time feel like it's speeding up, slowing down, or standing still.

Common Examples:

Time Dilation: Feeling as though time is passing much slower than it actually is.

Time Compression: Perceiving time as moving rapidly, making events feel like they're passing in a blur.

Less Used Examples:

Frozen Moments: Experiencing time as if it's stopped, with everything around you appearing frozen.

Temporal Displacement: Feeling as though you're living in a different time period.

Temporal Dissonance: Feeling as if time is moving differently for you in comparison to those around you.

Common caused: Extreme fatigue, high stress, or under the influence of certain drugs.

Interoceptive Hallucinations

Description: Interoception refers to the perception of sensations from within the body, such as hunger, thirst, or the feeling of a heartbeat. Hallucinations in this realm involve feeling internal sensations that aren't actually occurring.

Common Examples:

False Hunger: Feeling extremely hungry despite having eaten recently.

Nonexistent Thirst: An intense sense of thirst even when well-hydrated - I have had this one a few times and given myself electrolyte imbalances due tot he amount of water I ended up drinking (not fun).

Less Used Examples:

Phantom Heartbeats: Feeling the heart racing or skipping beats without any physical basis.

Digestive Sensations: Sensations of digestion, such as gurgling or bloating, without any real cause.

Common causes: Panic disorder or certain types of seizures.

Right, now lets quickly review the main "causes" of hallucinations

Mental Illness:

Schizophrenia: Can involve basically anything from this list, but anecdotally auditory and visual appear to be the most common.

Bipolar Disorder: Can include hallucinations, especially during manic or depressive episodes.

Schizoaffective Disorder: A combination of symptoms from both schizophrenia and mood disorders, often leading to a variety of hallucinations.

EUPD/BPD: Auditory hallucinations are relatively common.

In all of these the hallucinations will rarely (if ever) exist in isolation. If you do not have primary or secondary experience of mental illness then I would recommend doing a LOT of research - and talking to people who do (on this note my asks are open if anyone has any schizoaffective based questions).

Neurological Conditions:

Epilepsy: Particularly temporal lobe epilepsy, can cause a range of sensory hallucinations.

Parkinson's Disease: Can lead to visual and auditory hallucinations.

Migraine: Migraine auras can include visual and auditory hallucinations.

Once again the hallucinations will not be in isolatation so same advice as with mental illness.

Substance Use and Withdrawal:

Psychedelics: Drugs like LSD, psilocybin, and mescaline are known for causing vivid visual and auditory hallucinations.

Stimulants: Methamphetamine and cocaine can cause tactile and visual hallucinations.

Alcohol Withdrawal: Can lead to visual, auditory, and tactile hallucinations.

You know what I am going to say that my "if you do not have experience of this then go talk to someone who does" advice may just stand for every potential cause.

Sleep Disorders:

Sleep Deprivation: Can cause a variety of hallucinations across different senses.

Narcolepsy: Often includes hypnagogic (while falling asleep) and hypnopompic (while waking up) hallucinations.

Medical Conditions:

Delirium: Acute confusion and hallucinations often seen in severe infections, fever, or after surgery.

Dementia: Especially Lewy body dementia and Alzheimer's disease, can cause hallucinations.

Medications:

Anticholinergics: Can cause hallucinations as a side effect.

Steroids: High doses can sometimes lead to hallucinations.

Certain Antidepressants and Antipsychotics: Occasionally, these medications can cause hallucinations.

Psychological Stress and Trauma:

PTSD: Flashbacks and hallucinations related to traumatic events.

Extreme Stress: Can sometimes trigger hallucinations.

Metabolic and Endocrine Disorders:

Thyroid Disorders: Hyperthyroidism or hypothyroidism can sometimes cause hallucinations.

Electrolyte Imbalances: Severe imbalances can lead to hallucinations.

Deprivation:

Sensory Deprivation: Go google the ganzfeld effect, it's facinating.

Isolation: Extended periods of isolation can lead to hallucinations, known as sensory deprivation hallucinations.

Autoimmune Disorders:

Lupus: Can cause neurological symptoms including hallucinations.

Tumors:

Brain Tumors: Depending on their location, they can cause hallucinations affecting different senses.

Ok, finally point for this post. Let's discuss insight, because it is not as black/white or binary as people seem to assume.

Definition: Insight, in this context, refers to the awareness and understanding that one's hallucinations are not real but are a product of their mind. Insight can be partial or complete, and it often fluctuates.

Complete Insight:

Description: The individual fully understands that their hallucinations are not real and are caused by an underlying condition.

Impact: This can help the person manage their symptoms more effectively and seek appropriate treatment. However, it doesn't necessarily lessen the distress caused by the hallucinations.

Partial Insight:

Description: The individual has some awareness that their hallucinations might not be real but can still struggle with differentiating them from reality.

Impact: This can lead to confusion and anxiety, as the person oscillates between believing and doubting their experiences.

Lack of Insight:

Description: The individual firmly believes that their hallucinations are real and external.

Impact: This can lead to significant distress and functional impairment, as the person might respond to these hallucinations as if they were real.

Now imagine these three points on a scale from 0 (complete insight) to 10 (lack of insight) a person can be anywhere on this scale, and can slide back and fourth along it.

Factors such as stress, fatigue, medication changes, or daily fluctuations in mental state can cause insight to vary. A person might have high insight at one moment and low insight the next.

Basically Insight Is Not Static.

Also sometimes insight is just FREAKING RANDOM fluctuation for no discernible reason - honestly at times there is zero logic.

so ye, halluncinations… the brain is freaking wild.

Disclaimer - this is by no means an exhaustive list and like with many things every individual will experience these things slightly differently.

A similar post about delirium A similar post about fever

[lazycats-stuff]

U know those adorable videos where big brothers are the most gentle and just keep picking up and kissing their baby sibling no matter if the baby was sleeping or not? I imagine babybatbro (triple B lol) will be napping next to Bruce in bed and then which ever batbro will come in and steal the baby with no explanation hehe, I'd like to see something like that with all 4 batbros please

Awww... My heart, my cold heart is melting slowly but surely... So much fluff...

Summary: (Y/N) loves to nap, but everyone keeps picking him up.

Warnings: fluff, so much fluff, minor cursing,

Babies are wonderful little creatures. So cute, adorable, extremely cuddly, kind of defenseless, but one hell of a boost for serotonin. Babies were also a source of anxiety. Whenever (Y/N) cried, one of the boys or Bruce or Alfred would check on him and would gently shush him and try to figure out what was wrong with their little brother, son or grandson.

Usually it was easy, but sometimes it was a little bit more complex. No one ever said that raising a child is an easy feat. It's incredibly difficult, but also fulfilling at the same time. You get some incredible memories on the way and a nice cuddle bug who to a certain degree has a calming effect on you.

Of course, while the baby is calm and sleeping.

Speaking of sleeping, (Y/N) loved to nap. Whenever he could nap, he would. Public, home... It does not matter where they were, (Y/N) would nap. Even when the press was around and was loud, if it was nap time, (Y/N) was out cold. It was funny to see it and nothing but hunger or a soiled diaper would wake him up.

More importantly, the little bat or little shit if you ask Jason, loved to sleep next to someone in bed. And considering the fact that every member of the family needed a nap, (Y/N) was a perfect person to nap with. Some said that (Y/N) was like a cat. You know, eat on time, sleep on time...

Almost like a little kitten almost.

And when (Y/N) was asleep and cuddling with someone, those who weren't napping would take the little baby. At this point, they only used nicknames like little bat or kitten.

Now, back to the napping situation.

Whenever (Y/N) was napping with someone, the others would just take the little baby into their own arms and slowly move away from the original napping person. Yes, it may sound confusing.

For example, if (Y/N) and Bruce were napping, Jason would come in, sneakily take (Y/N) into his arms, gently of course.

The first time anything like that happened, Bruce was napping with (Y/N), in Bruce's room. It was quiet and Jason wanted to see his little brother. So what does on do to go get his little brother? He sneaks into Bruce's room and ever so quietly takes the napping baby into his arms and slowly sneaks out of the room to go to his own room.

When Bruce woke up he looked for his son. He found him with Jason after 10 minutes of searching. Jason simply waved at him while (Y/N) was slowly waking up in his arms. Bruce just sighed and left to get some coffee.

Jason chuckled quietly and cuddled his baby brother who was waking up, slowly cooing and squirming in Jason's arms and Jason nearly puked from the atomic bomb that (Y/N) has dropped at the moment in his diaper.

" Oh you cheeky little- " Jason cut himself off with a gag before going to (Y/N)'s room to change the diaper and not die from the smell. He gagged as he undid the diaper and threw it in the trash. He is weak. He is Red Hood, but he is weak. However, this could be considered as a bio weapon.

Jason cleaned (Y/N) up, who was wiggling his legs and giggling. Jason smiled and then put on a clean onesie and then took him into his arms.

The second time that taking a napping little baby happened was when Jason was napping with (Y/N). He was sleeping in his room, his brother in his arms. And who dares to disturb them? Damian. He wanted to spend time with his little brother.

So what does Damian do?

After a second of planning he sneaks in and ever so gently takes his little baby brother into his arms, shushing him gently in Arabic when he started fussing. Then, Damian, slowly made his way to his room, gently humming to him to keep him quiet.

Once in his room, Damian started cooing to (Y/N) in Arabic. Yes, Damian has said to Bruce that (Y/N) should know Arabic. It's a language worth knowing, what can he say?

Once Jason woke up, he was pissed. Whoever took (Y/N) was a bastard. He grumbled as he started looking for his baby brother. He glared when he entered Damian's room. And more so when he saw Damian smirking, in the condescending way.

" You are weak Todd. What if I was a burglar? "

Damian was lucky that (Y/N) was in his arms.

Third time when it happened was when Tim took (Y/N) from Dick. Dick was sleeping on the couch, which was outstretched so it could accommodate Dick and (Y/N). It was a nice, rainy afternoon, perfect for a little nap with a little, warm and cuddly baby.

So that's what Dick did.

He took his little brother into his arms, laid him on a couch, covered him with a blanket and closed his eyes. He put his arm over his brother and fell asleep quickly. It was nice to fall asleep with his little brother and the sound of rain falling.

Well, it was nice until Tim popped into the living room.

Tim also wanted to have his brother in his arms. Everyone hogs the poor baby and Tim needs to make sure that he has his time with the baby too. Tim ever so gently picked his little brother up and left to his room. But not before leaving Dick a note saying where (Y/N) is.

When Dick woke up, confused as to where his baby brother is. Safe to say, he wasn't a happy camper when he saw what has happened. More so at the note. He just grumbled and went back to napping.

And the fourth time when (Y/N) was 'kidnapped' was when Dick took (Y/N) from Tim. The two fell asleep while they were watching a movie. And Dick, very gently took his brother into his arms, happy to have his brother back.

And once of the best things about (Y/N)?

He could sleep through anything as he was a heavy sleeper. He rarely ever made a sound while he was sleeping. So Dick took his brother back into his arms and simply left. And without a note even. Dick laughed in his room afterwards, happy to take his revenge.

This was all some revenge, but not a vicious cycle by any means. It was nice, fluffy, harmless revenge. (Y/N) was happy to be cuddled and held, especially during napping. And if it was a competition between the brothers...

Oh well.

[ravixen]

can you do one wherein they're on a variety show and someone asks about your relationship?? (they are publicly dating) With Seungcheol, Wonwoo, Minghao and Vernon?

svt + variety show asks about idol!s/o

➔ reaction || requested || idol!y/n

➔ warnings: none || 0.6k words ➔ notes: fluff ; this prompt feels like it'd go well with my previous posts "svt + sending a video message on a show" from 2022 and 2023! I originally wrote this for a non-idol!y/n before I realized that by "publicly dating," you probably meant an idol s/o so I redid it. I had a little trouble thinking of situations since the prompt was broad, but it was still fun to write. might do another part with the more open members. please reblog if you liked it!!

SEUNGCHEOL: if he was promoting with his members, he wouldn't even entertain the question; working as part of a team matters a lot to him, and as the group leader, he has to set an example. but today he's doing a solo interview and lets himself be more open. when the hosts ask about you, he absolutely tries his best to hide his initial reaction, but he can't help the smile that automatically appears at the mention of your name. he attempts to play it off with an arrogant hair ruffle that fools no one. literally so embarrassing. "am I happy? ...yeah, I'd say so." he laughs. "why would I say no? all of my important people are healthy and living their best life." he doesn't share too many details about you, just to protect your privacy, but he'd be proud to promote any of your recent achievements, regardless of your occupation.

WONWOO: he's a private person, so while he is technically dating in the public eye, there's not much known about your relationship; that's exactly why the show hosts are taking advantage of this opportunity to grill him about you. but he evades their questions with the practiced grace of someone who's had media training, dancing right in front of the answers they're looking for. he looks so at ease: crossed arms, leaned back, a hint of a smile on his lips. but perhaps it's due to this false sense of security that, when they bring out the big guns, it knocks him off-balance. they have pictures. nothing incriminating. it's just embarrassing to see his affection collaged like this: peeks of you as his lockscreen, him dancing in the crowd at your street performance, him staring affectionately at your back as you order from a food truck...yeah, they caught him with it all.

MINGHAO: he's an extremely private person—I'd argue even more so than wonwoo—so he warned the program beforehand that he wouldn't answer any questions about you, other than to confirm that yes, you are still happily together. they agree...and of course scheme ways to get around that. so instead of asking about you directly, they decide to reference you a few times throughout the shooting to catch his reaction. maybe your song as a random dance or screenshots of your show as memes. they have audacity, he'll give them that. if he was a lesser man or earlier into his career, he'd cave and play into their wants, but neither of those apply to him so he smiles every time, ignoring the references, until they get bored and move on. then, at the end of the shoot, they ask if he has any closing words. "thanks for promoting their work so seriously," he says with a sarcastic bow.

VERNON: he's yet another private person (do you have a type), though not through conscious choice like minghao. he's publicly dating and has nothing to hide, but he's not the type to flaunt personal matters so he just doesn't. obviously his friends and family know the important details, but beyond that, he doesn't see the point in sharing information with people that don't really know him. so when the hosts ask him about his relationship, it catches him off-guard. he fully blinks and stares at the host until someone breaks the silence with an awkward laugh. "unless you two broke up?" they offer tentatively. "no, we're still together. it's been, uh, it's been good. great." he nods. "we actually went to see a movie yesterday." and the hosts sit there waiting for him to continue, and he's staring back at them like. that's all I wanted to say...are we moving on?

[superectojazzmage]

Just back from Alien Romulus and hoooo boy oh boy. Review/analysis.

Easily the best Alien movie since the first two, which isn't saying much, yeah, but it is legit a really cool and well-made movie, competing with Late Night With The Devil, Longlegs, and Cuckoo for title of my favorite horror movie this year.

In a lot of ways it's about harvesting the few good ideas from the post-2 movies that were squandered and doing them right, plus getting the series back to it's healthier roots, kinda the movie equivalent of someone doing physical therapy to get back in the saddle after an injury. This means it's not quite brand new ground like some may hope for and I've heard some people feel it gets a little derivative at points because of it. I can kinda agree and certainly understand that criticism, but I feel it does what it's aiming for really well and sets things up for future works to go in even crazier directions. Furthermore, it takes a lot of time to try and weld together the disparate post-2 movies in a way that brings the series back to a little coherency.

The atmosphere is really intense and cool, swinging between lovecraftian dread and build-up and high-energy chaos. The aesthetics and special effects are gorgeous, taking full advantage of the progress that technology has made since 2 plus really digging in to the used cassette future vibe of the older films. The characters are likable and actually intelligent (or at least understandable) in behavior like in the first two movies, so you care about what's happening to them instead of just waiting for them to get munched. The action and kills were really cool and creative, the cinematography in general was off-kilter in an awesome way - there's a definite attempt to make the movie feel claustrophobic and intimate. Fede Alvarez did a fantastic job in general, I'd love to see him do more with the series.

It REALLY cranks up the series' psychosexual, freudian, and sexual assault subtext, arguably to a point where it's just plain text. So if you're sensitive to stuff like that or if this is your first go at Alien, be warned for that.

More specific notes go under the header for spoilers. Highly recommend you go in as blind as you can.

Andy and Rain were wonderful leads, their dynamic was fantastic and Calie Spaeny and David Jonsson both turned in great performances. I direly hope they join the first two films' casts as "major" characters for the series going forward.

The effects to make Daniel Betts look like Ian Holms were quite possibly the one and only time the special effects failed. It looks very wonky, which is sad because Betts does a really good job copying Holms' mannerisms for Ash while still making Rook feel like a distinct character.

In addition to the usual themes of sexual unease, genetics, and parenthood, this movie adds in some really interesting themes of familial legacy, the rise of new generations, foundations, etc.. Andy and Rain are like Romulus and Remus of myth, orphaned and left to fend for themselves but growing into founders of a new age - both in-story with their carrying the XX121 substance and evidence of Weyland-Yutani's misdeeds to Yvaga and out-of-story with them being the protagonists of a new era for Alien. Likewise, the Offspring is the first example of an entirely new species, neither human nor alien but taking from the lineages of both through Kay and Big Chap, a Romulus-like founder of it's breed that will later bear fruit in Resurrection with the Ripley clone and Newborn.

I'm really not kidding when I say above that the psychosexual undercurrents are taken to the extreme here. This movie basically sees the ways the original film subtly pin-pricked at those themes, says "fuck that", and deliberately rubs it in your face in a way designed to make sure you can't ignore it. It wants you to be grossed out and to squirm in your chair and it knows exactly how to make it happen.

Alvarez noted in the lead-up to release that he took a lot of influence from Isolation and you can definitely see that in how he depicts the Xenomorphs and the general aura of the film. He further described it as a kind of halfway point between the first and second movies and you can also see that; it has the Lovecraft-style tension and horror of the first, balanced with the energy and action of the second, and it does a really good job finding a middle ground between Ridley Scott and James Cameron's styles while also doing it's own dance.

I mentioned way back at the start how the movie basically harvests the good ideas from 3, Resurrection, Prometheus, and Covenant and gives them the room they deserve while dumping the bad. It does that in both terms of themes/style and continuity/lore. Concepts that those movies bungled like xeno-human hybridism, the black goo, genetic engineering as a focus, and so on are done here more creatively and competently. Themes that those films tried and failed to tackle are handled with significantly more grace. It has the atmosphere and characterization of 3 but none of it's baggage and needlessly depressive tone. It has the body horror and weirdness of Resurrection without taking it to the zany, embarrassing areas that movie went. The effects and creativity of Prometheus and Covenant without any of their awful writing and clumsy messages. Alvarez takes on kind of an Al Ewing-esque "repairman" writing style here.

The Xenomorphs are absolutely deranged in behavior compared to most portrayals, attacking like either cruel sadists or raging chimps and rarely bothering to take hosts. I'm not sure if such a reading was intended, but I got the vibe that the idea is Xenos raised without a queen or hive grow to be basically sociopathic like how real world predatory animals grown without parental figures become feral and dysfunctional. Which would also explain a lot about how the Xeno in the original movie, Big Chap, acts there.

The Offspring's design is fucking wicked and I love it.

One of my few major criticisms is that Big Chap died off-screen instead of getting more to do. What was the point of having him be alive at the start if he wasn't gonna be used beyond a backstory point to set up the main story?

All in all, a very impressive effort and a great return to form for the series that I recommend highly.

[gurugirl]

The Handyman | a check-in*

Summary: You and Harry throw a housewarming party and your ex shows up with some advice for whoever built the kitchen counter. Harry makes sure to prove to you how well-built his countertops really are.

A/N: Based on this idea! Previously posted on Patreon. Read the original one shot here.

Word Count: 3,613

Warning: smut, the tiniest touch of jealousy/possessiveness

❊❊❊

You hadn’t intended for your little housewarming party to turn into a whole thing. Harry said he’d help you invite people from town, a way to make more friends and get to know some of the locals a bit better. But then when your dad told your cousin that you were throwing a small party she let it slip to someone from your past. Van, your ex. She apologized, saying she didn’t think he’d be interested until he asked for more details. But you weren’t going to be rude and uninvite anyone because the house was big enough for everyone. And you did say “open invitation” after all.

“Y/n, it’s so nice to see you again,” Van pulled you in for a hug when he arrived. You put on your nicest smile and attempted to act happy to see him. And it wasn’t that you disliked the guy but the awkwardness of dealing with an ex you hadn’t seen in a while was a bit daunting.

“Oh my gosh. You too! I’m surprised to see you here. All the way out in the middle of nowhere!” It truly was a surprise. It was an hour’s drive from the city to get to your house. And even though your cousin told you she told him and he seemed interested, you half expected he wouldn’t show up.

You made small talk with him before excusing yourself to go to the kitchen except he followed you.

“This house really does look nice, Y/n. Did you have help with all this?”

“Thank you. And yes. I had someone help with everything. Harry’s been so amazing. Listened to what I wanted but he already had his own ideas which I loved so much. Kept almost everything original.”

Van ran his palm along the butcher block island and ducked down to check the construction of the cabinets beneath, “Who’s Harry?”

“Harry owns a small company doing all kinds of work for people in town. He helped me restore the whole place and landscape. I mean, he basically did all the work but… yeah. He’s also my boyfriend.”

Van raised a brow at you, “Boyfriend huh?”

“Yep. Boyfriend. He’s actually here somewhere.”

He nodded as he inspected the window over the sink, “Not sure if you remember or not but I became an architect. Wish you’d have called me. I could have really done this place justice. Sort of feels like some of this could have been upgraded.”

“Oh? Like what?”

You caught Harry’s eye when he stood at the entry between the kitchen and the dining room as he spoke to a few people he knew.

“Well this window for example,” Van pointed, “I would have pushed this whole wall out, made a breakfast nook over the patio since there’s so much space at the front. Could have put in built-in bench seating and it would have given you so much more light in the kitchen and increased the value of the property.”

“I mean that sounds really nice but I wanted it to be original. Expanding the walls and windows like that sounds like too much. And I’m not planning on selling it so increasing the value doesn’t appeal to me.”

“I just hope he knew what he was doing. If someone’s not quite qualified you could have shoddy workmanship that shows later. Like all the cabinets and these new countertops,” he knocked on the surface, “might look fine now but give them a year and you’ll see if it’s up to par.”

Suddenly Harry was wrapping his arms around your front and kissing your neck as Van was then suggesting a rebuild of the staircase to expand the width. You placed your hands over Harry’s forearms and grinned at the feel of his lips on your skin. His distraction had almost made you forget that Van was still talking until he slowly got quieter as he looked between you and Harry and realized you were no longer listening.

Harry kept his eyes on Van as he pressed warm kisses to your neck. It was a signal to Van. You were taken and you were happy and Harry wasn’t some pushover. You were his girl and he was letting Van know.

“This the ex you were telling me about,” he whispered into your ear so Van wouldn’t hear it.

You nodded and giggled, turning to look at Harry when Van cleared his throat.

Harry stood up straight and put his hands on your shoulders, “Sorry to interrupt like that. I’m Harry, Y/n’s boyfriend. You are?”

“Oh, I’m an old friend. I’m Van,” he put his hand out to shake and Harry wrapped his big palm around Van’s with a nod.

“Nice to meet you, Van. Now, what were you suggesting I do differently?”

Van’s eyes widened slightly, “Oh… I wasn’t saying you should do anything different… it’s just that there were some ideas…”

You were no longer interested in what Van had to say at all when you felt Harry’s hand slide down to your hip. It felt like a possessive move. You’d never known Harry to be jealous or anything but that whole exchange had you seeing a bit of a different side of him.

“Definitely some good ideas, Van. But we’re happy with keeping things original. Feel free to have a look around at everything if you like. Only room off limits is our bedroom upstairs that’s locked, but otherwise, knock yourself out.”

Neither you nor Van missed Harry saying our bedroom upstairs.

“Okay. Well, thank you. Yeah, I mean I think you’ve done a great job here and…” Now Van was backtracking.

Harry nodded, “The most important thing is that Y/n is happy with how everything turned out and the quality of construction is the best,” he rapped his knuckles on the countertop, his brow raised at Van.

Van kept his distance until he left a couple of hours later, only hugging you quickly and telling you, once again, how nice it was to see you. You weren’t sure why he showed up in the first place. Maybe, being an architect, he was genuinely curious about the new house you bought and had help restoring. Or maybe he was hoping to rekindle something long gone but then was caught off guard by Harry.

“I can see why you love it here,” your cousin nudged your arm as she ogled Harry who was talking to a woman animatedly.

You laughed softly, “What’s that supposed to mean?”

“Your boyfriend, obviously. Damn. Who knew small-town men looked like that? You’re living your Lifetime movie dreams babe. Old mansion, aunt’s inheritance, hot local who helped you fix the place up falls in love with you…”

You laughed through your nose and shook your head, “I’m not saying I’m not agreeing with you but… I would have stayed here with or without Harry. He’s just the cherry on top.”

“Oh, I bet he’s the cherry on top. So…” she looked around the space and then back at you, “He’s living here with you then?”

You nodded, “Yep. When we started dating it was just kind of the natural next step. I think my dad thought it was too fast but I didn’t want to be away from him at night anymore and he didn’t like it either. I suggested that he just stay and… well that’s really it. He’s here for good. Plus he put so much love into this house. It feels like it’s just as much as his as it is mine.”

You could admit, everything looked fantastic. Harry had made your home into something you could see yourself living in until you were old and grey. Something you were proud to show off to everyone. It was a labor of love, for both of you.

. . .

When everyone had gone, you were wiping up the countertop when your sponge was plucked from your hands and Harry pulled you back into his chest, “So Van thinks the construction of this counter isn’t well done?”

You turned in his arms and grinned up at him, “You know the construction is fine. It’s the best. Don’t worry about what he said. I don’t think he could tell from just looking anyway.”

“Did you like him a lot when you two dated?” Harry pushed you gently back toward the counter, your bottom hitting the edge.

“Why? You’re not jealous are you?”

Harry licked his lips and squeezed your hips before sliding his hands up to your waist and lifting you to sit on the smooth surface you’d just wiped down. You laughed and grasped onto his shoulders.

“Of course, I’m not jealous of Mr. Architect. But I do want to demonstrate how sturdy everything is. I’m not the type to cut corners, you know…” he dragged his big hands up your sides and one up your spine until his fingers found the back of your neck, collaring you with his big palm as he bumped his nose into yours.

You giggled and pushed your arms over his shoulders, “Seriously, Harry. I know how sturdy everything is. No need to prove anything to me.”

“Mmm… I know I don’t have to prove anything,” he smoothed his lips against yours gently, and slowly with the poke of the tip of his tongue at your plush lips igniting the furnace in your tummy that always simmered with need for him. But when he got like this… with his hands on your body and his mouth prodding at yours… the simmer turned into a boil.

You felt one of his hands travel down your hips and then to your thigh where he bunched the material of your skirt in his palm until he’d pushed the fabric out of his way and teased his finger up and down along the edge of your panties next to your crotch.

Spreading your legs for him you leaned back slightly and parted from the kiss with a laugh, “We gonna do this right here, Harry?”

He splayed both of his hands over your bare thighs and squeezed. His eyelids were heavy as he roved his pupils from where he was holding your plush thighs then up to your face, “Wanna?’

You couldn’t help but giggle again and bite your lip as you nodded.

“Mmhmm… Thought you’d want to. Given how wet your panties are right here,” he pressed his thumb over the crotch of your knickers, “Bet you need it more than I do, sweetheart.”

He smeared his thumb around the material of your sodden panties, wetting the pad of his digit before finding your clit and pressing into it. A breathy pant fell from your lips.

“What got you like this, Y/n? What happened, sweetheart?”

“Nothing, just you.”

“Me? Are you sure about that?”

“Always you, Harry.”

He grinned and pushed the fabric of your panties aside as he kept his soft green eyes on you, “What about me does this to you, hmm? You just like me so much that you start dripping?”

You felt your face heat up. Harry often liked to ask you questions that got you a little shy or embarrassed when you had to answer. And even though you should be used to it by now you still got a bit antsy. But fuck if you didn’t love it.

“Yeah. I really just like you so much…”

Harry’s grin never faltered as he kept his gaze pinned to yours and pressed his thumb at the entrance of your pussy, taunting it open until he had pushed it all the way in and you gasped. He began slipping it in and pulling it out, “I know you do. And I love how much you need me,” he continued fucking you with his thumb, “How your body reacts to me. Look at you, Y/n…” he dipped his gaze down to where he was thrusting his thumb into you, “Letting me fuck you with my thumb on the countertop I installed. Making a mess of my palm and I bet the quartz under your ass too. Almost shaking you need it so bad.”

You grunted and rolled your hips up against his thumb, pressing him in further and Harry groaned at your little pathetic wiggle.

Releasing one of your thighs he hooked a finger into the bottom hem of your blouse and pushed upward, “Arms up.”

Raising your arms overhead harry pulled the shirt from your torso and then pulled your bra down, exposing your tits one at a time until you were pouring out over the stretchy material. With his thumb still inside of you, he ducked down and wrapped his lips over your nipple, tongue first.

You moaned and closed your eyes when Harry moved to your other breast, pumping his thumb through your walls until it was all gushy sounding. He stood back, pulling his thumb from you and then bringing it up to his mouth, wrapping his lips around it to lick off every drop of you while his other hand worked at his button to get his pants undone.

There you sat at the edge of the counter with your legs spread and your wet pussy on display. Your panties were stretched to the side and out of the way but you could feel the elastic digging into the back of your thigh and your bum.

Harry pulled himself out of his pants, his gorgeous cock already at full mast and ready to split you in half. He cradled the underside of his shaft as he stepped in toward you and held your thigh in place as he smudged his tip into your labia, spreading your arousal through your crease. The dirty look on his face was heated, like he was about to overtake every part of you.

“Hold onto my back, sweetheart. Gonna fuck you on this well-made countertop now,” he smirked at you cheekily.

You would have laughed but you were already feeling his tip at your pulsing muscle and the anticipation of him stretching you open was making your head spin.

He rocked forward, his thick crown penetrating you and opening you up as he stuffed himself in. It took a few pumps of his cock in and out to burry into the hilt. He gasped when he felt your pussy devour him whole.

Your fingers clung to his back as he began to thrust, long and languid, wet and hot.

“Fucking hell… Got me so weak for you, sweetheart. So desperate to feel you around me all the time. Wanted to fuck you on this counter right in front of your ex-architect so he could see who’s fucking you these days, who’s treating you right…”

You moaned with every deep nudge of his cock through your wet channel. But when he ran his thumb over your clit you croaked out loudly, “Fuck! Yes…”

“See? Look how good I am to you… give you the best don’t I?”

You nodded, “The best, Harry…”

He crashed his lips to yours as he worked your cunt with his cock and his thumb and the languid thrusts turned into frantic jerking motions with his tip nudging into your guts, a hint of pain spreading through your insides at the way he bullied his thick length into you. He rocked his hips against you, the sound of smacking flesh and muffled moans between kisses filtered out through the open window onto your porch. Luckily you had no neighbors anywhere near so no one would know the kinds of things that went on in that old house every evening.

Your thighs were trembling with every swipe of his thumb at your clit and every dip of his cock through your insides.

“Gonna come for me already? Yeah? Fuck, baby…” he was swollen and leaking as he shoved into you. The feel of you wrapped tight around him was always heaven. His favorite.

You whined loudly, the build-up of your orgasm was unable to be stopped as you let him ravage your pussy however he liked. Pat-pat-pat… the sound of wet pussy getting fucked was a typical soundtrack in your house just about every night.

Harry ran a big paw over your tits and squeezed as he pounded into you. The counter under you never budging.

When your pussy began to squeeze and flutter and spasm and your mouth dropped open wide you let out a pitiful cry and dug your fingertips into the taut muscle of his back as you gushed on his big cock.

He only increased his pace as he fucked into you and watched your pretty face twist up in ecstasy. He loved watching you come. It only fed his ego to see such a pretty thing with your face all scrunched and lips curled and wet as you quivered in your orgasm.

He hissed to hold himself back as he felt your pussy slobbering arousal all over his dick. He’d have loved to unload his come right then but he wanted to force another orgasm from you before he allowed himself the satisfaction of coming yet.

When you felt him slow his thrusts you could hear him cooing at you, “Good girl. Fuck baby almost made me come you look so pretty like this.”

You lulled your head up to look at him and he smoothed his lips against yours as he stilled his hips, cock lodged deep inside of your tummy.

“Gonna have you bend over now, okay? Put your feet on this stool if you need it,” he dragged the stool next to his foot toward the counter for you. And with wobbly limbs, you adjusted your seating, turning over so your hips were face down against the counter top and Harry quickly placed his big palms on the round of your ass, pulling you apart so he could see your pussy and anus.

He inhaled sharply as he ran a finger through your folds and you jolted from being so sensitive, “Easy, sweetheart… This is gonna feel good once I get going. You ready?”

You nodded into the crook of your arm and let out a muffled yes as he nudged his cock against you again.

His fingers dug into the meaty soft part of your thighs before he split you open, burying in balls deep on first pass.

You grunted and braced yourself as he began to plunge through your insides, wet strokes of his long cock filling you and then pulling back to his tip on repeat.

“Ooh… shit, sweetheart. So fucking pretty…” he pulled at your ass cheeks and railed into you. You knew he was sweating already, he was giving it his all, using his strong muscles to fuck himself into you and panting breaths every time his balls smushed into your pussy.

You began to feel that fuzzy little prickle spread over your core with every stroke of his cock. The ridges of his bare dick always fit into your crevices and little spots like he was made to snug inside of you and get you off just like that. Your g-spot was never left unloved with the shape of Harry’s cock, his tip always dipping right into it with every pass.

He began to grunt with every glide of his hips, his cock being massaged by your warm walls making his balls tighten and his heart pound the closer he got to his end.

The sight of your pussy sucking him in, lips wrapped around his thick shaft and leaving creamy arousal along his length was just as hot as the way you felt encasing him. But of course, there was the scent and the sound as well. It was lewd. All his senses were burning and singing as he fucked into you.

“Ahh!” You moaned and began to push back against his thrusts, desperate for your next orgasm as it was approaching fast.

Arousal dripped down your inner thighs as he rutted into you, his pace growing sloppy and erratic as he could tell you were about to come.

And the moment you gurgled a wet moan and he could feel you clamping down he gasped and gripped onto your hips, moving you over his cock like you were a toy to fuck, he pulled your ass against his hips and then upward along his cock before slamming you against him again, smearing your pussy juice on the countertop as he did so. You cried out and convulsed around him as Harry finally pumped into you, pulling you back against him until he was stuffed into you as deep as he could reach and released every drop of himself into you.

He groaned as he came into your warm, cozy pussy, pumping strings of his come through your slimy arousal-coated cunt.

Harry made getting off easy. You’d never been one to come so fast or so easy but you were convinced his cock was shaped exactly like you needed. You reached back to take his hand as Harry leaned over your back and kissed your neck, “Pussy fucked and stuffed and countertop sturdy as a rock,” he laughed.

You giggled and arched your back to attempt to move yourself, the position was not the most comfortable after all.

Harry helped you down and held onto you so you wouldn’t fall and you both laughed again when you turned to face him, knowing you had mascara down your cheeks.

He cupped your face and grinned at you, “This is the best housewarming party I’ve ever been to.”

You pointed at the counter he’d just fucked you on and chuckled, “And that is the sturdiest kitchen counter anyone will ever see.”

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[bloop-bl00p]

So there’s Voodoo but no Lwas?

Before everyone decides to jump me just know that I’m black, I grew up in a very Catholic environment and my grandparents implemented African traditions to worship God. Throughout the years of my dear old childhood, I also witnessed cults and beliefs outside of Christianity and know briefly of a few African Deities, spirits, syren, and many more.

So I can talk about voodoo, I still tried to do as much research as possible, and if someone sees any mistakes in what I say I apologize, be polite when pointing it out to me and I’ll modify it.

So here’s the first thing I want to address…

White people can do voodoo… what? You don’t believe me, here…

It’s been done since the 19th in New Orleans and whoever can worship is a much more nuanced issue.

You see in voodoo, there are these things called Houses (Humfo). It’s a temple where a community of people worship diverse Lwa and are led by a priest or priestess.

It’s a closed religion which means that you have to ask before entering one House. Some may refuse you because you have European ancestry, and I won’t lie Voodoo is mainly dominated by people with African origins due to its roots. You still could eventually find a house that’ll accept you but you can’t randomly start on your own without going through the process of initiation. Don’t mess with African spirits or spirits in general, voodoo is a group activity for a reason.

Now that all of this is cleared I want us all to come to one conclusion. Voodoo is only and ONLY for the people who will respect it. This applies to all religions.

And to writers.

Write about what you know and if you don’t know something research it! Don’t stop at Wikipedia, go on other sites, see documentaries or videos, and get books from the nearest library. Maybe you know someone who is more experienced in the subject you’re trying to write about?! I know it can be a long boring and annoying process, but sweetheart who told you writing respectfully about a preexistent thing was easy? If you’re unable to sit and open Google for research then don’t write about it!

Now that we all agree on something, do these scream respectful representation to you?

[“I care about representation!” Sure Viv, we believe you.]

Okay, voodoo dolls aren’t used for harm. That’s a myth from Pop Culture and Hollywood and it’s one of those examples of African religion being deemed as malevolent by popular media. Thank you Vivziepop for contributing to the stereotype, a big thanks. 🙂

Seriously, the usual voodoo dolls we see in media are usually tourist traps sold in New Orleans but aren't used by actual practitioners. But, there’s a thing called fetish or bocio, usually, those are figurines made of wood and hung on the tree in front of cemeteries to maintain a spiritual communication between the deceased and the living.

From a personal experience, when I was like 10 or 11 my parents saw safou (African fruit) growing near a restaurant, and the owner said to not get too close as fetishes were hung to avoid people from stealing the fruits. So it also has a protection function.

But I’m not here to talk about my childhood, see I mentioned something called Lwa, let’s see what those are.

Voodoo is a monotheistic religion, it teaches that Bondye [Bon Dieu in French literally Good God] is the supreme creator of this universe mirroring him to the Christian God. But he has no evil counterparts so no Satan or Lucifer.

Bondye is disinterested in humanity and innacesbile to us, but he still keeps tabs through the Lwas giving a polytheistic aspect of the religion. People pray to them and give specific offerings depending on which Lwas they want to please.

They also can communicate with us through dreams and possessions. All Lwas have multiple domains of expertise and if you want something specific you’ll have to call a specific Lwa.

Each Lwa has a symbol related to them they are called Veve. It helps them manifest in the physical world, offerings, sacrifices, foods, and drinks are placed upon them.

“Where are you going with all of these informations?”

Here are the symbols that appear every time Alastor gets spooky or threatens someone.

These symbols alone don't mean anything but they are drawings that can appear in multiple veve. Veves are usually much more detailed and they used complete ones with little simplification in the Pilot, since it’s still canon I’m counting it…

My little theory is that if they decided to simply it is because the animators were already suffering so they lifted up the pain by sparing a lot of details. I mean they used the complete symbols for trading cards.

With all of these it is natural for me to come to the conclusion that to get his powers Alastor calls on the Lwas that grant these extremely powerful ✨tentacles✨, weird red gremlins voodoo dolls thingies, deals-making abilities, and probably other things we haven’t seen yet.

Which means that Bondye exists—

“Th3r'$ n0 God in HH. 🤓☝️”

Sure I can work with that, the Lwas exist and are independent, I guess Viv still has creative liberties.

Since Alastor depends on them that means that he chooses specific spirits to gain the specific power that he has, so I decided to search for a few symbols that have a resemblance to the one of Alastor and we’re gonna test Viv's ability to make something consistent.

A rant about Alastor’s power:

Obliviously they are not all of the symbols in correlation with the one in Hazbin Hotel. I just took these to showcase something fascinating with Viv’s writing style.

1. Marassa-Dossou-Dossa:

They are androgynous twins. They represent the power and purity of children, families, and procreation alongside benediction, love, justice, and innocence. They are children, usually, you can offer them candies, drinks, or banana leaves. They are summoned at the beginning of each ceremony after Legba to signify their importance in the religion.

The Marassa are extremely powerful despite being represented as kids. They usually help people who have issues with getting a child or other important aspects like the death of a newborn. While they are mostly nice and all, they are responsible for bad luck and bring sickness when not correctly served or forgotten.

2. Damballa:

He is one of the Loa who helped Bondnye when making the cosmos and, you can imagine, a very important figure.

Damballa is represented by a giant snake and is often associated with St Patrick's. He is the keeper of knowledge, wisdom, and healing magic representing the symbol of life, peace, purity, and goodness. His partner is Ayida-Weddo who forms rainbows, together they use the same Veve.

They are extremely strict with rules regarding their ceremonies. Everyone needs to be dressed in freshly cleaned clothing, women need to wear a white headscarf made of silk. Alcohol, nicotine, and else are forbidden when calling upon him.

Damballa doesn't have legs, so during the possession, the possessed will fall and wiggle on the ground like a snake and sometimes hiss.

3. Le Baron Samedi:

He’s the spirit of the dead, resurrection, and the giver of life, it’s him you need to call if you wanna get in touch with your ancestors. He avenges the souls of the dead (witches, those who were wronged, etc, …)

Le Baron Samedi will heal your wounds if you’re willing to pay back, while it’s not his only ability the rest may be considered sinister since he’s a master of black magic and curses. If someone sends you a hex that brings death so long as Le Baron doesn't let you, you won’t die. Oh and you see the Christian Cross, it’s also his symbol.

Le Baron can manifest himself in our physical realm through specific rituals I won’t bother to describe how he presents himself just search his name on Google and look at the image. Despite being married to Maman Brigitte, he is still known for cheating. He’s also openly lewd quick to swear and likes to mess with people with a big ego.

Usually, his followers can be seen wearing black and purple as he favors these colors but it’s not obligatory.

4. Ayizan:

She’s a sweet grandma and protector of commerce. You can see her with a white dress and deep pockets buying groceries in local markets, and she gives candies to children and people who are respectful.

She’s associated with the rites of initiation in the religion, which is a ritual or ceremony to signify when someone passes from one group to another it implies a change of status in the society. (ex: passage of child to adult)

She’s a typical priestess and knows of the many wisdom and mysteries regarding initiation and the natural world. She’s one of the greatest healers of the pantheon and while she doesn't heal physical wounds, she heals psychically offering health.

5. Papa Legba:

He’s the spirit of crossroads, both metaphorical and literally. It’s symbolizes choices and opportunities. He’s also the intermediate between men and the spirit world people said he’s always in front of Houses. Papa Legba is invoked at the beginning of ceremonies to open the way for communication with other sprites and deities. While he’s mostly benevolent, he can be stern and enforce spiritual rules.

Some may also depict him as a fertility God, a tricker, or a protector of children. In Haiti, he facilitates communication, speech, and understanding. Children like him and he’s often asked to babysit.

He’s associated with Saint Peter since this figure also has keys that grant access to an afterlife.

Debrief:

With all of this informations, we can all agree that none of these spirits works with Alastor as there’s mainly associated with what we could consider a positive aspect of spirituality. Alastor isn't really an example of purity, goodness, and else. Plus his powers have no links to any of the–

“But there’s Le Baron Samedi, he does Black Magic.”

That’s true and he’s actually the only Lwa from my list who could potentially work with Al but there are a few issues. Le Baron Samedi messes with people with a big ego, even if Al decided to work with him it would be quite complicated. Add to that Alastor's respect for women, I don’t think he’ll like to work with someone who cheats on his wife.

But let’s actually think of the potential here, making him a tangible entity Alastor could speak to, would have led to interesting character dynamics with Le Baron mocking Alastor and making him rethink his decision every time he tries and acts selfishly. Le Baron Samedi could have been the one slapping Mister Deer Boy to reality.

Personally, I think it would have been cool to add hints of the partnership by making Alastor’s suit black or giving him purple accessories but Viv's palette of colors is unfortunately very limited to the same shade of red.

“You only listen to 5 deities that appear to be popular, maybe somewhere there’s actually a Lwa that is working with Alastor and you simply didn't choose to show it to us.”

There’s actually one spirit I can think of. Bakoulou Baka, I did not find pictures of his veve unfortunately.

What I can say about him is that he grants powers and wealth. But since he’s associated with dark energy, those things are finite and you’re royally fucked if you don’t repay him in time. He is so evil that people are scared of calling upon him.

Baka in general is a term used to refer to spirits willing to deal with very powerful sorcerers. They pretty much will do anything only if the price is right, they are malevolent spirits who’ll turn on you if you don't do your part of the deal.

Alastor was mentioned to be stuck in a deal, it would be a great twist if the one who got him in this situation was an Evil Lwa he underestimated and failed to repay when he was alive. But we know Vivziepop that won’t be the case.

“You’re too harsh on her those will be obliviously mentioned in season 2.”

Think back to all of the things I said in this post, the different terms like House, initiation, Lwa even the word Voodoo itself, are they even mentioned ONCE in the show? Did Vivziepop make an effort in the FOUR YEARS of production to include them? Did she make the slightest bit of effort to make sure that the new audience knows that Alastor practices voodoo?!! Even by watching the pilot you can’t tell it’s mentioned once fastly by Charlie AS A JOKE.

“IT’$ h@rD t0 Do that.”

Yeah, writing is hard you have to deal with it. And be for real, there’s a scene where Vaggie enters Alastor’s room and sees him eating a deer, rather than see him in the middle of breakfast that could have gone like that:

“What the hell are you going?

– Just a few offerings to keep the Lwas happy.”

Smart people would have been like “What What the hell is a Lwa?” They would have searched it on Google, and Bam people know Al does voodoo.

“But th3 szeN3 w@s to sh0w h3 was a canibal.”

We’re talking of the same guy whose bestie is the cannibal queen, when Rosie proposed fingers to Charlie he could have accepted it. Good now the audience knows he’s a cannibal too, yay!

Religion is an important aspect of characters as it explains most of their behavior. That’s the type of thing you introduce in the first seasons then expand on the second.

And we’re talking of the same show where Husk looked at the screen and told us each of the main character archetypes. I’m surprised Alastor hasn't been called Voodoo Man or something.

I thought of those rewritten scenes in the span of two minutes and you’re telling me Viv couldn't in four years?!

“But HH is b@seD 0n B|blic@l t3xt. Voodoo |s DifeREnt. 🤓☝️”

Are you aware Voodoo is essentially a very big salad of multiple beliefs mixed together rights? You know that one of them is Christianity right?! Some Lwas are associated with Saint, so nothing prevented Viv from making a new class in Heaven called Lwa whose job is to assist the Saints in their task.

When Charlie and Vaggie presented themselves in front of the gates, Saint Peter could have been the one holding the keys and Papa Legba would have been the one reading the book to know who was entering or not.

With the bare minimum in terms of research (1 week), I managed to think of quick easy but effective ways to implement voodoo in the Hellaverse in the span of 2 poor minutes. So why can’t Vivziepop do this when she had FOUR YEARS?!!

Or maybe it’s just that… she doesn't care.

She doesn't care

You need to have a very VERY blatant lack of care for the source material to present voodoo the way Vivziepop did it. Every time the veve appears around Alastor it’s to communicate one thing danger and threat, it’s a harmful stereotype that needs to end people pointed it out she refused to listen.

And it’s because of this lack of respect that bullshit like these happen in her fandom.

Alongside this, you can count the many comics of Alastor using voodoo dolls to hurt/control someone. I’m not blaming any of these fans, I’m blaming Vivienne Medrano for feeding such harmful ideas about the community and not making it clear enough that those symbols are part of a rich culture that people hold dear to their hearts and NOT A FUCKING AESTHETIC

You want an actual example of respect for foreign beliefs?

In the movie Exhuma, the main characters are a shaman and a geomancer, obliviously those who worked on the movie took creative liberties regarding shamanism in Koran culture BUT they actually called a Shaman. There’s a scene where one of the main characters is supposed to do rituals, the actors learn an actual choreography and do it as accurately as possible the shaman was there to supervise everything from beginning to ends.

All I’m asking is for Vivziepop to open Google and do a deep dive. It’s like a school presentation, you sacrifice at least 2 or 3 hours of your days to research your subject, and she had 4 years to do that a little bit of everyday.

Noo it’s too complicated apparently and come on look at these beautiful veve! It’s edgy if I draw them with red on a dark background they look EeViiiIil.

I said it I said it again, if you’re not willing to research as much information about a preexisting subject.

Don’t write about it.

If you don’t have a little bit amount of respect for a religion and care about representing them properly.

Don’t write about it.

Don’t be like Vivziepop.

[edamette]

Analyzing König's presonality

Original post made in TikTok by shikided, published here with their permission.

Let’s start with the fact that König is not shy or self-conscious.

Social anxiety in his case is expressed rather by aggression towards others. Aggression is his defense mechanism (it is different for all people, for some may be a smile, for example).

He can treat people coldly, as well as rudely, out of a subconscious fear of getting into an awkward situation, of being in a vulnerable position. Of course, he is unlikely to like being in a crowd, but this does not mean that he will start to panic and blush, after all, he is a disciplined soldier.

However, König is active and restless, as evidenced by the fact that he was not accepted as a sniper not only because of his height, but also because of his inability to stay in place for a long time. (This is suits his stormy temper)

His expressiveness is especially noticeable in the way he speaks, and Jim Boeven conveys this perfectly. Just compare the original voice acting by Konig and, for example, the Russian one. In Russian, his voice is much calmer and more direct, more balanced, which is out of character.

König is impudent, proud, sharp-tongued. “Pick your guts off the floor” or “and they said that I couldn’t be a sniper” – he’s literally spitting bile, and this still hurts him, as a consequence of the fact that he’s trying to look like a sniper, making himself a mask with his own hands. This desire meant a lot to him, and this is to some extent his personal protest. König did not fully accept the refusal, did not resign himself.

König is brave, even somewhat passionate, not afraid to rush straight into the heat: “get me back into the fight”, “I’m ready for another round”, “don’t worry, leave the heavy lifting to me”.

However, he understands the advantage his height and build give him and uses it. Moreover, he knows how good he is on the battlefield, and does not hesitate to say about it: “finally, some worthy adversaries”, “they are no match for me”. These phrases reveal a need for personal self-affirmation due to his childhood bullying and humiliation. König compensates for the lack of recognition with arrogance and pride, as even his name (King in German) suggests.

This, like his defense mechanism, can cause a disdainful attitude towards other soldiers: “who taught you to shoot?”, “not bad, I’ve seen better”, “let’s be honest, it’s better off in my hands”, “hands off, it’s mine”, curses are also present.

Some fans for some reason see him as a big child, few others as a brutal killer.

König is a fighting unit, a man trained to kill, that’s true, but that doesn’t mean he’ll kill you for some little thing. He can, of course, but he won’t. König is a hostage rescue specialist, His task is not only to eliminate, but also to save.

Pay attention to his pose in the menu. König does not look shy and cute. On the contrary, his movements are calm, even relaxed, he demonstrates confidence and strength. He raises his hand and points at the player, as if to say “Pikachu, I choose you”, or “we’re gonna make this day”

His phrases sound friendly towards us, like “together we should be victorious”, or “you can be in my team any day” and even “with you until the end”

He seems to be encouraging his comrade, with whom he is now leading a mission. König is closed and cold, but loyal and kind towards his people. Due to his character, I doubt that he has many people whom he truly values, such a person will be very attentive and selective towards those who surround him, therefore he seems to me be a loyal and reliable friend to those whom he truly considers them his loved ones.

Summary: König is an interesting character with a psychological point of view, with his own bee in his bonnet.

Closed, arrogant, cocky, loyal, devoted.

[fruitsofhell]

My other fun addition to the Hbomberguy video stuff is not just that you need to start checking everyone's sources just to make sure you aren't being duped, but to not use them as a stand in for media consumption/experiences either. Like I'm not gonna lecture you on reading sources cause I am the first one to not and that's my laziness, but like sometimes more important than checking the original analysis of something is just to... see tge thing being analyzed yourself. That's not even about misinformation or lying, sometimes people's opinions just SUCK ASS.

Like there are youtube video essayists I overall kinda respect but they have dogshit opinions on things. I used to love Jack Saint's bad faith overly critical analyses of throwaway kids films, until I realized he also saw films that in my opinion had a lot of merit, and it turned me off from him. Big Joel is cool as hell, but anytime he gives his opinion on animation save like a few points, I completely glaze over and find him annoying. The other day I watched a video essay about the "Magical Negro" trope, and the first movie sourced interested me, so I watched it and I hardly understand why they put that in, it framed the movie as something it wasn't.

Just in general, it's good practice to make sure your opinions on media are your own and experience it yourself. MY biggest takeaway from the Hbomn video wasn't to throw rocks at Somerton or start obsessively fact-checking every essayist I watch, but to make sure I have a baseline of what they talking about myself and not letting anyone throw around media examples without reckless abandon. The Celluloid Closet and Tinkerbelles and Evil Queens is on my watxh/read list now, but the first thing I did from the words he stole from Celluoid Closet was watch Rebels Without A Cause out of curiosity of this gay subtext in a 50s blockbuster. And it was a super interesting experience that has given me my own unrelated opinions. Not to discount whatever important queer reading and historical importance the film has, but I'm happy I also have more than just that cause I Watched It Myself, not someone's specific and unavoidably biased reading of it.

The video isn't about cultivating suspicion but cultivating appreciation for the skills of analytical/informative/opinion writing. So even when people aren't being lying grifters, it's just good to be your own critic and media analyst. Maybe you'll even contribute to that world yourself, or maybe you'll keep all your cool opinions in your heart and die, who cares. The point is that unlike some people, your opinions and words are your own. It's a beautiful thing to have your own creative voice.

[lune-redd]

Hello, it's Lelly.

As you may know, I have recently deactivated my Twitter account. A lot of people are speculating I left because I was being harassed for drawing my older depiction of Bubbles from The Powerpuff Girls as chubby. However... that's not the direct reason I left. In fact, I didn't really see much of the comments of folks on there getting riled up about it as I muted the tweet the morning I saw that it blew up. I was only merely aware of it all by being told about it from friends, with there being some other users on the site making other really fuckin' stupid comments about my art.

This does however lead into why I actually left Twitter, and it's because of Twitter's overall toxic nature. Overtime, I've really gotten sick of how absolutely revolting Twitter has become to experience. The site is basically built around dunk culture and doom scrolling. You know that one tweet of someone making an example of Twitter's utter stupidity by using pancakes and waffles as an example?

I bring this up because I think this fits my point about how Twitter has this thing of assuming the absolute worst about the most insignificant things, even the most innocuous. The "Bubbles obesity" comments weren't the only stupid comments that came out of that post. I also got a quote retweet that I was "forcefully feminizing Buttercup", even though the whole fucking point of that drawing was to depict a usually tough character in an unusual situation for her. I have also gotten stupid comments on other drawings though, like the one where Mitch pushes Buttercup down for trying to look taller than she is and I got called a misogynist for it, though I'm pretty sure that one was bait (Twitter users have a tough time figuring out what is and isn't bait, it's dunk culture that I'm about to talk about really doesn't help this).

The site's dunk culture is also really fuckin' bad. Quote retweets are a disease, as unlike Tumblr's reblog comments, quote retweets count as a different post. Someone disagrees with you? Show your audience how stupid they are on your page! Hey, are you trying not to see the most abhorrent racist statement imaginable? Well TOO BAD FUCK YOU here's a le epic own giving them all the attention in the world even though one of the most common internet rules are DON'T FEED THE FUCKIN' TROLLS YOU IDIOT. Oh hey, are you trying to explain how you prefer a certain artistic choice over another in something you like? Well you're a deranged ungrateful whiny nitpicker, get owned!

I've seen so many of my friends be belittled for simply discussing their artistic preferences of things they're passionate about. I had a friend who said he prefers the original Crash Bandicoot design over his redesigned look in Crash 4, and had legitimate reasons for why he felt that way (even if he didn't really explain them clearly), and he got dunked for it which made me mad. I'm sick and tired of it all. The reaction to my art is only a mere example of the shit I despise about that site.

I had been planning on leaving Twitter for quite some time, as my follower count was growing nearer and nearer to 10K. I had planned on leaving after 10K followers because that amount was wayyyy too fuckin big for me to handle. I'm a young and growing lad, and I felt it wouldn't be good for my mental sanity to handle all that, so I dipped. The amount of attention I've been getting is simultaneously both wonderful and extremely overwhelming. Even the explosion of new followers and asks on here is quite the load! (Seriously, calm the fuck down y'all) I am very grateful for all the supportive asks I've gotten even though I won't be able to answer them all, thank you all so very much.

tl;dr I didn't leave Twitter because I was being harassed or anything, but rather because of the site's overall toxic and belittling environment.

Adios.

-Lelly

[salmalin]

My sincerest apologies and warmest welcome to my rant about FF7: Crisis Core. Or, as I like to call it,

Propaganda: The Video Game

I say this with the utmost affection. Crisis Core ranks really high up there in my favorite Final Fantasy 7 installments. I played it when it first came out, borrowing it from a friend to play on a borrowed PSP. And, the more I learn about the game and the more I replay it, the more everything lines up.

This game is not about Zack Fair.

This game is about how Capitalistic Propaganda can sink into every aspect of life to the point where it is entirely indistinguishable from reality. And it’s very overt about it. So…

Here we go.

My treatise on Propaganda’s starring role in Crisis Core.

Part One: The Timeline

Something that a lot of people gloss over due to decades of Child Heroes in media—Japanese Shonen and Shoujo series in particular—is how young these protagonists are. We’ll hand-wave a lot of stuff in non-live-action series with just a little bit of suspension of disbelief. And that’s honestly just accepted these days. But here’s the thing about those hand-waves.

Final Fantasy 7 doesn’t do that.

Now, FF7 hand-waves a lot of stuff. For example, how far you can travel in a day by foot, the distance a man weighing approximately 165lbs can jump after being genetically fused with what might as well be a cocaine demon (Jenova), and how much hairspray one can reasonably carry on a cross-country journey while on the run from the feds.

Age is not one of them.

Exhibit A: Yuffie Kisaragi.

Do I really need to say more? She acts her age. So does Zack. And Aerith, even. Most of the characters in the original lineup were over twenty for a good reason. We see several kids in the series, and they all act their age, too—both the OG and the remake. Age is not a thing that FF7 really grapples with. It’s something they take relatively seriously.

Now, to the point.

Zack is 16 when Crisis Core starts…

… and he was 13 when he ran away from home without his parents’ knowledge to join the military.

Which accepted him.

At 13.

Without a parental permission slip.

Think about that for a second.

… Or for the next several parts of this breakdown.

Part Two: The Main Character

As I mentioned in the introduction, Zack is not the main character of the events of Crisis Core. Instead, he is the focal point of the second person POV. This is not the first time Square has done this. It was done most notably with FF9, FF10, and FF12. (I’m not going to go on an Akira Kurosawa rant right now, but please check out his film “The Hidden Fortress”. FF12 and Star Wars episodes 4-6 borrow heavily from this film.) The purpose and position of this character is such that they might best witness the effects the other characters make on the world as their stories unfold, usually in the role of a love interest. For Akira Kurosawa, it may have been told this way because these people are most effected by the decisions being made.

“Well, then, Sal,” you may be asking, “who would you say is the main character? Would that be Aerith, since she’s the love interest, like in the other games?”

No, actually.

It’s the antagonist.

And by that, I mean Genesis.

Hear me out. I used to hate Genesis, for I was once young, full of judgement for flamboyancy (thanks, internalized homophobia), and was led by the narrative to believe he was mean to his friends. Then I met my Lovely beta who loved him, so I wrote a fic for her as a gift. So for that I kinda just… read stuff. Because that’s the thing about Propaganda—you gotta read stuff to navigate it. I read the in-game emails. I re-watched all the scenes I could get my hands on with him. I read his wiki and tried to track down more information about him. Then I watched the scenes in Japanese and gained a better understanding of not just Genesis, but Sephiroth’s character. And I realized that Genesis was put on this road from the start. In fact, a big part of the fact that he’s seen the way he is in Canon—only at his most hostile and lowest points—is because the story is told through Zack’s point of view.

So before we get into the breakdown, here’s the hard facts about Genesis.

1. He was a test tube baby who may or may not technically be Angeal’s fraternal twin brother, which we are not going to unpack right now.

2. He was adopted by a relatively rich family.

3. He was a child genius (which requires not only resources, but drive to achieve), and at a tender young age of like… ten or something? He decided to mess around and literally invented pasteurization. Which is incredible, and really speaks to his knowledge of the world and ability to grasp complex concepts even at a young age. But, again, this is not the time or place to unpack that.

4. He was best friends with Angeal, who might as well have been the sweetest, kindest boy to ever walk the Planet. (I’m biased. I love him.)

5. As a teenager, he became fixated on Sephiroth, who had gained national acclaim as a SOLDIER despite them being the same age. (Please see part 1 and think about that for a second.) He then goes to join SOLDIER and brings Angeal with him. And Angeal brings his step-father’s puritanical “hard work is honorable” mindset with him. (On that note, Angeal and his father’s arc really are a wonderfully scathing letter to companies that overwork their employees and how toxic/unhealthy that line of thinking is. But. Again. We are not unpacking that right now.)

6. At one point he became consumed with LOVELESS, a series of poems with heavy prose and symbolism thicker than syrup. It got to the point where he was so well known for it that there was an entire fanclub dedicated to both him and analyzing the text.

7. While he was in SOLDIER, he repeatedly had his achievements publicly accredited… to Sephiroth.

Over and over and over again.

Everyone did, really. They mention it in the beginning of the game. Sephiroth even got public credit for Zack’s raid on the castle when he wasn’t even there. How much of his legacy is real? How much of it is made up? How much of it was faked? We don’t know. No one knows. But he keeps getting credit, anyways. And when Genesis confronts him about it, Sephiroth doesn’t care. In the Japanese version of their fight scene, you could even say he indirectly implies that he wants Genesis to take his place as the “hero”. In the English, Sephiroth’s line is, “Come and try.” But in the Japanese the line is closer to, “Wouldn’t that be nice?” Which, depending on how you take his tone, can mean wildly different things—from mocking, to earnest, or even admiration—which is especially to tell because he might be annoyed with Genesis at the moment.

Fun Fact: In Ever Crisis, Sephiroth explicitly says they are making up his achievements in the press to target boys his age for recruitment. (Thus why they accepted Zack at age 13.)

My theory on this line is that he is being cynical; that Genesis doesn't understand just how harrowing and even humiliating his experience has been. This only enforces my theory that the "come and try" translation in the English not only does a disservice to a line as wonderfully heavy as, "Wouldn't that be nice?", but fundamentally misunderstands Sephiroth as a character.

8. Genesis then took the fight to Shin-Ra. Inspiring a good chunk of their staff to leave the company, he then staged multiple attacks on facilities, staff, and the main building—which also spilled out into the city of Midgar. He murdered his parents, buried them, killed everyone in town, and… Yeah. It wasn’t pretty. A lot of innocent people died simply because they were vaguely associated with Shin-Ra. These are the actions of a villain. What’s more, this is clearly a sign that he has been acclimatized to death and violence by Shin-Ra to the point where he doesn’t even consider taking hostages.

Except.

Except the entire town was a Shin-Ra town.

Banora, canonically, was a Shin-Ra built town, which means everyone there was basically an employee of the company. No one was safe. Everyone was a threat. And that…

That was how he was raised. And he finally knew the truth—that every moment of his life was touched, controlled by Shin-Ra, all the way down to his very conception. He has never known freedom. He has never known his own identity. And now that very cage was killing him, slowly and painfully, and turning him into something that couldn’t even be recognized as human. He was watching himself rot in the mirror, and it was all because of Shin-Ra’s greed. And as he searched for salvation, he sunk into LOVELESS as he always had, hinging his entire life on Minerva’s Gift because he knew he was dying and that was all he had.

9. And then he died…

10. … but then it turned out LOVELESS was actually kind of a blueprint, and he did meet the Goddess, and he did get reborn without his degradation so he was rewarded for his journey in the end.

So why wasn’t Genesis the main character of the game?

Simple.

His actions challenge the status quo without being about the status quo. It’s a story about revenge. It’s a story about retribution. It’s a story about answering mass violence with mass violence and ultimately being rewarded by it. And while, yes, the series is an action-based violence simulator, the violence in the original FF7 was a guided, tactical effort. (For all that the characters aren’t the brightest bulbs in the sun lamps.) But the biggest, most obvious shift in the narrative happened when they realized their role as terrorists—bringing mass violence to the company via bombing and open aggression—was just resulting in increasing levels of retaliation against uninvolved people. They might as well have been a child beating the ankles of a giant. The goals and themes of the game fundamentally change when they realize that answering mass-scale societal violence with mass-scale physical violence was not only unsustainable, but also wasn’t going to solve their problem.

FF7 is about change and learning when violence—and what kind of violence—is appropriate in the face of different threats.

Genesis’ arc undermines all of that, and making him the main character would contradict the very heart of the OG game.

So, instead, we are positioned as Zack, connected to him through a mutual friend. From there we see all the damage and horror this vengeance brings to those living under the status quo.

But also, that plotline’s a major downer in a lot of ways, so they needed to lighten things up a bit to keep audience involved. And that’s why Zack is, well…

Part Three: Zack is a Himbo

Please, for the love of all that is holy, keep in mind that everything I say here is with the utmost affection.

Zack is dumb as a rock.

He is a charismatic, enthusiastic sixteen year old jock who ran away from home at thirteen years old to join the military. Which, please know, why I say “military” I mean “private security guard force with a standard-issue Death Baton and a license to kill”. The first scene in the game is him being excited that he gets to murder a bunch of people in a simulation, which he is immediately scolded for by his mentor. He is a glorified, souped up private security guard who is canonically only in it for the glory at first. He wants to be a “hero”, but doesn’t seem to fundamentally know what that means. And, over the course of the story, the definition of that clearly changes for him.

Which tracks, because the story takes place over a period of time with high stress.

Occasionally I see people saying they wish that Zack had more complexity to him, and honestly? The game. Would be. SO. BAD.

Full Disclosure: I am not the biggest fan of Zack specifically because he lacks a lot of nuance. I wish he was a bit more complex, too. But I also know that would break the game. What’s worse, if he was still on Shin-Ra’s side because he understood Shin-Ra’s mission… Well… That would make him a villain, or a cog at best. That’s not main character material. It would make the ending more messed up, though.

Anywho, Zack was thirteen when he left home. He had no formal education. He didn’t tell anyone what he was doing. He even joined without a permission slip from his parents. This means that Shin-Ra was accepting thirteen, possibly fourteen year olds into the military. (Some people will say this tracks because you can get a job at fourteen in many parts of Japan. But, and this is important, you aren’t allowed to be a security guard until you’re quite a bit older, and you need a specific license for it, much like in the US.) Clearly they didn’t teach this boy critical thinking skills. Not because he’s a himbo, but because having their Super-Powered Private Security Force With A License To Kill think independently would explicitly go against their interests. (EX: Genesis.)

Shin-Ra needs SOLDIERs to follow orders or the company would no longer be able to function. Seconds and Thirds aren’t even allowed to reject missions. (One could argue that sending certain someone on back-to-back missions would be a good way for them to eliminate undesirables within the ranks by sending them to their deaths, which… would make an incredible fic idea, actually.) We already know that First, Second, and Third Class rank assignments do not actually reflect the power of the SOLDIER. This is canon. I would instead argue that those who make the rank of First Class aren’t necessarily the most powerful, but are instead the most visible in the media, thus the easiest to market, and/or the easiest to manipulate and control. (For a great example of this, see The Umbrella Academy.)

The point is, Zack may have been elevated to his position as a first specifically because he is malleable and single-minded. Even after all he saw with Genesis, he stuck by the company to the very end, with the exception of the time Sephiroth was literally guiding him to fail a mission. Zack allowed himself to take Shin-Ra’s side every time, taking down their enemies and following their orders, preserving his “honor as SOLDIER” as he had been taught. The only thing that made him stop…

… was literally getting put in a jar.

It was when he was no longer a SOLDIER.

Part Four: Honor

There is no such thing as SOLDIER Honor.

I repeat: There is no such thing as SOLDIER Honor.

It is a fictional thing that is borne of an ideology based around hard work. It only has power because it is believed in. It is an intangible social construct similar to the law, mathematical order of operations, and gender roles. So why are Angeal and Zack obsessed with it?

Pretty simple.

Angeal’s step-father followed it.

Now, we know three things about Angeal’s step-father.

1. He was chill with the fact that Gillian was already pregnant when they started dating.

2. He was a very good father.

3. He worked himself to death trying to pay off the sword he bought Angeal.

This, of course, says a lot about Angeal considering he rarely uses the sword. He essentially sees that sword as the symbol of his step-father’s life. Everything he uses it for, he sees as more important than his step-father’s life. That thing is usually Zack.

Zack, who is the child who joined the military based on stories of heroes.

Zack, who rises against Angeal in the name of his own step-father’s ideology and tries to talk him down, even at the very end. But Zack fails because he fundamentally doesn’t understand what’s going on, partially because “Soldier Honor” is just one more aspect of this narrative he was given. It is a narrative that Angeal has had to step away from, even though he doesn’t want to leave the memory of his step-father behind. He was a good man. He was a good, hardworking man.

And that is why he died.

Corporations will use you up until there is nothing left, then honor your memory/sacrifice. Shin-Ra was doing the exact same thing the company his step-father worked for did; using up SOLDIERs until they outlived their usefulness. And Angeal was horrified to realize that his “SOLDIER Honor” wasn’t honor at all.

It was willingly submitting to control.

But, unlike Angeal, over time, this meaning changed for Zack. Partially because he didn't understand it fully in the first place. It became about acting with integrity. It became about helping people. It became about not lying down and watching the abuse Shin-Ra handed out in exchange for literal money; for maintaining the status quo.

At the very end, Zack understood what it meant to be a hero.

Part Five: The Conclusion

To sum up, Zack believed in and idolized the propaganda spread by Shin-Ra at such a young age, and was so convinced by it, that he ran away from home at thirteen to join the military.

He was their target demographic, so they happily took him into their ranks. What’s more, people think this is normal enough that we see no one opposing this, because the only people who oppose Shin-Ra are “extremists” or “violent terrorists”.

Zack then became their loyal puppy, groomed to fill his role as super-powered attack dog to sick on anyone they deemed appropriate, and he filled the role. He believed he was doing good. He didn’t think they were invading another country, because that’s not what he was told.

He went after Genesis, because that’s what he was told, and he wouldn’t let Genesis’ actions shake his faith in the company.

Then he went after Angeal, hoping to get answers, only to become more confused. Angeal taught him about SOLDIER honor. He taught him about a higher calling. He was the one who made Zack truly loyal to the company. This challenged everything Zack knew.

He went with Sephiroth, planning a small rebellion of their own (a white lie on paperwork) to get answers, only to find things he wasn’t ready for and couldn’t fully understand.

Zack is shaken by each of these events. Horribly. At times, we even watch him grieve. But time and time again, he doesn’t leave the company. He sees the damage they do first hand, and he doesn’t leave the company. The company isn’t the problem, to him. He reads their emails, does their dirty work, and “maintains his SOLDIER honor”.

Zack swallows what they give him right up until what they give him is torture.

Zack swallows what they give him until he becomes their victim.

Every step of the way, Zack is fed a story of how the world is. He was raised on it. He lived it. He became part of it. He was paid peanuts to enforce the status quo Shin-Ra installed in the world by force, and he was proud of it because it was, to him, something to be proud of.

Zack believes the propaganda whole-sale, and we get to watch, from the point of view of an outsider, as it slowly destroys his life before killing him.

Propaganda has the power to make suffering normal. Propaganda has the power to make murder righteous. Propaganda has the power to take a thirteen year old boy out of his home so they can give him a sword, and when they point him in the direction of their enemies he charges of his own volition, because they made him believe in their cause. And he believes in their cause because he believes that it makes life better for everyone.

But that’s not what’s actually happening.

That’s just what he was told.

Crisis Core is about propaganda, and the depths to which it can affect our lives. It changes our belief systems. It changes our perceptions of reality. And when it’s torn down around our eyes, it can make us go insane. It can make us violent and unreasonable as we realize just how much violence is being forced upon us—violence other people just plain do not see. It's just a a piece of paper. It's just a law. It's just a job.

It's just a war.

Final Fantasy 7 was about Fascism.

Crisis Core is about the propaganda that built it. It is told from the point of view of a boy, then a man, steeped in it. He watches until the people suffering around him—Sephiroth, Genesis, and Angeal—are twisted into villains by the truths and lies around them. Genesis and Angeal are tortured by truths, Sephiroth is transformed by lies, and Zack is subsequently hunted down to conceal them.

Crisis Core is Propaganda: The Video Game.

[mockerycrow]

are you good at character analysis? I wanna know what your analysis would be for Gaz, I’m trying to figure out his story since he’s my favorite out of TF 141

KYLE GAZ GARRICK

BASIC OVERVIEW — BIOGRAPHICAL INFORMATION

Kyle “Gaz” Garrick is a British Black man who enlisted into the British Army around 2008 or 2014 (unfortunately, the developers have inconsistencies). His operator biography states 2008 while the official activision website in a blog post about MW2019 states 2014, however it does make sense for him to enlist in 2008. He would have been at least sixteen years old which is the minimum age requirement to enlist. I would like to quickly throw in that Gaz is indeed older than Soap, as this is a misconception that I surprisingly see a lot! Gaz’s blood type is B- and he currently ranks as sergeant (which according to the official British Army website, it typically takes at least twelve years in the service, however it implies it also depends on the person’s abilities).

Gaz spent four years in the Queen’s Lancashire Regiment. During these four years going through a multitude of tests and challenges before passing selection for Special Air Service (SAS). The activision blog says during MW2019, it’s his sixth year serving as a sergeant. However, as Gaz had been selected for TF141, I believe their ranks have paused in time. Gaz has mostly spent his time in anti-terrorism in his military career. He’s an expert in demolitions, VIP escorting, weapons tactics, covert surveillance, and target elimination. He’s been awarded multiple medals, and earned his Parachute Wings whilst spending time at Camp Lejeune in the U.S. whilst collaborating with Navy SEALs. Kyle is a master of evasion and deception, being the only candidate in his entire class to escape capture from the facility and evade detection during resistance training. 

When Gaz first meets Cpt. Price, Gaz is currently assigned to an SAS specific counter-terrorism program in the UK who collaborate with the police, which is another misconception that Gaz was a police sergeant at one point (he was not! I believe some people think this because at E3, Gaz was wearing a police baseball cap).

CHARACTER OVERVIEW

Like true to the original Gaz, he is Price’s protege, being his student. Gaz is overall a serious and hardworking man, loyal and unbreaking. He knows when to joke and he knows when to reload. However, Gaz is not perfect and he does lose his cool (we see subtle development with this later down the road). While being loyal, Gaz does not hesitate to question Price’s choices and actions. We see this multiple times during the series, the most prime example being in MW2019 when Price and Gaz are interrogating The Butcher with Yegor. The Butcher taunts Gaz, causing Gaz to lunge and Price to send him off to fetch.. “The package”. The package being, The Butcher’s family. The reboot games, you have choices, so I’ll give the very basic run down. 

You have the option to opt into the interrogation or to opt out of it. If you opt out, Price bursts out of the room with the information (if you go near the door, you hear The Butcher’s family sobbing). If you opt in, you have so many options. At the end of the day, Gaz is mostly silent and follows orders from Price. In the police cruiser scene, Gaz questions Price in the car—he did not expect to be using women and children as bargaining chips and he makes that clear, and this is a big teaching moment between Gaz and Price. We have to remember that Gaz is young and considering everything, inexperienced to an extent. Price makes up for that inexperience, teaching him along the way. During the interrogation scene, Price makes a remark: “We’ve taken the gloves off.” This is because Gaz lashed out. Later in the car, Price says “When you take the gloves off, you get blood on your hands, Kyle. That’s how it works.” after Gaz questions him.

CONCLUSION

Overall, Gaz is a very complex character and I enjoyed watching his development during these games. I’ve seen people claim Gaz is boring or plain, but I genuinely do not believe that to be the case. Gaz, in my opinion, is also the most relatable character. He’s young, ambitious, and determined. He’s charismatic and efficient. I don’t believe a character has to be extremely traumatized, or look very very unique to be a well-crafted character and Gaz is a great example for this. 

Gaz is just a man who enlisted; someone who is smart and well-rounded (as much as an SAS member can be), he’s quick on his feet and he molds into group work fantastically. He’s extremely versatile and is a quick learner—and wants to learn. He has his flaws that make him human. Gaz develops great self control, is level-minded and is able to think for himself. A great student questions their mentor in everything and you see this with Gaz. 

You see Gaz struggle with morality in the series in a sea of characters who kill and do things without a second thought. We see him question things, we see his emotions and his extreme reluctance. We definitely see some development down the road as Gaz becomes more ruthless, but he never quite forgets his humanity in a way, compared to Price where he can easily disconnect humanity (ex. Calling The Butcher’s wife and son “the package/leverage”). 

Along with this, we see him struggle with the rules in place. I also think this is why Gaz and Price’s dynamic is great. There are rules for a reason, and both Price and Gaz know when to break them—but Gaz learns that breaking some rules doesn’t always happen for the most heroic of actions (again, Price’s quote about bloodying your hands after taking the gloves off). Gaz wants to save people and keep the peace, we see this in Piccadilly during the terrorist attacks and the aftermath scene with Price where Gaz lets the Captain know that he and his unit had actionable intel on the terrorist cell who committed the act. Of course, we see later down the road that taking the gloves off removes all limits, not just some of them. We also see a glimpse of Gaz’s conflicting feelings when 141, Farah & Alex, as well as Laswell learn about Hadir and his plans, as well as when Farah’s forces are deemed a terrorist organization.

I think I rambled on a lot about him, hopefully this is understandable! 

Sources: price & gaz activision blog intros (2019), inconsistency in enlistment date, cod fandom wiki, gaz scenes mwi & mwii, official british army website.

[fairuzfan]

During an appearance at Vassar College in early February, controversial New York Times Jerusalem bureau chief Ethan Bronner was asked about the ongoing evictions of Palestinian families from homes in East Jerusalem which Israel occupied in 1967. Israeli courts have ruled that Jewish settlers could take over some Palestinian homes on the grounds that Jews held title to the properties before Israel was established in 1948.

Bronner was concerned, but not only about Palestinians being made homeless in Israel’s relentless drive to Judaize their city; he was also worried about properties in his West Jerusalem neighborhood, including the building he lives in, partially owned by The New York Times, that was the home of Palestinians made refugees in 1948. Facts about The New York Times’ acquisition of this property are revealed for the first time in this article.

“One of the things that is most worrying not just the Left but a lot of people in Israel about this decision is if the courts in Israel are going to start recognizing property ownership from before the State [of Israel was founded],” Bronner said according to a transcript made by independent reporter Philip Weiss who maintains the blog Mondoweiss.net.

Bronner added, “I think the Palestinians are going to have a fairly big case. I for example live in West Jerusalem. My entire neighborhood was Palestinian before 1948.”

The New York Times-owned property Bronner occupies in the prestigious Qatamon neighborhood, was once the home of Hasan Karmi, a distinguished BBC Arabic Service broadcaster and scholar (1905-2007). Karmi was forced to flee with his family in 1948 as Zionist militias occupied western Jerusalem’s Arab neighborhoods. His was one of an estimated 10,000 Palestinian homes in West Jerusalem that Jews took over that year.

The New York Times bought the property in 1984 in a transaction overseen by columnist Thomas Friedman who was then just beginning his four-year term as Jerusalem bureau chief.

Hasan Karmi’s daughter, Ghada, a physician and well-known author who lives in the United Kingdom, discovered that The New York Times was in – or rather on top of – her childhood home in 2005, when she was working temporarily in Ramallah. One day Karmi received a call from Steven Erlanger, then The New York Times Jerusalem bureau chief, who had just read her 2002 memoir In Search of Fatima.

Karmi recalled in a 15 May 2008 interview on Democracy Now! that Erlanger told her, “I have read your marvelous memoir, and, do you know, I think I’m living above your old house … From the description in your book it must be the same place” (“Conversation with Palestinian Writer and Doctor Ghada Karmi”).

At Erlanger’s invitation, Karmi visited, but did not find the elegant one-story stone house her family had moved into in 1938, that was typical of the homes middle- and upper-class Arabs began to build in Jerusalem suburbs like Qatamon, Talbiya, Baqa, Romema or Lifta toward the end of the 19th century. The original house was still there, but at some point after 1948 two upper stories had been built.

Erlanger, responding to questions posed by The Electronic Intifada via email, described the residence as “built over the Karmi family house – on its air rights, if you like. The [New York Times] is not in [the Karmi] house.” Erlanger described the building as having an “unbroken” facade but that it consisted of “two residences, two ownerships, two heating systems,” and a separate entrance for the upper levels reached via an external staircase on the side.

Questions The Electronic Intifada sent to Thomas Friedman about the purchase of the property were answered by David E. McCraw, Vice President and Assistant General Counsel for the newspaper, who wrote that the original Karmi house itself “was never owned even partly by The Times. The Times purchased in the 1980s a portion of the building that had been constructed above it in the late 1970s.” The purchase was made from “a Canadian family that had bought them from the original builders of the apartment.”

McCraw acknowledged in a follow-up conversation that as a general principle of property law, the “air rights” of a property – the right to build on top of it or use (and access) the space above it – belong to the owner of the ground.

Exiled from Qatamon

Ghada Karmi standing by the front door of her childhood home in Jerusalem’s Qatamon neighborhood in 2005. (Steven Erlanger)

Hasan Karmi hailed originally from Tulkarem, in what is now the northern West Bank. In 1938, he moved his family to Jerusalem to take up a job in the education department of the British-run Palestine Mandate government. Ghada – born around November 1939 (the exact date is unknown because her birth certificate along with all the family’s records, photographs, furniture, personal possessions and an extensive library were lost with the house) – has vivid memories of a happy childhood in what was a well-to-do mixed neighborhood of Arab Christians and Muslims, foreigners and a few Jewish families. The neighbors with whom her parents socialized and with whose children the young Ghada and her siblings played included the Tubbeh, Jouzeh, Wahbeh and Khayyat families. There was also a Jewish family called Kramer, whose father belonged to the Haganah, the Zionist militia that became the Israeli army after May 1948.

Karmi describes the house at length in her memoir – but she told The Electronic Intifada her fondest memories were of the tree-filled garden where she spent much time playing with her brother and sister and the family dog Rex. The lemon and olive trees she remembers are still there, Erlanger noted to The Electronic Intifada.

In the mid-1940s, the lively Qatamon social life gave way to terror as the dark clouds of what would come to be known as the Nakba approached. Violence broke out all over Jerusalem after the UN’s devastating recommendation to partition Palestine without giving its people any say in the matter. Spontaneous riots by Arabs were followed by organized violence from Zionist groups and mutual retaliatory attacks that claimed lives from both communities. This climate provided the pretext for the Haganah’s premeditated campaign to seize Jerusalem.

Poorly armed and disorganized Arab irregulars, who had nevertheless succeeded in disrupting Zionist supply convoys to Jerusalem, proved no match for highly-trained and well-armed Zionist militias which, on the orders of David Ben-Gurion, began a well-planned campaign to conquer the western parts of the city. The occupation of western Jerusalem and some 40 villages in its vicinity was executed as part of the Haganah’s “Plan Dalet.” These events are well documented in books including Benny Morris’ The birth of the Palestinian refugee problem, 1947-1949 (1987), Walid Khalidi’s (ed.) All That Remains: The Palestinian Villages Occupied and Depopulated by Israel in 1948 (1992), Salim Tamari’s (ed.) Jerusalem 1948: The Arab Neighborhoods and their Fate in the War (1999) and Ilan Pappe’s The Ethnic Cleansing of Palestine (2006).

Zionist militias used frequent bombings of Arab civilians to terrorize residents into fleeing. These attacks were amplified by posters and warnings broadcast over loudspeakers that those choosing to remain behind would share the fate of those killed in atrocities.

Karmi wrote that one night in November 1947, their neighbor Kramer came to see her father and said, “I have come to tell you at some risk to myself to take your family and leave Jerusalem as soon as possible …. Please believe me, it is not safe here.” Many Qatamon families left after the Zionist bombing of the nearby Semiramis Hotel, which killed 26 civilians including the Spanish consul-general, on the night of 4-5 January 1948.

The Karmis however held on, and Ghada records in her memoir her mother steadfastly saying, “The Jews are not going to drive me out of my house … Others may go if they like, but we’re not giving in.”

Toward the end of April, bombardment by Zionist militias against virtually undefended Arab areas became so heavy, and the terror generated by the Deir Yassin massacre earlier that month so intense, that the Karmis relented and departed by taxi for Damascus, via Amman, with nothing but a few clothes. Their intention was to bring the children to safety at their maternal grandparents’ house while the adults would return home to Jerusalem. A few days after reaching Damascus the elder Karmis tried to return to Jerusalem but were unable to do so. So began the family’s exile that continues to this day.

As Arabs left their homes, Jews were moved in by the Haganah. “While the cleansing of Qatamon went on,” Itzhak Levy, the head of Haganah intelligence in Jerusalem recalled, “pillage and robbery began. Soldiers and citizens took part in it. They broke into the houses and took from them furniture, clothing, electric equipment and food” (quoted in Pappe, p.99). Meron Benvenisti, an Israeli scholar and former deputy mayor of Jerusalem, wrote in his book Sacred Landscape of personally witnessing the “looting of Arab homes in Qatamon” as a boy. Palestinians also lost art work, financial instruments and – like the Karmis – irreplaceable family records, as the fabric of a society and a way of life were destroyed.

Jerusalem return denied

The Karmis’ story is a variation of what happened to tens of thousands of Jerusalem-area Palestinians during the Nakba, in which approximately 750,000 Palestinians were expelled or fled from their homes all over the country and never allowed to return. (In my book One Country I describe the departure under similar circumstances of my mother’s family from Lifta-Romema.)

As of 1997, there were 84,000 living West Jerusalem refugees (23,000 born before 1948), according to Tamari. Half lived in the West Bank, many just miles from their original homes, but thousands of others were spread across Jordan, Lebanon, Syria and the Gaza Strip.

Arab property is well-documented through administrative and UN records, but tracing the fate of an individual house or proving title is extremely difficult if not impossible for Palestinians scattered, exiled and forbidden from returning home. Some, who have foreign passports that allowed them to make brief visits, have attempted to locate their family properties. In recent years a small Israeli group called Zochrot (Remembering) has even joined in – taking some displaced Palestinians back to their original villages and homes, whose traces Israel often made deliberate efforts to conceal or destroy. But such activities are not welcomed by most Israeli Jews still in denial about their state’s genesis.

Ghada Karmi recalls an earlier attempt to revisit her family home in 1998. The residents were unwelcoming and would not give her the phone number of the landlord, though a plaque outside bore the name “Ben-Porat.”

The owner of the original, lower-level house at the time The New York Times bought the upper levels was Yoram Ben-Porat, an economics professor who became president of the Hebrew University and was killed with his wife and young son in a road accident in October 1992. According to Erlanger, the house remained with heirs from the Ben-Porat family who rented it out until it was sold in 2005 to an Israeli couple who did some remodeling. It is unknown when the Ben-Porats acquired the house or if they were the ones who had the upper levels built.

During Karmi’s 2005 visit, Erlanger invited her to see his part of the house and introduced her to the Israeli tenants in the lower level who gave her free access while Erlanger took photographs. For Karmi, revisiting the house was disconcerting. She described to The Electronic Intifada its occupants as “Ashkenazi Jewish Israelis, liberals, nice people who wanted to be nice.” She felt like asking them, “how can you live here knowing this is an Arab house, knowing this was once owned by Arabs, what goes through your mind?” But, she explained, “in the way people have of not wanting to upset people who appear to be nice, I didn’t say anything.”

The New York Times

In the early years after their original residents left, many of the former Arab neighborhoods were run down. But in the 1970s, wealthier Israeli Jews began to gentrify them and acquiring an old Arab house became a status symbol. Today, Israeli real estate agencies list even small apartments in Qatamon for hundreds of thousands of dollars or more, and house prices can run into the millions. In Jerusalem, such homes have become popular especially with wealthy American Jews, according to Pappe. The New York Times did not disclose what it paid for the Qatamon property.

It was a curious decision for The New York Times to have purchased part of what must obviously have been property with – at the very least – a political, moral and legal cloud over its title. Asked whether The New York Times or Friedman had made any effort to learn the history of the property, the newspaper responded, “Neither The Times nor Mr. Friedman knew who owned the original ground floor prior to 1948.”

As Friedman prepared to make the move to Jerusalem from Beirut where he was covering the Lebanon war in the early 1980s, The Times hired an Israeli real estate agent to help him locate a home. According to McCraw, Friedman’s wife Ann went ahead to Jerusalem and looked at properties “and she, working with the agent, made the selection for The Times.” During the process Friedman visited Jerusalem and looked at properties as well, a fact he mentions in his book From Beirut to Jerusalem. By the time the property was selected, Friedman had moved permanently to Jerusalem and oversaw the closing.

The choice of the Qatamon property – over several modern apartments that the real estate agent also showed – makes The New York Times a protagonist and interested party in one of the most difficult aspects of the Palestine conflict: the property and refugee rights of Palestinians that Israel has adamantly denied. It also raises interesting questions about what such choices have on news coverage – with which the newspaper itself has had to grapple.

In 2002, an Electronic Intifada article partly attributed the pervasive underreporting of Israeli violence against Palestinians to “a structural geographic bias” – the fact that “most US news organizations who have reporters on the ground base them in Tel Aviv or west Jerusalem, very far from the places where Palestinians are being killed and bombarded on a daily basis” ( Michael Brown and Ali Abunimah, “Killings of dozens once again called ‘period of calm’ by US media, 20 September 2002).

In 2005, The New York Times’ then Public Editor Daniel Okrent echoed this criticism, writing:

“The Times, like virtually every American news organization, maintains its bureau in West Jerusalem. Its reporters and their families shop in the same markets, walk the same streets and sit in the same cafes that have long been at risk of terrorist attack. Some advocates of the Palestinian cause call this ‘structural geographic bias.’” (“The Hottest Button: How The Times Covers Israel and Palestine,” 24 April 2005).

Okrent recommended that in order to broaden the view of the newspaper’s reporters, it should locate a correspondent in Ramallah or Gaza – where she or he would share the daily experiences, concerns and risks of Palestinians. This advice went unheeded, just as Executive Editor Bill Keller recently publicly rejected the advice of the current public editor that current Jerusalem Bureau Chief Ethan Bronner should be reassigned because of the conflict of interest created by Bronner’s son’s voluntary enlistment in the Israeli army.

Thus, in a sense, Bronner’s structural and personal identification with Israel has become complete: when the younger Bronner joins army attacks in Gaza, fires tear gas canisters or live bullets at nonviolent demonstrators trying to save their land from confiscation in West Bank villages, or conducts night arrest raids in Ramallah or Nablus – as he may well be ordered to do – his father will root for him, worry about him, perhaps hope that his enemies will fall in place of his son, as any Israeli parent would. And on weekends, the elder Bronner will await his soldier-son’s homecoming to a property whose true heirs live every day, like millions of Palestinians, with the unacknowledged trauma, and enduring injustice of dispossession and exile.