#i am a dragon 2015

[fairytaleslive]

He’s a Dragon/Он - Дракон (2015)

I’ll teach you to live like a human 

domestic fluff

………

[allgirlsareprincesses]

Choosing the Beast: Modern Folklore Heroines Embrace the Animal Husband

“I choose the bear.” The refrain rang out across the web, with many a woman nodding in agreement or at least understanding, and certain men huffing with indignant outrage. Just a meme, really, but did it speak to a deeper truth? Is it merely age-old mistrust of patriarchy talking, or a true desire for the beastly, the wild, the untame?

I’m no sociologist, of course, but I have noticed an emerging trend in fem-gaze media that seems to reflect this view. In movies like I Am Dragon (2015) and recent shows like My Lady Jane and The Acolyte, the heroine chooses the beast, loving her animal husband in his wild form rather than requiring him to transform back into a mundane man to earn her affection. This is such a departure from the typical folktale pattern that it’s difficult to even find an historic example where this occurs.

Commonly thought to reveal the desire to tame a dangerous mate in a patriarchal society, most animal husband tales (ATU 425a) feature a hero who ultimately transforms permanently into a human. This is viewed not only as freeing him from the maddening effect of his wild form, but also saving his bride from committing the sin of bestiality. In these tales, the animal mate’s transformation is necessary for the salvation of both.

Is the modern heroine then damned by choosing her husband’s beastly form? Or does she actually free them both from the yoke of patriarchal expectations?

Bathing: Discovering the Wild Masculine

The first motif that stands out in these modern screen examples is bathing. In animal spouse tales, there is often a dynamic of the hunter and the hunted, and thus a moment when the hunter comes upon their would-be lover unawares. Perhaps they find the animal spouse sleeping, or they cast a light on them unexpectedly, see them without their animal skin or disguise, and so on. And of course, they often come upon the lover at their bath.

There is an implied eroticism in this discovery, finding one’s quarry not only undressed, but also in the most private of activities. Water of course symbolizes fertility, but bathing is also purifying, symbolically washing away all that might make a mate undesirable. And this, perhaps, is the reason that historically this motif is used almost exclusively for animal brides, not animal husbands.

For the animal husband, he either actively chooses to reveal himself to the bride (perhaps on their wedding night), or she violently strips away his disguise, often armed with “flame and steel” like Psyche and her many avatars. Animal brides on the other hand are nearly always discovered at a body of water, bathing. The hunter will then capture her either by stealing her animal skin or cloak, or by placing his own clothing on her. What does it mean, then, when it is the husband who is discovered bathing in a body of water, held as an erotic object in the feminine gaze?

In The Acolyte, Osha follows Qimir to a pool where he slowly undresses, in full knowledge that she is watching. On the shore, she steals his lightsaber, just like the hunter who steals the animal skin, symbolically claiming him. When he emerges, Qimir dons new clothes, as if acknowledging that he is a different person than before he entered the water, almost purified in a way. Osha is forced to confront that there is more to the murderer in the mask than she realized.

Similarly, in My Lady Jane, our heroine goes looking for Guildford just before sunrise on their ill-fated wedding night, only to discover him bathing in the stables. The scene is gratuitously filmed from Jane’s (very horny) perspective, flipping the script on the countless scenes in screen history shot with the masculine gaze. Immediately after she discovers and confronts him, Guildford transforms against his will into a horse, and Jane realizes that he is an Ethian, a creature she has been taught is demonic and unnatural.

And in I Am Dragon, Mira makes several discoveries in quick succession: first, she deduces that Arman is actually the dragon. In the next moment, she slips from the island’s peak and falls, saved only when Arman transforms at the last moment and breaks her fall with his dragon form. The water begins to wash over his unconscious body, and at first Mira thinks that she will allow him to drown. But the sight of Arman in his human form after he rescued her, worried over by his animal familiar, stirs her to pity and she wraps him in a sail and drags him to safety. In this way, she clothes him, claiming him as her own.

Each of these heroines discovered a new aspect of her husband at the bath, finding him unexpectedly alluring, and ultimately choosing to begrudgingly claim him. Each animal husband tried to wash away his beastly form, to separate himself from the wild masculine. These men feel a sense of disassociation from a part of themselves, but now that their brides have discovered it, there will be no more hiding. Further, the bride now holds the power in the relationship, evidenced by how her husband needs her: Qimir needs Osha to be his apprentice, Guildford needs Jane to help him “break the curse,” and Arman needs Mira to heal him from his wounds.

Playing House: The Half-Husband

The second feature of these stories is a period of domesticity for the couple. For a brief time after the husband’s beastly nature is revealed, the lovers “play house” like children. While sexual tension is present, they typically do not consummate their union during this time, but instead cook, eat, rest, and care for one another. What’s more, they ignore or even attempt to actively destroy the husband’s animal form. They deny that this is part of him and therefore part of their relationship.

In I Am Dragon, Mira heals Arman, and wakes the next morning to find he has left food for her (dragonfruit, appropriately). Together they begin building a home out of shipwreck debris they find scattered around the island. A cheery montage shows them decorating a living space, choosing clothes, playing music, and dancing. But the specter of Arman’s monstrous form lurks on the edge of their idyllic life. Mira has nightmares, and tells Arman how much she fears “the dragon,” notably not referring to them as the same person. And eventually, it emerges that Mira has been planning to escape, rejecting Arman’s dragon form entirely.

After he sheds the helmet and robes of The Stranger, Qimir turns his attention to caring for Osha: he heals her, lets her sleep in his bed, provides clothes, and cooks for her. In turn, after some lightsaber-wielding, Osha becomes more comfortable in his home and accepts the food he offers, eventually even trying on his helmet. Later, they bicker amiably on their way to Brendok, like an old married couple on a road trip. When not facing down Jedi, Qimir leaves his menacing persona behind and transforms into an empathetic, protective, and alluring partner.

Jane Grey, meanwhile, finds herself using her honeymoon sequestered away in a private cottage to try to cure Guildford of his Ethianism. With her knowledge of medicine, she concocts various potions and magical cures, but none of them succeed. Guildford often checks in on her after these disappointments, making sure she’s getting enough sleep and taking care of herself. It’s also clear that they’ve been regularly dining together when Jane suddenly dashes off to rescue her friend. Guildford follows her and the two protect one another, followed by an almost-tryst. Even when they move into the palace, their day-to-day (or rather night-to-night) life is one of comfortable domesticity, although they continue to deny Guildford’s horse form.

In each of these cases (although less so in The Acolyte without Season 2 to continue the story), playing house can only last for so long while the husband’s animal nature is denied. There is a part of him that is suppressed, rejected, and this leads to him being incomplete, a half-husband. Each hero is unable or unwilling to accept and celebrate his whole self with his bride. Eventually, it is that denial that leads to a rift between the couple, which can only be healed not with the transformation of the husband, but with the embrace of his animal form.

Enforcing Patriarchy: The Rival

Each of these relationships exists in direct opposition to the dominant culture in the story: Arman as the Dragon is the literal enemy of Mira’s people, Qimir as Sith is the enemy of Osha’s Jedi masters, and in My Lady Jane, intermarriage between humans and Ethians is punishable by death. By choosing to stay with their animal husbands, even for a brief time, our heroines are openly defying the patriarchal norms of their societies. But no oppressive society is about to take that transgression lying down. In each story, a rival emerges to enforce the patriarchal order, kill the beastly husband, and retrieve the bride.

In I Am Dragon, Mira’s betrothed and descendent of the dragon-slayer, Igor, journeys to rescue her from the dragon. Over the course of the story, it becomes clear that Igor cares nothing for Mira herself, and merely feels entitled to her as his bride. Dragon-slaying is his heritage, so he must find her, kill the dragon, and take his place as the hero of his people. Even the marriage ceremony illustrates his ownership of her: he takes hold of a rope tied to her boat and reels her in, thus binding her to the patriarchal order. Contrast that to Arman, who offers her the power of flight, a symbol for freedom.

In Osha’s case, Qimir’s rival for her loyalty is clearly Master Sol, who wants to keep his former pupil dependent on him and the Jedi. Sol takes patronizing fatherliness to an extreme, constantly rescuing Osha rather than letting her stand for herself, teaching her to deny her feelings and instincts, and lying to her to “protect” her. The Jedi refuse to allow that there might be any other way to access the Force than their own, thus invading the home of the Brendok witches and ultimately orphaning the twins. Sol continues to press this dominance to the end, challenging Qimir and insisting to Osha that his own lies were justified.

In My Lady Jane, there are two rivals, both women. Lady Frances attempts throughout the show to dominate her daughters and crush their wills, forcing them into unwanted marriages, applying political pressure, and even counseling Jane to abandon Guildford to save herself. The other rival is Mary Tudor, who is determined not only to emulate her father’s violent, oppressive, and misogynistic reign, but to crush anyone she considers “unnatural” or who poses a threat to her rule. These characters stand as clear examples of how women can enforce patriarchy, too.

In each story, there is a moment when the rival briefly recaptures or “rescues” the bride from her beastly husband, bringing her to a moment of decision: will she stay within the bounds of patriarchy like a good little girl? Or will she make an act of defiance to choose her own path?

Marriage: Choosing the Beast

The bride’s choice will ultimately decide not only her fate, but that of her mate as well. As an independent character, the wild masculine is deeply wounded, separated from himself and thus from his bride. He longs to transform not into a greater, more whole person, but into a lesser, half-person. Alone, without the embrace of his anima, he cannot see the value of his beastly form. Instead of healing, he faces annihilation.

As a part of the bride’s psyche, the beastly husband represents her innermost desires, the truth of her heart, and a spirit freed from the expectations of her society. He is her animus, her missing wild masculine. If she transforms him into a man, then she will tame his wild nature, bringing him to heel under the boot of the patriarchy. Choosing the human form and rejecting the beast means rejecting her own psychological needs. It would be just another form of psychic dismemberment.

Fortunately and unusually, each of these modern brides chooses her beastly husband without demanding he transform. When Osha finally agrees to become Qimir’s apprentice, she takes his hand under the willow tree, clasping the newly-bled lightsaber between them. A few scenes later, this wedding imagery is repeated when they hold hands over the saber again, this time looking into a sunrise/set. Notably, at the moment they “marry” under the willow tree, Qimir is wearing his beastly helmet with rows of menacing, wolfish teeth. He has not come to the light side or shed his Dark Side persona, but Osha has embraced him anyway without fear. And while they might not both be healed (yet), they are more whole together than they were apart.

When her efforts to cure Guildford of his Ethianism repeatedly fail, Jane begins to suspect that his “condition” cannot be cured at all. But listening to her Ethian friends Susanna and Archer finally convinces her that the truth is Guildford doesn’t NEED to be healed - being an Ethian is who he is, and it’s nothing to fear. Unfortunately, Guildford still associates his beastly form with his mother’s death, so he is unable to accept it as Jane encourages, and flees. After a near-death experience, he uses his equine speed to return to the castle just as Jane is deposed and captured. As our heroes battle toward the end, Guildford comes to learn that there are many other proud Ethians, and that his family loves and accepts him in any form.

Still, he’s unable to transform at will, and when Mary captures him and sentences both husband and wife to death, it seems their story may end in tragedy. But as Guildford has been struggling to accept himself, Jane too has been battling with her own conscience. Does she renounce Guildford to save herself? Use her wits to kill the guard and escape? Bend to her mother’s manipulation? Jane confronts each temptation, and ultimately chooses to face death rather than betray Guildford or herself. But when her Ethian friends (the wild instinct) appear to disrupt the execution, our heroine seizes the opportunity to rescue Guildford. Unable to free him from the burning pyre, she confesses her love for him, and they kiss amid the flames.

Fire is often a herald of transformation, burning away illusions to reveal the truth. And when Jane and Guildford exchange their vows in this symbolic marriage ceremony, Guildford’s fears and illusions are finally burned away. Now that his bride has accepted his beastly form, he can accept it too, and so he at last transforms at will into a horse so that they can escape. Their story ends with them married and whole before the sunrise.

Among our modern heroines, Mira is the boldest in her embrace of the beastly husband. Offered yet again as a bride to Igor, she realizes that this is not what she wants, and casts off the tether from her boat. She declares “I love the Dragon!” using the name of her husband’s animal form rather than his human name. Then, she sings the song that will call the dragon to her, and he appears to carry her away again.

But their story is not over yet! Earlier in the story, Arman told Mira of how he loses control when in dragon form, and that dragons are compelled to reproduce by burning maidens to death and retrieving their offspring from the ashes. Returning to the island with her a second time, the dragon drops her on the altar and prepares to spew fire, but Mira lunges up and kisses him. This act of love, even when he is a monster, stuns the beastly husband. Again, Mira declares her love and kneels before him, saying she does not wish to be parted. We might expect the animal husband to transform in this moment, but instead he lays his fearsome head in her lap as a lover. Their story ends with a child and a flight in the sky, silhouetted by the sun just like the other couples.

Each bride, when confronted with the option to return to the patriarchal limits of her childhood, chose instead an act of love and acceptance for her wild masculine. This embrace helped the beastly husband to accept his whole self, and he is healed without having to cut off the wild parts of himself.

What Does It Mean?

Again, this story is so rare in world folklore that it’s difficult to even find examples. On fleeting occasions that the woman chooses an untransformed beast, it is presented as a cautionary tale. These women are framed as a danger to the community for their bestial impulses and abandonment of the social order, much like witches who were said to consort with the devil. It was certainly never presented as a happy ending, insofar as we can tell from written accounts.

So what does the emergence of this tale mean for our culture? I would argue that this is just the latest step in our ongoing reckoning with historic gender roles, as well as renegotiating with other forms of systemic oppression. People of all genders are pressured to reject a part of ourselves, cutting us off from our own truth and desires that run counter to the enforced social order. We must not challenge patriarchy, must not embrace different gender expressions, must not blur established hierarchies of power, must not find joy and power in our identities, and so on.

This enforced denial does tremendous damage to everyone caught in the system, and so through story, we dream our way to escape. We dream of embracing the dark, wild parts of ourselves, of flying free on a spaceship or a dragon or enchanted horseback, and of being totally loved for who we are.

It’s clear patriarchy is still fighting back against this emancipation of the wild feminine and wild masculine, given that both The Acolyte and My Lady Jane were canceled not long after their release. In the case of The Acolyte in particular, there was a sustained campaign from its announcement to harass and silence the creators. Demoralizing as this phenomenon may be, it’s important to remember WHO ultimately owns these stories:

“Fanfiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.

-Henry Jenkins, NYT 1997

Ah, an oldie-but-goodie. But Dr. Jenkins is right. Corporations may greenlight, film, release, and then cancel these stories, but ultimately they belong to the people. We take from these tales what speaks to us, leave what does not, and then retell them ourselves in fanfiction, in art inspired by the stories, and in lessons we pass on to our friends and families. If the embrace of the wild masculine speaks to you, let the story take root in your own life. Do you know someone who needs to be embraced, just as they are? Do you need to accept the parts of yourself that society tells you to hate? Do you want to be free, healed, and whole?

If so, then let these stories show you how, and tell more like them. Embrace the beast, and find your joy.

Sources:

Beauty and the Beast Tales From Around the World by Heidi Anne Heiner

In Search of the Swan Maiden: A Narrative on Folklore and Gender by Barbara Fass Leavy

And a relevant song for you, as a treat:

Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype by Clarissa Pinkola Estés, Ph.D.

[ffc1cb]

happy to announce i’ve finally lost it and spent a considerable amount of time making a dragon age inquisition mod that lets your inquisitor use they/them pronouns. if there’s anyone out there besides me who wants to use it, here it is on nexus.

detailed description and personal commentary under the cut

update: as of 3.05 (may 3rd), the mod has been uploaded to nexus. see download link above for any future updates.

this is a mod for frosty mod manager 1.0.6.1. you MUST install the bioware localization plugin for it to work, otherwise the game won’t start. on fmm 1.0.6.2, the plugin is already built in, so you don’t need to worry;

this mod is a simple overhaul of the game’s base text; no changes were made to the actual voice lines. this mod also does not affect default romance flags (just like in vanilla game, you can only romance sera with a "female" inquisitor (or dorian with "male"), but the mod should, hypothetically, be compatible with other mods that edit romance flags);

you can install it at any point of the game. starting a new playthrough is not necessary;

works for all races and with all available dlcs;

along with the pronouns change, this mod changes all gendered words used to refer to the inquisitor to be gender neutral, i.e man / woman have been replaced with person or contextual variants. my lord / my lady and other similar titles have been replaced with messere (on the basis of this reddit thread);

some of the dialogue could've been mistakenly changed, since context was not always easy to parse. if you try this mod out, i’d greatly appreciate any help with pointing out my mistakes (blackwall’s romance in particular has given me the most trouble); additionally, i might have missed some lines in the codexes, since i skimmed through them very briefly.

i’ve no previous modding experience, so i went with the easiest option and, like i mentioned above, brute forced it and made a complete overhaul of the base game text as opposed to a pickable option i’d like it to be. ideally i’d love for this mod to be bundled together with this other one that switches pc pronouns (which was a partial inspiration for this mod). if anyone here has any knowledge on whether this is something that could be done, please hmu.

also, since in order to make this mod i had to read through the entire game text (it was torturous. not gonna lie) i collected some of my personal favorite bits and pieces along the way. if anyone’s curious, you can look at them here. there’s surprisingly many developers’ notes in there.

[dailydragons]

I am not immune to this propaganda…

Do you like long fantasy series, but are tired of authors never finishing them?

Do you like interesting magic systems?

Do you like when characters form intense even psychic bonds with animal companions?

Do you like your heart getting ripped out of your chest and then stuffed back in full to bursting and but then ripped out again to get stomped on but it turns out you like that too uhhh let's call it... intense yearning

Do you like dragons? Of course you do, why else would you be on this blog!

WELL DO I HAVE THE BOOK SERIES FOR YOU!

The Realm of the Elderlings is a 16-book series is comprised of four trilogies and a quartet. All of which have been finished. Yes that's right, Robin Hobb saw other authors who can't seem to finish their multi-book fantasy epics and said "I will finish mine 4 different times to show you it's incredibly easy actually." She also has written multiple other series (some under the pen name Megan Lindholm), set in different universes.

So, where to start?

The components of RotE are:

The Farseer Trilogy

The Liveship Traders Trilogy

The Tawny Man Trilogy

The Rain Wild Chronicles

Fitz and the Fool Trilogy

The three bolded trilogies above are told from the perspective of FitzChivalry Farseer, one of the main/major characters in this universe and my eternal blorbo. The Liveship Traders trilogy and Rain Wild Chronicles are told from several points of view, and happen in chronological order between the series above and flesh out the worldbuilding, lore, history, etc.

For the most complete look at the universe, you can of course read everything. However if you want to stick with just one character, you can read the three bolded trilogies only. And of course, if you don't want to commit to a metric ton of words either way, you can just read the first trilogy and see what you think. Though I do think the levels of joy/pain/adoration increase with each work as you get more invested in the characters, of course.

OR. You can in fact read the Liveship Traders trilogy or the Rain Wild Chronicles quartet completely independently of the others. I actually started with Rain Wild Chronicles because those books have the highest concentration of dragons--it was actually a follower of this blog who recommended them to me, and I decided to jump into those rather than commit to The Whole Series (which at the time was only 13 books not 16). But I loved the writing style and wanted to learn more about the world, so got into the rest, and now I actually think the Rainwilds books are the weakest of the bunch (though I still enjoyed them initially)!

But You're Following This Blog, DailyDragons, So Here's The Part Of The Pitch You're Actually Invested In

Now I will be up front that you don't get many dragons in the first trilogy. There are a kind of dragons that appear at the end but dragons are not the main focus of this one. However Hobb learns from her mistakes about not including tons of dragons in her fantasy world and you get more in the next parts of the series.

The Liveship books deal with sea serpents and dragons in very interesting ways I don't want to spoil, though it's a slow build. But VERY fascinating reveals into the dragon's biology, life history, and magic.

The plot of the later half of the Tawny Man Trilogy revolves around dealing with how the world of this story used to have dragons but they have practically gone extinct. Less direct contact with dragons but still a dragon-centric last book.

Rainwilds is chock full of dragons. Including as POV characters. Can't complain about lack of dragons here at all.

Fitz & The Fool Trilogy is lighter on the dragons at first and then they show up en force at the end. Ta da!

anyway please read these books and join me in my eternal suffering. wait, suffering? nevermind who said that. shhh. it's fine. you will love fitzchivalry farseer. you will love the fool. you will never be the same again.

[fairytaleslive]

He’s a Dragon/Он - Дракон (2015)

“ I didn’t mean to get burnt Yet the ground gave way beneath my feet “

[dragondawdles]

happy 13 of mar to a character I have had shrimp emotions about for almost 8 years now

[ormymarius]

fave genre is dragon boys that fell in love with a human girl who showed a more human side to them, proving they aren’t the monster everyone thought they were

[kimvvantae]

SO bigbang coming back outta nowhere made me feel nostalgic and i remembered this 40k+ words g-dragon fanfic i wrote in 2017, about gd and a YG trainee falling in love (cough cough the mc was definitely not a self insert), and now that i'm done reading it i'm PISSED at myself for never finishing the story. it's a bit cringy but i was ENTERTAINED?? NOW I DON'T REMEMBER HOW I PLANNED IT TO END????

[fairytaleslive]

He’s a Dragon/Он - Дракон (2015)

Он – дракон [He is Dragon] (Тиму́р Бекмамбе́тов [Timur Bekmambetov], 2015) with Матвей Лыков [Matvey Lykov] as Arman/Dragon and Мария Поезжаева [Maria Poezzhaeva] as Princess “Mira” Miroslava.

[thedeadthree]

✧ — 𝐓𝐀𝐆 𝐆𝐀𝐌𝐄.

-`. 𝐭𝐚𝐠𝐠𝐞𝐝 𝐛𝐲 @carrionsflower and @loriane-elmuerto tytyy sm lori and airika!!!!! 🥀💌🐦‍⬛

✧ — 𝐓𝐇𝐈𝐒 𝐎𝐑 𝐓𝐇𝐀𝐓.

coffee or tea | early bird or night owl | chocolate or vanilla | spring or fall | silver or gold | pop or alternative | freckles or dimples | snakes or sharks | mountains or fields | thunder or lightning | egyptian mythology or greek mythology | ivory or scarlet | flute or lyre | opal or diamond | butterflies or honeybees | macarons or eclairs | typewritten or handwritten | secret garden or secret library | rooftop or balcony | spicy or mild | opera or ballet | london or paris | vincent van gogh or claude monet | denim or leather | potions or spells | ocean or desert | mermaids or sirens | masquerade ball or cocktail party

✧ — 𝐓𝐎𝐏 𝐅𝐈𝐕𝐄 𝐒𝐎𝐍𝐆𝐒 𝐎𝐍 𝐑𝐄𝐏𝐄𝐀𝐓.

𝐒𝐇𝐈𝐍𝐌𝐄𝐑𝐈𝐍𝐆 𝐖𝐀𝐑𝐌 𝐀𝐍𝐃 𝐁𝐑𝐈𝐆𝐇𝐓 — bel canto.

𝐈𝐌𝐀𝐆𝐎 — nostalghia.

𝐋𝐎𝐔𝐃 𝐁𝐀𝐑𝐊 — mannequin pussy.

𝐂𝐀𝐋𝐈𝐅𝐎𝐑𝐍𝐈𝐀 — chappell roan.

𝐃𝐀𝐅𝐅𝐎𝐃𝐈��� — florence + the machine.

— 𝐭𝐚𝐠𝐠𝐢𝐧𝐠:

@sunsofdawn, @pavus, @happilyobsessing, @girliefailure, @alvsanne

@auricfog, @jamessunderlandgf, @weisshaupts, @grapecaseschoices, @risingsh0t

@shellibisshe, @florbelles, @full---ofstarlight, @fenharel, @unholymilf

@aelyosos, @anoramactir, @roofgeese, @cloudofbutterflies92, @griffin-wood

@southernreaches, @chainsawsangel, @leviiackrman, @tethrras, @rosykims

@tommyarashikage, @carlosoliveiraa, @courtana, @lilywatt, @kroganloveinterest

@shadowsofrose, @celticwoman, @shadowsofrose, @dialdrunk, @kissingwookiees

@neonshrike, @confidentandgood, @lavampira, @adelaidedrubman, @imogenkol

@kanos, @deadrlngers, @elluvians and you!!!!!! 🥀💌<3

[headfullof-ideas]

I’d like to mention that I’m not just expanding on other regions of the world. On characters and their dynamics with one another in this crazy project of a crossover that I’m doing. I’m also expanding on the dragons themselves. Playing around with the fact that they’re like people, and not all people are good. Some people just really, genuinely suck. But the thing this post is about is to showcase all the dragons who I am adding depth and lore to that we didn’t see in the films. Or the games. Because I am bringing in dragons from the games. So to all the School of Dragons players (RIP, that game was my childhood), here are the dragons from the games that I am bringing into this story (that I can immediately think of, especially since there’s a ten photo limit) (pictures supplied by Rise of Berk)

And then dragons that showed up in the films/shows that I’m adding lore to that wasn’t in the films/shows

It’s going to be so much fun (adding this after doing tags HOLY CRAP I FOUDN THE TAG LIMIT)

[unluckywisher]

wait this movie might be goated

[sarahlancashire]

mass effect is mass-effect-ively discounted atm so i decided to give it ago!! i tried to make my shepard pretty close to her default look but without the annoying hair in her face & with some of my own flair 💖

[merlincinema]

Author/s: chaosgenes Title: The Mistaken Bride and the Dragon Rating: Teen Pairing/s: Merlin/Arthur Character/s: Arthur, Merlin, Morgana Warnings: thoughts of murder Word Count: 2,130 Ao3 Link: https://archiveofourown.org/works/53146798

Summary: The last dragon has been slain and the seaside village of Camelot will no longer have to sacrifice virgin maidens to keep appeasing the beast from terrorising their land. Twenty-one years later, Arthur, eager to save his sister from an arranged marriage, secretly takes her place in a faux-sacrificial ritual in honour of the groom-to-be's father. But the ceremony unknowingly summons a creature long thought to be dead and Arthur is stolen away to a fate presumably worse than matrimony.

Author's Notes: Based on the film I Am Dragon. Thank you to my beta, Sage_Owl, and thank you mods for hosting the fest! This was my first time and I had originally planned to do a Merthur version of the whole movie but decided against it due to limited time and plotting issues. So here's a snippet, sort of. Enjoy!

Preview: Wind blew as dark waves lapped harshly on a moonlit, slate shore. Upon it, partially submerged by water, was the pale body of a shirtless man. He was young, unconscious, his handsome face turned up to the starry sky. Near his head stood another young man, blond, bare feet, and dressed in tatters, trembling.

Clutched in his hands was a heavy stone—and he held it high above the sleeping man’s body.

[jacquelinemerritt]

Dragon Ball Z: Abridged Episode 15 Review

Originally posted on September 11th, 2015

A failed attempt at positive representation.

You remember how last week I defended Dragonball Z: Abridged use of sexism and sexist jokes as a method by which to deconstruct characters that otherwise would be perfect? Well I really wish that I could say the same thing about the way in which Operation: Dodoria Drop handles the titular character, Dodoria, and Team Four Star’s revelation that she is in fact a she, despite her very masculine appearance and deep guttural voice.

This revelation comes about in the middle of a fight between her and Vegeta, as Vegeta insults her for “crying like a woman,” after which she screams out “I AM A WOMAN!” Then we cut away, and once we return, she has finished explaining that the way her alien species looks means that she, a large masculine looking woman, is among the most beautiful and “fertile” women on her planet.

On its own, I would be all for this: it’s a clever subversion of the expectations of femininity that people assign to women, as well as a clever dig at the fluctuating (and often unreasonable) standards of beauty we hold women to. I don’t even have a problem with her dying not long after she “comes out” to Vegeta, because she was working for a villain in an adaptation of Dragonball Z; her demise was inevitable.

The issue comes with the comments Vegeta makes to her after finding out her gender. He responds as if she’s a disgusting creature, and proceeds to guarantee that he will repress the memory of her gender (probably implying a refusal to acknowledge her gender in the future).

On the one hand, it’s completely in character, both with who Vegeta is, and who Team Four Star has slightly altered him to be. But it feels far too much like hurtful “punching down” humor for me to see it in any other light. Trans women and butch women are frequently harassed in real life for their appearance, and trans women are also subject to hateful jokes that deride them for not being “real” women for many reasons, and I can’t help but see Vegeta’s remarks as anything but an extension of that hateful behavior.

But on the other hand, I don’t think that Team Four Star meant any harm at all in this. In fact, I think that their intentions went no further than to include a little representation for butch women, trans women, and/or gender nonconforming folks. The inclusion of the (again, completely in character) transphobic humor ended up muddying what could’ve been great, clever, and funny representation, but their heart seemed to be in the right place, and they deserve credit for that.

Rating: 3/5

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Stray Observations

Dr. Briefs: “Where did you get that muffin?” Goku: “Muffin button.” Dr. Briefs: “But I never installed a muffin button.” Goku: “Then where did I get this muffin?”

*crushes scouter* Vegeta: “It’s broken.”

I want to see a whole montage of Goku training to “Cooking by the Book” (or better yet, to the remix with Lil Jon).

@kaiserneko​ (tagging you for the sole purpose of thanking you for boosting this review back in the day. meant a lot to me back then and still does today)

[mocacheezy]

My progenitor pair is truly getting serious about reclaiming their rank in the baby making game. 5 eggs you two? 5???

Plaguebringer is smiling down on these two germs...