#i didnt even know the person who asked...

[andromeda-collective]

i have multiple and im going to mention all of them but im starting with THIS FUCKER HERE (blade from honkai star rail) AND I HAVE A VERY STUPID REASON FOR IT

there was an minigame thing with a character named march 7th (dont ask) and there were little events you could encounter throughout it and one of them was that you had to choose between a red and blue pill (or the third option of giving a nonanswer) and since my choice didnt matter at all i went with the red pill because i know that the matrix is a transfem allegory and i also hc march as transfem but then another character made a little comment that blade would ALSO pick the red pill which completely makes sense for his character but since i was still on the transfem allegory mindset i had the thought of "wait does this make blade transfem??" so shes transfem to me now 👍

estrogen would NOT save her. not even REMOTELY. he's a suicidal immortal who physically cannot die because of a ritual his old friend-with-romantic-implications tried who he now wants dead more than anything else. hes basically possessed by evil plants that revive him every time he dies and he goes fucking feral. hes a mass murderer with a bounty of over 8 billion. nothing can save him. but transitioning might make her miserable life slightly more manageable? plus i mean.. throwing your old name away and being a new person? obviously a metaphor for being trans /j

boothill! this is slightly for shipping reasons (turning a het ship wlw for funzies) but mostly projecting my gender-nonconforming transness onto the only southern disabled character i know of. are we different kinds of southern? yes. are we different kinds of disabled? also yes. do i care? absolutely not. (also because butch southern women make the world go round)

also sampo because the idea that this fuck is a cisgender ANYTHING is laughable. this is a nonbinary transfem boymoding for shits and giggles who randomly switches to the girl voice when talking to someone JUST to fuck with them because nobody else would believe them and the person would think theyre losing it. typical masked fool stuff. gaslight gatekeep girlboss.

and then from genshin impact: zhongli. who has CANONICALLY used shapeshifting to become a woman. and has likely done so on more than one occasion. this guy is CANONICALLY GENDERFLUID WHETHER PEOPLE LIKE IT OR NOT. and you can obviously be genderfluid and transfem at the same time so why the hell not :D

most other characters i hc as transfem i dont have much of a reason for, but im gonna list them anyways cause hell yeah

argenti (hsr) - she can have a little estrogen as a treat

dr. ratio (hsr) - no reason i just think it could work

sunday (hsr) - something something religious-trauma-and-giving-into-what-you-once-believed-to-be-sinful

diluc (genshin) - fanfiction on ao3 changed my brain chemistry

kazuha (genshin) - also no reason i just think it fits

sebastian solace (a game on roblox called pressure) - im gonna be honest with you op, i just like putting this fucker in situations. and i would love to see the struggle of medically transitioning when you've been forcibly had your body and dna altered to the point of no longer being human. even ignoring for a few seconds the thought that maybe hrt wouldnt have the same effect (or any effect at all) due to the experiments, how could you will yourself to alter yourself medically in any way after the horrific trauma you've experienced? its between fucking with your already fucked up body or having the dysphoria kill you from the inside out. i am rotating her in my mind even harder now.

p.ai.nter (from same game) on the other hand? a lot simpler. make the ai with guns a girl. also just a funny idea: you know that "put eyelashes on it to make it obvious that its a girl" thing? yeah. painter doing that.

^ TELL ME SHE WOULDNT.

i would apologize for the essay but you did say i was legally required to share so this is your fault /lh

anyways i hope you enjoyed the women

If you see this post you’re legally required to tell me at least one trans woman headcanons you have for a canonically male character, I never get to see transfem headcanons like that, give me them, and for equality of my own please know estrogen could have saved Insector Haga and Dinosaur Ryuzaki I will not elaborate, also Yuya.

[mythalism]

i feel like all of my pondering and analyzing and criticizing veilguard over the past few months has actually truly given me a better understanding of what dragon age meant to me, what about it specifically was so meaningful, and why, as a result, veilguard felt so wrong. it took a while for me to figure it out. about three full months of relentless essay writing, actually. but i think if you had asked me a few years ago what the core of my love for dragon age was, whatever answer i gave would not have truly gotten to the root of it, because i think i had to experience the disappointment of veilguard to fully understand why i love dragon age. and ive realized that core is that i loved how the previous dragon age entries demand so much of the player, and deliberately prompt introspection and critical, often political, thought.

dragon age games have historically forced the player to be self-reflective and introspective about their worldview and beliefs. solas is obviously a fantastic example, as he was deliberately written to be a reflection of the player in order to prompt them to reflect on how they treat people, how our expectations of people influence their behavior, and how people are pushed to extremes and turned into monsters or saved by love and kindness. how do people become monsters? what drives them to blow up buildings or start rebellions or destroy the world as you know it? are they right or wrong? does it even matter? how did you contribute to this? are you innocent? it puts these insane, politically and morally charged situations in your face and forces you to confront them. slavery, a refugee crisis, poverty, class disparities, racism, foreign occupation, the list goes on, and you are not given the option to look away or be a bystander. you have to ACT. you have to choose, you have to make judgements, you have to take responsibility and explore your role in this world as someone with the capacity to act upon it, to make your will a reality, to fail, to make mistakes. i honestly can't think of any other video game that does this to the same extent? nor any media at all because the act of being IN the world as one of it's people through the act of role-playing is essential to how it provokes this experience in the player. its ballsy. they deliberately try to make you uncomfortable. these games are full of liars, deceivers, betrayers. the games themselves lie to you. its character try to deceive you. did you catch it? or were you fooled? what else might you be fooled by? who else might be lying to you? in the game? in real life? and then you get to play it again knowing the end, and what the game prompts changes with your new knowledge. now it asks, do you forgive them? what makes someone worthy of forgiveness? where do you draw the line? what do you think?

i dont think i realized until recently how impactful this was for me considering how i first got into dragon age at 16 years old. i dont think i had experienced anything up to that point that would put a situation like judging a war criminal who ordered the deaths of children or another war criminal who just left me to die and orchestrated a near-coup or a traumatized terrorist who just blew up a church right in my face, and said MAKE A DECISION. and i didnt know it at the time, but looking back i can see how valuable it was for me at that age to have what was effectively an avenue of exploration and self-expression of all of these moral and political issues that i was grappling with as a young adult. i played inquisition for the first time just months before i voted in my first presidential primary. i already had a political consciousness at this point, but it was nonetheless new and vulnerable and still blossoming into something more concrete. inquisition, then, almost provided a sort of political, moral and personal sandbox for me from ages 16-20 to better help me understand myself in relation to the world. the RPG-ness allowed me to put myself into these situations - like the mage-templar war and its metaphor for mass incarceration and police brutality - while i was also simultaneously grappling with and trying to understand these issues in real life. having dragon age to help me further unpack my own beliefs and conception of these issues was undeniably impactful. it provided a space, through a narrative i enjoyed and cared about, to make choices and judgement calls and better understand who i was, and what felt right to me. it asked, "what do you think?"

veilguard lacks this. completely. and lets be clear that the previous games did not always do a perfect job. many of these depictions are messy and harmful and problematic, but they at least, by extension of their own existence in a narrative that forces you to THINK and JUDGE and DECIDE, give me the space and opportunity to judge them as messy, as problematic, as harmful. i can confidently say that i think da2 is too sympathetic to the templars as an organization because the fact that da2 presents me with so many narrative conflicts regarding the templar organization allows me to not just make in-game decisions and play as a staunch advocate for mage freedom and circle abolition, but to form opinions on the game itself by extension. i can confidently say that i believe the qunari's portrayal is islamophobic because the game has prompted me so many times; what do i think about the qunari? what do i think about the oppression of the elves? what do i think about dorian being a seemingly good person but defending the practice of slavery? who should rule orzammar; the progressive asshole or the conservative traditionalist? do i forgive loghain? do i forgive anders? do i forgive solas? this in-world critical thinking about issues in thedas leads to meta critical thinking. further questions naturally follow -> what message did the writers intend to send through anders? how can i notice the echoes of how this story came into fruition in the shadow of 9/11? what do solas's endings tell me about the writers view of retributive punishment? how is bioware's portrayal of the dalish, as inspired by indigenous north americans, reflective of deep-seated anti-indigenous canadian sentiment? why did the writers stop prompting these hard questions at all in veilguard? did they only like it when it was about characters, not when it led to critical thinking about them and the company as a whole? through these processes of in-world interrogation, i am inevitably invited to analyze the effectiveness of their narrative portrayals and the writing itself. perhaps this is why dragon age is so famous for its discourse lol.

ive said before that im not sure that veilguard could ever have been as impactful for me as the previous games, partly because when you are 16 everything is more impactful because your brain is an eager sponge, unless it did something that really resonated with me as an adult. but what it should have been, at the very least, is something that could have been as impactful and formative on a current 16 year old that sees a gif on tumblr and decides to check out the game, as inquisition was to me 10 years ago. and im sure there are teenagers and younger adults out there playing this game and loving it and loving the characters and the world and thinking its great, good fun. thats great. however it fundamentally cannot have the same profound, developmentally catalytic experience it had on me because it simply does not challenge the player. it does not prompt them to question their own beliefs and the power structures within their lives. it does not prompt them to reflect on the political narratives they may have been fed all their lives. it does not confront them with the sorts of topics that get books on banned lists in florida and force them to bear witness, to think deeper, to feel guilt or horror at the outcome of your own poorly-made decision, to make moral judgements, to make mistakes, and to live with the consequences.

i think i now understand why veilguard was so disappointing to me and ultimately would be a failure in my eyes no matter if i enjoyed the combat or the exploration or whatever other shiny coat of paint sits atop it. veilguard does not ask much of you. it does not prompt any sort of introspection or interrogation of your presently held beliefs. it does not demand anything from the player except to dodge at the right moment. this is a fundamental, core departure from what made me fall in love with dragon age in the first place. if you love dragon age because you want "fantasy escapism" and fun characters to smooch, then i am happy for you. but i would remind you that can find fantasy escapism all over the steam library - farming sims, cozy games, a witch looking for her cat in the alps, etc. what you cannot find are games that are willing and brave enough to challenge and provoke the player into a better, more thorough understanding of themselves in relation to our world and it's many, complex and daunting political and moral issues. to have lost such a thing, when media like this has become so few and far between, and during a time when we need it more than ever, is a devastating loss.

[lostinlovingrevery]

Logan and fluffy things I like to imagine with him. Part 2: electric boogaloo

logan has a soft spot for animals. He wont go absolutely out of his way i think to interact with them, but definitely has a mutual respect for them.

that being said, going for a walk with Logan, and a stray kitten comes up and absolutely WILL NOT leave logan alone. It adores him, screaming and climbing his pants. You of course insist on taking it home and logan grumbles over it but doesnt argue

cue all the moments of "dad who didnt want animal in first place" with logan as he treats it like his literally baby. Its young and still needs milk, and lots of tlc.

you wake up to him missing from bed one night, crawling out in search of him and finding him in the kitchen- babytalking and cooing the little itty bity baby kitten hes holding in his arm (imagine. Tiny kitten. Logans beefy arms. 😍) and bottle feeding it.

he gets so embarrassed when you catch him.

making him laugh. Like really. He's so stoic sometimes. hes sarcastic and has a smart mouth and really funny himself but not much gets him going

but you tell him a joke . or maybe a funny story of something that happened to you, or a funny limerick whatever okay

and he LAUGHS

its the first time you ever heard him laugh, probably the first time you ever made him laugh that wasn't a small chuckle (say you're still new to each other)

His laugh is just so warm and boisterous. It's a real peek into the kind of person Logan can be if he's in the right enviornment

that big cute smile, his low voice. that loud laugh. I mean honestly

making him laugh so hard he's crying and its uncontrollable

thats right baby girl

anyway

Logan loves listening to your heartbeat

lies on your chest and listens to it beat away. it's grounding to him, a reminder you're still here with him

Either with the X-men, or with Wades gang, Logan slowly opening up and becoming more comfortable with people- purely because YOU'RE there.

your presence reassures him so much

feeding each other

its natural too. You're just at breakfast, lunch, or dinner. you take a fork of your food, or maybe your french fries, or whatever and immediately hold it up to his mouth and he just eats it without question

Feeding him fruits, or chocolates, or a charcuterie spread AH *sigh*

Leading to having a picnic with him. He's a little unsure at first. I think depending on the logan you're picturing, or at least when you meet him, he may have points where he gets shy about dates and stuff

a picnic is one of those things. planning food and a blanket and all and it really does sound nice to him. Too nice. It feels unnatural to him and he doesn't know how to behave, maybe he doesn't think he deserves to do something so...domestic, and soft

you of course argue that "yes logan, you deserve to do picnics too."

Once you actually get him out though, he'll eventually relax, lying on the blanket, on a nice breezy yet sunny day under a large tree, arms crossed behind his head as you feed him grapes and strawberries and blueberries

"Yeah, okay, I could get use to this"

planning other dates with logan. for awhile it's something you take initiative of. But then Logan surprises you. He got you tickets to see a broadway show you've been talking about for months.

since then logan starts pulling his weight with planning dates. he always enjoyed the dates esp in the beginning. he just wasn't used to it, used to meaninglyess flings and lonelines. Sitting and trying to get to know each other was hard for logan bc he struggled opening up

for you tho he does

in a setting with the x-men, they all are amazed how easily logan trusts you. Even as just friends.

you do whatever to him and he just accepts it. He doesn't flinch. or scoff. or tell you to fuck off (sorry Scott. i know you were just asking for the salt). He'll give you his witty and sarcastic remarks but they tend to be a lot nicer and sweeter

he looks at you with a softness they're all confused by

well except jean and charles, they both see what's going on in his head. it's sweet actually

ororo actually picks up on it pretty quickly too

Scotts the one who's just confused but prob bc he gets the most abuse

sorry again scott

okay, not really a logan fluff relationship but honestly logan and scott becoming semi friends? I feel like hard feelings and annoyances aside, they could really get along. I don't know much about Scotts character but i feel like they're both men who can be great leaders and genuinely care about their people. Logan and Scott putting aside differences and going out for a guys night at a bar. Maybe some other X-men join to, but Scott and Logan talk a lot

Meanwhile you, Jean, Ororo, and a few other girls have a girls night

Logan opening up to Scott about how he feels about you (you're still friends at this point), he doesn't outright say that he's scared to make a move, mainly because he's scared of hurting you in more ways than one

Scott gives him a pep talk, male bonding. of course they end the night insulting each other but on the bright note they seem to come to an understanding

Logan is a very attentive boyfriend. He may act aloof sometimes but he notices EVERYTHING. Don't be surprised that your birthday and christmas gifts are always exactly the things you wanted even if you hadn't told anyone you wanted them.

You're teaching a class and logan stops by to give you something. He gives you a kiss in front of the class without thinking, and they're all "Oooooo"ing and "Aaaw"ing over it. Logan tells them to grow up, (They're 5th graders logan)

imagine shopping together, and logan picks out clothes he thinks would be cute on you. He finds a pretty sundress and practically demands you to get it. Of course you do. He ADORES you in that sundress. His hands are never off you when you wear it

It awakens something in him and he starts buying you pretty clothes he wants to see you in. He knows your size by heart, he knows what materials you like and what you hate, and the colors you despise on you (even tho he thinks you look good in everything)

Kissing each space of his hands where the claws come out. It's a gesture of love and trust. Logans scared of you doing it, afraid he'd somehow lose control but you reassure him. Now he loves it, and it truly makes him think that maybe he isn't such a monster if you could love him like that

You do his laundry for him. It's not like he asked you or that he doesn't keep the laundry up himself, you just do it, acts of service being your love language and he comes home and finds you did it and hes kinda shook because like...wow? being taken care of? it was so simply. its just laundry. But damn

Speaking of, doing laundry together.

I want to do laundry with Worst! Logan, we go to some 24 hour laundromat. maybe just neighbors but you've been flirting with each other, and consider each other good friends, the implication of something more. You're laughing and you guys have the place to yourselves. Logan feels safer than he has in a long time with you. Maybe share your first kiss, at 1 am in the laundromat.

I like to think about late nights in your study with Trilogy Logan, he hangs out with you, he already has trouble sleeping, and just loves your sweet company. Your conversations turn deep, maybe you had a recent mission that turned rough, and it literally turns into a love confession by Logan. You return the feelings, and he asks "Are you sure about me?", and you respond to him with an eager kiss, your arms embracing each other in the way those old romantic movies when they kiss (I use to be so grossed out by those and now I would love nothing more *dreamy sigh*)

I want to comfort Old Man Logan, maybe he had a really bad day, and disappears. You get Caliban to watch Charles for the night while you search for him, and you find him at a bar he usually frequents. Hes gruff but polite and tells you to go home and go to bed, but you urge him to come back with you. Eventually you get him to agree to at least come walk with you down the streets. He doesn't know how, but you draw out of him his worries, his fears - and they mainly revolve around you, this sweet little thing who came into this fucked up life of his. You reassure him that you wouldn't want to be anywhere else, and you end up kissing him. He's shocked you like an old man like him, but...he'll take what he can get.

I want to be 70s DOFP Logan friend first, hes a menace, and he has fallen hopelessly in love with you. Much to your obliviousness, you think he's still a Casanova out in the bars- but hes spending his nights thinking about you. One night he has enough, and rides on his motorcycle down in the pouring rain and thunderstorm. He's at your doorstep and you open the door to this sopping wet creature and the first thing he says "I'm in love with you." with water dripping down his face. Then he pulls you into a searing kiss. (im writing a fic about this btw)

With Future DOFP Logan, he would meet you, a new professor at the school, and he's quickly taken aback. After some quite hellish adventures he's been on, you were a fresh breath of air for him. You both fall into something of relationship without realizing it- because it came so naturally. It's only one day you're talking to him, outside on the patio and he's smiling softly listening to you and he leans forward and pecks you on the lips. you look at him in surprise, before grabbing his shirt and pulling him in for a real kiss

Origins! Logan takes you out on a romantic date, because he's classy like that. you share your first kiss over dinner, something sweet, and you could feel him smiling against your lips. He does it again after dinner, when he takes you home like a gentleman, you can feel his eagerness when he kisses you again, like he's trying to control himself, and he finally pulls away and wishes you goodnight (i mean, you're gonna have to invite him in)

97' Logan! He's giving you a pep talk after some bad shit went down on a mission, you feel like you could've done better, could've done more, even if everything you did do was enough. He's being unusually sweet and supportive and you leaned over and kissed him. You're surprised at yourself, but Logan isn't. He chuckles, telling you he gets it, he's irresistable, but then he kisses you again and can't stop (whos the irresistable one NOW Logan??)

I didn't mean for those to turn into first kisses prompts but enjoy. I have so many ideas of how first kisses with logan could go, these are just a few of many

pecking his cheek and his beard scratching your lips, but you actually really like how it feels

him rubbing and scratching his beard all over you to mess with you. It tickles but he's pinning you down and you're shrieking.

He keeps a picture of you on him at all times.

he loves hearing your stories. he wants to listen to you yap. he loves when you yap. even if it's useless stuff, the way you seem to enjoy and live life the way he never had before, he just can't get enough

helping him with his suit, you're zipping him up, but you press several kisses up his spine as you are zipping him. your lips sends shivers through him

helping him with a fancy suit. like suit and tie, (this would be cute for old man logan!). he's grumping and frumping about wearing it, but then you tell him how handsome he looks, and he smiles, and suddenly he's not so grumpy about it.

logan pressing soft kisses all over your face. bonus if it's after he hadn't seen you for awhile

okay but imagine after yall been together for awhile, maybe talking about getting a house together...

you guys "just look"

logan doesn't like anything. So he convinces charles to give him some land and goes and secretly builds a house for you. he recruits help from some others. he hires a designer to be able to get the parts he noticed you liked

you have NO idea. A year later, maybe 2, he brings you to it, and you're like "When did this house get here" and he tells you everything

logan definitely doesn't think things are "too much" when it comes to his devotion to you lets just say.

These are all i got for now! Keep an eye out for pt 3 :)

[worth-this-and-more]

[TW: sh mentions, violence] [spoilers for legendborn and bloodmarked, read at your own caution ;)]

so i've been rereading and trying to cover up all the legendborn content that happened while i pufff disappeared, and pardon me it is taking more time than i imagined, however i just wanted to start off with one pet peeve of mine

*rant incoming*

this might just be my unorganised thoughts or maybe just common sense, but sometimes you dont fully understand why a character did something; you have to sometimes to come back and read it again once you have that epiphany. it doesn't matter whatever tf they are doing, it sometimes just doesnt make that effect, especially on first read.

when i first read bree lashing out on greer and sar when they touched her hair, i didnt quite understand it. i thought its a cultural thing and moved on. now something about me, im a little fair, by indian standards. not completely clear skin and shit but im on the lighter side. so if im in my village, if im anywhere else wearing something with a bit of skin showing, i automatically get the comments "you're so fair" "what's your skincare" "so lucky" "you'd marry so soon" all that typa shit. and then come the unwanted touches, touching me on any exposed skin. and by any i genuinely mean any exposed skin. that's when i kind of realised why bree was so irritated when they tocuhed her hair, because people sometimes see our nicer features as free estate. and its annoying. and that is when her reaction fully made sense.

when i first read selwyn mesmered bree, i was so angry. i did not want bree to forgive him without him grovelling, ofc, but i also could not understand why he did that. what was his motive?? and why hide it from bree only?? nobody else?? now i've been in my low times since like years, not a big deal. got a lot of scars, some too visible, some not. i dont bother hiding it if im out in public where there's nobody who knows me or nobody who would care enough to ask. but if im with my friends, close people, i hide them all. and its just like valec said, its not to hide something its because of the fear of judgement. and that's when it kind of made sense why selwyn would hide his descent specifically from bree. she has bad experiences with mesmer, no doubt, but even worse with demons. it was a bad call through and through but one that is not unfamiliar. i dont hide my scars for my safety, i hide them because im ashamed.

and when nick killed max and then promptly disappeared into the woods, that was also somehow so out of character in my eyes from him. during grief and in the moments of crushing hopelessness, doesn't everyone want someone?? isnt the obvious reaction supposed to be him coming to bree, and not running away from her?? but that's not what happens yk. i once had a classmate who was not generally the type of person you'd want to be around. he was the type of person who has "trouble" spelt on him in flashing neon red. but after all, we were young, wanted to keep the peace, so i kept the decent communication. he would constantly invade my personal space, unwanted touches, unsolicited comments, it gets annoying. the last straw was when he tried to touch my best friend's schoolbag. i, in a moment of pure rage, threw him against the wall and actually started choking him. when the class managed to get me off of him, he was unconscious. in that moment my bestfriend came to put a hand on my shoulder, i visibly flinched and ran away from there and stayed in the washroom until school was over. this isnt as bad as beheading someone, but the response is familiar. of course he is going to go away rather than come closer; people whose love language is physical touch often have their hate language as isolation. i didnt hurt him purely because he tried to take my bestie's bag, i hurt him because i wanted to. nick didnt kill max purely because he killed his father, he killed him because he wanted to.

there's more of the events where we just kind of make this internal bias that we know what the character is going through and that we would definitely make better decisions, but can you?? do you really think you can or you're just overestimating yourself or underestimating the actual thing going on with the character??

i have made this mistake too, i know. i have taken some time to reflect back though and now i can say that yes i have made harsh judgements too. i am changing that tho because i've got a lottt of time to sit down and think and yeah i guess we all need it time to time.

what im trying to say is, things are not black and white. its a spectrum, there's dark grey light grey. it's a lot. and until and unless you are capable of putting yourself in that type of situation or closer, it's better to not make concrete opinions. shit happens and people do things, real life people are just that, people.

anyways this was a long rant i probably lost my point halfway through but okay whateva

[clemworld]

"taking in bad faith"

you put 'genderfuck' shit on a transmisogyny board.

• if you mean degendering, say that! You didnt say that though.. your words have meanings. you cannot say a different sentence then be upset when people read it as the words mean.

• Again, say that. Because I see it in MANY contexts.. People who think you shouldn't imposed a girl v boy mentality to the trans community, people who enforce a gender binary in trans spaces, shit! not even about trans shit! People say this shit when lesboys exist!! It is a commonly said phrase.. Again, if you mean something, say something. Because you are criticizing generalized things that can so easily be miscontrued to be used to be a dick to people.

• It is slang. People use slang how they use slang. Using slang is not inherently transmisogynistic and its a weird hill to die on. The important thing it acknowledging some people may not be comfortable with it and asking. And if someone messes up, telling them. It is such a non issue. Like putting it on this board is the equivalent of those storyline plots that exist only cuz people don't communicate. People are capable of communicating their needs and asking boundaries.

Now, disrespecting this boundary could go on there no problem!! It happens a lot.. But someone who grew up in a region where that simply is the slang and uses it like that is not the same as someone who goes 'well thats a dumb boundary i use it like XYZ!!!"

Two different scenarios.

• How is TME/TMA misused? I am so glad you asked:

It should be a self descriptor, for starters, because you don't know other people. No, just because that person is a transmasc bigender person you don't know if they've been affected by transmisogyny or not.

The term has basically been co opted for online discourse that boils down to "afab (aka FEMALE) trans=transmasc/trans man and they are tme and amab trans people are all transfem/trans women and are all male and amab and are tma".. which is dumb. People have perverted these terms to mean whatever the fuck they want instead of using it to actually start a conversation about transmisogyny.

You cannot tell TME/TMA by agab, gender identity, expression, (asumed) sex, pronouns, etc.. However certain 4chan-lite people have completely ruined the terms usefulness and it is.. upsetting

A lot of people DO define it by AGAB! And it is a real issue! And it harms any actual discussion because it makes people associate these terms with gender/sex binaries instead of them being useful.

Now, i AM pro use of these terms when used correctly.. but at the end of the day, they really aren't.. especially since how many people just see words used one way and assume thats Just How They Should Be Used. There needs to be a real discussion of the misuse of this term, and people criticizing how its used in the wider community should be allowed to..

... But, yea, people equating them to meaning agab or sex or identity or whatever the fuck IS misusing and it happens a lot. I do not think its impossible to reform these words to what they naturally should mean, but I don't blame people for how they're used

(I can go on but I am ill right now and Cant)

• "the transandrophobia crowd" tells me everything I need to know about you.

i could SMELL the "transmisogyny is when online trans discourse" from that fucking bingo. If you are a self described TME then maybe stay out of conversations about transmisogyny becuase all you're doing is pointing to trans discourse, portraying the 'other side' in not an accurate light, and calling it transmidogyny. THIS is why conversations on this topic are so impossible. People cannot fathom actually talking about issues, its only about 'who is more oppressed' and its bullshit

wanna know WHY people feel they cannot talk about their issues? becasue they are harassed, sexually or violently, called slurs, cyberstalked, etc.. for daring to talk about their own experiences. all in the name of talking about transmisogyny

its basically fuckung radical feminism at that fucking point. do whatever you want as long as you can scream (trans)misogyny you have an excuse! its fucking bullshit.

So, yea, theres a huge community of people who cannot talk about their experiences.. are we forgetyibg the 'transandrophobia crowd' gets harassed to attemtling suicide and then harrassed EVEN MORE because how DARE people create words for their experiences? Being willfully ignorant of this doesn't make it any worse

Also... are we forgetting how many trans women who don't agree with this shit are told they're secretly men and/or transmasc and evil gender traitors for supporting other trans people? It's ridiculous. This discourse does nothing but create an Us Vs Them mentality in the efforts of shitting on the 'acceptable' queer groups to shit on. It doesnt help trans women, these types of bloggers literally revoke trans women's woman card whenever they dare disagree. its 4tran shit.

Like.. has it ever occured to you people say these things for reasons and not outta the blue and portraying it that way just makes your whole post a bad faith argument?

• "trans women are more oppressed than trans men"

anti trans bills harm EVERYONE. ALL trans people. even intersex cis people! like jfc to go "this oppressed minority isnt as oppressed as me😢" is bullshit, the oppression pyramid isnt real and you do nothing but harm your own community by pretending its real

Like imm not even going to explain this to you because no doubt youve SEEN the cases of transmasc people being listed as 'female violence' or the fucking people beaten to death in bathrooms that arent transfem or the intersex people harassed and forced into invasive procedures because they are 'secretly trans' or some shit like jfc

play blind to oppression all you want, us here in the real world will actually be fighting for something

• this point still doesnt make sense to me. you cannot just add "nonbinary people" then make some random excuse. its still weird.

• point 8 is interesting to me. i think in a way we are all affected, i mean, i don't really believe certain people's experiences are 'less than' because its 'misdirected', but also I dont have a strong opinion on that and i respect yours. i tjink there should be more discussion to it. i think saying 'everyone is tma in some way' could be used to be like 'the patriarchy affects people all in some way' but i do understand your pov🤔

anyways yea idk i think i read u wrong when i wrote that one. again, no problem with tme/tma being used correctly! especially as self descriptors which is where i feel it is most useful

• i don't like how you worded pt. 9.. also, again, my main issue with all of these is that these phrases can also be used to miscontrue what people are actually saying by twisting their words.. idk :/

but also i just wanna point out the irony of 'i cant hate trans dudes i am one' cuz its literally on your bingo card to say stuff like that.. /lighthearted

• pt 10, im not misreading shit. you just admitted right there! it isnt that "misandry isnt real". that is exactly the dogwhistle you fuckers use to ACTUALLY MEAN "trans men dont have their own issues. its the same phrase. all of these phrases are innocuous enough but are the same parroted phrases to put words in peoples mouths when they talk about transandrophobia .. nobody has ever said misandry is real (in the way that its an actual societal issue, self described misandrists exist everywhere)

but what people HAVE said is "no, i don't have male privelege because thats not how oppression works and i suffer my own unique experiences with oppression as well, on the basis of being a trans dude"

but people HEAR "wah i am a dude and im oppressed" because people are incapable of letting others speak they lives

and im not replying to 11 more because i am not on what exactly is being replied to where

• no 12. you have seen trans discourse and decidded to make a bingo. as a TRANS WOMAN, yk, TMA, i am telling you this bingo is bullshit and filled with weird logic. and i know many trans women online and offline who agree with me. a small bit of trans people make a discourse on something, it does not mean they speak for everyone. and as a trans woman i reserve the right to disagree with this and its weird tones to my trans brothers.

Like yk how many trans women on trans twitter used to harass passing trans women cuz theyre "passoids"? doesn't sound like a real issue that shoulld be a big issue. passing vs not. but it was to them, but that doesnt mean every single trans woman out there agreed that this was even something to be arguing about. this is nothing more than trans discourse

same with the 'toothpaste flag' or 'the term achillean is bad' discourse. it will blow over in a few years and everyone will think how stupid the online harassment over queer dudes existing was, and people will go onto the next target.

So, tldr, if you really wanna talk about transmisogyny, do that. but dont parade around your discourse opinions as an actual conversation about it.

going to start using this for every dipshit post i see on here

[also-fours]

sometimes i think about that asker who said it was "rude" that i compared isat to an undertale AU that had some similarities story-wise to it and asked adrienne if it was a possible inspiration

how dare i compare one piece of art to another

how dare i try to guess what may have inspired a piece of art that i really like by just asking the creator directly bc y'know, they are literally just a person on the internet and i can ask them if i wanted to (plus said creator clearly seemed to have grown up in the same type of environment on the internet as a lot of us did)

y'all know that all of this undertale AU shit was made by people, right?

not even famous people in the indie scene that have entire teams like fuckin. toby fox or maddy thorson, like. people who sell merch of their stuff on redbubble or whatever bc they gotta pay rent, they're not completely out of this world deities that dont have feelings and just pump out content for you to make fun of and or enjoy (hell, people like toby and maddy aren't either. they, too, are just people if you havent noticed)

putting all of your feelings AND my own about various UT AUs aside, they were made by actual people who loved what they were making and were passionate about it

like you're not above people because you dont like undertale AUs. just because you thought they were cringe doesnt mean they are thus the lowest form of art possible, and it is an insult of the highest degree to draw any sort of comparison between it and something of "higher stature."

like do you know how pompous that sounds?

(rich guy with a monocle voice) "oH, i dont associate with those SAVAGE undertale AUs! they aren't REAL art after all, huehue!"

i didnt know classism was a thing in fandom!

[protags-other-husband]

nothing is more annoying than that trio of slow walkers, random people knowing your name and saying hi, anD PEOPLE WHO ASK IF YOU'RE DATING SOMEONE EVEN THOUGH YOU WERE JUST TALKING ABOUT FUCKING PSYCHOLOGICAL HORROR GAMES. :3

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

Finally, something interesting to note is that nearly every Aspect follows its own Hero's Journey cycle - full actualization for each one usually means reaching around to its opposite Aspect, and taking lessons from them - for example, Breath players need to learn maturity and responsibility, while Blood players need to learn relaxation and whimsy. Thus, an Aspect at its worst manifests in two ways - either a toxic overabundance of the Aspect's worst traits, or such a dearth of the aspect that it begins to resemble its opposite. Only by reaching into the opposite, however, can the player be tempered and reach full maturity - can they become more of who they are.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

"Passive" is a good word to use; at a toxic overabundance of their Aspect, Space players are trampled underfoot. They become enablers, servants to dark forces, or so lost in their own worlds that they neglect the one they live in. With their Aspect "inverted," a Space player becomes a demon of poor prioritization. Distracting not just themselves from their true purpose, but others, too, the Space player will wreak havoc by overemphasizing unimportant topics and ignoring important tasks. This superficially resembles Time, in that the Space player will become fanatically dedicated to their task, but note that the poor prioritization is still Space-esque at its core.

Still, within this nadir is a valuable lesson: the strength of self-assertion, and the determination to see a goal through. These will allow the Space player to weed their garden, separating good from bad, allowing it to flourish like never before.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so.

At a toxic overabundance of their Aspect, Time players become explosively destructive. The ultimate "goal" of all things is death, with which Time is associated, and accordingly, Time players have a penchant for aligning themselves with futility and entropy, struggling so hard that their thrashing leaves a trail of annihilation in their wake. With their Aspect "inverted," Time players detach entirely - they can become so fed up with struggle that they simply opt to lay their weapons down and let the end take them. It's very easy for them to come to the conclusions that either everything matters, or nothing matters. This superficially resembles Space and its big picture thinking, but note that its framework of struggle, and whether or not a goal needs to be pursued, makes it a Time concern.

But the inherent meaninglessness of existence is, in itself, an important realization to make - that whether or not anything "matters" in the grand scheme, things can still be worth doing, worth caring about, and worth investing in. This realization allows the Time player to attack their goals with renewed vigor and greater clarity, which in turn means that the party becomes an efficient, well-oiled machine.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere and innocent good-naturedness, like a baby animal before it learns to be fearful of danger. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others.

At their worst, Breath players are irresponsible and callous. They'll shirk the consequences of their actions, blaming anybody but themselves, or simply choose not to care who they hurt in order to get what they want. They may even choose to stop making choices for themselves, leading to the "inversion" of their Aspect - a voluntary loss of freedom and independence, derived from an Breath-like aversion to responsibility, which superficially resembles the bondage of Blood.

But if they are able to overcome these tendencies, a Breath player will learn what true responsibility looks like - responsibility for themselves, their choices, and the effect they have on others. Armed with this, a Breath player's ability to break bonds can be focused into a clear force for good, clearing away all obstacles and harmful societal standards, leading the charge into something new and beautiful.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, being concerned with its overall well-being. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone.

Thus, it's easy for the Blood player to wind up controlling - desperate to make sure everyone is moving according to their vision, they'll become iron-fisted dictators, with a "my way or the highway" approach to social interactions. It's easy for them to wind up pariahs of their own making, becoming so critical of others, or so adamant about enforcing their own will, that they inadvertantly sever their ties - something that superficially resembles Breath's independence, but is truly a result of Blood's neuroticism.

But with that space and separation can come great clarity. Blood players must learn to relax their grip, and allow people room to breathe - including themselves. Once able to grasp that sometimes bonds must be forged with a soft touch, Blood players' natural empathy shines through, allowing them to build something so much kinder and greater than the sum of its parts.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire.

Their desire for the limelight can quickly spell disaster - they can become incredibly cruel, harsh, and egotistical in their pursuit of narrative significance. They forget, in their obsession, that they, too, are fallible and flawed, and the inevitable reminder can come very harshly. Light players struggle with moderation, and as such, when they feel shame, they'll often take drastic measures to cope with it - deliberately darkening their own influence or intellects, removing themselves from the "story" entirely - something which superficially resembles Void's penchant for the background, but which is firmly rooted in Light's obsessive need for drama.

But in experimenting with narrative insignificance, Light players can reach an epiphany - in their absence, others may shine, and that can be a wonderful thing. Light players, then, can learn to shine not just for their own sakes, but for the sake of others, allowing them to weave a story even more brilliant than any that can be weaved alone.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable personalities on a team. However, this simplistic, feelings-driven approach often leads to pleasure-seeking behavior, poor impulse control, and overindulgence in vice, and from there, to irrelevance, with which Void is so closely interlinked.

Void players are especially prone to vice, and at their worst, will become so drunk on pleasurable activities that they pursue them to the active detriment of the party's goals or the Void player's self-improvement - making them the ultimate irrelevant character. They can also very easily drag others into their mélange, with a forcefulness that resembles Light's illuminating guidance, but which is ultimately rooted in Void's pursuit of personal pleasure.

But there's a lesson to be learned in Light's domain: how to bring themselves into relevance and greatness. A Void player, once they learn to pursue not just personal pleasure, but a greater satisfaction for the collective whole, can drag the Void behind them, kicking and screaming, to where it'll be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand and explosive finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty.

Thus, a Mind player at the worst zenith of their Aspect is heartless and cruel. Leaving no space for empathy or even personal feelings in their plans, the Mind player will plot for an ending as heartless as they are. But a Mind player is never truly without emotion, and ignoring their own feelings causes them to manifest in terrible ways - Mind players have a tendency to seek toxic, codependent relationships, hoping to find external validation, subjecting themselves to the wishes of others, which can appear like Heart's fixation on feelings and desire.

But in recognizing their own need for emotional validation, and the importance of their own feelings, a Mind player can realize that there's an entire dimension to the game they've been playing that they've been ignorant of. When a Mind player learns to temper their schemes with empathy, compassion, and kindness, how much more success they'll see - and how much happier that grand finale will be!

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves.

With this sincerity comes vulnerability. Heart players wear theirs on their sleeves, and at their worst, this can make them demanding, needy, and sensitive - so eager to connect with others emotionally that they'll cramp themselves to fit others' desires. But they can't ever keep this up for long; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection. They may even work to manipulate others, preying on their emotions and desires to force them to act in their worst interests. This superficially resembles Mind's cold logic, but unlike Mind's cool rationality, Heart's aloofness is a mask, an attempt to avoid pain by pulling away.

But this isn't purely a negative, because a Heart player can learn a healthier form of detachment, and separate out healthy and helpful desires from harmful and detrimental ones. Given this clarity, the Heart player becomes the team's emotional core, able to raise up each teammate's best qualities, while helping them deal with their worst, enabling everyone to be the best possible version of themselves - which the Heart player knew them to be all along.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed.

It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process. At their worst, they're stubborn to the point of not listening to anyone but themselves, confidence becoming blockheadedness. This focus on forward progress without looking back can even cause Life players to become harmful to others, so focused they are on their own growth that they don't notice that they're choking everyone else out. This may resemble Doom's death in its worst case - arresting everything else, eventually blocking even their own path with unruly, out-of-control fecundity.

Thus, a Life player needs to learn to more gracefully accept Doom's influence - to pause, slow down, and consider viewpoints that are negative, unpleasant, or difficult. A Life player, endowed with moderation, will be able to cultivate a bountiful garden, rather than an unruly jungle - a place for all to flourish and live in plenty, never wanting for anything.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate.

Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending. As if energized by their own sense of futility, a Doom player at the "inverse" of their aspect may seem to echo a Life player's focus on forward progress and motion, actively spurring their team on towards an untimely demise.

A Doom player must learn to harness this sense of progress for good, rather than harm. A Doom player, once able to grasp the joy of life even in the greatest depths of despair, will be able to fill even the darkest hours with peace, meaning, and hope.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots, with no self-awareness whatsoever. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - often great sources of embarrassment to their teams, as their naked sincerity is painful to witness. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous.

A Hope player can easily be set on the wrong path - as convicted as they are, and as difficult to shake from that conviction as they can be, Hope players can easily march down a path of destruction, if not persuaded with a deft touch and gentle guidance. In the event that their faith is broken, Hope players easily become despondent and lost, floundering and wishy-washy, which superficially resembles Rage's self-consciousness, but is truly just a lack of direction.

But Rage has a powerful lesson to teach Hope players - that of questioning themselves, interrogating their own beliefs. Once their convictions have gone through rigorous scrutiny, revised into the best, brightest versions of themselves they can be, a Hope player is a worker of miracles - speaking into existence a beautiful future on faith alone, proclaiming that how they see the world is how the world shall be.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players are incredibly self-conscious, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

In the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This is Rage at its toxic overabundance. Conversely, a Rage player can retreat so harshly into their mask that they allow others to dictate their beliefs, taking them to heart - an action motivated by Rage's destruction (this time, turned inwards) that superficially resembles Hope's convictions and faith.

The true path for a Rage player is a healthy balance - to allow themselves some of Hope's sincerity, and by doing so, to become more sincere and true. This will let them release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy - the heralds of a revolution, razing away the faulty, corrupt old systems such that something better and new can take their place.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.

[alyimoss]

YES YES YES IVE NOTICED THIS BEFORE!!!! the reverse is also true: chara calls asgore dad, but toriel is just toriel. both have a parent theyre closest with

that does make me think tho like. frisk seems to me like he would either call both parents just by their name or call both mom and dad. not pick one and leave the other. hes shown to be more considerate of the residents of xtale in later timelines than chara, whos grown much more disillusioned, hateful, and violent. chara has way fewer problems treating people more poorly because in his mind the end justifies the means and as long as the goal hes working toward is noble (which. it at first is but later twists into something completely different. but i think he still considers it noble and the "best outcome for everyone" and thats ahat matters most to him) any horrible thing he does is completely fine. hes playing on the same battlefield as xgaster, after all, so he has to adopt his same tactics. frisk, though also shown to have grown more hateful and violent and disillusioned, shows a lot more hesitation in using and/or hurting the residents of xtale.

anyway, all that to say that he just doesnt rlly strike me as the type of guy to just exclude one parent, especially if it hurts/saddens them. like i could be completely wrong and hes just got a preference contrasting charas bc siblings, but. idk.

bc chara not calling toriel mom immediately makes me think of timeline III. the timeline right after the one where chara got the father figure he yearned for. it was the first timeline to use underswap as a base instead of the original timeline. in the episode, we see both frisk and chara sitting in toriels lap. frisk is chatting happily with her, but chara looks livid

i wonder if chara refuses to call toriel mom because she hasnt been the mother he knew for so, so long. she doesn't even know it. and swap toriel taking asgores role and some if not all of his personality (depending on the interpretation), it probably felt to chara like she was trying to replace asgore. a shoddy stand in, smiling at him almost in mockery as he has to mourn the death of his father alone because noone except for him, frisk, xgaster, and alphys even know he died. for all the other residents of xtale, that series of events never happened.

toriel asks him whats wrong and he has to fight the urge to snap at her, to yell at her that she knows. she knows and shes mocking him. that shell never be him. that she shouldnt have ever dared to do something like this so close to his death. and he only barely holds that all in because he knows shes not doing this on purpose. she doesnt know what happened. she didnt ask to be remade in someone else's image. she doesn't even know she has been

the whole situation fuels his hatred of xgaster more, because now more than ever he feels like hes being toyed with. first it was just the world. just seeing what changed. and then one of the most precious things to him was taken from him by the very man who promised him the world, a marionette facsimile dangling by strings from the claws chara couldve sworn he didnt always have.

and again, its not toriels fault. but it leaves such a strong impression on him that she forever changes in his eyes. shes no longer the loving mother. shes someone who doesnt belong, someone he doesnt recognize as his own. she changed from who she was when she WAS his mom, all the way back in timelines I and II, and the mother he loved is dead. gone. erased. irreplaceable. and no matter what xtoriel does, chara can never bring himself to call her mom again

and, on the contrary, he latches to asgore hard. because hes also changed, hes not exactly as he remembers him, but hes back. hes alive. hes still asgore and hes still his father and he missed him so much. he doesnt care about the smaller details, nothing matters except the fact that his father is back. that the man who gave him hope and support and company when he felt so crushingly lonely under the weight of losing his world is back, and that means chara isnt alone anymore. hes not hopeless. and he holds to that tiny hope as tight as he can

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[tenderjock]

I’m with you, my love The lights shining through on you Yes, I’m with you, my love It’s the morning and just we two

[xxplastic-cubexx]

so like do you think they made the plastic wheelchair ALONGSIDE the plastic prison as a Just In Case situation, only after they realized charles was going to be a frequent visitor, or both as in because they knew charles was going to be the only person visiting him during planning they decided to make him a chair ahead of time

[worstloki]

Loki didn't even do anything to the other Asgardians personally, unsure why they didn't like him so much and thought he was so suspicious

[skunkes]

the thing abt the surgery is that yes I do get litle moments of being ecstatic it finally happened but also I just feel Normal now. like my base state for all my life up until last week was worry, horror, and panic when i'd occasionally remember the very unwanted thing my body was capable of, spiraling into what ifs on potential conflicts in my life and future... and now i just feel Not Stressed Out All the Time. Normal.

[antivivziepopparade]

Wtf is this Cherry person? Is she actually racist? Why is she posting so much on her blog about this if she ‘doesn’t care’ ???? Hello am I missing something 😭

Context:

Cherry was this Angel Dust profile in our old discord server.

They never talked, and then all the sudden things got leaked and Cherry was stupid enough to reveal their true identity and explain their plan like some kind of cartoon villain. What a jerk.

Thats basically what happened in a nutshell.

Whats sadder is that I liked that server to. 😭

They even made fun of the pooplover situation (by going "LEAVE BRITNEY ALONE!" at the racism.) and what it has to do with my trauma with them after they told me "DID U TAKE UR MEDICINE LMAO!" as a joke against me being reasonably upset with them for how they harassed me and my friends back in 2022.

In summary:

WHAT A JERK.

[moeblob]

TIL "Lay On Hands" is a paladin healing skill and I am blessed by this knowledge.

[richardsphere]

Coming from someone more on the other side of the fanbase here... Please know that this is all intended to be sincere, and not as any dig towards your personal enjoyments of the show. Im taking the original question in good faith and am answering in as good a faith as i can. -- I think there is a misunderstanding in the question being asked. None of this has to do with the Antikuma, plain and simple. nor even really if she is or isnt traumatised. But that the things that made Mari's stanbase continuously cried "but she's traumatised so its fine for her to be a hypocrite in X manner" were explicitly confirmed by later seasons to be for non-trauma reasons. Now i as far I recall, The show never portrayed her as traumatised. ( even if the dream exists, though i do not remember it, a single dream does not a trauma-arc make) Or at the least, that the trauma didnt influence those of her behaviours that her fans used the trauma to excuse ad nauseum. Mari's defenders used Chat Blanc as an excuse to say "No she does respect CN, she's just traumatised and cant trust him because of the trauma". It was a thing mari's stans inferred (and at the time, couldn't be adequatly disproven) because it allowed them to easily explain Chat's side-lining without making their favourite character look like an inconsiderate hypocrite. But then the show went on, and had Marinette explicitly state that no. It wasnt trauma, it was that Mari is guardian and Chat is not allowed to expect to be anything but Sidekick number 4 (after Rena, Bunnix and Viperion). No partnership, no negotiation, just subordination without respect or agency. Chat Blanc Trauma would definitly have been part of a better show, and it makes for amazing fanfic fuel. But it just... isnt (meaningfully) cannon. The sum total of influence that Chat Blanc has on the cannon plot is a singular moment (an outright plothole) where they have CN suffer a flashback to a timeline he has no way of knowing about so they can write him out of his own story. As far as the narrative is concerned Chat Noir, a character who does not remember the events in question, is more traumatised by it then Marinette. That is all that CB amounts to. as far the show is concerned, Marinette isnt traumatised by CB, Adrien is. Everything the fans use the trauma to excuse was simply Thomas going: "girl power means boys arent allowed to expect basic human dignity, respect or a voice in matters that directly effect them". The antikuma has brought this topic back into conversation because of the suit going pale creating a similar white-cat visual, but it didnt cause the realisation that the Trauma either never cannonically happened, or didnt cannonically influence LB's multi-season mistreatment of her supposed partner. What matters to the people saying that isnt if the trauma was real, what matters is that as far as LB's chat-based hypocrisies are concerned it might as well not exist. -edit i accidentally posted this unfinished. Once more, i want to emphasize that this is not intended as a dig towards anyone specific, just as an observation and clarification as to how/why the people whom are saying that are doing so.

ok but why the fuck did tumblr fans suddenly decide chat blanc never traumatized marinette in any way? like genuinely how did you get that from watching this show? we saw her having a nightmare with him in it— i forgot what season it was— but like… a gazillion things happened since that time. she fought her boyfriend’s dad and saw him go to the afterlife hellooooo? if anyone’s her prime source of trauma it’s gabriel now and it’s very much made clear in the intro. why does marinette have to think about chat blanc every second of her life damn?

also the antikuma thing… i’m not gonna lie, chat blanc didn’t even cross my mind till i saw people making connections. that’s just chat in a grey suit i’m crying y’all decided he’s reminiscent of chat blanc on your own, dont be mad at marinette for not thinking of him 😭