#i do think that the fandom is also rather responsible

[linddzz]

While yes, Viktor is confident too, but...

This man isn't shy? He's hyperventilating and nervous-tapping over the idea of giving a speech!

This man?

I guess Im not getting across like, the Vibe that I always see that bothers me? Viktor's got the social anxiety for sure, and it's VERY fair to assume that his condition makes him even more self conscious to be up in front of a crowd full of topsiders. He's pretty clear in episode 1 that he's aware of how topsiders see him and his cane use, and that's before his disability is even more visible.

But ALSO very few people ARE good on a stage in front of tons of people. And also there's a very specific connotation to "shy" that is beyond social anxiety.

Shyness to me, is its own flavor of social anxiety plus timidness. The actual definition is a bashful, timid nervousness. It has connotations of the wilting flower personality. Viktor, even when he's quiet around other people doesn't come across as nervous or timid in the slightest. His first introduction has him VERY confident and collected surrounded by enforcers and not taking Jayce being snappy and angry at him. As a kid there's more of an argument to be made because what awkward socially isolated kid isn't going to be shy. But at the same time he doesn't try to shrink away from Sky's attention, he still looks right back up at her, he just keeps on doing his own thing. Mostly he comes across as someone who does not know how to casually interact with people so he doesn't. He's got tunnels in his eyes lmao.

Viktor is complicated. Viktor is nuanced. It's why he's Ultimate Blorbo. He's withdrawn and awkward and not very good at interacting with people, but he's not timid about it. He is very self assured in himself.

But when I say fandom makes him shy it IS much more of the wilting flower timid woobie that I kept seeing in Season1 fics. There was SO MUCH of Viktor being the nervous soft spoken anxious thing who was just so happy Jayce was even giving him the time of day as if Viktor didn't sass Jayce about his notes right after he stopped the man from jumping lmaoooo

And idk not to be TOO OBVIOUS with my projecting but it's the part of Viktor I can relate to the most. I consider myself a quiet person who gets annoyed when people think that me being quiet = shy. I'm able to speak up well on zoom calls with colleagues and I also would rather drop dead than have to go up on a stage in front of a bunch of normal people who I know were expecting someone very different. I get nervous and shaky speaking up in front of a crowd of colleagues even! but afterwards I can go right up to people like "your presentation was insane tell me more right now." I am often quiet and uncomfortable in large social situations because I know that most people there are operating under a different wavelength than I am, I do not know what the right responses to things are, or I full on do not know how to not accidentally come across as a huge asshole and I don't want to be an asshole. And when I was younger I would have so many people come up and act like I was a little wallflower (bc oh boy can I also relate to being quiet while physically small meaning being constantly infantalized) who "didn't need to be so shy" and every time I was like "I'm not shy. I just don't feel any engagement with this conversation and I don't want to be a dick and tell you that, but if you gently tell me it's ok to talk one more time I'm gonna start biting."

(It got better as I got older bc I learned that if you're quiet but making active eye contact instead of staring off into other directions - not to avoid attention but because you're just thinking of other shit - people will stop labeling you as shy and instead say "intimidating" or "mysterious" which is also hilarious when what you're thinking about is "machine herald big naturals lmao" but it's better than being labeled "shy")

[askhezureviews]

We will all know your thoughts on season 2 of HB soon. I don’t know if you waiting was in response to people saying”you have to wait to see the whole season before judging it” but do you think there’s any ever case where this could apply to reviews?

Actually, that is typically what I prefer to do. I like to binge watch media to their completion for a more rounded review. I know my 45+ min videos are annoying to most, I can't blame them since I too have a short attention span- as well as a terrible tendency to waste half the review summarizing the plot (I'm working on fixing that for my future reviews, apologies for that) but I typically prefer to judge things on an overall basis rather than part 1, part 2, episode 12, season 3, season 6- simply for the sake of video cleanliness. The phrase of "wait until it finishes before judging" is a major player for all media. Absolutely the case with Arcane, because season 2 they had an unreliable narrator as well as a structure designed to withhold information from the audience.

The Owl House and Steven Universe didn't actually even... start their plots until their second seasons, they had a very slow start.

I'm also gonna wait for more episodes of Monkey Wrench and The Amazing Digital Circus before making a youtube review, since they're still pretty early on in production. There's a lot of character information and plot we simply do not have yet- regardless, I'm loving what I'm seeing thus far.

The reason I made an exception for Helluva Boss: They already had at least one season established, and episode 1 of season 2 completely changed the storyline season 1 was heading for. You could see an immediate change in storytelling and pacing due to the fact that the writer changed, as well as the show's priorities shifting to focus on the ship pandering.

If I had been watching Tangled the series in real time, I probably would have also made an exception video regarding Cassandra's villain arc immediately because the set up for that was nonsensical, and true to the start, it remained nonsensical to the end of the show. Helluva Boss had problems before, but the comedy genre allowed wiggle room for making mistakes because it didn't take itself seriously. But now that it has dedicated itself as a romantic drama, investing in character angst and connections, it starts dragging on as plotline traumas start repeating and becoming more dramatic. It is now taking itself too seriously.

Changing Stolitz from a business partners with benefits to childhood friend soulmates was a red flag that stood out to me, because this decision changed the trajectory of the show and omit our characters from any wrongdoing. I've never seen a show flatten their characters like pancakes in a single episode before, it was astonishing.

While some of Helluva Boss's season 2 episodes managed to redeem some nice writing or character moments, regardless, this season has continued to end all stakes for our characters through plot armor as well as humiliating the villains they introduced in season 1.

If you have at least one established season for your show, and your writing suddenly: 1. Drastically changes prior interaction & depth of characters 2. Changes the show's trajectory, focus, and genre 3. Presents the above in a nonsensical manner / no believable set up Then that's a red flag to indicate the show is gonna go down hill, as previous fans are now left confused to the sudden change. There's a high probability you'll lose views/support/money because of these changes. While the show may attempt to backtrack in later episodes, as Helluva Boss has, this creates a separate problem of contradicting itself, leaving the audience confused as to how they're meant to interpret these scenes as the tone flip flops every other episode. (and actually leads to more fandom drama)

I've been waiting for season 2 to end because the initial plot change shock was over, as they continued to double down on their decision. As well as my realization that a different writer was actually now on board, which explained a lot. Thus, I want to go back and review Helluva Boss season 1 and season 2 as a whole instead of the episode reviews I was doing, to help put things into perspective for people and actually get to talk about what Helluva Boss did right so I can lead into where it went wrong.

[princess-charlie-of-hell]

Unpopular opinion (I think?)

The fandom needs to accept that Lilith is allowed to be flawed mother, wife and person without being treated like a monster

How was she supposed to perfectly know how to be a mother, she never had any parents from which she could learn to be one. Even parents who grew up in perfectly healthy families aren't perfect parents. She never was a child and therefore doesn't know how hard it is to go through puberty and other parts of growing up

She literally was one of the two first humans and i can image that neither Lilith nor Lucifer knew what it means to be in a super perfect relationship, Adam, Lilith first partner, literally demanded Liliths submissions which caused Lilith to meet Lucifer in the first place. So how is she supposed to know what a healthy relationship is supposed to be.

And from what we know so far fell Lucifer in depression after their fall and this can be hard for a relationship even if it was a healthy one. There was not really therapy invented to this time and for the next like thousand years or more. So how is she supposed to know what the perfect things are to do in this situation so maybe she did things which she thought would be right for him even if she it was wrong because she doesn't know better

We also don't really know how everything which happened affected her yet, we know that she motivated hell but that doesn't mean that she can't be traumatized as well

But from what we know what happened to her, it is just tragic

First she was trapped in a relationship with a misogynistic man who demanded submission from her

She found love with Lucifer and they tried together to give Eve and humanity freewill by giving Eve the apple

But that caused evil to find it's way and Lucifer and Lilith were banished to hell

Lucifer then fell in depression while Lilith motivated Hell with her voice

But that caused then the exterminations to happen in the first place where regularly sinners get killed, so I can image that Lilith was after that maybe not in the best head space

Ruling over hell is also a challenge itself and we don't know how Lucifer and Lilith split their work as being depressed can cause a person to be not able to handle that responsibility in Lucifers case, so maybe she did the main work while he just couldn't do it

The same with parenting Charlie, having a child is straight up exhausting whatever if the child is a human and or Sinner/angel hybrid. And if Charlie is now at least 200 years old how long took it till she was an adult?

We can't really say how she was as a mother but from what we heard from Charlie i can't image her to be cold and distant to her daughter. Charlie believes that Lilith would be proud of her if she saw her right now, she thinks that her mother is doing something important and in the pilot Charlie calls Lilith who disappeared for 7 years rather than her father (again not blaming Lucifer, he just was in shitty situation as well). Sure it could be a red hering so that it is more shocking that she evil but the same could be said about the last scene where we see her on the beach to make us believe that she is a villain despite her having a good reason for everything she does

Despite her being in heaven, we don't know why she is there, maybe she just couldn't take it anymore in hell, maybe she just saw an opportunity to be somewhere without her responsibility as a queen, the deal between her and Adam is unknown so we won't know the exact reason why she is there until later in the show

And honestly even if she is just in heaven for selfish reasons doesn't automatically mean that she is an unredeemable monster, this show afterall is about persons facing their flaws and personal problems to get redeemed so why should Lilith be the exception?

[grumfield]

Since you’ve read like…all the books why do you think that Anakin is such a polarizing character? Beyond the oblivious. I feel like there’s strongly opposing viewpoints which feels wild. But you’re pretty impartial when necessary and also well read in this world so I’m curious what you think!

wow I love it when y'all give me asks that let me flex a bit more of my top-down muscles like this. super fun, thank you!

I think it, first of all, this is a very "fandom" conversation. Popular cultural conversation is generally no more than "Vader was sympathetic but bad, Jedi cool." so these more intense debates kind of predicate on the idea of peoples' personal investment in the charactesr beyond the movies. Even though the movies do provide context--and have a very overt George Lucas messaging of "Jedi wrong, love is what saves"--the average person doesn't really think more on it or try to reconcile beyond what the movie itself shows. So TLDR this is sort of presuming the people having this discussion have delved into other works.

I think it comes down to how much and what media beyond the movies people engage and prefer with because there are so many prequels projects, all of them written by different people with different perspectives (at least in legends...i'll get to the disney POV soon), which is the beauty of multimedia works.

Legends projects in general tend to be more critical of the Jedi, majorly, I think, because George Lucas had control. Lucas was, obviously, critical of the Jedi, and his projects reflect that. Most of them are takedowns, and don't really show the Jedi in a particularly favorable light.

Disney, on the other hand, definitely skews more in favor of the Jedi. I don't think this is actually a Disney perspective, I think that this is a popular perspective that was ingratiated into their framework. IMO many people think of the Disney era as against the Jedi, but to me it's definitely "pro" in the sense that they are effortlessly cool + flashy, there's very little bureaucracy, and the characters at fault are not at fault for systemic reasons, but rather personal failure (which I feel like is seen in the Acolyte).

In Disney narratives, Jedi structures are not the issue, flawed people are. Whereas in Lucas narratives, flawed people are not the issue, Jedi structures are.

For example, I've noticed a lot of Legends books portray Anakin's relationship with Padmé as the thing that saved him, which is a very Lucas perspective to hold, since his entire thesis of Star Wars is that love is what redeems. In opposition, though, a lot of Disney books pose their relationship as what caused his downfall, because if he'd never been in a relationship with her he wouldn't have fallen because she wasn't there. Similarly I think that Jedi Quest is a very unsympathetic look at Obi-Wan that holds him responsible for Anakin's downfall, whereas Deborah Chow's Obi-Wan show is more sympathetic and frames him as generally without fault to what happened. Different strokes for different folks.

Given that Anakin is space JesusJudasSatan, makes him the ideological battleground for these perspectives, which creates a character whose various story plots and circumstances, depending on the writer/creator, is at least always a little bit in contradiction even if his actions are the same. Because he simultaneously is so many different types of things at once, and I think it just comes down to which works they're exposed to/are most drawn to.

But, building off of that: I think the main culprit, in broad strokes, comes down to which piece of media a person views as their canon: Lucas's movies, or Filoni's Clone Wars. Which, IMO, ultimately follow two completely different characters both named Anakin Skywalker, but this post is getting too long so I'll get salty about that some other time.

[swallowtail-ageha]

I would say that this issue comes also to shipping because (and i say this as someone who is super ship and let ship) there is a trend in fandoms where there is a canonical straight couple where the male gets paired up with another hot popular male and they get all the attention while they do a "pair the spair" thing with the female of the pair who gets shipped with another less relevant female character but they curiously get little to no attention and stay in the background with none of the exploration or development that the male couple gets and only exist as dress settings (like either sassy slay queens or emotional support) for the male couple

i dont really know how to articulate this but its crazy just how many people dont even realize they dont care about female characters. all their faves are men. they never talk about girls without being led into it. and when you try to point this out to them they try to defend themselves that their faves are just the archetypes they like, despite clearly not caring when that same archetype is a woman. like i feel like at a certain point it is your problem with the common denominator if you cant find a single female character to enjoy

[eveningrainstorm]

Listen. Swansea is great; he's a well-written character and I like him a lot. But it's weird to me how much fan content I see about him that seems to make him out to be a lot nicer than he's actually shown to be in the game, and nowhere is this more obvious than in how people depict his relationship with Anya.

I've seen other people address the whole "If Anya had told Swansea what happened he'd have killed Jimmy" thing (she did. he didn't.) but there's a larger issue where people act like Swansea cared a lot more about Anya and was a lot closer with her than is actually the case in canon. And sure, the game leaves a lot of room for differing interpretations of things and imaginings of what could have happened offscreen, but I've seen so many people act like this idea of Swansea and Anya being close is something actually depicted in canon which. It very much is not.

Like okay. Let's talk about this. What does the game itself actually show us about Anya and Swansea's relationship?

Well, we don't see much of their dynamic before the crash aside from them just being coworkers with some level of familiarity with each other. They do stand together at the birthday party, and Anya playfully tells Curly that “Swansea really likes that cake. Don’t tell anyone,” to which Swansea only "hmph"s in response. From this we can gather that the two of them are friendly enough that Anya feels comfortable teasing him. Even so, she certainly isn't an exception to his characteristic harshness and brutal honesty — take an interaction later in the same scene, where a distressed Anya says she has no savings and asks if Pony Express can really fire them like this and Swansea, not cruelly but certainly bluntly, tells her that Pony Express going under has been a long time coming.

Of more importance, perhaps, is the game's first "2 months after the crash" segment, where we are first introduced to both of them — and where the game makes it quite apparent just how little Swansea respects Anya. The very first scene, in fact, features Swansea interrupting Anya and mocking her when she tries to explain why opening the cargo hold is a good idea. Later, when talking to Jimmy, Swansea calls Anya "our so-called nurse" and says that "it's in one ear and out the other" when talking about how she nearly got injured on the broken vent. And if you get the code scanner before talking to her Swansea will tell you to get her before opening the cargo hold but specifically with the justification that "even she couldn't make the situation worse with her presence." None of this is really uncharacteristic of Swansea, given he talks about Daisuke in much the same way, but it's not something that can just be swept under the rug — and yet, seemingly, everyone does. I hardly ever see anyone even mention Swansea insulting her here.

Of course, none of these scenes are where the idea that Swansea and Anya are particularly close comes from. No, that idea comes from a single scene: "3 months after", when Jimmy finds the two of them talking in the cockpit at night. We only see the end of this conversation, where Anya, apparently crying, is saying “No. I understand completely. If that’s how it has to be—”

The game never reveals exactly what the two of them were talking about; the two main theories I've seen are that Swansea was telling her that he was saving the cryopod for Daisuke or that she had told Swansea that Jimmy assaulted her and Swansea was saying she'd just have to put up with being around him for the time being. Personally, I think the latter is much more likely, but either way, the end result is the same: regardless of how much Swansea cares about Anya, her well-being is not his first priority.

We never see any follow-up on this conversation; if Anya and Swansea meet up behind Jimmy's back at any other point, we don't see it or hear it referenced. "4 months after" offers no interaction between the two of them at all, with Swansea busy dancing drunkenly while Anya, on the other side of the lounge, tells Jimmy about the extra medicine cabinet. "5 months after", Anya commits suicide in Medical while Swansea sits drunk and oblivious in front of Utility. The only reference to Anya and Swansea's conversation — and the closest we get to a confirmation of what it was about — comes after Daisuke's death, when Jimmy uses "telling Anya who knows what" as a sign of shady behavior from Swansea, and Swansea agrees that he did talk to Anya, "but it was her telling me all sorts of things instead, wasn't it?", the implication being that she told Swansea about Jimmy raping her.

This line is interesting. Swansea is referencing what Jimmy did to Anya here, and implicitly condemning him for it, and yet... well, Anya's already dead. Swansea isn't doing anything for her, really; he doesn't seem particularly emotional or angry about it, either. All it really is, when it comes down to it, is a spiteful jab at Jimmy — just Swansea, still angry over Daisuke's death, trying to get under Jimmy's skin.

We never see Swansea react to Anya's death. This isn't surprising; we aren't shown what happened when Daisuke got the door to Medical open, and afterwards Swansea is understandably preoccupied with Daisuke's fatal injuries. The first thing Swansea says about Anya after her death is the line about her telling him things. And, well... here's the problem.

That line? Is also the last thing Swansea says about Anya.

He never mentions her again. That one line, the one that doesn't even mention her death, the one that seems more about getting at Jimmy than mourning her — that's the last we hear of her from Swansea. And maybe he does care, maybe her death is just as much a catalyst for him trying to kill Jimmy as Daisuke's is. But he never says anything about her. He doesn't mention her in his death scene. Sure, that last portion of the game is largely filtered through Jimmy's mind, his disregard for Anya keeping her out of focus, but Swansea's death — a moment of sharp, simple clarity in which Swansea says all the things Jimmy doesn't want to hear — doesn't have that excuse. Swansea doesn't say a thing about her, because in the end, he's not focused on her either.

So that's what we have. They don't seem to be that close, before or after the crash, though they theoretically could be. Anya telling him specifically about what Jimmy did could be considered a notable show of trust, but then again she could have just wanted to tell someone and considered him her best option, and in any case if she was hoping for him to do anything about it, he didn't. And despite a large portion of the fandom believing it to be the case, there isn't actually anything indicating that he told Anya about the cryo pod — if anything, his assertion that it was Anya who told him things rather than the other way around is evidence against it. Technically, anything's possible — Swansea could have comforted Anya when she told him about Jimmy, he could have offered her the cryo pod, he could have grieved her just as much as Daisuke — but looking at what the game itself presents, the picture it paints is far different from the one typically seen in the fandom.

We don't know what's going on in Swansea's head. We don't know what happens in the time between the moments the game shows us. But what the game does show us is this: Swansea repeatedly is disrespectful and rude to or about Anya; Swansea doesn't do anything after she tells him what Jimmy did to her; Swansea doesn't have any real reaction to Anya's death. Does he care about her? Probably. I'd like to believe so. But she's not the one he decides to kill Jimmy over, she's not the one he has regrets for in his dying moments, she's not the one he's saving the cryo pod for.

Maybe Swansea cares about Anya, but she's not his first priority. And isn't that sort of the point? This is what the game has been showing us the whole time: Anya is no one's first priority, except her own.

[sammygender]

im new here- is dean abusive?

imo yeah. smarter people than me have written dissections of the way he treats sam & others (he’s also Awful to his psuedo-son jack, but i haven’t gotten to that season yet), i’ve probably reblogged a bunch of them.

he certainly doesn’t mean to be & i don’t say it to condemn him as a person or as a character & i’m still very attached to him & he loves sam very much (not that that makes a difference in whether u abuse someone or not) - but the way he treats sam a lot/some of the time is emotionally abusive and sam is clearly badly impacted. s4 and s8 come to mind as his worst moments also ofc moc era - after that there’s less interpersonal conflict (up to where i am at least) but that’s because sam mostly stops disagreeing with dean not because dean actually gets much better <3 spn is cycles of abuse show after all. family is hell. dean’s learnt pretty much everything about how to behave from his abusive father and as a result. well. cycle continues

[sisterdivinium]

Sometimes I wonder whether the cancellation wasn't positive in its own way.

We went out on a high, so there were chances that whatever came next might not match those expectations; we were left with quite a few unanswered questions, which can be inspiring both for those of us who write fic as well as those who try to read more deeply into the show; there are blanks that facilitate a fic writer's making use of them which might have been filled in less satisfying ways should canon have failed to live up to what we each wanted of it...

But I suppose it's easier to look at it like this from the point of view of someone who is invested in creating her own little versions and what-ifs concerning her favourite characters in the show. For someone who is just a reader or who just appreciates all the ways in which fan creativity manifests itself without much taking part in it, I guess there's a bit more dependence on canon.

[carpe-mamilia]

Sorry @buttonhouseparty, I thought all your tags perfectly encapsulated what I thought when I first saw this post so I'm putting them here:

#hasn't it always been like this though? I feel like we've had this conversation ever since the beginning #obv I love the captain. but the fandom has always emphasised him heavily over other characters #even ben said that it surprised him how much the story resonated with fans #(alison is literally the main character and she gets less attention) #and since the start there's been the critique that the fandom never talks about anyone else #with the response always: well. you talk about other characters then. you create the content you want to see. #however the reasonable answer to that is #why bother to do that when you know other fans won't be interested + won't engage with it #I've always felt like: I absolutely hear that critique and I do understand the captain bias is annoying + potentially problematic #but people do fandom for fun and they're just going to focus on their fave #it puts me in the odd position of feeling like I'm 'contributing to the problem' whenever I reblog #and it makes me feel vaguely guilty for not enjoying the show in the right way

[...] #also I'm here as a comedy fan so I'm not very interested in doing deep dives on the characters' trauma #I like a bit of angst but I also like a compilation video of captain noises #I mean I'll reblog cap ship fanart #I love to see it and I like doing my part in sharing around other people's creative work #but I also adore a post discussing the idiots' writing and influences #but that's not what this fandom loves to do so I don't expect to see many posts like that

#AND I think many fans were deeply disappointed by the xmas finale and have wandered off to other things #the ppl who are still here are still enjoying shipping and sharing pics of ben looking hot #which is fine. that's a fun hobby! but I get that it's far from satisfactory for the whole ghosts community #anyway yeah. we've argued this one to death over the past five years and it just makes everyone fall out. I don't know what the answer is

controversial take but being a longtime ghosts fan over the past few months has just been watching the captain become increasingly more prevalent in tags and fan content to the point where almost no other character’s stories or personalities are explored and usually if they are, it’s in relation to the captain.

I’m gay, a lesbian, and the amount of fanbases I’ve seen fall to mostly straight women and become a whirlpool of one white, conventionally attractive gay man played by a straight man has been so disappointing. the captain is not the only character in ghosts. he is not the deepest or most tragic character in ghosts. it is a found family themed show. we, gay people, do not exist as tragic entertainment to be fetishised. the women in this show are rarely mentioned in comparison to the captain, Kitty had multiple scenes about her abusive sister, is implied to come from a horrific colonialist background and basically came out as asexual in season 5 and nobody talked about it, Mary died in a way that was so horrific they didn’t even show it on camera but havers had five minutes of screen time and he is everything now, apparently.

it’s to the point where you can’t escape it, no matter what tags related to the show you do or don’t follow. I’ve seen it before with the way the good omens fanbase changed from people who respected this incredible story criticising blind faith in religion with queer characters that inherently further that message into people calling them “uwu husbands” or whatever.

I’m not particularly angry, I’m just sad to see that the internet has turned into this again. I love the captain. I love ben, he’s a fantastic actor that I grew up admiring!!! but the captain is not the entire show and I think we need to think about why he takes up like. 85% of fan works.

[starlingskulls]

also one of the cats i work with really fucked my shit up last shift and i feel very upset about it One because uhmm. rude. but also because ohhh that's deeper than i've ever gone and it didn't hurt that bad .. very interesting information

[caparrucia]

Full offense and pun fully intended, but I genuinely think the very existence of "dead dove, do not eat" was a fucking canary in the mines, and no one really paid attention.

Because the tag itself was created as a response to a fandom-wide tendency to disregard warnings and assume tagging was exaggerated. And then the same fucking idiots reading those tags describing things they found upsetting or disturbing or just not to their taste would STILL click into the stories and give the writer's grief about it.

And as a response writers began using the tag to signal "no, really, I MEAN the tags!"

But like.

If you really think about it, that's a solution to a different problem. The solution to "I know you tagged your story appropriately but I chose to disregard the tags and warnings by reading it anyway, even though I knew it would upset me, so now I'm upset and making it your problem" is frankly a block, a ban and wide-spread blacklisting. But fandom as a whole is fucking awful at handling bad faith, insidious arguments that appeal to community inclusion and weaponize the fact most people participating in fandom want to share the space with others, as opposed to hurting people.

So instead of upfront ridiculing this kind of maladaptive attempt to foster one's own emotional self-regulation onto random strangers on the internet, fandom compromised and came up with a redundant tag in a good faith attempt to address an imaginary nuance.

There is no nuance to this.

A writer's job is to tag their work correctly. It's not to tag it exhaustively. It's not even to tag it extensively. A writer's sole obligation, as far as AO3 and arguably fandom spaces are concerned, is to make damn sure that the tags they put on their story actually match whatever is going on in that story.

That's it.

That's all.

"But what if I don't want to read X?" Well, you don't read fic that's tagged X.

"But what if I read something that wasn't tagged X?" Well, that's very unfortunate for you, but if it is genuinely that upsetting, you have a responsibility to yourself to only browse things explicitly tagged to not include X.

"But that's not a lot of fic!" Hi, you must be new here, yes, welcome to fandom. Most of our spaces are built explicitly as a reaction to There's Not Enough Of The Thing I Want, both in canon and fandom.

"But there are things on the internet that I don't like!" Yeah, and they are also out there, offline. And, here's the thing, things existing even though we personally dislike or even hate or even flat out find offensive/gross/immoral/unspeakable existing is the price we pay to secure our right to exist as individuals and creators, regardless of who finds US personally unpleasant, hateful or flat out offensive/gross/immoral/unspeakable.

"But what about [illegal thing]?!" So the thing itself is illegal, because the thing itself has been deemed harmful. But your goddamn cop-poisoned authoritarian little heart needs to learn that sometimes things are illegal that aren't harmful, and defaulting to "but illegal!" is a surefire way to end up on the wrong side of the fascism pop quiz. You're not a figure of authority and the more you demand to control and exercise authority by command, rather than leadership, the less impressive you seem. You know how you make actual, genuine change in a community? You center harm and argue in good faith to find accommodations and spread awareness of real, actual problems.

But let's play your game. Let's pretend we're all brainwashed cop-abiding little cogs that do not own a single working brain cell to exercise critical thinking with. 99% of the time, when you cry about any given thing "being illegal!!!" you're correct only so far as the THING itself being illegal. The act or object is illegal. Depiction of it is not. You know why, dipshit? Because if depiction of the thing were illegal, you wouldn't be able to talk about it. You wouldn't be able to educate about it. You wouldn't be able to reexamine and discuss and understand the thing, how and why and where it happens and how to prevent it. And yeah, depiction being legal opens the door for people to make depictions that are in bad taste or probably not appropriate. Sure. But that's the price we pay, creating tools to demystify some of the most horrific things in the world and support the people who've survived them. The net good of those tools existing outweighs the harm of people misusing them.

"You're defending the indefensible!" No, you're clumsily stumbling into a conversation that's been going on for centuries, with your elementary school understanding of morality and your bone-deep police state rot filtering your perception of reality, and insisting you figured it out and everyone else at the table is an idiot for not agreeing with you. Shut the fuck up, sit the fuck down and read a goddamn book.

[waitingonher]

NIGHTS LIKE THESE — [hoo boys drabbles]

summary: how they react to your bad dreams.

author's note: i wrote leo's + jason's part imagining that the cabins/barracks have individual rooms sooo...also ik this trope is so ran through in the pjo fandom but it's just toooo good i couldn't help myself

percy jackson

percy has always been the type of person to pick up the phone no matter the time. even as he’s on a lone movie marathon and the scene reaches its long-anticipated climax, he’s reaching for his buzzing phone that’s lost beneath the sheets. having found it after the third ring, percy checks the time and the caller id. why are you calling him so late? he answers, “hi babe. i thought you had to wake up early this morning, why are you awake?” 

“hi percy,” your voice was shaky and congested, as if you’d been crying. percy immediately sits up, alarmed at the state of your voice, “did i wake you up?” 

“no, no, i was up watching movies. what’s wrong? is everything okay?” he’s seated at the edge of his bed now, anxiously awaiting your response. 

you force him to sit in silence as you think of an excuse, “yeah, um…i’m okay. i just wanted to hear your voice. but i’ll see you on thursday, okay? goodni-” 

“(y/n), what’s going on?” percy runs a hand through his hair as he heads out of his room to his kitchen. he rips off a napkin from the roll and snatches a pen from the drawer. on the napkin, he writes a brief message to sally, saying that he’d be over at your place and not to worry. 

“nothing. i’m fine, percy,” you mutter. but your boyfriend knows you too well. the way your voice quivers makes it sound as though you were trying to convince yourself that everything was okay, and you were failing miserably. 

percy places his phone between his ear and shoulder as he ties his shoes, “don’t leave me in the dark, (y/n).” 

“don’t worry about me. i’m fine it was just-” 

“babe, i’m coming over, okay?” and with that, percy hangs up. 

he’s walked this path over a hundred times, usually for dropping you off after dates or simply for hanging out with you. but this time, all percy can think about is how you sounded over the phone and that he needs to seriously pick up the pace. 

upon arrival, percy climbs up the fire escape ladder as quickly and quietly as possible. it’s only now that he’s grateful for his experience from all of those laborious quests. reaching your floor, he knocks delicately on the glass. 

“percy, what are you doing here?” you ask after he closes your window, “i’m sorry, you really didn’t need to come all this way. it’s like three in the morning and you-” 

your boyfriend silences you with a gentle kiss, “i’m okay. it’s you i’m worried about. what’s wrong?” 

“it was just a dream.” 

“just a dream?”

“yes, it was just a stupid dream.” 

percy grabs your shoulders, forcing you to look at him, “(y/n), you’re one of the strongest people i know. so if you were crying over it, then it really must be something.” 

you slump on your bed, and percy joins beside you. it's no use hiding it from percy, so with a sigh, you confess, “well, you’re here now. but it just felt so real,” your eyes begin to prick with tears again, “you were laying on the floor…and there was just so much blood, and i tried to stop it—i really did try—but it just kept coming and there was nothing else i could do.” 

honestly, percy didn’t know what to say. but he did know that if your dream was anything like the ones he had about you, they were emotionally and physically crushing. so, he decides that if he can’t say anything, he’d rather show you. percy gently guides your body, until the both of you are laying down. with a strong arm wrapped around your figure and the other rubbing slow circles on your back, he can only hope you understand the message he’s trying to convey. 

“i’m here, (y/n). everything’s going to be okay,” percy continues to whisper sweet nothings into your ear. slowly but surely, your crying mellows into only soft sniffles. 

as you lay on his chest, you can feel the rise and fall of his breathing body. it wasn’t at all like that dream of yours; his cold body eerily still on the floor. not at all like that. you allow yourself to slowly drift off with the rise and fall of his chest, strangely as if it were its own lullaby, “thank you, percy,” you manage to whisper. 

“i love you, (y/n). i’m not leaving you, ever. i promise,” percy whispers back. 

leo valdez

leo’s used to waking up several times in the middle of the night. considering the demigod dreams, he hasn’t remembered the last time he’s gotten a full night's rest, which is why he’s not surprised to be awake at the crisp hour of two a.m. he can’t even remember the dream this time, but leo bets it was another dream foreseeing his imminent death or the end of the world. 

as he stares at the pipes and wires running along the ceiling of bunker 9, a familiar ringtone sounds from his phone. leo quickly wipes the sleep from his eyes and picks up the phone from his nightstand, “(y/n)? are you okay? it’s so late.” 

there’s a silence, followed up by quiet sniffles. were you crying? “hi leo, i’m sorry i probably woke you up didn’t i? go back to sleep, i was-” 

“no i was already awake, what’s wrong?” the moment your boyfriend noticed your shaky voice, his attitude completely changed. suddenly awake and full of energy, he tears off his blanket and reaches for his hoodie and shoes.

considering the fact that you never really call so late alarms him. you calling either meant that you had a nightmare or you were hurt…and leo prayed it was the dream. 

“i’m sorry…” you take a deep breath, “i just had a bad dream, like one of those dreams, you know?” leo knows all too well what you’re talking about, and if it’s anything close to the dreams he has, he can only imagine what you’re feeling, “but i swear i’m okay now. i’ll see you later?” 

but leo’s already out the door as you finish your explanation, “i’m coming over, stay there.” 

“wait leo-” 

he hung up. 

the trek through the forest was usually something one would avoid, especially at this hour, but leo couldn't give less of a shit as he thinks about you crying in your room. a few minutes later after practically sprinting to your cabin, he arrives. locating the window to your room was easy, he’d done this several times before for your sleepovers. leo knocks as quietly as he can on the glass, hoping he doesn’t disturb any of your other siblings. 

surprised, you pull your curtain aside and are face to face with none other than your boyfriend. he looks sweaty and out of breath. leo ran all this way? pushing your question to the side, you rush to open the window and let him in. 

for the first time, leo really gets a good look at you. your eyes are red and puffy; you look at him with such desperation and he can’t help but pull you into a rib-cracking hug. 

“you actually came.” 

“what? of course i did, (y/n),” he takes your face into his hands, rubbing soft circles on each cheek. suddenly, tears begin to flow freely down your face. was it something he said? was he not supposed to come? 

you pick up on his confusion, “i’m sorry, i’m just…glad you’re alive,” leo sits you on your bed, and continues to wipe away the tears, his concern growing with each passing second. your boyfriend urges you to go on, “it’s just the same thing every night. i’m at your grave on the hill, and i’m all alone and it’s raining and i just-” 

“(y/n), breathe,” leo pulls you into his chest once more. he holds you so impossibly tight, ensuring that you know he’s there and he doesn’t plan to ever leave. his sacrifice during the final battle against gaia will forever be amongst one of leo’s biggest regrets. not because he had saved the world, but because of how hard it impacted you. without a doubt, you could easily say that those months where leo was gone were the hardest times of your life. and not a day goes by where leo thinks he can ever forgive himself for it, “i’m here. i’m alive.” 

you nod, your sobs turning into quiet hiccups. leo moves the two of you guys to be laying down, and as final reassurance, he gently guides your hand under his hoodie, allowing you to feel his steady heartbeat. your boyfriend’s skin is warm to the touch and you count his heartbeat…one…two…three. and that was proof enough, “you’re alive.” 

“i am,” leo soothes. he places a gentle kiss atop your head and pulls the covers over your bodies. his arms wrap tightly around your figure, holding you close, “sleep, (y/n). i’ll be here in the morning.”

jason grace

it’s late nights like these that jason has slowly come to appreciate. these scarce nights where he’s completed his praetor duties for the night and he allows himself to indulge in some self-care, which usually consists of a cup of hot herbal tea and a good book. 

usually, jason prefers historical books, oftentimes concerning roman myths or the occasional diary of some war general. what can he say? he likes to be all-knowing when it comes to these things. but this time, as he’s curled up in his bed, he reaches for the book that you had recommended to him: a classic romance novel. jason laughs to himself as he recalls you teasing him about his taste in literature. if he remembers correctly, you called him a “history-loving freak?” 

just as jason’s about to open the book, an unexpected ringing sounds from his phone. he huffs, momentarily disapointed. that is, until he sees who’s calling, “(y/n)? hi, are you okay?” 

“oh, hi,” jason noticed the way your voice sounded off, like you’d been crying, “i didn’t think you’d actually answer.” 

confused, he puts the book back on his nightstand, “of course i would, my love. what’s going on? you sound like you’ve been crying.” 

“no, everything’s okay i just…” you pause, “had a bad dream, so i wanted to listen to your voicemail.”

jason’s heart squeezes at the thought of you going so far as to listen to his own ten second voicemail as a method of comfort. but the feeling goes away just as quickly as it came upon hearing you had a nightmare, “oh i’m sorry, my love. do you want me to come over?” 

“no,” you reply, “it’s okay. i’m better now that i’ve heard your voice. you can go back to bed, jason.” 

despite you declining his offer, jason’s already up and putting his shoes on, “i’ll be there in a few, okay? i love you,” and he hangs up. 

within a handful of minutes, jason reaches your cohort’s barracks. the square windows look impossibly similar, but it’s all thanks to practice that he recognizes yours. even as praetor, he still has to enforce the rules and sneak around. with a quiet knock on your window, he waits in the dark for you. 

“you’re here. you’re alive, jason,” is all you can muster up as your boyfriend stands tall inside your room. his expression is clearly written with worry as he closes the gap between you with a hug. as hard as you tried to fight it, the tears came again in a fresh wave. 

“yeah, i’m here, (y/n). i’m not leaving,” he replies, concern laced in his words. jason notices your tears and gently wipes them away, “c’mere, tell me about your dream,” he beckons, guiding you towards the bed. with a gentle plop, he settles down and opens his arms, inviting you to join him.

settling against jason’s chest, you take a shaky breath as he places kisses on your temple, “i was at your funeral, and you looked so peaceful, like you were sleeping. i just can’t stop thinking about how you looked asleep. and then they expected me to, you know, give a speech in front of the entire camp about you, and i just…i can’t imagine a world without you, so please, you can’t leave me like that.” 

“woah, woah, (y/n) i’m okay, breathe,” jason hushes you, rubbing soft circles on your arm. to be frank, he’s pretty shocked about what you had just said. he can’t get over how shaken up you are by this. but jason can’t even blame you, because if it were him who had the dream, he bets he would also be like this, “i’m here and i have no plan of ever leaving, okay? i’m afraid you’re stuck with me for the rest of your life,” he jokes, hoping to get at least a smile from you. 

jason’s joke succeeds as he feels your body shake with a quiet giggle, “good. i wouldn’t have it any other way.” 

your boyfriend checks your face once more, ensuring that you’ve stopped crying. seeing that you have, he places delicate kisses on each cheek, “hey, how about we go to sleep now? i’ll read you that book,” jason motions to the book on your nightstand, which happens to be the same one you recommended him. 

you nod tiredly, “only if you do different voices for each character.” 

“of course, only for you,” jason quips. 

after adjusting your bodies, jason reaches for the book and opens it to chapter one. but before he begins, he pulls the covers completely over your body and places a chaste kiss on your forehead, “i love you so much, (y/n). and i hope you know that i’ll always be here for you, no matter what.”

[adickaboutspoons]

Mostly I was responding to the points raised in @scarrletmoon's response, but you raise some excellent points to which I'd like to respond. Feel free to ignore if you're tired of my bullshit. I completely understand the impulse. 1st, you're absolutely right; I was coming across as gate-keepery by saying that I find Stede's eccentricities charming as though that ought be the default experience. For that I apologize. I ought to have taken more care. When I said "And that's valid, but I would say that those are the parts that the crew and Ed grow to love once they embrace those parts of him instead of cringing at them" what I meant to convey is that the experience of 2nd-hand embarrassment when Stede does something that recalls to the viewer times when they have felt ashamed/were made to feel shame because of something they did is absolutely understandable, but we can take heart in Stede being accepted & loved for those parts of him, & find hope that so too may we be embraced for our own quirks & foibles. My intention was to encourage others to be more gentle with & accepting of their own perceived failings, but I can see now that I failed to adequately express that, & for that I am sorry. I do take issue with the suggestion that I am strawmanning, though; I would argue that how one views Stede's motivation & framing absolutely informs the extent to which/moments in which one finds his behavior cringe-worthy. In your original post, you contend Stede is "pretending to be this macho pirate captain who totally knows what he's doing" & your response above adds he's a bad manager & a jerk because he's praising himself & chiding his employees, whom you interpret as him treating as stand-ins for his own children. If that's how you're framing the scenario, then, sure - I can see how his behavior comes across as cringe to you. But that's not at all how I perceived it. I will grant he is pretending more expertise than he actually possesses, but he IS a pirate captain, & as to the attribution of "macho" I absolutely disagree, specifically because he is textually interested in a form of piracy that is not that. Because that is my understanding of the scene, in the debrief scene I see a person excited at the success of what, if Black Pete is to be believed, is their very 1st raid, & doesn't understand why everyone else wasn't also chuffed. He then listens to Wee John' criticism & encourages him to clarify WHY he feels the way he does. When Wee John identifies the lack of a flag as a contributing factor to his disgruntlement, Stede provides materials so they can rectify the deficit. This isn't Stede forcing arts & crafts on these grown-ass men (& Jim) - it's Stede hearing a problem & supplying the means to a solution. Similarly, he hears out Buttons about the crew's dissatisfaction, & tries to rectify it by finding a more appealing target for a raid, even though he obviously feels unequal to the task himself. To me, that's the complete opposite of a bad manager (to me he's a bad manager when he's being dismissive of the crew's input, like the fuckery brainstorming, & even then he climbs down from his high horse & apologizes. Which? GREAT manager!). Where you see Stede infantilizing his crew, I see them taking part in activities that, while generally relegated to childhood, aren't implicitly childish, & of their own volition, & Stede sowing the seeds that will eventually blossom into a found family (not imposing an established family structure). For clarity, I'm not saying my interpretation is objectively right, nor that yours is wrong. I'm just saying framing is going to influence perception of whether Stede's behavior is Cringe, & that's kind of what I was getting at with my myriad examples of Stede behaving "authentically" or "inauthentically" & when that is a viable predictor of a general fandom perception of when Stede is being Cringe. Because I really don't think it is. This is going to continue in the notes because tumlr thinks they can cut my mic.

listen I love stede a lot - I think he's the bravest character in the show. he changes everyone he meets for the better. he embodies what I think of as the thesis of the show. if he wasn't the way that he is, the show would not be very good, imo.

but in ep one he gives his pirate crew notes on the raid they just did as though they were a community theater troupe and his notes were 1) complimenting his own opening speech as "very inspiring" and 2) complaining that that the crew wasn't sufficiently enthusiastic about robbing two poor fisherman of a single plant.

during the raid his narration went "some men are born to be pirate captains, others learn on the job. me? well I'm a pretty solid mix of both" as though he has any idea what he's doing.

and AFTER the raid Olu has to gently point out to him that piracy isn't a game to the rest of the crew.

There's a reason that Rhys Darby was the only person capable of playing Stede without making him seem like a total dick. And I think that's bc Rhys was able to convey the idea that Stede's behavior in the first few eps is coming out of this deep sense of insecurity - he's doing some Stede-y things (flag making! paying the crew! bedtime stories!) that are great but he's also pretending to be this macho pirate captain who totally knows what he's doing. And it's the pretending that makes people cringe with second hand embarrassment. While also, often, seeing themselves in it and feeling a great deal of sympathy for Stede about it.

The reason Stede is like this is because HE thinks there's something deeply wrong with him, a belief that has been solidified by everyone around him his entire life, and therefore he needs to do everything he can to hide that deeply wrong thing about him. When he unpacks that and embraces the things about himself he originally thought were embarrassing (being weak, pathetic, soft, etc), he can stop pretending. And that's when other characters grow to love him! And so people will sometimes call him cringe because they aspire to be cringe like him, to embrace the parts of themselves that they were punished for and live more authentically.

because he changes! that's the point! he moves from cringe (pretending to be someone he's not) to cringe (being true to himself, always a deeply vulnerable thing to be) and it takes a lot of hard work. that's what makes me LIKE him as a character. that's what I think makes him the bravest character on the show. because he doesn't start out perfect. he's a puppet who grows into a real boy and that means that for a period of time he was a puppet, and that's okay.

[lullabyes22-blog]

Real talk because you are THE resident Silco expert and all your headcanons are 100% correct: why does fandom think Silco would be good in bed? (Or good at sex at all?)

I've seen headcanons about him being a giver, and about his dick game being fire, and while he's a sexy, charismatic man, I feel like he's too... selfish, insecure, and just not a romantic guy. He's also a very bitter, lonely, and angry dude. Idk, it makes sense he would have some kinks but I feel like he'd be too much of a bitch to care for anyone else in bed. I guess he'd want it rough, and I've read some fics where he's a sadist, but I feel like it'd just be a quick fuck to satisfy himself, not a slow, passionate, sensual thing.

idk, do with this what you will.

I agree - with nuance 💗

Silco - at least as I write him in FNF - is principally a headfuck. If he's demonstrating an interest in you, then he wants something from you. If he's nice to you, there's a bottom line. No act of generosity comes without strings attached, and every small kindness comes at a terrible price. That aspect of cold-blooded calculus is never far away from his base nature, which splits the world into assets and liabilities, and his own actions into a transaction of cost versus reward.

With that in mind, he excels, not at sex, but at getting his partners to do what he wants them to do. For him, it's one of the many fluid ways of expressing power, and demonstrating his mastery over the subtleties of the human body and mind.

A few readers have noticed that he comes across as very detached and controlled during FnF's sex scenes - and that they read as weirdly voyeuristic. That always delights me, because it's an intentional choice. He doesn't really see his partner as anything beyond a medium to his goals, so his focus is entirely on their physical responses and his own actions. His narration is distant, observational and impersonal, because he doesn't experience sex as something that involves an emotional or empathetic connection. Rather, he's gauging how his target's responses play out on a physical plane, and he's calibrating his own actions to maximise their impact.

To give credit where credit is due, he's very intelligent, patient and observant. There is also some realistic backing to the running gag that Good D is invariably attached to Bad Men. More specifically, Bad Broke Men. Silco has not grown up in a position of privilege or wealth. He has been forced to make use of every available resource. He has survived by the skin of his teeth on a constant knife edge of deprivation, hunger and fear.

He's a scrapper. He's a survivor. He's an opportunist.

And to be any of those things, you need to know your way around people: their wants and weaknesses. That's the foundation for the idea that he's good in bed - that he can anticipate his partner's desires, and respond accordingly. The difference is, his actions have no romantic underpinning. It's a matter of pure pragmatism and self-interest.

In terms of technical skill, he's likely very good at finding his partner's pressure points, both literal and figurative, and exploiting them. But if it were up to him, he'd find a way to turn the thumbscrews with nothing more than a well-chosen word and a cold look. The sex is just a generality, and his enjoyment a function of their compliance.

When it comes to actual intimacy?

My friends, he'd be spectacularly bad.

Not just bad, but skittish, hostile and hopelessly inept. He'd feel like an accomplished stage actor who has to step out onto the boards for an improv class. He hasn't got the right lines, he isn't dressed for the part, and he isn't even sure what role he's supposed to be playing. He'd be so awkward, he'd actually have trouble looking his partner in the eyes. The sum total of his sexual ouvre would devolve into the following comedy of errors:

"What the fuck is this?"

"Why are you looking at me like that?"

"Don't touch me there."

"This is going well, right?"

"Why can't I get it up?"

"I can't do this."

"Leave me alone."

"Where are you going?"

"Don't leave me."

"They always leave me."

"Why does everyone leave me?"

And he'd only spiral deeper into self-loathing and isolation. To submit to intimacy is to open oneself up to the mortifying ordeal of being known, and the constant risk of rejection. To Silco, it is anathema. Actual emotional vulnerability during sex would be not unlike attending his own public execution.

But.

Silco is not a one-note villain, much less a one-trick pony. He has a human history riven in deprivation, bloodshed and betrayal. He's remade himself from a 'weak' man into the premier kingpin of Zaun, but that predatory bracing still hides remnants of the soft-natured idealist he once was. In fact, he's the product of a deeply embedded internal conflict between two distinct versions of himself. The one who seeks to burn his enemies, and the one who seeks to save his city. He's also, as demonstrated by his love for Jinx, capable of profound devotion, loyalty, and a deep-seated longing for companionship.

That means the potential for romance exists. It's just buried deep, deep, deep down beneath years of abuse, neglect, trauma, and self-imposed barriers. If he meets someone who can dismantle those barriers, or bypass them altogether and earn his trust, there is a ray of hope.

Sex would still be frightening and uncomfortable, and it'd involve a lot of trial and error. But it'd also have the potential to be deeply healing. Not because Silco would become a better man, but because his partner would make him want to try. He'd also bring the same intense focus, intelligence, and determination to the task that he applies to his criminal empire - which means that, once he does have his sea legs, Silco would have the potential to become a truly giving lover.

It's all about context.

And the context is always: will he take the gamble when he has nothing to lose, and everything to gain?

[apollosgiftofprophecy]

I think another reason why I get rather annoyed when people hate on ToA Apollo is because how hypocritical their criticisms are.

I just saw a post talking about how great it is that Annabeth gets to show a lot of emotion, especially by crying. I also recall moments where she got frustrated or angry, and I found myself absolutely agreeing!

But then my thoughts turned to Apollo, another character who shows a lot of emotion.

But you know what he’s called for being frustrated, or upset, or for crying?

Whiny. He’s called whiny.

Apollo gets frustrated when he’s unable to perform something (archery) he used to be extremely good at. He’s upset that he can no longer use a bow correctly.

And people call him whiny for that. Apparently, those people have never experienced, let alone heard of The Gifted-Kid, something all Gifted-Kids (hello, tis me, Gifted-Kid since 4th grade RIP) can relate to Apollo over.

You were really good at something but all of a sudden you can no longer perform it as well? You’re not hitting your usual mark?

Well too bad, according to the fan base, you should shut up and not be so awfully whiny! It’s just archery!

(That was obviously in jest but you get my point.)

Additionally, Apollo never complains about important things. He complains about having to walk, but not the injury that’s literally turning him into a zombie and physically tormenting him.

That post really made me think about this, and then I asked myself; “Why? Why are people’s thoughts so different on Annabeth v Apollo showing emotion?”

It became apparent rather quickly, if you ask me.

Annabeth is a woman. Of course she should be able to show emotion! also maybe deep-seated sexism of ‘women are emotional’

Apollo is a man. And God forbid men show emotion I guess smh so also sexism

Because think about it. How many of the RRVerse male protagonists were allowed to cry? To be fully, and undeniably, upset?

I can only remember Frank crying on the plane after his grandmother’s presumed death, and Grover sniffling/getting teary-eyed in PJO. I don’t recall Percy, Jason, Leo, or Nico ever crying, or really having powerful bursts of emotion.

Yes, yes, Percy and Nico have both gotten mad and unleashed their fury upon someone, but that’s not what I’m talking about here.

I’m talking about letting them feel, letting them be emotional.

Not a burst of anger. But real, genuine character-driven emotion.

The fact that I can only name Frank and Grover from the previous two series is truly saddening.

Apollo gets to feel. To let his emotions flow freely. He whines, yes, but he also gets frustrated, he gets upset, and most of all he cries.

That all makes him a real character, someone people can relate to.

I’ll admit I’m a rather emotional person too. I have a quick temper, and more often than not the water-works come on real quick when I get upset. It’s a normal emotional response, but it can be difficult to work with, especially when you’re trying to stay calm.

Apollo is the first RRVerse protagonist to be allowed to have feelings— strong ones, even. And I can relate to that. There’s a reason why Apollo, Reyna, and Annabeth are all favorites of mine, and that’s because I see myself in them.

Annabeth is prideful. I can be too. She gets obsessed over her work. I do that too. Hates spiders? Oh hell yeah.

Reyna gave me someone to connect with over my sexuality. Ignore that Rick mixed what aro and ace are for a moment please She really gave my demiromantic self somebody to relate with, because the lack of aro rep is criminal. and no the Hunters are not aro rep

Apollo is emotional. He’s made mistakes and wants to do better.

Who wouldn’t see themselves in him? I certainly do.

And yet, he gets called whiny for having the literal rug pulled out from under him again and again, and he doesn’t even let himself complain over what he should, absolutely complain about!

Idk. I think there’s a lot to be said about how this fandom treats emotional characters, especially based on gender.

I guess this is all to say don’t judge a fictional character, because you’re judging a real person too.

And real people have feelings, you know.

[shouts-into-the-void]

Just read screenshots of the Aaron extra chapter and I have so many thoughts, so here they are:

It's always so funny to me to be reminded of the fact that the animosity between Aaron and Neil is mostly one-sided. Like, Neil finds Aaron frustrating, but all the antagonistic stuff he does to him is ultimately in service of helping him in some way and while he's angry when Aaron provokes him, he otherwise regards him with disinterest and even expresses the desire to see what he's like when he's relaxed and enjoying himself during the party with the Vixens. Meanwhile Aaron just really hates that man.

I really appreciated Nora using this chapter to clear up some of the gripes a lot of the fandom has had with Aaron's character in the past and confirm that Aaron's comments to Nicky have to do with his cousin making graphic and unwanted sexual advances on their teammates, and his accusations towards Neil were from a place of concern for his brother. I also liked that it was pointed out that of course he would have at least some internalized homophobia due to being raised by religious zealots in a conservative area, but is unlearning it due to Nicky.

On a similar note, I'm glad that we were provided the context that Nicky's inappropriate behavior is a defense mechanism to weed out people who might hurt him rather than legitimate advances, because I think the fandom tends to forget that he is also a character with extreme trauma written outside of the "perfect victim" stereotype. His actions aren't okay, but the entire point is that they are the result of what he's had to endure just like every other member of the team

The implication that Andrew specifically signed with the Foxes so Aaron could go to college

Aaron and Andrew have the same nervous habit of picking at loose thread

It causes me physical pain to see Andrew clearly trying to open up to Aaron about his self-harm, but because his way of communicating is less straightforward (he doesn't lie, but he because he stuggles to confront and be open with his emotions, he presents the truth in flowery, vague language) and because the two dont really know or understand each other, Aaron can't fully grasp the implications of what he's saying

On the subject of things that cause me physical pain: baby Aaron telling his mom that he wanted to be a neurosurgeon like the people on TV and her laughing and saying he'd never make anything of himself. Fuck Tilda Minyard, all my homies hate Tilda.

Andrew is so uncomfortable, someone Get Him Out of There.

Going off that and his nervous habits (that Aaron mentions he did often enough to be noticable as a habit premedication), I am highkey wondering if the reason Sober Andrew doesn't talk to anyone outside Neil is because he's just. Socially Awkward.

We get a little bit of insight into Andrew's "misogyny" (I personally think distrusting certain people as a result of extreme personal trauma is a little bit different than just being sexist, in the same way women distrusting men because they're used to being harassed and belittled isn't misandry, but that's up to your personal opinion) and that his distain for Katelyn comes from the fact that he thinks she's stringing Aaron along and will turn out to be awful like his previous girlfriends (there's also a notable implication that Aaron has the same self-destructive tendencies as Andrew, and may be why he went out of his way to get him into college and on the straight-and-narrow) also see that this extends to Bee as well despite their close relationship, with him being so afraid that she'd reject him for being gay that he can't even look at her while talking about Neil, probably made worse by the fact that she's a maternal figure for him, which is where this trauma response originates.

Aaron is the only person on the team who's aware that Andrew hasn't slept with Neil, and the only one to grasp the significance of the fact that they've gotten close to that point already despite Andrew's trauma, outside of Renee

It was overall really interesting to see inside Aaron's head (I actually wouldn't mind a book from his perspective, he has a similar way of thinking to Neil but much more grounded) and to see Andrew through the lense of someone who just views him as Just A Guy