#i feel like i can come up with a better term

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[certifiedsexed]

hey there! i don’t mean this in bad faith at all, and i’m not trying to use a term that’s a fascist dogwhistle. i promise i’m just confused😭

so i’m not a guy, nor have i ever been perceived as one, but in one of your recent posts, you said that men can’t experience oppression solely based on the fact that they’re men. which was kind of confusing to me — i don’t think you’re wrong, i think it’s me but i don’t know how to get to how you see it like that.

because in my experience, men can experience oppression because they’re men, although i don’t know if i’m saying that right or conflating the meanings of certain terms. i’m probably wrong, and would just love some clarification?

for example, my brother and i were always held to different standards growing up — it was expected of me to always cry and be emotional, and i was a ‘stone cold bitch’ if that wasn’t the case, but if my brother wanted to show negative emotions like sadness he was treated like there was something wrong with him too. and i know it wasn’t my brother — i spend a lot of time working with my high school’s diversity team, and in a lot of the events we organise, guys talk about how they feel enormous pressure to be angry and never sad, and to have stereotypically masculine interests and never deviate from that norm.

i also know men who’ve struggled to get jobs such as teaching as those are viewed as ‘female’ jobs and it’s a common view that men who want those jobs are ‘only in it to be around kids’. i’ve heard many women around me perpetuate sentiments like that, so i know they’re not making it up, even if it isn’t equal to the systematic oppression women face in almost every aspect of their careers.

i’m not providing these examples to prove you wrong, since i do think you’re right. i’m hoping that a window into the way i’ve always thought might help you clarify this in a way that can help me to change my mind, since i just think i’m lacking some clarity or context here. i think i’m conflating abuse and stereotypes with oppression, but i’m really not sure. any advice would be really appreciated!

i’m so sorry if this comes off badly, i don’t mean it that way. i’m just trying to learn, i promise i’m not trying to promote the kind of hate and close mindedness you’ve been seeing in your inbox as of late.

Hi! As always, I do not mind answering genuine questions!

The things you're talking about growing up and seeing boys around you pressured to present only certain emotions, that's part of the patriarchy!

Certain emotions are supposed to be "feminine" and thus boys shouldn't show them, while girls are often always considered "emotional" in some fashion. That's not oppression based on those boys being men that you're talking about.

It's the backlash that the patriarchy, and by addition trans/misogyny has on men. It's boys being pressured not to show certain emotions because those emotions are "feminine" and they're supposed to associate feminimity with weakness and shit.

What you're talking about there is also trans/misogyny!

The idea that men who do things perceived as feminine are predators, the idea that specific jobs are "female" jobs [while even in those specific female jobs, men are generally paid better and find it easier to get into those jobs than women trying to get into traditionally "male" jobs"]

[Though obviously this varies based on race and whether they're trans, etc, etc.]

To be a little more clear, all of the things you're talking about don't primarily affect cis men/boys. They fuck up transfems, because it's trans/misogyny.

You're right! It's not systemic oppression.

You might wonder if it's social oppression, which is also a no. Social oppression would require a historical/systemic oppression behind it. But that doesn't exist in this case.

What it is is the common issue oppressors run into. While they benefit greatly from oppression, there is also backlash they face from their own systems of oppression.

Like white people who fall into suicide cults trying to work towards white supremacy, or TERFs who fall into groups where they slowly pick each other off as they discover they're not all exactly the same and wind up accusing each other of not being "real" women, systems of bigotry simply do not work out perfectly even for the oppressors.

They never do.

To create the patriarchy, you must establish trans/misogyny, you must establish intersexism and you must push people to conform to those ideals, even if they hurt your own.

It's similar to how white supremacy can harm white people, despite white people obviously not being oppressed racially. The backlash of oppression hits even the oppressors sometimes.

Suppression, as a term, would honestly work far better to describe what you're talking about.

So yes, it's stereotyping, yes it's abusive to tell your children not to show/feel their emotions but it's not oppression based on these guys in your life being men! It's part of how trans/misogyny, transphobia and intersexism are enforced.

I understand exactly where you're coming from! It doesn't sound bad and I genuinely don't mind answering questions! Especially since you've got some good ones!

I'm not sure if I rambled too much to explain this properly but I hope this helps! Let me know if you have any other questions and/or need me to clarify anything here. <33

[disaster-j]

What really pisses me off is people insisting the break-up doesn't make sense as its own thing when it's so clearly in-character for both of them

Buck has been in a serious relationship with a man for six months but hasn't said the word bisexual. We only know that's His Label bc Oliver Stark calls him bisexual outside of the show. Buck has had what seemed to be a perfect fairytale relationship with Tommy bc Tommy made him feel so safe and comfortable and taken care of that he just let everything else about his coming out journey kinda simmer on the back burner.

And, hey, there's nothing wrong with taking your time with that. But considering the scene at dispatch where he still couldn't talk about his sexuality in concrete terms, clearly he hasn't processed it much, if at all. Buck is the guy who dives deep into research at the slightest opportunity, him knowing so little about queerness and queer culture six months into a serious same-sex relationship isn't just out of character but a clear sign that he simply hasn't done any work to explore his sexuality for himself outside of his relationship with Tommy. Whether the writers intended for it read like that or not doesn't matter very much, bc that's exactly what I'm seeing here.

And, again, that alone as a reason to break up with someone is extremely shitty but that's also not what happened.

Tommy clearly has a history of isolating. He's been hurt a lot in the past, we don't need to know the details to know he's a deeply wounded man who spent most of his life guarding his own heart from the world. He told Buck and the audience over and over again, "I look confident. I look sure. I am comfortable. But it took hard work. I wasn't like this before. This is new. This is good but this is scary. I'm working on it I'm working on it I'm working."

He can see that Buck views him as something more, something better, than he thinks he is. Buck loves Tommy, Buck was infatuated with Tommy. Tommy was this perfect guy in Buck's eyes. And that scared Tommy. It intimidated him. But he kept going bc it wasn't a big deal and he could always remind Buck that hey he's just a guy, a guy who had done things wrong for a long time. But Buck never fully grasped it either. Likely bc of how good Tommy made him feel, he struggled to fully grasp that things with Tommy couldn't always be so perfect and good and safe.

They don't talk about that but they keep going bc they like each other bc they're falling in love bc until that six month mark they were both still fairly distracted by how good it felt to be together to really, seriously consider the ramifications of ignoring those not-so-little things they didn't want to face right then.

And then suddenly it's been six months and they're clearly both in love and they're both clearly not ready to be acknowledging that at all. It's been six months and they're just trying to match each other's pace but have never talked about what that pace actually is and then suddenly they're talking about how Tommy used to be engaged to the woman who taught Buck what a real relationship meant and they still aren't even ready to acknowledge they're in love but Buck is already asking to move in together and talking about marriage and they haven't even said i love yous and Buck can't even utter the word bisexual out loud but he wants to jump into living together and fusing their lives together.

But he's not ready for that. As far as Tommy can see he's not ready for that. And if he's asking for something so big when he can't even say the word love then maybe, in Tommy's mind, he'll never truly be able to say it. Maybe they'll keep going like this. Living together and being together but Buck can't face his sexuality as its own thing and Tommy can't face how his trauma affects their relationship and eventually it'll be too much and maybe Buck still wouldn't want to say it and Tommy would push him away like he pushes everyone away and then they'll be right back to that moment, weeks or months or years later, with Buck wanting more but not able to say those words and with Tommy wishing he'd left before it hurt so much.

And sure it hurts to leave now but at least now he's early. Now, Buck hasn't wrapped himself around every piece of his life. Just his heart. At least now he'll hurt but he won't have to move just to get rid of the scent of Evan Buckley perpetually lingering in every corner of his home.

Buck loves Tommy so much he can't imagine a future without him. Tommy loves him so much he can't imagine a future where he gets to keep him.

The break-up makes all the sense in the world. It just doesn't make sense that the break-up wouldn't force them to work on their respective issues and bring them back together stronger in the future.

[mellxncollie]

hiiii alex and now i have no choice but to drop all the process info and the outtakes :)

overall impression: very lovely and moody and spooky!! i kinda expected more blood-reds from devlin house but i should've known better, you wouldn't go for something that cliché. as always the shots you chose are SO good, love the combo of very dramatic shots with way more subtle ones!

aaaaa okay okay yes definitely not a lot of 'expected' shots in this one. couple reasons for this:

episode 3 is not one that i can watch very much, there's too many triggers in there for me. it's only very recently that i'm now able to rewatch it in its entirety, and i still have a hard time screencapping for it. so... not too many gifs from inside the devlin house

not a lot of shots in these episode work well for these palette sets. unlike all the other episodes, this one does not have many establishing shots or wide shots, which are the ones i like to use for these gifs. of the few establishing shots that are used, many are relatively static, so they don't look great as gifs. plus a lot of the devlin house shots have flashing lights and/or are very short. this made it really difficult to just find scenes that would work

so, this is a little less of a cohesive set than the other two, and i think the rest of the episodes will have more cohesive palette sets than this one as well. i love how this episode is shot, cheryl dunye's avoidance of 'filler' shots really reminds me of her film the watermelon woman, and while that movie does have more wide shots and more cohesive colors, the focus in on the characters as opposed to the backgrounds is what makes this episode feel so much like her work. it really drives home this episode as a standout in terms of writing, visuals, and direction.

it just also... breaks out of a form that i rely on to make these gifs work. so: less cohesive colors. i'm glad that this didn't exactly come across, and that we still have a kind of moody vibe :)

gif 1: cindy my beloved!! oh my god i need to see edwin laughing like that. i need CHARLES to see edwin laughing like that! and niko is so precious, i love her and her green coat. speaking of! love the way she moves past the colour blocks and almost adds contrast to them until she reaches the green and basically blends in?? SUCH a cool effect. and i love the colours themselves, the green + goldish vibe is everything. the green in the shot is so dramatic that it's like a fun little puzzle to find the rest of the colours! and then you realise, oh wait, that's the majority of the picture. ceiling, chairs, cabinet, niko and cindy's hair. and cindy being represented by the colour palette, drawing her undeniably into the picture because she can actually be seen by everyone around her, the opposite of ghostly, is SO cool. and then the contrast of the bright (blueish?) white?? the way it contrasts so much with niko's coat that at first i couldn't see where you got it from, only when niko moves back it blends perfectly into the window in the background?? olly you are a GENIUS

honestly i didn't really realize how this looks with niko's movement adjusting how the green and the blue all suddenly mix in with the rest of the gif!! but you're right, it's very cool!

this gif was a bit of a challenge, and with all those browns i initially thought it might be on the chopping block. but then i came around to liking it enough to make it the first gif in the set.

here's a before/after of the colors i put on it, and you can see that the blue is basically not even in the original shot, and it was only after i adjusted the blue channel to decrease that yellow tint that the blue really showed up.

gif 2: JENNY JENNY JENNY! this is a wild one because it's such a mundane part of the scene and yet i can't stop looking at the dramatic colouring. SHE!!! also the colours you chose feel very similar to the jenny gif from ep1, which, to be clear, i mean SO positively. i love that it ties them together! also something something jenny in her black clothes being surrounded by so much colour as symbolism to what crystal and niko bring to her life. brb crying

out of all the gifs in this set, this is definitely one of my favorites. mostly just cause the shot is really cool, nothing to do with the colors or anything. but speaking of the colors!! yes they're a lot like the ep 1 gif, and it's so fascinating to me how they pack so many hues into jenny's shop via the lighting.

gif 3: HI SPOOKY SHOT OF ALL TIME 😍😍😍 one of those dramatic ones i NEVER want to look away from. loveeeeeee the red-orange reflections on them, the purple of crystal's coat, the blue of edwin's shirt. also getting into the symbolism again but the way most of the colours are drawn from crystal and the background (even the blue is present in her grey shirt/jacket/whatever that is) and it makes the boys feel even more ghostly. ESPECIALLY CHARLES?? WHO ONLY RECEIVES RED BACKLIGHTING?? AND SPENDS THE EP GRAPPLING WITH HIS OWN HELPLESSNESS?? THE ONLY ONE UNTOUCHED BY BLUE (AKA SYMBOLIC OF HEAVEN)?? I'M MAKING MYSELF SICK WITH THIS OH GOD

yipeee!! one of my favorite shots of this episode, but one of my least favorite shots in the whole series to gif (that i've been making gifs of more and more to force myself to figure out how to do it best) and honestly because of that, i wasn't sure if this would make the final cut either.

here's two recent(ish) uses of this scene in various gifsets, both of which i don't really like how the final gif turned out.

this is because the original shot is....

so aggressively blue/green on their faces and that it is very difficult to make this look good.

i wanted the final gif for this set to be a bit more orange and a bit less red, but i'm glad i kept the more red toned backlight, since that allowed gif 8 to feel different enough. and i'm actually pretty okay with how this one turned out, espeically because you get the purple and the blues in their costumes.

also, just for fun, here's what this gif would look like if i did some normal brightening and coloring, but didn't do anything to fix their skintones 🫠

and yeah. god. thinking about charles 'untouched by blue.' fuck.

gif 4: SUCH a lovely little shot! the blues from edwin's outfit, the greenish-gray i'm guessing from the stripes (very nice and subtle, love the choice to emphasise them!), the white from his shirt. and then BAM, gold for the bracelet of homosexuality. but even then it's a very subtle colour choice for it, i can see some of the background is the same colour, even the darker parts of edwin's shirt cuffs. it's like you, via the palette, are helping him hide the bracelet and. i'm just in love

one of my favorite gifs in this set! it is really fun, and you got all the color sources right! i did want to include another color from the bracelet, but most of the colors i was sampling just didn't look too good with the blues, so i used the white from his shirt and i think that really worked.

gif 5: monty!! the return of niko's green coat!! love the cool (ha!) colours, mixed in with the warmer browns. the blue is so subtle in monty's plaid shirt (and the port townsend sign if i'm not mistaken?) the brown/burgundy in monty's scarf and shirt and the trees in the background really draws it all together! plus the green in both niko's coat and the trees' leaves! also interesting to see here the colours you didn't choose for the palette, like the white of niko's hair and monty's books. not to get too deep into it but it feels like a sign that it's not niko monty's trying to connect to, even though edwin isn't even in the frame! and the darker brown feels sort of similar to edwin's coat but that might just be grasping at straws lmao

the blue is from monty's shirt, yeah! this one was hard to pick colors for, and you totally got it with all the colors i'm leaving out. also because of the 540px x 500px frame size, we're also leaving out edwin from this shot. so maybe there's something there too about leaving out colors. (and now that i'm looking at it again, i do think that off-white would have been a great way to tie this palette together)

gif 6: OH DEVLIN HOUSE WE'RE REALLY IN IT NOW. obsessed with the way you subverted expectations with the devlin house being so blue and monotone, vs how we tend to read it as this dramatic high-stakes situation with so much blood spilled. again with the symbolism but it feels like it speaks so much more to the nature of the thirty-year (!!!) loop and how to the victims of it it's not dramatic but just the same cycle they can't get out of. over and over and over. and crystal and charles' expressions in this one OUGH. crystal trying immediately to find a way to help, to free these women, and charles is seeing his worst nightmare and trying desperately to suppress it. again, charles' helplessness represented by none of his colours making it onto the palette, even though his shirt is still pretty red. his hero colour is represented only as its worst in this house

i wanted at least one mostly monotone gif in this set, and the devlin house is predominantly teal and yellow, so it's such a strong contender for a monotone shot. problem with the yellows is that they're hard to make look good if there's a person in frame, so blues it was! i had a lot of blue shots to choose from, because every time the loop resets the power cuts and they're plunged into darkness. and i think there's something really symbolic there for charles (oh and now i'm thinking about the way that he drops into the water in the next episode when the night nurse forces the flashback)

and yeah, the first two colors are sampled from crystal's clothes, and the final three are from the wall. and now that i think of it, none of these palettes use colors sampled from charles/his clothes, despite this being really his episode. makes me think about what you said for the tube gif in the ep 1 set, how not sampling from them makes them more of a ghost in their own gif. anywayyyysssssssss

gif 7: can i just say. obsessed with the parallels of the last two gifs, showing the pre- and post-devlin house feelings? at first i thought this one was from the end of ep3, after gif 8, but just from seeing charles and crystal's interaction it's obviously not OUGH. love the wide shot of them (and the cinematography lessons!! the focus falloff at the top. i am Looking), the greens of the trees and the brown of the leaves and the purple of crystal's coat (ooh and the sign!). some of the purple even seems to come across in charles' jacket! and the blue of the statue also being in edwin and charles' socks and crystal's shirt. it ties them all together in a way that contrasts so much with the effect devlin house has in breaking them apart. forever emotional about ittttt

so this one is actually post-devlin house. it's right as charles says he's fine and right before niko shows up. it's the last gif in this set chronologically, but i don't really go by chonological order in these sets, since i want the first and last gifs to be strong, and i don't want any two palettes side-by-side to feel too similar.

i am now thinking about how charles and crystal's interaction in here realllllyyyyy doesn't feel like post-devlin house.

anyway. colors. yeah. that purple being the same in crystal's coat and the sign was such a blessing. and every time i throw a surprise blue in to these palettes i think of you. it definitely is the bit that pulls this palette together.

(yes i was also thinking about the focus falloff here, it is soooo wildly intense in this shot)

gif 8: AND FINAL SHOT. devlin house is over (or is it??) the colours nearly blending in with the background and then contrasted against charles' coat. i'd say SYMBOLISM but i'm sure you're sick of hearing it by now lmaooo. the bright lights in the background are SO striking. and the green??? the way it reflects so dramatically against the orange specifically on edwin's face??? i know that's not death's light shining on them but it sure is interesting how often edwin is the one bathed in that colour of light.......... also this might be a reach but the way crystal's jacket/hoodie/whatever seems to be a similar shade of green-grey, tying her and edwin together as having found common ground in the devlin house, vs charles again being the least represented by the colour palette -- devlin house might be over but he still feels helpless. i'm sure nothing bad will come of that!

the first 10ish frames of this gif are some of my favorites in this entire episode. i just love how this shot looks, and if it was a bit longer, i wouldn't have even had them running into frame. but that little bit of the trio that we do get is so interesting to get to hear you talk about. because i was not paying attention to how they blend in (or don't) to the palette.

--

so. what about the outtakes? first we have this one:

really like this shot. couldn't figure out the palette. i wanted some of that green from the interior wall of the attic space, but it doesn't sample as very green (yay for color theory!) and the few pixels that do sample as green do not look very good next to the rest of the colors.

here's the other outtake gif:

now that i'm looking back at the whole set, i think this one would have been a really good addition to make the whole set feel more cohesive, but i'm not sure which gif i would have cut instead to keep it at 8, so that's probably why i cut it in the first place. this one is kind of fun since the green is not from niko at all, but from the grass below. i initially made this gif with a monochrome palette, but right before i exported it, i noticed just how much green is in there, and decided to use some of it. glad i did, and i am really happy with this gif.

i'd say i can never be normal about this but you already know that. love this, love you, thank you forever for blessing us with your gorgeous gifs!!!

i'm so glad that you can't be normal about these because i also can't be normal about making gifs and i love that i get the opportunity to do this kind of breakdown for them. thank you thank you thank you alex. you're wonderful!!

Dead Boy Detectives (2024) 1.03 — The Case of the Devlin House (insp)

[girlwithadragonheart]

I need to yap desperately about one single gripe I have with this game. MAJOR MAJOR MAJOR SPOILERS AHEAD read at your own discretion

The first half is me ranting about how much certain things mean to me and how impacted I was, and the actual gripe comes closer to the end.

I'll preface this by saying this post is about Varric's death and my rage and despair regarding it, but more so about my Rook's.

I've seen people who said they picked up on the hints about whatnot, who knew before the Fade Prison. I was not one of those people. I was so relieved when I saw him after the Prologue that I didn't think twice, because I knew that it would destroy me the second shit started going wrong.

I was already not having a good time when I started the game simply because Varric was getting older. I don't handle aging well or death, and his design showing his age, and the comments he would make about "getting too old for this" just made my heart break.

And then shit got worse. I sobbed disgustingly when that knife went into Varric's chest.

After Rook woke up from talking to Solas and she heard Varric, I was so gods damned relieved. And my Rook was better taken care of by Varric in that year she spent with him than she was in the rest of her entire life.

I cried from the end of Ghilan'nain's fight until the romance scene and on and off after that. I got so used to visiting Varric just to be comforted by his presence. Inquisition was the biggest part of my life for a year and a half when I was just a kid.

I did really bad middle school age writing for it but regardless of the quality, those characters were built up in my head becoming even more than they were in the game. Varric was my biggest support character through everything I was going through at the time.

I don't talk about it much, but I didn't have a great childhood, and I know a lot of people didn't, but I coped with it through writing and video games. Varric was the one supporting me through the abuse I suffered and writing was the way I processed how bad things really were.

When Rook was in the prison she said "What am I going to find here?" And Varric said "I think you already know, kid." I DIDN'T until he said that. The second he said that my entire chest tightened and I just said "No" out loud as I watched Rook find his body.

Now for my real complaint!!!

Rook never gets the chance to grieve Varric. They go from talking to him every day to finding out he's dead and it was all a lie. I have personally never been more fucking pissed at Solas than I am now. But Rook comes back and they have that kind of "closing off" scene with Varric's empty bed (which was so hard to go through btw). And then they fuck their pookie LIKE I CANNOT BE THE ONLY ONE UPSET ABT THAT

FYM I gotta find out my dad is dead and then Rook is up for boning like there's no fucking way unless it's to cope. And at least pertaining to the Lucanis romance, Rook is processing everything that happened and they can say "So much has happened, I just don't know how to feel."

And rather than getting to process that in some kind of way, the devs said nah this scene serves one singular purpose, and Lucanis says "I do" and then dicks them down.

Personally, I felt very dismissed despite being overjoyed about finally having the romance scene, I couldn't even enjoy it with everything that happened prior.

Rook deserved the chance to completely break down after everything they went through. Tbh i don't know how they kept it together. Varric said "don't get all misty eyed" and i thought to myself that's way too delicate a term for what's happening here, I was fully ugly crying.

Fuck your "I had a good run" I still need you bitch.

All this to say I'm very upset, and I'm running my second playthrough and every time I look at, hear, or talk to Varric I tear up again. Wtf Bioware.

Rook should've gotten the chance to actually talk about what Solas did to them, especially in the sense that he made them believe Varric was still there. Or at least get to properly grieve the person who was their closest friend for a long time.

I have very strong feelings about this obviously

[seeker-ophelia]

Ophelia’s Review, Part Three: The Lore

Man. Thank you to @senseandaccountability ’s post for sparking this brainwyrm because I was at a loss for words on how to start this post, and I could not put my finger on what was actually bothering me.

Again, let me just say, emotionally, this game wrecked me. I enjoyed it. I (am probably one of the few who) liked the combat. I liked the companions (basic as they are). And I liked the story. I liked the locations. I liked the quests and the loot system and the companion banter. But.

The Lore.

[Part 1:Emotion]   [Part 2:The Dragon Age System]

If you’ve read my Part 2 Review, you know the end of it is actually its own little fic-let on the Veilguard realizing the veil needs to come down.

And I’m just going to straight up copy a paragraph from @SenseAndAccountability ‘s post (I strongly recommend you go read it, its fantastic).

Replaying really emphasizes how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

Let’s recap, just a little bit.

In Origins, we are introduced to the Dragon Age World. Its politics, its magic physics, the races, and its religion. We are introduced to the concept of the Chantry and the Templars and the Circles (*wiggles my eyebrows at you). We learn about demon possession, and about spirits in the fade. And maybe most importantly, we are introduced to the concept of The Blight.

The unstoppable, indiscriminate zombie-plague that sweeps Thedas once a century or so. And maybe more importantly, thanks to the sacrifice of the Grey Wardens, how to stop it.

In 2, the Thedas lore is even subtler. We were introduced to Dalish Gods in Origins, but because of Merrill we get a little more. We start to become curious about the Gods of the race that has been subjugated and enslaved throughout the common Ages. We learn the tense political atmosphere surrounding the Templars and the Mages, and the Chantry’s weakening hold on the politics and structure of Southern Thedas as a whole. We learn about slavery in the north, about the basics of the Qunari, and we have a Terrorist (potentially our lover), hit the religious organization in our city.

In Inquisition, we learn all about the magic. We learn about the fade, about the veil, we learn all about the Elvhen. We pick a side in the Mage/Templar war, we learn about this strange process of Tranquility, the only power templars have to control mages (thanks to Cassandra), and we also learn what that control costs (thanks to Cullen).

And because of Solas, and Cole, we learn about spirits. About how the Veil turns them to demons on their passing into the real world. About how all they want is to stay true to their purpose. They are simple, pure things, and while there are demons, of course, its not all bad in the fade as maybe we might have believed before. After all, Solavellan’s first kiss happens in the fade.

In Descent, we learn about titans, about memories, about songs, about lyrium, about isatunoll.

In Trespasser we learn about why the Titans even matter. Orbs. Power. Greed. The creation of the Veil, and what it really means.

*Insert Kronk Oh-Yeah-Its-All-Coming-Together.gif*

We had 10 years to scheme. 10 years for theories. 10 years to datamine.

So what did we learn in Veilguard?

Well, in the grand scheme of things, nothing.

We have theories confirmed. Which Evanuris hat belongs to who, how the blight was created, how the blight is spread, and how the blight is controlled (kinda-not-really). At least, we learn how the Evanuris are doing it.

What did we learn that was NEW?

We learned about the Morn Watch (but I mean, did we really?) Emmerich has a good relationship with wisps and spirits. We learn about his distinction between a spirit and a soul.

We learned *a little* more about Qunari culture.

We learned it was a blood magic ritual that was holding the veil up, tied to the life force of the Evanuris, now tied to Solas.

We learned about the Evanuris’ Dragon-Thralls and the strong connection between the two, a connection strong enough to get their souls out of Solas’ Fade Jail.

We learned that the Evanuris could not only control The Blight, but had relics to give to others (the Venatori) to control blighted things. We learned their greed for power was so vast, so consuming, they were willing to Blight the world to achieve it.

But we fought an archdemon, in Origins and in Veilguard. We see and know the terror and horror of the Blight.

This makes any action Solas commits understandable, and even necessary. Would we have done anything different? If my leaders were bent on blighting the world, wouldn’t I go to extreme lengths to stop them? Compromising my own morals, dignity, and values to do so?

I think I would.

Having such a terrible evil, having such an indiscriminately bad thing, The Blight, leaves absolutely no room for nuance. No room for complexity. Just good versus bad. Destroy the bad thing at all costs.

So we do. Wham, bam, Evanuris dead.

And the only thing stopping us from tearing down the Veil, is the Blight.

Because Solas tells us that the Blight is in there too.

But, he made a new Prison for the Evanuris, one without a veil, before Rook & Co. interrupted his ritual. Why can’t we move the blight into there and still tear down the Veil?

What is stopping us at this point?

Solas says: Thousands would die

(You’re trapped in your regrets)

This is why you had to use me to escape the prison. It’s made from regrets. And you’re trapped in yours.

You cannot understand -  

Destroying everything won’t erase your mistakes.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

2. (Do this the right way)

You’re right, you do need to make up for the damage you’ve done, but breaking the world again is the wrong way to do it.

Letting the veil collapse –

Is what YOU want. Making amends isn’t about what YOU want.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

3. (This won’t help anyone)

Who does this help? A lot of people are going to die… So you can fix something they don’t even see as wrong.

It is not just people, spirits –

Will be destroyed when you do this, too. Won’t they?

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

Listen. I can't believe I'm about to say this, but there's more to Dragon Age than Solavellan.

This, in the end, was an emotional decision. The decision to leave the veil up was tied to emotion, and not logic.

So, what does all this mean?

Well, for players new to the series, nothing. They were always fighting for the Veil to stay up. The opposite of what the antagonist wants, pretty much. Easy enough to follow along.

But for returning players? Lavellans who stood in Fade-Haven? Players who walked Vir Dirthara? Mages who made the Descent, and saw how horrible it was for the dwarves to be sundered from their dreams, and made the horrifying connection that the Veil did the same to them?

Trespasser Solas: You must understand, I awoke in a world where the Veil had blocked most people’s conscious connection to the Fade. It was like walking through a world of Tranquil. (We aren’t even people to you?) Not at first. You showed me that I was wrong… again. That does not make what must come next any easier.

When I learned about the rite of Tranquility in Origins, I was disgusted. The first thing that popped into my head was lobotomization. They are one and the same to me. Turning a person into a husk of what they were. Separating them from their emotions. From hard emotions, yes, from things that are not easy, even painful, but at the cost of themselves.

We walk with Harding through her decision to, although the Titans are angry, and what was taken from her people was great, not reunite Titan and Dwarf because…

Lace: The story of their end is the story of our beginning.

Mythal releases Solas from his journey to reunite Elvhen with the Fade.

Harding releases angry Titans from their quest to reunite with the Dwarvhen.

And so the Veil stays up. The Titans stay sundered.

But… at what cost?

Lest we forget, it was the sundering of the Titans from the Dwarves that CREATED THE BLIGHT. The Titans created the blight as a weapon to infect the Elvhen as punishment for their death, their tranquility.

This Tranquility Ritual, be it in the form of keeping Mages from the fade, be it of Titans or of Elvhen, is WRONG.

I’m a Blue-Collar Journeyman, and we have a turn of phrase we use with old fellers who don’t want to change the way they do things.

Just because you’ve been doing something for a long time, doesn’t mean you’ve been doing it right.

You can do something for years, and still be doing it wrong.

And both Lace and Rook decide that this is the way things have been done, for AGES. We’re not going to change now.

And I’m just… Solas. As John Travolta playing Vincent Vega in Pulp Fiction, confusingly standing there, looking around with my arms out.

Did we learn nothing from the Lessons of Origins? Nothing from the Lessons of Inquisition?

Maintain the Status Quo? That’s the answer?

At what cost?

One of my favourite lines in in my Part 2 Post is this;

Veilguard, is shallow. The essence is there, beneath it's Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas.

This decision, the decision to keep the veil up, is shallow. Its basic. Its Easy. It is pre-masticated, lunchable drivel. It was spoon fed to us in easy dialogue and groupthink.

What about every other thing we learned in the other games of Dragon Age?

If Weekes et al. want me to forget about how horrible the Rite of Tranquility is, they’re going to have to come out with a hell of a companion novel between now and DA5, because this makes no sense to me.

I ask you. If sundering Titans created The Blight, what did sundering the Fade create?

Or should I say,

If separating Dwarvhen from their Memories created the Blight (out of Titan anger),

What did separating Elvhen from the Fade create?????

Lets talk about Ser Dave.

If you read my part 2, you’ll know that Ser Dave is my name for the ‘?????’

Not only is it so insulting to my intelligence to call something ‘?????,’ because of course then I’m going to pay more attention to it, but its so lazy. Let it introduce itself to Rook and say “call me the wicked witch of the west,’ ‘a concerned party,’ ‘I am the Batman,’ ‘I am No One,’ ‘I am Daivd Gaider,’ ffs.

An I excited at a new villain? Yes. Am I happy to learn there was a shadow organization pulling the strings behind all of my villains throughout The Dragon Age? Abso-fucking-lutely not. Am I happy Southern Thedas, Treviso, and Minrathous are essentially razed after the rise of the Evanuris? No.

Nothing we did in any of our previous games mattered. Nothing I did mattered. Ser Dave was there the whole time, controlling, balancing, guiding, whispering.

I was doomed to fail from the start.

The moral of the story in Veilguard is to not assume the burden of others actions:

And yet its Ser Dave and the Nazgul Band that assumes responsibility for my villains?

What in the Actual Fuck?

So what is going to happen in 5? I don't know. Will I find true agency? How do we have a villain worse than a God? How do we live in a Tranquil’d world, knowing the alternative? How do you bring back the dark, heavy, realness of Thedas, after the gentrification of Veilguard? After blanding Thedas, making it easier for more palates, needing to feed the EA Machine.

For the record, I have yet to complete my second playthrough. I have yet to find all the codices. I have yet to get all the companion banter. I have yet to play as every race. I have yet to make every decision. And if Inquisition taught me anything, its how one little piece of information can change everything. So, for the record, this whole post could be wrong.

In fact, I hope, and pray, that I am missing a big piece of something in Veilguard. That I just haven’t found it yet. That one little thing that’s going to shift my worldview. And I’m going to play until I find it.

Because these messages Veilguard is sending? They’re too contradictory. Too opposite to be coincidence. Too Different to simply be Bad Writing™. I said that Veilguard is a Tranquilized Version of what DA4 could have been. Inquisition, 2, and Origins, were too deep, for Veilguard to be this shallow.

And… Maybe its copium, but I’m kind of hoping that it was on purpose.

[ennn]

Great meta about episode 8 and about Agatha’s feelings. I’m particularly curious about Rio and I agree with everything you said about her feelings and why she lashed out. She finally gave up on Agatha after centuries, she accepted she would always hate her no matter what even if she chose giving Billy up or herself but did that kiss change anything for her? She looked like she was truly grieving her and letting go

I don’t think she knew about ghost Agatha but will that change anything? Do you think she will follow the deal and leave Agatha alone? There is also the issue about Tommy but if you don’t count the twins do you think Death finally decided to move on? Will she be free or with those two, never 😂

Heh, I did leave out the part about the kiss in my meta post didn't I? My brain was so tired lol

The short answer? It's ambiguous.

And I think that's largely deliberate because The Powers That Be (TPTB) haven't committed to where and how they want to use Rio / Death in future Marvel projects.

I think there's definitely enough setup done and opportunity in the story for Rio to come back for an AAA sequel or spin-off — but also enough ambiguity if not.

Story-wise, the kiss is significant because I don't think Agatha's one to directly apologise or walk back what she says. It's a similar thing in episode 4 where Agatha embraces Rio with all that emotion.

I think the kiss is Agatha saying she still does have love for Rio, that she does want her despite all that she said earlier, that she's sorry but she can't let this boy die.

It's very heartbreaking if you consider Rio had resigned herself to Agatha just hating and rejecting her, and she is given this reminder of their love as a goodbye.

But ultimately I think with Agatha's progress – inching her way along her arc – this still marks the end of this chapter of their relationship: these two finally had something of an honest conversation, the baseline of their interactions has changed, and Rio needs to process brand new emotions like grief (which I sure hope doesn't have cosmic consequences ha ha).

That said, the kiss does seem to put Agatha and Rio in a relatively okay place at the end of this chapter. It's a bit of reconciliation. They've shown that they still love each other, but there's still a significant disconnect between them. But as a wise Lilia once said, sad is better than angry.

Now the ghost thing: it's a really interesting change to the dynamic of their relationship but I don't know if Agatha being a ghost encourages or dissuades Rio to go after her. Rio may feel motivated to help Agatha pass on and be with Nicky. Or Rio may take it as Agatha choosing to put distance between them, and from what we see in episode 5, Rio can't really do much about ghosts.

What the ghost thing does do is give Rio some grounds to ignore the first deal because if we look at the letter of the arrangement, Agatha asks for Rio "to stop making her life hell" and to not see Rio's face when she dies. These terms are no longer relevant for a ghost.

And if one argues that the deal has Agatha telling Rio to stop pursuing her, you could argue that Rio's following Billy and trying to deal with the Tommy situation. Agatha just happens to be around all the time while Rio's doing her job.

If we ignore the whole Maximoff twin situation like you say, I think it would actually be up to Agatha to decide whether a new chapter of them begins.

Because while being a ghost is a sacrifice in a lot of ways, it actually gives Agatha more control over the relationship in a way she didn't before, not even with the Darkhold. I don't think Rio can touch her, literally. It's possible Rio can't even sense her.

The good news is, this kind of ambiguity is perfect for fanfiction and fan interpretations. There is a lot of potential there.

[ebenelephant]

I would also like to note that the way fandom treats Lupin's class is often... not great.

I'll caveat this by saying that iirc it's very subtly implied in the books that he may only have become impoverished in adulthood (which isn't important for this discussion) and also that JKR's handling of class with the Weasley's in canon is also pretty bad (which is). She gets many class dynamics/relations down pretty well in terms of snobbishness and classism, but the Weasley family are just not well written as an example of a family on the breadline, which is what they ostensibly are.

This – not all the time, but definitely some of the time – translates to Marauders fic as well. And maybe that's just my view as someone with a better understanding of the British class system as a UK-resident than many individuals might have, but still it bears pointing out that often representation of poor/impoverished/working class characters in fanfiction (and fiction as a whole tbh) can often be classist. Especially when adding in the angle of a character being abused or orphaned, which is on the rise with Remus.

Often, it feels like Remus's class situation is for purely aesthetic purposes. Authors will talk about how insecure his old clothes make him, and Sirius will buy him a jumper. They'll make him just so starving hungry in the summers, but give only the most surface-level introspection of food insecurity, if any. He will be toughened and hardened by his time in care/on the streets/living in poverty/whatever in a way that really only leans into the stereotype that working class people are rude and unpleasant because they are working class, even though he is implied to be impoverished and possibly homeless in the books and is none of that. It's set dressing.

Snape is often rewritten as coming from a better station. Maybe they ignore that he grew up mostly muggle, or maybe they lean into the 'Prince' aspect and write him inheriting from a rich uncle or something. If not, his poverty is sort of just not addressed in a lot of Marauders fic. Again, this is anecdotal: I've seen some really interesting depictions of him before even in fics that otherwise bash on him, but the fact is that in the fics where the author clearly dislikes the character, this is rarely the case.

Snape's childhood is ugly. Coming from what is implied to be a dying Northern industrial town, he would've come into his majority over the Winter of Discontent, spent his early adulthood far away from the home that may well have been suffering under Thatcher's Britain. Maybe his dad was a union man. Maybe there was strike action and violence in his home town. Maybe it all simply faded away to nothingness and left everyone on the dole while politicians harped on about the unemployed draining government funds. Maybe his dad hit him. It's implied that the Snape household was tumultuous and loud, and didn't feel safe. It's implied that Eileen was cold and distant. And Tobias, as a man in a dying industrial town who shouted at his wife and scared his kid, this conjures and image in the mind of many Brits. Maybe that's lost somewhat to an international audience, I don't know.

The thing is, that when Snape's poverty is overlooked almost entirely and Remus's is both exaggerated and somehow made completely toothless by fandom, both instances are classist.

Alright, let’s dive into the dumpster fire that the Marauders fandom has become last years and threw any sense of canon or character integrity out the window. Because let’s be real, the way this fandom has twisted the characters of the Marauders and the Death Eaters, all while turning Severus Snape into some one-note “creepy stalker,” is embarrassing. The fandom seems obsessed with scrubbing characters clean, romanticizing abusers, inventing tragic backstories for literal sociopaths, and piling up headcanons that turn a few lines in canon into fully fleshed-out, fanon-only OCs. And somehow, the only character who gets relentlessly dragged and demonized is Severus Snape—a character who has actual complexity and trauma. It’s hypocritical, classist, and downright gross.

Let’s start with Severus. Canon Snape is a guy who came from nothing: poor background, abusive father, dead-end town. He didn’t fit into the wizarding world, was relentlessly bullied by privileged Marauders, and still somehow managed to survive and make something of himself. But instead of acknowledging any of that, the fandom loves to reduce him to this “creepy obsessive” stereotype. People act like he spent every waking moment pining for Lily and never did anything else, as if that’s all his character is. Never mind the fact that he was actively trying to get out of a miserable life, or that he was, you know, bullied on a daily basis by James and Sirius, who had wealth, status, and freedom to do whatever they wanted. Nope, to the Marauders fandom, Snape is just the “weird stalker”—because acknowledging his struggles would mean admitting that their golden boys were actually kind of awful.

Meanwhile, the same people are out here bending over backward to make people like Barty Crouch Jr., Evan Rosier, and Regulus Black look like misunderstood anti-heroes. Let’s be clear: in canon, Barty Crouch Jr. was a straight-up torturer, Evan Rosier died laughing as he fought Aurors, and Regulus was a kid raised with a silver spoon who only started doubting Voldemort when he realized he’d been signed up as snake chow. But no, fanon has turned these guys into “tragic, complex Slytherins” who were “just trying to survive.” It’s like they’re desperate for some tortured prince narrative, so they invent personalities out of thin air to give us this dreamy aesthetic of sad, beautiful Death Eaters who “didn’t really want to be evil.” Apparently, actually following the text is too much to ask when you’ve got fanon fantasies to uphold.

Regulus Black, in particular, has become this absurd fanon martyr. In canon, Regulus was a kid indoctrinated into pureblood ideology, who joined the Death Eaters without much hesitation. Maybe he had a change of heart eventually, but it wasn’t out of some grand moral revelation; he just realized Voldemort’s loyalty was to himself alone. Yet, according to the current fandom, Regulus is some misunderstood hero who was only “pretending” to go along with Voldemort and was “forced” into his choices. They’ve built this tragic romance around a character who, in the actual books, doesn’t have even half this depth. This Regulus in fanon is practically an OC at this point, and people cling to this made-up version of him so hard that they’ll defend it like it’s canon. It’s hilarious, and it’s also just plain wrong.

And let’s talk about the Marauders themselves. In canon, James and Sirius were rich, spoiled brats who spent their school years bullying anyone who didn’t fit into their world. They were kids with every privilege, and they used it to torment people like Snape, who had nothing. But the Marauders’ fandom has turned them into these fluffy, “good-hearted” rebels who just made “a few mistakes.” I’m sorry, but nearly killing someone as a “prank” is a bit more than a mistake. Yet people will ignore that or wave it away as “boys will be boys” just to keep up the illusion that James and Sirius were lovable scamps. It’s maddening—and it’s also classist as hell. They erase all the ugly realities of the Marauders’ behavior and then turn around and judge Snape for being “obsessive” and “weird” when he was just trying to survive in a world stacked against him.

The classism in this fandom is so blatant it’s laughable. Snape is written off as creepy and unworthy of sympathy because he didn’t have a cushy upbringing or the social standing to make him likable. Meanwhile, characters like Barty and Regulus, who came from wealthy pureblood families, get excused and romanticized to no end. It’s like the fandom is saying, “Well, Snape deserved it because he was poor and awkward, but the rich kids? They’re just misunderstood.” It’s the kind of privilege blindness that makes you wonder if people actually read the books or if they’re just projecting their own biases onto the characters.

And let’s not forget the army of new OCs the Marauders fandom has invented just to justify this headcanon universe (Mary, Marlene, Dorcas, that that Pandora no one knows why suddenly appears here lol) You’ve got random “best friends” for Sirius, unnamed Slytherins who magically have no ties to pureblood supremacy, and love interests for Regulus who supposedly saw the “real” him. All these characters are based on nothing more than a few throwaway lines, yet people have fleshed them out to a level that they’re practically new characters in the universe. It’s like they need this entourage of made-up people to back up their version of the Marauders and Death Eaters because, without them, their headcanons would fall apart. And all of this, while they keep painting Snape as this creepy loner with no real friends or worth. The hypocrisy is unreal.

At the end of the day, the Marauders fandom has taken a bunch of characters with clear flaws and complexities and rewritten them into these sanitized, tortured souls while dumping all their scorn onto Snape. They’ll go out of their way to redeem a literal torturer like Barty Crouch Jr. or turn Regulus into some tragic hero, but they can’t bring themselves to even consider Snape’s trauma or the systematic abuse he endured. It’s all about maintaining this fantasy where their favorite characters are perfect and untouchable, even if it means twisting canon and ignoring the ugly truths about class, privilege, and abuse that is reflected into the story. And that, honestly, just makes the fandom look shallow, hypocritical, and completely disconnected from the reality.

[multidimensionalguidance]

Natal and Transit Observations #1

Please apply these to both your natal chart, and also transit, whichever one applies.

Venus in your 2H will attract resources, be it in money, clothes, face products, food, land, and an improved sense of self worth. It can also make your face stand out or stand out in some way. You're likely to receive compliments, specially in a spoken manner. Your voice might sound more soothing or appealing to others. Very likely to receive financial rewards from hobbies or creative pursuits as well. Relationships and lovers could also feel keen to spoiling or taking care of you. Be wary of overspending or eating too many sweets!

Eg. As soon as I had this transit during this year I immediately got a side gig, which was more work, but at the end of the day a welcomed and unexpected financial opportunity.

Moon-Saturn conjunctions are so emotionally rough. You feel mentally drained, limited, or burned in some way. For natives, its a difficult yet long term rewarding relationship with their mothers, along with feeling emotionally numbed out very often. Their minds are their biggest limitation in life, as they find it hard to not feel down or pessimist. Life is simply not a piece of cake for them initially, but overtime it gets better and they become more carefree.

Eg. The collective energy during this transit always feels sooo heavy and difficult to manage. Often what I call a "Mental Block" day.

Sun transiting the 12th house will make any other placement going through your 1st house, be it Venus or even Jupiter feel a bit more damped. You won't feel like being out too much, showing off, or being overly confident. The general mood is staying at home, doing a fun hobby, and self reflecting. This energy always feel very inviting to spend time in isolation and away from the noise. It makes disconnecting very easy, but if you're not comfortable with any of this, then it will feel like you're being pushed aside, ignored, or overlooked. You'll feel lonelier than usual.

Uranus in the 7th house is the real "I can't keep up with my date life". The sudden and unexpected energy makes it difficult for them to stick for very long with the same partner if there's no sense of independence between them. Relationships and those with who we interact often are very unconventional, open minded, and rebel like when compared to the norm. They are futuristic and comfortable with trying new things all the time. It can make it exhausting and draining if you're pushing yourself to stick with something traditional or rigid. It will lead you to desire stability, but teach you that it can be achieved through relationships that give plenty of free room for both to exist in their most genuine version.

Jupiter in the 7th house is not as positive as a lot of people make it sound. Yes, there are plenty of options, luck, and good fortune, but with expansion can come gluttony or distortion. These are individuals who can feel as if the opportunities are so bountiful that its too difficult to choose, and they might lose on really good chances on love or business opportunities simply for "wanting more". It can also make you overly confident with decisions in regards to this house (contracts and relationships of all type). In general, this planet tends to test our soul and character by giving us a lot to the point where we lose gratitude or act greedy towards our blessings.

If you'd like to support me through tips or ordering any of my services, please check out multiguidance.com!

[colourstreakgryffin]

Charlie Morningstar × Wednesday Addams, please🙏

We all love the cheery colorful sunshine babe x the goth dark mean babe trope. Don’t we! But hey, this’ll be quite interesting, let’s try it out! I don’t know if you want it to be romantic but anyhow

Charlotte Morningstar- Colour Allergy

“Honey!”

Charlotte or usually nickname ‘Charlie’, your beloved cheerful smiley long-term girlfriend, coos out lovingly and happy as yourself is examining her brand newly modelled Hotel curiously from afar with your infamous dead silent endless scowl, since the vibrant colours make you feel ill. Besides that, the building’s decent. Despite how goth and blunt and dark you are, you deeply care for Charlie and seeing her happy is…

It feels weird but it feels good as well so you continue to make her happy via whatever you can do for her. Your black heels click with lifeless eyes dropping from the multitude of paintings and regal red silky curtains and mahogany red walls to locate the voice of your beloved

Properly facing her with your scowl somewhat dropping, softening in equal happiness. Your elegant yet almost ghostly movements making your pretty long black noose-tied-ending braids sway slightly

Charlie already takes your gorgeous braids in her hands briefly to move ‘em off your shoulders to study your beautiful monochrome-makeupped face enamoured before she gives you a BIG loving embrace

You’re getting use to this type of affection… but you did choose to date Charlie so you reciprocate the best you can, despite that positive feelings are icky to you. Your hands lay over her back and your head is nuzzles against her neck, breathing in her scent and close enough to bite it since biting is your version of affection

Charlie merely giggles the sharp but also comforting contact off inbetween a surprised little moan at the small shock of pleasure that shoots through her, still happily hugging you since she is the type who adores all types of affection, especially from her cute but gaunt monochromatic girlfriend! Her hands tracing up and down your back, on your pretty old-timey also somewhat ‘creepy’-styled black and white dress

“Do you like the Hotel?”

Biting and knawing without going too far is how you show your love for Charlie so you’re nomming on her neck as she lovingly asks for your opinion on her project coming to life. Liking the feeling of her long light blonde dual-banded ponytail slightly brushing against your own pitch black braids with your every little weave in to better embrace her

She’s use to this style of affection from you, so she tries to swallow down any little cute noises she may let out, mainly of surprise and delight, upon being nommed on. It’s so nice, she loves knowing you love her as much as she loves you and that you support her dream

Thankfully, her ladies’suit’s collar will hide the evidence of love you’ve left branded on her. Not that she’d be ashamed of it but she does need to be professional incase any guests come in! She doesn’t plan to hide that you’re her partner though and she loves the feeling of your bite marks on her neck

As she likes it when you mark her~

Charlie gives you a soft kiss on your forehead when slightly leaning down since she is a much taller woman than most ladies, even in this fiery torturous realm. Her smile basically painted on her pretty snowy white delicate face, making you want to mimic that smile despite how much of a brooding elegant lady of the darkness you are

Charlie has such an infectious personality, something of the many things you love this Princess for. She can even the biggest irredeemable prick smile and be loveable as a person. She pulls away softly, her black lipstick-tinted lips leaving her own tinge of love on your soft pale skin. Her slightly bigger clawed hands on your shoulders as she speaks up

Her gorgeous blood red eyes tracing over your beautiful soft face like her own and over how her lipstick has marked you like the red fang markings on her neck has marked her. It’s mutual, it’s equal and it shows that you both love each other so damn much, despite how opposing your personality is to Charlie’s

“I do”

Charlie smiles pleased when you answer with your monotone yet calm voice, after those few moments of silence and her eyes locked with your dark ones, overflowing with so much love and joy and adoration for you, holding your hands in hers gladly as whilst you seem so bored and unhappy with her, you’re not. You just aren’t the best with experiencing emotions and expressing yourself but you’re trying your best for her

It doesn’t mean you won’t stop being a Addams because you are one to your core. You’re just comprising for her sake since you love this Morningstar

Charlie legit smoothly spins with you, just to redirect you towards the pretty clean wooden receptionist desk with her hands laced through tightly in yours as she is so excited and gleeful that you like her Hotel and that you’re supporting her, despite how much of a irritable sharp introvert you are. You’re doing this for her and she couldn’t love you even more for it!

Bringing both you and her to the polished flat wooden surface with rhythmic steps, so you two can begin with the duties of starting up the Hotel before any of Charlie’s staff or her single actual client together as you always do. You do everything with Charlotte and you like it that way, even if you don’t word it

Charlie meets your eyes once more when you both stop in place in sync, glowing with her hyperactive cheery energy and it’s so beautiful to you. Even if you remain stoic and express no real response, she knows you care for her and you’re fully listening to her. She likes to talk to you and likes the way you quietly listen to her

She feels heard and that sugary high is addictive!

“Really?! Awww! Thank you, sweetie! I worked so hard on this for you and for us! At this rate, everybody will be smiling and happy in Heaven!”

[hikariyuushi]

HCs about the boys and human language

Because no one asked but I wanna get this out anyways. I'm not a blog dedicated to this or anything, but I still wouldn't mind if anyone asked about my headcanons on the boys or any residents or anything about Homicipher lol.

Mr. Crawling would be a very enthusiastic student when it comes to learning the human language. After all, the more he learns, the closer he is to understanding MC! But as enthusiastic as he is, there will be plenty of things that trips him up. Could probably expect him to speak at a toddler level over the course of a month or so (which is still pretty impressive).

Mr. Hood takes a practical approach, learning the most basic of words to get across what he deems are the most important points at any given time ('you safe? you injured? they enemy? you need help? they good? they bad?'). He's not too interested in the culture of humans, but he does feel better knowing some of the most basic terms in case he comes across other humans who haven't learned the language yet.

Mr. Gap would be most interested to learn to read instead of speak, just so he can see what these papers and articles are saying about him. He could also write his requests easily. It's a win-win! He'd probably most like some sort of textbook or self-teaching book so he could research and teach himself at his own pace instead of having MC teach him.

Mr. Silvair wants ALL the knowledge. He will take notes on absolutely everything, viewing every single aspect from a very pragmatic lens. He'd be the one marking which words were possessive, which were an interrogative, which were particles, etc. He'd also make a few notes of human culture which can add context to the words said.

Mr. Chopped is not the best student, but gosh darn is he trying. His head just starts hurting when it tries to take in too much information and he constantly has to take breaks. Usually a nice scalp massage or combing session helps to calm him down enough for him to continue a little longer. He would also be the first to be able to detect sass/sarcasm being used, and be able to effectively use it in return.

[krisluxxee]

MARS SQUARE SATURN SYNASTRY| ASTRO SYNASTRY SERIES

Aw, man. This synastry aspect is like a parent and child relationship, with the beginning stages being the worst part for anyone who shares this synastry. The mars person depends on the Saturn person and resents it and chooses to rebel. The Saturn person feels responsible for the mars person and becomes frustrated more often than not, with the mars person. It’s interesting because parents love their children (most times) and children (usually) love their parents at the end of the day, despite all the growing pains.

Personally, I am estranged from my family, but my parents still have an emotional hold on me. I love them despite all the pain I feel they’ve caused me and I’m sure they feel the same way. They provided me a safe environment and a private education so despite them not being there emotionally for me, I am grateful and love them. They were very hard on me and expected a lot from me but at the end of it all- I am hyper independent and strong because of them.

So, with the mars square Saturn synastry that is how they both feel about each other which inadvertently causes the square, the challenge in this dynamic. A parent can claim that their kids get on their nerves but in the same sentence they claim they wouldn’t be where they are without their kids and usually their life reflects just that. Example, before kids the parents weren't living right or taking anything serious. After kids, I've witnessed parents buying houses, obtaining degrees and having better jobs. They felt the need to grow up and so they did. It wasn't just talk but action.

Kids can claim to hate their parents but when it really matters, the kids always come through for the parents even in adulthood. You hate that your mom makes you clean your room, but you do it anyway because deep down you love her. Your parents hate how expensive you are, but they still work hard to not only provide for you but also strive to give you what you want. Both parties want to please the other and, in this quest, comes the frustration because if only I didn’t love the Saturn person, I wouldn’t have to do this. If only I did not love the mars person, I wouldn’t have to tolerate that.

We tend to EVENTUALLY love what we initially FOUND difficult at first. Therefore, I can say the mars and Saturn person do begin to love each other deeply after some time. Anytime Saturn is involved, you can expect long term. IT’S WEIRD BUT THE MORE ANYONE INVESTS FINANCIALLY (OR ENERGETICALLY) INTO SOMETHING OR SOMEONE, WE BECOME EMOTIONALLY INVESTED- IT'S ODDLY NEVER THE OTHER WAY AROUND. I SUPPOSE THAT IS WHY SOME SAY LOVE IS AN ACTION AND NOT AN EMOTION.

WITH THAT BEING SAID, THIS COUPLE SHOWS LOVE THROUGH ACTION. THE SATURN PERSON TRAINS THE MARS PERSON HOW TO ACT AND HOW TO PROPERLY EXERT THEIR ENERGY IN A MATURE MANNER AND INITIALLY THIS IS WHERE THE HARDEST CHALLENGES COMES IN. THE MARS PERSON IS LIKE A WILD ANIMAL AND THE SATURN PERSON IS THE TRAINER TRYING TO DOMESTICATE A WILD ANIMAL.) SOME WILD ANIMALS WILL SUBMIT MEANWHILE OTHERS RATHER DIE THAN TO BE DOMESTICATED – THE RESISTANCE IS USUALLY COMING FROM THE MARS PERSON WHICH AGAIN MAKES THIS SYNASTRY VERY DIFFICULT TO DEAL WITH. THE SATURN PERSON FEELS LIKE THEY HAVE TO TEACH OR RETEACH THE MARS PERSON EVERYTHING, USUALLY IT’S RE TEACH BECAUSE DUH! WE ARE GROWN.

SO, IF THE MARS PERSON IS USED TO BEING DISRESPECTFUL, IMMATURE, PLAYING GAMES IN RELATIONSHIPS- THE SATURN PERSON WILL CORRECT THIS BEHAVIOR AND IT WILL FEEL LIKE THE MARS PERSON IS RECEIVING AN ASS WHOOPING. SIMILAR TO A PARENT DISCIPLINING THEIR CHILD.  

The mars person will feel like everything they do is a problem and they’re unable to do anything right according to the Saturn person. The mars person will either decide to give up, rebel and run away from the Saturn person- kind of like a teenager who is mad at their parents for expecting better from them and begins smoking, drinking and getting in trouble with the law. The thing is the Saturn person does have high expectations and mars person will be challenged to rise to the occasion. This synastry aspect does give off ultimatum vibes because in reality, the mars person needs the Saturn person more than the Saturn person needs the mars person- and if the mars person is honest with themselves, they know this.

Going back to my examples- the wild animal needs the trainer, and the reckless kid/ adult needs their parents. Parents provide protection from all things the kid isn't ready for, same goes for a trainer. But in the moment, the animal, the kid, the mars person is unable to appreciate this and views it as an opposition (someone against them) not a (square) challenge to overcome.

the Saturn person has more experience and knowledge because they have been there and done that. The Saturn person “wasn’t born yesterday” so to speak. So, the Saturn person has patience with the mars person to a certain extent. Depending on the sign Saturn is placed in will determine just how short that patience will extend.

The Saturn person wants to invest in the mars person but only if it’s worth it and that is where the strength or weakness of the mars person will be exposed AND CHALLENGED. BUT IT’LL BE UP TO THE MARS PERSON TO RISE TO THE OCCASION. THINGS GET BETTER WITH TIME WITH THIS COUPLE SO LONG AS THE MARS PERSON ADHERES TO WHAT IS BEING TAUGHT, SHOWN AND EXPECTED- LIKE ANYTIHNG IN LIFE. WHEN WE START NEW JOBS AND ARE UNDERGOING TRAINING, THINGS SEEM OVERWHELMING BUT AS YOU STICK IT OUT, THE JOB becomes easier, and you will find that you were capable all along. When we start lifting weights at the gym, it’s painful, foreign, uncomfortable, and hard work but only the strong survive right? When you stick with something hard overtime you see massive growth and that is what this synastry is about especially for the mars person.

As for the Saturn person, they must learn greater patience and understanding and maybe some compassion because they have been the mars person before until they learned for themselves. Not everyone heals and learns at the same speed as yourself and having that expectation isn’t realistic or fair. The Saturn person may be too hard on the mars person and sometimes, this is because the Saturn person is trying to be a better through the mars person.

Back to my parent and child example- there are so many parents who failed in life in some regard and then they have children and try to live vicariously through the kid. A parent always wanted to be a doctor but couldn’t accomplish this, so they expect their kid to live out that dream. When the kid rebels, the parent in turn feels betrayed and let down and gives up on their kid with feelings of disdain and resentment. So, the Saturn person is challenged to reflect upon their intentions when it comes to the mars person.

Nonetheless, the mars and Saturn person are invested in each other because they both have a point to prove.  The mars person has the energy, drive and will to rise to the occasion but the Saturn person may initially make them feel insecure and question themselves. This makes the mars person angry but deep down it’s really insecurity because the mars person wants to make the Saturn person proud of them, they just hate how the Saturn person goes about it. Again, it feels like an ultimatum or conditional love not unconditional in the eyes of the mars person and this makes them resentful and resistance initially.

The mars person ultimately doesn’t feel like they can be themselves or accepted if they do not submit to the Saturn person. Whereas the Saturn person feels like they do understand the mars person which is why they have high standards for them because they can see the potential in the mars person that the mars person cannot comprehend at the moment.

Personally, I am predisposed and maybe biased in the sense that I think life is about challenges and growth. If you are with someone who doesn’t challenge you, I feel it to be pointless. I view this synastry to be very beneficial and reflects a mature love that will last the test of time which we all claim to desire at the end of the day. But when things get hard most people run away from it.

If you truly love someone or want to make it work, you’ll find a way. You'll make a way, giving up was never an option.

[wisdom-devotee]

Beginner’s Guide to Hellenic Polytheism

I KNOW this is a really long post but my intention was to just note down everything that I think is important for beginners and that’s A LOT. It took me forever to learn some of these things but they’re so important, so buckle in. I hope this helps some people.

If I’ve missed anything, please feel free to let me know what you’d like me to add. I’ve been working on this for two days, so if there are typos, I’m so sorry.

The sections I cover here are key terms, mythic literalism, deity work vs deity worship, FAQs and General Advice.

Some Key Terms

Hellenic Polytheism: Hellenic means Greek, and Polytheism means worshipping multiple gods. So, Hellenic Polytheism is the worship of the Greek Pantheon which is also referred to as the Theoi. The religion is also referred to as Hellenism, Hellenismos, or abbreviated to Helpol. The people who practice could be referred to as Hellenic Polytheists, Hellenic Pagans, or Hellenists.

Hellenistic: you may see the term ‘Hellenistic Polytheism’, but this is my PSA to ask people not to use that, as it’s incorrect. Hellenistic refers to a specific period of Andient Greece, from 323-32 BC, and your worship is almost definitely not specifically focused on that period.

Ouranic: this is the term for the heavenly gods. Be aware that there is some overlap between Ouranic and Chthonic deities. Whether a deity is Ouranic or Chthonic will effect things like prayer position (palms up for Ouranic) and whether offerings can be eaten or drank (yes for Ouranic)

Chthonic: this is the term for the underworld gods. Be aware that there is some overlap between Ouranic and Chthonic deities. Whether a deity is Ouranic or Chthonic will effect things like prayer position (palms down for Chthonic) and whether offerings can be eaten or drank (no for Chthonic) side note - when it comes to hero worship, I personally treat them as if they’re chthonic.

Kharis: this means reciprocity, and also refers to the relationship formed between us and the gods. Arguably the most important aspect of Hellenic Polytheism is that when you ask something of a deity, you must give an offering in return. Size of what you’re asking for should correspond to size of the offering, or if you’ve given many little offerings without asking for anything you can use that as why you should be given the Big Thing.

Xenia: guest-friendship, hospitality. The idea that any stranger could be a God in disguise, so treat everyone respectfully. It’s an Ancient Greek social custom that a lot of Hellenic Polytheists see as important today. Simply put, in modern times this most often just means being kind to strangers. There’s a lot more to it than that though, so look here. Know that Xenia is a two-way thing, so you have to be generous to your guests but they must also respect your home.

Eusebeia: basically, piety. Respecting the Gods. This is really the only ‘rule’ of Hellenic polytheism. There’ll be different ideas of what is considered respectful, but as long as you have good intentions and don’t do anything you KNOW would be offensive, you’re okay. Don’t insult the gods (any of them), don’t ask for anything without offering something else, and don’t treat yourself as equal to or higher than the theoi.

Hubris: excessive pride or dangerous overconfidence, often the fatal flaw of a lot of Greek heroes in mythology. Specifically, this is when you act better than or equal to the gods. You are not.

Libations: a type of offering, in the form of a liquid. Usually poured on the ground but can be drank (unless it’s to a chthonic deity) if you’re a closeted Hellenic polytheist who can’t just pour some liquid on the floor every time you want to offer it. My advice for food offerings/libations to chthonic deities if you’re not openly a hellenist is to offer leftovers, rotting food, or something you otherwise know will go to waste.

Altar: traditionally a place used to put physical offerings and food offerings for deities. Some people have an altar to each deity, some people have one altar for all their deities. These can be as big or as small as you want. People may use shelves, drawers, boxes, windowsills, etc, and I don’t even use mine for food offerings, only for physical ones because I usually eat the food offering (I don’t like the idea of wasting food). My altars also just serve as a dedicated space for that deity in my life.

Hero worship: this is the worship of ‘heroes’ in Greek mythology, which includes literally any mortal. For example, I worship Odysseus of Ithaca, Penelope of Ithaca, Helen of Sparta, and Tiresias of Thebes. I’ve been asked a lot about how hero worship differs from deity worship, and you can find that answer here.

Devotee: there is a lot of disagreement on what the difference between a devotee and worshipper is, but for me, I’m devoted to Athena as I feel I have the closest bond with Her of all my deities and I honour Her the most. This partly comes from my feeling that She has been with me for much longer than I’ve been aware of Her presence, and that also so much of who I am and what I value comes under Her domains.

Patron: this basically means that if part of your identity comes under the domain of a deity, then that deity is your patron. There can be occupational patrons (like Hermes is the patron of merchants) or to do with things like gender (Hera is a patron for women. Yes this includes trans women, transphobes are not welcome here.) You can have more than one patron, and you don’t need to worship all of the deities who would be considered your patron.

Epithets: these are titles given to deities. There are two types - cult epithets, which describe the aspect of a deity you’re focusing on (like Athena Ageleia, meaning ‘Protector of the People’) since they have a lot of domains and it’s important in prayers to specify what you want. Then there’s poetic epithets, which are adjectives, often used to compliment a deity. I like using these to make my prayers seem more sophisticated to be honest (example: white-armed Hera)

Unverified Personal Gnosis: gnosis is spiritual knowledge. If it’s unverified, that means that it has no basis in historical sources as far as the person is aware, and they don’t know anybody else who has the same experience. You will often see this abbreviated as UPG. Personally, I think UPG is really valid, considering a lot of things are unknown to us due to the loss of sources overtime.

Shared Personal Gnosis: gnosis is spiritual knowledge. Like UPG, Shared Personal Gnosis (often abbreviated as SPG) doesn’t have any historical backing as far as the people who believe it are aware, but it is shared by multiple different people and therefore seen by some as more valid than UPG (though I’d argue that all SPG is UPG before you know that other people agree)

Verified Personal Gnosis: gnosis is spiritual knowledge. It being verified means that there are historical sources to back up the belief, and this is commonly abbreviated to VPG. You are more likely to come across the terms UPG than SPG or VPG, and most of what Helpol people on tumblr discuss is UPG, even if they don’t state that directly.

Reconstructionist: these are people who try to ‘reconstruct’ the ancient religion, recreating ancient rituals as best they can and doing things as close as they can get to how the ancient Greeks did based on our historical sources. An important note here is that we will never be able to do this perfectly and that’s okay. For example, I would hope none of us are making animal sacrifices.

Revivalist: these are people who try to recreate the ‘spirit’ of the religion, though not with the exact practices that the Ancient Greeks used. Revivalists are more concerned with the values and beliefs of the ancient religion than they necessarily are with how it was practiced. I personally feel like I fall somewhere between the two, but I also think both are really valid!

Mythic Literalism

Mythic Literalism is the idea that the stories we see in any mythology actually occurred. In Hellenic Polytheism, this is not how we tend to look at the Greek myths. And it’s not how the ancients saw them either.

Greek mythology has always been interpreted as symbolic. For example, Hades kidnapping Persephone is mostly accepted to be about mothers in Ancient Greece being separated from their daughters once they marry. It does not mean that Hades, the God, kidnapped Persephone, the Goddess, and that people who worship Hades are evil because Hades is a kidnapper. This myth can also be interpreted through the lens that death separates families.

This is important because the Gods all do things that are, by today’s standards, incredibly immoral - and a lot of them were even immoral in antiquity. It is important to not take the myths literally to avoid feelings of guilt over worshipping something horrific.

And yes, this applies to Zeus. He is not a rapist, He’s a male fertility god. In myths he does bad things because he represents kings and kings can abuse their power. Things like that.

But it’s still good to research the myths! It’s good to learn the ways in which these deities were understood and what their domains can represent. Myths also help us to feel more familiar with our deities. Additionally the myths tell us not to be hubristic, and things like the Iliad tell us about Oaths and Offerings and Xenia. These are important parts of helpol.

Deity Work vs Deity Worship

I’m going to preface this section by saying that I worship deities, I don’t work with them, so even though I’m doing research on this please take everything I say about deity work with a grain of salt and note that the rest of this post might apply more to worship, because that’s what I’m familiar with. Lastly, my intention here is not to place a value judgement on either type, I just want to try and make a full explanation for anyone out there looking for one, since I’ve found it to be kind of difficult to find.

From my understanding, deity work is common among witches, and usually involves asking a deity to help with your spells or other forms of magick. When you work with a deity, you are asking them to mentor you in a sense, and there’s often a specific goal in mind that they’re hoping to achieve with help of the deity. Additionally, because of that goal-oriented relationship, deity work has deadlines(?). Like, once you’ve achieved the goal you had, the deity will stop working with you

There are similarities, as both seem to involve reciprocity and offerings, and both involve cultivating a relationship with deities, even if the nature of that relationship and the reason for offering is different.

Deity worship doesn’t have a set end-goal. You CAN stop actively worshipping a deity, but this doesn’t usually come after a specific goal is achieved because there isn’t a goal in mind. Worship is more about honouring the deity. Khakis is built out of admiration, respect and love for the deity. This is why we pray, make offerings, etc. it’s all to honour the gods. We do ask for things in deity worship, but that’s not the entire point like it is for deity work.

FAQs

Do I need to be called to worship/work with a deity?

Nope! You are 100% allowed to reach out first. You can do that by praying or making an offering. Remember to research the deity first, so you know what epithets to use, know what symbols they’re associated with, have ideas for offerings, etc. Also, if a deity calls to you, you are not obligated to worship them. Acknowledge them and move on if you don’t have time, energy, or interest in worshipping them at that time.

Where can I find information on deities?

The main site that I think everyone uses is theoi.com, which has really in-depth pages on a lot of deities, with their myths, lists of epithets, family trees, etc. it’s a really useful resource!

Do I need an altar?

No. They’re nice to have but you don’t need one straight away. It took me two years of worshipping to get any altars, and even now I don’t really use them how you’re ‘supposed’ to.

Are there any sins in Hellenic Polytheism?

No, just don’t disrespect a god (don’t disrespect any of them, even the ones you don’t worship should be respected). Also don’t show hubris.

Deity X and Deity Y don’t get along, but I want to worship both, what do I do?

Disregard mythic literalism and remember this is a polytheistic religion. The gods know they are not the only god you will be worshipping, and they are chill with that. If you really want, you can separate their altars if you have an altar per deity, but it’s up to you completely.

Other General Advices

This post is a starting point, nothing here is very in-depth. Do more research if anything on here is still confusing to you. Feel free to ask people here on tumblr, I’m sure most of us would be happy to help.

Don’t believe everything you see on tiktok/tumblr. We’re all still learning, a lot of us are wrong about stuff. Do other research and let yourself form your own beliefs. As I’ve said, even parts of this post should be taken with a grain of salt. I’m no expert, I just want to try to help.

If you’re going to make your own posts about helpol stuff, advice I’ve seen before that really stuck with me is ‘keep some things scared’. You don’t have to post everything. I, at the moment, don’t post my prayers or photos of my altars. Those things are what I keep scared, you should have your own things. They don’t have to be the same as mine.

You have nothing to be afraid of. The gods can be intimidating when you’re starting out, but they know we don’t have as much readily available information about this stuff as the ancient greeks did. They also know you’re new, and they will be patient with you. Don’t be scared.

You can offer anything. Digital offerings are as valid as physical offerings. Devotional acts are valid too.

Know that you will never be done learning. Accept this and commit to trying to learn anyway.

Know how to tell signs from the gods apart from just General Happenings of the world. Here is a good post on that. I have a series on my blog tagged #signs from deities, to show the kinds of things I personally recognise to be signs and to show how frequently/infrequently those can occur. I would suggest keeping your own record of those, whether or not you share it is up to you. The reason is to reflect on your journey and, if you ever doubt your gods, you can look at those lists to remind yourself of how they’ve been there for you previously.

Doubt is healthy, it’s okay to doubt things. Don’t feel bad for this, the gods understand. Let yourself question everything you feel the need to question.

Similarly, anger is healthy. It’s okay to be angry at the gods, but don’t disrespect them because you’re upset. Handle your anger well. You won’t get punished for being upset.

The Hellenic Gods aren’t generally believed to be all-knowing, however it is believed that they can hear us when we call their names, which is why prayers start with invocation of a deity’s name and an epithet.

[itsawhumpsideblog]

The Safehouse, pt. 20

CW: for institutionalized slavery, mentions of abuse, treatment of people as things, broken bones and treatment of same

Advice from the Box Boy Liberation Movement:

Especially at first, rescuees see the world exclusively through the lens of their training. You will need to develop the habit of being extremely careful in your wording choices. Words like "good" or "better" are often misunderstood, because rescuees are accustomed to having these terms applied only to their behavior. Saying things like, "feel better" implies, in their understanding, that there is a correct way to feel and they have failed to achieve this standard. Instead, focus on speaking literally and clearly, using wording like, "I hope you're feeling well" or "We are giving you this medicine so that your body can heal."

It wasn't rough right away- certainly no more difficult than anyone's recovery from such a surgery would be. Mikey napped on the couch, his left arm in its cast sticking straight up in the air, while Angie and Tim began dinner. It was an excuse for them to speak privately under cover of the noise.

"We can get him through a couple of days," Tim said, "But he's going to need stronger painkillers than we can get over the counter and I have no idea where those are going to come from."

"We'll ask our contacts when we call tonight. We owe them a check-in about the surgery." Angie tried to sound confident, but she knew as well as Tim did that even their Network contacts could not work magic.

"Yeah, maybe they'll have some ideas." Tim sighed and went back to chopping vegetables. When they were done, he brushed them into the pan with unnecessary force and pushed them anxiously around.

"It'll be okay," Angie said, patting Tim's shoulder. "One way or another- he'll get through this. And we'll help."

"Sure, but-" Another sigh. "Being here was supposed to mean he won't suffer anymore."

"I know. I don't like it, either. But we're going to do our best. Only thing we can do."

Tim nodded and they finished the cooking in silence, saving their energy so that they could put on cheerful faces for the rescuees.

Nathan seemed to notice that something was wrong. He raised an eyebrow at Angie when she handed him his plate, but she just shook her head.

Later, she mouthed and he nodded and tried to even out his expression.

"Hey, buddy," he said gently, reaching over to rub Mikey's shoulder. "You want to eat? Angie's got dinner for you- she'll help you, or I can if you want."

Mikey surfaced from the kind of deep, dreamless sleep that could have been either the last of the anesthesia wearing off or the beginning of the deep exhaustion that meant his body was trying to heal. He took a deep breath, pulling air down into his lungs, and tried to remember what had happened.

His hands looked funny. One of them was wrapped in something hard and blue- a cast. Mikey turned his head very slowly and traced it along his arm and up to his shoulder, where it seemed to stop. When he tried to wiggle his fingers, they didn't want to move. The other hand was wrapped up in bandages that looked like a mitten, except for his fingers peeping out the top. He held this arm up closer to his eyes, inspecting it. He tried to turn it, to look at the palm, but hot pain shot up his arm and he lowered it back to his abdomen, cradling the arm, and tried to rock back and forth to soothe his racing mind, if not the pain in his hand. Sometimes the rocking helped him calm down when he wanted to cry. Master didn't like it when he cried.

Had he been crying? Was that why he was being punished like this? Maybe he had done something Master had said not to and that was why his hands had to be hurt and bound up, so that he couldn't do it again. Maybe Master had to hurt his hands to teach him this lesson. He tried to remember what the lesson was, so he could be better next time and Master wouldn't have to hurt him.

Mikey's lip was trembling and Nathan reached out again, gently rubbing the good shoulder.

"Hey buddy," he said again, "You're okay. You're just waking up. It's fine."

Mikey knew that voice. That was the indoor pet, who was kind to him. He could trust that voice, and it was telling him that he was safe. He blinked his eyes and the room faded into view. There was Nathan, smiling at him in a worried sort of way. And Mistress, holding a plate with steam rising from it. He sighed in relief.

"That's better," Mistress was saying in a cheerful voice. Her voice was always like that. She was kind. She had put a belt on him in the car, but she had worn one, too, as if they weren't so different.

"Now, I know you might not be too hungry yet, but if you can, try to eat at least a little. Your body needs the energy so you can start to get well," Angie explained. Mikey nodded a little vaguely and opened his mouth, looking rather like a baby bird. Angie fed him and nodded reassuringly at Nathan, who sighed in relief and turned to his own meal.

Across the room, Tim had helped Francis sit up and prop himself against the side of the couch. He blinked sleepily and stared at his meal for a few moments before reaching slowly for the fork and beginning to eat, one small bite at a time. Francis didn't need help with the act of eating, but Tim stayed by him for encouragement. Francis made it halfway through the meal before he set his fork down wearily and closed his eyes, curling up into the couch.

Tim performed the usual cursory check of Francis' forehead and smoothed his hair.

"It's been a long day, hasn't it?" he said. Because it would have required him to express an opinion, Francis didn't answer. "All that worrying about Mikey was rough on you," Tim went on. "I think it'll be early to bed for everyone tonight. Me included."

Francis felt that some response was required and he nodded wordlessly.

"What time is it?" Tim asked.

"Almost 8," Angie replied. "But as early as we were up, I don't think I'll have any trouble sleeping." She caught Tim's eye and gestured to Nathan with a questioning look. Tim nodded.

"Why don't we go ahead and put these two to bed?" he suggested and Nathan could hear in his tone that Angie's "later" was probably imminent. "Then we'll come back and help you," Tim added. Nathan's palms started to sweat. He hoped Francis and Mikey didn't notice this change in routine that clearly signaled they were being left out of something.

But they seemed not to and perhaps that was not surprising. Francis seemed limp in Tim's arms as he was scooped off the couch and when Tim came back to help Angie get Mikey upstairs, Mikey was staring tiredly into the middle distance and swaying as they helped him walk.

Nathan could hear footsteps above his head and the murmuring of voices that were just slightly too far away to make out the words. The light in the front hallway dimmed as two sets of footsteps came down the stairs and turned off the light in the upstairs hallway, and finally Angie and Tim sat down on the couches.

"What a day," Angie said to nobody in particular. Nathan had noticed that they were a little different when Francis and Mikey weren't around. They were less careful in their speech and... he searched for a way to characterize their behavior. It was less determinedly cheerful, perhaps. Not less kind- the kindness seemed to be completely genuine- but there was less intention behind their smiles. They even complained sometimes, or bickered companionably. Tim had once told Nathan that they had never met before coming to the safehouse, but it was clear that the two of them had become fast and true friends.

"What's going on?" Nathan asked, looking from one of them to the other.

"Everything's going to be okay," Tim said, which wasn't an answer and also wasn't terribly comforting.

"But?" Nathan prompted him.

"The hospital didn't give Mikey enough pain medication," Angie said bluntly. "Not on purpose- they can't take more than a certain amount before they'll get caught. But the upshot is, he won't have enough."

"I'm going to try to get some more," Tim put in. "We have to call our contacts tonight and check in, so I can ask. But even if they can get it for us, it's not going to be right away."

"Shit."

"Yeah," Angie agreed. "It's gonna be shit."

"Poor Mike," Nathan said. He remembered how his leg had felt, before they had gotten him to the doctor, when he was en route for delivery and there had been a speed bump, or rumble strips. He winced just thinking about it and shifted uncomfortably in his seat.

"There's not much to do," Tim went on. "Except figure out how to ration it and do everything we can to get him some more. I think... we should probably prioritize nighttime, so he can get some sleep. If we have to, we could go light on it in the mornings and just give him a ton of over-the-counter meds. Then the prescription stuff to get him settled down for at least one good meal and sleep."

"But first we're making that phone call," Angie said.

"Sure. Maybe they'll be able to help."

"Anything I can do?" Nathan asked.

"Not really." Tim shook his head. Angie added, "I just thought you should know. Since you guys are so close."

"Are you going to tell him?"

"We're going to try. I don't know if he'll understand," her voice faltered slightly. "Or if he'll be able to believe us. But he should know, I guess. He has the right to."

"Agreed." Tim didn't sound any happier about it.

"He'll probably think he's being punished," Nathan said gloomily. Tim and Angie just nodded and Nathan sighed. "Well, I'll try to help you explain it to him, if I can. Thanks for letting me know."

Next Time: A very difficult day for the whole house.

Master List

Notes: Shortish, but I've missed writing this.

Tag list: @pigeonwhumps, @cepheusgalaxy, @i-eat-worlds

@honeycollectswhump @taterswhump, @starfields08000

@whumpsday, @fruitypinapple00, @currentlyinthesprial

[v88sy]

i think the thing with buck fucking strangers came only from oliver stark. the canon narrative did not, at least so far, explicitly say that this is what buck will do or wants to do imo. the implications of saying "your first cannot be your last" to a guy who has fucked around a lot and already learned that he wants a long-term relationship and was in multiple relationships are kinda icky to me, though. it feels like it says that none of it counts because buck's experiences are only with women and until he has had all of the same experiences with men, he isn't ready for "his last" or whatever tf. even if he doesn't fuck around, we are once again at the same point where we have been for 7 seasons with buck. maybe he won't devolve, but the stagnation is really unbearable at this point. especially after seeing this incredible potential of a love interest that finally checks all the boxes (!) being tossed aside so carelessly, i am personally done with it all.

I don't think Oliver said "strangers", but I will agree when you look at just his quote about texting Tim ideas about what he wants for Buck, in a vacuum, it reads shitty. And when someone brought that to his attention, he clarified.

Now that his character is single, he would like to have Buck going out and, basically, having a healthy relationship with sex. He said he would also suggest the same if his character were just coming out of a relationship with a woman too, so I don't feel it has anything to do with a certain sexual identity, and more so just Oliver wanting an arc for his character where he grows into having a good and healthy relationship with sex, instead of what he had in season 1. I think he's just trying to go with the story that Tim has given him and make the best of the situation. Oliver said he's constantly texting Tim ideas, to which he usually says "that's why you're the actor and I'm the writer" so who knows if that's actually something we'll see on screen, but I can tell you it's not anything I'm interested in.

I do get what you're saying about Tommy's reasoning, and I had a whole spiel about it too. I absolutely agree it should have been worded better, but I think Tommy was coming from a place of personal experience. All relationships have this new, shiny, honeymoon phase. Buck has already been putting Tommy up on this pedestal, and there is the added "newness" of it being his first same gender relationship. It's not that Tommy thinks Buck has no experience with relationships or that he doesn't know what he wants, it's that Buck is still seeing Tommy with these rose tinted glasses and Tommy knows what will happen once they come off, because it has before. Maybe more than once, with him on both ends of it. At least that's how it reads to me.

Tommy doesn't feel he can live up to this idealized version that Buck has of him in his head, and he thinks it's better to bow out now before he falls too deep, but I think he already has.

[mekanikaltrifle]

When I get home today I'm thinking about either drawing something fun as a warmup... or doing a bit of Scottish history/ politics blogging. What do youse think? Which would be interesting?