#i have no perception of what i actually look like

[contemplatingoutlander]

01/07/24, 3:43 PM EST: At this time of day, I saw "the dress" as a white and gold dress that appeared to be in the "shade," (which to me gave the "white" part of the dress a "light bluish" tinge).

UPDATE 01/07/24, 4:50 PM EST: I had originally reblogged this post in the late afternoon. It is interesting that when I revisited this post later to add to it, it was in the early evening, so my blinds were closed and no more sunlight was coming in my window behind me to shine on my computer screen. Consequently, at first glance, the dress looked darker, with it almost being a very light blue (especially the photo on the Wikipedia link above), and a dark gold or mustard color. 🤔

For more information on what the colors of "the dress" actually are and why some people see the dress as "blue and black" and others as "white and gold," (and a few as "blue and brown" or "other), see below the cut.

Yes, the actual dress is blue and black, which I can clearly see in the photos below.

Both photos above are from BuzzFeed. Above left is a photo of the dress worn to a wedding by the mother of the bride (who started the whole thing when she took the original photo and showed it to the bride and groom before the wedding). Above right is a photo of the dress from the company it came from: Roman Originals.

Roman Originals (now just Roman) also has an image on its #THE DRESS That Broke the Internet website that fades from the blue & black to the white & gold dress, represented below by this (edited) gif:

Fun facts from the Roman's #THE DRESS website:

"The dress" is a viral meme that launched to stardom on 26th February 2015, when the world disagreed over whether the item of clothing below was black and blue or white and gold. The phenomenon revealed differences in human colour perception which have been the subject of ongoing scientific investigation in neuroscience and vision science, with a number of papers published in peer-reviewed science journals. In popular discourse, the disagreement over the colours was sometimes referred to as "dressgate". But to us it will always be our Dress that broke the internet. After 7.6 Million tweets it's time to seperate the fact from fiction

* 3,622,960 visitors to our website in 48 hours * 2,214,343 uses of #thedress * covered on over 150 networks including BBC Worldwide, Sky, CNN, Fox, ABC, CBS, Globo TV, NTN24, Nippon TV and more... * 70% of people asked actually saw white and gold instead of blue and black * 73 million views of #thedress across all social media channels * 34 minutes was the amount of time it took for our website to sell out of #thedress We even made a #WhiteandGold version that was auctioned off for Charity

It appears that some of the illusion might have been caused by "the dress" having been photographed with yellow-tinged lighting. According to Wikipedia:

Daniel Hardiman-McCartney of the College of Optometrists stated that the picture was ambiguous, suggesting that the illusion was caused by a strong yellow light shining onto the dress, and human perception of the colours of the dress and light source by comparing them with other colours and objects in the picture.[40] [...] The first large-scale scientific study on the dress was published in Current Biology three months after the image went viral. The study, which involved 1,400 respondents, found that 57 per cent saw the dress as blue and black, 30 per cent saw it as white and gold, 11 per cent saw it as blue and brown, and two per cent reported it as "other".[44] Women and older people disproportionately saw the dress as white and gold. The researchers further found that, if the dress was shown in artificial yellow-coloured lighting, almost all respondents saw the dress as black and blue, while they saw it as white and gold if the simulated lighting had a blue bias.[33][44][45][46] Another study in the Journal of Vision, by Pascal Wallisch, found that people who were early risers were more likely to think the dress was lit by natural light, perceiving it as white and gold, and that "night owls" saw the dress as blue and black.[47][48] A study carried out by Schlaffke et al. reported that individuals who saw the dress as white and gold showed increased activity in the frontal and parietal regions of the brain. These areas are thought to be critical in higher cognition activities such as top-down modulation in visual perception.[49][50] [emphasis added]

The yellow-tinged light hypothesis might account for why the dress seemed to change colors for me slightly from the time I first saw it with sunlight hitting my computer screen through the window behind me, to when I revisited it in the evening, when my blinds were closed.

I'm also an older woman, so I fit in the demographics of those most likely to see the dress as white and gold. However, I'm not a particularly "early riser" (although I do have to get up early for work🤷🏻‍♀️).

Optical illusions are always fascinating.

[edited]

In February 2015, the "The Dress" debate had everyone weighing in on what color it was.

[unacknowledgeable]

SK!Reader x Yan!Batfam: Not in the plan

I have thoughts about the batfam going yandere before finding out about Reader being a serial killer.

Because if the fam go yandere before finding out, this gives them time to formulate their own perceptions of the reader, based on their limited knowledge of them and a lot of wistful thinking, so there's now an illusion built that can be shattered. 

It’d definitely be a slower roll into being yanderes, because they view the Reader as a full civilian and obviously don’t want to scare them off. They only really have the media's view of the Reader, and Alfred's view to make assumptions off of, which both are pretty biased tbh.

 They end up forming this version of Reader that is quiet but charming, social but reserved, irritable but kind, meek but shrewd, etc etc.

So they start off slowly, with little things, like Tim bumping into them on the street then offering to buy coffee, running into Steph while buying groceries, Jason waving at them from across a clubs dance floor, Bruce cutting in during their chat with Gordon at a Gala, getting “leftovers” from Barbara whenever she brings her dad lunch at the station, being asked for your math notes by Duke, Cass having Alfred give you tickets to her dance recitals, Damian entering rooms you’re in without making a snide comment, Dick inviting you to family game night–

The list of tiny ways they try to insert themselves is endless and every new acknowledgement from the family leaves the Reader fucking terrified.

Reader stares, bug eyed, at Tim for his offer, falls into a shelf at Steph's excited hello, downs a shot before running to the the club's bathroom to climb out the window when Jason tries to approach your seat at the bar, tripping a waiter to distract Bruce while you ditched the Gala, nearly back handing Barbara because you were listening to music and you didn't hear her come in, asking Duke ‘what math notes?’ ...while studying said notes, saying ‘no, you couldn't make the recital because you had to water a friends dog that day’ before quickly leaving the kitchen, throwing a book at Damian when he moved to close because the only times he’s ever been this quiet around you is when you're inevitably stabbed, or flinching so hard when Dick reaches out a hand to clap your shoulder, he thinks he somehow actually hurt you and the look of fear in your eyes gives off such a startling sense of deja vu, it leaves him despondent for the rest of the week.

 So now the batfam are thinking “Why the fuck are they panicking so much? oh god did we seriously fuck up so badly they're afraid of us?!?!?! DD: Why are they so uneasy??? It can’t just be because they’re estranged from them. Can it??” And now they're getting increasingly desperate to fix this because this wasn't supposed to be so difficult, but now it is and that's making it more intriguing and thus higher on the family’s list of priorities. 

Meanwhile… from the start, the Reader is just-

Because despite outward appearances, Reader is constantly paranoid as fuck. We’re talking Batman levels of paranoia. Hard not to be when he’s literally your dad. You have contingencies for your contingencies, escape routes by the dozen out of the city and out of this mortal plane itself, if needed. You had plans for every conceivable possibility, just not for this. 

You're now met with such a glaringly obvious flaw in how you go about life in general, the way you live and how you operate as a serial killer, it all hinges on the idea of the family never turning their attention your way. It wasn't even an option and now it’s happening and you had no idea how to function because this isn't normal at all. Now you're actually forced to put in more than 25% of brain power to bury any possible leads and dissuade any possible connections to yourself and the silent terror on Gotham, while also trying to figure out what the hell happened.

Safe to say, this cat and mouse game is no longer fun for you.

I'm meltingggg. Anyway, I hope you enjoyed, I'm going to bed bleh

X-X

Masterlist

[signanothername]

Hi Anó! Do you have any advice for writing characters like killer? How do you achive that nuance? I love your comics and would love to learn about your artistic process a bit!

Hi Gal!! A delight to see you in my inbox! <3

Omg thank you sm hcchhcchch (have you seen your own comics???? *shakes you* /pos)

Ok but I say this genuinely, I think your ideas and comics are such a beautiful and refreshing take on these blorbos, you’re doing such an amazing job both writing and art wise (your 2 Killers idea is so fucking good eeeeee) <3333

Ok to the question xgzggxzg

Killer is definitely.. complicated to write, I struggle with him sometimes ngl shshhdh

I honestly went and reread his entire comics, lore and answered asks to get a deeper look into him to be able to write him

But when it comes to writing him, I generally try to keep 6 things in mind at all times

1-trauma: how does the resets, working for Chara, having his code get manipulated and killing over and over again till what was new became something old affect him? (the whole idea of Killer killing people started as an offer of trying something new, so he kept killing till he got bored and killing became something stagnant)

This can easily be portrayed in Killer’s canon inability to till what’s real or not, as well as his hallucinations and the guilt he’s ridden with, always running from his past yet never outrunning it, as it always catches up to him

2- conditioning: his conditioning started from the days of Chara, then continued into his days with Nightmare, how does his conditioning affect him in his daily life?

How was he conditioned specifically? And how does that contribute to Killer’s perception of self, autonomy, self worth, and life in general? How does it change his body and mind?

Does it make him believe he’s just a machine meant to please others even when it hurts him, does it make Killer perceive vulnerability as a death sentence

How does he feel about his masters? Does he hate them down to every bone, or does he not care?

3-personality: Killer’s personality always change depending on the stage, but what are the main traits that you know Killer will always have regardless of the stage? Being quiet is one thing, he keeps to himself (as much as the fandom loves to portray him as extremely hyperactive, he’s not at all the loud, talkative, hyperactive skelle the fandom makes him out to be)

He’s also extremely secretive, seems to have knowledge that others don’t, and seems to always be up for a social interaction regardless of who’s with him

He’s also actually extremely patient (another thing the fandom stripped away from Killer’s character), and is very docile (isn’t aggressive unless pushed and never is an attack on sight kinda person) yet holds a grudge big time

He seems to see himself as superior over others, he’s extremely fucking intelligent it’s actually scary

These traits are something I try to keep consistent within my writing for Killer

4- relationships: what are his relationships with other characters like, and why?

Taking the 3 points before into consideration, how does Killer’s trauma, conditioning, and personality make him perceive others and others perceive him?

Are his relationships healthy? Toxic? Are they one sided or mutual? Does he care about the person in his vicinity or are they just another nobody? If he cares why? If he doesn’t what would he do to them?

Would he take advantage of his relationship with someone or is it a relationship he wishes for it to vanish?

5-stages: I think this is truly what makes Killer extremely complicated, cause see all of the 4 points above? how does each stage differ from each other?

How does stage 1 deal with his guilt/truama and conditioning? How does stage 2, 3, and 4 deal with them?

Depending on each stage Killer’s outward perception, personality, attitude, thoughts, and actions change

But how do they change exactly?

This is something that you need to understand each stage for to be able to integrate into writing

Stage 1 is the stage where he’s most sans like, yet never sans enough, stage 2 is when he’s apathetic to everyone and everything and perceives killing as “fun” because he’s painfully understimulated , stage 3 is when he’d attack whoever is in front of him, and stage 4 is when killer is no longer present mentally

How does each stage deal with his environment, with the people around him, how does he deal with the dissociation and how does he perceive himself in each stage?

6-environments: how does the environment Killer lives in affect him?

Killer starts in an environment of time loops, how does that affect his perception of time and reality? He then becomes Nightmare’s subordinate, a dangerous environment with constant threats to his life from every angle, how does Killer feel about it? How does he deal with it?

Will he get to try his luck and escape, or has he given up on himself and the idea of freedom? Does he even believe he has a chance for a better life in a safer environment? Will he go for a safer environment or will he cling to the comfort of what he knows?

When he does finally go to a safer environment, how would that affect him? Both positively and negatively? Would he feel like something is missing? Would his mind constantly tell him that this safe environment isn’t really safe?

Then of course, beyond these main 6 things, there’s the in between, what are Killer’s likes? His dislikes? How does he feel about sleep, food?

Generally when writing characters, it’s important to keep in mind interpersonal factors, intrapersonal factors and environmental factors that ends up affecting the character’s behavior, or in this specific situation, Killer’s behavior (god I’m realizing how much my uni major affects my writing of characters rn chchc)

But I say the biggest life saving advice I have that helps with writing characters in general (and especially complicated ones like Killer) is having the question “why” as your closest friend

When you make a statement about a character, in this instance Killer, always attach the question “why” at the end till you can’t attach it anymore, until you reach a point where asking “why” becomes unnecessary and annoying

For example:

“Killer loves golden flower tea”

Why?

It reminds him of the bed of golden flowers he passed out on

Why does that matter?

Because it was the point of no return from a change that will always dictate who he is

Why is it a point of no return?

Because his soul had deformed beyond recognition and it can never be brought back to how it used to be

Why would it dictate who he is? Why can’t he just choose to be someone else?

Because he was conditioned to be this killer by a higher power out of his control

At this point, there are no more “why”s that would make something as simple as a golden flower tea statement more nuanced than it already is, so when you ask why again, you find that you’re unable to continue giving an answer, that’s the point of where you stop

In fact, allow me to test you by giving you a quick question about your own interpretation of the characters, why does your Nightmare admire Error? What is in Error that Nightmare admires specifically?

Of course, you don’t really need to answer me, but I’m just giving you an example of how asking “why” can help you make so many simple things more nuanced

Ok but what if you know there should be an answer to a “why” but you don’t know it yet? Then you keep it in mind for later, you won’t always have the answers to everything on the get go, sometimes, you need a bit of time to figure things out and write characters the way you feel satisfy you, until then, you can work on other things about the characters

*Cough* anyway, this is honestly everything I can think of off the top of my head? Hopefully I didn’t miss anything ydfhgchchchc

Do let me know if you’d like any more help or need clarification on anything, I’d be happy to help where I can <33333

Now have a sketch of your 2 Killers cause I love them dearly, they have a special place in my heart (genuinely adore how you write Killer already btw)

[read-write-thrive]

Charles Rowland Week Day One — Cricket Bat/The Brawn

There were a lot of unexpected downsides to being a ghost. Sure, he got a best mate and a “life” he loved out of dying, but it wasn’t all sunshine rainbows and ice cream. And not just the major things like being chased or attacked on cases, neither! Small things were just as bad, especially when they snuck up on you

Take the mirror thing, for example. It’s really not an issue, right? Charles wasn’t vain or anything, he didn’t need to see himself in the mirror constantly. But you don’t realise how much you look in the mirror until it’s gone, really. All of a sudden your only perceptions of yourself is what you can see looking down and what you can remember. Charles had done his best to not think about it at all, but was rather suddenly confronted with his image issues about a year into being dead.

Well, “suddenly” isn’t quite right. Truth is, they’d just found a place to call theirs and were set on fixing it up. They hadn’t settled on a name for their detective agency yet, but they were getting there. At the moment all they were doing was cleaning the space as best they could to try and make it feel more homey.

You see, the place was, looking back, their reward for their first case. They’d taken to wandering London, just seeing the sights really, when recently they noticed the building. In slight disrepair, sure, but the weirder part was the poltergeist wreaking havoc on anyone who came near it. The living (un?)consciously avoided the place, but the boys hadn’t heard the gossip and were the next victims to its destruction. They couldn’t be killed, of course, but they could still be thrown about (and injured, apparently! Blasted iron—).

Edwin had already picked up a magical tome on their travels (which he’d then casually carried in his overcoat—Charles, who was still struggling to reimagine his clothing, was only a little jealous, he swore) and was thankfully able to use it to banish the poltergeist. They both took a hit or two, but Charles had realised early on that he needed to take the attention off Edwin in order for him to actually use magic. Charles had quickly rallied against the poltergeist, distracting it and taking the rest of the blows that came with that. Well, he’d tried to tackle the poltergeist first, get on the offense and all that, but that hadn’t gone well. So then he just took the hits until Edwin did his job.

Edwin, for whatever reason, had been right pissed about it in the days since. He kept his sentences short, kept his nose in that bloody book, and was overall being a cranky bastard. Charles was still sore from the fight (how ridiculous that ghosts could even be sore) and was frankly fed up with it. Time to tackle it head-on.

Though he could’ve taken the empty chair on the other side of the desk, Charles decided that being up close and personal was better for this talk. He marched up to the desk and sat on the ledge of it, arms crossed and looking down at Edwin, feet nudging the base of his chair.

Edwin didn’t even look up from the book, “Yes, Charles?”

Charles carefully took the book (bookmarked it, naturally, he wasn’t a monster) and set it aside as he spoke, “We need to have a chat, mate. Now, if you’ve got the time.”

Edwin let the book be taken, though his (stupidly broad, how does a sixteen year old even get built like that?? too fit for his own good and he doesn’t even know it, the wanker) shoulders remained tense. He quirked an eyebrow as he looked up at Charles, “Since you’ve taken my reading, I suddenly have the time. What is it you wish to speak about?”

Charles used his hand to motion at Edwin’s face, “All this. I get that you’re angry with me, though I have no clue why, but I need you to come out and say it, yeah? I’m not a mind reader.”

Sighing, Edwin properly faced Charles, “Fine. If that would please you. I am unhappy with how you handled our encounter with the poltergeist, and I was hoping you would apologise for it. I see that will not be happening.”

“Apologise?” Charles questioned, bewildered, “What the bloody hell did I do? I distracted the thing while you used your fancy magic to get rid of it!”

Edwin remained unimpressed, “I can handle myself, Charles. Your display of… masochism, shall we say— was unwarranted and reckless. We had no way of knowing what the poltergeist could do.”

“And? What, I was just supposed to let the thing do equal damage to both of us? Or let you take all the hits? You’re the one with the bloody book, mate, least I could do was give you time to read it.” Charles huffed.

“And yet your soul is less tempered than mine, so it is extremely likely that you will succumb to injuries at a faster rate.” Edwin snapped back, hands steepled in front of him as if this were all just obvious facts.

Bewildered, Charles tried to clarify, “What are you saying? I can’t take the same damage as you? Seriously?”

Edwin’s eyes, usually steadfast in maintaining eye contact, flickered down Charles’s form, then back up to his face.

Charles knew what that meant. It wasn’t the first time he’d gotten looks like that, in conversations like these. Every time he tried out for a sport, every time he tried to stand up to his dad, every time he tried to keep up with his mates. Charles knew he was twiggy, alright? He didn’t put on muscle like the other lads did even doing the same sports and eating the same school-provided meals. Hell, even when he tried going above and beyond in eating meat and lifting weights all he did was get lean, not properly muscley. A fact which everybody noticed.

As a result, he’d get these looks. Right rude looks. As if it was funny to think of him being strong or holding his own in scraps. There were a few times his mates would egg him on to fight some other bloke twice his size to try and embarrass him. Maybe it wasn’t so harmless, looking back, but Charles usually scraped by by changing it into a race or just talking his way out of it. He knew they wanted to see him take a beating, even if they framed it as him “proving” that he was stronger than he looked. They’d give him that same look every single bloody time, as if he had to be bluffing and they were thrilled to call him out on it.

This was made all the worse by his dad of course—his dad who outright laughed in his face any time he tried to stand up or fight back. His dad who left just enough visible bruises and scars to make it seem like Charles was out fighting every break and losing every single one of ‘em. The teachers took it as another sign of Charles being no-good and brushed off any time he wanted to get treatment or lenience for the injuries. The other boys would laugh at the bruises and such, asking what Charles did to piss off his foe. Asking why he kept fighting if he was so obviously always going to lose. Just look at him—how would a scraggy thing like him ever win a fight?

So yeah, maybe Charles was a bit defensive about how he looked and how strong he was. It was all the worse by the mirror thing—was he skinnier dead? How would he ever know for sure? To top it all off, he’s dead. Not exactly like there’s a gym for ghosts, is there? Well, not that they knew of yet at least. And with his luck, a ghost gym wouldn’t do anything either.

Point is, Charles was practically stuck in this stupid thin appearance for the rest of his ghostly days. And he hated it. He hated it every time he went to check a mirror and saw nothing, forcing himself to rely on his memory. He hated it every time he struggled to manifest better clothes—Edwin kept telling him to just visualise, right, but how was he supposed to do that when he’d avoided visualising himself at all for years? What if he made it worse by visualising? Maybe he was a bit bigger since dying! Some unconscious thing helping him out or some shite. He didn’t want to risk making himself any skinnier!

It was ridiculous, all of it. But Charles was not about to take that same bullshit from someone he thought was better than all that.

“What, I’m too skin and bones for ya? Too weak? C’mon, tell me. I can take it.” He really couldn’t, truth be told, but he was ready to bluff his way through the hurt like always.

Edwin’s face scrunched up, “What the devils are you talking about? We’re ghosts, Charles, our appearances are entirely subjective. Not to mention they have little very bearing on this situation.”

Now it was again Charles’s turn to be confused, though he was still hunched up on the defensive, “Then what? What is it?”

“I do not want to see you hurt, alright?” Edwin snapped, “We do not know how to fix any injuries you might have sustained and you were completely defenceless! I was trying to focus on locating and performing the proper spell and there you were, ready to be obliterated in front of my very eyes!”

Charles gave a slightly relieved sigh. Edwin looked displeased at this, but Charles started speaking before Edwin had a chance to continue, “You’re mad at me because I scared you, is that it? Mate, I’m perfectly fine! We got that fucker out of here and I’m perfectly a-ok! Here I was thinking I’d properly mucked something up—“

“I am serious, Charles—“

“So am I!” Charles planted his hands on Edwin’s shoulders, forcing complete eye contact, “Look, as soon as we can, we’ll get our hands on some weapons for me to use alongside your fancy magic books. Hell, maybe you can make me one for all we know on magic!”

Edwin again went to reply, but Charles wasn’t finished.

“I’m flattered you care, and thank you for looking out for me, but I promise I’m stronger than I look. Get me a bat or something and, with you and your magic, I’m happy to take on any future baddies we come across, yeah?”

Edwin sighed again, but it was clear his icy demeanour was melting, “I suppose we can have that be our next move, now that we have a headquarters for ourselves.”

Charles all but cheered, ecstatic to have actually resolved their little spat, “That’s the spirit! I’ll be the brawns, you be the brains, and our Ghostbusters agency will be brills!”

“For the hundredth time, Charles, we are not naming our detective agency after some film!…”

—

Day one of @charles-rowland-week in the books! I make no promises to have something for every day/prompt bc my life is a mess (as per usual) but I wanted to at least do one :) hope y’all enjoyed it !!

[towerologia]

imma be real and hashtag polemic but a lot of the caracterization of Martin by the fandom is straight up fatphobia.

Give me any other reason why yall try so hard to see this complicated, moody, self destructive, cunning, manipulative, passionate, sassy, nuanced, smart yet volatile fat man as nothing more than a teddy bear to be the canonically scrawny protagonist's sweet tender cuddle buddy.

A lot of covert, subconcious societal fatphobia manifests as an inhability to see fat people as full realized humans. We are often seen as a person trapped inside our bodies, our emotions and nuances as unserious and anything we do as funny, silly or even pathetic.

In more progressive circles this translates into the 'you look like you give great hugs' type shit. We get infantilized, sexualized or both.

I CONSTANTLY see canonically fat characters that have so much depth and complex caracterization get flattened into a skinny character's fashionable purse. I even see fat people perpetuating this too, out of our own internalized perceptions of ourselves.

From everything Martin is, once you look at what the fandom does with him, it seems the way he is depicted falls into three options, often multiple of these present in a single fanfic or fanart.

- You have the helpless crush, where he is obsessed with Jon and has no other shit goin on.

- You have the damsel in distress, wherein he acts as a trophy husband for Jon's becoming.

- And you have Jons comfort and security, where in hes his sweet hubby that represents A Good Thing in Jon's shitty nightmare life.

I legitimately seen maybe two or three fan depictions of Martin, out of the thousands out there, that dont fall into these and actually do treat Martin as his own character rather than an accsesory for Jon.

This type of shit is lowkey one of the big things that pushed me out of the fandom. Be normal about fat people challenge impossible for fandom

We don’t talk enough about how Martin was likely mostly running the institute by himself (cuz Peter probably wasn’t all that helpful, Martin for sure never wants to see a spreadsheet again) while in a depressive episode AND manipulating Peter to make him think he’s on his side. Like holy fuck bro. It pisses me off when people act like he’s dumb because did we listen to the same show??

[getsuuna]

ok so here's my complaint of the day!

I wrote this during the moment I felt like complaining and I was sleepy so it MIGHT be a little dramatic 😇

every time I'm devouring a SaneGiyuu fic because I like its plot for a while, here goes a smut scene that never fails to make me sigh and mayhaps roll my eyes

most of the times I know I'll get icked but decide to read because "what if it's not that bad",, then it's almost always the same shit over and over: Sanemi topping, bonus points if there's even just slight roughness (yikes😬...), Giyuu being loud and being described in degrading terms [and basically none of this was told beforehand in tags nor notes, almost as if it was the "normal" perception of SaneGiyuu for most people...??? shut UP??😃]

respectfully, it's ass.

I'm tired, these tropes are overused and fucking inaccurate dare I say, unless there's a reason in the fanfic's AU specifically but I still find it to be too common and weird. if you want a somewhat accurate SaneGiyuu pay gorn (/hj /ref) it must be them switching AND being romantic. where the FUCK is the romance,, the last one I've read now wasn't that bad because it still mentioned adoration, kisses and love overall, but there's almost always something that icks me even just in the few fics I've read so far, and it makes my reading experience sm slower and uncomfortable afterwards even if I initially loved the fic

now, as I've stated multiple times, I hate the "rough daddy dom Sanemi" and "submissive twink Giyuu" headcanons with every single inch of my entire being in&out including my whole soul /drm,,, and not just in sex scenes but in their overall dynamic, it's so enraging I don't care if someone disagrees I'd just stare and judge??😭😭😭my main purpose when I complain abt this stuff is to look for other people with my same mindset (thank GOD I saw lots of them so far though)

the disrespect, and the fetishization of queer couples in which one "has to look/act more like the opposite gender" and inevitably the one who has more apparent feminine traits has to be the sub, bc they associate femininity with submissiveness. heteronormativity and borderline patriarchy-inducted stereotypes?? woah./neg

let Sanemi receive, it won't make him any less of a man nor threaten his masculinity I promise🥺 same goes for Giyuu if he was actually written like the manly strong man and SOLDIER he fucking is? I still wouldn't really really prefer it but I would respect the preference in that case.. heated arguments about who tops or bottoms are inherently fetishizing and stupid, however if I see a (weird) pattern I'm gonna hate it sorry not sorry😭🙏🏻

also please if someone can recommend SaneGiyuu fics with NO smut or actually well written sex scenes with them preferably switching (it's the only actual realistic trope and I stand by this fact) I'll be thankful, and I'm taking the occasion to also recommend "You And Me, Alone Together" by Katz3 (yes there's also occasional sex scenes and yes they're perfect in every possible way, the whole fic is!! I have yet to find a better fic and I know I won't, despite it being underrated); or maybe if you have fic recs in which Giyuu exclusively tops if there's NSFW scenes, out of nothing but pure spite, I would be thankful as well🥰

one last thing bc I usually get heavily misinterpreted whenever I complain abt anything: I'm NOT saying "GiyuSane is better" (even if that's what *I* personally think, due to how I interpret their writing and how I headcanon their relationship dynamic which has nothing much different from most, I just don't twinkify/overly-feminize/infantilize Giyuu nor I over-sexualize/booktok-fy Sanemi), I'm just saying it's more realistic if they switched: it's more accurate, more inclusive, less mischaracterizing, less stereotyped and therefore less heteronormative and less fetishizing...

and about the degrading and roughness and all that I mentioned, I just despise it. for every ship and every trope, whether m/f, f/f or m/m. it takes romance away imo and I won't be sugarcoating it with "oh but it's consensual so it's fine" nor negotiating it in order not to piss off the people who like this kind of content; I'm sorry, keep your preferences, but I won't be shutting the fuck up if I have to read it every goddamn time I naively think there's normal and loving sex scenes. put tags to warn readers who don't wanna read that shit so they can skip it if they still gave the fic a shot, please🙏🏻

[liminalpsych]

Queer reading of Vulgate pt 2: Intro pt 1

The introduction is written by the translator of The Quest for the Holy Grail, E. Jane Burns. Burns begins by laying out the context of the Vulgate Cycle's structure, its history and development, and the different expectations historical readers have brought to the text.

Which underscores how expectation colors perception.

What happens if we imagine the possibility of multiple writers with different backgrounds, views, progressiveness, and agendas? Instead of assuming heteronormativity, homophobia, toxic masculinity, misogyny, and a single unified author with a singular agenda and vision - what if we stay open to the possibility of a different concept of gender than we're used to? What about possible queer subtext and the possibility of queercoding in medieval fiction, not just in modern fiction?

What if we look for those things, rather than assuming and looking for explanations that match the modern stereotypical assumptions of medieval people/writers/beliefs? (After all, it's those modern assumptions that lead to the phenomenon of "history will say they were roommates," or the all too common error of "woman buried with warrior stuff? must be religious, can't possibly be because she actually fought.")

That's what I mean by reading with a queer lens. Because most of the time, these works are read with a heteronormative, gender-normative lens, just unconscious or subconscious as a bias, and so any queer elements are missed entirely.

(Like. I still don't understand how anyone can read the passages with Galehaut as anything other than Extremely Gay. How do you miss that? Yet so many people assume it's "comrades" and "bros" despite the text going out of its way to say that it's more than companionship. Because of the default, unexamined lens that they're using.)

….anyway. off the soapbox. Back to the intro.

"Many literary historians… have mistakenly sought in Arthurian romance a recognizable ancestor text for the modern novel" and are disappointed in the somewhat disjointed conglomeration of the Vulgate. They then either dismissed it as incoherent and terrible, or defended it as having an underlying coherence and attempted to legitimize it by imagining a singular author (or unifying editor).

"The unwieldy mix of spiritual and chivalric modes that crisscross unevenly throughout… mark the Vulgate Cycle as a product of the emergent social and political tensions in thirteenth-century France," with the popularized chivalric tales of knights from the mid-twelfth-century getting infused with Biblical allusions and Grail mysteries around 1200. Prose had a more religious connotation and association than verse, which was more recreational (condemned sometimes as "vain pleasures").

"Lady readers, in particular, were exhorted after 1200 to abandon the deceptive tales of Arthurian knights." Which supports the idea that one of the primary audiences for these stories were women! Women of the 1200's French court, in the case of the French romances, though I'm sure readership extended beyond that.

This is another example of how expectation shapes perception. There's a tendency for modern readers to assume that medieval literature will be dry, dull, misogynistic, homophobic, etc… and so I've seen people assume that the vast numbers of unnamed ladies/maidens/queens are a product of misogyny, of being seen as too unimportant for distinct names.

And certainly there was systemic misogyny in the culture, just as there is nowadays - but I don't think that's the core reason for the nameless female characters. It doesn't match up with the Vulgate's characterization of these women as clever, competent, independent, and saving knights more often than being saved by knights. (Nor does it match up with how many women are named.)

I've heard a theory (probably on Tumblr somewhere, I can't remember where) that the unnamed women are the equivalent of "y/n" ("your name") in modern fanfic. Reader-insert. Perhaps the author(s) expected women reading the story to project themselves onto the characters, and so made extra room for them to do so.

…But back to the introduction once more. Burns unravels the idea of a single author or even a solid, novel-like coherent narrative for the Vulgate Cycle, and arrives at this:

"The Vulgate Cycle then provides us with a text that is not a text in the modern sense of the term, a text that is always fragmentary but always a composite of more than one text, a text located somewhere and uncertainly in the complex relation between many narrative versions created by many authorial if not authoritative hands.

"The literary map accurately representing this cycle of tales would contrast starkly with Lot’s set calendar. It would be a map that changed continually as we move through the narrative terrain it charts. Although it might incorporate on one level and for the text of the Prose Lancelot in particular the existence of a predictable calendar of events, a map detailing the whole of the Vulgate Cycle would have to reflect a much looser and more flexible narrative structure.

"It would be a map with no fixed perimeter, and no set or authorized format, a map that could shift and reshape itself at successive moments and with successive readings."

A shifting mélange of a narrative, flexible and unbounded, containing multitudes, eluding attempts to define or confine it into one single known element…

…Well. That sounds like the very definition of queer.

(pt 1 here)

[von-haunt-estate]

An updated simself, except I WISH I looked like this irl LOL

[turtleblogatlast]

Shockingly underrated thing about Leo is that he’s legitimately charming when he wants to be?

He’s the Faceman! He’s persuasive! That’s not just some random title he gave himself with no backing to it. People will listen to him. Even if they think he’s being annoying or if they’re upset at him, people listen to him anyway! There’s a reason his bros push him out front to talk to people, and when this happens, that talking nearly always works.

Moreover, Leo knows people. He looks at them and takes into account how they act and what they’re like as he makes his way through the conversations. It’s easy to forget this aspect of Leo’s character because he only brings it out when he really needs (read: wants) to, but it really is a notable part of him that always love to see.

And I say charm in particular because he has a knack for not only getting people to pay attention, but for getting people to stay and listen to what he has to say.

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[luniviravosshipper]

I keep adding posts to my drafts to reblog later and then forgetting to actually reblog them, and this is yet another one.

Anyways, was initially going to include my thoughts on this in the tags but then it’d be too long.

I originally had mixed feelings when I first saw this. I won’t elaborate on why or what specific feelings, but I did.

But now looking back on this post, I’m personally interpreting the connection made between these scenes as pointing out the parallels between Aaravos and Viren as characters. Because they do parallel each other in a lot of different ways, which includes them both reflecting each other’s self-righteousness. I mean, look at the way Aaravos has basically adopted Viren’s most famous phrase (“however dangerous, however vile”) as his own personal mantra this latest season. He sees himself as this all powerful being, bringer of chaos onto the world and uses his own perception of morality as complicated to disregard the moral bearing consequences of his actions he is expected to uphold and abide to.

So him complaining about other people’s self-righteousness, particularly the dragons and elves, is kind of interesting. Because it’s sort of hypocritical. And it actually seems to mimic Viren’s own views regarding the elves and dragons, whether justified or not, in the beginning of the series. And, not to mention, but it’s also been repeatedly pointed out by others how Aaravos has projected his own views of the dragons and elves onto Claudia to the point that as a result she has so deeply internalized Aaravos’ own outlook on them that she’s based a good of percentage of her sense of self-worth on her use of magic. Because what seems to be the main divider between the humans and the dragons and elves is magic, since humans weren’t born with a connection to primal magic so they were viewed as less then and weak by the elves and dragons. (There’s so many things to be said too about Aaravos’ own decision to gift humans with dark magic instead of greater access to primal magic, and that can also tie in very heavily too to Aaravos’ struggles with self-righteousness, but I’ll share my thoughts on that some other time.)

But, I think it’s hard to say for sure if Aaravos can really be called a hypocrite. I’m not going to examine this too much here. I just think it should be noted that Aaravos doesn’t actually seem to care at all how in the wrong in the end he is or how wrong his actions are. At the end of the day, the only justification for his actions he uses is the unfair and unjust loss of his daughter. But otherwise, he’s hardly at all following any sort of moral code in his actions. What I’m trying to get at, if I’m not making sense so far, is that I think Aaravos isn’t not trying to be a hypocrite and doesn’t even mind if he is one and therefore I’m actually not sure if he can be considered truly one because he’s not actively denying being one or going out of his way to present himself as anything but a hypocrite. Like, in his head no matter what he does or how morally wrong it is anything he does is automatically justified by his loss so he can’t be considered a hypocrital or even really that bad of a person. (Hence, why it was revealed he considers himself innocent when he was talking to Ezran and being judged by him.)

Does that make sense?? I don’t know. I’m sorry, I have a lot of thoughts spiraling about Aaravos in my head.

s1 / s7

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[dykedvonte]

My post about Anya is making like a little ruckus on Twitter and I think it’s crazy how many people like have a problem with it.

Like you don’t have to agree with how I characterize Anya and her actions but it’s more like, why are you focused on only one aspect of her character? Why are you removing nuance from the situation? I don’t see it as giving Curly the benefit of the doubt when it comes to doing better for Anya, but as exploring his character and hers relationship with a the very little authentic facts we get about them. In truth, there’s a lot more I wish Curly did, even if it wasn’t pragmatic but I realize the issue there.

The first psychological horror game in a while that’s real intricate in its storytelling and makes you need to really need to address the morality of intentions and its already getting torn asunder smh 😔

[familiariscanis]

not saying that you cant headcanon chuuya as an alcoholic but i think the reasons people have for this headcanon are usually kind of flawed? from what i've seen people tend to view him as alcoholic because he:

a. collects wine

b. drinks it sometimes

c. is a lightweight (so we've seen him behave drunkenly)

but none of these are traits that actually indicate alcoholism. honestly, they actually are more likely to indicate that he's not one and that he doesn't have a problem with alcohol at all. wine collecting is a very expensive hobby and chuuya has wines that are several thousand dollars a bottle. you don't get nice booze when you're an alcoholic: you're drinking to get drunk. the quality doesn't matter. the fact that he's a lightweight and gets drunk easily is also indicative of him not being a regular or heavy drinker, since your tolerance increases the more you drink.

this feels like such a common interpretation of his character and it's just a little odd to me since not only does it not have any canon basis, but the canon facts actually suggest he's more likely to be moderate about alcohol rather than abuse it.

tl;dr chuuya may have a wine collecting hobby but an alcoholic this does not make.

[losrin]

s7 etho is my favourite etho hermitcraft era so far because of all the antics he pulled and all the noteblock music. it was definitely his experimental era and it seemed he had quite a bit of fun with everything, but i imagine having to do all the music he used with noteblocks must get tiring the further into the season

(i do agree that s10 etho feels much more comfortable doing things as he wants, and i love that for him)

before i went into his content i knew him as primarily a redstone guy and when grian visited his base in s7 i was so puzzled by the style he built in. <how does one build only an interior?> imagine the surprise when i watched him pick the ugliest colour combos and actually make them look good?? and when he actually only built his interior, never even got to do an exterior for his base before the season ended

his build style is most different from bdubs in that it leans into the more unrealistic nature of minecraft. he incorporates the quirkiness of minecraft physics (how different it is from real life) and its aesthetic into both his builds, whereas, bdubs in general goes for a more realistic approach and builds like he's painting a realism painting (shadows, colours, composition, etc)

i love both styles. the things about etho's builds that really impress me are

how he makes the colour palettes work

they're not over the top, feel like something the average player can do, yet the rooms flow so well into one another and look great

how much he leans into logic and theories that helps him deduce how someone would look at his base and thus how he can make it look better (it really shows how methodical he is with his designs; i mean don't get me wrong i do think he has an artistic eye, but he does rely more on logic to make sense of how different designs affect the perception of the perceivers, what with sightlines and colour theory)

the incorporation of redstone and other mechanical bits into his builds

his builds just feel uniquely his, which is something that i don't think the other hermits did as well as early as s7. but bless all of them they're always improving

we also see (variarions of) the same monstrosity build style in his LP series, modded mc s2 and in later seasons of hermitcraft. my favourite of his builds so far in his LP series is the dragon egg vault. even just the room with all the skulk, shriekers, warped logs and fire look awesome. his principles of building are also carried over into his s9 base. it feels like his s7 base but with a twist (a soul speed-depth strider-dolphin grace floor)

•

i love how he may give the illusion that he's lowkey and laidback, and he is, in some ways, and that helps him get away with being a menace. being etho helps too i suppose

•

i really do wish he would do more noteblock music in later seasons. his noteblock era peaked in s7 and it's a shame. he still does noteblock music that might arguably be even better (tschaikowsky's 1812 overture?!!?!?! for s9 zedvancement perilous percussion, music for ravager rush), but i do miss when he used noteblock music as background track

•

finally: i was disappointed that we didn't get to see hermits playing hurtin hermits, so i'm kinda hoping he revisits that someday

(sorry this is so all over the place)

I've finished Etho's s7 hermitcraft so guess who's back with a slightly updated/slightly consolidated list of things about ethoslab I have noticed! or just enjoy!

(the previous list)

I have no idea when he learned to noteblock. I don't know if he knows. he knows how to noteblock tho. he's really good at it.

on that note, did you know that there is not a single piece of non-noteblock music in etho's s7 after the first episode? there might not even be any in the first episode. every single timelapse or montage is set to noteblock music

(he sang along to parts of his paper planes noteblock cover too. he was going shopping. I was entirely too delighted)

(also, there is some like...sitcom music theme that I don't know what show it's from. it's bothering me that I don't know. what you need to know is that throughout his s7 etho uses said sitcom theme as the transition before Shenanigans With Fellow Hermits clips play. his life is a sitcom. yes it is the noteblock version.)

I think that etho desperately needs minigames for enrichment. if he's not playing one he's working on one. he needs them and he will let them completely consume his life

the etho decked out 1 runs are hilarious, partially because it's funny to see him play it and realize how absolutely insane decked out 2 is, and how much of a madlad tango is. etho is still the same menace with great luck and skills. I had forgotten about the hole to the void in the middle out decked out 1 tho, that was a fun reminder

etho could make a career out of translating classic type games into minecraft. he kind of has, but it's a pattern.

he also keeps coming up with new games that are minecraft only and is good at figuring out how to balance them well.

again, king of minigames. he will in fact analyze them as much as possible. he caught on to the pattern of impulse's whack a mole game in like...2 rounds? maybe 3? he's good at pattern recognition and will put it to good use no matter the minigame

etho, I cannot stress this enough, is a little shit and enjoys being such. free glass is obviously an iconic moment, but I had forgotten about him scamming scar out of diamonds for "information" about the resistance, or about sneak-e-e's business model (you can't tax what you can't find!), or about how he kept being extremely ridiculous with beef in regards to record shop payments...the list goes on

etho is also very competitive. I mentioned this in the last list, but man...he joins like every single competition he can. he wants to win. he's not like, a sore loser, but he likes to win, and he'll get a little upset if he doesn't.

etho and beef have clearly known each other a long time and ngl I miss their interactions a bit. let them bother each other a bit more please. I want to see them trying to kill each other in ridiculous ways again please. or doing minigames together. they're so silly.

kind of similar, but etho loves getting a rise out of people and it is the best thing ever actually. it's fun watching him use dirty tricks to beat bdubs to sleeping for a prize. it's perfect actually.

that being said, I still really like when etho is just on his own working on stuff too. s7 has a lot of moments where etho will go "I'm gonna use this block palette!" and I will think "bro that's ugly" and then he will make an extremely cohesive build that I want to live in out of it. I think a good way to describe it is that for example bdubs is really good at detailed builds with texture and not much color, and a very realistic twist to them. etho is not afraid to use color at all, and embraces how the colors can work together or contrast. it's fascinating to watch and I love it.

he is also a redstone genius. I feel I am starting to understand how some things with redstone work. could I design something myself? absolutely not but I could work from a tutorial and not feel completely lost on why I have to use a dispenser and not a dropper now.

I think s7 etho is really experimenting a lot with style and how he wants to do things. he does a few more elaborate intros, for example, that are very planned out, but he also does a lot of the classic "hello everybody this is etho and welcome back to hermitcraft!" it's fun and it works, but I honestly feel he might be more confident in some ways now in s10, which is nice to see.

(side note—I think etho has some trouble with tone sometimes, where he really wants to make sure everyone's having a good time, but also he really wants to tease people. this works well with like Beef, who he's known a while, but especially in people he's known less he's quick to catch on if they take what he's saying too seriously, and clarify that he is teasing. it's nice to see tbh, just the clarity even with his audience)

speaking of llamas, I had not realized how recent some really big updates were. bamboo and pandas were new at the start of s7. the nether update came like halfway through?? I was more in the casual build side of mcyt at the time but man...I didn't realize how crazy that is to think about.

just...the way that etho visualizes builds is great. not just like, leaving space for farms, but filling in the spaces with a lot of details that make sense but also work with the space to cover anything it needs to AND to connect with the rest of the base. the sightlines thing is something I see a lot of other builders using but etho really uses them a lot in the Monstrosity in order to keep it from being Too Much as you walk through.

really just...he wants to have fun, and he wants to learn, and he wants to experiment and figure things out. if he can mess with some friends when he does it, that's a great bonus, yknow?

man. what a guy.

[perilegs]

i know astrology is fake but i'm not too keen on how a lot of people on this website seem to be clowning on it as a hobby a bit too hard. i swear the woman who thinks it's neat how she and her friends with the same sun sign are all similar isn't trying to say that you are who you are born as and there is nothing you can do to change it. it's a hobby. an interest. what happened to finding meaning and joy in the small things. does it affect you if someone enjoys tarot reading or crystals. does it make you upset someone has interests that they enjoy.