#i mean clearly there is something about this conflict that really fucks with people's ability at object permanence.

[thirdmagic]

there is literally nothing we can do to please you guys huh. not a single thing we could ever do that would make us anything but cartoon villains in your eyes. the only time we're acceptable to you if when we're victims. the only form in which we're allowed to exist to you is as victims. you don't want to help, you don't want to actually do anything to get the victims out of the state of victimhood. because as soon as we do, as soon as we are people with agency, you treat us like the worst evil you can imagine and it literally does not matter what we do. you will find a way to twist it to fit your narrative. the only thing we can do in your eyes that would be acceptable is die, and you hate us because we refuse to do that and have been refusing to do that since the beginning of time.

[goodluckclove]

So apparently when I drink enough to start posing real questions (such as "what spec fiction author would be the most fun to party with"), my body reacts poorly and I end up with insomnia. I've been lying in bed for about four and a half hours just pondering before I realized I'm an adult and I can just change locations.

I'm in the living room now. Bob seems happy for the attention. And I'd like to share my central ponder of the night, centered around how much of a bummer it is that like most of the online queer centered spaces I've seen consist of rampant in-fighting.

Stay with me here. Seriously this is a long one I'm very tired.

I'm not coming from some nonsense centrist place of no conflict ever. I just feel like so much queer conversation I see is either vague blanket support, or a massive thread that somehow starts in the middle of an argument. And as someone who is not necessarily old, but definitely not active online, this is super isolating.

I think it's a really interesting anthropological concept that as queer culture develops it becomes more niche and simultaneously more vague. That's cool. The downside is that I am now the human embodiment of that Griffin Mcelroy meme about not knowing what something is and being too afraid to ask. And every time I see someone who is clearly super passionate about some queer take, I really want to ask why they think what they do or how they came to that conclusion, but holy shit that feels dangerous.

Like it's not an immediate invalidation to ask why. More modern queer identities are so varied there's a very good chance two people experiencing the same circumstances might have two radically different reasons and ways to get there. I am at the point where I no longer think anyone can speak for our collective queer experience unless they use the broadest of terms. I'm genuinely just grieving that we're immediately giving each other shit over variations instead of getting together and comparing notes.

Oh but Google is free - fuck off. Like straight up. That shit flies for the surface level information and it's crazy to me that more people don't acknowledge that. Google is free for people who think there's only one intersex variation. Google is free for people who really want to know if scissoring is real. At this point in society there are multiple generations of queer people (or people in general) with multiple senses of online validity. Someone who grew up in the 90s might trust a more traditional source for information rather than a google doc or Tumblr post or reddit thread or tiktok, and by that logic they aren't really going to be convinced by any Googling they do for a lot of new cultural shifts.

Like I was a teen with shit opinions. I was snarky about "transtrenders" who used neopronouns. Not online or to anyone - I wasn't a complete dipshit - but I definitely thought it. If I posted about it online I'd say all the regular arguments and the opposing side would say all their regular arguments and we'd block each other and accomplish nothing.

Which would be a massive shame because one of my shining qualities is my ability to admit when I'm wrong. There's a much better alternate reality in which I did post about how people who think you don't need dysphoria to be trans are cringe, and some kind trans person asked why I thought that. Because then I'd say something like because everyone wants to be trans that doesn't mean you're just allowed to say you are.

And then they'd probably be like yeah maybe you should talk to more people about this and consider where you're coming from, saving me like ten years of gatekeeping myself from my own identity.

Like I tried the Googling thing for something niche that I'm curious about. I learned about aplatonicism recently and was like huh. New info. But every post I see in the aplatonic tag is already angry about being aplatonic so I'm not about to take space with my own curiosity.

But after scrolling a Reddit thread I am more confused than ever. I don't know what a squish is, friends. I mean, I know the definition - but my brain doesn't think of human relationships like that. People were talking about having friends that they love but they don't have squish love or friend love, also aplatonic describes some autistic people, also also aplatonic is a word specifically used for aromantic people who don't want QPRs. I don't think any of this is wrong. I do think that it is so much information that it cancels out in my brain, and now I kind of just think aplatonic is a word that means things sometimes. And that's not what I want.

I'm being self indulgent because I don't think anyone is reading this far and I'm feeling relaxed because I took an Adderall earlier today and I feel like I can actually think for the first time in months. I want to ask some aplatonic people what they think "friend love" is supposed to be compared to what they feel for their friends, if they have them. If they don't have a need for friends, I am very curious to know what they think about the friend list function on virtually every social media website and game. Like this is not a bit. I've been awake in bed for almost five hours and it occurred to me that might be a bummer. Maybe some people use them out of convenience, but I think it would be interesting to meet a person who's so staunch in their philosophy that they just don't. I feel like there's probably a lot of aplatonic people who are like just straight up not online and don't even know that's their vibe.

I want to ask some loveless aros what they consider to be positive emotions or motivations in their lives. Like I'm so full of love for virtually anything that the concept of not having that emotion across the board makes me wonder if something else fills the space. Like do loveless aros love ideas? Do they love their hobbies? I don't think aromantics are sociopaths at all, I've just seen people who both say that loveless is reclaiming a slur and also defining a lack of love and I'd like to know more about both.

I saw a post on my feed about how anyone should be allowed to get gender affirming surgery even if they aren't trans. I don't disagree. That argument has honestly never occured to me and I really wish I could've asked why someone would want that. Because "a cis man might want a vagina" is valid, but doesn't fly in terms of actual logistics. You have to make so many appointments and wait for so long and answer so many questions. I'm aware my opinion on this is heavily biased by being Agender and actively ridding my body of as many secondary sexual characteristics as quickly as possible. I am not immune to the propaganda of my own identity. I would just like to have an in-depth conversation with a cis man that wants a vagina and ask why and also if they think it's worth the maintenance. Because, like, there IS maintenance.

I'm not doing it to judge. If this hypothetical man is like "yeah I know I'd have to keep up with the upkeep and maybe wear hormone patches from now on, but structurally it makes sense for my view of my own manhood", I'd be like "that's really interesting, I considered adding a penis to my architecture but then decided that it would probably be a sensory nightmare for me. I'm surprised so many cis men can ride a bike."

And then maybe he'd say "where do you think cis men put their pensises when they ride a bike?" To which I would say "I don't know the mechanics of a penis and at this point the thought of learning in which direction I'd have to stick my hypothetical one makes me anxious."

And then he'd kind of scoff bemusedly, and we'd go out together for banh mis.

I think at this point in my rant I'm realizing that my major issue here is that the world as a whole is not friendly to genuine curiosity. I also get triggered by hate bait, and it bothers me that I can't pull the subject of the cringe fuel aside and be like what are you doing? Like, not judgementally. I want you to explain to me what you are doing and why it's important to you.

I don't think it'll convince me every time, but I'm pretty sure I'd be like "ah, okay. Makes sense." And then move on with a greater understanding of the growth of humanity.

And also we can get banh mis.

I really want a bahn mi but I can't bike to get one or else my guts will fall out. Gender affirming surgery is a mistake for the sole reason that it prevents me from yummy Vietnamese sandwiches.

Kidding. I'm kidding, not having a uterus anymore has been pretty cool.

The sun came up.

Fuck.

[youngerfrankenstein]

Ranking the I, Robot Stories

9. Escape!

One of the two stories that didn’t make the anthology I initially read and I can understand why. It’s not a BAD story necessarily, but it’s not a particularly interesting puzzle or a particularly satisfying answer. A couple of fun scenes though. It’s just okay.

8. Catch That Rabbit

The other one I hadn’t read but I do think this one’s a better story with a better punchline. Don’t think I have that much to say about this one beyond I get it Dave.

7. Runaround

Goofy little story this one! Not super clever or anything but a fun romp with “how are we going to sober up this robot before we fry to death?” As the driving question.

6. Liar!

This is probably the turning point where we get to stories I really like. Even with the dumb sexist nonsense. The concept of a robot with psychic abilities trying SO hard not to hurt any feelings or crush any dreams doing more harm and ultimately just breaking down from the impossibility of its situation is just a neat concept. Poor Herbie :( Also I love you Susan but what the fuck?

5. Robbie

IT’S CUTE OKAY?!

4. Evidence

Pretty much what it says, laying out the evidence? Is Stephen Byerley a robot? …I mean I don’t know. I actually really like that the answer is never given (maybe it was elsewhere I dunno) because the point is more that it doesn’t matter. Kind of a clever little game of cat-and-mouse and I enjoy it.

3. Little Lost Robot

Probably the best of the anthology in terms of the puzzle. Again something of a battle of wits with growing tension and stakes. I like watching our protagonists puzzle things out against an incredibly clever robot.

2. Reason

I really, really like this one. Robot finds religion. Because it is, after all, reasonable. And who ever heard of two humans being able to create something clearly more useful than themselves. Just really enjoy it from a philosophical perspective. People, and robots apparently, tend to think they are reasoning beings when… more often than not it’s not quite true. After all one can reason out anything they want.

The Evitable Conflict

But I do think the book saved its best for last. On one hand just laying out how the world is functioning in the world of this set of stories, but also slowly uncovering a strange and sinister truth. Or is it sinister? Personally I am sometimes a fan of a story giving you an strange scenario but leaving it up to the reader if it is a good or a bad thing. Because honestly I wouldn’t be sure.

[charmwasjess]

I actually really like Sifo-dyas’s characterization in The Living Force, just this absolutely harried man.

Of course he’s making bad decisions! Why worry about the present when each second is bleeding into a future that is horrifying beyond description.

(I know it’s no longer him who orders the clone army in canon anymore, but this version of him seems much more like the kind of man who would do something like that.)

I mostly agree with you about Sifo-Dyas’s characterization in the Living Force! 

We’ll eat for years on Seeker Sifo. (I always thought it was cute that as a kid, Sifo-Dyas had found out who his own Seeker was, and that it was a cool High Republic Jedi to boot?! No wonder he wants to be one.) And I like that the book seems to go out of his way to establish that Sifo-Dyas wasn’t just on the Council as a token guy, but he was their whole Future Department, and that his departure left them seriously lacking in their ability to perceive that. It adds some complexity to the Council’s comments on how clouded the future is in the prequel films.

The last time we saw Sifo-Dyas in any Star Wars property, it was 2019 in Dooku: Jedi Lost. We leave him collapsed on Serenno, completely out of his mind, laughing and crying on the ground after watching Dooku burst a fucking dragon out of the planet. It's seriously great to pick back up with our boy's story in this book, and get some content about the period after that devastating moment. Content which suggests he’s not only been functioning, but on the Council and clearly an important person there, acting with agency and an agenda to try to save his people. 

And pissing off Even Piel lol. He deserves to be a problem, as a treat. This is Lene Kostana’s son, after all. He is a person Asajjj Ventress thinks is too rebellious, whose stated reason for breaking into a forbidden Archive section full of dangerous artifacts is “because I’m a troublemaker.” I love a sweet, soft Sifo characterization as much as the next person, but let’s face it, he’s a sarcastic little shit who spends most of Dooku: Jedi Lost choosing chaos, probably because his own defiance is the one thing in his life he feels any control over. 

And I love your point about his (understandable!) disregard for the present. In that way, he makes the perfect conflict/foil for the Living Force and Qui-Gon’s message about living in the moment. 

Not to contradict you on this last point, and please, someone chime in if I’m incorrect about this - I think current canon doubled down on Sifo-Dyas definitively being the one to order the Clone Army. In the canon novel, Force Collector, the main character finds Sifo-Dyas’s last recording before his crash, where he explains his whole reasoning behind ordering the Clones and takes responsibility for it. And I think the Clone Wars episode “The Lost One” also discusses his involvement in the plot, initially collaborating with Dooku before being murdered and Dooku taking over/sabotaging the project with the chip interference. Dooku: Jedi Lost seeming to go to some length to create backstory around that particular detail - why Sifo-Dyas would go specifically to Dooku with the Clone project (not realizing he’s fallen) and how he had secure, untraceable means to get in contact with Dooku after all those years. (That stupid cursed comlink Dooku gives him at the end of the book in case he ever needs him.)

[utilitycaster]

On the Midst messages topic:

I thought the discussion about making their original PCs less heroic for the sake of the story was interesting, and “must a character have flaws?” reminds me of “must a story have conflict?” So I was curious if you had thoughts on what differentiates interesting characters in actual play vs. other kinds of storytelling, and how their flaws/virtues play into that.

Like, obviously there are lots of flawed characters in a show like CR that are in fact excellent for storytelling and fun to play, but somewhere else along that spectrum is Moc Weepe who is a fascinating character but (at least for me) would not be fun to play in a TTRPG.

Oh sure!

I think all characters do need to have flaws, and it's worth noting that even the classic D&D character sheets have a box for flaws and that's outside any stat dumps they may have. And to be actually compelling, it does need to be an actual flaw and not "they try too hard and care too much" unless they truly care do the above to the brink of destruction or something. I suspect the original incarnations of the Midst "PCs" still were flawed to an extent; it sounds like Moc was still kind of creepy and weird, Lark still kind of brusque and awkward around people, and Phineas still overly devoted to a horrible cause; they just weren't quite as extreme. (For what it's worth I think Weepe would be super fun to play in a TTRPG provided you all had had a good chat about boundaries and everyone understood that you were playing a complete bastard; I've never really played a TTRPG where you weren't a party working together but Midst clearly is not a party-oriented story so I think that makes a huge difference.)

It's true that a lot of people do make a really cool guy (gn) to play in D&D or similar TTRPGs. Sometimes, to be honest, this means that their game would not actually be terribly fun to watch. I do know people who are mostly interested in playing D&D for mechanics and puzzle-solving and not character development, and that is valid! It's collaborative storytelling, but the experience of playing in the story is a different one from watching it. I think a lot of people don't realize this - a really fun game between you and your friends could be mostly fucking around that makes for a terrible story (*cough* anyone who writes a novella in the replies or tags in a generic D&D post about their home game). That probably wasn't true of Midst even in the earlier incarnations, since they were working outside the bounds of mechanics specifically for the purpose of storytelling, but (for example) the CR cast has specifically talked about some minor changes they made to playstyle compared to a home game, and the reason a game not intended to be actual play from the start made the transition so successfully was in part because of the voice actor angle - these are people who have to find a story and come up with an entire realized character, often from very little, to be able to act.

The biggest thing actual play characters need to do for me is take action and voice their thoughts either directly or through subtext, because actual play has a pretty unique challenge in that it's like film, in that you don't really get a narration of the character's innermost thoughts unless there's some kind of voice over monologue; but you also don't have film's ability to show a character alone for a long stretch of time, at least not frequently; and you have to describe all the visuals. A passive actual play character, even if their mind is full of interesting thoughts, is not interesting unless that's being conveyed somehow. Bold moves are to be rewarded, as are characters who are good at bouncing off others (which means both conflict and cooperation; interaction in all forms). Characters really need to be making choices and those choices need to be communicated.

[fancifulplaguerat]

Something that always affects me deeply about Clara’s Route is her interactions with the Albino and Changeling. Clara is a very tragic character to me in a different sense than Artemy or Daniil, because she really only has herself to lean on consistently; yes, Daniil and Artemy get fucked over, but they maintain consistent allies in their routes. I also feel that this lack of outside support is more detrimental for Clara, not only because she’s young, but because so much of her conflict resides in her trying to prove that she is a good person and literally rewrite the fate planned for her. It very much haunts me that in her opening statement, she says, “I am beyond redemption” about herself. And there's the fact that Clara is clearly upset about her role as the plague, she doesn’t want to do harm; she struggles to define herself as a good person, and indeed actively chooses to be a good person while being isolated, rejected, and made to feel that the entire town is against her. The letters from Clara’s sister make this very visceral to me, with their increasingly desperate picture of her hiding, scared, and exhausted. Yet despite Clara standing opposed to her sister, she’s really the only character that’s always there for her an offering her hand. 

I always enjoyed how Clara’s sister signs those initial letters with “Here I am, take my hand...” and “Do you recognise my hand yet?” given all the hand imagery in Clara’s Route and the emphasis on her hands:her ability to act. And despite how these lines can be read as a little ominous, Clara’s sister still offers her comfort in her letters, saying, “Sister of mine, don’t you cry,” “Everything will be just fine. I will see you soon enough, my dear,” and “...Find me, come visit me and comfort me. In return I will comfort you...” Again, these can have a menacing tone if taken as the disease beckoning her, but I personally don’t read it like that. In particular with the context of this line: “Whatever you answer me, remember I love you more than anything and will never be angry with you. Here I am, take my hand...” That line strikes me so much because Clara’s sister is offering her unconditional love, which stands contrary to the conditional love and protection offered to her by the Saburovs. Their affection for Clara is often very conditional according to her actions, so I find it poignant that her would tell her that no matter what she chooses, or how she acts, she’ll still love Clara. And when Clara is alone, she tells her sister that, “‘They have betrayed me,’ she said, ‘My faithfuls have given me up. I only have you now, my soul, my inseparable connection...’” 

I also want to bring up this dialogue that Clara can have with the Changeling: 

Changeling: Then we should part ways quickly before something bad happens... Except I don't want to let you go! Even though I'm afraid to touch you—I feel sorry for you... and hence I love you, my dear sister—maybe more than any living being on this earth!

> I love you too! *

> And I hate you!

[...]

Changeling: I can't go anywhere now—I'm now hated by those who used to love me. They torture me; they burn me and hurl stones at me... I have to hide...

> Why is it that any place you visit becomes infected? *

Changeling: Oh, how is that my fault? I come here because I need a place to hide from those who are out there hunting me. They've got fire and steel, their henchmen are ferocious—and what do I have to stave them off with? Only this... They're too scared to get closer... Those who've remained faithful to me can't do anything to protect me.

> Go away. *

Changeling: No, I'm not going anywhere, dear sister... I'm staying here. I feel better here. Back there, I'm not needed.

> All right then... Stay here. Don't go anywhere.

> Yes you are. People love you. They think you're a saint.

What really gets me here is when Clara tells the Changeling that people love her—yes, it’s a means to send her away, but it’s still strikes me because Clara is talking to herself here. Like she’s rallying herself to go forward and trying to convince herself that no, she is needed, she is a saint; and the Rat Prophet says that Clara’s condition that she’s a miracle-worker is what allows her to be one. With that context, I like to read this dialogue as not only Clara trying to convince the Changeling to leave the district, but convincing herself that she is a saint despite the Town turning against her and labeling her the plague. It hurts me, too, that she says she isn’t needed elsewhere, as I imagine Clara wants to feel needed and helpful as she works to define herself as a selfless saint. It would likely be painful to her not only to feel rejected by others but that she can’t even help anyone. Even here I feel there’s a feeling of that “I only have you now,” as Clara’s sister tells her that she doesn’t want to let Clara go, and that she loves her above perhaps anyone else. I enjoy how these dialogues show that Clara’s ‘sister’ is still just Clara, she’s just talking to herself. As the Albino says, “But I’ll console you... Your sister is here... she has talked to me a lot... her and I are alike too, we are one... because she is you... don't be quick to condemn her... she too is dismayed, not knowing who she is...” 

The Albino is the last character that shows pretty consistent affection for Clara when she talks to him, and I really love their dialogues. I just like how gentle he is to her, telling her things like, “You are flesh of my flesh, and I love you, even though you and I are only a few days old...” He’s the only character beside the Changeling which shows Clara really enduring love, and whom Clara seemingly doesn’t want to leave her—she tells the Albino “I don’t want you to go back into the earth...” And both the Albino and the Changeling are arguably just Clara herself, though less so with the Albino. I find something bittersweet in that, because despite Clara’s initial conviction that she is irredeemable, she still seemingly stands by her own side; there is a part of her which insists that she is needed and that she is good, and it’s that conviction which allows her to affirm her sainthood. It’s not especially happy, but I really really like that aspect of her character

[molter-writes]

dude i have a question that might be considered out of pocket but i need your brilliant take on it

i was rewatching the finale last night (because i like to cause myself pain) and i got to the part where aemond said he wanted to make a gift of luke's eye to his mother

so my question is

genuinely, what the hell do you think alicent would have done if aemond returned with luke's fucking eye😭😭😭

lmao welcome to my entirely unrequested character study of aemond. short answer: she'd be horrified, and that scene more than anything speaks to the beautiful fraught asymmetry of alicent and aemond's relationship, palpable and tragic and woefully understudied.

alicent does not desire violence and does not particularly respect violent people. e.g., we can imagine characters who might have been heartened or reassured — even if interspersed with guilt — that larys had been willing to kill to advance their interests. alicent is never shown to appreciate this silver lining; she is deeply remorseful and properly disturbed. the end of the season finds her attempting to stave off catastrophic violence surrounded by men who are effectively unbothered by the thought. aemond is one of these men. he is also her favourite man. i think this breaks her heart a little.

i'll preface this by stating again how much i sympathise with aemond, who is really neither a slick badass — his facade — nor a calculating psychopath — his caricature. aemond spends his childhood awash in a feeling of inescapable, humiliating powerlessness, and everything he becomes is a direct response to this experience, including his unfailing loyalty to his mother, his sole childhood advocate and ally. but aemond clocks alicent's powerlessness, too; and probably at no other time more palpably than during the quarrel at driftmark. viserys leaves her in the lurch; cole backs out when the rubber hits the road. when he tells her i gained a dragon, i don't think he's actually saying it was a fair exchange; clearly he doesn't really feel that way — he's still seeking his revenge years and years later (and fair enough). rather, i think he's telling her — and importantly, telling the people he perceives to be her enemies — we have real power now. we're safe. i got you.

aemond consistently strives to be alicent's one reliable ally. aemond also spends his life trying to make himself more powerful, and, if i were to really speculate, probably hasn't determined within his own heart whether he's done so to protect himself and his mother in the conflict he's seen presaged at driftmark, or in excited anticipation of that conflict as an opportunity to seek revenge. herein we find the crucial difference in how alicent and aemond each perceive safety, and perceive power — alicent thinks safety is found in the absence of violence, and power is the ability to be free from it; aemond seems to believe safety is found in a monopoly on violence and power is the ability to do it. it's entirely unrelated, and not to be insensitive by mixing factual and fictional tragedy, but i think sometimes about something prince harry once said about his childhood experiences watching the press chase and torment princess diana — his frustration knowing he would one day be a man, that he would one day be able to protect her, but not yet — and the anger, the frustration that caused. i append to aemond, though fictional, a very similar pain.

regardless, to whatever end, aemond's intention is to be feared and to be dangerous. he tells cole i don't give a fuck about tourneys for the express purpose of tipping us off: aemond is trying to become as effective as possible at killing real opponents in a real conflict. two things here: first, though aemond may not care for tourneys like the knights Rhaenys calls green as summer grass, he's equally inexperienced; he also doesn't know — cannot know — the true meaning of war or the costs associated. (see, e.g., his crucial misunderstanding of the nature of vhagar.) and second, tragically, though he's probably (if perhaps only partially) done so for her, he's become exactly the kind of man who has left alicent feeling trapped and perpetually terrified. olivia cooke somewhere noted that alicent lives in trepidation surrounded by 'psychopath men', and part of this fear seems to be what these men will do in her name and under the guise of advancing her interests. e.g., she knows larys' murder of lyonel did double duty. Tis only a look of pride, Ser Criston. Larys is the new lord of Harrenhal. to have become somewhat afraid of aemond — apprehensive, at least, of his adult nature — will likely only grow harder on her and harder to ignore. and the same will likely come of aemond's unintentional killing of lucerys, and would come had aemond returned instead with his severed eye: horror at the act; guilt and terror and frustration at the knowledge — however deeply buried — that aemond would have done it not for her, or for their family, but for himself; and that once again, she has been made the unwilling catalyst for the very violence she strives so painfully to prevent.

[oceanflowerrs]

ok im going to do The thing where i talk about rwby now. im on mobile so i cant add a read more so im just gonna. tag it with rwby spoilers i guess just kidding i know eveyrhting now

ok, so. if this were any other point in time id be content with just being like "it's really cool! some things are a bit goofy or lame but it's a good time with a lot of genuinely really good moments" and that'd be that right. but from what ive gleaned from val and other rwby fans i know the whole penny debacle has been Very Controversial. it is quite possible i have come in at a bad time.

now i just want to say, i really, REALLY like what they did with penny in this volume. her arc was really good and it felt super satisfying and genuinely emotional to see this robot girl slowly become more than the sum of her parts and into the girl ruby and co had always seen her for. seriously everything up until the final episode i think was written SUPER well and this was a very good The Penny Season.

i really don't like her death, however. this may sound like a kneejerk reaction from someone who "doesn't like it when things get bad in a piece of media" or something similarly insulting to my ability to comprehend media/art and view it in a critical lens. but it's still what i think. on a base level, i think it's stupid to bring her back just to kill her again. on a somewhat deeper level, i think it's stupid to kill her after going through a whole arc where she learns to be more than a machine, where she finally gets to feel, truly feel, all of these things that she's had inside her all along. she'd escaped her boundaries, she had become a real girl. etc etc. pinnochio and whatnot. robbing her of all that just seems weird and i didn't like it.

but from like. the perspective of it being a written work with the themes it has, it STILL just seems off. rwby first and foremost is about defying expectations. not doing what it's been setting you up to believe will happen. i don't think this is a bad thing (even if near the end it kind of gets old with just how much of the plan isn't going as expected but that's a different nitpick i have). winter is supposed to be the winter maiden. it's her name. it's one of the most obvious things from the moment you learn about the maidens. like yeah no fucking doy. and even leading up to vol. 8 that's very clearly the plan. ironwood has it set up and everything so that winter is guaranteed to get the powers.

but the plan fails. the expectations are defied. winter is too late and the powers are given to penny instead. this scared, confused girl (in the moment i mean), who already has so much on her plate to deal with, just trying to save as many people as she can. now she's knee deep in the middle of yet another conflict. she's the winter maiden now, which means now cinder is going directly after her. it means now winter is even more under ironwood's thumb as punishment for her failure. it means there's even more of her now that she doesn't fully understand. and it's hard for her, but she does it. she uses her new powers to protect as many people as she can, and even with everything happening both in and outside of her, she never gives up. to the point that maybe, just maybe it was meant for her all along. and when she becomes human, the weight of being half a person is taken off of her shoulders. she no longer has any doubts, she has no reason to waver anymore, she's whole. and with her friends by her side, she's ready for her new destiny.

but no she died haha looks like winters the maiden now after all. lal.

i don't know it just feels... insulting? what was the point of pennys character arc if she's just going to die immediately after? what was the point of making her the winter maiden if it was just going to end up with winter anyway, like it was most obviously going to be? what was the point of giving her so much if you're just going to take it away again? like no, penny didn't get to live life as a human. penny didn't get to stop the people who have been hurting her friends. penny didn't get to step up and become the thing she was finally ready to become. she died. in a way that only happened because she was human. everything she was was cut off for shock value i fucking guess. sure.

couldn't they have had her fall with the rest of the cast? couldn't they have found some way to transfer her powers without killing her? couldn't they have done literally fucking anything else than just backpeddling an entire character arc because everyone in the main cast wasn't sad enough? because they didn't feel like any of the other dozen character deaths were impactful enough?

it's. i don't know. obviously everything's a big cliffhanger right now so i can't say "i don't think it impacted the plot it any way". maybe jaune has the mask on in the vol 9 teaser because killing her is gonna give him like a joker arc or some shit. i don't know. i don't know how to end this.

[saiki-sideblog]

Shipping saiki with anyone is aro/ace phobic it is clearly implied he doesn't feel any attraction to anyone the closest thing we got was when he became obsessed with someone not even romantic

Uuuuuh??? Ok???? I'm not sure if you're trying to call me out for something or if this is just supposed to be a general PSA that you're coming to my blog to get out there, but I'm gonna try to dissect this from every angle I can think of.

First of all, if you're trying to accuse me, I myself am incredibly aro ace and am fucking so grateful for the representation. That's so hard to find and is part of the reason I was drawn to the show.

I know I've reblogged a few posts regarding the Saiki and Satou ship in the past, but I don't actually ship it myself. If I'm reblogging content regarding the ship it really has more to do with the dynamics surrounding it that I think are fun concepts. Usually related to how his powers affect his ability to form relationships in one way or another. Honestly I'd like to see all these concepts in the light of a QPR or something could be cool and more accurate representation. It's not like ace aro people can't love at all. They just aren't attracted to people's physical appearances

I think it's incredibly important to acknowledge that he's aroace, but the thing is... most people aren't aroace and those people are going to have a tendency to instinctively pair characters off in their heads without thinking about it. Especially when one of those characters is explicitly shown to be obsessed (your own words) with another character. If someone wants to explore those dynamics that's fine with me, as long as they aren't actually actively rooting for these ships to occur in canon. Shipping something doesn't necessarily mean you want the relationship between characters to happen in the actual franchise. The whole concept of shipping is kind of complicated tbh. But as long as someone is making content about how Saiki is aro ace in canon while also creating side concepts regarding the possibility of possibly dynamics, I don't see a big problem with it

The next point I have is something I'm kind of conflicted on myself. That's the point of cupioromanticism and romance neutral aromantics. I myself love to refer to myself as "very aro" but I was calling myself that even as I was in a relationship. It's possible to be aromantic and in a romantic relationship. The conflicting part is that a lot of people use that as an excuse to ship aro characters and completely disregard their orientation. But it's a whole lot more complicated than that. I consider myself mostly romance neutral (which is the aromantic equivalent of being a sex neutral asexual, which is probably more commonly known and understood) but I still had very strict boundaries about it when I was in my relationships, and I didn't always have the energy to keep up with my partners. My most notable relationship was an open relationship so my partner could fill in the blanks, because I have a fairly low romantic threshold if we did something particularly romantically investive I would need to straight up take a break from the relationship altogether. Just a few days to recuperate and reenergize.

Basically my last point (that last paragraph) comes down to "You can totally be in a romantic relationship and be aro, but a lot of people use that knowledge to ignore a canon minority and essentially demonstrate erasure."

Not to bring in a completely separate media franchise into this, but Bojack Horseman did a really good job at explaining some of this stuff in regards to their asexual character. They dive into how asexual people can be in romantic relationships, but not all asexuals want to. Some are also aro. And while it is in passing, they mention that some asexuals do have and enjoy sex. This doesn't explore all these concepts and ways people experience these things in depth, but it does open up every angle, leaving all of the other ways people can experience these things on the table and easily able to be figured out by an audience of people new to these concepts if they just think about it for a minute. But they keep it well defined where the character stands and how his asexuality affects his relationships and how it complicates things.

All of that is to say, shipping culture is super weird, but as long as someone is very vocal and supportive of the fact Saiki is in fact aro ace, I would allow the allos a little bit of shipping content. As a treat. Just don't ignore his practically confirmed identity just to get all mushy on a character who would hate that.

But honestly, I don't see much of a need to ship Saiki with much of anyone when Shun and Aren are right there.

[stay-midnight]

Fun through Harsh Times

Kim Seungmin x Male Reader x Bang Chan

W.C: 4.8K Words

Triggers: Explicit Smut, Human Discrimination, Conflict at the end, Some angst too.

THINGS TO NOTE: Demigod AU!! Seungmin - Son of Athena, Chan — Son of Demeter, Hyunjin — Son of Nemesis, Changbin — Son of Hades. Human Reader

Kinks/Warnings: Dom/Top Seungmin, Switch/Verse Reader, Sub/Bottom Bang Chan, Anal Sex, Unprotected Sex (make sure to cover the d to prevent std~), Buttplugs, Cuckolding, Daddy Kink, Master Kink, Use of Vines, Seungmin has a big dick, Degradation, Punishments, Usage of a different petnames, Biting, Mutual Masturbation, Lots of Cum, Multiple Orgasms, Creampie, Crying, Nipple Play, Ass Slapping, Use of Abilities and Powers during Sex, Bruises, Rough Sex, Soft Aftercare.

A/N: my works are getting longer I- and ooh~ this is my second? third? fic this month omg hshshsh. Also, I reread this alot of times to make sure it's okay cuz i didn't like it's based form so i had to rewrite and add new things. 💀💀, anygays hopefully you guys like this! oh and after the changbin fic which I may start writing at the 20th, in June i may open requests! this time though, ill accept three to not stress myself 💀.

You carefully remove the bread from the oven as to not burn yourself, looking at the clearly displeased customer at a call at how slow-paced you were working. You finally placed the bought breads at a plastic bag, handing it to him with a fake smile.

“Sorry, the dumb fucking human was too slow.” The customer spoke to the phone loud enough for you to catch as he walked away in a bad mood.

You sighed tiredly, remembering the amount of discrimination you received after living here for these past few months.

When Seungmin asked you to live with him and Chan at the island, you were ecstatic since you thought it would be amazing to move in with your boyfriends.

All your expectations were shut down as soon as the demigods that lived in the island clearly were not happy with you arriving. The constant murmurs and the glares were enough to tell you so.

Though, Seungmin and Chan didn't know how badly people treated you in the bakery.

You didn't wanna burden them as you were already thankful of living with them.

Changbin was there in the bakery with you anyway, if someone gets too harsh on you Bin was always there to scare them away.

Changbin was scary at first when you started working with him, when you found out he was Hades’ son — you were extremely careful to not get sent to the underworld. As time passed by, you found out he was extremely soft, so you became good friends with the man.

You blink tiredly as you picked up your bag and hauled it over your shoulder, before placing the "close" sign outside and bringing down the metal bars.

“I’m heading home now Binnie!” you shouted to the male at the back that was arranging boxes. You remove your apron, seconds later before fixing up your shirt and brushing your hair off your face.

“Bye! Stay safe on the way home, Y/N!” Changbin shouted back before groaning loudly and loud thud sound. You were about to check on him before he shouted again.

“I’m okay! Stupid box just fell..” he said out. You chuckle and slowly moved away.

“Be careful more, Bin!” you said back, before finally taking your leave with a last okay, bye! from him.

. . .

You sighed as you continued walking back to where you’re residing in — Seungmin’s mansion.

Seungmin has many times told you that you didn't need to work or and he could send a driver to pick you up. You rejected both offer, since you wanted to work and atleast help pay for your food. You also rejected the offer about the pick-up driver, opting to walk home instead.

Humming as you scrolled through the social media on your phone, you continuously walked to the direction of the place you called home with a smile on your face as you read through the cat posts.

You looked around a bit and caught the looks of disgust on the face of the nearby citizens causing you to freeze — before slowly moving again, trying to ignore them.

“What’s with them against humans anyways.” you whisper lowly as you try to ignore them, a slight pang shot through your heart, sad when you heard something.

“What did Athena’s son see in him anyways, he already has Demeter's boy. Why bring a human into the mix.” A lady near you harshly whispered.

You bit your lips trying to contain your flaring anger at her — trying to relax your nerves that was begging to have a go at her, just so you could finally arrive at the house.

. . .

You sighed in relief at the sight of the mansion gate, before even tapping the doorbell — you were greeted by the sight of the most beautiful emerald eyes, smiling brightly with dimples shown.

“Y/N~!” said male shouted in an excited manner, he looked as pretty as always and you just can't help falling for him like the day you first met.

All invasive thoughts left your mind at the sight of your bright and caring lover.

“Hi Channie~” you greeted as the gates slowly retracted to the side, removing the barrier between both of you. He ran to you and threw himself at you to which you caught him happily.

He then wrapped his arms around your neck and kissed you in a endearing way. “Where is Seung?” you ask after a bit, taking a peek at the front garden.

He let out a frown before grabbing your hand and led you through the path, “He.. He... still hasn't returned.. It’s been four days.” Chan said in a melancholic tone, his once bright eyes dimmed in sadness.

You look at him before taking notice that the plants at the sides were drying up and water was coming out of them. You frowned at the sight of it and continued as Chan led you inside.

“Chan... Seung has a lot of duties, he—” you waved your hand away at the maid entering with food to which she nods and leaves before continuing, “He has a lot on his shoulders especially dealing with the rebels, okay?” you reassured him, gently patting his head that was hung low.

Chan nodded understandingly before turning to you and leaning closer for a kiss on the lips to which you happily obliged — kissing him dearly.

“So no more, moping around. He wouldn't want that would he?” you smiled at him to which he nods at your words and gave you a lovely smile.

“He wouldn't..” he trailed off before climbing on to your lap to which you held him, you were still loving the fact that despite Chan being older than you and Min, he is the cutest.

Sure, Seungmin is cute as well but he has that scary side of him which leaves everyone shaking.

You buried your face on the neck of your lover and sighed. Chan smelled like flowers — fresh flowers to say the least, which calmed your nerves a bit. Chan giggles at you tickling his neck with your breath to which you cooed slightly.

A knock was heard from outside the door on the room you were both in, “Come in!” you said loudly for the person to hear.

A guard suddenly opened the door, “Sire’s.” he bowed deeply, “Uh, Sir Seungmin is coming home later at around an hour or so..” he said, pressing his lips to a thin line at the silent air he got and the stares from both of you.

The guard looked at you with a frown before smiling at the sight Chan. You looked at him with a saddened look to which he took note off, clearly trying not to scoff.

Chan also was suspicious at how the low demigod looked at you differently, Chan immediately raised his eyebrows at the guard

“He just wanted to let both of you know..” the guard quickly stated before leaving and shutting the door quickly due to the awkward tension he felt.

Chan bursted in a happy frenzy when the man left as he launched himself to hug you.

The flowers at the table suddenly bloomed after Chan’s was excited.

Chan slowly climbed off your lap and sat on the bed — he turned to you before raising both his eyebrows in a teasing

Then Chan smirked at you seconds later, his mind whirring thoughts. “Wanna give him a surprise?” he murmured.

You raised an eyebrow at the sudden change in demeanor — This was the Chan that teased both you and Seungmin in bed, the Chan that always had bratty plans in mind — the Chan that loved to be punished by Seungmin.

You nod without even knowing what will happen — little did you know about what’s Seungmin is gonna do to both of you later.

. . .

You look at Chan as if he was a crazy person, “Chan, are you sure? You know how Seung is when we start things without h-him?” you said in shock at the idea, shivering and stuttering at the thought when Seungmin caught both of you fucking without him. Let’s just say neither Chan or you could sit properly for days.

He tilted his head and smiled, “Cmon, Y/N.. It’ll be fun! Plus, he left us hanging for four days.” you look at Chan before sighing in defeat.

You knew Seungmin was just doing his job as Athena’s Son so Chan’s reason wasn't justifiable to say the least. But how Seungmin punished both of you was really hot at that time.. And you wouldn't mind seeing it again.

“Fine...” you said — giving in to Chan’s request, even though knowing it was a scary and terrible idea. Chan held out his hand before a pink flower and with red edges at their pollens appeared.

“Is that one of your drug flowers, again Channie?—” you asked, looked at him confused. To which Chan giggled and nodded repeatedly.

Chan is a son of Demeter, meaning he has control over nature’s plants, he is one of the tender of green life in the island but usually he isn't on duty because there are other children of Demeter on this island. You didn't know though, that Chan could create special types of flowers that contain a drug or an effect in them when inhaling their scent. The first drug flower you saw was a grey flower — it makes people fall asleep fast.

“What is it?” you asks, eyeing the flower carefully, he grinned at you before saying, “Aphrodisiac.” he said, moving the flower closer to your face.

You look at him before covering your nose immediately, “Why?!” you said through your hand, not wanting to inhale more of its alluring scent.

A smirk was back on his lips, “Maybe it’ll make you hornier therefore, maybe you can fuck me rougher?” he said teasingly before withdrawing the dangerous drug from your face.

You let go of your nose and sighed, “You could just ask..?” He looked at you straight in the eyes as you finished your statement — Chan’s orbs glinting with arousal, the aphrodisiac flower in his hand slowly wilted to gray dust.

“Hm? Would you be rough with me then?” He purred, pushing you down the bed — his emerald orbs staring down to yours, He grinded his ass on your clothed cock in a teasing manner.

A grin was plastered on his face before you switched positions with him, his back hitting the bed softly. He gasped, clearly suprised with the action.

You had both of his hands pinned on top of his head in a heartbeat causing Chan to squirm against your grip, “You’re such a brat, baby~... And I don't like brats.” you said the last part with a glare. He whined before looking up at you with puppy eyes, to which you chuckled at.

“That won’t work Channie.” you said, biting his neck harshly — him releasing a loud moan at the pain, Chan was such a painslut — he got off to Seungmin’s punishments so you expected no less.

You slowly lowered Chan’s shorts that he was wearing. Smiling at the growing dark spot at the middle of his underwear. “Already leaking? What a slutty baby, I have~” You taunted, squeezing his growing erection as you pressed your own clothed bulge against his thigh.

Chan moaned loudly at what you said his dick hardening even more.

You clicked your tongue in annoyance at the clothes you were both wearing.

You made quick work of the clothes on Chan’s body and yours as well. You noticed that vines with pink roses had appeared at the corners of the room, to which you smiled at — it shows that Chan was extremely needy.

You look at Chan — bare as the day he was born, your eyes raked over his form — from his face that had a red hue to the, to his chest and those beautiful pink buds — and to his pretty pink dick that was leaking precum down to his balls. He was so beautiful — inside and out. Fuck, his delicate pale skin was very enticing to fill with marks.

You wanted to ravage this man in front of you and savour the pleasure.

Chan let out a whine, “D— Do something, master...” he said, to which you raised an eyebrow at the sudden nickname.

You never expected Chan to call you that, so you looked at him with widened eyes before regaining your composure and moved closer to Chan as you hovered over him.

You lift his legs up shortly, licking your lips at the puckered hole — already shining and wet. “You prepped yourself already?” You ask, softly touching the ring of muscles with your thumb — gently.

He nods repeatedly, rolling his hips down impatiently — wanting some form of penetration, “Stay still, dumb pup.” you said harshly before finally shoving two fingers at his wet hole immediately. Feeling his walls clench against your digits.

“M-Master, please.... Puppy don’t need more stretching, puppy just wanna be fucked.” He begged, a tear slowly falling off his red cheeks.

You hummed, acknowledging his request — you took a condom from the drawer to which he pouted before plants came out of your hands and snagged the condom away and back to the drawer. “No condoms please...” he said, looking at you with a pout.

You smiled and lined up your tip against his lubricated hole — you smiled at his babbling words at the pressure on his entrance.

You spread his legs further — almost bending him in half, you cooed at the sight of his leaking cock — dripping a lot against his abs. You then slowly sink in to the welcoming warmth, savouring how his walls spazzes around your size.

“Ah f-fuck, puppy...” you almost howled out as your hips hit his ass. Chan was so cute — his eyes stinging with tears as he let out small moans. His chest was heaving and red was spreading all over his chest.

“M-Master, move. move, p-please...” He whined out, pushing himself back on your cock. You grinned as you remember his request earlier about being rough.

You pulled out slowly, before snapping your hips back as you fucked him precisely but rough at the same time. His useless cock was now oozing with cum at the tip. “F— Fuck fuck fuck.” he chanted repeatedly with every snap of your hips, as he rolled his eyes back at the pleasure.

You see red at the sight of Chan moaning "Master" while also cursing at the same time. You grip his muscular thighs as you pull him back on your cock, thrusting up to him in sequence.

“Pup, I’m close... God, you feel so good around me..” Chan moaned in response as you leaned down to bite a pink nipple, the bud hardening against your teeth as he arch his back against you at the sensation.

You disconnected your lips from his perked bud so you could take a look at the beautiful man underneath you.

Chan looked so fucked out, his hair was disheveled and his green eyes were shining through his tears. You were almost proud at how much you fucked Chan dumb.

“Cumming!! Master, ah~” he sniffed as he felt his cock shoot out spurts of white, reaching up to his pec — decorating his chest in his white sperm.

His walls clenched around you in a tight grip as you let out a low moan of your own as you emptied yourself inside of him — filling him up as you gripped his hips in a bruising way.

Chan’s body were trembling from the aftershock of his orgasm, you pecked his lips and smiled as you look down at him, his chest heaving and sweat and cum mixing on his pretty skin.

“I’m pulling out Channie, is that okay?” You asked in a warm tone, softly brushing your hand through his hair to relax him.

“Plug..?” he breathed out as you nod before reaching out to one of the drawers and pulling out a medium-sized buttplug before slowly pulling out of him — placing the plug to keep Chan full of your warm liquid.

He sighed in relief and smiled at you to which you smiled back, “I’ll go get a towel to clean you up, alright?” you said before getting up and placing your boxers on.

He hummed in agreement as he just laid there a bit tired of the activities.

. .

You opened the door out the room to run to the bathroom before a voice behind you stopped you, “Had fun, Y/N?” the male voice said in a cold tone.

You turned back and saw Seungmin standing, leaning at the wall as he looked at you with deadly eyes. “You both started without me.” he said blankly before trudging towards you as you stood there with cold feet.

“Why don’t you tell me, love. Who wanted it more?” Seungmin whispered to your ear when he stood in front of you his hand trailing down to your ass before grabbing a cheek.

“I— I did.”

He slapped your ass firmly — a moan slipped out of your lips from that. His eyes flashed a dangerous pink hue before it returned to normal. “Do you think you could lie to me?” he hissed out.

“A-Ah... Channie did..” You gulped at the slight anger that was hidden in his voice.

“As expected.” he chuckled darkly before pulling on your arm, slowly dragging you back to the room.

. .

A sudden opening of the door, made the tired Chan jump up from the bed. His mouth opened in shock as Seungmin was there with a grip on you.

Seungmin wanted to coo at Chan’s expression but instead kept his act on.

“Sit on the bed.” he said referring to you, to which you complied to easily. He silently grabbed the bottle of lube at a drawer — yours and Chan’s eyes following his form as he does so.

Seungmin then removed his clothes with ease, you almost drooling at his large length to which you eyed like candy, to which Seungmin took notice and almost smiled — just barely stopping himself from doing so.

“Tie yourself up, puppy.” Seungmin said in a voice of authority to which Chan lightly whimpered at, he nods slightly before placing his hand above his head and against the headboard.

A gasp left your lips as vines started to wrap and thicken around Chan’s wrists, tightening up and securing Chan on the side of the bed.

It always shocks you when Seung uses that ability he was blessed with, "Voice of Authority" as the demigods call it. Whenever Seungmin uses it, most weaker demigods will get on there knees and comply but much stronger ones can resist it. Whenever Seungmin uses it on humans though, it gives him perfect control over them.

— Seungmin promised you he will never use it on you as he doesn't want to take away your free will.

Seungmin sat on the bed, grabbing you and placing you on his lap harshly before he moved you and himself so he could face Chan.

His cock was hardening on your back as he bit your neck softly, he looked at Chan with a smirk, “Tell me puppy, what did you call Y/N earlier again?”

Chan looked at you and whined as his cock started to spring up. “I c-called him, m-master...” he said, looking at Seungmin with puppy eyes as his hole clearly clenched around the buttplug.

Seungmin chuckled as he kissed your shoulder, “And who am I to you, pretty?” Seungmin whispered in your ears huskily, clearly noticing your cock straining against your boxers.

“D— Daddy..” you asked, embarrassed as you felt Chan’s gaze upon you, a gasp left you as Seungmin pulled down your boxers in one go, his hands trailing over your thighs.

He lifted you up a bit so that your hole was exposed to Chan and so that his hands could near it.

He popped the bottle of lube open, circling your rim with a wet finger. You let out a sigh of pleasure when a finger finally went into you, slowly — it wasn't enough though, you needed more.

Seungmin took your hips rocking as a go sign as another finger joined inside till it finally became three moments later, you were bouncing on his slender fingers now and Chan was watching all of this unfold with tired eyes but his cock that was standing provided enough that Seungmin knows that he is still needy.

“Want your cock, da— daddy..” you begged out in a high voice, wanting the man behind you to fully destroy you already.

Seungmin turned to Chan that was rubbing his legs together uncomfortably — in need of some sort of friction. “Look at your master being a pathetic cockslut, Channie~” he mocked you, to which Chan let out a short “M—Mmph~”

You whimper at what Seungmin had said.

Before he lifted you up and slowly brung you down on his large dick, your back flushed against his chest.

Chan moaned at the sight of your hole taking in Seungmin’s cock deliciously while you had drool dripping down your cheek at the amazing stretch.

Chan whined against his restraints as his cock leaked as much as it could.

You lay your head back on Seungmin’s shoulder as you panted in pleasure, Seungmin nuzzled his head on your shoulder before using his fingers to pulling at your nipples.

You moaned loudly when Seungmin shifted a bit causing his cock inside to prod your bundle of sensitive nerves.

Seungmin pulled you off his dick slowly before slamming you back down, causing you to let out a cry as your hole clenched around his girth repeatedly.

“Doing so good, baby.. You feel so tight around me, yeah? Well this is gonna be a long punishment isn’t it? Let’s if you can walk tomorrow, love~” He hummed, kissing the back of your ear as you let out whimpers of pleasure.

He then look at Chan who was still messy but pretty, “Don’t think you’re out of the punishment though, slut. You’re not gonna cum as you watch me destroy your cocksleeve of a master’s hole.”

Chan thrusts up into the air and whine in retaliation, with his mind set on one thing, wanna cum.

Seungmin then started a rough pace of thrusting up into you, chasing his own pleasure and using you as his very own fucktoy for your punishment.

. . .

.

You forgot now how long Seungmin was thrusting into you and rearranging your insides — how long he had speared you on his cock. You were on cloud nine the whole time so you didn't bother to take notice of the time.

But your body was aching from your third orgasm today and Seungmin hadn't even came yet — how the hell does he last so long.. Fuck. you wanted him to fill you up like how you filled up Channie earlier.

Speaking of Chan, you looked at him and saw him whining and writhing — hopelessly rubbing his thighs together. His muscles were flexing, the more he struggles.

White spots blinded your eyesight as you trembled, your tip spurting out little dribbles of cum as you moaned weakly. Your cock felt like falling off as the lewd squelching filled the room.

Seungmin was growling while marking your neck as every thrust of his, sends a dizzying shiver throughout your body.

“I’m close now, love...” He whispered to which you responded with a simple and short, “Want it inside..”

Seungmin chuckled deeply and wrapped his hands around your waist before thrusting up to you one last time and coating your walls in sticky white with a sexy groan — as you let out a weak moan at the wet sensation.

That was what it all took for you to collapse on the bed, your cheeks pressing into the warm mattress as you felt Seung’s cum dribble out your hole — down to your balls and wetting the mattress.

Seungmin licked his lips at the sight of your entrance loose, gaping and oozing with his cum.

Seungmin was also tired, so he grabbed Chan’s cock in his hand to jerk him off fast to which Chan came immediately with a howl.

“You can untie yourself now, Channie..” Seungmin said in a soft tone,, to then which the vines restricting his hands turned into dust immediately before Chan grabbed you softly and held you.

You look at Chan with droopy eyes, smiling at him dearly. Chan giggled before holding you tightly even though his body was sticky.

Seungmin had went out of the room to fetch some dry towels and water while also leaving his two lovers to cuddle with one another.

. .

“You okay, bubs? Minnie wasn't too rough? I could prick him with thorns if you’d like..~” Chan mumbles, pecking your lips softly while also letting out a tiny laugh at then end.

You nod, giggling afterwards to which Chan smiled — brushing through your locks with his hand, a loving grin plastered on his face.

Humming softly as Chan waited for Seungmin to come back.

. .

Seungmin finally arrived with a three damp cloth hanging on his shoulder while carrying a cup and a pitcher filled with water. He smiled lovingly at the both of you before setting down the water pitcher and cups at the nightstand.

He then moved closer to the both of you to wipe both of you clean. He started with Chan, thoroughly wiping his chest down to his abs before teasing him by pushing the buttplug deeper in his ass to which Chan let out a small whine too.

After that, he cleaned you up too by wiping the cum on your thighs and around your buttcheeks.

He started to finger your gaping hole slowly too, trying to remove any more excess cum that was left inside. While being fingered, you were biting your lips, trying to not moan at a sensitive part being touched.

He looked at both you and Chan sweetly, before leaning down to kiss you both at the forehead. “Such good babies, I have~” He said in a teasing tone.

Chan pouted, “I’m older than you, Minmin!!”, he glared at Seungmin which made him laugh, he then patted Chan’s head. “Doesn’t matter, pup~” You watched their interactions with a tired smile.

Before Seungmin remembered something earlier to which he turned to you, sitting on the bed. His smile turning flat. “So, I passed by the bakery earlier and your co-worker said something to me.”

You froze on the spot before looking at his cold eyes, “Why didn't you tell me that the other citizens treated you like shit and called you names?” He said, a small anger laced in his voice. — It was not directed at you though.

Silence.

Chan’s mouth hang agape a short while before he growled — taking into account what Seungmin said, “They do fucking what to you?” He snapped, venom clearly in his tone. Chan rarely gets mad and when he does expect a disaster.

Chan barely could contain himself as roots flowed out the walls and into the hallway, Seungmin looked over at Chan, “Channie, calm down.” His eyes flashing the same pink hue as earlier in the hallway encounter.

“Calm— What? Calm down? They treat him terribly, and you expect me to not choke them where they live?” Chan seethed, not happy at what Seungmin is doing — which is trying to stop him.

The roots on the walls enlarge and footsteps was audibly heard outside the walls of the room — possibly guards that were trying to run away to avoid getting trampled by the evergrowing vines

“I’ll deal with it, so don't worry. Just don't destroy the house okay?” Seungmin tried to reason as best as he can.

But Chan didn't stop still littering the whole room with dangerous roots and long vines. Angry Chan was a force to be reckoned with ans even Min had hard times to calm him down.

“Chan.” Seungmin had used his own ability now, wanting Chan to stop what he was doing — His jaw tightened in frustration while you sat there with fear at the conflict of your boyfriends.

Chan flinched slightly before growling lowly, challenging Seungmin, “Don’t you fucking dare use that on me outside of bed, Kim Seungmin.” he said darkly, glaring at black haired man.

“Bang Christopher fucking Chan. Wilt your plants, are you challenging me? ” Seungmin looked down at Chan with a dark pink flare at his eyes, displeased with the disrespect of the nature demigod.

Chan’s eyes slowly diluted back to normal and whimpered, his plants were now gone — turned into dust, he looked at Seungmin like a puppy that had been beaten up.

Seungmin sighed and sat back down on the bed, petting Chan is in his fragile state before he grabbed him so he could hold him properly.

He looked at you before speaking, “You’re gonna have a bodyguard with you at all times, I already assigned who. Hyunjin will detain anyone who bad-mouths you, okay?” Seungmin said clear as day.

“B— But-”

“No buts, Y/N. This is for your safety, not only physically but also emotionally. Plus, they can't get away with disrespecting what’s mine.” He fumed slightly.

Your eyes softened and rubbed his shoulder comfortably to soothe his anger. “Fine. But let’s sleep for now. Chan is tired, you’re tired, I’m also tired...” you whisper to him, hugging him before he laid Chan down to the bed.

Soon enough all of you fell into a comfortable sleep, you were hugging Chan as Seungmin was spooning the both of you. The fight earlier soon vanished like a wisp as the room fell into a comfortable silence.

. . .

Special Scene~:

“How dare you fucking touch me. I am a son of A— ow! ow!” The man getting cuffed by Hyunjin said out. Hyunjin made sure to tighten the cuffs more to make sure the rude customer felt discomfort.

“Do I look like I care? No. You are going to have jail time, bitch.” Hyunjin, a son of Nemesis sassed out as he grabbed his phone and dialed someone to come pick the detainee up.

You look over at Changbin at the scene you just witnessed, he looked back at you.

“Okay, but that’s kinda ho—”

“Changbin!” you look at him, secretly judging his word choices.

“What? It’s true..” Hades’ son trailed off.

[devilsskettle]

oh man i have a Lot of thoughts about the autopsy of jane doe, both positive and critical For Sure, i'd be SO excited to see your analysis of it! definitely keeping an eye out for that 👀

thanks! i'm working on something article-like to talk about the film and i don't know what i want to do with it yet lol but if i don't post it on here i'll definitely link it. it's mainly a discussion of gender in possession/occult films in the same way that carol clover describes in men, women, and chainsaws - that there are dual plot lines in occult films, usually gendered masculine and feminine respectively, where the "main" feminine plot (the actual possession) is actually a way to explore the "real" masculine plot (the emotional conflict of the "man in crisis" protagonist). typically the man in crisis is too masculine, or "closed" emotionally, where the woman is too "open," which is why she acts as the vehicle for the supernatural occurrence as well as the core emotions of the film. the man has to learn how to become more open (though if he becomes too open, like father karras in the exorcist, he has to die by the end - he has to find a happy medium, where he doesn't actually transgress gender expectations too much. clover calls this state the "new masculine," and we might apply the term "toxic masculinity" to the "closed" emotional state). part of the "opening up" feature of the story is that it allows men to be highly emotionally expressive in situations where they otherwise might not be allowed to, which is cathartic for the assumed primary audience of these films (young men). another feature of the genre is white science vs black magic (once you exhaust the scientific "rational" explanations, you have to accept that something magic is happening). the autopsy of jane doe does this even more than the films she discusses when she published the book in 1992 (the exorcist, poltergeist, christine, etc) because the supernaturally influenced young woman who becomes this kind of vehicle is more of an object than a character. she doesn't have a single line of dialogue or even blink for the entire runtime of the movie. the camerawork often pans to her as if to show her reactions to the events of the movie, which seems kind of pointless because it's the same reaction the whole time (none) but it allows the viewer to project anything they want onto her - from personal suffering to cunning and spite. 

compare again to the exorcist: is the story actually about regan mcneil? no. but do we care about her? sure (clover says no, but i think we at least feel for her situation lol). and do we get an idea of what she's like as a person? yes. even though her pain and her body are used narratively as a framework for karras' emotional/religious crisis, we at least see her as a person. both she and her mother are expendable to the "real" plot but they're very active in their roles in the "main" plot - our "jane doe" isn't afforded even that level of agency or identity. so. is that inherently sexist? well, no - if there were other women in the film who were part of the "real" plot, i would say that the presence of women with agency and identity demonstrate enough regard for the personhood of women to make the gender of the subject of the autopsy irrelevant. but there are none. of the three important women in the film, we have 1) an almost corpse, 2) an absent (dead) mother, and 3) a one dimensional girlfriend who is killed off for a man's character development/cathartic expression of emotions. all three are just platforms for the men in crisis of this narrative. 

and, to my surprise, much of the reception to the film is to embrace it as a feminist story because the witch is misconstrued as a badass, powerful, Strong Female Character girl boss type for getting revenge on the men who wronged her, with absolutely no consideration given to what the movie actually ends up saying about women. and the director has said that he embraces this interpretation, but never intended it. so like. of course you're going to embrace the interpretation that gives you critical acclaim and the moral high ground. but it's so fucking clear that it was never his intention to say anything about feminism, or women in general, or gender at all. so i find it very frustrating that people read the film that way because it's just. objectively wrong.

there's also things i want to say about this idea that clover talks about in a different chapter of the book when she discusses the country/city divide in a lot of horror (especially rape-revenge films) in which the writer intends the audience to identify with the city characters and be against the country characters (think of, like, house of 1000 corpses - there's pretty explicit socioeconomic regional tension between the evil country residents and the travelers from the city) but first, they have to address the real harm that the City (as a whole) has inflicted upon the Country (usually in the forms of environmental and economic destruction) so in order to justify the antagonization the country people are characterized by, their "retaliation" for these wrongs has to be so extreme and misdirected that we identify with the city people by default (if country men feel victimized by the City and react by attacking a city woman who isn't complicit in the crimes of the City in any of the violent, heinous ways horror movies employ, of course we won't sympathize with them). why am i bringing this up? well, clover says this idea is actually borrowed from the western genre, where native americans are the Villains even as white settlers commit genocide - so they characterize them as extremely savage and violent in order to justify violence against them (in fiction and in real life). the idea is to address the suffering of the Other and delegitimize it through extreme negative characterization (often, with both the people from the country and native americans, through negative stereotyping as well as their actions). so i think that shows how this idea is transferred between different genres and whatever group of people the writers want the viewers to be against, and in this movie it’s happening on the axis of gender instead of race, region, or class. obviously the victims of the salem witch trials suffered extreme injustice and physical violence (especially in the film as victim of the ritual the body clearly underwent) BUT by retaliating for the wrongs done to her, apparently (according to the main characters) at random, she's characterized as monstrous and dangerous and spiteful. her revenge is unjustified because it’s not targeted at the people who actually committed violence against her. they say that the ritual created the very thing it was trying to destroy - i.e. an evil witch. she becomes the thing we're supposed to be afraid of, not someone we’re supposed to sympathize with. she’s othered by this framework, not supported by it, so even if she’s afforded some power through her posthumous magical abilities, we the viewer are not supposed to root for her. if the viewer does sympathize with her, it’s in spite of the writing, not because of it. the main characters who we are intended to identify with feel only shallow sympathy for her, if any - even when they realize they’ve been cutting open a living person, they express shock and revulsion, but not regret. in fact, they go back and scalp her and take out her brain. after realizing that she’s alive! we’re intended to see this as an acceptable retaliation against the witch, not an act of extreme cruelty or at the very least a stupid idea lol. 

(also - i hate how much of a buzzword salem is in movies like this lol, nothing about her injuries or the story they “read” on her is even remotely similar to what happened in salem, except for the time period. i know they don’t explicitly say oh yeah, she was definitely from salem, but her injuries really aren’t characteristic of american executions of witches at all so i wish they hadn’t muddied the water by trying to point to an actual historical event. especially since i think the connotation of “witch” and the victims of witch trials has taken on a modern projection of feminism that doesn’t really make sense under any scrutiny. anyway)

not to mention the ending: what was the writer intending the audience to get from the ending? that the cycle of violence continues, and the witch’s revenge will move on and repeat the same violence in the next place, wherever she ends up. we’re supposed to feel bad for whoever her next victims will be. but what about her? i think the movie figures her maybe as triumphant, but she’s going to keep being passed around from morgue to morgue, and she’s going to be vivisected again and again, with no way to communicate her pain or her story. the framework of the story doesn’t allow for this ending to be tragic for her, though - clearly the tragedy lies with the father and son, finally having opened up to one another, unfortunately too late, and dying early, unjust deaths at the hands of this unknowable malignant entity. it doesn’t do justice to her (or the girlfriend, who seems to be nothing but collateral damage in all of this - in the ending sequence, when the police finds the carnage, it only shows them finding the bodies of the men. the girlfriend is as irrelevant to the conclusion as she is to the rest of the plot). 

but does this mean the autopsy of jane doe is a “bad” movie? i guess it depends on your perspective. ultimately, it’s one of those questions that i find myself asking when faced with certain kinds of stories that inevitably crop up often in our media: how much can we excuse a story for upholding regressive social norms (even unintentionally) before we have to discount the whole work? i don’t think the autopsy of jane doe warrants complete rejection for being “problematic” but i think the critical acclaim based on the idea that it’s a feminist film should be rejected. i still consider it a very interesting concept with strong acting and a lot of visual appeal, and it’s a very good piece of atmospheric horror. it’s does get a bit boring at certain points, but the core of the film is solid. it’s also not trying to be sexist, arguably it’s not overtly sexist at all, it’s just very very androcentric at the expense of its female characters, and i’m genuinely shocked that anyone would call it feminist. so sure, let’s not throw the baby out with the bath water, but let’s also be critical about how it’s using women as the stage for men’s emotional conflict 

also re: my description of this little project as “a film isn’t feminist just because there’s a woman’s name in the title” - i actually don’t want to skim over the fact that “jane doe” isn’t a real name. of the three women in the film, only one has a real name; the other two are referred to by names given to them by men. i’ll conclude on this note because i want to emphasize the lack of even very basic ways of recognizing individual identity afforded to women in this film. so yeah! the end! thanks for your consideration if you read this far! 

[phoneybeatlemania-bit-the-dust]

It annoys me when people complain about Julian and call him “whiny “. The person that John hurt the most throughout his whole life is his own son! I feel like this gets glossed over because he was more attentive to Sean “At least he was a good father to one of his children”. John failed Julian massively. Having Sean should’ve motivated him to try harder with Julian but I feel like it demotivated him because he realised how much of Julian’s life he missed and that made him feel bad about himself. Even in May’s book she says that John would’ve avoided Julian for the rest of his life to avoid feeling bad about himself & the choices he made with his life. And even when he got his visa he was happy to fly to other countries but not the country containing his son! I mean c’mon that’s very shitty and inexcusable. People can’t relate to John’s callous treatment of Julian so it’s downplayed and undermined by the excuse of “Oh well, John was better with Sean”. I know John appeared more motivated towards the end but doesn’t absolve him of the damage and pain he already caused to his son.

I try to understand John’s neglect of Julian from his perspective - I don’t want to excuse or justify it, but I still want to know what was going through his head to make him treat Julian the way he did - but I just can’t really understand it in the same way I feel like I can empathise with a lot of John’s other flaws. Like I feel like I can understand Johns mistreatment of certain people, or his mood swings, or his anger etc. But when it comes to Julian I struggle to understand him, and I just think its such a shame that Julian never got the closure he deserved with John. But I guess a few things to keep in mind when discussing this are:

1. Alfs abandonment

That Johns father, Alfred, abandoned him at such a young age, this might have affected John in such a way that made connecting with children a real challenge. Of course, he ideally still would’ve made an effort to connect with Julian more - but I guess that this was 1963, and he was someone who at this point had had absolutely no therapy. John’s own father I think was placed in an orphanage around the age of 5, so this neglect and abandonment appeared to be a bit of a cycle within the Lennon family-tree. Alf didn’t develop the neurones to be able to connect with his son the way a father ideally should be able to, and therefore John had trouble forming these connections too.

A real tragic story regarding this disconnect is one that ive heard Paul tell a few times (see this interview at 6:24 to hear him tell it). He essentially compares his ability to just naturally connect with children, to John’s inability to do the same; Paul grew up in a household where children and babies alike were around all the time - and in addition to this, there seemed to have been a lot more affection involved in his early environment compared to Johns. So when Paul was able to pal around at ease with Julian, John asked “How do you do that?” - and its unfortunately just not something you can just learn. I think John did want to be able to relate to Julian, and a part of him wanted to be a real dad - but I guess he just lacked the initiative to do so, as well as not having the needed facilities provided for him to be able to function as “good” parent (< or in other words, that man needed alottttttttt of therapy omg—)

2. Aunt Mimi’s coldness

I think by now its sort of been established that im not Mimi’s no. 1 fan - I don’t hate her, and I think she genuinely loved John, but ive been pretty critical of what I perceive her parenting style to be like. One aspect of this parenting style is that I think she was cold and deprecating towards John, which I presume took a toll on his relationships in such a way that made him susceptible to cynicism and even bitter contempt towards those he loved most.

“She never hit him: her worst punishment was to ignore him…When she did, he’d plead, ‘Don’t ‘nore me, Mimi!’” - I think that this type of parenting style could have effected the way John relates to Julian, perhaps making him feel it was okay to abandon him, maybe as a result of some unrecognised childhood angst or revenge.

Theres also a story where I think John said something to Julian a long the lines of, “I hate your laugh!”. Like, Jules was just some four year old living his life and then John, his own father, had this massive fucking mood swing. I feel bad for Julian cause my parents were like this (had random fucking mood swings and said some pretty contemptuous things) so I can empathise with him. At the same time though, I feel like I can understand John getting these mood swings (although, I don’t think that showing that kind of contempt towards a child is at all acceptable, and assuming that this sort of thing was a regular occurrence, I would say he was emotionally abusive towards Julian. Maybe John got these mood swings from Mimi (check this post for more on that).

3. Yoko’s influence and isolation

I think we first have to take into account here that John had a history of neglecting and failing Julian, and from what im aware of, he only started making contact with him again during his ‘Lost Weekend’ after being encouraged to do so by May Pang. So I don’t think we can make Yoko take all the blame for Johns neglect of Julian (and certainly not his emotional abuse towards Julian). But I think we have to also account for the fact that Julian has stated Yoko would refuse to put him through when he would ring his dad. And I just don’t know how much John had to do with that - as in, I don’t if John knew Yoko was isolating him to the extent that she did, or if he was unaware that she was rejecting several important and significant figures in his life.

For what its worth, Julia Baird wrote in her memoir of John urging (or really, begging) her to go to Cynthias house and ask Julian to phone him, because he hadn’t been able to get through to Julian, and he was trying to construct a better relationship with him around this time (this was before Sean was born, like you said, he seemed to lose motivation with Julian after Sean was born). I don’t know why Julian wasn’t taking his calls around this time - John seemed to think it had something to do with Cynthia, perhaps it was an autonomous decision made by Julian, perhaps it was entirely just a misunderstanding; I don’t know.

When it comes to Yoko, im conflicted - to some extent, I think John was being manipulated by her, and she was clearly isolating (even abusing) him - but also, he’s a grown man, and so he had to take the initiative for his own life. So I don’t know, but id say she is still partly responsible for spoiling Johns relationship with Julian.

~ ~ ~

At the end of the day, all I can really say is that John was just a classic case of parents needing therapy before they start, y’know, parenting - but it was 1963, and thats just not something most people underwent back then, especially people with more complex and unrecognised traumas, as well as mental illnesses that, whilst prevalent, may not have been so apparent. To clarify that point, I think John could function well-enough in his day to day life to be able to get by, because I don’t think his traits of mental illness tended to disrupt his life to such a degree that he could not function (at least not in 1963, though in later years, id argue more so they did; but even still, I don’t think John tended to struggle with mania or psychosis etc.) But I think he was still dealing with mental illness in a way that wrecked almost all meaningful relationships for him, as well as made feeling love and functioning as an emotionally stable and consistent person, a real hardship and challenge for him. And this inability to feel loved and cared for etc. made being a parent, quite simply, impractical. He needed therapy, and its a shame he died before ever receiving real therapy because it would’ve been interesting to see how John might have come to terms with really acknowledging his failures as a parent, and because Julian might have gotten some real closure with his dad.

All in all, I think Phillip Larkin said it best

[thewillowbends]

So I'm rewatching the first season and reading the book, and I've got Thoughts (TM)

And I've got a LOT of thoughts about what exactly Leigh Bardugo was doing here in terms of the moral and ethical statements of the narrative, so I'm putting it under the cut.

Something that's really glaring on the rewatch is just...the complete lack of compassion every character outside Aleksander has for the plight of the Grisha. The army treats treats them with reciprocal dislike, despite the fact that they couldn't even cross the Fold with the Inferni or Squallers. The tsar and tsarita treat them with condescension and disdain, clearly valuing them mainly as a utility that, historically, they've happily turned on when they felt they were growing too powerful. Baghra has just given up on trying to protect other Grisha who aren't immortal like her or Aleksander. Even Alina is guilty of othering them and has to be told off by multiple characters (Ivan, Aleksander, Baghra) to stop treating her power like a yoke instead of a responsibility and opportunity to help others.

We get this big, bad, armor-piercing line from her to Aleksander about how he doesn't care who suffers as long as he wins. Which is true to some extent, but...where is her compassion? Didn't we just spend a hefty portion of the narrative wanting to give her power away to somebody else so she can, what, be with her bestie? Meanwhile, there's, you know, an actual war going on. This isn't small stakes shit she sees going on around her. People are dying. We literally have an entire plot where we see a Grisha kidnapped, enslaved, and then sent to be put to death...who was given to the enemy by her own people!

And then we get that line from her in 1x07, only to have it followed up by her running away at the end of 1x08 for....why? Most people on the ship are dead or those that survived weren't his supporters. The people on the docks were killed, and most of them actually were traitors trying to kill Alina. Aleksander didn't lie about that. So she's running away to take the blame for some nebulous reason that's not really well explained, which is...well, what the fuck happens to the rest of the Grisha? Do we not care about how Aleksander's actions are going to reflect back on them and cause a potential backlash or something? Not to mention, nobody is on the other side to warn them that Aleksander is a threat to begin with. Even if you assumed he was dead, you'd definitely want to assume he likely had supporters back at the palace, too!

From a character writing perspective, I find it stupid that Aleksander doesn't tell her certain things because if he's such a big, bad, clever manipulator, he would absolutely be weaponizing his own pain and experiences to make her stumble in empathy. That's bad character writing to me when you're telling me somebody's an abusive villain but actually isn't using very real and effective abuser tactics. But then you also have Alina who refuses to even point out...Aleksander, I get it! I've talked to other Grisha! I see what you're going through! But this can't be the answer. You have to see this won't end well for you! Like, her own arguments make no sense to me. They're so myopic and self-involved.

One of the big things that bothers me that gets folded into Aleksander's other manipulations is this idea that he primarily associates and values her for her power, in contrast to Mal who primarily sees her for being herself. While I get the intent of that on a narrative level, in the scope of the wider story...it just literally makes no sense for Aleksander to parse those two as separate. Not when the whole reason Grisha are hunted down and killed is because they don't get the privilege of being people outside of their power. Aleksander doesn't get to be General Kirigan without also being the Darkling. Therefore, Alina doesn't get to be Sankta Alina without also being the Sun Summoner. Not a single other character gets to be relevant without being powerful.

Even on a narrative level, it makes no sense. One, it's frankly kind of sexist (when are male protagonists ever expected to be segregated from their power) and two...that's the whole reason we're telling her story! That's why she's the protagonist! She is special. She can't be separated from this unique power destiny has handed her. We don't tell stories about common, boring people; we tell stories about people who incite conflict or change. So even the mere concept to me of basing a character's identity or value around not wanting value is frankly kind of ridiculous.

There's just this strangely insidious underpinning to the story that power is inherently dangerous, even as it acknowledges that people who are NOT in power can very much suffer at the hands of those who do. So where's the moral and ethical reflection about what this means for the rest of us? What does that mean for minorities?

Think of the scene on the boat where Aleksander has Ivan kill off the nobility. The narrative wants you to see this moment as blackly humorous and awful, but stop for a moment and think about what happened there from his perspective. This is a man who spent centuries watching his people get killed and enslaved, and that isn't a false representation or manipulation from him, either. His statement is backed up both by what we see in the flashbacks and by other Grisha. Nobody created a safe haven for him and his people - he did that! He had to claw his way to the top, flatter, kill, and fuck his way through god knows how many noble houses, just to get to this moment where he could build a Little Palace. And it took him four hundred years just to get that! All while Grisha are dying!

And nobody did anything about it. Not the king, not the landholders, not even the peasantry. They were happy taking advantage of the Grisha's powers, of course, when Aleksander helped raise them up into a position of prominence, making them soldiers and enchanters. And even then, they're mocked! The army can't wait to get rid of them!

And then some noblewoman, who has enjoyed the benefits of her wealth and power, some of which were built on the backs of your people, sits there and tells you, the moment you take hold of the power everybody else has been grabbing for centuries, has the audacity to sit there and tell you that the world will hate Grisha and view him as a heretic?? When less than twenty years ago, your people were being killed right and left? When the enemy is still kidnapping and enslaving your people? When your own countrymen view you with fear and intrigue already? The audacity to sit there and frame it as a hypothetical when it's very much an actual reality still going on. Just look at the barely hidden seething rage and contempt on Barnes face when he delivers that quip about "needing to do that speech again." Motherfucker has been waiting YEARS for this moment, this revenge. And really, who can blame him...if you aren't wrapped up in the narrative wanting you to focus on just what he's doing to poor Alina.

The way the Grisha's situation is framed along with how the Darkling's descent into villainy is handled is so just incongruent to me. The pieces don't fit. You're asking me to see this man as completely irredeemable after you just showed me six episodes of Grisha being killed both for being what they are in the hopes of protecting Alina, after you showed me that Aleksander had already TRIED appealing to the protection of the crown by lending it his power, after making us see that lies and manipulation are the only way he and his mother have been able to survive as long as they have in a world that eradicated them. Where is the compassion in the narrative for that?

And okay, fine, you can do an irredeemable villain. You can do a Kilmonger-esque story with the Darkling, but that requires forcing your protagonists to empathize with the villain and change from it. But then I read ahead and...that doesn't happen?? She winds up walking away from it all at the end?? In fact, she even loses her power. And that's supposed to be a HAPPY ending? After we just saw how badly this minority was treated for how many centuries??

You know what it feels like? It feels like Leigh Bardugo read The Hunger Games, tried to replicate a Katniss, and then completely failed to understand the profound situational differences between her protagonist and that one. Katniss is a girl made extraordinary by her circumstances. She's not special herself other than the fact that she did the right thing at the right place at the right time and helped create the tipping point for a revolution that was already in the works before her. Katniss walking away from the world after makes sense because she's burned out after the war, but it also got its use from her. She helped make the revolution work; she showed up for the event while it was happening and did what she could. The situation was out of her control and power for the most part, and she still managed to rise the occasion.

Alina is NOT Katniss. She is inherently special. She is inherently powerful. She has the ability to create change and bring a new perspective that Aleksander has long given up on and which her country desperately needs. We know the world of the Hunger Games will be better because the creators of real change were always working behind the scenes behind Katniss. She was just their propaganda, their symbol. Alina is a symbol, but she is also a very real power. It's not an act of moral celebration for her to walk away from power at the end, namely because there's a whole minority class of people we still have to worry about. Putting a Grisha on the throne is no promise the country won't turn against them eventually, nor does that protect the hundreds of Grisha at the mercy of a superstitious peasantry and countries that will likely continue to invade them.

It's just...I dunno guys. It's frustrating because all the compelling elements are there in the characters and storyline, but it's like the author had a set of characters telling one story and then she had an entirely different plot in mind, and they just clash all over the place for me and become thematically inconsistent. But what really gets me is that she had seven years to think this shit over...and we're looking to get the same story all over again. Usually, it's a great thing to have an author involved in the show. This is a rare situation where I wonder if it hurts the chances of it improving.

[bigskydreaming]

Something else to keep in mind is the way things compound? Like for instance, I’ve seen a mini trend of fics lately focusing on the issue of Dick dropping out of college or not wanting to go, which for the record, I feel is another way of building up to the idea that he and Bruce have all these fights during this period that are two way streets instead of like....what canon actually was (reminder that in the canon that Dick actually dropped out he and Bruce actually were never really NOT on good terms, like there’s never been a big fight in the comics about this topic so.....incheresting).

But anyway, my point is its worth keeping in mind that how you frame something at one point in a narrative like.....ideally, you want it to mesh up and align with other things you’ve brought up throughout the narrative, and not accidentally contradict yourself narratively.

I mean, this is really the big gripe most Dick Grayson fans have with his fanon characterization overall:

The fact that it just doesn’t make sense.

In Jason-centric fics that are after his resurrection, how often is Jason utterly convinced that Dick can’t even wipe his ass without Bruce’s approval? And yet in Jason-centric fics that are before his death, how often is Jason thinking about how Dick and Bruce are constantly fighting and Bruce can’t seem to do anything without Dick objecting? Reconcile these two things. They make no sense.

Same thing with fics that talk about Dick being the emotional glue of the family, the one keeping a cool head to calm down everyone else when they’re all taking shots at each other.....until randomly he just pops off without warning because he’s just that hot-tempered. These things mesh, how?

Same thing with Dick being frequently referenced as idealized by the hero community......but every time he interacts with someone like Roy or Kori or other Titans he can’t seem to avoid pissing them off and creating epic grudges. Make it make sense.

Or how Dick disliked or didn’t care about Jason to the extent that he only references him as a cautionary tale because of one line in canon......but the whole damn story where he kills the Joker because of Jason doesn’t count.

Or how its not okay to blame Dick for his own rapes but both of his major breakups which are intrinsically linked to the actions of his rapists like....were clearly and objectively all his fault somehow.

Dick Grayson fans aren’t on board with most of fanon because you can’t sell people on a constantly conflicting characterization that makes no sense and has no internal consistency.....you can only cater to people who don’t NEED to be sold on that because they’ve already decided they’re down with hating a character or largely ignoring him.

And I think people have gotten so used to not thinking twice about contradictory takes on Dick Grayson that they unintentionally undermine their own fics by contradicting themselves without even realizing it.

Like its ridiculously common to come across fics that reference Dick being beloved and charming everyone at the society galas they all have to go to.....but these fics take pot shots at Dick’s name, fashion, mannerisms etc all throughout it just because the author likes it or fans expect it or whatever reason.

But actually THINK about it:

Think how snobby the socialites at these galas are characterized as being any time its Jason their noses are turned down at.....and then look at like.....the constant jokes you as the author make YOURSELF at Dick’s very name, fashion and circus origins......how on Earth does it make ANY sense that these same people aren’t doing the same damn thing about Dick? That they’re actually any more fond of him than they are Jason, if no matter how charming he might be in the moment, the second he turns around its just as easy and likely for them to make a joke about his circus background or name as it is for writers and readers? If you can’t resist doing it, you really think snobby one percenters would bother in-universe?

Hell, they’d be more likely to hate him BECAUSE of his name, his fashion, etc.....because think of how often people not so subtly infer that he’s making a bad choice when he refuses to go by a different name, or dress more accordingly to normal fashions, etc.....

Dick has a million ways he could more easily fit in with the society he was brought into and ease his passage through it, but he puts his foot down at practically every opportunity. The idea that everybody is just dazzled by him at these galas makes no sense because the most consistent character choice made by Dick throughout the decades is that he refuses to CONFORM to others’ expectations of what he should be like. 

EVERY SINGLE CHOICE he makes from his name to his wardrobe to his costumes to his education to his city to his living arrangements and on and on is in complete and utter DEFIANCE of what people expect of the eldest son or ward of Bruce Wayne, Prince of Gotham, and that’s by Dick’s conscious and consistent choice. He knows damn well how to be more what people want or expect of him, and that’s not what he wants so he says mmmm but also how bout no.

Dick constantly embodies the idea that you can take the boy out of the circus but you can not and will not take the circus out of the boy no matter what environment you place him in or who you surround him with. He will not allow it. He will not play along.

In what universe is that going to endear him to the very people who would most likely view his choice to prioritize the very things they look down upon as something he consciously PREFERS over their projected expectations or assumptions?

Its not.

Personally, I think Gotham high society despises Dick Grayson no matter what they pretend to his face, and he’s perfectly aware of it. And probably gets some kind of trollish glee out of it because fuck them too, anyway.

(And all of that is WITHOUT even taking into account the fact that a good number of the people at these society galas all along were looking at Dick as their future property, given that they were Owl members who knew all along what they intended for their Gray Son. These people simply do not view and treat Dick as an equal. Its impossible. There’s no way).

Or then back to the idea of Bruce and Dick’s fights in his later teenage years being a two way street....

The core problem at the root of all this is the very idea of a two way street implies a certain give and take. A clashing of equals.

And that’s just not the reality in ANY continuity.

Because the question is, in any given fight between Dick and Bruce in ANY canon....

When does Dick ever WIN these fights?

When does Dick get the outcome he wants OVER what Bruce wants? When does Bruce ever cave? When is it NOT Dick leaving the manor without getting what he came for, or even being kicked out? When has Dick ever been able to say no, I’m NOT fired, or no, I’m NOT giving you control over what happens with Robin. Even when he DOES confront Bruce on these matters, Bruce STILL infamously never caves. He never actually apologizes or admits wrongdoing, he still usually tells Dick to leave. Like I said, basically the only time Dick’s ever got the upper hand in an argument was over the college thing and that time it wasn’t even a fight! Bruce didn’t actually care that much! That was the good timeline! LOL.

But there’s never actually a reversal. There’s no real precedent for Bruce caving to a teenage Dick Grayson and saying hey you know what, you’re right here, I’m overstepping or I’m in the wrong or I’m the one who doesn’t know what he’s talking about because our divergent life experiences here have mine as less relevant to the issue in question than yours do?

It doesn’t happen.

And here’s the problem with that:

Dick’s a literal genius. Every member of the Batfam is. Its how they’re able to do what they do. They’re ALL smart as fuck, capable as fuck. Put any of them in any other situation where they’re the only Bat present, and everyone usually defaults to them. They know what to do, they know what call to make, their approach is borne out by the narrative as being the correct approach. Their intelligence and strategy is validated by the narrative, with Dick being no exception here. In fact he’s particularly NOTED within canon narratives for being the guy everyone in the DC universe trusts to lead them.

Now.....imagine being this guy, who while although still a teenager, is in his late teens, and has YEARS of leading his own team under his belt. Years of being responsible for the lives of teammates and civilians. Years of becoming aware of and comfortable with his own natural brilliance. Years of becoming confident in being capable of making the right call when the situation demands it. Years of learning to TRUST in his ability to make the right call, to know the right approach, because not only are people relying on him to make those calls, he needs to be able to trust he can make them in order to have the confidence to follow through and DO so instead of being frozen with indecision or trying to pass the decision off to someone else, which he NEVER does?

With all that....and even with all due respect to Bruce’s own genius and experience....

What are the chances that in all the times that Bruce and Dick clash in his late teenage years....

Dick is NEVER right?

And yet.....when in any of these conflicts.....is he ever validated in that, versus shut down by Bruce who insists his way is still right?

Imagine being an acknowledged genius with years of experience and responsibility under your belt, but NEVER getting to be right in any arguments with your father, even when just based off pure freaking statistics, its frankly impossible for you to be 100% wrong EVERY SINGLE TIME?

Do you see where the two way street thing starts to fall apart? How can it truly be a two way street if part of the reason the two of them so often end UP aggressively opposed to each other during this time period.....is because of how many times previous encounters have only ended ONE way no matter WHAT?

It makes sense for Dick and Bruce not to clash as much during their younger years, because even the most stubborn kids do understand on a fundamental level that they have things to learn from more experienced adults. And Dick has never been someone mindlessly predisposed towards conflict. He didn’t become an exceptional acrobat by the age of eight by butting heads with his parents every time they tried to teach him, he couldn’t have. He KNOWS how to listen, he KNOWS how to acknowledge when someone else is right. 

But as he grows older, when he has more and more experience under his belt, more and more confidence in his own insights in large parts thanks to Bruce’s own efforts in buttressing his confidence in his younger years.....what happens when the balance of who is right and who is wrong in their arguments NEVER EVER starts to shift in his direction even a little bit, no matter HOW much more experienced he seems to get....and what happens when communicating this problem, this imbalance, to the person that really matters here, Bruce himself....still inherently requires Bruce accepting blame and acknowledging even just in THIS case, the idea that he’s not always right at this point and Dick has insights that can challenge his?

Of course there’s going to be more and more conflict....but can you truly argue that its a two way street, even just based off THIS? Is the teenage son truly to blame for being frustrated that he’s not allowed to ever be right, because the thing getting in his way is his father never ever being willing to back down or cave or not have the last word?

This is the sort of inherent contradiction I think lies at the heart of a lot of conflicting viewpoints here. It doesn’t matter how much lip service is being paid to the idea that Dick is intelligent, that Dick is respected, if all your content continually bears out the idea that actually no he’s not, because Bruce is always right, Dick never is in the right in arguments or conflicts.

The latter evidence just is not aligning with the former claims, and thus readers are innately forced to make a choice as to which to believe.....and more likely than not, they’re going to err on the side of substantiating whichever stance actually has more narrative support behind it, in any particular story.

See what I’m saying?

You need to make sure your story is ACTUALLY saying what you think you’re saying or you intended to say....or you end up undermining your own intentions.

Anyway. Just throwing that out there. 

[its-our-paris]

Adding on to the previous anon, it seems the problem a lot of people have is that he’s not the ‘perfect victim’ which is absolutely bullshit. Just because he said some gross stuff in private, abused drugs and drank alcohol, wasn’t completely meek or subservient or bent to her every whim without ever standing up to her, doesn’t mean he’s not a victim or that he doesn’t deserve justice. (See: people seeing the video of him yelling and slamming cabinets after learning his mother had died and his managers had stolen millions of his money or hearing that he punched a whiteboard and immediately going ‘see he’s a violent woman beater!’) and this applies to addicts too. It’s all ‘addiction is a disease, addicts need our support’ until they relapse or display self destructive behaviour or the recovery process isn’t 100% smooth sailing.

Her lawyers and a lot of people seem to hone in on his addiction and equate it with ‘abuser’ and that is extremely problematic. People who struggle with substance abuse aren’t necessarily abusers for fuck’s sake. And I know her lawyers keep beating this dead horse because they have close to nothing. He was self medicating with opiates since he experienced DV as a child and multiple people said his behaviour is largely the same no matter sober or under influence.

Obviously he has some unhealthy coping mechanisms and unresolved traumas that have influenced how he behaves and functions in life and in relationships. He did say he ‘married his (abusive) mother’. He’s conflict avoidant and likes to escape altercation which directly set her off bc her greatest fear is him leaving her and she equates him ‘splitting’ to him not caring about her or the relationship and ‘not fighting for her’ (she also experienced DV as a child). Not excusing her actions ofc, she’s a massive narcissistic manipulator like anon said but yeah this relationship is extremely toxic.

However so far from the info that’s been made public, Johnny Depp seems self aware and mostly harmful to himself and tries hard to not let his problems negatively affect other people in his life.

TLDR; no one needs to fit whomever’s ‘perfect victim’ profile to be listened to and believed. Victims are allowed to be flawed humans and still deserve our compassion and help.

Here's the thing. I'm really not going to argue that Johnny doesn't seem like a pretty difficult, traumatised person to begin with. He sure does, traumatic childhood to match and everything. And equally, Amber also clearly is not very okay in a lot of ways. Unfortunately, people who are struggling with past trauma are usually the ones more likely to fall into toxic relationships. Few people with a completely healthy, strong sense of self-worth and the ability to form secure bonds will find themselves in abusive relationships, will find themselves becoming abusive in relationships, etc.

However, like you say, just the fact that somebody has issues, that somebody is addicted to drugs or alcohol, does not automatically make that person an abuser.

The fact is that what I'm getting from the audios, is predominantly Johnny trying to get away from her, physically, and Amber escalating fights physically. That makes him the more self-aware, reasonable person here. "I will try to get myself away from you because a) I don't feel safe and b) I don't want to do something I will regret" is the most sane thing to do in a situation where your partner is becoming physically violent, especially in the case of a man who is aware he has the physical strength to hurt his female partner easily, if he wanted to. She just does come across - I mean some of the things she says even, apart from the physical assault, about him as a father and his children, as a parent, that's... that is low, you just do not - she comes across as somebody who provokes a lot. Somebody who tries to convince her partner that her version of events is true, and his is false, in spite of what he knows to be true (gaslighting, hello) a lot.

So, yes. Her image, on the outside, is far cleaner. He's kind of a messed up guy. Not a "perfect victim", likely not even always the victim at all in every fight they had. But this trial is about the fact that she ruined his reputation by depicting herself as 100% the victim, and as far as I'm seeing, that is not even remotely true.

[adifferenttime]

Andrew Ryan vs. Robert House

On almost every House post I make, someone in the notes will reliably reference Andrew Ryan. I totally get it - they look similar, they're based on the same guy, the parallels are so clear that the NV dev team added an achievement for killing House with a golf club - but I think these commonalities tend to engulf both characters, blotting out some of their more interesting ideological/personal differences. It's useful to examine them in relation to one another, but part of that is figuring out what distinguishes them, which is just what I’ve attempted to do.

It's difficult for me to talk about Randian objectivism because I don't think it's sound enough to address on its own terms, but considering this is the philosophy Andrew Ryan has adopted, I kind of have to. What I’d identify as the core premise of Randian ethics is this: altruism is a moral wrong. Some Randians have argued that isn't really what they believe - that the real point is anything resembling altruism is self-interest in disguise - but they're departing from the beliefs of their icon when they make those claims. Per Rand:

The irreducible primary of altruism, the basic absolute is self-sacrifice – which means self-immolation, self-abnegation, self-denial, self-destruction – which means the self as a standard of evil, the selfless as a standard of the good.

The way Rand defines altruism is by linking it to self-sacrifice, which she uses to differentiate it from kindness or benevolence. Aiding others at no cost to yourself is benevolent, but not altruistic, and therefore not evil. Sacrificing your happiness to help another human being is, from Rand's perspective, evil, as is any philosophy that prioritizes the other at the cost of the self. This whole idea has been broadly rejected by most scholars on account of it being really fucking stupid. What justifies the leap from "man is naturally selfish" to "selfishness is good"? If selfishness is moral, wouldn't the most moral behavior be to exploit others through whatever means necessary, favoring force over the market? Rand defines happiness as "using your mind’s fullest power," achievable only when you "do not consider the pleasure of others as the goal," but why is this the only definition? What if your only options are self-sacrificial in nature? How do you weigh them if neither sacrifice is linked to values, individual achievement, or "your mind's fullest power" at all? Rand didn't care because she was too busy trying to ethically justify cheating on her man with her best friend's husband, but nonetheless, this is the philosophy Andrew Ryan’s adopted. He claims that "Altruism is the root of all Wickedness," in what's almost a direct quote from Rand herself.

To that end, Ryan builds a system that doesn’t just accept selfishness but actively incentivizes it. Every other principle he expresses is subservient to the ideas that selfishness rules man, and that for Ryan to act on his own selfish impulses is the highest good in the world. His lesser political principles (individual liberties, negative rights, the creation of a stateless society) don’t matter to him as much as the central precept from which they stem: that selfishness is his moral imperative.

What is the greatest lie every created? What is the most vicious obscenity ever perpetrated on mankind? Slavery? The Holocaust? Dictatorship? No. It's the tool with which all that wickedness is built: altruism.

It doesn't come as a particular surprise to me when he starts imprisoning dissidents or executing rivals or banning theft (standard practice in most societies, but not what an egoist would pursue; if you can get away with taking it, you deserve to have it, or so the thinking goes). I’ve seen him described as a hypocrite, but I don’t think that’s necessarily true considering everything he does is in line with his opposition to altruism. He'll adhere to his other principles only if they don’t sabotage his pursuit of personal power. This is evident in the fact that he only adopts a negative perception of Fontaine when his own interests are threatened, but doesn’t give two shits what Fontaine might be doing to sow conflict and harm people before that point. A guy named Gregory asks Ryan to step in against Fontaine early on before Fontaine's fully established himself as a threat to Ryan's power, and Ryan's extremely blase about it.

Don't expect me to punish citizens for showing a little initiative. If you don't like what Fontaine is doing, well, I suggest you find a way to offer a better product.

Contrast this with how he reacts when Fontaine has risen as a genuine business rival. This is from the log titled "Fontaine Must Go."

Something must be done about Fontaine. While I was buying buildings and fish futures, he was cornering the market on genotypes and nucleotide sequences. Rapture is transforming before my eyes. The Great Chain is pulling away from me.

This double standard is the natural outgrowth of his prioritization of self-interest. If your most deeply-held belief is that you should never give up your interests for others, ancillary rules become flexible in times of personal crisis, and Bioshock makes the case that putting someone like that in charge of a city will leave you with a crumbling, monstrous ruin.

Superficially, House has some similarities. Ryan executes political rivals; House has you blow up a bunker of his ideological opponents. Ryan is the highest authority in Rapture; House is the absolute monarch of Vegas. Their goals and moral codes, though, are almost diametrically opposed. When you ask House why you’re expected to trust him when he’s openly admitting to installing himself as the despot of the New Vegas Strip, he says this:

I have no interest in abusing others... Nor have I any interest in being worshipped as some kind of machine-god messiah. I am impervious to such corrupting ambitions.

Most of his resources are devoted to large-scale, impersonal projects, aimed either at building the power of Vegas or securing his long term goal of “progress” as he sees it. He’s rejected selfishness as a moral good because House is very far from Randian objectivism. He's a Hobbesian monarch.

In that respect, he shares an outlook on human nature with Ryan that I deeply disagree with (that human beings are essentially selfish), but in terms of what that means for the structure of a utopian society, House takes a very different position. From his perspective, human nature breeds suffering, not industriousness, and the only way to stamp out conflict - and, in a post-nuclear age, ensure the continued survival of the human race - is through a strong sovereign. The purpose of a state as laid out in Leviathan aligns very, very closely with the one House expresses.

...the foresight of their own preservation, and of a more contented life thereby; that is to say, of getting themselves out from that miserable condition of war which is necessarily consequent, as hath been shown, to the natural passions of men...

The monarch's successes are reflected in his society and the well-being of humanity as a whole. To subvert his goals is to subvert society's goals, and to doom humanity to the war, death, and suffering that exist in a state of nature. When you destroy his Securitrons/kill him, he doesn't plead for himself or get offended on his own behalf. He accuses you of betraying not him, but mankind.

Single-handedly, you've brought mankind's best hopes of forward progress crashing down. No punishment would be too severe. Fool... to let... personalities... derail future... of mankind? ...Stupid! Slavery... the future of... mankind? What... have you... done?

An important corollary of this idea which again distinguishes House from Ryan appears in Leviathan’s description of the political/moral responsibility of a monarch to his subjects:

...that great Leviathan, or rather, to speak more reverently, of that mortal god to which we owe, under the immortal God, our peace and defence. For by this authority... he hath the use of so much power that, by terror thereof, he is enabled to form the wills of them all, to peace at home, and mutual aid against their enemies abroad.

Hobbes and House give the monarch virtually unlimited power but match it to the monarch's duty, which he lives to fulfill. His obligation is to speak for the people, act for them, and protect them from all threats, internal and external. House generally abides by this, orienting his decisions around his goals for society irrespective of the personal cost (the negative consequences of his actions are a product of his fucked evaluations of what’s best for society, not personal greed). It’s not just a departure from Ryan’s philosophy but a complete refutation of it. He's almost died for what he's misidentified as the greatest good.

Given that I had to make do with buggy software, the outcome could have been worse. I nearly died as it was…. I spent the next few decades in a veritable coma.

This is not the behavior of an egoist. This is the behavior of an extremely arrogant but marginally altruistic (from a Randian perspective lmao) guy. This is some distorted “from each according to his ability” shit if you’ve managed to convince yourself your abilities exceed those of everyone else who has ever lived and that you can get the Mandate of Heaven by being really good at statistics.

The reason these guys develop such similar structures and hierarchies despite the ideological gulfs between them is because both of them are elitists who’ve experienced a massive failure of self-consciousness. They’re unable to conceive of other people as being fundamentally like them. Ryan separates people into the clearly-delineated classes of “producer” and “parasite,” ignoring the fact that everything he’s ever “produced” was reliant on a huge, coordinated effort between workers, architects, accountants, middlemen, and others, all of whom, in conjunction, contributed more to the realization of his dreams that he ever could have alone. Rather than realizing his own position is more parasitic and reliant on other people’s labor than that of anyone else in Rapture, he adheres to his doctrine of selfishness even when it’s not reflective of reality and is ruining the the lives of an entire city of people. He deludes himself into believing he’s a superman among ants instead of one flawed man who is reliant on the goodwill of others to help him survive, as are we all.

House, too, thinks he’s exceptional. Unlike Ryan, he acknowledges the necessity of the worker to a functioning society, but while he’ll accept his reliance on that labor, he doesn’t trust the laborer enough to share political power. House knows he’s invested in humanity’s survival and the creation of a better world, but he refuses to consider that he might not be alone in this goal. He chalks up the existence of the Legion to fanaticism/the ambitions of a sultanistic dictator and attributes everything the NCR has done to greed, without it ever occurring to him that the massive harm these nations have done was partially motivated by the same goals he’s devoted himself to - and that the atrocities he’s committed since his rise to power are, in some respects, very similar. House knows himself to be invested in the well-being of humanity, but he’s too arrogant to ask himself if his methods are wrong or trust other people to build a new path, one that doesn’t necessitate his complete control over the land and people of the Mojave. Ryan and House’s worldviews are distinct, and their flaws, as highlighted by their respective narratives, say some interesting things about how each set of devs view power and the pitfalls of elitism.

Anyway. If you put these two men in a room, they would probably try to murder each other, and I think that’s great.