#i mean like. personal stories and opinions and shit

[gay-furry-poseidon-lover]

All of this is very fair, and good to read about. Though I do think Op has a point about the black and white of how people treat Epic's Odysseus verses anyone who gets in his way, and how hypocritical the treatment of Calypso specifically is if you look at how like. Any man in greek myths is treated. I believe Odysseus took women as slaves on his ship in The Illiad. Sometimes its someone else but he is one of the people who said they must kill the son of Hector, he dropped this baby off of a wall. Sure you can argue "it was willed by Zues," but I dont think that makes it any better morally. When he gets home he commands that an unfaithful servant be strung up and tortured untill death, as well as killing every female servant who was unfaithful to him. We dont neccesarily know to what degree, or even if engagement with the suitors was consensual. But all of this is to say that there really is no true good or evil character. I say all of these things as someone who really enjoys the Odyssey and Odysseus. We can recognize that acting in the ways he did would not be okay or acceptable in our society today, but we still tell his story and praise him for his loyalty and endurance.

Epic is a work of fiction inspired by The Odyssey. It is not meant to follow it exactly, nor portray an accurate example of how the story plays out in the book, and we must keep this in mind. In greek myth there are many versions of each story, many differing translations and interpretations, and long before they were written down they were passed on through oral tradition. I approach this with the mind that with each new retelling we learn about the time it was written, and what biases a translator or story teller may have let leak into it. Not that they are neccesarily false, just different, and products of different people.

A persons first introduction to Calypso will certainly influence their opinions on her as she is present in many different pieces of media. And what i think is most important is that we remember she is fictional. She's a goddess, a nymph, someone that exists only in the stories we tell. And the same with Odysseus. Its very likely writers took inspirations from real heroes and their experiences, but the Odysseus we know today is not a real person. Neither him nor Calypso are personally affected by the things we say about them. You can't conflate theorizing about the different possibilities of how an ancient story went with say, denying the story of a modern victim of rape. These are very different things in very different contexts. I thought fans of greek myth would be on the same page about this, what with the plentiful rape, incest, murder, slavery, and beastiality described in myths. But apparantly it needs to be said that enjoying stories that contain violence and crimes like these does not mean you condone or support these actions taking place in our modern society.

People are free to talk about Zues and enjoy his character without constantly giving disclaimers that we can never forgive him and he has done bad things. Because we know that, its established, its clear. People dont accuse you of being a rape sympathizer or being into fucking cows just because you mention Zues. Hes low hanging fruit though. Hera, Aphrodite, Artemis and Apollo, theyve all done horrific shit. But we dont immediately critisize anyone who talks of them fondly. Achilles did it with a corpse cause he thought she was just that beautiful. Obviously thats gross and bad. Liking his stories doesnt automatically mean you agree with that.

I'm not on tiktok (thank god) but ive seen a couple videos and posts that are very black and white. Calypso is an evil abusor and if you like her than you support abuse and rape. It's annoying as hell. I've been abused, ive been in coercive sexual relationships, I know first hand that thats bad. Duh. And if you find comfort in relating to Odysseus because of your own experiences, and that leads you to hate Calypso, thats okay. If people talking about Calypso is upsetting or triggering to you, don't engage with it by all means. Take care of yourself. Block, hit not interested, scroll away.

But what you should not do is tell random people on the internet that they are as bad as rapist abusors because they were talking about the one sided love of a nymph goddess and a mortal man in a musical inspired by anime and video games.

People are able to sepparate fiction from reality with so many other characters, why is it that Calypso is such a controversial one. Her character, and her backstory, have so much to explore and think about, and we can do that without believing that she is without any flaws or faults.

Think of her what you want, say about her what you want. Just stop projecting whatever beliefs you have about what it means to enjoy a fictional character onto everyone who disagrees with you. If you are do passionate about justice for victims, go outside, engage with local communities, see a friend, see a therapist. Speak out about the real, alive abusors and rapists who hold positions of power in our world right now. That will bring much more good to the world than starting discourse on tiktok, I promise you. (not directed at op or reblogger, but for people in general.)

Something I'm starting to notice about this fandom; y'all can like Epic's version of Odysseus without trying to paint Calypso as a rapist.

Odysseus in the original tale did cheat on his wife. Several times. And there's nothing wrong with acknowledging that. But trying to paint him as blameless and all the other women as rapists for seducing him is not the winning move y'all think it is.

Like Tiktok is becoming the worst when it comes to the topic of Calypso.

[bisnes-socks]

i've read people's thoughts on the album as a whole and i've analysed most of the songs myself by now, so here's my thoughts on the whole people's champion album.

1. in ready to go, well he is just that, ready to go and try, even if he fails. he's not afraid and going forward and doing his thing is what he intends to do and what he loves to do. he has agency over his career and image, autonomy over himself.

my longer and more in depth song analysis posts are linked here in the text.

i personally don't think the album has a single narrative through it. the songs are thematically connected, but it's not one chronological and cohesive story to me. i've seen people speaking a lot on the theme of agency. i'd agree, that agency and autonomy are the major themes of the album, but i would specify that in my opinion, it's about finding and claiming agency. i think he has agency in almost every single song, but it's about him realising that he does have it, even when it feels like he doesn't, and him finding it and holding on to it.

2. in cha cha cha, he's talking about different sides of himself. in this song the two aren't necessarily living in perfect harmony, because one man needs piña coladas to coax him out, but both are.. intentional. and ultimately it's about finding the bravery to be who you are, which he is always advocating for and has really succeeded in, it seems.

3. in takavoltti, yes he is being sort of incited into crazy shit, but he absolutely recognises himself as a person who just.. gets into crazy shit easily. this side of him is also very present in mic mac. he's not bullied or abused into insane stunts and things, he recognises his own agency and both mental and physical autonomy in all of it by comparing himself to the dudesons etc. i think the song recognises the toxicity of the situation, but he's in control of it - as much as you are in control of your own personality and impulses.

4. ruoska is getting into the territory of maybe lacking some agency - life treats him harshly sometimes, and maybe he feels a bit powerless in front of all that. but then! he claims agency, by essentially going well yeah this hurts but hehe i'm into pain bitch. he literally says "baby hei mä oon valmis, anna tulla" meaning i'm ready, give it to me.

5. in kot kot i feel like he is at his most helpless. he's trying to control his situation by running away from things, trying to dance his worries away, but it's all crumbling down. in this one his agency in the situation is pretend.

7. in sex = money he is taking back like aaaalll of his agency and autonomy. his image, his work, his power, his role, his personality, his sexuality. autonomous agency anthem! he doesn't give a fuck! let's make sex moneyyy. BUT at the same time the song recognises the risks concerning agency and autonomy in the world of music, where selling sex is so prevalent. i think he is choosing to hold on to his.

6. in skit + autiomaa, he has lost agency and control over his life yes, but he is learning to find it again. he is listing things that he has done, to help himself feel better and to improve. it might not help (immediately anyway) but he's doing it. and he has thought about it, he has sought for help, he has sought for solutions, he has taken the steps. he is actively trying to help himself. i think that makes the song all the more emotional and sad, but it is not without hope, it's not without his own personal action for himself, and not without progress.

8. bananas is more about togetherness and collectivity i think. but i think it's also a song where he is truly enjoying himself. feeling himself, you know? if kot kot is a pretty sad song about partying, this one is pretty sexy. he's feeling like the hottest boy at the club, you know? truly into himself and into his crew and everything they get up to.

9. huhhahhei is about new connections. making the choice to be open and even vulnerable with new people. setting your own boundaries and giving yourself the permission to enjoy new people. self-confidence! 

10. in icip, he's not so much in control of things that happen to him, but he doesn't seem to be toooo bothered about it. which i find quite fitting. he sees things for what they are but he doesn't seem insecure or scared about any of it.

11. people's champion is a recap of him finding himself in a whole new situation and finding his footing in all of it - and recognising the help he has had along the way, while also being proud of everything he himself has achieved.

so overall, i think thematically this album is quite heavy, maybe dark even, but to me, it's not a sad album specifically. he comes across as someone incredibly tenacious. he's able to stay very strong, and he is able to recognise when things aren't going great. i think ultimately, the album is him going through life changing events, both good things and bad things, and coming out on the other side stronger and wiser than ever. it's an album of many emotions, but at the end of the day, he persists. and naming it people's champion, the single tear on the cover.. he's facing it all, taking it all head on, claiming his pride and moving forward. he's strong.

it's a powerful album.

[watery-melon-baller]

i don't wanna share responses ive gotten for my toh fandom survey bc of privacy (the survey is anonymous for the record) but sometimes I wish i could because some of them are very, very funny

[novantinuum]

gnawing at the bars of my cage

can we please Stop telling SU blind reactors all the fandom drama and SU crit that came out of every episode so we can allow them to just enjoy the show like a normal person at their own leisure and make their Own opinions thank u

[hulloitsdani]

It’s time for the big one. Book 3!!! My beloved!!!

Okay I’m coming out swinging with this one, but I think I liked book 2 better— HEY put those pitchforks down let me explain myself.

I think, as a first time read, book 3 is really god damn good. There’s genuinely so much to love about it and it marked the moment I personally fell in love with Heroes. The way it expands on the world and takes advantage of FEH’s setting is fantastic, the aesthetic is hands down the best one, and many other things that I’ll dig further into in just a moment. HOWEVER, Book 3 has a pacing problem. And it unfortunately becomes really obvious on a second watch, because you��re already aware of the major twist.

The first five chapters? Gold. Pure gold. Inject the awkward family dinner dynamic directly into my veins. But once we’re in the realm of the dead? Ehhhh the pacing gets a bit more meandering. It’s not as tight in comparison to Book 2. I think the only time book 2’s narrative drags a little is with Loki’s among us shenanigans, but even then it’s not that bad. Outside of that? We are on a rollercoaster and it is not slowing down. Book 3, in my opinion, needs to take notes from that.

Let’s us Helbindi as an example. The reason why his character is effective, despite his limited screen time, is because the story is making full use of Leagjarn and Leavatein’s character building scenes. It’s not only building their dynamic, it’s also building his character. It’s creating the context necessary for us to understand exactly what it means when we learn that he has a younger sister that he is trying to care for in Múspell under Surtr. Book 3 lacks those multipurpose scenes. Most are exactly what they say on the tin. This greatly dampers its ability to juggle our cast of colorful characters in its short timeframe. And perhaps there is no bigger example of that than the character of Eir.

Eir almost feels like she could be cut for the narrative altogether, which is a shame, because man I like her. She deserves a more fleshed out narrative about overcoming her abuse and traumas. In the same way that I’m invested in Fjorm’s vengeance against Surtr, I want to be invested in Eir growing out of Hel’s control. But unfortunately the two characters we mainly see her interacting with is Líf (which are good scenes) and Kiran, you know, our silent protagonist. And Eir herself is pretty quiet. Not exactly a good mix for effectively communicating a lot about her character quickly.

Ironically, there’s a scene in chapter 1 part 5 where Anna is suspicious of Eir and is grilling into her, and it’s honestly a way more interesting dynamic. It’s immediately dropped as other plot developments occur, which is a damn shame because I think that could have been a fun answer to this conundrum. Anna could start suspicious, then immediately feel really bad about being suspicious upon learning what Eir has gone through, but then has those suspicions confirmed when it’s revealed that Eir was ordered to betray them. It would both make sense for Anna to pick up on this threat given the Order’s history and it might also make Eir putting all her cards on the table a lot more impactful.

But that’s enough criticism, because my guys, it’s book 3. Like holy shit I love book 3. If you enjoy FEH, you don’t need me to sell you on book 3. Book 3 gave us Líf. Líf is a sad wet cat of a man and I adore every second he’s on screen. The way he recontextualizes Alfonse and his dynamic with the people in his life adds years to my life. Your honor I require that the skeleton jello man be in a god damn situation with no breaks. To the blender with him.

Speaking of, I was surprised to find how incredibly depressed Líf is. I thought there would be a lot more rage present, but no he’s just sad. This makes every scene between him and Sharena delightfully painful. Chapter 12 part 1 (ie after Líf collapsed a building on top of everyone and has a chit chat with Sharena) might be one of my favorite scenes thus far. As they’re sitting in the rubble of the ruined castle they all called home, they have a painfully genuine little heart to heart. Líf needs to get a little meltdown out of his system before getting back up again and does so by talking to the only person he’s ever known how to. Twisting the knife on it is how it’s all phrased in a way that showcases that it’s just Alfonse. Painfully Alfonse. The same Alfonse who tried to logic his way out of being hurt by self isolating and distancing himself from others. The same Alfonse who tried to double down on that failing ideology, before finally letting his walls come down. It’s delightful. I love how consistent Líf feels with Alfonse’s previous actions.

Also, some of his lines are just really funny? “The realm of the dead is no place for the likes of you, living boy.” now lives rent free in my brain forever. It’s a gift that keeps on giving. On a surface level, that’s an odd line and bizarre insult. But the more you learn about Líf, the better it gets. When was the last time he talked to living person outside of the realm of the dead? Do think he rehearsed that in his head for the day he knew he’d inevitably face down his younger self? Is he internally cringing or fully committed? No matter the answer it’s hilarious. God damnit I love Líf.

In other news, I may have glazed over it before, but oh my god those opening chapters are delightful. Awkward family dinner my beloved. I genuinely cannot get enough of it! I am putting Gustav under a god damn microscope. All of his scenes are so god damn fascinating. I loveeee this guy and his consequences on the narrative. Usually, when there’s a somewhat morally complicated character who is also a parent, the parental qualities of that character are seen as the morally good parts. But with Gustav, that’s where the moral complexities of his character reside. He’s not a bad person, he’s a good leader, he’s a great husband, but he’s a complicated father to both Sharena and Alfonse. Hell, he’s complicated for those exact reasons! It’s so god damn fun to see. The love is there, but so is the flaws of every person involved.

The writing on this guy is peak too. Everyone is nervous and stuttering when talking to him, which is behavior that we haven’t seen out of most of these characters up to this point. Surtr resurrecting himself didn’t even begin to strike the same level of momentary blind terror that proceeds Gustav rolling up to witness the overly dangerous dumb shit our protagonists are getting up to. And it makes sense! That’s their dad! And king of the whole nation! Our protagonists care about his opinion more than most. It’s so awkward and I love it! The best part, in my opinion, is that the only character not at least a little nervous to talk to him is Henriette. I don’t know what exactly it is about this that gets me, but oh boy does it get me. They’re married, your honor. I would even be so bold as to claim that’s his other half. They mean a lot to me. Henriette did not deserve to be caught in the cross fire of the FE dad curse, but damn does it make good drama.

And last but not least, Sharena. Oh boy do I love every scene with Sharena this season. To the point where I’m disappointed that we don’t get more. Her dynamic with Alfonse is called to attention for obvious reasons, but I enjoy the subtle way it’s pushed to the forefront before the stage light came on. The royal siblings got each other’s back— to the point where if one goes down, it’s like the other lost a limb. I really like that and it’s a shame the pacing doesn’t allow for more of it.

I also want to draw that scene where she stops Líf’s assassination attempt so so bad. She deserves to kick his ass and then be confused about his behavior with Alfonse later.

Anyway, that’s where I’m gonna leave this one. I feel like I could go on for forever. More than already have, anyway. Book 4 is up next and will mark the half way point. Wish me luck

Um. So. I may have gotten stressed and started transcribing FEH’s story mode. Might currently have all of book 1 written down. Perhaps a third of the way into book 2.

This started as a way to have the preface chapters handy since they’re not replayable. But then I looked on the FE wiki and saw that they only have a small fraction of the chapters written down. And that scared me, because means that my hyperfixation has a nonzero chance of becoming lost media if the app were to go down one day. So now I have all of book 1 in my back pocket, including the preface, two intermissions, and the two relevant xenologues. Once I’m further along and have a few more books accounted for, I have no problem making the document public. But until then I encourage others to also write some of its content down. Just in case, you know? Especially those prologues and Tempest Trials.

With that PSA out of the way, omg book 1 hi!!!! It’s been forever!!!!

Apparently, I haven’t reread book 1 in its entirety since I first played Heroes! I’ve gone back to look for specific scenes and replayed the levels on harder difficulties (self inflicted or otherwise), but I haven’t done a thorough second pass before. Which was news to me, because that meant I was consistently blindsided by scenes and characterization that I completely forgot about! Did any of you remember that Zacharias was apparently Alfonse and Sharena’s childhood friend? I didn’t! But there it is, chapter 7 part 5 after battle cutscene, Anna specifies that aspect of their relationship. That’s crazy! How does the timeline even line up on that??? If he spent his childhood in Askr, how did he manage to have a strong relationship with his significantly younger sister? How did he find himself rubbing shoulders with enemy royalty? Could he have inadvertently met Peony? I’m not changing my takes on his character, but I would love to know.

Speaking of character, apparently seven years spent writing a character naturally changes how they sound! Who would have thought. It made seeing the book 1 versions of our Askr trio a little jarring, but in an oddly nostalgic way! This was a phase of the game where the story, its characters, and its world existed with the singular purpose of introducing new players to what Heroes was trying to do. Which was, at the time, being a cute yet unobtrusive gacha app tie in with simplified FE mechanics to give you that gameplay fix on the go. And to its credit, it does do a good job of this! It ain’t a masterpiece, but I was charmed by its emphasis on showing off all these cool characters you could go summon. Ryoma gets to talk for a few lines and you are going to look at his very pretty art! But that meant that the world and characters of Zenith take a bit of a backseat. They’re not here to be too complicated. The Order of Heroes are the friendly faces that go on adventures and meet these heroes that you can summon for only $19.99. But we all know where the game and its story is going to go from here. That emphasis is going to wane as FEH grows into its own identity (and also earn IntSys over $1 billion worldwide).

But that’s a later development. Before that fundamental shift is where book 1 sits. It’s in this fascinating position where these characters have yet to solidify into their recognizable forms. And if you don’t believe me, chapter 9 part 4 has a scene where Sharena and Alfonse’s roles have reversed. For once, Sharena is posing the cautionary “what if the information we are getting from this total stranger is a trap?”, to which Alfonse responds “nah I’m getting a vibe that it’s fine and that we should believe him whole heartedly.” Like??? Huh???? It’s Bruno, but still, that’s hilarious! Alfonse’s pragmatism bordering on paranoia hasn’t established itself as a massive driver of his character yet. Nor has Sharena’s role as trusting emotional core and moral compass of the group. It was very easy to borderline Mandela Effect it into being there, but it isn’t. Not quite. There are hints, sure, but once again these characters were initially made to be simple at the time. The depth doesn’t quite exist yet.

It wasn’t until I was writing this very paragraph that it finally dawned on me why the Askr trio voice lines, especially Alfonse’s lines, are such a big deal. That's where Alfonse’s character arc with trusting Kiran resides. There's the pragmatism we know and love! It’s not super present in the text of book 1, but the depth of these characters can be found in the voice lines you unlock from building them and earning the crown jewel level 40 conversation. That’s where Alfonse’s arc with his self isolating behaviors crumbles at that sight of one silly tactician. That’s where Sharena finally wins a fight against her own loneliness by forming genuine friendship with this stranger form a strange land, who is appreciative of her loud eccentricities. That’s where Anna apologizes about her initial underestimation of Kiran, thanks them for being more reliable than she could have ever hoped for, and swears that whatever hell may come their way, they’re in this together. The books themselves don’t seem to reflect this characterization until book 2, where they overall act more in accordance with the rest of the narrative. It’s as if they're taking from the voiced lines’ example and extrapolating more on the story they imply.

The one standing in slight contrast to all this is Bruno, as he's the most interesting character in book 1. It's blaringly obvious he's Zacharias, but it's genuinely amusing how deep he is in his own gaslighting. He can't manipulate, mansplain, manwhore his way out of this one folks, but he's certainly going to try! His lies aren't even that good, but it honestly contributes to how at wits end he is. Like, sure honey, I totally believe you that you just killed Zacharias. I bet he has an eight-pack too. Just take a nap for two minutes. But then everyone believes him because our protagonists have yet meld their group braincell. Overall, an amusing time.

I don't have a particular point I'm trying to make with this one. Just having a fun and pointing out the things I've noticed. Might give a little update for every book I complete. However many that will be.

[telesodalite]

With Krok now on my mind, it's reminded me of like, the whole deal of him coping with the loss of his squad by believing they'd just become separated? Because that bit is such a fascinating aspect of his character to me.

It's vague in a way that doesn't totally confirm whether he truly 100% deluded himself, or if he just kept telling himself that to try and distract from the truth and memories he didn't want to face.

(Which, for some reason this pisses Misfire off? Which implies something really interesting there about Misfire and his own coping mechanisms and issues that we don't get much of a peer into unfortunately.)

Anyway, I spent way too long thinking about it when I was reading through the comics. And it's like, did studying battles and strategy play a part in this delusion/lie?

Like, you're a being that lives for millions of years, in the middle of a war spanning those millions of years. So, at some point, surely those battles are going to start to blur together. So you've got that, and then you go and face a frankly horrifically traumatic fight that quite literally rips the people you cared about most, and felt responsible for, apart.

Presumably, Decepticons aren't the greatest at handling shell shock and other such side effects of war. So they just take this freshly traumatized mess of a dude, take him off the front lines and plant him on a warworld to aid the fight from a more comfortable distance.

With all this, the mind is bound to be fickle when faced with such sudden loss and change. But Krok obviously did his job there, or at least he was very knowledgeable on history and tactics beforehand.

Either way, he studied battle after battle, went through records of fight after fight, planned for what's next and reconsidered what had already happened. Hundreds of wins and losses.

So did it get jumbled there? In having a head full of battles, did some of them blur and mix with the one that took everything away from him? In trying to solve the failures of past battles, did he try and find where a victory could've been had against the wreckers that day? Did he find a solution that would've had his squad still whole and alive?

From there, did it slip into delusion, or a desperate lie to keep himself going?

I feel like his "mental health matters" moment was an interesting insight into it and possibly the average soldier's rough outlook on trauma. But it was still very surface level I think, but I guess going too deep into the why's and how's wouldn't have been important until maybe the Scavenger centric comics that uh, never happened :/

[whiskeyswifty]

.

[dykecubes]

exactly this, I think they aren’t taking into account the fact that it took Tommy a long time to speak out against Dream, he was speaking positively about him for MONTHS after the dsmp ended despite the fact that many of his friends have already distanced themselves from Dream, and that’s someone he wasn’t really even all that close with, like you said, he and Wilbur straight up considered each other brothers, I can imagine it’s still a very difficult subject for him, especially with the fact that he’s already said that this news came at a bit of a low point for him

aside from that, I think they’re also forgetting that, in this situation, Dream hurt Tommy directly, this is kindergarten levels of emotional intelligence but people are allowed to be uncomfortable and express when someone else has hurt them, and we can speculate on whether or not Wilbur also hurt Tommy until the cows come home but at the end of the day they want Tommy to comment on someone else’s abuse story and, in my opinion, that should not be his responsibility

overall I’m sick of people using Shelby’s goddamn trauma as a pawn in their discourse, especially Dream stans because they clearly only ever care when it means they can use it to attack others and otherwise don’t actually give a shit about Shelby as a person

it is absolutely insane to me that dream stans are fully saying shit like “um…. Why are they talking shit about dream but not wilbur” as if people are not allowed to dislike more than one person, that’s like if I started talking about how much I hate food poisoning and someone decided to butt in with “but what about cyanide poisoning” like bitch obviously that sucks too but that is NOT the topic of conversation right now

[angorwhosebabyisthis]

analyzing hermes, emet-selch, the ancients and ascians, how they're written, and the fandom's reaction to them be like hm. emet-selch's role in this fuckery is compounded by the fact that his backstory as a genocide survivor is incongruous with his ruling a huge genocidal colonialist world power in the present da [ANTISEMITISM BLAST]

[gender-euphowrya]

wouldn't it be nice. if people made sure they knew what the fuck they're talking about before talking about it

[airenyah]

ok so today i had my first thai class after a really long christmas break and somehow andreas gabalier (an austrian folk singer) and his music came up. and i don't remember what exactly my teacher said but he made a comment along the lines of "andreas gabalier is considered a standard good looking dude here in austria, right?" (my teacher is from thailand, so he wasn't sure about austrian people's preferences)

and his question was met with complete silence, because the thing is... our class consists of 3 middle aged guys plus one more guy in his mid 30s. and then there's me. the only girl

and since no one answered the question about andreas gabalier's looks, our teacher then addressed me directly and following conversation ensued:

teacher: "[airenyah]?" me: (feeling slightly shy and embarrassed) ".....i don't know what andreas gabalier looks like 🙈" everyone: (breaks out in laughter) middle-aged classmate: (highly amused) "i suspect he's not your type..." (me: "oh 🙈") "you're not missing out on anything :D"

i really like my teacher but god, let me live. don't put me on the spot like that 😩😩😩

[aw-bean-s]

Gotta say as someone whos been out since they were young, I'm really sick of having to defend the existence of queer people in media and explain how it's 'useful' or 'plot important' when straight ppl i know can like whatever trashy het romance they want no questions. Like does it have to be useful? Can it not just be there? It doesn't 'cheapen' anything its just there and suddenly you have to fight for your life to explain why it should get to exist. And it's always the bloody 'pandering' 'it's a trend' argument and I hate it because is it so terrible if they pander to ME for once instead of you?? Is that so terrible?? But you can't say that because then you're a fool who doesn't understand good storytelling. And then if they're real annoying, they'll pull the 'well i don't like when ANY romance is just pushed in' so then why. Is it always queer stuff you're complaining about?? And then I'm forced to be defending a (honestly poorly written) queer romance because all I said was that it couldve been handled better and somehow to straight ppl that translate to 'yeah they shouldn't have done it at all' and they don't even REALISE their bias and that SOMEHOW the ONLY FUCKING TIME we have this arguement it's about a queer character. Can I not enjoy the fact a superhero I like is bisexual while also admitting I don't like how they flattened their character after it? Can I not say 'yeah it's trashy but theyre cute' to some crap TV show? Does it always have to be perfect? Because yeah. I want good shows. I want complex dynamics. But sometimes it just feels nice when the silly comic book character is bisexual. And these motherfuckers will ALWAYS find some way to argue that it wasn't relevant and therefore they shouldn't have come out at all, which is just another way of saying that queerness should be kept away from the things they like and only be included if 'plot relevant' so then they can avoid it. I'm just so tired, so so fucking tired, of having the same argument over. And over. And over again with the same people about the same things when all I wanted to do was talk about a bisexual character WITHOUT some asshole jumping down my throat. I've been doing this shit since I was 12 and I'm just tired. Christ.

[x-letsbreaksomerules-x]

i think tonight i will draw my inquisitor covered in blood or something. put him through the horrors again

[tautozhone]

cant believe i’m in a heated tense micro-argument with a teenager because she keeps saying she HATES shrek three cannot stand it but also by her own account has never seen it. she won’t say anything beyond “he hates being royal and hates being a dad big deal” and that it’s a poor quality movie. i accidentally started a whole thing because i mentioned if she wanted to watch shrek four then watching three made sense, at the very least if you’re going to shit on a movie you need to know what you’re talking about. we’re talking about shrek here though. what the fuck is happening

[hecksupremechips]

Finished good omens season 2 and I’m just gonna sit here peacefully for a minute because oh god. Oh no. The discourse

[ipoddymouth]

nooooooo but the way the matty healy misinformation committee has taken off.....election season gonna be fuckin AWFUL