#i think it's important to take shows in their cultural context

[zepskies]

@lamentationsofalonelypotato

Aww I'm so happy to hear that, friend!! 🥰🥰

It's not a problem Dean, (the gun is obviously BUT) she is beautiful and you will love her and I will cry at your wedding.

Ehehe it's funny you mention their wedding...

Dean no. No feeling bad for saving your girl and for killing the "sack of shit in human clothes."

Ugh right? Trust, he doesn't regret killing that bastard loll.

Also I didn't notice the Colonel Sanderson thing before and now all I can think about is KFC lol.😂 Which is not to take away from how good this fic is or how well it's written. It's just me lol.

Actually THANK YOU for noticing that because Colonel Sanders was an intentional reference! lmao I saw some meme that called Asmodeus "Bullshit Colonel Sanders" and it made me cackle, so I included that a little bit here. 😂😂

Oh goodness she is already so protective of him and oh my word the wink had me melting lol.

See! It's not taking that long at all for her to start softening up towards him loll. At the very least, she doesn't want to see him killed for her after killing for her.

I also don't think that I mentioned this before, but I really like how you wove in the other characters in the show. Seeing Benny and Cas show up just made me so happy.

Aww thank you!! 🥰🥰 When it comes to AUs, I try my best to fit in canon characters where they make the most sense to me, and try to make them feel "as themselves" as possible.

Oh my word seeing that fight in my head, um... YES PLEASE. And the loyalty?! The love for their friend?! The "Goodbye brother."? It's so good.

Imagining Dean in uniform, even if he's fighting his friends, just does things to me too loll.

Ultimately, Benny and Cas are good men even in this world, and they didn't want to have to bring in him or Mila to the Colonel either. 💜

She's squishing his face! That is so cute, oh my stars. Plus I am cackling at how long it took him to be able to say her name.

Ahaha this was my favorite part to write for this chapter! Dean struggled, bless his heart. 🤣🤣🤣

I absolutely love this! I really love it when writers pick the names of their characters based on the meaning behind it. And the fact that you gave the meaning of her name a backstory of her mom having a dream and the butterfly meaning that Mila "would have a free mind" is just so perfect for her. Because she is stubborn and she does have "a free mind" by being rebellious and strong, by being a strong female character who does not conform to the whims of what other people deem to be appropriate for her. Also it was funny that Dean thought she was like a "lioness."

Aww thank you!! I'm usually pretty conscious of names and the meanings behind them, but especially in this story I got deep into the research of the Lakota people, and I found that names are very important to their culture, now and historically.

When I was looking for a name for her, Kimmímila stood out as being beautiful (with a nice nickname), but perhaps on surface level didn't reflect her true personality. So that's why I worked in that backstory with her mother's dream, vs. who she wanted her daughter to be, and who Mila considers herself to be. And bonus, what Dean observes of her! lol

So I absolutely love all of your observations here, because that's exactly what I intended for her!

This is a really wonderful line, that the war "never really ends." It really fits this story and honestly it really fits the entire early history of the United States when it was acquiring territory and embracing the "manifest destiny" ideals.

Aww thank you so much!! That's what I thought as well, not just for this story, but for the greater context of U.S. history during this time and the push to industrialize the entire country.

Okay, the whole part where she is explaining things about her life and her culture was so sweet. Them opening up with one another is just so soft and a little fluffy and I'm so glad that they got to have those gentle moments with one another. Not to mention this bit where Dean admits how much he likes listening to her, is just so good lol. And I thought it was really on brand for him to be a little upset that she doesn't completely trust him yet, even though that he killed one of his men. But he's got to learn to be patient... and then propose. LOL.

That was so fun for me too! The "getting to know you" aspect. I thought that opening up to one another was needed here, and it gave an opportunity for more historical tidbits!

Ahaha yep, she's a hard nut to crack, but Dean need only be patient. He's won a lot more brownie points with her than he realizes. 😏 "And then propose" -- I'm weeeak!! 🤣

Don't be afraid to admit it Mila, we all know how good he is to look at. And why shouldn't you look at your future husband? 💍

Ha!! Ikr?? Also, you're getting dangerously warm to what's coming in Part 3. ❤️‍🔥

Oh my sweet goodness, the TENSION!! This is so good my friend and I am so excited for what the future of this series holds and am praying that it doesn't end in death!😬💗

The romantic tension is real!! lmaoo

Thank you so, so much, friend!! Part 3 is my favorite part, I think, and I hope you'll be happy with the outcome, even though we've got a fair bit of action and angst ahead...

The Honorable Choice - Part 2

Pairing: Dean Winchester x OFC 

Summary: June 1872. Captain Dean Winchester of the U.S. Cavalry is tasked with one job: break a wild mustang. He just didn’t expect the woman who infiltrates his camp, intent on freeing her tribe’s horse.

AN: “Getting to know you, getting to know all about you…” ⬅️ If you’ve seen The King & I, then you’ll probably be singing that line in your head like I do.

Disclaimer: I’ve done extensive research for this one, both on the American Indian Lakota tribe, and on American history during this time in the late 1800s (AKA: the Old West, during the American Indian Wars and the Sioux Wars). Of course, one of my main goals is to avoid inaccuracies, both historical and cultural.

Jacklesverse Bingo24 Prompt: @jacklesversebingo Western AU

Song Inspo: The Spirit Soundtrack

Word Count: 3.1K

Tags/Warnings: Angst, protective Dean, historical tidbits, fluff

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🎙️ Listen to the podfic version here!

Part 2: Death & Sacrifice

Dean falls out of his saddle with a yell, landing hard in the grass. The impact knocks the air out of his chest and the hat off his head, not to mention the pain that rattles down his back.

“Son of a bitch,” he wheezes, while trying to get back up.

The woman jumps down from the mustang’s back and all but leaps on Dean. Straddling his waist and grabbing a fistful of his collar, she lets out a battle cry and raises a small knife at him. It’s probably no more than two inches long.

Dean may be on the ground with a smarting forehead, but he’s still got the upper hand. He grabs her knife-wielding arm and whips out his pistol from his belt. Her eyes widen, and she stills above him. The gun lies between them, aimed for her chest. They’re both breathing hard.

Dean has a problem.

Looking into her eyes, soulful and brown, the slope of her nose and her full lips, parted with shock… 

He just can’t do it.

His finger eases off the trigger of his gun, and he lowers it to the ground beside him.

“I told you,” he says. “I’m not gonna hurt you.”

Her head tilts as she stares at his gun, then at him. She relaxes somewhat, and she backs off of him, sliding from his lap down to the grass beside him. Her closed fist with the knife comes to rest at her side. She gives him a look of wary bewilderment.

“You are a strange man,” she says.

Dean has to laugh a little, smiling at her afterward.

“I guess so,” he replies.

Her brows furrow. “You killed one of your own…for me?”

He nods, and his smile falls with a weary sigh. The hard part about that is he doesn’t feel much guilt about what he’s done. At the same time, he does, and the conflict churns in his stomach. He knew what kind of man Roman was. He was the kind of soldier that could’ve filled Colonel Sanderson’s shoes one day. A fellow soldier under Dean’s command...

And a sack of shit in human clothes.

Dean leans back on his hands in the grass and slides his legs out long. His stare falls to the earth between his boots. The ground is soft underneath him. Maybe it rained this morning. 

“Yeah, that’s gonna make it tough when I go back,” he says. “At best, that’s a court martial. At worst…”

The Lakota woman frowns, her dark brows nearly meeting in the middle as she considers him. He wonders what she sees when she looks at him.

“Tell you what,” Dean said. “Give yourself and your horse a rest tonight. I’ll go back and tell them I lost you in the canyon.”

Her eyes widen further in surprise. He can’t blame her for it. He’s surprising himself every time he opens his mouth.

“Will they kill you?” she asks.

Dean shrugs. “Nah, I’ll be fine.”

She levels him with a firmer look, one that demands the truth.

His nonchalance wanes, and he sighs.

“They might,” he says.

She shakes her head. She seems to deliberate over something, but eventually she comes to a decision. Just when she opens her mouth to speak, a gunshot rings out and hits the ground not far from their feet. A warning.

The sound of hooves thundering on the earth reach them before they look up. Two horses gallop towards them in the distance, their riders wearing blue uniforms.

They both tense up, but Dean is the first one to move. He grabs her arm and helps her stand along with him. They scramble back and lead the horses by their reins further into the trees. They find a denser patch and a raised hill to crouch down and hide behind.

The mustang is too tired to go very far, but Baby is already making anxious sounds, protective of her rider.

“Shhh,” Dean whispers, and runs a soothing hand over her side. He leads her to lay down with her legs tucked underneath her.

The Lakota manages to do the same with the mustang after whispering to him softly in her language. There’s a trust between them, Dean realizes. They have a connection that seems to mirror his own with his horse. He doesn’t know how he didn’t see it before.

“Captain!” Benny calls out.

Dean grimaces, but he stays quiet. He turns to the woman and holds a finger over his lips. She stares back at him in apprehension. He begins to creep slowly around the hill, but she grabs onto his wrist. For a second, she looks just as surprised as him by the reflexive action. Then, she shakes her head at him.

Don’t go out there, her eyes say.

Dean smiles, and he gives her a reassuring wink. He gently removes her hand and gestures at her to stay where she is. He army crawls up the side of the hill. It gives him a vantage point to watch his men, who approach just a few feet down below. 

“Captain Winchester!” Cas calls next.

“We don’t want to have to come and get you, Dean. Come on,” Benny says. He does sound reluctant, for his part. His voice grows more somber when he says, “Colonel’s given us orders to bring you and the girl back…dead or alive.”

Dean knows the position he’s put his own men in. He doesn’t blame them for following the Colonel’s orders. He just hopes they can forgive him for what he’s about to do.

He leaps off the edge of the hill with a yell and brings Benny with him to the ground. He sweeps Cas’s legs out from underneath him, then tosses a punch that lands on the corner of Benny’s chin. He kicks Benny’s gun away, and wrestles Cas until his pistol falls from his hand. The three men scrap and trade blows, until Dean is the only one left standing. His men are groaning on the dusty ground, slowly picking themselves up.

Dean’s heaving for breath as well as he leans back against the side of the hill. Despite that momentary victory, he knows what they all know: that this fight isn’t going to end until either they’re dead, or he’s dead.

“Where’s the girl, Dean?” Benny says. He implores him to see sense. “We take her back with us, we can smooth all this over with the Colonel. All of it, even Roman.” 

Dean lets out a deep breath, but he shakes his head.

“Can’t do that, Benny,” he says. “I’m sorry.”

There’s a question circling in his friend’s eyes, but after a beat, Benny seems to know the answer to it. He picks up his gun from the ground. Just like Dean once did, the Lieutenant now has a choice to make.

He shares a heavy look with Cas. The two of them nod, before they focus back on Dean.

Benny’s hand falls, and he stows his gun.

“You died today,” Benny says. “We found your body somewhere in the canyon. Your horse too.”

Dean nods, with something of a smile. He supposes faking his death is the only option now. He rips the badge off his uniform jacket and tosses it to Benny.

“There’s your proof,” he says.

Dean shares a grim nod of respect with Cas while Benny examines the torn patch denoting a captain’s rank.

“Take care of each other,” Dean says.

Benny’s head raises, and he meets Dean with a somber gaze.

“Goodbye, brother.”

Dean doesn’t return to her until the men are out of sight through the trees. She’s still hiding along with the resting horses, waiting for him. That alone surprises him. It would bring a small smile to his face, if the weight of that goodbye didn’t feel so heavy on his shoulders.

He reaches out a hand for her. It takes her a moment to consider it, but she accepts his offer.

He helps her to her feet, after which, she quickly pulls her hand back. She’s wary of his touch, her face guarded when she looks up at him. Dean supposes he can’t blame her, even if it does strike a nerve. After what he just did for her…

His face becomes stoic, and he turns away to grab his hat from the dusty ground. “We should probably head out.”

She nods and calls to her horse to encourage him to his feet. Despite himself, Dean can't help but be curious. How did this girl manage to tame that wild beast?

“Does he have a name?” he asks.

“Mato,” she replies.

“Mato,” Dean echoes. “Does that mean something? You know, in your language.”

She eyes him wryly, brushing her hand over Mato’s hide.

“It means angry, like a bear,” she says.

Dean snorts. “Yeah, good name.”

He remembers his bruised side (and ego) from when the mustang threw him off his back.

Dean watches her with another realization as she gracefully mounts the horse. Baby has gotten up to her feet as well, already nudging the back of his arm with her snout. He rubs her nose in affection.

Then he turns to climb up onto her back, settling his feet into the stirrups and loosely grabbing the reins. He follows his companion’s lead farther into the forest, but he guides his horse to fall into step beside hers.

“Will you tell me your name now?” he asks. “Think we’ve been through enough together at this point, don’t you think?”

She considers it with a tilt of her head. She looks over at him with a small smile.

“Kimmímila,” she says. The syllables roll off her tongue effortlessly.

Dean raises his brows. “Kim…Kimmeela.”

She shakes her head at him, her lips pursing.

“Kimmímila.”

Lord help him, but he tries his best. His brows furrow.

“Kim…mila,” he attempts. She guides Mato closer and grabs Dean by his cheeks with one hand.

“Kimmí.”

“Kimmí,” he repeats with his cheeks squished. His face is starting to warm up, and not altogether in embarrassment.

“Mila,” she says with a nod.

“Mila,” Dean says. “Kimmímila.”

He’s treated to her smile, warm and true. She releases him, her gaze flitting over his face. Then she keeps riding. Dean grins to himself.

“Think I’m gonna call you Mila,” he says. Make it easier on myself.

She even laughs, a honeyed sound. “Yes, my father does too.”

“What does it mean? Your name.”

“In your language?” she says, in a tone that teases him back. She becomes thoughtful as she searches for the word. “It means…butterfly.”

“Really?” Dean remarks. She doesn’t strike him as a butterfly.

More like a lioness, he thinks, only somewhat holding back his grin.

She gives him some side-eye, despite her amusement.

“You think it does not suit me,” she observes.

“Well, I didn't say that—”

“I don’t think so either,” she admits. “There are many things that don’t suit me.”

Dean chuckles. He can imagine that.

“But my mother had a dream before I was born,” Mila says. “She saw beautiful wings, and said I would have a free mind. When I grew, and wanted to spend my days with horses more than cooking and sewing things, she didn’t call me free. She called me stubborn.” Her face begins to fall. “Maybe too stubborn.”

Dean offers her a rueful, sympathetic look. “Yeah, I get it. My brother always said I was damn hardheaded,” he says. “…Maybe we’ve got more in common than we thought, huh?”

Mila’s smile returns, however slightly.

“You have a brother?” she asks.

“Oh, yeah. He’s a lawyer, so he’s more needed back home,” Dean replies.

Damn. He really does miss his bookish little brother.

He explains to her about his family, his brother and mother who still live in Lawrence, and how he joined the army, in part to honor his father.

“What happened to him?” she asks.

“He died…in some cornfield near Sharpsburg, Maryland, fighting the Confederacy,” he replies, heaving a breath.

"Con...federacy?" she questions.

"The South," Dean explains. "See, most of our southern states thought they should be their own country, letting slaves plow their fields and mind their kids. I may have lived on a farm, but my father always paid his workers. He fought for the Union."

"So you fought among yourselves, over land that did not belong to you," Mila points out.

Dean falls silent. After a little while, he concedes her point with an incline of his head.

"Fair enough," he says, glancing over at her. “I think my dad thought the fighting would end with the war, but, uh...it never really ends, does it?”

Her expression of curiosity fades, turning more solemn.

“No,” she agrees. “…I am sorry for your father.”

Dean's a little surprised to hear that from her, but he nods his thanks. They continue to talk as the sun begins to set in the west. When it dips behind the canyon, they stop to make camp for the night, and he helps her catch a rabbit to roast on the fire they build together.

That night over the meal, she slowly opens up to him. He learns that she’s an only child, though she has a sibling-like bond with her older cousin, Šóta. She spends most of her days planting or harvesting their crops, depending on the season, as well as sewing, painting, helping the elders of her tribe with tasks, and helping her mother and aunt cook.

When the rabbit is gone, she unbinds her long, thick hair and untangles it while she speaks. She explains that the Lakota are just one of many tribes. There are six other bands of Sioux who live in this region. Along with the Dakota and the Nakota, they are the “Seven Council Fires” who have made the Great Plains their home for generations.

She tells him about the way her tribe lives, caring for one another, giving the land back as much as they take, and letting it rest. The men hunt and protect the village from the outside, but the women protect the inside, their way of life.

Most of all, Mila tells him, she loves caring for the horses. She goes out and rides whenever she can duck out of her mother’s watchful eye.

Dean enjoys listening to her stories. He likes what he learns about her, but also, he just likes the sound of her voice, smooth and steady, almost calming. He thinks she might like the sound of his too, the way she’s smiled at him, laughed with him, glanced at him when she thinks he’s not looking.

She still picks a spot as far away from him as she can to sleep though. She keeps the fire pit in between them. He even catches sight of her knife, hidden in the hand she tucks underneath her cheek. Evidently, she doesn’t fully trust him just yet.

It annoys him at first, considering how many times he’s saved her already. How much he’s sacrificed just to get them this far…

Until he remembers how they met. He remembers the disdain and anger in her brown eyes, then the mistrust, and the fear hidden underneath. He thinks of every experience she’s likely had so far with the U.S. Military, and anyone else who looks like him.

Dean settles down on the ground and stares up at the innumerable stars in a raven sky. He’s exhausted, but his thoughts don’t let him rest for a while. 

At the very least, the way she looks at him now is softer than that first day.

In the morning, Mila watches the strange man wake.

He blinks and rubs his bleary eyes, yawning, groaning at the sun’s brightness like a child. She hides her smile by bowing her head over the apple she’s cutting with her knife. The orchards span wide across the forest, and soon he’ll find two yellow-red apples beside his head.

His brows raise at them, then he looks up at Mila sitting with her legs crossed behind the small fire pit. The wood there is just ash and blackened remains now, but it still carries the smell of burning.

“Morning,” he greets.

She nods back at him and pretends not to watch when he sits up with a groan, stretching and bending his arms high behind his head. He removed his uniform jacket to sleep. It allows her to see every dip of male muscle that his plain white shirt clings to, even in the long sleeves.

Her gaze furtively runs over the broad shoulders, the tapered waist, then back up to his half-bearded face, defined by a strong jaw and dark brows. The sun catches on his brown hair and teases the ends of it golden.

She would never admit it, but he’s not unpleasant to look at. 

Last night, she declined his offer to travel with her until she reaches her tribe safely, but he was insistent. Again, strange.

So here she is, with him. Here they are. 

Dean turns to see the horses grazing nearby. Mato no longer has the saddle and bridle his men put on him. He looks rested and at ease. He even whinnies at Baby, tossing his head a little. She answers him and flicks her tail. They continue eating together.

Dean smiles, then grabs an apple. He raises it to her in thanks before he takes a large bite. Its juices run down the corner of his mouth, and he wipes at it with the back of his hand. Mila can’t help but be drawn to the sight.

She tears her eyes away when he looks over at her.

“We have a long way to go. Three days, if the weather is good,” she says, continuing to carve pieces of her apple to eat. “We will know we are close when we reach the river.”

Dean nods in understanding. With a grunt, he gets to his feet and takes another bite out of his breakfast. She doesn’t expect the way he approaches her with a hand outstretched. She looks up at it, then at his expectant face.

“Come on. Let’s hit the road then,” he says.

Mila considers his offer for another moment. He seems to be making this a habit. Amused, she wonders if this is just kindness, or if the women of his people aren’t allowed to stand without a man’s help.

She pockets her knife, swipes her braided hair over her shoulder, and slips her hand into his, allowing him to help her to her feet. When she gets there, he’s closer than he should be.

A breath gets trapped in her throat as she once again looks between his warm hand closed over her smaller one, and his face. In the small space between them, there is a different kind of tension than before. Mila can’t tell what the man is thinking when he looks at her like that, but she doesn’t like it.

And at the same time, she does.

She takes back her hand, and she goes to the horses. She firmly ignores how her heart gallops, even as she rubs at her chest like it’s an ache that can be soothed.

She doesn’t hear Dean’s unsteady breath, nor does she see the way his green eyes follow her.

AN: *rubs hands together* Well, here they are! It's all starting to come together. What did you think of Dean's decision?

Coming up next, we have the final part: some action, some fluff, and some potentially perilous situations for Mila and Dean...

Next Time:

“Yeah, about that…I’m thinking your tribe doesn’t take very well to outsiders,” he says. “White men in particular.”

Mila presses her lips together. He can tell she’s been thinking the same thing, but she turns to him with a determined set to her features.

“I will protect you,” she says.

Dean frowns. He doesn’t like the sound of that. On one hand, it warms him that she seems to really mean it. On the other hand, he doesn’t want to know what it’ll take for her to protect him.

“What’s that supposed to mean?” he asks.

She turns her face away and doesn’t seem to want to answer at first.

“Mila…”

“The Chief is my uncle,” she says at last. “He will listen to me.”

Dean blinks. Well, that changes things…maybe.

COMING 11/17! (New chapters every Sunday.)

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Lady Boy Friend Is Getting Interesting (at ep 7/16)

Nobody should take this as an endorsement to watch the show, because I think it is really hard to watch for most people and for good reason (it's also hard for me to watch at points). But Lady Boy Friend the Series is doing some really interesting things, and I have to talk about it. It took several episodes before I could get the sense of the overarching plot but now that I do understand what it's doing I'm really curious about where it's going. Spoilers for plot points through to ep7 follow from here.

The core plot of this show is about a class of high school students. The main character is Jeedny, who shows up on the first day of what I think would be equivalent to North American high school (~Grade 10) out of the closet as kathoey, but all of the other kids who are kathoey don't trust her because they've all been out for years and already have their own cliques. So they treat her cattily (they also treat each other cattily, to be fair), and she responds badly by pranking them. She starts desperately grabbing for attention; first by trying to fit in, and when she's rejected, she tries for attention by standing out, and it's not taken well by her peers. Finally in this episode it got to a point where the other kathoeys in her grade have banded together across clique lines to ostracize Jeedny, and it all comes to a head when she finally admits that she's been shitty to them but that it was in response to being rejected in the first place. Everyone apologizes to her but says they'll just stay out of her business, and she's left alone again which is the opposite of what she wanted.

Meanwhile the boys in the class have their own drama. There is a playboy (Jet) who starts flirting with another boy (New) who is cautious but enjoying the attention. It takes a few episodes of concerted flirting to get through that Jet is seriously interested and not just teasing him, and New starts to believe that maybe this could be real. They have sex, and then Jet ghosts New. When New tries to confront him, Jet acts totally disinterested and says he's just not into him like that. New is heartbroken and Jet is clearly discomforted by that; when New starts emotionally distancing himself from Jet and showing disinterest, that discomforts Jet even more. Jet keeps trying to get New's attention back but New's not having it, and he calls Jet out on his bullshit. Jet's own friends also call him out on how his actions differ from his words and how he seems to be leading people on, both New and the girls he dates, and how uncool that is. Jet seems to be unable to leave New alone.

I appreciate that this series is wrestling with in-fighting, cliques, how difficult it can be to get past queer gatekeeping, and how we band together against what we see as a threat. I also love how it's getting in how isolating that can feel if you're on the other side of it, and how difficult it is to come at your queerness at a different age than your peers (even though Jeedny is still so young!). I love that this show has a plotline around "straight" fuckboys and the very real games they play. I appreciate that in the conflict between the kathoey characters, nobody is in the right.

We're only just about halfway through the series, and I still don't have a a sense of what the back half of the show is going to be about (it could all still fall apart), but for now, now that the first half has crystallized into a plot I'm enjoying it. Even when these characters are being awful to one another it feels very familiar and...comforting, in a way. Sometimes I miss being in queer spaces and need to hear people insult one another for five minutes and then offer to throw hands at any outsiders who so much as look at the person they were just insulting with their whole chest.

So why am I not shouting for people to go give this show a try? There is a lot of Thai humour (more specifically the brand of Thai humour that reminds me of older series like Make it Right and Diary of Tootsies) in this show that doesn't necessarily land well, because it's based in puns which just don't translate, fatphobia, colourism, toilet humour, sexual aggression against men as comedy, etc. There are parts that I find hard to watch, and parts that I find boring. There are some scenes that I just don't know what to do with, e.g. when one of the boys is asked to provide a sperm sample for their science class to look at under a microscope. The acting is very uneven, quality of the cinematography, colour grading, sound, and other production elements are low budget. The translation is also lacking, which makes watching all that much harder.

A lot of the comments on MDL are about how this show feels transphobic and I can see why they'd say that, especially in the early episodes. The kathoey characters can come across like caricatures rather than people, especially at first (some of this I chalk up to these characters being young and trying to establish their identities; this does also improve as the show goes on), and the joke seems to consistently be that none of them are attractive or likeable to the male characters (possibly also improving as the show goes on, we'll see). There are many ways in which it's not a good show. It is about the ways we can be terrible to each other even as it's also about how we can hold each other up, which is understandably not something people necessarily want to watch. I really struggled at first, and even as it's become more clear what the show is doing, there hasn't yet been enough of a turn to get fully away from the parts that are difficult, and I'm not expecting the show to ever fully stop being difficult for me at times (it would be unrealistic to expect this show to become something completely different from what it is).

But even with all of that, I'm tentatively excited by the themes it's exploring and wanted to share.

[heywriters]

Details That Convey Intimacy

Developing fictional relationships that feel authentic takes more than dialogue and grand gestures. Every detail below can be used to show platonic, familial, agape, or romantic love depending on context.

cooking a meal for someone, bringing them food, or spontaneously sharing a snack

sharing body heat/warming someone with outerwear like jackets and scarves

fanning them with something if overheated

getting a cold/hot drink for them

offering to carry something, whether it's heavy or just a jacket, to lighten someone's load or free up their hands

more below the click!

changing the subject of a group conversation that will be personally discomforting to someone in the group

making sure to include someone in a group conversation, especially if it's a topic they have special knowledge of

waiting for someone to catch up when the rest of the group has walked ahead

remembering preferences/allergies ahead of time when preparing/ordering food

planning trips, whether in a pair or as a group, that provide something positive for every individual to enjoy

procuring personal healthcare items like sunscreen, moisturizer, lip balm, pain relievers, or a snack and keeping them on hand for that friend who frequently needs them

making room for someone in a crowded vehicle or on public transit

making room for someone under an awning or in another limited space to help them avoid bad weather

warning or wordlessly covering for someone with a wardrobe/cosmetic malfunction

remembering a small luxury someone mentioned they enjoy, and getting it for them the next time it's convenient

running an errand for someone to make their day easier ('importance of errand : depth of relationship' ratio should be explored)

escorting someone to safety in a sudden unsettling event

escorting someone who is drunk, sick, infirm, injured, or emotionally compromised

asking if light, noise, or other sensory factors are bothering someone and taking steps to make them more comfortable

getting gag gifts for someone to show you reciprocate their sense of humor or quirky self-expression (not everyone does this, not everyone appreciates it, and some people predominantly express love through humor and gag gifts; works well with some characters more than others)

holding someone's hand or arm as reassurance, especially when they are afraid*

using their body to block someone from wind, rain, or heat

picking up a dropped item, or carrying a train or other dragging garment for someone else

returning a recognizable possession to someone who may have lost it

This is an inexhaustible list as humans have many ways of showing love for each other. If you are writing spec fic with non-human characters, you can play with variations on these by remembering three core values the "lover" has to consider:

physical comfort of others

emotional comfort of others

social reputation of others

I'd add "sensory comfort" though I think it's tied to physical and emotional comfort.

Please do not try and force any of these into the mold of the misogyny-based "Love Language" trend. Human emotions and expressions of love are diverse and endless.

*While hand holding can be construed as romantic, in reality it varies. Some cultures do not see this as romantic, and some individuals only mean it as a sign of support or compassion. Same goes for long embraces and kissing, both can be done platonically and of course naturally between close family members or friends.

---

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[tossawary]

One piece of acting advice that has stayed with me for years in regards to both writing and drawing as well is: "Don't use the body to act what the character is saying. Act what the character is THINKING."

Like, as a very, very basic example: a character is apologizing by saying, "I'm sorry." But that line is going to look and sound different depending on what the character is thinking. Crossed arms and a sullen tone can mean that a character is actually thinking: "I don't mean it and also I hate you." A pleading tone and reaching out to take the other character's arm can mean: "Please don't leave me." A tired voice and slumped shoulders within context could mean: "I did what I had to do."

This is one way to begin to do "Show, Don't Tell" in storytelling. It is trusting your audience to see the depth and to catch on to the things you leave unsaid. It's fun to let the audience be observant and clever. It is also reflective of real life, where people are often scared of being vulnerable, or don't necessarily even understand their own emotions, or can't articulate their own thoughts, or have difficulty identifying the true feelings of the people around them, and so don't say very much.

There are exceptions to this advice, of course. In writing especially, rather than in a visual medium, some POV characters are very good at reading emotions from body language and others are not, and their observations in the narration may reflect this skill. Some characters will assume everyone around them is always angry with them or simply not pay attention to other people's moods at all, personalities which can also be subtly communicated to the audience and later used in the story in some interesting way.

Some characters have excellent control over their body language and tone of voice, because they are on-guard, highly trained in some fashion, or a very good liar. They will not easily communicate their true thoughts through their body language or their actions. Their lie can be so good that it can be slipped past the audience as nothing important to the plot until it comes back to bite. Their oddly perfect control over their body in a tense situation can instead maybe be used to indicate to the POV character and/or the audience: "Oh, there's something up with this person."

Body language will also change by culture and class and disability and so on. This clash can cause communication problems between characters, as a character's affectionate pat on the shoulder of another might be intended as casual comfort, but be received as overly intimate condescension. Different cultures / people can even have very different opinions on what level of eye contact and overlapping speech is rude.

This advice was originally given to me in the context of illustration and animation, in which it is very common for inexperienced artists to act out the words that the character is saying in mime-like gesture. In media for young children, we might choose to keep things very simple, as toddlers struggle to learn what it looks like and feels like to be angry or happy. But past that? People don't really behave this way. What we say and what we really mean are not always synchronized, and we can use the body to communicate this.

[maplewozapi]

I should have known if I brought up wc I’d have to talk about. But it includes of a lot of issues with feral/furry designs that use feathers in hair. I don’t necessarily know why the conversation only started and stayed in the wc fandom when horse/wolf/lion feral fandoms are still doing the same thing.

Now having feathers in the design isn’t a racial attack first thing off because there’s a lot of context around what feather’s are used, the shape, and where they are placed. If the look is anything like "rave Coachella looking tribal fantasy feathers and beads" it’s probably insensitive. I’m not to sure why it has to be feathers, I honestly think the wc fandom are holding themselves back when it comes to forwarding designs in a unique way. Tail feathers are also left out in this conversation as well, one or two feathers or feathers in the shape of a birds tail are fine but bunched together feathers are leaning to close to how we have our horses wear feathers. This is in the context of the design already looking like a "medicine cat" already its bad. it’s like those yt girls wear feather head bands but animal addition.

I’ve talked about this before but silhouettes are so important, like Native American stereotypes are on the global scale you cannot escape this silhouette you just have to avoid it. There’s no "but it’s in so many other cultures" no it’s not it’s totally unique to our people that’s why people flock to it because it’s so "mysterious, sacred" whatever their weird twisted up reason is. There’s so many unique ways to break this silhouette you just gotta be more creative. And I feel like instead of being more creative and coming up with totally different ideas it’s just easier to lean on these visual native stereotypes to get across "wild mythical nature fantasy"

I could get into the horse fandom and the weird situations they’re doing over there but that’s another crazy thing. I should say because someone will ask, ostrich feathers on like show horses or knights or puss in boots style is fine not the same thing (breaking the silhouette) they’re not related.

And it comes down to understanding what you are drawing and where this imagery comes from, I’m not gonna get my feelings hurt because of your design but I’ll question why are you drawing stuff like that. You cant remove that cultural/stereotypical imagery, and if you don’t care about it then you don’t care about the history or how it looks on your character and art.

I made it this far on the internet but if you want to be conscious about these things good on yea it doesn’t take much☺️👍

Edit: can’t believe I gotta say this but yes other cultures utilize feathers, if people are using feathers that are used in their culture then don’t harass them. That’s weird have some common sense. Ostrich feathers, peacock feathers it’s actually so interesting how native birds to an area affect the culture there.

[c-is-for-circinate]

It feels like there's this narrative that fandom keeps wanting to explore, with Steve Harrington, about this very specific type of martyrdom where self-sacrifice is an expression of a lack of self-worth. And, like, yes, write the narrative that's meaningful to you, and yes ok Steve does admittedly get beaten up a lot, but -- legitimately I do not think this narrative is actually Steve's story.

Like, without gendering things too much, there is something in the Steve fanon that I keep seeing that's so reflective of the specific kind of sacrifice and societal pressures exerted on girls, specifically -- this story of 'you make yourself worthy and worthwhile by carving pieces out of yourself', of believing that you must always give and never receive to justify the space you take up in the world. Yes, boys can experience this same pressure (and obviously trans and nb people of all genders run into it as well! sometimes a lot!), but especially in the mid-1980s cultural context where Stranger Things takes place, it's just...really not likely to be a dominant narrative for Steve to be operating under? It doesn't even really match the Steve we see on screen -- who is happy to make sacrifices for the sake of others, yeah, when needed, but who's not particularly kind or giving unless somebody asks first.

And Steve does get hurt a lot on other people's behalf! And this is a problem! It's just a completely different problem than the one fandom keeps writing.

Steve, and I'm going to say this forever, is a story about toxic masculinity, which the show may or may not even know it's writing. The archetypes influencing Steve's character as it shows up on the screen (and the stories and messages that Steve would actually be surrounded by in his actual life) are not deconstructions of suffering heroes who never should have had to fight in the first place and were destroyed by it. That's the Buffy the Vampire Slayer story. Steve's not Buffy. Steve's cultural context is Indiana Jones.

Steve is The Guy! And part of being The Guy is that you're expected to take the hits -- not because Steve is less important than the women-and-children he's supposed to protect, but because, the story says, he will get less hurt. Why should Steve get in between Billy and Lucas? Because Steve is an eighteen-year-old athlete and Lucas is in middle school, and of the two of them, Steve actually stands a chance. (And yes, Steve got badly hurt there, and Max had to save him -- but if Lucas, if Max had taken that beating they would not have been running through those tunnels later.) Was somebody else better-qualified to dive down to the uncertain bottom of a cold lake in the middle of the night? Steve doesn't list his credentials there as a way of justifying some ideal of martyrdom; he is literally the most likely person on the boat not to drown.

And make no mistake: when Steve's pulled into the Upside-Down, he survives the bats long enough for backup to get there. Realistic or not, he's apparently tough enough that he's physically capable of hiking barefoot through hell without much slowing down. Steve is the tank for the same reason as any tank: because he literally has been shown to have the most hit points in the group. You cannot honestly engage with Steve in this context without dealing with the fact that he's right.

AND THIS IS A PROBLEM! This is still a problem! But it's not the same problem that fandom seems to expect. It's not an expression of caretaking or the need for self-sacrifice; it's not an issue with Steve valuing himself less. It's an issue of toxic masculinity so ingrained that Steve doesn't even recognize he's suffering from it, because one of the tenets of toxic masculinity is that Big Strong Guys don't suffer. It's just a concussion, it's fine, he'll walk it off. It's not that Steve thinks he deserves to get hurt, or even that he's less deserving of safety than the others. It's that absolutely nothing in his cultural context allows him to admit that he can be hurt in a significant way.

There's still so much tension that can be gotten out of this situation, I swear. There's so much that can be explored in writing! Hell, the show itself is deconstructing some of this trope, believe it or not, by giving us a Steve who absolutely can take all the hits thrown his direction but still doesn't know what the fuck he's doing with his life. It turns out that doing his job as The Guy is only mildly helpful in horror movie situations (mostly by buying time for smarter, squishier people to do the damage from behind him), and somewhere a little worse than useless in everyday life.

But Steve does not go out of his way to self-sacrifice, he really doesn't. He just does his job. He's The Guy. Of course he's not going to let a kid or a girl or some scared skinny nerd who just learned about monsters yesterday take the hits. Of course Steve's got this.

[least-carpet]

Thoughts about jl and jc relationship? I love them but their relationship is criticized a lot, I would love to hear your thoughts

Hi, anon! Very belatedly, here is an answer!

They love each other and Jin Ling is very secure in that love. It is very evident to me—and to Jin Ling himself—that Jiang Cheng loves Jin Ling and would die for him. Jin Ling trusts and relies on Jiang Cheng, and scoffs at the idea that his uncle has ever hit him, in a cultural context where corporal punishment is not unusual. Jin Ling goes to Jiang Cheng when he's crying. Jin Ling pushes back at Jiang Cheng, goes around him, and talks back to him fearlessly, with a sort of bratty entitlement rather than fearful defiance. This is not something a kid who is afraid of their guardian does. This is not something Jiang Cheng would have done with his own parents!

Jiang Cheng did a better job than his parents did with him. You might not personally want Jiang Cheng as a parent, but contrast him against his own soft-spoken father: I don't think Jin Ling would ever say that Jiang Cheng just didn't like him, or think to himself that Jiang Cheng wouldn't show up to save him. Jin Ling is way more secure in Jiang Cheng's affection for him than Jiang Cheng ever was when it came to Jiang Fengmian, and I don't think that's by accident. I think that's something that Jiang Cheng probably worked hard for. It is notable that Jiang Cheng, Jin Ling's maternal uncle, showed up for Jin Ling so consistently that Jin Ling has more trust in him than Jiang Cheng had in his own parents, despite being, like, twenty and running a sect by himself.

Jin Ling looks up to Jiang Cheng. Jin Ling, I think, patterns his behaviour after a couple of ideals. One of them I think, is an image of his father as a young and adventurous hero— young war hero Jin Zixuan, one of the best archers in his generation. (Also initially kind of a twerp with bad social skills, but Jin Ling doesn't know that.) And the other, I think, is Jiang Cheng. (He also very obviously cares for and admires Jin Guangyao, but I don't think he takes him as a model in the same way?) So Jiang Cheng is also important to Jin Ling as a role model. And why wouldn't he be? He's really good at a very hard job. (He's also, like, emotionally damaged from the war and its fallout, but realistically, a lot of the adults around Jin Ling would also be like that to some degree, especially in the Jiang sect.)

Jin Ling expresses care the way Jiang Cheng does, and that helps them understand and trust each other. Jin Ling also expresses his love in the same way that Jiang Cheng expresses his love: through defending the people he cares about. We see him do it when Wei Wuxian and Lan Wangji want to enter Jin Guangyao's rooms, and again when Jiang Cheng is exhausted at the second siege of the Burial Mounds (Jin Ling just fucking scooping up Jiujiu and carrying him to safety remains hilarious to me). The scene where he thinks he hears Lan Sizhui say something about a ghost and he pops out and offers to kill the ghost for him also comes to mind. That's how you express affection if you're Jin Ling! He's going to put his foot in his mouth but if somebody threatens you, he's ready to go! Does this remind you of... anyone... like maybe Jiang Cheng, Mr. "Knife Mouth, Tofu Heart."

Jin Ling is definitely a little jerk sometimes, but I don't think it's fair to totally blame that on Jiang Cheng. Jin Ling's bad behaviour is often chalked up to Jiang Cheng being a bad guardian, but he's not the only influence at play: Jin Ling is at a terrible age. He's trying to individuate. He's at the centre of a lot of scrutiny because of his position, and potentially also danger. He's isolated and bullied in his home sect because he's an orphan, which, like, what the fuck. He splits time between two sects with wildly different philosophies and priorities, and probably gets a lot of conflicting messages about what's important and how he should act. His guardians have different parenting styles and priorities, and are themselves under a lot of scrutiny. People gossip about him, his dead parents, his live uncles—really viciously about Jin Guangyao— and probably his dead cousin, too. I would also probably be a very confused and angry teenager in those circumstances! Him acting out is not very surprising!

Jin Ling and Jiang Cheng are under a lot of stress during MDZS, and the way they relate to each other reflects that. Part of growing up is finding out your parents are people with, like, human frailties and their own trauma. Jin Ling's guardians have a LOT of human frailties and a LOT of trauma, and he finds out about it in detail during MDZS, in some pretty ugly ways. (We're shown that Jiang Cheng loves Jin Ling enough to shield him with his own body and that Jin Ling is comforted by Jiang Cheng's presence when he cries, but we also see Jiang Cheng give Jin Ling a pretty hard smack while he's freaking out in Guanyin Temple! Not good, although—based on what Jin Ling previously stated—not a usual behaviour from Jiang Cheng.) Despite this, I do think both Jiang Cheng and Jin Guangyao sincerely loved and tried to raise Jin Ling well. And they didn't do so bad! He's a snobby little brat with a mean mouth but he's also courageous, protective, empathetic, and willing to re-evaluate his beliefs when he's presented with new information!

Basically, I just think that you can be a flawed and harsh person and still love your kid enough that they turn out OK. Jin Ling's not perfect, by any means. But I think he's going to grow up into a pretty impressive adult, and I think no small part of that is because Jiang Cheng loves him, so, so much. (I also think that not all parental figures are great matches for every kid, but, like, these two just really get each other. Scorpio2scorpio communication.)

TL;DR I love them, they love each other, it's definitely not a perfect relationship and I understand why people react in a negative way to the thought of Jiang Cheng in a parental role (although I also think it's a mistake to assume that he parents like he was parented).

[sparrowlucero]

Even if a creator is a bad person it's still okay to like their work. People need to mind their own business.

Honestly it's not really that sort of situation. I'll actively defend Steven Moffat here.

There was a huge hate movement for him back in the early 2010s - which, in retrospect, formed largely because he was running 2 of the superwholock shows at once, one of which went through extremely long hiatuses* and the other of which was functionally an adaptation of an already well regarded show**, making him subject to a sort of double ire in the eyes of a lot of fandom people. Notably, his co-showrunner, Mark Gatiss, is rarely mentioned and much of his work is still attributed to Moffat (and yes, this includes that Hbomberguy video. Several of "Steven Moffat's bad writing choices" were not actually written by him, they were Gatiss.)

People caricatured the dude into a sort of malicious, arrogant figure who hated women and was deliberately mismanaging these shows to spite fans, to the point where people who never watched them believe this via cultural osmosis. It became very common to take quotes from him out of context to make them look bad***, to cite him as an example of a showrunner who hated his fans, someone who sabotaged his own work just to get at said fans, someone who was too arrogant to take criticism, despite all of this being basically a collective "headcanon" about the guy formed on tumblr. Some if it got especially terrible, like lying about sexual assault (I don't mean people accused him of sexual assault and I think they're making it up, I mean people would say things like "many of his actresses have accused him of sexual assault on set" when no such accusations exist in the first place. This gets passed around en masse and is, in my opinion, absolutely rancid.)

On top of that a ton of the criticism directed at the shows themselves is, personally, just terrible media criticism. So much of it came from assuming a very hostile intent from the writer and just refusing to engage with the text at all past that.

Like some really common threads you see with critique of this writer's work, especially in regards to Doctor Who since that's the one I'm most familiar with:

A general belief that his lead characters were meant to be ever perfect self inserts, and so therefore when they act shitty or arrogant or flawed in any way, that's both reflective of the author and something the show wants you to view as positive or aspirational.

An overarching thesis that his characters are "too important" in the narrative due to the writer's arrogance and self obsession (even though this is a very deliberate theme that's stated several times)

A lot of focus on the writer personally "attacking" the fans or making choices primarily out of spite.

A tendency to treat the show being different to what it's adapting as inherently bad and hostile towards the original.

Just generally very little consideration and engagement with the themes, intent, etc. of the shows

This one's a little more nebulous and doesn't apply to all critique but a lot of it, especially recently, is clearly by people who haven't seen the show in like 10 years and their opinion is largely formed secondhand through like, "discourse nostalgia". Which. you know. bad.

I think these are just weird and nonsensical ways to engage with a work of fiction. I also think it's really sad to see the show boiled down to this because that era of who is, in my opinion, very thematically rich and unique among similar shows, and I'm disappointed that it's often dismissed in such a paltry way.

This isn't to say people aren't allowed to critique Steven Moffat or anything, but the context in which he basically became The Devil™ to a large portion of fandom and is still remembered in a poor light is very tied to this perfect storm of fan culture and I just don't agree with a ton of it.

* I'm sure most people have seen the way long running shows and hiatuses will cause people to fall out with a show, with some former fans turning around and joining a sort of "anti fandom" for it while it's still airing. That happened with both these shows. ** Doctor Who will change it's entire writing staff, crew, and cast every few years, and with that comes a change in style, tone, theme - the old show basically ends and is replaced by a new show under the same title. As Steven Moffat's era was the first of these handovers for the majority of audiences, you can imagine this wasn't a well loved move for many fans. *** I know for a fact most people have not sought out the sources for a lot of these quotes to check that they read the same in context because 1) most of them were deleted years ago and are very difficult to find now and 2) many of them do actually make sense in the context of their respective interviews

[a-998h]

Hey! 🍉-Anon here! I’ll just make a quick SAGAU request!

If (Reader)’s culture resembled one of the Seven Nations? How would everyone react? Like I would think that the people and characters would constantly be boasting about it, and always showing off

And it would be worse if (Reader) showed favoritism to that one Nation, or characters that come from there or dress/act/etc similar to their culture

I think (Reader) would constantly ramble on about their culture, and days later the whole place is decorated in items remade by the characters to resemble their culture and make (Reader) more comfortable

And (Reader) always visits that Nation, and the always spends time with the Archons and other characters

That’s all I’ll write, so have a good day!

- 🍉ANON

Thanks for the request 🍉 ANON, I love hearing from you!

so, for those new to Genshin or haven't been in the fandom for a long time there is some important context about the nation's that I need to share.

Mondstadt is based on Germany

Liyue is based on ancient China

Inazuma is based on ancient Japan

Sumeru is a mix of ancient Egypt, India, Persia, and Mesopotamia

Fontaine is based on France

Natlan is is a mix of Pre-Columbian Latin America, Sub-Saharan Africa, and Oceania

Snezhnaya is theorized to be based on Russia.

The historians of Teyvat always debated over which nation/element came first. So, you having a culture similar to any of the seven nations would settle that debate. But then there wod be debate as to why that particular element was created first, so your culture closes one door and kicks another one down. You will be asked questions by said nosy scholars and historians, because merds will get answers even if it kills them.

The characters if that region would feel great pride in knowing that their nation and its element was supposedly the first to be made by you. The archons would handle the news with great maturity, and I'm kidding. The archon of that region you share a culture with would kind of brag about to the others in however way they see fit.

In order from most to least mature we have, Tsarita, Raiden, Nahida, Zhongli, Mavuika, Furina, and Venti.

Now, as humans in both Genshin and reality, we are more drawn to people we have a connection with. You favoring characters from. The region that shares a culture with you would be something you do unconsciously, not even seeing it as favoritism, but instead as connecting with those culturaly similar to yourself.

When it come the shrines, the one in what they consider your "home" nation, who be decorated upto the nines with traditional furniture, rugs, etc. In the other shrines, there would still be the culture of which ever nation it's in, but also some elements of decoration from the nation they assume is your "home".

Your rambles about your culture back home is what the nerds like to hear. Everyone sees your real life culture as an ancient culture that was the founding blocks for the nation that closely resembles it. The characters will let you ramble on, some take notes, some ask questions, and some don't understand but listen along anyway because they know it makes you feel better.

Your hang out days in your "home" nation is a real treat for the characters as you and them can bond over clothing, custooms, food, etc. The characters outside your culture will be more than happy to listen and follow you as you drag them around the city to show them your culture.

Overall, it makes Reader a little less homesick, gives characters more understanding on how to make you happy, and gives at least on archon bragging rights.

[happysparklingshadows]

𝙱𝙶𝟹 𝙻𝚊𝚍𝚒𝚎𝚜 ✿ 𝙿𝚛𝚊𝚒𝚜𝚎 ✿

Note: I am still writing A Certain Hunger but I have been very scared about publish it because it has taken so long to write because of some personal issues with my family and work! I hope you like my headcannons about Bg3 woman. They have infested my brain 😵‍💫

Lae’zel 

-Not one to really give or receive praise in a context outside of battle.

-She would compliment you in her husky tone occasionally if you did impressive work against an enemy. But praise for being around? No. 

-Lae’zel grew up in a culture that refuses kindness or praise. “It only makes us slower. We think of our greatness more than being great; I will not fall for that. I know my greatness in the screams of my enemies.” 

-However, over time, and after being introduced to Faeyan culture, she slowly learned that praise was judged as encouragement or care for others. Especially after staying with you to choose her future, she learns the importance of praise but uses it very sparingly. 

-“You did well.” She would say after you kill some goblins. Or the time she mentioned that she liked the “strength” you showed when you got beaten to your last hit point. 

-She was never good at taking praise. She didn’t like being called a good girl; it implied you were superior to her somehow, and she didn’t like being called anything other than Lae’zel. 

-“Champion, You were so strong tonight. It made me shiver.” You told her once as she was sharpening her sword. She stops abruptly and stares ahead of her momentarily, and she starts sharpening again. She got flustered very easily with those words.

-She does say in sex, though, “You take me so well, my scent still on you from last time. Screaming you are mine.” To you in sex. She likes to praise your good behavior as her mate, but she doesn’t think it is praise. She is stating a fact. You were good at taking her????

-She isn’t the best at giving or taking praise, but nothing is better for her when it is earned. She loves to hear your approval of her, and she tries her best to do the same for you because beneath the coldness was someone who couldn’t imagine a world without you. Didn’t want to. 

-I believe after the end of Act 3 in the game, she would call you “good girl” if you told her you liked it and explained how it made you feel. She won’t develop it independently, even with how well she knows you, but she wants to make you feel good. She isn’t above proving herself to you or changing small things, like what to call you in bed.

Karlach

-Fucking loves it and loves giving it both. 

-She calls you baby (girl or boy) whenever she is pleased with your behavior, and she kisses you whenever the urge comes over her, which is a lot. 

-Karlach has no shame or embarrassment to praise her beautiful Girlfriend. 

-Karlach had helped you once with her strength; you had asked them to hold you up as you wanted to grab a honeycomb. Her solid and big hands grabbed your waist gently and lifted you up like you were nothing; it made you feel flustered and turned on.

-“Gods, I don’t think I have ever met anyone as strong as you, Karlach! That was amazing!” You said without a filter when your feet met the ground again. You looked up to the now-flustered barbarian. “Seriously,” you say as you touch her bicep innocently to investigate your girlfriend's muscle, “What were you fed as a child? Rocks and nails?” 

-Which ended up with you pushed against that tree and fucked beyond belief. 

-The night came over you that night under the tree. You lay naked in the grass with Karlach. You hear the turning of mechanical parts in her chest as you look up at her, resting your chin on her breast, “You are so beautiful. It is just a privilege to love you, Karlach. Truly, I can’t believe we haven’t known each other longer for how much you have taken from my heart.”

-Karlach is a soft girl sometimes, and saying something like that to her would make her stare at you with tears in her eyes. She softly cries, not believing what you are saying. She chuckles at her own tears at such a nice thing. She sniffles and says, “Thank you, baby, I can’t- ah, I can’t find the words to tell you how much that makes me feel. I love you. You are the best love I have ever known.” 

-You kiss her skin softly as you cuddle closer to the tearful tiefling, “I love you too. So greatly… it’s good to know it is mutual.”

-“It is, baby, it really is. Tonight is such a beautiful night.”

Shadowheart 

-Shadowheart doesn’t admit it, but she has such a big praise kink. 

-It started when you two met when you noticed how she would look away when you thanked her for saving you, or she would blush when you told her how great she was beside you in a fight. 

-But she was slow with her love and couldn’t be won over with some simple praise. It takes time to win her trust, let alone her heart.

-She finds her need for your praise as something she needs to hide. It was a vulnerability to exploit if she let it show. It is how she is used to being. She tries to hide her happiness with praise, but it is hard. 

-But, when you two start seeing each other seriously, she takes that shit to the heart every time. 

-“Good girl.” You said in passing when she healed you without being asked. It caused her to blush and feel a heat wave through her.

-She was happy to make things easier for you when she was in love with you and away from Shar. She doesn’t need anyone's approval anymore, no more sacrifices to be enough. She was enough to you. It made her feel comfortable. 

-Shadow wasn’t scared to praise you back. She is similar to Karlach in that way. She has no shame when she is happy with you to tell you that or give you a look that communicates that she will treat you to something more. 

-One night after she had abandoned Shar, she was still very lost and felt not herself. Even her hair isn’t the same as what she remembered. She didn’t remember much. It killed her, and you came to your shared tent. 

-“Shadow, I want you to know I haven’t met someone with so much bravery before.” You say to her as she sits across from you, saddened and quiet, and you come closer to her. “You were scared and did what you thought was right, and it was right, without knowing how it would end up. You dared to do something that terrified you. It inspires me, my love.” You finish as you touch her hand, you move a hair out of her face that still looks at the ground. She had red cheeks, and her breath was hitched. She needed to hear that. But she couldn’t find words to speak. “My brave cleric.” You say as you touch her cheek tenderly with a finger, rubbing it up and down and moving it away. “I think you will find your nerve again. Give it some time.”

-She, of course, finds it again and is her typically goofy brooding self again. And she remembers those words when she is afraid. She reminds herself that you find her brave, so she must act bravely. 

-The praise you give her keeps her sane even if she will never admit it. 

Minthara 

-Praise is not something to take or give lightly to Minthara. 

-Minthara is 230 years old (45ish in human years), and you are way younger than her by a hundred(s) of years. She sees you as someone who has yet to mold into a fully well-rounded person, and she likes to see herself as some kind of mentor and lover. 

-Minthara smirked at you when you did something she liked in the company of your party; she would back you up on almost any decision you made. If you kill or attack someone without asking questions, she will give you a nod and a “Good kill.” 

-Minthara doesn’t hate when she is praised by you. It gave her a reasonable confidence boost that she needed right now. But she scoffs at it and doesn’t like overly affectional praise or one that doesn’t feel earned. 

-She thinks the best praise is in sex with your moans and begs to her. She worships you, eyes devouring you as much as her mouth did to your clit. Her fingers toying and occasionally pinching your nipples, she moans into your body as she tastes your essence. She loves hearing how good she is doing and how great you feel; she keeps her path of getting your cum on her lips. 

-Minthara kisses up your body when she is done. She links her hips with yours with firm thrusts against you, and she says down to you, “Good girl, that’s right, move with me.” 

[kanmom51]

Are you sure?

A few thoughts for now.

Do we talk about the layering once again?

We got this official explanation for the name:

Layer 1 -

Them dealing with "unexpected events" and dealing with them discovering "what was "Sure" for them".

Interesting choice of wording.

What's "Sure" for them... in the situation. But see, that can take on many meanings as well.

What to eat, how to sleep, what to do in the situation can be one explanation. Another can be to do with how do they choose to behave in the situation in front of the camera. Do they allow us to see sides of them we weren't privy to until now?

And this all coming out right after JM's Muse, and SGMB (yes JM, we get that you love someone very special and want to hold their hand...and go on trips with them and hug them and....so much more).

So, more than one layer within that description alone?

We also got this for the press release:

So is that all the name is about?

Two friends in funny situations having to decide what to do?

Knowing those two...

I am kind of feeling that the answer to that is an astounding NO!!

Is the "are you sure?" a question asked by them, asked of each other, or perhaps it's also a question we, the audience, will be asking ourselves while watching those two's "undeniable chemistry" if indeed all we are seeing is just an "endearing friendship" !!!????

(To which my answer, even without seeing it yet, would be: Heck nah!!)

Yep. There you go.

LAYERS.

Next...

Let's talk about the numbers for a second.

Yeah, I know some of you don't love the topic, but t'i's what t'is, I'm going there, cause I wanna.

8.8.2024

8 Episodes.

19.9. last episode released.

Let's talk about every one of those and all of them together.

The number 8.

8

on repeat.

8 can represent eternity.

Have we seen them use this motif before?

8 is also considered a lucky number in Korean culture.

It is considered a symbol of wealth and prosperity.

But we are getting 8.8.8 (either from the full date or the partial date and number of episodes) - so, 888 Angel number.

Yeah. I went there!!! I did have help from a special someone who guided me there (not sure they want their name mentioned, so I'll keep it to myself atm, lol).

Twin flame.

Power couple.

New heights.

Wealth... legacy...

Tick, tick, tick to all of the above.

And what about the last episode release date?

19.9

Do you see it?

I do.

1- 18 (9+9)

Or dare I say...

11-8

You might ask me:

Are you sure?

Huh, see what I just did there?

🤣

I think that anyone that denies the importance of numbers and dates to those two is ignoring not only their cultural background and context but them as well, as they have showed us time and time again that numbers are a thing they do. So, could this be intentional? Hell yes, it could.

But you know, even if they didn't mean all of this with the dates and numbers, it's kind of amazing how the universe always aligns for them.

So bottom line, either it's their choice, and that says so much, or it's the universe aligning for them, which would be wow, but then again, it seems to always align for them. Oh, so yeah, not wow, but WWWWWOOOOOWWWWW then!!!

[throw-down-enjoyer]

Organ donation, compassion fatigue, and Japanese perspectives on brain death

I don’t think Shidou’s sin was actually a crime (as in, it was perfectly legal) and I’m going to explain why. This is essentially a very long Kirisaki Shidou Is Not An Organ Harvester post

To start: Shidou’s sin was convincing the families of braindead patients to donate their relatives’ organs. He confirms doing this in his T2 voice drama, and the way he words it makes it clear he thinks of it as murder. (He does say that this is only half of his sin, but we’ll get to the other half later.)

You know, I… continuously tried to persuade the relatives of braindead patients who were against organ transplants.

“In order to save the life of someone you don’t know, please let me kill your family member,” I told them.

It doesn’t even take much thinking to realize how cruel that is, but… I didn’t realize that until the very end.

Translation used: https://youtu.be/9xmokVJ-6x4?si=VgcIp5LCdNnUwqUW

Brain death is the irreversible, complete loss of brain function, meaning there’s no chance for a braindead patient to ever come back. Because of this, some people may feel that removing life support from a braindead patient doesn’t constitute murder. It definitely doesn’t constitute murder from a legal perspective, but it makes sense why someone might think of it as murder— especially in Japan.

Japanese perspectives on brain death

In evaluating Shidou’s case, we have to consider the cultural context within which it was written. Many people in Japan do not consider brain death as human death, and brain death cannot be declared without consent from the family and the intention to donate organs. In fact, braindead patients are not removed from life support until their heart stops beating. Shidou isn’t being dramatic when he frames his words as basically saying, “please let me kill your family member.”

Brain death is a very contentious topic in Japan—Doctors are put under scrutiny for declaring brain death and performing organ transplants. It’s important to know that in Japan, brain death only exists in relation to organ transplants. And only certain designated hospitals will do this. Even more so, if a person writes an advance directive asking to be taken off of life support in the case of brain death, doctors are not required to follow it. And many of them don’t, out of fear of the patient’s family lashing out at them.

Only in 2010 was Japan’s Organ Transplant Law revised so that organ transplants could be performed without prior consent from the brain dead patient (now only requiring consent from the family).

Here’s a couple of scholarly articles on the topic if you’d like to read more about it.

https://doi.org/10.1186%2Fs12910-021-00626-2

https://doi.org/10.1353/nib.2022.0019

Another very important facet of this discussion is how low organ donation rates are in Japan. To give you an idea, here’s a chart showing the per million population of donations after brain death (DBD) and donations after cardiac death (DCD) in a few different countries.

Sourced from this article, which has some other interesting statistics as well: https://doi.org/10.1016/j.tpr.2023.100131

As you can see, Japan’s rates are astronomically low in comparison to other countries. This helps to contextualize why Shidou had to try so hard to persuade families to donate, and why he later became extremely desperate when his wife’s life was on the line.

I’ve seen a lot of people confused about Shidou’s crime, and many speculations about him doing heinous things such as organ harvesting or purposefully botching surgeries—but I think this is because we’re approaching the case with a western perspective. As we know, many (if not all) of the Milgram prisoners represent a controversial social issue. Brain death is not nearly as divisive in western medicine as it is in Japan, so it’s easy to overlook the idea that all Shidou actually did was take organs from braindead patients. Perspectives on brain death in Japan have changed a lot in the past couple of decades, but it’s still quite controversial; because of this, I truly believe that this is the point of contention behind Shidou’s case, and there’s nothing more sinister secretly going on.

Compassion fatigue

Compassion fatigue is commonly thought to be the manifestation of secondary traumatic stress and burnout, caused by caring for others who are in stressful situations. This commonly affects people who work in healthcare.

I believe Shidou experienced compassion fatigue from working in the hospital, as he exhibits some of the symptoms—in particular, a reduced sense of empathy and a detachment from others.

I feel that Throw Down makes a lot of sense when you view it from this angle.

Lyrical analysis on Throw Down

Shidou expresses that he no longer remembers what it feels like to take away in order to give.

Pomegranates represent death in Greek mythology, and I believe that’s what they represent here too. Shidou has become desensitized to death; the pomegranate no longer has any flavor.

If it’s not needed, I’m not interested

Shidou only thought about what was physically necessary to keep a patient alive, and remained emotionally distant.

They’re dead either way, so it doesn’t really matter to him.

Now slowly close your eye, put your regret on display

Wish for being there for someone

With the same expression no matter who comes

This is the part that most makes me think of compassion fatigue—Shidou had difficulty expressing empathy for grieving families and had to fake it.

I don’t feel scared because I don’t know

Shidou didn’t understand what it was like to be in that situation. But now that it’s happened to him… he understands. And, looking back, he understands how unkind he had been about all of it. This is why he considers himself to be a murderer, why he truly believes that he has killed many people.

Ethics is a delusion

This is a line that definitely struck me as odd for awhile, but I think it makes sense in the context of his situation. His sin was not illegal—but is it ethical? That’s what all of this—whether you forgive him or not—hinges on.

The other half of Shidou’s sin

Going back to what I said earlier, Shidou’s sin wasn’t only convincing families to donate their relatives’ organs. His sin is also transplanting his son’s organs in an attempt to save his wife.

I believe that Shidou’s family got into a car accident, which resulted in his older child experiencing brain death and his wife being left in critical condition (and the younger child presumably died immediately). Considering the views surrounding brain death in Japan, it would have been difficult to find a donor, so Shidou became desperate enough to transplant his son’s organs. Since he’s the father, there wouldn’t have been any issues with receiving consent for the transplant.

Some people believe it’s the other way around—that he transplanted his wife’s organs into his son—but I believe otherwise, for multiple reasons.

In Shidou’s T1 voice drama, he expresses relief at the fact that his judgment is being determined by Es, who is a child. This makes sense if he feels that he killed his son.

Instead of being told by the law that I won’t be forgiven, I wanted a child like you, Es, to tell me that.

I feel sorry that you had to be given this role. And, I truly apologize for being so insistent about sentencing me to death as well… But, you’re perfect. You’ll give me the ending I’m most suited for.

Translation used: https://youtu.be/C4MiQ3V3YjQ?si=hPmlUkc6BfdcacNg

Additionally, a few scenes in Triage…

As stated before, I interpret the pomegranates to represent death. Shidou brings home three pomegranates, one for each of his family members. He later hands his son a price tag from the pomegranates—a representation of Shidou sentencing him to death.

And at the end of Throw Down, an organ tag falls out of the flower person. The name seems to read “Rei Kirisaki” and has XY marked, probably indicating that the donor is male.

Not to mention, it’s much more plausible for the flower person to represent Shidou’s wife rather than his son. When the person falls apart, there’s a shot of a red rose—the flower most known for representing romantic love—falling out of them.

Final thoughts and conclusion

To summarize: Shidou used to routinely try to persuade the families of braindead patients to donate their relatives’ organs. Despite that the prevailing thought in Japan is that brain death is not human death, Shidou did not think of it this way.

Shidou’s family later got into an accident; he transplanted his braindead son’s organs in an attempt to save his wife, but it was a failure, resulting in her death. This situation made him reflect on his past actions—he did not consider it murder before to discontinue life support on a patient, but now that he did it to his son, his perspective has changed. Everything he has done is within the confines of the law, but he is now burdened with immense guilt and thinks himself a murderer. Not just in regards to his son, but to all of the patients that he had pulled the plug on.

Side note: I don’t think having low empathy is inherently a bad thing (I have naturally low empathy), but in this context it would make sense for Shidou to feel bad about lacking empathy.

Side note 2: Shidou is a surgeon, so it is entirely possible he personally performed the transplant on his wife. Operating on family members isn’t illegal or anything, but is widely considered to be unethical and not really a good idea.

Well, that’s all I had to say—Feel free to either add on to this theory or debate me on it. This post ended up quite long, so thank you for reading!

[aroaceleovaldez]

I HAVE BEEN REMINDED OF SOMETHING i think i've made a post about it before but maybe it's just sitting in my drafts. idk, whatever, I will ramble again. Said thing that reminded me was a tiktok by madison_murrah about how the PJO TV show doesn't get the balance between mundanity and magical correct for pjo and I want to expand on that cause while a.) it totally is a problem in the show and i take issue with it, b.) it is also a problem in later books and i ALSO take issue with that too and i would like to elaborate on it

this got long so ramble of the day below the cut:

so the thing is that PJO is actually pretty unique in it's approach to hidden world modern fantasy. like, hidden world modern fantasy is a decently established genre with a ton of examples, but there's a reason why PJO stands out so much, and that's because technically it's NOT "hidden world." There is very intentionally no distinction between the mundane world and the mythological, at least in first series. They 100% overlap. And you do not necessarily need to be "special" to see the "mythological world-" some mortals are totally naturally clear-sighted, a lot of kids are clear-sighted, and it's like 50/50 for if mortals can become clear-sighted. In fact, most demigods aren't immune to the effects of the Mist, all that really matters is if you're actually thinking about being able to see through it. And there's a reason for that!

In general, this format of the "hidden world" modern fantasy serves two purposes: One, as the series is meant to introduce people to Greek mythology and explain why it is relevant and how it can be relatable in modern contexts, it intentionally juxtaposes myths against modern concepts: Medusa runs an apparently average garden statue store. Procrustes runs a mattress store. The entrance to the Underworld is in LA at a record store. Circe lives on an island paradise that's secretly dangerous. Hydras are like chain donut stores that seem to pop up on every corner. Perseus and his mother struggle in Perseus' childhood but get a happy ending. Calypso has an island paradise where the challenge for the hero of our story is being tempted to leave behind his goals. The plot of Sea of Monsters is blatantly the Odyssey, and it's about Percy trying to get to his best friend (who he shares a literal psychic link to) who is in danger of getting married to someone awful (a literal monster) to help you understand Odysseus trying to get back to Penelope and how important to each other and in sync they are. Battle of the Labyrinth is Theseus and the Labyrinth and it's Percy/Theseus trying to protect his home and his people and fellow kids (like Nico) from the dangers in the maze. These are all supposed to help us understand what is actually going on in those stories.

We also still see how Greek mythology influence shapes and influences western culture in general in their world (which is supposed to be our own and so uses real-world examples) - in government, in architecture, in pop culture - Mythomagic is clearly supposed to be your standard TCG like Magic The Gathering. And in general there is no distinction between where the mythological ends and mundane begins - Camp Half-Blood is both a magical training space for demigods and your run of the mill underfunded summer camp, complete with cheesy camp songs and t-shirts and crafts. Olympus is located on top of the Empire State Building which is operating completely as normal except for when a demigod asks to go to a non-existent floor. Your best friend with a muscular disease in his legs is secretly a satyr. Your brother with down syndrome is a cyclops. Your teacher in a wheelchair is secretly an immortal centaur. Your crappy algebra substitute is a literal fury. But also they're still your teachers. The satyr is still your best friend, the cyclops is still your brother. And that brings me to the second aspect of all of this (which i have talked about before [here] and [here]) - the other purpose it serves is that it is an extension of the overarching disability themes that form the core of the series.

The entire reason that meshing of mundanity and magical is so intertwined is entirely because it's part of the disability metaphor, specifically inspired by early 2000s parenting/teaching concepts for children with disabilities, particularly learning disabilities, as trying to reframe disabilities as "superpowers" to empower kids (and still exists in some more modern forms - like referring to disabilities as "being differently-abled") (I talk about it in my previous post on the subject but this generally fell out of favor due to many kids/students finding it belittling of their struggles) - this is why we get the description of ADHD and Dyslexia being framed as "demigod superpowers." In the series this structure is intentionally made to encourage kids to reframe how they view disabilities in general as not something negative but something interesting and fantastical that they may be more open to engage with - and PJO does this in a really nice way where a lot of the disability struggles are still acknowledged and treated sympathetically. Kids still get bullied, Percy and Annabeth struggle in school or with reading/spelling, they grapple with both internal and external ableism. The entire reason for the titan war in the first series, at least from the demigod perspective, is criticizing flawed systems meant to support disabled people that don't do their job effectively or let too many people fall through the cracks. The Mist "hiding" the "mythological world" from mortals (and even some demigods) is about how most abled people (and some undiagnosed people) don't recognize disability struggles until it affects them personally. None of these things are glossed over! It's handled with nuance and care! The series says "you can be disabled and you can be like these fantastical heroes - not in spite of your disability, but alongside it. Neither negates the other." The series was explicitly made so Rick's disabled son could see himself in a hero and learn about mythology for school. Those are the two pillars of the entire franchise: Disability and learning about mythology.

So, when you mess with that "hidden world" structure, the entire thing falls apart and it immediately doesn't feel right, because it's no longer serving either of those two purposes when it needs to be fulfilling both. Late-series Riordanverse has a tendency to compartmentalize the mythological and keep it entirely sectioned off from the mundane. Think about first series and even TKC versus later series - how many mortal characters are there? what do they do? are they just in the background or do they interact with the main cast frequently? are they more than just family or an extension to the main cast? First series we see Percy's classmates frequently, Percy talks about his mundane experiences at school, multiple mortal parent characters (and other mortal characters like Rachel) are active participants in and vital to the plot. We even see a lot of background mortal characters. In TKC, not only are all the magicians technically mortal, but also Sadie's completely mundane best friends help her out. Now think about HoO, or ToA, or even MCGA. Think about the mortal characters in those series. How important are they? Out of the important ones, how much are they in mundane situations versus being almost entirely involved in something mythological? How many aren't related to any of the main cast? How many aren't actively working for a god? The answer is basically zero! Why is that? Because Rick stopped letting the mundane exist. The entire draw of the main series is that Percy does continue to live this mundane life and that adds to his mythological life and makes the balance and meshing between them interesting, but basically all mundanity ceases to exist by HoO. Camp Jupiter is an isolated entirely magic town. Percy and Jason's schools are full of mythological beings as basically the only people they interact with. The Tri's headquarters is an entire giant building in New York City that they completely control that just so happens to ALSO be directly across the street from the local Oracle's house, because even where Rachel lives isn't allowed to be mundane anymore. Why is Olympus just at the top of the Empire State Building versus the Tri having an ENTIRE building? That feels weird and unbalanced, particularly given the difference in importance between those two! Because one is playing into that balance of the meshing of mundane and magical and the other isn't! The show continues this trend. It doesn't allow any of the mythological to exist within mundanity like it functions in the books, which creates a completely different atmosphere and doesn't allow those spaces or scenes or characters to serve their actual narrative purposes, either making it easier to understand mythology contextually or what disability metaphor or representation is occurring there.

It's part of the problem with show!Percy being too mythologically-savvy - Percy is supposed to be the mundane lens unfamiliar with mythology that the audience is learning by proxy through. That's the entire point of the series! If you have Percy already know everything because he's already too ingrained into this mythological environment from the start, and he just exists in this entirely magical world where he understands everything immediately then the literal target audience of the entire franchise (students being introduced to mythology) is left behind! That's part of why the pacing of the show feels so bad! It's rushing through every scene that's more or less the same as the books, particularly anything mythological, because the show is assuming you've already read the books and already know enough mythology to know what it is and what happens and that you don't want to see it again, so it rushes through. The show doesn't explain things that it presumes you already know - worldbuilding, character decisions, basically any mythology, etc, so it doesn't even bother with it.

Later books in the franchise do this too - as long as it's tangentially Greco-Roman mythology, or if it's anything to do with the main series like a reference in TKC or MCGA or etc, it's not going to elaborate much if at all. HoO speeds through Jason's introduction to CHB, and the only reason we get much introduction to Camp Jupiter is because it's actually new. We're no longer trying to contextualize or learn about mythology, it just all becomes set-dressing and references thrown at you rapid-fire as filler. By late HoO and into TOA and TSATS and such, we're not longer even within the realm of pretending like we're adhering to mythology at all. Why is Iris a vegan? Why is Rhea a hippie? Dunno, don't care! Literally doesn't matter! Why are the pandai panda/elephant-monsters and the troglodytes frog-monsters when that's not part of their actual history at all? Well a.) literally just word associations and b.) possibly a little bit of racism (they're supposed to be humans from India and northern Africa, and you made them monsters. cool. okay. and their plotlines totally aren't horrible within those contexts. awesome. please try thinking literally at all next time, thanks). We're not even bothering to look at mythological instances anymore for a basis, a lot of it's written like we're just going based on the first results on google (hi Menoetes and the cacodaemons - the latter of which is not even spelt correctly once in the entire book - which is weird because they do say "daemon" so they know the word. Not that the cacodaemons are mythologically accurate at all because then they would be humanoid. Instead they seem to just be inspired by the things from Doom). None of it serves the purpose of the narrative at all; we're literally just making random choices, some of them quite distasteful! In large part due to refusing to acknowledge the actual contexts of the myths and how that might translate into something similar or equivalent a modern setting to help conceptualize it - something the first series did inherently by design. And we need this! A.) So that you're less likely to make bad decisions because you are inherently thinking about the historical and cultural contexts of these things and how to compare/explain it, and b.) because the audience for later books/the other series and the show is going to be the same as the first series! Those nonsensical references may be at best cameos to people who are already familiar with them, but if your intended audience is new to mythology then making references like that is just going to leave people out of the loop! You don't shift your target audience in the middle of a franchise!

Later books in the series and the show are failing to understand what the first series was actually doing narratively and how it was approaching these subjects and its audience. When you fail to do that, it completely messes up the general worldbuilding and the core themes and intentions of the franchise as a whole. Once you lose touch with that you might as well just be writing a completely different franchise. You need to approach it from the same lens or else it will feel completely off, because otherwise you've lost all base touchstones that make the series what it is.

[perseidlion]

I'm new to the KAOS fandom, and I honestly love the way the show is riffing off myth.

I've seen some rumblings of some people thinking they're changing too much. But, uhhh, the show definitely never promised they'd be sticking close to myth by its whole *gestures broadly* deal. Also like...WHICH version of the myths? There are so many and they changed, sometimes drastically over time. KAOS is just really continuing the tradition of remixing these characters and the stories.

I feel like the people who are saying this takes it too far probably have a superficial understanding of Greek and Roman mythology. Cause if you really dig into it, these stories are weird, contradictory, raunchy, violent and tragic.

I was a Classics major for two years (before I decided I couldn't learn Latin or Greek which was required to study primary sources, so I switched majors.) And let me tell you, KAOS is VERY accurate to certain portrayals of the gods. Not all, of course, but many.

Zeus is absolutely a horndog dick who sleeps with all sorts of people and spreads his seed everywhere. I mean, he straight-up disguised himself as other people to have sex with their partners. Animals, too!

Hera is incredibly petty and vindictive and transforms people into all sorts of things as punishment. She was especially hard on any of Zeus' lovers she caught, or his kids from different mothers.

Everyone was doing adultery all the time.

Hades wasn't a meek corporate type, but he also wasn't a devil analogue as he often gets interpreted as in pop culture. He's definitely a big ole grump and doesn't seem to have a soft side, but he's not often portrayed as evil. Zeus is not God and Hades is not Satan. That's really applying a Judeo-Christian framework to Greek mythology.

The myth of Orpheus and Eurydice was always more about grief and not being able to let go than about the power of true love.

The gods gained obedience and worship through fear. They absolutely punished people who didn't worship they way they wanted them to.

The gods were a giant, powerful, highly dysfunctional family with lots of petty grievances and grudges.

The Greeks had no concept of gay or straight. They conceptualized sex and sexuality as acts, not an identity. They were more concerned about who was the passive person in a sexual encounter (for reasons of class and manliness) rather than what gender their partner was. So it makes sense that this modern retelling would have a similiarly open an undefined concept of sex and sexuality.

Greek myth is full of people who change genders or who swap back and forth through magic or prayer, or were both male and female at the same time. Caeneus in the show, is based on a real myth of someone AFAB who wished to become a man.

(sidenote: Misia Butler is so damned charming and handsome.)

It's also important to remember that the religion of the ancient Greeks lasted a very long time and changed over that time. There was also this really interesting dichotomy between the gods of plays and myths and the gods they worshipped in a religious context. That was one thing that is really hard to wrap your head around when you're studying Greek and Roman myth, especially when you're studying it alongside plays and epic poetry.

The gods of the stories who were being vengeful and petty and the gods they sacrificed to and worshipped were not the same - and they were. Sort of imagine it like Christian peoples' perceptions of Jesus vs Jesus in pop culture. Like, if you studied Dogma or Good Omens or something alongside the Bible and didn't distinguish between religion and pop culture, you'd definitely be confused.

So there are all these competing stores, some benevolent and holy, some raucous and scandalous. KAOS very ably continues in that tradition by remixing and recontextualizing the source material for a new audience.

They do some reaaalll weird thing with timelines, though! They squish together myth and pick and choose different versions and inspiration. But honestly that doesn't bother me because it's all done deliberately and not out of ignorance. They're changing what they've changed to serve the story.

Plus it's great fun. It's one of the most creative shows I've seen in ages. Go and watch it! As a bonus, it's also hella queer.

[krowlovesinazuma]

Could you do marriage headcannons for miko with the creator

Read this prologue for context!

Scenario: Marriage

Characters: Yae Miko

Thanks to Inazuma's traditional values and culture, marriage is seen as quite the symbolic, and important social event, that can change one's life forever. As such, there are some that simply decide to live without it.

Ironically, Miko was one of these people. It made sense, as a youkai, to simply watch and not get too attached to the townsfolk, content with her influence as a shrine maiden and taking care of her publishing company. With her duties, and youkai lifespan, it just wasn't logical.

That's why, even when you appeared, showing such a fascination and preference for her, she never once thought about the possibility of marriage, and as such, you're the one bringing the topic up as a possibility! It's a certain way to catch her off guard.

She thinks it's a joke, or an exaggeration of your feelings at first, but when you refuse to drop the subject, or start imagining things, she decides to question you seriously, just in case. Better to settle this quickly, than let it drag on and confuse you!

She'll ask if you're really alright with the prospect of being attached to her for the rest of her life. As for if she's willing... Years ago, she wouldn't have given it a thought, but being with you made her happier than anything else in her life!

When you accept, Miko will ask for a break from both of her duties for a while, to embark on a sweet honeymoon with you! She'll take the chance to step away from Inazuma like you used to do with her when you controlled her from outside. She has so many places she wants to see again, now with you by her side!

While the ceremony and marriage could be done in public, Miko would rather it stay between the two of you. Not only does it make it more comfortable for her to show her true feelings, but it's way less of a hassle to prepare and maintain!

Life with Miko is quite interesting! As her creator, she makes sure that you're comfortable and satisfied, but she never resists her urge to tease and play with you for long. Since it's never as bad in public though, you can tease her back and see her true emotions!

She'll soften up whenever you ask for it, and sometimes she'll ask you to be fully compliant if she had a stressful day. Trust me, she really needs it from time to time, especially with the process of making Inazuma open again...

What about in public then? Miko uses the chance to make both hers, and your image even more mysterious! Teasing visitors that get curious, and making rumors spread, all while letting you have fun with them as well!

Overall, life with her is quite peaceful and relaxing if you're devoted to it, and listen to her wishes. Do so, and she'll be more than happy to listen to yours, and give you the comfiest life you could've dreamt of!

"Dear... Be a good darling and get on the couch for me. I want to cuddle you for a moment... Ugh, you wouldn't believe the nerve of some customers, demanding to meet me face to face when I'm clearly so busy. Yes yes, the others tried to convince him, but it wasn't enough to get through his thick skull. Shhh... Just be a good pillow for me, I need it."

[anghraine]

jenndoesnotcare replied to this post:

Every time LDS kids come to my neighborhood I am so so nice to them. I hope they remember the blue haired lady who was kind, when people try to convince them the outside world is bad and scary. (Also they are always so young! I want to feed them cookies and give them Diana Wynne Jones books or something)

Thank you! Honestly, this sort of kindness can go a really long way, even if it doesn't seem like it at the time.

LDS children and missionaries (and the majority of the latter are barely of age) are often the people who interact the most with non-Mormons on a daily basis, and thus are kind of the "face" of the Church to non-Mormons a lot of the time. As a result, they're frequently the ones who actually experience the brunt of antagonism towards the Church, which only reinforces the distrust they've already been taught to feel towards the rest of the world.

It's not that the Church doesn't deserve this antagonism, but a lot of people seem to take this enormous pride in showing up Mormon teenagers who have spent most of their lives under intense social pressure, instruction, expectation, and close observation from both their peers and from older authorities in the Church (it largely operates on seniority, so young unmarried people in particular tend to have very little power within its hierarchies). Being "owned" for clout by non-Mormons doesn't prove anything to most of them except that their leaders and parents are right and they can't trust people outside the Church.

The fact that the Church usually does provide a tightly-knit community, a distinct and familiar culture, and a well-developed infrastructure for supporting its members' needs as long as they do [xyz] means that there can be very concrete benefits to staying in the Church, staying closeted, whatever. So if, additionally, a Mormon kid has every reason to think that nobody outside the Church is going to extend compassion or kindness towards them, that the rest of the world really is as hostile and dangerous as they've been told, the stakes for leaving are all the higher, despite the costs of staying.

So people from "outside" who disrupt this narrative of a hostile, threatening world that cannot conceivably understand their experiences or perspectives can be really important. It's important for them to know that there are communities and reliable support systems outside the Church, that leaving the Church does not have to mean being a pariah in every context, that there are concrete resources outside the Church, that compassion and decency in ordinary day-to-day life is not the province of any particular religion or sect and can be found anywhere. This kind of information can be really important evidence for people to have when they are deciding how much they're willing to risk losing.

So yeah, all of this is to say that you're doing a good thing that may well provide a lifeline for very vulnerable people, even if you don't personally see results at the time.