#i understand the narrative reasons for this

[broomsick]

This is your daily reminder that Freyr’s association with masculinity/virility has no historical roots whatsoever, and is wobbly as best. No such concept exists in the perception that scholars have of him today. Some sources attest that he was depicted with a prominent phallus, and the artifacts that history has left us with corroborate this. The phallic symbol is a common one in multiple traditions, representing fertility, in this case, fertility of the land and fertility among couples. Depending on the place and time, it was also believed that Freyr’s domain extended to wealth, celebration and prosperity. As for masculinity? I would be quite surprised if any evidence of such a concept in his cult was found. Same goes for Thórr, also cited by certain websites as a “God of masculinity”, for a reason that’s always eluded my understanding. His proficiency in fighting the jotnar in myth have seemingly prompted this interpretation. What I'll say is that it's peculiar to see this narrative pushed at the forefront of their myth by online sources, despite actual scholarly observations going against the idea of a "God of masculinity" even existing in nordic oral tradition.

Which is why I personally have a some trouble with sources citing this or that deity as being a “God of masculinity”, or “Goddess of femininity”, especially when it comes to norse paganism.

[sergioguymanproust]

The strange fascination I have for the Greek gods runs back to a past life that I had and was cut short for reasons of an affair of the heart. Well, just like millions believe in one God ,and a son today ,these notions of a sin and punishment and the need to be forgiven in order to reach Heaven and not ending up in hell do have a different meaning in the ancient gods and goddesses Greek narrative of the afterlife. So,I ask you if instead of one god we hybrid humans would have continued with the pantheon of gods and goddesses ,would have that idea been better ,and done away with the Vatican and the other predominant religions in this world? Perhaps we would be more tolerant of cryptids and other paranormal phenomena. As a shaman I’m indeed more open to the existence of other hybrid races that still exist in desolate places away from us ,I know of a few that roam the 4 corners states and Native Americans refuse to talk about them openly because it is forbidden by their councils of each tribe elders. It is easy for me to have an open mind and not allow scientific dogma to cloud my judgement, as one example as one that says that earth laws apply to all universes ,well,this hasn’t been proven true .Funny that we ask for proof to confirm our limited knowledge and understanding of nature as if we were the ones that have the final answer . This in my book is arrogant and childish.Well ,if the Greeks believed in their gods and the Egyptians in their pantheon of anthropomorphic gods , why are we so stubborn and claim our god is the only one?Even Native Algonquians believe in a great Manitou a creator with supernatural powers to put one case ,you see each tribe around the world will have a different version of one or many gods even today .In my book there’s no need to instill fear in people and obscene things and ways to behave ,if we are all human beings and know what is wrong and what is good is enough.After all we are immortal beings.The final question in Greek mythology is where have those gods and goddesses gone? One day ,a new generation of humans will crest new gods and goddesses to fill in the vacuum of the current belief system .We won’t be here but they will.Regardless of our current beliefs.Words by Sergio GuymanProust.

“Travel Of Poseidon By Sea” (Ukraine, 1895) Oil on canvas, By Ivan Aivazovsky

[abearinthewoods]

One transmasc to another, please reflect on how your actions may cause actual harm to transfems.

A joke made in anger that is entirely unactionable does not warrant tattling to the organizations that are currently trying to strip all of us of our rights, and are looking for any reason to villainize our transfem comrades.

What’s been done cannot be undone, but please for all of our sakes remember that we’re all under the same boot, and licking said boot won’t make it any less likely to crush you too.

It’s our responsibility to take care of each other, learn from each other, and to look long and hard in the mirror when someone says your words and actions are harmful.

Solidarity. Solidarity. Solidarity.

(Most of this is answered here: https://www.tumblr.com/abearinthewoods/770794163004407808/okay-i-dont-know-a-lot-about-the-situation-but-i?source=share)

I need everybody to understand one uncomfortable but super important truth.

Class solidarity means an end to the oppression olympics.

You should never be looking in your neighbor's bowl to see if they have more than you, only to see if they have enough.

Like lets take a step back for a quick moment and recap whats going on here. She made jokes about killing one of the most unsupported and invisible members of the LGBTQ community, because why?

Like no, lets actually address that.

Trans men want to use terms like trans misandry and trans androphobia to talk about their oppression, not terms like trans misogyny and trans emasculation. and for this they got bomb and death threats from other people in the trans community?!?!?!?!?!?

Because trans men want to use words centered around their their hatchling gender, not their egg gender, to describe their oppression, because they don't want to center their discussions about their issues around some axis of women as the most oppressed, they got hit with a massively outsized amount of hate from (a tiny collection of, lets be very fucking clear here.) mostly trans fems who drunk a little too much of radfem's cis-male hate that they decided to transpose onto trans men. All escalating to bomb threats which my inbox is now also full of.

This is your brain on oppression olympics.

This is the threat to class solidarity.

This is the threat to class solidarity.

This is exactly what they want. For us to be fighting over who has it worse. I don't give a fuck who has it better or who has it worse, and i sure as fuck don't care about any narratives that center this question around one's identity or demographics as some kind of universal truths that overrides individually.

Even when I do bring up ways in which cis or trans men have it worse, or ways in which women commit crimes more than men, I try to focus it on purely countering the opposite narrative, to make sure I am only pushing the pendulum back towards the center, nothing more.

No experience is universal and arguments about stats and oppression and privilege tend to paper over peoples individuality.

Solitary means respecting how we are different. How that changes how we all experience the world. You can't tell a trans man you have it worse than him without disrespecting this because you can not know his life, what he went thru, how his brain's chemistry makes minor changes to how he sees or deals with adversity that build up over time, or how the same difficulties may be harder or easier for somebody to handle or overcome based how they were raised or what other experiences they went thru.

There is a reason why countries who are not at war with each other fly their flags all at the same height; never flying their flag above their ally's flag. They stand as one. United. Because that is what solitary actually means.

We stand at a fork. Down one path is trans men using words like trans misandry to talk about their oppression and trans rad fems on tumblr not interjecting with some bullshit, and down the other path is trans men still using words like trans misandry, but also the hostility comes out and you'll get shit like them telling the same trans radfems to stop calling their oppression trans misogyny, and start calling it trans misandry, and the whole world goes blind. Because i've seen how understandably upset trans women have gotten at me when they've mistakenly thought i was actually suggesting that, its not a blow in the gender war we'll come back from if it enters the discourse.

(as an aside thought experiment, its actually kinda hard to truly only be sexist in one direction. like one could argue that slutshaming is implying there is something dirty or unclean about men/manliness that they 'taint' women with by having sex with them. but you'd rightly call me dick if MRAs started showing up to the local feminism meet and interjecting that every time the topic comes up. And as an MRA, So would I. So please lets stop trying to argue over the "true" direction of acts of sexism and let people be individuals who experience and talk about it in their own way.)

((Final aside, it would make things easier for our intersex and enby brothers, sisters, and gender nonspecific siblings to cast aside this gendered concept of oppression))

[jaggedamethyst]

disappearing act (jayce talis x f!reader)

2.7k words

content/warnings: jayce is in a strained relationship as a result of his work...and his sudden disappearance(s).

18+ minors dni; smut, rough sex, angst (my specialty), unprotected p in v, jayvik sprinkles, strained relationship, argument + lack of communication as a result, jayce being a meanie/dedicated scientist

notes: i feel bad that there's no addition to golden boy at the moment, so here's something else for the jayce girlies that i have been thinking about. once again, incredibly sad...but you love it.

full masterlist linked here

｡･:*:･ﾟ★,｡･:*:･ﾟ☆　　 ｡･:*:･ﾟ★,｡･:*:･ﾟ☆

The relationship you had with Jayce was one of the few things you good rely on. With his work, Jayce Talis may be considered brash—stubborn even. With you, though, he was the epitome of understanding. He watched you often, a careful eye on you. Relying so heavily on the products of scientific experiments, he seldom acted in a way that was proven to yield negative results. That was until he let the work consume him. 

You were always supportive, he’d said as much. You were there to offer an ear, reassurance, and love to the man who needed it so much. He often recounted the story of his mother being saved by magic, a new detail finding its way into the narrative every time. It was then that you understood Jayce’s need to expose the world to this technology. To afford people the opportunity he was so graciously given—to protect people they love. 

Tensions were rising in Piltover and Zaun. You weren’t entirely sure what was happening; Jayce told you as much as he felt was necessary. As a member of the council, there was so much to take on. You could see the stress. In the last few weeks he’d become distant, reluctant to even make eye contact with you. At the time you’d usually meet one another, he avoided you. So much was going wrong, yet you couldn’t find the right words. There seemed to be nothing you could say to comfort him. A feeling of failure sat within you, almost overwhelming the love you had for him. You started to question the man you’d often taken at face value. He wasn’t himself, no, he was something else entirely. 

You sat alone, jotting down notes. There was nothing of particular interest there—but you had to keep busy these days. You perked up at the sound of Jayce entering the room, your shoulders immediately slumping at the prospect of knowing him so well that you knew it was him without a look back. 

His voice broke the silence, “Hi.” 

That was all you really got from him, greetings in passing. This time, it was to pick up a tool he’d left. You sighed, waving a hand at him, knowing that if it was up to him he wouldn’t see you at all today. 

He spoke again, “Thanks.” He showed a specific sized wrench that he loved. You weren’t entirely sure how it got here, but you knew the gratitude he showed was true. If he took nothing else seriously at the moment, he’d always been nose-first into his work. His venture toward progress. 

You nodded at his thanks to you, resuming your work. 

He left his back to you, “I’m working with Heimerdinger again.” 

This surprised you. Both the mention of his former mentor as well as the continued conversation. “Really?” You spun around in your chair, back to your desk. 

He turned to face you, “He has a new protégée, this kid. I’m sure I’ve seen him before…around…but he needs help.” 

“So you’re helping him,” you smiled. It was earnest. There was a warmth there, a passing thought that he might return to himself—a man motivated by care. 

He nodded, “So what’s occupying your time? More of that meaningless writing you do?” He chuckled and motioned toward your open book. 

You twisted the corner of your lips, stunned by the way his words pierced you. For no reason, you might add. A dry chuckle left your throat, echoing his. You deliberately responded lowly, looking toward the floor, “Wouldn’t have to do meaningless writing if my boyfriend had actually been around for once.” 

It was his turn to curl his lip in irritation, “You know what I’m doing is important-“

“And yet there’s nothing to show for it.” 

“That is not fair.” He stepped further into the room, “It takes years to replicate and master the technology I’m working on. Viktor and I have been at this for years, surely you understand that getting it right takes precedent.” 

You nodded, understanding now. “Precedent over your relationship, got it.” You turned and slammed your book shut. His footsteps approached you and you stood in return, meeting his surprisingly close glare at you. 

“You know thats not what I meant-“ 

“Isn’t it, though?” 

“No, its just that…” 

“Just what?” 

He sighed, no words finding him. He couldn’t really explain what it was, exactly. Part of him felt as if you were right—that maybe he did think much less of you than he thought. That perhaps he’d become so accustomed to the havoc, the time with his partner, and the inconsistency of research. He searched his brain, landing on the fact that he was addicted to the high science bought to him. It wasn’t that he didn’t care about you. It was simply that like you said, he wasnt around. 

“Maybe you should go.” His mouth was agape, realizing he failed to answer. He tried to call out to you, your name leaving his lips in a plea. You just needed time. His brows drooped, a defeated look over his body. He backed away, before turning towards the door. He stopped at the door frame, grasping it, the closest he’d been to latching onto you. “I’m sorry.” Then, he rounded the corner and was gone. 

A few months passed. You didnt expect that when Jayce left, he’d seemingly disappear into thin air. When you found out that another boy, Ekko, along with Heimerdinger were also gone—you connected the dots. You weren’t sure what to do, if there was anything to be done. You weren’t dumb, but to Jayce or Viktor’s level of intelligence…you’d found yourself feeling inadequate. It was just your luck, too, that the one person who could help you was nowhere to be found. His partner, one you could tell Jayce loved so much—had vanished. 

There were a few times where you examined their work area. You searched for anything to make sense of the loss. There was nothing. Like clockwork, you would end your search in tears, frantically clawing at the leftover notes and tools. When you couldn’t sleep, you would sneak into Jayce’s bed. The scent of him enveloped you. The tears would come, again, soaking his pillows. You’d later grown disgusted with yourself—the lack of composure. Your sensitivity only removed Jayce further from you; his presence no longer lingered. The smell of him had dissipated. You were beyond devastated. The yearn to have the entirety of the world to open up and swallow you whole was immense. 

You resumed your meaningless writing. In the time Jayce had been gone, you went through two entire notebooks. You cried into a lot of the pages, leaving them impossible to write on. In others you poured out every emotion you felt—chronicling every detail. 

He often found you in your dreams. Few times, you’d offer your mind the comfort of loving him again. Most times, however, you would torture yourself with a recounting of your last conversation. You would try to change what you said, how little you did…but the outcome was always the same. He would always leave you. 

The sound of his familiar footsteps haunted you. Someone would approach you, the rhythm slightly off, but enough to get your hopes up every time. Tonight had been the same, people passing, none being the one you wanted the most. You laid in bed, gaze to the ceiling. You didn’t really have much on your mind, outside of Jayce Talis—again. 

Footsteps approached, again, not him. These were heavier, irregular. It sounded as if one of them dragged. Your face twisted, a disdain filling you. It was enough. You turned, angling your back towards the door and the sound of the unfamiliar footsteps. 

You arched a brow, hearing your door open and close. You angled your neck, not caring who it was but needing the time to yourself. “Whoever that is, please…go away.” 

There was a pause, then a voice. “Still stubborn.”

Your breath hitched, your body turning to confirm whether or not you’d actually well and truly lost your mind. It couldn’t be, not after all this time. 

“Jayce.” It wasn’t a question, as much as you thought it would be. It was true, he was there—albeit entirely different. His hair had grown longer, easily passing his ears. The twinkle in his eye was completely gone. His facial hair had grown. The man that you knew wasn’t here, this was the residual shell—a combination of leftover pieces of himself that had been discarded. 

You crawled off of the bed, scrambling to him. You observed him briefly, taking in the details of him, before jumping into a hug. The scent you loved so much, that comfort that long left you, rested beneath a swell of ash and grime. He reluctantly raised his hands. You waited for the feeling of him embracing you back, but it didn’t come. You felt his palms instead, grasping your face. His eyes peered into yours, a hand dropping so that only one held you now. As you leaned into his single hand on you, he maneuvered his thumb. He brushed over your lips briefly. His grip then fell just underneath your chin. He let his thumb squeeze into you, pinching your cheeks slightly before nudging your face. 

He wasn’t the same. You didn’t care. He moved toward you, causing you to lean into your bed. When the back of your legs hit the mattress, you sat down slowly. You looked up at him, not needing to exchange words with him. It had been too long.

All reason left you; you were sure that there was never any in this Jayce’s mind. You quickly reached for his pants, undoing the button and zipper as he simultaneously maneuvered for yours. You paused, only resuming when you were completely bare on the bottom. You could see him, pleading to be released from the confines of his pants. You reached at his waist, pulling his pants and underwear down. You were startled when they didn’t go down fully. Your gaze dropped, noticing the brace on his leg. The single pant leg had caught the metal. He huffed, the cold air finally sweeping against him. The sensation was enough to make hiss—the slight drip of precum forming on him. 

He leaned you into the bed, circling your entrance immediately. There wasn’t time for prep, you two had already lost so much time together. He thought of you every day. At one point, he’d found a rock, etching what he struggled to remember of your face into the wall. Before he could think to eat, before he could save himself—he thought of you.

You deserved more than this. What he was about to do. But as he looked back at you and saw the pleading in your eyes, he knew you needed this. You needed him. 

Without further thought, he plunged into you. You gasped at the resistance—your insides tighter than normal. It burned, Jayce pushing all of him completely into you. The pain was nothing compared to the mental abuse you had endured. This pain was worth it, you reasoned. At least, now, the pain was inflicted by Jayce—here.

He started his pace into you. Tears collected in your eyes, from both the overwhelming emotion and the way his hips snapped into you. He yanked you back towards him, a slapping resonating through the room. His eyes closed, brows furrowed. You noticed this, reaching to rub his arm that rested on your waist. His eyes opened immediately, looking at your hand on him. The gesture more than he deserved. He pulled out of you then, reaching to pump his hand up and down himself. 

He spoke, finally, “Flip.” 

You did so without question. Your chest found the bed, head leaning to the side. The bed was a bit taller than you and it left you on your toes. You fought to stabilize yourself—wanting to do whatever it was that he needed. He spread your legs, ramming into you without warning. The force of him pushing into you had you whining. A yelp escaped you with every thrust, the feeling of him relieving a desire that had built up in you since he left. Your feet eventually lifted from the floor completely, your arms gripping into the blankets. Jayce had the entire bed and its posts rocking. The squeaking, groaning, and slapping was entirely disgusting and quite reflective of your relationship now. The ordeal was desperate, pulling at each other until you fell apart. 

You circled your hips into the firmness of the mattress. Your clit found the friction in exactly the right way. Behind you, Jayce found your hips, gripping at your flesh like you’d disappear if he didn’t. It wasn’t long before you came, face down ass up onto Jayce. You felt a pool of wetness escaping you, dripping beneath you. He sighed at the extra lubrication, speeding up even more. He worked you through his own release, filling you to the brim.

He collapsed onto your back. The feeling of his breath on your neck, the stubble on his jaw, and hair fraying onto your ear was entirely new. You remained motionless, afraid for the moment to end. It did, though, Jayce pulling out of you. He rubbed your ass briefly, before pulling his pants up and straightening himself. You pulled yourself fully onto the bed, grabbing your underwear and a throw blanket to lay over your bottom half of your body. 

An expectant look was on your face. You dreamed of the day he would come back—return to you. You hadn’t expected it to be so wordless. You watched the man inch his way towards his hammer. It looked different than you remembered, flurries of color attached to it. It was somewhat eroded, too. You frowned at that. There was a clear resemblance here, the disfigurement an emulation of the relationship between you being completely different than when you first met. 

“What happened to you?” 

He leaned down now, fatigue catching up to him. “That thing I was working on-“ 

“With Heimerdinger…and…Ekko-“ 

“Yes.” He paused, a choked sob bursting from him immediately. “I-I was lost. Lost you.” 

You tried to stand, move to him, but he raised a hand to stop you. The act was a warning, like he didn’t need you near him. As if he didn’t want you to get hurt. It made you grasp the blanket more firmly. 

He continued, “I have to finish this.” 

The thought crossed your mind. To ask him what it was he had to do besides be with you was on the edge of your tongue. Question why, you thought. Not even a second later you realized that despite his appearance, he wasn’t so different, really. Jayce was always on a mission. He chased a feeling you could never replicate for him. 

So you didn’t let the question linger between you. “Just come back to me.” 

He stood, glancing at his wrist. You noticed the shine of blue there, interlocking with his very being. He nodded, conviction in his words. “I will. I can’t fail…not at this.” 

With a hobble in his step, he moved toward the exit. 

You didnt call out to him. He didn’t turn around for a second glance. With every day that passed, you wished so bad that one of you had. You weren’t entirely sure if what Jayce did—disappearing again, was considered a failure. But you knew the man. It was for a reason. 

It took you a while to come to terms with what happened. You couldn’t bring yourself to visit the site for days. As the Sun rose one morning, yet another night of no rest on you…you slipped out of the bed. There was determination in your walk. You made the trek out to where the destruction was. There was machinery you’d never seen strewn all over the trail. You grimaced, following the natural line of sight. You saw it, then, Jayce’s hammer. You moved with determination. As you approached, you immediately collapsed beside it. There was nothing left of him. He was gone. Entirely this time.

You reached for the handle of the man’s creation, cradling it as if it were him. Your lips wobbled, a cry threatening to fall from you. You gasped for air. “No…” You shook your head, whispering, “Jayce…” 

[glindaselphie]

there was a scene cut after I’m not that girl and pre-elphie’s invitation to the emerald city of glinda expressing her hurt at being left behind and elphaba promising not to leave her behind again 😭

jon’s reason for cutting it was narrative consistency (it’s not acknowledged in the train scene where elphie does start departing without glinda) and I understand it completely but the fact that scene exists has me sobbing and I’m so glad we get to see it still on the deleted scenes

[q--uee--n]

It doesn't quite sit well with me when parts of the fandom act as though they don't understand why, exactly, people become so hyper-defensive/are so hyper-sensitive when people bring up Mel being manipulative. It's because this trait has been weaponized to demean and disparage her at the expense of acknowledging any other nuance/facet about her character, and this also often goes hand-in-hand with ignoring the faults of other characters as to emphasize hers. The fact that Mel is a Black woman can not be put aside as a definitive factor as to why and how she's perceived the way she is—by both the fandom and the writers of the show. I would even argue that one of the show's original sins is a lack of understanding of the real-world intersections between race, class, and colonialism.

In regards to both Mel and Ambessa, this lack of understanding is evident in the writing. Writing that ignores the real-world implications of the Medardas and their social position relative to whiteness, which is one informed by socioeconomic and sociocultural disparities as a result of racism and misogyny. Yes, I understand it's a high fantasy show where things like racism don't exist, so to speak, but Arcane, like all media, is informed by the state of affairs of the world we live in. With classism—classism, which Black people are disproportionately victims of—being a core theme of the show (ostensibly), it's disingenuous to disregard the, from a Doylist perspective, haphazard nature of Mel's function in the narrative as a wealthy Black woman in a classist society juxtaposed against poor, oppressed white main characters (this also applies to Ambessa as a warmonger).

With that said, and harkening back to the beginning of this post, even if you're not bringing attention to Mel's flaws and complexities to demonize her, you have to acknowledge them in the context of her as a Black female character being written with little understanding of intersectionality and how they've been weaponized against her, which are the reasons people—specifically Black woman fans such as myself—are compelled to defend her (or even pretend these flaws don't exist. After all, it's never been a problem in fandom when non-black and male characters' flaws are erased/diminished. It can't suddenly become one now). It's easy to say Mel is a multi-faceted, three-dimensional character, thus, that's why downplaying her flaws is a disservice to her charcter, and this isn't an unreasonable point. However, it's harder to admit that the reason people point out these flaws is not always in the service of acknowledging her complexities but instead in the service of demonizing her due to internalized/unknown biases against Black women. In the end, no one has to like a character. No one even has to defend a character they don't like on principle. No one has to not be annoyed at the sanitization of a multidimensional character. But if those things are being done without an acknowledgement of how the perception of that character is mired by racism and misogyny—knowing or unknowing, from the writers on down—then maybe it's time to address some oversights or unpack some internalized biases before wondering why people feel the need to defend that character.

[clairedaring]

Ahead of the Spare Me Your Mercy Finale premieres, here's an interview with screenwriter Lux on the portrayal of Euthanasia in the series

(source: mgronline; machine translated with minimal edits, my apologies for any inaccuracies)

The series "Spare Me Your Mercy" (Thai title: การุณยฆาต), airing on Channel One31, is approaching its conclusion. Starring Tor Thanapob Leeratanakajorn and JJ Krisanapoom Pibulsonggram, the series is based on a novel by Dr. Sam Isaree Siriwannakulkorn under the pen name Sammon. Known for works such as Manner of Death, Triage, Bite Me, and the recent 4MINUTES, Sammon's novels often intertwine themes of BL (Boys' Love) with medical narratives.

However, in this Channel One adaptation, the producers emphasized that the focus is not on the BL aspect but primarily on the medical themes. Lux Sirilux Srisukon, the creator and scriptwriter of Spare Me Your Mercy and a skilled member of the production house, explained the reasons behind adapting this story and delved into the nuances of the plot. Even though euthanasia is not yet legal in Thailand, the story explores how patients may make end-of-life decisions without violating medical ethics.

“Sammon's novels are mostly BL novels and include numerous love scenes. However, we deliberately chose not to present it as a BL story. While the characters are two men in love, we approached it with a dark drama style. The characters are gay, but we don’t offer [fan]service in every episode or include NC (explicit) scenes. This was our intention from the beginning when we started making this series.

We did this not because of censorship, airtime or actors. But because what we are trying to tell was heavy and serious. Having NC would steal the attention of the story because what we were going to talk about was dark drama and euthanasia. Some fans of the novel might be disappointed, but we think we have other fun things to offer, even if there’s no NC scenes. Our way of thinking is that this is not like a series that serves [the audience] (t/n: I understand Lux is trying to say that this isn't a feel-good, healing vibes serving drama).

For instance, in traditional male-female dramas, if the protagonists fall in love, they simply do. Similarly, this story is like any typical drama—it’s not about portraying same-sex or opposite-sex love, but it is just two people who love each other. We depict love scenes the same way we would in any regular drama. Viewers will see that these two characters love each other because we don’t see gay love as different from heterosexual love. It’s just two people finding each other, forming a bond, and falling in love.

When we spoke with the original author, she was also very supportive of this shift because she also wants to highlight the theme of euthanasia. Sammon's focus is also in line with the adaptation but since she is also a Sao Y and a BL novel writer, she understood her audience and enjoyed writing in that style.”

Lux says that she wants to clear up the misconceptions that many people may have that euthanasia must be caused by illness/ medical conditions, not because of life dissatisfaction or laziness and want to inject death.

“We wanted to portray what euthanasia really is because there are many misconceptions. People often misunderstand it in two extreme ways. First, they see it as equivalent to suicide. Second, they see it as an escape for those dissatisfied with life. For instance, some on X (re: Twitter) think, ‘I don’t need to think about the future; I’ll just live my life and then get an injection to die.’ That’s not possible anywhere in the world. That's a misconception.

Euthanasia doesn’t mean you can request an injection to die simply because you’re tired of life. Even in Europe, where euthanasia is legal, there are strict requirements. You must have a certified medical condition specified in the law, endorsed by at least two medical specialists, and the illness must be truly incurable and that you are waiting for death. The purpose of this law is to prevent these individuals from suffering. Instead of suffering for another year, they can die. It's not about being bored with life or lazy to live or not liking yourself when you're old, so you let them inject you with a lethal dose. They don't do that. Many people misunderstand that if you don't want to live, you can go for euthanasia.

But on the other side, some people say they wish the law would pass so they wouldn't have to take care of themselves when they're old. I'm bored, so I'll just go and get an injection. That's not how it works. Even in countries where it's legal, they won't do it. Or if a father has an illness that is still treatable, they won't allow it either. It’s only available for those truly nearing death, as certified by medical professionals. In cases where it is allowed, in countries where this law has been passed, as I explained earlier, and they only provide euthanasia to the relieve suffering of patients who are waiting for death.

And there are some countries that have already passed the law on euthanasia, and they have changed their minds and gone back to using the old law. The term 'euthanasia' itself is not beautiful. There can be many legal loopholes.

For example, a patient is very sick and old, but they don't want to die, but their relatives don't want to take care of them. They go and arrange for euthanasia. But if there aren't laws for it, there will be legal loopholes to allow murder. Some people may not be able to move or walk, but they still want to live. They don't want to die. The most important thing about euthanasia that doctors must discuss, which we will demonstrate in this case, is the patient's wishes. You must do it with awareness and a genuine desire to do it yourself, not pressured by relatives.

It's not like, "Mom, I can't take care of you. You're such a burden. Let's take you to get an injection." We understand that this is a sensitive issue. We don't want to cause arguments, but we want you to understand what we're trying to convey. Think seriously. Because if the day comes when the law needs to be changed and you don't understand it, when you ask yourself if you really want the law to be changed, we won't be able to answer because we don't really understand it.

Euthanasia in Thailand — Is It Suitable?

“Euthanasia is a thought-provoking topic. We interviewed doctors, and they said that euthanasia isn't suitable for wealthy people. If you ask a doctor in an expensive hospital, he will say that euthanasia is not suitable for Thailand because [the hospitals] already have everything that patients need to get through their final days well. But the condition is that you need money.

However, for poor people, just getting painkillers once a month is difficult. They have to endure the suffering. The doctor who wrote this article is the one who visits patients' homes. In small hospitals, when they encounter such cases, they think, 'Maybe there really needs to be something. Isn't euthanasia a necessity?'. Poor people with terminal cancer, in excruciating pain, but there is no one to take care of him, bring him medicine, or take them to see a doctor. Do they have to lie down and suffer like that? How are they supposed to live?' The accessibility to and public health welfare of our people are not equal. This is what we really wanted to convey.

I understand that BL fans might be disappointed, but if we focus on NC scenes to make people swoon, the core of the story will change. The weight of the story will go more towards that than the presentation of euthanasia.

The series will also feature other things to consider, one of them being a ‘living will,’ which has been legally recognized for decades. You can write a letter of intent stating that you are seriously ill, unresponsive, a vegetable, and do not need to be resuscitated. It is similar to a will, a 'patient's will', however, if you become unconscious and don't have full mental capacity, you won't be able to do this. And the doctor cannot not save our life because it is unethical. If doctors do not help, it will become a criminal offense, which is the same as letting us die.

This is legal and there's laws for it, but no one knows about it. It can be done without a lawyer, just with witnesses. We make one copy for ourselves and another for the hospital where we receive treatment. If we have the symptoms listed in the document, the doctor can let us go without providing treatment. We have to do it ourselves, relatives can't do it for us. This is not a legal loophole, there is a law for it, it's just not promoted. This is legal tool that can be used instead of euthanasia because it comes from the patient themselves. Everyone can become terminally ill. Cancer can happen to anyone. And when you're in those situations, how would you deal with it if euthanasia is not legal? You have to think ahead about what you will do."

tagging @recentadultburnout who can help vet for me if there are any inaccuracies from these machine translations

[lesbiansforboromir]

Here's a more compact review of the War of the Rohirrim film for anyone interested! SPOILERS AHEAD!!

Positives;

The backgrounds were all very beautifully painted and the lighting really elevated the character design and smoothed over the janky animation. Where other aspects of the film fall off, often the background artistry and lighting over all of it still manages to convey a very dramatic and immersive moment to the viewer. It's probably the best part of the film.

The part where Helm's ice-ghost phase is teased was really cool and atmospheric and I got a little thrill of what I'd kind of always been wanting from this film.

Frealaf was pretty lovely (what little we got of him) and I appreciated that his darker skin tone was implicitely associated with his Gondorian heritage. I THINK I appreciate the idea that Frealaf's father was Gondorian, though I wish it had been better utilised.

I also really liked the moment where Helm is about to fight Freca and he gives his crown, signet ring and mantle over to Frealaf in this like... symbolic giving up of his Kingship in this moment where his actions are about to make him unworthy of it.

I appreciated Olwyn existing as an older female character in a purely action based roll.

Helm's voice actor and design were pretty cool, I came around to enjoying how much effort they put into making him extremely imposing.

Hama being a twink who was born to be a bard but forced to be a heroic second prince was a nice touch.

General Targg of Dunland might have been my favourite character, inspite of the fact that I am really curious to know where this organised military of Dunland is for him to reach the rank of 'General' in.

Negatives;

Gurl the racism. See here for more details.

The overall narrative seems to me direly lacking in like... basis. I am lead to believe Hera's journey is about her reclaiming her right to choose her own life for herself. But she is never actually pressured into any choice, nor does it appear that her father ever restricted her freedom in any way. So I don't really see where her choices were actually removed to such a degree. If her desire is to see her choices respected by the men in her life, well that never happens for either Helm nor Wulf, who force her to let them die or to kill them, respectively. It feels like in their rush to censor any negative aspects of Helm they kind of removed the reason Hera is frustrated in the first place, he cant be TOO much of a misogynist etc etc.

This is twisted up within 'gurl the racism' but Wulf's manner and presentation make me FEEL like he is a villain we are supposed to mildly feel for? We see him as a child, we see him struggle with what he's doing, we see his clear desperation and despair and hear him talk about loneliness and suffering... but at the end of the day in the way that it is presented Wulf is fundamentally foul and deluding himself and all his problems appear to be of his own making. In general it is extremely uncomfortable for the 'obsessive stalker' villain to also every now and then say 'I am devastated because of how my dunlending blood has been prejudiced against all my life by your family and the wider rohir society' like... by only him mentioning it but it never being actually acknowledged by anyone else it just comes across so shallow and unsettling.

This is a review from my book-biased perspective so understand it within that lense but still gurl... the lore. What the hell do you mean the eagles speak a language only a wizard can understand? No they can just speak! What do you mean there is A watcher in the water in some undisclosed lake in Rohan somewhere? There is one Watcher and it's name is very specific to the doomed Moria expedition! At least give this new squid fellow a rohir name. Speaking of!!

IS IT SO HARD TO NAME ROHIR CHARACTERS IN..... ROHIRRIC?? OLD ENGLISH IS RIGHT THERE... HERA HAS NO MEANING... THERE ARE SO MANY COOL HISTORICAL ANGLO SAXON PRINCESSES YOU COULD CHOOSE FROM...

Included in the 'gurl, the lore' segment but in need of it's own post so I will try to be brief; (Theoden voice) where was Gondor... when a herd of Mumakil were marched by Haradrim mercenaries across the Anduin, up through the Pelennor, across Calenadhon and over Rohan's southern border... did they sneak by... were they stealth Mumakil, did they have elven cloaks too.

But also Where Was Gondor just in general. Like to the detriment of the actual narrative, opening up plot holes that didn't even need to be there, the fact that Gondor is ALSO supposed to be at war right now is completely ignored and discarded.

THE BATTLE OF EDORAS... TF ARE YOU ALL DOING! Like I know it is kind of hypocritical of me to request sensible war tactics when we're adapting Tolkien, he did not give a good example, but like... where were the horse archers, why are you charging down an infantry-only army, why even be on a horse if you aren't going to use greater mobility to your advantage, this isn't a siege, this is YOUR territory this is an open field!! Come on! AND ANOTHER THING, did we really have to make the victory of the Dunlendings over Edoras so disconnected from their own effort? Like betrayal is fine, but this was also a well supplied and competant force, and that was a major part of their victory. These were matched combatants! Just kind of another way in which the dunlendings were robbed of any cohesive motive, narrative or skill.

To my admittedly untrained eye... the animation sucks? Like it's clunky and janky and you can see the frames transitioning between each other, the movements often feel awkward and a lot of the drawings are just bad! The Eagles are SO stiff, as are the horses which seems like a cardinal sin in the Horse Lord Film. And then I couple that with the multiple completely unnecessary spinning camera shots Hera gets which are annoying, superfluous and a bizarre thing to spend time on when the rest of the film needs so much more care and attention. In general the GULF of difference between how beautiful the backgrounds are vs how bland the character art is is kind of jarring.

Hera's design.... I hate it. Look I know it's anime but DID Hera have to have thigh high boots... did she really... Why is she so pale if she's supposedly riding sleeveless across the vast countryside everyday? Can a single supposedly feminist film about a 'wild' female protagonist let that woman be like... dirty, or not so agonisingly thin, or give her messy or god forbid short hair. At one point when she is grabbed by a troll and hung in the air they linger uncomfortably long on her ass which her costume design is specifically designed to allow for maximum viewing detail.

The designs of the Dunlendings, Haradrim and especially the Mumakil are all so grim. Like I liked Freca's design to a degree, it was more potent with symbolism and patterning and such, but the rest of it is just SO FUCKIN- well they're ugly! and therefore evil! Do you get it? The ugly grey animalistic people are evil! The Mumakil have literal red snake eyes just so you know they're 'evil animals'. I can't take it anymore, at one point the guy who Eomer throws a spear at in the trilogy just... turns up, like it's literally just him down to the facepaint. And speaking of...

SHUT UP ABOUT THE PJ TRILOGY, SHUT UP AB- besties this film's intro plays alongside the ring theme... THE RING MUSICAL THEME!!!!?? Lines from the films are reused so often and so WILDLY outside of their actual context and meaning that it makes me flinch.

There is a plump little fellow called Leif who is the royal Page I think and everytime someone called Freca fat in such a vitriolic way I was like wow... I mean Leif is right there guys!

Overall a 4/10 from me, it is a watcheable but shallow film that I suspect was more of a cynical attempt by Warner Bros to keep their death grip on the rights to the books, since I think they would have expired if they didn't do something with them soon.

[maxdibert]

Everything you’re saying is nothing but assumptions and headcanons. You accuse Severus of going around using Dark Magic on people, and I’m telling you that when Lily confronts him, she doesn’t mention him using it—she mentions Mulciber. That Severus had an interest in Dark Magic and developed DEFENSIVE spells because he was an abused child is another matter entirely. Stop making up nonsense because no one buys into your cheap hater rhetoric.

James starts the fight, and Severus defends himself. If someone slaps me, I have every right to punch them back because they provoked me. Sorry if you don’t understand how things work, but the person who attacks first is the one at fault. You keep victim-blaming over and over again, and you’re worse than one of those guys who, in the face of a rape case, says, “Well, she must have done something to deserve it.” You’re spouting the same rhetoric as those people—it’s disgusting.

No, Remus and Sirius never said James kept attacking Snape because he was afraid Snape might retaliate. What nonsense are you even talking about? Seriously, stop smoking hallucinogens.

Lily didn’t cut ties with him solely because of that incident. It’s obvious their relationship had already been falling apart before that, and they had been drifting apart for a while. It’s clear Lily had distanced herself from him more and more due to the company he kept and the incompatibility with her own circle of friends. That moment was simply the breaking point. And it’s not the same to get along with a Gryffindor Muggle-born as it is to openly confront an entire house, as you’re suggesting, and ACTIVELY RENOUNCE that house’s ideology when you have to sleep in the same dorm as those people. As I said, you must be incredibly privileged to think that someone without social, economic, or familial support has the freedom to stand up to a majority that not only outnumbers them but also wields enormous social influence. I don’t know what world you live in, but it’s clear you’ve never opened a book on class dynamics in your life. You sound like some neoliberal capitalist idiot spouting the “if you try hard enough, you can” narrative. Don’t come at me with that garbage when I’ve been a Marxist activist since I was 15 and have been working with at-risk populations since I graduated.

If Severus were a girl and a guy hung her upside down, exposing her underwear in front of the whole school, would you still have the audacity to say it’s not sexual assault? Leave your disgusting double standards at the door. James humiliated him in front of the entire school because Sirius was bored and wanted some fun. It was two against one. And the fact that the spell was Severus’s means nothing—what, are you serious? If I carry a knife to protect myself from being raped, and the rapist takes it and holds it to my throat, is it my fault that I was assaulted? Do you understand how problematic your comments are when applied to real-life situations? If you genuinely think like this, you’re terrifying, and I hope you never have to work with children or teenagers because you’re incredibly irresponsible.

Many Slytherins could afford to remain neutral because their families were powerful, socially and economically, and no one would touch them. Severus wasn’t a Nott. Severus wasn’t a Greengrass. Severus was a working-class half-blood with no familial, economic, or social support, which made him easy prey—both for being indoctrinated into a cult and for being targeted by a couple of rich bullies.

You’re defending a rich, upper-class kid with no reason or trauma to justify his sociopathic and violent behavior, while demonizing a working-class child from a highly dysfunctional family environment who had no resources whatsoever. Maybe take a hard look at your disgusting classism and your bootlicking attitude toward elites—we’re in the 21st century. You’re like a typical worker who’s always sucking up to his boss. It’s revolting.

No James wasn’t the devil and snape wasn’t his innocent victim.

Lately I’ve seen Snape Stans insisting that snape only became a death eater because of James or Sirius or his father or anyone else they want to blame, and that snape was innocent before hogwarts and innocent in all of his choices. It’s clear in the books that this is not the case. In the flashback scenes which take place before hogwarts, snape intentionally attacks a muggle with magic and makes it clear to lily that he sees her as an exception to blood purity and other muggleborns because she’s different. When lily asks him if her blood status matters he hesitates before saying it doesn’t matter, this is because it does matter to him but he thinks that she is special enough anyway. Not to mention that snape began using slurs against muggleborns before saying it to lily in fifth year, which she reveals she knew about when he tried to apologise for it.

Snape also already knew more dark magic than most adults as an incoming first year, which is listed as one of the reasons that snape was so hated by James, as Sirius and Remus say that James was always against dark magic and blood purity. Snape was using dark magic as a student early on, lily mentions he and his friends using dark magic - even against another student which snape says was just a “joke”.

I cannot find it reasonable to hate James for hating snape when snape was using dark magic and slurs on other students and clearly well on the way to being a death eater even in the early years. James learnt he took things too far as he grew up and began to avoid snape not wanting to provoke a fight, and snape would seek him out to attack him causing James to defend himself (ootp). This is not the actions of an innocent boy and his devilish bully this is a rivalry with the tensions of the war looming over them.

Also, the idea that snape was abused by his muggle father, and therefore it’s somehow okay that he became a death eater, is essentially a headcanon and a weird one. The only mention of his parents in the books is that they argue with each other and that his father is a generally miserable person- but not abusive. The idea of snape being whipped by his father came from a website, not the books or the movies or even written by jkr herself - it is therefore not canon. It is also so weird for people to try and justify snape becoming the equivalent of a Nazi because his father abused him and he happened to be a muggle, when snape grew up in a muggle neighbourhood and would have had many other experiences with muggles that were not abusive. It’s just nonsense.

Furthermore, trying to justify snape being a death eater by saying he had no other choice because he was a slytherin is again nonsense. Not every slytherin became a death eater and most people were not involved in the war based on the size of the order of the phoenix and the original named death eaters. Snape was not forced to be a death eater simply by proximity, he could have chosen to remain close to lily or other people who were not involved in the war- but he did not. He chose to be a death eater for the power and freedom to use dark magic, and because he was a blood purist as a younger man even if he grew out of it later in life.

Overall, it’s just not true to claim that the actions of James or anyone else are the reason snape “turned out” the way he did. The rivalry with James did not make snape turn out how he did because he was already like that before he even met James.

Snape is a very grey character, in my opinion more dark than light, and trying to justify his terrible behaviour by blaming everyone else takes away from the depth of his character and is also just not accurate to the canon.

[by-ilmater]

i'm going to start this post by apologizing, i don't know why i'm like this. i just like being annoying and pedantic about lore and narratives. i also need to stress that i am A Fan™ of lich emmrich (i wrote a fic where my mourn watch rook gets off to putting her hands inside his chest cavity so you could say i kinda dig him)

saw this post by @kirkwalls-hanged-man and i fully agree with it. there is no right or wrong way to make a choice in a video game, and someone choosing an option that you don't like does not make them a villain. it is also true that emmrich's lich ending is not a "bad end" in the traditional video game sense. emmrich's writer stated clearly that she wrote both his paths to be neither good or bad. i know many would argue that point, but i do think that's what she did. there's nothing in the game's ending that explicitly shows lichdom as a bad ending in the way that, for example, baldur's gate 3 does with god gale.

however

if we look at it outside of just the narrative of veilguard and consider it in the context of the greater dragon age canon, there is huge potential for it to become a bad ending.

lichdom, as far as i know, is a brand new concept in dragon age. we have never seen liches before veilguard (unless they're in some random side media i'm not familiar with) so we really have no idea what lichdom entails in this universe. additionally, the only real information we get about liches, lichdom, and the lich lords is filtered through emmrich. even if you play as a mourn watch rook, when emmrich first broaches the topic with them, they explain that they know of the concept of lichdom, but understand that it is purely theoretical. they are not even aware that liches can exist.

i think it's fair to say that in this situation, we can consider emmrich to be a very biased source. he has desired lichdom most of his life, it is his dream to achieve it. of course his view of it is going to be very positive. while he obviously accepts that there's pros and cons, he clearly idealizes the lich lords.

furthermore, if we look at what we know about nevarra as a country and the realities of their politics, the mortalitasi have a huge amount of political power. and this is not something about nevarra's history, it is current fact. the conversation mw rook can have with emmrich about king markus being undead is very funny, but it is also demonstrative of the level of influence necromancers have in nevarra. it stands to reason that this would go double for the lich lords, considering the intense secrecy of their existence. just because emmrich says that their job is to protect thedas from "dark things in creation" doesn't make it entirely true.

this is all in addition to the obvious potential for tragedy and darkness in any mortal/immortal relationship. but those things have already been discussed at length.

part of what i really enjoy about lich emmrich is that potential. and it's also why i totally understand people not liking it. but, once again, i'm not talking about the people casting judgment on other people's real life morals or ethics. let's knock that shit off, yeah?

[hermanoga]

Vortex We Took Every Breath to Follow : Shiguang and Their Companionship Through Life and Beyond

@justfrolikin I hope this will be a suitable reply to the question you asked; what I think about the nature of the bond Shiguang share.

First, a few words from me :

Even though I love engaging in fandom spaces and enjoy ship fanarts, fanfictions etc, till today my heart truly belongs to a very few ships. Shiguang is one of them. As long as one is not blinded by homophobic delusions, I enjoy discussing any kind of interpretation of my OTPs, be it 'Platonic', just friends™, romantic or whatever. But I have a fixed category (which very ironically is not quite fixed if you read the whole discussion) that fulfills my idea of true love.

for me, Love is a dialogic discourse with your existential other.

The terms I used are very loaded terms; 'dialogue' and 'other' come from the Bakhtinian philosophy of ethics, 'discourse' is a Foucauldian term and existentialism has a long postmodern and post-structuralist philosophical tradition. The reason I LOVE Link Click is because of their postmodern lens and the narratives of the characters, not only the protagonists fundamentally question what is the real purpose of life? Why do human bondings matter? The answers reside in the simplest vignette of everyday life. Grief, trauma, hope, memory, reconciliation, remembrance, love, family - these are the central themes of Link Click. Lu Guang and Cheng Xiaoshi's separate existence and their interpersonal dialogue thematically and structurally complements the main ethos of Link Click.

When asked about the nature of Shiguang relationship Director Li Haoling answered : 是生死之交咯! (Shì shēngsǐ zhī jiāo gē! - It's a life and death relationship!)

source :

Fate, mortality, death, remembrance are the building blocks of their relationship as we perceive it.

Now let me talk about something. When I first watched Link Click on September 17th, 2024, the first Intertexual connection I drew was with another text called Waiting for Godot by Samuel Beckett. Funnily enough, early in this year I wrote a crossover Hamlet adaptation (and won the second prize in a competition hehe) interweaving a few elements from Godot. Time loop, fragmentation of time and space, panopticon with no exit - all these elements featured in that. I recommend Waiting for Godot to you all, you'll understand why it resonates so much with Link Click.

Now,

Lu Guang is a person who is shown to be a character who has some mysterious powers to manipulate time and space. Even from the very beginning, he has this dominant (and sometimes seemingly monologic that feels problematic to new viewers) voice with which he guides Cheng Xiaoshi through the dives. He is apparently headstrong and has acquired all kinds of praises ™ like hypocrite, selfish (lol) and what not. Again quoting Li Haoling "Lu Guang is a complex and delicate character." But after the release of 'The Eye' and 'The Lull', I think we are pretty sure that Lu Guang has been trapped in a rewind, like a Sisyphus figure. A friend of mine told me the other day, "Superficially, Lu Guang is presented as an archetypal strategist, the one who guides, the one who keeps things in control, but in reality, he has no agency whatsoever." Lu Guang lacks the fundamental agency in life (we all do but we have to accept it one day or other) and that mortifying realisation comes to him with the death of Cheng Xiaoshi. What is unacceptable to him is the most obvious outcome of a mortal life : death. Lu Guang's tragic flaw stems from this unacceptability of Cheng Xiaoshi's death and him attempting to manipulate time, very Sisyphus of him. Till now, we are yet to see Lu Guang's character traits without any reference to Cheng Xiaoshi but this does not reduce his character depth. His denial is actually very delicious ( I almost wrote a paper on this, taking the popular sci-fi trope of time travel as an allegorical and symbolic means of resistance and subversion but anyway, it's not relevant here)

Lu Guang's character makes me fall in love with the song Flash by Gorilla Attack. It is from Lu Guang's character, no one can convince me otherwise.

Just a loop A bored 'n loop Should I do this now 'til the end? Into the story As just an extra You are the reason I live But you don't remember me? Oh, can I be with you?

And

The only thing that I got, just like a little lamp I gotta go in one-way smoke Resist the lifeless scenario Become the person The person I wished for that day The room like a coffin, too bright A groove that I lost faraway Blanket, I need a blanket Not a synthetic one Notice the regret engraved so hard

And the line that keeps coming back as a haunting refrain :

Flash me, flash me Gotta get the power to rewrite I just wanna deny, I just wanna rewrite, yeah

Every time I listen to this song, these lines send a chill down my spine. But Lu Guang's obsession with 'rewrite' echoes with what my professor said to be Hamlet's constant meta-theatrical discomfort with the script, role, play he has been provided with. He does not comply with the playwright's words. Apart from time and death, I think Lu Guang's most wretched enemy is Li Haoling himself. That's why he constantly wants to 'rewrite', but all he has got till now is 'rewind'. Now whether his 'urge to rewrite' will turn into a successful 'write back' is the central play of the plot we are looking up to. What is my personal opinion on the ending?

The ending which is so dryly plausible in our real world is Lu Guang accepting his defeat and carries within him the remembrance of Cheng Xiaoshi.

But my question is, my brother in Buddhism Li Haoling, why the fuck would I watch your Link Click to know that death is the node that can't be changed? Is it not the given fact? It's a cultural text, however modern or postmodern a text might be, it ultimately uses the plot to defamiliarise and convey well known concepts and emotions with a critical engagement. A plot is just a vehicle, a crucial one, to help us have a greater and more nuanced vision of life. Due to non-linear narrative and active subversion of chronotope, complex plot will have plot twists and cliffhangers BUT it still has to perform a crucial, non negotiable role - the arc. If the beginning point and the ending point have the same temperaments, what kind of significance will it even achieve?

If Lu Guang can't write back at the end of Link Click, the structure of the plot will be like this :

1. Exposition, rising action : Cheng Xiaoshi died at the very beginning, Lu Guang is fucked.

2. Climactic stage : shit and shit and complex quantum physics, hallelujah hot villains, 'I am a great writer I can kill any character TeeeHeeeeHeeee', backstories, parallel narratives, foil characters have no relevance and rendered completely meaningless,

3. Falling action and resolution : Cheng Xiaoshi is still dead to the very ending, Lu Guang is still fucked.

No catharsis, not a milimeter of displacement from the beginning point.

What is the fucking point?! From the perspective of a writer and a critical reader, I can say it will be a sheer waste of money, time and potential. I would rather watch... whatever.

The friend I mentioned before told me, " You know why Emma or Chen Bin die? They had to die. Emma had a loving family, she got the job she wanted, she had her hardships but she didn't begin with tragedy. And when tragedy came, she was so not ready to negotiate the problem and considered self-annihilation as her first choice. She actively erased the possibility of dialogue with herself. If Emma were an orphan, struggling with unemployment and other hardships from the very beginning, I don't think Emma would die that easily. Emma was denied the conflict of life which very ironically tests human agency itself."

And for Chen Bin...during my first watch, the moment I saw him my instincts told me he was going to die. He had a loving wife, a daughter, he loved her, she accepted the proposal and they married soon. Conflict where? To bring his story to a full circle, he had to die.

I can say every parallel story in Link Click can be judged from this lens. People who had a point of conflict (the noodle lesbians, the couple who lost their child, Xu Shanshan, that old man) engaged in dialogue with themselves, others and social forces ultimately got a happy ending. Even in the earthquake episode, it's a story of reconciliation with the past, the man got his mother's photos and it's plausible and satisfying (and bittersweet resolution). He got his (absent) father back.

Another thing, we as a fandom have a collective amnesia about....*drumrolls* Cheng Xiaoshi's character! Congratulations! The man, the freaking protagonist just dies at the beginning, accepts his death, and remains dead. Doomed yaoi allegations are just nonsense. Link Click is doomed if Shiguang doesn't get a happy ending. Link Click is NOT a dramatic monologue told from Lu Guang's perspective, engaging with his perpetual trance of melancholy and him holding onto Cheng Xiaoshi's memento mori.

If Lu Guang is attempting to write back to Li Haoling and the doomed yaoi allegations, Cheng is attempting to write back to Lu Guang himself, not in confirming his own death, but saving Lu Guang from the loop of eternity and by being together. Cheng Xiaoshi is always seen to be guided by Lu Guang, he has to witness repercussions of his actions. Even with all this knowledge I will say, Cheng Xiaoshi has way more agency than Lu Guang has. During my first watch, I could feel Lu Guang has this barrier of guilt and unsettled emotions wrapped around him which denies Cheng Xiaoshi access into the deepest core of his subjectivity. Even though he achingly wishes to be together with Cheng Xiaoshi, the burden of his past actions and PTSD holds him back from being together with him, as if his existence is antithetical to Cheng Xiaoshi's existence. Cheng Xiaoshi is that glitch in the matrix that messes up Lu Guang's plans of withdrawing himself from Cheng Xiaoshi. Cheng Xiaoshi should not listen to everything Lu Guang orders. In season 1, he mostly conforms to Lu Guang's ideals, but in season 2, when Lu Guang was hospitalised, Cheng Xiaoshi became more active and you could tell a layer of barrier melted away. He was less of a stone statue, showed more emotions (the S2ep1 lmao when he said "would you prefer if I die?" abhimaan we call it), then the unique high five that feels like Lu Guang accepting Cheng Xiaoshi's proposal or something :

(LMAO ignore my comments, but what I said is true)

My point is, Cheng Xiaoshi is Lu Guang's existential other and vice versa. They cannot live without each other. They cannot exist without each other. If one dies, the other will die and I want them living happily ever after in heaven. Cause 'Break' clearly depicts them as soulmates. I personally take Break as the ultimate canonical ending

Do you see? each of them has one wing missing, meaning that it's their cumulative effort that will make them fly successfully. FYI, there is another Haoling directed, Haoliners Animation League animated canonical queer donghua called 'Beryl and Sapphire'. A separate episode, episode 13 just explores this 'one wing soulmate trope'.

Now take them as friends, platonic friends with no erotic feelings, pure familial feelings or whatever, they are like Yin and Yang, like Shiv and Shakti, and Yin changes to Yang and Yang changes to Yin actively as they interact. You will have a hard time pointing out who is who. I have watched TGCF and Beryl and Sapphire and a tiny bit of Spiritpact - all three directed by Li Haoling and I am well aware of his narrative strategy to represent soulmates and Link Click seems to be the one of the greatest (and my favourite) product of that genius mind.

I began with team Lu Guang cause he is a scorpio, I understand him, his birthday almost coincides with mine, we share some identical issues. But the fandom's often yeeting Cheng Xiaoshi out of the narrative phenomenon brought back my due attention to him. Is Cheng Xiaoshi so willing to be doomed? Does he not yearn to be with Lu Guang? Let me whisper to your ear...he yearns for him too.

so he

does understand that the person who dies...dies, death affects them the least who dies, it's the people, the family and loved ones who actually suffer. This man will leave his Lu Guang on his own volition? eh.

Also I wanna talk about Link Click's strategy of deliberate misdirection. The first and second seasons are so deliberately crafted (manipulation of narrative you can say) to actively erase Lu Guang's subjectivity and nuance. We are just denied access his perspective. He is mysterious but not that aligns itself with a viewer's emotions. In fact, during my recent re-watch, I felt "wtf Lu Guang, why are you interacting with Cheng Xiaoshi like a straight dudebro?" He is a menace, the kind I usually don't like. But there also seemed to be a critical undercurrent which I couldn't really grasp, but it was surely there. It was adding up to my increasing discomfort and made me question - "was it just my wishful projection? they do not share that bond at all." I was so pissed at that thought that I almost decided I am not gonna abandon Link Click. BUT BRO, BRO

'The Eye' and 'Lull' just blew my mind. I was not that affected by Cheng Xiaoshi's corpse advertisement agenda (that corpse is drawing people's attention who is suddenly aware of Yingdu release, great tactic, Haoling) what pleasantly brought me out of despair is Lu Guang's love for Cheng Xiaoshi was acknowledged in these songs. You will read between the lines on your own in season 1 and season 2 if you have that critical method to engage with a cultural text, but the silencing narrative was also very prominent. I very much felt that the Shiguang story is actually the central action, and not the creative sci-fi archtexual exercise of genres, which again, is just the vehicle. But The Eye and Lull focus upon them, them and them. Their emotions are acknowledged, they are no longer behind the veils of symbolism, parallel narratives, intense defamiliarisation; their emotional dialogue now not only demands a voice of their own but also has the potential to reclaim the central part of the stage as they struggle and negotiate power and agency. And I am here for it.

@guangshi-091305 I present to you my rubbish.

[hymneminium]

I read the Glass Bead Game recently. It was frustrating because it really doesn't want to show you the things it's nominally talking about. It's about a future game/art form that interconnects all areas of human art and knowledge but it only mentions specifics about this game very briefly, when there's no avoiding it. And that goes for other subjects too. When the narrative suggests that maybe history is pretty important too it describes the main character being taught about history, becoming engrossed in history, coming to realizations about history's function as a field of study, but you the reader never get to look at history. The meat of the book is interpersonal and psychological, which is fine and good, but it's hard to get very close to someone's psychology if you don't want to show any specifics about their interests. All this might be intentional? But I didn't like it.

Anyway, The Apocalypse of Herschel Schoen isn't like that. Very willing to zoom all the way in and have specific facts bloom into great turns and put interconnections on the page. When these characters have grand ideas you get to see their reasoning, understand where they're coming from or think they're coming from, notice where in particular it does or doesn't line up. And boy are there a lot of things that do/don't line up with these people.

I needed that.

[tahbhie]

Reasons Why 80% of Romantic Plots Fall Through.

Haven't you wondered why a romantic story you have so much hope for suddenly flops? Whether it's yours or not, let's see what could be the problem.

• Relying Too Much on the Outcome

Unfortunately, no romance is complete without an arc. In other words, it is more than just the intimacy. When writers don't allow the relationship to develop naturally, it feels forced. Rushing to the final romance without building a solid foundation will make the story feel shallow and unconvincing. Take your time, flesh out the idea, and follow the plot gradually.

• Creating Unnecessary Victimization

I often see writers make the mistake of portraying one character as too weak or pitiful only for the sake of it. This unnecessary victimization can undermine the character's depth and make the story less compelling. Your readers won't cry along with a female character whose decisions are pretty sour compared to a five-year-old. It's just simply annoying.

Instead, both characters should have strengths and weaknesses, make realistic decisions, making them more relatable and balanced.

• Cringy Conflict.

Realistic conflict is essential for a compelling romance. Over-the-top or contrived conflicts can make the story feel forced and cringy. Conflict should come naturally and blend perfectly into the plot. It's not advisable to pop a challenge that's definitely not necessary in the name of 'keeping the stakes high.'

Rather, focus on creating believable challenges that the characters must overcome, adding depth and authenticity to the plot.

• Neglecting Other Emotions Outside Romance.

It's not only about love, or roses, or dinner nights, or lucky dates with the billionaire. Show the other emotions fighting for dominance: the hurts, pains, joy, frustration, desperation, anger, sadness, jealousy, anxiety, or even moments when a character falls out of love with the other and can't understand their feelings.

Focusing solely on love can lead to a one-dimensional story. For a well-rounded narrative, explore these emotions to create a richer and more immersive experience for the readers.

• Underdeveloped Characters.

What's a story without a fully-fledged character, especially if they are the main character in a story?

You might have heard people talk about the importance of backstories and others saying too much of it tires them out, but here's the thing—balance. It's what people fail to incorporate. I'll try to cover this in any of my upcoming blog posts. Follow to keep up.

To better understand why we should cry for, laugh with, pity, admire, adore, scold, yell at, advocate for, and smile with your character, we need to know why they are what they are, who they are, and why they make the choices they make.

It's important to create characters with distinct personalities, backgrounds, and motivations. When readers care about the characters, they become more invested in the story and its outcome.

And that's my Christmas gift from me to you 🎁. Merry Christmas 🎄

[mizuki-foreshadowing]

What Lies Behind / What Lies Ahead, Episode 3

This episode takes place entirely inside Mizuki's room. She can't stop thinking about N25 almost learning her secret during the encounter with An, even though Mizuki feels confident that they'd accept her as she is. A part of her is still scared that if things do change, she would lose the one good thing in her life.

We learn here why An knows Mizuki's secret. Mizuki confided her secret to some of her high school classmates, which would certainly have included An, who goes out of her way to make Mizuki feel accepted for her secret. The other classmates were less kind. It'll come up later in this episode as a painful flashback.

While An and Mizuki are classmates, Toya and Akito are in another class, and Mizuki doesn't know whether they know her secret. But, she is sure that neither of them would mistreat her if they did know.

We also catch a glimpse of how well Mizuki passes and believes that she passes. While we already have the evidence of her seamlessly passing to the members of N25, Kanade and Ena don't get out much, and Mafuyu lives her public life in a daze, so they wouldn't be the best judge of how well she actually passes. Mizuki implies here that the only reason anyone in Kamiyama High School knows her secret is because she confided it in those few classmates herself, that that's the reason it's 'out there.'

Mizuki realizes the reason for her fear is specifically N25 learning her secret.

There's a sequence where Mizuki imagines herself telling them. It happens in SEKAI and each of them are understanding; Mizuki is confident that her friends would be accepting of her. However, Mizuki has been confident that people would be accepting before, and while An very much was, she may have been the only one. Mizuki gets hit by a painful flashback here of one of those classmates rejecting her.

I believe this flashback is from when Mizuki had told her high school classmates, rather than from anything in middle school. The episode opens with her drawing attention to having told some of her classmates her secret, so it was something she was already thinking about, and it sneaks up on her.

Mizuki knows in her heart that even if she trusted the wrong people in high school and it led to them spreading cruel rumors about her, even if she's been burned that way, that her trust in her friends in N25 is not misplaced. All the same, she worries about what'll happen if she's wrong, with the implication being that she'll want to disappear again.

Mizuki reflects on what her transness means to herself. It isn't something she feels she has to prove to someone or convince them is a part of her, it simply is. It's just a part of knowing who she is.

They need to know about me.

Because that's just who I am.

And that's a big part of why she feels guilty for hiding it; she's hiding something that's just a part of knowing who she is, from people she cares about. It feels duplicitous to her.

In the end, she isolates herself again in her self-defeating narrative that she has to face the world alone, that she is the sort of person that the world can't allow to be herself. Mizuki doesn't sleep at all that night.

[possiblyunhinged]

The mere mention of identity politics makes everyone’s spine stiffen—left, right, middle, whatever. Both sides argue that the other’s gripes are unfounded. Very helpful. Very progressive. Very… Twitter.

Much like the word "woke," identity politics has been kidnapped, beaten up by the right, dressed in clown shoes, and paraded around as a cautionary tale. The left, naturally, responds by shrieking louder, flailing its arms, and punching itself in the face. But here’s the kicker: you can’t understand systemic prejudice without looking through the lens of identity. Equally, looking at it without understanding how capitalism sustains that oppression is just as nonsensical.

Take Luigi Mangione. Some left-leaning commentators have decided he’s only being fawned over because he’s a handsome white guy. Sure, fair. Privilege is a hell of a drug. And let’s be honest—if he looked like Boris Johnson, would my friends and I be sharing pictures of him in that cunty orange jumpsuit? Absolutely not.

But let’s not skip over the fact that this might also be the first time in decades that people have collectively agreed the U.S. healthcare system is more criminal than your average cartel. Mangione’s case has sparked wider conversations about how shamelessly the media and politicians protect their billionaire donors—while the rest of us have to grin and bear the cost-of-living crisis and the slow-motion collapse of our quality of life. Elon Musk, for example, isn’t worried about solving world hunger—unless it’s the million children he’s fathered out of wedlock. Very traditional. Much man.

This is one of those rare moments when class consciousness kicked down the door, barged into the conversation, and shouted: “Where have you been, dickheads?” And we should be listening. Classism is the vessel of systemic prejudice. It’s the golden goose that keeps laying eggs for the rich while the rest of us scramble over the shells.

Mangione’s privilege? Sure, it’s skewing the narrative—no denying that. But suggesting it’s the only reason people empathise with him is reductive at best and utterly clueless at worst. Maybe folks are just sick of billionaires treating us like extras in their dystopian fanfiction. Just a thought.

In the UK, the top 20% owns 63% of the country’s wealth, while the bottom 20% owns a paltry 0.5%. That’s not even enough to fill a trolley at Lidl. And yet, middle-class progressives sip their oat lattes and wax lyrical about privilege as if they aren’t sitting on a cushy safety net. I was born into a working-class family that fell into poverty when I was ten. Watching white, middle-class folks treat identity politics like gospel while ignoring class is like watching someone lecture you on drowning while standing in a lifeboat.

Classism is why kids from disadvantaged backgrounds are 19 months behind their peers by the time they finish school. It’s why 3.6 million children lived in absolute poverty last year. And it’s why those problems remain immovable—because fixing them would mean looking in the mirror. And let’s face it, blaming the "other" is much easier than self-reflection.

Dreaming of abolishing capitalism in the UK feels delusional. Especially when billionaires like Elon Musk are playing the world’s loudest violin, painting progressivism as socialism to protect their wallets. Musk isn’t doing this because he’s a genius. He’s doing it because he’s a hollow man with a God complex and unresolved daddy issues. But I digress.

Capitalism thrives on division. Nothing oils the machine faster than convincing us to turn on each other. And look, I get it—understanding identity-based oppression is vital. But when it devolves into a pissy shouting match? It’s just white noise. No learning. No change. Just people screaming into the void.

Surviving as a working-class person in a capitalist economy is engineered to break you. Now add some self-important pundit on telly wagging their finger at you for not being progressive enough. What do you get? Rage. Exhaustion. Division. If I hadn’t been so socially disconnected from the kids I grew up with—thanks, undiagnosed autism—I might’ve followed the same far-right pipeline they did. Why? Because they had fuck-all, and society kept telling them they were the problem.

My single mum didn’t have time to be an activist. She was too busy working three jobs, clutching her mental health by the throat, and keeping a roof over our heads. That exhaustion is the whole point. The system is designed to keep you too knackered to fight back.

You can’t separate identity struggles from class struggles. But ignoring class entirely? That’s how we end up here, with riots in the streets and Farage clones stoking the flames. Those riots weren’t populated by middle-class Foxes or Robinsons. They were predominantly white, working-class people. Why? Because class disparities breed discontent, and that discontent gets weaponised by the rich to keep us fighting each other instead of them. It’s the oldest trick in the book.

If we addressed class disparities—if we dragged billionaires kicking and screaming out of politics—it’d become painfully clear how class has been the boot on everyone’s neck. Instead, we squabble and point fingers while the top 1% buys up everything, including your grandma’s bungalow. This is no accident.

Politicians haven’t failed us. They’ve done exactly what they were built to do: oppress the majority, enrich the ruling class, and keep the boot shiny. By cutting class consciousness out of discussions on racism, sexism, and transphobia, we’re missing the plot.

[imai-zumi]

brahma is so funny dude my man gives an asura a boon with a tiny loophole then does it again a short time (god years) later, learning nothing