#if you want to see that or a different version

[sunderwight]

Luo Binghe needs to make better friends with Shang Qinghua, because Shang Qinghua's the one person who would know how to get Shen Qingqiu to top Binghe in bed.

Like if Binghe ever got to the friendliness level of actually bemoaning the situation, Shang Qinghua would be like, oh yah no problem leave it to daddy I got this for you. And then he'd go visit Shen Qingqiu and be all, so how's the sex life going?

After Shen Qingqiu finished yelling at him for asking the question, he'd of course provide some details -- which Shang Qinghua would translate out of Cucumber-ese into Normal Person Speak for concepts like "I'm a huge size queen so I'm really enjoying that WMD you gave your protagonist" and "I haven't figured it out yet but I really need to start using a better quality of lube" and etc, until there was an opening for him to get in the question of, has Shen Qingqiu topped Luo Binghe yet? Has he plumbed the depths of his heavenly love cave?

Which would probably inspire a two minute rant about the euphemism before Shen Qingqiu is finally like, of course I haven't topped, are you insane, I would never besmirch the dignity of an alpha male like that!

Shang Qinghua nods and hums thoughtfully and delivers the critical strike:

"Yeah, I guess he isn't really pretty enough to bottom."

Shen Qingqiu's expression goes through several different flavors of emotion before settling on "outrage". What the fuck, Airplane? Not pretty enough? Who gave him that face? What is that face if not "pretty"? Maybe some more advanced versions of the same concept, but that's the only case you could make, the case that it's actually "beautiful" or "gorgeous" or something because "pretty" is just too inadequate to describe it! You'd dare imply Binghe is ugly?! Is it crack that you're smoking?

Shang Qinghua just shrugs and goes well no the face department is probably not bad for that kind of thing, it's really more the body that's unsuitable. All those muscles and all, who wants to see those kinds of curves underneath them? And that ass. Totally inadequate for the job. He doesn't really blame Cucumber-bro for finding the whole prospect too unpleasant to contemplate! (Says man who regularly tops Mobei Jun, but it's not like Shen Qingqiu has figured that out, man's firmly stuck on yaoi tropes that say Airplane always bottoms because he's shorter.)

This, of course, inspires a fifteen minute rant on why Luo Binghe's ass is the most attractive ass ever, and all Shang Qinghua has to do is imply that if that were actually true, Shen Qingqiu would have had his husband bent over a bench at least once by now. And he's done it. This conversation can now only end with Shen Qingqiu storming off in a fit of righteous fury to go grab his husband and prove his point by bridal-carrying him into the bedroom and not coming back out until he's won the argument by ravishing Luo Binghe beyond a doubt.

Shen Qingqiu would be halfway through smugly informing Shang Qinghua that Binghe was the best lay ever the next day before it would even occur to him that he'd been had.

But Luo Binghe's too bad at making friends to ever unlock this feature, I think.

[ofcrowsanddragons]

Rookanis and Romance Archetypes

I have longer thoughts that I should probably write out, but here's where I'm at with Lucanis and Rook as a romance (I Love Them).

First of all, when you're looking at the capital-R Romance genre (not to be confused with the Romanticism movement, because we WILL be here all day), one of the most important bits of analysis to start with is determining what the "fantasy" might be and who it's for. Judgement-free. Occasionally, a friend will approach me about a book, boggled that all their friends like it, and we'll play this game. "What's the fantasy" is important, because otherwise we get bogged down with judgements like "Don't women know that a love interest like this would be bad for them?"

Yes, usually. Take the older stereotypical bodice ripper where the love interest kidnaps the heroine and carries her away to have his way with her. In this fantasy, the heroine is perceived as beautiful and irresistible and doesn't have to cross the social boundary of Having Desire. Another version of this is more common today (in the books that people will admit to reading), and that's the fantasy where the heroine has desire, but the love interest is uniquely capable of intuiting it and returning it.

Coming back to Veilguard:

Lucanis/Rook is flipped in-game, as far as romance archetypes go. For all that Rook is the protagonist of the game at large, you get hints in early game flirting scenes that this romance isn't going to go the way you might be expecting. When it comes down to it, Rook is the love interest, and Lucanis is the hero (i.e., the character referred to more commonly as the heroine).

In the romance arc, of the two of them, Lucanis is the one with the Disney/musical theatre "I want" song. The fantasy is for someone to see him as he is and to reach out for him where he's at. This feels impossible at the beginning! He's newly an abomination, he's a killer, and he feels that there's something deeply wrong with him as a human being—that there always has been.

His fantasy becomes that as he works through his current family issues, his dangerous supernatural malady*, and his sometimes panicked response to the pressure of saving the world, there's half a chance that there might be someone who will wait for him at the end of it. And when he gets to the point where he can face the Mortifying Ordeal of Being Known, there will still be someone who looks at him and sees something better than what he sees in himself.

The fantasy for the player is an uncommon one, for the romance genre: it's the fantasy of being capable of being that person to someone else. Rook can be capable of handling anything life throws at them. Rook doesn't need to be afraid of any kind of violence. More importantly, Rook can be worthy of that kind of trust.

Next time, I argue that Neve/Lucanis and Rook/Lucanis are both illustrations of healing in a positive direction, but in different ways.

*Don't @ me over this. Being fused together the way they are is dangerous for both Spite and Lucanis

[thy-lovelylionheart]

Mike Wheeler: S4 Outfits & Identity Crisis Analysis

One of aspects of s4 I find the most interesting is Mike's costuming. We see him in 4 distinct outfits in this season (not counting the white t-shirt look since it's not a separate outfit), and they are all interesting in their own right. But ultimately, they all contrast each other and represent different aspects of Mike's internal conflict and identity crisis.

s4 is the season where Mike's internal conflict is externalized via his costume design. He’s trying to figure out who he is and – like for so many queer teens – it starts with his hair and his clothes. 

Shout-out to @glisten-inthedark because it was during a fantastic discussion that I drafted out a much shorter, much rougher version of this analysis!

*Disclaimer: While a lot of my analysis is formatted as statements – more out of habit from years of writing academic essays than anything – much of this is still speculation and subjective opinion. If you have a different perspective or disagree with my analysis, that's perfectly fine! This is just my interpretation.

1.

First up, my second favorite outfit: The Hellfire outfit.

If you put this Mike beside any of his s3 outfits, the difference is incredibly stark. s3 Mike has bright colors, neons spread throughout the palette, nearly all of them collared shirts. Yet the first outfit we see Mike wear in s3 is edgier: nearly all-black, featuring the word HELLFIRE loud and proud, the face of a tiefling or daemon, and weapons. This is also the first time we've seen Mike wear a graphic tee, which is more up Dustin's alley.

Not only this, but his hair is long enough to brush his shoulders, the longest we've ever seen it. Finn Wolfhard calls it "kind of the most metal Mike's hair has ever been."

So why is this so important? Let's talk about modeling for a second.

Dustin models himself after Steve in parts of s2. He listens to Steve's romantic advice and styles his hair like Steve's for the Snow Ball. For Dustin, Steve represents the masculine, heternormative ideal: the kind of guy who girls want to date, a "ladies man." When Dustin does find a girlfriend who loves him for him, he stops modeling after Steve in terms of outward appearance and returns to his own personal sense of style in s3. In fact, it's Dustin who ends up giving Steve romantic advice in s3, because their roles have flipped: Dustin is comfortable in who he is and his romantic prospects, whereas Steve is struggling. ("Instead of dating somebody because you think it's gonna make you cooler, why not date somebody you actually enjoy being around?"

Lucas wears a Karate Kid shirt in s3 bc Max thinks Ralph Macchio is attractive, so he wears clothes that reference him to appeal to her, his girlfriend, but he mixes it with his classic camo bandana because Lucas has a very strong sense of self that was only rocked in s4, when he tries to model after the basketball team, who are also representative of (1980's) socially acceptable masculinity and heteronormativity, for popularity's sake. But he ends up rejecting their blind conformity and regains his sense of self by the middle of the season.

And Mike…..models after Eddie. Eddie “forced conformity is what’s killin’ the kids” Munson. Not just in clothes, but in his more "metal" hairstyle. Eddie even makes a note about Mike’s wardrobe change during the cafeteria scene, saying he’s no longer wearing whatever his mom buys him at the GAP, which highlight this change for the audience.

This is significant because even though Dustin and Lucas are his fellow nerds, even though both Dustin and Lucas end up being chased down by Jason & Friends for their status as members of the Hellfire Club, even though they're labeled as outcasts and reject conformity in their own way –

– they still model themselves after classic heteronormative and socially acceptable representations of masculinity, while Mike is the only one who actively models himself after the school “freak" and vocal non-conformist.

Sure, Dustin wears the Hellfire shirt too, but Dustin is the graphic tee king of the show and he still wears an iconic baseball cap and overlays his graphic tee with a fun and funky button-up in s4. How he dresses in s4 is wholly consistent with his identity throughout the rest of the show. Whereas Mike's first outfit of the show contrasts heavily with all of his outfits from the previous seasons particularly s3.

And this is intentional. This is what Amy Parris, costume designer for Stranger Things says in this GQ interview about it:

Mike's Hellfire Outfit represents his growing internal resistance to and rejection of conformity and societal expectation.

2.

....which is exactly why the airport outfit gives the viewer such insane whiplash.

It is bright, gaudy, dorky, cartoonish and a completely different person than we were just shown. It's no version of Mike we've ever seen. Sure, we've seen him in shorts, and that surfer shirt is technically a button-up, but that hat? Those glasses? Flip-flops? It's so clearly an act that it's laughable.

Amy Parris, in the same GQ interview as before, goes as far to say, "We knew we'd wanted something that felt like an outfit maybe he would've bought at the airport before he got there."

This isn't Mike. This is Mike's attempt at conformity, post-meeting and modeling after Eddie. This is Mike feeling like who he is in Hawkins – the edgier Mike who models after the school "freak" – isn't the "right" version of himself to immediately present to El after months and months apart. Almost like he feels the need to wear something more similar to what he wore in s3, the shorts and the bright colors, to "ease into" the rest of his wardrobe, because when he's with El, he strives to present as "normal."

Finn Wolfhard says this about Mike in s4: "I think Mike's just trying to be as normal as possible and trying to keep on a normal path." Yet Mike says this in s4: "Have you ever considered that we don't want to be popular?"

If Mike isn't trying to be "normal" in Hawkins and is sitting at lunch with the school "freak," then in what ways he is trying to be "normal"? It's when he's with El in California, particularly their first day before everything goes to hell. Yet we see that "normal" = not himself.

Amy Parris notes in the GQ interview that they picked an orange (a rather yellow orange) button-up because it's the opposite of what Mike normally wears (blue tones).

The purple shirt is also an attempt for him to appeal toward El because purple, according to Mike, is one of her favorite colors. He is trying to appeal to El's taste/likes while wearing the literal opposite of what he normally does.

Mike's Airport Outfit represents his attempts to conform to heteronormativity and society's expectation of what a "good straight boyfriend" does, is, and looks like – and how unnatural and unlike himself this attempt is.

3.

This plaid look is my personal favorite Mike look in s5. This is one of the very few times we see Mike with an untucked shirt – possibly the first time we see him wearing a button-up/collared shirt and it's not tucked in. Untucked makes him look less preppy, taller, and more mature. It's a very flattering look and especially refreshing after the airport look.

But, I also have a lot to say about this symbolism of this particular outfit.

The rich blue is a standard Mike color, so it's the first outfit he wears in s4 that feels familiar to us. Additionally, the hint of yellow is commonly speckled throughout Mike's wardrobe. However, look at the pattern. It's plaid.

We all know by now that Mike is the king of stripes. Stripes and the color blue are the most consistent aspect of his wardrobe other than his calculator watch. But plaid?

There are only two instances in the entire show where Mike wears plaid. (I've triple-checked this, but if I still somehow overlooked anything, please let me know!) Here, in s4, and in his final scene in s1:

(top row is unedited, bottom row is brightened – no I couldn't get a flattering screenshot of the second image lol)

A blue plaid with (faint) yellow accents. Hm. How intriguingly familiar!

In s1, we see Mike experiencing conflicting emotions in his final scene. He is very happy that Will is back and that Will is having fun with his DND game. But he is also sad that Eleven is gone and experiencing survivor's guilt. His emotions are split between Will and El. This emotional turmoil is illustrated with the use of much busier pattern than Mike normally wears, but because that pattern is plaid, a pattern Will often wears, it aligns him with Will.

Why does plaid connect Mike to Will yet not El, even though El has worn plaid before? Because El has only worn plaid because of her circumstances, not her own personal style.

El first wears plaid when Hopper gives her his flannel in s1. This continues into s2 when she begins living with him. She's receiving either hand-me-downs from him or boy's clothes because he's having to hide the fact that he's sheltering a girl wanted by the government. If Hop were to start buying girl's clothing/more feminine clothing, that would be suspicious. When El goes on her shopping spree with Max in s3, after Max tells her to focus on what feels like her – "not Hopper, not Mike, you" – she picks bold, bright colors and abstract patterns, completely avoiding plaid. Then, in s4, El is living with the Byers and receiving their hand-me-downs and borrowing from their closets.

Amy Parris confirms this in the GQ interview, that what El wears in s2 is meant to feel mismatched, borrowed, and hand-me-down because she is trying to figure out who she is in Lenora.

She also says this:

It was intentional that when El wore plaid in s4, it was meant to remind the audience of Will and look as though she was wearing his clothes.

Which means Plaid = Will, not El.

So let's put this all together: Mike has worn plaid once before, when he was experiencing conflicting emotions torn between Will and El. Plaid is Will's pattern, not El's. Blue is Mike's color, and it's commonly known that yellow is Will's, which means that not only is Mike wearing Will's pattern, he's wearing a hint of Will's color. On a more minor note, the return of the black jeans and converse from his Hawkins/Hellfire outfit means that the facade had dropped and he's slipping back into what he's more comfortable in.

It's also notable that Mike wears a blue plaid shirt the very next day after Will wears a blue plaid shirt. (Also, Will's blue plaid shirt has more white, which suits his wardrobe more than black, whereas Mike's blue plaid shirt has more black, which suits Mike's.)

And this is the shirt Mike wears during his fight with Eleven, where she calls him out on never saying, "I love you," accuses him of thinking she's a monster, and he calls her ridiculous and tries to place the burden of their relationship issues on other people ("You can't let those mouthbreathers ruin you! Ruin us!")

Visually, the plaid tells us what's going on in Mike's head and heart.

Mike's Plaid Outfit represents his internal conflict between Will and El while simultaneously betraying where his true feelings lie: with Will.

4.

Last outfit! The outfit he spends nearly a full week wearing, the teal outfit.

Right off the bat, this color is one we've seen him wearing before in s3. However, as @hawkinsschoolcounselor points out in this brilliant post, the teal polo he wears in s3 looks nearly identical to one his father wears in the same season.

This has a few nuanced implications.

Firstly, in s3, it carries the visual implication that s3 Mike is currently on a path that could cause him to turn out like Ted. What does s3 Mike do? He neglects his friendships to spend time making out with his girlfriend, tries to reject his childhood hobbies and passions as childish (Ted disdainfully calls toys "hunks of plastic," in s2) and something he needs to grow out of, and, like Ted, makes a comment that could be interpreted as a homophobic slight – ("It's not my fault you don't like girls!" – a comment that I believe is a moment of projection for Mike due to internalized homophobia, not legitimate homophobia toward Will. In s3, Mike is trying to be "normal," "grown-up," socially acceptable and heteronormative.

Remember how I talked about modeling earlier? Yeah, s3 Mike models after Ted in mild aspects.

Yet the very next season, it's revealed that his rejection of his hobbies, passions, and games like DND was a complete farce. He returns to wholly embracing DND and, other than this teal color, stops dressing like Ted. He stops modeling after his father, much to Ted's disappointment: "Might as well call [Hellfire] the high school dropout club."

Secondly, because this teal color ties Mike to Ted, it's notable that this is the color that Mike wears when he tells Eleven he loves her.

(Now if you've read this far, my guess is you're a Byler fan and you've read 50 million analyses of the I love you speech, but if you haven't, the gist of the conclusion of those analyses is this: Mike felt pressured to say he loved El in order to save her and because he believed she commissioned the painting, but he tells provable lies during it that will be dismantled in s5.)

If teal is a color Mike wore during a season where he's modeling after Ted, a husband who the show makes very clear is lacking in passion to the point of his wife feeling unsatsified, a father emotionally distant from his two eldest children, and a man who is the epitome of heteronormativity and the typical mundane nuclear family man – this does not bode well for the success of Mike's romantic relationship with El, nor does it frame his romantic relationship with El in a healthy light.

Thirdly, there are several key differences between s4's teal shirt and s3's teal shirt.

Mike's s3 teal shirt is buttoned-up to the top button (in most of his scenes wearing this shirt) and is tucked into higher-waisted black shorts. It's solid-colored, neat, and preppy, and gives two hilariously contrasting impressions: the outfit of a little boy, and the outfit of a tween trying to dress like an adult.

In s4, however, Mike's outfit is partially unbuttoned, revealing a white tshirt beneath, with gives it a more sporty or even outdoorsy vibe. It's also not a solid color and has angular grey accents – particularly, triangular and diamond shaped accents.

This is what Amy Parris has to say about those grey accents, + what she says about how they purposefully added triangles to Robin's outfit as LGBTQ+ symbolism:

Because of this, it is not a stretch to speculate that the angular accents and, in particular, triangle design on Mike's breast pocket is a nod to his queercoding.

It's no coincidence that this is the shirt Mike wears during his bedroom talks with Will, the van scene with Will, his interrupted pizza parlor talk with El (that reads more like an impending apology and amicable breakup, not a confession – just mute the music look at his face during that scene, and El's), and his speech to El.

Most notably, it's the shirt he's wearing during this moment:

Look at Mike's face. Look at how conflicted he is. How guilty. This is the first time since Mike put on this teal shirt, the first time since he had his two separate bedroom talks with Will, the first time since "as a team," and "best friends," and the van scene & painting, that Mike has to deal with Will and Eleven at the same time.

Mike's Teal Outfit represents the tug-of-war between two contrasting concepts: his internal struggle with practicing comphet and heteronormativity (pursuing a romantic relationship with El and pretending to be straight), and his growing internal resistance to comphet/hetnorm and desire to embrace a truer, more alternative/noncomforming identity (his true romantic feelings for Will and accepting his queer identity).

Conclusion

I could honestly continue this post with analysis of the s5 outfits we've seen from Mike and what that means for his characterization/arc in the final season, but this post is long enough already. Perhaps when we get more content/trailers for s5, I might put out a speculative post in anticipation for it.

If you have a different perspective and want to share it, feel absolutely free! I'd love to hear other people's thoughts.

[hvbris]

𝐓𝐇𝐄𝐎 & 𝐕𝐈𝐎𝐋𝐄𝐓 @multipleoccupancy

As they stepped outside of the room and started making their way through the corridors, Samantha glanced at Theo. "How are you feeling?" She could imagine that he was nervous about the plan, but that wasn't exactly what she wanted to know. "You were having fun with Violet, earlier." She hoped it meant that he was more settled about the matter, now.

"The plan is to keep her as far away from the monster as possible." Which he seemed to have understood on his own -otherwise he might have insisted on keeping the crossbow. "But with Odyssey, we knew she would not accept to just stay behind and wait. Like that, she can feel useful, and we can be less worried about her."

Unaware that Sloane assumed he used his disguise to visit Theo's family, Violet listened as he explained how he had learned this skill. It was so eerie to think that the Sloane she knew had used it to trick and abduct her, and yet here she was, casually talking about it with another version of him. But maybe it could help her notice the disguises better?

"I never thought about it that way," she admitted, "but you're right. To be honest, I'm always tricked by the disguises of the Sloane I know. And I'm usually good at spotting disguises." Yes, she could always see right through Count Olaf's disguises.

She stepped into the office and placed the crossbow on his desk, before walking toward Sloane again. Now she would look more convincing as a cold and tired teenager.

"Do you always wear a different disguise, when you're on a mission?" He didn't know that one day he would fool Samantha and Theo for the worst reasons. He didn't know that he would use his disguises to lure Theo into deadly traps. And she couldn't tell him. She couldn't stop it.

Theo huffed at her comment on his biceps but there was still a smile on his face, enjoying the playful bullying as they gathered up the net to take outside. "At least you can see my cooked noodles." Theo teased her back but with everything ready to go he gave a nod. "We're good," he confirmed and started to walk with her.

He was confident that the trap was heavy and big enough to catch the monster, he had to believe that and he trusted that Violet was not out to try and harm Samantha. It was just uncomfortable to think that Samantha would be so exposed until the trap was sprung.

Sloane smiled as Violet mentioned he was good at disguises, he made an assumption that it was how the families were able to meet! Him going to see Killian in disguise made perfect sense and he even seemed a little happier for it. "I learned from an early age, I always enjoyed dressing up but it was with my first few assignments with Delta Green that I really got to work on the skills." He happily rattled off as he opened the door to his office for her to put the crossbow inside for now. Noting that she would indeed need a map!

"I discovered that the key detail is to go for inconspicuous disguises, shop workers, trash collectors, plasterer, even just picking up a ladder and walking inside a building with it could grant me access to most anywhere I needed." He wasn't worried about explaining it to her, she was too young to pass as someone like that after all. "So long as you look like you belong and are busy, people don't question it. They don't even see you." He chuckled, "I have fooled Obsidian and Orion a few times when we meet up for a mission." A joke for now and he didn't realise how menacing a statement that could be. Unaware of Violet's worries over the trap and her feelings of responsibility over what was to happen.

[babyangelsky]

BL Boys I Wanted Carnally in 2024 💖✨

Welcome to Babyangelsky's 2024 Wrap Up! To commemorate my second year of watching QL dramas, and my first year of actually talking on my blog, I've compiled a series of lists to celebrate all the QL things I loved this year!

Please feel free to take my categories and make lists of your own and tag me in them if you do!

💜 All the lists can be found here! 💜

Remember this game? I'm bringing it back!

MERRY CHRISTMAS LET'S LOOK AT BEAUTIFUL MEN

♡ Fort Thitipong as Mahasamut (Love Sea)

I wrote a whole post about how badly I wanted to eat this man with a spoon and how stupidly fucking attractive he is because I could not keep it to myself. I WANT TO EAT EVERY LAST BEEFY GOLDEN INCH OF HIM AND THEN I WANNA DO IT AGAIN!

♡ Furuya Robin as Takashi (Love is Better the Second Time Around)

I see Hiro. I understand Hiro. If this man made this face at me, I would also go have a really good shower.

♡ Ngern Anupart as Arthit (Fourever You)

THEY MADE HIM A FOOTBALL PLAYER AND COVERED HIM IN TATTOOS I NEED PART 2 LIKE I NEED AIR *SCREAMS INTO A PILLOW*

♡ Great Sapol as Yoryak (Wandee Goodday)

He's my blog header and blog title for a reason. Putting this beautiful giant ass man in bunny ears and a tail was a gift *specifically* for me. A gift for which I am eternally grateful, bless you thank you P'Golf.

♡ Mark Sorntast as Pie (Battle of the Writers)

I would like to once again thank the cameraman for this very slow pan up Mark's body and I would also like to thank whoever decided that Pie should strip for Ozone because they really blessed us all.

♡ Top Piyawat as Namping/Sian (Every You, Every Me)

I want them both in very different ways which, once again, all the credit in the world to Top both for Looking Like That and for having the skill to portray these two characters so differently.

♡ Pond Ponlawit as Hill (Fourever You)

I don't ever not want Pond carnally when he is on my screen. He was also great and attractive as Third in Century of Love but he didn't get enough screen time and also they didn't show him to us like this:

♡ Joong Archen as Fadel (The Heart Killers)

Style's just like me fr because I would absolutely RUIN my life for this man. I would ruin several lives for this man. I'd beg, borrow, and steal for this man.

♡ Frank Thanatsaran as Atom (The Rebound)

Atom is too sweet and too good and too damn fine not to have gotten his happy ending. I would do so right by him. He'd get a happy ending and then some.

♡ Nagumo Shoma as Arashi (Love in the Air Koi)

No one has ever been more perfectly cast in anything ever than this man. Shoma was made to be the Japanese version of Payu. The daddy dom energy just drips off of him. AND THAT SHOT OF HIS BACK? STILL NOT OVER IT.

♡ Big Thanakorn as God (Monster Next Door)

He's just so unfair. The sweetest, greenest flag of a man ever and built like a goddamn tree it's NOT FAIR!

♡ Lin Chia Yo as Johnathan (See Your Love)

Peace and love to Xin Jia he's just a baby gangster trying his best but I would NEVER let Johnathan leave that bed whether I remembered how we got there or not. NEVER.

♡ Sailub Hemmawich as Oab (This Love Doesn't Have Long Beans)

The long pretty eyelashes and the fuck me eyes and that body I just--ONE CHANCE JUST GIVE ME ONE CHANCE OAB PLEASE

♡ Yin Anan as Jack (Jack & Joker)

HE HAS A NECKLACE OF MOLES AROUND HIS NECK! HE HAS A MOLE JUST BENEATH HIS SHOULDER BLADE! DO YOU GET IT DO YOU UNDERSTAND?

♡ Jaonine Jiraphat as Latte (Knock Knock Boys)

Of course he's on this list. Do you know how many of his gym thirst traps I've posted on this blog since this show aired? I would like to personally and very sincerely thank whoever styled Jaonine in this show.

♡ Max Kornthas as Tai (Two Worlds)

I'd get distracted too if he was looking at me like this while I drew him. Doesn't matter which version of him it was, I would let him do anything to me and if it was the scarface version, I could fix him.

♡ Poom Phuripan as Joe (My Stand-In)

The way I would give Joe anything he wanted just to see that beautiful face smiling up at me. Congrats to Ming for being rich and everything but he could never treat Joe as right as I could. I would babygirlify that man to within an inch of his life just like he deserves.

♡ Honorable Mentions ♡

I am going to break my own rules a little bit because this is my list and I can so I'm going to include:

Kevin Chang as Ever4 (Eternal Butler)

Like I know the show just started and thus doesn't meet my criteria but I can't NOT include our new favorite daddy dom robot butler because...

...reasons. If I do a list like this for next year, best believe he's gonna be on it again.

Nike Nitidon as In (180 Degree Longitude Passes Through Us)

This breaks my rules even more but I watched this show for the first time like a week ago and it immediately landed itself on my list of favorite BLs ever because everything about it is like heroin to me and I NEED this man to be in another BL so desperately like you don't understand giVE HIM BACK TO ME.

[agatalunar]

new year, new me… ㅤㅤ𖤓 · What will 2025 bring you? ㅤㅤ· 𖤓

merry christmas everybody 🤍🎄 sorry for the delay, I hope you enjoy this last reading of the year, and as always thank u for your support… it would be a pleasure for me if you let me know if the reading resonated with you so do not hesitate to send me a message, comment or reblog, it will make me immensely happy

- choose the one with which you feel most connected -

Pile 1… 2… 3…

ㅤㅤ

𖤓 Pile 1

cards: five of pentacles, six of wands, five of wands, nine of pentacles, five of coups

Independence is a great word for this year that is beginning. You are going to start facing the world on your own, so you must act with certainty. It is a year of a lot of personal growth in relation to how you want to present yourself to the world, what you offer.

“Adult life is no longer a game.” You may be a very, very young person or you may not have had the opportunity to do things on your own, but if you really want the things you want, it is important that you take action.

It is a year in which your soul is going to take very different paths in relation to the past and all of them will be good if you know how to choose them and know how to handle them. For some reason it is as if you are embarking on the path of being a CEO/ a type of boss (?)

Getting out of your comfort zone, recognizing your potential and having security and confidence will lead you to success. Use your mind but also your heart, do not let greed or ego guide you. You may want this to help your family's finances, but you are also doing it for yourself. You deserve to get everything you want and the universe is helping you get it in 2025. Be patient and don't despair. Everything comes at the best time.

Things that may resonate with you or are significant:

Happy than ever - Billie Eilish, This will be - Natalie Cole, “we don't play around”, Let me - Zayn, Whatever - Oasis, “Im freeee”, applause, decisions, “all action is reaction”, being latinx or latin descent, depend on others financially, Cuba or Miami, 565, 6, 3, 333, “I used to pray for what I have today”, Simple - Kali Uchis, Jenny from the block - Jennifer Lopez, emigrate-migrate, vision board

Thank you for your time and energy, dear pile 1 ♡

𖤓 Pile 2

cards: eight of pentacles, knight of swords, the moon, knight of cups, the dead

2025 brings you a lot of internal learning. Your guides want to communicate with you. Dive into the spiritual sea of ​​your soul and life purpose. Dare to see what has been hidden for a long time.

You will know and recognize yourself from a deeper perception, you may need to connect with your past lives, understand where certain repetitive patterns come from, your soul needs to be healed and there is no one else who can do it but yourself.

If for a long time you have wanted to buy crystals, tarot cards, learn more about astrology, meditate... 2025 is the perfect year to carry all that out.

Do not set expectations, enter that path with a blank mind. "Reborn." You will become the most authentic version of yourself when you manage to recognize the spirituality in which you live. Do journaling, automatic writing, guided meditations... etc. And remember that healing the soul is also about eating well, surrounding yourself with people who have positive intentions, not being hard on yourself and just taking life easy.

This process will also change your style, you will want to dress differently, your observation of yourself will change completely and everything will be for your highest good. Your spiritual guides can't wait for you to take that big step... "do it, do it baby"

Things that may resonate with you or are significant:

Frailty - Violent vira, 18, 8, “save yourself”, third eye chakra, role models, Very special - Chris brown, Nobody - mitski, Conquest of Paradise- Vangelis, watch things on the laptop at 3 am, Chachachá - Josean Log, Blueprint - Tyler Jane, blue light

Thank you for your time and energy, dear pile 2 ♡

𖤓 Pile 3

cards: the chariot, the magician, knight of cups, eight of wands, the moon

“Just take it easy, baby, enjoy it”. Literally just have fun, 2025 is a year where you shouldn't think about things so much, “don't overthink it”. Act like a child, enjoy the moment, don't worry about what might happen. But just because you let yourself be guided by the universe doesn't mean you have to leave your inner voice behind, use your intuition, have faith and trust but act consciously.

DANCE, connect with your inner child. Don't care what people might say, it's your life and you decide how to live it. Dare to challenge the rules you've been forced to follow. Connect more with music, it may be a way for you to heal or simply relax.

Be your best friend, no one will know you as well as you know yourself. Take care of yourself in all aspects, physically, energetically and above all emotionally and mentally. Transform nostalgia into healing potential.

Just as you act when no one is watching, act the same way when everyone is watching; 2025 will be a year of great satisfaction for you, the universe embraces you and pats you on the shoulder so that you take the next step.

Things that may resonate with you or are significant:

BTBT - B.I, 222, False starts - Zayn, “trust me, you’re not gonna crash”, butterfly, Felling good - Nina Simone, wings, Alma mia - Natalia lafurcade, cherry, strawberry, makeup for children, 2000s, Deceptacon - Le Tigre, blue shirt with white stripes, party decoration, dancing in the kitchen, rock, music from your childhood or what your dad listened to, Rock you like a hurricane - Scorpions, As it was - Harry Styles, “be a diva”, You & Me - Jennie, Opera House - Cigarettes after sex, Modern Love - David Bowie, The breakfast club

Thank you for your time and energy, dear pile 3 ♡

[paige1722]

Silent Night

Summary: It is Christmas time in your village. The weather has taken a drastic turn, and everyone fears that the blizzard will never end. The people become desperate and willing to take any measures necessary to save themselves, even if it means sacrificing one of their own to a once-forgotten demon. 

Pairing: Krampus!Konig x GN!Reader

Warnings: Krampus, death, google translated German, violence. 

Merry Christmas!!! If you want to read an alternative version where the reader gets revenge, it’s here.

The village you call home resides in the middle of the forest, a few day's journey from the nearest town. This usually means nothing really exciting ever happens here; everyone knew one another, and nothing stayed a secret for long. This year, things had been different. The weather grew colder earlier than normal, the fields did not produce much food, and the hunting expeditions proved to be unsuccessful, with only being able to get small game, such as rabbits and squirrels.

The blizzard that came to the town a week ago did not seem to be lessening in strength; in fact, you even believe that it was getting worse with every passing day.  As you looked out of the window of your small cottage near the center of town, where you would usually be able to see your neighbors, the bakery, and the church in the middle of the town. But with the blizzard, you could barely even see your small garden in front of your doorstep that is now destroying your precious plants, and all the hard work you put into it over the spring and summer. The harsh wind caused the window panes to groan, and the snow kept piling up more and more. You wager that pretty soon, it will be impossible to leave your cottage. 

If it wasn’t for the small fireplace keeping your cottage cozy and warm all this time you are sure you would have already frozen to death in this horrible winter. A knock on your door pulls you from your thoughts. Wondering who would be at your door so early in the morning, especially in this weather. Making your way to the front door, you open it to see Philip, the assistant to the village leader; opening the door more, he quickly makes his way inside after kicking off the snow from his boots. Once inside, he makes his way towards your fireplace placing his hand in front of the fire, trying to gain some feeling back into his joints. 

“Philip, what do I owe the pleasure of your visit?” you asked, closing the door behind him and moving to stand in the middle of your living room. 

He turns around, placing his hands around his back to keep them in front of the fire; you are now able to get a better look at him. He looks thin, sickly almost. The food shortage must really be taking a toll on him, his face is unshaven, and his once nice thick animal fur coat has seen better days as it looks to have been ripped apart in some places and hastily sewn back together, surely a child you have done a better job fixing his jacket. 

“Yes, I have been tasked with letting everyone know that at noon today, there will be an emergency village meeting in the church. It is mandatory for everyone to be in attendance.” 

You feel your eyebrows shoot up in surprise. There had not been an emergency meeting called ever since you were a little child, and there had been a huge wildfire that nearly destroyed the entire village; a lot of lives were lost that day. “Oh, okay. By any chance, do you know what the meeting will be about?” 

At your innocent question, Philip squints his eye, looking at you up and down suspiciously, clenching his jaw and taking quick steps towards you. He points an accusatory finger in your face, causing you to step back at his fast approach. “It does not matter what the meeting is about. You are required to be in attendance, understand?” 

Your back hit the wall separating the living room from the kitchen; setting your hands flat against the wall to your back, you nod your head in shock, confused as to why he is acting this way. Philip was usually a kind man, not quick to anger. This was a different side of him you had never seen before and did not want to see again. “Yes, I will be there,” you reply in a shaky voice, startled by the sudden mood shift. 

Suddenly, like the drop of a hat, he steps back from you, smoothing down his jacket and giving you one of his signature smiles. Chuckling, Philip walks back toward the front door, his hand on the door handle when he looks back over his shoulder over at you, where you are still pressed up against the wall. “I look forward to seeing you at the meeting then,” he winks as he opens the door, letting himself out back into the cold. 

Once the door shuts, you let out the breath you had been holding, unsure why he was acting so strange. What does it matter if you were not going to attend the meeting? Though with his reaction at the thought that you were not going had him acting like that, you fear to think of what he would actually do if you failed to make an appearance. Not to mention, you are very curious as to the details of this emergency meeting; perhaps it was about food rations or the never-ending blizzard. You walk into your kitchen, planning to fix yourself a small breakfast, as you retrieve what little bread you had left from the bakery and some jam; this would have to do you until supper time after the meeting. The rations you were given earlier in the week dwindling faster than you would have liked. Sitting at the small table in the kitchen, you enjoy your breakfast, again thinking about the strange encounter with Philip and his sudden change in attitude and demeanor. After finishing your bread with jam, you decide to do some chores around your house to waste time until noon.  

—----

You glance at the small hand-carved clock on your wall. Seeing that it is a quarter past eleven, you make your way to your front door, putting on the thickest coat you own, your gloves, and winter boots. Opening the door and closing it behind you, you wrap your coat tightly around you, pulling up the collar to cover the bottom half of your face as you venture down the snow-covered stone path that leads throughout the village. You see your neighbors already making their way inside the church. Two men stand outside wrapped in thick fur jackets and hats, each holding lanterns to light the path to the church, a way to help people see through the thick snow falling from the sky. You trudge through the thick snow, carefully walking up the ice-covered steps to the entrance. The two men, who you now recognize as Simon and Johnny, who are the town’s butchers, open the massive doors. You mumble a quick thank you to the men and make your way inside the warm church. Not noticing the sympathetic look they send your way as you walk past them.

Looking around the massive sanctuary, a long line of lit candles operas on either side of the pew give the room an almost eerie glow. You realize you are one of the last villagers to arrive, seeing as most of the pews are already filled to the brim with people waiting for the meeting to start. You decide to sit in the back where there is still a little bit of space left, sitting next to one of your more elderly neighbors, you give a small smile in greeting, not having interacted with them much before. You take off your thick jacket and hang it on the back of the pew you were sitting on, and continue looking around the room. At the front, standing in front of the pulpit, stands Philip Graves, talking in hushed tones to the village leader, Shepherd. They look to be arguing, judging by the looks on their faces. Philip turns his head, looking near the door, when he makes eye contact with you, but instead of acknowledging you as he normally would in passing, he turns back to Shepherd, whispering in his ear, both of them now looking more relaxed than they were just mere seconds ago, another strange occurrence happening today, something in the air you supposed. 

The front doors slamming closed behind you cause you to jump a bit, turning around in your seat to see Johnny and Simon standing inside the church, placing the lanterns on the golden hooks on either side of the doors. Instead of finding a seat in the room, they move to stand in front of the doors, reminding you of guards to a prison cell. A throat clearing causes you to turn your attention back to the front of the church, where Shepherd now stands behind the podium with Philip by his side.

“Thank you all so much for joining us today for this emergency meeting. We know that things have been tough this year with the lack of game and crops and now this never-ending blizzard. But fear not, your village leader and others have come up with a solution that will surely save us all from this torment.” 

Applause erupts throughout the church at this news. For some reason, you feel a sense of dread overcome you at this news. Something about this whole situation does not sit right with you. Why is Philip staring at you so intensely? Why was it so important that you come to this meeting, and why are Simon and Johnny blocking the exit like that? All these questions run through your head, causing you to break out into a cold sweat. Shepherd once again starts talking, making everyone stop their applause. 

“Now, I know you all must be wondering as to what the solution to our problem is. Philip and I have been scouring the old texts, trying to find anything that might be of help to save our village from this ongoing turmoil. After a many sleepless nights, we finally came across this.” 

Philip holds up an old leather-bound book with a small bell engraved on the front; the pages look worn and old, as if it hasn’t been used in decades. Placing the book down in front of Shepherd, who continues his speech, “In this book, we discovered a chapter that describes exactly the events that are taking place before us today: no food, endless winter that ends in nothing but death for all of us unless we act now! This book tells of an ancient being, whose name shall not be uttered here, that is the cause of all this. Apparently, we have managed to anger him last Christmas during our festivities, and he is now taking it out on us. To appease his wrath, we must give him an offering. There was a list of rules that must be followed or else the offering will not work and just invoke more devastation upon us. After careful consideration, there is only one person who fulfills the demands.” 

Shepherd locks eyes with you, you feel your heart pounding in your chest, the room suddenly becomes too hot, sweat beads down your face. You see his mouth moving, but you can hear nothing over the ringing in your ears. Everyone in the conjugation is now staring at you, waiting for what you aren’t sure. Stumbling, you stand up, still facing the front of the church, and slowly begin backing up towards the door, but before you can make a run for it, hands wrap around your arms on both sides looking to see who has you in their grasp; you see Simon and Johnny with solemn looks on their faces. They begin dragging you to the front of the church. You try to pull your arms from their grip, but is it no use; kicking your feet, trying anything to free yourself,  tears flow freely from your eyes. You look around at the people of your village pleading with them hoping that someone, anyone, will help you, but as you make eye contact with the people you grew up with they simply turned their heads looking down at the ground a guilty expression on their faces. Reaching the front of the church, Philip grabs you from the grip of the two butchers; Simon whispers an solem apology in your ear as they hand you over to your inevitable demise. 

Your back is pressed against Philips's chest, his arms wrapped tightly around you, keeping you in place. He rests his chin on your head, “Tomorrow, everything will be back to normal once the demon has his offering! Return to your homes and await the glorious rewards that will be gifted upon us all!” He yells out, his chest rumbling against your back. You let out a whimper. as you watch everyone slowly rise from their seats and make their way toward the entrance of the church, leaving you with Shepherd and Philip. “Please don’t do this, there must be another way!!” you yell out desperation clear in your voice, but it is no use; the front doors slam shut as the last of the villagers return to their homes. 

Shepherd grabs a rope from his pocket and stands in front of you, “Ah fear not. Think about the good your sacrifice will bring to the people of this village, all the lives you will save.” His gaze moves towards Philip, “Take her to the back for them to get her ready.” He pulls your wrists together in front of yo,u tying them tightly together. Once the rope is secure, Philip lets go of you and grabs the rope, binding your hands together pulling towards the back of the church. Sniffiling you let Philip drag you down the dark hallways leading to the offices. Opening the door to Shepherd’s office, Philip throws you inside the room, causing you to fall, hitting the ground causing a shockwave of pain through your body from where your knees and elbows slam against the wooden floor. 

“Here, get them ready,” Philip says as he shuts the door on his way out. 

Pulling yourself to your feet, you see who he is talking to. Valeria stands in the center of the room, a bored expression on her face, her arms crossed in front of her chest. The room is empty, apart from a single chair and table in the middle of the room, a red silk robe, a veil, and two small boxes. Sighing, she steps forward, pushing you to sit in the chair in the middle of the room.

 Grabbing her arm, you try to plead with her, “Please, Valeria, you have to help me. They mean to use me as some sort of sacrifice to a demon, please.” She rips her arm out of your hands, slapping you across the face. A disgusted look crosses her features as she replies, “Shut up, your sacrifice is what is best for the village. So stop crying. You are only going to make this worse for yourself and ruin the work I am about to put into making you look presentable for him.” 

Your face now burning the slap, you sit in defeat, feeling all forms of fight leave your body; even if you did manage to escape from this room, there was nowhere you could go, the other villagers already showing you that they don’t care about you if you went back home they would just find you and drag you back to where you are now, and if you tried to run for it, you would surely die due to the elements. 

Valeria grabs the silk robe, scrutinizing at your hands that are still tied together, “No funny business, understand. Just put this robe on.” you solemnly nod in return; she grabs your hands and begins to untie them, placing the red robe in your hands. You stare at her, waiting for her to turn around so you can change, but you quickly realize that will not be happening. Trying to save the little dignity you have left, you take off your sweater, putting the robe on, hoping that she will let you keep your warm pants on but she snaps and points to your pants. “Just the robe. It is the rules.” Taking off your pants and placing them in the small pile of clothes on the ground, as you are done, she immediately grabs your hands, tying your wrists back together much tighter than they were previously.

Every movement you make now causes the rough fabric of the rope to rub against your skin. Looking down at the robe you are now wearing, you quickly realize how thin the fabric is. It is definitely not something you should be wearing during this kind of weather, probably to make it more convenient for the demon to kill or eat you. Valeria motions for you to sit back down in the chair with her hand as she opens one of the small boxes laying on the table inside was filled with small paints usually reserved for weddings and other important ceremonies, she begins to draw strange symbols upon your skin, leading from your face, down your arms to your chest. Once she is satisfied with her work, she reaches for the matching red veil, placing it upon your head; you are still able to see through the fabric of the red veil, though it does give everything a strange blurry tint. 

All that can be heard in the room is the occasional sniffle coming from you, trying to hold back any more tears from falling, knowing that Valeria would not be happy with you if you ruined the writing she had just finished putting on your skin. When the door opens and Philip and Shepherd both enter the room, “Are you finished yet?” asks Philip, walking to where you sit inspecting Valeria’s handiwork. 

“Just have to put on the necklace, and we are all set,” she says as she grabs the remaining box sitting on the table, opening it to reveal a beautiful golden necklace with a small pendant that looks very similar to the bell that was engraved on the front of the leather book that they were referencing during the emergency meeting earlier. She places the necklace around your neck, fastening it in the back and tucking it underneath the robe you were forced to wear.

 Everything started to feel too real at that moment. What was about to happen to you setting in, causing you to let out a whimper, but before you could begin pleading for your life, hoping to somehow change their minds, Sheppard pulls out a small piece of cloth, “Now we can’t have you making all that noise, the demon would not appreciate that.” He lifts up the veil, shoving the cloth in your mouth and tying it around the back of your head, effectively silencing you and placing the veil back over your face.

 Shepherd claps his hands together, taking a step back, “Thank you for your help, Valeria. Alright, Philip, grab them and let's go.” Philip grabs the rope around your wrist, dragging you off the chair, the rope squeezing your wrists, causing you to let out a pained gasp that is muffled by the cloth in your mouth. They drag you back out to the sanctuary of the church towards the front door, where you see Simon and Johnny once again holding the lanterns. Once you reach them, they open the doors for you all, dragged out in the snow wearing nothing but the thin robe the freezing air immediately making goose-bumps form on your skin, you let out an involuntary shiver, the ice, and snow covered ground causing your feet to burn with every step. Johnny and Simon now lead the way with their lanterns. Shepherd is in the middle of them telling them which direction to go in, with Philip following close behind, pulling you along with him into the dark forest. 

—-

Walking for what felt like hours, you can no longer feel your legs, you're pretty sure your wrists are now bleeding due to the rope rubbing against your skin, causing it to break. Every intake of breath hurts, the cold air burning your lungs and throat. As you all reach a clearing in the middle of the forest where only a single tree stands surrounded by small torches sticking out of the ground, everyone stops walking. 

Philip yanks you towards the tree, pulling out another rope from inside his fur jacket, and ties one end of the rope around the rope, holding your wrists together. Once secured around your bound wrists, he throws the other end of the rope around one of the lower hanging branches of the tree and pulls the rope until your arms are straining above your head and your toes are barely scraping the ground. You let out muffled groans of pain and fear. He secures the rope around the trunk of the tree, stepping back and joining Shepherd, who stands in front of you. Johnny and Simon are walking around to the torches, lighting them with the fire from their lanterns. Shepherd reading through the leather-bound book, a look of malice taking over his face, muttering to himself, “This time, we will get him.” 

Once the last torch has been lit, and all four men all standing in front of you, Johnny and Simon looking anywhere but your face. Shepherd says, “This is where we leave you. Thank you for your sacrifice.” before turning with the others and leaving you to your death.

 As you watch them all walk away, the light from the lanterns slowly fades away until you can no longer see it. You begin to try to free yourself from the tree. Tears run down your face and neck, causing the writing on your skin to smear, bleeding into the fabric of the robe tied around your body. You try and scream to the best of your ability, but the cloth in your mouth muffling your shouts sounds more like a wounded animal. Flailing around trying to somehow untie the ropes on the tree or your wrist, but all you end up accomplishing is tightening the knots, burying the rope farther into your skin, the blood from the open wounds on your wrists running down your arms. You are now sobbing uncontrollably, resigning yourself to your inevitable death, whether it be freezing to death, the demon or whatever it actually is killing you, or some wild animal finding you first. 

Running out of energy from the walk here, crying, failing around, screaming, and the cold that has turned your entire body numb, you begin to feel tired, struggling to keep your eyes open, thinking to yourself hopefully your sacrifice will not be in vain and the people of your town will be saved. Until, from the darkness, you begin to hear the distance sound of bells jingling closer and closer. Eventually, you hear the crunch of snow as if someone or something was walking towards you. 

You try and blink the tears from your eyes to clear your vision, but with the veil still covering your face, your vision still remains blurry, a huge figure emerges from the trees, standing nearly seven feet tall with twisted horns protruding from underneath the dark red hood covering his face and body. With every step it draws closer to you, you catch small glimpses of the jingling of bells hanging on a chain wrapped around his torso from underneath the red cloak. 

Your heart is pounding in your chest, fear overtaking your body, causing your adrenaline to rise, once again trying to pull your arms free. He stops right in front of where you are hanging from the tree, even dangling in the air, the top of your head barely level with his chin. The soft glow from the torches circling you gives off an eerie glow to whatever is standing in front of you, his face hidden in the shadows of his hood, though you swear that you can see eyes staring right through you. Realizing that this is the end for you, you let out muffled whimpers, not caring how pathetic you must seem right now. 

“Warum bist du hier draußen?” The demon in front of you utters, staring at you expectantly for your answer. 

Even if you were somehow able to understand what he had just said, you would not be able to answer him anyway, so you just shake your head, replying with a muffled what. You see its head tilt to the side in confusion before a gloved hand reaches up and pulls the veil off your head. Your vision is no longer obstructed, and you are able to make out the being in front of you more clearly. A flicker of the light from the torches illuminated the masked man in front of you. 

The mask peeking out from under the hood had twisted horns sticking out of the forehead, where the eyes would be were two holes his eyes shining through the darkness, and the mouth was open with sharp teeth and a long red serpent-looking tongue carved onto the front of the mask, reminding you of the old stories your grandmother used to tell you when you were a small child of an ancient demon who arrived during winter to steal and punish the naughty children. Your eyes widen in realization, muttering, “Krampus.” Even with the cloth still in your mouth, he must have understood you, as you hear a small chuckle in return. 

“Ah, so you have heard of me then. It has been a while since I have been called that, just call me Konig.” His accent is thick as he speaks, reaching for the cloth impairing your ability to say. He pulls the fabric out of your mouth, letting it hang around your neck. “Now, let's try this again, ja. Why are you out here?” 

Sniffling and your teeth chattering because of how cold you are, you manage to say “They said I was supposed to be some kind of offering to save the village. I…I don’t know anything else.” Sobs rack through your body. Looking back up into the eyes of the demon before you, you notice that little black dots begin to swarm your vision, the ringing in your ears was back the cold, pain,  and everything was begining to seem so far away. Using the last bit of strength you had left before you passed out for what you assumed would be for good, you mumbled, “…I don’t want to die.”

Your head lolls backwards, causing the necklace to be pulled out from underneath the robe, catching the eye of Konig whose eyes widen at the pendant hanging from your neck. He quickly pulls out the hunting knife from its sheath on his belt as he wraps an arm around your waist to keep you from falling to the ground. He cut the rope around your wrists, your unconscious body falling forward into his chest. He feels the cold from your body seeping through his gloves and cloak. He removes the cloak from around his body and wraps you up in it as best he can to hopefully begin warming you up. He cradles you in his arms as delicately as he possibly can as he whispers to your sleeping form, “Es wird alles gut. Ich werde dich beschützen.” 

—---

You feel warm; whatever you're laying on is soft and fluffy. Peeking an eye open to take in the surroundings, you notice that you are on a bed of thick animal furs in some sort of cabin. The room you are in is small, with nothing really in it besides the bed, a small lantern placed on a bedside table, and a large mirror placed next to the door. You sit up in the bed, and you notice that your wrists no longer hurt, you look to find that both of your wrists are delicately wrapped in bandages. Hearing noise coming from the other side of the door, you pull back the furs covering you to slip out of the bed and make your way towards the door. Once you are standing, you look in the mirror so that you get a better look at the new outfit you are wearing. A red knitted sweater you now wear with black wool pants; examining your arms, face, and neck, you don’t see any traces of the strange writing Valeria placed on your skin. When the sounds of movement behind the door once again grab your attention. Walking towards the door, you slowly open the door walking out into what looks to be the main room of the house. 

Stepping out of the room, the first thing you notice is the Krampus or Konig you vaguely remember him saying is his name, he sits in the corner of the room with his back facing you, hunched over a crafting table lined with various tools on the wall. Along with the tools hanging on the wall, you see the mask Konig was wearing when he found you in the forest, placed gently on a small hook. 

As you walk further into the area you look around the room you are now in what you assume is the living room with the front door next to the small room you just exited, a window on the other side of the door, a small fireplace in the center of the room with a cozy chair facing it, two other doors on the opposite side where Konig sits, and a corridor that look as if it leads into what you assume in the kitchen. You let out a small hum, this house is much smaller and cozier than what you would have assumed an ancient demon who abducts and punishes bad children would live in. During your observation of the house, you failed to notice that Konig had stopped working and was now standing facing you, the mask back on his face. 

“I was starting to think that you would not wake up.” His voice startling you in the otherwise silent house. 

“How long was I asleep?” you ask tentatively, thinking that it was probably just a couple of hours, seeing that it was still dark outside, judging by the lack of light coming in from the window near the front door of the house. 

“A day, I feared your wounds and the cold was too much for you. I tried my best, but my powers are not usually used for helping people.” Seeing him in this light was very strange, even though he still towered over you, he seemed to be trying to make himself appear smaller, probably trying not to scare you, after all you think that you have had enough excitement for a lifetime.

You glance down at your wrists, then gently brush your fingers over the bandages. "Oh... um, thank you for helping me," you say quietly. "Does this mean... my village won't be saved after all? I didn’t think it was possible to fail at being an offering."

He lets out a cruel laugh at your question, his accent even thicker now. “Your village..” he spits out venom in his voice…”They are lucky that I just leave them to fend for themselves during this winter and that I don’t take revenge for what they have done to you by slaughtering them all. I have done more for much less.” 

Nervously, you absentmindedly bring your hand up to the jewelry that still lays around your neck, twirling the small bell pendant between your fingers, Konig’s eyes tracing your movements. “But..but why they said we had angered you last Christmas and this was the only way to put an end to the suffering you have plagued us with, the…book it said-” He cuts you off by walking towards you, his hand wraps gently around yours holding the necklace, careful of your wounds caressing your hand.

“I was not angry then but I am now, anyways that is not how I work. I do not know what lies they have told you, but I have no control over the crops, animals, or weather, that is not my doing.”

As he goes to pull his hand away you grab his wrist pleading with him, “no, that is not right. The only reason they left me out there like that was because the book said an offering to you would save the village. Why else would they do that to me?” you whisper the last part mostly to yourself, not seeing any other reason for the actions of the people in your village.

 You see his eyes soften from behind the mask, stepping closer his presence only a breath away from you now, cupping your checks and wiping away tears that you did not realize had fallen. “The book you speak of is an ancient book of an offering; this is to be given to me yes, but not for sacrifice or as a way to save a village from misfortune. It speaks of tying someone to me. Bonding their soul to mine forever. I do not know why but I assume they wanted someone to blame for their misfortunes, and I was it. By leaving you to me, writing the runes upon your skin…” his hands now trace your checks down your neck, and your arms where the writing was previously written, “ and wearing my necklace, and since I accepted the offering when I brought you back here with me, we are now linked together forever.” 

You stare into his eyes, looking to see if he is telling the truth, finding no lies within his eyes you take a deep breath, your head beginning to hurt with all this new information thrown at you. “I think I need to sit down for a moment,” you say in a breathless whisper.

 Konig guides you to the cozy-looking chair sitting in front of the fireplace, placing your head in your hands you lean forward, your elbows on your knees, closing your eyes trying to make sense of everything. Instead of being killed by Krampus like you originally thought you being a sacrifice for the good of the village and everyone in it, they tied your soul to his, making you his soulmate. No matter how long you thought about it you just couldn't make sense of it, how would this solve anything? Why would giving the being they thought responsible for all their troubles a soulmate solve anything. 

Lifting your head up from your hands you look up at Konig, who is walking back over to where you sit now holding a glass of water, he must have gone to the kitchen while you were deep in thought. He wordlessly hands you the glass of water, you take a long sip of water not realizing how thirsty you were until that moment. Gasping you say, “Thank you. But I still don’t understand how would this solve anything for the village then? Why would they essentially be rewarding you, if they thought you were the bad guy?” 

Taking the now-empty glass from your hands, he lets out a deep sigh. “Once your soul is bound to mine, I have a weakness. Through me, you will have an immortal life, not aging another day as I, but you are still human able to be killed, if you die, I die with you.” 

At the sudden news, you jump up out of your seat, craining your head to look up at him but before you could say anything, he adds “do not worry they cannot find you here. No harm will ever come to you, especially not while you wear my necklace. Plus, even if they somehow managed to find their way to my forest they would have to make it through the elves first, and they do not play nicely.” His eyes shine with a knowing look like he knows exactly what would become of anyone who makes there way here without his permission. 

Before you could say anything else your stomach starts growling, causing your face to feel warm with embarrassment. Konig lets out a chuckle, “Ah, how rude of me. You must be very hungry, ja. Let us get you some food. Come.” 

He reaches his hand out in front of you. You slowly place your hand in his, he gently pulls you to your feet and starts leading you down the corridor to the kitchen. Now that his hand is in yours, you can feel the rough callouses on his skin from years of use. Upon entering the kitchen, you did not expect to see the table already full of delicious-looking food, gasping you look at Konig in question, who simply shrugs his shoulder in response pulling out a chair at the table for you to sit at. 

“Do not be shy; have as much as you like.” He says as he sits on the seat on your right, making a plate for himself and piling it high with meat. You begin making your plate, putting a little bit of everything on it, wanting to try everything as most of the food before you is something you have never seen before. Out of the corner of your eye, you see Konig reach up and grab the mask obscuring his face and taking it off and place it in the spot next to him on the table. Your eyes rake over the scars on his face, he must have felt your gaze on him because he turns his head to stare at you. 

Giving you a sheepish smile, he apologizes, “I am sorry. I know I am not very nice to look at, but it is difficult to eat with the mask on.” 

Shaking your head, “No, you have nothing to apologize for. You just didn’t look how I expected Krampus to look; you are handsome.” 

Not knowing how to respond to your kindness, Konig just gives you a grateful smile before continuing to eat, you shortly following his lead. 

—-

You've been living with Konig for a few weeks now, and in that time, you've learned a lot about him. He makes toys—though they're unlike anything Santa would create—and the strange creations often come to life, causing chaos wherever they go. He's also started wearing his mask less frequently around the house, especially when it's just the two of you. Still, every now and then, a quiet worry creeps into your mind about the people in your village. You can't help but wonder if they managed to survive the blizzard and the food shortages.

Today, Konig was teaching you how to create snowglobes at his workstation. It turned out to be much more difficult than you’d expected, especially when it came to crafting the perfect sculpture to fit inside. Though you weren’t the best at it, Konig seemed to enjoy teaching you, and that made it all worthwhile.

“Look, Schatz,” he said with a proud smile. “It’s us.”

You stopped what you were doing and turned to see the small sculpture in his hands—a perfect replica of you and him, standing side by side. You gasped in awe. “Wow, that’s beautiful!”

Konig handed you the sculpture, and as you ran your fingers over the intricate details of the hand-carved masterpiece, you couldn’t help but feel a sense of warmth.

“I still have to add color, so I am not done yet.” He sheepishly adds, rubbing the back of his neck at all your praise.

Sudden bangs and the chaos of shouting erupted outside the house, the sounds of a violent struggle growing louder. Konig stands up, grabs your arm, and pulls you up beside him. He begins dragging you to his bedroom. Once inside, he gently places you in the middle of the room and grabs his mask off the nightstand where it usually stays now. 

“Stay here, Liebling, do not come out until I come back for you.” Even with his face now covered, you can see the concern for your safety reflecting in his eyes. 

Konig turns to leave the room, but before he can make it out of the door, leaving you behind, you run up behind him and grab ahold of his wrist, stopping him in his tracks, “Konig, what’s happening? Don’t leave me alone.” 

Pausinghe turns to face you, fully reaching up with both hands on your cheeks. He caresses your face, softly rubbing his thumbs over the apple of your cheeks, “Everything is going to be okay. Just stay here, please.” 

Staring into his eyes, wanting to beg him to stay with you and just let his elves handle whatever is happening outside, you know that he does need to go out there; he is Krampus, after all, and is more than capable of taking care of himself. You nod, your face still in his grasp. He leans forward but pauses as if he is second-guessing himself. Letting out a deep sigh from his chest, he put the mouth of the mask on your forehead before walking towards the door, giving you one last glance over, ensuring your safety before he leaves, and shutting the door to his room behind him. You can hear his heavy footsteps throughout the house, the front door open and closed shut, leaving you all alone in the house. 

The noise outside has yet to stop; maybe it was just your nerves, but you feel as if, every passing second, he is out there. Something bad could be happening, but you know he is a demon and only truly has one weakness. Which is why he told you to stay in his room, where he knows you will be safe. Trying to clear your mind from the turmoil outside, you begin pacing around his room, counting the number of steps it takes to walk from one corner to the next. You continue to do this for the next couple of minutes while all the noise outside seems to have died down, allowing you to hear some muffled yelling. Right now, you can only make out Konig’s voice, maybe it wouldn’t hurt to go out into the living room so that way you can hear more of what is happening. 

Quietly, you open the bedroom door, the hinges squeaking, causing you to flinch. Wrapping your arms around your middle, you walk out into the living room towards the front door, placing your ear upon the cool wood. Konig is yelling at someone; his accent becomes thicker the angrier he gets, which sometimes makes him harder to understand. After a brief moment of punching sounds, you hear someone who sounds vaguely familiar, “You killed her, didn’t you, you monster!!” 

You gasp, covering your mouth. You throw open the door, rushing outside in the cold, not thinking about grabbing the fur jacket Konig made specially for you. You run down the stairs on the porch. You see Konig standing tall and menacingly in the yard. His elves are all lined up facing him. They are all holding weapons of some kind, looking as rowdy as ever, the bells on the chains wrapped around their body jingling in the wind. You run as fast as you can to where Konig stands, where two elves are standing out from the crowd holding two prisoners hostages, making them kneel before Konig. 

Sensing you, Konig whips around his body language, immediately softening at the sight of you, “Liebling, it is too cold for you to be out here.” By the time you reach him, he has already removed his thick red cloak throwing it over your shoulders and wrapping it around your body. 

You place your hands on his chest, bunching up his shirt in your grip, “No, Konig! Please don’t hurt them. They are from my village.” Motioning to where the two elves are holding a beaten and bloody Simon and Johnny. 

Johnny and Simon are drenched in blood, from head to toe, and you can only hope it’s not all theirs. Their arms are covered in cuts, and their faces are swollen and bruised from what looks like repeated punches. Chains are wrapped tightly around their upper bodies, and the elves standing behind them keep a firm hold, forcing them to kneel in the snow.

At the sight of you in Konig’s arms, Johnny and Simon struggle in the chains, causing the elves to tighten the chains, making them let out pained groans. 

Johnny speaks first, “You’re alive!! We went back to the forest that night to save you. Simon and I decided that we couldn’t just leave you out there to die, but when we arrived back at the sight, you were gone, nothing left but the rope.” Guilt fills his voice, looking at you for forgiveness. 

Simon moves to stand up, but the elf kicks his leg, causing him to fall back on his knees; looking over his shoulder, he glares at the elf, cursing under his breath. He tries again, jerking his shoulders forward to create some slack in the chain. Once standing, he takes a half step towards you; seeing this, Konig steps in front of you more, making you peek around his back to see what Simon has to say. 

“When we got back to the village and told everyone about how we were unsuccessful in rescuing you, everyone started rioting, blaming Shepherd and Philip, saying there should have been another way. They…they told Johnny and I that the book said there was a way to save you. We just had to find Krampus’s hideout and kill him.” Simon glances at Konig, seeing his protective stance around you, and begins rethinking everything he was told by the village leaders.

A loud clapping coming from behind all the elves draws everyone’s attention; Shepherd appears from the darkness, clapping his hands together slowly. Konig moves forward, growling, “What are you doing here?” 

Shepherd lets out a loud mocking laugh, “I told you before, Konig. I would get my revenge for what you did to my family. I have been planning my revenge for years. Did you not think I wouldn’t notice you watching them every year and becoming attached to them, so when I was finally able to get my hands on that necklace, I knew this was my chance.” 

Konig rolls his shoulders back, standing up to his full height, with hatred in his eyes. He watches Shepherd slowly walk closer to him through the elves who were anxiously waiting for the word to attack. “They were on my list. It is the rules, bad children, and adults who need to be punished. But they have nothing to do with this. Your quarrel is with me.” 

You move to step forward to take comfort behind Konig when you feel someone wrap their arms around you from behind, placing a knife at your throat. You fearfully shout, “Konig!” 

Hearing your cry for help, he turns around but pauses when he sees you in danger, his breath catching in his throat. “Let her go!” he growls. You have never heard him like this before; it sends a shiver down your spine. The elves are holding up their weapons behind Konig, ready to kill for you. 

A laugh rumbles from the chest of the person holding you, one that you used to enjoy hearing the sound of, but now it just sends a sick feeling to your stomach. Philip rests his chin on the top of your head, digging the blade into your neck, causing it to break the skin, a little trial of blood running down your neck. This causes Konig’s entire body to go rigid at the sight of it. He clenches his fists at his side, and you can see the gears turning in his head on how to rescue from his grip without hurting you. 

“You didn’t really expect us not to retaliate against you. I think us giving you a little soulmate was mighty nice of Shepherd and me. I mean, we even gave you some time together before sending in those two as a diversion…” 

He points the knife over at Johny and Simon before placing the knife back at your throat,  “So you wouldn’t suspect us, and we could just waltz on in here and grab your soulmate, killing them essentially killing you. But I really did not expect it to go so easily.” Philip laughs, tightening his arms around you. You silently plead with Konig to do anything. 

Shepherd, having made his way through the horde of elves, pats Konig on the back condescendingly, “Now you will know what it is like to lose everything, but you’ll be joining them shortly.” 

The chains around Johnny and Simon had slackened considerably due to the elves' concern for you and Konig’s safety. Simon used the slack of the chain to throw it around Shepherd's neck, pulling back into his hold. Shepherd’s hands immediately go to the chain around his throat, trying to keep it from choking him, but to no avail; Simon is not letting go, no matter how much he struggles. 

Philip removes the knife from your throat to point it threateningly at Simon, “HEY! You let him go now!” 

With the knife no longer about to end your life and Philip distracted, Konig sees the perfect opportunity to strike. Konig rushes forward, grabbing Philip’s hand that holds the knife, bending his wrist back with a sickening crack, causing him to scream out in pain, dropping the knife in the snow. Konig’s other hand wraps around Philip’s throat. He lets go of you in favor of trying to pry off Konig’s hands off his throat. You fall to the snow and crawl out of the way. One of the elves comes up behind you, pulling you in their embrace to keep you safe. Your head is pressed into their chest to keep you from seeing anything that is happening behind you. 

Konig now has both hands wrapped around Philip’s throat, lifting him into the air, his feet no longer touching the ground. Philip is clawing at his hands, gasping out for breath, his face turning colors due to the lack of oxygen. Konig leans forward, whispering in his ear, “Do not touch what is mine.” A loud crack resonates throughout the forest; Philip's hands fall to his limp, throwing his body down. Konig sprints to where you are cowering in the elf's grasp. 

“Liebling, are you okay? What hurts?” He places his hand on your back, trying to access any more damage on you. Feeling Konig’s comforting touch on your back, you throw yourself into his awaiting arms, tears flowing soaking into his shirt. 

“I was so scared; I thought they were going to hurt us.” you sob into his chest; he rubs your back soothingly as you try to catch your breath. 

The familiar sound of the bells jingling causes you and Konig to look over to where Shepherd now lays wrapped in the chains at the feet of Simon and Johnny, who hold both ends of the chains. “Should we kill him?” Johnny asks, looking at Konig. 

Konig stands up with you standing in front of him, wrapped safely in his arms, turning to face them both. “Nein, I have a better idea. Elfen bringen ihn in die Grube.” 

With their orders now given, a handful of elves move forward, snarling and laughing, grabbing the chains from Johnny and Simon and begin dragging Shepherd’s screaming body through the snow towards the pits. 

Konig walks to Simon and Johnny, stopping in front of them with you still with him. Simon looks at you, then Konig, “What are you going to do to us?” asks Simon, sighing regrettably. 

Reaching up and removing the mask covering his face, Konig puts one hand on both of the men's shoulder’s, “You both helped me. Distracting Philip, so I was able to act. Thank you. You are free to return to your village, become the new leaders, and do a better job than those two. Though I must warn you once you leave my forest, you are never to return, or else my elves will not be as kind to you next time.” 

They both nod their heads at Konig in agreement and turn to leave. The rest of the elves make a path for them to walk through, none of the elves messing with either man as per Konig’s wishes. However, it did not stop the elves from keeping a close eye on them until they were completely off their territory. 

Konig kneels down in front of you, placing his head against your stomach, “I was so scared when I saw you in danger. I thought I was about to lose you forever, and I panicked. I am so sorry.” he says, his voice muffled from being pressed against you. Running your hands through his hair, you move his head up to look at you. 

“Konig, you have nothing to be sorry for. I should have listened to you and stayed inside; it was all my fault. I am sorry, but thank you for saving me.” You pull him up and give him a hug. 

Leaning your head back, you look up at his face, staring into each other eyes. He slowly leans forward, pressing his forehead against yours. His breath fanning your face, standing on your tippy toes, you press your lips to his, feeling your lips on his. He immediately kisses back, placing one hand on the back of your head and pulling you closer to him. 

Cheering and laughter erupt in the background, causing you to pull away from each other. Seeing all the elves going crazy at the sight of you and Konig kissing causes you to throw your head back, laughing before you bury your face in his chest, making him laugh in return. 

“Come on, Liebling. Let’s go back inside.” 

—-

The next day, you and Konig are sitting cuddled up together in the living room in front of the fire, enjoying each other’s company. Konig stops rubbing your back and turns his body to face yours fully, his face full of nervousness. 

“If you want, you can go back to your village. I will understand if you wish to leave, and I will hold no grudges against you or the town. I….” you stop him from talking any further. 

“And if I want to stay here with you?” you ask, looking down shyly, scared that maybe he was saying all that stuff because he did not want you here anymore. 

He places his finger under your chin, lifting your head up to look at him, “then I will spend every day of our life together doing whatever I can to make you happy. Trying to prove to you how much you mean to me.” He leans forward, connecting your lips together in a kiss.

The warm glow of the fireplaces bathed you both in a soft, calming light, casting a peaceful aura over the room. Above the mantel, the snowglobe, Konig crafted, an intricate, perfect representation of the two of you, sat proudly. Its glass shimmered gently in the flickering flames, showing the love and care he put into creating it.

[taxi-cab-to-slowtown]

THIS THIS THIS

and here is the difference: one discredits other’s interpretations while the other allows for your personal interpretation of the text.

I don’t want to drag this on but I am going to go into a tiny bit of lit crit theory here (hi I’m an English major, I’m not sorry). When analysing a text there is this thing called “death of the author” ie the author’s intended meaning is not the “true” meaning of a work. The only time this doesn’t stand true is when you’re looking at autobiographical works such as texts like Harriet Jacob’s The Narrative of the Life of a Slave Girl or things that are autobiographical allegory, such as Rich’s “A Valediction Forbidding Mourning” or Douglass’s The Heroic Slave. Most of the time when you analyse a text you look at how the culture around the text connects to (or interpolates aka “hails to”) the text and how your own culture does the same.

For an example from DC comics. When analysing an issue of New Titans where Dick dresses in an overly flamboyant way, saying that in our current culture such an outfit would imply queerness would be a perfectly good reading of the text. While also saying that because it was made in the 80s, the overly flamboyant clothing is also very masculine would also be a good reading. There you’re looking at how the text is interpolated by the current culture vs the culture of the time period.

but you can see how this might run into an issue in fandom spaces. One person says they headcanon Dick as some level of gender-queer because of his more flamboyant dress, and another person says “well at the time those clothes were very masculine” to “discredit” their headcanon. The problem is, both can be true, but a lot of people don’t want to look at a text with that kind of nuance.

a lot of times are inclination is to say “well the writer intended…” but that is not actual critical literary analysis. The writer does not dictate the truth of the work, the way that the culture responds to or “hails” the work dictates the truth and because culture is a changing organism, it means that it can be seen differently from person to person. One person might think a certain action feels OOC for a character and one might not, and that has a lot to do with the interpolation and interpretation of the work by their own cultural understandings and perspectives.

ie. What this posters is saying is that when someone makes their own interpretation of the canon through the viewpoint of their own culture and how it interpolates the text, and runs with it, then that is GOOD. That is good analysis and engagement. The problem is when they try to say this is the ONE SOLE understanding/reading of the text, they lose the whole system of literary engagement and criticism.

now this was like… a bunch of stuff crash coursed into a post but if you want to understand what I’m talking about better here’s the link to the textbook for my intro to lit crit class for further study. It’s the full PDF version so no money required! I recommend the chapters on “Death of the Author” “Reading” and “Subject and Self” to understand the point I’m making here.

I'll fully respect anyone who wants to take canon material and run off into their own little fanon corner where they flesh out paltry characters and relationships into something they want to play with. I will NOT respect the person who does this and absolutely insists the author meant it that way from the start and everyone else just doesn't get it.

[oddyseye]

Let’s talk about translations of the Odyssey for a second, because, honestly, I’m over here sobbing over how ridiculous some of these choices are.

Every time I pick up a new translation, I hope it’ll finally capture the true grit and messiness of Odysseus, but nope, every one of them polishes him up too much, turning him into either a tragic hero or a charming rogue. Where’s the Odysseus who lies as easily as he breathes, who manipulates his way through every encounter, and who leaves a trail of ruin wherever he goes? I want the man whose brilliance is as sharp as his selfishness, whose cleverness cuts both ways — not just a hero, but a survivor who’s as flawed as he is formidable.

Anyway, I’m gonna break down the biggest mistranslations that really make me want to pull my hair out and remind everyone how different the original Greek actually is. Prepare yourselves.

Let’s start with the absolute disaster that is Telemachus and Peisistratus’ bond. Homer used the word ὁμοφροσύνη to describe their relationship, a term that’s about fucking soulmates, alright? But what do these translators do? They water it down to “just good friends” or “nice companions.” It’s about a relationship where minds and hearts are aligned — telepathic level shit, not just a handshake between two dudes. Yet these translators just gloss over the whole thing, so you get this milquetoast version of their relationship when it’s actually so much more.

Homer says: "ὁμοφροσύνησιν ἐνὶ καρδίᾳ ἐνθα καὶ ἄλλων οὐδὲν ἐπέλθομεν" ("In like-mindedness of heart, where no other man could compare.") So, Telemachus sees Peisistratus as someone he’s totally aligned with, in a way that’s almost romantic in its depth. ὁμοφροσύνη is usually used for romantic couples most often.

Then, we’ve got Odysseus and Calypso, which — oh my god, don’t even get me started on this absolute trainwreck of a translation. The term ἀνάγκῃ is used when Homer talks about Odysseus’ “relationship” with Calypso, but translators somehow miss the force behind the word. It doesn’t just mean “necessity” like they’d have you think. It means force, violence, and distress. When Odysseus is on Calypso’s island, stuck there with her, it’s not this peaceful love story where Odysseus is some willing lover. It’s a prison. There’s no choice, and no one’s riding off into the sunset together. But translations just gloss over this desperation and make it sound so much more peaceful and comfortable than it ever was. It’s forced captivity, and the use of ἀνάγκῃ screams that: “ἔνθα μὲν ἀμφ᾽ ἀνάγκῃ, τῇ δὲ θεὰ ἐρῶσά μιν ἔσχε.” (“There he stayed out of necessity, for the goddess, in her love, held him there.”).

Homer uses the same word when Odysseus describes his time with Circe: “ἀλλ᾽ ἔμεν᾽ ἐν σπέσσι λαῶν ἀνάγκῃ.” (“But I stayed in her halls by necessity.”). Again, ἀνάγκῃ shows that Odysseus's relationship with Circe is dictated by forces beyond his control. His connection to her isn’t out of love or desire, but out of a divine obligation, a situation where choice is completely stripped away. It’s not love; it’s divine manipulation. So much for romantic freedom!

And let’s not forget how Homer actually portrays the suitors and their reaction to Antinous’ violence. After Antinous, in his full rage, decides to throw a chair at disguised Odysseus, other suitors chime in, disapproving of his actions. They say things like “ἀργὸς εἶναι,” which roughly translates to “you’re acting cowardly,” and “ἀτασθαλία,” meaning “reckless.” They’re still on the same side, sure, but they can’t quite get behind the utter savagery of his actions, and it’s maddening how this detail is often glossed over in some translations. They make it sound like they were all in on the violence, but in the original text, these suitors are not all cut from the same brutal cloth, no matter how much some translators want to make them seem like one big mob.

Homer uses the word οἰκέτες to refer to the people in Odysseus' house. "οἰκέτες" means slaves, people who are literally owned by the household. But oh, what happens in the translations? We get “maids” and “servants,” as if these slaves were just there because they wanted to be, doing chores like it was a normal job. But no, they’re not “maids,” and they sure as hell aren't "servants" in the modern sense. These people have no freedom — they belong to Odysseus. The translation of οἰκέτες as "maids" completely erases the brutality of the system that Homer is talking about.

Interestingly, Telemachus, who is often portrayed as rude or immature, calls these individuals “servants” or "maids" in a more respectful manner. This is the same guy who can barely get his act together most of the time, but here he is, calling the οἰκέτες — slaves, remember — not just slaves but “ἄνδρες ἰκέτες,” which translates to "men-servants" or “butlers.” Like, hello, Telemachus! For once, he’s actually treating them like people instead of just the property that they are in Homer’s original telling. Respectful? Who knew?

And lastly, let’s talk about Penelope. Odysseus, when he finally speaks to her, he says: "ἀλλὰ μὴ ἐπεὶ καὶ σὺ μὲν ἔμπεδος ἐν οἴκῳ, ἔτλησαν δ’ ἐμαὶ ἄλγεα." ("But you, steadfast in your home, endured my sorrows."). Odysseus sees Penelope as the rock, the one who has suffered patiently in his absence. Unlike the goddesses, she’s his equal in suffering, not a forced relationship due to divine will. He longs for her, and her presence stands in stark contrast to the chaotic, imposed relationships he’s had with Circe and Calypso. Penelope is the constant, the one Odysseus has chosen — no divine manipulation, just pure, enduring love.

Anyway, all of this goes to show that translations can twist what Homer was actually trying to say — especially when it comes to the relationships in the story. It’s frustrating to see these critical, subtle moments get flattened into bland, palatable phrases. Maybe if they spent less time trying to make everything sound "noble" and more time actually getting at the grit of what Homer wrote, we wouldn’t have to deal with these watered-down, emotionless versions of The Odyssey that everyone is so obsessed with.

[libraford]

Misty Copeland, my beloved.

I can't even say that 'appreciation' is the word, at least in the case of bellydance. It's just what happens when a culture touches another. Because 'bellydance' itself is a very broad term that encompasses a variety of dance styles that may have no verifiable country of origin.

Correct me of I'm wrong, of course!

Under a cut because apparently I'm infodumping on dance history.

The best we have as an origin people are the Ghawazee, and today's style looks very little like their practice (which is still taught by it's sole remaining member). But the people traveled before settling in Egypt, so a clear origin is difficult to pinpoint. And you do hear claims that bellydance is Egyptian, and while it's not untrue, it's not the entire story- Ghawazee spent some time in Egypt and the style stuck around to have a stylistic exchange. And a lot of the old Hollywood depictions of bellydance are something between this cultural fusion and awalim. All of these styles, and so many more of that region, informed each other and inspired each other as trade routes between countries became more common, and the Ottoman Empire brought it northward as far as modern day Austria.

And the dance style has been criticized pretty much everywhere it goes. Like our earliest footage of the dance was as a Victorian sideshow that was considered by the primarily white male audience to be vulgar. But as Egyptian film made this style more easily accessed, fondness for it grew, and we enter Golden Age of Bellydance- which was not always not the most culturally sensitive depiction, but it gave a lot of dancers a chance to show their skills to a wider audience- and now women want to learn it too! Teachers pop up everywhere, even though it's still considered a little risque in many cultures.

Bellydance was being seen all over the world because of cinema, even if inaccurate so. And there was a fascination with Egypt that made it the center of attention for a lot of film. There were tons of middle eastern dance clubs, though they were, again, kind of a fantasy version of it.

And then it got hairy.

Iranian Revolution in 1979 put a lot of restrictions on dance. If you were a dance teacher affected by this, your choices were either stop dancing or immigrate to a country where you'd be allowed to teach. So you see a huge boom in the 80s of Egyptian Cabaret styles taking root in the US because the interest in Egyptian culture made it easy to set up shop.

So most of what you're seeing today in modern stage styles is either second or third generation of Egyptian Cabaret style through several layers of translation, which in itself is deep in layers of translation, applied to the melting pot of America and then to the exposure of film, TV, music video, YouTube, Instagram, and then finally TikTok.

And that's fucking fascinating! The cultural exchange that had to happen for us to get that half-beat Turkish drop is high key cool af, just to think about all of the steps we had to go through to get here. It is an ever-evolving discipline of dance, and the fact that Shining Protector is still teaching the old ways of her people to keep traditions alive is AMAZING!

We should want this. And I don't know how to explain to people that sometimes the watered-down white people spicy version is the gateway drug to taking an active interest in a different culture.

When one culture comes in contact with another and the peoples share the things that enrich their lives, that is cultural exchange. But I think it's hard for some people to see any interaction with a white culture as neutral-positive. And it's somewhat difficult to explain the difference.

[henrythehorse]

i sometimes think the notion that john's feelings for paul were so volatile they seemed to change from minute to minute is a bit overblown—until i remember his september 1980 newsweek interview where he manages to showcase every emotion possible in a single quote when asked about paul.

INT: Is there animosity?

JOHN: Why should there be? I don't have any animosity for him. I don't even think about him unless somebody brings him up. Or if some song comes out or something happens, you know, they're in the newspaper. I don't know why everyone doesn't just leave him alone — I haven't really seen him in ten years. I can talk about him forever because I know all about him, but you see, there's nothing much to say.

and there's also this quote from the same interview:

INT: In a recent interview McCartney said that he thought you and Yoko had done everything you'd always wanted to do — except one ... be yourselves.

JOHN: Paul didn't know what the fuck I was doing and he had to come up with something. He was as curious as everybody else. WHAT ARE THEY DOING THERE? WHAT DO THEY DO ALL THE TIME? I really don't know anything about how he lives, except what I read in the papers. It's been ten years since I really communicated with him. Shearing sheep and making lots of money — that's what the handouts say. I don't believe handouts about any artist.

it’s almost as if he’s constantly switching between talking about two different versions of paul: the one he knew and loved so deeply, and this total stranger that people won’t stop asking him about. i believe this is why he seems to have a sudden surge of possessiveness while talking about paul in the first quote, but then retracts and says, 'there’s nothing much to say,' because the version of paul he could talk about forever exists only in his memories.

[graveyardhorror]

౨ৎ ARCANE JINX dating!headcanons²

misc. masterlist

-teaching you self defence with weapons made by her of course, if you already know how to fight and have your own weapons of choice she will simply give them a makeover or design a better and improved (her words) version of them

-she likes when you read to her, talk about your day, just your voice in general; it might look like she's not listening and just examining your face but trust that she is doing both at the same time lol

-will always wake you up with a big fat and loud kiss on your cheek, it's one of her love languages to give you wet kisses when you least expect them mostly when you're sleeping

-finding different ways to pass time; attempting realistic portraits of each other that results in you two laughing at how bad they are, playing 'don't drop the grenade' where you start off close to each other and eventually you're across the room trying not to let it drop to the ground

-brainstorming ideas for her new gadgets and how to improve her current weapon designs, the 'blueprints' honestly look like a toddler attempted to draw a gun without ever seeing one but it's the thought that counts?

-dating her means that you two now share everything; clothes and shoes if you're the same/similar size, drinks, snacks, food, etc; she will take sips from your drinks and bites from your food

-if you walk by her she will either slap your butt as hard as she can or put her foot out so that you trip and fall into her arms, she doesn't do it with any ill intentions she just wants to have her "you ladies alright?" moment with you

-says she's a good flirt but only uses old funny pick up lines from ten years ago and doesn't know what to say/do when you actually start flirting back

dividers by mikeykuns

[instantpansies]

oh my word THANK YOU!!! i've been trying to say this since the wicked movie repopularized all of the "wicked is canon" stuff, but you've put it in a way i wasn't able to. YES. certainly wicked is allowed to be a derivative work that recontextualizes Oz. assuming that whatever is in wicked retroactively and automatically changes details about the story (ie, that the scarecrow and the tin woodman knew each other before the events of Wonderful Wizard and/or the MGM film) is simply incorrect.

i'm all for incorporating a body of work that may not be fully compatible into a coherent canon that works as an alternative parallel to the original. i think it's completely fine and understandable that people are hooked on wicked and will want to understand some characters through the lens of wicked. but assuming that wicked's popularity makes it truly canon, or assuming that the history it presents is accurate to Baum's Oz, is ignorant to both the original context of the Baum books and the long history of Oz adaptation.

i'm also a bit of a hater, as i personally believe that understanding Wonderful Wizard characters through a lens of wicked, especially the musical but also the book, is a less interesting way of analyzing the text and symbolism present in that story than either the Baum novel or the MGM film presents as each stands alone.

wicked is, certainly, its own thing. of course it exists in the context of over a hundred years of adaptation before it, but that context is simply not known by most people. it must be able to stand on its own, and i believe it does. but when this retroactive wicked lens is applied to that context and history uncritically, we will run into problems.

i almost want to blame the seemingly recent, but really just more visible shift in fandom to a need for everything to be canon and confirmed? like, it can be difficult to reconcile in our minds that so many different versions of oz are allowed to exist and don't have to be compatible. wicked "confirms" things viewers are left wondering about after the mgm film, so therefore it must be canon, and therefore it's appropriate to correct people on facts they "get wrong" when they contradict wicked canon. that's how the thinking seems to work, at least in my observation. and that way of thinking seeps its way into the secondary or deeper oz fandom, which has led to (in my view) a sort of soft shift from Baum-centric understanding of oz as a whole to a binary star system where Baum and Maguire are seen as co-creators of a more true or real world and story. i'm exaggerating, certainly, but i've seen this shift occur over time. i hesitate to bring this up bc it sounds like i'm whining about the fandom's natural changes and how things aren't the way they used to be, and i guess i am. i digress.

anyways, your original point. yes!!! while oz became baum's most profitable endeavor, and throughout the series you can see him sort of wishing his other books were more profitable so he could expand in different directions, that doesn't mean he didn't care about continuity or cohesion at all. i'd argue he cared more about cohesion and telling a story that made sense and continued to make sense as it was expanded, than he cared about maintaining particular canon details through the whole series. oz changed as baum's tastes, needs, and audience changed, and that is just as important as the changes that would be added by adaptation later on. (hell, many oz fans don't think of the 1902 musical or the silent films as canon, despite them being created by Baum, both because they're less well-known and because they do change things up to better fit their respective media and contexts). this sense of inconsistency, whether overblown or minimized, doesn't mean that wicked is canon compliant with the baum novels. wicked directly contradicts baum's work in some cases--which again, is completely fine. it's a derivative work that takes certain aspects of the original books and the mgm film, synthesizes them in a grimdark expansion on especially the political aspects of the world, and seeks to tell a unique story that allows you to think about Wonderful Wizard and MGM in a different way. but it is not itself an explanation for Baum's supposedly undercooked or unfinished world. it is not itself a part of the original story (i mean this in the context of canonicity of baum's work. oz fans know how complicated oz canon is.) but instead is--as it claims to be--another branch on the complex tree of oz adaptations.

tldr. wicked does not "explain" anyone's actions in Wonderful Wizard or MGM. it seeks to provide an alternative context, or an alternative explanation, certainly. but it does not retroactively "fix" the story. it's perfectly fine to think about the original story or the mgm film in the context of wicked, if you like the alternative history it provides. policing others' adaptations and understandings of the story, or implying or directly stating that wicked should be incorporated into others' headcanons or interpretations or adaptations, or claiming that wicked is canon simply because baum didn't care about canon so everything is canon, is not helpful or productive or good. in fact, that actively makes oz analysis less fun, in my opinion. i hope my point is made here i've been trying to say this for months but as usual i was completely unable to get my thoughts across until acted on by an outside force (seeing this post). so thanks!!

I've seen a lot of people lately harping about how "Wicked isn't canon to the Oz universe", "it's just glorified fanfiction", etc., and I can't express how silly that is, and how annoyed it makes me every time I hear it, lol. Baum's original Oz books were never meant to be some canonical series — they contradict each other constantly; Baum called it a "fairy story" with loose cohesion at best; and it only became a series at all because the first one got popular enough that Baum felt a duty to the fandom to keep making more (even after he had wanted to end it). And the 1939 film is every bit as much "fanfiction" as Wicked — it changes the story in both major and minor ways, including a complete shift of framing (i.e., making Oz into a dream rather than a real place).

Maguire's great contribution to the overarching legacy and lore of Oz was to harmonize the very weak "canon" of the older works with a different shift in framing: recontextualizing all of the prior Oz material as a revisionist history (going off of Baum's own idea framing of himself as a "Royal Historian of Oz"), and attempting to tell "the true story" behind the other works (fictively of course — we're never meant to literally think Maguire's version preceded Baum's, irl). In literary studies, this is called an urtext. The Wicked Years and its adaptations are as much "fanfiction" as the 1939 film: it's just self-aware of that fact in a way that earlier works weren't, and uses that perspective to deconstruct the material and explore deeper (and darker) themes — not simply adapting or reimagining the original text (as the 1939 movie did), but actively challenging it; interrogating it. It's not meant to be "canon" as such: it asks you to ask whether (and why) there is such a thing, and what that might say about the stories that we are meant to literally believe in, in real life.

[goddessinnerglow]

Become Your Best Version Before 2025 - Day 24

Setting Up Progress Tracking Systems

Hey Goddesses! After exploring personal style yesterday, let's talk about something that can really amplify our growth journey, tracking our progress. But don't worry, we're not going to turn this into a complicated spreadsheet situation (unless that's your thing!).

That satisfying feeling when you can actually see how far you've come? That's what we're aiming for. Let's create a tracking system that feels natural and motivating, not like another chore on your to-do list.

Think about it, we've covered everything from confidence to personal style in this series, and you've probably made more progress than you realize. That's exactly why tracking matters, it helps us celebrate those wins we might otherwise miss.

Let's explore some simple but effective ways to track your growth:

The "One Line a Day" Method:

Keep a small notebook or digital note where you write just one line about your progress each day. It could be anything – "Spoke up in meeting today" or "Chose outfit that felt truly me." Simple, quick, but powerful when you look back.

Visual Progress Maps:

Create a simple chart or calendar where you mark days you took action toward your goals. Use different colors or symbols for different types of progress. Seeing those marks add up over time is incredibly motivating.

The Weekly Check-in:

Set aside 10 minutes every Sunday (or any day that works for you) to reflect on three things:

What went well this week?

What did I learn?

What do I want to focus on next week?

The Progress Photo Approach:

Not just for fitness goals! Take photos of your workspace as you organize it, screenshot positive feedback you receive, or document other visible signs of growth. Create an album called "Growth Journey 2025" on your phone.

Voice Memos:

Sometimes writing feels like too much. Try recording quick voice notes about your progress. "Hey future me, today I finally..." These can be incredibly powerful to listen back to.

Don't Forget these key principles:

Track what matters to you, not what others measure

Make it easy enough to stick with

Focus on progress, not perfection

Include both tangible and intangible wins

Keep it flexible, adjust your system as needed

Quick tip:

Link your tracking to something you already do daily. Maybe you check your progress while having your morning coffee or before your evening skincare routine (remember our self-care conversation?).

Today's Challenge:

Take 5 minutes to write down where you are now in any area you want to track. This becomes your baseline. In a month, you'll be amazed at the changes you notice.

See you tomorrow for Day 25! Remember, you can't manage what you don't measure, but keep it simple enough to stick with.

♡ ☆:.｡ Keep glowing, babes! ♡ ☆:.｡ With love, Goddess Inner Glow.

[rizzanon]

I agree with anon that your story does give reincarnated into a villainess story vibe!

Since multiverse is canon in DC I would Imagine reader body swapping with a version of them in a fantasy historical universe but it's still batfam but this time it's Grand Duke Wayne. He is the himbo duke who inherited the dukedom when his parents died in a carriage accident. Plot twist they were assassinated by a rival noble family(Joker waz here). He still plays a dark knight who protects his people from the shadows, just less tech and more unhinged fist fighting and chains. Not in the kinky way kind of chains.

Reader is an illegitimate child born from a commoner woman that Bruce slept with when he went to a different kingdom as a diplomat. The only reason you were recognized as a Wayne was because your mother made a fuss and somehow you were taken in by Bruce.

Reader was not treated poorly but was also not treated well by the other older family members. They kinda just not existed in the manor. The other family members on the other hand seems to be hell bent on making your stay as terrible as possible. If you could give rating, you'd give it a 4/10. Awesome house, not so awesome family members, especially the stabby spite filled 10 years old. At least your Damian from the original universe wasn't this murder driven anymore.

Honestly I could see reader just going crazy from the lack of tech, high society shit, and the weird attention that the Waynes are giving her. Aren't hey supposed to hate her or something? Why are they looking at her like that? Also when will your Bruce even notice that you're gone, will they even notice you're gone?

yoo wait this is actually sick anon. you should probably write about this HAHA i would definitely love to read something like this because this lowkey gives off kill the villainess vibes (kind of, depends whether the reader in this wants to return to their og universe or not) 🫣🤭

[norrisleclercf1]

Day 15 of 25 Days of Christmas: Roasting S'mores together

Pairing: Carlos Sainz x Reader

Rating: PG

Words: 792

Roasting s'mores with Carlos Sainz would be an unforgettable experience filled with laughter, racing stories, and delicious treats. Picture a cold winter evening with the sun setting in the background, casting a golden hue over a cozy backyard. The air is filled with the sweet scent of chocolate and the smoky aroma of toasted marshmallows, creating the perfect backdrop for a night of fun and camaraderie.

As the fire crackles, everyone first notices Carlos's infectious smile. He's on earth, making everyone feel comfortable around him. As you settle in, you can't help but feel excited, wondering what it's like to be this carefree, especially after the season he just had. Yet he was acting like nothing was to change. You wanted to talk to him about it, but Carlos was not keen on the idea, keeping those thoughts away from you.

Dressed casually, Carlos taught you how to roast s'mores today, a tradition he always cherished with his father during their camping trips. As you learn the art of roasting the perfect marshmallow, you can't help but feel inspired by Carlos's patience and love for teaching. He is a master at his craft, and you are a willing student eager to absorb his wisdom.

As the flames dance, he hands you a skewer, guiding you on how to roast the marshmallow to perfection. "You d "n't don't rush it," he says, demonstrating a slow rotation of the marshmallow over the fire. "If you" go too fast, it'll be on the outside and still be cold on the inside; timing is everything." Here "are some tips on finding the sweet spot of the fire to achieve that ideal golden-brown color—something that resonates deeply with anyone who understands the importance of timing, whether it's iit'smores'moreseed.

You start roasting your marshmallow, feeling the heat of the fire and watching it slowly transform. Carlos often makes a light-hearted joke about attempting to make s'mores at a team event but ends with a gooey mess. It's great to see how he embraces the fun side of life, even when balancing the pressure of what is soon to happen. "Carlos, you can talk about it, you know," You whisper softly, trying to get him to open up about what has happened.

As the marshmallow slowly caramelizes, Carlos starts sharing his favorite racing moments. He talks about his early days in karting, that thrilling first taste of speed, and the determination it took to reach F1. You can see the passion in his eyes as he reminisces, recounting stories of pivotal races and friendships formed within the paddock. This season was different; he was going from the team everyone dreamed of to racing to the one people laughed at, but he didn't care; he just wanted to run and take the team to great things. If anyone could do it, you knew it would be Carlos.

Finally, the moment arrives: you've achieved that perfect golden-brown marshmallow and smiles, flashing a thumbs-up and encouraging you to layer it between graham crackers and chocolate. "The key is balancing the melty marshmallow with the chocolate," he advises. "Too much marshmallow, and it spills everywhere. Too little, and you miss out on that gooey goodness!"

Building your s'more feels like a team exercise. Each person carefully layers their sweet creation while swapping stories and laughter. One person opts for a twist on the classic version, adding a slice of peanut butter cup to his s'more instead of traditional chocolate. You can't help but admire his creativity and feel a sense of inclusion in this shared experience.

As you both take that first delicious bite, the gooey marshmallow and melted chocolate ooze together perfectly, causing everyone to sigh in delight. The sweet symphony of flavors dances on your palate as Carlos nods approvingly, recalling how constructing the perfect s'more parallels carving an ideal racing line on the track. You feel indulged, savoring every moment of this delightful experience.

With the fire crackling and beginning to twinkle above, the night unfolds, filled with sizzling conversations about nothing and everything: what you two would do for the Holidays and how you would spend the time together.

As the evening winds down and you both finish your s'mores, the conversation shifts to the future. He talks about his aspirations and what he hopes to achieve. His words have a deep passion and a commitment to excelling on the track and inspiring the next generation.

The night concludes with the glow of the fire, beautiful memories captured under the stars, and the shared laughter of roasting s'mores with a racing star. You leave the evening feeling excitement and inspiration, influenced by Carlos's genuine s'mores and love for the sport and perhaps a newfound appreciation for the delicate balance.