#im sorry im so like. incoherent

[unmerrymagdalene]

Actually you know what, I’m not gonna wait until the poll finishes because you cannot convince me that Sydney and Sirris have a fully good parental relationship-

This isn’t me saying their relationship is fully bad obvi! It’s clear that Sirris cares for Sydney and their well being, but like-

Sirris is openly sex positive to a debatably obsessive(?) intense degree. Sydney, at the start of the game, is not. Sydney works at the shop, despite the fact they’re openly embarrassed by everything. Sydney goes to the Temple routinely, while Sirris just drops them off and barely steps foot inside. Sirris does have some reservations about the Temple and hey, and it’s also the same place where their late partner/Sydney’s other parent was mainly at, which is a whole can of worms that is never overtly talked about.

They clearly love each other, but they (probably) do not talk about stuff beyond a surface level. They’re both treading on very thin ice. What the fuck is going on with them-

[fatmaclover]

theres something to be said about how mac still holds such a childish adoration for his parents after such a long time. how literally its shown to us by the fact that

mac always slicked his hair back as a child, when he still had contact with his father

he stops doing this into adulthood, but later in life, once mac interacts with his father again, he starts slicking his hair back again

he doesnt stop. slicking his hair back. until his own father walks out during his coming out performance. the guy he put it on for. only after that does he completely stop styling his hair that way

not to mention the constant refusal that his mom (and dad) could be anything but perfect, the way hes so desperate to do good by them, viewing them as the way to measure his success...

and. yeah thats. something.

the internal denial that his parents treated him poorly, the fact that its his primary instinct to deny that his parents suck, the constant dismissal of his own issues relating to family because his whole life hes been told that "other people have it worse". the way hes internalized that so hard. the way it takes his dad walking out on macs coming out performance to him for mac to stop blindly idolizing some guy whos threatened to kill him

the constant fear of his own father, while also believing him to be the coolest bestest guy ever. the way he always assumes his father is gonna get violent when actually talking to him, but sings nothing but praises when away from him

the fact that he still calls his dad "daddy" even.

i mean you cant really blame him for not fully growing up in some areas huh

its not even that i think he doesnt know that his parents treat him horribly, it just really seems like he wants so badly to believe thats not the case from years of having his cries for help ignored or made fun of. he cant have been treated poorly, because charlie was treated poorly, and his baggage isnt nearly as bad as charlies, so clearly macs home life wasnt bad.

i think thats proven most of all by his frustration with his own family at times, it really feels like theres some underlying issues. they can very quickly manifest as frustration and anger, but honestly its probably mostly sadness. the way he reacts to his own mother really reminds me of how i interact with family members i have grudges with but have to pretend i dont. im not actually angry at any of these people, im mostly just exhausted by them.

he very clearly is still aware of the neglect he faced as a kid, to me. he knows his home life was severely fucked up, hes just never been able to express that, so hes coped by just. pretending that it didnt happen.

and realistically i dont know if he could ever properly acknowledge that his home life was fucked and his parents suck. maybe hed acknowledge that his dad sucks now, but it wouldnt have been that bad when he was a kid and wasnt a fag. right? he was loved then. his mom still did a great job raising him, and he really loves her, and he was raised with all the love and care a child needs.

[carnivalcarriondiscarded]

i don't know what order to start Dissecting, so i'll just start with:

it's absolutely fascinating how the dynamic Wally & Barnaby had - to my knowledge - before the update, and a dynamic i'd seen speculated elsewhere and generally accepted, has been completed turned on its head

see, given that Wally is the "main character" and Barnaby is classified as "his best friend", i got the feeling that Barnaby kind of... tags along on Wally's 'shenanigans'. that he's the sidekick, the best friend. especially since their dynamic has been previously & briefly described as "Barnaby is very polite to Wally." he's the Companion.

but the audios sorta paint a reverse picture. in the Interview, when Barnaby enters stage right, he completely bowls over Wally's introduction and dominates the interview. when the interviewer asks how the two of them are handling the fame, even outright asking Wally, Barnaby doesn't hesitate to answer the question himself, and only about himself. Wally doesn't get another word in edge-wise until the interviewer explicitly singles Wally out.

(now, an argument could be made that Barnaby knew that Wally was somewhat overwhelmed with all of the questions, and tried to take the reins to give him a reprieve. but, considering that the interview seems to be very early on the possible timeline - like, very soon after Welcome Home debuted - i don't think this is likely. i doubt Barnaby and Wally would've had the time to solidify their dynamic or really get to know each other that well yet)

and Barnaby continues to take point in pretty much all of their other conversations, too. like in the mystery Howdy/Barnaby/Wally audio, their interaction gives off the vibes that Wally is Barnaby's sidekick, his tag-along.

(on a related tangent, it's fascinating how the website described the episodes as "[beginning] with Wally introducing the focus or theme for the day before coming across other characters who would join him on his escapades until the end of the day." but from pretty much everything we've seen so far, it seems like He's the one who's just along for the ride, bouncing from neighbor shenanigan to neighbor shenanigan instead of having his own adventures.

of course, if the 14 audios are present time, which is honestly somewhat likely, this could be because the show isn't running. they aren't doing episodes - they're just existing, doing their things. no need for Wally to take point in any way shape or form. tangent over)

in the 14 audios with Barnaby, he doesn't even acknowledge Wally until the very end - which, of course, could be because that's how the scenes are set up. except that in some of them, the characters do directly acknowledge Wally's presence outside of the endings. Eddie in 5-14, Howdy and Poppy in 1-14, and Frank in 4-14 (technically, since he was infodumping to Wally at the very start before Barnaby interrupted). you'd think that a guy would try to include his best friend a little more!

maybe i'm reading into it too much. & given what we know about Wally as a character, it would make sense for Barnaby to be the go-getter Main Guy of the two. but it really seems like its Barnaby & Wally instead of Wally & Barnaby. he's just kinda... there. going along with whatever Barnaby is up to.

but also, on the other side of things - & it's occurring to me as i type this, it's interesting how in a lot of audios, Barnaby seems to seek Wally out. in "Just So", he shows up to fetch Wally. in 4-14, Barnaby interrupts Frank and Wally's gardening session, almost as if he's stopping by to check on his little buddy. in 7-14, Barnaby calls Julie's house (presumably) searching for Wally, or at least checking in once again. something to consider in all of this!

[skunkes]

I might be stupid but is Al, Smunker, and Talon togetherrrr. Like a polycule or are they having a secret 3rd thing? Sorry if the answer is obvious jdjdj

theyre together! au (?) for cheye's survival

(general info doodle i made a few months ago) (i say au but idk it could become permanent in my daydream zone, Talon is meant to have his own canon but I like him too much and am bad at writing plots)

This is still a fairly recent development so the current needed-SOME-foundation lore is:

talon and al were as together as talon would allow at the time (so not really) but he liked Al most even amidst his anxieties about men. He leaves for a long while with no contact once he realizes he's getting toooooo comfortable with al, comes back for another round of comfort and gets attached again to both the guy he knew AND the guy's boyfriend

I dont think Talon actually likes being referred to as boyfriend by either of them, nor would he refer to them as his boyfriends, but the attachment and "role" is still there and that's what they loosely consider him (i have to explore this further, theres still a lot i dont know abt him) while also knowing he could just decide to leave again if he so wishes

[maskofenigma]

Fallen London's recurring topic of Love is really interesting to me as a sort of throughline between various stories and i want to ramble about discuss that briefly. i dont call it a theme because thematic statements are usually more complex than a single word, at least in my mind, but a lot of Fallen London's storylines incorporate love into their themes.

there's the obvious things ofc; the Manager and the King, the Duchess and the Canigaster, Queen Victoria and Prince Albert, the Bazaar's whole situation. Love is a common motivator that many people can relate to, so it's no surprise that it appears in this capacity. Even so, these instances also underpin a lot of the setting's character, particularly the latter two examples, explaining why the neath is the way it is. but if we broaden our horizons just a bit, you can start to see it appearing all over the place (though maybe thats just confirmation bias lol).

the youthful naturalist loves discovery and life, and evolution in that context is a story about what one is willing to endure and sacrifice for that love. Love is a constant theme in the Light Fingers storyline, between moon milk and poor Edward, but also shows in Mr Fires's love for London (strange and deleterious though it may be) and the protagonist's love for either the Hybrid they protected or the diamond they'd been after. I don't know as much about the other ambitions (yet), but Nemesis is all about avenging a loved one by any means necessary, and you could see Bag a Legend as a love for the hunt or a love of fame, though even i’ll admit thats a bit of a stretch. Idk about Heart's Desire i’m still working on it but there's probably something. Its literally about what your heart desires but there’s absolutely a deeper connection with the Marvellous and stuff. No spoilers i'm still working on it :3

i dont know a ton about SMEN's story either, but i know from a ludonarrative perspective that it tests the players love for their character, forcing you to ruin this silly victorian who you are presumably quite attached to in the search for knowledge (perhaps another kind of love?) With what little i know of it, i’d honestly be shocked if there wasn’t anything there. if ao3 has taught me anything, there was definitely some kind of love going on between those two space bats, but im not sure if ao3 is a reputable source in this specific instance

The Flukes are literally sick with love for lost Axile, and a lot of the Masters are shown yearning to return to the High Wilderness. Many of the Irem Destinies regard love in this way, love for the sun, for the liberation, for ones partner, for london, for the people of the neath, and on and on. im not very far along with the railway but im 100% certain itll crop up again there, whether with Furnace Ancona or the Efficient Commissioner or the masters or whatever else. same goes for the Exceptional Stories and the myriad tales ive yet to unlock. Weve started to see a glimmer of it in firmament, with the imminent lucifer fire guy, but i wasnt really sure what his deal was. the idea extends to the other Sunless games from what i know, though ive yet to play those. Mask of the Rose is a romance, so thats pretty clear cut; sunless skies seems to have a lot of content relating to Queen Victoria and Prince Albert; and sunless seas seems to have it present in a few storylines, though i couldnt point to anything specific at this time. even small things, such as the way that the railway steel seems drawn to Hell and the sorrowful properties of sphinxstone, makes for a setting that is inundated with longing and heartbreak in a fascinating way.

viewed through this lens, fallen london's perspective on love is tragically earnest: love is painful and unfair and yet so very necessary. as someone who's aromantic and a hater, i call that an L. but from a thematic perspective its very interesting how often this occurs and how it connects a lot of fallen london. In so many other narratives, love is a conclusion, a reward or climax. In fact, mass media seems allergic to depicting an active and healthy relationship, and instead relegates such matters to a single ceremonious kiss. But for fallen london, a game where kisses are currency and romance is taxed, the concept of love is afforded such an interesting amount of care and reverence. Fitting for a setting wherein the insisting incidents all relate to love in some way or another

it may be comedic and at times quite absurd, but fallen london to me is a game deeply concerned with love and its influence on people. and idk i think thats interesting. if you're looking for the theme or message of a given fallen london story, look to love, always.

does that count as a thesis? i certainly dont know

[whump-in-the-closet]

A Healer's Hands

poll results came in: team whump, medic is broken down to be made an example of

cw: gore, medic whump, creepy whumper, team dynamics, captivity, torture

The Medic's crew stumbled through the cell door, one after the other.

Captain, with a black eye and a limp, lifted two fingers to their temple in a mock solute. Their clothes were torn and there was blood on their uniform's collar.

Youngest trembled as one of the henchmen shoved them inside the gated door. They looked around, eyes brighter than a deer's in headlights. "H-hey Medic." They wrapped their arms around themself.

"Hey," Medic swallowed down the twisting feeling that rose up. He forced his voice to soften, to not carry any of the sharp panic he felt. "Where are you hurt?"

"We're fine," Captain cut in, gesturing behind Medic's shoulder. "It's--"

Medic had already whirled around.

Lieutenant.

The Lieutenant held onto the cell wall with a shaking grip. Where he touched it, blood trickled down the stones in a steady faucet run.

Drip.

Drip.

"Lieutenant?"

He glanced up. His nose was gushing red. It stained his uniform, bright and electric in the dull light.

"Turns out those fuckers can throw a punch after all," said Lieutenant with a hoarse laugh. Still unceremoniously reckless.

But he let Medic hold a makeshift bandage--ripped from Medic's shirt-- to his nose.

As Lieutenant sat down, Medic crouched beside him, correcting how he was holding the bandage. "Don't tilt your head up."

Lieutenant winced when Medic readjusted the bandage.

Medic drew away and reevaluated the situation. "It's broken," he said.

"It’s just a new look I’m trying out – call it avant-garde." Lieutenant tried to laugh but ended up grimacing. He waved Medic away. "I'll survive."

Medic shook his head. "Wiseass." But he smiled. Then. "Are you hurt anywhere else?"

Lieutenant tilted his head against the wall, pieces of choppy hair falling away to reveal a swollen eye and pulsing bruises. He closed his eyes. Through a clenched jaw, he managed, "I think they broke my ribs."

Medic swallowed down a wave of helplessness. "Just stay still."

Lieutenant kept his eyes closed, breathing shallowly. "My pleasure."

Medic turned to Captain and Youngest. "So, you and you, where are you injured?" He only asked to make conversation. He had already identified that Youngest's arm was dislocated, hanging loosely at their side. And on Captain's right thigh was a raw-edged wound, seeping and damaged.

Medic took off his jacket, ready to tear it into makeshift bandages and a sling.

But neither looked at him.

Youngest was staring at something over Medic's shoulder. They pressed back into the wall, shaking.

"No," they whispered. "No. Not again."

Captain put a comforting hand on their shoulder, mouth set in a thin line.

Electric fear whispered a spider-like path down Medic's spine. They turned just as the cell door opened.

Whumper entered with two henchmen strolling behind them. Whumper grinned, teeth canine-sharp. His blood-red hair was tied back, accentuating fox-like features. He didn't look quite human-- too tall, too much of a bounce in his walk.

And he wouldn't stop smiling.

He swung a crowbar.

Even Lieutenant flinched.

Oh.

Oh.

Whumper arched an eyebrow when Medic stood his ground. "You're Medic?"

Medic glanced at Lieutenant-- saw panic and web-woven fear-- then back at Whumper. "Yes."

Whumper flicked the crowbar side to side. He kept talking, a paper mache smile at the corner of his mouth. "I don't appreciate you wrecking what I'm trying to build here."

Medic failed to understand. "I'm a medic. I have to provide care," he said automatically.

His head buzzed. He couldn't-- couldn't think clearly.

Whumper appeared to consider this. He tilted his head to the side. "I see. Well, I have to do things too, I get it."

"Yeah. Wait. No, what?"

The henchmen grabbed Medic. One kicked him in the back of the knees, forcing him to kneel.

Medic struggled, lashing out like a trapped animal.

A henchman brought the edge of their gun over Medic's head and Medic slumped forward.

His vision suddenly doubled.

The short-wired tension burst into flame.

Captain lunged forward. "Leave him alone!"

It took two henchmen to restrain Captain, pinning their arms behind them, and another to kick Lieutenant in the ribs, so he doubled over coughing. Incapacitated.

Whumper leaned over Medic, tilting his chin up to look him in the eye. "You should have left well enough alone," he whispered.

Medic snarled something unintelligible. A curse. A plea. He didn't know.

Whumpr straightened. To the others, he said, "You all break as easily as his hands will. And if you don't believe me? Watch."

There was a sharp intake of breath. Realization hit with a dull, sick thud. "No!" Lieutenant cried out, "No! No-- don't!"

But the henchmen had dragged Medic's hand out and splayed it on the tiles, kicking him when he tried to pull it away.

Whumper lifted the crowbar.

Medic's eyes widened in horror.

"No-- no, nonono! Please--" His voice arched into a desperate cry, more animal than human.

Crack.

A splintering sound.

All Medic could see was white. Electric pain filled every nerve, spilled into every bone, coating his teeth and burning-- burning, burning, burning.

A terrible sound ripped itself out of his throat.

And then again--

Crack.

His left hand.

Medic screamed.

Maybe he had screamed before.

Had always screamed.

Maybe he would scream forever.

Darkness filled the corners of his vision, blurring the sharp flashes of red of white--

Electric, pulsing red.

Burning, vicious white.

Blood trickled down his arms, bright and throbbing with a cinching pain.

Whumper wiped the gory crowbar on Medic's shirt.

His henchmen let the unconscious medic slump to the floor, little more than a bundle of clothes. They released Captain, who sank to the cell floor, unable to look away from Medic.

Whumper bent down by Lieutenant, whose breaths were coming in sharp drags. He wiped a tear off of Liutenant's face. "Crying?"

"No." His voice shook.

Whumper smiled generously. "Oh, no." He stood. "Tomorrow, one of you will offer up the information on your base. I do not make idle threats."

The door locked on the blood-soaked cell.

Lieutenant muffled a sob.

"We...we can't," said Captain. Sorry. Sorry. I'm sorry.

They didn't know if they were apologizing to the unconscious Medic or to what remained of his hands.

tagging the people who interacted with the poll: @acer-gaysimpstuff, @yet-another-heathen, @another-whump-sideblog

[mira0000000-blog]

Concepts for a Surgamy fankid named Nerine, created in a fit of Surgamy thoughts at 6am and I cant draw him again..So i think im gonna abandon him for a while haha.. sth

[bassguitarinablackt-shirt]

okay so when i was very new to the pjo fandom i had alot of thoughts about being queer and being a half blood, so heres an old rant of mine edited a bit (alot) to be semi coherent and postable!

Being a half blood is by definition queer, not normal. Half bloods are unable to fit in with mortals, they're too different, too strange. Yet, they're able to find community at camp half blood, a place with others like them, others just as weird and different. I think this is something that resonates with alot of queer people, it's at the very least something alot of us have dreamed of or experienced something similar to.

Another thing that I think is worth mentioning is how we see, especially with Annabeth talking about her family–mortals sometimes almost demonizing half bloods, treating them as dangerous. Once again, in a way this speaks to alot of queer people. Being treated as dangerous for something you can not control, something that's just simply a part of who you are, the way you were born.

I think it might be worth mentioning how it's nearly impossible for a god to be cishet? Especially alot of the greek gods were as queer as can be. Humanity feels the need to fit themselves into boxes gods have no need for, half bloods i think fit right in the middle of that which i think might be a little reminiscent of how queer people are shoved into boxes that shouldn't exist by others around them.

I have no idea how to segue properly SO, MY FINAL POINT: The concept of being a half blood is something that i think speaks to alot of people, as a half blood you don't fit in, as a queer person you don't fit in; yet as either there are other's like you, a community that will welcome you with open arms.

tagging some people who might be interested: @agentwaffle @a-wondering-thought (i know you two want to see this) @genderfluidsgetguns @ssavinggrace (i just want you two to see this)

[huginsmemory]

Trigun and Christianity

In lieu of trigun Stampedes choice to make Wolfwood an undertaker instead of a priest (to, well, my disappointment), I thought it might be interesting to look at some of the Christian themes in Trigun, and then also look at why they might have decided to choose for Wolfwood to be a undertaker then a preist, and a potential reason to why Trigun has these Christian themes. Also, btw, this is chock full of manga spoilers so, beware!

To start it off... trigun is actually... pretty heavy on Christian themes. Fuck man, the main character is basically an angel, and in one of the first volumes they literally describe the plants as something divine (although they are later declared to be something humans made... But nevertheless the very clear imagery is there). Also what features very strongly is pacifism and the themes of unconditional love; Vash's refusal to kill coming from believing that going forward, anyone can change, even when he is literally being harmed or attempted to be killed by others. These themes of pacifism and unconditional love are very Christian, and Vash's actions very much centre him as a Jesus-like character. In fact, even the way that he (and knives) was born, a virgin birth, also could be seen as an allusion, as well as the way that he holds a physical form as a human while being more than human- Jesus being considered a 'son of man' while also being the son of God; ie, something in-between, something both divine and human. Knives as well is written in that angelic and divine light, although he is done so in a dark opposite of Vash, with an emphasis on his 'divinity' for imagery as he is obsessed with it. Interestingly, contrast to Knives, Vash, who goes around as a human, is multiple times called a Devil for his reputation, although he is the one that actually is virtuous... This in a way also alludes to him as a Jesus-like figure, as that Jesus was ultimately sought after by the authorities and in some places hated and even driven away by people.

12 disciples

As well, Nightow is pretty blatant that the gung ho guns, of which there are 12, is a allusion to the 12 disciples; hell, Wolfwood calls them straight up disciples when he is at Jeneora Rock. One might argue that then whether that posits Knives as a Jesus figure as that they follow Knives directions, or if one would consider Vash to be the Jesus figure, as the 12 literally seek out, and 'follow' Vash, and of which one of them literally betrays (although, technically, Wolfwoods betrayal goes both ways). However, I don't think that argument is really one that matters, as it's more of the aesthetic of Christianity that Nightow likes in this matter, not the philosophical implications.

As well, as mentioned above, Wolfwood is very Judas-coded; he gets close to Vash, only to inevitably betray him and deliver him up to his fate, while clearly being torn up about it. Vash is not surprised at all when Wolfwood tells him that he was one of the gung ho guns, and you get the sense that he knew about it all along, and knew exactly what he was walking into. Yet he still loves and forgives Wolfwood for all of it. Which... is exactly the same thing that occurs between Judas and Jesus, Jesus willingly going with Judas even though he knew what lay before him.

Wolfwood

As well, quite obviously adding to the heavy Christian themes of trigun, is that Wolfwood calls himself a priest. Although indeed it's part of his front, it's clear Wolfwood in the manga is religious, challenging and calling upon God in response to seeing the Knives born, and his response to the fifth moon incidence where he questions if it was the hand of God (which, actually, is caused by Vash's hand... again alluding to the 'divinity' of Vash and Knives). This clear religious affiliation continues through the series, such as when he is rescuing Vash from Knives, and even praying while he is on the ship with the people that helped vash.

Wolfwood also throughout the series is very clearly is morally wraught with guilt over his choices and sins... Something that's very Catholic/Christian. Hell, the fact that the punisher, the insignia of his murderous profession, is a literal heavy cross that Wolfwood carries with him, is poetic irony; he's literally carrying around the embodiment of his sins and his guilt from his profession and choices, which weighs both heavily on his physical body but also him emotionally. Wolfwood's guilt over his sins and choices comes to its climax when he's about to die when rescuing Vash from Knives, after betraying him; where he questions whether he can be forgiven for what he has done and whether he was wrong, and in response Vash saves him, declaring that he is not wrong; not wrong to go against orders, leaving his vocation of being a murderer behind, in trying to save Vash and moving forward. In declaring Wolfwood that he was not wrong, what Vash (heavily implied divine, Jesus-like character) is declaring is that Wolfwood can be forgiven for his sins, is already forgiven for his betrayal (unconditional love, anyone?), and that Wolfwood can change, that his past doesn't define him, because his future is also a blank ticket.

As well, this is followed up later by Wolfwoods confession to Vash that he hates killing:

The confession and the way he phrases it- seeing all humans as his brethren (although, in this sense he may be speaking tangentially about Livio) is something that also has Christian overtones. (Also, the way that they mention Vash sees the whole of humans as his relatives, also ties into that; except personally I'd argue that's more of a Indigenous view then a Christian, but theres plenty of things that overlap with other theologies and philosophies within the manga that aren't just characteristics of Christianity).

Redemption via acts

There's also a theme of redemption via acts, which both Wolfwood and Vash lean into heavily as a result of guilt from their 'sins', something that is very... Well, again, Christian, especially Catholic. Vash, from being unable to stop Knives and having obliterated July and just his and knives general existence, and Wolfwood from his profession, and so they both struggle with immense feelings of guilt. As a result both are very self-sacrificing; Vash very obviously so throughout the series, and Wolfwood in a quieter way, in choosing to continue to work to protect the orphanage, even though he desperately wants to escape the life he leads and hates killing people. They both don't believe they deserve to be loved because of the weight of their sins, and so they redeem themselves the only way they know how by self-sacrifice; this literally causing Wolfwoods death as he didn't reach our to Vash for help, and is evident in the way Legato looks at Vash at the end and realizes he sees a man that only sees himself as a tool and hates himself. This belief of Vash's that he doesn't deserve love/nice things is something that is also interesting, because he so aggressively pushes the 'blank ticket of the future', ie, unconditional love, while clearly being unable to apply it to himself.

Tldr: the point is, Trigun is very heavily Christian themed, both in aesthetic and philosophy, and the characterization of both Vash and Wolfwood reflect that. The show is rampant with such Christian philosophical themes as unconditional love, sin and guilt, confessions, forgiveness and redemption through self-sacrifice; for aesthetic ones, well, literal 'angels' as main characters, Wolfwood being a priest and carrying a cross, the 12 gung ho guns as 12 disciples.

Wolfwood as an Undertaker

Since Trigun is so heavily Christian themed, it makes it... well, a bit of a strange choice to pull the fact that Wolfwood is a preist out, since him as a preist further emphasizes the moral quandries within the story and the themes of sins/guilt/forgiveness and unconditional love. However, as one other post here on tumblr mentioned, stampede as an iteration of trigun is more directed towards a more modern and Japanese audience, some of which can be seen with the revamp of the character designs to make them more relatable, and I think they mentioned some specific character traits with Meryl. This re-vamping, especially one specifically for a Japanese audience might explain why Wolfwood becomes a undertaker instead of being a Christian priest. Nightow in the back panels in the manga is clearly is very enthralled with American culture- and his knowledge and love of the American genres shows pretty strongly in the themes and the setting for Trigun. In fact, the 1998 anime was better recieved in the west then in Japan, and a possible likelihood for it's higher popularity within the Americas is going to be directly because of the western audience being more familiar with the Western genre, as well as specifically, the Christian themes within the show (since western countries cultures are Christian based, even if one wasn't raised religious). As well, compared to the other typical gunslinging space western anime, Cowboy bebop, Trigun contains more Christian themes, which would make it less relatable, and less popular to the Japanese audience (of course there are many other differences in the shows, so I would be reluctant to chalk it up to just the religious themes in trigun- hell, Cowboy Bebop makes some great criticisms of capitalism that is not present in Trigun). Circling back to them revamping the show, if they are trying to make it more relatable to a Japanese audience, then removing more overly American influences, such as one of the characters literally being a Christian priest, would fit that bill quite well.

Trigun and Christianity... Why?

Also, I personally think that Nightow didn't exactly mean to make a story that is really heavily Christian themed. My sneaking suspicion from reading chapter 0, is the Nightow thought that writing a western with a main character gunslinger that is a pacifist would be a fun and interesting prospect, and then when he began to elaborate on it, he began to pull in more western (both cultural and genre wise) themes and aesthetics into the story, resulting in something that is very heavily Christian themed in the end.

EDIT: it's been raised to my attention by the lovely @trigum, that it says in the wikipedia on Nightow that he was raised buddhist and converted to Catholicism, although there is no source for that information. If so, this would, well, very obviously explain why Trigun is so heavy on Christian themes and negates the paragraph above. I'm not giving him enough credit then, my apologies Nightow!

EDIT 2:

Edit 3 (Feb 3): made a somewhat part 2, specifically looking at the phrase the 'bride of Christ'.

[ace-apple]

okay so none of us actually think that the losing team is like DEAD dead like permadead right. like we all agree its just for the event right. and we're not gonna panic right.

[meggie-moo]

omg truth time i dislike the ending of mha

[thrumbolt]

It’s not true that Feyre’s trauma only shows up in the spring court or that it disappears in the night court. Just as she only once when surprised freaks out at the red of Lucien’s hair, she only sometimes is triggered in the NC. The first time she and Rhys fly after she leaves the spring court, she panics when she feels caged by his wings and Rhys has to back off. Mor doesn’t wear red for a bit to not trigger her. Then there’s the whole Prison plot where she can’t handle the Prison the first time because of her trauma and even when she eventually goes in, she’s freaking out.

Her trauma gets better with time even though she is still struggling on acowar and obviously it’s not every second or she wouldn’t have spent so much time with Lucien and been fine with his red hair all times except once when surprised

Thanks for the anon! You bring up some good points, but I still have to complain haha.

My issue is that she is not just triggered at Lucien's red hair. She is also triggered by red paint and red rose petals....and then never again. Red carpet at Rhys' just a few pages after she gets 'saved' from the spring court? Whatever. Cassian's red syphons? Nothing. That's bad writing, in my opinion. Either the dang color red reminds her of blood and triggers her, or it doesn't, but how it is almost immediately forgotten - that's just inconsistent (it would be definitely much more meaningful, if it slowly improved). Honestly I don't really remember her having any hangups in Acowar at all. And neither has Rhys. He gets like what, one nightmare and one sex position hangup? I was really disappointed that it just....went over so quickly. Maybe that's why I latch onto Tamlin? At least his issues aren't gone after a book. They even get worse as he doesn't seek help. It's just more compelling to me.

My biggest beef in this regard is that Feyre gets triggered getting locked in, but the first time she gets taken by Rhysand and HE locks her in a room, she's totally fine, despite being actually low key scared of him at that point still and him not taking her home despite her asking him to. It just makes no sense, even with the added wing scene (which I did not remember, so thanks for that). I get that in the Tamlin version she is hysterical (for lack of better term) so it ends in a panic attack, but still.

There's also the part of how she has all these freak outs in the spring court while she is totally able to just literally re-enact her UTM experience in hewn city. Did that not bother you? Yes Rhys calms her and shit, but I couldn't help but eyeroll at that.

In the end I think it's just very manipulative writing to prime you on Rhys good, Tam bad. Spring Court lame, Night Court awesome. When SJM wants something to happen in the plot, it will happen, no matter if it makes sense. Be it the Tamlin-Rhys switcheroo, the UTM sexy scene, the pregnancy plotline, what have you. It's why every new book retcons something from the previous ones.

Personally, I can float with that and accept the silliness of it all quite well. But in consequence it also means I do not take the trauma plot as serious as some and I really do not care whether or not Tamlin is abusive and so on....

[hinamie]

do u have any tips for uhh idk art term....highlight and contour but for art? specifically w digital art? w pencil and paper it feels super intuitive but then when i switch to digital it looks all flat.............

(is it shading? idk what im doing tbsh)

(also hope ur doing well i feel like im crawling into ur asks every two days or smth looking for art tips sorry T_T)

(yuuji comic made me cry so hard btw)

hi rin!!!!!!! that wld be shading/rendering yes hgbhgfjs there’s no One specific term tho so ur all good <3 also omg re: the yuuji comic IM SORRY I KEEP MAKING U CRY GHJKGJDSGHKJ its ok i made a lot of people cry if the death wishes/pos in the tags are anything 2 go by so ur in good company :D i teared up also

i would Also like to apologize in advance because fr me this is one of those Art Things that becomes more intuitive the more u do it so i am a bit. lost as 2 how to explain but i will sukuna voice ganbare ganbare !!!!

it’s all about light sources babes so pick a direction where the light is hitting from and use that as your main point of reference. If u need to remind yourself where the light is coming from i was taught to draw a lil arrow or sun somewhere on your canvas 2 keep track . areas closest to the light or planes that are more Elevated will be brighter than areas farther away or Deeper. When u think of a face, the forehead and cheeks rest Higher than fr example, the eye sockets, so those areas will catch more light and appear brighter. it /is/ kind of like makeup in that way. 

also, shadows/highlights can have soft or hard edges depending on how . uh . intense, i guess?? the angle of the light is. like with a box vs a sphere, the former will have a lot more Cut and Defined areas of darkness because the plane where light hits is cut off more directly by the presence of a corner, whereas with a sphere the Slope means that the values follow more of a gradient. 

tbh tho if you’re still starting out, to practice light sources and shading it actually might be good to scribble and shade some 3D shapes and spheres/boxes or maybe even draw from life so u can really take time 2 pay attn to how light catches different surfaces . it’s boring work but the practice is never wasted !! lighting can be tricky so try and take the time 2 form Good habits :'> references r ur friends here now more than ever.

other than that, which i feel more or less covers the basics n fundamentals, my wisdoms 2 u and any1 else who will have it: INVEST TIME IN2 FINDING GOOD BRUSHES omg i feel like a lot of that New Artist Look (tm) comes from using default brushes ��which on its own is fine, but the kicker is not taking time to get comfortable with how to make the best use of them. the fun of the render is getting to play with textures and colours so find some brush settings that help add a bit of personality!! also . resist defaulting 2 the airbrush tool to shade it Rarely cooperates and can muddy a piece. uhhhh what else what else try not to shade with black for the same reasons ???? i'm scraping the bottom of the barrel here but i hope something here was of any value :'>>

[eyesoftxmorrow]

i'm not rly the type for mcyt stuff, but i think i finally managed to articulate why qsmp in particular just feels so incredibly special to me.

it's the way that the language proficiency of literally everyone involved is slowly evolving the longer they play together. the way that the english speaking players are making an effort to talk to one another in spanish and vice versa. when this thing started i remember hearing from multiple eng povs that they had to lean a lot on the google translate tab (and thats ok!), but something that really excites me is when i see those same eng ccs express how much they want to learn more about speaking spanish bc it's a way that thet can genuinely connect with their fellow players.

it's not even the fact that it's a minecraft smp; that just Happens to be the medium through which we get to watch this unfold. it's the first time, at least to my knowledge, that we're able to watch both the spanish and english-speaking communities bond over a game they love at a level as involved as this. both sides of the community are equally prominent, and more importantly, they're united in a way that i've never really observed in an online space until now. genuinely ive never seen anything like this before and its just really fascinating to see how all the players take on the challenge of building that bridge over something that once was a communication barrier for them. i love language i love cooperative gaming i love humans having fun learning new things from one another

[mommalosthermind]

So I'm slowly starting to come to understand that we shouldn't censor things but also I'm still a little uncomfortable with the site allowing things like pedophilia to be written in a way that's romanticized. I get it. Avoid it since I don't like it but at what point do we say, 'hmm this isn't okay.' I mean I get it, fiction doesn't hurt people but if that were truly the case then why are we lobbying for rep/realism/etc in media? Fiction, at some point, has to have some effect on real life.

Hello darling! I got your second ask too, please don’t worry, you’re definitely not coming across as unkind.

And you’re definitely not the only one to have similar thoughts or concerns.

But my answer’s going to be the same.

There is no such thing as a little censorship, and opening that particular can of pringles is not going to end happily for anyone. It’s better to not open it at all. And yes, that means people will create deeply fucked up things. But they should have the ability to do so, just like you should have the ability to avoid the hell out of it.

(Which, for AO3, is where I start in on my tag your shit appropriately/read the fucking tags!!! Rants. Learned the hard way a million years ago when I *thought* I was reading something very very different than I was, so when I got to ‘Character has sex with a dog’ I lost my mind, then realized I fucked up and hadn’t read the tags. If I had, I would have noped out of that fic immediately. So. That entire encounter was on me.)

“At what point is this not okay?” Well, that’s the whole point, isn’t it? Who would be in charge of deciding where the line goes? Who gets to decide what goes on which side of the line?

The last anon seemed to think writing was the same as doing, and thus writing shouldn’t be allowed at all.

And then got annoyed when I pointed out how often those unsavory themes happen in movies or TV without any warning at all, and generally, people move right past it.

Fiction doesn’t hurt people. People hurt people.

My favorite comparison is still my kitchen curtains, because my curtains are still weird: fairies, trees. Very witchy. I’ve seen people do literal double takes over my curtains. I can tell by the way they squint they can’t stand them or don’t understand why I would want something so *non-traditional* in such a public part of my house. They keep their damned mouths shut though, because they know its rude to tell me to change my curtains to fit their idea of a kitchen. (And also because I’d toss them out after laughing my ass off but that’s not relevant)

Person A has an idea of what ‘acceptable’ levels are, but that’s much much less than person B. Who wins? No one.

And no one should have the power to just decide things like that.

It’s stupid o’clock at night where I am, so I’m not about to go digging for studies, but I know we’ve got pretty solid proof that media doesn’t cause behaviors spontaneously. At the risk of sounding old, but this same argument once was applied to music, too. The weird compromise was slapping content warnings for language/sex/violence on CD’s. (Y’know. A significantly less useful form of tagging?) It didn’t… really do shit for anyone. Other than make those CD’s more attractive to teens, tbh. But. The argument at the time was rap and rock were violent and would make kids go insane and violent just by listening.

It… didn’t. It still doesn’t.

Reading dark fic isn’t going to cause someone to do something out of the blue.

Someone who’s debating doing the thing might seek out media about whatever their obsession is, yes. But their obsession was already there. Fic, music, movies, they’re not going to create it. I’d wager those girls who murdered their friend and blamed ‘slenderman’ had signs long before they went that far.

Part of the problem with this entire thought is that it’s thought policing. Folks assume the thought equals the sin. And as someone with pretty wonky intrusive thoughts and a long family history of mental issues— no. I have weird ass thoughts all the time. ‘Huh, I’m up high, I should jump, maybe I’ll float.’ I’m not gonna act on them. I know they’re weird thoughts. I’m not gonna float, I’d just die. Your brain just… says things sometimes. Some of us more than others. Therapy’s helpful for folks who struggle with that.

Fiction’s got nothing to do with it, though. Fiction just represents someone else working through their lives.

Melissa Etheridge wrote a song (scarecrow) about Matthew Sheppard’s murder. She didn’t cause anyone else to go torture another lonely gay boy to death. She was working through her grief at losing another one of us. And we worked through our grief when she sang.

Art is made for the making of it. Fiction—even the kind that squicks you— is still art.

As for the other part of your ask, the representation? I’m not sure I see the connection you’re trying to make. When people talk about rep, they’re talking about making the characters more authentic, more reflective of the beautiful range of humanity at large. Not seven brown haired white guys and one bitchy white woman and the unnamed not-white side character used for shit jokes. There should be a rainbow of humans in media, because little black girls deserve to know they’re strong and smart and beautiful. Because queer kids of all sizes and shapes deserve to know they’re loved. Because boys should get to be princesses. Because people with chronic illnesses, disabilities, they should get to be part of the stories. Because white folk need to see the rest of the world as human. Folks want to see themselves in the heroes, the happiness, the successes.

Too many kids never get to see themselves on the screen or read about people who look like them.

I loved belle as a kid because she looked like me and she loved reading. I loved Ariel because she wanted to be free. I cried over encanto because I know what it’s like to be excluded, what it’s like to be the big sister. I cried over reading red white and royal blue because the gays get to live and they’re happy. Everyone should have some way to connect.

The realism bit,though, I don’t think is the consumers as a whole. Yeah, some folks prefer it, but from what I’ve seen over the last 20 years, it’s more like the people who control most popular media have decided that’s what they wanna make. I don’t care for it, tbh. Media doesn’t need to be an exact copy of the real world.

Stories are meant as a place of solace, or at least a place that is different, than your day to day.

I like stories that have soft, happy ever afters. We’ve worked through the Big Bad Thing and come out stronger for it and now we get our well deserved rest. The real world doesn’t give me those things. Other people look at the state of the world, read seriously fucked up shit, and then go, well, at least my life isn’t that. It could be worse! And this is their happy place.

So. I’m not sure I’m much help here, but tl;dr: remember the tenets of fandom:

1) kinktomato: your kink is not my kink and that is okay. (You like this, I do not, I’m gonna leave it alone, the end.)

2) DLDR: Don’t like? Don’t read. Filtering and blocking are your besties.

3) ship and let ship (or sit down) — don’t press your dislike onto the people who do like. Let ‘em alone, go find what you do like.

4) tag appropriately, read the damn tags.

5) curate your own spaces. You alone are responsible for your online existence/experiences

6) have fun. Enjoy it. Be weird. Be silly. Be fucked up. Be unrepentantly yourself. Don’t let anyone else take that away from you.

[tothepointofinsanity]

what schizoid traits do you see in sayaka?

Ah, I think that Sayaka is canonically closer to a BPD interpretation, so the schizoid traits I see in her are more comorbid with the latter itself. Personally, however, it is more so of my own comfort to headcanon Sayaka as "schizoid" because of the themes of her alienation. Sayaka struggles with reconnecting with others and forming relationships that she desires, all the while isolating herself further and further away from her childhood best friend, Madoka. There are also codes of apathy and indifference regarding how she perceives her own body (a corpse) as an inhuman mobile, and how she eventually succumbs to her loneliness, a sentiment that carries over even to her witch form. As Oktavia, she drowns out reality by confining herself in a world she created - being in the centre of attention on a stage, something that she would not have achieved in the "human" reality. I think how Sayaka perceives reality and how she fails to be in tune with other magical girls is the biggest buzzer here. A person so out of place among even those with magic (as she is inexperienced, unstable and regarded as ineffective compared to the rest of the Holy Quintet), yet rejected as a human with the idea that she is inherently undesirable and unlovable, which perpetuates her mechanisms of "I can't be loved because I am not human and therefore I will not maintain any meaningful relationships".

As opposed to explicit traits, I feel that there are "codes" with her character/arc which resonate with my experiences more.