#is that saying something? good or bad?

[a-murmur-of-a-prayer]

han/leia #10!

Crazy getting a prompt like this in 2025. Not only was Star Wars one of my first fandoms, Han/Leia was the first EVER ship I wrote for.

But here you go! Prompt from this ask game.

They were supposed to meet a friend of Han's that evening to help fix the Falcon. Leia didn't trust him one bit. She was fine with Han himself, but one thing she'd learned was that just because a man was all right didn't mean his friends were.

She just hoped they could regroup with Luke after this. She missed him, and with Vader and the entire Empire having lost the Falcon's trail, she could easily see them trying to go after him instead.

Luke also wouldn't make fun of her every few minutes the way a certain someone else tended to.

How silly of her, she thought, to be so preoccupied with Han over the last day. She had lost herself over boys when she was a teenager; she didn't do that anymore. She was supposed to be thinking about actual important things.

The kiss with Han had been a mistake. That's all. She wasn't going to do that anymore.

It was obvious he was in love with her, or something, but that did not mean he respected her as a human being. She had, in fact, never gotten the feeling that he respected her in the three years she'd known him.

It was important, for now, to steel her own mind. She had always been good at doing that. Compartmentalize, sort everything into its own box. Anything unprofessionally related to Han was to go inside a box, locked and wrapped with a chain. 

Think about the Empire. This untrustworthy friend of Han's. What are you going to do when you get to Cloud City? What will happen afterward?

But as they continued on, her anxiety didn't calm down. It got worse. She had a sinking suspicion they weren't quite free of the Empire yet. Call it feminine intuition, but what if Vader was waiting for them at Cloud City?

If they are, I will be prepared. I'll deal with it. And then I'll kill Han.

Speak of the devil - Han emerged from the cockpit. It was useless. All the work she'd done to compartmentalize what had happened earlier was completely undone. His hair was just so wonderfully messed up, still, and it was like he insisted on wearing his pants really tight -

"So we'll land in a few minutes," he said. The lopsided, awkward smile didn't help things at all. "Hey, you don't need to look at me like that, Your Highness. I promise you'll like this guy."

"I don't know," Leia said, "if he's anything like you."

Han clutched at his heart in a mock display of horror. "What? How - how can you even say that? After all these years -" He twisted around. "Hey, Chewie, back me up here."

From the pilot's seat, Chewie let out a series of laughs.

"All right, whatever," Han said. His cheeks were pink. Leia had to admit that was satisfying to see.

"I'm not kissing you again," Leia said, before she'd thought about it.

Han had the grace to look shocked for all of two seconds.

"Uh, okay," he said dumbly. Then, a second later, "wait, why? I swear, this is going to be easy, we'll be out of there in no time -"

"Listen, Han, I'm sure your friend is just fine," Leia said. "It's just...I like you, but I think it was a mistake. There's just too much going on right now."

"Hey, it'll all be okay," Han said, his voice uncharacteristically gentle. "We'll get the Falcon fixed, and then we'll find Luke. No biggie."

"All right, but -" It was so hard to deny him when he was like this. She was sure he knew that, too. "Just. Not right now, okay?"

Han nodded, his expression serious - and maybe a little sad. "Okay." He raised his hand, as if he was going to touch her face; then he froze, and he patted her arm instead. "Okay. Like I said, we'll be there in a minute."

He turned away.

Leia couldn't even begin to figure out what she was feeling. She knew she was right; they'd made a mistake. Or, she'd made a mistake. Everything she'd said was okay.

But what if the Empire really was there? What if -

"Han," she said.

Halfway back to the pilot's seat, he turned around. "What?"

Leia was moving before she had fully rationalized what she was doing; one step forward and she was leaning up to kiss him again. Han froze for about one second before kissing her back, rather enthusiastically.

Maybe they'd made a mistake. But this could become addicting very quickly.

Finally he pulled back with a laugh. "I thought you weren't kissing me again."

"Now I'm not kissing you again," Leia said. "Starting -"

She gave him one last peck for good measure.

"Right now," she finished.

Han gave her another lopsided smile. "Sure."

[inkskinned]

this is just my opinion but i think any good media needs obsession behind it. it needs passion, the kind of passion that's no longer "gentle scented candle" and is now "oh shit the house caught on fire". it needs a creator that's biting the floorboards and gnawing the story off their skin. creators are supposed to be wild animals. they are supposed to want to tell a story with the ferocity of eating a good stone fruit while standing over the sink. the same protective, strange instinct as being 7 and making mud potions in pink teacups: you gotta get weird with it.

good media needs unhinged, googling-at-midnight kind of energy. it needs "what kind of seams are invented on this planet" energy and "im just gonna trust the audience to roll with me about this" energy. it needs one person (at least) screaming into the void with so much drive and energy that it forces the story to be real.

sometimes people are baffled when fanfic has some stunning jaw-dropping tattoo-it-on-you lines. and i'm like - well, i don't go here, but that makes sense to me. of fucking course people who have this amount of passion are going to create something good. they moved from a place of genuine love and enjoyment.

so yeah, duh! saturday cartoons have banger lines. random street art is sometimes the most precious heart-wrenching shit you've ever seen. someone singing on tiktok ends up creating your next favorite song. youtubers are giving us 5 hours of carefully researched content. all of this is the impossible equation to latestage capitalism. like, you can't force something to be good. AI cannot make it good. no amount of focus-group testing or market research. what makes a story worth listening to is that someone cares so much about telling it - through dance, art, music, whatever it takes - that they are just a little unhinged about it.

one time my friend told me he stayed up all night researching how many ways there are to peel an orange. he wrote me a poem that made me cry on public transportation. the love came through it like pith, you know? the words all came apart in my hands. it tasted like breakfast.

[keferon]

Biblically accurate Blurr~

Blurr's Spotlight was actually the very first Transformers comic I ever read. I remember looking at the first pages and being like, holy shit, dude why are you so ugly?? Ahahjcmgmg

[theabigailthorn]

"Good" Acting

i have a theory that a lot of people say acting is "good" when they're emotionally moved by it, and a lot of cishet white people have a lifelong habit of not listening or empathising when minoritised people speak, so minority actors get called "bad" even when they display some pretty fucking amazing technical skill

[icantdothistodaybruh]

What a terribly dull ending this is.

[picatchu]

how many cells does this guy even have

[anghraine]

It's interesting (if often frustrating) to see the renewed Orc Discourse after the last few episodes of ROP. I've seen arguments that orcs have to be personifications of evil rather than people as such or else the ethics of our heroes' approach to them becomes much more fraught. Tolkien's work, as written, seems an odd choice to me for not wrangling with difficult questions, and of course, more diehard fans are going to immediately bring up Shagrat and Gorbag.

If you haven't read LOTR recently, Shagrat and Gorbag are two orcs who briefly have a conversation about how they're being screwed over by Sauron but have no other real options, about their opinions of mistakes that have been made, that they think Sauron himself has made one, but it's not safe to discuss because Sauron has spies in their own ranks. They reminisce about better times when they had more freedom and fantasize about a future when they can go elsewhere and set up a small-scale banditry operation rather than being involved in this huge-scale war. Eventually, however, they end up turning on each other.

Basically any time that someone brings up the "humanity" of this conversation, someone else will point out that they're still bad people. They're not at all guilty about what they're part of. They just resent the dangers to themselves, the pressure from above, failures of competence, the surveillance they're under, and their lack of realistic alternative options. The dream of another life mentioned in the conversation is still one of preying on innocent people, just on a much smaller and more immediate scale, etc.

I think this misses the reason it keeps getting brought up, though. The point is not that Shagrat and Gorbag are good people. The point is that they are people.

There's something very normal and recognizable about their resentment of their superiors, their fears of reprisal and betrayal that ultimately are realized, their dislike of this kind of industrial war machine that erases their individual work and contributions, the tinge of wistfulness in their hope of escape into a different kind of life. Their dialect is deliberately "common"—and there's a lot more to say about that and the fact that it's another commoner, Sam, who outwits them—but one of the main effects is to make them sound familiar and ordinary. And it's interesting that one of the points they specifically raise is that they're not going to get better treatment from "the good guys" so they can't defect, either.

This is self-interested, yes, but it's not the self-interest of some mystical being or spirit or whatnot, but of people.

Tolkien's later remarks tend to back this up. He said that female orcs do exist, but are rarely seen in the story because the characters only interact with the all-male warrior class of orcs. Whatever female orcs "do," it isn't going to war. Maybe they do a lot of the agricultural work that is apparently happening in distant parts of Mordor, maybe they are chiefly responsible for young orcs, maybe both and/or something else, we don't know. But we know they're out there and we know that they reproduce sexually and we know that they're not part of the orcish warrior class.

Regardless of all the problems with this, the idea that orcs have a gender-restricted warrior class at all and we're just not seeing any of their other classes because of where the story is set doesn't sound like automatons of evil. It sounds like an actual culture of people that we only see along the fringes.

And this whole matter of "but if they're people, we have to think about ethics, so they can't be people" is a weird circular argument that cannot account for what's in LOTR or for much of what Tolkien said afterwards. Yes, he struggled with The Problem of Orcs and how to reconcile it with his world building and his ethical system, but "maybe they're not people" is ultimately not a workable solution as far as LOTR goes and can't even account for much of the later evolution of his ideas, including explicit statements in his letters.

And in the end, the real response that comes to mind to that circular argument is "maybe you should think about ethics more."

[vintagerobin]

Sometimes I feel like a lot of people focus so much on the most dramatically angsty points of Dick and Bruce's relationship that they forget that these guys actually get along and genuinely like each other most of the time.

Like!! It's the fact that they HAVE gotten along like a house on fire for so LONG that makes the angst so incredibly intense when it happens. Dick hasn't spent the majority of his life secretly hating Bruce or whatever.

[poorly-drawn-mdzs]

Remember: The burning sensation is part of the process.

[manda-kat]

LISTEN! CHRISTIAN MEDIA DOESN'T WORK IF IT IS MADE OUT OF SPITE FOR THE LACK OF MEDIA FOR US TO ENJOY! YOU NEED TO ACTUALLY WANT TO MAKE SOMETHING, NOT JUST AIR YOUR GREIVANCES ABOUT NOT HAVING ANYTHING YOU LIKE! STOP IT! THEY MAKE FUN OF US WHEN WE DO THIS! PLEASE!

[willowser]

when all might gets older and is in the hospital, katsuki vists him multiple times a week and shows him pictures and videos of your daughter, and toshinori has on his little glasses and has to lean his head back a certain way to see katsuki's phone, and it doesn't matter if it's just a short video of her doing a cartwheel, he's smiling so big and saying "oh, my! look at her!"

[inkskinned]

you get used to it, but it's tiring, because they need you to understand your own life as a series of goalposts. what college are you going to, what's your major going to be, whatcha gonna do with that, oh where will you settle down, when can i expect grandkids.

for the longest time my goals have been so blurry that they track into each other, their undefined edges slipping quietly back into the soft night. today i want to be a writer; tomorrow i will want to be a doctor, later i will wish i took that law school free ride. how the fuck do people just know what they want to do with their life?

where do you want to be in five years? i want to be alive; which is a huge step for me. ten years ago i would have said i want to be asleep and meant i hope that i'm dead by then.

but i want a yellow kitchen and a stand mixer. i want a garden and a fruit tree (cherry, if i can make that happen) and a big yard for my dogs to play in. i want to come home and read poetry out loud to someone and have them close their eyes to listen. i want a summer watergun fight. i want to make snowmen. i want to be the house to go to for halloween. i want my life to settle around me in a softness, for it to lay down gently. if i am very, very, very lucky, i want to travel; finally go someplace overseas.

of course i don't know what i want to be doing professionally. what i actually want to be doing is curling up beside my dog, settling in to read. i want to be making myself a cup of good coffee.

i can't answer the other questions. whenever people asked me what do you want to be when you grow up, i used to say i hope i'm happy.

i hope i'm still kind, five years from now. i hope i never get jaded and mean. i hope i have stayed in therapy. what do you picture yourself doing? when will you actually be an adult about this? why are you so afraid of being ambitious?

am i not ambitious? the other day i rearranged my furniture which doesn't quite fit into my apartment. i watered my plants. i'm going to try to propagate a cherry seed. my five year goal is to spend more time laughing. to lie down in a patch of sunwarm moss. to relax for a minute. to close my eyes and think oh thank god. this is why i stayed. this is finally it.

[httpiastri]

i'm actually so pissed that i don't even know where to start..... i've been trying to ignore this for hours but i just can't ☹️

dear everyone on f1blr, i kindly ask you to take franco's name out of your mouth if you don't know him. do not talk about his story if you don't know it. do not call him a pay driver, do not compare him to drivers whose dads are the owners of an f1 team. do not talk shit about him if it's all going to be made-up rumors.

you may hate james vowles as much as you wish to, i don't give a fuck. williams are doing some real random and stupid shit. but is any of this franco's fault? no!! if you'd actually seen him and taken more than 5 minutes trying to learn about him, you'd see how sweet of a person he is and how much he deserves this opportunity, so don't go around spreading lies about it.

[marypsue]

Man, it's cool and all if you see a metaphor for marginalisation in the monstrous, and if you want the power fantasy of 'what if you could just eat anybody who threatened you/pissed you off'. Me too.

However, as soon as you start saying 'no, these monsters are a 1:1 on Specific Marginalised Group, and you have to treat them in the fiction like they are directly representative of real human members of the marginalised group', BUT you also, in the fiction, make them hurt/kill/eat humans? And then try to shame me, your audience, for noticing or engaging with the bit where they kill people, because you made them directly representative of a real-world marginalised group? You have lost me, and also, I think, the plot.

[dykedvonte]

You ever just see a Mouthwashing take that makes you want to bang your head into a wall? I literally just saw someone claim Curly couldn't have been emotionally abused by Jimmy before the crash because he was in a higher position of power than Jimmy.

-Shrimp Anon

The mouthwashing fandom has shown me that people genuinely do believe that certain types of abuse are not as detrimental as other types especially when they deem those immune/resistant, ergo, believing one is objectively worse no matter how it affects the person nor the intersections of power, history and dynamics at play.

Get ready cause this is a yap session:

Cause like it's heavily implied that Curly and Jimmy's friendship was toxic and abusive, pointedly in the direction of how Jimmy uses Curly's belief/comfort in him. Curly wasn't forced to enable Jimmy but he was emotional and mentally on edge around him in almost every scene in some way. Mental and emotional abuse are not contingent on what positions you have at work. Yeah, he's Jimmy's boss but he was Jimmy's friend first and it's like getting into Psych discussion to talk about how social power tends to overshadow any perceived organizational power in the human mind. People are concerned about their jobs ofc but they tend to hang onto and put more value/investment into their personal relationships, hence why there tends to be laws and restrictions around mixing the two.

I always see the sentiments that "Curly is a grown ass man", "Curly is bigger than Jimmy", "Curly is Jimmy's boss", "He just needed a backbone" as criticisms of Curly and while I do agree that on the surface level all of these to be true and viable ways Curly could've taken more control of the situation, I often look at the parallels of Anya and Curly as victims of Jimmy pre/post crash.

The way Jimmy talks to Anya post crash is how he talked to Curly in the pre-crash segments. It's hard to pin-point mainly because we know he hates and wants nothing to do with Anya compared to his contrary but similarly handled obsessions with Curly. It's a weird sort of "honey-moon" effect of abuse Jimmy does in terms of emotional and mental victimization. He is always horrid to Anya, always talking down or questioning her abilities and thoughts in a situation, this of course includes the harassment and assault. However, he has a moment of attempted gentleness/conditioning when he question her about the mouthwash when she's contemplating drinking it at the table. The key difference is he has no personal investment in Jimmy outside wanting nothing to do with him, meaning there is no sort of romanticized version of him that he can condition her off of. He knows this, hence, why he always reverts to trying to make her to scared to oppose him.

This sort of give and take of "kindness" doesn't work on her because she knows he is just doing it to take more from her than whatever he could possibly give but it reflects even the "softer" scenes between him and Curly where he always rewords or rephrases Curly's sentiments and concerns to sound more shallow. He is feigning a deeper understanding by reworking Curly's emotions into something bad and needing to be hidden. Everything is laced with envy and resentment, an outburst just around the corner, I mean he even slams the table in the birthday party scene, a tactic in emotional manipulation to set the victim on edge and cloud their ability to respond. Even if Curly knows Jimmy won't get physical in that moment, the physical actions is intended to make him back down in the confrontation in case it does. This is something that is just not person specific. It ingrains itself into how you interact with the world and life and it shows in major and minor ways with Curly.

Post-crash, the abusive nature is more in tandem to the physical victimization Anya went through and the stripping of voice and autonomy we see take place. Like the parasite in HFIM, Jimmy speaks for Curly most of the time and puts words in his mouth, similarly to how he takes Anya's plans as his own. He very commonly, with the both of them mind you, supplements the worst aspects of himself into them; pettiness, selfishness, lack of understanding... And tries to cover himself with their best qualities; kindness, planning, initiative, etc...

These parallel are just to say that positional power has little to do with if a person can be abused and how it can even be flipped to further the abuse. There is no doubt that Curly could've picked up on Jimmy's envy of his position hence another reason he never confronted him as a Captain but as a friend as doing so would immediately put Jimmy in a space to be confrontational/combative.

I think the disdain some people have when they talk about the heavily implied if not implicitly stated emotional/mental abuse Curly experienced being Jimmy's friend is when treating it as an excuse to why he didn't do more. I can understand that completely because it is not an excuse to why he didn't do more but is a very real reason people in his position in these scenarios can experience whether in the context of a work or social environment. However, I also think the way people talk about it really does demonstrate a bigger problem when talking about abuse when somehow who is/was abused is either part of the issue or enabled it.

Harkening back to the sentiments about Curly's inaction regarding Jimmy, I think the exact phrases I used/have seen show how there is an inherent belief that it is easier to overpower the effects of emotional/mental abuse that go in tandem with the perception of Curly as someone who should be able to. There is not an age you suddenly stop being susceptible to abuse nor a set point or low where you realize how it has affected you. You don't suddenly know to stand up or put a face on to face your abuser nor admit that you inadvertently enabled them to subjugate someone else to the same treatment. Maybe it's my psych brain but their is this growing belief that direct action is somehow easy or always the best method with the game shows you instances where it is not always the case. In real life that rings true too. He should have done more, but it's not impossible to see why he struggled to find a way or didn't even if it makes us mad.

It's not easy to suddenly gain a "back-bone". You don't immediately want to resort to aggression, especially if it mirrors the type you were a victim to. You don't want to believe you allowed yourself to be treated this bad, let it get that bad or allowed something bad to happen to someone else. It is easy to be in denial, to retreat to your thoughts or make excuses to avoid the painful truth. It's frustrating but in a way we know is relatable. It why we both hate and love Curly for it. We know we'd be better, we think we'd be better, we like to think we wouldn't falter in the same ways but it's always easier to say that from the outside looking in. It's easy to see what he was doing wrong because we are seeing it, not him, but the game really does make you picture what you would do if this was your raw reality and it's why this debate about Curly seems so never ending/contradictory. We can all say what we'd do but bottom line is that's much different when you're in the moment with all the emotions and human feelings attached.

I personally think Mouthwashing tackles the themes of rape culture, enabling, toxic masculinity, types of abuse and patriarchy in ways that are meant to deconstruct the typical straightforward views we mostly have of these concepts and how little subtilities of them are just as, if not more, detrimental than the overt/obvious parts. The game deals with the idea of little details and bigger picture in a way to show that sometimes the bigger picture is not the issue but the little details that make it up. It's why I have a personal dislike of depictions of Jimmy as the typical horrible person who would of course do something like this because the game is about noticing the little warning signs, the foreshadowing and foresight.

It's why I dislike the typical discussion of "bro code" and "boys will be boys" for the game because the game makes a point to avoid the standard depictions of such. It is about the type of men who still enable despite not condoning, agreeing or even perpetuating harmful beliefs because they can't see the little details or the ways it seeps into their everyday. The severity is not obvious to them as it was not obvious to Curly, Swansea or even Daisuke the way it was to a woman like Anya. There are little details about Jimmy that should ring alarms but if you are too naive like Daisuke, too distant like Swansea or too conditioned like Curly, they are just off markers.

There is 100% more constructive/concise ways to say "Curly was a victim of Jimmy's abuse on an emotional and mental aspect that clouded his judgements and perceptions in the scenario" while also critiquing on the side of "Curly still had a responsibility to protect Anya as a crew mate and Captain that he failed to do due to biases and stigma's he failed to surpass" without the weird condemnation people give him about should've knowing better than to let himself be manipulated by a person he considered a close, if not family/best-friend and had his own reasons to trust initially. Also stop being weird about victims of abuse in general with this fandom, like sorry not everyone has a like social epiphany the moment someone's nasty to them. People are treating it like you immediately know when you are in a toxic relationship immediately or comprehend when a person is actively dangerous and either it's your fault for not knowing how to leave/cut them off or you deserve it. Like the hypocrisy of people believing how certain fans treat the story reflect their irl views but not their own is crazy.

End statement is: I honestly don't even know man, I've been writing this too long and just like no man on that ship was perfect or really helped Anya when it mattered and I feel like pitting them against each other in discussion on who did the least or most or how it was justified sucks cause in the end Anya always did the most and best thing for herself.

[triglycercule]

horrortale waterfall game broke me sorry (hey just like horror!)