#it's a fictional character and people are going to project themselves in and out of that character

[gazemaizeisdead]

there’s a scene in fat albert 2004 where live action kenan thompson fat albert, who has accidentally escaped the fictional television world of his cartoon series and become real à la barbie, meets his creator, bill cosby.

it’s a unique film. i’ve seen it about thirty times. the opening credits are in comic sans.

it’s the worst film in the tiny but horrible microgenre of films in which an established, questionably marketable character with diminished cultural relevance is mysteriously transported to our reality. rocky and bullwinkle, harold and the purple crayon, garfield, enchanted (it’s disney, which at the time was only beginning to toy with the cloyingly affectionate self-awareness that has since swallowed it whole, so an expy blend of all stock princesses is used in the place of any particular ip). if you loosen up the parameters of that definition a smidge you can easily come up with another fifty or so awful, bizarre live-action adaptations of various properties with similar narrative structures and plot beats, but i’m curious about this very specific type of hyper-meta fish out of water isekai movie, stories that are less interested in the characters they are ostensibly about and more about the modern world’s current reactions to those characters, and choose to discuss that in the most convoluted, literal way possible.

this type of story is simultaneously extremely high-concept postmodernist analysis and the laziest paint by the numbers shit it’s possible to create. live-action adaptations even at their best betray an inherent disrespect for animation, implying it to be a secondary medium that exists as a temporary placeholder or poor man’s substitute for reality, that characters are only worth caring about if they look as real as we do or exist in a world like ours. there’s no genuine artistic reason to make a woody woodpecker movie, an avatar movie, a death note movie, a live-action pinocchio, they’re all cynical soulless cashgrabs but they at least do attempt to adapt and actually BE what they purport to be. dan aykroyd yogi bear and light turner and matthew lillard william afton for the five minutes they wanted to pay him to be in the fnaf movie are simply poor facsimiles of themselves and they suck because of that bad mimicry, we see and hear the contrast and know immediately it’s not the same. the project of live-actionization is misguided because even before awful executive-driven creative decisions (which all these movies have in spades) very often whatever is being adapted simply can’t be translated properly to its new medium. you could give a film a 500m budget and airbending will still not look as good as it does in 2d, where one can easily and stylistically show the movement of invisible wind and have a character float and defy gravity in a way that is instantly believable in a way that a real human being moved by CGI is not. neil patrick harris and hank azaria as hard as they try, as talented as they are cannot legitimately sell me on the idea that they’re actually being hardcore smurfed in the way that an animated gargamel can. these movies reach for a perceived authenticity and fail to reach it, not understanding that the mediums they are stealing from almost always allow for a greater seeming realness than live-action can, especially when portraying the fantastical.

the isekai movies go one step beyond this disrespect because they refuse to even play the part. yes we’ll make a rocky and bullwinkle movie but we cannot simply DO rocky and bullwinkle, we can’t do a scooby doo and just make a bigger irl version of the formula, we must have this elaborate meta routine so we can continually point to the audience and share a laugh together about how dogshit and unimportant rocky and bullwinkle are. the people who make these movies are so embarrassed by the concept of taking these ideas seriously that they must even in-universe create further removal from the realness of this to insulate us from the possibility of caring. rocky and bullwinkle must be a fake tv show even in the movie, even in pretend land they must be from a deeper pretend land. it’s fine if you want to do commentary on the property (preferable, in fact, that makes it more interesting!) but this commentary is almost never allowed to extend beyond the singular joke of every gamer webcomic ever made: wouldn’t it be fucked up if fictional thing were REAL?

wouldn’t it be fucked up if rocky and bullwinkle were in a REAL car? you bet it fucking would be. (robert de niro produced this movie and plays the main villain)

obviously we’re in a post-barbenheimer world and the only movie of this kind worth comparing fat albert to is barbie, which is notable for being the only good execution of this premise (i would call enchanted competent; it’s funny but a mess). the barbie comparison is especially interesting because fat albert is a cracked mirror to barbie.

like barbie, fat albert and the cosby kids exist in a cartoon world where characters are simultaneously performers and platonic forms of themselves, and where they operate with an unspecified degree of awareness of their own fakeness; a background character in fat albert’s philadelphia mentions having done guest spots on the jetsons. like barbie, al is snapped out of his usual routine by the personal crisis of one of his fans, when her single live-action tear falls on the remote as she watches his show and magically falls into his fictionalized philadelphia. the magic tear allows him to hear her crying and a portal is rended between the two worlds; he enters reality, naively tries to solve her social and emotional problems with platitudes, and is forced to grapple with the tenuous nature of his existence and mortality and the complexity of the real world. 

i’m just ken is replaced with fat albert performing an extended rap cover of his own theme song. fat albert spends as much of this movie trying to help the main character make friends as he does trying to fuck her adoptive older sister (“my big al”, she calls him).

without getting into “barbie politics” barbie works because it wants to be a movie about barbie, the thing it’s named after. it takes “barbie lore” seriously. at least half of barbie actually takes place in barbieland, a world that the movie cares about making authentically fake and different and weird. the mechanics and nature of barbie’s existence and barbieland are the most important part of the movie. all of these bad adaptations have the obligatory familial infighting/accidentally thwarting a jewel heist/stopping the evil CEO from demolishing the neighborhood to build a megamall/helping larry bird get his basketball talent back from the aliens plot and so does barbie but it’s an excuse to talk about more interesting abstractions. there is a subplot dedicated to barbie helping to reignite a mother and daughter’s bond but this isn’t the core of the movie, it really is about barbie, literally and metaphysically. fat albert too isn't "about" helping a girl make friends and find herself, it's about fat albert, but it resents that about itself.

fat albert 2004 has about six minutes of actual animation, it rushes to get kenan thompson on screen as quickly as possible and stays there as long as it can (presumably a factor of cost more than anything else, as with all of these films). in barbie the ideas and philosophies of barbieland and real life both naturally affect each other, are reflections of each other, which is an obvious worldbuilding choice that makes intuitive sense; the media we consume is a reflection of the real world and vice versa. there is nothing inherently wrong or bad about the link between the two worlds, says barbie, though it is often the conduit for harmful ideas.

fat albert’s philadelphia and our philadelphia do not share this connection, albert’s intrusion in the real world is a perversion of the natural order and, we later learn, a physical impossibility in the long term. halfway through the movie, the cosby kids begin to be influenced by the real world: mushmouth gains the ability to speak coherently (“don’t call me mushmouth anymore! just call me… mouth!”) and dumb donald removes his ski cap, learns to read, and goes to the library and speeds through 22 volumes of african-american history. this is portrayed as profane; as dumb donald says before jumping back into the TV halfway through the movie: “"i've become smart enough to understand that... we've entered into a world where we do not belong. if you try to become something that you're not, you lose the essence of who you really are."

albert, still on his love quest, at first refuses to rejoin them; he goes off on a date with protagonist’s older sister, which goes well until a child recognizes him and shames him for not being in the tv where he belongs. “we need you! what would mr. cosby think if you don’t go back?” al’s stunned by this; he has no response, but it inspires him to seek answers. in the next scene he decides to find out. he walks up to bill cosby’s house and knocks on the door.

in barbie the discussion barbie has with her creator, ruth handler, is the emotional climax of the film. when barbie tells her she wants to stay in southern california, ruth warns her of the dangers of being human, but does not ultimately stop barbie from doing so; she points out that she is incapable of doing so even if she wanted to.

fat albert mirrors this discussion; albert is told of his conceptual origins. as barbie is based on ruth’s daughter, he is based on a deceased childhood friend of cosby’s, the grandfather of the girl he is trying to help (which is why the movie is careful to repeatedly stress the point that the older sister he’s fallen in love with is only his granddaughter by adoption). there isn’t a parallel moment to the one in barbie where handler winks to the audience about her criminal conviction but that’s probably in the film’s best interest.

albert pleads with cosby in the same way as barbie. more than anything, he wants to stay in the real world. cosby, like handler, encourages him to recognize his own power as an icon, but informs him that his fate is inescapable. if he stays in the real world, his colors will begin to fade and he will soon “turn into celluloid dust” and die. how cosby knows this is not explained; presumably little bill also visited him in the past and suffered a similar fate.

even when done cynically (as it always is) to adapt or remake anything to reject the source material in some way. it’s a paradoxical relationship, because to do it you have to both like (or at least be interested) in what you are recreating but find some aspect of it unnecessary or outdated or lacking or worthy of change. the animation to live-action adaptation often must navigate the additional paradox of wanting to make the unreal real, and the end result, formed by people who don’t care and are only in it for a paycheck, is usually bad art.

in the end fat albert acknowledges his own unreality and crawls back in the tv. the final scene is a saving private ryan style ending where all of the real life elderly inspirations for the cosby kids leave flowers on the real fat albert’s grave. here it hits you: the only moral of the live action fat albert movie is that a live action fat albert movie is a really shitty idea that would kill fat albert.

i agree.

[selenepsyche]

SYNASTRY_ROM//ANCE | Ascendant in the Houses

Hello everyone! Someone requested to know about what it means when someone's ascendent falls into the other person's house in a synastry chart, so here it is! In case you don't know, a synastry chart is a type of astrology chart that is used to see the compatibility and relationship between two people. This doesn't just have to be used in romance. It can be used for friendships, family, coworkers, fictional characters, etc.

A synastry chart overlays the charts over each other, to see what placements fall into the other's houses and how they're aspecting each other's placements. For now, I'll start by explaining what it means when the ascendant falls into the other's house, for all the houses. Please note that this can manifest differently for each person depending on the sign, aspects to the ascendant, who the people are, and their circumstances.

Ascendant in the 1st House

If your ascendant falls into their first house, you could feel instantly seen and recognized by the house person. There could be a strong physical attraction or a sense of familiarity. The house person may feel that you reflect aspects of themselves, almost like a mirror. This could create a magnetic, yet potentially confronting dynamic. The house person could feel like you bring out parts of their personality that they don't want to acknowledge.

Ascendant in the 2nd House

If your ascendant falls into their second house, the house person may see you as someone who can help them build stability or boost their confidence. Your presence could influence their material desires, pushing them to rethink their resources or how they spend money. The house person could enjoy giving you gifts and spending money on you.

Ascendant in the 3rd House

If your ascendant falls into their third house, you may bring a lively and stimulating energy to the house person's environment. Maybe you two go to school together or form a sibling-like relationship. Your conversations may be engaging, and the house person may feel inspired to share ideas or learn new things. You may become the house person's go-to for sharing daily experiences or gossip.

Ascendant in the 4th House

If your ascendant falls into their fourth house, the house person may feel a strong sense of comfort or have a desire to protect you. This placement can feel very intimate, as you may naturally tap into the house person's emotional core. You may remind the house person of their childhood or family dynamics, making you feel like "home" to them.

Ascendant in the 5th House

If your ascendant falls into their 5th house, you may light up the house person's creative, playful, and romantic side. They may feel more inspired to express themselves freely because of you. You could encourage fun, laughter, and artistic expression. There could be strong romantic or sexual attraction between you two. You could be very entertaining to the house person as well.

Ascendant in the 6th House

If your ascendant falls into their 6th house, the house person could see you as someone who can help them stay organized and achieve healthier habits. There could be a dynamic where the house person feels a sense of duty or responsibility towards you. But avoid being overly critical or demanding to the house person, highlighting flaws or areas of improvement.

Ascendant in the 7th House

If your ascendant falls into their 7th house, you may perfectly embody what the house person seeks in a partner. The house person may feel that you're their ideal match or someone who completes them. There could be a magnetic attraction, but also a sense of projection. You both could feel like you're seeing an idealized version of each other. This placement is a strong indicator of a relationship.

Ascendant in the 8th House

If your ascendant falls into their 8th house, you may stir up intense feelings within the house person. The house person may feel exposed, vulnerable, or deeply drawn to you in a way that feels karmic or fated. There could be a strong physical attraction, but there is a potential of manipulation and control if not handled. You may bring out the house person's fears, desires, or unhealed wounds, leading to profound but potentially challenging interactions.

Ascendant in the 9th House

If your ascendant falls into their 9th house, the house person may feel inspired to learn or explore with you. There could be great intellectual connection, spiritual growth, and the potential to travel together. You could feel like a teacher, guide, or someone who opens their mind up to new perspectives and beliefs.

Ascendant in the 10th House

If your ascendant falls into their 10th house, the house person may view you as someone who can elevate their status or help them achieve their goals. There could be a sense of admiration or respect, but also the potential of a rivalry or being viewed as competition. The house person may see you as someone they aspire to be like.

Ascendant in the 11th House

If your ascendant falls into their 11th house, the house person may feel a sense of camaraderie or like they're part of a shared mission with you. This placement could indicate a strong friendship or a desire to collaborate together on important projects, or even on social media. You may feel like a breath of fresh air and encourage the house person to think outside of the box.

Ascendant in the 12th House

If your ascendant falls into their 12th house, you may unknowingly expose the house person's secrets or fears. There could be a psychic and almost otherworldly connection, but there's also a risk of confusion, deception, and projection. The house person could feel magnetized and wary of you, sensing a karmic energy around your connection that might not be easy to define.

Thank you all for reading this! I will do more synastry placements in the future!

dividers: @cafekitsune gifs and pictures: @tenstunner and Pinterest

© selenepsyche - All Rights Reserved

[sokkastyles]

Just saw a post where someone took someone else's post and said that they were "projecting" onto Katara because the OP said that if they were in Katara's position when they were kissed by Aang in EIP after making it clear that she didn't want to be kissed, they wouldn't forgive Aang.

And the thing is, that first of all, projecting isn't a dirty word, it's a normal way to relate to fictional narratives. Second, we actually don't see Katara forgive Aang or even address the kiss in any way other than after she looks upset and angry and then runs out of the room. Audiences can ONLY project onto Katara because we don't actually get to see the resolution to that event from Katara's perspective. We assume she forgave him because she gets together with him in the end, but we aren't actually shown it and we know that they would be endgame whether or not the kiss had happened. Katara's forgiveness of Aang doesn't feel organic because she doesn't actually get the chance to forgive him, so of course audiences are going to question it.

Third, it's actually quite common now for writers and producers to consult audience members, especially those who fit the demographic of a character, on whether that character's actions seem plausible. This is especially true if the writers themselves aren't representatives of that demographic. Katara's actions were written by male writers, so it's not up to them to give the final word on what a teenage girl would do upon being kissed without consent, it is up to female fans to decide whether that rings true. The fact that the writers didn't even bother to show us Katara's perspective further highlights the lack of a female perspective being considered here.

The post in question also said that what Aang did didn't actually hurt Katara, and that she was just "annoyed and angry," but not hurt. And I feel like people who argue this in favor of Katara and Aang's relationship are actually downplaying the relationship quite a bit. Because if Katara loves Aang, she'd feel a whole lot more than annoyed upon being kissed by him after expressing that she was confused and felt that it wasn't the right time. She'd feel incredibly betrayed, she'd feel like he didn't listen to her. She might even question her relationship with him further and start to back away from the feelings of love that she was already hesitant to express, because what Aang is showing her is that he doesn't actually care about how she feels and isn't going to be careful with her feelings if she were to truly give her heart to him. The EIP kiss actually does A LOT of damage to Katara and Aang's relationship, and the fact that it's never actually addressed does even more damage.

I mean, if Katara didn't really care about Aang kissing her without her consent, I'm not sure why I should care about their relationship at all.

The post also brought up that Zuko has done worse to Katara but she forgave him. The thing is that we actually SAW Zuko earn Katara's forgiveness. This is a relationship I can get behind because the show cares about it. The show cares that Zuko hurt Katara and cares about whether or not he gets her forgiveness. Zuko and Katara would not have had a relationship at all without that conflict and its resolution. The show tells me that these two characters care about each other, and it does it without any sort of romantic drama AND without having the guy sexually assault her.

[artbyblastweave]

As a person that knows a lot more about capeshit than me, what’s the meta-textual significance of the Superpowers in The Power Fantasy abstaining from establishing secret identities?

Principally it's to signal that the characters, while informed by the traditional superhero paradigm, exist largely outside of it.

Contemporary superhero fiction has a complicated relationship with the concept of The Secret Identity. When you come at the premise fresh without years of ossified genre convention, you get hit with the double whammy that a civilian identity is increasingly difficult to keep secret and that even if you buy into the idea of doing vigilante shit in secret to avoid going to jail, it's still going to take some extra work to get to the finish line of grown men calling themselves "Batman" or "Ant Man" and expecting to be taken seriously.

So, retellings will often go out of their way justify how these characters could develop these public identities semi-organically. "Superman" is usually not Clark Kent's idea in modern retellings- the media names him that, Lois names him that, and he runs with it. The Batman has the fantastic recurring gag that Bruce appears to actually self-identify as the comically overwrought "Vengeance," but the bat motif led to everyone just calling him Batman instead. The X-Men have advanced the idea, in a couple different forms, that "Mutant names" are a sub-cultural thing brushing up against a cult thing, a ceremonial way of setting yourself above and apart from baseline humanity. And you've got military callsigns, obviously. I think that's where "Ant-Man" and "Hawkeye" come from in the MCU.

In The Power Fantasy, none of the superpowers have a dual identity because they've all got extremely specific political (or artistic) projects that don't mesh well with that. To a degree I think this is playing in the same space as X-Men, where a lot of the cast have shifted over the years from being public ciphers to being public activists whose real names are on the news alongside their code names when they blow something up. But even if they don't have dual identities, the superpowers do have identities, personas, nicknames; there's a mix of deliberate image-building and outside-designation-by-society occurring. "Heavy" Harris is a thing an activist or cult leader who controls gravity could plausibly come to be called in the course of Moving and Shaking. Masumi is mentioned, in passing, to also go by the name of "Deconstructa," which reads like either a pretentious artist thing or a common-parlance nickname she picked up after the Kaiju thing. Eliza Hellbound is clearly not that woman's real name, but also, it is- and it's descriptive, and she's certainly powerful enough that that's what she gets to be called if she wants. "Jacky Magus" is really really really obviously not what's on that guys birth certificate, but it's also the only name he has that actually matters. Ettiene gets a whole monologue about the necessity of constructing himself as a figurehead that human governments can work with. He wears bright yellow, he gives interviews, and I will eat my hat if his actual last name is Lux. These people are similar to traditional superheroes in that they are constructing larger-than-life identities, they're playing a game, they're selling the world on specific narratives about themselves. But the truth that they're covering for is never that they've got some kind of secret civilian life waiting for them when they clock out. By choice or otherwise, all six of them are simply well past that.

[hoao]

i’ve said it a million times already but i think that one of the main reasons why people have trouble accepting post-timeskip nishinoya is how deeply rooted in our society are the wrong nuances of the concept of ‘success’. it’s because nishinoya was a great libero in high school and most people expected to see him shine as a professional player, too. and i also think it’s because he was very vocal about his dream to get better and better and better. but high school is simply one of the many worlds we live in, and we grow up and discover we’re so much more than what we were back then, and nothing is going to take nishinoya’s status as a libero away from him, just like his passion does never really die. i don’t think that makes him any less successful than any other haikyuu character. i also think a lot of the expectations that society pushes upon us are expectations that we project upon these fictional characters, too. so you see someone who’s really good at something and you expect them to love it and dedicate themselves to it with the same intensity forever. i think what’s so great about haikyuu is that it’s very real in the way it portrays the shift from high school dreams to young adulthood reality. it’s so realistic to see young teenagers bragging about their big dreams and then finding out that their paths went in another direction altogether. it’s just life. i find nishinoya so refreshing and interesting, i think furudate was really bright in portraying him the way they did. but again, haikyuu was crafted with dedication from the first to the very last page, everything works wonderfully. you can be so many versions of yourself at the same time, share things with the past you, reject things that belonged to the past you, find out that you want to do bigger/smaller things in life. you have infinite potential and possibilities and so many ways you can make up your mind.

[maxdibert]

Having a shitty past is no excuse for being a horrible person, and Snape was a horrible person. Snape fans always try to turn him into a tragic hero, but there was nothing heroic about him when he was just an obsessive bigot who followed a group of genocidal maniacs

Well, I think I’ve said this a million times already and explained in exhausting detail why growing up in a particular environment—lacking social, emotional, economic, or essential support—and being subjected to violence during the most crucial years of cognitive development creates the perfect breeding ground for antisocial behavior. It also makes vulnerable or socially excluded youth prime targets for sectarian groups (whether religious, political, or otherwise) that prey on their situation, offering them promises of protection, safe spaces, surrogate parental figures, or social progress. These groups actively seek out kids with emotional voids caused by dysfunctional family dynamics, minimal to no financial resources, and a profound sense that the system has failed them at every turn. They offer these kids an alternative system—one that gives them a roof over their heads, a hot meal, a place to belong, and people who won’t marginalize them like the rest of society has—at the simple price of blindly following the group’s ideology. And they do it. Of course, they do. Because what other choice do they have? This group gave them life, a place in society, and restored their status as human beings.

But since I’ve spoken about this at length before and about how Severus’s life shaped his decisions, I feel like I’m starting to sound like a broken record. So, since I’m also reading a legal ruling I need to memorize by Friday, I’m going to indulge myself and dissertate as freely as I please—because hey, if you’re going to throw hate, I’m going to grant myself the privilege of replying however I want.

Here’s a question: why does it even matter? Seriously, what does it matter if he was a shitty person? Do you know that people go to space today thanks to the work of physicists and engineers who were literal SS members? That after WWII, all the top scientists, physicists, chemists, and engineers were granted amnesty and fast-tracked into citizenships so they could work on government projects? That people working within a stone’s throw of concentration camps are the pioneers behind some of the greatest technological advances of the 20th century? And you don’t care that the products you consume are derived from the work of collaborators with mass genocide, but you’re upset that people find a fictional character interesting? I don’t want to sound cynical, but honestly, it’s ridiculous to get so morally high and mighty about a character who doesn’t exist and who followed an extremist cult for, what? 3 or 4 years tops? and then canonically worked actively to take it down. If we put Severus in a real-world, wartime context, the guy would be a literal war hero with medals to his name. No exaggeration. If he survived, he’d be recruited with a fat paycheck to work in internal affairs for some major world power’s secret projects. That’s just how the world works.

And yeah, he was obsessive. But in an era where everyone suffers at least one anxiety episode a month, where the best-case scenario is that your panic attacks don’t spiral into chronic mental health issues—can we really judge him for that? Like, most of the people I see being ultra “snater” are folks who openly declare themselves neurodivergent, and one of the common denominators of all neurodivergence is obsessiveness. All of them. Whether it’s chronic anxiety, depression, OCD, ADHD, paranoid schizophrenia, bipolar disorder, borderline personality disorder or autism. Every single one has an obsessive component. So it’s kind of ironic—and even hypocritical—for people who are themselves pretty obsessive (because let’s face it, we’re all compulsively doomscrolling here to soothe our anxious compulsions with little dopamine hits) to judge this character’s obsessiveness as a negative trait. Maybe let’s take a good look in the mirror, too.

And let me just say, no court would convict Severus of collaborating with a terrorist group. Not a single one. Impossible. Especially since he literally collaborated against said group, so any judge would happily clear him—not after the war, but the moment he struck his deal with Dumbledore. Severus is what’s known as an informant. He worked from the inside, exposed himself to greater dangers than regular agents. Legally speaking, there have been cases where people guilty of heinous crimes—including crimes against humanity—were let off because they provided critical information. So imagine someone like Severus, who, as far as we know, didn’t even kill anyone during his time in the group, willingly spilling the beans and agreeing to work as a spy. He’d be celebrated as a hero of war. Hell, they’d probably buy him a mansion in Florida if he wanted one. That’s just how our system works, and honestly, this kind of moralist posturing is pretty cringy because you’re talking about a guy who literally saved half of magical society’s asses and without whom the kid destined to save the world would’ve died in his first year at school.

You can dislike him or think he’s a jerk, but he was damn good at his job. And compared to the people he’s often unfairly measured against (Sirius, James, Remus...), he actually did something. They didn’t. Absolutely nothing. Contribution: negative one.

[thesnarkmaidstale]

Pulled together more of my rambling train station of thoughts RE: the THT/Nick matter (as so many of us are still trying to do in order to make sense of the trainwreck that THT ended up being in the end🥂)

You know, I want to start by saying...I've DEEPLY disliked characters before, but never once have I felt compelled to track down their fans just to preach about how morally superior I am for misreading the plight or arc of those said fictional characters. That kind of self-important grandstanding (usually built on vibes and not receipts - imo) just screams "projection."

And that crash landing ending? (lol didn't intend the pun but certainly keeping it) - that wasn't nuanced critique or character work; it was a loud, lazy display of “performative political solidarity” that read well to people who didn't/don't/won't engage with the work beyond a superficial "what happens next week" basis.

Meanwhile, detail-obsessed fans were left blinking in confusion while watching Nick Blaine, a canonically subversive character, get rewritten into a narrative scapegoat. And this all coming from the Hollywood bubble, wrapped either in moral absolutism or in Dianetics/LRH’s bottled sweat/imaginary alien overlords (I mean…I guess ¿porque no los dos?).

But none of it touched the reality of how real-world resistance actually works.. successful resistance efforts rarely include heroic bull-in-a-china-shop suspend-your-belief-in-logic singular action moments. Success is yielded from teamwork, working together in perhaps a few big ways but many more small ways towards reaching the common goal of true equality. This last season also did no favors as it pertains to increasing the awareness about current human rights atrocities nor in increasing the awareness about the slippery slope that the US was beginning to find itself in even at the time that Season 6 began filming (FDT hadn't "won" yet but the writing was clearly on the wall.)

All it was was glass mansions. With a megaphone. Expecting applause.

(And btw, record yourselves applauding please!)

The accusation that us as fans “just didn’t understand” is exquisitely rich, because it became painfully obvious once the existing source material ran out around the end of Season 2, that the creatives themselves didn't even understand the show they were making.

Season 3 was my early warning sound off (wish I’d trusted it), and by the start of Season 5, it was crystal clear- this team was wildly underqualified to develop an original narrative that could even begin to touch what Atwood set them up with.

I voluntarily relinquished my "loyal-AF-viewer-tuning-in-right-at-11pm-cst-on-Monday-night" membership card around the start of Season 5, Episode 1- as Game of Thrones had given me trust issues..and I didn't even care half as much about those characters as I did for most of the characters in the HMT.

Something inside me felt really ick about the wedding ring reveal of Season 4, without a character to even go along with the ring.. it was haphazard and the explanations for it made no sense. I hate to say my instincts were right to begin pulling away immediately... but of course I always held out hope that someone competent would find a way to land the thing, and I figured I'd just go back and catch up once it was all over.

But I digress...

When you have even the actors (hey Max Minghella) side-eying their characters' choices and wondering if there perhaps were darker sides to them that over a span of six seasons/8-9 years, that they were never told about..or in retrospect now perhaps feel a little insecure about, like they magically should've diduced that darkness from nothingness..?

Well, in that case, we're no longer talking about art, and instead discussing the glaring slow-mo narrative malpractice that's been taking place since Season 3.

This series ending/"landing" really could have been their (writers/showrunners) big shot at successful critical longevity. Instead, they turned an open-book test into a public implosion. The bones of Atwood’s world were right there, mapped out and ready, but instead of following them, the writers/showrunners/actors-turned-directors misunderstood and eventually betrayed them.

Honestly, in retrospect, The Testaments feels like a deliberate course correction. A softspoken “no, actually” from Atwood herself, reaffirming where the moral core of this story lies. And yes, that includes Nick. The show had the source material in addition to the reinforced narrative/additional insights provided by Atwood in The Testaments (released in September 2019, shortly after the television adaptation began airing its third season.)

And when the backlash from the final season hit shortly after the "betrayal," they deflected by calling loyal fans/viewers love-blind, shallow, or naive (especially women) for caring about a character who dared to represent subtle resistance (apparently you need to be on-the-nose and in-your-face defiantly obvious about your intentions or you too could be called a Nazi twice in the last season of a show based on a literary narrative that you've been a character/major part of in since the 1980s).

In their defense, they love to mention OC characters like Lawrence as if he's the beacon of proof of their creative genius, but here's the truth- Lawrence worked exceedingly well in spite of the writing, not because of it. That was thanks to Bradley Whitford’s interpretation and creative latitude. Same with Nick.. except Minghella had far less input, because Nick was/IS Atwood’s creation. Ultimately, both characters (one canonical, one not) succeeded because the actors did the heavy lifting when the scripts couldn’t.

The writers should not misinterpret this as a flex, because it more appropriately should be ready as a red flag warning at the beach, ultimately showing the dangers of what happens when performers understand the source material more deeply than the people that were paid to adapt it, and when writers confuse praise for their original characters as being praise for their writing vs it just being masterful performance by the actor themselves that makes the character work.

.. dangers such as, for instance, now you've got a nonsensical last season, and not to mention, a ticked off loyal fanbase, who started with the show back in 2017, absolutely refusing to even consider watching TT.

They are so smart you guys, like you don't even know.

In the end, they confused moral ambiguity with moral incoherence, flattened complexity into cliché, and mistook erasure for subversion.

I'll end it here although I could keep going: Nick didn’t need a redemption arc, he already had one published in 1985, and then Atwood doubled down on it in her 2019 Handmaid's "sequel," The Testaments, but sadly, neither he (Nick) nor Minghella were backed by writers, showrunners, or actors-turned-directors brave enough to commit to it.

[agentlove]

this has always been one of my favorite lines in this scene it’s so striking to me. i think debating over callum’s level of lucidity and what can or cannot “fix” him is deeply antithecal to what the story is trying to express with him - but the idea that callum is still there and still a person who does have the capacity to love mingus, just not in a way she can ever comprehend or accept, because she can't comprehend or accept anything outside her narrow worldview, is sooooo good.

there is no way of actually knowing if callum is proud of mingus, much less recognizes her at all - but it's added to by the fact there's only so much of that she would accept even if he could. ultimately, she wants validation and power, his prestige, from him, she wants a supportive parental figure she never had - there's only so much of that callum is able to provide even in a world where her stint to fix his memory actually worked. he's like a hundred. he never even MET her. to say nothing of all he's missed in the past fifty-odd years. to say nothing of how his age may have messed with his mind deteriorating even without the pre-existing brain damage.

and mingus' phrasing here implies he doesn't even look at her when she visits - which brings me to the visit that radicalized her: the one after her surgery, where he was watching gingi out the window.

obviously, callum watching gingi is mostly for the thematics of it all, how similar the two of them are in ways mingus refuses to recognize, but theres also the thought of... callum's been sitting alone in that room for over half his life, barely lucid if at all. of course he's going to be drawn to a brightly-colored thing making noises and knocking stuff over outside. if he can't respond to stimuli of the people around him he's at the very least going to latch onto something more visually interesting than Brown Wall and Brown Figure.

but it's not like mingus can think of it like that, because she's internalized so much about her grandfather and built up such a specific, personalized vision of him - she doesn't see him as an elderly man with (a fictional equivalent to) dementia, she sees him as President Callum Crown™, the man she personally has to please and live up to the legacy of and make proud, disregarding the fact that's not something he has the mental capacity to even do - because she's so obsessed with validation and complete control that the only way she can get it is by either subjugating others and forcing it out of them (what she does with her townsfolk), or just completely projecting on someone who, for her purposes, is basically a blank slate.

which is maddening to her in its own way, see how crazy she drives herself trying to restore callum's memory in the first place - but also, would she be happy even if callum could see her for who she is? post-game, when she's working on herself, that's an irrelevant question as she's pushed past that need, but as we know her? absolutely not.

i love the ch3 standoff between norm and mingus as a show of "Okay guys let’s see who can dehumanize this disabled guy harder (via pedestal-putting) and justify themselves for it better" and why i think it is so important that it’s gingi who reads the postcard and ultimately speaks for callum instead of either of them, or even the narrator. they can’t read, and they struggle to, but they manage to get it right even when people are telling them to stop. and the fact they’re able to do it at all, are given the chance to do so, and are ultimately the one to wind down this conflict shows that the world of dialtown, while not perfect, really is how callum would have wanted it.

both gingi and callum are some of the most altruistic and human characters ever, and the crux of their parallels is that they are denied this by close-minded people because they happen to Behave Strangely. it's why seeing mingus act the way she does hits so hard - she loves her paw-paw, yes, but if she were to see him in a vacuum, a one-limbed man who can hardly think, much less speak for himself: or even his younger self, who was struggling to make ends meet with his odd inventions...

...well, the feeling norm's imagining here would probably be mutual. mingus' relationship with bigotry is a very fascinating one, she's very close-minded but views certain oddities (ie her flesh-head) as having earned their place and thus being fine - she's a freak too, by her own admission, but she's doing it for a just and wider purpose, so it's fine. which is, ironically, the ideology callum forced upon himself.

callum was obsessed with helping people, pushing himself to do more and more, because it was the only way he ever found respect. if he didn't help people and have grand visions for the world and make himself "useful" to society at large, then what would he be, if not a freak?

mingus and her paw-paw are very similar people, from their well-intentioned extremism, to their stubbornness and paranoia, to their inability to view themselves as anything more than a vessel for that grand cause they believe in (callum in the dialup, mingus in restoring her paw-paw's memory) - which is funny, because if mingus was able to view callum, and herself, as a flawed human person, she would come to understand how similar they really are.

:(

[nihilsan]

(incest, csa, suicide cw)

umineko is full of complicated and fucked up parent/child dynamics, so the way kumasawa and genji were like the parent figures sayo always wished she could have and then turned out to be the people who hurt her with the most intent often flies under the radar. but I'm constantly thinking about it.

they never saw her as more than an extension of her biological mother and a way to personally atone for failing her... by ultimately failing her daughter too and in very similar ways. kumasawa incentivised young sayo's beatrice roleplay and taught her magic bc "it was like it was meant to be". in kumasawa's eyes, it was as if beatrice's daughter unknowingly shared a connection to her mother thanks to the whims of fate. but to sayo, the magic she was taught became an intrinsic part of her identity, her primary way to cope and to find some confidence in the face of the hardships she was going through. of course the idea of no longer being 'yasu', the clumsy servant mocked by everyone, but rather the powerful witch beatrice who inspires their respect became so important to her! but then as she learned later, she spent all her life playing the part of her dead mother who was horribly abused (and whose abuse was enabled and covered up by sayo's parent figures!) and by then she had all but absorbed her as part of her identity and sense of self, all while being secretly primed to ultimately play her part and finally "become" her in genji's bullshit redemption arc plan for kinzo. kumasawa knew everything and intentionally encouraged this while sayo had no idea. it's no wonder beatrice went from being something empowering to sayo to the cruel voice tormenting her in her head, reminding her of her worst thoughts. beatrice became an embodiment of trauma! not just sayo's trauma but also her mother's, which she took upon herself. all of the people who knew the truth manipulated her into walking the path of becoming her mother and saw her as nothing but that. a replacement, a vessel for the "true" beatrice. the very same idea behind her mother's grooming and abuse.

the cruel irony here is how all of this was done to prove a point about kinzo not repeating his actions and to relieve his guilt in time before his death, with genji/kumasawa/nanjo celebrating kinzo being "successfully redeemed" by not raping his daughter again... all while sayo comes out of this horrific situation terribly sexually traumatized regardless. all at once, she learns the depth of violation she suffered from some of the few people she thought were on her side. the way she was manipulated and gaslit all her life about the circumstances of her birth, her parentage, her body, her entire identity and personhood. how they were willing to risk her safety by making her work under kinzo to prove that he wouldn't sexually abuse her. the shock of learning what happened to the mother she was unknowingly raised to become, and how those people did nothing to help her back then either. how her mother, too, was groomed into playing the role of her own mother for kinzo!!! the horror doesn't end. the traumatic impact and consequences of all of this on her life were never in their minds, only making sure sayo would play her role in granting kinzo a peaceful death. putting kinzo's guilt to rest was always the priority, and by trying to prove he wouldn't repeat the past, they did so themselves by dooming another beatrice into becoming a vessel for her mother and shouldering generations worth of trauma.

there's this metaphor in umineko about the powerlessness of children before their parents and how many are born to fulfill a specific purpose for them, becoming an extension of their parents who project on their children and try to shape them into a specific kind of person to successfully play a role. having a child is compared to creating a fictional character which is compared to inserting a piece of yourself on a gameboard. this goes for every parent/child dynamic in the story including allegorical ones such as bern/erika, and of course this reflects the way the only people sayo could call her parent figures shaped her into an accessory in her father's narrative. she was always their means to achieve that, not even a person in the grand scheme of things. a piece of their own creation, shaped and molded into a role, without autonomy of her own. furniture in every meaning of the word in sayo's personal lexicon.

it hurts how she trusted them and even made fantasy versions of them to include them in her world! she wanted them to be part of it and that's a precious thing to her! and then turns out the characters she created were much better people than their human vessels. even more encouragement to reject reality altogether and immerse herself even deeper in a rabbithole of fantasy to cope with her real life being almost unsurvivable after nonstop betrayal and hurt!

the nail in the coffin is, after doing all of... That out of his fucked up sense of loyalty to kinzo, genji goes on to enable and help out with sayo's mass murder-suicide plan... as his way to atone for how much suffering he caused her? the results of his actions were a major driving force in her suicidality and furniture complex among all the many factors pushing her into a corner, and then he reasons that agreeing to help her kill herself along with literally everyone and providing her with the means to do it is the correct thing to do for her??? genji's undying sense of duty and loyalty is truly his worst and most terrifying quality. he'll stop at nothing to honor it.

[joejhang]

my aftg hot takes

most of these are pretty lukewarm but i'm gonna get flamed for them anyway but whatever. spoilers ??? ahead ??? idk read at ur own risk

i don't think andreil ever say i love you to each other; i feel like the discourse about this is virtually endless ever since nora said it but honestly her explanation was so valid??? they're such a show not tell couple it just makes so much sense for them to show the "i love you" in their actions than ever saying the words out loud. esp bc neither of them have ever really heard those words and have them mean anything real or true or actually loving. personally i think their little percentages and the "i hate you"'s and kisses and keys mean more to them than an "i love you" ever could. i'm not a purist on this tho i do think i could visualise it happening maybe somewhere along the road i just think nora's explanation for this is very very in line with canon andreil.

i don't hate thea muldani; i've made a post abt this but basically my thoughts around her are literally just: she's a human being, and she's never gonna be perfect. i also find it very...interesting how the fandom likes to flame thea (an explicitly stated woman of colour) for being "problematic" and a "terrible person/character" when she doesn't act all that different from andrew, neil and kevin (white men) ??? idk it seems a little strange to me bc she seems pretty on par with them on whatever moral compass this batshit crazy fandom has decided to impose on these fictional and very much morally ambiguous characters. anyway go check out my post i go a lot deeper into thea's character and why she does a lot of things wrong but i don't rlly think she's deserving of the insane amounts of hate she gets in the fandom.

i don't think andreil ever get married; this MIGHT be me projecting bc the idea of marriage is just a very complicated and rough concept in my mind but also just i feel like there's something so beautiful about andreil never really putting a label on their relationship??? like they never define it by calling the other their "boyfriend" or "husband" they just are. they have nothing "concrete" binding them like a marriage certificate but they choose to stay with each other through everything. idk it's real to me but again i'm not a purist people can do whatever they want.

i've said it before but i'll keep saying it till enough people hear me: the aftg fandom mischaracterises literally the main fucking characters; i'm mostly talking about andrew and ESPECIALLY neil here bc neil is not a sweet, sunshiney, oblivious, blushy softboy and andrew is not a cold, unemotional, stoic, "conceal don't feel" stone. since i've already bitched on and on about neil's mischaracterisation let's just talk about andrew for a sec. i think andrew is actually a deeply emotional person and is fully aware of the feelings he experiences. does he vocalise or express them often? no but more often than not they show themselves anyway. him crashing out after neil was kidnapped, letting himself get walked like a dog by neil for three books straight, choking allison for slapping aaron, idk i could go on. but yeah you get it.

i don't actually think neil is that oblivious; before people come at me like "but nora said!" or whatever yeah, i know she said he's as dense as a brick when it comes to people flirting with him. considering how much of the ec the aftg fandom likes to disregard allow me to disregard this little bit of it, yeah? this isn't me tryna impose my own projections onto nora's characters, this is lit just me tryna explain how i understand neil josten (he's my bsf btw). he literally clocks his feelings for andrew in trk (after his deep convo™ with nicky) but he just files it away for later bc he doesn't consider attraction or romantic interest anything to be thinking about considering he's got the mafia and his serial killer dad on his tail. i also don't really blame him for not catching onto andrew's feelings earlier (tho doesn't he get pretty fucking close during that one convo they have in exites in trk???? someone correct me if i'm wrong but) bc dude andrew was out here sending fucking mixed ass signals like bro was saying "you are a pipe dream" and "i hate you" in the same fucking conversations like??? neil has always taken andrew at face value and he's not about to question him now. he's also never confused or uncertain about nicky or marissa and what their comments about him meant, he just genuinely does not gaf about them so he doesn't acknowledge them or pay them any attention in his narration. i truly truly think his dismissal of all the advances made upon him in aftg were borne out of indifference, not obliviousness.

have already said this in detail but i don't think andrew's actually a misogynist; the wording doesn't feel right. i'd probably describe andrew's distrust of women (esp. those in motherly/mother roles) as a similar ingrained wariness that neil has for older men. this is something borne out of trauma and shitty experiences that takes time and trust to unlearn. nora says a lot of things the fandom disregards and for me, this is one of those things i'm a little iffy about. misogyny actually isn't reflected in andrew's actions at all, i'd say. does he respect women? no. but he doesn't respect anyone unless they've actually earned it. and among the people he does respect and care for there are women (renee, bee). he doesn't treat women any differently and obv doesn't think they're any weaker than men are (considering renee wipes the floor w him their first sparring sesh). andrew's an equal opportunity hater and i don't think he actually has any sexist or even misogynistic tendencies. i think what is there is just a slightly biased worldview of disliking/mistrusting mother figures, given his bad experiences w tilda and cass (they've left him w more long-term emotional damage that's probably rlly difficult and complicated for him to work through esp considering cass did love??? him and he did want her enough to be willing to suffer dr*ke to be close to her; there's more to it but for the sake of word count i won't go into it) but honestly it doesn't actually show that much??? if people wanna say he hates women, sure, but for one, he doesn't hate a lot of things he's just very indifferent to them and two, he holds a pretty similar apathetic distaste for most people and things, so it's not like a very big distinction. i also think the whole "no girls" thing w aaron was very much a personal thing, and his mistrust of katelyn probably came from aaron's past (apparently negative) experiences w other girlfriends and friendships in general. and if i remember correctly the deal wasn't even "no girls" it was just "family only" which is why aaron didn't make friends w the rest of the foxes either. i digress but i don't think saying "andrew isn't a misogynist" is robbing him of any nuance as a character.

i like nicky and honestly feel similarly towards him as i do about thea; he isn't perfect and never will be and i think while the way he acts towards neil and others (see: matt, kevin) is pretty untoward and inappropriate, i also do see where he's coming from, esp after aaron's explanation of it. that it's a defence mechanism coming from someone who's experienced a lot of prejudice and harm because of his sexuality. obv i think everyone can agree his assault on neil was fucked up but i think nora was right in saying that nicky was high and drunk and not rlly in his right mind at the time, and he does apologise and i'm pretty sure she also said he and neil work it out privately anyway. he's a messy character and definitely not perfect queer rep but again, he's pretty realistic, and i think he's honestly a rlly well-written and complex character.

[lesbianjackies]

i agree with the general idea that insisting close fictional relationships have to be romantic is amatonormative but i feel like sometimes you guys go way too far in that direction to the point where you’re just ignoring or erasing homoerotic subtext… like. if someone told me lottielee could be platonic i’d be like yeah sure. i mean i disagree but i agree that their bond could 100% just be platonic closeness. but i just saw someone say that about jackieshauna???? and. i mean… no…

jackieshauna’s relationship and homoeroticism isn’t even really about them having a close bond and i feel like if you think them being close is where the idea of them being attracted to each other comes from you fundamentally misunderstand the nature of what is going on between them. jackieshauna are fundamentally psychosexual. they weaponize their sexual feelings for each other and for people outside of their relationship in order to manipulate each other and gain a sense of control. they’re codependent to the point of being unable to sever themselves from each other in a way that is almost TEXTUALLY sexual — shauna sleeping with and then marrying jackie’s boyfriend, jackie almost explicitly using sex with travis as a way to get back at her for this, the smudged lipstick on jackie’s corpse, shauna projecting her relationship with jackie onto her relationship with melissa to the point of other characters noticing and pointing it out, the slumber party makeouts, shauna hallucinating jackie all throughout her relationship with adam and then that relationship ending in a similar way. like. to say their relationship was just closely platonic is completely misinterpreting everything about how they were written. i don’t understand why we have to undermine and ignore subtext in order to say that deep love and close friendship isn’t inherently romantic. especially when you can look at the same show and the same characters and see that taishauna is an INCREDIBLE example of this

[starrynightmuse]

Sign of the Times 🏛⏳️ I. Broken Dragonfly Wings

Aemond Targaryen x reader, Library of Alexandria AU

(Title inspired by the Harry Styles song)

Blurb: It's summer in Alexandria, Egypt, and the heat has reached sweltering heights. Children dash toward the banks of the Nile, eager to find relief in the cool waters while ladies fan themselves under the shade of palm trees. Thick mud huts keep families cool under the boiling sun. It would be 1,892 years before the first ice cubes would be invented and nearly two millennia until air conditioning. Even Jesus Christ wouldn’t be born until another 48 years. But you have the teachings of Aristotle and the works of Euclid. You're the first and only female scholar at the Library of Alexandria, the first institute of its kind. All your life has been spent in the pursuit of knowledge — until the arrival of a mysterious young scholar named Aemond. 

Series warnings: period typical misogyny, ancient academia, teacher x student relationship (but they're the same age), violence, fire, sexual content (18+), reader is loosely based off of Hypatia of Alexandria, Targaryens x Ptolemies crossover, character deaths, inaccurate history for the sake of storytelling, accusations of witchcraft, debates on fictional religions, Plato, Daemon being a menace.

Word count: 5,380

Series Masterlist

Your heart was racing, terror coiling in your stomach like a serpent, but you refused to let it show as you looked out at the mob of angry faces around you in the pavilion.

“Traitor!”

“Death to the witch!”

“Kill her!” 

You knew there was no escaping this. This was the end. Yet, even as fear flooded your chest, you refused to let go of your pride. You held your head up high as Prince Daemon approached you where you kneeled. He looked down at you, his cold eyes gleaming in sick satisfaction.

"I'm giving you one last chance, witch," he said, his voice hard and uncompromising. "Renounce your unholy ways and convert to the Faith of the Seven, and you shall walk away unharmed."

You looked up at him, refusing to back down. You hypocrite, you thought. When you spoke, your voice was steady and firm. "I cannot.”

The prince's expression darkened. He stepped closer to you, his lips close to your ear so that no one would overhear.

“There is nothing left for you. It's over. Save yourself and the crown will grant you mercy,” he hissed.

You spat at his face. "If the right to think is treason, then I embrace it proudly. I refuse to remain supplicant to a crown that fears the power of knowledge and labels it treachery."

Daemon's lips formed into a cruel snarl. He stepped back and turned to the crowd, opening his arms in a dramatic display. "The punishment for witchcraft is death!" his voice boomed. The crowd erupted, snarling and roaring like a pack of lions.

Your heart raced as the people closed in with stones in hand, hungry predators circulating their prey. You took a final deep breath, bracing yourself for the onslaught. The first stone hit you, a dull throb of pain that quickly gave way to sharper, intense sensations as more stones followed. You feel your knees collapsing to the hard floor. In reflex, you cover your head with your arms. You shut your eyes, and the last thing you saw was the memory of a single blue eye.

🏛⏳️

6 months earlier.

There's a buzzing in the air, and not just from the hum of people in the atrium outside. Inside your classroom, a large blue dragonfly lazily flies in circles, your students taking turns swatting at it as it zips by. It’s an epaulet skimmer, or an orthetrum chrysostigma, a common dragonfly found around Egypt. Last month, you helped survey them with a fellow scholar who was putting together an account of all the various insects along the Nile River delta. The research project was commissioned by the Princess Helaena Targaryen herself, whom you've heard was quite fond of natural history. 

In the midst of your lecturing, the buzz of the insect feels amplified. In front of you sit nearly fifty pupils, all perched on wooden benches. Most of them are in their teens and early twenties, and all of them were young men with restless energy with wandering minds. While a few showed genuine curiosity, you knew that attendance was merely a formality to half of them, who were only present because their parents were wealthy aristocrats. Yet, you knew it was your duty to broaden their minds and instill some semblance of knowledge into their minds before they go on to graduate and become lords who make decisions that impact hundreds of people.

“Whether you believe in the Seven or the old gods, we accept that the divine has created all that we know,” you say, your voice carrying across the room. “Yet, the mechanisms behind how their creations work are a mystery to us mortals.”

There's a blur of blue near your eye when the dragonfly makes a landing on your nose. You swap it away and continue. 

“For example, what are the gears that drive a drought? Elders of the past have said that a drought is punishment from an angry sun god. Holy men today say it is the repercussion of having vexed the Seven. But how, precisely, do these divine beings bring this drought upon us?” You pause, pacing around the room. “Like observing the work of a craftsman, we can observe the handiwork of the gods. We can observe that volcanic eruptions are one tool that the gods use to give us droughts. Likewise, miasma from a plague, which spews vaporous acid into the atmosphere, can cause rising temperatures and dry up rivers. (Modern Fact check: Miasma does NOT cause plagues. They are caused by infectious bacteria and viruses.)

“Every natural disaster has forces, or causes, behind them. Although perhaps only the gods may know the truth of the workings behind these events, philosophers and believers of science have theorized why certain disasters come to be. Take earthquakes, for example. Compared to droughts, it is much harder for us to determine how earthquakes are created. Aristotle, for one, suggested that it is caused by winds in subterranean caves.”

One of your pupils seated on the front row raises his hand. Ebony curls, dark eyes that remind you of beetles, his robes a deep plum that only money can buy.

“Perhaps Aristotle failed to consider that earthquakes could just be Atticus's mother walking to the market,” he says, a cocky grin spreading across his face. His friend gives him a hearty slap on the back, nearly doubling over with laughter.

You offer a tight-lipped smile. "Thank you, Flavius." 

Some of your students were more mature than others.

Flavius's jolliness is short-lived, however. The dragonfly suddenly decides to dart into his eye and he lets out a startled shriek. He swats at the insect and tumbles forward off the bench. His friend roars even harder with laughter. Meanwhile, the dragonfly falls onto the floor, its delicate blue wings now broken. A couple students in the back crane their necks in curiosity as Flavius stomps his feet on the insect's body, crushing it mercilessly against the tile floor. Tiny blue limbs smear across the tiles, its wings in pieces like shattered glass. A life snuffed out in the blink of an eye.

Flavius settles back onto the bench, straightening his toga with an air of nonchalance. "Apologies, miss. Please, continue," he says.

You choose to ignore his interruption, redirecting your attention to the rest of the class. 

“When we attempt to unravel the mysteries behind the divine's creations, we begin to understand the natural world,” you say, thinking about the dead bug in front of you, its blue wings, the blue of the Nile, all the species of flora and fauna that have survived for eons thanks to its life-giving waters. “This is why we study the discipline of science.”

“Beyond these walls, I have heard many who deem it to be blasphemy,” a voice interjects. 

Your gaze shifts to a young man at the rear of the room. You've never seen him before, not in your classroom nor around the Library. If you've seen him, you would know. With his sharp features, nearly white hair cropped close to his head, and a leather eyepatch covering an angry scar on his left eye — his was not a face you would forget. 

“What do they call you?” You ask curiously, piercing blue eye meeting yours. He seemed a bit older than the rest of your students — perhaps in his mid-twenties, around the same age as you. You briefly wondered where he was from. His features stood out in a sea of dark haired Alexandrians.

"I am called Aemond, ma'am," his voice remained composed and respectful. "Just Aemond." There was a refinement in his speech that hinted of a privileged upbringing, yet the absence of a surname intrigued you. Perhaps he was an educated slave, adept at tutoring and managing the finances of the master's household — literate slaves were not uncommon in the Roman Empire.

"And what have you heard, Aemond?" you inquire.

"It is said that scientific inquiry is seen as an offense to the Seven," he responds evenly, referring to the gods. "Questioning their creations is considered sacrilegious." Several students nod in agreement around the room.

You paused for a moment, gathering your thoughts.

“It is true that outside these walls, the belief that science is sacrilegious is held by many people,” you say slowly. “Perhaps even now, some of you are wrestling with the idea, torn between conventional thinking and what you are learning at this institute. If this is the case, I implore you to consider this —” 

You look out at the faces of your pupils. Some are focused and deep in thought, while others are frowning. A lone blue eye is fixed on you.

"—What act of love is greater than seeking to understand the object of your affection? Mathematics, physics, and astronomy are not merely academic pursuits but they are expressions of love. They are avenues through which we seek to comprehend and appreciate the intricate beauty of our world.” You gestured around the room. “I am aware that some of you are followers of the Seven. Some of you are devoted to the old gods. But science does not seek to refute the existence of one God over another, nor does it attempt to debunk the existence of the divine altogether. Science seeks only to understand.” You look in Aemond's direction. He's watching, listening intently. “In attempting to understand the natural world, we may better love the divine and appreciate their creations.”

🏛⏳️

The remainder of the class concluded smoothly, and due to the sweltering heat, you dismissed everyone earlier than usual. Despite the hour not yet reaching midday, the air was thick with humidity, making the classroom feel oppressive. You had no desire to keep your students in the stuffy classroom for longer than necessary.

As the others rush to leave the room, you notice that Aemond was kneeling down and using a handkerchief to clean the dragonfly off the floor.

“Thank you,” you say to him earnestly. His brow is furrowed in concentration as he delicately holds the insect through the thin white cloth. He picks up a broken piece of an iridescent blue wing, the shimmer catching the light.

"It's an epaulet skimmer," you remark softly. But you're not looking at the bug, you're looking at him.

"Orthetrum chrysostigma," Aemond responds, using the scientific name. You regard him with curiosity. 

“My sister has a fondness for insects," Aemond explains. "She is extremely gentle with them. She maintains an extensive collection in her room — beetles, caterpillars, dragonflies, and the like. But she only gathers them once they've passed on. Her heart is too big to confine them before they've lived a full life." He gazes at the broken wing in his hand with a hint of sadness. You suspect that he is thinking of more than the fate of the squashed bug.

“Some cultures believe that dragonflies were once dragons who were tricked by a jackal to change shape into insects,” you say, looking at the wing in fascination. “Once they became a dragonfly, they couldn't transform back. As a result, they represented change and illusion.” 

You notice that Aemond's gaze is now fixed on you, a blue eye that reminds you of iridescent wings and the shimmering surface of the Nile on sunny days. You think of mirages in the desert, blue lapis lazuli on polished gold rings, the holographic shells of scarab beetles. 

“They must've been very grand in their past lives,” he remarks.

There's a short silence as you observe him, unsure of what to make of this strange new addition to your class. As your gaze shifts from his eyepatch to his eye, you notice that he's studying you too. Suddenly, you feel very exposed, as if he was somehow reading your entire life story just by looking at you. 

Breaking the tension, you extend your hand. "I realize I haven't properly introduced myself. It's been a pleasure having you in my class," you say, stating your name. He accepts your gesture, clasping your hand in a firm shake.

“You're the daughter of Theon. Your father is the greatest mathematician in all of Alexandria,” Aemond says. “I know who you are.” 

“Do you study mathematics?” 

“No. History and philosophy,” he replies. “But I've read enough across all the disciplines to know who the greats are.” 

“I don't think I've ever seen you around here before,” you note.

"I just started my studies here," he explains. "I arrived last night."

"Where else have you studied?" 

“Nowhere else. All my education has been from tutors hired by my family at home.”

"If you don't mind my asking, where do you come from?" 

He hesitates. “I've been around,” he says at last. 

🏛⏳️

That afternoon, you decided to teach your next class in one of the classrooms overlooking the sea. Arriving early, you unlatch the tall, arched windows, hoping to coax a gentle breath of ocean breeze into the room. As the soft light of the late afternoon filtered through, you arrange your teaching materials as the first of your students trickled in.

The class was on Euclidean geometry. As it happens, this was one of your favorite subjects to teach. You loved to move around the room, using various objects — such as a discus, a sphere, and even a pineapple — to illustrate geometric shapes and their properties. It was more than just memorizing formulas; it was about seeing and understanding the spatial relationships and practical applications of mathematics in the physical world.  

Two thousand years from now, Euclidean geometry would be the foundation for computer graphics, radiology, and geographic information systems. Without Euclid, you wouldn't have video games or anime. There would be no x-rays to help doctors treat broken bones. Without Euclid, there would be no Google Maps, nor would you be able to stalk your crush's location on Snapchat. 

Abruptly, you are cut off mid-lecture as a series of bold knocks echo off the door. You excuse yourself and open the door cautiously, finding yourself face-to-face with six armored men adorned in gold cloaks. You step out into the atrium.

"What is your business?" you ask, your gaze sharp and guarded.

“Prince Daemon Targaryen wants to speak to Theon of Alexandria. I'm told you're his daughter,” the guard at front says firmly.

“My father is indisposed. Whatever business you have with him, you can discuss with me.”

A sudden laugh rings out across the atrium. Every movement in the hall comes to a standstill as scholars pause their tracks and turn their heads. In front of you, guards quickly part ways for a tall man with long silver hair. His armor clinks as he strides towards you, his eyes mischievous like those of a jackal, reminding you of the ancient depictions of Anubis on temple walls. Adorning his shoulders is the same golden cloak worn by his men.

It was the unmistakable Prince Daemon Targaryen, brother of King Viserys and the consort of the crown princess Rhaenyra. But to the smallfolk, he is known as the merciless commander of the City Watch. 

Daemon looks at you like you are the scum on his shoes. “I don't have time for games, girl,” he says mockingly. “Where is your father?”

“Like I've said, he is indisposed,” you repeat, meeting him with a steady gaze.

“I have come a long way from the palace,” he says, offering a false honeyed grin. “You will fetch him for me.” 

You give a smile that mirrored his. It was common knowledge that Prince Daemon frequented the company of his mistress in the city more than he did his own wife at the royal palace.

"I speak the truth when I say my father cannot be here right now, and I apologize on his behalf. However, I am willing to assist you,” you assert calmly.

"This does not concern you," Daemon retorts dismissively. "I am here on business concerning your father's governance of this... academic institution."

"I am a professor here and a senior member of the Library of Alexandria," you counter, maintaining your composure. "After my father, you will find no one more knowledgeable about the affairs of this institute than I am."

Daemon scoffs, his tone condescending. "There are matters too serious to discuss with a woman.”

“Then I'm afraid you will have to come back another day, my prince.” 

“Where is your father?”

“He is sick. Unless you have a direct order from the king, I would prefer not to disturb him from his much-needed rest."  

The unspoken truth hangs heavy in the air — the Library is under the protection of the crown, and Daemon, despite his authority, is not the king. The prince's expression darkens, a sneer painting his features as his knuckles grip around the handle of his sword on his waist. You find yourself locked in a tense staring contest, both unwilling to yield. Moments tick by in silence, each waiting for the other to give in. Then —

“Very well,” he concedes, letting go of his grip on the sword. But you knew from his expression that this was far from over. Daemon casts a disdainful glance around the atrium as if the place offended him before turning and walking away from you. His gold cloaks follow him, their armor clanking all the way to the main doors of the library. 

It is only when the last of them exited onto the street that you allow yourself to release the breath you've been holding.

🏛⏳️

“Daemon Targaryen? What was he doing here?” You hear Cregan before you see him.

You're in the far corner of the main reading room, kneeling before a crate with a new shipment of scrolls that came in from Greece. Gently opening the lid, you discover a signed note from the head of the Platonic School of Athens. Ἕν οἶδα ὅτι οὐδὲν οἶδα. Αὕτη ἡ γνῶσις ἐμοῦ ἐστιν, it reads at the end. One thing I know, that I know nothing. This is the source of my wisdom. It is a quote by Socrates.

Cregan emerges from behind a shelf, his gray eyes wide with exasperation.

“I can't say that I haven't expected this,” you say to him, picking up a scroll and lightly dusting it off. “It is no secret that Daemon puts up with us only because of the pharaoh.”

“Well, yes. But to barge in here and demand for the Professor—” he means your father Theon.

“He's been sending us threats for months.”

Cregan paused. “When did this start?”

“Four moons ago, when King Viserys reinstated him as Lord Commander of the City Watch.” 

Daemon had been the commander of the city watch once before, but that had been years ago, and back then he was more interested in dealing with criminals in the worst parts of the city. But after some scandal with the Princess Rhaenyra, Viserys had exiled him to Rome. Now, he was back and had regained both his old post as leader of the city guard and the Princess Rhaenyra, whom he took to wife. However, this time, Daemon was turning his policing to the University of Alexandria, more commonly referred to as simply the Library. Apparently, scholars are the new criminals.

“Why didn't you tell me?” Cregan asked, clearly frustrated.

“I didn't want to burden you with it," you reply honestly. "You've been occupied with your research with Princess Helaena these past four moons.”

Cregan rubs his eyebrows. “What has he been threatening?”

With a sigh, you rise to your feet, making space on the shelf for the new scrolls. Cregan joins you, handing over scrolls from the crate as you arrange them carefully in their designated spots on the shelf. 

“He wants to shut down the Library if we don't — and I quote his words — ‘tone down on the science’,” you explain. "He's pushing for censorship, insisting that everything that is taught and published here must be 'safe' for the public. He claims it's about protecting the moral well-being of Alexandrians."

Cregan snorts derisively. "I wonder what his wife thinks of his moral well-being."

"That's an ad hominem attack, Cregan," you chide gently. But you're smiling.

“We're the best scientific research institution in the Mediterranean,” he says. “And, let's face it, we're probably the best in the entire world. We owe it all to King Jaehaerys's proclamation over 50 years ago, protecting our intellectual freedom. Even Daemon Targaryen can't derail something like that.” 

“Daemon doesn't like anything he can't control,” you say. “Nor does he like taking no for an answer.”

“He's a cunt,” Cregan muttered angrily. “His word isn't law but he sure does want to act like it. Did you hear he's been trying to ban all Northerners from entering Alexandria? Unless they're slaves, that is. It's utterly absurd. He's a Northerner himself. His entire family hails from the north—well, not the North, but north of the Mediterranean. Valyria is a small city-state in Greece. Still, that's north of us. If he wants only true Alexandrians in the city, maybe he should consider leaving as well." The Targaryens, although originally from Greece, had become the longest-reigning dynasty in Egypt, despite their non-Egyptian origin.

"What does Princess Helaena think?"

"Of Daemon?"

"Of the North."

Cregan blushes slightly. "She's mentioned that we should visit there together someday," he admits. “For research purposes, of course,” he adds quickly. 

You grin. Cregan has been your closest friend since childhood, and you swear you've never seen him as happy as he's been the past few months.

"She wants to see the direwolves and the aurora borealis,” says Cregan. “I promised her I'd show her around Winterfell when we go." Winterfell, Cregan's hometown, nestled in a far-off corner of the world where snow and frost dominate most of the year — a large contrast to the sandy dunes of Egypt.

“You like her,” you mused.

“Don't be absurd,” Cregan says, but he's failing miserably in hiding a smile.

There's a rustling among the shelves behind you, and the next thing you know, you're face to face with a single blue eye that reminds you of ocean water and iridescent wings.

"Sorry, I was told that the texts about Plato are in this section?" Aemond asks.

"Oh. Yes. Absolutely," you reply quickly, gesturing around you. "I mean, they're all here. Everything on this wall is Plato. We've just received a new collection of his works from Greece and we just finished cataloging and setting them up. They're on this shelf. Here." Your words stumble out awkwardly, and you feel your cheeks flush with embarrassment.

“Perfect,” Aemond says, looking at you. Neither of you move. Cregan eyes the two of you with amusement. 

“Well, I was just about to head out,” Cregan says cheerfully, sashaying past you. You turn, widening your eyes and mouthing no to him. Cregan simply grins as he disappears behind the bookshelves, leaving you with Aemond. 

“You read Plato?” you ask.

Aemond nods. “I am an admirer of his work,” he says. “You were one of my first introductions to him, actually. I read your thesis on him, An Exploration Into the Metaphysics of Plato, when I was sixteen.” 

“I can't imagine there would be many copies of that,” you say with amazement. “I wrote it when I was—”

“Sixteen,” Aemond says. You blink. He clears his throat. “I've been a follower of your work,” he adds shyly.  

“Oh. I'm flattered.” You’re blushing.

“Is it true that you started studying at The Academy when you were fourteen?” He means the Platonic School of Athens, founded by Plato himself over 300 years ago. Most scholars called it The Academy. It is the first university to ever open in western civilization.

You nod. “I learned mathematics and astronomy here, but my father wanted me to get a hellenistic education on top of it, so he sent me to Greece. I stayed there for four years before returning to Alexandria.”

“I have a brother who studies there,” Aemond shares, leaning against a bookshelf. “My mother, being an Athenian herself, insisted he be sent there. He writes to me sometimes, telling me about the professors he works with. I had considered studying there myself.”

“What made you choose Alexandria over Athens?”

Aemond smiles. “I'm at the center of the world here. It seemed foolish to want to go anywhere else,” he says, his gaze sweeping the library around him. After a pause, he asks, “What made you want to teach?”

“The fear of oblivion,” you reply. "It's the realization that everything we do, everything we learn, and everything we create could be forgotten someday. Teaching, for me, is a way to combat that inevitability. By sharing knowledge, by shaping young minds, I can hope to leave a lasting impact — a legacy that outlives me."

Aemond nods thoughtfully. "So it's about leaving a mark on the world?"

"In a sense, yes," you affirm. "It's about contributing to something greater than myself, ensuring that knowledge endures beyond individual lives and fleeting moments."

He smiles faintly. "That's a noble pursuit."

"It's what drives me," you conclude. As you look at each other, you feel his gaze tracing over your face with a strange emotion. Awe? Admiration? Before you can decipher his thoughts, a scholar approaches the shelf behind you, prompting you to awkwardly step aside.

"I hope you find the resources on Plato you're looking for," you say to Aemond, refocusing on the moment. You pause. "We're hosting a seminar on Plato's metaphysics tomorrow afternoon in the Rose Hall. You should join us."

Aemond smiles. “I’d be honored to.”

🏛⏳️

Daytime in Alexandrian summers can be hot enough to fry an egg on the sidewalk, but when the chill sets in at night, the city transforms into a completely different land. It is under the cloak of darkness that Alexandria truly comes alive.

You’re wrapped in a headscarf, its tail fluttering in the gentle wind from the Mediterranean as you navigate the narrow streets of the night market. Oil lamps and torches cast a soft, flickering glow as shadows danced across buildings decorated with a mix of hieroglyphs and hellenistic art. On the streets, you hear people speaking in both Greek and Egyptian, but also Persian, Moroccan, and other various African and Asiatic dialects. Various aromas filled the air— spices mingled with the savory scents of grilled meats and the sweet notes of baked pastries and delicacies from the far corners of the world. It was the New York City of the ancient world.

Weaving between stalls adorned with colorful fabrics and gleaming trinkets, you spotted one of the gold cloaks from earlier that day. Upon noticing you, he gave you a brief, curt nod before turning his attention sharply towards a group of rowdy children who were blocking the path of a passing wagon.

You make your way to an apothecary stall, securing the medicine your father needs before turning to leave. Suddenly, a hooded figure trips over a wooden crate and crashes into you, causing both of you to tumble to the ground. You fall flat on the cobblestones, his weight on top of you. Your basket with the apothecary vial shatters on the road.

“Ow!” he yelled. You struggle to push him off and get to your feet, then reach down to help him up, steadying him as he sways unsteadily. His hood falls back, revealing a mess of unruly white curls. 

Prince Aegon Targaryen. You’ve seen him a few times while going around the city. The eldest son of Queen Alicent, known to frequent the streets of Alexandria often. Aside from Daemon, he was the only royal that most of the smallfolk could recognize by appearance.

"Prince Aegon," you say cautiously, helping him steady himself. "Are you alright?"

He blinks a few times, focusing on you with bleary eyes. "Why, hello," he slurs slightly, attempting a lopsided smile. For a prince, he seemed dirtier than Diogenes and his barrel.

"Let me help you," you insist, guiding him away from the scattered shards of glass. You maneuver him towards a nearby bench, ensuring he sits down safely.

"I’m alright, I’m fine," he murmurs, running a hand through his disheveled hair. He groaned and vomited on the ground next to him. You pat him on the back awkwardly as he empties his stomach.

“Did my mother send you?” he said abruptly.

“What?”

“My mother. She sent you, didn’t she? I can’t catch a break these days,” he grumbled. “The woman is a menace. She’s become crazier since my brother got exiled. I can’t even drink in peace now. She’s sending her spies everywhere.”

You frowned. “I’m not a spy, my prince.”

Aegon wipes his mouth with the back of his hand and sits back heavily on the bench. He tilts his head up at you, scrutinizing you, and then he sighs and hungs his head.

“Forgive me,” he mutters, almost to himself. “I’m tired of the games. Tired of the scrutiny. I’m tired of the standards that she sets for me, and I’m tired of her disappointment when I fail to meet them. Can’t she see I don’t want any of this? Can’t she just let me be?”

You hesitate, unsure how to respond to the prince's candidness. He was clearly drunk and you’ve only just met him, and you’ve heard unsettling rumors about him. Stories of his frequenting brothels and fighting rings, of fathering illegitimate children and neglecting them. But in this moment, he seemed far from the crooked prince that people whispered about. He seemed like a child in need of comfort.

“Your mother worries about you,” you say gently. “She only wants what’s best for you.”

He scoffs bitterly. “Does she? Tell me, have you ever had a mother who would rather marry you to your own sibling for political gain than let you live your own life?”

You shake your head slowly. “I cannot say I understand fully, but I know you carry a heavy burden.”

“Sometimes I wonder if I’ll ever be free of it.” Aegon leans back, staring up at the night sky with weary resignation. “My brother was lucky. I’d do anything to exchange places with him.”

You recalled hearing news of Queen Alicent’s second son, who had been condemned to work in the mines of Nubia as punishment for the murder of his nephew. The usual penalty for murder was death, and much worse if the victim was a royal, but since the criminal was a prince himself, it changed a few things. The Nubian mines were typically reserved for lesser crimes in Alexandria.

“The one who was exiled to Nubia?” you asked Aegon.

He chuckles bitterly. “My brother didn’t get sent to Nubia. Mother loves him too much for that.”

You stayed quiet, not knowing what to say. You had a feeling that you weren’t supposed to be hearing this piece of information. Yet, Aegon didn’t seem to expect a reply. He’s looking up at the stars, as if he wished to fly off into the heavens and leave his miseries on the ground.

“Thank you,” Aegon finally said, breaking the quiet that had settled between you. Thank you for listening, thank you for not judging, thank you for watching out for my drunken mess. He rose to his feet, a bit unsteady but more composed than before. He took out a pouch of coins. “This is for… what I broke,” he said, gesturing to the remnants of the vial around you, shards of glass glittering under oil lamps. You thought of the broken dragonfly wings from earlier in the day.

You accepted the pouch gingerly. What he gave you was worth much more than the cost of the medicine, but you didn’t want to offend him so you decided not to mention it.

“Should I call the guards to escort you back to the palace?” you asked.

Aegon blinked, his gaze drifting momentarily. “No, no,” he said, waving dismissively. “They’re my uncle’s people. They don’t like me.”

"Will you manage on your own?" you pressed gently.

Aegon straightened his cloak and mustered a tired smile. "I always do," he said. 

With that, the prince turned and started to walk away. You watched as he disappeared into the narrow streets, his figure gradually blending with the shadows.

Chapter II: Coming Soon

[zxmbigirlfriend]

hopes peak academy tumblr dashboard simulator

🍡kusamochis Follow

i hate ultimates fuck off ultimates ultimates dni

🍀nagikomaeda Follow

reserve course lmao

🍡kusamochis Follow

YOU ARE LITERALLY WHO I’M TALKING ABOUT HERE

#except for @gamez4life you are the only exception ily

47 notes

🐉best-sister Follow

@lesbienning what are you gonna do? cancel me for “harassing ultimates”?

📸lesbienning Follow

123.69.420.51

🐉best-sister Follow

WHAT THE FUCK

1,609 notes

🐰gamez4life Following

why can’t reserve course and main course just get along :(

473 notes

🐺fenrir-mercenary Follow

@junko-enoshima-official how do you reblog

5 notes

🔮mageofdespair Follow

haiii!!! :3 our warrior cats animated series featuring our ocs “the rise of despairstar” has its first episode out now :3!!! Drawn primarily by @birdskinhater and voice acted by @totezadorbz, we’d like to say thank you to @junko-enoshima-official for helping give our project more recognyation!! :3333

💋junko-enoshima-official Following

#omgggg this slayed #not to be a warrior cats fan or anything but i TOTALLY LOVE despairstar she serves CUNT you with me she serves CUNT

21,394 notes

🍡kusamochis Follow

Getting brain surgery tmrw hope it goes well

11 notes

🎓hope’s-peak-academy Following

Clarification- our school has NOT taken part in any unsanctioned lobotomies. Such behaviour is abhorrent and we recommend that any reports of it are to be reported immediately.

2,356 notes

🍬candygurl Follow

just got expelled

21 notes

🍀nagikomaeda Follow

Finished my junko enoshima callout doc, you can find it here

#junko enoshima #anti junko enoshima #junko enoshima critical

685 notes

💉kill-your-self Follow

i stand with my cancelled wife

💉kill-your-self Follow

shut the fuck up about your fictional characters this is about my real-life girlfriend

3,687 notes

🎤ilovesayakamaizono Follow

shes so pretty it hurts…

#koma talks #i love her #sayakaposting

7 notes

🎸 bookidooks Following

IS THAT A FUCKING DEAD BODY

#WHAT THE ACTUAL FUCKKKKKK

9 notes

🐱cutesquish Follow

Fun fact: killing people is universally wrong! If you think otherwise you are a horrible person and I hope you fall in a tar pit!

📸lesbienning Follow

Fun fact: you shouldn’t be morally policing other people’s activities! Everyone has their own way of expressing themselves and you shouldn’t be forcing your views onto others! Op is an asshole, don’t listen to them!

🐱cutesquish Follow

what. what the FUCK.

🃏irlvamp Follow

Calm down. It is unnecessary to be throwing a fit after an innocent comment. I believe it is important to see both sides of the debate.

🐱cutesquish Follow

don’t you like run an illegal underground gambling ring

🎸 bookidooks Following

anyone here smoke weed

10,452 notes

🐰gamez4life Following

Playing this cool horror game… there’s “punishment” if you failed a task and there was this one were we had to go through all these traps and eventually got impaled… god it looked painful i would definitely not like to be in that game

#it was so sad too? Like we got a little bit of hope and then it got quenched out :( #i HATE the evil teacher btw how dare she betray us

5 notes

[morbethgames]

Halloween Special, Current Projects, New Patreon Content

I am so sorry about the radio silence as of late. Between the stuff earlier this week (yes, that stuff), dealing with deaths of people, and university; I've been very busy and mentally drained. However, the good news is, you can play the mini game of The Bureau, "Witchy Woman" right now! The link is at the bottom of this post! Eventually I'll integrate it into the main game, or put it out as potential free DLC or something, but for now there are no stats and it's not tied to choices from the base game.

Tonight is a special case. The MCT has been called in as a favor after finishing up our most recent case. A friend of Kris's reached out, and the local P.D. has let the MCT take the lead on this one. A house party in the beginning of October up in Maine has turned sour. A party-goer has been reported deceased.

We just finished a job, but in this line of work, there's always another case to solve. So here I am, approaching the residence with my team, about to find out exactly what happened on this cold, damp night.

Because it's not part of a bigger game or story, and the only pacing I had to worry about was that of the investigation, this is much more freeflow than other investigations in the main story. Go back and forth between the crime scene, the perimeter of the house, interrogations, and more! The more you discover evidence, the more new options will unlock in conversations, and you have an evidence log in the stats section that updates every time you find out something relevant to the case.

I'm only promoting this now, even though it's been done for a couple of weeks, because it was part of a Jam and I didn't think it would be fair if I got votes from a community built over a few years when others in the Jam would not have had that same benefit. I wanted it to be an even playing field, even if it meant holding out for a bit. So, I apologize for making you all wait.

There are still things I'd like to do for this game, things I'll end up adding, but it is at the very least ready to play. It's 40k words, so have at it!

------------------------------------------------------------------------------

Right, next up, something I'd like to announce. I'm working on a serialized fiction that I'm (hopefully) planning to turn into a book. The first 3 chapters are going to be posted for free, both here on my blog and on my Patreon, though not quite yet. Chapters after that will be released on Patreon for the people who pay the $5 tier.

I'll be honest, it has been extremely cathartic to go from writing an IF where the chapters are all pretty much the length of a book themselves, to writing an actual book where a chapter is about 4k words. It's a very nice breath of fresh air, and it by no means, entails that I will stop working on Bureau. In fact, it may even help speed up rate of production, funnily enough. Having something to keep my mind turning while having writer's block about a scene in the IF will help me constantly generate ideas, and that's really nice to think about.

A small college town is rocked by a horrific murder. In wake of the events, a couple of friends begin investigating this personal tragedy, determined to get to the bottom of what happened at the Scribe City college. The lesson is quickly thrust upon them that loss leads to pain, but pain is temporary, and loss can be forever. So what comes after the pain? They need to explore that journey together, and in the process, navigate the complicated things feelings that have started to bloom.

The book (serialized fiction for now) , called Love In Stasis, is going to be a 'WLW romance small town college murder mystery'. You will explore the relationships that these characters have and continue to form, and just how messy things get when tragedy sparks love. I have almost 25k words done for it, about six and a half chapters, and I'm going to try to get 50k words done with it by the end of the month. A writing challenge that's totally not tied to the name of any organizations.

If this works out, I could reward patrons with static fiction while not having to worry about providing everyone with constant things tied to the IF itself, and I could work on The Bureau at a pace I'm very comfortable with.

I'm still learning as a writer. I'm still learning new things I like, and how I like to produce content. All I know is that I like producing art in the form of writing, and I most certainly will not stop doing that anytime soon, and now that the Halloween Special is done, I will be getting back to the base game.

Which will start with a complete recoding of the gender variables. I've already started on that process, so no more multiple versions of each chapter. One version. One set of gender variables. Much more condensed coding and script. So, people out there who said that wasn't going to change, I just have to say what I'd said all along. My coding was indeed bad. However I will also say something else I've said all along. I do take criticism.

That being said I'm never using multi-replace and you can't make me. I like being able to read what I'm writing.

More to come in the near future.

Stay Brilliant,

-Vi

https://cogdemos.ink/play/viisbae/the-bureau-halloween-special-witchy-woman

Patreon Link

[maxdibert]

I have a question; so M stans make fun of Snape’s looks but at the same time some attribute to their characters via headcanons conventionally “unattractive” features. How’s that so ?

and regarding the new fans that seem to have a preference, do you thing any of them will change their mind

Look, I don't want to get into this topic because honestly, it's something that delves into the world of projection and lack of self-esteem. But I'm going to give my opinion on what I believe is happening, and I say "believe" to be humble, but deep down, I'm 99.999999% sure that this is what's going on.

Severus was a loser, an outcast, and the cool kids bullied and beat him up. He wasn't a typical main character; he wasn't charismatic or socially successful. Fans of the Marauders are probably much like him in their daily lives, but they don't want to be like him. They want to be the main characters and sublimate their fantasies and desires for social triumph and popularity. Since they can't achieve this in the real world, they turn to fiction, a common escape route. To do this, they've chosen the rich and popular kids from the story, the ones everyone feared, wanted, or followed. But those popular kids have nothing to do with them as people. Nothing. Not physically, not in personality, not in values. James Potter and Sirius Black would have beaten up any of their most ardent fans who project onto them so distortedly to identify with them. Because James Potter and Sirius Black are not social justice warriors defending the weak, challenging gender stereotypes, and going against the established norms. James Potter and Sirius Black are two rich, abusive kids who like to show off, proving they can rule the schoolyard however they please, hexing anyone who annoys them too much in the hallways, especially a Slytherin kid who, curiously, doesn't come from a good family, has no money, no parents to back him up, and who they laugh at for wearing old underwear and strip naked in the middle of the school. James Potter and Sirius Black publicly strip people; they're that kind of guys—those white dudes with hyper-toxic masculinity who assert their power through force. They're the opposite of breaking gender stereotypes or challenging the hegemonic norms of masculinity. They're alpha males. And Remus Lupin is not a fuckboy; he's a fucking cowardly loser with self-esteem on the floor and not half a ball to tell his friends they're assholes because, honestly, they aren't really his friends. They're people who appreciate him because he provides them with monthly entertainment and doesn't cause problems. And Peter Pettigrew is their cheerleader and pet. But fans don't like that because they can't identify with them, just like they can't identify with Barty Crouch or Regulus Black, two rich, fanatic kids eager to kill Muggles. But they're the cool kids, and the fans want to be the cool kids they never were in school or belong to that group of social privileged. That's why they've invented OCs with canon names like Pandora, Marlene, or Dorcas—or whoever—who no one cares about, to project themselves as part of the "cool crew." So they've basically changed the personalities of these characters and turned them into guys who don't conform to traditional masculinity or challenge beauty standards (despite Sirius, for example, being described countless times as the epitome of male beauty, but okay) and don't fit hegemonic models (like the headcanon of Lily being fat, even though Lily is also described countless times as a super pretty and very popular girl partly because of this). This way, they use the characters as projections of themselves and sublimations of their frustrated dreams. Not picking on Snape, not hating Snape, not criticizing Snape, not laughing at Snape would mean stepping out of their fantasy and accepting that, indeed, if they'd been in the same class as James and Sirius, they would've been just like Snape. That's how they would've seen them. They would've never accepted them in their group or made them part of the school social elite. It wouldn't have worked that way. So it's okay; they make Severus ten times uglier and justify body shaming and victim blaming by turning him into some kind of obsessed potential rapist, thus finding an excuse to dissociate from the fact that, in real life, they probably have ten times more in common with him than with any member of that generation. But, of course, they don't want to remember in their fantasy worlds of triumph and success how much of losers they are in real life. It just doesn't fit.

And I'm not talking about the long-time Marauders fans, those who are fans knowing they were assholes and still like them because they were the worst and portray them faithfully. I'm not including them here, okay? I'm talking about the fucking dumbs with cognitive dissonance issues, and I wouldn't shit on them if it weren't for the level of victim blaming they handle and the dangerous discourses they spread around, like blaming a victim of sexual assault and bullying for having received violence. These people should look in a fucking mirror because they're admiring characters who would break their fucking heads if they could.

In other words, I would tell these people to learn to love themselves more and stop being so pitiful because the desperation for success is noticeable from miles away and is a natural repellent to achieving it.

[darcytaylor]

When “Just Looking at the Evidence” Becomes a Problem

Before I get into this, I want to be clear - this is not directed at shippers who simply enjoy Luke and Nicola’s chemistry, those who appreciate them as people, or those who respect their private lives.

Shipping is a natural part of fandoms, and when done respectfully, I think it’s fine.

This post is directed at the people who have taken shipping to an extreme - those who have convinced themselves they are "just looking at the evidence" while weaving together wild, invasive, and often insensitive theories. At that point, it’s no longer shipping - it’s something entirely different.

Shipping vs. Fantasizing: Know the Difference

There’s a huge difference between harmlessly shipping people - whether fictional characters or even co-stars - and creating elaborate fantasies about real individuals. While shipping can be a fun way to engage with a story or fandom, projecting detailed, speculative narratives onto real people can cross into invasive territory.

Shipping: Enjoying the chemistry, friendship, or dynamic between people, often in a fictional or lighthearted context.

Fantasizing: Constructing speculative stories about real people’s private lives, often based on incomplete information (and flawed so-called "evidence") without regard for their boundaries.

Why Fantasizing About Real People Crosses the Line

When fans create elaborate narratives about real people, it can:

Blur the line between fiction and reality: Making it harder for others to separate speculation from truth.

Perpetuate false narratives: Leading to harassment or invasions of privacy.

Disrespect individuals: By reducing their lives to a storyline crafted for entertainment.

People are far more nuanced than the curated glimpses we get online or in public. Social media posts, photos, or even patterns of behaviour aren’t a roadmap to someone’s inner life or relationships. They’re just snapshots - fragments of a much larger, unseen picture. And often, those fragments don’t connect the way people want them to.

The Loophole That Isn't a Loophole

I’ve seen some people claim that Nicola saying "If you have an opinion about me, that's ok. I understand I'm on TV and people will have things to think and say, but I beg you not to send them to me directly" somehow gives them permission to speculate about things like pregnancy.

Let’s be real - that is absolutely not what she meant. She’s literally acknowledging that people will have opinions, but she’s also making it clear that things like that make her uncomfortable. Saying "Don’t bring it to me" doesn’t mean she’s fine with people debating her body - it means she knows shitty people exist, but she’d rather not be subjected to it.

And sure, maybe you’re not sending it to her directly - but you are still doing the exact thing that makes her uncomfortable. And by putting it out into public spaces, you’re making it far more likely that it gets back to her indirectly. So whatever justification people think they’ve found? It’s fucking moot. It’s still insensitive.

Belief Doesn’t Equal Truth

Believing you’ve pieced together the “truth” because some moments appear to align is misguided. It overlooks the unknowns - the context we’re missing and the layers that exist in people’s lives. Just because something can seem a certain way doesn’t mean it is that way.

Humility matters. Recognizing that no matter how much you think you know, you actually know very little. Taking a step back and saying, “I don’t know what’s really going on” is not only more truthful but also shows respect for the people involved.

It’s okay to want people to be together - innocent shipping of loving chemistry between people is okay - but it’s not okay to create wildly speculative stories that exist only in your own mind.

Humility in Speculation: Knowing What We Don’t Know

Here’s the truth - I don’t know the full picture. None of us do. I don’t know Luke and Nicola as people, and I don’t know the ins and outs of their personal lives. And that’s okay. I'm not going to piece together and come up with my own flawed story about other peoples lives.

What I do know is that certain theories and speculation can be harmful, even when people think they’re harmless. Just because something is being discussed publicly, or even “positively,” doesn’t mean it isn’t invasive. (Cough spreading invasive pregnancy rumors cough). It doesn't mean it is kind. The line between curiosity and intrusion is thinner than people think.

Even if you think you've “figured something out,” there is always so much more you will never see, hear, or understand. Just because an idea feels compelling or fits a certain pattern doesn’t mean it reflects the truth.

So before engaging in deep speculation, it’s worth asking:

Am I respecting their privacy?

Am I letting curiosity turn into entitlement?

Am I remembering that these are real people, not fictional characters?

On the Idea of “Being Duped”

I’ve also noticed some frustration in the fandom, with people feeling like Luke and Nicola somehow “duped” the public with their behaviour on tour.

What we saw on tour was not unusual for two people who:

Are comfortable with each other.

Work together (and especially in the acting world).

Have shared an intense, career-defining experience.

This kind of dynamic isn’t uncommon in the entertainment industry or in any field where people work closely together (I know from personal experience). Their bond is unique, but that doesn’t mean it has to be romantic. To me, it’s always read as a deep friendship, a strong professional partnership, and two people who genuinely enjoy working together. And it really is beautiful!

I think some people wanted their interactions to confirm a specific narrative, and now that things aren’t aligning with that, they feel misled. But that’s not on Luke or Nicola. It’s a reminder that interpretation is subjective, and that sometimes, we project our own expectations onto things rather than seeing them for what they are.

The Consequences of Unchecked Fantasies

Making up stories about real people and treating those stories as fact (even when you say that you are okay if you are wrong, or if you say that you are just speculating) adds to:

Noise and confusion: Amplifying drama and misinterpretation.

Unnecessary pressure: On the individuals involved, complicating their personal lives further.

Public harassment: Rumours often escalate, influencing others to unfairly judge or attack. Bringing it indirectly to the main people in your fantasies.

Sure, you can feel like you’ve pieced together a narrative in your mind that makes sense to you. But actors are human beings, not characters in a fan-fiction. They shouldn’t be stripped down to an idea of what you think they should or shouldn’t be doing.

I’ve said this before, and I’ll say it again - people are nuanced. People are dimensional. If you don’t know them personally, you have no idea what goes on in their day-to-day lives. A few curated moments from interviews or social media will never give anyone the full picture.

I’ve seen a lot of people build theories around what they believe is evidence. But if you really looked at it critically, you would find that much of it is based on assumptions rather than actual confirmation. It’s worth asking - are you trying to make reality fit the story you want to believe?

Public speculation/fantasizing can have consequences that extend beyond the screen - impacting the real people you claim to support.