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workersolidarity · 1 year ago

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[ 📹 Israeli occupation airstrikes targeted Khan Yunis, in the south of Gaza, leaving several casualties among paramedics and civil defense teams. The Palestinian Red Crescent says occupation forces continue to target ambulance and civil defense crews in the latest of Israel's crimes.]

🇮🇱⚔️🇵🇸 🚨 💥PARAMEDICS AND JOURNALISTS TARGETED ON 97TH DAY OF ISRAELI GENOCIDE💥

Israeli Occupation Forces ramped up their bombing and shelling of the Gaza Strip Thursday, killing dozens and targeting journalists and paramedics on the 97th day of the Israeli genocide of Palestinians.

In the south of the Gaza Strip, six Palestinian civilians were killed and many more wounded east of Khan Yunis, as a result of bombing raids by Israeli jets.

Also in the South of Gaza, occupation aircraft bombarded the home of the Bassam Abu Namous family on al-Samasma Street, west of Khan Yunis, killing seven civilians and wounding 25 others.

Occupation helicopters also fired sporadically into Khan Yunis, killing 19 over the previous day, due to Israeli bombardment.

IOF soldiers also continue to bomb and shell various residential homes in the Qaizan al-Najjar neighborhood in the south of Khan Yunis.

In Gaza City, IOF warplanes targeted the home of journalist Mohammed al-Thalathiini, killing the reporter and bringing the death toll among journalists in Israel's genocide to 112 since October 7th.

Israeli forces also targeted the al-Bureij, al-Maghazi, al-Nuseirat and the al-Mughraqa Camps area in central Gaza with heavy artillery fire and bombing raids.

In addition to these crimes, a Palestinian youth was seriously wounded as a result of targeting by an Israeli missile fired from a drone on al-Bahr Street in Rafah, southern Gaza.

Meanwhile, elsewhere in the north of Rafah, southern Gaza Strip, the Abu Hatab family home was targeted by the Israeli occupation, killing six and wounding several others.

A multitude of wounded Palestinian civilians were also rushed to al-Shifa Medical Complex in the west of Gaza City, with three citizens killed from the Machi family, in the vicinity of the now defunct and destroyed Gaza International Airport that once existed in the enclave's capital.

In central Gaza, six Palestinians, including four from ambulance crews, were slaughtered when occupation jets targeted and bombed an ambulance on Salah al-Din Street, adjacent to the al-Maghazi Refugee Camp.

According to the Palestinian Red Crescent Society (PRCS), the Israeli occupation "deliberately targets" its ambulance crews, even when coordinating with International partners, with the PRCS warning against the targeting of the few remaining medical centers in the area.

A Palestinian residential home was also targeted near the entrance to al-Aqsa Martyrs Hospital in the Deir al-Balah area, resulting in the deaths of 12 civilians including journalist Ahmed Badir.

While in central Gaza, in the al-Maghazi Refugee Camp area, at least 17 civilians were murdered in strikes by occupation munitions, while Israeli forces also heavily bombed and shelled the al-Bureij and Nuseirat Camp residential areas.

In addition, Wafaa al-Bass, a recently freed prisoner held by the occupation, was killed in her home in the north of the Gaza Strip.

Since the beginning of Israel's genocide of Palestinians in the Gaza Strip began on October 7th, 2023, in excess of 23'357 Palestinians have been killed, with an additional 59'410 wounded in Israeli war crimes.

#source1

#source2

#videosource1

@WorkerSolidarityNews

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sillysiluriforme · 6 months ago

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What are the effects the user gets from using these two new miraculous

Miracle exposure symptoms depend on a lot of thing and one major factor is the way the holder perceives their miraculous ! Marinette doesn’t see the glamour in being a holder like her friends do so her symptoms tend to manifest more.

Marinette after using the bear, the kwami of intimidation, for enough time would likely be much more irritable. She might experience a loss in empathy and an increase in lethargy. She might get a little rough. She probably wouldn’t enjoy its powers much anyway. She feels heavy with it. Too slow. Too spooky.

The lamb, aka the kwami of sacrifice, brings out Adrien’s martyr complex. He’d eventually start losing most of his self preservation instincts. He might get a little clingy ! Adrien is very prone to clinical lycanthropy so he might develop some separation anxiety? Restlessness ect. Maybe eat grass.

#silu responds #MLB miracle exposure syndrome #ancient kwamis

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lorhaghanima · 5 months ago

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how much the audience of hotd hates alicent hightower will never not be surprising for me.

she IS the complex character you all wish for. she loves her children deeply (she literally puts her life in danger repeatedly because of them, what about sacrifice?), but she hates everything they are: targaryen, royalty, results of her parenting mistakes, proof that she was never enough even though she did everything expected (what about duty?) of her, viseris' unwanted children (but ones he FORCED her to bear), the only thing left of marital rape.

she loves rhaenyra since they are childhood sweethearts, and both mothers, and both women in the world that will always be cruel towards them (everywhere in the world they hurt little girls), but she can't help but hate her: she is everything she could never have - a beloved daughter (you were always his favourite, but otto did nothing but use her), a woman who has right to pick her own partners, who has loving and lovable children, who are not looking so targaryen-ish (having nothing of her, and everything of their father, who neglected them nevertheless), a power to be who she wants and to protect herself (dragon). and rhaenyra does everything she wants and nothing she has to do, alicent rules and sits in the council and takes care of a dying husband and STILL it's not enough and taken for granted.

she hates and loves her father. she hates and loves criston. she hates and loves her grandchildren.

she is poisonous and she is poisoned. she is a saint, she is a martyr, and she is a villain and abuser and destroyer. she is queen and she has everything to do with how her children turned out to be, she is their root, she is their core. and at the same time she has no control of anything that has happened to her - she did not pick her father, her friendship or its end with rhaenyra, her marriage, her children. there's no way all of this could've turned out to be happy. she is sansa that never was saved from joffrey (broken, hopeless, betrayed by her own family). she is cersei if jaime died during roberts rebellion (powerless, lonely, forced to have children that are never truly yours). she is lyanna that stays alive after giving birth to jon (realising there's no such thing as love, that your only goal in the world is to bear children, and if they do not fulfill some stupid prophecy - they are not wanted by their own fathers). she is elia who lives (a mother of abandoned children, a living woman, but your husband prefers a ghost). she is daenerys that never got her dragon (just a shadow of a husband that died and you feel equally relieved and terrified by it). she is any woman in this world that isnt empowered by some magic, or superpower, or prophecy, or even men. she is as powerless as power hungry, as broken as whole, as doomed by the narrative as she could be.

and what you call her is "bitch", or "terrible mother", or "whore", or " stupid".

#alicent hightower #hotd #hotd season 2 #hotd sexism #team green #house of the dragon #hotd meta #queen alicent #hotd alicent

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sugar-grigri · 1 year ago

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Fujimoto has never talked so much about love as in this chapter

This chapter is incredible, not only for the multitude of answers it offers but also for the beauty of its writing on first reading alone.

It opens with a man who appeared in chapter 101 of CSM, as passers-by passively walked past him, this stranger was actually right: humans, one of whose major causes of death are demons, are leading to a cold war (ironic to talk about a Cold War for a manga set in the 90s)

But it's as if the whole of society refuses to notice, that everyone hides behind Chainsaw Man and consumes all these derivative products like lucky charms. Chainsaw Man embodies a demonic anomaly, a demon at the service of the people who make them forget this war.

And that's exactly why Yoru has a grudge against him. Chainsaw Man is an instrument of peace, wielded in times of peace and sacrificed in times of war. Chainsaw Man is there to make us forget the conflicts or become the scapegoat, in either case, he is there to make us forget the war in which humanity is trapped.

A machine into which all hopes are projected, cries of suffering directed, whose childlike quality is seen only by the predators who exploit him constantly.

What we need to see in this dialogue between Nayuta and Fumiko is a struggle for domination. As we have seen, Fumiko is someone who, despite her aggressions, drowns them in a constantly contradictory protection: she wants to protect a child, but moleste Denji, plays a game in which she places him as older in order to hide her predation, and has saviour syndrome.

Fumiko thinks she's easily understood the nature of weapons, she's sensitive to Quanxi's bodily sacrifices and only repeats to the one she's abusing like an unrestrained fan of a child. Fumiko is the symbol that even when she belongs to the same camp as those she intends to protect, she still can't understand them.

She thinks it's either Nayuta who finds humans weak, or the fact that Barem supports Denji's demonic quality, that they are threats to his well-being when they are the ones who know him best. This is normal, because the strategy of public hunters is to bank on Denji's human side, but this strategy is not enough.

In chapters 136 and 137, Denji is mistreated when he's playing as a human being, getting into fights at school, being treated badly by his teachers, molested when he was thinking about a date at the cinema, and the closer he gets to normality, the more he suffers.

She symbolises not only Denji's sexual trauma, but also the paradox of the hunter system: a system that intends to offer Denji a family framework, but which is not only failing but also traumatising.

Nayuta says she wouldn't kill humans because they're weak compared to demons anyway. It would be as boring as killing ants! It's a continuation of Makima's point that the demon of control isn't interested in things that can be mobilised or easily controlled, it's powerful demons like Pochita that she wouldn't be able to control. Because the only way to establish a link for this demon is to find a demon as powerful as her, of her rank. Nayuta's superiority complex is always balanced against Denji's inferiority complex.

While the demon of control is only interested in demons, the demon who was martyred by humans cannot conceive of himself without them, but we'll come back to that later.

I just want to point something out: isn't it paradoxical to reproach Denji for the education he gives Nayuta when Fumiko is supposed to regard him, as she claims, as a child? Once again, Fumiko is in constant contradiction, protecting by controlling and attacking, conceiving of a child as an adult, she is the hold over a child she can't help but see as a weapon while vouching for his condition.

What's more, Fumiko's thinking is purely human, not universal like Denji and Nayuta. For them, feeding the dogs and their cat is a mission of the utmost necessity, it's like acting to protect one's family, whereas Fumiko refutes this.

Denji has been considered a dog for part of his life, and has bonded and merged with a demon in the shape of a dog, which is the first form of love he received: it was not humans who first gave Denji love, but animals. In the same way, the demon of control likes to form a relationship with dogs who take pleasure in their domestication, either as a form of denunciation or as a clearly established hierarchy.

Fumiko proves that human sensitivity only stops at their peers, while the rarer demonic sensitivity is more universal and intense, whether it's treating animals as precious beings or forgiving unforgivable acts like Denji's continued love for Makima.

The fact that Denji and Nayuta appear to have no moral barriers is what allows them not to be prisoners of their own, and to conceive of love more extensively, whether it be harmful or inter-species.

All this just goes to prove Barem's point that, as a weapon, he has a very good understanding of the different species and what they have in common: death is what binds us together.

When humans no longer find interest in a figure, it is destruction that attracts them. In other words, it's intrinsic to them. Even when they have been spared the demon of fire, they intend to spread it. Isn't it ironic, then, that Fumiko intends to protect two demons at the expense of their animals? Humans only see the world in terms of hierarchy, whereas demons and animals recognise that there is more to it than just a food chain.

Nayuta's emphasis on the exhilaration that comes from abusing and killing demons is spot on. In chapter 137, Denji had fun beating up all those men, even concluding that "this" normal life wasn't so bad. Why was that? Because it's the daily life of a demon.

Denji, who belongs to both camps, has human needs just as much as he has demonic needs, so Nayuta has a point. But just as living solely as a human doesn't satisfy Denji, acting solely as a demon doesn't work any better.

Denji works through the concrete, through sensations, and what he materialises through his senses, the fact being that he's had at least one kiss without any major damage with a human his own age.

Just a harmless touch is what allows Denji to connect with humanity as a whole, to be sensitive to their plight, even though he has no morals and takes pleasure in human suffering.

It wasn't until Denji struck up a relationship with Aki and Power for the first time that he was able to feel human and stop feeling like an animal. We are empathetic to the fate of those who resemble us, Denji is a universal being, animal, human and demon, he is the one who brings these different worlds together. Barem is right: death is what binds species together. But Pochita and Denji are the symbol that love can also be a common denominator.

The fact that he thinks of Asa is symbolic because, without knowing it, she is the one who understood the plurality of species in Denji. She began by dehumanising him, Denji's animal phase, placing him below the cat (proof that she too places animals before men), then she had budding feelings for Denji before being disturbed by Chainsaw Man.

That's why Chapter 101 is so important to understanding this chapter: because in it, Asa makes friends with both humans and demons, getting to know Yuko just as she does Yoru. She is not outraged by the idea of killing, as Yoru asks her to do, having put aside her human nature and accepted the world as it is, which is ruled by death.

But she is no fatalist, and in the face of a demon, she protects Yuko, continuing to love despite her mistakes "as long as her heart is in the right place". What matters is not so much our actions as the cursor through which we place ourselves to apprehend the world.

Relationships are full of mistakes, imperfections, misunderstandings and a game of dominance. Denji doesn't realise it, but the one who kissed him wasn't Asa but Yoru, and it was for a bad purpose: to turn him into a weapon. Paradoxically, in wanting to make Denji a weapon, Yoru conceived him as he was, a hybrid being, a weapon. It was the first kiss in which he was seen for what he was.

But not only that, just as Asa loves the different natures of the multi-species being that is Denji, so Denji loves Asa's dual nature, what holds him together is as much the memory of the human in the aquarium as the physical contact with the demon inside her.

While Asa, in her desire to protect Denji, was distancing herself from him, hurting him and making him doubt himself, it was paradoxically the demon, with evil intentions, who gave him some peace of mind.

The chapter is called Devil's choice, an expression which means that we only have two choices, that we can't have everything. In this case, that would mean choosing a species, a side. But what Asa and Denji still represent in this Shakespearean symbolism is not belonging to any side, but loving in a universal way.

The rejection of men has opened up other perspectives for both of them, be it the animal or the demonic connection.

Once again, the answer lies in plurality, in what begins with two: Asa and Denji decide, on the contrary, to have it all, there is no Devil's choice.

By deciding to bond with animals rather than humans when they lost their parents, Asa and Denji forged a destiny guided by love without barriers.

Their bad experiences - sexual harassment for Denji and bullying at school for Asa - at the hands of adults have naturally created a distrust of humanity that is rekindled by contact between the two of them. It's when Denji and Asa come together that they regain hope, because they are the definition of loving each other fully.

Those who stand in the way of this universal love are the public hunters who avoid this natural crossing.

The public hunters are there precisely to fuel the fight against humans and demons, the link they carry is not love but the other common denominator, death, destruction. Even if it means crossing the moral barrier to exploit children with Yoshida by forcing them to harm other children like Asa, Fumiko being once again the symbol of this danger.

Denji has both human and demonic needs, so he's destined to love Asa because she's both human and harbours a demon with a thirst for violence. Chainsaw Man was used to make us forget the war, but by loving the demon of war, they both unravel.

Only Chainsaw Man and the demon of war can conquer death, because love is the second common denominator that links the species. Why? Because everyone has a heart. Even demons. Who not only have one, but become one.

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novelconcepts · 2 years ago

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There’s a line from American Gods I keep coming back to in relation to Yellowjackets, an observation made early on by Shadow in prison: “The kind of behavior that works in a specialized environment, such as prison, can fail to work and in fact become harmful when used outside such an environment.” I keep rotating it in my head in thinking about the six survivors, the roles they occupy in the wilderness, and the way the show depicts them as adults in society.

Because in the wilderness, as in prison, they’re trapped—they’re suffering, they’re traumatized, they’re terrified—but they’re also able to construct very specific boxes to live in. And, in a way, that might make it easier. Cut away the fat, narrow the story down to its base arc. You are no longer the complex young woman who weighs a moral compass before acting. You no longer have the luxury of asking questions. You are a survivor. You have only to get to the next day.

Shauna: the scribe. Lottie: the prophet. Van: the acolyte. Taissa: the skeptic. Misty: the knight. Natalie: the queen. Neat, orderly, the bricks of a new kind of society. And it works in the woods; we know this because these six survive. (Add Travis: the hunter, while you’re at it, because he does make it to adulthood).

But then they’re rescued. And it’s not just lost purpose and PTSD they’re dealing with now, but a loss of that intrinsic identity each built in the woods. How do you go home again? How do you rejoin a so-called civilized world, where all the violence is restricted to a soccer field, to an argument, to your own nightmares?

How does the scribe, the one who wrote it all out in black and white to make sense of the horrors, cope with a world that would actively reject her story? She locks that story away. But she can’t stop turning it over in her head. She can’t forget the details. They’re waiting around every corner. In the husband beside her in bed. In the child she can’t connect with across the table. In the best friend whose parents draw her in, make her the object of their grief, the friend who lives on in every corner of their hometown. She can’t forget, so she tries so hard to write a different kind of story instead, to fool everyone into seeing the soft maternal mask and not the butcher beneath, and she winds up with blood on her hands just the same.

How does the prophet come back from the religion a desperate group made of her, a group that took her tortured visions, her slipping mental health, and built a hungry need around the very things whittling her down? She builds over the bones. She creates a place out of all that well-intended damage, and she tells herself she’s helping, she’s saving them, she has to save them, because the world is greedy and needs a leader, needs a martyr, needs someone to stand up tall and reassure everyone at the end of the day that they know what’s best. The world, any world, needs someone who will take those blows so the innocent don’t have to. She’s haunted by everyone she didn’t save, by the godhood assigned to her out of misplaced damage, and when the darkness comes knocking again, there is nothing else to do but repeat old rhymes until there is blood on her hands just the same.

How does the acolyte return to a world that cares nothing for the faith of the desperate, the faith that did nothing to save most of her friends, that indeed pushed her to destroy? She runs from it. She dives into things that are safe to believe in, things that rescue lonely girls from rough home lives, things that show a young queer kid there’s still sunshine out there somewhere. She delves into fiction, makes a home inside old stories to which she already knows the endings, coaxes herself away from the belief that damned her and into a cinemascope safety net where the real stuff never has to get in. She teaches herself surface-level interests, she avoids anything she might believe in too deeply, and still she’s dragged back to the place where blood winds up on her hands just the same.

How does the skeptic make peace with the things she knows happened, the things that she did even without meaning to, without realizing? She buries them. She leans hard into a refusal to believe those skeletons could ever crawl back out of the graves she stuffed them into, because belief is in some ways the opposite of control. She doesn’t talk to her wife. She doesn’t talk to anyone. It’s not about what’s underneath the surface, because that’s just a mess, so instead she actively discounts the girl she became in the woods. She makes something new, something rational and orderly, someone who can’t fail. She polishes the picture to a shine, and she stands up straight, the model achievement. She goes about her original plan like it was always going to be that way, and she winds up with blood on her hands just the same.

How does the knight exist in a world with no one to serve, no one to protect, no reason propelling the devastating choices she had grown comfortable making? She rechannels it. She convinces herself she’s the smartest person in the room, the most capable, the most observant. She convinces herself other people’s mysteries are hers to solve, that she is helping in every single action she takes. She makes a career out of assisting the most fragile, the most helpless souls she can find, and she makes a hobby out of patrolling for crimes to solve, and when a chance comes to strap her armor back on and ride into battle, she rejoices in the return to normalcy. She craves that station as someone needed, someone to rely upon in the darkest of hours, and she winds up with blood on her hands because, in a way, she never left the wilderness at all.

How does the queen keep going without a queendom, without a pack, without people to lead past the horrors of tomorrow? She doesn’t. She simply does not know how. She scrounges for something, anything, that will make her feel connected to the world the way that team did. She moves in and out of a world that rejects trauma, punishes the traumatized, heckles the grieving as a spectacle. She finds comfort in the cohesive ritual of rehabilitation, this place where she gets so close to finding herself again, only to stumble when she opens her eyes and sees she’s alone. All those months feeding and guiding and gripping fast to the fight of making it to another day, and she no longer knows how to rest. How to let go without falling. She no longer wears a crown, and she never wanted it in the first place, so how on earth does she survive a world that doesn’t understand the guilt and shame of being made the centerpiece of a specialized environment you can never explain to anyone else? How, how, how do you survive without winding up with blood on your hands just the same?

All six of these girls found, for better or worse, a place in the woods. All six of them found, for better or worse, a reason to get up the next day. For each other. And then they go home, and even if they all stayed close, stayed friends, it’d still be like stepping out of chains for the first time in years. Where do you go? How do you make small choices when every decision for months was life or death? How do you keep the part of yourself stitched so innately into your survival in a world that would scream to see it? How do you do away with the survivor and still keep going?

They brought it back with them. Of course they did. It was the only way.

#yellowjackets #yellowjackets spoilers #yj meta #long post #shauna shipman #lottie matthews #taissa turner #van palmer #misty quigley #natalie scatorccio #the question not being how do you survive the wilderness. the question being how do you come BACK.#the way each of them tries so hard to keep moving forward #unable to untangle the girl in the woods from the adult suffering in polite society #how the world doesn’t want to hear about the pain or the night terrors or the sleepwalking or the addiction #the world wants the bright colors and the flash-bang headlines #the world doesn’t want who they are. who they had to be. it wants pretty perfect tragedy #that specialized environment lives on in each one of them every day #but it’s not a place anyone else can ever go #how do you feed that for so long and then just…stop?#constantly thinking about nat saying we didn’t make it out. none of us.#because no. no they didn’t. the girls died the minute that rescue chance did. what came back was risen from those ashes

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serpentface · 7 months ago

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Full ref outline of the main White Calf characters, a dysfunctional noble family and two monks, all tied with the titular sacrificial wild oxen calf.

Left to right: Couya Haidamane, Faiza Haidamane, Janeys Haidamane, Hibrides Haidamane (née Uryashta), Brakul 'Red-Dog', Palo Apolynnon, Tigran Otto.

Design notes and very brief character summaries below the cut

Couya Haidamane

Odonii priestess, assigned to the sacrificial white calf, pretty sure that God has chosen her as Its emissary. Half sister to Faiza and Janeys. Constantly three seconds away from killing Janeys with a rock. Friends with Hibrides.

Has an awkward demeanor, doesn't talk much, borderline humorless, both intentionally and inadvertently intimidates those around her, regarded as strange and unsettling, very much in her own head most of the time.

32 years old.

Wardi and Titen-Wardi, born and raised in the city of Wardin.

5’9’, yellow-brown eyes, light brown hair, lanky muscular build

Usually wears a men’s styled robe.

Wears a standard issue Odonii's veil and headband.

Almost always carrying her pistol with no sheath, and usually positions it to be prominently exposed.

Often wears her hair unbraided, which is somewhat unconventional.

Terminal resting bitch face and signature cold, dead eyed stare.

Has a mole on the left side of the face, above the lip.

Routine bloodletting scars on the side of her left index finger.

Doesn't wear jewelry unless she has to.

Faiza Haidamane

Senior Odonii priestess, personal friend of the king and a de-facto leader of the pilgrimage, sister of Janeys and half sister to Faiza. Just desperately trying to make sure everything goes alright.

Skilled with diplomacy, shrewd and pragmatic, charismatic and confident, has a bit of a martyr complex about protecting those around her and enjoys power.

35 years old.

Wardi and Titen-Wardi, born and raised in the city of Wardin.

5’6’’, gray eyes, brown hair, wiry build

Hair is almost always braided and worn down the front.

Wears a standard issue Odonii's veil and headband.

Likes to keep her arms bare, and usually wears her cloak around the waist outside of blazing sun or very cold conditions.

Wears a lapis lazuli necklace

Has a serpent pelatoche bracelet she wears on her left wrist, a gift from the king Stavis Amanti.

Really likes the color blue (blue clothing is typical wear for Odonii but it's a thing for her specifically)

Routine bloodletting scars on her lower left forearm.

Janeys Haidamane

Unaccomplished wealthy brat mercenary, is in command of 25 soldiers entirely due to nepotism via Faiza. Married to Hibrides and sworn brother/lover to Brakul.

Generally regarded as unpleasant and an all-around jackass, perpetually anxious and spiteful, superstitious and intensely religious, low self esteem.

34 years old.

Wardi and Titen-Wardi, born and raised in the city of Wardin.

5’6’’, gray eyes, brown hair, wiry and stocky build

Upper arms, thighs, chest and back are covered in razor scars inflicted by Brakul.

He and Brakul have a matching scar through their left eyebrow.

Routine bloodletting scars on his palms and left thumb.

Hair is usually worn slicked back with (obnoxiously scented) oil. When untreated, it’s wavy and falls in a part down the middle.

Has sideburns and a thin beard on his chin. This is the full extent of facial hair he can grow.

Almost always wearing at least one pelatoche charm, usually as a cloak clasp.

He and Faiza look very alike and can pass for twins.

He and Couya share a signature dead eyed stare

Hibrides Uryashta

Daughter of an Erubinnos chancellor, brought along with the wives of noblemen attending the pilgrimage. Miserably married to Janeys. Has a strained platonic emotional affair with Brakul. Friends with Couya.

Shy and somewhat lonely, very nervous about her presentation, very intelligent, frequently condescending, puts up a serious and tough front but is very sensitive. Heavily germaphobic.

5’2’’, hazel eyes, dark brown hair, delicate build

Yuroma-Wardi, born and raised in the city of Erubinnos.

29 years old.

Always well protected from the sun, rarely seen outside without a hat or veil.

Her hair is kept in very long braids, worn down the back.

Wears closed toed high heeled shoes, which keep the wearer away from dirty city streets.

Usually bedecked in jewelry, especially fond of pearls. Has a particularly fine odatochent necklace.

Really likes wading birds and ducks, a lot of her clothes have bird motifs.

Routine bloodletting scars on her right thumb.

Brakul 'Red-Dog' (actual full title- Brakul virsum Kuligan et Borunil an Briyonis ne-Taig an Bict-Urbinnas)

Originally of the Bict-Urbinnas people and considered a 'heathen' by most compatriots, mercenary with a passion for riding sports. Mostly present on the pilgrimage due to nepotism by proxy. Illegitimate father of Hibrides' children, sworn brother/lover of Janeys.

Usually quiet and placid, calculating and thoughtful, prone to startlingly intense emotional outbursts and fits of melancholy and just really fucking annoying self-pity.

37 years old.

Bict-Urbinnas, born and raised in southeastern Greathill in the Erubin River Valley.

6’2’’, brown eyes, light red-brown hair, heavyset muscular build.

Doesn’t particularly like cloaks, and usually wears a less common tunic over his robes.

Has tattoos- clan identifiers on his face and family history on his upper arms, a purely decorative dog over his heart.

Usually keeps his arms covered in public to minimize annoying questions about aforementioned tattoos

Face and forehead is frequently sunburnt, a problem of his own creation (he doesn’t like hats)

Usually wears riding boots and spurs.

Head shaved close to the scalp

His upper arms, shoulders, chest, back and thighs are covered in razor scars inflicted by Janeys. The dog tattoo is avoided.

Matching eyebrow scarification with Janeys.

Palo Apolynnon

Newly initiated Galenii monk, son of glass traders from Godsmouth, assigned with Tigran to the sacrificial white calf.

Thoughtful and analytical, somewhat catty and vain, suspicious of others and slow to trust. He's going through several personal crises that have him under a lot of stress, and has a fairly pleasant (if guarded) personality under normal circumstances.

23 years old.

Kos-Wardi, childhood spent in the imperial city of Godsmouth with a few years in Kosov.

5’10’’, brown eyes, light ash-brown hair, very skinny, lanky build

Has dark purplish-gray patches on his skin from use of hidije in his youth, an (ineffective) alchemical treatment for epilepsy

Only wears his sunglasses in particularly bright conditions/around water (having picked up on sunlight on water being a trigger)

Large forehead and long face.

Benefits socially from not being visually identifiable as a eunuch, though his facial hair has stopped growing.

Usually keeps his hair in a single braid, wrapped around the front (somewhat unconventional)

Has one iron ring per ear, showing he is a 1 year Galenii initiate.

Usually wearing a standard issue Galenii robes, cloak, and sash.

Tigran Otto

Galenii monk since the age of 11, son of immigrant Ubiyan laborers, assigned with Palo to the sacrificial white calf.

Nervous, cowardly, impulsive, a fast and excessive talker, superstitious, very book-smart but devastatingly foolish in action.

19 years old.

Ubiyan, born in a farming village on the Brilla river, has lived in the city of Wardin since the age of 11.

4’11’’, brown eyes, brown hair, short and heavyset build

Perpetually sweaty

He has five iron rings per ear, a sign of a fully initiated Galenii.

His features are considered soft and androgynous, and he is easily visually identified as a eunuch.

Keeps his head shaved to stubble.

Usually wearing a standard issue Galenii robes, cloak, and sash.

Wears a Galenii ceremonial dagger and routinely takes it out to fidget with it.

#I'm hoping I didn't forget anything major but I've typed all this on low brain function so like . F.#Having all the characters introduced is part of my actual longterm plans of being able to publish the 'what cars my characters would #drive if they lived in 21st century urban USA' post I've had drafted for months and have it be funny to anyone but me #couya haidamane #faiza haidamane #janeys haidamane #hibrides uryashta #brakul red dog #palo apolynnon #tigran otto #At some point I have to go back and change the tags to Palo's full name (others have just been tagged 'palo' because I wnet #back and forth on his name for 2 billion years)#Hibrides gets her maiden name out of respect because her marriage is so sucks #These guys are also all POV characters (3rd person intimate. alternates by chapter) except I'm debating cutting Faiza for it since #7 of them (or like. alternating POVs at all LOL) might be a little excessive for a story where everyone is going to the same place

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maxdibert · 2 months ago

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Lily. Is she just a popular Petunia? On the surface they’re two sisters that could hardly be more different, the elder unattractive, dull and untalented and the younger beautiful, vivacious and magical. But they both chose domineering upper class bullies. They’re both concerned with social respectability. They both place themselves in physical danger for their sons. And while I can’t see Lily shoving a child in a cupboard, she also seems to operate within the framework that violence is acceptable if she can justify to herself the victim deserves it. Lily gets called a Mary Sue a lot and I get why but I think JKR put just enough in there to make the case that that she’s as grey as her chosen company lol

This take on Lily as a “popular Petunia” gains even more depth when we consider their working-class backgrounds and how each ultimately chooses a partner who offers social mobility—though in questionable ways. Petunia finds security and an upward social shift by marrying Vernon, a man who embodies traditional middle-class respectability with all its rigid, judgmental values. Lily, on the other hand, ends up with James Potter, who, by magical standards, is akin to a wealthy, privileged elite. James’s status, confidence, and the power that comes with his family’s legacy mark a clear jump for Lily in the wizarding social hierarchy, just as Petunia’s life with Vernon marks a leap into conventional middle-class security in the Muggle world.

Both sisters align themselves with men who embody aspects of control and social status within their respective worlds, suggesting they value security and social respectability—even if it means overlooking or accepting certain flaws. Petunia tolerates Vernon’s small-mindedness and cruelty, while Lily accepts James despite his past as a bully and privileged figure. Yet Lily’s decision is often portrayed in a highly idealized way, with Rowling rarely delving into her motivations or background beyond her role as Harry’s mother. This lack of context is perhaps one of the biggest issues with Lily’s character: she’s preserved as an almost saintly maternal figure, untouchable and morally pure, which can feel one-dimensional and even hypocritical, especially when we learn about her past friendship with Snape. Rowling’s reluctance to explore Lily’s complexity leaves her moral standing somewhat hollow, given that she rejects Snape for his darker choices while forgiving James for his own troubling traits.

In the end, both Lily and Petunia are driven by a desire for social respectability and stability, but their different worlds shape those ambitions in distinct ways. By elevating Lily to an untouchable status as Harry’s “perfect” mother, Rowling misses the chance to flesh out the complexities that make her choices relatable, instead framing her as a near-flawless martyr. This leaves her character feeling almost like a “Mary Sue” figure, unable to reconcile the murkiness of her past or the double standards within her relationships.

#lily evans #lily potter #petunia evans #petunia dursley #vernon dursley #james potter #severus snape #harry potter #harry potter meta #harry potter analysis #harry potter headcanons

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familyagrestefanblog · 3 months ago

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Though, let me clarify something here: Nathalie is just as guilty in how this turned out, in a couple of things her blame significantly outweighs Marinette's. This is important.

But im right now bothered by Marinette more because while the narrative claims Nathalie is good now, the story has also never shied away from properly acknowledging that she's AT MINIMUM a morally grey character.

Marinette on the other hand is consistently glorified, praised, and martyr-ed for absolutely EVERYTHING she does no matter how much it hurts others and harms the story in the long run as long as they end up smiling at her. Her feelings and validation are put first and it is treated as a fundamental truth that Maribug is the greatest girlboss goddess of all time who is always entitled to support, control, and power because it's HER and she says so and if she doesn't get it she's being bullied and oppressed and must make sure she gets what she wants.

This is not the same, and its what consistently turns Maribug's characters into such a moral threat since the retooling of season 4 that makes her involvement alot worse than the involvement of other characters.

Nathalie absolutely is a major problem in this now forwards, but Marinette's long established entitlement to play god and prioritise her feelings over morality whenever she doesn't like something and just hope for the best is the main problem. And this isn't new.

And no, I don't see how gaslighting Adrien now believing that the 14 years of abuse he experienced weren't real and HE is the problem in everything cause HE got it wrong because MARIBUG lovingly says so and teaches him what to truly feel and think is a loving thing to do (as we see at the very end of season 5, Marinette's lies fucked Adrien UP)

This once again just feels like Marinette doesn't want to have a fucking conversation so she's taking the fucked up route that's nicest to HER if she gets through with it.

So she learned nothing. She's still doing what she claimed to have been sorry for and she's still making herself out to be the most generous and caring goddess over it because she has complex human feelings (like everyone else) and Marinette is so spoiled by the narrative that she still takes that as her being right she's just "misunderstood" and not catered to enough.

This is, as always, what it comes down to. The problem is always the same. Marinette may genuinely start out with good and caring intentions, but her execution always ends up priorizing protecting herself and making sure SHE is okay first and foremost.

The problem is Marinette's goddess framing and that she can't be just wrong about something anymore without a giant fuss being made about it that overshadows the actual victims and stops the necessary steps from being taken to just get over the moral problem because the show refuses to not always have Marinette be validated in some way which muddles the morality.

#ml spoilers #miraculous ladybug #miraculous #ml london special #ml season 5 finale #ml season 6 #i dont feel like tagging this critical or salt #this is her fucking character ON-SCREEN since season 4 #so ill treat it as such

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the-lonelyshepherd · 9 months ago

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"fanon lottienatters please stay away from me" oh!! shots fired!! 2,000 dead, 10,000 injured!! BUT curious about your specific definition for fanon lottienat and what you dislike about it <33

ohhhhh okay... alrrrrrr

this is like. one of my biggest issues. im not like a shipper, never rlly have been until yj but i dont like engage in discourse bc thats stupid.

But basically? Fanon lottienat just kinda strips anything thats interesting about the ship away. and makes it like. punk x preppy. loser x popular. ive even heard black cat and golden retriever which makes me want to rip my eyes out.

And its not even accurate to their characterization? at all? like youre flanderizing them but like..... not even their main traits. like ive seen people say "precrash lottie would be like charlotte from status update (curse that movie btw. the things i do for u courtney eaton) which is just. like not at all.

first off lottie is not popular. yeah, shes rich, but shes clearly somewhat of a loner (WHICH PARALLELS NAT?? WHICH MAKES IT MORE INTERESTING???) even courtney has said this in interviews. she feels ostracized, and a lot of it can be traced back to the flashback scenes we see, esp those about her relationship w her parents and her supposed mental illness. the 90s, especially the 90s in a high pressure rich family, was NOT a good place to have schizophrenia (and yeah theres the "she wasnt actually mentally ill" argument but that changes nothing because atp in the story her whole family and probably herself believed she was.

Then we have the nat characterization. The fanon "grumpy" to fanon lotties "sunshine". guys canonically nat smiles more than lottie. girlie was always grinning while lottie was experiencing the horrors all of s1. ofc they both went THROUGH it but that specific stereotype pissed me off sm i had to address it.

also, nat gets shown a lot as masc?? which is a fine headcanon but like for her style like the whole punk thing? she acc dresses relatively femininely.those are little irks abt nat but they bother me idc. too tired to write more on this rn but feel free to ask!

so basically taking this stuff into account - fanon lottienat uses a gross mischaracterization of both characters, especially lottie (also that suspiciously align w stereotypes HMMMMM) to literally make the ship more boring. You are making it a stupid and lame trope. You literally have these two insanely complex characters who mirror each other. Theyre not opposites attract, they are the same character in different skins. They're both loners, one because of her punk/rebel nature and nasty rumors, the other because of her mental illness and lack of closeness to people. Theyre both loners because of their social status and their fucked up home life. Theyre both providers - nat the hunter, bringer of physical and real food like the deer. Lottie the prophet, bringer of hope and, through the teams eyes, the birds, the bear, etc. Lottie who begs to be a martyr but is denied nat who runs from it but shoulders it anyways. They're both bleeding hearts they both give soul to the team and are some of the most genuine characters but they present it so differently.

The fact that the majority of content grossly mischaracterizes them and is the widely accepted fanon just.. sucks tbh. and the fact that people get so up in arms about them, and literally attack fans of other characters (lottielee fans... travis fans....) for no reason?? all these other characters do is contribute to what makes lottienat such a compelling and fucked up and interesting ship. i love them so much but lwk most of yall are insane and dont even appreciate them for what they really are.

thoughts questions comments concerns hmu

#lottienat thoughts #they make me ill and if youre wrong about them i will get gatekeepy sorry #ill never say it to ur face but ill judge you #just know #also i love discussion please hmu!!#ty yellowjackets askers again #sheps asks #shep speaks #yellowjackets #yellowjackets showtime #lottie matthews #natalie scatorccio #lottienat #lottienat discussion #shep talks yj

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