#its interesting if complex to dissect

[lollytea]

The Blight family are so interesting IN THEORY. In execution they are....😬

[6mayhem]

anyway i need to hang out with my brother again he is the one person who i am pretty sure knows literally everything about me so he's the only person i trust that i can absolutely not disappoint. nothing i can do could be worse than the sum of everything i've been doing to that poor man (and him to me) the past 19 years

[sotogalmo]

1:44

Void ( @emthimofnight ) with Latin (translated)↓

since I alone am holy/I alone am the master/I am alone: lyrics from Obituary (by MaimtMayo) = the words in Latin are quoniam solus sanctus, quia ego solus dominus, ego solus.

And also also. Armisael's last quote: That is what it is to be lonely? That is what your mind is. It is what fills your soul. You are that sorrow.

This goes. With what im doing in a fic of mine:

(not just him tho. Doing the other siblings- title is called “Make amends, privileged ends, hiding sin, life begins: Three stages before humanity.”)

[olli-online]

another babygirl covered in blood

[newrhys]

im insane and a nigel defender for life so heres my theory/take on like minds

i truely think that its likely Alex was the manipulator and nigel was the victim (to a degree).

this is kinda all over the place and just my thoughts so take everything with a grain of salt im just bored

we all agree that Alex is an unreliable narrator, and when it comes to the interrogation, it would but likely that Alex changed the story for a “solid” alibi to seem at least not guilty, which is very common behavior for people, especially younger people who have committed a crime to do.

most of my reasoning for this comes from the fact that he makes sure to include the detail that *somehow* nigel got into his room in the middle of night (assumably) and put a bloody knife and playing card on his desk.

it could be very likely that he had this whole alibi, that he "missed" his date with susan was entirely made up, that he made it seem like nigel was the one who planted the knife for "for fingerprint insurance” making nigel seem like this criminal mastermind to a degree.

that and also the hand that nigel “gifted him” could have also been a cover up for (maybe) that alex could have very likely been the reason why his friend let go of the train, by messing with his hand. idk on this one tho for sure honestly, though i feel like nigel care a lot about anatomy and dissection that it would be out of character for him to sever a hand.

AND that when alex was asked “how he was sure it was his friends” he said that it wouldnt make sense otherwise (or something along those lines) which honestly is kinda strange bc i would rather rationalize that its not my dead friends hand and just some fucked up prank but maybe thats just me.

you can look into real interrogations and its not unusual for people to make up these crazy complex and wild stories to victimize themselves to seem innocent, even when the story is strange or off putting or has holes.

especially because this is a time when the attention is all on them and what better way to ganer sympathy and attention that alex could have possibly lacked in his childhood then now in the interrogation. with someone who alex could have possibly seen as some sort of mother figure, because she listened to him, and embraced him when alex talked about nigel.

“well susans body was “disected” it had to be nigel” it could have also been alex copying in the way of something that nigel would have done to again, make the evidence point at nigel.

now, this theory is a bit spotty and honestly its not great I KNOW its just my thoughts ive had that ive wanted to share, because honestly i dont have a great reason for why nigel would have invited alex over to his house if not for nigel being a little shit, but who knows, that could have also been made up, and alex really was planning on killing nigel, and just happened to show up at that time

but that being said, im also not saying nigel has never killed anyone, i am just saying alex’s series of events is a bit weird, i do think nigel has some issues, but those probably due to the obvious abuse he as suffered as a kid, and his weird interest could be a symptom of that and his curious for dead things, i wouldnt be surprised if he had witnessed death early as a child seems how it was mentioned in the show that it can result in mental illness.

which kinda leads me to my next point, at the end, when alex totally doesnt kill nigel, and nigel kills himself, alex has a sort of smile at the end, that either he was happy nigel died or that he, really *did* kill nigel and he “enjoyed” it.

to add onto this, alex never really cried when he talked about his friends dying, he cried when he talked about how it made *him* feel and how when nigel had wanted him to get “freaky” per say with susan, he was crying in the interigation because it upset *him* and it was something bad that happened to *him*. im not a professional at all and i only know a little bit about mental illnesses but in certain personaility disorders,, its not uncommon for people to have intense feelings when it comes to something that effects themselves, and apathy towards other people.

and at the very end of the show, it shows that alex clearly has a pattern of this behavior, of manipulating people in certain ways. that its not something unusual for him to do, when he asks the teacher if it’s possible to get into someones head, its likely because hes the one who, atleast thinks, he has control of nigel.

anyways thats kinda just my collection of thoughts ive had about this movie for a long time so i thought id throw them out here, do with this as you wish. dont be too mean tho i am dyslexic and not the smartest lmfao. i just like yapping. obviously i dont know everything and i likely got information wrong which like whatever.

anyways im sick and bored and wanted to yap so maybe someone actually read this

[notedchampagne]

FUCKING HATEEEEEEEEEEEE FANDOM. like i love fandom but i HATE FANDOM. HARROWHARK IS NOT YOUR PATHETIC WET CAT SHE’S NOT A GREMLIN SHE’S NOT YOUR LITTLE MEOW MEOW. STOP IT RN. SHE’S AN INCREDIBLY CAPABLE NECROMANCER AND AN AMAZINGLY INTELLIGENT PERSON WHO JUST HAPPENED TO BE PUT IN AN INCREDIBLY TOUGH SITUATION. she’s fucking 18 y’all. she did what she could and do you know what? she did well for being completely out of her depth and EIGHTEEN GOD FUCJING DAMMIT. i hate it when characters get boiled down to one fandomable aspect of themselves especially in a fandom with such prolific writers and artists (that’s you!) it literally happens with every character. ianthe is not your cool suave boyfriend she’s a desperate young woman. pyrrha is not your dom mommy she’s just been put into a situation where she is surrounded by children. dulcie? guess what: she exists. gideon isn’t a golden retriever silly boy she’s a complex and capable person. gideon the first isn’t some angry dog he’s loyal to his brother that killed him twice over. paul is a cool and interesting character that i want to see more of. I FUCKING HATE THE FANDOMIZATION OF CHARACTERS JESUS CHRISTTTTTTTTTTT KILL ME NOWWW ACTUALLY GOINT INSANE. anyway rant over sorry i dont have any friends that have read tlt so i have to resort to going insane on anon

this was a fun surprise to receive. that aside i Do agree with you it seems very much like the nature of fandom to fall into stereotypes and tropes for characters because its easier to make content when there is a type of script to follow + its more effort to always dissect things and rebuild them for every au scenario. alas everything is always nicer when you can make your own little circle of people to discuss with

[twst-megane]

So I recently just finished Book 5 and I need y’all to know Vil is like my top fav even before starting book 1 and I just ended up loving him more even now and how so much care and knowledge was written to create such a layered and complex character

I’m not that good in gathering my thoughts into posts like this but I just wanted to share my thoughts cuz I genuinely love the writing in Book 5 as of now :3

BOOK 5 SPOILERS KINDA

1. Envy

The baseline that drove to Vil into overblot. How his desire to play the hero and be on stage longer, his inner envy towards Neige, it accumulated so much from childhood till now and to the point of almost potentially killing Neige but I personally don’t think it was the main reason for his OB

2. Reflection

I’m going off by the official ENG translation but I really love his line before overblotting, “Don’t look at me with those eyes”

He knew what he was going to do if Rook hadn’t stopped him and he immediately regretted it, he became the role he detested for all those years and he hated himself even more for it, he couldn’t forgive himself, which I feel is the real reason he OB compared to a simple jealousy buildup over the years and wanting to be the best. I really like this route more as someone with intrusive thoughts during my worst, it’s a horrible feeling when you realised the horrible things you thought of and the thought of acting it.

3. Loneliness

The higher your power, the lonelier you become.

I feel like this can be said for like every housewarden but I’ve rarely seen ppl talk about this aspect regarding Vil. He couldn’t star in hero roles because he was TOO perfect and beautiful that an average person couldn’t relate, it’s the complete opposite to the rest of the housewardens where they were lonely due to being inferior/intimidating which is an interesting thing to spin the loneliness part onto Vil really well.

He didn’t even appear to have any close friends since childhood, I don’t think he’d consider Jack or Neige to be his close friends but more like at a distance due to how far Vil is in most things. But I don’t think loneliness is the main point of his overall character or trauma but it’s an interesting aspect to consider especially when fitting with the rest of the housewardens.

4. Jamil and Vil Parallels

It’s really funny Jamil shares almost the exact same thoughts as Vil and it brings me back to my second point considering both Jamil and Vil have someone they consider to be superior than them being the most pure and kindhearted person (Kalim and Neige). It’s even more interesting Kalim was the one that escalated the OB and not Jamil from the previous pattern of OB characters escalating the next char into OB. Book 5 expanded a lot on Kalim as a character and he never makes the same mistake twice once he learns which is why it was heartwarming he saw the same eyes Jamil made in Vil’s and tries to stop him.

Bonus :

Rook constantly being the observer in the background and always watching out for Vil really warms my heart, even if its for the good, he always thinks the good for Vil specifically. He saved Neige but only cuz he knows Vil isn’t that sort of person. He cares so much about him he’s so sweet.

I really love love love how they touched on how being an actor can make you be perceived. As a kid you’re very impressionable towards specifically live action actors playing a certain character because your brain would find it hard to find a separation between actor and character and could even paint one as a villain in real life. It has happened before and it’s still a thing now so I really love they added this in even if Vil doesn’t seem to be too bothered by it but it minimally added a little fuel to the fire on why he hated the roles as a villain.

Anyway I really love Vil as a character I can dissect him forever nobody can make me hate him I love him so much 😭😭😭

[tek5488]

The Amazing Digital Circus Character Dissection: Kinger

So just watched TADC and what can I say but Gooseworx and GLITCH knocked it out of the park. Great show and look forward to see how this wacky cast of characters uncover the mystery.

With the well deserved praises out of the way lets talk about a character I have already gotten my eye out for is Kinger. I wanted to lay out what I think his deal is.

Firstly he is already established to be the oldest non-abstracted character, so that already pegs him into having more information of this world than the others, however probably suppressed. I also find it interesting he talks and acts significantly different from the others. Sure those behaviors may be due to insanity, but I see them as more childish. Firstly how he talks. Its very choppy and sudden. With closest person matching that vocal behavior being Caine, but that's mostly when he's taking on his ringmaster persona. He also seems to have delayed reactions to things and gets startled easily. Kinger acts like a person with very little social awareness, like perhaps an introverted and/or autistic child, a demographic this game was most likely made for. This is further supported by the fact that he has an interest in insect collecting and often tries to create pillow forts and seclude himself. He also seem to spas a lot when standing still. Another thing to keep in mind is the theme of the inability of doing something right. From when he tells Gangle, "We aren't very good at this." To his arms falling off trying to grab Zooble, to Jax saying directly, "Guess it goes to show you can't rely on Kinger to do anything." Something a child, especially an autistic child would find to be a common problem they face. I believe Kinger was a child, probably introverted, possibly autistic, who had parents that secluded him further and thusly had very little social interactions. He probably also had a lot of expectation placed on him. He most likely entered the world as a child game tester.

Another detail people are rightfully pointing out is the complementing Queen piece. Many interpret this character as being a former lover to Kinger and while I believe that is a valid interpretation, here's mine. Firstly note that the piece is for the opposing team, this may indicate that the queen may have been more of a rival or even a bully to Kinger. Perhaps do to the fact the queen had some kind of inferiority complex. Perhaps a sibling or peer jealous of the attention Kinger was getting. This matches the pieces role, a queen can do everything better than a king, but the king is substantially more important and gets more attention. At least that one interpretation, my interpretation, hope you liked it. Tell me yours.

[yellowocaballero]

hi I am one of the people who read your no chip au (and serendipitously reread it pretty recently). I am delighted by the prospect of getting to read more (even better??), you have such a wonderful ability to write characters in any setting who suck so badly in ways that are so so interesting. obi-wan had a father figure it was cody that's just what dads are like.

THANK YOU SO MUCH I love hearing that I'm good at writing people who suck interestingly. That is genuinely usually my main goal. I do it on purpose.

There's a lot of reasons why. I think partly just because the stuff I write is usually character-focused, which means that characters need to be the source of drama and conflict, which means that a story is at its most Dramatic if a character is falling off the bad decisions tree and hitting every branch on the way down. Dysfunction is just more interesting than function. But that doesn't mean they have to suck, right? Evil isn't necessarily more interesting than goodness. I find that the reasons why I chase goodness are often far more complex than the reasons I hurt people. Chasing goodness is arduous, intensive, exhausting, and time-consuming work. We need strong motivation to do it.

But I think that's why. I do think of the guys as people who suck, interestingly. But the people I write I think are, by the end of the story, chasing goodness. The path towards chasing goodness is hard. I think we (Tumblr, especially) talks about goodness as if it's an innate desire, that we are naturally good and that evil is a deviation from our natural state of goodness, and that's probably true in an evolutionary sense. Babies are altruistic. But I think that thinking of good as something that good people do can leave us complacent to the great harm that good people are capable of. Goodness is a path you have to find for yourself, and we tend to believe we've found it before we actually do.

OBI-WAN HAD A FATHER FIGURE IT WAS CODY THAT'S JUST WHAT DADS ARE LIKE.

I spent too much verbiage on this post to start dissecting Cody here because that is such a fucking long post - it is, maybe, a 9 story and 200k+ word post [I said 100k before but I was very wrong] - but it's absolutely a story about the ruin love makes of a life. I have, however, been informed that Cody is what East Asian parents are like, specifically. If it's fathers specifically, it's because Cody is an authoritarian. He does great and immense amounts of harm to pretty much everybody throughout the story, and he does it because he loves you, and he does it because he is a fascist, and he does it because being a fascist is the only way he knows how to love you.

I find that (hyperspecifically?) fanfic has issues treating both parents and children as fully realized people and characters simultaneously. This is because fanfic authors tend to skew younger, lmfao, but also because the wish fulfillment tropes used tend to flatten people. Either the parent is an embodiment of our wish fulfillment works for the great parent or a cartoonish devil of evil parenting specifically set up so the perfect parent can swoop in (I fucking hate Batfam fics.), or the child is an accessory for the elementary school teacher/single dad meet-cute trope. Either way, the 'right' parenting is not flawed, and parents are rarely people. And forget about having, like, fascists, be people.

I'll always be sympathetic to Cody. He was a victim of fascism, and his only true desire was to save his family from the pain they were entrenched in. He made hard decisions because he prioritized his family being alive and safe, at the expense of his own soul. I can't blame him for what he did. He had lost so many people and he couldn't stand to lose any more.

And what he did made him actually the supervillain of the entire story, caused every conflict, and hurt everyone around him. It's a sincerely messy situation with a sincerely messy person, and it's a tragedy that would not have happened if Cody's life had been kinder.

I hope that people have empathy for the ways in which Cody and Ben are messed up. There's pain and love in equal measures there.

Also this is both a play on Luke and Vader's relationship (obviously - the Q of what do you do when you have a supervillain dad?) AND a deconstruction of the cutsey family funtimes Dad!Vader and Cutiepie!Luke stories because, I also have them as a guilty pleasure don't get me wrong, having an actual supervillain for a dad CANNOT ACTUALLY BE FUN and no matter how nice and kind he is to you, everything surrounding him has to be SO DAMAGING -

[eybefioro]

Weekly fic rec, by yours truly...

The wind stills ruffles our hair, still shakes the leaves of the trees. The world keeps on spinning. People still walk on the streets, still keep on their routines. We share old stories, old photographs, old memories. We offer each other a hug, even if it can only do as much as wave the cold away. Sometimes, that warmth is what we need to sooth the aching lump in our throats. Sometimes, it just makes it hurt more, but we need it all the same.

I was living my life like normal, until I saw this post. I wasn't prepared to have the ground shattering beneath my feet.

The Ordinary World, by Anti_kate

Rated E, ~24,8k words

My tags: intense, cathartic, beautiful

Summary:

He couldn’t quite remember what Aziraphale smelled like anymore, the particular combination of fresh bread and sea salt and cedarwood, the caramelized sugar of crème brûlée. But even though he couldn’t remember the scent precisely, he knew the bookshop didn’t smell right. It didn’t smell like Aziraphale. It was as if he’d never been there at all. Aziraphale disappears the night of the bookshop fire, and Crowley is left alone and grieving. But death is not always the end.

Hm. This fic spoke to me in such a level. Cut me deep and dissected my feelings in such a way that I didn't expect -- so I'm sorry in advance. This will get a bit personal, and I don't know to which extent everyone can relate to this story, and to which extent is me projecting my own experiences.

So, this can be a particular experience of mine, but I don't see many stories dealing with grief. In the movies, TV shows, books, etc. that I've watched and read, it's an uncommon theme. I find that interesting because even if it is different for everybody (and if every time it hits differently), everyone experiences grief. In the same way that everyone dies, everyone also feels the pain of grief.

We see characters dying and characters suffering for it, but the grief per se is uncommon. And I think that's because it happens a lot in one's head, it's not a linear process, it's complex and painful, and it's never the same. It doesn't even end. We never really stop mourning. We go through our days, and the grief is with us. We work, and it sits by our side. We laugh, and it warps its arms around our shoulders. We cry, and it constrict our voices. We eat, and half of it goes to its belly. We walk, and its weight slows us down. We learn to live with it, we grow around it, but that hollowness is always there, never fulfilled again.

And this story taps into that so well (for me, at least). It describes so well the sense of loss, the sense of emptiness, the absence that lingers. How everything hurts, how it feels for the world to end, and nothing changing. For it to end and people still being the same, doing the same things. For it to end, and for you to confront the fact that it means nothing, really; you still, somehow, have to keep going, you, somehow, are still alive. The world ended, nothing changed, and you still have to breathe.

All that is left is your memories, and they aren't even the same anymore. You can't exactly remember them, but your body does. You get assaulted by them. You get haunted by the ghosts of the people you lost -- you can hear their voices on the back of your mind, you can feel them on their words, on the things they owned, on the things they did. You listen to a song and BAM! there is their ghost singing those lyrics, hoping to that rhythm, a memory that you didn't know you still had. Their ghosts haunt you. But they're gone. They don't exist anymore, only being alive in the past; only still in the memories, in memories that, more often than not, will die with you and cease to exist when all that's left of you is the memories on other people's heads.

We see Crowley go through that. We see him hurting like we (maybe *I*, lol) hurt. We see his suffering upon losing Aziraphale, and how he hurts himself trying to stop hurting, and unfortunately, the hurt is inescapable. He sacrifices a lot to get answers, to try to get close to Aziraphale again -- and what wouldn't I sacrifice only to be able to hug the people I lost ome more time...

But the good news is that he can get Aziraphale back. And he does. The plot is amazing. The descriptions of how he does that and the twists are amazing. This fic is so poetic, and the ending is so beautiful. Reading Crowley getting Aziraphale back was incredible, especially after seeing (experiencing, really) the hurt.

I love how the author wrote this story, their prose is beautiful. Haunting. I loved every bit, and I felt so seen, hugged by Crowley's hurt; he getting back something that I will never be able to was great. It comforted me a lot, even if it hurt (and it did hurt a lot lol I still have a lump on my throat and did cry yesterday because of it, but it was a good type of cry. One that makes you feel good after).

This fic made me feel a lot, and I'm so grateful for it (@antikate I'm sorry for tagging you I just want you to know that I loved your fic so much, and I for sure wasn't able to get that across by my comments there. Rhank you so much for this story) It's so beautiful and... aaa alright time to end this rec. I babbled a lot and said almost nothing, I feel like. Just go read it (not for everyone, I know, but yet...).

This fic is like drinking a too-sweet beverage to try to swallow a too-bitter med. Like making popcorn when you feel sad, because that's what they did when they felt sad.Like keep on living and laughing, because they would like you to.

[multiverserift]

I came across the question: If the USA is so bad, and Cardassia is meant as a metaphor for USA, there surely are a lot of illegal refugees wanting to come to Cardassia and become Cardassians, RIGHT?" Let's dissect that. I think the whole question is asked under a false pretense. Because Star Trek cultures are not meant to display "real" feeling cultures. We rarely see cultural diversity in a Star Trek culture. Because they mostly represent an archetype. Klingons all have something to do with honor. Vulcans have something to do with logic. Sometimes those broad strokes of cultural aspects are used to tell the story of a stray (Ferengi scientist Dr. Reyga in TNG: Suspicions) or someone caught between worlds (Spock, T'Pol, Worf, Quark), yes. But the cultures in Star Trek are mostly a canvas for a big problem or aspect, an idea.

The Federation is about hope and humanity. The good in humans won. We did it. The utopia is achieved, it is challenged, from within and without.

The Romulans were about the Cold War. About secrecy, militarism. More about them in a bit.

The Klingons are a bit more complex, because their role in the Star Trek universe changed over the years. Focussing on TNG era Klingons, they were the Proud Warrior Race© of Star Trek, the problems with that culture as a concept. Also, most Klingon stories in TNG were used to grow the character of Worf.

Now to the cultural aspect of Refugees. Ironically, we are first introduced to this concept by the Bajorans, violated by Cardassia. We see them through the eyes of Ro Laren (the one who assimilated into the Federation) and Captain Picard. Refugees, and Picard gives them blankets. How nice of him. Double ironically, we later in DS9 see the Bajorans deal with their own refugee dilemma enbodied by the Skrreeans in DS9: Sanctuary. And it's problematic, to say the least.

Where else do we see refugees in Star Trek? In PIC, and they are Romulans (here they are again). Sadly, PIC isn't very good at tackling those human condition problems, so it's all a bit superficial. Or maybe I should watch S01 PIC again. But I don't want to.

We also have the Caatati, the refugees disenfranchised by the Borg in VOY: Day of Honor, and they are desperate and aggressive, but we get a very Star Trek solution to the problem. Technology and Empathy, and it's kind of okay. Also, there is VOY: Counterpoint. But the refugee stuff is more of a background canvas for Janeway's boyfriend story.

Now to the Cardassians. Short answer to the question "Are there refugees that try to refuge into the Cardassian Empire?" is: We don't know. Long answer: We don't know because it's not the point of the Cardassians. What's the point? Easy: Fascism and Authoritarianism. And the stories about refugees in fascist states are more interesting when refugees try to get OUT from there. Which is what we get in DS9: Profit and Loss and DS9: Ties of Blood and Water.

We see Cardassia lose its authoritarian state to (kind of) moderately democratic rebels, only to get usurped by Dukat, sold out to the Dominion and get eaten by a merciless war machine. Which is ironic, because this is the heart and core of many authoritarian states. Which is, also, kind of the point.

The point is not "refugees". Because that topic isn't a Cardassian topic. Then there would be the topic of the refugees that Cardassia CREATES. Which is also interesting when I'm writing from a western country (Germany here), because, let's face it, we are not exactly the good guys here. Maybe there should be a few Star Trek episodes about this.

So to understand Star Trek, you have to understand that the races mostly embody a central aspect. Ferengi? Predatory Hypercapitalism. Betazoid? British MILFs. Vulcans? Horny math teachers trapped in the bodies of apathetic decathlon athletes. And don't get me started on Andorians, because to understand Andorians, I'd have to get into the context matters of ENT and oboy, it's a deep hot pocket of interesting facts. Lower Decks also did some nice things with Orions and Tendi. ENT failed the Orions. Man, I would have loved to see live action Tendi in SNW. I could ramble on but I stop now. Also, slightly altered repost because I still have no clue how the reblog distribution system of tumblr works.

[that-ari-blogger]

Reflections? (Yesterday's Lie)

The term “holding up a mirror” usually applies to confronting someone with their own actions and pointing out their flaws. Stories like to do this through foils that share enough characteristics to annoy each other, or villains and heroes that are either the best or worst version of each other. It’s a really neat piece of storytelling.

Yesterday’s Lie is this idea in its most blatant form. Luz literally looks into a mirror and argues with her reflection. Its straightforward and simple.

Except this is The Owl House, it’s not capable of playing anything straight.

Let me explain.

SPOILERS AHEAD: (The Owl House, Dead Poet Society, Billy Elliot, Gravity Falls)

One of The Owl House’s core thematic is individuality and the joy of complexity. It is a story about taking life as it is and not putting unfair constraints on it.

This is why the show is so tropey and so averse to tropes at the same time. It makes a beeline for the closest stock structure and then thoroughly dissects and subverts it. It’s a satire, a hunter of cliches.

As a way of hammering that home, everything in the series is introduced twice. Whenever any plot beat or location is revealed, you get a first pass and a shallow look at that thing, and you get an obvious trope that this first appearance fits into, then you spend time with the thing, and you start to understand just how much that first impression was deceiving. This happens to everything, even the show itself.

The series opens with the famous “eat this sucka!” line and a fantasy witch story, priming you to expect generic fantasy, but you are then met with The Owl House, which is anything but.

Hey look, a conspicuously hidden character from a family photo. This is foreshadowing for a later episode. But if you think about it, this filmmaking technique is weird, right? Telling you something is important by now showing you it at all. I don't have anywhere I'm going with this, it's just something quirky about cinematography.

This also happens to the characters, and I go into more detail about it in my post about the first episode, so take a look at that if it interests you. But there was one notable exception to the rule. Camila Noceda.

When we first see Camila, she is the distant parent, the stock character in a million coming of age stories. She doesn’t really get her child and is sending them off to a place to make them more “normal”. It's going to be a difficult relationship, and the parent won’t get more depth beyond this.

She fits in with Niel’s parents in Dead Poet Society and Jackie from Billy Elliot. Stern, and antagonistic as a result of the theming. Like I said, the story is about how people can’t be defined, and here is a character who wants to box in the protagonist.

Notably, Dead Poet Society ends with the death of Niel as a direct result of the parental strictness, which isn’t a good sign for how this might turn out.

Then Luz runs away, and we don’t get to see anything beyond the stereotype for a season and a half. We instead get Luz feeling guilty and confronting her fears of betraying her mother through a monster that pretends to be that fear. We still don’t meet Camila.

Until we do, and things are immediately different.

The Camila Noceda from season one was refined and busy. She had a uniform on, and her hair up in a tight bun. It’s a refined image that looks down on you with distain. Now, however, she has let her hair down and wears more casual clothes over that uniform, she’s practical but laid back. She’s had things added to her instead of taken away.

It's also notable that the first thing she does in this episode is help a wounded creature. Camila’s second introduction is one of fundamental kindness.

Meanwhile, Vee is Luz’s reflection, except no she isn’t at all. She is the polar opposite of Luz. She wants mundanity rather than adventure, she wants a new life rather than both lives at once, she actively disguises herself rather than seeking to be understood. Vee is only Luz in appearance. Case and point:

Luz - "Cool, talking rats. Maybe they know something." Vee - "(Screams and runs away)"

Camila is aware that something is up, but she’s not used to the magical world that we are, so she assumes that Luz has changed, and she is concerned that the summer camp thing has worked too well.

Vee also gets the multiple introductions. A few episodes ago, she was shown as a shadowy figure who had replaced Luz like a changeling and the filmmaking heavily implied a Machiavellian air to the character. The musical sting, the shot composition and build up, this was a villain.

Then we meet her and she’s a wus. She’s cowardly, and meek, and I love her so much. Except once again, not exactly.

But that leads into the plot of this episode, because this isn’t about Luz, it's about the world she left behind. Luz is secondary in this story, filling the role of a mentour until the very end. It’s another mention of how Luz operates as a character, inspiring people as a light for them to follow, (Light, do not faulter) but it's also not the point.

Vee needs to learn to be herself and that she has found people who will love her not just in spite of it, but because of it, and Camila needs… well she needs to show off her compassion, but she also needs to confront the fact that she directly caused this entire adventure.

“You and I are not the same. You had a mom who loved you, a home, a life, you had it good! And you still wanted to run away, I didn't have a choice. My real name is Number Five. I'm a Basilisk, and technically, I shouldn't exist.”

Something that blew my mind more than it probably should have here is that Vee’s name comes from the Roman numeral for five, that being V. This might be obvious or obscure, but it is something my brain fixated on, and y’all must know.

This is worldbuilding for Belos as well, and we’re really dropping the subtlety with this episode. Belos is a man who desires to eradicate an entire people because they are not like him, a man who experiments on people because they have something he doesn’t and it doesn’t occur to him that their lives have value, a man who assigns numbers instead of names to people whom he plans to exterminate.

Compare Belos to Bill Cypher. Bill was otherworldly and eldritch, an unknowable evil. Belos is the type of villain whom real world history has known, and people who are still alive today will recognise.

Belos is his own person, sure, but he’s also fascistic eugenicist who thinks he’s G-d because of something he was born with and decided entitled him to everything. Belos is Evil.

The fact that Belos is experimenting on the Basilisks with the hope of learning to drain magic seems like an throw away detail. It doesn't come up again in this episode, but if you've seen the series in full, you know why this is important.

But he’s also mundane, and pointedly so. The thing that caused Belos to get this bad was such a simple thing, wilful ignorance. I’ll get into it more specifically when I cover Elsewhere and Elsewhen and Hollow Mind, but suffice to say this:

Belos ignored so many obvious things in his life because he didn’t want to contradict a worldview that put him on top, and he kept doing it and kept going and going and going until he doesn’t have to try. People aren’t people to Belos.

Which leads me back to what I was saying about character introductions, funnily enough. This is a story about teaching Luz and the audience to look past tropes and preconceptions to see people as complex. Belos cannot do this, and that is directly what causes his villainy.

Belos ain’t even directly in this episode and he’s got me livid.

Still think Warden Wrath is just a quirky little goober? Also, the Basilisks were brought back from extinction. Like in Jurassic Park. Belos is playing G-d.

This does kind of reframe Michaela Dietz’s performance as Vee though, doesn’t it. She goes from jumpy to traumatized. She’s a survivor and a child at the same time. Of course she’s like this, who wouldn’t be?

This is a character whose voice acting and line writing come across as dissonantly weighty. Like this character has seen more shit than she should have at her age, because she has.

I seriously cannot praise Michaela Dietz enough here.

Also, the point at Luz is a point well made. Luz ran away without thinking things through and without the consequences occurring to her. She took what she had for granted, and Vee rightfully calls her out for it.

Jacob is Belos wanna be. He’s a conspiracy theorist but in a really interesting way.

He gets introduced twice, but in reverse order. His traps and cameras are shown first, then he is introduced and he’s just a normal guy, then it is revealed who he really is. Like I said, this happens to everyone in the series.

However, there are a few ways you can run a conspiracy theorist in a story. Maybe he’s wrong and the magical world doesn’t exist and he’s just seeing patterns where there are none. But this is The Owl House, that doesn’t apply here.

Alternatively, Jacob could be right about everything and find his way into the Boiling Isles. Needless to say, this doesn’t happen.

This shot bounces between Vee's and Jacob's perspective, but always with the cage in front of them. As if they are both trapped by their own minds.

Instead, Jacob is actually wilfully ignorant. He’s the “we have Belos at home” of this story and is just what Vee needs to confront. He’s got something in his mind that he believes beyond all evidence, and when something is shown that would challenge his worldview, instead of adapting, incorporates it on a surface level without taking the time to understand what it actually is.

Jacob believes in aliens from Mars, and he is so fixated on his discovery that he doesn’t stop to ask if it actually proves him correct. Instead, he assumes mal intent because the creature isn’t like him, and therefore the creature must surrender all privileges. Most notably freedom.

Jacob is small, and petty, and definitely not as megalomaniacal as Belos. But I ask you this, if he got into the Demon Realm, what would he do?

Enter Camila, who is a direct contrast to Jacob specifically. She is shown information that rocks her worldview, and what does she do? She changes her worldview. Mostly.

There is magic. Ok. This is not Luz. Ok. This creature must die. Hold up.

Camila actually keeps most of her ethics identical. She will not witness injustice and she will never be unkind. She’s a vet, she treats everything with compassion no matter what species.

She gets two lines in short succession to really exemplify this.

“Hello, this is all so confusing, but who knew I had such a strong girl living under my roof this whole time”

It’s affirming and reassuring. Compassion first and foremost.

“I’m the good guy here!” “Yeah. A lot of bad guys say that.”

Essentially, screw your god complex, I will not be told what to think. I have learned, and I reject the wilful ignorance you stand for. It’s also just a killer one liner and it sounds cool.

Even the lighting knows what's up. Camilla is lit from above, like an avenging angel looking down on Jacob's small minded ignorance.

On the other hand, I said “most” in reference to Camila’s changing ethics, and I meant it. Camila starts the story trying to box Luz in, because she thinks it will make her life easier and safer. But she gets shown here that she was wrong in at least half of that. Luz cannot stop being herself, nobody can, so Camila needs to stop expecting people to fit with society’s preconceptions.

Camila gets more background later on in the series, and I will talk about it when I get there, but she learns, and she is willing to change. That’s the important thing.

Speaking of which, I drew comparison to Jackie from Billy Elliot and I know at least one person will get really upset by that. And let's explain why.

Jackie isn't the trope I mentioned either. One main theme of Billy Elliot is the price of freedom, and Jackie spends the first part of the film seeking personal freedom because he thinks that will trickle down to his son. But he doesn't realise that doing that is directly causing his child to be miserable.

I studied this film in high school and I have it drilled into my brain that the sartorial design of this scene reflects Jackie's sacrifice. Usually, he contrasts with his environment. But now, as he breaks down and returns to the mine, he is one with it in colour scheme resigned to be nothing more than a cog in the machine.

So, in the best scene in the movie, Jackie breaks down and sacrifices his own freedom to pay for his son's dream. Its heart wrenching, and its similar to Camila. Both of them start off disapproving and boxing their children in and learn to be better.

These people are similar, that's why the series introduced Camila using the trope, but they both split from it, and they are both their own person. Everyone is an individual.

That final scene is painfully well written. You know exactly why Camila and Luz would say what they say, why they would miscommunicate, and what is holding them back. Who is right here? I would argue both of them.

Camila looks at a place called “the demon realm” and, as a mother, assumes the worst. She wants nothing but the safety of her children, and she hasn’t been shown anything that dissuades that. Instead, you get Luz saying this:

“Staying here was the best decision I ever made.”

Of course Camila would take this the wrong way, of course this would go so badly for Luz. But it also goes badly for Camila, who now has to reconcile the fact that, despite everything else, Luz made the decision to stay in a more dangerous place because it understood her better than her home. That’s a difficult thing to hear for a mother, but it's something to reflect on.

Meanwhile, Luz now has tried her best to be understood by the person she wants to connect with the most, and she has failed due to her own inability to communicate. The series is creating a conflict and creating a duality, Luz must choose at the end whether to stay in the Demon Realm or go to the Human World. Its an impossible decision planted really well, and in my opinion, it will pay off incredibly.

I think there's some symbolism here, but I just can't quite figure it out.

Final Thoughts

I feel the need to remind y’all that this was on Disney, apparently aimed at kids seven years and older. Don’t get me wrong, kids are more intelligent than people give them credit for and can understand complex themes really well, even if they don’t have the skills to articulate that. But there are some things in this episode alone that feel aimed at an older audience.

Maybe that’s why Tumblr likes this series so much. It’s the type of story that appeals to people of any age, but can be understood by someone very young, and can act as role models for kids growing up.

The reason I say this, is that when I looked up the age rating of The Owl House, I did find a review that made me laugh:

One star, 18+ “There’s kissing which is ew”

Next week, I’ll be covering Follies at the Coven Day Parade, which explores the theme of duality, but also gives Kikimora complexity, something I was not prepared for at all. So, stick around if that interests you.

Previous - Next

[theredofoctober]

MANNA FIC— CHAPTER ONE: PAPRIKA

Dark!Hannibal Lecter x Reader x Dark!Will Graham fic, TW for eating disorders, noncon, abuse, drugging, mild Daddy kink (it'll all make sense).

Chronologically this is the first chapter in the series.

Keep reading after the cut

Later, when you reflect on your first meeting with Dr. Hannibal Lecter, you will marvel at the Sybilan apprehension that had wreathed the merest detail of that night: the oppressive colours of his office, grey and vermillion from window to wall, the very choice to have you see him at an evening appointment, penning you in by way of the darkness.

Yet, as you sit across from Hannibal in a low leather chair, you contain only a spiteful rancour, one foot jouncing testily as the doctor attempts to extract answers from you beyond a penchant for grudging monosyllables.

“I understand that you have seen therapists in the past,” he says, in a neutral tone.

You stare at the curtains in their dissected oblongs of red and ash, like bloodied teeth against the wall: anything but meet the eyes that seem to have already picked you apart in the mere minutes you have been before him.

“Yeah,” you mutter. “A couple of times. CBT stuff. I hated it. Doesn’t work for me.”

Dr. Lecter offers you a smile so imperceptible that he might not have moved at all.

“Understandable. Cognitive behavioural therapy is a better fit for anxiety and negative thinking— it has its place, but for patients with deeper trauma, their illness may prove too complex for it to be effective. Dialectical behavioural therapy would perhaps be more suitable, in your case.”

Shrugging curtly, you do not ask him to elaborate. There is no therapy in the book that you would warm to; you had set out tonight only to put an end to familial begging, in its absence of dignity.

You resent the nakedness of your secrets before this stranger, before anyone, your suffering made public domain. Like a brow-beaten captive, you are moved to defend your self abuse against all those who seek to extract it from you.

Hannibal watches you with a dry intensity, his gaze rarely straying from your face. He is a lean, polished figure in an impeccable red check suit, dark hair swept back from a face of meticulous and rather interesting beauty.

His brows are low, almost invisible, his eyes small, and as dark as tree flux, the nose—straight, and as debonair as the rest of him—leading down from two furrows that suggest an earnest and curious whimsy.

His air, thus far, has been both tactful and polite, unperturbed by your close-mouthed unwillingness to yield to quizzing in even the most inoffensive line. You should like him, you suppose, yet you have already branded him an enemy.

He is a man; how could you ever be expected to open up to him?

“How long have you struggled with your eating disorder?” asks Hannibal.

You cross your arms over your chest, barring him out, a theological defence against the vampire of such dreaded questioning.

“You’ve read my records. You already know.”

“Certainly, but I would like to hear your experience in your own words. Such documents may represent only the most objective truths, and reveal very little of you, or what you are feeling at any given moment. Besides, they are as fallible as the professionals that create them. If there are any inaccuracies, your answers will bring them to light.”

The implication that you may share, with him, an honesty that you have refused previous therapists bears a quiet arrogance that might have won you over, were you not set so resolutely in your hatred.

“Fine,” you say. “I’ve had it since I was a kid.”

‘IT’; the word may as well be in baleful capitals, the introduction to some eponymous beast. You will give your ailment no other name aloud, have never done so, except in clandestine internet entry, forcing the thorn further beneath the nail.

Dr. Lecter digests your simple answer, finding flavour in its enigma.

“You have no intentions of recovery without intervention. What served you in your formative years, you will continue to savour.”

“I don’t think I’ll ever get better,” you retort. “It’ll always be there, so what’s the point?”

The question had shaken previous professionals into stumbling objection; not so Hannibal Lecter, whose ambiguous calm nevertheless bears the same imperceptible threat as the night.

“Would you say the same to an alcoholic?” he asks. “Many live out their lives through a succession of losses and victories, and likewise, many emerge fulfilled and content in having struck out on the path of self-betterment. Yet, by your logic, you would condemn them all in their relationship to illness.”

“I wouldn’t do that,” you object; your foot bounces so violently over the arm of the chair that Hannibal glances at it, his focus unbalanced by the distraction. “It’s different for me, okay?”

“In what regard? What prevents you from regarding your own struggles with the same grace?”

“It’s... it's not the same. I don't want to talk about it.”

Panic makes you feel almost buoyant in the room, a kite with your string cut, to be devoured by the wind.

“You have not yet reached the point that recovery seems possible, or even desirable to you,” says Hannibal, across your distress. “That is quite normal. For many individuals with eating disorders, recovery can take up to ten years to achieve— a long and difficult road, yet while there is no permanent cure, there is still reward in that destination.”

This you have heard before, in other iterations; he loses you a little, a mistake that he seems to catch in your reply.

“You don’t understand.”

“If you mean that I cannot directly empathise, that is true,” says Dr. Lecter. “I do not share your struggles. Food is a great pleasure to me. Still, I comprehend the crux of your illness— that you once seized a handhold in a rock when you were falling, and still refuse to let it go when there is earth to hold you.”

You continue to jiggle your shoe in a pattern of agitation.

“You’ll never be able to hold me.”

Hannibal leans forward and places a hand upon your foot, guiding it soundly still again.

“That remains to be seen.”

Your breath peters in your throat. It apalls you that he has touched you without asking, that his hand—so warm through the leather of your sneaker—makes you imagine it within the wet turncoat of your cunt.

Suddenly you’re standing from your seat without acknowledging the motion that led you there, like a frame scratched from an old tape.

“I’m leaving,” you say, abruptly. “I’m sorry. This just isn’t for me.”

Hannibal looks up at you, and the still, smooth planes of his features alarm you in their lack of urgency.

“Please,” he says. “Sit down. You will not be leaving here today.”

He is so slim and unassuming in his tailored suit that you feel yourself the red-capped girl of fairy tale, entering an elder’s cabin to the appetites of a wolf.

“What are you talking about?” you whisper.

Dr. Lecter leans forward, speaking with a low and graceful regret.

“I must inform you that your parents have signed a written agreement for you to enter inpatient care, overseen by myself and a colleague.”

Betrayal breaks across you in a death bed sweat: how could they? What have they done?

“No!” you say. “You're lying.”

Dr. Lecter pats a folder resting on the arm of his chair.

“I would be willing to show you the paperwork, if you insist upon it.”

“I don’t care,” you say, your voice a shrill of indignation. “They can’t just send me away without my permission! It’s illegal!”

“As guardians to a vulnerable adult, it is entirely so.”

You don’t believe him, although your parents evidently did, pressed by their earnest desperation to reverse the agonies of time.

“Whatever,” you say, coldly. “I’m not staying.”

Hannibal tilts his head at an angle of frosty amusement, and suddenly you grasp that this is no ordinary intervention, but incarceration, for reasons yet unknown.

Terror snarls through you like thunder, and you run for the door, wrenching at the handle to find it locked against you.

“What the fuck?” you cry, though you had known in your most basic, animal senses that this man—this room—would be your undoing.

Dr. Lecter has gotten up from his seat and is striding towards you, seizing your arms at the wrists, as firmly as a father; you turn your head in a feral reflex and attempt to bite him, stalled by the wool of his jacket in your teeth. He turns your writhing figure towards him, your skirt bunched up to your waist in the struggle, his palm a blacksmith’s tool on your bare skin, a scarring heat.

His expression is scarcely altered by the struggle, his breathing slow, even. You are no threat to him; he has surely restrained patients like this before, a necessary training.

You will not go quietly, as perhaps others have, before you. You bring your knee into his groin until you hear him grunt in the desired pain, but he does not lose his grip upon you, only drives you back against the door, his eyes churning with a wild satisfaction.

“You will learn not to disobey, little one,” he says, and before you can absorb the threat there is a needle at your neck, and chemical night.

You half-wake some hours later to the voices of two men, one of them Hannibal, the other unfamiliar, speaking in a curt and cautious rhythm.

“This is her?” asks the unknown man— through fluttering eyelids you see him, all rumpled hair and scowling good looks, an image from some obscure Brontë novel. “The patient you talked about on the phone? What have you given her? She looks out of it.”

“A mild sedative,” Hannibal replies, “with some additional compounds. It’s alright, Will. She will revive soon, likely in a confused state. This will pass.”

Will hangs back, his mouth an angle of uncertainty.

“Forgive me, Dr. Lecter, but I’m a little confused as to what I’m doing here.”

“Your role will be paramount to the healing process,” says Hannibal, touching a hand to his colleague’s flannel sleeve with familiar tenderness. “Together, we will each be whatever our subject requires from one moment to the next. A healer, a father, a lover, a friend—”

“All while crossing the boundaries of what could be considered valid treatment into an inappropriate relationship,” Will cuts in, sharply. “Surely that’s only going to make things worse.”

Dr. Lecter approaches you, adjusting a pillow behind your head; you are too out of it to object, unsure whether it is a chair or a bed you occupy in your prone state.

“What is appropriate is not always the most effective method of healing,” says Hannibal. “This patient requires complex support. Decisions to be made for her that other professionals would not be comfortable making.”

Will shakes his head, grimly amused.

“And you are.”

“Certainly. Over the years I have seen results from the most unorthodox approaches. I have an interest in observing how she will respond to mine.”

You watch the two men exchange glances, and blearily wonder if they are merely friends, or something more.

“Dr. Lecter, I have no idea how to connect with her,” says Will. “And frankly the idea of trying isn’t something I’m particularly enthusiastic about.”

“Your discinclination to be involved may work to her benefit,” says Hannibal, smoothly. “While my part is to provide gentle guidance and compassion, you will offer the firm hand required to leash the chaos of her disturbed mind and behaviours.”

Will scoffs in disbelief.

“The good cop, bad cop routine? That seems a little obvious for you, doctor.”

“And yet it may be precisely what she craves. Stability. Discipline.”

At this, there is a certain change in the air of the room; one day, you will know it as hunger, so many appetites contained between two men.

“Well, which one is going to come first?” asks Will, relenting. “Stability, or discipline?”

“When she is fully awake, we will know," say Hannibal. "And we will deliver it.”

[solar-sunnyside-up]

"Casualties of violent resistance to violent oppression are ultimately the SOLE blame of the violent oppressor"

Hey, you know what's interesting? I've been following solarpunk blogs for years. And I never saw any solarpunk blog display any kind of apologism for violence until this past month. In the span of a few weeks, the entire eco community has completely changed its tone about violent strategies. Apparently, since everyone is hyped about violence this month, violence is on the table now.

The US government legally classifies pipeline disrupters as domestic terrorists. Now, with our newfound violent rhetoric, we can give the FBI even better reasons to call us domestic terrorists. Everyone has spent a month calling terrorism "decolonization." So now the media will have a field day portraying eco activists as terrorists any time we mention decolonization. This will make attempting to communicate with the public much more complicated and challenging. But oh well. What's done is done. Tiktok decided to associate terrorism with the decolonization movement and now we all have to live with the consequences.

Do you think the eco movement's new political attitude towards violence will help our cause or hurt it? I'm genuinely curious. By the way, oil companies are deeply integrated with the military industrial complex which requires fossil fuel for missiles. So I'll ask again. Do you think violence is a good strategy for resisting the fossil fuel empire? Should we be studying, glorifying, and emulating violent movements? Is that a form of battle that we could ever possibly win? Or is that just a way for us all to martyr ourselves?

Also, how do these violent resistance movements even get off the ground? Do they just conjure their weapons out of thin air? Or are those weapons smuggled across borders by Iran's proxy militias? Do you think Iran or some other country with proxy ambitions would smuggle weapons to eco defenders? I don't know if they would. I'm just curious how murderous violent resistance could ever possibly overlap with solarpunk.

Woah woah bestie feels like we've jumped the gun on the actual post here, you must be new to eco movements it's ok tho! Let's handle this one bit at a time 💕💕

^^^ This is the post this is referring to for context. Now let's get down to dissecting this below the cut bc YIKES this is a lot to discuss but here why dont join me for a spot of tea yeah?

Before I start to tackle this with as good faith as I can let's get some facts in order:

A) I'm from Canada, a country known by its citizens for not respecting protesters/activists. Hell, the first Premiere of Manatoba, Louis Riel was a classified Traitor and was hanged for fighting against the government for the rights of his people and we treat him as the hero he is now. In the mid 2000s a "rebellion" was lead to protect a reservation from the mounties and they stole a tank! While the news and gov ripped them apart give it 10 years and ppl cheer at the idea now. The fairy creek protests and the pipeline protests are more recent examples. They arrested and brutalized people doing nothing more then having breakfast on their own land while blocking construction. So like.... I don't have the illusion of a "peaceful" protest. Here (particularly my province) you go to a protest you simply dont expect to come home. We are functionally a monarchy, we don't have "freedom of speech" and the government was never instilled for our "freedom" or our benefit it was solely to divide up the land and to conquer.

B) this is super not new to Eco movements in particular. They've have "Eco terrorists" on record as early as the 1900s ranging from Treespiking during early logging, to throwing paint on fur wearers in the 1970s. Wiebo Arienes Ludwig is from my Province, arrested for sabotaging Oil wells and went to trial in 2000. This is definitely not a new concept to eco movements and as Solarpunk enters a more Praxis heavy punk scene instead of pure sci-fi this is likely going to be a branch of it there's no avoiding that.

"Choose peace rather than confrontation. Except in cases where we cannot get, where we cannot proceed, where we cannot move forward. Then, if the only alternative is violence, we will use violence."

This additiude comes from a reasonable place in fact here a quote from Nelson Mandela in Gaza, 1999 sums it up pretty well:

Particularly since typically they will blame a peaceful protest just as much as a "violent" one. I think "violence " is something that will happen no matter what we do. If we're as peaceful as possible, they'll still call us violent mobs just to have an excuse to crack some skulls. Even if they're just having breakfast, on their own land, they will arrest and beat them. It won't matter at a certain point bc they want to prove they can be in control.

Now don't get me wrong, I would honestly prefer to slowly adapt. To build as we take down, to show ppl the joy of this and they'll come on their own. But that only works if the goverment and the citizens are equal partners. And idk bout the states since im not from there, but here? It wouldn't matter how many citizens asked for us to go Green overnight the government would ignore that cry for the corpate money.

"People should not be scared of their governments, governments should be scared of their people" and sure this is because we out number them but they should be working for us because that's the point of a goverment in the first place.

Next is: Do I think this is a useful way to spend energy?

Yes! I do, giving something for people to do with their hands, with groups, makes ppl realize how powerful they are and how weak the system oppressing them is. Empowering ppl to do what they can where they can is always good! What ppl do with knowledge is up to them, and if they feel it's needed then generally needed.

Now to the point of weapons: no one has said anything about weapons that something like the oil companies or military would back?? All the weapons endorced by these movements are typically things like using spikes and putting them into trees, or like in France- the energy union cutting off power to the CEOs house (while giving free electricity to hospitals and poor communitis) until they reconsidered the penson plans. Or when they put BBQs on tram lines during a protest. These are weapons, but they are of the ppls trade, they are tools ppl already have not as you said "[weapons] smuggled in to eco defenders" no one is suggesting Guns? That simply won't solve things.

Organizing, communicating, and strategic planning is our best weapons.

I think that covers it, but I'm also doing this on mobile while sick so I might not have covered it all. Although i think my point is made! The final thing I'll say is, if you don't agree with these parts of the movement you don't have to participate or even look at them. Forge your own path! Others I'm sure will follow! My way will never be the only way and we are in charge of our own experiences online. This post original wasn't even tagged as solarpunk, it was under revolution so feel free to block that tag or me if you need to! Have a good day!!! /genuine

[goodfish-bowl]

What Little Remains

Chapter 1: Finding the Pieces

Ectoberhaunt 2024 Day 3: Archeology

AO3 Link

Summary: The Terra Zero Archeology Project has received funding to locate a laboratory of both historical and technological importance. What they actually end up bringing back is something of much greater significance.

Warnings: Dissection, gore, blood

Words: 2,374

They had found it on the planet once known as Earth, now known as Terra Zero. It had been buried in a laboratory of historical and technological importance. The laboratory was the target of their mission and this had merely been something they had discovered along the way, but it was likely a much more significant find than their original goal. It was a miracle, really, that the jar protecting this particular specimen was fully intact, and an even greater wonder that they found a second one to go with it. Despite the atypical building practices found at that location, it had managed to survive the several planetary disasters that had befallen Terra Zero since the lab had been constructed. It was truly an amazingly complex and baffling in its own era. The laboratory itself had been buried under tons of sediment, ash, and debris that had built up on the planet's surface over the centuries, yet it managed to preserve the space from the very passage of time. 

The Terra Zero Archeology Project, shortened down to T.Z.A.P, had only been able to discover it through a related digital archiving project, following mentions of its existence along with digital records from the time, particularly a set of patents that were of interest to the team's investors. They read like utter nonsense, completely indecipherable despite running them through every algorithm available and having sloughs of intergalactic experts look them over. The only hope of figuring them out lay in the lab where they had been created. A myzack-chase through several databases and many long message chains and holos later, the mission was underway. The promise of new technologies was what got the T.Z.A.P. its funding in the first place. This lab was sure to have them keep their funding for a while longer. 

The lab itself had been odd, with unknown radioactive elements non-native to the Terra Zero planetary area found in unusual amounts with a positive correlation with the proximity to the lab. Special suits were created just for this excavation, and entire collections of journals were being written based off of the findings. The interior of the lab looked untouched, only a thin coat of dust covered every surface. It was in a general state of disarray like it had been abandoned in the middle of something, but the walls were intact (except for the portion they had drilled through) with minimal rust and decay setting in. It was an astronomically amazing find. 

Then there were the samples. 

Most of the samples, which looked to be biological samples from a dissection, were degraded beyond use, a millennium beyond expiration. They appeared to be humanoid in nature, which ended up being one of the most unnerving portions of the discovery. It wouldn’t be confirmed until they were actually processed and tested. It wasn’t safe to assume, they had found ones made of ‘rubber’ before. One jar, containing a singular, whole hand, was preserved properly, in what appeared to be an isotopic solution tinted green. The next samples of interest were a set of small vials containing a viscous green liquid that actively rested in a set of a dozen, three of which were intact, the rest exposed to the heavy, damp atmosphere of the lab. It was an unnaturally bright green substance with a dull glow, flecked with red. The intact vials wouldn’t be opened until after the samples of the broken ones were processed first. It would give them a good idea of the decay rate of the substance. There was a heavy containment unit, made from glass that could rival modern war spacecraft windows, with a glowing crystal orb inside, floating in a similar solution to what the vials must contain. All of the other samples were labeled “Phantom” with a time and date on their collection date. This one was marked with the name “Danny”, instead. They were all within two days of each other, with the orb being last. 

The most valuable thing T.Z.A.P. managed to collect from the lab, other than just recording of the finding of an intact lab from the early 2000s era, was the intact digital files located on the ancient external hard drive. Someone on the tech team had managed to reconstruct and restore the files on it and found hundreds of files containing everything from lab journal entries to video recordings, to entire papers. It was an almanium mine of information, shining light on many of the patents themselves, though the blueprints and the construction of the technology remained theoretical at best. Whoever had designed these was using a language all of their own that no one else could decipher. 

The samples and digital files were brought into the in-orbit lab and processed while the systems scanned the antique files for relevant information, matching the patents and the surviving samples. The computer pinged a collection of lab recordings almost immediately, curiously matching the time stamps of the sample collections. 

Zavier, one of the many interns assigned to this project, absently clicked on one at random, sound on, in the middle of the main research room. 

Corroded, the audio snapped and popped, showing its age, but it caught the attention of everyone else in the room. Grainy footage of a woman in a teal jumpsuit, with red goggles covering her eyes, and black gloves covered the screen. A large figure in orange moved in the background. 

“This is Doctor Madeline Fenton, it is June 4th, 2006, at precisely 14:23. I am joined by Doctor Jack Fenton in collecting a whole-piece sample from the ecto-entity known as Phantom.”   

Ecto-entity. It was a term that popped up frequently in the study of this particular laboratory and the related patents. There were at least a dozen sets of eyes on the monitor at this point, several different people scribbling down notes of interest. 

“As mentioned in Recording 632006-334 samples collected from Phantom seem to rapidly degenerate once removed from the central entity. To correct this, we have diluted a solution made from the entity’s own ectoplasm mixed with an isotopic preservation solution in an attempt to preserve the sample for further, future study.”

The woman moved the camera to show a prone figure, heavily strapped down to a mental table, distinctly human, despite their odd features for the time. They appeared young, prepubescent in age, uselessly crying and thrashing on the table they were strapped to. They were covered in past incisions, and missing several fingers from their other hand. Several harsh breaths of horror were taken around the room. Zavier should’ve paused the video there, but he hadn’t. 

“Our intended sample is going to be the entire right hand.”

The child on the table let out a heart wrenching whine, barely picked up through the harsh muzzle on their face. 

Something in the room broke, it sounded fragile, but no one moved, transfixed by the screen. 

The woman, Dr. Madeline repositioned the camera over the child’s right hand. They visibly struggled, straining against the restraint. 

“Jack, the bone saw?”

“Here you go, darling!” The man said with a large smile. 

The boy screamed and it echoed around the entire room, the video filled with bright colors of green and red as the bone saw ate through flesh.

The video was abruptly stopped before it could finish, and someone immediately rushed to the trash unit in the corner. A few people did. The scream still seemed to linger around the room anyways. 

“What in the void of space are you all doing?!” A new voice interrupted.

“H-head Doctor! I didn’t mean to! But it started playing and I didn’t want to stop it so I let it play!”

“And?”

“A… a-and?” the intern stuttered. 

“What did you learn?”

“That… that I shouldn’t click on a random video without permission…” Zavier admitted reluctantly. 

“I meant about our subject.”

“OH! Oh… um. Young, possibly male humanoid, unusual features… they cut off their hand with a bone saw…” Zavier’s voice trembled, unable to focus on the words coming out of his mouth with the scream echoing even louder in his own head than it had in the room. 

The Head Doctor’s eyes darkened. Her grip tightening on her tablet, before snapping down the tech and sending out several messages all at once in a furious efficiency. 

“If continuing on this particular project makes you uncomfortable, please report to the main deck for reassignment!” The Head Doctor announced it to the whole room. “I understand that we’re dealing with humanoid experimentation in this discovery. You will not be punished for wanting to be reassigned.”

Several people left the room almost immediately, practically fleeing in terror. Zavier found himself agreeing, but was firmly rooted in place. Others thought about it, before following the rest out. From the two dozen researchers and interns in the room, less than a fourth remained. Zavier rediscovered his ability to move for a moment, and contemplated joining them before staying in his spot. He couldn’t. 

“Intern. I need you to find the video of the collection of the orb. The video should be labeled 642006-1746.”

“Yes, ma’am. May I ask why?” 

Zavier really didn’t want ot have to watch another video when this one was going to be haunting him for the next decade.

“The sample associated with it refuses to be identified, but it has responded to external stimuli, including sounds and being moved about. Several of our preliminary scans have identified something similar to brain waves emitting from it. We need to identify it.”

“Yes, ma’am.”

Zavier swallowed thickly before clicking on the video labeled just as the Head Doctor had specified. The video pulled up just like the first, popping and snapping before settling in place. The same woman from the first video appeared in the camera, slightly worse for wear. Her suit was splattered with green and red. Zavier cringed and looked away, but refrained from covering his ears with his hands. He had to at least listen, even if that was the worst part. 

“This is Doctor Madeline Fenton, it is June 4th, 2006, at 17:46. Dr. Jack Fenton and I have just finished our full dissection of the ecto-entity once known as Phantom.”

The camera panned to show the same child from earlier, cut up into pieces, a large vivisection cut splaying their chest wide open, cavity practically hollowed out, and several stained jars littered the free space on the table. They boy wasn’t moving anymore.

“We have made an… interesting discovery concerning its biology.” 

The scientist paused for a moment, glancing behind her before she seemed to hesitate. 

“Not… not only did it possess a perfect copy of human biology, it was a functioning one. However, after considerable loss of ectoplasm and substantial damage to its internal organs, its facsimile of life ceased. We were able to locate its core,” she held up the jar containing the small glowing orb. It seemed so tragic floating in that solution. All that blood and viscera for something the size of a pinging ball. She placed the jar on a table out of frame.

“And have successfully removed it and placed it within an isolating containment unit. Reasons for this have been stated in my husband and I’s previous papers on the nature of cores. However, Phantom’s seems to be behaving differently than expected. It’s fallen completely dormant after drawing in all available ectoplasm. Theories on this will be further elaborated in the paper currently being constructed on the ecto-entity Phant-”

There was a flash of light in the background that glitched out the camera for a moment, before the video returned. There was much more red than there was before. The boy was noticeably different, his appearance much more in line with the humans of the era, black hair and red blood. 

The woman swiftly turned around, a weapon she reached for off screen suddenly in her hand. It clattered to the ground soon after. She made a horrible choking noise, like she was being strangled. Zavier didn’t think she had the right to react like that. She and her partner had done this after all.

“Danny..?”

The Head Doctor reached over Zavier and turned the video off, gripping the bridge of her nose and letting out a harsh breath of her own. Zavier himself sunk further into his seat to process the information that was likely going to continue to plague his nightmares. He didn’t know why he felt so terrible, or why it was all knotted up in the base of his throat. That kid had been dead for over a millennium at this point. There was no saving them, just the bits of what little of them that remained, as samples, recordings, and data. He shouldn’t be this horrified and torn up over someone long dead. 

“Intern, what is your name?”

“Zavier, ma’am.”

“Zavier, go make yourself something warm to eat and distract yourself. I don’t want to see you until it looks like you’ve had at least a full cycle of rest. Senior members,” she signaled the three of the older researchers who had remained, one of which was trying to light a smoke in the corner, “We are going to be having a long night to figure out the nature of this research. If… If this lines up with some of my current conclusions, then we may have a much more… interesting project on our hands.”

“Ma’am… what do you mean by that?” 

One of the researchers asked, coming in closer to relieve Zavier from his seat at the monitor. Zavier hadn’t been expecting his knees to be so weak when he tried to stand and the world spun around him for a moment before he managed to steady himself.

“Simple. We have the current approval and supplies to use the D.R.C.R.A. on a suitable… sample of interest,” The Doctor claimed. 

“You don’t mean… by the void,” The researcher with the smoke cackled. “Oh, this is going to get us in so much trouble!”

“Well, it would certainly line up with our objective to study the era. What’s better than a first-person witness?”

Ectoberhaunt 2024 Masterpost

[ngdrb]

Unraveling the Extreme Rhetoric of J.D. Vance

In the political arena, words hold immense power, shaping narratives and influencing perspectives. J.D. Vance, the Republican Vice Presidential candidate, has garnered attention for his controversial views, particularly on issues concerning women and societal transformation. This essay aims to dissect Vance's extreme rhetoric, unveiling the concerning implications it holds for the rights and well-being of women and the trajectory of our nation.

Women and Abusive Relationships

One of the most contentious statements made by Vance revolves around his stance on women staying in abusive relationships. In a resurfaced statement, he suggested that women should remain in such toxic environments for the sake of their children. This perspective not only dismisses the trauma and danger faced by victims of domestic violence but also perpetuates a dangerous narrative that normalizes abuse.

Domestic violence is a pervasive issue that affects individuals across all socioeconomic backgrounds, with women disproportionately bearing the brunt of its impact. Vance's rhetoric undermines the hard-fought battles for women's empowerment and autonomy, effectively trapping them in cycles of abuse under the guise of familial preservation.

Moreover, his stance contradicts overwhelming evidence that children raised in abusive households suffer long-lasting psychological and emotional scars, often perpetuating intergenerational cycles of violence. By advocating for women to remain in such environments, Vance disregards the well-being and safety of both women and children, prioritizing an outdated and harmful ideology over their fundamental human rights.

Project 2025: A Radical Agenda

Vance's acceptance of Project 2025, a far-right initiative aimed at radically transforming American society, raises further concerns. This project espouses an extremist ideology that seeks to impose a rigid, ultraconservative worldview on the nation, eroding the principles of diversity, inclusion, and individual liberties that form the bedrock of our democracy.

Project 2025's ambitious agenda includes dismantling existing social and political structures, promoting a narrow interpretation of traditional values, and curtailing the rights of marginalized communities. Vance's endorsement of such a radical endeavor not only alienates vast segments of the population but also threatens to undermine the hard-won progress made towards a more equitable and just society.

By aligning himself with this radical movement, Vance demonstrates a willingness to sacrifice the fundamental tenets of democracy in pursuit of an extreme ideological agenda. This approach not only risks polarizing the nation further but also jeopardizes the very fabric of our democratic institutions and the principles upon which our nation was founded.

Conclusion

J.D. Vance's extreme rhetoric on issues pertaining to women and his acceptance of Project 2025 raise grave concerns about his suitability for a position of leadership and influence. His views on women staying in abusive relationships perpetuate harmful gender stereotypes and endanger the well-being of countless individuals. Furthermore, his alignment with the radical agenda of Project 2025 threatens to undermine the principles of diversity, inclusion, and individual liberties that define our nation.

In a time when our society grapples with complex challenges, we need leaders who promote unity, compassion, and a commitment to upholding the fundamental rights of all citizens. Vance's extreme rhetoric and associations with fringe movements raise legitimate questions about his ability to represent and serve the best interests of the American people.

As citizens, we are responsible for critically evaluating the rhetoric and platforms of those seeking to lead our nation. We must reject ideologies that foster division, perpetuate harm, and undermine the very foundations upon which our democracy stands. Only through informed and responsible decision-making can we ensure that our nation remains a beacon of hope, justice, and equality for all.