#keeping this ship alive as best as we can

[lokistrk]

it feels like something of a miracle that people are still creating frostiron fic and fanart in the year 2024.

[mochiajclayne]

I've been avoiding episode 1115 for an entire month after it was released and despite reading in the manga about what will transpire, I'm still brokenhearted because the guilt of not being able to protect his ship and crew will flood more questions for Law because surviving yet again has got to be a sick joke from some sort of higher power at a certain point. Is it because he's a D that there's a mysterious force compelling him to survive no matter what? Why him, specifically? If an incurable disease and a limited lifespan was not enough to kill him, if his fate was so checkered to the point that he had to bear witness losing his family, his savior, his home, and his nakamas, what's the point of being alive? He has too much love to give and I won't be surprised if he was already introspecting on the idea that he's like a curse bringing the inevitable to his loved ones because his love was doomed to be tragic and unfortunate.

[hxbrid-sxldier]

I caught him "inspecting" his weapon he's adorable (it was mid taunt 😭) I love him sm ❤️

[avernusfuries]

tag dump.

[iamyourdailydoseofbi]

THE HISTORY BOOK ON THE SHELF. ( HOTD x Reader )

AUTHOR NOTE! Thanks for all the love. <3 pairing: King Aegon ii Targaryen x Targaryen! Little Sister! Reader prompt: When the small council plans to marry off once again, you turn to your older brother for help. word count: 1, 000+ words

You were the youngest and third daughter of Alicent and Viserys. A few months younger than Helaena and Aegon's little shadow in your childhood. Your older brother at first hated it, the way you cling onto him and gawk at him with an innocent awe.

It was your ninth name day, your Father had not paid much attention to it, but your Mother had ordered a celebration for it. You had trailed after him, babbling about nonsense as he tried to lose you. It was at dinner that night that everything had boiled over. Instead of receiving gifts, you had taken to giving everyone a gift.

He had not expected anything. He hadn't been the most kind to you. But was surprised when you had gifted him an embroidered cloth with Sunfyre on it. It was not the best and some threads were loose, but you proudly had told him you learned embroidery for him. Seeing those big doe eyes of yours his opinion changed. He adored you. You were the only one in the family that did not care about his worsening reputation. You just...adored your big brother, flaws and all.

It was why it killed him on your eleventh name day you were shipped off to the Reach, married off to a Lord as old as your Grandsire. He was haunted by your wails, of the way you clung onto Helaena and Aemond, the two of them wailing as Ser Cole carried you off to the carriage.

His young sister, the only one in the family who truly cared, was sold off like a piece of cattle. Not even your cold Grandsire was able to protest the marriage as politically it was a good match and good enough reasoning for the small council to approve it. 

As years ticked by, you gave birth to two children, a stillborn daughter and a healthy son. Your husband kept you away in the Reach, so no one in your family had seen you since you were twelve and given birth to your only surviving son.

He remembered the look in your eyes, so void and almost dead. Of how you tried to stay positive. Saying, "Tis' not so bad. He mostly ignores me, except when he wishes to bed me. But even then tis' not so bad, he finishes quickly."

When he became King, he swiftly ordered you to return home, regardless of your husband's wishes. No one would take his baby sister away from him. Not whilst he was still alive and had the crown placed upon his head.

Watching you bounce your son on your lap, he attempts to pay some attention to the small council, but his eyes keep straying back to you. It was odd to think that you were now a Mother and all grown up. Snapping out of his little daze, he glances back at the small council, each member arguing intently. Furrowing his brows in confusion, Ser Criston slides a piece of parchment in front of him, an uncomfortable look on his face. Raising a brow at what he had just returned to, he glances at the parchment, reading the words quickly. 

Your cunt of a husband was dead, finally croaked in his sleep. There was no reason for you to go back to the Reach. You could stay here in King’s Landing once more. Softly smiling at the good news, he goes to speak up when Lord Lannister stands up from his chair, slamming his hands down on the table. His face red from anger, his eyes wild like an untamable beast, and voice booming loud enough that it would make a dragon’s roar put to shame.

“To speak of the Princess in such a manner is dishonorable, I will see to it personally that your tongue is removed, Lord Wydle.” 

“The girl is of age, she has proven she can bear heirs, healthy heirs. To not give her hand to another Lord would be foolish.” 

“We need allies, the common folk are starving and soon the coin will run out. Surely as Master of Coin you can see reason, Lord Lannister.”

“Your grace, please, listen to reason we should⎯”

It takes a moment to realize what they had been discussing so intently. Then it clicks, they were speaking of having you remarry. 

"What?" He whispers, his voice shaky and full of disbelief.

"No, Aegon, please don't make me do this again. Please." You whisper, tears building up in your eyes.

"It would be best to have your sister marry someone⎯"

"Think of the war, your grace⎯"

Seeing the tears building up in your eyes, it reminded him of all those years ago when you were whisked away to the Reach. Struggling to speak up and dismiss their suggestions, you kneel in front of his chair, gripping onto breeches as you beg and plead for clemency to their plans. Your son starts to wail on the other side of his chair, making motions with his hands to be picked up. 

Feeling his heart break a little at the sight, he shifts his gaze from you then your wailing son then back to the small council. Everything is hectic and he doesn’t know who or what to focus his attention on. Does he console you? Does he tend to your wailing son? Does he handle the small council? Struggling to find his voice, he just stays frozen in his chair. 

“Please, please, do not make me do this again, Aegon.” You beg, “I did what was asked of me before. Please do not ask this of me again.”

“We need allies, your grace. The Princess is still desired by many men, men who will look past her past marriage and son. Think of the kingdom⎯”

“Send treaties, then!”

“Please, Aegon. I ask as your sister, not a member of the Court. Please do not make me do this again. I do not wish to marry again. Please do not send me away again.” You beg, your voice cracking. 

Watching as the tears begin to fall from your eyes, he clenches his jaw tightly, anger boiling up at the sight of you. His precious little sister, the one person in all of the Realm that he truly cared for, was crying by his small council's hand. Slamming his hands down hard on the table, the room goes deadly silent, minus the soft sniffles of you and your son. 

“There will be no marrying off my sister! If you wish for such alliances as much as you claim, do offer your daughters instead, for I will not be doing the same to my sister nor my daughter.” 

“Your grace, if you would just⎯”

“I am King, no?” He snaps back, “There will be no questioning of my decision. The matter is settled.”

----

@fragileheartbeats

@danytar

@nightvers

[a-sky-full-of-ideas]

Why do you even ship them?

In the past couple of months I’ve seen a lot of people genuinely confused about one or the other ship existing, so I wanted to explain some common reasons characters might get shipped.

But before we get into it: The point is usually just good, plain old fun! The entertainment of them being together !

And for entertainment and fun, it doesn’t matter whether they’ve even been in the same room or not! Hell, it doesn’t even matter if they’ve been in the same universe or not! Basically: It’s all not that serious and the ppl harassing creators/actors/fans about said ships are usually the minority and frowned upon!

First of all, there are different ways in which people enjoy that ship:

In canon, aka it either is canon or they want it to be canon

Half canon, this means either post canon or if a very specific thing would have happened differently within canon

Canon divergent, aka it’s only enjoyable in theory or alternative universes and they don’t actually want it to happen within canon

In other words, there are different ways in which people support this type of relationship

It is the perfect relationship and everyone should strive to find and be this kind of love

While they have their flaws, this is a realistic way a healthy(ish) relationship can come out on the other end of all the horrors tm

This is (somewhat) toxic but in the universe/story line it makes sense and is the best possible outcome for them

This is the truly worst thing that could come out of it for the both of them but that’s why it is so interesting

Usually it boils down to these emotions:

It would be funny if they go together.

It would shift the impact of all that angst and trauma

It would be super cute. Plain old romcom vibes. Specially if the of story is not that at all and you just want something good for them.

Some basic reasons, that are more about the concept of them than actually them: :

They are fan favourites

They are both hot

Everyone else in the group is coupled up

They fit a certain stereotype/common trope

They resemble another popular ship juuuuust enough

The actors have played a couple/ship in another show

Spite! To annoy the author/other fans

Some personal reasons of the individual fan:

Reminds fan of their own crush

Fan relates to some aspects of their story

Fan relates to some aspects of the characteristics

Character looks like them/ like their crush

Based on the characters/stories design

They claim to hate/dislike/annoy each other but are somehow always found in each others business (willingly or not)

Opposites attract: They have opposing color schemes, personalities and/or views. The more differences the better.

Parallels: They have the same color schemes, personalities and/or views. The more similarities the better.

Based on their relations

You just want something good for this character and they (other character(s)) ARE that something good.

You just want something annoying for this character and they (other character(s)) ARE that something annoying.

Them being together would annoy this other character to noooo end

Even tho they don’t interact on screen (often), there is evidence that they did so off screen: they keep up a certain level of relationship (good or bad) despite everything else going on

Purely about the characters

They don’t pay attention to anything or anyone else nearly as much as they do about each other, especially ppl they should objectively care more about.

They’re the only ones who survived/left to deal with the aftermath. Even if they didn’t talk much prior to this, this is something to bond over. To keep the memory alive.

The expectations set on them are/were the same. And despite the different support systems and coping mechanisms… the other is truly the only one who could even find a glimpse of understanding of what they’re going through.

Yin and yang: a perfect mixture of parallels and opposites: They’ve gone through the same thing but deal with it widely differently. OR They come from widely different backgrounds and reasoning but end up at the same conclusion.

BECAUSE they’re so codependent they just wouldn’t make sense with anyone else, regardless of wether they themselves make sense

BECAUSE it is unhealthy and toxic and it’s interesting to explore such a relationship

BECAUSE if they’d be in literally any other genre/time they’d be fine. Nothing this bad would’ve ever happened if they’d just lived in another universe.

Why not ? It’s fiction.

These are all the reasons I can come up with at the top of my head but feel free to add!

Alas I want to encourage everyone to be open minded! Either to genuinely try to understand why a ship exists or, if you don’t want to waste your time on sth. you’re sure you don’t like, just filter and block the ship and their fans!

None of us can afford to waste our very limited free time on arguing with and harassing others about something FICTIONAL …that we don’t even like. Instead, please focus on making and/or supporting art about YOUR ship! This is not only much nicer to the fans you don’t support but also to yourself! Positive interactions will result in more positive interactions after all! Mostly.

[hihimissamericanbi]

FAVE HP SMUT CREATORS

Ever since I got that lovely anon asking for the best smut I've ever read, it got me thinking about some of my favorite smut creators in general.

So here is a very non-exhaustive list of fan-fucking-tastic smut writers and artists I've come across in the HP fandom that weren't mentioned (shamefully) in my last batch. Feel free to add to the list! We must keep the people fed.

xoxo go take a sip of cold water girl

WRITERS

@spookymoonie

Lord Espooky came into this fandom guns a-blazing with their kink headcanon a day for Wolfstar and it has spiraled from there. They GET IT. He has a super well-organized masterlist pinned to his tumblr ft tons of different kinks, fic lengths, scenes, etc. Go. Now.

@fiveht

The definition of IYKYK. Daddy kink isn't super my thing, but Five makes me enjoy it. If you vibe with age gap daddy Remus and pretty boy Sirius, their Adore series is a must-read. They also have a stellar A/B/O Wolfstar fic plus podfic and write some Marvel too!

@greenvlvetcouch

An absolute legend in this fandom. Wolfstar, Jeggy, Rosekiller. Gritty, chewy, embodied sex.

@emeryhall

Emery writes sex the way some people breathe. Like it's just part of the narrative. It's SO punchy. And also she is the queen of Crack Smut.

@kaaaaaaarf

Patron saint of Wolfstar hatefucks. mic drop.

@cancerravenclaw

We snagged MK over to Wolfstar from the clutches of Dramione. Her series "mk's kink exposé" could also be called "celine's kink exposé." I'll just leave that there.

@wolfpants

Everything they create is magic, but they are especially known for rare pairs and Dronarry.

WRITERS AND ARTISTS

@aspiring-artist-em

The queen of Lesbian Wolfstar. Both art and fic. Also queen of humiliation and pain kink and Walburga psychological trauma. ye be warned.

@upthehillnsfw / @upthehillart

I am afraid no one is ready for this art. Truly. Tons of different ships, positions, acts. I gasp every time. And their Pansmione fic is epic (which I have talked about before).

ARTISTS

@industrations

I highly recommend getting on Indi's Patreon so you can enjoy their NSFW drawings, mostly Wolfstar and Jegulus, occasional Rosekiller. Too many iconic moments to count.

@waxingrunes

The officially-sponsored artist of Five's Adore series. Look, their work is nothing short of indulgent. Shhhh don't worry about the physics just let it happen. And by It I mean Remus' big dick hands.

@basiatlu

By beloved. The one. The only. Bosh's drawings are so ALIVE. They leap off the screen. Her Drarry is nothing less than iconic. She also dabbles in other characters/ships like Wolfstar and Blackcest. Siriusly, you can't go wrong.

DRARRY SMUT

OKAY, Drarry people. There are so so many excellent Drarry smut writers it is impossible to name them all. Here are but a tiny handful I have pulled from my bookmarks. I'm happy to rec specific fics if asked :)

@cavendishbutterfly, @bixgirl1, @l0vegl0wsinthedark, @shiftylinguini, @kbrick, @fluxweeed, @academicdisasterfic

MORE

I'm tagging those other creators from older asks because I can't put this list out there without them on it <3

@crushofdoves @we-are-swearwolves @tenthousandyearsx @theresthesnitch @lqtraintracks Quietlemonhush @cuddlebugsirius

[linksqueerawakening]

Miscellaneous LU Headcanons

Four doesn't cast a shadow. when questioned, they flatly state "it died" and refuse to elaborate. if pushed on the matter, they become more and more irritated, while still refusing to elaborate

Time always knows what time it is. you could wake him up in the middle of the night and before he's even fully opened his eyes he could tell you the time without having to even think about it

Hyrule has the most magic, but Legend knows the most magical theory, followed closely by Time

Warriors, Legend, and Four are the only members of the chain who are actually legit monarchists. like the others are pretty much neutral on the concept (tho Wild doesn't like how flora was treated with all the expectations and lack of freedom, but that's another matter entirely than being of the opinion that monarchy is inherently bad), they're fine with monarchy. they just don't have strong opinions one way or another, so long as the current holder of power isn't corrupt. meanwhile Four Legend and Warriors would probably fight you if you insinuated that hyrule's monarchy should be abolished

Legend and Fable are twins but it's a secret. and also due to Fable getting kidnapped and transformed in various worlds in some of their adventures, they're no longer the same age; Legend is 19, she's 16 or 17. they still look very similar so they used the excuse that they're cousins on their father's side

Legend used to want to be a knight very very badly when he grew up, because his uncle who raised him was a knight. the knights who were controlled and attacked him during Link to the Past were pretty much all trusted adults that he knew and admired. he stopped wanting to be a knight after that

Wild may be the best cook when they have good ingredients, but when the chain is down to the wire and they need to make every little bit count? Hyrules horrible concoctions are actually the best option. he can't make it taste good but he can make it keep you alive when there are no other options

Wind is the best at navigating without a map or compass due to his experiences on ships - he would rather have the tools, but he's pretty damn good at managing without

Four has a habit of referring to themselves with "we/us" pronouns ever since they were split and then reformed with the four sword. the other heroes don't know why, but sort of shrugged and started using "they/them" pronouns bc it seemed polite. Four is mostly unaware that they do this - green picked up on it but hasn't pointed it out to the rest of four bc he knows it'll make them stress, and it clearly hasn't caused any issues

Twilight is disarmingly charismatic but only when he's not trying. if he's talking to someone casually or even somewhat irritably, they tend to be completely taken by him, but if he's actively trying to be smooth it just comes across as awkward

Sky is the most mild mannered person you've ever met until you cross certain lines, at which point it's like a switch flips and he's so pissed that even the other heroes hesitate to deal with him

Discounting the hundred years in which Wild was unconscious, Warriors had the longest single adventure, with the war of eras lasting about 7 years. Legend's six adventures altogether may have lasted longer, but they were split up into multiple parts, not one long quest

Wild takes pictures of pretty much everything they can to show Flora whenever they're back home, because they know how much she wants to learn about the ancient past, like their species, their societies, and their magic

[discoonthegrass]

I know we love to talk about the exceptionally romantic moments of TOS Season 1, like “Dig it in there, Mr. Spock” from Shore Leave, “you almost make me believe in luck” from A Taste of Armageddon, or “at his side, like you’ve always been there” from City on the Edge of Forever, but can we also show some love for:

“I speak from pure logic… human beings have characteristics, it is impossible for Captain Kirk to act out of panic or malice. It is not his nature.” from Court Martial (Later, Spock even compares his faith in Jim to gravity itself!)

“I’m surprised to see you alive, but pleased.” from Space Seed (Spock in S1 barely admitted to having any emotion, so to admit he felt pleasure is crazy)

“In all my years of service, this is the most painful.” said by Jim during The Menagerie when discussing Spock’s apparent betrayal (keep in mind that this man has already had to order the death of one of his best friends, and has also felt personally responsible for several crew members deaths. Yet somehow Spock betraying him hurts more than all of this.)

Spock grabbing Jim’s hand in Tomorrow is Yesterday while asking concernedly if he finds it painful (I’m sure your famous massages will make it better Spock…)

The point is, all the way back in S1 the seeds of the K/S relationship were being sowed….only for Amok Time to propel the ship into the mainstream once and for all.

[blluespirit]

okay first three episodes thoughts

good

bending is cool as fuck

sozin’s actor does an amazing job at full crazy but calculated

scenery is STUNNING

monk gyatso made me cry. idk why i just saw him and wanted him to give me a hug so bad

APPA ACTUALLY LOOKS GOOD AND NOT LIKE A LITERAL MONSTER

i wasn’t sure how id feel about them showing the air nomad massacre but i think the importsnt thing is that they showed it was a massacre - and that although they can defend themselves, they don’t have the ability to fight back like an organised army would bc they’re pacifists! they attacked a peaceful group

the abandoned fire nation ship in the southern water tribe looks so fucking cool

ARTIST ZUKO???!!! LETS GOOO

Dallas does an amazing job at getting across Zuko���s intense desperation

I actually ended up loving all the Sokka and Suki interactions sm it was so cute and wholesome

Katara is perfect i will kill and die for her

Azula’s opening scene being her manipulating those people trying kill ozai ultimately leading them to getting burned alive by him and smiling - literally so fucking good. she is the best villain in history of forever

really good move having the mechanist (Sai!) and Teo be in Omashu imo. having them destroy the northern Air Temple so carelessly always pissed me off

THE FREEDOM FIGHTERS ARE LITERALLY PERFECT I AM SCREAMINGGGG

I was wondering how they were going to introduce the Mechanist and Jet in a limited amount of episodes but I like how they combined the two stories

Also Sokka absolutely nerding out in the Mechanist’s home is so important to me

Zuko getting has ass beat by that lady for fighting Aang is literally so funny and reminiscent of the goofy aang vs zuko fights we see in season 1 (to be clear: i adore zuko. this is NOT hate on him)

Zuko losing shit about his notebook and trashing his room and then outing himself as a fire bender in Omashu is so perfect. god i love him so much. it’s very season 1 zuko. it’s giving I DONT NEED ANY CALMING TEA!!!

things i was not a fan of: (some of these are a little pedantic i’ll admit)

Exposition is a little is a little janky but i’ll forgive it i guess bc at least it isn’t egregious as The Movie That Shall Not Be Named

Aang leaving just to get fresh air/clear his head and intending to come back is a silly change to me. all i keep thinking about is the storm where we got those epic Zuko and Aang parallels which now doesn’t really work and also takes away a lot of Aang’s depth. A good change adds to the story, but personally this seems to take it away

WHY would they not make Katara the one to bring him back from the avatar state? just seems like a strange choice to me? not saying this from a shipping point at all but that moment is a big step to their bond/friendship especially since they have only just met

Still don’t understand why they made the head of the village Suki’s mum. like i don’t think it’s a terrible choice but they still could have let them have a mother/daughter bond but still let Suki be the leader without any implications of nepotism. it mostly seeems silly

tl;dr - really enjoying it so far!

[the-gay-trashmouth]

I think something that's bothers me about how folks talk about mouthwashing is how they talk about Swansea. It's either "Swansea would have killed Jimmy immediately if Anya had told him" or "he knew and he did nothing just like curly." because, to me at least it leaves out a lot of nuance to his character and situation. Curly and Swansea are really good foils to each other, one who's got a reputation for being the kind and helpful captain but in the end does nothing to truly protect the crew from Jimmy, and one who's gruff, harsh, and cruel but genuinely tries to help in the background, the reliable mechanic.

(read more for a long Mouthwashing character ramble tw for unwanted pregnancy and SA)

Because Curly is the one with the power. He doesn't take what Jimmy did seriously enough. And you can say that he might not have known fully what Jimmy did, but I think the "I told you" pregnancy conversation and his reaction to Jimmy right before the crash ("come on we'll get through this together. We'll figure it out, you've had hard times before-") are indicators that he knew, but he still chose to stick by his friend and treat it like a "mistake" rather than what it really was.

Now that's my own personal speculation of course, there's no outright scene of her telling him "your best friend assaulted me", but I think there's enough evidence in game through Anya and Curlys interactions to say that he knew, and he knew before Anaya knew she was pregnant. He had a fully functioning ship and four fully functional cryo-pods. He could have at least given Anya more security, kept her far away from him, and at most forced him into the cryopod until they got back to earth. Jimmy STILL had full, uncontrolled access to the cockpit AFTER his freakout with curly. AFTER Anya tells curly she doesn't feel safe with him. AFTER Curly finds out he raped Anya. He's so focused on seeing the good in his friend that he does NOTHING to protect Anya, doesn't strip away not one of Jimmy powers as copilot and consequently endangers her and the rest of the crew.

Curly was the captain, he had the power to relegate Jimmy to the fucking storage closet if he really wanted, at least put him in the cryopod until they got back to earth. In fact, he was the only person above Jimmy in terms of rank on the ship, but he chose to do nothing. He chose to let Jimmy continue as acting co-pilot, chose to comfort him rather than actually confront him. Slides off his weird sexual comments as jokes "So what's this about horses?"

Now let's compare that to Swansea, the mechanic.

We don't have any evidence that Swansea knew about what Jimmy did until after the crash ("it's been her telling me things") where they were trapped with no captain, barely any rations, and a single cryopod that he kept hidden away in the one room he had the key too (and the only room that could lead into medbay). He didn't use it for himself, he makes it clear he didn't intend on getting off this hunk of metal in his last few conversations with Jimmy.

Swansea as the ship's mechanic, was used to fixing things in the background. He didn't need to get along with anyone to keep the ship running, he didn't need people to like him to keep them safe. We see that with Daisuke. He's harsh on him, for sure, but he leaves constant notes to help him learn. Genuinely tries to keep him out of harm's way when it comes to more dangerous jobs. We know Anya was scared of Jimmy getting a weapon, she hid the gun case in the medical bay even knowing she would never get it open. We can see Swansea and Anya off on their own towards the first days after the crash, and Swansea still has a tight grip of the axe weeks and months later.

I personally think that was him trying to keep Jimmy from having access to a weapon. The only time Jimmy gets the axe while Swansea is alive is when Anya Specifically asks him to use it to get medical supplies. I don't think that's a coincidence.

Swansea, like any good mechanic, was quietly trying to keep things running out of Jimmy's sight. It's not until everyone is dead or dying that he snaps, that he finally takes direct action. But it was too little too late.

Both Curly and Swansea thought they were doing the right thing, helping in their own way. Curly genuinely wanted to see the good in Jimmy, wanted it to just be some challenge they could overcome, but in doing so he failed to see the monster right in front of him. He had all the power (in context of the crew, the company is a whole other can of worms I have so many other thoughts on), but he was too afraid to use it. Hell, he was DISCOURAGED to use it if the memo about HR complaints are anything to go by. Swansea, on the other hand, never trusted Jimmy, never even really liked him, but he didn't want to make anything worse either. He didn't know what would actually set Jimmy off, or what he was capable of, and aside from just straight up killing him what else could he do that wouldn't just push Jimmy further off the edge? Like with the foam. "One wrong move and you'll rip this ship a new asshole", he worked carefully, hiding the last pod from Jimmy, keeping the only other weapon on himself, guarding the only other entrance into Medbay, but Jimmy was escalating quickly. He underestimated how far Jimmy was willing to go, just like Curly had, and in the end suffered the consequences.

The only character who actually understood how dangerous and unstable Jimmy was is Anya. She knew the moment she found out she was pregnant he would hurt her ("you won't let me protect myself"). He wouldn't be able to take it, he would do something drastic. She knew he was escalating the longer they were stranded. Anya is the only crew member who truly understood how dangerous Jimmy was and took direct action.

And interesting thing to me is that she doesn't just kill herself. She locks herself in the medbay. She could have waited for Jimmy to sleep, or locked herself in the cockpit, but she locked herself in the medbay with Curly. She knows that with her gone there would be no one left to take care of him, she knew Jimmy would continue to escalate his abuse, and with her gone all of his anger and fear and guilt would turn on Curly.

And wouldn't you know it? She was right. Without Anya to stop him, he takes curly out of the bed, forces him upright into the cryopod, and forces a man with no skin, no arms, no legs, and infected tissues to be frozen for 20 years while the rest of his crew Rot. And that's only what we know to be reality- if any of his delusions had some basis in reality he could have done so so much more. Anya is the Only one to take reasonable, direct action to keep herself, and then Curly, safe.

But she didn't have enough power over Jimmy to truly protect herself. She didn't have the code to the gun case, she didn't have a weapon or a rank to fall back on. She was outnumbered by men who she knew from experience either wouldn't or couldn't keep her safe, and she was heavily pregnant with a baby she didn't want and most likely couldn't even get enough nutrients to sustain either her or the fetus. She was physically weakened and trapped in a stranded ship with her abuser with no way home and a medical miracle (curse) in Curly.

This game is a really good reflection of reality, in my opinion as an abuse survivor. Some people will see them as "one of the boys" and constantly excuse or downplay their actions (Curly), some people will do small things in the background, recognize the abuse and disprove, but don't want to get in the way or make things worse (Swansea), and some people are just straight up oblivious/naive (Daisuke). But in the end, it's the system that allows abuse and incentives coverups to keep peace or save face that really allows abuse to fester and escalate.

Which is why I personally have a problem with the idea that Anya should have just Told A Different Man because it ignores the very real chain of power and her own agency in her story, AS WELL AS the idea that Swansea and Diasuke knew but didn't care because that's just not reflective of real life. Not every man is some rapist apologist who doesn't care what abusers do until it happens to them, some people just don't know what to do, or don't have any good options that wouldn't result in further abuse. Hell some people just don't even fucking notice! Not everyone has had exposure to the signs or knows what to look for.

It's easy when looking at fictional depictions of abuse to say "well if I was there I would have just punched him/killed him/called the police" but real life, in that moment, its never going to be clear cut. You can call out abuse, but that might just lead to that abuser taking it out on their abuse victim later. They could even start to target you for daring to speak out, or try to hurt you and cut you off from the person being abused. You can know all the right steps and the right programs, but in the moment, when faced with a real situation where someone could get hurt or even killed? You stumble. You think things over, you don't try and make any direct moves that would set their abusers off. Sometimes that's a good instinct, and sometimes that just lets abuse escalate. It's never a good situation, and it's never actually anyone's fault but the abusers. And this way of thinking also conveniently leaves out the survivor of this abuse, and portrays them as someone who needs to be saved, rather than someone who needs support and resources to save themselves. It also very conveniently lets the company that Put Anya in this situation in the first place get off Scott free.

The solution isn't "oh one of the men on board should have personally killed Jimbo and saved Anya all by himself" its "Anya deserved the support of her crewmates instead of being forced into close proximity with her rapist and also maybe Jimmy shouldn't have access to the fucking controls or medbay or any weapons- AND ALSO the crew shouldn't have financial incentives not to report things to HR"

[simpingforbots]

I really love your transformers series about a human being on cybertron. Kinda wondering if they ever met a human, so this little organic is just a very, very, VERY, smart rat. Anyway, I was wondering if you could make a part 4? It's ok if not.

Was hoping if you could do Alpha Trion, Shockwave, and Soundwave? Maybe even maegatronus Prime for D-13?

Don't do this request if you are busy, don't want to, or sick. I can wait a few months and years.

Have a good day/evening!!!!!!!

thank you so much.

sadly this is a human we are talking about as Transformers One yet to learn that humans are actually sentient and to learn English, and so is human. their language sounds like a clicks, whirls and other metallic noises. So it's more like figuring out by their body language and repetitive noises they make. like a certain noise thay make at you means its your name. they can see you are smart and if you were to be given buttons with certain sounds like in one video you would be able to communicate. so yes they know you are smart, just not realizing that you are THIS smart to be actually considered a sentient.

What if human ended up in transformers one

part 4

Alpha Trion

Alpha Triton, being one of 13 primes, was one of a few son's of Cybertron that realised you were more then just some organic. HE found you during one of Quintessons attacks, with your space ship being an unfortunate target to their fire. out of all your crew you were the last.

he decided it will be best for your own good to keep you by him self and try to establish some kind of contact and maybe even learn where you are from and what planet is your home. so safe to say it was not an easy task and with you being small week and made out of flesh - you quickly become something every Prime grew soft on. you were pampered with pets, soft coos and nice flesh food they could find on surface. he kept you close by, and did his best to keep away from Sentinel as he could see something dark in his eyes and fake smiles. other Primes seemed to trust the kid for some reason and Triton just decided to keep you close to him self. you did protest at first, being manhandled and treated like a some kind of pet. but soon you got used to it and even felt comfort in hand of a huge cat. You also distrusted Sentinel and just tried to avoid him. you enjoyed your life as much as you could until Sentinel lead all primes in to trap. Triton did his best to keep you out of harms way and fight, but he can only do so much. in the end he had to watch you fall and killed by Sentinel, before he was hurt. what he did not expect as to still be alive after all those years and when Pax woke him up, he saw what was left of you - just a pile of bones, near his body, you probably crawled towards him on his last breath and passed away by him. he wished he couldv'e done more, but now he need to do is give this new generation a fighting chance. though when he is captured and was decapitated, he was a bit relieved to see that Prime deemed you worthy enough to joing their after life.

Shockwave

Shockwave probably would see you as something more interesting that anything on cybertron. And before he would become the mad scientist we know of him now, before Megatron, he would 100 percent would run more safe, though still hurtful, experiments. And mostly because of lack of equipment. He would find you as your ship crashed not far from the hideout, and you only one who survived. He observed you from a far at first, trying to understand just what you are. Some strange organic life matter, super fragile and somehow very-very resilient. He observed from afar, keeping tabs and even running his own little experiment - he would find some edible fruits and place them near cave you were hiding in. He watched as you at first was warry, not knowing if you could eat it, but after time you sort of relaxed around food suddenly appearing on your "door". Then Shockwave moved on to next step. Instead of hiding he kept the distance so that you could see him. Of course first time you hid in your cave that was to small for his servo, but with prolong exposure he was even able to get closer and closer. Even one time you came close to him, watching him with curiosity in return. HE reached out with his only servo poking at your head and you touched his finger. After some time he was sure you won't mind if he brings you with him to show to Soundwave. HE was very proud of his little study! So he decided to "study" you more. You were poked, probed and measured in all sort of ways, without your consent and you protested every test he had done. by the end of all the experiments he would keep you on his shoulder, proudly showing you off to other High guards and proud with his experiments. you just wish to go back to your cave and wait for rescue ship to arrive to pick you up. What you had no idea is that Shockwave knew about the signal and already took care of it, stomping it to the ground and making sure that the signal would come of as false. so you are stuck for his intertaiment.

Soundwave

Soundwave would probably find out about you through Shockwave when he was tagged along to observe you. Soundwave was bored at first, but after some time he would come to your hide out without Shockwave, just observing you. You tinkered with some machine, clearly trying to get of this planet by sending some signal. he did not wanted this to happen as YOU were the only intertaiment here for now and kept Shockwave from dying from boredom. you did not even had a chance to properly scream when you were kidnaped by the bot and brought to High Guards and you sort of become a mascot for them. Every other bot found you entertaining, a bright light of hope to lift the gloom. Shockwave was a bit happy as well as he could run his experiments more closer. Soundwave how ever kept you close, not letting you out of his sigh because of what you were. you did not had anything to protect your fragile flesh body and easily got hurt by ether "walking" in to think, stumbling, tripping and falling on a flat surface. YOU are NOT allowed any where outside the fortress at all. Sleep? you thought you will be able to have a moment of solidarity at such moment? Forget it - your recharging place is in his chest so that Soundwave won't have to worry about you sneaking of while he rests. And Soundwave wiling to go to such lengths as to wrap a chain around your body and keep you close, as scaning your head is a bit more troublesome as the reading always come "wrong" and it's just easier to keep you closer then to know what you wanted to do. Food? you can scavenge for it only when HE brought you out and you better to gather enough to last you for weeks. so yeah. have fun with overbearing bot.

part 1 part 2 part 3

[adripakoffee]

Thinking about Curly too because you mfs give him too much leeway!!! FUCK CURLY MAN!!

So like, obviously, what happened to him was tragic but he could've prevented the events of the game so easily. Firstly, he's the one who got Jimmy on the ship. Jimmy's not supposed to be there, he literally isn't even a freighter pilot. It's heavily implied the reason Jimmy is on the ship is that Curly was helping him run from the law.

This exhibits Curly's biggest problem in the game. He's Jimmy's friend first and his boss second. He puts Jimmy ahead of everything, so despite his past history of what we can presume to be violence, he puts him on a small ship with other people who are now vulnerable to his abuse. And he knows, he's aware that there's a chance these people could be victimized by Jimmy and says and does nothing. This next part is my personal theory, but I think he knew Daisuke was coming with them before he invited Jimmy, he just didn't say anything.

Curly's second big sin is what he does to Anya. He finds out what Jimmy's been doing to her and he says he'll do something, anything. But he doesn't. I said it earlier, but I think Anya thought that Curly would have Jim arrested on landing, but even then, there's some short term things he could've done. Here's a list actually because oh my god, there's so much he could have done.

Set up a bed for Anya in medical. Y'know, a door with an actual lock.

Put Jimmy in a cryopod as a holding cell.

Fire Jimmy, which seemingly wouldn't do much until you remember you need the captain to do half the shit on the ship.

Lockdown Jimmy, essentially lock down anything Jimmy could use as a weapon. The only two weapons on the ship are guarded by codes, but anyone could figure them out in a couple days. this goes hand in hand with the last one.

Literally just fucking kill him.

And before someone says "Oh, if Curly did anything, Jimmy would've acted out, he would've turned violent anyway." There are four other crew members and one Jimmy. If Jimmy had turned violent so early on, I fully believe Daisuke could've just bodied him. It wouldn't be that hard to pacify him if, say, he was ganged up on by three men.

The problem at the end of the day is that Curly is Curly, Jimmy's best friend before he's Captain Curly of the Tulpar. He cares more about Jimmy than the well-being of the people he's supposed to care about. He doesn't take Jimmy seriously when he is outwardly awful and pretty much straight up tells Curly he's gonna crash the ship. Like Curly does nothing because he doesn't think of Jimmy as a bad person. He can't even comprehend it until he's in a position where he's completely at Jimmy's mercy.

Now there's a couple of interpretations on the metaphor of what Curly's disability means and I'm gonna yap about at least 2, idk I'm just ranting.

The first one is that Curly is now Anya, or rather in her position. He's got no agency over his own body, he literally can't move, and he's forced to trust Jimmy with his life. He's in constant pain, he wants to die, and he can't. Anya cannot stand giving Curly his medicine so she lets Jimmy do it. She's putting a vulnerable person at Jimmy's mercy, just like Curly did, except this time he's on the receiving end. And whenever it's just Curly and Jimmy alone in the med bay, Jim is just beating the shit out of this guy for no reason. Like there is no need to be doing all that, but Jimmy is a violent person, and Curly just ignored it for too long.

The second interpretation that I also really like it that Curly is Anya's baby. Jimmy has done something heinous and it's left Anya caring for someone she can't feasibly support. Her ability to keep Curly alive for so long is a testament to how resilient and determined she is, but at the end of the day she can't take it. It's not just the fact that she has to care for Curly that drives her to take her life, it was a lot of things, but the stress of dealing with Curly was definitely part of that.

This next part isn't Curly's fault, it's Pony Express' but if he survives long enough to be found, he no longer has a future. He can't be a pilot anymore, he'll more than likely be forced to take responsibility for the deaths of the crew, the rehab process will take years and probably hundreds of thousands of dollars. He's cooked. This leans into the him becoming Anya thing, he's been put in a position where he can't work but is forced to deal with a heavy financial burden. The difference is, this is his own fault.

He could've prevented all of this if he hadn't ignored all the red flags. In the dead pixel scene he says the one pixel doesn't hinder his enjoyment of the whole image, he can ignore it. That's what he did. When he looks a the bigger picture or the grand scheme of things he can ignore a few dead pixels. The way he sees it, he's given Jimmy a whole year to pull himself out of a "struggle" so when he gets back to Earth things will be okay again. In his eyes, Jimmy's bound to have a few slip-ups and unfortunately, what he did to Anya was one of them. So that's just a pixel he can ignore.

LONG STORY SHORT, CURLY IS AN ENABLER AND LITERALLY THE ONLY WAY HE WAS GONNA LEARN WAS IF HE BECAME A VICTIM TOO!!!!

Apologies if any of this is worded weird, it's just brain vomit.

I also did an Anya rant

[alpaca-clouds]

The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

[evilrwbyfan]

does anyone else think vizzy was supposed to be the other canon ship of murder drones?

lizzy is implied to be sapphic whether it was intentional or not as well, she has called V hot twice and they are obviously very close. basically any and all of lizzys on screen moments include v in some way and if they dont it was BEFORE they met, not to mention lizzy was the only one who knew v was still alive and that v made sure to keep in contact with. interesting that out of everyone v knows, she contacted lizzy first after surviving

also the very obvious fact that v has a soft spot for lizzy, when lizzy calls her a diva she doesnt get defensive like she probably would if it was uzi or someone else she just smiles and playfully scoffs to herself. also the fact v has gone out of her way to keep lizzy alive, even if she acted like it wasnt for her sake (while it would be a normal thing to keep someone alive, for these drones its not. they are very desenitized to death and they kill drones REGULARLY, there would be no reason to worry about lizzys safety unless she was attached)

lizzy was also very quick to "betray" doll, who was supposedly her best friend before v, which makes me wonder what exactly they got up to in the time that lizzy was befriending v for the plan at prom? we know they obviously got close and lizzy actually felt bad for v, which isnt something that is common for the drones. when lizzy and her friends were literally being hunted by uzi, she still took the time to be judgemental and joke and she didnt even care that her friend group were all murdered... but she was concerned enough about v to try to save her from doll, i think they developed feelings for each other very early on and its sort of like a nuzi situation where they started dating off screen but instead of getting confirmation like nuzi did its kind of up to interpretation

another thing to add to them worrying about one another, both lizzy and v are very chill and laidback whenever someone dies on screen, regardless if they know them or not. when v killed someone, lizzy immediately searched through them to steal their belongings and then continued on casually, she definitely knew that drone considering it was her classmate... its incredibly obvious that they mean something to each other and that it goes deeper than the same friendships they have with others, otherwise they wouldnt try so hard to keep each other alive. Also to note, they are physically affectionate with each other to a degree which we do not see either v or lizzy being like that with anyone else ESPECIALLY v

we also know for sure that they hangout all the time off screen and that lizzy has sort of migrated her way into the friendgroup of v, uzi, and n Just for v. that is not something lizzy wouldve done if not for v, she clearly means a lot to her and she wants to spend time with her even if both of them have a hard time being honest like that

i can imagine after the events of the series, lizzy and v live together even if they arent romantically involved. they make me feel very deeply, when i see them or think about them i get a very specific feeling in my chest i cant describe but they mean a lot to me and i would love a spinoff episode/series about what these two get up to together

[inbabylontheywept]

Want Better Things

“You thought that was a bioweapon?” 

The translator broke down for a second as the creature did a sort of broken exhale. Connotations were all that came through. Vague implications. Pity, the software flashed. Disgust. Anger.

A pause as it decided.  

Sadism. 

Valta was already backing away. The final decision didn’t change his behavior, it just made the hall feel far, far too short. 

“I didn’t order it deployed. I didn’t make it.” 

The thing was staring at him, and he couldn’t look away. The two eyes moved in such perfect tandem that he didn’t think it was conscious. It only had binocular vision because it only needed binocular vision. Always the predator, never the prey. 

And now it was moving in on him. 

“Oh, but what if you had? Then I could tell you all the things that were wrong with it.” 

One of its hands - a sprawling, five fingered  spindly thing - traced carelessly along the station's walls. 

“No incubation period. Symptoms arrive within 40 minutes of exposure. No time to spread undetected. Minimum should be one week. Embarrassingly low.” 

The pressure the thing was putting on the wall increased, the gentle glide turning into a buzzing scratch. Humans were strong, but not strong enough to cut through metal like this. The suit had to be powered and clawed. 

“Spread through contact. Limited waterborne. No airborne. Intended mechanism of infection is viral load being put on hands from scratching, and then passed into the environment. Pathetically inefficient.” 

The translator was working, but the thing was overeunounciating each word. The meaning was being passed along by a clean, helpful voice in his suit, even as the sound was being passed on through the environmental speakers. And the sound was dreadful - clicks of ceramized bone jarring against each other, wet muscles modulating air into something sharp and rasping. 

“Mechanism of death? Lysis overload. Could be dangerous if it was transmitted into the lungs, but since the initial load tends to be dermal all we wind up with-”

It took its helmet off. 

It took its helmet off. 

It took its helmet off it took its helmet off it took its helmet off in a biozone it - 

It looked a little pink, actually. A little scratchy. It lifted a delicate, taloned hand and rubbed its face against it for a moment before finishing. 

“-is a rash.”

Valta’s prey drive had glued him to the spot. It was too close. The stupid, stupid part of his brain that still thought he was grazing on Duranga hoped that if he stood still long enough, it might not notice him. 

The human paused a moment before continuing. 

“Do you know why they sent me? Alphonse Ericsen, PhD, MD, civilian doctor, here to speak with you?”

Valta’s snout twitched. The suit translated the gesture for him. 

“No.” 

“Because one of our grunts is a dumb fuck,” the human said simply. “And he spent two days fighting on your station with his helmet off. He got infected that way and brought back your stupid, itchy plague to our carrier ship, and now we’ve all spent the last 8 hours scratching ourselves raw. But the jokes on you, because when we were treating that guy you know what we found? That he was in the asymptomatic phase of a COVID infection. So if this-”

It gestured to its pink face with a snarl. 

“-is your idea of a bioweapon, then COVID is going to be your apocalypse. But if you work with me, and shut everything the fuck down for the next three or four months, I might be able to save most of you.” 

Valta unstuck at that. He’d spent weeks down here, worrying about nothing more than the next skirmish. Now he was looking at a genuine existential threat. 

“...What? Why would you help us? We wanted you to die. All of you. I wanted-”

The human cut him off with an exasperated wave of his hand. 

“You wanted something stupid. Doesn’t mean I have to join you. Best I can do to fix you is keep you alive and hope that you feel ashamed later. That, I genuinely look forward to. Now come on, you’re going to be the one explaining to all your friends what’s at stake here. My bedside manner is so bad that they limited my patients to virology slides and USMC marines. I think that’s actually one rung below the guys that just dissect cadavers.” 

Valta would’ve made an amused hum at that, but something already felt scratchy inside his throat.