#like i feel that is powerful enough in itself

[culturalsillystine]

This ended up longer than I intended.

Here's a long rant about Zero Day, denial, and finding comfort in your sickness.

.

One of the things that's stuck with us since our first time watching Zero Day is when Cal says something about not being able to cure someone who has nothing wrong with them.

Some people get so deep into their illness that they start to tell themselves, "There is nothing wrong with me." It's self-soothing, in a way. You have nothing to fix if there's nothing wrong, right? And you get sucked further and further into it until it's all you know, so it becomes normal. There's truly nothing wrong with you, because it's your norm, and how could that be wrong?

And then you get worse and worse until something happens. It could be something bad, such as Cal and Andre's case. Something people would usually never consider. But when you're sick, you're sick, and things don't make sense, and it doesn't matter what people would or wouldn't consider. Because you would, and you're normal. There's nothing wrong with you.

That, or you get help. And Andre briefly mentions something, I think it may be before what Cal says? I'm not sure, correct me if I'm wrong. But he mentions something, says that even if they did get caught and got put in counseling or something, they'd get out, and they'd still do it.

And that leads you to wonder, is that true? Is that truly what would happen? Or are they feeling so untouchable and so powerful that they think NOTHING can stop them. Not even professional help.

And we'll never know. That's what I enjoy about Zero Day, there's so much we never know. We just have to trust these two boys who will present you with their truth, not the truth.

We see very little of Cal's family, and what we do see isn't bad. What we see of Andre's is.. conflicting. His family means well, but he's an 18 year old boy who likes guns and doesn't seem to get enough appreciation from his father. It writes itself, really.

We see none of Andre interacting with his peers, we only see Cal during the prom scenes. And the prom scenes are loud and irritating and awkward. He doesn't really try to be social, he takes the next possible chance to go to the only person he really bothers socializing with; Andre.

They're both very sick. Whether it's the same thing, something similar, or something entirely different, who's to say, but they find comfort in each other. They're both rotting away, and it's okay, because it's together. Whether or not it's based in love (platonic or romantic) or a hatred for the world so deep that your vision is blurred by your tears of rage, who knows. You never get to know.

Because the last thing those boys would want is to be vulnerable. Because that means something is wrong. But nothing can be wrong, because you're normal. There's nothing wrong with you.

I hope this makes sense and isn't incoherent.

[thelordofgifs]

For the prompt thing, number 24 on the Silmarils list; choked with weeds and slime? IDK seems like a line you could do something interesting with.

Another one I’m answering a year late, but have some War of Wrath-era Elros and Elrond growing slowly apart! Thank you for the prompt 💕

“Just a little further,” Elrond says confidently, raising his torch. It does very little to illuminate the dank forest path ahead of them, but he does not seem deterred. “We’ll know it when we feel it.”

“Elrond,” Elros says quietly, trailing after him. He is not used to this position – not used to being the one to doubt. For so much of their lives it has been the other way around, has Elrond followed Elros charging head-first into wherever his will led them.

“You remember,” Elrond insists. “Naneth told us that the air inside Melian’s Girdle was cleaner and purer than any she had ever breathed since.”

Elros inhales, takes in the stench of rot and decay that clogs the forest, and thinks with longing of the clean salt air of the Sea. “The Girdle was fallen almost before Naneth was born,” he says. “It is not here, Elrond.”

“The forest will remember it, even so,” Elrond says. “Doriath was once the most blessed realm in Beleriand – and we its last heirs! It will remember us.”

Too often these days, in Elros’ view, does Elrond’s talk turn towards the power of memory. It makes him uneasy: he does not like to feel the edges of a rift between them, to understand so little the drift of his brother’s thought. Perhaps it is the knowledge of burned Sirion, and all that was lost with it, that haunts Elrond now – or perhaps the long shadow of Amon Ereb, that mausoleum in which they came of age, where the sons of Fëanor mourned the lost days of their glory, and Maglor’s every lullaby was half a dirge.

Beleriand was splendid once, it is true – but the land is breaking now, and the interminable war drawing into its final act, and Elros is more concerned with building something from the ashes than weeping for what was burned. But he does not know how to say this to Elrond, who is still leading him towards the forest’s heart, where Menegroth once flourished.

“Do you even know how to enter the city?” he asks instead. The path, choked with weeds and slime, clings unpleasantly to his feet and makes a squelching sound with every step. “The hidden entrance may now be lost.”

“Not lost,” Elrond murmurs, his voice losing a little of its bravado. “Perhaps it has forgotten itself – but we can call it back.”

“And how long will that take?” Elros argues. “Elrond, my men are waiting for me. I have not the time for a fool’s errand.”

Elrond turns back to look at him for the first time. For a moment Elros is oddly glad of that, that he might still capture his brother’s attention with a sharp word: but the thought is almost immediately followed by a hot flash of shame, for hurt flickers briefly in Elrond’s eyes. It is the sort of thing Maedhros used to do, in his worst moods – goad and goad until at last Maglor gave him some reaction, often too imperceptible for the twins to see. Elros does not want to be like Maedhros. Does not want to think of Maedhros, wants to shake off all the clinging ghosts of his childhood and look now to the world ahead.

But: “It ought not take long,” is all Elrond says, mildly.

They walk in silence, Elros breathing through his nose. He thinks again of the Edain under his command, whom he left waiting at their new outpost a little south of the forest. It has been long enough since he and Elrond last went away on an adventure of their own, for Gil-galad cannot often spare his brother from his duties, and Elros too is a commander in his own right. Besides, he did not think his men would understand their object: most of them have grandparents too young to remember Doriath before its fall. Still he does not like to abandon them, does not want them to think him just another elvish princeling, a stranger to mortal troubles and mortal woes.

But nor could he have let Elrond set out on this quest alone.

In the silence Elrond begins to sing a canto of the Lay of Leithian, of Lúthien dancing in the forest glades to Daeron’s music. Elros joins him, for their voices yet ring stronger together than apart – but he can put little conviction behind the song. The forest that his foremother loved is dead now, and so is she – they cannot resurrect her with their poems and their songs, necromancy dressed up as memorials, she is fled where they cannot reach her. Elros wonders if she was glad to do it.

Elrond’s eyes keep flitting between the dark, foreboding tree-trunks, as though he cannot quite understand why they do not become green and fair again under the influence of his song. At last he stops singing, a little frustrated now. “I cannot find a way,” he says, “it is all dark and rotten.”

“Well, there have been all manner of foul creatures crawling through these forests since Doriath fell,” Elros says sensibly. “I would be surprised were it not polluted.” 

“Why will it not cleanse itself?” Elrond says, his voice barely above a whisper. “Why will it not remember how it used to be?”

Every two years or so Elrond will come to Elros with a plan to reach out to Maglor and his brother, and bring them before Gil-galad to face justice and redemption. Each time Elros tries to make him understand how impossible the idea is – and it works, for a year or two. 

He is not accustomed to thinking of his brother as childish – not accustomed to feeling so very old as he does right now, seeing the stunned bewildered hurt on Elrond’s face.

“It is tired, Elrond,” he says. “Let it sleep.”

For a moment Elrond’s face crumples, and Elros thinks he must weep; then he says, quite calmly and cheerfully, “Well then, we had best be getting you back to your men,” and sets his course for the forest’s southern border.

The victory feels hollow, to Elros: but then, they all do. 

[thecoolerliauditore]

Pls tell me about Scott's views on women in general pls I'm begging you

o7 and I'm sorry

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

fyi, the post itself isn't NSFW, but I'll be getting all gender theory in this bitch so I'll be referencing a lot of things and putting in pictures of naked ppl sometimes. maybe skip this one if you don't like that

(long post)

Disclaimers

An explanation for the tweet up there

I usually don't write these because I assume the people on my blog have enough sense to realise when I'm talking about the characters vs the CCs or are comfortable enough being a little confused, but I feel the need to extra-clarify here and expand on how I specifically view C vs CC because I think it differs a little from the average person.

To me, C and CC are two separate entities but not entirely disconnected. What differs (e.g. the exclusion of irl relationships -- their wives, kids, etc.) is poignant enough to severely detach them from the people they originated from, at least in my eyes, but there's also the fact that these are not scripted characters, just creators being themselves with a hint of behind the scenes drama-adding and improv thrown in.

For example, CC Pearl is a car nerd. So I assume her character is too.

This is where I state very clearly that yes, a lot of these thoughts come from things I've seen on Scott's twitter, which is undoubtedly the CC and not the C. However I, to me, am still talking about the C because any observations/judgments I could make on actual irl youtuber CC guy Scott Major would be tabloid at best and slightly invasive at worst. I'm seeing these statements within the context of "the death game guy would say this too and I'm writing this based on that", not "this is the inner psychological workings of the youtuber because I, as a fan, can totally tell".

TLDR I don't consider this post RPF but you might. This is a little more RPF-y than my usual stuff. If you don't rock with it we cool.

Everyone is weird about women, and that's okay

One short-hand I've used in the past to talk about Scott and women is just by saying that he's "weird about women" which I'm sure isn't exclusive to him.

(shitpost I made awhile back)

I see a lot of people now who love "villains" and "evil" but when it comes to any traits resembling real life evil (e.g. misogyny in this case) they suddenly become insecure. Just a couple of days back a saw a post on twitter essentially asking for permission to continue liking CC Scott in spite of the "bad things" he did.

And I think, in order to present an analysis like this, I must address that mindset first.

This is not a judgment on Scott's morality, nor is it trying to dissuade you from liking him. This is not saying that he is any more misogynistic than any other player in the series. This is just me pointing out Scott's attitude towards women and what I read it as, nothing less or more.

The feelings that me pointing these things out - be they apathy, disgust, anger or, what I would hope to see most, interest - are your own. I'm not here to tell anyone how to feel and never will try to police that on my blog.

Scott's Relationships with Women

aka. oh yeah this is about minecraft.

Scott and Cleo || "Yeah, you can kill me."

Scott and Cleo's alliance is arguably the strongest in the entire series, spanning through all five seasons and remaining unbroken with no (serious) drama attached. You'd expect from this that they two have a very settled and stable understanding of eachother, yet this isn't a case.

Their power dynamic shifts dramatically from one season to the next.

3L's initial Widows Alliance began on fairly equal footing, built on the mutual agreement that they were waiting for their respective partners to die. Both understood they were eachothers' "plan B" and felt comfortable in that arrangement.

Come LL, Cleo does what she couldn't in 3L, and initiates that plan, going to Scott after her last alliance, the fairy fort, fell apart. Scott requests nothing from her in return.

DL is the longest the two spent as eachothers main ally. Cleo is the one who initially proposes teaming up to spite their "cheating" soulmates and Scott agrees. Cleo admits to Martyn in private that she's aware she's taking advantage of Scott (which I've always interpreted as her talking about all seasons, not just DL). Due to the time they spend together, it's here where it becomes apparent that their initial assumptions during 3L were not entirely accurate, as Scott shows a level of gameplay competency much higher than Cleo's (e.g. teaching her how to axe-crit) but despite this Scott never berates her or thinks any less of her value as his ally.

LimL is probably this pairing at their most unhinged, as Scott, despite once again asking for nothing (or very little -- I'll be honest I'm a bit fuzzy on this) in return from Cleo, allows them and their allies to butcher him repeatedly for time. He gives more time to the Clockers than he does to Martyn, his closest ally that season. Despite this, Scott is never ever considered as a "family member" by the Clockers, despite them giving that title to even temporary allies (like the Bad Boys being their cousins) -- even Martyn gets a title with Scott completely unattached.

SL is relatively more chill, but shows that the two inevitably end up teaming together even despite their oath to avoid eachother that season.

The point being -- again and again, we see Scott literally and metaphorically making sacrifices for Cleo, with the only real transaction he requires from her being that she continues having his back when times get rough. This is despite that he's aware she isn't any more capable than he is and the fact that so far it has only been Cleo in rough times (LL, LimL and SL) and never Scott.

Speaking from a purely transactional perspective, Scott is not getting a bargain here -- and even Cleo seems acutely aware of it, judging by her comment during DL as well as the way she tends to speak of her survival capabilities very lowly in general ("rubbish pvp skills and spiffy one-liners"). I'm speaking in this sense because I've seen discussions in the past about the transactional way Scott views relationships but rarely does Cleo get brought up.

This is at stark contrast to how he treats Jimmy, whose predicted death was what spurred on Scott and Cleo's alliance in the first place.

Scott assumes Jimmy is "incompetent", where he assumes Cleo is capable. When Jimmy messes up, he reprimands him, when Cleo struggles to crit him, he patiently teaches her. When LL begins, Scott's first instinct was to look at Jimmy's lives and note that he was "useless to (him)", but holds no objections to Cleo joining his alliance despite her already having enemies being a potential liability. In SL, he jokes about how Cleo and him being allied is a given and pretty much expected of them, whereas in LimL he explicitly requests from Jimmy a recognition that he still cares ("say love you back!") before he will help him.

Scott and Gem || "You HAVE TO kill me, Gem,"

In SL, Gem settles in very easily in a leadership position within Gem and the Scotts due to her trying to live up to her reputation but also due to Scott and Impulse's more laid back, passive playstyles.

Both Scott and Impulse let Gem kill them for extra health this season, although Scott is arguably much more subservient than Impulse is, with him not only insisting that she kill him in the final episode but also not fighting back (and only yelling for her to stop) when she starts hitting him with a sword during the episode where her task was to literally kill everyone on the server.

Once again comparing her to Jimmy, Scott in 3L had a tendency to brush aside Jimmy's concerns over alliances (e.g. Jimmy questioning if they could trust Cleo) while in SL Scott runs his plans by Gem (and Pearl and Impulse) in terms of who he wanted to team up with (specifically excluding Joel from the potential mounders alliance) implying he held her opinion in some form of regard.

Before this becomes less of an analysis of Scott's treatment of men vs women and more of Scott's treatment of Jimmy vs everyone else, I think it's notable enough to mention that he and Martyn also lacked this sort of communication in LimL. He would inform Martyn of his plans, but rarely was it ever framed as a request.

SL almost feels as if Scott has slid Gem into the slot he had previously designated for Cleo in 3L (his girlboss ally) as he provides her and pretty much forces onto her by the end the acts of service he'd become accustomed to performing for Cleo.

Scott and Lizzie || "You killed her! I don't.. I don't know what to even say!"

Relatively shorter section because this is the one woman he hasn't teamed with, but there's still some interesting stuff I wanted to touch on.

In LL, one of the first thing Scott does is yell at Pearl to revenge-kill Joel for boogey-killing him. Pearl does as she's told and Joel's wet miserable pathetic LL life gets worse from there.

Several episodes later, the roles are reversed -- Lizzie lies to both of them and manages to isolate and boogey-kill Pearl. Scott, instead of reacting with the anger he had for Joel, is almost in a state of shock as he asks Lizzie to let him down so he could collect Pearl's belongings. He doesn't act aggressively towards Lizzie at all, with his most antagonizing act against her being to lie about his intentions when giving her a wither skull.

In SL, he's the only one aware of her early permadeath, but keeps quiet about it almost as if he's in a state of shock akin to when he saw Lizzie kill Pearl in LL. It's not until the others have noticed when he finally brings it up.

Scott and Pearl || "Tilly death do us 'part"

I wrote a whole post just for their relationship alone so for the sake of my sanity I'll be leaving this here.

So now I get to dedicate this section to the meat of this post -- how the way Scott treats women in general impacts his relationship with Pearl and how I view his heel-turn on her as seeping with relevance to Pearl's perceived gender.

In all three of the previous sections, the running theme is that Scott is 1. kinder and more patient with women, regardless of their competency and 2. someone who likes to be in a supporting role to women, occasionally aiding them more than he aids himself and his closer male allies (e.g. Jimmy and Martyn). As shown with Cleo, he assumes that girls have it together, but even if they don't it's not a big deal. When a girl's actions are truly disastrous, such as with Lizzie's, he goes into a state of shock and doesn't really react, preferring to swallow it down and not acknowledge it.

With the amount of times he sacrifices himself, I don't think it's a reach to say that Scott values his own life less than he values the lives of his (female) allies. This specific point actually does extend to his male allies too, shown when he's happy when Martyn literally backstabs him in LimL, but just as with the Martyn post where I point out his victim status-ing doesn't end at only women but includes all the women, Scott has pedastal-ed all the women he's teamed with.

Lizzie is, once again, the exception here due to his limited interactions with her. However that's actually somewhat patched over if you look at adjacent series (such as x-life) where he definitely shows her a level of admiration and respect.

Back to Scott and Pearl.

Their relationship during LL is very standard of how Scott treats women. While the power dynamic between them is obviously more caused by the initial life trade agreement, I don't think it's a far reach to say that Scott is somewhat comfortable in the arrangement.

However, this is also the first thing that sets their relationship apart from Scott with Cleo or Gem -- Pearl is the one making sacrifices, not Scott. She is the one "sacrificing" her lives to him, just in a more non-violent way as allowed by the season's mechanics.

When viewed through this lens, Scott trying to make it up to her and wanting his effort acknowledged makes even more sense. This is suddenly uncharted waters for him. His assuming that Pearl doesn't value him as a person goes hand in hand with him valuing himself less than her.

What Scott has with Cleo or Gem, situations where the other party is clearly uncomfortable with how he treats himself (Gem) or actively aware they are taking advantage of him (Cleo), is equalized to him because he is inherently worth less. What he has with Pearl, on the other hand, looks more equal to most people (lives vs labour) but is wildly imbalanced to him.

It's one of the many factors I see going into Scott's weird decision to abandon her in DL.

An Interlude, Before We Get to DL

La Pieta, Michelangelo

So this has been a lot of words so far and some of you might be wondering at this point: why say Scott is "weird" about women when so far this has been describing how he values women more, is kinder to them, is more patient with them, etc.? How is any of this behaviour remotely misogynistic?

And I would feel horrible if I forced you to read through all of my DL thoughts before I clarified this -- Scott is not your classic wifebeater "women are lesser" misogynist, Scott is someone who subscribes to misogynistic schools of thought and probably considers himself an ally to women, when in reality his beliefs are still rooted in dehumanizing them and these beliefs end up harming the women around him as well as himself.

After all, seeing women are your superiors is still not seeing them as your equals.

I know it's a bit of a meme on this blog at this point. But. Sigmund Freud identified what we know refer to as the "madonna/whore complex", which he described as a pattern of behaviour in men who separated women into being madonnas (pure, holy and admirable) and whores (debased, sexual, deviant). We'll be focusing on the former, the madonna, as it is more relevant to Scott's character.

Freud proposed that the madonna figure was something men projected onto women as a replacement for maternal love. These women are sacred and untouchable, literally as the projection of the maternal role onto them also makes it so that the sufferer cannot feel any sexual attraction towards her (keep this in mind for later).

Scott projects the madonna figure onto his female compatriots -- they are to be protected, served and supported. They are goddesses, queens, but they are never human. The madonna role in of itself is not inherently harmful to the woman, as seen with Cleo who takes control and advantage of it. However, it is enforced, as seen with Gem who at first revels in the superiority but almost breaks down when Scott offers him up as her sacrificial lamb one last time.

I linked this Utena AMV awhile back when vaguely talking about Scott and women, and this was the point I was alluding to.

Girls are beautiful and pure. They don't spit on the street, they don't piss on the street, they don't build hierarchies -- they subvert all the expectations of masculinity that I hate having to deal with. They are my escape.

But what about the girls who do spit on the street? The girls who piss on seats? Who build social hierarchies, who size up their competition?

The girls Scott interacts with are all painfully human. Cleo weaponizes his beliefs and take advantage of him. Scott is smart enough to know and accept this. Gem's playing into a role she has been assigned into by not only Scott but everyone around her. Scott supports the character she plays. Lizzie reflects traits he hates in Joel and Jimmy, but for her, he looks the other way.

Are they "demons", as the song says, or are they no longer girls at all?

(demons, gods, but never humans)

Weaponized Femininity and Women In Total Control of Themselves ;)

Hylas and the Nymphs, John William Waterhouse

Historically, weaponized femininity I'd argue is one of the oldest tropes in storytelling. Whether it's nymphs or sirens or witches or succubi or even more roundabout cases like Helen of Troy, there's countless stories of men's sexual attraction to women leading them to disaster.

One way to view these stories is to see them as warnings, don't let womens allure be the end of you.

There's a lot of good writing done on the femme fatale trope both in the context of weaponizing femininity and as a sexist way to argue against victims of sexual assault, as these stories often say that men who experience attraction to these "evil" women no longer have agency over their own actions.

Look at the painting above, for example - is it the nymphs who are responsible for drowning Hylas, or is Hylas climbing into the lake of his own accord?

Despite the fact we all know sirens, nymphs and succubi aren't real, the belief that men will simply lose control of themselves when encountering a particularly alluring woman persists to the modern consciousness. That there's something inherently dangerous about women and attraction to them.

(this is not 100% applicable to Ninja saying he won't stream with women, but it's the real life example I felt most comfortable putting in here)

Now, let's combine this with what's been said so far -- let's say you don't hate women. You love women, in fact, and you hate the way men treat women. You hate men, in fact.

Yet, you still believe in this inherent power women hold by being female and the loss of agency that men experience when attracted to them -- how disgusting.

It quickly becomes easily to not only demonize men for sullying the holiness of women, but also men, masculinity and attraction to women as a whole.

(apologies for using twt discourse in the meta post but this flew by my TL and i had to grab the irl example of mens non-violent attraction to women being used to frame them as misogynistic before the stupid app refreshed and i lose everything forever)

"To Venner" is a student film exploring a world set within this belief, where all the women have vanished and the men have become monstrous figures as a result of their pent up sexual frustration. fyi this is one of my favourite student films (and ive watched a bunch), but I do think its messaging is worth breaking down (especially its juxtaposition of dirty horrible monstrous sexuality vs pure and beautiful romantic love)

NOTE: this film is super graphic, lots of violence and nudity. have fun. or not

I admit this section is a bit hard to gauge as everyone in the series is gay as fuck. The closest in-series example I can think of is Scott reacting to Martyn's antics in DL with a sort of indigence but otherwise I can't really think of an example of a man expressing attraction to a woman at all, let alone one Scott reacted to. However, I do think it's still worth talking about because it opens up some interesting trains of thought in regard to Scott and Pearl.

For Scott, he himself has never been part of the picture. He's gay, after all, which gives him an edge over the bad straight men who objectify and assault women. Likewise, there's little evidence to suggest he finds the expectations of masculinity frustrating, but I don't think it's too far a reach considering how common of an experience that is for gay men and his adapting of more feminine mannerisms.

Double Life and Corruption

As mentioned in my previously linked post about Scott and Pearl's relationship, I do think Scott experiences what he would name as attraction towards Pearl, so my writing will reflect that.

Pearl is. ahem. not like other girls.

Not actually. But to Scott, she probably isn't like other girls.

She remains unaware of his different standards for her (how could she when she had nothing to compare them to), she acts out, sometimes violently, against Scott's urging (such as when she stole from Scar's wagon). She maintains their already irregular dynamic, and while she appreciates his care for her, she never quite falls into seeing him as a source of subservience the way Cleo or Gem do.

At the end of LL, right before the 1v1v1v1, she monologues to herself that she no longer has to feel bad for killing Scott. Which, in turn, implies she expected Scott to give it his all against her as well.

She entirely fails to embody the madonna with her immature naivete and her questionable morals. She is unpredictable, she doesn't take what she is owed, she is a monster in a lot of ways.

Scott, too, is a monster, to himself, for how he feels about her.

The very foundations of your understanding of yourself being ripped apart aside, let's rewind to the madonna/whore complex. To sexualise the madonna is to corrupt her and make a monster of yourself. Suddenly, you are no better than the men around you, the ones you've grown to hate. Suddenly, you are the grotesque figures in films like To Venner. You are Hylas and she is the nymph. And you are so stupid. Your worldview crumbles around its flawed foundations.

Scott is, however, immune to this corruption. This is a theme that appears in Empires as well, but throughout the traffic series he's prided himself on being loyal and kind and good. His monologue leading up to LL's 1v1v1v1 summarizes it quite well.

He can't let himself or anyone else see this side of him, but the energy needs to go somewhere. To defy fate, abandon your soulmate, is to admit you had a fate in the first place, is to acknowledge that she was your soulmate in the first place.

I've previously talked about how fate and romance are very ingrained in Scott's belief system, if it was anyone else it would've been amazing. He could've been like Bdubs and Impulse or Ren and Bigb, diving into domestic life and performative romance with a stranger. Or the world could've made his happy ending from 3L real, as he got to be Jimmy's husband all over again. I think it says something that he accepts Cleo as a "soulmate" before Pearl.

So what do you do with all that energy and tension, clearly apparent to yourself and everyone else, when you can't let them observe your feelings?

You project them.

Shout-outs to @/legally-allowed-to-slime for pointing out Pearl's comment early on in DL that she "feels like (she's) been broken up with" confirms she never saw Scott in a romantic sense. The "crazy ex-girlfriend" and "this is why I'm gay" comments really did come out of thin air, or perhaps insecurity.

Pearl is the crazy one. She's insane, because she wants me. She wants to be with me, so she does all this crazy stuff. She's lost control of herself because she wants me. She's disgusting.

I mentioned before that Scott is not your classic misogynist, but this is where the gears start turning. Scott's views of Pearl echo that of other players, most prominently Ren and Martyn, that Pearl has been overcome with some sort of corruption. She has become the witch, the demoness, the whore, in their eyes. Scott does not want to be the same as these men and I think his overcorrecting his behaviour in SL makes sense when you view it from this angle, but for now he has to rely on more traditional misogyny in order to navigate this new obstacle.

"Corruption" also implies that she had to have been pure (or at least pure-er) beforehand, something Scott personally knows is not true, but it falls in line with defaulting women to being "madonnas".

This is a Scott post but. shout outs to Ren for being all of this about Pearl but without the complexity of Scott like he literally accuses Pearl of seducing Bigb what the fuck man.

Pearl is, of course, none of that. But she plays into the role of being the witch much better than she fared playing into the role of the madonna.

Sidenote: I know I'm looking at this from a Scott/Pearl POV but I do feel like you can omit Scott's attraction if you look at it from a purely "pearl not performing to standards of femininity I expect and she makes me realise I don't view women as a whole as human which makes me feel weird so now we have to do this" POV. Like idk I think the exact reason he abandoned Pearl is going to be lost on everyone forever so any analysis I could perform is going to suffer at least a little bit of making-shit-up-itis.

I do also think there's something to be said about Pearl being pushed until she performed a role, any role and generally failing at Being A Girl tm but that's another post i think. yknow shes um. a bit. 🏳️‍⚧️ (but also very much not at the same time idk that's gonna need its own post)

anyway yeah uh the minecraft movie looks crazy huh

[deancasbigbang]

Title: Every Rose Has Its Sword

Author: wylf_storm

Artist: whichstiel

Rating: Explicit

Pairings: Dean/Castiel, mentioned Sam/Eileen, implied Michael/Adam

Length: 45000

Warnings: Graphic Depictions of Violence, Temporary Imprisonment, Kidnapping,

Tags: Alternate Universe - Magic, Fae & Fairies, Mentions of Myth and Folklore, Inspired by Tam Lin, Human Castiel, Fey Dean Winchester, Shapeshifting, Bottom Dean Winchester, Swords, Witch Rowena MacLeod

Posting Date: October 29, 2024

Summary: Tired of living in the shadow of an old family misfortune, when Castiel Novak inherits an ancient plot of land in Scotland from his uncle, he leaps at the chance to move as far away from his past as possible. The place is charming, even if it has quirks, but best of all, nobody knows anything about him. It’s... mostly perfect. The only snag is the patch of woods on the land and the strange way nobody will talk about them. When spite leads Castiel into the Aikenwood despite being warned away from it, the very last thing he expects to find there is a knight named Dean in a grove full of roses. He’s handsome even if he’s also irritating, and despite himself, Cas is oddly charmed by Dean and the rose he receives from him. He finds himself drawn back to the wood again and again, but there are stranger powers at work than just a knight. A little digging reveals that most who enter the Aikenwood don’t come out again, Cas isn’t the only visitor to the bower, and Dean isn’t all he appears to be. With their lives and feelings tangling like vines, Castiel soon finds his past catching up and must do everything he can to save Dean from an impossible fate at the hands of a familiar face. But the truth has both roses and thorns, and Cas isn’t sure which he’s going to find if he succeeds…

Excerpt: One rose caught his eye – full bodied where the others were single blooms, a darker shade of ruby where the others were simply red. He moved towards it, fascinated by its daring to be different from every other bloom. It was soft to the touch. Castiel fumbled for his pocket knife while following its thornless stem with one hand and, leaving ample room for him to hold on to, carefully cut it free from the main stem. It came away cleanly and he bent his head down to see if it had a scent.  “Do you always cut flowers without permission or is this a special case?”  Castiel was so startled he dropped the rose. He fumbled to catch it but there was nothing there; just a faint roaring sound like a strong wind through the trees. He turned towards the voice.  A man in a white shirt with laces at the neck stood a short distance away, looking pointedly between the rose he was holding and Castiel. How the man had appeared without him noticing Castiel had little clue, but it was no doubt thanks to his attention being focused on the rose while the moss muffled the man’s approach. He didn’t recall noticing the man catch the rose before it touched the ground, either, but he wasn’t entirely sure that could be attributed to the moss. The man must have taken advantage of Castiel’s surprise to move. His arms were folded across his chest in a disapproving gesture, but his face showed only mild amusement and no trace of anger. From the way it made the hunter green of his eyes glitter, Castiel couldn’t help but think that amusement suited him very well.  “Not only stealing my flowers, but trespassing and disrespecting my property too?” The man said, stepping closer. If he’d held his hand out Castiel could have taken the rose right from him. “That’s three strikes against you already. Gotta be some kind of record, don’t you think?” He unfolded his arms and spun the rose slowly between his fingertips. “Truth be told, thief, I’ve never met someone brave enough to stick around after committing their crime.” The man cocked his head slightly to one side and the smile that had been playing around the corners of his mouth decided to make itself known. He tutted. “No… brave isn’t the right word. I think stupid is more fitting.”

DCBB 2024 Posting Schedule

[leahnardo-da-veggie]

Put Up a Sign

I crave. I want. I hunger. My days and nights are filled with the thought of consumption. My empty heart simply needs to take and take and take, like a greedy thief. It is not enough that I feed it affection and attention and accomplishment. It must have more. It must have adoration, idolisation, absolute dominion over all others.

Simply being better than most is worthless. Simply being one of the chosen few is worth mockery. I must crawl up to the top amidst a mountain of the corpses of my rivals. And with each time their bones crunch underfoot, the hunger only grows.

It is not enough to be known, liked, 'popular'. Nor is it sufficient to be infamous, beloved, renowned. I must have armies prostate themselves before me, statues erected in glorious worship, my name scattered across the 7 winds. But the gales merely chill me to the bone, the statues just crumble to dust with time, and the armies go into my maw to feed my empty heart.

And what of power? Can I be satisfied with my little band of merry women and men, my precious clan tucked away in the depths of the forest? Of course not. Would an empire sooth the gurgling cries of a bottomless hunger? Could the world itself fill me up, or would it be but a speck in the endless pit of want?

They say Alexander wept, for he had no more worlds to conquer. I fear I am Alexander incarnate, thirsting after eternal war and an endless reign. I just with to be satisfied, satiated, sated; why must I be born with an empty heart, meant to take and take and take?

Were I a better man, I would carve that offending organ out and let myself wither away. Were I a worse one, I would gorge myself on power, and learn once and for all just how much I can consume. But I am me, and I sit upon a throne of my enemies' corpses, reigning over a little empire, nursing my hunger with little tidbits all the while.

I do not feel repentant. It is not in my nature, after all. Nonetheless, as my people give their harvests, their gold, their lives for me, I cannot help but feel a twinge of guilt.

Perhaps I shall put up a sign: "Please do not feed my empty heart. It will only want more."

This was a silly little writing exercise I did for funsies, but I loved how it turned out so y'all get to see it too!

Taglist: @coffeeangelinabox, @dorky-pals, @calliecwrites, @kaylinalexanderbooks, @shukei-jiwa

@thewingedbaron, @pluppsauthor, @cowboybrunch, @wylloblr, @possiblyeldritch

@tragedycoded, @finickyfelix, @urnumber1star, @ratedn, @ramwritblr

@vampirelover890, @possiblylisle, @illarian-rambling, @the-ellia-west, @differentnighttale

@evilgabe29, @glitched-dawn, @rivenantiqnerd, @dragonhoardesfandoms, @xenascribbles

@drchenquill, @everythingismadeofchaos, @owldwagitoutofyou, @dimitrakies, @beloveddawn-blog

@riveriafalll, @the-golden-comet, @rascaronii, @trippingpossum, @real-fragments

@unrepentantcheeseaddict, @the-inkwell-variable, @paeliae-occasionally, @an-indecisive-nerd, @thecomfywriter

@seastarblue

(Anyone else who wants to get added can tell me in the comments, pm me, or send me an ask about it!)

[soshadysoquiet]

The Subway book, The Hug, and what I thought would happen as I watched S4

I wanted to know the story of the subway cipher-book, one of the bits I'd have loved to see in S4 was them solving or working to solve the subway.

I thought when they found the cipher / Five brought it to Strawberry Land that it would play an even bigger part than just a deus ex machina

Here's a few different things I thought was going to happen once E5/E6 hit us:

*Going to insert my unpopular opinion here that I don't feel it was majorly off-brand for Five to have left when he did at Diego & Lila's house or all the other Five's to be in the diner:

He's resorted to escaping awkward and emotional situations in the past at the drop of a hat because he thinks he can solve the situation / just doesn't want to be there anymore. (he implies in S1 that he was going to use a briefcase to 'start over' ergo abandoning 'these' siblings potentially for a different set?)

He's always looking for ways to buy himself time, in the subway he theoretically has endless time to sort shit out. (He's typically made bad, seat-of-the-pants decisions about this too when backed into a corner - The Handler, typically)

*Granted, I only watched S4 the once and can't remember if there's more to it. Happy to be disagreed with if I've forgotten something!

*Second unpopular opinion is that I don't really care about the cheating after the length of time it had been as much as how it didn't feel like that length of time / build up of the relationship looked Very much like they were both into 'not-sane-consent' ish territory / the relationship being in-character itself wasn't conveyed well enough personally.

**Edit - as I'm having another resurgence of rage over S4 atm I was watching a review vid on it and had completely forgotten that Five blipped out on his whole fam in the middle of the life and death Ben Blob match. I rescind my above opinion on how this is in character.

So, without more rambling:

First Thought:

Five x Lila happens as it did but when they get back and Five sees Lila with Diego and her family he realises that what they had was a distraction / a crutch etc and he leaves. He goes to the subway (Lila has the cipher). He realises that in order for them to ever get back home, which he ultimately wants because he cares for his family and what he had with Lila, that someone needs to make the cipher. So he stays and makes it. He stays in Strawberry Land for the rest of his life and dies there alone, creating the way that his family can be safe.

Lila realises he's missing and before the whole thing comes out to Diego (or after, whichever you prefer) she goes to find him in the subway, she sees he's gone, looks in the cipher for an answer as to where he could be / to go find him (she might be choosing to stay with her family and Diego over him, but they shared precious trauma time in the trenches down there) In the back of the book there's a note, for her, that she would only understand now (something like 'family has always been our start and end point dear one, don't lose yours now that you've found what I once took away from you' - or something sappy / romantic and eloquent, let's not kid ourselves that Five would be an absolute sap about it)

Lila breaks down crying. At which point because the Timeline is so very fucked right now Five from a few days ago (for him) years ago (for her) appears on one of his first forays into the subway when his powers first start to fuck up. He sees her crying like the world is ending and comforts her (like we see him do with the hug).

Five, for his part, just accepts and believes her that she's been time travelling and has solved things because they have an intellectual respect for each other, and maybe she realises that she still has that?

Either way they go back and the ending could be whatever you prefer at that point, Diego and her making up, not, him finding out, not, them all dying together, not.

Now, the idea of this being how OG Five's life ended (alone, again, at the end of the world, but with having dedicated himself to his family, after losing everything) is completely tragic, it's an awful ending, I'd have been sick with grief. But I'd have felt a hell of a lot more about it than I did the ending, by which point I just wanted the show to end so I could stop watching it.

Second Thought:

The Diner Five's worked together to come up with the solution to save the world / that it can't be saved (enter preference of choice I'm ambivalent) but with more meaning than just 'you turned up and we told you'. I want Five to rail at the news, I want him to break down, I want there to be one last fight before the acceptance if the end is what is coming.

Third Thought:

Diner Fives direct Five to Off The Rails Oldest Man Five who wrote the cipher, and they have the same sort of thing as the above with the saving / not saving of the world.

Later Fourth Thought:

Very similar to 1, except that Lila on looking at the cipher realises it changes handwriting half way through to hers. The sappy message is from Old Five that he tried to finish it so that she could save their family, it was both of their goals after all, but he was so sorry that he couldn't, and has to put it on her. She breaks down, realises what she has to do, she stays in the subway and finishes the work, sacrificing herself to her family's survival as he did, but she leaves a big note in the front to the Five that's going to find this (some Lila-esque insult that the pair of them need to use this cipher to get home now don't stop don't pass go etc, and she leaves it where she knows they'll find it the first time when they go to the cottage, maybe leaves their younger selves some advice). Then it's a bit like 'The day that wasn't' in that we see younger Five and Lila retrieve This book, maybe wonder at the odd messages in it that are in turns insulting and heartfelt, and they make it home after long years but back to their family. They could either hug because of the relief that they have a way home, or because both Old Five and Old Lila realised and wrote that the world can't be saved, or because Lila sees that she left / cheated on her family and realises what she had to lose and Five realises what he nearly let himself lose too / how he's been pushing his family away and insulting them and that was never what he spent his life searching for.

Not saying any of these would have been better, but I kind of like them as options :)

[mbat]

i literally read the book of bill days ago but its only now kinda hitting me how fucked ford and bills whole thing was though cause ford literally talks about being so unable to sleep (to try to keep bill away), and when sleep inevitably caught up to him, he would wake up to his body abused and things messed with and he just couldnt seem to find an escape (and he literally didnt get to truly escape until 30 years later)

(also keeping people awake for unhealthily long periods of time is another tactic used to mess with and control people because of how it impairs brain function)

listing off the things we see in those few pages in the book of bill:

i mean, punching and scratching at a steel door for hours would be so damaging to your hands and probably hurt like hell for at least 2 days after. then bill says he was hitting fords head against a wall, though its said in a post-it as if its a joke, but he also isnt exactly above doing that, and honestly he says most things like its a joke.

i also dont need to say 'bill really doesnt know how to take no for an answer' because he makes that very clear in literally any interaction we see with him.

bill literally puts a venomous snake near ford while fords asleep, which could have killed him if he wasnt lucky+skilled enough to deal with it.

he nearly gives ford hypothermia, and in the same action actively threatens ford with the idea of making him jump off of a high spot, and like ford says, doesnt do it just so he can send a message to ford about how hes the one in control.

he gets ford in trouble with not only the law, but also with other people that are probably not very happy with him after. he mutilates fords body in several ways, and i dont think i need to go into detail on them because theyre... so ew. and he even exposes part of fords body to the world. like, its just taking his shirt off, but thats still showing off his body in a way that he didnt agree to or want

and then he attempts to (or purposefully fails to) call stan, using fords voice to threaten suicide and tell stan that ford never loved him.

and he punctuates it with a final power move, in a hallucination that he creates, hes messing with stans memories and making him feel like his body was basically about to implode

and like. okay, we all joke about toxic old man yaoi, and its a good joke and toxic old man yaoi is great and its an interesting ship, but holy fuck.

like. to say the absolute least, that had to be so, so deeply violating. its no wonder that when we see ford in the past, when he finally contacts stan, he looks like hes on the verge of shattering into a million pieces. he just went through, and still wasnt yet out of, some deeply abusive shit.

like... everything coming out lately both in this book and what ive heard is on the website, mixed with what we already knew from the show itself... the stans are both so, so fucking tragic dude. their whole lives were thrown away over things that really didnt even need to be the way they were, and then they both get into situations that are pretty damn screwed, and those situations follow them for the rest of their lives. its basically a miracle that things worked out in the end for them.

i dont really have a point, i just had to talk about all that. i read almost all of the book of bill in one sitting, and while i was really enjoying it, i was also getting kind of tired of sitting in one spot only doing this one thing for several hours straight. i still felt a lot of the emotional bits of it of course, but man this part specifically just really didnt hit me until now.

i mean, to say the absolute least, i know what its like to feel violated in a similar way, though not anywhere near to the extent of what he went through at all. someone get that man some therapy got damn

[ilynpilled]

to be fair with the death thing and martin i do think that ygritte quote is so relevant:

like maybe eventually some of these characters that we feel it would be more powerful to have live do fall. and it can be during the series but not before they “live” and fulfill certain “possibilities”. like yeah death is terribly final and life is full of possibilities etc. and it will continue to be full of them until the day you fall. and every action and attempt in itself has meaning, despite even final result. that is kind of the thesis of the series and its brand of romanticism.

[kagoutiss]

din’s champion

[abby-howard]

I'm going to be asking a lot of artists I follow this question, but how did you develop your style? It SEEMS like most people find their style and stick with it forever, just making improvements and iterations. I tend to work in a lot of different styles because I enjoy doing that, though I know there are things I gravitate towards as well. But I wonder what your journey was and how you got feedback and improved while staying true to what you enjoyed?

Hi there!

I definitely wouldn't say that I've found my style and stuck with it forever-- I feel like each of my projects has asked for a certain kind of art, and has presented new challenges that push me in new directions.

Some of that comes from seeing someone else's work and having something click into place that might fix errors/faults in my own, and then I might try to incorporate that, such as bigger outlines on my characters to help distinguish them from the background, or maybe a way someone else simplifies eyes that can help make mine look less weird.

When I first started drawing, I can see where I encountered certain influences because my sketchbooks suddenly switch to incorporating some new stylistic element that I liked from whatever I was reading/watching at the time. But it was never QUITE right, it was never just copying, there was always something ~wrong~ with it. And that wrongness was my style! As much as I hated it, that was what distinguished my art from being just a copy of someone else's. I hate it less now, and understand that other people see something there that maybe I don't, because it's just what happens when I filter other people's work through my head. My soul, if you will.

There are definitely through-lines with my work, driven by what I like drawing and what comes easily to me-- hatching is almost always a major component, and I like making expressive characters. Here's some of my earliest available stuff, from my old webcomic:

Then not long after that, I started The Last Halloween, which pushed me to challenge myself in both layout and style:

And here's the same comic, years later:

And here's a series I did for kids, where I had to use full color and lay off on the hatching, as well as learn how to reconstruct animals that we have no photo references for, which is definitely a place where style comes majorly into play, whether I wanted it to or not:

Then there was the horror book I did, where I tried to push my work to be less cartoony overall, and to work very hard on improving my hatching:

Then I started work on Scarlet Hollow, where I incorporated a limited/muted palette and had to once again push myself to make less-cartoony art, as well as learn more consistency so I could draw sprite sets. This was a big challenge for me, and has helped me grow as an artist so much!

And most recently, I wrapped up work on Slay the Princess, which required that I go back in the cartoony direction, but in a very different way than I was used to. This took a lot of sketching to figure out, and there's still a decent amount of artistic stumbling in Chapter 1 while I settled into it.

She's drawing on anime/Disney influence, but each Princess required a bit of stylistic variability. Some are more anime, while some are more realistic than even the Scarlet Hollow characters.

So I wouldn't worry too much, honestly! A person's style is often something that reveals itself over the course of their career, rather than something they choose and then try to stick to forever.

Even if you don't think you have a style, you do. It might vary a lot piece by piece, especially if you're trying to closely imitate another person's art, but the more work you do, the more you'll figure out your own strengths and interests!

[puppyeared]

meow

[sammygender]

i’ve never been as angry on behalf of a character as i am for sam winchester

[sidetrek]

I've basically been gunning on teaching myself comics (with a few wrong turns 🥴) the last few years and I've been pleased at everything I've learned so far and proud of the projects I've completed! But I think I really need to accept that the way I draw is just not social media friendly 🧍‍♂️

[seth-burroughs]

I will not stay silenced any longer. I really cannot relate to the badass girlboss Yomi truthers crowd. I'm sorry but constantly being so obsessed with proving your prowess and supposed superiority via [gestures at every single time he appeared in the game only to act like an insecure manchild who has to continuously reassert his authority he feels entitled to with continuos self-praise, lashing out with petty insults, violence or even pettier wackier violence] are not the acts of someone who is at all secure and confident in their abilities and themself,

[aroaessidhe]

2023 reads // twitter thread

The Meister of Decimen City

a chaotic superhero satire

a genius who’s labelled a villain by the government after her super intelligent dinosaur children get loose is put under supervision 

and has to confront her past / deal with the trauma of her complicated family/sibling relationships

and also the realisation that she might be asexual

[certifiedmaidenlessblog]

You know that part in the rizzness performance on metamorph D1, towards the end of the song when it goes you know I got the riiiizz and he's not quite upright yet but he's getting there. The image of it all is so ajshajsnsns. Like yeaa!! Jesus has rizzen after all!!