#like i really fucking should’ve

[fakeoutbf]

.

[gayestcowboy]

genuinely cannot wrap my head around ofmd superfans raising over twenty thousand us dollars to put up BILLBOARDS in an attempt to save a tv show. fucking billboards. advertisements. $20k raised for a literal tv show in the midst of a genocide. no tv show on this planet is worth throwing thousands away on advertisements attempting to reverse a cancellation while a genocide is enacted. do you know how much you could do with $20k? besides, the debate on whether or not the show deserved to be cancelled does not matter one bit at this point. it is pointless. it is incredibly obvious where the ethics of these fans lie, especially the wealthy ones willing to fund an entire times square billboard. i just cant fucking understand it.

[journal-from-the-heart]

i think, for trauma survivors, especially those who were emotionally abused, invalidated, or gaslit, it is really important not to underestimate the significance of speaking bluntly about what happened to you. Forcing yourself not to beat around the bush, not to downplay what you went through with your words. say what happened, without any caveats, without any “but it could’ve been worse”, “but i might just be being overdramatic”, “but it wasn’t really THAT bad,” and so forth. sit with the discomfort until you can begin to let yourself realize that it WAS that bad, you WERENT being overdramatic, and even if it could’ve been worse you still didn’t deserve it. It’s almost like a form of reclamation, taking back your memories, taking back your life, even the difficult or gross parts, and refusing to let anyone change the narrative or tell you how you should feel anymore, even yourself. and it hurts and it’s scary and it feels weird and awkward and sometimes you want to convince yourself you’re lying, but i think sitting in those weird feelings and letting yourself admit that you really did go through trauma puts the power back in your hands to process things and be compassionate to yourself while you heal

[dykedvonte]

I think it’s so ironic that the Pony Express escapes a lot if not all blame in discussion. I can’t even say I am excused from it but it’s just how hard people circle back to the characters alone without considering the environment they were made to be in.

Why would they design a ship where only two of the rooms lock? Not the bathroom? Not the sleeping quarters? We assume that all the companies in the universe are this shallow and careless to their workers but we explicitly know the Pony Express in extra vile. They are fed processed slop pack they can’t even really cook and the ration of those pack is meager at best. They hired and made people with a plethora of conflicting demeanors and beliefs work together on a mission where cohesion is important if not an outright necessity and punish them for not being happy about it. There’s no social protocols, not chain of command other than Captain’s word/choice and the only way to enforce that is with a literal firearm. They don’t allow them to celebrate freely and even took away leisure activities that would make them less stir crazy. They are only allowed a few hours of sleep despite their being no other real responsibilities or work on the ship, no matter the position or its importance. With any crew, with any level of synergy, this was a powder keg waiting for a spark.

I’m not saying characters that made mistakes didn’t make huge ones, but I think part of the horror is that at least for some (this is targeting Jimathan) those mistakes are partly made by a force of the hand. There’s a running theme of lack of choice and being forced into something and the very nature of how The Pony Express expected them to function plays a big part.

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[dandy-andyyy]

hey, nana…do you remember the first time we met? 🍓

[not-a-heretic]

tried to render this but i genuinely cannot figure out how shading side profiles is supposed to work so i’m just gonna give you all the sketch and then scrap it

[puppyeared]

bored again do u guys want this awful thing that sent willow into a coughing fit on stream

[lagosbratzdoll]

On Daenerys, Colonisation and Race Discourse within the ASOIAF Fandom

This has been on my mind for a good long while and honestly, as much as I would like to leave discourse in the pits, it has been bugging me intermittently over the past few weeks.

Far too many of you get on here and call people who like the fictional dragon-riding family, neo-Nazis and that sentiment is so prevalent, that white people feel comfortable telling me a black woman that I am a neo-Nazi for rooting for Daenerys Targaryen. I am upholding neo-Nazi power fantasies for wanting to see a little girl live at the end of a story. I am a neo-Nazi for wanting to see the rape survivor have the family she aches for and children with the man (or men) she loves.

Then, those same people go on spiels about how the systemic erasure of those who sing the song of the earth and other old races is not colonialism. That their removal from their home is not displacement but an agreement between two equal parties. The fact that the only place where those who sing the song of the earth exist in the present timeline is north of the wall, surrounded by the bones of their dead, is not a travesty. That the expulsion of the old races from their home isn't that bad and should not be condemned. 

Instead, people argue, completely seriously, that the harm that the First Men and Andals have caused is centuries in the past, so essentially the slate has been wiped clean. The logical leaps that are required to arrive at such a boneheaded conclusion are truly mind-boggling, and those who make such arguments are not good people. 

I am unsure how one could read those books and come away with the impression that the old races do not mourn the loss of their home. I am unsure how one could read The Last of the Giants[1] and Ygritte’s reaction to both the song and Jon’s dismissal of the ethnic cleansing of the giants then believe that the old races and the free folk have moved past their displacement. 

In Westeros, from the Wall to the broken arm of Dorne, they all speak one language despite the fact they are all different ethnicities and they all landed on the shores at different times. That is not the case in Essos, we have been introduced to at least six languages and in A Dance with Dragons, Tyrion notes that the Valyrian spoken in the Free Cities has evolved into nine distinct dialects, and they are well on their way to becoming different languages.

How would a continent as large and diverse as Westeros maintain its hegemony over the people if not for forced assimilation, discriminatory practices and violence? The brutal repression required to keep one house in power for thousands of years is nothing to sniff at. The suppression required to keep the vast majority of Westeros worshipping one (or seven) gods. The systems in place ensure that language does not grow or evolve amongst the highborns at least.

Centuries before Aegon's Landing the maesters were the definitive educational authority and even now centuries after, nothing has changed. The grey rats still decide who learns what and when they learn it. There's one in every highborn home, all correspondence passes through them, they are the healers and the councillors.

The circular logic gets even more blockheaded when you factor in the fact that Daenerys is far from the only white character in the books. She is not the only character who wishes for home. She is not the only character who draws strength from her ancestors, her bloodline and her magical creatures. 

Cersei draws strength from her family’s iconography, and the Stark children (Jon included) all draw strength from their direwolves, their home and their blood. Sansa, Arya and Bran wish to return home and their home was built on the indiscriminate murder and displacement of the indigenous peoples. Their home is built on centuries of rape, murder, exclusionary practices and sexual slavery. 

However, if we give the nonsensical argument that time erases crimes air; the Starks, Lannisters and Tullys are warring to settle personal grievances in the present timeline. As a consequence of that war, thousands (a modest guesstimate) of small folk, minor nobles and even some major ones have been raped, tortured, maimed and killed.

Despite all this, no one writes meta after meta about how Sansa and her siblings must surely die for justice to be had for those who sing the song of the earth, the free folk, the giants and all the old races that fled beyond the wall.  

People write meta about Cersei and how she must die, but those are typically more misogynistic nature. They typically argue that she must die not for the “crime” of being Lannister, but for the “crime” of being Cersei and “ruining” Jamie. 

I would not mind criticisms of Dany and her peace-focused approach to ending slavery because the approach is naïve and she gives the slavers far too much ground. However, she is learning, growing and self-critiquing. At the end of A Dance with Dragons, she has decided to embrace fire and blood, her knight is breaking the false peace which is a necessary step forward.

What I find offensive is people saying that she should have planned better before she abolished slavery. And that the death, violence, and sickness that arises from her quest to eradicate slavery is somehow worse than the death, violence, and sickness that already existed in Slaver’s Bay. 

This argument often downplays the horrific conditions and suffering that exist(ed) under the slave system in Slaver's Bay. Such arguments are often in poor taste and prioritise the lives and comforts of the slavers more than the people they have enslaved.

I would not mind criticisms of Dany if people applied that same critique even-handedly. The same people who believe that Jon and Bran have done much to rectify the evil that their ancestors perpetuated believe that Dany has not done anything to right the wrongs of her ethnic kin. They praise them for the non-existent steps that they have taken, but in the same breath, they condemn Dany for not being able to immediately end the plague that is slavery. 

It is perfectly alright to not like fictional characters, no law requires you to like certain fictional characters over others. However, what is not right is making broad accusations about those who do, it is beyond the pale. It is disgusting, and annoying, and trivialises real-world issues to score cheap points against fictional characters.

Equating the survival of a teenage survivor to the restoration of a fascist house or neo-Nazi power fantasy when such designations do not exist in the world of ice and fire is strange behaviour. Saying that the teenage survivor will eventually be manipulated and raped (again) before ending up dead on her manipulator's blade is also strange behaviour. 

Dismissing the horrors of colonialism, especially when the text shows you that the involved parties are still affected by it, is not normal and often veers into real-world imperialism apologia. While criticism and analysis of characters and their actions are valid and even encouraged, it is essential that we do not resort to sweeping generalisations about other people and that we keep criticisms of characters grounded in the text. 

[1]  

Ooooooh, I am the last of the giants, my people are gone from the earth.

The last of the great mountain giants, who ruled all the world at my birth

Oh, the smallfolk have stolen my forests, they’ve stolen my rivers and hills.

And they’ve built a great wall through my valleys, and fished all the fish from my rills

In stone halls they burn their great fires, in stone halls they forge their sharp spears.

Whilst I walk alone in the mountains, with no true companion but tears.

They hunt me with dogs in the daylight, they hunt me with torches by night.

For these men who are small can never stand tall, whilst giants still walk in the light.

Oooooooh, I am the LAST of the giants, so learn well the words of my song.

For when I am gone the singing will fade, and the silence shall last long and long.

[nox-sssscraps]

Gawd I’m. it’s 4:20am and I’ve been listening to exclusively the new 21 savage album since it dropped last night and I’m thinking abt my ocs . And spacewaffles I suppose

[cowchickenbeefpork]

every day without fail I pace and talk to myself like I’m fucking gollum thinking about how much the Isabella arc could’ve been a amazing arc where Edward goes through a scenario deeply similar to what he did to Kristen if given the right buildup (aka making him slowly get to the mental state where he would date a girl who looks exactly like his first girlfriend no questions asked)

it’s not just the fact Oswald killed Edward’s lover to get to him just what Ed did to Kristen. It’s also the power dymantic, how this was the first person they truly felt like cared for them deeply, the exception. It’s about how they both have power above that emotional investment (Edward being psychically stronger than Kristen, Oswald having financial power over Edward since he is his boss and Edward also lives under him). It is about how they both decided to keep a part of them after the fallout whether it be Edward with Kristen’s glasses or Oswald with Edward’s frozen body. A perverse trophy. IT IS ABOUT HOW BOTH FALLOUTS WERE TAKEN AS A LESSON ABOUT LOVE TO JUSTIFY WHAT THEY DID.

I’m so mad that they fumbled this arc on both sides. I am in deep unspeakable agony as I type this. Honestly their first mistake was writing Isabella to be someone who matched Edward’s freak since they quite literally had that with Oswald. But whatever I don’t care for this mid show

[okurrroye]

See what we not going to do is dangle Darilyn again instead give me Benius you idiotic cowards.

[ashmp3]

I talked about this but i think me not making a move on someone is like a pendulum swinging between me genuinely not wanting a relationship because i am so comfortable with always being alone and between being deeply insecure and afraid of rejection. but i’m chilling

[softestepilogue]

full offense but fandoms are unbearable because y’all are unlikable. y’all are so weird and i will die on that hill.

this is like the third time i’ve been in a fandom where a white male SIDE character is heavily favored by the fandom and they start jumping through hoops, and grabbing reasons out their asses, to prove why the main poc character is a terrible person. they will also ignore any wrongdoing of the side white male character.

it’s so fucking weird and exhausting.

[lu-polls]

[This is part of a group of polls to create a ‘Link OC’ based on community voting]

[dragon-queensguard]

The reason why HOTD doesn’t work is because the Dance of Dragons, while devastating and tragic, especially for women in terms of ruling and inheritance, is meant to set up the success of Dany’s arc (bringing back dragons and magic, reviving house targaryen, being queen regnant), but GOT ends with Dany’s failure and villainization. There will be no payoff after rhaenyra is killed during the war and no woman is allowed to sit the throne in her own right for the next 100+ years. Dany gets the throne for a day before being murdered in front of it. Then it goes to a dude who absolutely doesn’t deserve it. GOT has damned HOTD by fucking up the point of this event in ASOIAF history. So now we have the HOTD writers trying to retcon and shift the focus from “both sides were capable of doing some fucked up things, but ultimately this was a crime perpetrated by the greens against Rhaenyra that really ruined things for literally everyone” to “both sides were equally bad and wrong and everyone should’ve just gotten along.”