#like im my own person and no one whose not in the relationship should be involved in our decisions

[pass3ra]

cressida's storyline was genuinely shameful tbhhh it's like they started rewriting it in the first half of the season then completely forgot about the changes they'd made to make it fit the book plot and it just ends up making everyone else look bad😐 every character in the second half got a "penelope did nothing wrong" lobotomy so we ended up with eloise completely ignoring cressida being sold off to an horrible man (when she made every effort to support her in the first half of the season) and for some reason resenting her for pretending to be lady whistledown? Then they somehow frame her ignoring colin's offensively bad pleas as it being her turning away from redemption when all she's trying to do is escape being trapped in the country with her likely abusive aunt... and it ends with her meeting her horrible fate and it still being framed as tragic only to immediately juxtapose it with the bridgerton family winning the idgaf war while gleefully seeing off francesca and her future dead husband. The bridgertons were the villains of the season frfr

[maaaxx]

Introduced my mom to the concept of individuality and autonomy 4 dead 1 injured

[transient-winds]

HI YES HELLO I’M ALIVE and the yapping is back (it never left)!!

Just when the summer bbq is concluding. 🥹

Uhh looking back at this post, it’s highkey a sako character analysis post in disguise. Spoilers Ahead for Wind Breaker Chapters 160 & 161! (as promised with doodles)

This last panel with everyone toasting to each other feels like the end to the Summer BBQ event, at least to me. *shakes and wails off into the corner*

So many friendships being strengthened, healing/healed and being made in this one event is making my heart do somersaults. GAHHH!! I would’ve loved if we stayed in this wholesome moment a little longer if it is the last but oh well at least these recent two chapters have given me two things to brainrot about for a while. 🤧

Sako Kota and his relationships

Hooray!! We finally get to see the (much needed) closure of HiraSako’s *gestures wildly* everything, in that moment my spirit synced up with Inugami. 

I’m sure it doesn’t take a genius to point out Sako had an unhealthy dependency towards Hiragi from when they were kids up ‘til the Shishitoren arc. On the surface level, Sako’s reasons for getting back at him may seem very immature and they are but I also see where it stemmed from. Hiragi was essentially the first to take a chance on him when he was at his lowest and gave him a chance to better himself.   Hiragi to him was the pinnacle of strength and security, his guiding light (Chapter 15). He likely thought that even when things change, he would always be by his side because with him, he’s safe—with him, he’s strong. Stronger than he was before, someone who wouldn’t let bullies trample over him.

So when the latter told him he was following Ume and that he should follow his own path, which is normally very inspiring, Sako took it as abandonment. In his eyes, his pillar of strength was no longer holding up the weight of his (Hiragi’s) own roof but rather someone else’s (Umemiya’s’) and he was left in the ruins (dramatic ass analogy I know but it works).

“If Hiragi had been the source of his strength, then if he beats Hiragi that means he’s reclaiming that strength as his own right?” was what probably went through his head when he started picking fights and joined Shishitoren.

His reliance on Hiragi was still there but now it was twisted and he likely started hating himself for having been content with remaining a follower. If you asked my personal thoughts about this, I would say it was unfair. Not just for Hiragi bearing the weight of his unreasonable expectations, but also for Sako himself whose helplessness as a child manifested into the ugly beast that is emotional dependency. 

Deep down, he was still the same hurt child who couldn’t fight back against his bullies and needed someone to support him. When that support came and fell through, he thought defeating Hiragi was his way of proving to himself that he can stand on his own without relying on others. The point when things finally climaxed (aka the Hiragi vs Sako fight) was the moment when Sako had begun letting go of his heart demons. Turns out he just needed to have a talk or two with Hiragi. Communication and respect are the keys to any healthy relationship after all, even if said communication is thru fists but they are delinquents so ¯\_(ツ)_/¯. 

With that tangent on Sako’s previous ideologies out of the way, another thing I noticed in his official apology was that he called Inugami “kohai” and also like other things he said, but mainly that part. Maybe I’m reading into it or im late to the party, but me thinks he was somewhat of recluse in Shishitoren. Like sure, he wouldn’t be outright hostile but he wouldn’t be actively making friends either.

When Inugami first appeared and was very comfortable talking to him, it made me think “ah this is Sako’s new bestie when he came to Shishitoren, it’s good someone was there for him while he was gunning for Hiragi”.  But with this new context, in my head it makes sense if he only joined because he wanted revenge so he likely wouldn’t have reached out if he was so fixated on his goals. And with the whole uh pre-Shishitoren arc Choji and Togame thing going around, yeah I wouldn’t also be eager to make be friendly with them too. But somewhere along the way he got attached to them, he just didn’t realized it at the time.

After Bofurin bulldozes in with their life changing fists and kicks, Sako leaving wouldn’t have been a hard decision for him to make since (1) he’s got presumably no friends and (2) he wants to wallow in self pity alone for a good long while. Then comes crashing in sweet boy Inugami and honestly? I don’t blame Sako for spilling his entire backstory on the guy. I mean look at his face!! 

He’s Sako’s emotional support dog. 

Anyways, in my heart I’d like to believe Inugami was the second person to reach out to him. Offering him another chance to lean on support and start anew on learning to be okay with accepting a hand or two but not to the extreme. Trusting others and letting people in again, but also learning to trust in himself too.

And so far, things are going pretty well for him. Found family within Shishitoren, got someone who’s unafraid to keep him in check and repaired his relationship with Hiragi & his other childhood friends! Throwing all the confetti and sweets for him <3

HOO-WEE THAT WAS SO FUCKING LONG ����😭 

I wanted to add more to this latter half of this discussion but the Sako-brainrot took over, so i’ll just briefly cover my thoughts on Sakura’s progress.

Two words: SAKURA’S GROWTH! 

HE IS BLOOMING IN THE SUMMER HEAT OF JULY, HE’S RADIANT AND HIS SKINS GLOWING AS HE SMILES, IM SMOTHERING HIM IN A PILE OF FLOWER BOUQUETS -*ahem*

Sakura really has come a really long way from the person he was 4 months ago and it’s a real tear-jerker. Even if he didn’t say it to their faces directly, he called his class his friends and he hangs out with the others (their allies) on his own whenever he has the time. Sakura’s getting comfortable with all of them and I cannot believe that after 160+ chapters this is the first canonical mention of the “stray cat” analogy. His first year and he already won the hearts of so many people, deserved really 🙌. 

Honorable mentions:

The Kanuma and Suo reunion I’ve been waiting for 👏👏. But it’s not enough,, so I’m gonna post a doodle of their mini interaction to satisfy my craving for enemies to friends and/or lovers suonuma 🏃🏃

!!Togame and Choji apologizing to Kaji!! I almost forgot Choji completely trashed him and other Furin students on his way to the school.  

This panel is my everything, it’s so sweet like y’ALL I’M HERE THINKING ABOUT WHO KNOWS HOW LONG YANAGIDA AND MATSUMOTO HAVEN’T SEEN AND TALKED TO THEIR CUTE KOHAI WHO FOLLOWED HIRAGI AROUND LIKE A DUCKLING. IM UGGHHH- *stumbles to the ground and wails pathetically*

Sugi? Sweet boy, what are you contemplating about 👀? If you asked me, I hope it’s about Sakura AND/OR will be relevant to the next arc of the series because my body is simultaneously ready and not ready for new antagonists.

—

Once again singing my praises to Nii-sensei, their team and the official english translation staff. My head is constantly in a spin for these characters and their interactions with one another. And thank y’all for being patient with me for this post and for reading til the end.

[reshinless]

may i ask (politely) for a chuuya x reader where his lover is just like- in the nicest way possible, a mix of a german shepard person and a calico cat. They are just the sweetest person, yet also can get upset if called out or someone insults those close to them (as in full on plotting a murder but is too sweet to actually go through with it) like just a normal day story pls- if they were also a pm member I'd love you to the moon-

─── my only one, moon and sun..

𝜗𝜚 synopsis. the sweetest ever!!!... plus chuuya i guess /j (chuuya x really nice reader

𝜗𝜚 pairings. chuuya x gn!reader

𝜗𝜚 director's notice. HIII I LOVE THIS IDEA SM. ty for sending this in. IM SO SORRY THAT I COULDN'T MAKE READER A PM MEMB I COULDN'T FIND A SILLY NICE CUTE WAY TO WRITE FOR THEM :( i wanted to do like a lil story b4 the actual thing so i'm sorry.. you can say i got a little carried away (i forgot the prompt) follow & rb to support ʚ(｡˃ ᵕ ˂ )ɞ

pre-relationship!chuuya who was surprised by how undeniably sweet you were to him. didn't you know how dangerous he was?

pre-relationship!chuuya who had just helped you from a robber who tried to snatch your bag. you were just sweet enough to invite him out for dinner as a thank you

and boy was pre-relationship!chuuya all over the idea. although enamoured by the mere thought of being out with someone who was everything he ever looked for in someone, he kept refusing, not wanting to take up any of your precious time. but you were stubborn, and firmly insisted on taking him out. and god did he like that.

pre-relationship!chuuya who'd already forgotten the meeting he was supposed to attend at 7:00pm sharp. it's already 8 and he's still talking with you. but of course, he didn't wanna make the interest too obvious, but subtle enough to notice.

and finally when you two exit the restaurant, pre-relationship!chuuya's eyes can't help but broaden as you tell him 'thank you'. damn he hasn't heard that in forever. awkwardly had to look away, gosh this was the first- no it wasn't even a damn date! and his face was already dusted with pink.

"look it's fine.. really it is.. it's what any good person would've done seeing your situation." ( ˶°ㅁ°) !! "but i still want to say it. i still want to tell you thank you. not many people are good nowadays, you know." (˶ᵔ ᵕ ᵔ˶ )

although before pre-relationship!chuuya didn't wanna make it obvious, definitely wanted another dinner like this with you.

"...say how about i walk you home? the least i could do after dinner. wouldn't want your purse/bag to get stolen again do we?" (˵ •̀ ᴗ - ˵ ) ✧ a brief chuckle from you, and a smile forms. damn is it just him or were you just smiling at him? "sure! chuuya right?" "y-yeah! yeah! yes!"

safe to say that wouldn't be the last time pre-relationship!chuuya walked you home. he'd make sure it wasn't at least.

boyfriend!chuuya who suddenly had the need to let you spend all his money. even if you refused. that's so honestly why he fell for you in the first place.

boyfriend!chuuya who followed you into any store you went to, card in hand, and suggested to buy anything you picked up.

boyfriend!chuuya who was minding his own business while accompanying you to the cute little fruit mugs over there 'till two rude girls who were suddenly arriving in the same aisle as you both were in

"oh my gosh.. no way that girl is going out with a man so small.." "yeah literally.. i would never have said yes. can't believe there are actually women that prefer men below 6ft!"

boyfriend!chuuya's whose eyes twitched hearing what they'd just said, but then decided not to mind them. if he'd learned anything from you, he wouldn't say anything back.

but you never said you wouldn't talk back.

"what do you mean? he's nicer than your deadbeat father for sure."

the two girls gave a look of disgust but quickly left. and your expression, well more like your demeanor changed as they did.

"we should get the banana and strawberry ones, right? let's match!" "huh? oh yeah sure."

boyfriend!chuuya is still stunned from what you said, but ended up just muttering an "yeah sure" before you both paid and left the store.

boyfriend!chuuya who asked why did you defend him, even when you weren't trashtalked about, after you both left and got ice cream.

"well we're partners now right? no one should talk about you like that. besides, you aren't that short." ٩(^ᗜ^ )و ´- "of course i am not!!" ୧(๑•̀ᗝ•́)૭

boyfriend!chuuya who loves it so much when you defend him after that interaction. you aren't afraid to assert yourself to others. you aren't afraid to tell them something bad in return. and damn was it hot to see how you looked confronting anyone who had insulted either of you two.

boyfriend!chuuya who's so in love with you what a silly little guy

GN ITS BEEN SO LONG SINCE I'VE WRITTEN FOR BSD..! i hope this was somewhat coordinated with the prompt dear anon

[drdemonprince]

this will sound like one of those "let men be masculine" level niche internet community brained posts, but i honestly really was embarrassed of how much i like drag for a while. in the circles that i run in, liking drag too much is seen as pretty cringey and for wealthy cis gays. like everybody knows a few cool avante garde local performers that they fuck with who run queer dance parties that are inclusive and the like, but very few people that i know will just go to a drag show at an entertainment or social engagement for their own sake. it's almost seen as a tourist thing, a normie gay thing.

but its one of the few spaces where i can actually recognize a lot of feminine men and nonbinary man-thing-girly-freaks like of the particular type that i am. leather bars are so masc and buff and im often invisible. bear bars are really nice and i do feel welcome there! but people are only feminine in their mannerisms, not presentation very often. the more explicitly gender inclusive trans/queer spaces cater to more of a wlw and adjacent crowd whose relationships to masculinity and femininity are different from mine. circuit gay bars are obviously terrible.

drag is nice. there's guys with weird little haircuts and long earrings who aren't buff and are swishy and dress interestingly but are a little uncomfortable as their regular selves and have to don alternate personas in order to be outgoing. and i even like that it's okay to be bitchy and insulting sometimes in drag world, like sometimes that is just your genuine feedback on the work someone has done and it's not the end of the world. there's lot of open conflict in the drag world that actually works out pretty alright.

it's a local nightlife scene like all the rest, its got its theater kid bullshit and egos and superficiality out the ass and so many people are trying to be famous or make money, but even to this day i forget that i can just be a really weird feminine guy until i'm around some of them and watching them prance about. i worry about how i look or am being read and then even just watching a fucking drag race episode i'll see like 9 different guys who are so fucking androgynous with their weird assymetrical self cut haircuts that they pass less than i do and they're cis men. they have bodies or faces like i do. and in the local scene it's obviously even better because you're looking at real life people. maybe i should be over it by now but im not, i need to see weird little awkward feminine guys with funny outfits playing dress up and crying and fighting with one another because they never got over their last picked in gym class baggage. its meeee i relateee. i even like that its a little toxic! we've got some issues out here, let's joke with them and make a character of them instead of pretending to be nice!!

i tend to be pretty skeptical of "representation matters!" type shit but part of that is probably because i never really feel represented. i know, boo hoo, thin white man doesnt feel depicted on screen, sounds very silly. but then i see kade gottmik on drag race and i swell with emotion and suddenly feel like who i am is POSSIBLE in this world and i realize that even with all my privileges i am starved for representation and that it does benefit you to have it. theres trans guys on screen but thats not close enough to ping that ooh!!! ahh!!! i can love myself!! radar for me. it has to be a very particular kinda person. matt bernstein makes me feel similarly

[onpurposeilovehimonpurpose]

Touching Tuesday - pt2 - Strong Henry

After King James states that he's read their emails, as intrusive and terrible as that must feel, Henry doesn't recoil at the knowledge that his grandfather read the things he said to Alex. Instead, he continues to be proud and strong and the whole time, Phillip is watching them. Perhaps he realizes that by reading them, there is no way that the king can deny his feelings for Alex, and hopes that he won't ask that. And the smirk they share as they check in with one another says so much more than words could. Also, Henry moves his thumb just barely, soothingly over Alex's finger, it's just a tiny movement, but the gesture makes me swoon.

The looks on their faces after the king acknowledges their love is genuine, even if they don't need the man's validation; they're trying so hard to hold back their happiness because they know they're just beginning the battle with him. Henry is so strong to do this in front of a man who hurt him and demanded his desires stay hidden. Their hands grip one another tightly, supporting each other the way they both need at that moment.

Watching Henry's movements and Alex's with their free hands. It shows their initial reactions to the King telling Henry that his responsibility is not to his heart, but to his country. Alex's reaction is so much smaller in comparison to Henry's, but it's those fingers of his, moving just a bit, as they tend to do whenever he has feelings he's unsure of. Notice Alex swallowing around the lump that probably formed in his throat when he took in what the king was clearly wanting from Henry. An agreement to deny the accusations. Henry's posture slumps a little, and he walks his fingers across his knee and then curls that hand into a fist, holding off the emotions he feels at the unfair expectations the king is pushing on his shoulders. But their joined hands never waver, they don't move at all.

Henry reacting to the king's ridiculous idea that they need to maintain the royal image, considering doing otherwise is out of the question, that he's allowing himself to react with a defiant expression is something he never would've allowed before, he would've controlled it. But then, before he can say anything, Alex questions the king. It's so incredible to me that Alex does this, ignoring the fact that the man is king, he's just another man whose bullshit beliefs should be questioned. It's clear neither one of them at this point cares that he's a king. He's just a man who wants them to repress their feelings, and their relationship and is willing to ignore the love he sees in front of him.

Now I want to talk about the touching and what it means for Henry to no longer hold Alex's hand. This man has taken all the comfort and strength that became a little feedback loop between them, and he's like... "I'm going to stand up for myself on my own right now because Alex doesn't deserve to be considered a problem and neither do I." He says, "You think you can make me get in line by fear or guilt and expectations? You think that I'm only questioning this crap because of the man sitting beside me who I love, who you know I love, is here holding my hand through this? You're very wrong about that." And he goes back to his habit of trying to twirl his ring (even if he's not wearing it) and he situates himself so that he's not so stiff, so that he almost appears like he's relaxing and that this conversation is casual, and he's unbothered.

RED, WHITE & ROYAL BLUE (2023) dir. Matthew Lopez

Henry asks his question, and he is saying, "You don't want Alex to have a voice, but I will help him have one because I will ask the same damn thing and wait for you to give me the bullshit answer I know is coming because I've decided that I don't care what you say. I'm gonna sit back, and I'm gonna ask this question and watch you squirm as you realize that I am strong and I am my own person, and I deserve more than what you want me to have."

One of the most important / (imo needed) changes from the book to the movie was this scene right here, and I am glad that Matthew Lopez made sure to put this change in. While I do like that Catherine in the book came out of her grief to start to be there for her children, her children were younger in the book. Henry is older in the movie; he is nearing thirty years old, and though he is obviously hurt that his mother isn't around, he is also fully an adult, and I think that after all this time, HE needed to be the one to stand up for himself, for his love and his relationship. He needed to deal with this, and he had Alex's support and Bea's, but this was his moment. He gets to show who he has always been inside and gets the chance to be the man he has become because of knowing Alex and accepting his love and encouragement.

The look on his face as he asks that question tells how differently he values himself and his happiness than what we saw from him previously.

[tomato-soup-whore]

obviously the entire concept of the x men universe is based on being a barely even veiled metaphor for discrimination. it can easily be compared to the civil rights movement, with xavier and magneto corresponding to mlk and malcom x and all that, and the clear plot points about segregation and slavery and general racism. but theres also many comparisons that people have made to some mutants being an allegory of homophobia.

one of my favorite plotlines in both the cartoons and the movies is the personal conflict some mutants face when offered the "cure" for their powers. i always thought it was super interesting to see the mutants who had always fought for equality and acceptance to be drawn to the concept of not having to fight for that anymore. like rogue, who was one of the most powerful x men, especially in the comics and the '92 cartoon. she was crazy powerful in so many ways, but was the one of the only ones drawn to the cure because of the side affects of her powers that took away a huge life experience for her.

anyway what im trying to say is that i think the difference of opinions between different mutants on how they should interact with the "normal" members of society, and how those opinions correspond almost directly with the discriminatory consequences of their mutations, is a really good analogy for the intersectionality between racism, homophobia, and transphobia.

If we look at characters whose mistreatment can be compared to racism, we have people like mystique and nightcrawler. they both have physical differences that clearly set them apart from the majority and subject them to judgement. raven especially has her whole arc in the movies about whether or not to live life unashamed in her natural form, or continue using her own energy to make herself more palatable for others. Comparing this to people of color consciously or subconsciously whitewashing themselves to fit in makes a lot of sense.

but then we have the homophobia element. characters who's powers aren't visible on the surface, but are still an integral part of who they are. asking them to hide their powers is like for others convenience is discriminatory, despite the good intentions that many of their human counterparts may have (think of bobby's mom asking if he's "tried not being a mutant" in x2) and rogue having a physical and romantic disconnect from all of her peers because of her powers.

and theennnnn we have the transphobia analogies, which i connect to the characters that have physically visible powers but are still able to hide them from society. this would be people like angel (he literally BINDS his wings like c'mon) and beast before the serum shit turned him blue and he just had weird feet. with those people, embracing their powers would have really cool benefits for them, like flying and shit, but its easier for them to hide it because of society's discrimination.

anyways this is a really long winded way of saying that thats part of the reason why the political dynamics of the x men is still so relevant and important and interesting. relationships like erik and charles are so much deeper from this pov, bc you have the group of people who see the hope and humanity in people and want to have everyone treated as equals (the x men) and you have the mutants who retreat into their own community and don't want the acceptance or the cooperation of regular society because if they're always going to feel "other" why not build a new society to erase that feeling (the brotherhood).

if i could write essays on this shit for school i would be acing all the humanities, trust.

[soullessjack]

"tell me on anon what you wouldn’t off anon"

i think dean was straight up abusive towards jack and while there is room for redemption to be explored, in canon, the show did not give him any sort of redemption. in other words in my eyes "canon" dean winchester is an abuser (but canon is unimportant anyways so whatever)

im scared of saying this and getting stoned to death

no need to comment you can just post this without saying anything if you want

- 🏴‍☠️

no no you’re right and you should say it, however I disagree that Dean was completely abusive and that there was never any canon redemption.

firstly I think there’s a slight difference in someone being abusive vs being an abuser;

abuse (or abusive behavior/tendencies) can happen accidentally, unintentionally, especially if it’s resulted from trauma (like Dean’s). you can be completely unaware that something you’ve done or said is abusive, especially because being abusive can be as simple as yelling or hitting someone, or treating them unfairly (like jack). people who have abusive tendencies or behaviors are capable of regretting it and wanting/trying to change…whereas an abuser is wholly aware, intentional and remorseless about their actions. they know what they are doing, they know it’s immoral/inhumane and they just don’t care—either because they feel entitled or justified in some way, or even if they don’t.

Dean has repeatedly shown plenty of regret, guilt and blatant self hatred for his abusive tendencies and how they affect the people around him. It’s one of the most important parts of his character, being the crux of his self worth and why he can’t accept that people (Cas) genuinely care about him or consider him a good person. When he refers to himself as “daddy’s blunt instrument” or “poison,” it isn’t just about being a hunter whose life constantly risks other peoples inescapably, it’s also about the violent nature that’s instilled into Dean constantly by John and how both of those things either isolates him from getting close to anyone else, or drives away people who do get close. That’s why there’s no light at the end of the tunnel for Dean, why he’s so resigned to dying bloody. It’s all he thinks he can ever have or really deserve.

When Jack is dying in 14x07, Dean physically cannot stand to see it. He’s angry that Jack is dying so young and so out of nowhere; he thinks it’s unfair and wrong, point blank. But above all else, (as Sam says) Dean canonically has never forgotten or forgiven himself for how he had treated Jack, even though by this point in time they’ve already had a good relationship for the past two years. He’s angry and upset that Jack is dying, but he’s also upset because he still thinks, after all this time, that he’s never been able to fully make up for what he did, and now he’s lost any chance to with Jack’s limited time. That’s why Dean decides to take him on the road trip; that’s why he says “Who would’ve thought being around me (the person who treated you terribly at one point) would make you (the person who didn’t deserve it) sentimental?”

When Dean leaves Jack’s room for the last time and wounds up being absent for his death, he’s even more upset about it, and later brings it up to take a dig at Sam for thinking he didn’t do enough for Jack because, by Dean’s own admission, Sam had always been the one to do more. “At least you were there for him [because I wasn’t, and I see that as another failure on top of everything else I did to him before].” And then, after the three of them get hammered in Jack’s memory, Dean turns to Cas and asks, “we did everything we could, right?” There’s a lot more in 14x07 but I’ll leave it alone for now, and move onto the redemption part of what you said.

I know I said I disagreed, but really it’s only partially; instead I believe that the show simply didn’t give enough time for a complete redemption (save me spn revival wish fulfillments, spn revival wish fulfillments save me). The end of S14 is basically the destruction of the Team Free Will 2.0 found family unit, not just between Dean and Cas, but also between Dean and Sam, and Jack and the three of them. And I think the reason there’s so much more emphasis on Dean’s relationship with Jack (+ why the family unit falling apart is specifically centered on it) is specifically because of how they started; Dean was initially the only one to be distrustful of Jack and mistreat him as a result, whereas Sam and Cas were willing to see Jack with more humanity and goodness, and when Jack proved that he was good that was the crux of Dean’s guilt going forward; his distrust was wrong and misguided, and the abuse he put Jack through because of it was even more wrong and undeserved.

But then after Mary’s death, the three of them have no idea what to think. They’re more reluctant than Bobby is to admit that Jack could have simply had his evil bone activated after losing his soul/eating Michael’s grace, but they aren’t excluding the idea either. The question up in the air now is: “Was Dean right all along? Were we wrong for trusting Jack and thinking he was good? Is all of this our fault?” (and going back to 14x07, the basic ‘framework’ of Dean’s dynamic with Jack is basically ‘I was wrong about you being evil and now that I love you I want to be keep being wrong about you being evil’ and ‘I want you to be wrong about me being evil too, especially now that you love me and I love you’).

Sam, Dean, Cas and Jack are all presented with the worst case scenario that had always been hanging over Jack’s entire existence. None of them want to believe it after growing so close to him (and vice versa), but they’re not given much else to consider. Mary’s death was one thing, one horrible tragic wound reopening, but they knew it was an accident and they knew Jack had tried to fix it. It isn’t until Duma got her claws into Jack and ordered him to kill nonbelievers that TFW finally decides they have to do something final about Jack, and Dean resumes his militant Kill All Monsters behavior. He’s dissociating into the blunt instrument mindset to protect himself from the grief of losing his mother and potentially losing his son. He can’t even bear to consider Jack his son anymore, both because of Mary and the task of killing him, so Jack becomes “just another monster,” in his dissociative mind. His son wouldn’t have killed Mary or tortured Nick or murdered people randomly because his son was a good person, and his son does not deserve to die, but whatever identical monster has inexplicably replaced Jack would certainly do that and certainly does deserve to die.

Dean’s “poison” is rooted in the fact that his coping mechanisms are intertwined with abusive tendencies and behaviors. He pushes people away if he thinks he doesn’t deserve their respect or love, and he buries any emotional attachment to them because he knows it’s his greatest weakness. That’s why he couldn’t bring himself to shoot Jack, regardless of the grief he felt for Mary or how much he tried to see Jack as a monster that wasn’t really his son. When Jack knelt down, said “I understand. I know what I’ve done. And you were right all along. I am a monster,” and then waited for the gun to go off, that’s what snapped Dean out of it. That’s what got him to see that this was still his son—that and the road trip from 14x07 flashing before his eyes. The grief he feels for Mary’s death is still painful and will be for a long time, but he won’t let it cloud him from seeing that his son is still there and still a good person who deserves the chance to make it right and be forgiven.

That militant dissociation comes back again following Jack’s death and Chuck’s retaliation/reveal that they’ve been nothing but a bunch of lowbrow Truman Burbanks to an unfeeling deity their entire lives. The most recent Destivorce is because Dean has constantly been pushing Cas away and severing their ties to cope with the situation. It’s bad throughout all of S15, but it’s especially worse towards the end when Dean is rampant on Jack’s suicide bomb plan happening for a chance at freedom. I’ve seen a LOT of people say that Dean’s love is conditional because of this, but it really…isn’t.

If Dean never cared about Jack, he’d never take time out of his life to spend some final moments with him, or share a specific father/son memory with him to indirectly communicate that he does see Jack as a son, but ultimately doesn’t feel like he deserves to be a father. If he truly felt that Jack “wasn’t family,” he wouldn’t have shown any of the concern for Jack that he did after Jack detonated in the Empty (frantically demanding to know if he’s alive and to bring him back); he wouldn’t have tried to apologize to Jack for hearing it, and he wouldn’t have *checks transcript* reacted in mild horror at Jack agreeing with what he said (and personally, if I’m insulting someone, I would want them to feel the same way that I feel).

Additionally, If Dean’s love is conditional, particularly on the basis of how useful someone is to him, then he wouldn’t have been expecting Jack to come back home with them or considering buying him actual gifts (a flat screen TV and a recliner, specifically for his room in the Bunker I might add) for saving the world.

Out of all the problems S15 had, I think the pacing was the absolute worst. Too many plots and one-off characters and plot devices squeezed into a short amount of episodes; too much focus put into filler instead of plot progression, etc etc. But what it absolutely missed out on was granting any of the characters any proper closure. I think that’s why Dean’s conflict with Jack feels so unresolved and unredeemed. Dean gets mean -> Dean feels bad -> Dean gets nice again, but that’s about it. For now I tend to view his dynamic with Jack as them being two sides of the same coin: Dean feels like he doesn’t deserve to be a father figure to Jack after everything he did, and Jack feels like he doesn’t deserve to be a part of their family as a son after everything he did.

[mocha-tapioca]

spoilers for drdt beyond the prologue utc

funniest plot twist guys actually wouldn’t it be funny if teruko was actually the rival this whole time. like if david (the guy we all collectively love and hate atp) was actually the protagonist because he still clings onto the hope that there is still some good in this world while teruko has all but given up on it because nothing good has ever come out of hoping for her. like what if this is david’s world and we’re all just living in it

okay i typed this all out for fun n i was gonna say goodnight but now that im like. writing this out. wait lowkey why is this clicking a little. something something teruko “i keep losing everything i love so i have no choice but to slowly rot in my own despair while shielding myself from letting things get worse for me. but i’m still alive anyway so i’ll survive quietly” tawaki vs. david “there is something (maybe even someone) beyond this sadistic game show that allows me to cling onto hope despite it all, and if that means everyone else including me will die then so be it” chiem

the ways they cope with loss—lashing out only to bottle it up in the end vs bottling it up only to lash out at the end—oh i love them. i love them so dearly thank u for these compelling dynamics drdt dev

is teruko actually the protagonist? she should be—we’ve been following her perspective this whole time after all. but at the same time she is constantly having her cynical worldview challenged by other people, like charles and eden and whit and david, who all cling to hope and happiness despite it all. for all the cast’s eccentricities, they have the luxuries of being able to wish for something teruko doesn’t have: a life worth living outside of this killing game. something that, as she slowly loosens up during this trial, makes her realize that oh, maybe i could have a future like this too. it’s something that i’ve noticed rivals in the canon games have too (maybe minus nagito but he was not someone whose personality i’d analyzed back in middle school where my danganronpa roots lie. also he lowkey freaks me out). maybe with these guys by my side, i can finally learn to hope again. idk power of friendship guys wahoo

david is surrounded by people who love him, who he encourages like a knight in shining armor—like a main character, perhaps. we don’t fully know how much of act it is, especially considering how this is chapter two and we got our current emo eyebag loser literally one episode ago. but what we do know is that he treasures xander a lot, though the nature of that relationship right now is unknown—romantic? platonic? parasitic, even? im not rlly into the drdt ship culture so i couldn’t tell u. the fact that david’s memories are also starting to return can help us assume that in both the current killing game and during hope’s peak, they’d idolized each other. could david be connected to the sterlings, that business family we keep seeing within the drdt universe? could the sterlings be the true mastermind and the reasons behind this place’s existence?

idk how to continue this but something something “i am the protagonist and i cannot die” seems like some sort of vague setup for a 5th/6th chapter death involving teruko that will involve david needing to take over. ties it back together for her essentially being the reason behind the first murder

[syn4k]

I would like one of your finest themes and tropes please

okay we don't really have a favorite theme but there's a few of them that show up incredibly often in our writing. heres the ones that i can remember off of the top of my head:

people are not inherently cruel and unkind. at the core of humanity is the simple desire to know and be known, and it shines through in even the most twisted and fucked up of actions if you inspect it closely enough

no person is ever so "far gone" that they're undeserving of love. yes, even That person. this doesn't mean that you have to be the one to love them, however.

no love, however brief, is ever in vain unless you keep it hidden within yourself

those in power always have ulterior motives behind keeping and sharing it

love comes in all shapes, sizes, and expressions! it is not exclusive to romance!

rest is sacred

the act of creation is also sacred

the world is full of beauty and wonder at all times, you just have to know where to look for it

true strength lies in gentleness and there is gentleness in pure strength. its not all physical.

as for specific tropes, here's some that i go batshit insane for every time and wildly overuse in my own works (see if you spot any you recognize!)

a physically strong character who is pretty familiar with committing acts of violence being gentle in quieter moments, especially if that gentleness is physically expressed

relating to above, its really good when a character casually does some feat of strength without a second thought in defense of or with support for another character they're close with. i like it when that happens

when a character is likened to an animal or described as having animalistic traits, ESPECIALLY if that animal is a dog and ESPECIALLY if there's religious overtones or undertones mixed in. i will swallow that shit whole.

someone sustains a Very Worrying Injury and shrugs it off until the last minute because theyre used to being in pain and everyone else is like "dude what the fuck". not to out myself by going "mood" but mood

when a relationship between two people who were previously very close goes south for whatever reason and they try their best to be cold to each other but they still retain habits of taking care of each other. bonus points if their hearts arent really in it and the coldness is only circumstantial (i'm sure this one won't become relevant anytime soon. Coughs into elbow.)

when the one guy who usually keeps their chill amazingly well finally gets properly angry for whatever reason and its like, oh SHIT!!!! OH FUCK!!!! its like that one post about characters whose anger is quiet and cold and precise. its absolutely riveting. thats the good shit right there

character that has glasses slowly takes them off. not for dramatic effect but as a silent statement that they've seen enough

this isnt really a thing but it should be and im probably gonna include it sometime: character who has glasses recognizes that a fight is about to go down and quietly excuses themself to put contacts in so that they dont break their frames because that shit's prescription and it's EXPENSIVE. they don't normally wear contacts for [reason(s)] but some things are more important than personal comfort in the middle of a potentially disastrous fight. signed, a lifelong glasses wearer who cannot stand contacts for sensory reasons.

[vermutandherring]

One of my friends asked me by what criteria I choose games. I said there should be a pretty male character. He continued: "Of course, but what else besides a handsome man can you be captivated by the game?" No, my friend, you don't understand. A handsome character is often the only reason I pick up a game. I'm not saying that this is the only thing that defines for me such a complex work as a video game. But it is futile to deny the fact that we are living beings who like beautiful things and especially attractive bodies. Yoji Shinkawa understands this too. As well as the fact that the player spends most of his time looking at the protagonist's back. So why not make that back as attractive as possible?

At around the age of 19, Yoji Shinkawa entered Seika University in Kyoto. It is a private university known for its manga and anime departments, often taught by mangakas. Young Shinkawa's passion for art blossomed as he got acquainted with the books of his compatriots, illustrators Hikozo Ito (1904 - 2004) and Kashō Takabatake (1888 - 1966). Both graphics, the theme of a warrior is present in the works of both. As a technique, Shinkawa first chose gel pens. According to him, the reason he started using his brush pens was because of the influence of Yoshikazu Yasuhiko. In junior high school Shinkawa read a book on how to draw manga and tried using a dip pen, which turned out to be a failed attempt.

Kakubei Jishi (written by Jiro Osaragi). Illustration for a Shonen Club serialized novel. Hikozo Ito, 1927

His desire can be understood. Drawing with a dip pen allows to create things of incredible sophistication and detail. Just look at drawings of another Shinkawa's inspirator Hikozo Ito. How detailed his works are, how accurately he conveys the mood and characters of the heroes on his works. No wonder they made an impression on Shinkawa. In further practice, he began to use a brush pen, which brought the future designer closer to the technique of his teachers Yoshitaka Amano and already mentioned Yasuhiko, who drew with brushes. Already at a young age, Shinkawa began creating his own illustrations for anime magazines.

After graduating from university in 1994, Shinkawa began working at Konami, one of the leading video game developers and publishers. Here he meets the game designer Hideo Kojima, whose brilliant star has yet to shine on the gaming industry. Maybe it wouldn't shine so brightly if it weren't for Shinkawa. The person who gave birth to a brilliant idea met the person who breathed life into this idea with his brush. One of the first projects that Shinkawa worked on was the game Policenauts, created by Kojima. In this work, one feels that he is still on the way to developing his style - his drawing is similar to anime and manga and lacks any personalized features.

At the same time, in 1995, under the direction of Kojima, Shinkawa began working on his Metal Gear Solid project. Significant changes in Shinkava's style are felt in the work on this project. Almost not a trace remains of the bright anime drawing from Policenauts. The design feels more grim, the characters themselves look more "western" than most Japanese games of the time. As Shinkawa himself noted, Kojima has provided complete creative freedom. The designer only described the intended characters to him in general terms, often indicating only the gender itself. This approach took more time to develop, but at the same time, freed Shinkawa's hands both as an artist and as a designer.

Design, no matter how many beautiful things it creates, is a utilitarian thing. It is not enough to draw 'pretty'. Your work should have practical significance. In the case of video games, character design is about creating an image that is easily remembered in the player's imagination and makes the hero unique. This uniqueness comes from the features of the character itself: his occupation, character, role in the game, relationships with other characters, etc. With space for imagination, Shinkawa tells their story directly on paper, conveying it in poses, clothes, facial expressions and the way their bodies are composed. In the world of Metal Gear, the player is constantly on the battlefield. The main activity of the characters is focused on their confrontation, so they must be in good physical shape. And Shinkawa emphasizes this in every possible way.

The figure of young Solid Snake, the protagonist of Metal Gear Solid, is very stable and tense, but not without flexibility. Shinkawa's line breaks like waves, drawing the relief of the body under the baggy suit. By adding colors on the computer, Shinkawa creates three-dimensional shapes that convey the roundness of muscles. Snake's entire body is covered. But even under the folds of a tight suit, you can see a well-built body.

Notice that Snake's figure is heavily shaded: you cannot see his face. In the first works, Shinkawa did not draw faces and eyes in detail, because the graphics power of the PlayStation did not allow to reproduce the textures in detail. Shinkawa smooths out the facial features, but you can definitely understand Snake's emotion and character.

Much more interesting and artistically opposite to Snake is the figure of Gray Fox. Shinkawa's vision of a character goes beyond just a form designed to perform a certain function. For Shinkawa, the body is another way to tell a character's story, to reveal his essence before the player discovers more information about the character. This is how the means of artistic expression in art work. Looking at a picture, you subconsciously note the things that the creator put into it. You can't always explain exactly what you see, but you always accurately identify the emotion that excites your mind in the very first second of contemplation.

Shinkawa plays with the player's imagination. Gray Fox is a cyborg, but in his image there is not the slightest hint of the artificial nature of his body. It is sculpted by the muscles that transmit the plastic to its exoskeleton. It seems to be pieced together from scraps and feels lighter and more flexible compared to Snake's living body. The designer goes deeper than just trying to convey the image of a ninja literally. He depicts a slender solid silhouette - only a shadow of a mercenary, in which the embedded image of a ninja can be clearly read. A victim of horrific experiments, he hides his mutilated flesh behind a cold cyborg body made in the colors of steel and human flesh. The gaze of the eyes disappears behind the mask with an eerie glint of a red sensor that resembles an eye. Shinkawa does not resort to excessive or even any careful detailing. The designer moves away from unambiguous and finished images. All superfluous and unnecessary details are cut out, leaving the content embodied in a fragile, fleeting form.

As Shinkawa noted, one of his inspirations is the French artist and author of comics Jean Giraud, better known as Moebius. Giraud is closely related to cinematography. He worked with Ridley Scott on the films Alien (1979) and Blade Runner (1982), created costume design for the cyberpunk film Tron (1982), was involved in the creation of The Fifth Element and many other projects. Although this fact may seem insignificant, it is still quite symbolic in Shinkawa's work. Kojima, with whom the artist created images for games, opened another means of artistic expression for the game industry, including elements of cinematic art in the game, namely cutscenes. Prior to this, narrative was part of the gameplay, presented in the form of long notes or short notes. Cutscenes made it possible to directly connect the gameplay with the story, making the work a single whole.

Illustration to Gordon R. Dickson's work Pour quelle guerre. Jean Giraud, 1972.

The large number of cutscenes typical of Kojima's games deliberately create an opportunity to examine the characters from every possible angle, revealing Shinkawa's genius. For the designer, this is a kind of art camera, where his creations are presented in various poses and lit up like curiosities, playing with the player's imagination. When I started playing Metal Gear Rising: Revengeance again recently, this became more apparent than I thought. Alongside cinematic scenes, there are plenty of close-ups with unexpected angles. The characters are not just pleasant to watch. You want to interact with them.

My favorite work of Shinkawa. Stylistically, it is very similar to the works of Yoshitaka Amano: a smooth silhouette that practically melts on the plane of the sheet. The composition is minimalistic, but very meaningful. With one sketch, Shinkawa conveys the character's name (in Japanese mythology, Raiden is the god of lightning), the plasticity of his young body, and the killer's concentrated gaze.

Raiden's design is probably my favorite. He appeared in the franchise with the release of Metal Gear Solid 2: Sons of Liberty in 2001, via a fan letter to Hideo Kojima. Its author complained about the old characters constantly repeating themselves in Metal Gear. In creating the image of Raiden, Shinkawa moved away from the image of a strong, stereotypical male figure, inspired by the popular heroes of the 90s and the American superhero comics from which he took inspiration. The designer resorted to a more Japanese view of male beauty, which was used by the same Kashō Takabatake in his works.

Kashō Takabatake's work on exposition in Takabatake Kasho Taisho Roman Museum. Compare Takabatake's warrior with Hikozo Ito's one. Takabatake created advertisements and illustrated magazines in which the influence of modern is noted. The faces of his soldiers are very gentle and graceful. It was his unique illustrations of beautiful boys (bishōnen) and beautiful girls (bishōjo) that took the world by storm, bringing fame to the artist.

The concept of Bishōnen, or literally from Japanese "beautiful youth (boy)" characterizes not just a man with good looks. In the Japanese view, this is an aesthetic principle that transcends gender and sexual orientation. The roots of this concept stretch back to ancient Chinese literature, the homosocial and homoerotic ideals of the medieval Chinese imperial court, which are found since the Middle Tang Dynasty (~700s). Gradually, this concept penetrated into Japanese and other Asian cultures, and we can observe its examples in the realities of today.

The introduction of such a character did not cause much excitement among fans of the series. Overly refined and too androgynous, Raiden with his silly backstory looked out of place against the muscular Snakes with complicated pasts. However, analyzing Shinkawa's subsequent works for Metal Gear and the gradual change in Raiden's design in particular, it can be assumed that Raiden's image to some extent helped Shinkawa develop more deeply the idea of glorifying physical beauty, born in the image of Gray Fox. On the character concepts for MGS 2, it is noticeable how the designer focuses on anatomy. Raiden's suit fits his body tightly, revealing his supple muscles. Shinkawa leads the line very carefully, it feels taut and elastic, revealing a sculpted form to the viewer. The volume is complemented by the play of light and shadow, which slides along the curves of the figure. To enhance the impression, Shinkawa lengthens the katana, making it more curved to enhance the sense of tension in the composition.

Although we mostly know Raiden today as a cyborg ninja, in the sketches for MGS 2, Shinkawa makes his suit look like samurai armor by adding shoulder and chest plates.

In the work on Metal Gear Rising: Revengeance (2013), Shinkawa continues the chosen path. During this period, the experience and acquisition of one's own style allow the designer to create incredible things according to his artistic solution, twisting the concept of aesthetics to the maximum. The image of Raiden evolves from a fragile young man to a brutal cyborg endowed with superpowers.

The flexibility of his human body is replaced by the monolithic heaviness of the exoskeleton. Shinkawa abandons the streamlined design used in the image of Gray Fox, which conveyed the ease of movement inherent in a ninja. He appeals to the "pure form", stripping the hero of even his skin as something unnecessary, and turning Raiden into practically a living Écorché (an educational figure showing the muscles of the body without skin). In his desire to get rid of the excess, Shinkawa goes even further. He does not depict a beautiful body, but what makes it beautiful - a skeleton and muscles - the initial form on which everything else is superimposed.

Ecorché. Jean-Antoine Houdon, 1776

Here I should explain what I mean by "pure form". Depicting a simple sketch of a character or creating a complex composition, Shinkawa draws as simply as possible. At the same time, it is important for him to depict not only the design of the character. In the figures of the heroes, attention is drawn not so much to their appearance as to their inner state expressed on their faces. Shinkawa did not specify the details. Characters in rough drawings are perceived as very conventional. Their images are personalized, but conditional.

Eva, Naked Snake, & The Boss. Art to the Metal Gear Solid 3: Snake Eater

Shinkawa avoids unnecessary trifles, preferring empty space. The artist's brush moves almost chaotically, revealing the smallest nuances of the image. With each subsequent game, his technique acquires clear features of traditional Japanese painting. In unfinished, at first glance, ink spills, Japanese artists sought to convey not the appearance of things, but to capture their spirit, to imprint their state or their own impression on the canvas. The artist lays down a minimum of lines and tones sufficient to recognize the form, texture and effects to be felt. Ink spills change in all possible shades of black, the vague outlines of the image make you feel the changeability and fleetingness of the moment.

Screen with pines and bamboo. Tohaku Hasegawa, Nanao Museum of Art, Ishikawa, 17th century

This approach to the image has advantages that could turn into disadvantages for the designer. Since the main point of Japanese painting is not the realistic accuracy of the surrounding world, its reproduction does not require a thorough knowledge of the anatomy or structure of objects. But there is one more thing that I deliberately did not mention before this. Despite the fact that Shinkawa appears as a graphic artist in his design works, he studied oil painting at Seika University. Painting, unlike graphics, is not characterized by vagueness and sketchiness. Shinkawa does not completely get rid of the influence of the acquired equipment. The volume of his figures protrudes beyond the surface of the sheet, creating the illusion of depth. But Sinkawa's best pictorial past can still be felt in his appeal to anatomy as the basis of the physical embodiment of the hero, the transmission of the story behind him. At the same time, Shinkawa's works are almost painterly, with a lot of color strokes, even if he uses only one color. This is a characteristic feature of Japanese painting, the flatness of which the artist transforms to his own needs. Thus, using the ideas of Japanese painting and removing the excess, Shinkawa exposes a pure form. And his experience in oil painting allows him to depict it accurately.

Raiden collectible figure Écorchéchisel. Paulus Pontius,

~1640. Engraving by Rubens

In the concept art for Rising, Shinkawa focused on finding the perfect representation of anatomy that would emphasize the athleticism of the character. From athleticism, in turn, comes sexuality, which Shinkawa instills in robots and cyborgs. Raiden is a killer machine. Even if his blade is an instrument of justice, he himself admits that in order to protect the weak, he kills the strong. His desire for battle, thirst for blood, and pleasure in pain - all find expression in his appearance.

Much more can be said about the work of Yoji Shinkawa. Maybe I would like to do a review on his metal gears themselves, where it's also possible to discover a lot of interesting things. Or about his concepts for Death Stranding and the game itself in general when I finally get through it. In this part, I wanted to share my thoughts on what most touches me in the designer's work.

So yes, it was review on Raiden's butt

Credits:

Metal Gear Solid galleries

The Art of Metal Gear Solid 2: Sons of Liberty

Metal Gear Solid 3: Snake Eater Art

Metal Gear Rising Revengeance Artbook

In the shadow of Kojima: Yoji Shinkawa, designer of Metal Gear Solid and Death Stranding

Gif used for cover image by Erica Anderson

[neko-naruto]

top 5 etho ships ? bonus points for any explanation

my personal top five in no particular order, and like, ya gotta understand im still new here (hermitcraft/life series) so my opinions are poised to change, but the current standings are:

Bdubs/Etho/Cleo, i'll be honest, i haven't written or read any clethubs, but i saw some art of them that made my brain shortcircuit. they are femdom, himbo, and twink. i just think that Etho should have two people who are stronger than he is on either side of him at all times, bonus points if you let Cleo be the tallest. Bdubs being super clingy, Etho reluctantly tagging along, and Cleo making sure they don't fucking die because yeah they are god damn idiots sometimes, but they're her idiots. and she loves them. and probably gives them noogies and headlocks them.

Cleo/Etho, their marriage in limlife is so much fucking fun, especially when read under an aro4allo lens. Etho whose been happily married for over a decade watching his friends enter relationships and realizing that he loves differently, he doesn't even love remotely close to how they love, love isn't even the right word. hes scared so he leaves, hes not doing it right and his wife must be upset about it, that must be why everythings crumbling. and Cleo, not giving two shits, because that's her husband and by god they're gonna make it work if he can realize that being absent is whats breaking up their marriage, not showing affection and intimacy differently.

Gem/Etho, as a canadian i am legally obligated to ship this, as a lesbian i love it when men have chaotic gremlin girlfriends who put them in their place. see that one episode of hermicraft wherein Gem beats his ass on repeat and he keeps coming back for more. its like, like theres an unspoken solidarity, 'hey we're the same even though we're not' and they stick with each other. predator/prey dynamic if you go with deer Gem and fox Etho, you also get it with sea monster Gem and fox Etho, except he's the prey and she has the biological advantage instead. also, when paired with the transfemme Etho headcanon we get some yuri which im always down for.

Grian/Etho, this one came to via an Ao3 commenter and i have seen two pieces of fanart for it and like, seven fics. but i still think the dynamic of bird and fox would be fun to work with in writing depending on the bird Grian is hybridized with, especially if Grian is the smaller one. also in limlife??? hello?? Etho, swearing loyalty and promising to be someones sword is not heterosexual behaviour. what they had in limlife, even if brief, had me shaking i'll be real. also, for their hermitcraft dynamic, it'd be hot if i threw Scar into the mix, for flavour.

Pearl/Etho/Tango, consensual workplace relationships make me absolutely insane, it could tear apart their business or bring it further together. they have the kind of dynamic that makes my head absolutely fucking empty, one of those 'i just think theyre neat' kind of ships. the culture clash between each of their species and their own personal tastes, Tango's a blaze and they mate for life, Pearl's a siren and they don't do much for romance, Etho's a fox and they come and go- but they make it happen in spite of that. im working on getting them a canonized Ao3 tag right now, they have such a fun dynamic. also, they fucked in that post office when no one was looking.

tbh these are all really closely tied, and i also have a soft spot for tangtho and the team ties poly. they're all really fun ships, i just really enjoy polyships to be real with ya'll. and the life series and hermitcraft are full of so many possible polyships that its just making me foam at the fucking mouth. sorry boat boys enjoyers, the vision has not yet engulfed me, but hey im a multishipper it might be yet to happen.

[wilcze-kudly]

I watched Korra again for the Weilin but I still Don’t Get It even though I want to!!! Can you give me the rundown/pitch/Weilin 101??

Oh boy I am so sorry I made such a fuss to over weilin you felt like you needed to rewatch the show for it.

So basically, Wei and Bolin don't have many interactions in canon. In fact I would say that there are only two scenes that properly count as one on one interactions. Its also important to note that the only Beifong twin Bolin ever interacts with as a singular person rarher than a pair is Wei. He never interacts with Wing unless he is addressing both twins.

The first interaction between Bolin and Wei is during B3 when Bolin is trying and failing miserably to learn metalbending. Wei seems annoyed to be stuck with someone who doesn't know metalbending and decides to sandwich Bo between two metal plates. As you do.

He then claims that 'trial by fire' is the best way to learn metalbending. Since Wei is such a minor character, we don't know enough about him to be able to fully pinpoint where this action came from. Does Wei genuinely think that bodily harm is the best way to learn a martial art? Was he trying to distract Bolin from his constant failure to bend metal? Was this the equivalent of a puppy biting someone as an attempt to initiate playtime? Is he just a douche?

We will probably never know. Thanks nickelodeon.

Bolin does eventually return the gesture in kind, getting his own petty revenge. And hitting Wei in the head with a pebble.

I like this scene, because it showcases Bolin's pettier side. One that rarely, if ever comes out with his canon romantic interests. Bolin is a character that has a habit of reigning in his less palatable traits, in order to appeal more to the people around him. His petty and more sarcastic nature is reserved mainly for Mako, probably the person he feels most comfortable with.

I think it's a very fun thing to see this side of him flare up with this random guy and it gave me thought about how their relationship could incorporate this. Wei enjoying pressing Bolin's buttons, causing Bolin to showcase more of his more authentic self.

They so seem to both have a passion for sports and earthbending which is cute. They're both competitive which adds some nice flavour and potential spicy sparring scenes.

The next scene is the famed catch n' pat.

Youre gonna tell me this wasn't at least a bit fruity?

The prolonged eye contact? The damsel in distress imagery? Bolin's lil smirk that is soon replaced with bisexual confusiom?

Imo they have a lot of chemisrty in both these scenes and make me want more of their relationship.

I also think it would be very interesting to see Bolin develop feelings for a guy. We see that he puts his female love interests on a certain pedestal. Id assume this is due to a rather naive and innocent view of love, most likely due to the fact that he didn't get to emotionally mature enough to acknowledge that romance isn't like what the fairytales say it is.

It would be interesting to see Bolin not get to 'court' said male romantic interest like he usually does. Bolin wouldn't be as 'showmany' with a guy friend than with a girl he'd like to seduce. This causes an interesting dynamic to the relationship if Bolin were to want to seduce said guy, who has seen him with his guard down.

Also seeing comphet boy Bolin going through a crisis of sexuality because his (ex?) girlfriend's brother patted his face is very appealing to me

I think what entices me in weilin is being able to have a dynamic no other ship could fully offer Bolin. And the potential of character growth it could afford Bolin, a character whose complexity is often overlooked, much to my upset. Personally, I dislike all of Bolin's canon relationships, so when Weilin came chemistry guns a blazing I was very intrigued. And then I fell down the rabbit hole and now im here.

If you have any more questions on Weilin please feel free to ask! I'm over the moon to ramble about them to whoever will listen. Hope this was enough to start you off with.

Also, if you're interested, I have a concerningly long essay on the subject because I am very sane and normal about them:

Rest assured my feelings have since evolved and i now have more reasons to ship them.

I guess there's so much fun to have with this ship and the dynamics and stories they could have.

[thelocalscepticx]

the atlas paradox after thoughts

{SPOILERS}

- callum is so broken and i think hes such an interesting character to analyze. like the thoughts of 'if you could feel everyones emotions all the time, you would have to shut off your own or you would fucking shatter'

-tristan needs to get his shit together ngl

- NICO AND GIDEON FINALLY

- hc libby is a lesbian and belen deserved better

- libby is imo the most cruel and manipulative person of the six. it was true in the first book its true now

- tho we love a corruption arc

- ngl kinda hope ezra lives. like did he do shitty things? yes. should you kidnap ur ex to 'save the world'? probably not. did i disagree with some of his philosophy and reasonings.... next question. also the fact that i think that that interaction would be really fucking fascinating. (i just want to have him and atlas yell at eachother more so i can critique their relationship more)

- parisa is and always will be the queen of my heart. i want more callum and parisa moments im the next book because i think theyre so similar and seeing their banter cracks me up

- if libby and tristan end up together i will literally cry and throw up and shit my pants in rage they are AWFUL together.

- belen deserved better pt 2

- i think reina didnt do much this book (other than possibly draft a damn pantheon) so im hoping we see her research come to fruition in the next book

- suddenly i love dalton? like him and parisa burning it to the ground? mania? madness? im living for it

-callum x tristan supremacy. they remind me of those broken plates that you mend with gold and they become more beautiful

- does anyone remember all the shit callum said about the 6 in the first book?

"Libby Rhodes was an anxious impending meltdown whose decisions were based entirely on what she had allowed the world to shape her into. She was more powerful than all of them except for Nico, and of course she was. Because that was her curse: regardless of how much power she possessed, she lacked the dauntlessness to misuse it. She was too small-minded, too un-hungry for that. Too trapped within the cage of her own fears, her desires to be liked. The day she woke up and realized she could make her own world would be a dangerous one, but it was so unlikely it hardly kelt Callum up at night." (301)

"'Parisa is dangerous. She is angry," he clarified. "She is furious, vindictive, spiteful, naturally misanthropic. If she had Libby's power, or Nico's, she would have destroyed what remains of society by now...[she's here] to find a way to do it...Destroy things. The world possibly. Or control it. Whatever option suits her when she find it"'(305)

"Libby was a hero. Parisa was a villain. They would both be disappointed in the end." (300)

the way that all of this is being brought up again in TAP is beautiful

- callum is on his way to some sort of redemption/selfless arc i can TASTE IT and i crave it.

- everyone is hot. all the time. it hurts me

- blake is great at gaslighting me into making me think i understand any of the mathematic scientific bs they talk about at any given time

- theyre all so broken and in need of therapy

- i want callum to verbally destroy adrian caine

- i want all of them to succeed in their funky lil goals and become gods (except libby)

- speaking of libby- i think shed be a great villain

anyways. this series? owns my mf ass

[notquiteaghost]

im back in the 'finish writing down one fic idea, close window, reveal four more fic ideas hiding behind it' era of the star wars spinterest. they were not lying those ideas sure are rabbits

one such idea is the aroace codywan fic i have had rattling round in the back of my head for [mumbles] years now and an angle that occurred to me the other day is. HOW do clone troopers know about romance, actually. like i do not think that was in the flash training. obviously "i like this person So Much and i want to be with them All The Time" is not something you need to be taught to experience but. yknow. always the feelings about the clones constructing their own understanding of the world out of. flash training and instinct and comments the trainers made and almost nothing else.

and also how presumably the kaminoans actively did not want the clone troopers learning about dating. and actually did canon ever get into how fraught their conceptualisation of each other as family was. in the sense that soldiers should be invested in their collective survival but they shouldn't be so invested in other individuals that they value those individuals over the army's goals. this is how palpatine got to the control chips isnt it. so he could have his "clones are People the jedi get invested in" cake and eat it too

anyway. my personal aromanticism is less "inherently i Do Not Feel Romantic Attraction" and more "the idea of defining a specific relationship in my life as radically different to all others, other than to mean 'yes this one is Most Important', does not make sense to me. also marriage was invented by capitalism to sell diamonds (< hyperbolic oversimplification for effect)". and that is why aro codywan is Real And True And Correct, because they are a guy whose primary reference for The Cultural Concept Of Romance is what he and his kin cobbled together out of scraps and spite, and a guy with a religion that The Cultural Concept Of Romance is antithetical to

all of which to say. pre-geonosis there is a thriving clone trooper black market of Forbidden Media and a significant chunk of it is romance novels and romance holos. this is how we have "buddy you never even met a girl". and then at some point during the war cody & obi-wan have a relationship defining conversation that is less "We Are Dating" and more "look i don't give a shit about natborn / non-jedi labels, i would follow you anywhere and you cannot stop me"

[liquorisce]

i miss so much when you were on your active era here!! those asks were so fun ☹️🫶🏻

i knowww it was a super fun time! i really cherish all the fun conversation and headcanons we played with. i was reading the priest au posts and i saw that it’s been 2 years since then!! or more even! lol. i really appreciate that i had that fun experience with you guys ❤️

but i also recognise that im in a different headspace rn.

the truth is that i’m so obsessed with the fics that i’m actively writing that i can’t headcanon them with anyone else. idk if you noticed, i barely talk about them on here, except to share snippets. it feels like i’m in a very committed relationship with them lol, im obsessive, i feel possessive, i can’t share anything other than little bits i feel like sharing with the world, bc enjoying my own fics in secrecy, by myself is so so satisfying. i can’t engage in other headcanons— not even bc it would be like cheating— but bc i simply don’t possess the bandwidth to be flirting with another idea! idk what other metaphor i can use here so humour me, im going to be dramatic lol: i am in a torrid love affair with my own writing and i don’t want to get out of bed and host tea parties with my friends. i don’t want to look away from my lover. and i don’t want anyone to look at us until something i am working on says: darling, i feel like going out tonight! and then i snap a picture and share it on here lol.

for me personally it’s a great place to be. i don’t feel insecure as a writer anymore. i read so much. i try to experiment with style, i write whatever the fuck i want, i’m working on original fiction. i love my work even if no one reads it. and you know the best part of not putting your ideas on display? they stay lovely.

there are no anonymous passersby who can judge the worth of my idea and call it disgusting or tell me i deserve to be raped. there is no one telling me i am a bad writer and that i should learn from a different writer whose fics have more kudos than mine. there is no one telling me what a character will and won’t do. nobody else has the power, only i do and i love that.

so i think im going to stay in this space for a while :) hope you’re doing well anon!