#like is this a me thing. is this happening to everyone or is it specifically something i need to work on

[stevishabitat]

This is what happens when a tool created by Black folks gets appropriated to the wider internet.

Black folks wanted to have conversations online without white people inserting themselves and offering opinions about things that were frankly none of their business.

So you would see variations on "white people DNI" on posts particularly about things like colorism, misogynoir, Black LGBTQIA+ issues, etc.

The DNI wasn't on their personal profile or a pinned post or something. It was on the specific post to let people know that although the post was public for everyone to see, it wasn't for Everyone to Comment On.

And of course, like everything else on the internet, it spread beyond the Black creators to everyone else - without the cultural context. DNI disclaimers were added to everything from queer topics and feminism, to sports and media fandom.

To the point where you had posts with "X Character Stans DNI".

But at least it was still on the posts themselves, or in tags, so you could see that this particular post, wherever you happened to come across it, was meant for a particular audience. If you didn't fall in that category, maybe just scroll on.

The jump to putting extensive and vague (or hyperspecific) DNI lists in your profile or on a pinned post or carrd or something... That's just so far outside the original intent.

The expectation that someone will 1. Look at that list before they follow you or respond to a post and 2. Actually do what's asked? Seems like a very strange thing to assume on the internet.

I mean, yeah maybe people will take it in good faith and be like "hmm maybe this person's stuff just isn't for me", but there are lots more bad faith people who will use that as an excuse to put their Troll Hat on and see if they can get a reaction from you.

If the thing you're putting in the DNI isn't that big a deal, then having a troll bother you with it might be annoying but not terrible. If you're listing things that are actually triggers for anxiety, a phobia, or ptsd? You are putting yourself at risk by publicizing it. Because bullies sniff that shit out like sharks on the hunt (see also: advertising that you're a teen 😱 don't do that!)

It's reasonable to list the topics you commonly post about, to give potential followers a heads up about what they're likely to see in your posts - in your profile or pinned post - especially if you aren't great at tagging.

Make that list clear and easy to find and read. That makes it easier for visitors/potential followers to decide if your blog is a good fit for them.

A simple line like "I reserve the right to block as I see fit" serves as enough warning that if people rub you the wrong way you aren't going to engage.

Honestly, you don't owe anyone on the internet a reason for blocking or filtering or using tags to curate your internet environment.

You don't owe any random stranger a welcome into your living room. You can say "No Thanks!" and firmly shut the door. If they try to shove letters through your door, you don't have to read them - put them straight in the recycle bin.

"xyz DNI" blocking people is YOUR job, sorry. You cannot ask the world to simply move around you, you have to take control of your online experience or you will be fucking miserable forever. Most people don't read your bio/pinned/carrd before touching the posts that cross their dash anyways.

Also maybe worry less about if someone who likes something you hate clicks on your tumblr post. I promise it is not that fucking serious.

Also-also if you have this DNI because your friends/moots said or implied you have to otherwise you're somehow Bad and/or will be punished by them if you don't, that's kind of fucked and maybe you need less controlling friends.

[koobiie]

bestowing my highest honor as an artist to ffxv (drawing the characters in fun outfits)

thoughts under the cut

RREAAAGHHHH SO EXCITED TO BE DONE WITH THIS!!!!! it took me forevarrrr but i soldiered through as an act of love. now excuse me. yap time

OKAY SO the concept behind this was originally specific fashion subcultures for everyone!l ike noct emo ignis dark academia etc. but then decided i didnt want to pigeonhole it all and just freestyled outfits i thought would look nice on everyone

noct - i do think noct would still be emo-ish but also opt for comfy baggy stuff a lot. something you could just fall asleep in on the spot. note the details of bass pro shop shirt (of course) XV necklace, little moon + stars accents, carbuncle + fish keychains. i also wanted his metal band logo shirt to spell LUCIS but i forgor some letters but its not very readable anyways

ignis - ignit ooohghh ignos ignaurs. sorry i made him serve so much cunt it will happen again. i drew him first cause that kind of inspired this whole thing i love him so bad if i didnt draw it id explode. not much detail to note except his collar pins are like his double blade thingies

luna - lunaaa the concept was “clean girl aesthetic” idk if that happened but im actually really happy with how it came out! might be my favorite of the bunch just because she looks so pretty and happy. your honor she should have been able to just be a normal girl and just. chill

prompto - prompotoooo i had trouble picking his vibe!!! my first thought was techwear?? because weeheeeehee he loves tech and well... you know... but then i realized i didnt really like the look of anything i saw + it was so bulky and dark and serious for him! ending up going with some more youthful and baggy. i was considering something more loud and colorful but ended up not going with it. i feel like in canon he'd be too nervous to have such a flashy fit and would want to just look "cool" to fit in with the boys lol. itty bitty details here - chocobo keychain, pompompurin and bi miku buttons, and his lanyard is kings knight themed! i also thought it was funny to write LUCIS on his shirt like you know those shirts that just say BROOKLYN or TOKYO or SAN FRANCISCO and thats it. thats what its like

gladio - okay i know this is going to sound like a lie but im not horny for gladio like at all, hes my least favorite, i think he's just alright. but also i KNOW in my heart of hearts that he would LOVE being a leather daddy and so i had to make it happen. main detail to note here is that his tank top has the motifs of a cup noodle! i didnt know what else to add cause you know.. hes the cup noodle guy.. but also i didnt want it to be so in your face about it with a big as logo so kept it subtle!

(side note the leather daddy gave me an idea for a post where its like noct and prom go to a gay bar all nervous but then they run into gladio and its like "p: GLADIO YOURE GAY?" "n: nevermind that PLEASE dont tell ignis we snuck out" and then ignis walks up and theyre all like WHAT THE FUCK!!!! caption would be "the gang finds out theyre all bisexual." probably wont draw it but i think its very funny lol)

iris - iris my sweetheart.... definitely leaned into the scene vibes here and also that one image of the blonde emo anime girl. details here - of course the moogle big ass backpack and keychain (can you tell i love keychains), but also her buttons are an iris (the flower) and also a crown with hearts (haha symbolism)

anyways oh god i didnt mean to write an essay down here. usually i keep this in the tags but this time i just had Too Much To Say. can you tell i put a lot of thought and love into this . anwyays. *walks off into the sunset and fuckig dies*

[aihoshiino]

chapter 166 thoughts

As of chapter 166, Oshi no Ko has finished a roughly four-and-a-half year run started back in 2020. While there's some speculation about an epilogue or some extra content in volume 16 when it drops, this is where the main story ends. And you know what that means!!!

OSHI NO KO HAS OFFICIALLY ENDED WITHOUT ADDRESSING OR ACKNOWLEDGING THE FACT THAT RUBY KISSED HER BROTHER IN CHAPTER 143

please understand that this is FUCKING BOGUS

I'll probably do a longer post on this subject specifically, but my main critique of 143 when the chapter dropped was that while I liked the individual beats in it and I was really glad to see Akasaka finally addressing this tension bubbling underneath Aqua and Ruby's relationship, the immediate swerve away from showing us the aftermath of that kiss felt to me like an admission that the story was going to needlessly draw this out even more. Now that the story has ended and we can see that moment had literally no impact on the plot or even the character dynamics, I'd like to revise that statement - it feels like an admission of compromise. It feels like crumbs thrown to AquRuby fans to tempt them to keep reading and to stir up the waters of the ship wars, so people would keep reading and stay invested in the manga right to the very end. But most of all, it feels deeply disrespectful to both Aqua and Ruby as characters. Rather than exploring their feelings and giving both of them interiority and complexity in relation to incest or even just fucking acknowledging that the kiss had happened and letting their dynamic evolve, the series just memory holes the entire event and asks that you do too. Rather than letting Ruby have any development whatsoever as pertains to that relationship or, god forbid, let a female character move on romantically from the male lead, the series ends with her feelings so up in the air that I literally could not tell you what she thinks of Aqua by the time he dies.

ANYWAY… FINAL CHAPTER. BREATHES OUT VERY HARD.

I really can't believe it's taken us until the final chapter to actually deal with Ruby's grief over Aqua lol. We got a snippet of it last chapter but it was so brief that it really just felt like a tease. I also just think it's kind of bizarre that we're spending this little time on Ruby having feelings about Aqua's death to the extent that I have no idea how or when she found out about it.

It's also kind of hard to feel particularly strongly about Ruby's grief when the chapter doesn't really bother to explore it all that much. It's just a montage of Ruby quite literally Screaming, Crying and Throwing Up while Akane dispassionately narrates it all. The art also doesn't really help in terms of connecting with the emotions at play - I usually really like Mengo's expression work and the way she depicts extreme emotions but this all just felt like of… I don't know how else to put it. Goofy??? Is that an insane thing to say about Ruby grieving her brother???

Idk, something about both the panelling and just the extreme on-the-noseness of Ruby, again, literally Screaming, Crying Throwing Up while she's wearing a Burning cosplay Just In Case You, The Audience, Didn't Get It only for her to abruptly be done crying with no exploration or insight as to what's going on in her head that allows her to move forward.

Honestly, this is kind of the issue with everyone in the cast. The resolution is just sort of "Aqua died and we were sad about it but then we stopped being sad". I know what the story is trying to go for here - it's trying to express that even when you're in pain, life goes on and so you have to find a way to go on with it. But the result is that we spend all this time oogling at their pain without spending equivalent or even meaningful time on their recovery process.

It feels both excessive and undercooked at the same time and I'm left with the same icky, voyeuristic feeling I got from Aqua's funeral last chapter. This should be the point in the story at which we empathize with Ruby the most, but she remains a frustratingly distant figure right to the final pages. Part of this is an unfortunate consequence of Akane's narration directing these final chapters meaning that we're hearing about Ruby from an outsider's perspective and thus don't really see what's going on in her head… but if I can be frank, this has been an issue of Aka's with Ruby in particular basically nonstop since chapter 123.

As others & myself have noted, despite the absolutely catastrophic downward spiral Ruby is in at that point, Aqua revealing himself as Gorou basically flips it all off like a switch. There's some mild lipservice paid to the idea that Ruby is just using her dependency on Gorou to prop herself up and it's pointed out that the issues that contributed to her breakdown haven't actually been resolved - but none of these issues are ever even acknowledged again, let alone resolved. So, functionally, that reveal does fix all Ruby's problems in the space of a single chapter and the result is, again, that we spend multiple chapters gourging on depictions of Ruby's absolute rock bottom only for her to ping back to normal like a lightswitch. As such, the depictions of her pain feel less like explorations of Ruby's interiority and more like voyeuristic oogling at Ruby's misery and trauma and the effect is that the resolution to it all is both unsatisfying and a little gross. The result is that it feels like Akasaka is just indulgently mining the imagery of cute girls suffering because it causes simple thoughts neuron activation but doesn't respect these girls enough as characters to build them back up.

It doesn't help that this is basically the in-universe excuse for Ruby's career further skyrocketing. Instead of Ruby becoming a star on her own merits as the story keeps insisting she was supposed to, she's artificially buoyed by the public's morbid fascination with her tragedy. If I was feeling charitable towards the story right now, I would say this is an avenue of intentional critique but… well, I don't feel super charitable about the story right now lol

I WILL say that the one part of this chapter I did just uncomplicatedly like was the beat of Mem trying to suspend activities (presumably in the wake of her grief for Aqua) only for Kana to basically immediately explode into her room and help her get back on her feet. It's a beat that would've been much more effective if we'd, you know, seen it, but I otherwise enjoyed it and I thought it was sweet.

But. pbbbbtttt. I guess I can't talk around it any longer… let's get into the Dome concert.

To start things off on the immediately worst note possible, Akane describes Ruby performing at the Dome as being 'everyone's dream', including Aqua's. I'm reminded once again of the strange turn the story took in insisting that um, actually, performing at the Dome was totes Ai's dream all along (even though she literally didn't give a shit even a week before she was due to perform there herself) so Ruby performing there is fulfilling that dream for her!!! and I can't help but wonder if this abrupt shift in focus is an attempt to make readers forget what Ai's actual dream was - to see her beloved children grow up happy and healthy. Hell, it wasn't even really Aqua's dream, until the story suddenly had to try and convince us that his entire purpose for existence was to kill himself so Ruby could be an idol for slightly longer than she would've otherwise. The only people whose dreams she's textually fulfilling are Ichigo and Miyako and Ruby herself, but…

Honestly, is this really Ruby's dream anymore?

Who is Hoshino Ruby? What does she want? Why does she want it? These should be the very least of what we can concretely say about not only a protagonist but a character who has become a central figure of the entire story as Ruby has, but with the way Oshi no Ko has warped and distorted her, I find myself increasingly unsure of what the story wants her to be or how I should answer those questions.What does Ruby feel about Aqua? Was she still in love with him? Had she moved on, romantically? Was she still waiting for a response to her confession? Did she finally realize it was probably kind of shitty to respond to her brother going "lowkey wanna kms" by sticking her tongue down his throat? I Guess We'll Never Know.

This extends to whatever the fuck Ruby's relationship with idols and being an idol is. Almost the entirety of Ruby's time in the story has been spent reiterating over and over that Ruby cannot just be an idol who imitates Ai and that to truly shine, she needs to step out of her mom's shadow and shine in her own way. Ruby even literally tells Kana in no uncertain terms in 137 - "I'll be a star in my own way. I won't be like Mama."

While this has always been the text of the story, as I've pointed out before, the actual art with which Ruby's idolhood depicts her basically just as Ai 2.0. It relies so heavily on mining the imagery of Ai's charisma and personality as an idol and using them as the measure of Ruby's success as an idol that Ruby essentially has no visual or conceptual identity of her own as an idol. She's just Ai, But Arbitrarily Better, For Reasons The Narrative Fails To Actually Establish But Hopes That You Just Accept Anyway. This was always kind of annoying, but now that friction seems to have been resolved by… just making her Ai 2.0, But Arbitrarily Better (etc, etc) in the text as well. The fact that we're given no further insight as to Ruby's feelings and continue to just have Akane Explain Ruby's Character Arc to the camera also doesn't help.

All this combines to make the Dome concert and the final few pages feel exceptionally cold in a way I really don't think was intended by Akasaka. Yes, that splash page was nice and flashy but… I just felt nothing. I have no idea if or why Ruby cares about this. And even though the Dome concert has been hyped up through the entire story as the peak of Ruby's achievements as an idol, I feel no sense of accomplishment in her finally being there - not just because her journey to it was basically sneezed at us across two panels, but because it just feels hollow as a victory lap for Ruby. Again, she feels so distant and abstracted as a character that I can't bring myself to feel very strongly about her good or bad.

I think the perfect encapsulation of this are the final four pages of the story. Ruby's words here are very clearly intended to be a callback to Ai's words to Gorou in chapter one but as @all-of-her-light pointed out in our initial discussions of the chapter, Ruby very much does not have an equivalent to Ai's conclusion that she nevertheless wants and values the opportunity to find personal happiness and fulfillment outside of being an idol. Are we supposed to believe that simply being an idol is all that Ruby needs to achieve a similar degree of happiness and fulfillment? Is there no more to her than that?

I've seen a lot of people interpret this ending as exceptionally bleak and, as usual, gleefully predicting Ruby's immanent suicide because her beloved oniichansensei isn't around but this is indulging in, if you'll allow me to be frank, some pretty transparently ship-motivated flanderization. Despite what certain sections of the fandom would like to believe, Aqua and Ruby's lives, past and current, have never revolved around each other to the exclusion of every other relationship in their life. Ruby has a massive support network of people who love and care for her and actively want her to get back on her feet. I can one hundred percent believe that she does not need Aqua in her life to be happy and content.

The issue is that we don't see enough of Ruby to understand that ourselves. Again, she has become such a distant figure with so little insight into what she's thinking and why that this ending is basically a Rorschach test in which you can interpret basically whatever the hell you want or assume because we have so little canon basis to support or debunk our assumptions.

and yes. don't think i didn't see them. it IS both grimly hilarious and weirdly tonally appropriate for this ending that ruby has a bunch of oshi goods of ai and aqua including their fucking autographs set up to say goodbye to every day.

AND…… WE'RE DONE!!! THAT'S OSHI NO KO, BABY!!!! well, technically, there's going to be a 20 page extra chapter in volume 16 but I don't see it being big or substantive enough to meaningfully change my feelings about the ending so… I guess we're leaving it here. Damn. Feels crazy to be done with it.

I'll probably do a bigger post down the line about my thoughts on the ending as a whole but in terms of just How This Chapter Made Me feel, I guess the word is just… meh! It's definitely not an ending I like and I think the execution is sloppy and rushed but I also just don't really have the energy to feel angry about it. Maybe that's sad in its own way but tbh… I still really love Oshi no Ko! I still find it engaging and I find the characters I enjoy rewarding to talk about. I like the artistry of the anime adaptation. I don't blame anybody else for being so turned off by this ending that they're done with the series but for me, I like what I like about OnK too much that this ending could retroactively ruin it for me. Whatever else happens with the OnK franchise, whatever directions the anime and live-action take, this will always be the series that gave me Ai and the Hoshino family and. look at me. look at what she's done to my brain. could I really ask for anything more than that?

That being said, I'm definitely not done with discussing the series! I have fics to write (including a VERY exciting large scale project lined up with some friends), my Ai analysis post to finish and I also want to do a re-read of the series and finish my anime rewatch. I'll be here to discuss Oshi no Ko as long as I have things to say about it and as long as you guys will have me! Despite how the series ended, I've had a genuinely wonderful experience in the fandom and I really don't want to let go of the little community we've built together just because the series is done. I'm Ai's fan for all eternity!!!

[utilitycaster]

this may seem needlessly finicky but I do actually believe it's important: calling Verin a himbo is just one of many examples where like, one of the cast says something off the cuff and it's not exactly the right word or it is highly contextual, and that is fine because no one is perfect especially in improv, but then it gets repeated ad infinitum within the fandom when it never really fit in the first place. We have Verin's stats and he's decently more intelligent than average with a 13 (smarter than most of Bells Hells for one; as smart as Pike); it's just he's the guy with a bachelor's degree with good grades followed by military service in a family where everyone has two PhDs - Matt said "himbo of the family" the way in a family where most people are exceptionally tall you'd call the 5'11" child the short one. In Call of the Netherdeep he appears as thoughtful and competent and promoted to a difficult position at a very young age, and in the campaign his appearance is simultaneously as a leader of troops in a dangerous mission, and someone who cares enough about poetry from a completely foreign and distant culture to have tried to learn more about it. I'm sorry, but if you're using the word "himbo" I don't think you're processing a thing about the character yourself; you're just the latest repetition in a game of telephone that's been going on since mid-2021.

And that's not deeply bad on the surface, and I'm using Verin not because he is the character most wronged by this sort of thing but because he's recent and it's really clear where the word came from and that it's not a good assessment, but something I happen to have a decent knack for is pattern recognition in language. I usually find it really easy to pick up on when someone's plagiarized because of the language and pattern shifts. I tend to remember urls and out of place words well. So I do tend to notice when everyone suddenly starts using a single turn of phrase and I tend to flag it. Sometimes that's not bad; sometimes it means everyone came to a similar conclusion and that's the best way to express that conclusion. But like, when Taliesin called the Yios episode a gas-leak episode and the entire fandom started parroting it? The line "bone-dry takes"? The fact that a lot of ship defenses I see were phrased precisely as "I have eyes"? without actually talking about the ship itself? the fact that I've seen a spike in the use of the term "ontologically evil" including in myself and not all uses are actually correct? And extending this beyond strictly language but consider any headcanon with minimal textual support that catches like wildfire (sidebar: remember how we make, or made fun of the SPREAD THIS LIKE WILDFIRE tendency on Tumblr a decade ago? same concept of repetition of a specific turn of phrase without internalizing) all sort of ping this.

And it's fine, truly, to come to fandom and turn off your brain. I know this will sound sarcastic from me, and that's because I don't personally agree, but I do strongly agree that you can do what you want in fandom and you don't have to listen to my opinions so in the end, yeah, it's fine because I am not the arbiter of "fine". But I think critical thought is a vital exercise and I think precision with language is part of it and so if you find yourself using the same exact words and thoughts as everyone else, that should, ideally, trigger a process of "but are these the right words? what do I see when I see this character and how would I describe them? do I agree with this assessment?" Fandom is an interesting and easier microcosm than reality in which to start doing that.

[stellardeer]

I feel like a lot of people in various reblog chains of this post have kinda lost the plot, so I'm reblogging this version to bring the emphasis back on the AI "detectors".

Whether something like Grammarly is considered AI or not is a little irrelevant, but most people consider using a spelling/grammar checker to not "count" as AI (despite the fact that you may be able to write out a bunch of nonsense and have Grammarly correct it over and over until it passes as a sentence)

And what a teacher will generally use an AI detector for is to check if the student wrote the paper or prompted an AI to give them a paper. As far as I know, Grammarly can't finish your entire document for you based on prompts (but I haven't used it so feel free to correct me) so I feel like a lot of the notes trying to argue whether it counts as AI or whether auto correct is useless now are just getting away from the point this point was supposed to be making:

You can't trust an AI detection software to accurately predict whether something was AI generated.

And part of the reason for that is that AI-detection software could ALSO be considered a form of AI. It is limited both by the dataset being fed to it to determine whether something is or isn't AI, and by any biases of the human who programmed it. If the programmer writes a program that says "look for anything that isn't perfect English and flag it as AI", they are showing that they don't trust anything written in broken English. I'm not sure why it might flag a word like "devoid", but if the AI detector is looking for patterns amongst known AI samples and the word "devoid" comes up a lot, it might just assume that any text using the word "devoid" has a higher chance of being AI generated.

Let's go back to the Both Of These Are Bad part.

It shouldn't need explaining why AI detectors falsely flagging ESL writers' works as AI is just bad and just contributing to systemic racism, so let's talk about the ways in which it can be harmful to native English speakers.

As stated above, it's interesting that an AI detector might flag words that seem "complex", while much of mainstream writing is trending towards simplification, for better or for worse. It could mean that since a lot of non-AI writing is so simplistic, anything that deviates from that is considered abnormal. Or it could, again, just be a programmed bias of the author of the program. I think this is more the point that thebibliosphere might have been trying to make, not that Grammarly specifically is evil AI that's making everyone write bad, but that a larger cultural shift to more simplistic language is happening and when things like Grammarly tell you to simplify your phrases or an AI detector tells you that your essay was AI generated because you used a big word, it's encouraging this simplification at a much faster rate than if human editors and teachers were directing their writers/students to do so.

Grammar software is perfectly optional for professionals, of course, but if a student is going to fail a class because their essay can't pass an AI detector, well, they can't really opt out of that. They have to change their wording to something that might not be as vibrant as what they originally wrote, or risk failing and potentially worse action depending on a school's plagiarism policies. It's essentially going to train kids to write in specific ways to get around it, and they might not understand why their paper was flagged or what AI even is yet, they're just going to assume that their writing was wrong and needs to be fixed. And let's not assume that only the kids writing their own essays are doing this, either. If kids can write a whole paper using AI and then change a couple of words so that it passes the detector, they're going to do that too!

Again, the point here is that the AI detectors are not infallible, often make racist assumptions, and cannot be the only method used to check whether something was AI generated.

I don't really have a good conclusion because I don't have the answer to this problem, because it goes beyond students in a classroom and you won't always get a document history to check. I just felt like this post was losing it's direction and I needed to clarify it for my own sanity.

[fanofstuff01]

Okay this post was originally supposed to be longer and going into more depths of the subject but I decided to separate it in parts. Because I cannot write that long of an essay in one day lmao

But anyway here's part one

Wohoo

Why Adam from Hazbin Hotel Not Coming Back In Future Seasons Doesn't Make Sense (To Me)

Part One: Logical Problems

Now this section, even though it is still my favorite in the parts, can be fixed easily if Vivienne just gives a logical answer to all of it. But it is just my perspective and what I saw from this show.

Let's get started yippie

-

A: Him not coming back contradicts the show in my opinion.

-You see, when Sir Pentious died to Adam's holy light, all the other characters react like they think he's one hundred percent gone. And it was previously stated by Vivziepop that sinners cannot die unless it's from an angelic weapon, otherwise they just respawn somewhere else in Pride hence why the exterminations exist.

So this implies that Sir Pentious died permanently here, from an angelic attack and then became a winner, in other words respawned in Heaven.

Then.. Why can’t Adam, someone who we know (for now) that died to a weapon designed to kill souls permanently, come back exactly Vivzie? This doesn't make any cucking sense for me. Why are you showing us that a soul can rise after being perma killed, but then treat as if the other Alex Brightman died permanently and now there's no way for him to come back?

-"But maybe they didn't know that Sir Pentious could come back, they just learnt that angels could be harmed. (Yes someone literally said this)"

Oh you mean these characters, who include the Princess of Hell and a literal ex exorcist, don't know about one of the core reasons why exterminations are held in the first place?

Suure.

-"You wouldn't be sad and attack the person who did it if someone killed your friend even though you knew they'd be back? Their reactions don't essentially translate to them not knowing about the permanent death thing."

I would and I can definitely understand them still being incredibly devastated and going feral about his death even though it’s temporary, but then why does the show treat Pentious' death like something these characters think is permanent? Why does Charlie refer to his death as “Ultimate sacrifice”? Hell, this entirely contradicts the sense of finality and sorrow his sacrifice had. 

And to add to both questions, why would Adam come to the exterminations with a weapon that doesn’t kill sinners permanently? Specifically one where he knows that there’ll be folks that will try to fight them and folks he would be more than pleased to wipe out permanently? 

-I know I sidetracked to talking about Sir Pentious more than Adam here, but since he is the only soul we know that changed the place he was in afterlife he is the most relevant character when it comes to this discussion about Adam in my opinion.-

-”We don’t know if angel souls are equal to sinner souls when it comes to this. Maybe the angels simply cannot be killed unless it is permanent, and the show actually hints at this given everyone thought that the angels were invincible.”

This is the only argument I can get behind actually. But it is not because it’s a valid one for the right reasons, it is the only one that makes sense to me because the writers were lazy on this too. 

Then what happens when an angel is harmed with a non-angelic weapon? -Also maybe off topic but what makes something an angelic weapon? We see Cherri Bomb throw bombs at them or okay maybe angelic bombs are a thing, but Charlie shoot-kills the exorcists with the fireworks that come out of her fingers?- Do they just.. Respawn? Or it just doesn’t hurt them? Then wouldn’t a character as smart as Vaggie would’ve figured out that they can very well be killed permanently if they are able to get hurt? 

Not answered. And it’s not helped by how the show openly portrays winners, which may I remind you Adam is one no matter how powerful he is, as the complete opposite of sinners, which would take you to assuming the angelic steel works like it does on sinners for demons. It just doesn't make sense to me.

And it wouldn’t make sense in the next section either.

B: Him not coming back doesn’t make sense in the story or the worldbuilding in my opinion

Just a little disclaimer, I’m not all means a professional media critic and do not say what I say here comes from that distinction. It's just me sharing myself lol.

Also I may use the terms incorrectly due to my broken English skills.

-Okay. So what is Hazbin about? Demons getting redeemed and therefore getting into Heaven for becoming better people, right? Also showing us that everyone can change and they shouldn't be seen as who they are at the moment and they all deserve a second chance.

At least that's what I get from the show. Now..

Why isn't the previously good now bad, being punished at the same level the previously bad now good is being rewarded? Why are you saying that becoming bad would give you an easy escape through death, while becoming good can get you to somewhere better?

Being on Hell is a PERFECT way to punish corrupted holy souls. Because you often become corrupted in the way of arrogance in Heaven, and now you're humored by the universe and by the people you used to mock and see yourself above as but this world's ways don't allow that.. Okay?

Speaking of, this also frustrates me on the world's mechanics and how they work. Sure, it can be that way, but.. Sorry if thinking about a "Divine Judgement" that makes you rise for being good but doesn't make you fall for being bad doesn't make sense in my book..

I can't express my point in this one quite well like I did with the other one but it just melts my brain dude. Like on one hand, on the positive hand, you're saying that if you're on the bad side you can change for the better and that's what matters, but you can't change from good to bad and have the same levels just negative and simply.. Die??

I just.. Can't. Sorry if this part is messier.

-

So this is it.

Will be multiple parts stay tuned ig

@things-arent-what-they-seem66 @beef-brisket

yea im delulu sue me

[heretherebedork]

You know what the scene in the school where Jack left Joke to be surprised by his father cemented in me?

That the show is more interested in specific class commentary than in the commentary that the characters themselves offer about their situations.

Which is to say...

Joke's trauma is being underwritten and turned into something funny because Jack's trauma is the serious part of the show, because Jack's trauma from poverty overrules Jack's trauma from his struggles with school and with feeling like a constant scapegoat and unworthy of being loved.

Jack is allowed every trauma, he is allowed to say that he has never dreamed and that being poor means you don't dream even when he's the one who dreamed where Joke never had a thought of his own future in his mind but that wasn't important because he wasn't poor and he wasn't trapped in that way and so it doesn't matter as much ans his lack of dreams is never commented on.

Jack leaves Joke standing in front of a class full of children with a problem he can't solve and it's played as funny, as lighthearted, as if Joke on the verge of a panic attack is something that everyone should be laughing at because his trauma isn't treated as deep or serious. His father, who is the reason for most of this trauma, is sent in to rescue him and then they resolve their relationship. And... that's that! He's invited home. It's over. None of that trauma matters anymore and it was all meant to be funny, to be a joke, to be something Jack did for him... you know, humiliate him because he's bad at school. Funny.

The show is more interested in making class commentary than it is on character commentary and that's why I'm worried that Jack won't be the one to go after Joke but that Joke will have to come back again, that Joke will have to fight for them again, that it will always be Joke fighting because the show doesn't care about Joke's trauma except to solve it as quickly and unimportantly as possible so they can focus on Jack and his neighborhood.

And I'm not saying Jack doesn't have trauma or that commenting about that is wrong or that class commentary is wrong but what I am saying is that Moonlight Chicken did it better and deeper and faced down the fact that trauma happens no matter how much money you have and that trauma might be different depending on class but it's all still trauma all the way down.

Jack has his trauma but so does Joke but the show doesn't care about Joke's trauma because they want to make a commentary on classism and class issues and that means that Joke's issues can never be as bad or as important as Jack's because he's not part of the commentary or at least he wasn't. Now he is and so his new trauma is allowed but the old things? They have to just... stop.

I am struggling with this a lot so I'm making this post to get words and thoughts out. This doesn't mean I hate the show or the characters or the creators or even that I'm not enjoying it! This is just a specific aspect of the show itself and an ongoing issue in Thai B: that has frustrated me for a while tbh because it's so often that they can only honor the trauma of one of the characters in a relationship so the other gets brushed aside (see also: Mhok of Last Twilight).

I also really think that if the show had been more invested in the specific struggles of the characters we could have gotten even more painful social commentary about Rose's trying to help that never does and Jack's struggles with failed dreams and Hoy and Tattoo being trapped where they are and Aran arriving and just so much that would have been just as interesting as The One Ring of Crime.

[keepingitformyself]

there’s been no way for me to say (that i felt a certain way)

Synopsis: natasha romanoff has loved you for ages and she could never seem to get it right.

pairings: natasha romanoff x reader

genre: college AU, fluff and angst.

warnings: angst?

please do not repost my work anywhere for any reason at all. if you do see this happen to any of my stories, please let me know. thank you x.

natasha met you in a very peculiar way.

it started at a friends of a friends party, in some internet starlet’s brooklyn loft.

drinks were going around, the music was loud, the smell of marijuana was very strong. she doesn’t quite remember it— after having been to a bunch of parties they all seem to blur into one— but she knows it was enough to leave a lasting impression on her.

she’d heard your piercing laugh from across the room. you, in a tight tank top and some black slacks. she could see the shine of sweat against your skin, the colorful lighting of the room making you seem so beautifully human.

everything sort of froze in the coming moments. she watched as you took your top off without a second thought. you were about to shotgun a beer and you stood tall as you did it atop the kitchen island. you didn’t need the attention, nor did you want it, but you had it.

it was a simple behavior. but it stayed with natasha long after you had crushed the beer can and tossed it on the floor somewhere.

natasha thinks you never notice her staring for the rest of the night but you do.

weeks later she sees you again at another party.

clint, wanda, tony and everyone else joins her this time. she isn’t surprised when she sees you. it was the same crowd, similar friend groups. but this time you made it easy for her to approach you.

somehow you end standing next to eachother near where all the drinks had been laid out.

"hey," you said, voice casual but warm. "didn’t expect to see you here again."

natasha smiled, though she hadn’t expected to talk to you at all. nor did she think you noticed her. "i guess we have similar taste in parties."

you laughed lightly. “guess so."

there was a beat of silence before you added, “you know, you were kinda staring at me last time.”

natasha froze for a second, unsure how to respond. she hadn’t thought you’d noticed. but before she could stammer out an excuse, you were already grinning.

“i’m just messing with you. it was funny. i didn’t think anyone would care enough to notice me.”

natasha was relieved, yet still unsure if you were actually joking. either way she felt this was going better than she planned.

the night wore on and you guys carried easy conversation. natasha was still unsure how to even approach talking to you. she felt kind of shy. so she improvised by making references to things she didn’t think you’d get, but you almost always did.

you dropped a reference to something obscure, a movie natasha had once obsessed over, and natasha stared at you for a moment longer than was socially acceptable. she couldn’t stop herself.

“you’re really into that, huh?” she said, and just like that, the bond started to form. it wasn’t immediate or instant, not the kind of connection that screams “best friends forever.” no, it was something stranger, something subtler, like two different puzzle pieces that had almost fit, only to get pushed back together by sheer happenstance.

“your references are spot on.” you laughed. natasha smiled at how easy you made it for her to be around you.

you and natasha started seeing each other more, slowly building this weird, unspoken routine. she’d text you at random, making some kind of sarcastic comment or joke only you would get, and you’d shoot back a meme that only someone with your specific sense of humor would understand. over time, you both ended up in the same circles, passing each other in the hallways of the university, at class, at parties—always just a little bit more than acquaintances, but never quite crossing into the territory of “best friends.”

there was something comfortable about it. easy, even. but for natasha, it was also strange. the more she saw you, the more she felt like there was something else there, something neither of you wanted to acknowledge. maybe it was a crush. maybe it was more than that.

it wasn’t as though either of you had been completely oblivious to the passing of time, to the fact that you were both growing older, moving through college with the same bittersweetness that everyone else felt. and yet, there was still this distance between you, an unspoken barrier that neither of you had broken down.

natasha thought about you a lot more than she’d like to admit. how she so badly wanted to cross the line between friendship and something more.

by senior year, natasha couldn’t ignore it anymore. her feelings for you weren’t just fleeting glances or passing thoughts. they were there, constant, sitting beneath her skin, running through her mind like a song she couldn’t shake. but it wasn’t just a crush. it was more. she could feel it. she knew it.

the desperation kept getting worse.

it was a slow burn.

you were months set from graduating, natasha felt it was time she’d try to test her luck.

it was late into the evening at yet another party—music blaring, laughter echoing through the crowded living room, and cups of cheap beer littering the tables. one last semester before graduation, before the "real world" set in. natasha was sitting on the couch, leaning against the back with her legs stretched out in front of her. her eyes roamed the room, scanning for someone to talk to. and then she saw you.

you were in the middle of a conversation with clint and wanda, your hands animatedly gesturing as you told some wild story about a disastrous trip to the beach, the kind of tale that had everyone in stitches. natasha couldn’t help but smile from across the room. there was something magnetic about you—how you lived so fully, how you pulled everyone into your orbit without even trying. natasha had been watching you for months now, always on the edge of your space, always wishing she could be more than just a silent observer.

she didn’t know when it started—when the simple admiration had turned into something else. but now, as she watched you laugh with your friends, something in her chest tightened. this wasn’t a crush she could just ignore.

it wasn’t the first time natasha had thought about asking you out. but tonight felt different. maybe it was the proximity of graduation, the sudden realization that this was it—that you both were on the brink of leaving behind this chaotic, unmoored time in your lives. she could either stay on the sidelines or take the chance.

she stood up, smoothing out her jacket and walking across the room. her friends—clint, wanda, and sam—noticed her approaching and exchanged knowing glances, all but daring her to make a move. natasha could feel the weight of their stares, but she ignored them. she focused only on you.

"hey," she said, stepping into the conversation, a little breathless from the nerves she’d kept hidden.

you turned, giving her that warm smile you always did. "hey, nat! what’s up?"

"not much, just wanted to, uh, ask you something," natasha began, her usual confidence faltering just a little.

“i was thinking about heading to this bar later, just to get away from all… this,” she gestured vaguely to the party around them, “and i was wondering if you wanted to join me? for drinks. just us. you know, before we all get caught up in the whole graduation mess.”

it was casual, maybe too casual. but natasha didn’t want to make it seem like a big deal. not with everyone watching.

there was a pause, just a beat too long, before you looked at her, a faint frown pulling at your brow. you were processing. “uh,” you hesitated, glancing at your friends.

clint, wanda, and sam all turned their heads at the same time, giving you the slightest raise of their brows. you bit your lip, clearly unsure, and natasha’s heart sank a little at the hesitation.

"i mean," you said slowly, looking back at natasha. "we’re friends, nat. i just… i’m not sure."

it was a gentle rejection, but it stung all the same. natasha swallowed, masking her disappointment with a shrug. "no, yeah, of course. no pressure." she let out a quiet laugh, her hand rubbing the back of her neck, trying to laugh it off. "i was just messing with you. don't worry about it."

you nodded, a small, apologetic smile on your lips. "i mean, i’d love to hang out more, just—"

"totally fine," natasha interrupted, her voice light but edged with something that made her own heart ache. she smiled, keeping it neutral. "maybe some other time."

she turned away quickly, but she felt your eyes on her as she walked back to the couch, her friends watching the entire scene unfold. clint raised his brows, and natasha just shook her head, not wanting to give them the satisfaction of knowing how deeply that small exchange had affected her.

but inside, it stung. it stung more than she cared to admit. it wasn’t just a small rejection. it was the fear that maybe you had noticed her feelings all along and were just too scared to say anything about it.

that night, natasha tried to sleep, but her thoughts wouldn’t stop racing. you were everything she had wanted, but in this strange, liminal space, neither of you had been brave enough to admit it.

weeks passed, the semester came to an end, and graduation day loomed on the horizon. natasha and you both moved on in your own ways, starting to make plans for life after college. but something lingered. something unsaid. life became a little more faster, and faces got a little older.

you reached out to her a few times. it was never the same as before. it was different now, with this strange tension lingering between you both. but you kept in touch, as if you both were afraid of letting go of something that might have been, something that might have still been.

and maybe it was ridiculous, natasha thought, but she was okay with it. she had loved you for years, and maybe that was the most honest thing she could admit to herself.

because even if you two had never been the closest of people, you’d always been there. always in the background, always in between. and somehow, that was enough for natasha. enough for her to hold on to the hope that maybe, one day, you’d both be able to finally figure it out.

it had been two years since you both left the university. two years where natasha had started a career in marketing, constantly moving up, climbing the corporate ladder while trying (and failing) to suppress the things she didn’t want to feel about you. she had dated, of course. a couple of short-term relationships, nothing serious. but nothing had ever lasted, and she had never quite understood why until now. the answer had always been there, hovering just out of reach, in the form of a text, a call, a passing thought about you.

as for you, you’d moved across the country for a job in graphic design. you didn’t think much about natasha at first. life had been busy—new city, new friends, new routine—but every now and then, you'd wonder if she'd thought of you. if she remembered how everything had felt when you were both on the brink of something, but never quite dared to cross the line.

and then it happened.

it wasn’t planned. it wasn’t expected. but one saturday evening, natasha found herself sitting at a bar in brooklyn after a long week at work. she’d had a rough day. one of those days where everything felt like too much. and then, as she nursed her gin and tonic, she heard someone call her name.

it was a voice she hadn’t heard in what felt like forever.

“natasha?”

she turned, already recognizing the voice before she even saw your face. and there you were, standing in the doorway of the bar like a memory coming to life. your hair had grown a little longer, and you looked different, older in a way that made Natasha’s heart skip a beat. but you were still you—the same you who had been in those parties, those late-night study sessions, the one who had always made her laugh with a look or a passing reference.

for a moment, neither of you said anything. just stood there, eyes locking, as if trying to figure out whether this was real.

“i didn’t know you were in new york,” natasha said, her voice betraying the sudden weight in her chest. she couldn’t keep the smile from forming, even though she tried.

“i wasn’t planning on being,” you said, grinning. “work sent me here for a few weeks. i was meeting some friends, but it’s been a while, so i thought i’d just see if you were around.”

it wasn’t exactly casual. but you both knew it wasn’t entirely random, either. it felt like fate had decided that you two were finally going to do this.

you sat down, and the conversation flowed as naturally as it always had. the awkwardness of the past melted away. you didn’t need to pretend anymore. there were no more games, no more hesitations.

just you and natasha, picking up where you left off, though this time, the space between you felt a little different. there was an understanding now, a quiet knowing in the way you both spoke, a recognition that time had done its job.

“so…how’s life?” natasha asked, pushing her drink aside and leaning in a little closer.

you shrugged, but there was something different about you too, something less guarded. “it’s been alright. busy. but you know how that goes. i’ve been thinking about home, though. about—” you paused, then looked directly at natasha. “about people i should have kept in touch with.”

natasha’s heart was thudding in her chest, but she kept it together. she was a master of hiding emotions, after all. “yeah?” she asked, her voice softer now.

“yeah,” you said, with a smile that made natasha’s stomach flutter. “it’s funny how things work out. you don’t realize what you miss until you’re standing in front of it again.”

time had always been a strange thing between natasha and you—something both distant and close at the same time, like a thread that wound its way through your lives, never quite snapping, always lingering. you’d known each other for years, seen each other at parties, shared quiet moments, and laughed at the same jokes. but all that time, there had always been a hesitation. a space between the two of you, filled with something—something both of you had been aware of but had never dared to name.

it was the kind of thing that was easier to ignore in college, easier to pretend it wasn’t there while you were both busy with classes, with your lives, with the thrill of being young and not yet knowing what you wanted out of the world.

but that something between you had always been there, pulling at both of you, quiet but undeniable. the way you caught each other’s eyes a little too long. the way your conversations turned into something more meaningful without either of you intending it. the way natasha would see you at parties and catch her breath for just a moment. the way you’d smile, as if you both knew, but neither of you was brave enough to act on it.

you’d both dated people. tried relationships. but it had never lasted, had it? there was always that nagging feeling in the back of your mind—something missing, something not quite right. as if your lives couldn’t fit together because they weren’t ready to yet. you didn’t have the words for it, and neither did natasha. but you both knew. you always knew.

the things that had once seemed complicated—life, timing, fear—suddenly didn’t feel as big as they once had. there was a quiet honesty between you now, as if you both had grown enough to stop pretending you didn’t feel it. the awkwardness, the hesitation, the “maybe” that had been there before was gone.

it was you. it had always been you. and you knew it too.

“so,” natasha said after a beat, her voice softer now, quieter than before. “what are we doing here, really? we’re not strangers. we’ve known each other for, what, almost four years now?”

you looked at her, your lips curling into a smile that didn’t hide the tension in your gaze. “we’ve known each other longer than that,” you said. “we’ve always known.”

“i think i’ve always been afraid of this,” natasha admitted, her voice barely above a whisper. “afraid that i’d say the wrong thing, or that it would mess things up between us. that maybe the timing was never going to be right.”

you nodded slowly. “i’ve been afraid of that too.” you paused, then added with a wry smile, “i was never good with timing.”

“maybe we don’t need perfect timing,” natasha said softly, her gaze meeting yours with something she hadn’t let herself feel before—a quiet certainty. “maybe it’s just the right time now. after all this time.”

you didn’t answer right away. you didn’t have to. instead, you reached across the bar, your hand brushing gently against hers, and just like that, it all clicked. there was no more hesitation. no more waiting. you both knew what this was, what it always had been.

“yeah,” you said, your voice low and certain. “i think you’re right.”

and that was it.

[babybluebae-933]

I haven’t heard a word you’ve said, and… I’ll get you to Vulcan somehow.

One day I will write an entire essay about this moment but for now this is all I have in me.

This is the kindest thing Kirk could have said to Spock in this moment, and it shows how well Kirk knows him. He doesn’t try to convince him that he shouldn’t be embarrassed about it (well he does at first, Vulcans are not the birds and the bees captain) he doesn’t try to convince him to be logical about it. Being embarrassed is SO illogical and Spock fucking knows that and reminding him of that fact would only make it worse.

He literally begs to be locked away, he begs Kirk to basically take him out back and put him out of his misery old yeller style. SPARE him the indignity of explaining himself to anyone or being subjected to the will of his own deep dark desires and motives. Kirk orders him to explain and Spock says no that some things transcend even the discipline of the service (then Kirks like ok what if I pinky promise I won’t tell and Spocks like ok fine, which is also so cute but a whole other thing) either way it’s obvious he would literally rather die than tell anyone what’s going on, and he’s actively trying to run away from it.

I thought I would be spared the indignity… but the ancient drives are too strong, eventually it catches up.

This is why Kirk is so special, and this is why he understands Spock better than anyone else. Humans have pride, humans have ego. Spock decided to live the Vulcan way and swear off all that stuff but it’s still inside him. We can assume one of two things, either he truly never has any emotions, or he has them but won’t show them. And God damn if being that fucking stubborn isn’t the most human thing about him. I can’t remember which episode it is but some other time when a red shirt is laying into him for being so cold and insensitive Bones gets defensive, and Spock says it’s okay doctor-

Sometimes they forget I’m half human too.

You can be half human, but you can’t be half Vulcan, you can’t be “half” emotionless. He would be ashamed to let the mask slip, and he’s ashamed that he would feel shame for this. For showing his human nature, because that is the MOST un-Vulcan thing to do. What do they expect from him? To show his feelings would be humiliating, hiding them gets him ridiculed, they bully him for it, yet no one ever treats him as if he could have any feelings about the matter at hand, whatever it may be.

When Spock is insisting that he never feels such trivial emotions as anger or annoyance or fear he is convincing himself as much as anyone else, that is his comfort. It’s true as long as he and everyone else believes it. It’s his comfort and everyone else’s in some cases; if all else fails we can at least count on Spock being cold and logical.

It’s no use to convince him that he shouldn’t be embarrassed because it’s natural or because it happens to everyone or whatever the reason is; because

Spock knows that already. Biology and nature are factual and neutral

Spock knows that being embarrassed is totally illogical

He also knows that being embarrassed especially about something that IS so natural and normal is super-duper un-Vulcan like

The human side of him is what makes him defend his emotionality (non-emotionality?) with such fervor. Motherfucker is so stubborn and so prideful, so Vulcan, but distinctly human.

To assure Spock “aw it’s okay buddy don’t be embarrassed it happens to everyone!” would be a triple knife; acting like he doesn’t know that the facts of life are neutral, unavoidable, and imminent. Acknowledging that he is embarrassed which is so non-Vulcan. AND telling him how being embarrassed especially about this particular instance is extra illogical.

Kirk gets all that, he knows Spock gets all that, and he sees him for who he really is, not the human side or the Vulcan side, just Spock. So, he gives him a very specific brand of mercy, “None of this ever happened, I saw nothing. But now I at least know enough to help you.”

(If we want to take this further I could also remind you of the Edith Keeler conversation when Kirk basically tells her that “let me help” means more than “I love you”.)

I just love this moment so much and I love them.

[howlsofbloodhounds]

Hey! You probably have already been asked this question- and I know you’ll probably never see this- but I’ve been thinking about this and curious about this lately, uh-

What are all the things killer went through during his time under the control of his frisk? Both cannon and head-cannon? I have a few head-cannons myself but am really curious what others think and what the cannon is!

It’s okay if not answered, am just a curious soul wondering about stuff-

Well, first, it wasn’t his Frisk he was under the control of—Frisk is actually hardly mentioned in Something New outside of the first few panels of the first page of the comics, and Killer saying he misses stabbing Frisk’s face when asked if he missed Frisk.

It was Chara, and the Player—basically one and the same in Something New, even if Chara the dead child potentially wants something more. All the Player ever really wants from Killer’s existence is something new, after all. Chara’s the one who wanted a partner in crime.

As for what happened between them, the fun part is—we don’t actually canonically know. We can make guesses based on the beginning, when Killer turned on them, and some things based on after they ended—how Killer still sees them and hears them and listens to them, how he feels watched by them constantly, as if they’re living inside him.

This tells me just how codependent their relationship was—and how scared and powerless Killer feels beneath them, even as he feels he needs them and that he still has to listen to them, even if he doesn’t want to—even as he struggles to realize that he doesn’t want to, because he wants what They want.

Even if he has a new “master” now in the form of Nightmare. It tells me that Chara’s wants and priorities and needs have always taken priority over anything and anyone else—especially Killer himself.

It’s like..how a baby doesn’t realize they are separate from their mother for the first few months of their life. Except Killer never truly realized that he is separate from them. Or that they are separate from him. He has internalized them, and in many ways, has become them. Something he struggles to make sense of.

Killer doesn’t know who he is or what he is, what he wants—if he wants anything at all. He doesn’t know what is or isn’t real—why he feels and behaves about certain things. Why everything both does and doesn’t feel familiar, and yet still he is always just separate.

Chara provided directions. They represent identity and direction and stability, certainty and structure. They scare him and hurt him and confuse him, and he hates them and fears them in equal measure, but no one has understood him like them. Not even himself.

I’m sure he also didn’t use to understand why he was ever scared of or disobedient of Chara before—if something ever triggered him into Stage 1, such as his own hesitance to kill Papyrus. Stage 2 may not have held the same emotional ties to Chara that Stage 1 does or hold the same anger and hate that Stage 3 does or the fear and reverence that Stage 4 does; but it wasn’t like he knew anything else besides them with certainty.

He knew he needed them. He didn’t know fully why, he just did. He could try to explain why but it’d be through the lens of what Chara taught him: control or be controlled, the most Determined decide fate, etc.

He holds on these contradictory views and experiences with Chara, likely dissociated and compartmented into his four Stages, but all just as true as eachother.

They made him. He exists because of the Player, sure, but Chara basically raised him. The Player speaks through them, they act on our behalf. There may even be no difference between Chara and God in his mind in Stage 4.

And try as he might, he can’t pry their pieces out of him.

All of it suggests heavy levels of manipulation, conditioning, gaslighting, dependency, and abuse to me. The specifics aren’t said or shown or even confirmed, but the fact that out of all his shadowy hallucinations of everyone he’s killed—living in his head—Chara’s the only one who’s more than a shadow and has sway over his choices seems to say something about their relationship.

Anyway, a lot of things could’ve likely happened when he was with Chara. Who knows how long they were together—Killer likely doesn’t know. How many timelines they went through together.

I do like to think that there was an entire timeline where Killer and Chara overthrew Asgore and ruled the Underground themselves at some point, because Princess Killer and Killer being conditioned through royal etiquette is an idea I love. I also think he was conditioned through childhood nursery rhymes, games, gestures, and sayings that are loaded with specific meanings that only Chara and Killer themselves know. Their own little language.

I think Chara gave Killer Asriel’s golden locket, to basically make Killer into the better “Asriel.” I do believe he was often threatened and kept in line through the use of the Reset—something Killer, back when he was Sans, hated and dreaded more anything.

(And by that I mean, he was either threatened with a Reset if he didn’t do something, or forced to repeat something over and over through the use of the Reset until he either did it perfectly or without thinking or hesitation. Until any attempts to resist results in an instinctive overriding of his own will via the triggering of Stage 4.)

That original sentiment was likely twisted over time, but still present in some shape or form—such as the need for something new, and to not constantly do the same thing over and over again, even as paradoxically, Killer has a tendency to do the same things over and over again thanks to the role of the Resets in his conditioning.

I’ve made a post before about like, Chara and Killer making the killing into something like hunting games, can’t find it. But I like to think there was a punishment-reward system that Killer internalized as well, especially in Stage 4.

I’ve mentioned before how i hc that Killer and Chara had a pinky swear system that could never be broken under threat of grievous harm to whichever party breaks the promise—and as a result any promises made via pinky swears with Killer from absolutely anyone is basically the same as signing away your right to live if you ever break it.

I’ve mentioned how I think the one death Killer has never experienced before is buttercup poisoning. But basically, anything you think could happen has possibly happened, except ya know..weird stuff.

Reality is a game, and the Underground is their sandbox.

[sufferu]

I think Subaru just feels that if he was born a girl life would have been easier since he wouldn't have to deal with the expectations as the first son

The thing is: Subaru gets a genuine sense of joy out of dressing as a woman. His entire presentation undergoes this massive shift. He becomes more confident, he thinks he’s prettier, he’s outwardly flirtatious — and even when he’s not, uh, “in uniform,” he genuinely loves making dresses, and styling hair, and playing with makeup. It gets to the point where, before he learns ANYTHING else, Rem remarks that his sewing skills are “top notch” — simply because he enjoys it so much that it’s where he dedicated all his time. Plus, there are all these little hints in the LN about how he misses being a cute, androgynous child who could be easily mistaken for a girl (even saying that the years have not been kind to him, which is a very strange way for a totally cis guy to reference puberty), and how he cried when his hair was shaved off, and how he prides himself on the old nickname “Princess of the Ice.” And even when basically nobody wants him dressed as a woman in Arc 7, he keeps making excuses to not change clothes, and EVERYONE takes it that way. And also he refers to Natsumi as his ideal self. This isn’t just him doing what’s easiest: he LIKES this.

Plus like — if you want to talk about characters leaning into an opposite gendered persona due to feeling that they can’t live up to their gender’s expectations…Ferris is right there. And Ferris very specifically foils Subaru in ways that are incredibly pointed. Ferris presents as a girl specifically for Crusch’s sake, while every time Subaru dresses as Natsumi he’s like the only one who actually enjoys it (sans Emilia, who has been very pointedly left out of the reveal that Natsumi == Subaru, and who uniquely shows pretty much zero contempt for his crossdressing habit in the one failed loop side story where she does find out about it). Ferris has to go through this entire morning routine of “getting into character” every day in order to be Crusch’s Cute Little Ferri-chan, Subaru slips into Natsumi’s persona so easily that he has to actively fight AGAINST it. Ferris dresses almost solely in a singular outfit that’s basically his Ferri-chan uniform (complete with a collar and a bell), Subaru has this whole love for styling different outfits practically every time he dresses as Natsumi. Hell — symbolically, Ferris is a nickname for a very traditionally masculine given name (Felix) while Subaru has been referenced many times as having a name that is explicitly androgynous (the implications of this can be debated but as it is I’m pretty certain it was intentional on Tappei’s part). It’s like a Whole Thing.

(And also — we already Had the whole “Subaru struggling with the pressures of being Kenichi’s son” thing. It’s what the whole First Trial was about him overcoming. So why is Natsumi becoming More prevalent as the story goes on, if it’s just an extension of that?)

(And if it really IS an extension of that prior problem, why do we STILL very pointedly not know what happened that day when he got found out? With Subaru going out of his way to shadow it as “a very traumatic event for me that I have spent a significant amount of time processing and struggling to overcome” while never revealing what actually went down — it’s be kind of anticlimactic for something like that to be revealed as just — an extension of a conflict that already got revealed and resolved ages ago.)

[sassypotatoe1]

Oh I know this one! I'm a huge horror fan and not in the usual way I don't care for slashers or final girl survival horrors, I like the more actually spooky and less gruesome stuff, and a part of loving horror is understanding the genre.

No one in my family enjoys horror, fair enough it's not for everyone, and a lot can be said to criticize horror and various horror sub genres. Rape and vore and gore is used too often as shock factors or tactlessly handled. Platforming fucked up world views accidentally or otherwise through horror and using the fact that it's horror as an excuse? Meh not a fan but somewhat more understandable.

The thing about horror as an overarching genre is that it's not intended to scare, I mean it is but that's not the central goal. It's meant to explore the things we are most uncomfortable with. It can do that through scaring, but also through tragedy, through mystery, through thrills and chills (more lighthearted spooks), through morbid comedy, and through heavy fictionalization of very real things.

The thing is, though, horror is only effective specifically with the people whose horror it's addressing, and even then only if it addresses it correctly according to the expectations and experiences of that sub group. (I hit post before I finished oops)

A horror that is effective for me is one that rather focuses on the beauty, reverence and tragedy of the beyond, than cheap scares and shock factors. A ghost story where the ghost may or may not be real. It could be a supernatural entity doing spooky shit, or it could be a manifestation of the deepest most painful experiences of human existence. A ghost can be a malevolent entity, or a figment representing malevolent experiences that are difficult to understand and wrap your head around.

Haunting of hill house explores sudden and traumatic loss, bly explores a loss you know is coming for a long time before it arrives, the turn of the screw (another adaptation of the short story bly is based on) focuses more on how terrifying mental illness can be for those who suffer from it. Lavender (2016) explores imo csa tactfully, depicting it as a family of ghosts luring a lone survivor of a tragedy back home to take revenge on the actual killer, while also exploring how survivors of childhood trauma and especially csa can feel shame and responsibility for the things that happened to them. It even addressed suppression of traumatic memory semi effectively.

You can tell my bias for the sub genre of trauma and tragedy explored through a lense of the supernatural. This sub genre of horror isn't good to everyone. They rarely have gore, they have limited or highly artful jump scares, they favor subtlety over shock value and they make use of the set and the score to tell the story rather than any scary events overtly portrayed. They still have those, but it takes second stage to the story. People who love more traditional horror, jump scares, ghosts that are visible and vocal and violent, straightforward stories where everything is explicitly explained, that's more appealing to a lot of people.

Slashers rose to fame because of the rise in serial killers, found footage worked because we were shifting from analog to digital media and digitizing old analog media unearthed a lot of random shit and sometimes strange and unsettling shit, and people wanted to explore that concept more deeply.

In the 60s horror was a pretty new genre to my knowledge. The closest we got was snuff films (which are mostly lost to time thank god) and Gothic horror, monster films with practical effects, it was a whole new concept and they were testing the waters with godawful tech and even worse makeup, but they stood the test of time because they were the first steps to a whoooole new type of media, where people could explore the most extreme and terrible things we experience in a way that is safe, it feels safe. People like horror because you can walk away from feeling the things you're too scared to feel usually, and go right back to regular life like nothing happened, because technically nothing did.

Now I'm no film historian, the above information is pieced together from random shit I've heard and read and watched over the years, but I think I got the gist of it. Horror sucks from generation to generation, person to person even, because whatever is happening in society at the time, or to the individual in their life, will affect what themes and tropes hit hard for them.

Hill house works for me because I've experienced sudden and traumatic loss and it manages to capture how the grief actually feels over the years. Bly manor works for me because I'm queer, but also because my grandmother had Parkinsons, my grandfather had dementia, my other grandfather had esophageal cancer, and knowing what's coming didn't make a difference in any way to how intensely I've grieved them.

Lavender works for me because I was traumatized by csa and early exposure to sexual materials, and I have had to fictionalize my trauma to be able to cope with it my whole life, and my memory isn't reliable, and if I'm ever driven to it by highly extreme circumstances I would probably benefit from getting retribution for all the shit everyone in my life has put me through.

Slashers aren't good to me because it's cheap shock value, and I feel like a lot of my generation feels the same. Though they seem to be making a bit of a resurgence, and I'm curious to see what the reasons are. Older generations don't like the more subtle mindfucky horror I like, because they don't want to have to think about it. They want cheap thrills and chills and excessive gore that you have to suspend your disbelief for.

I haven't been able to figure out what about slashers are good to older generations, but I would like to know more. This is getting too long and I think I've said what I wanted anyway so yeah, the world sucks in different ways now than it did 20/30/50 years ago, and fictional media will reflect that.

"Why does Gen Z suck shit at horror?" every generation sucks shit at horror. In the 2000's they were sucking shit at found footage, in the 80's they were sucking shit at slasher flicks, in the 60's -- Jesus, in the 60's they sucked so much shit someone went and made a whole TV show where a bunch of guys watched horror movies from the 60's and made fun of how much shit they suck.

[verefex]

Thanks for the replies on that last post, everyone. I didn't feel too comfortable posting something that is completely out of context, but the message kinda blindsided me and came out of nowhere, and I had a lot of things to say to this particular anon.

I won't go into details about it, since the people involved are all on tumblr and I don't want to exacerbate the issue, but dredging up old injuries is not okay. I haven't interacted with anyone involved for almost a year, so it's likely that the anonymous message came from someone snooping on my posts and judging my current state based on the contents. The message was too specific to be anything otherwise.

Mind you, this entire situation happened outside of tumblr as well. There was no need to message me that here of all places, but I guess since there's an anonymous option, that's why.

Again, I do apologize for not providing any context. I do not wish to elaborate any further and I will likely delete these two posts soon. I just want to let everyone know that I am okay, I appreciate all the replies, and I just want to be left in peace.

[rafesbabyg1rl]

Hiii pretties! Welcome to my blog!! Please keep things positive and stay slutty my friends!!!

~If you have any requests, please feel free to leave it in my inbox!!!~

Masterlist: The Watcher (Part One, Part Two, ...)

you can read the rest if you wanna like know more about me n shit ig

Hello!! I'm Kay, or K, kat, whatever you wanna call me. I'm literally just a girl. I am a freakkkk. I do be a bit of a stoner y'all, and I usually am high when I write, so if I make a mistake, I'm blaming that. I'm from the United States (unfortunately) and I only speak English. This is a safe place; I am always here if anyone wants to talk. I do not discriminate; I do not spread hate. I do not and will not tolerate hate or unkind behavior towards me or others here on my blog. Like seriously guys I have bad anxiety, so please be nice and don't make it harder for me.

This is pretty much solely for Outer Banks, Rafe Cameron to be more specific. But, feel free to talk to me about other things!

Other things I'm interested in/passionate about: Taylor Swift, veterinary medicine, Breaking Bad, Better Call Saul, The Walking Dead, 13 Reasons Why, Supernatural, Jurassic Park/World, Harry Potter, The Maze Runner, The Hunger Games, comedy movies (Seth Rogen & James Franco). I love cold weather, books, and cats. Music is life and I listen to a little bit of everything so feel free to send songs.

I AM a student, so just keep in mind that I may be inactive because I’m in CLASS or doing work; because I will prioritize that over tumblr (well, i try). Other times I’m inactive because I am sleeping, or because I’m busy with LIFE. I am not tied to my tumblr and blog. I’ve had only positive experiences here so far, but I know that fanfic writers are often mistreated by readers, but guys we are all just people.

If you want me to hurry up and publish new work, don't tell me that, just interact with my blog and compliment my writing and that will motivate me more than anything else ever could. Also ASK AND REQUEST PLEASEEE!! I really enjoy and appreciate new ideas and feedback from other people's brains. I also appreciate constructive criticism. Don't be mean about it, but if you dislike or disagree with something, tell me politely. I like hearing feedback and am always working on improving my writing.

Seriously y'all, please please PLEASE do NOT be hateful. Do that on your own time, not here. I will not tolerate unnecessary attitude and hate. I believe in forgiveness, and I know that mistakes and misunderstandings happen. I will treat anyone and everyone with kindness and respect unless I have reason not to (really hoping I don't).

Who do I write for? I only write for Rafe Cameron. However, I'm not opposed to writing a little or sharing thoughts about other Outer Banks Characters!

What do I write? I will write literally almost anything. There’s no such thing as too much for me, so request away please. ------ As for darker topics, I will write them. Actually, a large portion of my work will include darker topics/themes/kinks, etc. I will write sensitive subjects too. But just because I live for that shit, doesn't mean everyone else does so I'll do my best to include warnings on all my work for any content that might potentially be triggering for others.

(Small warning: mentions of my mental struggles and self-destructive habits) I've always struggled mentally. I've always felt as though the way my brain works is different from everyone else; like something is wrong with me. But after many many years, I now have a better understanding of myself and how my brain works. Not to dump this on y'all, I swear I have a point, but I have diagnosed depression, anxiety, and ADHD. These things are all a big challenge I face in my day-to-day life and are often the leading cause of why I may take longer to write and publish things. I may take breaks, so don't worry if I'm not active, I will be back at some point. And I'll try my best to update you guys on when I'm gonna be less active or vice versa. Another way my mental health effects my writing is because when I write, a lot of the time my personal experiences or feelings will end up incorporated within my work, since well, it's all coming from my brain. I mostly write for myself to express my thoughts and feelings, having others read and actually enjoy my work is just an added bonus. But personally, I have struggled with self-harm for about one third of my life. I often get ideas for new works revolving around this theme and may publish things about it eventually. Themes such as mental illnesses, self-harm, abuse, insecurities, EDs, suicidal thoughts, unhealthy relationships (obv), toxic household, etc. will have a reoccurring appearance throughout my works. So just be prepared, I guess.

And like I said before, if anyone needs to talk, I am ALWAYS here and I am a very good listener.

Everyone is more than welcome to message me or leave anything in my inbox. Whether it's to chat, request something, ask something, literally whatever is welcome!! (Except hate I don't fw that)

Thank you for visiting my blog, I hope you enjoy! As always, be kind and stay slutty!

[moominvalleysunset]

Jack & Joker episode 10 thoughts on P'Oh's death

I saw a poster who said they were abandoning the show because of their treatment of Trans characters (Their examples: making P'Saran's character Nulek the butt of a joke and killing off P'Jennies character P'Oh quite gruesomely.) And while I completely understand that this is a sensitive topic, especially right now, where Trans rights are being attacked in many if not almost all parts of the world and the result of the US-election does not bode well for a fair and inclusive future (and as you don't know me, let me emphasize: Trans rights are human rights, end of story!), I cannot agree in this instance. Loooong-ass Essay under the cut, be warned!

First of all, Thai culture is a special case as far as gender, gender identity and gender expression goes, both historically and in the progressive movements that are happening both in Thai society and in the entertainment (specifically the BL) industry. You simply cannot judge it solely by Western (or even other Asian) cultural conventions and standards, and by viewing it even more exclusively through an USA-centric perspective you are not doing anyone any favors.

I think that everyone watching Thai BLs regularily at least knows a little about the underlying cultural issues and practices, but for those who would like to learn more, I would recommend reading Dr. Thomas Baudinette's extremely fascinating and well-researched book Boys Love Media in Thailand (https://thomasbaudinette.com/boys-love-media-in-thailand-2022-3/) , where he also touches on the development of presenting trans and genderqueer characters in Thai TV and film (though only up until 2021/22, and the last two years have seen significantly more progress, diversity and inclusivity in Thai media both in front of and just as if not more importantly, behind the camera.) It's a great read, and I'm looking forward to the updated edition coming out next year. Or at least read a Wikipedia article or two about the subject if you haven't already, it's extremely interesting!

Now secondly, I want to take a look at the narrative. First of all, the two trans/genderqueer characters mentioned above are not the only ones in the show. We have Nulek's friend Pharao, Joke's disguise as Jessie (not a girl but a genderqueer person in drag, and emphatically NOT a caricature), Arun as a femme character and not to forget P'Oh's business – and maybe life – partner, a Trans man. Neither of them has been singled out, ridiculed or punished for their not conforming to any hetero- or cisnormative standards in the story (except for Arun by his dad, and nowhere is this presented as anything but reprehensible behaviour by a father). They are normal people struggling with social injustice and mundane problems, like anyone else. Which brings me to the first of the two instances mentioned, Nulek. While I understand that leaving them at a trash heap (I think we all can agree that getting them out of the way was just a plot thing that needed to happen) might raise some hackles, they are not the only one left there. The – very cismale – driver that Joke impersonated was also left at the landfill, so it is maybe not all that symbolic? Especially because Nulek and Arun's other subordinate Pharao get their comeuppance later on when they get their wonderfully petty revenge on their fallen boss. They have gained agency, rightfully enjoy their upper hand and are again not being ridiculed by the narrative.

And now P' Oh, played by the wonderful P'Jennie. I am horribly saddened by her senseless death, angry and frustrated, because it was so preventable and unfair, but her being Trans is not the most important part here IMO. She was trying, she was struggling, she was failing, she was succeeding, she was funny and sassy and beautiful and a smart businesswoman, and she was the only character apart from the mains, Toi Ting and Ama (who were not spared, either), whose death would send a big enough shockwave through the community to finally rattle them into fighting back  (but also leave the mains able to function and not utterly paralyse them in grief). That's why neither Toi Ting's dad nor Tattoo's mom were viable options. P'Oh was respected and liked in her community. Having her die was dark as fuck, but narratively speaking IMO necessary, and she didn't die because she was Trans. She died because she was the only character whose death would have the right amount of repercussions. So I cannot agree with the other poster that killing her was "shitting on Trans women". Really not.

Thirdly, we have to leave the show and look beyond, behind the camera. These people are longtime collaborators and by all accounts great friends and business partners. P'Jennie is a star who has written lakorn and BL history with her roles. There is nothing but love and respect for her from the makers of the show, you can be sure of that. And I would really like to hear her speak about her character and her role here. And Nuleks actor P'Saran and their friend Pharao have been collaborating with War, Yin and their managers since the first En of Love Anthology in 2019/20. YWPBs managers P'Go and P'Aun themselves can be read as femme. YWPBs work environment and the people they choose to collaborate with seem to be progressive, inclusive, diverse and definititely neither cisheteronormative nor tone-deaf to social issues, as we can see in all their works and public presence. Even more so in War and Yin themselves and in what they choose to say, do and stand for publicly. Are they all perfect? No (who is?), but it seems to me that they are trying really hard to do what's right.

So while I of course understand why someone could be triggered, angry and disappointed at what they see as yet another instance of a Trans character being treated unfairly, I would argue that here this anger might be misdirected and this reading neither does justice to the characters, the narrative, the actors and makers of this show nor to the very real issues Trans and genderqueer people still face in Thailand and around the world.

If you made it this far, thank you for reading my essay/rant and I would be extremely interested in what you have to say in return!

[clubsmarties]

—

"They're very easy to win over. The only thing that would give you trouble is if you happen to cause me any sort of harm." The smile told her everything from how he was only kidding and how his sisters would like her. She'd pretty much secure being liked by Emma. "Hmm. I like that. It wouldn't be food or homework. Okay, if I win then you let me take you out dancing without knowing any other details."

He raised his hands in slight defense and laughed. "That's more than I can do so you're already better than I am. Do you make the grilled cheese really melty? You're conquering chicken noodle soup, see I was right about master chef."

"Right? Everyone passed her by and so I felt like if I did that I'd be an asshole. Final stop was going to be California. The Bay Area specifically. It's cold and I would be irritated with the heat. But somehow that translated to Texas." A small amused laugh escaped him at that. "Dont think it was all bad now." His smile couldn't be helped as he nodded. "That is the actual best. Watered down chocolate tastes like it has no flavor and it is so disappointing. I think I got really sad that first time. Then Stella at the diner had me control the machine. That's how come I'm in charge of the coffee machine."

He pushed his nose against hers and smirked as he pulled her bottom lip between his teeth and sucked on it. If it weren't for her mischievous smile he would have thought that this wasn't a good idea. He gave her a small little peck before he rearranged himself and moved over to sit in front of her. Cupping her face he kissed her again, this time letting one hand drop and roam down her sides.

The hoodie being a little big on her made it easy to land his hand underneath to touch her warm skin. As he let his hand explore he found the unexpected, the hoodie was covering a lot more than he realized. He let out an appreciative sound at the softness her skin provided the palm of his hand. It was times like this that he was grateful he didn't have a roommate. No one that could come in and interrupt their slow getting to know each other. Smirking against her lip at the way her body responded to him made him feel smug. He'd been told how this could go but words didn't give the feeling justice. The feeling of making someone else feel safe enough to let go and let them see the inner most vulnerable parts of themselves.

"Really? You are giving me the key to woo your sisters, I'm liking my chances," she was beaming with happiness. Though, the idea of meeting any family did frighten her. She kept that to herself for now. "Um, fair enough. If they're not embarrassing, then hm, I'll owe you something. Your choice."

"Don't feed my ego," she warned as a smile peeked through. "Three things, yep. I can kinda make grilled cheese, scrambled eggs, and chicken noodle soup. That last one is tough," she joked, though it had been a mission to learn. Though, now she made a mental note to check in with her dad, to see when they could visit. Or if he'd be away on some trip, maybe they could go then. Just to not scare Eli with the, meeting her parents conversation.

"Woah," she breathed out at the twist and turns that brought him here. "Sounds like I may need to be thanking this lady and her luggage." Or, more accurately, she should be thanking him for his kindness and willingness to help a stranger. That's what led him here, after all. "That is definitely some way to land in Texas. So, you've been at the diner for quite some time, wow. If not Texas, what was the final stop then?" Only curious to know where he would've ended up if he had made his connecting flight. "Us two with the pretty eyes, lucky us." Laurel laughter burst through her lips, shaking her head as he agreed with her. "With marshmallows? Now, that sounds good. Watered down sounds like a crime. Well, the moment there's a chill in the air, I'll be buying hot chocolate with the marshmallows." That piqued her curiosity, what kind of absurd questions were they asking his sisters? "You just want me to ask, and prove that you don't share, huh? I'll indulge you though. It'll be my first question to your sisters."

Laurel's heart was beating in complete anticipation as his fingertips grazed her lips. Meeting his green eyes was a rush of excitement, subconsciously leaning in to meet his lips. It was a bit of an odd angle, but she didn't mind it at all. It was a slow warmth spreading throughout her, her heart pounding in her chest as she leaned in just a bit more, trying to get a taste of his lips. Trying to learn everything that had not yet been asked between them. She had loved the two kisses they had share up until now, but this one was special. It was gentle and slow, nothing rushing or interrupting them. Frankly, she could've stayed here all evening. "I can confirm that I'm a fan of the slow make out." A breathy laugh followed his comment, nudging him gently with her nose. "Is there an option for all of the above, including that unspoken third option?" Because that option sounded really good right about now. "The order of the activities doesn't really matter either," she mumbled, and that might've been interpreted for shyness, if her mischievous smile was not betraying her.