#like my life doesn't really have a purpose

[mixupmycota]

kinda upset by how many people are insisting that davrin's narrative is more about assan than davrin

it's really not

everything revolving around how davrin interacts with assan is also him talking to himself

which is a perspective problem that all of the companions have

they are all people who are too in their own heads to be able to resolve some of their deeper fundamental conflicts, because all of them are deeply lonely and alienated from their respective social environments, convinced in various ways that they cannot relate too others or be related too in turn, which is one of the things that makes them the perfect team to hunt down solas, who has the same problems writ large across the ages.

and in overcoming their issues and turning to rook and each other for external opinions while solas observes rook it demonstrates that other courses of action are possible and that there is value in trusting others with their loneliness and vulnerability but ANYWAY

davrin pretty clearly projects his feelings about his own upbringing onto assan, including the very

clearly present problems he has experienced as a dalish warden, if we let ourselves see them. he's not turning around to us and saying directly that he's been treated like shit by humans for most of his life in any run i've had so far. he also doesn't need too. he demonstrates it with the positions he holds.

how he advocates for not revealing the truth behind the origins of the elves, because it will make their lives harder than they already are.

how he tells assan that he needs to toughen up or he'll get chewed up by the world. that he's meant to be a hunter. that it's in his blood. it's what he's for.

how he changes his mind when he sees assan interact with the halla. how it clearly reminds him, along with his reconnection with endrin, that he was once a little boy who sang to halla. that he is more than violence, more than the hunt, more than a living weapon meant to be used once and then disposed of.

i've barely touched on his romance at all in my current run but like. please. even without it, just from my first run:

davrin is so clearly afraid of abandonment, of rejection. of letting his guard down and letting people in because it might compromise his dedication to his chosen path - *as are they all, in different ways, which is on purpose* - that he is trying to raise assan to protect him from davrin's own pain.

which doesn't work! that doesn't work.

davrin looks at assan and names him arrow. davrin looks at himself and calls himself a weapon. davrin doesn't let himself return to his clan because he anticipates their rejection. because he already didn't fit in with them to start with. davrin never gives us his last name.

the unity between warden and griffon comes when davrin stops just projecting his own pain and fears onto assan, and learns how to work with assan as he is. In doing so, it makes him realize he can be more than a weapon. That there's an option for him beyond sacrifice and vigilance. That he can find peace. it is a reconciliation of disparate aspects of his Self, which is another recurring narrative thread in the game.

Davrin doesn't have to completely disconnect from his people. He doesn't have to himself separate and away from everyone, protecting them from what he perceives as his inevitable end, or from harming them. Assan can just be Assan, and Davrin can just be Davrin, and they love each other.

he reconciles himself with his complex feelings around his clan, finds value in the lessons they taught him that he chafed against as a younger man. he reconciles himself with the complex history of the wardens, and looks for a different future with them too.

assan is bright and vibrant and alive and new and, to borrow davrin's word, "pure". He can be anything. He reminds Davrin that he can be anything, too. Assan is a catalyst, he's not the actual focus. He is the catalyst for realizations in every scene we see him in in Davrin's personal quests, which are always actually about Davrin.

[auroras-zenith]

what doesn't kill you // part 5

you had your whole life planned out for you; start an agency with your best friend, scale the charts and make japan your bitch. but when a tragic accident leaves you incapacitated and out of a job, you find you just need to start fresh. you cut ties–and for two years, you've all but disappeared. until they need you again and come knocking at your door.

bakugo x retiredpro!reader

prologue ✧ previous ✧ next

"Where are you going?"

You stilled. Your instincts were alert as ever, and yet, you couldn't whip around the way you might've had you not been in this stupid wheelchair.

"I can't tell you that." You said quietly, ears trained on who you knew to be Jirou behind you.

But turning would give her the impression that this was up for debate–and it wasn't, so you kept your head facing strictly forward.

"You won't get far."

The scoff that escaped you was angry at the surface, but mostly just hurt below that. "Who'll stop me? They don't want me anymore, Jirou."

You refused to cave, but your shoulders wilted inward slightly at the admission. "My own partner can't look at me anymore."

Her footsteps were quiet as she moved to your desk, picking up a picture frame containing an old photo of you and Bakugo.

"He's just–"

"Processing? Yeah. Shoto said the same thing. And Izuku. And Kirishima. Along with pretty much everyone else we know." You mumbled scornfully. "But you want to know what Katsuki said?"

"Nothing. He's said nothing."

She sighed, staring at your happy faces. She set the photo down.

"Fine." Moving to the door, you assumed that she was leaving.

You returned to packing, a new weight on your shoulders as you did so. "How'd you find me?" You had to know before she left.

"The same way he'll find you, the minute he comes to his senses." She shrugged, making her way to your kitchen. "I'm going to have Chamomile! You want some?" She called.

She wasn't leaving? "Wha- no?" You mumbled, confused.

The clothes in your hands were set down and forgotten once more as you hurried to make your way to her–cussing as the bulky wheelchair refused to move the way your legs used to.

"How's that? And how did you get in?" The wheels turned clumsily as you entered the room, finding her sitting on your counter next to a boiling kettle.

Purple eyes followed you, unreadable as they seemed to analyze your every move.

"You were the fourth ranked hero of Japan, L/n. You think the hero commission doesn't know where you live? I'm the nineteenth ranked hero. You think I can't get a key made?"

That... was a fair point that you had not thought of before.

Would he really change his mind?

Not that that was the point. The point was of course that you now had a new problem to consider.

"But I'm not fourth anymore. I'm just a crippled civilian, as far as the commission is concerned. As far as anyone is concerned. Once I move, their information will be outdated." You challenged with a frown.

The kettle began to whistle loudly. "I can't tell if you really believe that." She said with a shake of her head as she poured her water. "Just because you're out now doesn't mean they'll stop keeping tags on you. The only people they don't have their little hooks sunken into are the people who fought to have them removed."

Hooks of your own were being shot straight into her back–except they were more like daggers because she was so doing this on purpose.

"Dude, if you know how I can get my info wiped, just tell me."

A white cup was in her hand as she turned back around. You fought the urge to flinch.

That was his cup.

The one only he was allowed to drink out of. The one that he had gotten you a couple years ago as a gift to himself. The one that he left here for all the late nights and early mornings the two of you would need a warm glass of tea to stay awake together.

You shoved the thought away, fighting to stay present. Deal with the more important issue.

"You can't." She looked apologetic.

"Wait- what?"

"You can't." She repeated, turning back around and adding her sweetener and milk to the tea. "It... it takes rank."

Oh. Right. Rank. Rank that bestowed authority. Rank like being the fourth prohero of Japan. Rank you no longer held.

You cleared your throat, taking a deep breath. The world was making it very hard for you to run away.

You were both silent for a moment.

"You have plenty of money."

The words were quiet. Tentative. Testing the waters and offering another option.

"You don't need to work another day in your life. You have no need for hero work anyway."

Your head was shaking no before you were conscious of it. "I can't stay here Jirou." Voice shaky, it was your turn to turn away.

A loud sigh echoed through the room.

The silence that followed it was louder.

"I know."

The ceramic cup made a quiet clink as it was set on the table. Next thing you knew, warm arms enveloped you as she kneeled before you.

This time, the silence was not so abrasive. Rather, soothing.

"I'm going to get you out of here." She whispered gently in your ear, not breaking the embrace. "I'm so sorry this is happening to you. And I really, really wish that you could stay. Wish that we could've gotten to know each other better."

When she finally pulled away, the warmth she'd brought stayed with you. Her hands continued to rest on your arms as she backed away just far enough to look you in the eye.

"But I'm here to help you. You just have to trust me, okay?"

Could you really do that? In your current state? When you had just lost the person you had trusted most in the world and the scars were still so fresh?

You stared at her, searching for any sign of dishonesty or reason for mistrust in her eyes.

"Okay." You decided when you found none. You could.

a/n: sorry i missed the update yesterday 😭 ily all 🥺

taglist: @floverisland @biancatomlinson @rosaryia @highlandhyena @sarashu @rednicotine @emmaiscool22 @your-mum3000 @whoreforfictionalmen18 @sikuthealien @thefirst-ofus @harryzcherry

permanent tags: @phtmmsqrde @pikachuzhc @stabbygabyy @frosted-flakes @didibanini

[doctorprofessorsong]

I've been waiting to really have some time to type out my thoughts about the Ody3, and now I have managed to sneak away, so here you go.

Doctor Odyssey is not being presented as a love triangle, but instead as a throuple. A basic tenet of polyamory for a lot of people is: one person cannot meet all my emotional and physical needs.

And to be crystal clear, that's also something the show has expressly outlined. The captain said it. Out loud. About a throuple. So it's not like this is unintentional.

With that, here's why this throuple story is balanced and conveying clearly that they each meet separate and important emotional needs (physically they've all said it was awesome so let's assume the sex is good)

Avery - Avery is an interesting character because she is very smart and largely defines herself by academic accomplishments. In fact, she is considering med school but doesn't have a burning need to be a doctor. She just feels like it's what she should do. This wars with her nature to pursue pleasure. She wants to see the world. She isn't interested in settling down. And she has a fear of commitment that stems from being hurt while envisioning a future where she has "fixed" herself and has kids and a spouse. She also froze her eggs, which takes commitment, but didn't say kids as her bucket lost goal.

Tristan - Tristan is all heart. He's touchy and feels deeply and openly and unapologetically. He openly loves, appreciates being wanted, and tbh is a himbo (honorific). He also is terrified of being left because of his mother who love bombed and abandoned him over and over again. He craves something stable while also being absolutely terrified of getting it and either losing it or losing his taste for it. He wants kids but isn’t willing to risk his heart unless he knows his partner is all in on him which is basically an impossibility at the front end of a relationship.

Max - Max is smart and he knows it. He loves learning new things with an enthusiasm most people don't appreciate. But that's both an attribute and a drawback for him because Max hides behind his knowledge when he's scared or hurt. Rather than be vulnerable, he falls into a pattern of professionalism and authority (earned or not). He longs to let his hair down, but stepping out of his self-imposed role is terrifying.

So knowing all that, let's look at them ttogether.

Max and Avery - these two absolutely thrive in an academic or cerebral challenge. They challenge each other and push each other intellectually. They are attracted to the other in part by those sexy brains. But they have no idea how to cross the divide on an emotional level. Avery has no clue how to tease Max out of his rigid walls (something she seems to acknowledge when asking Tristan to help with the throuple idea). And Max also can't figure that out. Also, Max encourages Avery's instinct to define herself by academic achievements (not purposely so much as because they are too alike here)

Max and Tristan - Max and Tristan have similar life goals but it's the way they connect emotionally that is the key to the balance for both characters. Tristan can reach Max, like he did in the mid season finale. He breaks the ice around Max's heart. Max, meanwhile, gives Tristan and stability and maturity he craves. And Max feels like he's a constant. He may retreat behind his walls and rules, but you get the feeling that if he lets that guard down, he would be a steady partner.

Avery and Tristan - these two like each other. They're close. They care about each other. Yet they didn't find a space without Max. I think it's because they are both too prone to having fun (Avery) and running away from commitment (both of them). Tristan has historically held Avery up as an idea while not seeing the person. Avery has either dismissed Tristan or recognized she isn't willing to give him the steady commitment he craves. They are GREAT for each other. They care about each other and support each other and connect so well. But neither of them is in a space where a healthy relationship can form on their own.

When you put them all together, you start to see both how they fulfill certain needs in each other but also how they fill in the gaps. No pairing stands alone. It's unbalanced. But together, they work so well.

Interestingly, we're shown that. They are best when they are together and on the same page. Things feel unbalanced when they aren't on screen together. Even when they work well together one on one, eventually coming together as a triad is like an emotional home base for them.

[cosmicjoke]

I think you misunderstand my point entirely. It's not about the practical reality of whether Ash could "conceivably" have escaped his life of crime and lived a secure and anonymous life with Eiji, and it's certainly not me saying I think Ash had to somehow "pay" for what he had done during his days as a gang leader. It's about what Ash thinks of himself, and his particular trauma and the damage wrought upon him and his psyche by the severe abuse he suffered and the life he was forced to live as a consequence. It doesn't matter if Ash could have realistically or potentially escaped his life, because he couldn't escape the self-hatred that the abuse he suffered instilled in him. It doesn't matter whether his being in Eiji's life wouldn't have actually endangered Eiji, becaues Ash believed that his presence in Eiji's life did. He couldn't escape his trauma, and that's really the point and the purpose of Ash's death, in the end, is it doesn't allow the reader/audience to undermine or downplay what Ash lived through by acting like everything would have been hunky-dory if only he'd been able to run off to Japan and live happily ever after with Eiji. It forces the audience to contend with just how devastating Ash's trauma is and the true horror of child abuse by showing the tragic end point of it in Ash's death. Ash quite literally dies as a result of that abuse, because it was that abuse that led him to run away from home, which in turn led him into Dino's hands, who's further abuse led him into a life of crime, which, ultimately, is what led to Lao believing he had to kill Ash in order to protect Sing.

Ash had all the ability in the world, all the potential in the world to be whatever he wanted, sure. But it didn't matter, because his life was destroyed by the abuse he suffered and by the people that abused him.

Banana Fish offers no idealistic ending or silver lining to the life that Ash was forced to live, and that's what makes it such a powerful work of art. It presents a naked and raw depiction of the true consequences of child abuse and forces the audience to contend with that reality. It doesn't allow you to console or comfort yourself with notions that anything, no matter how bad, can be gotten over, if only you try hard enough. That's just not reality. There are so many people in real life who never get over their trauma, who never make a full recovery, or even a partial recovery, and it's one of the most insidious and cruel aspects of this insistent claim that everyone can recover from their trauma, because it's essentially telling the people who can't that the failing is their own, sending them the message that they failed because they didn't try hard enough, or simply weren't strong enough. And that's just simply not true. People who are unable to overcome their trauma are no less than anyone else.

Ash believed plenty of things about himself that weren't true, and that's the point. He believed those things because he'd been conditioned through years of horrific abuse to believe them, and him dying in the end forces you to contend with the true weight of that, by denying Ash what he actually deserved, which was a life of happiness and love. It's so absurd to me when people say "Ash didn't deserve to die" or "Ash deserved better". Like, no shit. But Ash didn't deserve any of what happened to him in his life, and again, that's the point. It didn't matter what Ash actually deserved because he was failed so completely by the people that should have protected him in the first place, and it's their failure that resulted in Ash's life being so unfair and cruel. It's because they allowed Ash to fall through the cracks. The same story of so many abused children in this world. None of it is deserved or fair, but it's reality.

Banana Fish is meant to serve as a warning for why we can't allow the things to happen to children that we see happen to Ash, and it drives home just how unacceptable allowing those things is by having the story end in Ash's death, by giving us the worst possible outcome for what Ash suffered, and so impressing upon us why we have to try our hardest to make sure what happened to Ash never happens to anyone else. Ash's death forces us to face the true consequences of allowing children to be abused. We aren't allowed to pretend through Ash's "happily ever after" that what happened to him really wasn't so bad after all.

Further commentary on the ending of Banana Fish (Spoilers):

Look, I understand the controversy and upset surrounding the ending of Banana Fish.  My last post on this topic seems to have pissed some people off, which was never my intention.  But I think maybe I could have worded things a bit better, so I’m going to try again to explain why I feel like the ending of Banana Fish was so perfect.

It’s not a happy ending, and I don’t think anyone, anywhere, will try to tell you that the ending was meant to make anyone happy, or satisfied.  That’s the point.  It’s not MEANT to please the reader.  It’s meant to remain true to its narrative realism.  And in that realism, it’s meant to break the readers heart.  And boy does it do both.

I don’t think anyone would tell you, anyone with any ounce of feeling in their heart, anyway, that Ash didn’t deserve a happy ending, or that he deserved to die after all the awful shit he went through.  I think we can all agree that we would have wanted, if we had a choice, to see Ash have a happy, hopeful ending with Eiji in Japan.  We all agree that Ash DESERVED a happy ending, because he was a good person who was dealt about the shittiest hand in life a person can have.  And despite all that shit, he retained that innate goodness of heart that made him who he was.  He never became a monster, like the people who used him up and abused him over and over again.  That’s what makes him such an extraordinary character that’s deeply loved by so many people. He absolutely deserved to be happy.

But that’s the thing. Banana Fish is a story that deals in reality.  Everything that happens in the story, despite the often extraordinary, larger than life circumstances, is dealt with in a way that is, very often, brutally, painfully honest and realistic.  It doesn’t give us what should be, it gives us what IS.  And that makes perfect sense in accordance with its relation to writers like Hemingway and Salinger.  They wrote stories that dealt in brutal honesty and reality too, and both writers are referenced throughout Banana Fish.  And it’s Banana Fish’s commitment to that brutal honesty and reality that makes it an authentic piece of art.  People want a fairy tale ending, where Ash gets to ride off into the sunset with Eiji and live happily ever after, but at no point in Banana Fish are we given any indication that the story is, at any point, going to delve into the realm of unreality and fantasy, and give us such an ending.  To do so would have been a betrayal of the genuine nature of the narrative. It would have ultimately robbed it of its authenticity as a piece of art, and the story, as a result, would have been left hollow and lacking.  

Banana Fish, throughout its narrative, shows us that terrible things happen to good people, and that good people are often forced into doing terrible things.  It never shy’s away from that cruel, heartbreaking reality, and the ending is no exception.  

It affects us so deeply, and leaves us so upset, because it’s so REAL.  It feels genuine to us, it feels real, because it refuses to betray its honesty for the sake of a happy fantasy.  It remains loyal to the harsh truth of reality, and the harsh truth of Ash’s reality in particular.  Ash is a deeply damaged, broken person, who’s experiences in life are the very definition of cruelty.  Here is a boy who, since the age of seven, has experienced sexual, mental, emotional and physical abuse repeatedly and on a scale truly unfathomable to almost all of us. A boy who was forced into a life of prostitution in order to simply survive on the harsh streets of an unforgiving city.  A boy who, again out of a necessity for survival, has had to kill other human beings. A boy who, out of a desperate situation in which he was forced to choose either to save his soulmate or watch him be murdered by his best friend gone berserk in a mad, drug induced insanity, had to kill his best friend by shooting him straight through the heart.  A boy who, each time in his life that he’s tried to build real and meaningful relationships with other people, Griffin, the girl he liked when he was 14, Skip, Shorter, Eiji, he’s had to watch those people he allowed himself to grow close to either die or almost die, over and over again.  All of that combined creates a level of trauma that’s so far beyond the normal scope or understanding of a regular human being, so far beyond any discernable mechanism for coping with trauma, that to expect Ash to just get over it, for it all to magically be okay just because he moves to Japan with Eiji, is the height of unrealistic, and, again, would be a betrayal of the authenticity the story marries itself to from start to finish.  

Ash’s death is a tragedy, as his life was a tragedy, and the story is a reflection of that.  It stays true to that narrative, and never compromises on it.  That’s the point.  Life doesn’t always have a happy ending.  People that have suffered severe, irreversible trauma don’t always recover, and can’t always heal from it.  People who have suffered in the obscene and brutal ways that Ash has aren’t always going to be alright.  Sometimes it’s just too much.  For Ash, it was just too much.  Too much damage.  Too much heartache.  Too much pain.  Too much loss.  Sometimes we can’t overcome our damage, and that reality presented in this story scares people, I think, because it’s so nakedly honest and unapologetically expressed.

The ending is so god awful painful too because we see, in that moment after Ash reads Eiji’s letter, hope bloom inside him.  For an instant, this belief that maybe he can have a happy ending, when he thinks he’ll catch Eiji at the airport, and maybe go with him.  And in the next instant, he’s mercilessly reminded of that hope’s falsity. Hope springs eternal, but not always true.  Hope and happiness were never meant for Ash.  The chance for that was taken from him before he could even understand what those concepts were.  The thematic arc of the story was telling us from the start that it was going to end in tragedy.

People weren’t meant to LIKE this ending.  It wasn’t meant to make them feel good, or okay with what happened, or fulfilled.  In fact, I’d say, it’s meant to make you feel completely devastated.  As the story reflects reality, so often too does real life end in a way that leaves us feeling lost and confused and heartbroken.  Banana Fish is so good because it stays true to that sense of reality, right until the very end.

The ending doesn’t leave us feeling happy, but it sure does leave us FEELING.  Like any real piece of art would.  The emotions it conjures are immense and, for some I guess, too real. That sense of loss and hopelessness and pain it leaves us with is so effective because, again, it’s so honest. And I guess that because those emotions are so real, and felt so deeply, and with such intensity, it leaves some readers and viewers feeling angry.  Lashing out at a reality which they don’t want to accept.  The irony, of course, is that their hatred and rejection of the ending is testament to just how deeply the ending touched them.  It didn’t leave them feeling nothing, it left them feeling too much, and they then go into a state of denial, which is really just a stage of grief.  A refusal to accept.  You know Banana Fish is a true piece of art for that, in how it conjures sincere feelings of grief and mourning in us for its lead character in Ash.  We CARE about him, deeply.  We want him to be alright, because we love him.

But real art isn’t concerned with placation.  It’s concerned with truth.  So many great pieces of literature have unhappy endings, because that’s the truth of the human condition, and the condition of life in general.  Real art won’t shy away from those painful, awful truths, nor is it afraid to conjure the feelings which go hand in hand with those truths in its audience.  

With all that said, the tragedy of the ending doesn’t demand a feeling of meaninglessness or desolation at all.

Eiji’s love for Ash and Ash’s love for Eiji is still so pivotal and, ultimately, essential in how the story ends.  It’s what allows, maybe not a feeling of hope, but a feeling of peace.

You sense throughout the story that Ash knows he’s going to die.  Like he senses that his life is too fucked up, that he’s been through and had to do too many horrible things for it to last very long.  It’s like the saying of he who burns brightest burns twice as fast.  Ash is burning, and he knows it.  He’s already accepted it as an inevitable conclusion.  He doesn’t actively seek death, but he doesn’t fear, nor fight against it.  At points throughout the story, even, he asks for it, when the horror of what’s happening to him becomes too much.  He knows death is coming for him.  The only thing keeping him from giving in so easily I think is his lack of agency in how he will.  Everything has been taken from Ash, and he doesn’t want to give this last thing away. This choice in how he dies.

Eiji’s love is what finally gives him agency in that decision.

Ash died knowing Eiji loved him, and that knowledge, that certainty that he was loved, genuinely loved by another human being, without any strings or conditions attached, simply loved for himself alone, is what allowed Ash to finally find the peace in death which alluded him in life.  He no longer feels like he has to keep fighting, or struggling on through an endless malaise of misery and pain, because he’s finally found the calm and acceptance which comes with knowing he has this one, pure thing for himself, which nobody, none of his abusers, can ever touch or take away.  With everything else that’s been stolen from Ash, his innocence, his sense of agency, his own body, his own mind, Eiji’s love for him is the one thing nobody could ever steal away.  And that’s, I think, why Ash dies smiling, because it’s that knowledge, that he was worthy of another human being’s true love, that at last shows him that he was a human being himself.  Not an animal.  Not a monster.  He was a human being worthy of love.

Ash’s death is heartbreaking, and brutal, but there’s deep consolation to be had in knowing he spent his final moments with the feeling of Eiji’s love for him alive inside his heart, allowing him at last to feel like a person deserving, worthy of love.

It’s that which allows Ash to finally let go of his struggle, and let’s death’s embrace take hold of him.  It’s his own. Eiji’s love, and his choice to let go of life.

It doesn’t make the ending any less heart wrenching or brutal.  It doesn’t make us any less devastated by Ash’s death.  But it gives us a sense of peace, in knowing, even if we are left feeling lost and heartbroken, Ash himself left life with the fulfillment of knowing he was loved.

[katerinaaqu]

Finished Chapter 14 of The Song of Achilles and like you I already found one change that gets on my nerves. Why is Odysseus now the Prince of Ithaca? When he was already King by the events of the original poem? What was Madeline Miller’s purpose in demoting him from King to Prince?

This better have a payoff or else… without Odysseus being King I feel his 20 year absence from Ithaca has less serious consequences. I think without him being King of Ithaca, his wife’s suitors wouldn’t be so eager to replace him.

Well I will start with what me and other classics readers say, that Miller is extremely biased with certain characters and that shows in her writing (true she writes in a very beautiful way and has great expression but still...) so certain characters are depicted positively and others negatively (no surprise or news there) and she writes in a feministic way so certain characters in the background are bound to be disregarded or worse changed. However most people have come to know that her writing of characters is really inaccurate or that it comes straight from her imagination (see for example how in order to get her romcom aura we must see a "homophobic character" aka Thetis who acts almost as a villain, we see the stereotype of star-crossed lovers like Achilles and Patroclus (which is a trope she uses by combining elements from the original but ignoring the character development of others in order to fortify her message) etc.

That being said, Miller's style seems to me like she uses SOME elements of the original, blasts them out of proportions, altering it to be more simplified to fit a romcom setting and re-writes the rest to fit the characters. I am not 100% famliar with her books given how I haven't read them in the full but I have seen stuff around and read some passages so take this hypothesis with a grain of salt but this seems to be the case to me. So in this case it is clear that Miller doesn't see Odysseus in a very positive light (given what she goes with to her other novels as well) so yeah her trying to lesser his importance or the status in the story seems more than just a possibility to me.

So here goes my reply, sorry if this is long:

In this case she seems to take advantage of the fact that in translations there is no distinct difference in the text between the word "prince" or "king" in the homeric text (both are being stated by the term άναξ (anax->wanax, from mycenean greek as well) and is being used to speak on the ruler that has under his command the ships and the army. That is to be said some of the commanders of the greek army had living parents back home and Odysseus was included among them. It seems like Laertes was in a way retired since indeed Odysseus seemed to be a king in his own right, in fact Penelope even insinuates he had been so for a long time, given how she tells Antinous the story of his father who arrived to the palace begging Odysseus for his own life, possibly implying that Odysseus was a ruler of his own right more than 20 years prior, possibly before Antinous's birth or during Antinous's childhood or infantry. On the other hand some people seem to separate his father from Odysseus by naming Laertes "King of Cephallenians" and Odysseus "King of Ithaca" aka that technically Laertes is the king of the entirety of the kingdom (Ithaca, Cephallonia, Acarnania etc) and Odysseus's juristiction is Ithaca. Personally I do not fully support that last one given how Odysseus is the only one who seems to be in charge even if Laertes is still alive. It seems that the tradition in Ithaca was a bit more family-like in terms of ruling and the king retired from his duty because of age, letting the younger and more capable son to rule (potentially Laertes is an exception and gave the authority to Odysseus because he thought he was more capable ruler than himself. Odysseus possibly proved his worth during the internal conflicts with the Taphian pirates or in conflict in Messinia [when he received his bow in his youth as a gift])

It also seems to be backed up by how by n large they got married within the kingdom (Eurylochus is from the same kingdom, from the small island of Same and marries Odysseus's sister Ctimene, the suitors of Penelope all come from within the kingdom from different principates and regions). Laertes and Odysseus seem to be exceptions to the rule since Laertes marries Anticlea, daughter to the great thief Autolycus who lived in Parnassus and Odysseus who married Penelope from Sparta) So it seems that the kingdom is more like a "family business" than actually some kingdom with expansive or military construction (unlike Mycenae or Sparta) so it doesn't seem impossible that there is either a tradition for the old ruler to quit and pass the throne to the next generation rather than wait for his death to pass authority or that if one did it wouldn't seem impossible. It also seems that other kingdoms are not necessarily the same as modern kingdoms either. Icarius is still alive when the events of the Odyssey take place. We don't know if Tyndareus also is alive or not, from what I remember, in Homer's writing so it is not clear what kind of rules exist to that realm. Could it be also that the ruler is not only of age (able to grow a beard aka around the final 20s or early 30s) but also marriage that gets them ready to rule? Like Menelaus is a ruler of Sparta by marriage, Odysseus rules as a sovereign ruler because of his marriage? It could be although again the suitors of Helen were often called "kings" in literature, it doesn't seem to be the case given how most of her suitors are either young (Ajax, Menelaus, Antilochus was also mentioned or even Diomedes in some sources even if the two of them would be literal children at that time) or sons of existent rulers let's say Odysseus. So it is possible that marriage AND coming of age play their part in succession. It gets a bit confusing as well since Odysseus leaves order to Penelope that she has to wait till her son is of age (when his beard grows) to pass him the throne, if he hasn't returned till then. Does Odysseus imply that his son would rule if he was of age, regardless of his death or is he implying that they first have to confirm he is dead before Telemachus takes over? It is indeed an enigma but then again the case of Odysseus is complicated; he goes to a war that he doesn't know if he is gonna return from and according to some readings and traditions, he was repared to be off for a long time as well from an omen he heard so his case with Telemachus seems to be an exception rather than the rule given the extreme conditions they deal with.

Either way yeah it doesn't seem that Odysseus is not a ruler in his own right in any shape or form in the Iliad or the Odyssey despite the fact that Laertes was still alive throughout the entire process. Either because it was a consistent tradition or because Laertes made an exception, it seems that Laertes was not an active ruler by the time Odysseus left for Troy and as I said it seems that Penelope implies Odysseus was already a ruler capable of giving pardon to someone (Antinous's father) or command armies (Taphian pirate incident, Messina, Troy) so yeah it doesn't seem that Odysseus is considred "a Prince" like for instance his brother-in-law Eurylochus or the Suitors and their families but he seems to be a king in his own right; he is the one who has the duty to send away the suitors; he is the one to command the army and he is the one to call the counter-attack in the Odyssey against the retalliation of the families after the murder of the suitors and not Laertes.

So to close this already long answer yes among the many changes Miller imposes in her book to fit her narrative, it seems that she takes advantage of modern day perspectives of rule and succession (aka the sovereign ruler's death before the other takes over) plus the fact that there is no distinct word between king and prince in the ancient texts to call Odysseus "a Prince" possibly to decrease his status (similar to how ancient writers mentioned Odysseus not being legitimate son of Laertes but a bastard son by Sisyphus) so yeah it does seem like it as you said given how Miller doesn't seem to be fond of Odysseus as a character. But that would be my hypothesis. Either that or Miller simply doesn't want to consider a different rule of succession than the modern one she and her readers are familiar with aka a king becomes king only after his father's death. Which is ironic though given how many people mention Odysseus "a king" even if they know or possibly because they forget Laertes is still alive.

Hope this helps

[applebuttercringe]

Asexual Viktor Controversy Explained (By an Asexual)

You may have heard of the new controversy tearing the Arcane community apart. To summarize: Christian Linke (Co-creator of Arcane) was asked in a german interview about Jayvik and responded that it is not canon by explaining that Viktor is intended to be Asexual. He then talked about the importance of Asexual representation.

This has sparked a number of reactions from Arcane fans, and especially Asexual Arcane fans. Most of the reactions are some mixture of the following points.

Reasons people don't like it:

It's just to invalidate Jayvik: A lot of people are angry because Christian Linke is well known for not liking Jayvik, and so some people believe he only said Viktor was Asexual in order to try and get rid of Jayvik. Thus creating the impression that the only purpose of making Viktor Asexual was to invalidate an mlm relationship. Or that Christian Linke only did it because he is homophobic.

It wasn't in the show: The claim that this was always the intention for Viktors character is brought into doubt when you consider that this obscure interview is the only time Viktor has ever been said to be Asexual. Several of the other writers, animators, and artists who worked on Arcane have said Jayvik is canon. Which creates the impression that this was not an intentional choice that was discussed thoroughly in the writers room and interwoven into the story, but rather a last minute addition by Christian Linke after the fact. Kind of like J.K. Rowling making Dumbeldore gay or Hermione black in a tweet, just added for attention and representation points. Asexual people deserve purposeful depictions.

It plays into Asexual stereotypes: A common and very damaging stereotype about Asexual people is that they are emotionless, lonely, or inhuman. With so many people believing romance is what makes us human, or that it is unnatural to not experience sexuality and therefore it is bad. Often lack of romantic or sexual desire is equated to lack of any kind of love or emotional coldness. Viktors story is largely about him being isolated and lonely for most of his life, being abandonned by his only close relationships, and eventually ridding himself of all emotions. He is shown to hate human emotion and actively tries to rid himself of his own humanity. It isn't hard to see how Viktor being the only Asexual representation in the show could reinforce harmful stereotypes about Asexual people. He has a whole monologue where he disavows human passion. This is really what bothers me about Viktor's Asexuality confirmation. If this really was intentional, they were playing into stereotypes. The only asexual character being made into an inhuman villain who's motivation is hatred for emotion and gets their via rejection of love is pretty rough.

It plays into stereotypes about Disabled people: This I know the least about, so I will just summarize what I have seen. Disabled people are often portrayed as sexless as a result of their perceived "undesirableness". This creates a steretype of equating disabledness to uglyness to asexuality. This is damaging as it perpetuated many stereotypes. It is used to infantalize both disabled and asexual people. It also treats asexuality like a symptom of a disorder. Good resources to learn more:

Christian Linke doesn't seem to understand Asexuality: Christian Linke calls Viktor Asexual. But it seems that the terminology he meant to use is Asexual/Aromantic. He seems to say that Jayvik CAN'T be canon becasue Viktor is asexual, but asexual doesn't mean aromantic. He can be Ace and Gay. Thus how him being asexual doesn't invalidate Jayvik. If he really did intend for Asexual Viktor to be canon this whole time, he probably should have done more research about the nature of Asexuality.

Creating controversy: Considering the all consuming power house that Jayvik has become in the Arcane fandom, it should have been expected that the co-creator rebuffing it would not be taken well. This whole thing has sparked a lot of discourse and caused for both Jayvik shippers to be inundated with comments of people calling them acephobic for shipping Jayvik, and Asexual Viktor enjoyers being shouted down. A lot of asexual fans are annoyed by the communities violently negative response to Asexual Viktor. Overall it feels like this whole thing has just thrown everyone under the bus.

Reasons people did like it:

Asexual Representation!: Asexual people are some of the least represented of the Queer community. They are also some of the most misunderstood by popular culture. A show as popular as Arcane having a canon Asexual charachter is a huge win, especially one as beloved by the community as Viktor. Despite the sometimes stereotypicalness of his story, many Asexual people deeply connect with Viktor and headcanoning him as Aro/Ace has been popular since Season 1.

Reading Jayvik as a deeply loving platonic relationship is very touching for Asexual people especially. One of the most prevalent stereotypes about Aro/Ace people is that their lives are lonely or meaningless because they don't experience sexual/romantic love. This is of course wrong, and deeply Amatonormative. Arcane depicting a deeply close, world endingly loving platonic relationship between two men is great and sorely needed. For this reason many Asexual people love this development as it shows a fulfilling, important, loving relationship that is sex free. Breaking one of the biggest stereotypes about Asexual people and the very nature of love. In this way Platonic Jayvik is just as groundbreaking a story as Romantic Jayvik.

Doesn't invalidate Jayvik: Asexuality is a spectrum, and it is distinct from being Aromantic. Asexual people can experience occasional sexual attraction, or be sex neutral and still have sex for the benefit of a partner. Viktor being Asexual doesn't disqualify him from being gay, or being in a romantic/sexual relationship with Jayce. It doesn't stop Jayvik from existing in the way Christian Linke seems to think it does.

Final Thought: I'm Asexual. I.... like the idea. However the execution leaves a lot to be desired. The foundation is their but this is still a deeply flawed piece of representation (if we even consider it representation at all). It feels like the kind of idea that we will see written so much better on AO3. I look forward to seeing that.

In terms of Jayvik, I don't think it is Acephobic to continue to ship Jayvik/write Jayvik Smut. the canonicity of this is dubious anyways and considering how wide spread and loved Jayvik is it would be ridiculous to demand people stop writing about them, or delete their hundred thousand word fanfictions/fancomics just because of an interview. People are deeply invested in Jayvik, it would suck to take that away. Keep doing what you are doing. I fully stand by the idea that Jayvik is left purposely open to interpretation. I love Platonic and Romantic Jayvik.

Fuck it. Trans/Genderfluid/Asexual/Gay Viktor. Thats what I believe.

(Please don't harass any of the people who's tweets were included)

[demonzhalo]

I finally got around to watching a full run of Mouth washing, so here's my take, and you're more than welcome to add more (warning, I'm very bad at picking up cues. Also mentions of SA and narcissism and graphic themes.);

The bad guy(s); Jimmy, while the the worst guy on board, isn't the only one. People like to put Curly onto a pedestal, and he IS a victim of Jimmy, but he's still a bad person. A lesser of two evils, if you will. He knew (whether he figured it out before hand or because Anya gave him confirmation) that Jimmy had assaulted Anya, and his first thought was "I can fix this". While conversing with Jimmy, it's revealed that Jimmy most likely had done something similar, or exactly, in the past that Curly helped get him out of. Helping him avoid responsibility. Making Curly the bad guy instead of Jimmy, something that I've seen get horribly overlooked or joked about. What people need to realize is that Curly has been enabling Jimmy, overlooking Jimmy's narcissism in order to help him.

Just Jimmy thoughts; In the scene where Jimmy is walking past the IDs, we can't see Anyas. He doesn't care what he did to her, he only cares about what happens to HIM. How it affects HIS career, HIS life. Polle (the Pony Express mascot) being symbolized as a fetus kinda shows Jimmy fear, dislike of another "burden", negligence of responsibility, and also his guilt for the unborn child. One that he forced onto Anya. The entire story line is him trying to fix a problem HE created but won't admit to. He self victimizes because it's easier to play victim then to take responsibility for your actions.

Curly; Curly is an enabler. I'll say it right now. He enables Jimmy's behavior and overlooks/neglects the smaller details in favor of the bigger picture (something hinted at during the broken pixel scene). He is not a good person. Curlys decisions reflect on (most) men's relationship with a friend like Jimmy; unwilling to recognize their horrible actions and instead try and find a way to "justify" or "fix" it. However, there's not much he could've done, he's up in space months away from Earth and Pony Express probably would've deducted the teams pay, not to mention that if Curly tossed Jimmy into one of the cryo pods and something happened to him, they would need a copilot. But it's also cruel the way Jimmy thinks he's "saving" Curly, when in actuality he's taking the easy way out and prolonging Curlys suffering, and also staging it to set up Curly as the main bad guy again.

Anya thoughts; First of all. Why the fuck didn't she get evals too? Second of all, I wouldn't be surprised if Anyas suffering and assault was purposely overlooked because A) Jimmy is an unreliable narrator, and B) It reflects on how people don't typically see such things unless they expect it, and they especially tend to overlook it when it involves a close friend/family member. Rewatching, the viewer can pick up hints and details and put together the picture using context they've been given later on in the story. I feel incredibly sorry for her when the man she confided in and trusted turned around and went about trying to help the abuser, which also reflects how people will do anything BUT help the victim. Anya is terrified of Jimmy, something we can clearly see (context or no context) when we first interact with her. Jimmy downplays her role, meanwhile, SHE'S THE ONE KEEPING A SHOULD BE DEAD MAN ALIVE, and he's breaking over being asked to do the job HE FUCKING WANTED (Can you tell I really fucking hate this?). Not to mention I've seen AUs of Anya keeping the child because she was already past the legal abortion stage. That kid would not have survived, the mouthwash has no nutritional value to it so between that, the extremely low rations, and eventual shortage of oxygen, she most likely would've miscarried.

Swansea; He reminds me a bit of my father. An angry man who might mean well but can't get that across. I think Swansea was saving the pods for Daisuke because he still has a life to live. Swanseas wife is ill and his kids don't speak to him anymore, Anya and Jimmy are in severe financial stress, and Curly is just clearly fucked. It's mentioned that Anya has been talking and possibly telling Swansea about the abuse she's been suffering because of Jimmy. Him lodging the axe into the holographic sun is, at least in my opinion, slight foreshadowing to him killing Daisuke. Swansea kills Daisuke to kill his suffering (much like a real swan).

Daisuke; I don't have much on him, but I keep seeing videos of people imagining how he would react to Jimmy after learning what he said, it's... Not quite what I see. Daisuke is pretty young and looked up to Jimmy (because he didn't know the suffering Anya went through), Jimmy is years older than him, and much bigger too (not to mention being a loose cannon). In a situation like that there isn't much he can do except to keep an eye on Jimmy and stay close to Anya. He might've been scared when Swansea was prepping to kill him, but it was better than trying to prolong his life. Anya mentions when we first saw the mouth wash that it's mostly made up of sugar and not alcohol, so it wouldn't have disinfected the wound and might've even made it worse.

Extra; When we first open the game, we get an achievement that says "I hope this hurts". This can either be Anya, telling the protagonist that she hopes their suffering hurts, or (and I don't think this is confirmed!!!) it's the dev, telling whoever they hope this game reaches, hurts them.

[brionysea]

Is it just me or did Vi really not get an arc this season 😭? She doesn’t resolve the fact that she places all her worth on protecting those she loves. A lot of her big emotional beats (joining the enforcers, becoming a pit fighter, finding Vander, freeing Jinx and getting imprisoned for all her efforts) happened as a result of Caitlyn or Jinx’s intervention. She has so much oldest sister syndrome she infected the narrative 😇

yes! I think it's an issue of flawed ideas and poor execution. in classic me fashion, I'll go through the whole thing to show you what I mean:

vi joining the enforcers despite everything they've done to her (killing her parents, roughing up her family as kids, chasing them down, coming into the last drop to arrest them and intimidating everyone and almost taking powder, imprisoning and abusing and starving vi for her entire adolescence) because caitlyn asked her to and caitlyn is the Most Important Person in her life right now is the exact kind of thing vi would do. I personally love how temporary the enforcer gig is, despite that going against the lore (I honestly couldn't care less), because vi's CHARACTER in this show goes against the lore. I don't care that she's supposed to be an enforcer in the game. I'm not playing a game. I'm watching a show. the vi I know wouldn't do that, it makes no sense for her character, and it really feels like that's the point. she's losing herself for the sake of what caitlyn wants in a very clever way to address whoever demanded the show be more accurate to the game (which, again, I AM NOT PLAYING. BECAUSE THIS IS A SHOW THAT'S MORE THAN CAPABLE OF STANDING ON ITS OWN) without betraying the characters. this is the kind of freedom that would have made for a truly stellar season: going where the story is led naturally by its characters rather than being trapped by a pre-determined narrative

then in vi's fight with jinx (which, fine, I guess vi *would* decide that 'jinx isn't powder anymore' means 'my sister is dead'; she's single minded like that, even if it felt rushed), there's suddenly a random child in the crossfire and vi's like oh. okay. I can't actually hurt innocent children the way I was hurt. I do, in fact, have principles, and they dictate that I intervene rather than allow this to play out. and it turns out that when the chips are down caitlyn doesn't actually care about the undercity because she risked killing an innocent child and wants to kill jinx knowing she's vi's sister (and said that jinx, a young mentally ill girl from the undercity, killing caitlyn's mother, one of the richest and most powerful women in piltover, is the same as vi's parents being killed by enforcers while fighting to end the oppressive social order they enforce. it's not.) and basically says that she thought vi was 'one of the good ones' but she's exactly like all those other animals (again, because vi refused to let cait open fire on a child), before literally gut-punching her and leaving her there. vi was right before, they're oil and water, they're too different. and now vi's lost her sister; lost cait; the rest of her family is still dead. she has no money. no power. nowhere to go. nobody to protect. what's even the point of her?

and then we reach the second act. vi has no purpose so she's like well I'm just gonna fight people for money. because she'll win. obviously. she's a mess, she's drinking all the time, she's seeing jinx and caitlyn everywhere (people really breeze over how vi sees things too - definitely to a lesser degree than jinx, but when she hits rock bottom, it's there). I love this set up for vi. it makes so much sense that putting all her energy into caring for others would end up here. like a message from the universe that she needs to learn to do things for herself or she'll always end up back in this hole. you could argue that vi not having a lot of agency and just following jinx or caitlyn around until she ends up stuck in that cell (her ✨️ prison of the mind ✨️ or whatever jinx's imaginary, out of character, ghost silco was talking about), while boring (so boring), is more of vi being stubborn and stuck in her ways and refusing to learn her lesson until she's forced to. which she was also like in season 1, except there, it was more like vi repeatedly trying to solve problems that were much too big to be punched away by punching them (vi thought jinx could brute force her way out of being traumatised), and even then, I didn't get the impression that vi cared enough about the council to actually give up on jinx because of what she did to them. vi's a brick wall of a woman. sometimes, in this bitch of a world, stubbornness is a virtue

the problem, like a lot of things that had potential in season 2, is that it's not actually followed through on. there's no self actualisation for vi. she just cares about jinx until she doesn't and then she has sex with cait (who does not actually atone for any of the shit she did btw) in the prison cell where vi's sister was just planning suicide and is currently going through with it elsewhere, as far as vi knows

I think the intention was for vi having sex with cait instead of chasing after jinx to be the first selfish thing in her life (which jinx basically told her to do, because no one hates piltover anymore even though they haven't changed at all or done anything to earn this 'meet us halfway' demand of feeling entitled to zaun's bodies for their war after poisoning those same bodies for who knows how long. jinx never called vi an idiot for dating an enforcer. in fact, she feels bad for nuking the council :( which means she's good now! 👍 because GOOD characters are NICE to piltover and only BIG MEANIES care about zaun's independence. even silco's ghost thinks it's a waste of time! apparently he was just bitter and unloved, like a child throwing a tantrum! sure. sure! why not!), but it falls apart immediately because 1) jinx told vi she's going to kill herself (vi knew what jinx was planning before she asked, you can hear the fear in her voice), which obviously takes priority - never in a million years would vi let jinx disappear like that without doing anything about it, no matter how self actualised she is, because STOPPING YOUR SISTER FROM COMMITTING SUICIDE IS A NORMAL THING TO DO. well, maybe not normal, but you know what I mean. it's not exclusively a vi-ism. it's common sense. if someone you love tells you they're going to commit suicide, you do everything in your power to prevent it. and 2) CAIT IS NOT ACTUALLY REDEEMED FROM ALL THE SHIT SHE DID TO THE UNDERCITY. yes, cait letting jinx escape was symbolic of her letting go of the obsession that drove her to that point, but she didn't actually hurt jinx (except now jinx is free to off herself because of cait, which vi would be angry about if she hadn't spontaneously forgotten what she learned in the previous scene). despite her personal vendetta, cait couldn't catch jinx to even attempt to hurt her. who she DID hurt was the undercity at large, and she has no way of making up for that. they dropped the zaun plotline like a hot potato so there's no narrative opportunity for cait to prove to vi (and to the audience) that she gets it now. that she's done being a fascist and vi isn't just blinded by her hotness (which would be a strange angle to take but that's honestly what it seems like. it's so shallow and out of place with everything going on). none of this is earned enough for vi to choose a quickie in a cell over stopping her suicidal sister from blowing herself up

TLDR; there was an attempt at an arc, which was foiled by tying it so closely to caitvi, which was tied to the politics of the piltover-zaun conflict, which was never resolved and thus made vi's arc feel unsatisfying

[hispanthicc]

Sex As A Guy Who Got Fat On Purpose

I like sex. I enjoy sex a lot. I haven't always "gotten off" during sex but that wasn't really a priority for me because I just liked the act of doing it. I think mostly I enjoyed getting my partner off. I used to have a lot of sex, or at least a lot in comparison to now, but since i've gained weight I haven't had much sex or any at all really.

I didn't realize how much this lack of sex was affecting me. I think having sex and being able to find people to have sex with me made me feel attractive. So the lack of it has made me feel unattractive, at least to locals. Online people seem to still find me attractive. I know that just because I haven't had it doesn't mean that I am unattractive. I know there are also a lot of factors that play into it. Anyways I went from having it regularly to not having it at all.

Gaining is hard for me so for the first few years of me trying to get fat on purpose I was basically just skinny, toned, and had a slightly rounded tummy which would completely disappear if I flexed. I could pass as skinny for a while. Then COVID hit and my physical activity levels became non existent. I very quickly went from being stuck at 130 lbs all the way to 220 lbs at my highest during 2020-2021. I also had a serious surgery which meant I couldn't do anything for about a year. So I got pretty chunky for a bit. then I lost like 40 lbs after going through a break up. which btw was not a sexual relationship, and I think that also affected me a lot in a negative way. Especially because of some of the things he said in the end which made me feel really unattractive.

I'm not really the type of guy that chases anyone or initiates anything and this has nothing to do with my weight because i've never pursued anyone that isn't already pursuing me. I am really shy and the very few times i've tried, i've been rejected. So I don't. This usually just leads to me talking to a bunch of guys that i'm not attracted to which definitely doesn't lead to sex.

I used to be really open sexually. i've found thing i've written and posted from years ago that I would probably be too shy or too embarrassed to say now. But being with my ex he kinda made me feel a lot of shame for the things that I liked sexually or was attracted to. Since then I find it hard to connect with people sexually.

I think i'm also afraid that if I am too open sexually it'll attract the wrong kinds of people, which is something I unfortunately have experience with.

Most of the guys that are attracted to me are usually not locals and unfortunately means that a lot of the communication is all talk. They usually want me to send nudes or they want to send me nudes and sometimes looking is nice but I am not always in the mood to take pics for someone especially when they're probably just gonna disappear when they cum. Online sexual communication doesn't really do it for me. I want it in real life, the online barrier is frustrating and it honestly feels no different than jerking off to porn, which is fine but the real thing is so much better. There seems to be a lack of a real personal connection with it and it feels like i'm like mentally turned off by it. I never ask for nudes because I don't want anyone asking me for nudes. I genuinely hate when I’m talking to someone and they're so nice at first and then they say "Can I see more of you" because then it feels like they didn't mean any of the compliments they were just trying to soften me up to get nudes out of me. I usually only send stuff like that to friends.

It also seems like guys are more focused on what they want instead of what I want and many of them say things like "I want to do this to you" and never "would you like it if I did this to you" which maybe isn't that big of a deal but it comes across as less caring,

I don't know how I appear to others but I would say currently I look pretty chubby all over and I don't think I would be mistaken for skinny even when I suck in. Sometimes I shock myself when I see my reflection or see a pic someone else took. My body is bigger all over and it's still very new to me to actually be a fat guy. I like the way I look and I like the way being fat feels. I feel sexually aroused by it and I keep trying to make myself bigger and bigger but I know that isn't a common thing for people to be into IRL. So it's kinda like "do I lose weight so that I can be physically appealing enough to have sex irl" or do I just keep gaining cuz it makes me happier in general even if it is killing my sex life. I also think about how a lot of people in the gainer community are Asexual-ish or their sexuality is so tied to the fat that if I did lose weight i'd probably lose the affection of those people too. So many times I see "so-and-so lost weight and now I’m not attracted to them anymore" which is extremely hurtful even if it doesn't apply to me at the moment.

I wish I wasn't so shy but I’m not sure that it would matter. I feel like everyone has an idea of what they want in a partner (sexually or romantically) and I’m not sure that I fit, no pun intended, what people want where I live, and I hate knowing that eventually i'll probably have to move just to find someone.

I also know that my tragic dating life and non existent sex life are my fault. I'm not an easy person to get close to or be with but I’m trying to learn how let people in and be the best I can be for someone whenever I do actually connect.

[internerdionality]

This is a petty gripe, but more importantly, as I was bitching to my wife about it, I realized that one of the great weaknesses of AO3's tagging system is that there isn't an immediately accessible home page for each tag where you can look to figure out what it's supposed to be used to mean.

So.

"Alternate Universe – Canon Divergence" is not meant to be used for any fic that isn't canon compliant.

(If people want to read only fics that are canon compliant, they can filter by fics that use the canon compliant tag! We didn't need another tag for the same purpose!)

The "Alternate Universe—Canon Divergence" means fics that start with canon, and then diverge narrowly. Perhaps the character made a different choice ("trouser of time" fics), or they get sent back in time to change things (time-travel fix-its), or some other mechanism of change, but the crucial part of these fics is that they accept everything in canon as a starting point (or close to everything, I'll grant that having a few different points of departure can still feel like a canonverse fic).

If your fic fundamentally changes something important to canon? Like if everyone is mermaids? If it's a regular life variant of a show with supernatural elements/powers? If the male main character was always a girl? (as opposed to coming out as a trans during the fic, which is a legit canon divergence). Then that's just a normal AU, and you should just tag it as Alternate Universe – Mermaids, Alternate Universe – No Powers, Alternate Universe – Gender Changes, etc.

And if whatever AU you're using doesn't have a specific AU tag yet, you can use the general “Alternate Universe" tag and then a specific tag for whatever thing you're doing! But it's not an Alternate Universe – Canon Divergence fic, and you should not use that tag in addition to the applicable specific AU tag!

This rant brought to you by someone who would really like to be able to filter just canon-divergent AUs and keeps finding total AUs using that tag instead.

(And also please look up the fanlore page for every tag before you use it on your fics, so you can make sure you're using them correctly!)

[-teresaofthefaintsmile]

From the outline:

"Five central characters will make it through all three volumes, however, growing from children to adults and changing the world and themselves in the process. In a sense, my trilogy is almost a generational saga, telling the life stories of these five characters, three men and two women. The key five players are Tyrion Lannister, Daenerys Targaryen, and three of the children of Winterfell, Arya, Bran, and the bastard Jon Snow."

So in 1993 he didn't have the initial idea of ​​killing off characters he considered part of the 5 keys until the last book. I've seen a lot of talk about this, but I've always been inclined to believe that they survive despite everything because he said make it through. Some will be happier than others, some will have more bittersweet endings. But that doesn't mean he doesn't think about killing off other main characters with POVS. And he continues to follow these beats. The biggest variations happen with the secondary characters, after all he is a gardener. The story vastly expanded more than imagined. To the point where it has an excessive number of POVs. 

Here are some quotes about the characters and arcs and overall story: 

Has there been a character that you have given a reprieve to, or maybe deviated from the path you originally were going to send them on? If so, whom?

No, not really. In some cases, the chronologies have diverged from what I originally intended, but the overall character arcs remain the same. "I think with Song of Ice and Fire, I'm pretty well hitting all the beats as I originally envisioned them. I haven't taken too many detours."

George: I have always known the broad strokes of the characters since 1991. [Said in the Balticon Report from 2016, SSM] Who is the most major character you’ve changed your mind about your plans for?

I don’t want to reveal what I’ve planned for some of these characters, but I’m pretty well on track with most of the major characters. It’s minor characters like Bronn that assume greater importance

Q: How different is the plot from what he originally envisioned? GRRM: Not different - just more of it. It has grown in complexity, but he likes it that way because it feels real to him. - SSM 2010

Yeah. I didn’t know at first, in ‘91 — I didn’t know quite what I had yet. I didn’t even know whether it was a novel or a novella, or something, at first. So I sort of found that out. But by the summer of ‘91, you know, it just came to me out of nowhere, and I started writing it and following where it led. But by the end of that summer I knew I had a big series. Initially, I thought it was a trilogy, but it’s grown beyond that. But the size is different, and I’ve introduced some other elements to the books, but it’s still the same characters, the ‘91 characters.

Do you have an ending already in mind?

I have and have had since the beginning, yeah, in broad strokes. You know, I know the fates of all the major characters but not necessarily the fates of many of the minor characters. And things do change, sometimes, as you approach the finish line. You come up with a better idea or a twist you hadn’t thought of when you start. So I leave it open that I may change a few things when I get to the last book. But for the most part, yeah, I know how it’s going to end.

Do you know the ending?

I know the ending in broad strokes. I don’t know every little twist and turn that will get me there, and I don’t know the ending of every secondary character. But the ending and the main characters, yeah.

Tyrion/Arya/Jon > Ramsay/Farya/Jon. The deadly rivalry aspect got switched to Jon and Ramsay. It just doesn't have the romantic element, but it serves the narrative purpose of propelling Jon forward. To be fair, we have no idea how much was discarded from the outline until the books are all out. And as he himself confirmed, he continues to follow many of these beats. They may alternate in details, but they will arrive at the same place. He notably dislikes outlines, but that doesn't mean he doesn't have them, even the affc/adwd ones leaked. He also created new characters to fulfill narrative functions. Meraa takes on the role of Bran's protector instead of Arya. But there's nothing stopping Arya from also having that role in the future or going beyond the wall. Many of the characters marked for death in the outline died. Cat was always supposed to die and be reborn, whether imbued with ice or fire magic. Tyrion would be betrayed by his family and switch sides. While other characters were expanded when they became POVS characters. Aspects of Jaime from the outline went to Cersei and so on.

I'm not saying that the outline is the most relevant piece of paper in the saga. However, there is a grain of truth and many themes there that were recycled, used and molded into new narratives. The outline implies R + L = J and Bran King, for example.

Some others quotes: 

"I think you need to have some hope...we all yearn for happy endings in a sense. Myself, I’m attracted to the bittersweet ending. People ask me how Game of Thrones is gonna end, and I’m not gonna tell them … but I always say to expect something bittersweet in the end," he said. "You can't just fulfill a quest and then pretend life is perfect."

"I’ve said before that the tone of the ending that I’m going for is bittersweet. I mean, it’s no secret that Tolkien has been a huge influence on me, and I love the way he ended ’Lord of the Rings.’ It ends with victory, but it’s a bittersweet victory. Frodo is never whole again, and he goes away to the Undying Lands, and the other people live their lives. And the scouring of the Shire —brilliant piece of work, which I didn’t understand when I was 13 years old: ’Why is this here? The story’s over?’ But every time I read it I understand the brilliance of that segment more and more. All I can say is that’s the kind of tone I will be aiming for. Whether I achieve it or not, that will be up to people like you and my readers to judge."

"We all yearn for happy endings in a sense. Myself, I’m attracted to the bittersweet ending. People ask me how Game of Thrones is gonna end, and I’m not gonna tell them … but I always say to expect something bittersweet in the end, like [J.R.R. Tolkien]. I think Tolkien did this brilliantly."

Considering how often he talks about the ending of LOTR I think he genuinely thinks along the same lines. Some will rebuild their lives, others will find peace, but not necessarily be super happy. It's true that Grrm subverts many expectations, but he also enjoys and plays with various tropes. As I said, Fevre Dream got a bittersweet ending too.

GRRM wanted to subvert the usual tropes

Remember GRRM started out his series with the intention of writing something that didn't follow the typical tropes and conventions of previous works. GRRM wanted to subvert the usual tropes like the secret hidden 'prince who was promised' perhaps by having that person be illegitimate - Jon fulfills some prophecy by blood, but not through a legal marriage, he is the 'hero' but not the true 'king' at least by rights of succession.

GRRM will not pull a book out of a dark ancient library that gives us all the answers to the past that make everything easy for our characters, or have a weird political marriage between 'siblings / cousins' be what is needed to unite a kingdom (how? everything is fractured, the land decimated, why would the people care about a political marriages in the aftermath of a zombie apocalypse?)

Remember GRRM promised or forewarned a bittersweet ending, not all the mains or favorites will survive or have a typical happy ending, and I'm assuming that is especially true for the tortured and much suffering 'hero' - at least that is my gut feeling. To me the two most prominent characters Tyrion and Jon are also the two most likely to die by the end - at least one if not both, driven there by circumstances: blinded by love, rage, or perhaps a noble sacrifice.

Tyrion is already blinded by his hatred and rage, will his better nature win out or will he continue to feed his hatred until his end? GRRM had Jon suffer 'death' and gave us clues that resurrections can happen, but they also alter a person, no matter how Jon manages to remain intact after resurrection, he will not come back the same, there will be notable changes, otherwise why do it in the first place? (the show did this very poorly!)

If they survive they will be much altered, as in not the most well adjusted people, lots of trauma to deal with, to take on the role of the clear-sighted leader needed to rebuild a nation and inspire/lead its people. They maybe able to help and/or advise, but I don't see them as the main leader on top. Both have really been through the most changes physically and mentally and you know it will only get harder and worse by the end, GRRM isn't don't with them yet.

As much as the Stark kids have suffered, I still get a feeling of hope and sense of future with them, they are working hard for some kind of future in mind, they are young and being tested and learning how to be resilient people. They don't know of the larger dealing happening in the world yet, only bits and pieces, but it does feel like GRRM is preparing them to deal with it when their time comes and they finally have full agency to do something. Not sure all will work out, but I just can't see any of them dying or coming to harm by the end of the series. I don't feel any of them have had 'big' player moments yet, so I find it harder to sense a future for them beyond what others speculate on and most of it feels wishful.

As for Dany, she started out subjugated, but quickly found her power and has exerted that power within the story. She is by far the most powerful POV in terms of making changes in the world with large consequences. She means well, but things do not always go well or as she expected. She is learning, but also doing at the same time which makes the outcomes all the more complicated as it affects so many people, and not all of it is welcome change. Dany brings hope, but she also bring chaos, Dany makes friends, but she also makes lots of enemies...

I go back and forth on Dany's ending, mainly because of GRRM trope subversions and with Dany it could go either way. GRRM is building her up for something good and great, but whether she survives or is acknowledged for it? That would be bitter sweet indeed, but also in character for her - well meaning and doing something for the greater good, but often misunderstood or politically attacked by her enemies so that only a few close to her know of her true noble intentions and sacrifices. I want her to live, but I could also see her dying or being killed. She is a symbol and and icon and that is an attractive target for people like Varys or even Cottington, could go either way... I just acknowledge the possibilities.

[louisegluck]

okay but why does it feel like my life is going nowhere

[tev-the-random]

"Aw man, what are they gonna do with Shadow now that he got his closure with Maria's wish and everything? What sort of story can he possibly have after that?"

*points frantically at Sonic 06*

[danmeichael]

"shen qingqiu is a liar who is lying about his feelings so we can't ACTUALLY tell how he feels about anything"

so you admit that you can tell he is lying and by extension you can actually discern what his true feelings on the matter are and that he's just unwilling to admit to them.

[lelsiemeyers]

sorry i think about these pages so often.

[spotaus]

Thinking about Orchid and her connection to my take on Gender (because this was meant to be about her and the Crew but it just devolved into a character analysis kinda??? More trauma-dumping maybe???) This is very much an oc/personal rant so feel free to ignore it 🫡

So, Orchid started off as a character I didn't really think much of (hear me out this is going to be relevant) because I wanted to add a 'girl' character but didn't know what to *do* with her, y'know? She was always going to be the strongest one there, she had the odds stacked in her favor with her parents. She was always going to be the gloomy side-character to match Reset's energy. But I think she's gone through every stage of Generic Woman I could possibly find.

At first she was angry and abrasive (think Fell!Sans) where every other word was a curse and she was likely to throw the first punch then laugh as she kicks her enemy while they're down. This was when Reset was a cartoonishly self-centered villain whose goal was simply to prove others wrong. Then Orchid became a sort of sisterly figure. This was short-lived, but she was the one comforting people who Reset would torment, but would ultimately follow his orders, because at this point he was actually a danger and sadistic. And then there was the phase where the story mellowed out and she became the token Goth Girl who, yes she was strong, but was heavy on the 'whatever' energy. Then there was her Era of deep self-loathing and anxiety about her worth that held her back and made her a much more timid and meek character who would only lash out on occasion.

Now, Orchid is the best of those iterations I've written yet. She's calm, level-headed, and a natural leader. Her father raised those traits into her. But she's very reactive, and can be silly, and when she's comfortable it's likely that air of importance transforms into something more comfortable and familiar. She laughs loudly and grins wide, she likes loud video-games but loves to read in the quiet. She's extremely disciplined, and normally no one can get through her tough exterior besides her best friend, Reset. She does what she does for her own enjoyment, sure, but she's thought of every angle and makes her choice to help Reset and control the others with her whole chest. She still worries she won't live up to her invisible expectations, and that and her loyalty are her two driving forces.

I know that Orchid is important to me because she's the longest-running female oc I've had. I have a rough relationship with womanhood/girlhood and I know looking back that Orchid recieved every ounce of my distaste for being a woman that I could shovel into her. That never made her less of a character, she was actually always one of my favorites, and rarely was she a 'punching bag oc'. I just... projected onto her a lot. And she's a good sign of how I've learned who I am. I've decided that my own femininity is something I could live without. I'd rather not associate myself with it, and I'd like to leave it in my past, focusing on a future where I'm not tied down with any gender roles or expectations. That won't happen, but I've come to terms with it myself. Orchid though? I figured out through her that I don't have to hate women characters. My own distaste for my circumstances doesn't mean I have to push it onto my characters (on God I've never expressed anything rude to actual people, that'd be rude as hell and uncalled for, but I have a bad habit of disliking fictional women in media). So, Orchid is a well-roubded character finally. She has motivations abd goals and a *lot* more depth than I ever expected her to. She's happy with being a woman, she's content. She's not treated differently for it in unfair ways by those she cares about, so she doesn't mind it. She likes to wear pretty outfits and lets Reset add bows to her ribbons. She doesn't let being a woman hold her back in the slightest.

So, yeah. Orchid is one of my babies. If I ever leave this Fandom behind for good, she's one that's coming with (Ichor, Orchid, and Pretender all have human designs I can use elsewhere lol-) but in the meantime I'll just rotate her around in my brain for a while longer.

If I'm right, she's been with me for nearly 5-6 years and I went through a *lot* with her as an outlet. So, she's kinda just like an old stuffed animal. A lil ripped, matted fur, maybe a stain or two, but there's a story there and that makes it important beyond belief.