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psychewritesbs · 3 years ago

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Chapter 160: How much of Yuji’s life has been orchestrated? + Megumi the stage-five clinger

Happy JJK-Sunday!

If I had to describe chapter 160 with as few words as possible, I would say: Oh f*ck...

My favorite moment was, of course, Megumi acting like a stage-five clinger. His interaction with Yuji in this chapter is especially ominous in light of Yuji being adamant of protecting Megumi from Sukuna.

A second favorite was Sasaki showing up in this chapter because of the implications moving forward.

Let’s jump right in.

How much of Yuji’s life has been orchestrated by Kenjaku?

We start the chapter with Kenjaku talking to none other than Sasaki, one of the members of the Occult Club at the high school in Sendai that Yuji used to attend.

Of course, the bomb that Gege dropped on us in this chapter is when Kenjaku thanks Sasaki “for getting along with my son”.

Like... excuse you?

Not only does this 100% confirm that Kenjaku used Yuji’s mother’s body to give birth to him, but this specific moment + some foreshadowing from previous chapters also opens an interesting can of worms about Yuji’s life: just how much of Yuji’s life has Kenjaku orchestrated?

For me, the implication is that Sasaki had an assigned role to play in Yuji’s life that would inevitably lead to him eating Sukuna’s finger.

I am assuming this because although we don’t see Kenjaku’s interactions with the other people in Sendai, we get to see that, in addition for thanking her for getting along with Yuji, Kenjaku is incredibly kind to Sasaki. We also learn that she’s the only one who has received a special message from him (thanking her).

Ready to make this whole interaction more ominous? Someone pointed out that the kanji in Sasaki’s name means assistant.

All of this brings us right back to Yuji’s free will--or lack thereof?

We already know that Kenjaku claims he made Yuji “ingest” Sukuna’s finger and that Megumi is rightfully concerned with this idea because he witnessed Yuji eat Sukuna’s finger “of his own free will.”

It’s also becoming increasingly obvious that Yuji was "created” solely for the purpose of becoming Sukuna’s vessel.

What this new reveal about Sasaki does is that it makes everything feel like certain events have been part of Kenjaku’s master plan all along. While this still feels a little farfetched, it will come down to how Gege works this idea into the story moving forward.

Come to think of it, even Yuji’s grandfather’s dying words to Yuji take on a new meaning since we know Wasuke knew something was definitively up with Yuji’s mother.

Another possible bit of foreshadowing all the way in chapter 1: While the intersection in the second panel below could be ANY intersection in Japan, it sure looks like the Shibuya crossing:

A quick note on the importance of kanji meanings in JJK before moving onto the next section: knowing the meaning of Sasaki’s name tells us that names are important in JJK. If you haven’t, I recommend you read my break down on the meaning of Megumi’s FULL NAME. His first name is important, but so is his last name.

The plans moving forward

Going off to Tokyo Colony #2 are Panda and Hakari.

As the strongest, Hakari feels like he should take on Hajime. As for Panda, it looks like his focus will be on hunting down Angel.

Side note: I love that Hakari is still calling Megumi names. Guess Senpai can’t help himself.

I must admit I was disappointed to find that Kirara will stay behind to report, but it is what it is. I am assuming Gege could see no use for Kirara and decided to leave the character out of the action for the time being.

As for Megumi and Yuji, they’ll be heading to Tokyo Colony #1 to target Higuruma, everybody’s new favorite Law & Order boss.

This brings us to Megumi’s current state of mind...

Megumi the stage-five clinger

I had a hard time coming up with the title for this section because what I see happening is that Megumi is starting to feel the pressure of the looming deadline for Tsumiki joining the Culling Game. What his behavior shows, however, is that he needs Yuji with him and is clinging onto him but won’t come out and say it--opting instead for aggression towards Yuji, the very same person he needs most.

His behavior reminded me of how Megumi could be mean to Tsumiki even though he clearly adores her. Apparently that’s the meaning of being tsundere. I’ve read about the term tsundere before but it never “clicked” until this moment and I just love Gege’s interpretation of the trope through Megumi’s character.

It goes without saying that it was REALLY interesting to me to see Megumi’s dynamic and interaction with Yuji in this chapter because it looks like Gege is letting us know Megumi’s state of mind continues to be one of desperation--remember that dogeza bow from chapter 157?

The thing about Megumi is that he looks stoic on the outside, but he’s actually an incredibly emotional person who doesn’t often show how he’s feeling.

I hadn’t caught on, but in chatting with @justafrenchlondoner about the chapter, they pointed out Megumi’s behavior in his dynamic with Yuji appears nervous and aggressive.

Upon a second look I have to agree that Megumi is acting out of character and aggressive with Yuji when all that Yuji really wants is to protect Megumi from Sukuna.

And yes, let me go ahead and sound like a broken record as I remind you of Yuji’s rather ominous words from chapter 143 yet again:

And this is the part of the chapter that knocked the air out of me: Megumi telling Yuji to stfu about Sukuna but Yuji thinking to himself “as long as I’m around you will suffer” back in ch143 is so damn ominous.

Oh f*ck...

But this is what REALLY gets me about this whole interaction and why I’m calling Megumi a stage-five clinger...

Even though Megumi is calling Yuji selfish, in reality, the one being selfish is Megumi.

This is, of course, my own interpretation of the situation, but to me it feels as though Megumi is clinging onto Yuji’s strength for dear life.

It’s almost like Megumi needs not just Yuji’s physical strength, but also his unwavering conviction or mental strength.

If you think about it, Megumi has only recently started fighting to win. Remember how unsure he was of himself when fighting Sukuna for the first time? It wasn’t until he went up against the Cursed Spirit from the Yasohachi bridge that he let go of his inhibitions.

Megumi’s battles during Shibuya were the pinnacle of his growth as a character in that moment. If I remember correctly, according to the timeline of events, the Shibuya incident happened around two weeks prior to the current chapter. You could say that although he is more comfortable in his strength than before, Megumi is still growing into his strength at this point.

The thing about Megumi is that everybody and their Divine Dog believes in him and sees his potential except for him. As Gojo tells him “you undervalue yourself.”

Looking back, the way Megumi asks begs Yuji for help in chapter 143 is very enlightening of how Megumi needs Yuji’s strength:

I initially had read this to mean Megumi needed Yuji’s physical strength. Upon second look, however, Megumi has always seemed to have admiration for Yuji’s conviction.

With the looming deadline for Tsumiki’s vow to join the Culling Game, as Megumi starts to feel the pressure to make his plan work, who better to keep around than the person who will always go for the home run and whose strength he admires?

In other words, like hell he’s going to let Yuji leave his side. Which, again, only makes it more heartbreaking to think Sukuna is up to no good regarding Megumi and Yuji wants to protect him from that.

Oh f*ck.......

The panel below feels like a bit of a lighthearted and comical moment, but it’s also interesting to note that this is the second time they “fight”.

The first “fight” having taken place during the Cursed Womb Arc.

If you will remember, Gege used the Cursed Womb Arc and the Origin of Obedience Arc to show us how much our favorite trio had grown.

Not sure Gege is going to parallel something here again, but just interesting to note.

Oh f*ck...

Ya, please excuse the French.

Despite the many words I’ve shared here, this chapter left me mostly speechless.

I feel like I’ve been trapped in Gojo’s limitless domain expansion and all I can think is “oh f*ck” or “halloween” (if you catch my drift).

Chapter 160 was incredible because it looks like Gege has finally finished putting all his pieces into place and is ready to go for the kill by:

Starting to unravel the story bit by bit, giving us all of the twists we both saw and did not see coming, and

Ramping up the stakes. Taking into consideration the estimates that JJK is somewhere around 60-70% done at this point, It’s not a matter of whether some of our beloved characters will die, but about who, when and how they will die

One last detail

I love the last four panels of the chapter showing Panda, Hakari, Yuji and Megumi all wearing their uniforms (barring Panda) and getting ready to become official participants of the Culling Game by entering their respective barriers.

Knowing that Gege is a very talented artist capable of showing and expressing emotions through his art, I feel like these panels tell us a lot about what the characters might be thinking and I thought I’d expand on that.

Bear in mind this is my personal interpretation as an artist:

Panda looks excited and ready to fight, perhaps even confident. Panda is saying “bring it!” with his body language

There’s a hint of something I can’t describe in Hakari’s face. It’s almost like he’s coming face to face against how big of a challenge this is going to be and yet he’s resolved to walk straight into “the depths of hell itself”

Yuji looks focused, determined to go in and give it his best no matter what comes his way--that’s just who he is

And then there’s Megumi. I’ve been drawing Megumi recently, and one thing I noticed is that he has very specific micro-expressions. In his panel, he’s warming up his wrists as though he’s getting ready to fight, he has a focused look on his face, but the shadows around his eyes say he might be feeling like he is carrying the heavy burden of the uncertainty surrounding the situation he’s going through

With all that being said... the Culling Game is officially starting and we’re in for a one-way ride straight to hell.

Thank you for reading and happy JJK-Sunday!

What about you? What did you enjoy most about chapter 160?

#fushiguro megumi #megumi fushiguro #yuji itadori #itadori yuuji #jujutsu kaisen #jujutsu kaisen manga #jujutsu kaisen spoilers #god i love jujutsu kaisen #jujutsu kaisen meta #jujutsu kaisen theory #jjk ch 160 #gege akutami #sukuna #ryomen sukuna #hakari kinji #jjk meta #jjk theory

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deluluass · 4 years ago

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misericordia

It's finally here T^T Here's to reaching 100+ followers! Thank you so much everyone!!

Content Warnings: rape/noncon; nsfw; somnophilia; description of dead bodies; includes some elements of cosmic horror; dystopian-ish au; biblical references/imagery; angel! Ushijima

To name is a barren tree: fruitless and, ultimately, the workings of this kind.

The earth will soon be without form, and void; and darkness shall remain the face of the deep.

The Spirit of God no longer moves in the face of the waters.

Names are for nothing.

But, for any cause done here, to name is essential. As it was in the beginning, when there was still a beginning (but it has not ended yet, so the beginning shall still stay), to name had been the first task.

So when asked for a name, the mouth was able to conjure:

“Ushijima Wakatoshi,” the body said.

And as it is the way of the Created, the body became he.

And as it is the way of the Created, proof was immediately demanded for the name.

And as it is the way of the Created, once found on the chest, Ushijima Wakatoshi was then welcomed.

You weren’t there when the world ended.

In fact, so, too, was your father's father. The sky had cracked open and the oceans had already split up the old lands for as long as anyone could remember.

Before the city became a city in truth, the people had just been strangers, seeking shelter after everything fell apart, only to be abandoned by those who’d promised protection.

That didn't mean, however, that things got better for your lot once someone swept in and established order and peace and stability and whatever it is those at the top had to say to justify them being there.

If your father were to be believed, you had been sleeping in your mother’s womb, still a tiny beating heart, when the longest winter happened ("winter"; they still called it that when there had been minute differences between hot and cold).

Supplies were short; food was scarce; so when you finally clawed your way into a world breathing its last, your mother couldn't help but bleed into the sheets until your cry outlived hers.

But your father barely recognized you during his final days. That’s why when your neighbors call you a liar for saying “I was born on a Spring,” you shrug it off and think you might as well have been born on a Spring.

There’s no way of knowing. The story had always changed every time you asked him.

Sometimes he blamed you, sometimes he told you it’s not your fault. Nothing you could do about it. Spring it is, then; you told yourself.

Spring always looked so... different, in the drawings Granny made, anyway.

No one here actually knows her age. Granny had always been Granny; as permanent to this place as the walls enclosing the city.

She rarely left her quarters, that crone, and could barely stand on her own without your help. Worse, she could no longer see. What use is a blind artist, the others would laugh.

It’s their loss, you’d retort, mocking her like that. Because then they’d miss the way her gnarled and knobby hands would glide with unwavering purpose if you asked her to, strokes bold and not a space wasted.

“You never learn,” she croaked once finished, jostling the wrinkled piece of paper to your lap. “Why throw away your rations for this piece of junk?”

Granny retched, “Incurable fool.”

At this point, she would grumble about suffering in the old pig’s (her words, not yours) kitchens for nothing, and always, without fail, you’d feel a smile break on your face. It hurt, honestly, but after an entire day of frowning over the dishes you had to wash and the floors that needed scrubbing and all the other orders yelled your way, it was worth it, anyway.

“I know you’re laughing. My ears still work, mind you.”

You felt your belly shake as you giggled, brushing the paper with worn fingers, staring open-mouthed at the piece before you.

“This is amazing, Granny,” you sighed.

“Idiot,” she repeated. “It’s the same thing as the one before. And the one before that.”

And for good measure, Granny added, “Idiot. Not like you hadn’t seen that one.”

When all you’d done was take her hand in yours and place a pack of food along with a thin roll of paper in her feeble grasp, Granny finally asked, “Why do you keep coming back here, girl? Asking for the same thing.”

There wasn’t any of that surly frown now.

And looking at her like that, without the crabbiness that sharpens her features, that oddly makes her look younger and in control of herself, you find that you don’t have an answer this time. Arrested by the realization that her shoulders slumped lower than you’d thought. And that she’s getting thinner.

“Why?” you whispered back, feeling traces of charcoal stick to your palm.

Maybe it’s because there’s no other way that she’d accept food, unless she does something in return. She kicked you out the first time you intended to give her the ration you’d earned.

(Or maybe it's because you know what they'd do, once they find out she's no longer making trades.)

Why, indeed.

Maybe it’s because you hadn’t really seen things grow before.

You might work at the Governor’s place, at the heart of the city and everything else that matters, but grunt workers like you are prohibited to get anywhere near the farm, let alone actually enter it. So, really, there's no other way of seeing what growth looks like.

Maybe it’s because you can only do that when you witness her in her craft. You really don’t have anything to compare it with, but you’re sure life from soil works the same way.

Everything must come from something. And that something must be quite the artist, if they're anything like Granny.

Birthing roots from the ground of what was once a blank piece of paper with a flick of the wrist; growing into large trunks, strong branches, then into an abundance of leaves and blossoms.

Trees drawn on both sides of the paper, always with a smattering of grass and flowers in the middle. She said they used to grow here, when she was just a girl. And if you begged hard enough, she’d add a stray butterfly fluttering around the corner.

You hummed thoughtfully. “Maybe I just love seeing you, Granny,” you grinned.

“Crock of shit.”

“Really!” You grabbed your knapsack as you stood from your seat, folding the paper with care. “Hey, Granny, guess what? Don’t give me that face— I’ve already saved just enough and you know what that means?”

She snorted.

“Listen,” you pouted. “I’ll finally be able to get those pigments! I heard they don't cost that much and if I trade next-”

“Don’t.”

She tilted her head and faced your way, misty eyes pinning you. "How much does paper cost you?"

You gulped.

Then, with a swiftness that surprised you, she grabbed you by your tattered sleeve and gritted, “I may be the blind one here, but I think I see a lot more clearly than you do. You can sweat and bleed for those pigments, but I will never paint.”

You felt a sting in your eyes as she continued, “I know what you’re doing. And I’d be the greater fool if I let you work yourself to the bone for some pipe dream."

"Content yourself with coal, girl. That’s all you’re gonna get from this place. Dirt and rust and smoke. Go sneak into that damned farm. Go steal some of those fuckers’ riches. In fact, while you’re at it,” she laughed dryly. “Steal them all and run away from here. If you really want to live.”

“Only,” she said, too soft that you had to sit back down to hear her, “Only, stop hoping, my child.”

Her chest wheezed as she breathed, like air passing through the holes of a rundown machine.

You kissed the back of her hand before you left.

The wind howled and threatened to topple you as you walked back to your building, hard rain slapping you across the face when you picked up into a run. They didn’t descend in small drops anymore. As you get older, thunderstorms are to be expected once evening falls, lingering for weeks only to suddenly bring about an irritatingly humid day.

But tonight, the large cavern above that parts the dark, heavy clouds into opposite streams seem to yawn wider, closing itself lower and lower into the earth that you swore someday it’ll devour the city whole.

Mud water in your boots, you grabbed onto your soaked coat and climbed the steps of the decaying piece of slab you call home, mindful that you won’t slip and break your skull against the thick beams, twisted metal jutting out of the corners.

A solitary lamp flickered through the window of the room next to yours. Little Soo-jin must be having nightmares again, you thought with a frown.

You were about to knock on their door when the sirens blared, echoing louder across the city than the boom of lightning, followed by a grating squeal that could only be an opening gate.

Your knuckle froze over the chipped wood.

The last time the alarm rang, the people were greeted by the body of a young council member, brought by a small and wounded troop who’d accompanied him outside the city.

Soo-jin’s mom peered through the murky window, meeting your eyes after both of you stared into the direction of the gate closest to your zone, as if seeking you for an explanation. You only gave her a shrug.

“Someone must have died,” you said.

“No, he’s not dead. That’s why you’re bringing food to his room, aren’t you?”

You stared at the girl stubbornly shaking her head.

“I- I know, but! Didn’t you hear? They said they found him full of bullet holes and I—”

“Even if you’re serving a rotting corpse, as long as Cook orders it, you follow.”

It was admirable that she’s refused for this long. If it were you, you’d have been sacked the moment you opened your mouth to say no. You wiped your hand with the towel next to the sink, having finished the work assigned to you, and watched the ongoing bout in the kitchen.

“Why can’t you just ask the others? Marga’s not doing anything!”

“Marga,” the older woman hissed, “is with the others. Almost everyone is in the meeting room. So if you don’t take your butt up there, I’m gonna have no other choice but to tell Cook.”

You winced. This can’t be good.

You cleared your throat. “I can do it,” you said.

The tray was shoved to you faster than you can drop your raised hand. You would have found it amusing, considering that you’re sure they couldn’t even recognize you, but the idea of being in the same room with a half-alive man does make you feel uneasy.

Not that it’s anything new for you; you nursed your father until the fever took him, after all. You just haven’t lived long enough to get used to it yet. But you steeled yourself and did your job, because it’s not as if you had any choice.

You prepared yourself for anything as you entered one of the many guest chambers. Bullet holes, rotting corpse, entrails held together by stitches.

And when you announced your presence and gripped the tray tighter so as to not spill the soup on the sprawling carpet, it’s not really surprise that caused you to stumble upon your words when you saw the man sitting on the bed.

It’s more of an embarrassment, of sorts.

You must’ve entered the wrong room, you thought. You immediately checked around to make sure no one saw you talk and almost grovel to an actual sculpture.

Because that’s what he was.

The Governor’s estate houses floors and floors of rooms that you hadn't explored yet. But there was one that, if no one would bother to keep track of the workers, you had the habit of sneaking into.

Thinking about what it took for this family to have all those sculptures there hurt your head, so you stopped a long time ago. You chose, instead, to just admire the marble wonders in all their beauty, always looking back down at you with majesty and pride.

Just as he's doing right now.

Chiseled torso wrapped in bandages; sharp jaw that could cut; eyes the color of olives, gazing deep.

"That is for me."

You snapped your head down.

"Huh- uh, yes? Yes!"

His deep voice still rumbled through you.

"Yes, I'm sorry," you muttered, heat rushing to your face as you placed the tray on the table next to him, inflaming when you realized he didn't mean it as a question.

That is for me.

Not a question. A question means you can answer. His words brooked no other response but obedience, reminding you of your place.

Much like those sculptures, every time you'd spent too much time inside the room and you'd get the feeling that you're not supposed to be there, too filthy to be anywhere near what you think is the closest thing to perfection.

And the truth would settle on you like a heavy weight: that no amount of beauty can ever breathe warmth if it cannot live and grow.

The same way that despite the sunshine filtering through the floor to ceiling windows, surrounding him in blinding light as he sat on the bed, you can't shake the impression that this is the coldest this room has ever been, with him here.

So you anticipated his orders; a single word or maybe a glance that would tell you he wants you gone. Just either one of those and you'd run out of this room in a heartbeat.

But neither came. The man (you still didn't know his name) remained silent, staring at the food like they've insulted him specifically, and now he's questioning the collective audacity of the soup, bread, and bowl of fruits laid before him.

Maybe they don't serve those where he came from. He's from the North, after all, made evident by the small eagle etched on his chest, just above a pectoral. The last visiting Northerner you served who also bore that mark threw a rag at you (she missed) for "mixing the bathing oils incorrectly."

You stayed in your position and asked, "Is the food not to your liking?"

He didn't say anything, but he did shift his attention to you.

And what a mistake that was. How does this man go about life with such a severe presence?

"Er..is something..wrong?" you sweated, suddenly fascinated by the vases behind him.

Glaring back at the food, he answered with a deep "no" and breathed out. His large arms rose and fell along with it, straining the bandages around the muscles.

Oh, right. Right.

You perked up. "Do you need help?"

Stepping closer to the table, you gave him a tightlipped smile and a sheepish "excuse me" before taking the spoon in your hand.

You scooped a thick serving of soup, your palm hanging under it, and waited.

And waited.

The man looked at you the same way he looked at the bowl of fruits earlier.

"What are you doing?" he said, gravel-voiced.

You're gonna lose this job.

Why did you think you could feed him like he's an ailing, decrepit old man? Or a literal child? He's built like he commands an army (and he probably does).

You are definitely gonna lose this job.

"I- I'm sorry!"

You jerked away, your hip hitting the table, the impact shaking it and causing the plates and silverware to clatter against each other.

"O-oh no, I'm-" The spoon in your hand fell as you attempted to set things properly, soup spilling to the carpet along with the utensils.

You're gonna lose this job and you're gonna starve to death.

"I'm sorry! I'm so so sorry!"

Dropping to your knee like your life depended on it, you picked up the myriad of similar looking spoons and forks and placed them back on the tray.

You kept your head downwards, bowing as you'd been repeatedly taught, and shut your eyes tightly.

"I thought that you hadn't healed yet and needed help and- and-" you huffed.

"And I thought that I should feed you but- no-no!" You looked at him and flailed your hands in front of you. "No! I didn't mean feed- I meant- I meant no disrespect please forgive me!"

Not a word was spoken in that second that spanned an entire year. But just as you'd accepted that the worst has come, he said:

"Then, feed me."

Wait.

Wait, what?

"I don't.. understand..?"

"Then, feed me," was what he told you. And so matter-of-factly, at that.

So you did, desperate to keep the only thing keeping you alive.

Though your hand trembled and you wished to be anywhere but here— even the wasteland waiting outside the gates, with all its unimaginable threats, seemed like paradise —you took a loaf of bread from the basket and brought it closer to his mouth.

Lines marred his forehead as he chewed. You were about to ask, self-destructive that you are, whether you should get the sweetened roll instead, thinking he found the one in your hand too bland. But you don't have the luxury to risk digging your grave any deeper.

You kept quiet and pointedly removed him from your line of sight, choosing to count the tassels hanging off the canopy instead.

Once he's eaten all that's left of the pastries, you dipped your hand into the bowl of fruits and took a grape in-between your fingers and, as much as you can, you steadied your hand to avoid touching his lips.

It didn't work.

You shuddered at the contact, curling your toes in your boots to avoid squirming.

This has got to be the weirdest day of your entire life.

Not a hint of unease was shown. He continued to close his plump lips around the tip of your fingers and crushed the fruits with pointed canines, making the hair on your body stand on end. What if he bites you? Would you bleed?

The man seemed to like them more than bread. A sense of urgency rose within you as he went through the berries and sliced mangoes like this is the first time he's had them.

Can't say you blame him. The last time you ate something that resembled a fruit, a real fruit, was when Granny persuaded (coerced) a young boy in her complex to steal one from his employer. That boy has a child of his own now.

You felt your mouth water, your stomach growl and command that you take the bowl from him and shovel its contents to your mouth, as you watched him devour the sweet and tangy meat, the smell of it sickening as it is strangely compelling.

He raised his head and met your eyes.

Shit.

The apples, you thought as you looked back down to the tray. They're the only ones left soaking in the bowl, those apples. After this you'd be out of this stuffy room and you'd laugh about this later with Soo-jin and her mom and Granny too if she's not cranky.

You could still feel him staring at you as you fed him a slice, the apple crisp when he took a bite.

Juice trickled down your hand, the sticky extract tickling your arm as it slid to the crook of your elbow, and you were about to wipe it with your other hand, when you felt a wet tongue probe the gap between your fingers.

You gasped. "Sir..!"

You stepped away. Tried to, anyway, but with a firm hand, a hand that's not injured, after all, he gripped your wrist and continued to suck a digit.

"This is- sir!" struggling out of his hold, you pleaded with him to let go, please sir let me go, even as he only looked at you, his eyes dimming when he grabbed your waist to bring you closer.

He licked your hand, lapping at the trail the juice left behind, and when you thought he would release you, he took your hand to pluck another slice from the bowl.

Your legs gave up beneath you, forcing you to sit on his stretched lap, his hard body scorching you through the sheets, as he ate the apple from your palm, slurping the leftovers dripping from it.

"Don't cry," Granny told you once.

"Especially when you feel like crying," she said. "Don't cry."

You'd never really been good at listening, but now, you decided to suck in your breath and keep those tears at bay. You can cry and laugh about all this later.

Because you might be jobless after this, but you will certainly have a damn good story to tell over the fire once you finished kneeing him in the nuts.

So: one.

Breathe.

His teeth scraped your soaked hand.

Two.

You rested your hand on his shoulder.

Three.

You braced your leg, moving it between his thick thighs, and then, as you clutched his bandages, you—

"Ushijima-sama."

The door swung open.

"Pardon the intrusion, but the Council members requested-”

It was Secretary Hara.

“Oh."

Secretary Hara: a lanky, dark haired man with glasses who's always at the Governor's beck and call. He was here, carrying a small stack of papers, and gaping at the scene before him.

You and the esteemed guest. Who's still suckling at your skin. On the bed.

He grinned, full of humor and disgusting. “Well,” he said.

At least you weren't crying.

A question, shared only by the Heavens, began when the Lord fashioned the flesh out of the dust of the ground and said,"You are made in My image and likeness."

It was not their way, before that: to question. (One of them did, once, but that is a different story).

They have no need for questions.

They hold the highest seat, below only to the Creator, unencumbered by the trappings of the earth.

They have no need for questions.

So it remained unasked, lingering in fragments in the House of the Lord.

The question comes to him now.

For the flesh is a cage. It is ephemeral and prone to decay.

It is fitting for this kind to have it, with all their qualities bound to the material world.

You are the very epitome of these.

Graceless. Stumbling like a newborn foal. Too many apologies. Too many questions.

God is not here, he thinks as you insist on asking what does not matter.

“Is the food not to your liking?” and “Is something wrong?” and “Do you need help?”

Indecisive, too. Reneging on your promises. You said you’d feed him and then you said you wouldn’t.

Ushijima Wakatoshi is a mere flesh, locking inside divinity your kind would never understand. Yet he felt its tedious demands gnaw at him when he saw you. Something so impermanent should have no right for constant sustenance.

But he knows, just for this time, that he needs it. That’s why he tells you to feed him, as you said you would. After all, it is your way to serve. And, for all your many inadequacies, God has granted you bread and water and fruit to sate your appetites.

Thus, for as long as he is flesh, he will do as it tells him to.

When it urged for the taste of fruit, for the cloying sweetness of its juice, it is only right that he heeded its call and had his fill.

How dare you object. His light is brighter than yours; God has granted it so (and yet you were given the will that they never had). And even in flesh you are beneath him. You are easily held and defeated.

The ache in his belly did not cease, each gulp he took heightening his senses, shouting for more, more, more as he took you with his tongue. And he realizes that this is what the first of your kind may have felt like when they disobeyed. The first act of betrayal.

(For what is the wrath of God to the cries of the flesh?)

And with that, Ushijima Wakatoshi finds, since donning this useless flesh, that it is not at all easy to gratify.

Not in the least.

There are so many rules in this mansion that even Cook’s effort to batter them on your head could sometimes be futile, given that their number is just as big as this place. But, there is one, among all the convoluted and at times nonsensical decrees, that you are not allowed to forget:

Unless you’re among the core staff, you can never enter the East Wing.

The East Wing is where all the important things happen, see. It goes without saying that someone as lowly as you cannot pollute that hallowed ground.

Today seems to be an exception.

When Cook barked that Secretary Hara wanted you in the East Wing first thing in the morning, you had a feeling that you just might not live to see the next day.

You didn't speak unless spoken to. You didn't look unless told to. The things you should've done much earlier.

"How are you liking the work here so far?"

Secretary Hara pushed the pen to the side and leaned back against the leather swivel chair.

"It's a job," you mumbled, to which he only replied with a breathless chuckle. You didn't see the point in bootlicking any further. Besides, Granny hated that the most; so you avoided doing it as much as you can.

There's only one conclusion for you here, anyway. No matter how severe the punishment. And it's back in your room, with a uniform that needs sewing for a job that you no longer have.

He tapped his fingers against the lacquered table. "You're right," he said. "Work is work. Despite your place in this society."

You wanted to roll your eyes. Secretary Hara has never been any of the workers' favorites (not that any of you had your "favorites," but if you could, you avoided this guy). He had this astonishing effect, too, in which he can actually bring people together. All because everyone hated him.

He's a slimeball, is what he is. If one needed lessons in kissing ass, he was your man.

"Do you know why you're here?"

You're getting fired. End of story. Now can I please just go? is what you want to say. But losing your job doesn't usually take this much time and attention. Normally, it was Cook who'd grunt "You're out" and that was it.

So you shake your head.

"I'm promoting you," he said. "Congratulations."

Somewhere, beneath that condescending smile of his, is a punchline that you're sure he's deliberately keeping from you. Just so he can be the only one who gets to laugh.

"I-" You balled your hand to a fist. "Why?"

He scoffed. "What are they teaching you in that rathole? Honestly."

They taught me not to be rude to people I don't know, you little bitch.

"Drop the coy act, it's okay," he sneered. "It's cheap and it won't work on me."

Oh, now you really want to get fired. If only to kick his teeth in. "That man," Secretary Hara continued. "Ushijima Wakatoshi. You were all over him and you seriously don't know who he is?"

You gritted. "Secretary Hara, what happened- it wasn't- I didn't want it."

But he only gave you that look. As if to say, "Sure. Let's go with that." When it'd pass and the need to pummel him became stronger, he stood up and stepped towards the tapestry draped against the wall.

It was a map, the city a pinprick on the corner. Secretary Hara faced it, dusting the spotless surface, his back to you.

"Ever wonder what keeps us here?" he started, hand still on the map. "This city of ours?"

"The," you licked your lips. Where was he going with this? "The river..?"

Secretary Hara clapped his hands, his voice lilting like he's talking to a toddler as he said, "That's right. That's good. Excellent."

"So you do know some things, after all." His fingers crawled towards the long line of blue stitched beside the city. "And do you wonder what would happen if, say, that river begins to dry?"

You felt your eyes widen. You covered your mouth with a palm.

You're not supposed to know this. Why is he telling you this?

He scratched the thick clump of blue thread and continued, "These great cities. They have their energy; their military."

Your eyes followed his hand, moving farther and farther away from the pallid brown surrounding your city, towards the bright yellow West, stopping at the bright green East. "Some of them are blessed enough to not be surrounded by a literal desert."

Then, with a careful hand, he moved to the very top and said, "And the North…the North has it all."

The North was a sprawling, intricate web of threads, eating away the entire tapestry.

"The Ushijima clan rules the North. Much longer than this city has existed. And they’re so engrossed in their wars that they’d never glance our way if we don't give them at least half of what we make,” he spat. “These great people haven’t had contact with us in years."

Secretary Hara finally turned around, grin still in place. "But now one of them owes his life to us." He walked back to his desk, sitting on its edge. "Perhaps the heavens sent him here."

When you remained silent and looked at him with eyes that you wished had the ability to kill, because you know now what they wanted from you, Secretary Hara only shrugged.

"He asked for your name, actually," he said, tilting his head. "Lucky you. He didn't bother to learn ours."

You stood your ground. "No, sir," you said. "I won't."

He pulled a thin piece of paper from a pile sitting next to him. "You're not gonna do much," he said as he began to read. "Just show him around the city. Be his friend."

Friend.

"But I- No. I can't." You stepped forward. "Please."

He looked away from the paper. "Zone 42. Room 0312."

"What.."

"Granny," he said. "That's what you call her, isn't it?"

No.

"They say that for a blind old lady she's still somehow miraculously trading to keep a roof over her head."

Phantom touches crept to your arm, slick and nauseating like cold sweat.

"You must take it from her. Though you're not related," he said. "Apparently, you're so hardworking, you even work the night shift. When you don't have to."

You released a shaky breath. "I'll..I'll start," you croaked. "I'll start right away, sir."

Secretary Hara folded his arms, victory plastered all over his gaunt face.

"Thank you," he chimed. "I'm glad you understand. It's for your own good too, y'know."

The uniform they gave you chafed against your skin. Tugging at the sleeves did not help, the pristine fabric too coarse and stiff to budge. Your only comfort was the folded paper hidden in your pocket, fading at the edges every time you touched it.

You have to admit, however, that you did look...well, you did look clean. Not as much as him, though. And not just in the sense that he's out of the bandages now. Last you checked, and that had been a few minutes ago, he was still sporting a couple of scars on his forehead.

Despite that, you don't have to look behind you to know what's captured the people's attention as you strolled the capital. Or, who, to be exact.

Some were outright ogling; some happened to glance once and then immediately looked away with a blush; some made the laudable effort to not look.

A mirror of what you're doing right now.

They gilded him with gold, which is a redundancy if you ever see one. He was wearing the most expensive pigment, something that only the Governor's family could own: a deep violet tunic emblazoned with golden vines, swirling from the middle to the collar; paired with dress pants that you could probably trade for a whole month's worth of food.

You kept your distance as you walked in front of him. "Just show him around the city," was what Secretary Hara told you. That didn't mean you had to talk.

And it's not as if he had any complaints, either. He followed you through the rows of glass houses that adorned Governor's lane, not a word spoken about the sights.

Even when you'd attempted to speed through the dizzying streets, he kept his pace, long legs allowing him to stride close to you. By time you'd reached the plaza, you were already out of breath and in need of rest.

But you didn’t.

You remained standing a few feet away from him, the paper in your hand opened to reveal those great trees and thriving field, as he sat under the gazebo overlooking the square; a place reserved only for council members.

The smell of the sweetmeats and oranges in front of him reached your nose (Secretary Hara has a cruel sense of humor, you belatedly realized, when you were handed a bag of food that had a note saying “treat him well”). You fought the itch to cast out what little you’ve had for breakfast.

Children were playing around the sandbox, the staff of whatever family they belonged to guarding them. In a way, their job wasn’t that different from what you have now.

Except, it’s not a child you were threatened to accompany. With the feeling of his gaze burning your nape, it seems like you’re not the one doing the guarding as well.

And you didn’t feel every bit like the adult you are when he called your name.

You felt frighteningly small, as you yielded with a pathetic, “Ushijima-sama.”

He only looked at you. Those green eyes telling you exactly what he wanted.

People are watching. You can’t mess this up.

“Sir,” you said, hand still in your pocket, that frayed paper your anchor. “It is improper.”

Irritation swept through him, his sharp features harsher when dissatisfied. But you can’t give up, even though it’s sending a chill down your spine and he seems like he’s about to throttle in broad daylight. (And he doesn’t have to do much, you know. He can crush you with one hand.)

“Why- why are you here?” you hissed. “R-really?”

You don’t shut your trap when you have to, girl. That’s your problem.

“Because- because I’m not gonna be your..thing.” The paper was dampening in your grip. “While you do whatever it is you do, Ushijima,” you huffed. “...sama”

Ushijima did not blink, his stare unwavering as he turned towards the small crowd strolling below. There’s a part of you that wishes to put yourself in his place, like a king on his throne. What does the view look like from up there? Are the people beneath just multicolored ants moving from afar?

“A few of my kind have suddenly sided with yours,” he said. Then, briefly returning his gaze to you, “I had to see what draws them here.”

He linked his fingers together. “Before I do what must be done.”

You stifled a chortle. “Do what must be done” your ass. Does that include harassing people, too? “God only knows,” you whispered.

“You believe in God.”

You were the subject of his relentless attention again. You groaned, averting your eyes to a small girl, probably around Soo-jin’s age, who plopped down to create a heap of sand, much to the consternation of her nanny.

“No,” you replied in a thin voice.

“Why?”

“I don’t know.” Where is this question coming from? “Always seemed like a lot of work,” you said.

The little girl was making a castle. It’s apparent to you now that she has little pail by her side, shovel in her grubby hand. The frill of her dress caught most of the sand as she stacked them atop each other.

“And I’m pretty sure God has more fun things to do than worry about me,” you added, just because.

The castle reached her knees when the girl stood up.

"God has left," Ushijima said. "A long time ago."

And then she kicked it. The thing crumbled to a mound, the breeze scattering it back to the sand.

You did chuckle this time. The Northerners sure are strange. "Really? Where’d God go?" you hummed, looking up to the sky.

The sun was blanketed by waves of clouds, as usual. "Somewhere nicer, I hope," you sighed.

You closed your eyes and thought of that nicer place. It would have to be far, far away from here. Maybe it would even have those trees that Granny loved.

"Cherry trees."

You opened your eyes and gawked at him.

He was still gazing at you.

"You are attached to it," he told you, like it's nothing; like your heart's not wreaking havoc against your ribs with each word he utters. "On that paper."

Pulling it out of your pocket, you stumbled to him and unfolded it for him to see. "You- you know what this is? A 'cherry tree.' That’s what you call it?"

"Yes." Ushijima's eyes did not leave yours. "That is the name you people have bestowed upon them."

"Are you sure? Are you absolutely sure?"

You didn't let him answer that because, just like the fool that Granny accused you to be, you took his hand in your trembling one and laughed, somehow managing to drag him out of the gazebo.

It took a while before you finally let go.

Much has changed along the way, he felt this as the air grew hotter; the sound of bustling people louder and less constrained with inutile mortal etiquette. You seemed less wary of him here.

The hand that held his tightly was still brushing against him, as you talked incessantly about the pieces of paper plastered across the wall. They all looked the same, yellowed and infested with mold at the edges, but you insisted otherwise.

“See here?” You pointed to the one on the bottom. “Granny drew the leaves differently. They look like flowers don’t they? They are, aren’t they? I knew it! So they are flowers.”

There was a cot in the corner of the room. He sees you there in slumber, surrounded by rocks and scraps of metal and bits of gemstones held together by strings, each strand hanging on the crevices of the roof, gleaming every time they move.

You tapped his arm repeatedly. “Oh, oh. I put these two beside each other. Notice that the shades are different? This one is lighter while this one has more shadows to it.”

"Do you get it now?" you asked him, expectant.

Humans are baffling creatures, Wakatoshi thought. Because when he said nothing, you only laughed (you seem to like doing that) and told him to “follow me; hurry.” You didn’t hold his hand this time (you should’ve, he preferred it when you did).

“My bad. I hadn’t shown you yet,” you huffed as you grabbed a rag and set aside buckets of rainwater that obstructed his path.

Behind a curtain of sackcloth and ashes, draped at the furthest side of the wall, was a crack big enough to let a person through, corroding steel bars protruding along the broken concrete.

Wakatoshi ducked to enter the room next to yours. It was hollow, save for bits of gravel and a window obscured by dust. You paced to it then wiped the thick glass with the rag you brought with you.

“That hill is always there in Granny’s drawings,” you said, taking the paper in your pocket and setting it parallel to the scene revealed by the window.

Your smile was wide, as if you were admiring a land lush with vegetation, or wildflowers at least. When it was far from that. It was a vast desolation, beyond the gates and the brown earth fractured. But, just as you said, there is a solitary hill sitting along the horizon.

“Those trees- cherry trees,” you started, face radiating with mirth. “It’s the same but.. different each time.” Your breathless laugh makes him feel just as winded. “How is that even possible?”

“I know they can’t be just...green.” A finger traced the outline of the leaves. “Because these are real and they actually grow and- and they change.” And, as if it’s a secret, “Unlike the ones at the capital.”.

“If only Granny would paint them for me,” you whispered, the smile on those lips waning.

Wakatoshi couldn’t stand it. So, he grunted, “You are wrong. This one is green.”

He took the paper from your hand. “They only change colors once they bloom. White, first. Then, pink.”

This knowledge is trivial; if it can be considered knowledge at all. It is a speck in the infinite matters that simply exist— have existed, in this world. Yet such a thing has put that look in your eyes.

Perhaps it is not inconsequential at all.

“Pink?” you breathed, grinning incredulously at him.

You turned away and closed your eyes, your voice cracking as you murmured, “I see.”

There's a blood pumping organ within his chest. A vital piece that keeps you humans alive. It beats constantly, never ceasing. If it does then it means you are dead. He is flesh, for now; it follows that if it halts, then he is fodder for the earth.

How is it, then, that he is still here? He’s sure he felt it stop, the air knocked out of his lungs, as you looked back at him, eyes welling with tears when you said, “Thank you.”

Thank you, you told him, smiling.

Ah.

Wakatoshi gets it now.

This is what God must have seen, when your kind looked up and sang, “I love you, my God; I love you; I love you.” And when you knelt and dared to turn those eyes for others that are not God, he suddenly understands why they were ordered to rain fire and brimstone upon your great kingdoms.

Because he, too, would smite anything, burn it to the ground and salt what is left, if it would so much as receive a whit of your sweet, soft words.

“They used to grow here,” you sniveled. “Granny said so.”

“And I thought, maybe if Granny added a bit more color- maybe they'd feel more…I don't know..real..?” Laughter rings in his ears once again, pealing like bells. “Yeah..They'd feel more real...Though, she did get mad at me,” you winced.

“I just thought,” you sighed, your shoulders touching him. “Wouldn't it be nice if I can wake up one day and find them growing again? Right here.”

God created a garden for your kind once. It is gone now, but Wakatoshi wonders what you’d say, how you’d look at him, if he shows it to you. Your head against the grass, fingers laced with the lilies of the field, the taste of fruit on your lips, your thighs dripping with honey and dew—

Wakatoshi felt his loins stir, but he didn't say anything, except, “The soil here is poisoned.”

You snapped towards him, brows drawn together. “I know,” you said.

“A sapling cannot grow on this wasteland.”

“Yes, I’m not stupid.”

“That could have been any hill.”

“I know.”

His throat is parched; his hands a pair of useless things. He can hold galaxies in them, sink ships and level seas by the order of God had this body not trapped him. (He can free himself, but then you’d die). Now he doesn’t even know what to do with them as he rushes out a hoarse, “I have upset you.”

He refused to let you take the paper from him. You didn’t seem to mind.

“No,” you sighed. “No, of course not. Forgive me, Ushijima-sama.”

You bowed again. An act of servitude.

“Please, let me escort you back to the capital.”

He does not understand. He only told you the truth.

But you turned your back to him and the light in your eyes has gone and he wants to chase it back the same way he wanted to run after God when the parting happened, leaving the Heavens mourning until their wails split the firmament open.

Wakatoshi yearns to have you closer. He yearns for that smile and laughter back on your face.

Wakatoshi yearns.

But, that cannot be.

After all, that is just much too human, is it not?

The rain drenched Wakatoshi to the bone, droplets falling from his lashes to his cheeks, when he walked through the nighttime storm.

He didn't bother to dry himself.

After he'd reached your room and shoved the door open, the clap of thunder covering the noise, Wakatoshi decided to undress himself, shedding all articles of clothing until he was naked as the day God created your kind.

Wakatoshi felt the chill bite his skin. But that had nothing on the way you easily dismissed him earlier, by the time you'd reached the abode of this city's leader.

You left him and he could no longer see your face and yet that fierce longing in his chest stayed, creeping to every part of him, making a home in his belly.

Until he recognized the feeling for what it was.

Hunger.

Hunger, he could fathom. And when one feels it gnaw at one's flesh, what does one do, but eat?

You were sleeping on the cot, just as he'd imagined you to be. It's enough to keep him warm: the sight of you, at peace under the glimmer of the trinkets dancing above as a lamp burned lowly.

The mattress sank under his weight when he sat next to you. His much larger hand took yours, locking your fingers together to rest his cheek against it, bringing it beneath his nose, and feeling his heart race as he breathed in your scent.

He remembers the first time he did this so vividly. You tasted like apples and sin; and though there's none of that now, his mouth still waters as he savors your skin, his tongue traveling to your arm, just as he did then, leaving bites along the way.

You barely stirred when he lifted your shirt to reveal your tits, the sheen of sweat along the valley forcing a growl out of him.

Do you feel it, too? When you drag him further down to earth, debasing him and bringing him so low that now he is nothing but a hungry flesh and a mouth made of obscenities.

"Fuck," he grunts, as he took his cock, heavy and hard to touch, and rubbed the head with his fingers.

Perhaps he is lower than human now. Perhaps it does not matter. What is God to this hunger, anyway?

(This hunger is bigger than God.)

The cot was pitifully small as he straddled over your chest, breathing still shallow, and spat on his hand before wrapping it around the thick shaft. The tip of his cock touched your nipple as he fondled with the other one, thumb and forefinger pinching and pulling until you let out a tiny mewl.

Hearing it had him falling to his knees.

Wakatoshi moved off the cot to kneel on the floor, the better to suckle on your tits, to lick and nibble on the skin below it, on your stomach, until he's seeing red and ripping your loose pants down to your thighs.

He pumped his cock harder as he caressed the folds of your cunt. You groaned, arching your back and offering yourself to his mouth, when he started to lap on your clit, sticky liquid coating the swollen bud as he swirled his tongue to spread the juices dripping from your hole.

Your entire body was singing for him, even when all you'd managed were squirms and muted whimpers. He felt your skin twitch beneath his lips, as he cupped his balls and drove his hand faster around his throbbing cock, gripping his fist tighter.

Oh, he sees you on that garden, clinging onto him as he drives himself into you, pounding your cunt as you beg please, just as you did before, please, please, fuck me harder I am yours I am all yours.

But, for now, he settles himself with the violent shudders of your body, flooding his mouth with cream, as he releases his seed on his palm.

Wakatoshi rubbed it against your leaking cunt, quivering still in his hand.

There is something that must be finished, first, before he takes you, in truth. He cannot have you conscious (for now.)

He covered you back in your clothes, after. Then, Wakatoshi lingered on your face.

"Fearfully and wonderfully made," he whispered, a mere guttural sound amidst the rain pouring outside.

Here lies salvation, he thought, as his fingers brushed your closed eyes.

And here, Wakatoshi thought as he brought his lips down to kiss you, here lies damnation.

He wiped his blood on the doorposts and lintel before he left.

You woke up to silence.

Your nether regions ached and, really, the temptation to not go to work today was insanely strong. But the sun was already bleeding through the window and there's a heavy feeling on your chest.

And like wearing a shirt on backwards, you immediately knew that something was not right.

The sound of the door slamming open echoed through the building as you ran outside.

There was nothing.

Not the sound of people going about their day nor of children risking the wrath of their mothers with their games. The only thing you could hear was the buzzing noise of a fly circling around your ear.

You didn't bother knocking on your neighbor's room, rushing inside to shout for Soo-jin and her mom, stopping only when you found them sitting around a small table.

They didn't turn around to greet you.

"There you are," you panted, putting your hands on your knees. "I'm so sorry for barging in like this."

Even little Soo-jin, who never failed to jump into your arms given the opportunity, kept her back to you.

You stepped towards her. "Soo-jin," you whispered, placing a hand on her thin shoulder.

"Soo-jin, hey," you chuckled, your trembling fingers shaking her bit. "H-hey, what's wrong?"

Her head nodded down, like a doll grabbed all too suddenly, then it lolled to the side, rolling until she bared her neck, until you saw her face.

Her mouth hung open.

Inside the cavern were tiny black lumps that took you a second to realize were flies feasting on her molars. And when you lurched and sank to the floor, it was only then that you saw her staring back at you.

Bleached eyes, wide and whitened to the core and pupils like spoiled milk.

"N-no." Your vision was cloudy, freezing dread settling at the pit of your stomach when you saw that the same happened to her mother. "Who- who did this?"

Your voice strained out as you stood, mind moving faster than your legs.

Granny. Go to Granny.

Though you already know, don't you? You don't have to see her to know her fate. Because as you sprinted out of the room, leaping down across the steps, out of the building and into sand and concrete, the smell of sulfur followed you, choking you along with the sight of bodies sprawled on the ground.

Insects creeping out of nostrils and every other orifice, faces that you'll never have the chance of knowing and faces that you'd grown up with, hands reaching to the heaven as if at prayer.

You are alone. You are alone in a city filled with rotting corpses.

There was an uncontrolled animal inside your body, fighting out of its cage in a fit of rage as you craned to look up, further up.

The sky was on fire, the fissure in the middle gaping wider and wider and sucking in a mass of swirling clouds dipped with blood and orange.

And there. There, look. Standing atop the towering walls.

Beyond the heat wave was a figure, burning bright that you had to squint and you wanted to look away, you had to look away, but you can't go out like this, not without a scream and a curse at your lips.

What did you do, you were shouting, Who are you, you were screeching, feeling the veins in your neck stretch and pop as you walked closer and closer.

Wings as far as the eye could see stood atop the fallen city.

Spread out to span the horizon and folded at the middle to conceal whatever it is pointing a flaming sword towards the sun.

You tasted iron at the back of your mouth, but you did not stop. The earth beneath you swallowed your feet as it turned to mud with each step you took.

And with the flap of its wings, the sound of metal banging against each other reverberated louder.

There were children howling in pain, somewhere, behind you, in front of you, beside you. You staggered forward and for the life of you, you do not understand why you keep trying, because the ground below wasn't even soil anymore.

It took another step before you fell.

And it was like one of those dreams.

But this time you don't wake up.

You bawled out and thrashed your legs as water rose above you, slamming against your chest and filling up your mouth and burning your nose until it's all you could see, until you're floating in darkness and water is rushing to your lungs and you were flailing upwards, catching that spot of sunlight, but the more you kicked your feet and swung your arms, the more it tugged at your heavy legs and the less you could breathe and the further it got—

You were sinking, the clanging of a giant bell everywhere still, as the water pulled you down, and in the deep, below the nothingness, was a massive cleft illuminated by the barest of light, slowly opening to reveal an eye, and no sound came out though you know, though you felt your throat release a shriek, horrifyingly small, so, so small compared to that glass green pupil that illuminated the darkness, rapidly contracting and dilating and then blinking as salt and fire streamed deep in your skin, but they were looking at you from all sides, a thousand eyes flanking you and judging the weight of your soul with their unforgiving gaze as you tossed and turned in the waters.

I am going to die here, you thought. I will die here, you cried.

But something was pulling at your waist and despite clawing and jabbing at it, desperate to keep it away from you as you wailed get off me get off me, it gripped you tight, hauling you upwards until you were gulping and breathing in cold air.

Through tears and the piercing cry that ripped out your throat, you felt strong, warm arms cradle you close.

Along with a deep voice, familiar and conjuring a long lost memory.

It lulled you into hiccups and dry sobs, gentle as it whispered.

“Do not be afraid,” he said. “Do not be afraid. Do not be afraid.”

#tw noncon #tw non con haikyuu #yandere ushijima #ushijima wakatoshi x reader #ushijima x female reader #dark content haikyuu

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thesimperiuscurse · 4 years ago

Photo

08.04

It’s The Kingston Legacy’s sixth anniversary, so here’s a throwback post to celebrate! Last month I forced myself to reread the entire legacy, and while I stopped, clicked off the tab, and emitted a soundless scream of pure cringe numerous times (I wish I was kidding)—the past generations are actually not as terrible as I remember. I think enough time has passed for me to detach myself from the childish storytelling and look back in nostalgia.

Thank you to my fellow Wordpress writers who have come along the journey, some for many years now, through every high and low. It’s astounding how much has changed in the legacy from when I was 15, and 21. Follow me down the (very) long memory lane, as I reminiscence about each story and my perspective on them now ❤

Generation 1 — Fern (2015)

To my shock, I found myself genuinely enjoying Fern’s story. I think this was because the first generation was purely me commentating on gameplay, and not trying to write a story (that’s when the cringe began). I was inspired by one of the original stories, Alice and Kev, to make a homeless sim and document her struggle for a better life: Fern, a snobby aspiring writer. Reading this, a huge wave of nostalgia hit me, and it reminded me of how wonderful Sims 3 gameplay is. Although I’m long past it now, there’s real heart and life in the design. I think it speaks about the rich personalities and quirks that I could write a whole life story off it. It was super fun making Fern camp out at Old Pier Beach, stealing from townie picnics and roasting apples on the fire, finding little ways to scrounge money, giving her a makeover in the salon, watching the townie dramas unfold around her. Although she faced homelessness two times and a shitty first husband (yeah, fuck off, Xander), Fern grew into a strong and independent yet sweet and gentle character, in love with the ocean like her great-granddaughter comes to be.

I never actually addressed this, but she (and her love Christopher) passed away in the story between the end of Gen 3 and start of Gen 4. It just felt weird to make it a big deal because they never died in game—still ‘alive’ and well, scattered across different backup saves and the bin.

Generation 2 — Briar (2015)

Briar’s story was strange, because it was half gameplay and half story, which meant that there were things that just did not... make... sense. She was quite an ‘unreliable’ character to follow because of her Insane trait. The plot revolved around her as a fresh detective, investigating supernatural phenomena in Sunset Valley. Her character arc was almost the opposite to her mother’s: a naive, optimistic, silly girl hardening through trauma into a cold and ruthless police chief. Ash’s death was the one moment I felt true sadness in this legacy, because he did really die. Imagine me actually getting emotional over my characters, lmao. Wild.

Also, Max is OP. To this day he is one of the best male characters in my legacy, a healthy and supportive best friend (to husband) in stark contrast to the following generation.

Fallen Angels — Cherry (2016-2019)

Yes. It’s this generation. Square the fuck up, Cherry. I will fight her any day. Old readers will know of my pure hatred for this story. It’s been about two years since it thankfully ended. My verdict now?

It’s not quite as horrifically shitty, Gabriel and Lilith being a lot nicer than I remembered (Gabriel’s only a bit of a dick at the start), but it still has glaring problems, such as the pacing and clumsy handling of sensitive topics. The story would have been far nicer if it focused less on Cherry and Luc’s relationship and their respective issues, more on the found family and her relationship with Gabriel (which was rushed due to me despising the story by that point). During the first chapters, I was cringing spectacularly at the combination of Luc’s initial jackass behaviour and Cherry’s whining. Toxic as FUCK. I had to skip 3.8 and 3.9 entirely. These two (because of my own shameful mistake) tainted the generation in my eyes, and even though all of the characters grew from their toxicity, I can’t really see past that guilt to the better parts of the story.

Jade has been telling me for years that this story isn’t all bad, and upon forcing myself to reread, I can see what you mean. I’m sorry LOL. Something that pleasantly surprised me was the writing quality (just the prose, not the actual story mechanics... lmfao), and Raphael, who made me smile every time he appeared. Every single careless, sarcastic line of his was a banger. The pictures are something else I like, too. Many of them stand up to the best ones in En Pointe—the fiery, gritty, industrial tones of Bridgeport just hits different. The world was rich and immersive, which is missing at the moment in En Pointe because of me being too lazy to build a proper Los Angeles world, but Act III is set in Boroughsburg so I’m excited to get back into the city scenes. 17 year old me wasn’t mature enough to tackle dark themes, but at least the visuals for them were nice, I guess. The atmosphere of the story I really enjoy. It’s just the toxic characters and way-too-angsty moments that ruin the whole thing for me.

En Pointe — Evangeline (2019-)

And here we are now! The early chapters are kinda painful to read because 1) Mako looked so ugly and 2) the dialogue was so clumsy and generic. I sighed in relief when Chapter 5 came around, because it was then both of those aspects really began to improve. Eva’s voice was simple, with her punchy remarks, much less romantic and descriptive than Cherry, so it was interesting to see her voice becoming more complex and layered as I more understood her character. Also, me visibly struggling with the natural lighting and only getting a handle on it 7 chapters later has me shaking my head.

I’m already beginning to identify issues with the story, mostly with character arcs and pacing. It’s a strange combination of fast pacing (spanning half a year in 8 chapters) and Eva becoming surprisingly comfortable with Mako’s touch due to their unusual pas de deux circumstances. It’s curious how real life time actually played into the pacing of the story—because of the slow publishing schedule, less time has passed in the story as real life, so it’s almost as if the time jumps were made up by real life time, making the jumps feel not too strange. Reading consecutively, however, Evako’s relationship growth doesn’t feel slow burn... a little underdeveloped, in a way, despite their lengthy conversations. I think that’s because of Mako being such a reserved and mysterious character, and that I’ve unconsciously come to rely on Tumblr to give more depth to the characters/relationships. Luckily, pretty much everyone who comments on the story also follows me here, so this dual-platform storytelling is okay, I suppose. I want to post more of #Mishako since there just isn’t enough time to explore their bromance in the story!

At the moment I’m not happy with the story, but it’s fine. I’m learning. There’s more than half the story to go, which means plenty of time to reflect upon the issues and improve. I’m really looking forward to Eva and Mako’s character arcs in Act III. At the moment their relationship is based on their natural chemistry and respect for each other, and since they are yet to face trials their bond isn’t super deep, but Evako are still my favourite couple in the legacy thus far, and feel much more real than any character I’ve written before. It’s been very interesting for my aro ass (and being way more logical than emotional) to figure out a dynamic that is actually compelling to me, because most of the time when I look at romance I’m just like 😐🤨 I’m liking it so far but we shall see how everything unfolds, because I have barely any idea what’s going to happen beyond Act II, lmfao.

That’s it for my incredibly long throwback! I hope it was at least nice for the OG readers, and interesting for anyone else who managed to battle through this essay, haha. This family has been an integral part of me growing up, as a person and writer and artist (what I’ve developed in visuals I apply to architecture), learning a great deal of awareness about real life through story research, which is pretty cool now that I think about it. I’m aiming to finish En Pointe by the end of 2022. I’m excited for what unexpected changes are to come!

#wordpress is being annoying like tumblr right now #they're trying to sneakily integrate the new site design into the old #pretty sure a lot of people don't like the new one #why can't i view media by month #now i have to scroll through a million pictures to find old ones #why is it selecting several when i just want to open one pic #fuck youuu #anyway #very busy week #lilaremonn #thesimperiuscurse

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lokiondisneyplus · 3 years ago

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Holy crap. Look at Kate Herron's shirt. When the Loki director pops up on Zoom, she's donning the most glorious image anyone will see since we laid eyes on Alligator Loki: A Teletubby wearing the Loki horns. Are the Teletubbies Loki variants? Sure, why not!

"I got it on Instagram," Herron says. "There's an amazing comic book artist and he designed it. He made it into a T-shirt for me because I saw it and was like, 'That's incredible. Can I get it for the press junket?'"

Herron, no big deal, just pulled off an MCU miracle. Entering a mammoth franchise with, notably, some of Sex Education's best episodes under her belt, the director deftly brought a plot involving multiverses and Richard E. Grant in a cape and superhero mumbo-jumbo to brilliant, beautiful life. Following Loki's tear-jerking, mind-bending finale, the series has been dubbed by critics and fan's alike as one of Marvel's best efforts—which is no small feat. Of course, we needed to ask Herron how she stuck the landing. Following the most epic finale you, me, or any Teletubby can remember, Herron talked to Esquire about the Miss Minutes jump scare, filming the finale's introduction of He Who Remains, and why she won't return for Season Two of Loki.

ESQ: How are you doing?

KH: I'm good. I think I feel very relieved that I don't have to sit on the secret of He Who Remains anymore, It was a very big secret to hold, but for an important reason, right? Because it's such a good character to be launching. So yeah, I feel good.

ESQ: Loking back at your old interviews, you have such a good poker face when you're avoiding spoilers, but you're also incredible at giving aggregator crumbs.

KH: I play a lot of board games, so you need to be quite good at strategy and poker faces so people can't always read your hand. So I think weirdly board games have prepared me more for working with Marvel than anything else.

ESQ: I have to start with the Miss Minutes jump scare. What went into the decision to make her a memeable, creepy apparition in that moment?

KH: I love horror, and my executive, Kevin Wright, knew that. Me and him were talking about Episode Six and I remember that he was like, "Oh, maybe you could do something creepy of Miss Minutes." And I immediately was like, "We have to do a jump scare!" Because I haven't got to do a good jump scare in anything yet and I really wanted to, because a lot of my friends are horror directors. I was like, "I can't let them down." So I was really excited to have a shot at doing a jump scare. And Miss Minutes, it was really fun testing it because we'd kind of bring different people into the edit, me and Emma McCleave, the editor, and we'd just play it for them, watch them, and check that they were jumping when we cut it.

ESQ: One thing that I think is getting missed in all the craziness is that we see a peak moment of the love story between Loki and Sylvie. Where does the finale leave the companionship that they found in each other?

KH: When I started the show, that was always in the DNA of it—that Loki was going to meet a version of himself and they were going to fall in love. And that's honestly what drew me into the story, because I directed Sex Education. I love stories about self-love and finding your identity and your people. Loki is such a broken character when we join him, and seeing him go on this amazing journey with all this growth and finding the good points of himself in seeing her—I think that was very beautiful. It's also paying respect to the fact that Sylvie's in a very different place to him. She hasn't had the Mobius therapy session. She even says, in Episode Five, "I don't know how to do this. I don't have friends." You really feel for her because she has been on the run and her whole life has been this mission.

It's almost funny because these characters are thousands of years old, but it's almost teenage the way they both talk about their feelings for each other. I think everyone can relate to that, right? In any new relationship, there's always that kind of awkwardness and like, "Oh God, am I too keen? The important thing was the hope—like when Sylvie and him kiss, I think it is genuine and it is coming from a place of these feelings they have for each other. Obviously she does push them through that door, but for me it was a goodbye and it was with heart. But it's kind of a goodbye in the sense of like, I care about you, but I'm going to do my mission because that's where I'm at.

ESQ: I would pay for you to direct the Sex Education episode where Otis falls through a portal into the multiverse, into the main MCU.

KH: He really looks like a Loki as well, which is so funny. I always thought that. I was like Asa does look like a Loki. It didn't come to pass or anything, but it would be interesting to do a Sex Ed-Marvel crossover. I wonder who all the different characters would be within the MCU, but it would be quite funny.

ESQ: You're right, he could pull off a teenage Loki.

KH: Yeah, like a teen or a very young ’20s, maybe. But it was just funny because I was like, "Oh yeah, he looks a bit like Tom." I wonder how they could do it. I'm sure they'll find a way to do a crossover anyway.

ESQ: Can you just take me back to filming with Jonathan Majors? And you capturing him in such a compelling, quirky, scary way—I'm sure your direction was such a big part of that.

KH: I was just so excited because Jonathan is an actor that everyone was so excited about. He's like a chameleon in everything he does and he's so talented. I just feel as a director so lucky to have worked on this because I feel like I've got to work with some of the best actors out there. And when you're with Jonathan, you know you're in the presence of just someone really magnificent. For me as a director, it's giving him the space to play and feel safe. Because we filmed it all in a week, but it was a lot to film in a week. So I think it was really about creating a space where he could have fun and find this character because he's going to be playing him for a long time.

ESQ: What went into the decision to introduce us to the good guy first?

KH: I remember in the script, he comes up the elevator and it was so casual. I was like, "Oh man, that's so fun." And then Jonathan, when he plays it, he's relaxed. And I the thing he used to talk about a lot was that this is a character who's been on his own for a long time. Because at the beginning, we introduced him in a space in the universe that feels like this very busy, loud place, but actually, when we see the Citadel, he's surrounded by the Timeline and he's very isolated. Even in his costume with [designer] Christine Wada, for the idea of his outfit, he's a character who's existed for multiple millennia. So it's like, OK, let's pull from lots of different places so you can't necessarily pin down which time or which place he might be from. Also the fact that his clothes look comfy. They were like pajamas because he's living at home. He loved the idea of the office [being] the only finished part of the citadel and that the rest of the citadel was like this Sunset Boulevard kind of dusty, dilapidated space. And just again showed that he probably just keeps himself to his office. All those elements definitely fed into Jonathan's performance in terms of balancing the extrovert, but also the introvert of someone that would be living by themselves and only talking to a cartoon clock.

ESQ: It really is incredible how you pull a nail-biting finale with this battle of wits and dialogue.

KH: It was really exciting because I feel like Episode Five was a lot of fun because we got to play into all the joy of the different versions of Loki, but also just the fact that it was our big usual Marvel third act, right? Like it was where our big spectacle was as they were fighting this big monster. But I love that our finale bookends, right? We began with a conversation and we ended with one.

ESQ: I also loved that there was no end-credits scene—I think it makes the ending that much more impactful. Was there ever an end credit scene on the table, or any kind of a stinger?

KH: I think no, because weirdly, we never went after the kind of mid-credit sequences. I think we always just were thinking just of the story and where we knew we wanted it to end. For example, Episode Four, originally Loki was deleted and then we went straight to him waking up. And it was only in the edit I was like, “I think it'd be really cool actually. We should move that scene to mid-credits because then we'll really feel like Loki has died." Because if I watched that moment and then it went to the credits, I'd be like, "What?!" And then when we were talking about the best way to talk about Season Two, we were like, "Okay, well, let's do that like a little mid-credits at the end because that is exciting to confirm it in that way." I'd say we found both of those in the edit just because we wanted to kind of do it right and have a fun nod to something that Marvel does so well.

ESQ: Is there anything you can tell about the future of the story you've told here—or even where you personally would like to go with the studio or otherwise going forward?

KH: Yeah, so I'm just on for Season One. So I'm so proud of the story we told. I mean, it was amazing getting to set up the TVA and take Loki on this whole new journey. And I mean, I think we've left so much groundwork for his character, and as people see in the comics, there's so much more to be delved into. And I just am excited honestly to just see where all the characters go. Like, who is B-15? What did she see in those memories and where did Ravonna go and where is Loki? I think for me, we've set up these questions and I look forward to seeing them being answered as a fan in the next season.

ESQ: Absolutely. Well, can we please work on the Asa Butterfield Loki?

KH: I will call him and I'll be like, "You want to do some crazy Marvel crossover?"

#Kate Herron #loki #season 1 #director #interview

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authorofemotion · 3 years ago

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Claire!

Because I know you are huge(at least in my eyes) especially with your whump blog and I know you post original content...

What advice would you give for new blogs/authors for writing original content? I'm thinking about writing some but I think I want to grow my blog before I do. You don't have to answer but I'm always looking for advice to better myself and my writing.

Love you!

hi athena!! I don’t know if i’m going to be the best person to give advice (this blog has ~150 followers and my fandom sideblog has about 30. but my whump blog is doing pretty well!) but I can absolutely try!! Since it got pretty long, I’m putting it under the cut :)

(also this is entirely unrelated but for some reason I’m able to type stuff inside your ask which is whacky. i didn’t do it though lol)

Growth takes time!! I started my blog almost three years ago and I’ve built most of my following in the last year and a half. Hitting your stride takes time and trial and error no matter what, so be aware that even when it doesn’t seem like it, you ARE making progress!!

MAKE FRIENDS!! Seriously, finding your people can help you so much (and you’ve already been doing a great job with that! again, I only made my friends within the last year and a half).

Another great thing to do would be to make an introduction post and tag your favorite content creators! Intro posts go around a lot and that will get people familiar with you and give you a face in the community.

Also, to become familiar to various people, reblog writing you like and RANT IN THE TAGS I SWEAR IT HELPS SO MUCH!! Artists (writers included) don’t get nearly as much interaction as they should simply bc people have stopped reblogging stuff. So a reblog is amazing—but if you put a sentence or two (or a whole paragraph if inclined) in the tags about what you loved, I promise the author will LOVE YOU and almost definitely check out your blog. Sending asks is also really good!

Try to post (at least semi-) regularly. I’m a bad example because my online presence ranges from posting multiple things a day to not writing for three months. BUT! I always see a boost in followers every time I post something new, and, again, if people see your url often enough, they’ll check out your blog and may drop a follow!

TAG TAG TAG TAG TAG!!!! Use AS MANY relevant tags as possible when you post, because people follow tags of things they like to see, and posts that use those tags then show up on their dash, and your content is exposed to new people!

Participate in community events! Yet again, I’m a terrible example of this because I. haven’t yet. However! Events like Whumptober, Whumpmas in July, Summer of Whump (There are non-whump ones Im just painfully oblivious to them) will get you exposed to more people too! You don’t have to do every prompt, lots of people will see your work because they follow the event tags, and the hosting blog will reblog it for their followers too!

Write what you want to! My self-indulgent posts that I think most people won’t like because it appeals to me specifically do really really well a lot of the time! You aren’t alone in really liking the tropes you like, so there 100% will be an audience for what you want to write, you just have to find it.

If you want to write with OCs, write a few things with well-known characters (fanfic) or generic characters (hero/villain, etc) first or alongside it. Being introduced to someone’s blog solely with OCs can be intimidating bc instead of focusing on the writing you’re like “who are you people???” but if you write other things alongside it, people will be introduced to your writing, then may decide to check out your OCs (also if you have them make an intro post for your ocs. it’s really fun)

If a prompt inspires you, fill it in with a reblog!

Also remember (I know from experience) more people will like your posts than reblog. more people will read your posts than will like. not everyone who goes through your blog and reads everything you have will like the posts, but that doesn’t mean you don’t have that audience!

uhhh that’s about all I have. it’s all pretty generic advice but I hope it helps!! LOVE YOU <333

#athena!#claire gets an ask #writing advice #blog advice

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silverandsoulbonded · 4 years ago

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A Life of Stories - Soulbonding and My Story

It’s the late 90’s. A tiny child sits in the grip of wonder on the carpet two feet from the old, analog television screen. The volume is turned way down on a Saturday morning, so as not to wake the parents. And Digimon: Adventure is playing.

That kid was me.

I spent the next several days telling anyone and everyone I knew about the trials and bravery of my favorite new friends on the TV. Taichi and his Digi-pals.

Every Saturday morning I tuned in with wrapped attention to check in on my friends. Because that is what they were. I could not explain it at the time, and looking back I see that I did not understand just how powerful my love for them was, but over the years I began to notice the disparity between my experience and that of others. The glazed looks I received when I tried to communicate just how much the “stories” around me meant to my heart and spirit.

As I grew, so too did my well of worlds. When it was not Digimon, it turned to Batman and the DC Animated Universe. Over the years, as things became harder and harder for me in an unsafe household, I would reach out to those stories for safety and comfort. In the dead of night, listening to shouts, I would silently pray for Batman to come in and save me. I would think about Static, from Static Shock, and his bravery. I would long for the Justice League to show me hope.

I grew up in a conservative Protestant Christian household, and I was quickly taught from the moment I could understand stories that they were not real. It seemed a strange double-standard to me, as we read of Jesus and his amazing feats, recorded centuries ago by the hands of men but somehow “different” than the other stories I consumed, which also taught me and affected me just as emotionally.

It would not be until adulthood that I could finally articulate this incongruity I felt, much less possess the bravery and personal freedom to think about it on my own terms. To set aside the pre-packaged “truth” I had been fed growing up in order to find my own fresh fruits of wisdom and meaning.

Stories. Stories are what sustain humanity. All we have are stories. Even the perceptions we store in our brains are only that. Perceptions. Stories. We can never truly know what an orange is, or who a person is. We only can know our perception of them, and the story of them that lives on within us.

And, sometimes, those stories speak to us in the most fantastic and magical of ways.

Fast forward to 2021.

I am an adult. A practicing witch and pagan. An artist and writer. I am functional and thriving. And I have an unusual family.

Some of the most important people in my life do not exist on the physical plane of this Earth quite the same as other friends of mine. They exist in the subtle realms of Dream and thought and wonder. Over time I have come to find many names for them. Spirits, guides, and “soulbonds”.

I began my foray into the community of “soulbonding” when I began to sense, or rather, acknowledge the living quality of some of the “characters” I was writing about. One character in particular, a being who introduced himself to me in a dream, had me particularly flummoxed. I called him Asura, and from the moment he entered my life through that dream, my entire world changed. It was akin to stepping onto a roller coaster car while it was still moving—except this roller coaster had no track and no limits. His entire presence permeated my life, my thoughts, my daydreams. I wrote about him, and it was my writing about him that led me to thoughts, questions, and explorations I would have never dared otherwise. By finding him, he led me to find myself, and for that I shall be forever grateful.

At some point, I, and even my closest friends, became aware of a “spookiness” about my dogged pursuit of this mysterious character. I started to know things about him and his world, and make connections in his story, that seemed to come out of nowhere but which all cohered together perfectly. Without a fault, I would learn tidbits about him that would suddenly fit with another thing I learned later, though I never had to strain to achieve such things. It was not so much that I was “creating” the story so much as “recording” it. There were elements of his story that overlapped with our world’s history and it was spooky as all get out when I learned about historical facts through his story and later found them to also be reflected in my own world, which has a similar timeline to his. A sort of “sibling world” to his.

We also noticed the tremendous power of my emotional connection to him and his friends. My boyfriend at the time even became jealous of Asura, though I assured him that was absurd. “Asura is just a story,” I would say. And my boyfriend thought the same yet he, and others, seemed unable to ignore the fact that there seemed to be something weird going on.

And, one day, with horror, I realized I was in love with Asura—fortunately, by that time I had since broken up with my boyfriend—but the idea terrified me. Unsurprisingly, this sent a conservative Christian “good kid” such as myself down into a spiral of questions and disbelief.

I felt the imposter syndrome. I thought, “I must be insane.” Yet, no one, myself included, could deny the reality of this connection I felt.

Over time, Asura and his friends began to speak to me. They guided me and provided loving support to me. I, at the time, figured I was either crazy or eccentric.

“Maybe this is a writer thing,” I thought.

And it was that thought that led me to soulbonding. I learned of other writers who also had their “characters” come alive to them. Alice Walker, author of the famed American work, The Color Purple, allegedly purported that she had received her story straight from the characters’ mouths one afternoon, during which she sat down to tea with them and learned their tale. And that is when I found a forum site called “The Living Library” (now defunct), and learned the term “soulbonding”.

In that community I found others who echoed my story in various ways. Deep personal connections to entities from other worlds, many of whom they found depicted in the flourishing ecosystem of thought and imagination, stories, that surrounds the human race. Others, discovered their unconventional friends via dreams, visions, or odd circumstances just like myself. One person I met had actually found one such friend first, in this instance a version of Edward Elric from “Full Metal Alchemist”, before learning years later—with a start I imagine—that Edward actually had an entire manga and anime about him.

I say “version” because another amazing phenomenon I discovered was the occurrence of many instantiations of people, characters, from infinite worlds, all with slight variances from one another. That is when I was introduced to the idea of Multiverse Theory and Many Worlds Theory.

As my personal investigations led me down various spiritual rabbit holes, and eventually led me to spirit-working and witchcraft, I found more and more ideas that seemed to jive with my experience.

I discovered what are colloquially called “pop pantheons” in occult circles. Pantheons of spirits and deities who connect to pop culture figures in human society—and even figures from “fiction”. And there is a whole, thriving community of people who lead successful, fulfilled, and meaningful spiritual lives working with these entities. I learned that reality and “truth” are not objective like I had been taught so long ago. And I finally understood MY truth—all we have are myths and stories. Experience is subjective and the only measure of meaning and truth we have is in the effects we see in our own lives.

With tremendous wonder and happiness, and even love, I have seen the effects my unconventional friends and family have wrought in my life. Asura is my familiar spirit now, and I have a whole host of other beings whom I love. Some come from “personal gnosis”, or unique experience, such as Asura. Others are beings who have come to me from the vast world of collective Dreaming that permeates our world, evident in media sources, in the form of stories.

I still have moments of doubt. I sometimes wonder, “Gee-golly-whiz, am I NUTS?” But then I remember that my truth exists only in my own experience. My ethereal family brings me happiness, growth, and meaning. And there really is no difference between my relationship with them and the relationship I had with Jesus so long ago. Every experience is real to me, and brings with it change and good. And that is what matters.

In this blog I intend to share my experience, in hopes that it can offer a beacon to others in similar situations. Every person’s experience is unique, though I hope mine can at least offer some hope, understanding, and love to another.

Cheers.

And happy story-telling.

- Cosmic

#soulbond #soulbonding #spirituality #spirits #spirit-work #spirit #stories #writer #writing #poppantheon #pop pantheons #occult spirituality #witch #spiritworker #spirit work #my story #my post #SILVERfamily

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michaelbjorkwrites · 5 years ago

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The Habit of Art: How to write better stories, more consistently

"Art is the habit of the artist." - Flannery O'Connor

In 1955, Flannery O'Connor wrote a short story called "Good Country People," which is often remembered in lit classes as the story where a Bible salesman steals a woman’s wooden leg. Many consider it to be among O’Connor’s greatest works, and yet…

She wrote it in a single draft.

Without a plan or outline.

She just… wrote. Straight into the rabbit hole, and came out with a masterpiece.

How, you ask? (Because I sure wondered.)

According to O'Connor, she was able to pull off a nearly perfect first draft because she’d developed something called the "Habit of Art.”

Now, it's unlikely any of us will ever pull off a feat like O'Connor’s (which was a one-time occurrence even for her), but her Habit of Art really is something anyone can develop — and it’s the key to writing better stories, more consistently.

What exactly is the Habit of Art?

The idea is pretty straightforward, even if French philosopher Jacques Maritain (whom O'Connor referenced) makes it seem convoluted in Art and Scholasticism. Basically, he claims that when an artist reaches a certain point in their development, the creation of art becomes not just an active pursuit, but a natural inclination.

Art, in other words, becomes a habit — your subconscious naturally conspiring to help you craft meaningful stories whenever you sit down to write.

Sounds cool, right? But what does that look like in practice?

Well, to start, it's not like going into a trance and running on complete creative autopilot. As O'Connor explains in the essay "Writing Short Stories," the act of writing "is something in which the whole personality takes part — the conscious as well as the subconscious mind."

Art, in other words, is created through a collaboration between your conscious and subconscious — between logic and creativity. When you develop the Habit of Art, what you're really doing is developing and empowering the subconscious part of your creative process.

That, in turn allows your conscious mind to do less heavy lifting and act more as a guiding force — focusing and directing your creativity.

How to develop a Habit of Art

The process of developing any habit is simple: do something over and over consciously, until it becomes an unconscious action.

That's how professional musicians and athletes learn to perform consistently under pressure: they practice particular movements, breathing techniques, and thought processes over and over, until they learn to act that way every time, without thinking.

For writers it's the same. The Habit of Art isn't a single habit, so much as a collection of habits, skills, and instincts that come together in your subconscious to improve your writing. (Learn how I rapidly improved my craft with this mindset here.)

Here are key activities that help develop a Habit of Art:

Writing exercises. Just as musicians and athletes use exercises to turn specific skills into habits, so can writers use exercises to sharpen and habituate their approach to imagery, rhythm, voice, figurative language, etc. All you need to do is choose the skills you want to habituate, find a relevant exercise (or make your own), then do that exercise regularly, until it starts to feel more natural.

Reading and writing. This is a no-brainer, and it's common advice. To develop a natural instinct for storytelling, you need to be immersed in books — savoring the plot, language, and characters, while simultaneously breaking down how they work. You also need to be elbows deep in your own writing, mimicking and exploring and experimenting, so the craft seeps into your bones.

Observing the world. In O'Connor’s view, the Habit of Art is more than just a discipline: it's a way of seeing. And I agree. The best writers learn to habitually observe the world and find meaning in the little moments. So slow down, and take the time to notice the life passing you by. The more you do, the more your observations will start finding their way into your work.

Here’s the good news

If this all sounds overwhelming, I want you to take comfort in this: you already have a Habit of Art.

And it’s growing.

The Habit of Art isn’t some mythical switch you suddenly flip upon attaining artistic enlightenment. Instead, I believe it’s something you start developing early on, and its growth is a natural result of you reading, writing, and living.

So do those things. Read, write, and live thoughtfully — then watch as your Habit of Art develops.

I can’t promise it will help you write a single-draft masterpiece like it did for Flannery O'Connor.

But I know it will help you write some incredible stories.

— — —

For more tips on how to hone your craft, nurture meaningful stories, and stay inspired, follow my blog.

#writeblr #Writing tips #writing advice #writers of tumblr #writing #writerblr #writeblogging #writeblog #flannery o'connor #tips for writers #how to write

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rainbowsky · 3 years ago

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Final round-up of fan fic asks

I've gotten a few more interesting responses to the fan fic discussion so I'm going to round them all up here. This will be my final post on the topic until/unless there's a dramatic new development, or a particularly notable response I want to highlight. Thanks to everyone who brought their thoughts and experiences to the topic. I hope everyone at least feels heard.

The biggest piece of advice that I would like to offer is for everyone to focus on what they love rather than what they hate. If we all did that, the world would be a better place. Alongside that, I'd like to remind everyone to please support authors whose work you like. It's so important. Give them a kudos, give them a nice comment, recommend their work to others. You never know what kind of grief and harassment they are dealing with to bring you these great stories, and our support means a lot.

This is in reference to previous posts here and here.

Anonymous asked:

With regard to fandom and fan fic issue, my years of experience being part of very large fandoms has led me to believe that big accounts are v important in facilitating and enforcing the general consensus of the whole fandom. Unless there will be big accs who'll remind everyone of being respectful & just not being a dick over other's preferences, nothing will change.

This is also the reason why I think certain solo fandoms have adapted weird and twisted narratives as their general fandom story because no big acc has tried to police them & and say hey pls be rational. Whether we like it or not, in a place where how far voices, ideas, tweets, posts get heard is based on the number of followers you have, big accs will have the power and influence in creating/curating/shifting the narratives.

So, if you want to know why your/our fandom thinks like this in general, look at what big accs are tweeting/posting, look at what ideas & values they follow, look at their preferences or how strongly they react to certain situations. it's taxing and toxic for big accs given the nature of social media these days, but it's also the reality of system, the more followers/audience you have, the more influence you will have.

So to anyone reading this I hope we all practice more restraint and reflection before we post anything. Remember that words, no matter what medium you write it in, will always carry weight.

So true. It is easy - even for myself who spends a fair chunk of time answering people's asks - to forget that people can sometimes be impressionable and what we say can influence people whether that's our intent or not. I get used to thinking of myself as a regular guy just doing my own thing when sometimes my thoughts and words go well beyond where I initially posted them.

I think it's important for us to be careful what we say, and it's equally important to be careful what we take from what other people say. Especially when it comes to big claims. Always get a second, third, fourth opinion and don't be afraid to ask for clarification if something doesn't sit right or sounds confusing.

It's also important to reflect on how our words and actions might affect other people's experience of fandom, and err on the side of 'live and let live' wherever possible. It's great to have our own preferences and to champion them, but we should try to do so in a way that leaves space for other people and perspectives.

The more unique perspectives and the more friendly, open dialog there is, the healthier the community will be as a whole.

There's nothing wrong with encouraging and guiding growth in the particular areas we are interested in, as long as it doesn't step on, oppress or attack those who are peacefully enjoying something different.

Anonymous 2 asked: bjyx fans attacking gdgdbaby for including zsww/lsfy dynamics in an event named bjyx then turning right around and attacking the zsww/lsfy event organizer for excluding bjyx? god, can you hear my facepalm and sigh of resignation and incredulity from over there? im genuinely not surprised that they're trying to drive an entire part of the fandom out by disgusting them (and me) with these immature tactics. i believe what im about to say next will sound quite bait-y and i respect your decision 1/?

should you choose not to post this. but i do know that it is not only me, in fact there are many out there, that is of this opinion. we just dont talk about it on twitter to avoid the potential mess it will bring lol. okay, here goes nothing. (do note that im talking about the majority here, not every single person is like this) so bjyx fans tend to be cishet females whereas zsww/lsfy fans are more diverse in terms of age and gender, and most of them are part of the queer community too 2/?

i would like to clarify that most of these zsww/lsfy fans are not dynamic exclusive (in the sense that they are friendly and interact with all ggdd fans) they just prefer to "identify" themselves as zsww/lsfy fans (on twitter specifically) just to form a distinction from bjyx fans who mostly are dynamic exclusive (as in; they do not consume non-bjyx content, and straightup refuse to interact with non-bjyx fans, often blocking them). as a result, id say that the zsww/lsfy communiy is way more 3/?

mature and respectful (after all, they're mostly queer people talking about a queer ship) whereas many problems in this fandom, such as the homophobia, adamantly insisting on "drawing lines" between dynamics, stem from the bjyx exclusive fans, comprised of cishet females who "may not know better". so, it is of no surprise to me that they're resorting to these immature tactics of calling gg unsavory names, and organizing retaliatory events with controversial topics in an attempt to "purify". 4/4

I trust that you have arrived at that theory through your own experience and observation. I haven't personally spent much time immersed in this stuff so I can't claim to have any real insight or expertise. If you say that's your experience of it, then at the very least that's how you've seen things up to this point.

I just want to say that I think we should always be careful about making assumptions about people's age, gender/gender identity, etc.

There are plenty of good reasons to avoid doing that; because those assumptions could be very wrong, because those assumptions are often laced with ageism, sexism, etc., because those assumptions - even when correct - might not be an accurate basis for the conclusions we draw.

But the primary reason I recommend avoiding those type of assumptions is because anything that enables us to clump a group of people together in our minds like that will tend to make them easier to demonize and dehumanize. They are no longer individuals who are each responsible for their own unique perspectives, they are now 'the X group' who is known for 'A B C series of easily attackable ideas or behaviors'.

If we attribute undesirable traits and behaviors to a group of people we feel opposed to in some way, that makes us feel more righteous and justified in behaving unfairly toward them, dismissing their humanity and warring with them. It's just risky behavior to engage in, even when it's well-intentioned.

There might actually be some truth to what you're saying. It could very well be that most of these people are young, inexperienced, heteronormative, etc. but if that's the case then we should try to use those traits to better understand and empathize rather than to better dismiss and discredit.

Just my two cents on that.

It can be really frustrating dealing with what feels like other people attacking us, trying to oppress us, etc. - especially when there are more of them than there are of us. In my experience the best solutions to that sort of problem are generally the ones that focus on what we are doing and want to do rather than what they are doing that we don't want them to do.

As I am always preaching, we can't control what other people say, do or think. The only thing we have any control over is what we say, do and think (and how we respond to what they say, do and think).

I have found in my experience that the moment I step out of a conflict mindset and instead step into a problem-solving mindset, everything starts to come together. I feel better, my outlook is more positive, I can begin to see solutions and allies rather than problems and enemies, and most of all, I become more focused on what I am doing than what others are doing.

So I would recommend everyone who is invested in resolving these conflicts focus on that. "How can we best showcase and encourage the types of stories we enjoy?" instead of "How can we stop these other people from doing things we dislike?"

Anonymous 3 asked:

Hello again! It’s anon #3 from the fanfic post. I really do appreciate reading your thoughts on various issues like this, so thank you for always taking time to write in depth. As for supporting without going to war, the simplest way has always been to just show appreciation for the creators, hype them up. Kudos are the easiest way on ao3 but comments in addition are great. This goes for all content—art, fics, vids..etc. Creators love to see and read how people react to their content. Sharing is also great, fic recs are very helpful, just be cautious with art and reposting though. Hope this helps a bit!

Thanks so much, Anon. I think this is excellent advice. And it's true that appreciation is great, but helping to expand the audience is also great. Recommending stories, pointing people to the pages/websites of artists we like (as opposed to reposting), sharing our own ideas and approaches, encouraging people to try new things... all of this helps build healthier communities.

And here's another one: WRITE! DRAW! CREATE!

I urge anyone with creative interests or talents to bring their voices to the community because we all can benefit from hearing from you.

Thanks again everyone for sharing your thoughts on this issue. I hope that over time we can all work in positive ways to improve the situation.

I think this subject has been well-covered now so I'm going to retire it for the time being. If anyone still feels they want to discuss it further please feel free to message me privately. Thanks.

#fan fiction #fandom reflections #ask

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honestlyhufflepuff · 5 years ago

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Taking a closer look at “Why So Blue”

This episode was a lovely break from Steven’s “baggage,” instead focusing on the growth Lapis has had. It was visually beautiful, with a touching new song from Lapis, and an interesting contrast from gems that remind her of her old self.

However, I feel this episode has been a little neglected in the fandom as far as the things it tells us about Steven and the world around him. Remember, Future is primarily about Steven’s arc and anything revealed about another character is bound to reveal something about him as well. “Why So blue” has been overshadowed by more dramatic episodes that had Steven’s anger and negative feelings at the forefront. This is no surprise, as seeing Steven’s issues manifesting so intensely is still such a new thing for the fans to process. This episode has Steven acting closer to his lighthearted, optimistic “old self” than any other one in SUF, and I wanted to delve into the implications of that. Let’s break down some things the episode establishes…

1. Despite his “outbursts,” Steven is still a Pacifist at heart.

This look was all it took for Lapis to regain control of herself. In this episode- this moment- is when he really seemed the most like “Classic Steven.” He’s not shouting at her to stop, or joining in the fight. He is just believing in Lapis’s growth and giving her the space to come around on her own. I don’t think the Steven we saw in “Guidance” would have done that. Part of this shift is due to his personal growth, but it’s also probably because he is falling back into his old role of pacifying hostile gems, which is what he knows best and what he’s comfortable with. That isn’t healthy, especially considering how much we’ve seen him panic when he doesn’t have someone to fix in later eps. However, it’s still a relief to see that fighting is not his first recourse despite his new “pink” powers making an appearance almost every episode.

2. Our Lapis is far stronger than your average Lapis. It is unclear if she was designed to be this way or if it is a result of her trials. Regardless, the Crystal Gems should be very grateful she’s on their side. She has the potential to rival a Diamond in combat.

She fixin’ to mess y’all up.

3. Steven has had growth over the course of SUF.

I bring this up because I think even though Steven is facing a very real personal crisis regarding his growth, he’s still had positive changes since the original series, and since the start of Future.

Lapis: I wish I hadn’t done that. They just remind me so much of myself. It’s infuriating.

Steven: Give yourself a break. You’ve grown a lot. It’s not your fault they’re stuck in their ways.

Contrast Steven’s attitude in this scene with his attitude towards Jasper back in Little Homeschool, after agonizing about his inability to change her:

Are you just going to sit here…waiting for someone to give you a purpose? Because I’m TRYING to give you one!

There have been obvious parallels between Jasper and Steven in this series, as Jasper is possibly the only character almost as stuck in the past as Steven is. I don’t know if Steven is self aware enough to realize that Jasper set him off so easily because he saw himself in her, like Lapis did in the HW Lapises. What he has realized is that not all gems will change in the way he imagined they should, and that’s ok. Him and Jasper, as far as we know, are not exactly friends, but they have an understanding of each other. Jasper may always be stuck in her ways, and Steven has apparently made peace with the fact that her bitterness is not his burden. He even sees value in the fact that she sees the world differently from him, and wants to learn from her.

This was a huge point of growth for Steven. All he did through the main series was try to fix people, and it’s obviously taken a toll on him. The only problem is now that he’s let go of his need to fix others by leaving Little Homeschool, he doesn’t know how to do anything else.

Steven has moments of self awareness regarding his issues (in between all the repression, avoidance, and denial) throughout SUF. One is in this moment with with Lapis, where he articulates that you can’t blame yourself for someone else not wanting to change and grow. He admitted to the Rose Quartzes that he’s “not fine,” but vehemently says the opposite to anyone else. He admits to Pink Pearl that he has “baggage,” although he won’t elaborate. He admits to Amethyst that his need to control others is a problem. He admits to his friends- under extreme duress and prodding- that he is having a hard time coping with cange. He opens up to “Cactus Steven” more than anyone, but after how that turned out the next time he opens up won’t come very easily.

My point is, Steven is still growing as a person, but it is a slow process due to all the trauma he is processing, compounded with having powers just as volatile as his emotions are.

4. HW gems are having a hard time letting go of the old caste system.

He’s half Diamond. Maybe we should half listen.

If the Lapises were really listening to Steven in the first place, then their primary motivation for listening to him would not be him being “half diamond.” The whole point of him overthrowing the empire was to create an equal society where Diamonds wouldn’t dictate what everyone does anymore.

How can the thing we’ve always done just suddenly be wrong?

Everyone is having trouble adjusting to this new equality in practice, including Steven. This is a massive, ancient, complex dictatorship that is now adjusting to a new government created by a human teenager. A Diamond is the one teaching and leading the new way things work, so of course it’s a mixed message for HW gems who have him telling them everyone is equal, but also that they no longer can do what they want to if it impedes his vision. I certainly wouldn’t want to be in Steven’s position. It would make most people uncomfortable to tell someone that the thing they were created for- that they also take joy and pride in- is now not only obsolete but morally wrong. Hooray for minors dealing with the nuances of cultural sensitivity in their galactic imperialism!

“He’s smaller than I thought.

Funny that this was the same thing said by the Rose Quartzes. It’s probably hard for any gem to imagine a Diamond that is not massive and imposing, but Steven is still pretty small even for a human (and still shorter than Connie). I can imagine this is why Jasper was so quick to reject him as her Diamond. Steven does not project the towering picture of immortal and flawless power as the other Diamonds have, and this is inevitably disappointing to gems that have long valued that image.

You really expect us to dance and sing like Pearls?

Gem society was not lacking in the arts, but they were strictly reserved for the elite and those who served to perform for them.

It’s interesting that Peridot had no idea what music was, and I presume this is because she was in a lower status than Lapis. The problem is not that the HW Lapises were unaware of artistic expression, but that they found it beneath them. The Lapises take pride in being instruments of power and destruction, the opposite of how everyone perceives Pearls. It’s no surprise they perceived such a heartfelt song from a fellow Lapis as “pitiful.”

Despite the fact that Pearls were very close to those in power, they had none of their own, and even Peridot considered herself above them when she first arrived from Homeworld. Pearls were created to be objects. Status symbols. Pretty little ornaments. Music boxes. And gems created for more “practical” purposes than entertaining the elite and opening doors would see anything associated with Pearls as beneath them.

5. Hot take: Lapis’s approach wasn’t totally in the wrong.

Lapis: We’ve just got to force them to stop. They’re not nice like me.

Steven: Ummm *avoids eye contact*

Lapis: Exactly.

The HW Lapises- much like Jasper- valued physical power over other virtues. Lapis beat herself up a lot for her loss of restraint, but communicating a bit with a show of the type of power the Lapises valued was enough to get them to listen. Steven’s approach alone clearly wasn’t working.

Sometimes people think so differently from you that you have to meet them halfway to have any hope of getting through to them. Steven did this when he agreed to fight Jasper.

I think the main reason he feared Lapis taking this approach was because he knew her past. He knew how hard she was to reign in once she got started, and how drastic she could be in confrontation. I mean, that’s why we have the entire Malachite story arc.

Restraint takes strength! Patience takes strength! Ugh, I don’t have the strength to deal with you.

However, Lapis has grown past that stage of her life, where her trauma ruled all her interactions with others. She has friends- like Steven and Peridot- who keep her grounded. She has developed healthy coping skills and outlets for her processing her emotions. This is why is so concerning to see Steven doing the opposite. The more fragile his mental state becomes, the more he distances himself from his closest friends and interests.

Lapis had the self awareness to realize she was slipping into old habits and losing control, and removed herself from the situation to cool down. That is huge for her.

Not every gem is going to want to go to Little Homeschool, and there’s probably a lot of them that still like fighting and destruction- especially if that’s what they were made for. Era 3 is so bent on avoiding violence that there isn’t really an outlet for pent up aggression (which Steven could use as well, btw). I think starting up some kind of gem dojo would be a great alternative instead of just expecting every gem to like the “softer” things like dancing and making meep morp.

Also, just imagine Jasper as a dojo master. Hell yeah.

6. Most people probably do not realize that Steven is struggling.

Wow, Steven. It took you a whole 5 seconds to make a new friend. You’re getting rusty.

I found this quote from Lapis telling. She still sees Steven as being able to make and keep friends effortlessly. In “Room for Ruby,” she was actually relieved to hear Ruby’s immediate love for earth was all an act, laughing and saying “No one could be that well adjusted.” The only exception to this rule for her seems to be Steven. She looks to him for stability, just like she did in the fight with the other Lapises.

In reality, Steven is terrified of his friends moving on and changing, while also being resentful if they don’t recognize he has changed. He has unresolved trauma that is eating away at him and causing him to have emotions he doesn’t know how to handle. However, most people probably see Steven as he presented in “Why So Blue-” gentle, charismatic, and carefree. It is not uncommon with mental illness to be “high functioning” in public and then come undone the moment you are home around your immediate family.

Even after the very public display of his stress in “Little Graduation,” none of his friends were like “dude, you’re scaring me, please go to therapy.” They saw one incident, but not the whole picture, so none of them seemed to really grasp how bad things are going for him. This is because Steven is still pretty adept at putting up a positive front most of the time.

***

Anyways, I just wanted to revisit this episode and give it some love. Feel free to RB and tell me things you noticed about it that I may have missed!

#su meta #lizzywrites #why so blue #suf #lapis lazuli #su character analysis

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justdreamsstuff · 4 years ago

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Here are 75 quotes about success to inspire you to keep pushing forward and achieve your dreams

"If you set your goals ridiculously high and it's a failure, you will fail above everyone else's success." James Cameron

"Success usually comes to those who are too busy to be looking for it." Henry David Thoreau

"Things work out best for those who make the best of how things work out." John Wooden

"Entrepreneurs average 3.8 failures before final success. What sets the successful ones apart is their amazing persistence." Lisa M. Amos

"If you are not willing to risk the usual, you will have to settle for the ordinary." Jim Rohn

"Take up one idea. Make that one idea your life--think of it, dream of it, live on that idea. Let the brain, muscles, nerves, every part of your body, be full of that idea, and just leave every other idea alone. This is the way to success." Swami Vivekananda

"Stop chasing the money and start chasing the passion." Tony Hsieh

"All our dreams can come true if we have the courage to pursue them." Walt Disney

"If you are willing to do more than you are paid to do, eventually you will be paid to do more than you do." Anonymous

"Success is walking from failure to failure with no loss of enthusiasm." Winston Churchill

"Whenever you see a successful person, you only see the public glories, never the private sacrifices to reach them." Vaibhav Shah

"Success? I don't know what that word means. I'm happy. But success, that goes back to what in somebody's eyes success means. For me, success is inner peace. That's a good day for me." Denzel Washington

"Opportunities don't happen. You create them." Chris Grosser

"Try not to become a person of success, but rather try to become a person of value." Albert Einstein

"It is not the strongest of the species that survive, nor the most intelligent, but the one most responsive to change." Charles Darwin

"Great minds discuss ideas; average minds discuss events; small minds discuss people." Eleanor Roosevelt

"The best revenge is massive success." Frank Sinatra

"I have not failed. I've just found 10,000 ways that won't work." Thomas Edison

"A successful man is one who can lay a firm foundation with the bricks others have thrown at him." David Brinkley

"No one can make you feel inferior without your consent." Eleanor Roosevelt

"The whole secret of a successful life is to find out what is one's destiny to do, and then do it." Henry Ford

"If you're going through hell, keep going." Winston Churchill

"What seems to us as bitter trials are often blessings in disguise." Oscar Wilde

"The distance between insanity and genius is measured only by success." Bruce Feirstein

"Don't be afraid to give up the good to go for the great." John D. Rockefeller

"Happiness is a butterfly, which when pursued, is always beyond your grasp, but which, if you will sit down quietly, may alight upon you." Nathaniel Hawthorne

"If you can't explain it simply, you don't understand it well enough." Albert Einstein

"There are two types of people who will tell you that you cannot make a difference in this world: those who are afraid to try and those who are afraid you will succeed." Ray Goforth

"Start where you are. Use what you have. Do what you can." Arthur Ashe

"People ask, 'What's the best role you've ever played?' The next one." Kevin Kline

"I find that the harder I work, the more luck I seem to have." Thomas Jefferson

"The starting point of all achievement is desire." Napoleon Hill

"Success is the sum of small efforts, repeated day-in and day-out." Robert Collier

"If you want to achieve excellence, you can get there today. As of this second, quit doing less-than-excellent work." Thomas J. Watson

"All progress takes place outside the comfort zone." Michael John Bobak

"You may only succeed if you desire succeeding; you may only fail if you do not mind failing." Philippos

"Courage is resistance to fear, mastery of fear--not absence of fear." Mark Twain

"Only put off until tomorrow what you are willing to die having left undone." Pablo Picasso

"We become what we think about most of the time, and that's the strangest secret." Earl Nightingale

"The only place where success comes before work is in the dictionary." Vidal Sassoon

"I don't know the key to success, but the key to failure is trying to please everyone." Bill Cosby

"Though no one can go back and make a brand-new start, anyone can start from now and make a brand-new ending." Carl Bard

"I find that when you have a real interest in life and a curious life, that sleep is not the most important thing." Martha Stewart

"Twenty years from now you will be more disappointed by the things that you didn't do than by the ones you did do. So throw off the bowlines. Sail away from the safe harbor. Catch the trade winds in your sails. Explore. Dream. Discover." Mark Twain

"The first step toward success is taken when you refuse to be a captive of the environment in which you first find yourself." Mark Caine

"Whenever you find yourself on the side of the majority, it is time to pause and reflect." Mark Twain

"The successful warrior is the average man, with laser-like focus." Bruce Lee

"Rarely have I seen a situation where doing less than the other guy is a good strategy." Jimmy Spithill

"Keep on going, and the chances are that you will stumble on something, perhaps when you are least expecting it. I never heard of anyone ever stumbling on something sitting down." Charles F. Kettering

"If you genuinely want something, don't wait for it--teach yourself to be impatient." Gurbaksh Chahal

"You can't connect the dots looking forward; you can only connect them looking backward. So you have to trust that the dots will somehow connect in your future. You have to trust in something--your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life." Steve Jobs

"If you want to make a permanent change, stop focusing on the size of your problems and start focusing on the size of you!" T. Harv Eker

"Successful people do what unsuccessful people are not willing to do. Don't wish it were easier; wish you were better." Jim Rohn

"The No. 1 reason people fail in life is because they listen to their friends, family, and neighbors." Napoleon Hill

"In my experience, there is only one motivation, and that is desire. No reasons or principle contain it or stand against it." Jane Smiley

"Success does not consist in never making mistakes but in never making the same one a second time." George Bernard Shaw

"I don't want to get to the end of my life and find that I lived just the length of it. I want to have lived the width of it as well." Diane Ackerman

"Motivation is what gets you started. Habit is what keeps you going." Jim Ryun

"Our greatest fear should not be of failure ... but of succeeding at things in life that don't really matter." Francis Chan

"If you don't design your own life plan, chances are you'll fall into someone else's plan. And guess what they have planned for you? Not much." Jim Rohn

"Nobody ever wrote down a plan to be broke, fat, lazy, or stupid. Those things are what happen when you don't have a plan." Larry Winget

"To be successful you must accept all challenges that come your way. You can't just accept the ones you like." Mike Gafka

"Be content to act, and leave the talking to others." Baltasar

"You may have to fight a battle more than once to win it." Margaret Thatcher

"Be patient with yourself. Self-growth is tender; it's holy ground. There's no greater investment." Stephen Covey

"I owe my success to having listened respectfully to the very best advice, and then going away and doing the exact opposite." G. K. Chesterton

"Many of life's failures are people who did not realize how close they were to success when they gave up." Thomas A. Edison

"The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize." Robert Hughes

"What would you attempt to do if you knew you would not fail?" Robert Schuller

"Always bear in mind that your own resolution to success is more important than any other one thing." Abraham Lincoln

"Successful and unsuccessful people do not vary greatly in their abilities. They vary in their desires to reach their potential." John Maxwell

"Would you like me to give you a formula for success? It's quite simple, really: Double your rate of failure. You are thinking of failure as the enemy of success. But it isn't at all. You can be discouraged by failure or you can learn from it, so go ahead and make mistakes. Make all you can. Because remember that's where you will find success." Thomas J. Watson

"Logic will get you from A to B. Imagination will take you everywhere." Albert Einstein

"Success is just a war of attrition. Sure, there's an element of talent you should probably possess. But if you just stick around long enough, eventually something is going to happen." Dax Shepard

"My tombstone? I'm thinking something along the lines of, 'Geez, he was just here a minute ago.'" George Carlin

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misterbitches · 4 years ago

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i had the misfortune of finally watching/getting through what happened in whatever episode where he gets raped so im gonna talk about it and tag it cos that's what a bitch fuckin feels like, got it? i do what i want aint no limit bad ass bitch aint never been timid. woopsie realized i got the nicknames confused oh well lmao

it's just logistically and plot wise like there's literal plot holes in this and i'm taking the production and set-up into account along with the actual content and development. im an ARTIST OKAY im jk i mean i am and i am pretentious and terrible but look. i didnt get that degree and im not in a house worth of debt for nothing ok. it's called writing on tumblr about my grievances of shows that dont matter and do not respect me as a fat black american woman either so it is my fault yet here i am.

anyway it was worse than i imagined and their talk after (with chengren) was even worse. that's what i mean about making the lines their own (the actors) bc teng teng sounded like a straight up motherfucking moron and im like

bECAUSE IT'S HIM EVEN THO IM LIKE WHAT THE FUCK DID U JUST SAY U STUPID BITCH? but then it's like awwww and they also care about his wellbeing obviously??? but no? but it's like ok still teng teng said it even if it's stupid because he is a character and charles puts that forth. the people that fail the most to do that are xing si's family but that's not the actors fault because it's the literal material. you're like wait what but you just said...?

so i know they have no script editors i guess i think i find this season ACTUALLY fascinating because of just how egregious it is. i also went back and watched history: obsessed which i thought i liked because of their chemistry even though god the production....but i tried rewatching it and i was like wow this is worse than i remembered and the production issues were even worse because some of the music was SO LOUD AND BAD HOLY FUCK and their whole rship isssssss a sight to behold lmao

so man i guess it really is the power of anson/charles. which is good cos we love to see it...sort of but also a lot.

i honestly....because i've been able to pay attn more to the aftermath of the rape going back and putting it into more context and focusing (just barely lmao) is hm even worse. the inconsistencies are insane. it's not even just about the act but the writers have zero idea where they are going because they have no interest in exploring it. but the way in which it happens is like fascinating. yong jie literally thinks he owns xing si and it doesn't matter if he was kissing him or not or asked for a kiss on the lips (which dude what the fuck? i'll get to that) because he was plied with "extremely strong drinks" and his mom knew about it....which girl congrats you're an accomplice to the rape of your son by your other son?

but first of all...the kissing thing. in what fucking world would he (xing si) want that unless he thought he (yong jie) was someone else. i can't say their attraction is evident because we are being lead by this team to think so; they create this false sense of sensuality already so to me that signifies that they never intended for them to have a bond as brothers. it just feels cheap and fucking lazy (which it is.) even if he did, which doesn't make sense considering the context THEY CONSTRUCTED, it wouldn't matter because he was so fucking drunk which.... at that point nothing is fun, you feel sick, who wants sex like that? does he not have whiskey dick? did they have a condom? was it not painful for him considering? even if this was something to easily get over like was the dick good? it couldn't have been. and then, on top of that, there's the fact that you can change your mind or whatever but also that people do get aroused in these situations bc it is human nature (that's if they can literally get aroused which if the drinks were allegedly sooooo strong that nigga would be out so....again like even practically here it doesnt add up. have these people ever been drunk? if not, write what you know girl. cos sometimes it's like i think some of u r trying to be cool when u dont have 2 b lmao)

so yong jie coming on to him previously may be seen as like push-and-pull but here's the thing. right after it happens (the rape and it's rape so call it that you'll be okay) xing si gets up and goes home and is terrified and upset. he acts like what we have seen or even felt after a violation. he's scared, clutching his bag, it's like...you know...decently coming off as truly distressing (the actor isn't bad at all and i like that he's dark. i just massively hate this for him but hey at least he can show some chops.) like honestly man that fucking sucks and hurts to see. if we've been there we feel it. or part of it is realizing belatedly what happened. a lot of times that drop in your stomach is the worst.

but somehow for some reason, to which i cannot understand, the three of them begin to talk as if xing si pressured him? which maybe i missed something and that is possible—dont feel like going back to look—but that also made no sense. like what kind of false memory is this? why would he think he wasn't willing? and if he thought yong jie wasn't and that he pressured him how does he remember like...anything about the sex?!?!??!? besides waking up and being with him. like i guess he felt yong jie's MASSIVE DONG imprint but ??!?!?!?!??!?!?!?!?!?!?!?!??!?!?!?!??!? MAKE IT MAKE SENSE!!!!!

god then the logic of the top/bottom thing is like i said i wasnt going to get into it but it's actually really funny. this whole thing was hilarious. honestly because I DO NOT UNDERSTAND WHAT THAT MEANS. he could have totally raped him in that way but how did you get to this CONCLUSION FROM THAT??????? BY YOUR LOGIC THAT'S NOT HOW IT WORKS? IF HE IS THE BOTTOM AND PENETRATION IS THE ONLY FORM OF TRUE CONSUMMATION AND RAPE BECAUSE APPARENTLY, BASED ON ANATOMY, IF YOU HAVE A DICK IN UR BUTT UR A GIRL THEN HOW. DOES. THIS. MAKE. SENSE. AND THEN

AND THEN

this whole stupid conversation happens so we get to the conclusion that xing si violated him ok cool but that means that something is wrong. that is the CONCLUSION WE CAME TO A SECOND AGO?

also the other rapist is a villain and muren isn't in love with him so, once again, you're breaking the rules of your own world about acceptability which is why most of this is absolutely mind bogggglinG that iit's fuckign comical. like i actually when i can stomach it start laughing or my jaw is slack because it's so insulting as a viewer because there is like 0 logical followthrough.

because whatshisface barges in, kisses him in front of his friends without permission, then says whether you were willing or not which is hm. at that point how u gonna change that around but let's not bother with logic here. i am simply here to point out how this makes no sense according to the rules they set up even outside of the basic rule of life which is hm dont rape people maybe.

so now we know xing si was raped, they believe he was raped, he himself believes he was raped, and whatshisface literally says he doesn't care even if he was willing (he wasn't) so he admits to rape. i don't believe in the police and i hate them (BL industry needs the cops but dont get me down that road) but no one...thought to go?

because according to history 4 logic nothing matters so im sure if he went to the police you could handwave the homophobia since there's no actual context for anything besides their whimsy. but they dont want to do that because they aren't interested in an arc of growth; redemption isn't possible unless he is removed from the family but again no work on thinking this through or thinking about the victim's feelings. because gay sex? who fucking knows. supposedly progressive taiwanese writers of gay shit (like how supposedly progressive the world is. as in it is not and this behavior is the norm and bl perpetuates that) can't think of transformative justice?

and then they gave bad advice so we wont acknowledge that because teng teng doing anything wrong/stupid is frequent but hurts me and also that storyline is not real so i pretend they are not there outside of this post

so all of this is just straihgt up clownery now because it's fucking absurd like logically, practically, human-wise. the kissing thing is inconsequential but it was such a lazy cheap way out lmao cos they really wanted it to seem consensual but that's not how it works. on top of that their attraction makes no sense because whatshisface is just there. he is just there. he's nothing and no one so the sentiments are even more empty and on top of that he doesnt listen to a single request fucking obviously because the basis of their relationship is fucking rape so fucking listening and respecting his partner is not on his list of fucking priorities. he's literally so fucking annoying even without being a rapist it's like someone please beat his ass.

and then after all of that you want us to feel bad? with your horrible writing, poorly misplaced music, stupid costumes (those fucking SHOES THEY ARE HIDEOUS, AND MOST OF THIER CLOTHES DO NOT FIT IT'S LIKE WHY), questionable fucking editing. we're supposed to wnat them together? this sounds literally fucking crazy but bear with me lmao even with the rape they could at least have SOMETHING i mean like i cant believe im fucking saaying this. but like in addicted heroin which is fuckin tragic and awful at least there's a MODICUM of interest but honestly that show s a fucknig drag. idk they lookd good together? here we have 0. nothing. and it doesnt motivate. watching obsessed again i can see why i liked it in the beginning bc they have good chemistry but the acting and production adn like everything about it plus the rape-y vibes it's just too much. you need to pick one thing so if you're going to be a shit writer at least supplement it with something. this thing is nothing.

and even more nonsensical and what boggles my mind frankly out of all this is the mother's involvement and the father's final response. there are NO consequences? theyre all happy?

ok so lets go through this:

1. 2 boys grow up 2gether, one of the boys is fucking psycho, the mother knows but does nothing??????????????

2. one of the sons moves out so his father doesn't get a hint that's he's fucking gay. ok fine. he has 2 best friends, a job, an apt. he is fine.

3. aforementioned brother is obsessed with him for SOME REASON besides being crazy?

3.5 no one has done anything during him growing up to help him not be crazy?

4. mom says to husband who is their father also just in case we forget "im afraid he will lose his humanity"

4.5 again, do nothing. 0. just like oh man hes crazy. guess that's just our son ;)

4. who cares. plies him with alcohol purposefully to rape him. not even dubious (even though dubious is fucked and not okay or is just not. fucking real. these shows are contextless when they want to be or even movies or whatever so it's like largely not up to the task to understand complexity in human rships and then oversimplifies it constantly because that's what we do IRL. but people have fucking feelings you know and we realize when things don't feel good or right to us either very quickly after or having to process it. and once you're eyes are opened you may feel as something was fucking ripped away from you. for the modc couple this would be a very logical conclusion for the high schooler the thirty year old dated but again logic or feelings are up to their whimsy. no one cares bc everything can be counted as dubious so honestly it's a fucking stupid fucking topic like again why are we litigating what is and isnt consent when you could just like idk. read cues? consent? wait? not be a freak? like we all know what is proper human shit so even if we are watching this uncritically which u cant bc it's glaring and stupid it's just even more dumb) so it was honestly a rape plot like he literally planned it soooooooooo??!?!

5. aftermath of rape the victim is like literally fucking bereft and confused. and a rape victim. like that's what they are insinuating and what also he is to be clear.

6. boy tells him "idc if i raped u i luv u lmao"

7. mom ENCOURAGED THE BOY to get him drunk because her other son was too nice? she encouraged her adult son to rape her adult step-son (but her real son because she repeatedly says you are my son and the dad does too THEY GREW UP TOGETHER WHEN THE KID WAS IN AN IMPRESSIONABLE STATE) so THIS ALSO MAKES EVEN LESS MOTHERFUCKING SENSE

8. everyone finds out about his rape and he isnt mortified he's just concerned about himself being gay to his dad?????? except it's not really about his gayness bc now it's about his sudden love for his rapist brother? which? hm ok. understandable the dad is like wow i do not think i like this

9. dad knows all of it is fucked up, everyone does, knows the mother fucked up, knows he fucked up. doesnt like it because he is normal. so we know this is terrible? ok great so—

10. father says "i can't accept this...but i'm willing to give you my blessing" ok see here's the thing. when you write you have to think about the things you are putting on the page and what you have written previously. this quite literally made no sense how the fuck are you going to not accept them but give them your blessing? does this crew know what the fuck words are? i'm assuming they went to some sort of school to obtain jobs here bc there cannot be natural talent or experience. maybe most of them are rich. fuck i do not know but this also makes no sense. just the literal logic of it it's like fucking insane the whiplash.

10.5 apparently this father is also shitty. everyone here sucks and they are basically begging me to think xing si is a fucking idiot so i dont even want to look at him if he is an object he doesnt matter so now i want to kick him. thanks a lot you made the victim get absolutely fucking nothing

they KEEP PUSHING the brother thing it is so insane and it's liek GUYS WE GET IT WE UNDERSTAND THEYRE "RELATED" BUT NOT RELATED SO IT'S OK HE WAS "RAPED" BUT NOT RAPED but you're GOING BACK ON YOUR OWN RULES!!!!!!!!!! WE GET THAT THEY ARE BROTHERS!!! WE'RE OVER IT NOW BUT WHAT IS THIS WHEN WE ALREADY ESTABLISHED SOMETHING? I AM CONFUSION? they flip flop between my son, my brother my actual brother, and cannot fucking distinguish between love for your father and love for your romantic partner? so to me what i see is that the father wants to fuck the son. that's the conclusion i am garnering now considering nothing matters and his love for his "brother" is the same as his love for his dad lmao. they couldnt even do that in a way that made sense. like damn anybody can get anything. these ppl who are doing this have to be fucking rich and/or have connections.

also this guy sounds literally like a textbook abuser like he says constantly "im the best choice" is a rapist is awful holds capital (oh hees "saving" smh ur trapping her!!!!! RETIRE!!!!) also wears terrible shoes so i am like ur alllllllllLLLLL FUCKING CRAZY ur all literally crazy and then they are trying to set rules and boundaries in their fucking house like WHY ARE THEY LIVING TOGETHER EVEN? even tho oh my god they know he raped him and for some reason they are both allowing to live in the house but they dont want them to have sex??!?!?!??!??!?!?!?!??!?!?!?!?!?!?!??!?!!?!?!?!?!!?!?!?!?!?!?!?!?!?!?!?!?!??!?!??!?!?!?!?!?!?!?!?!!??!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!??!?!?!?!?!?! i get that this is their house but this is like at this point these ppl are writing anything and now whatshisface is acting like a 2 yr old again and we are supposed to find this cute? like it makes 0 sense why do u fucking care u literally encouraged ur son to rape him so they cant have consensual sex under your nose now and have to wait four years? this is coming from the son who couldnt wait until someone was sober enough to realize hes fucking psychotic and should be killed also the fact that they act like being 20 means u have no fucking brain like this kid is in med school supposedly how do we know like hes a liar and an idiot so. also wait do they mean undergrad? how are you in med school at 20? is he a genius? girl i dont care lmao i guess i missed that but it's not like it matters so whatever

even if we ignore the stupidity of the literal acts, the grossness of the content, the absolute inability to write coherently or even remotely in a way where we would even want to see them together which is like....u set it up at the beginning so he punches "the love his life's best friend" also holy fuck im sorry remember when he punches muren because xing si got too drunk. so i'm guessing whatshisface is that good of a bartender that he makes super strong drinks and gets xing si drunk but his alcohol is magical therefore it doesn't make him sick. his alcohol is the type that gets you drunk but somehow doesnt get to your liver even though that's how we get drunk but dont ask guys he's only in med school and a bartender so i think he knows best (seriously have the main writers had a day of fun in their lives? have they ever been drunk? are they toddlers? drunk babies could probably do better tho.) i get that he was also jealous but if this kid is SOOOOOO genius (he understands social cues lmao he has the cpacity to project onto his victim so im like miss me with the not understanding shit. go to a fucking therapist like seriously did no one care abt this kid? his mother thinks he's like almost a goddamn murderer. how is she not dead? how are they all not dead? how do any of them know how to drive with this type of brain?) then he would understand that they are very clearly friends since he watched them part in a very platonic way and since he apparently knows what love is cos he thinks....he can....make someone fall in love with him bc he loves them? again, i wouldnt know hes 20 and taiwanese and im 29 and black from AMERICA so im WESTERN* so you know. different life experiences i guess XD

even if we do mental gymnastics to get it to a place where they "had sex" and he didnt rape him there's 0 ZERO ZERO ZERO ZERO ties to the literal story they wrote and the rules they set up. i'm going ot assume they dont know wtf theyre doing and i know for a fact we all care more about their dumb show than they do but it's actually startling how piss poor this is it's like idek what to compare it to. the continuity is awful awful awful they needed a script supervisor majorly and they are making bank and are going to make fucking bank fof this shit. and itll just continue like that until IRL material changes and that's facilitated by these very same groups they choose to profit off of and exploit by propelling it into the mainstream and litigating homosexuality through capitalism. and i'm being specific with homosexuality. i dont want a GL market like at all and i know why we wouldnt have it either and that has everything to do with the nature of BL, capitalism, coercion, and the fanbase being young girls and women. i don't think in this day and age we can safely say all the fans are straight; i'm sure a majority but many women or people on the gender spectrum and sexuality spectrum also consume it. frankly, it's possible the women who write it could be or something too. i dont rly believe any1 is str8 lmao but im just saying it's not out of the realm of possibility. but it isnt about that at all. that's why we wont see "good" female characters (like well written) often that's why we won't see trans women or kathoeys or fat people or black asians in it. a lot of it is is a choice we participate in whatever. but holy fuck dude u could at least respect the audience's fucking intelligence. i'm talking about everything i think that is encapsulated in the project but it's even more jarring and worse because it's so insanely inconsistent and poorly done. like how we jump from one conclusion to another is wild to me. even their first "night together" and he wakes up im like girl....u no ur ass felt it. this nigga broke into his house and was like "im gonna have u" like it's getting weird

just make xing si suffer offscreen not us the stupidity is staggering, mind blowing, hilarious.

how wong kar wai, a straight man from HK (or at least married to a woman), or barry jenkins, a striahgt black man, write/do stories well about people they wouldnt knw about their experiences directly is....well thinking like using their brains and like knowing all types of people? the man who co-wrote moonlight is a hOMOSEXUAL, leslie cheung was fucking gay or queer (and he committed suicide and that's important also RIP homie) both are hailed as queer cinema like WKW wanted to do something else and invested time into it, changed the way he played around with structure, moved away from his crime oriented stuff. he THOUGHT about it and this film is about their reality. it's a harsh film, idk how i feel about it (but my fav movies of his are the crime ones or the messy ones where it's clear he didnt write a script lmao fallen angels is one of my fav movies its' abt assassins kinda) but i know it means something. and he didnt like what HK had previously wasnt enough. it is not the only cinema that should be shown since it's such a stark reality and depressing but it is a real depiction so we can have all sorts of stuff. no this isnt WKW level or moonlight level but i know for a fact these people think they are doing something because artists always do i say this as one and someone who is equally as useless. you're making a statement.

i also hate the westerner component of peoples analyses. first of all dont do cultural relativism. we can critique and respect. but second of all how are we going to keep saying "dont put western ideals on this" when that is what is happening anyway because that's part and parcel for soft power and capitalism. how about taiwan's history with the KMT? what about the regimes young people fought about? aided by US imperialism which permeates through society and affects material conditions, views, democracy, identity and that goes into culture and media. hm? what about that? is that reality too fucking western for people? that we are doing the same thing again now? is that okay to talk about or is that only on your time?

then there's the argument that this is just entertainment. yea no shit but the thing is if we r gonna talk about marginalized groups and watch bc of marginalized groups and then be expected to identify then i dont see why i cant put this in context. even if it wasnt fucking serious we'd still judge it. but it's so pompous and again like i wouldnt say EYE think it's art but it is "art" in the literal sense and no self respecting artist would ever go "man this means nothing." of course im not sure if they do respect themselves so hey but u cant just go oh man it's entertainment when it literally rests on the fact that HOMOS are MARGINALIZED. it literally rests on the fact that WOMEN ARE OBJECTS. you either want progress or you dont. i dont understand being so demanding but not beign specific in the demands and not trying to use your brain. if you dont want to use your brain don't. but if you are looking , engaging, and keep making these arguments or telling ppl it doesnt matter whilst complaining about how much others care is hypocritical at best, willfully obtuse at worst. both bad. :)

(also all this + another thing; it is insulting to have this like wedding happen based off of this stupid relationship when people fought so hard and had to push it. now they can use the material conditions to their advantage but it's so ridiculous. also because there is difficulty still in getting married in taiwan i'm honestly like....the boldness of the writers...)

#history 4 #history 4: close to you #*dont call me western ever #a thot

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paullicino · 3 years ago

Text

On the Internet

Taken from, and thus generously funded by, my Patreon. The above image via ExtraFabulousComics.

Do you have a flashlight nearby? A lamp, or other light source? Keep it to hand, it might become relevant for something, something I’d like to demonstrate later. The demonstration is simple and entirely voluntary, the flashlight is not essential. It works just as well as a thought experiment in your head.

Meanwhile, I’m going to write about the internet on the internet. Because that’s what we all do these days, isn’t it?

---

I still remember the excitement of our first explorations online. It was a kind of hidden, secret space of unknown dimensions when we found it as young adults. A weird sort of Narnia. A modem meant you could open this door to an entirely different place full of entirely different people obeying entirely different rules. You had to find ways of telling one another about what you’d found this week, either the next time you were together in person, via an email or, God forbid, by printing out a webpage. Twenty-five years ago, the internet was a collection of imperfect search engines (crawlers) taking you to out-of-the-way websites that were as likely to have been made by someone just like you as they were to belong to some major company or organisation. Its mess was egalitarian. It was a decentralised place full of curious corners and sudden surprises. It wasn’t somewhere we logged on to with an expectation of finding the familiar. It was a place of discovery.

It wasn’t simply that the tech wasn’t as good as it is nowadays. That much is obvious. It was the fumbling newness of the place. It was a primordial soup, we were all blobs and we blobbed around together, testing out the water.

It was a tremendously international space. It was easy to stumble across websites in other languages, to find places that weren’t for you, that were never created with you in mind, and at the very edges of these places their owners and their users might just blend together. Spill over, even. Everyone was from everywhere and they were all mingling, uncontrolled. It was liberating. It was mind-expanding.

The internet was exciting, it was new, it was unfamiliar. It was a place to learn. It was a place without an agenda.

It was also a place to be different. Niche interests found their audiences and young people could be united by what they enjoyed, not marginalised. There was no need to fit in when the place didn’t even fit together properly. For those of us bullied, bored, or worse in tiny homogenous hometowns, isolated or upset by the toxic social dynamics and popularity contests that school can create, it offered little judgement about what you should want or who you should be. It was a place to be genuine.

I still remember the end of the 1990s, too. It was a decade of growth and change not just for a young generation, but for the wider world we were learning about. There was a peace deal in Northern Ireland, there was optimism in the media and there was a coming millennium that was supposed to be defined by technology and communication, the internet at its forefront. I was not a young man who could identify with very much of this optimism, but I was at least a young man looking forward to change, who could be accepted as who I was on the internet and who could be excited about what it represented. I’d never tried to be anyone else, even though being different rarely works out when you’re young, but now I knew for sure that I didn’t need to.

As my friends and I grew, so did the internet, and it became a place where we could share more about ourselves, where we could play together and where we found a bunch of ways of keeping in touch whenever we were apart. It became a tool to help me work, that kickstarted my career as a writer, as well as an ever-widening window on the world. It wasn’t yet too corporate, its websites and its tools not yet too monolithic.

I remember some of that early sharing. I remember talking to total strangers, a world away, about some part of my life or theirs. I remember talking to one internet friend of many years, who I never met, about British and American spelling. And about spelling in general. I remember they told me they weren’t sure how to spell a particular word and I said they could look it up in but a moment, since they were online there and then. “I can’t be bothered,” they replied, and that frustrated me so much.

The 90s passed and on September 11th 2001 whatever vision there was for the coming century was erased. The course of world events shifted immediately and dramatically. Never before had mass murder been so visible and so immediate. I remember talking not about how different the world was going to be, but that we had no idea how big a difference this would even make. In a very short space of time, it felt as if the world became not only so much more cruel and so much more cynical, but also so much more divided. I remember the weeks and months after those terror attacks as being my first experience of seeing people sharply divided in their politics, divided enough to be extremely angry, extremely offended, by the many suggestions of what should be done next. It set the scene.

As the decade continued, technology and communication certainly did change us. More of us were using the internet not only to talk, but for more and more of our everyday tasks. We were also sharing ourselves, too, in ways more personal and profound, and there was so much to know. I read a blog post by a Black woman from the American South describing the ways she had to bring up her son to interact with the wider world, how angry he was about it, how unfair it all was. I read updates from those caught in the civil war in Myanmar, talking about what they claimed the news didn’t show. I read about the realities of the rapid growth in Dubai, the working conditions and pollution. I read diary entries by people surviving the aftermath of Hurricane Katrina, weeks without power and wondering when help would come. I read about the world in a way I’d never been able to before.

More than ever, the internet was a library of lives.

The first trip overseas I took by myself was all planned, booked and executed with the help of the internet. I flew to Chicago, in the United States, and I stayed in the most average hotel in the most average neighbourhood and it was wonderful. I heard real cicadas for the first time and walked through concrete valleys between towering skyscrapers that my tiny mind couldn’t process. In the evenings, I watched a plethora of American news, which was only ever about America, and that frustrated me so much.

The first interview I ever conducted with someone who wasn’t making a video game was with the writer Mil Millington. The interviews I really wanted to do were about people, their experiences, what they liked and why they do the things they do. Mil Millington was the perfect subject because we had both written about games, we both understood the reach of the internet and we were both interested in what the future of this medium would be. He had recently scored a book deal and written his first novel, Things My Girlfriend and I Have Argued About, based on his semi-autobiographical, tongue-in-cheek blog of the same name, listing comic domestic disagreements. I asked him what it was like to share all of his personal life online and he told me that, actually, he didn’t:

“I'm, honestly, almost obsessively private. It's just the way I write that, for some reason, if I say, 'Margret won't let me watch a film in peace,' causes people to think, 'My God! Mil's laying his whole life bare!'”

And then I realised that he had, of course, chosen to share all the things that he had. And carefully. It didn’t mean that those things were less honest, less real or less interesting, but he had been doing what all of us writers do: picking his words and his moments. We should all get to share on our own terms.

I liked his honesty. He wasn’t trying to prop up any persona.

---

A little after this time, I was asked on a date by a conservative American woman who I met in my first year at university in London. We saw each other a few times and stayed in touch when she returned to California. A couple of years later, the American Vice Presidential candidate Sarah Palin spoke about “death panels” run by Britain’s National Health Service. Online, I expressed my annoyance and anger both at Palin just making things up, as well as at the volume of people who seemed to simply accept her words. My former date said that Palin was allowed to “express her opinion” and I didn’t know how to begin to explain, to an adult in her mid 20s, the difference between fact and opinion, or that she could check such things in a moment, since she was online. That frustrated me so much.

This discussion played out over a relatively new website called Facebook, which had become an invaluable way to connect with my fellow students. I had feared being alone at university, lost in a big city, but the opposite had happened. As soon as we all finished our first year of studies and were hurried out of our student residences, we scattered across the capital and the closeness I had taken for granted was suddenly lost. But Facebook became a directory of friendship, another library of lives. In its early days, I made jokes about people oversharing, or using the site to attract attention, but this wasn’t any different to how some of us might behave anywhere else. It wasn’t such a big deal. That’s just humans.

And anyway, I like to share. My whole life, I’ve enjoyed sharing things I think are important because I feel like it helps me make genuine connections, express myself and feel useful. I saw the internet becoming another way of doing this, another way to be genuine. The younger me had played in bands and held dreams of reaching other people through music, in awe of those moments when an audience sings an artist’s lyrics back to them. I still wanted that, that connection, or some version of it.

On the ever-growing internet, we could all share ourselves more. It could become a new medium for acceptance and understanding. What a glorious future it promised.

---

In time, I adopted all of the social media platforms that I use because I enjoy human connection and I think one of the fundamental traits of people is that they can be so interesting. They do stuff, they make things, they go places, they inspire and they pull humour out of the most difficult of situations like a conjurer tugging an elephant from a beanie. I’d like to be able to do those things. Some days I can barely make a pancake.

Social media allowed me to make and share even more, and now I was sharing things with two people at dinner, ten people at a party or a hundred people online. The number mattered less than the creation’s ability to connect, because it all helped me figure people out and it helped me figure myself out. It helped me figure everything out so that, perhaps one day, I might also learn the trick that lets you tug an elephant out of a beanie. I would be able to say to people “Ah yes, you start with the trunk,” or “Surprisingly, you pull from the tail.” Then they could pass that on. Social media seemed particularly good for this, a way for us to all enrich one another.

In 2008, a series of devastating terrorist attacks erupted across Mumbai. Many of the events were documented in real-time by both journalists and locals using Twitter, which made the site seem to me to be an invaluable new perspective on current events. By the start of the next decade, the Arab Spring saw a broad uprising across North Africa, with thousands of people united in protest by the unifying power of social media. It felt like these tools could change our world forever.

Some other things happened as that decade wound down.

A woman on Twitter made a poor joke about AIDS and Africa before boarding a flight, only to find that, by the time she had landed, her words had been shared around the world many millions of times. A woman in England was caught on camera putting a cat in a bin, the footage of which went viral and received such an overwhelmingly furious reaction that one national newspaper asked, only half-joking, if she was the most evil woman in Britain. These events were shared, discussed and dissected with a comparable passion and level of investment as the terrorist attacks and the Arab Spring. On the internet, a cat in a bin was becoming as important as terrorists in a hotel.

I flexed some cynical opinions. We all had opinions by then (though still not the same as facts), because it was increasingly difficult not to get swept up in things like these as and when they happened. They were everywhere, echoed and repeated, with a kind of mentality of momentum. Countless people changed their profile pictures to something green in support of protesters in Iran, or added a flag to support victims of terror in France. They signed internet petitions demanding Something Be Done, though it wasn’t always clear where these petitions would be delivered or how they would compel someone to act. None of these protesters or victims were in any way saved, protected or enabled by a person on the other side of the planet clicking their mouse like this, but if a million other people did it, those metrics created a validity of their own.

I think I remember the late 2000s as the time that I really began to feel different about these things. But by then, I was too bought in. It had already gone from a habit to a dependency.

Year by year, the internet had become less egalitarian. Monolithic sites and spaces were increasingly the center of the experience, whether hubs like MSN and Yahoo, social media sites like Facebook or Twitter, or popular news outlets. We found ourselves in the same places, over and over, and we relied on these for our new discoveries. While social media in particular pitched itself as something that put us all on the same level, behind the scenes levers were already being pulled to shape and to manipulate what was shown and shared.

(That’s okay, people told me. Turn on this feature, or adjust these options, and you get to pull your own levers. That’ll undo everything. You still get to share on your own terms.)

These sites had swelled to envelop us, going from making themselves exciting to making themselves essential. We no longer went online, we were online, always, and we left more and more of ourselves there even when we were away from our screens. Social media allowed you to collect everything together, becoming a place where you could simultaneously read updates from your friends, your parents, Leonardo Di Caprio, the Prime Minister, your favourite newspaper and your favourite sports team. All in a moment and all competing for your attention. Sites like Google and YouTube started to track and understand the preferences of their users, delivering to them more of what they wanted, working hard to grab and to keep their attention. You liked that dog, that topic, that politician? Here’s another.

Here’s another, again.

I was pulling levers all the time, frantically now, like someone operating locks and gates to try and dam an ever more overwhelming flow. My social media sites had changed from something that I used to something I had to manage. Not only were we all carefully curating who we broadcast to and when, lest we offend an employer or shock a relative, we also found ourselves trying to coordinate and customise them, because if we didn’t they would do this for us. They began to choose what to show us, based on what they believed we cared about, they began to offer us things, based on who they believed we were. They even began to mess with time, giving us information and updates out of chronological order. All of these were changes we often had to undo or at least be mindful of, if we even knew about them. If we wanted to. And if we knew how.

If we didn’t, our reality might shift.

---

I still remember the excitement of our first explorations online. My first favourite website was Snopes, which was then a collection of myths and urban legends, most of them debunked. In the late 90s, bullshit chainletter emails would bounce around the internet with stories about how some Russian scientists had drilled their way to hell, or how a new computer virus had come out, or how Coca Cola dissolved human teeth. Sometimes, the strangest of stories really were true, or at least partially so, but most of them were trash. Thanks to Snopes, you could check such things in a moment. I loved that about the internet.

On September 11th 2001, almost twenty years ago now, it was difficult to disagree about what we saw happening right in front of our eyes. Nevertheless, there were a few people afterward who insisted that a plane had not hit the Pentagon, that the towers had been deliberately demolished, that some more mysterious sequence of events had transpired. They lurked in the darkest corners of the internet, much as they had always existed on any other margins in any other mediums. The rest of us could get on with our lives.

I grew up playing games and then, later, I became someone who analysed, critiqued and even designed them. One of the most powerful and important things I learned through games is that so much in life is based around systems and the longer a system is around for, the better we become at manipulating it. When a game has been around for a long time, we find many different ways to play it and sometimes we have to adjust the rules of the game to account for this. The rules for chess that we have today have seen many adjustments and revisions. The same is true for football. It is also true for our laws and for our systems of government. We have to modify these things in part because times change, but also in part because they are being abused and exploited, subverted in ways their designers never imagined.

Or simply used as optimally as possible.

It’s 2021 and the internet monoliths that we have begun to take for granted, that have surged like the rising oceans to engulf our lives and to carry us along their currents, are constantly being used in ways their designers never imagined. Two years ago, we thought the biggest problem we had with social media and internet monoliths was their subversion to manipulate elections, with great armies of bots and fake profiles being created and directed faster than the people who owned social media sites being able to prevent this. This presence could bring amplification and validity to anyone or to anything. “Learn the algorithm,” was the key to success online. Use a site or social media platform in a particular way and it will elevate you further. Elevate your work. Or your truth. Or just you.

Now, more than a year and a half into a pandemic that defines our generation, the areas of the internet with which we’ve become most familiar and most comfortable, those which we began to pour our lives and identity into, are not only places where elections were subverted, they’re places where the difference between life and death are considered a matter of opinion, where science and fact can be openly ridiculed, where conspiracies about September 11th are tiny in comparison. For some time now they’ve already been well-worn battlefields, public arenas within which opinion and force of will often carry more weight than evidence and reason, but now the consequences of doubling down on a belief are undeniably the difference between living and dying.

More important, for some people, is the difference between right and wrong. Not so much being right, but being seen being right, can give you validity, clout, value. I think we’ve reached the point where dying while being seen as right can matter more than living and admitting a mistake.

The flow of the internet, all those locks and gates opened by algorithms or AI or other people’s decisions that may simply have been motivated by a desire to give us what we like, have made it more difficult than ever to find things that go against the current, or to grasp something we can be sure is objective or straightforward.

One part of me believes that we can no longer look things up in a moment any more, because we have to second-guess every other thing we find. As a journalist and researcher, I never feel secure with what I find on the internet now and I dig, I verify and I compare, still coming away unsure, often worried I will publish something glaringly incorrect. A different part of me, a more dramatic part, sometimes wonders which things are even real.

I suppose anything is real if you can get away with it. If nobody ever notices.

---

There’s another aspect to all this, the aspect that makes me the most uncomfortable. The aspect I least enjoy discussing, but which I have to if I can fully explain myself.

Living alongside the internet, I’ve watched as some of us pull all those levers simply to control the flow as best we can, to keep ourselves afloat, but others have viewed this experience differently. They’ve seen it as a challenge, as another system they can manipulate. It’s an opportunity for them to choose how they present themselves. The more levers they pull, the greater their ability to do so. The more time they invest, the greater the result.

If you take your flashlight, lamp or light source and point it toward an object, you can easily affect the size and the shape of the shadows it will cast. Under your control, those shadows can lengthen or deepen, they can sweep and distort. A light up close can cast a gigantic shadow across a far wall, perhaps a sharp one or perhaps one fuzzy and undefined. Try it. See what you can make. The more you do it, the more tricks you can learn.

All of us try to present our best selves and all of us have our different selves, too. Forty years before I ever went online, the sociologist Erving Goffman published The Presentation of Self in Everyday Life, a book about how we behave differently in different contexts. It’s natural for us to speak to our family in a different way to how we speak to our best friend, or to our colleagues, or to a crowd we might be addressing in a speech. It’s not necessarily disingenuous, it’s merely a part of the human experience. But impression management, as Goffman called it, is also a matter of degrees. Some people are more invested than others. If given the tools to perform more effective impression management, more levers they can pull, they will engage even further.

I have flexed a few cynical opinions in my life (at least as many as three, the stats suggest) but, at the same time, I think I have to admit that I have also been very naïve about people. I tend to take many of them on face value and assume they are genuine. Many of us are, perhaps even most of us. But I’ve come to know both that this isn’t always the case and that, given the opportunity, some people will use every tool at their disposal to shape a false version of themselves. We’ve found ourselves in an era where this is more possible than ever. It’s no longer simply within the purview of politicians and PR firms, it’s within reach of every one of us and all we need to do is put in the time and energy. The reward can be ever greater popularity, ever more validation

And I’m so tired of seeing this.

Over the past half decade or so, I have seen the internet and its many systems gamed more than ever. Gamed for political gain, gamed for personal gain and gamed to create images, personalities and that god-awful golem of hollow and lifeless artifice that is brand. Now a person can be a product, a new kind of commodity in this ever more opaque ecosystem.

The nausea and unhappiness I feel from all this is more than the simple declaration that I’m not a brand, I’m a person. It’s the discovery that other people, sometimes people I’ve known, really are a brand now. Their time, their energy, their life is now invested in shaping and maintaining that image, that brand, perhaps even at the expense of other pursuits. And with the right manipulations, the right tugging of the correct levers, they can perpetuate that, build that and further gain the affirmations and validations they need to prove to themselves that what they have created is as solid and as true and as real as anything else. And how would we know any different?

The ocean is not so far from my home. It’s not unusual to walk the beach or the seawall and see people engaged in impromptu photoshoots, dressed in their very best, expertly presented and shot with long lenses. A friend told me that most of these shoots are for the purpose of enriching dating profiles, that there’s an increasing feeling of expectation, a sense that everyone must present their very best selves, simply because everyone else now does so. To be on a dating site is to feel engaged in an ever-escalating competition for time and attention, to need to package oneself as the best possible product.

I don’t at all object to the idea of dating sites, but I could never get comfortable with them and I used to feel like I was browsing a human meat market, that it was all too easy for me to make judgements about people I didn’t know and then cast them aside. I felt, again, like people had become products and this was a system and a process I did not want to be part of. You can game it, people tried to tell me. There are ways to make it work better for you, it just takes a little time. I didn’t want to know.

The more time you spend trying to engage with things that aren’t genuine, the less you have for what is real.

When I use the internet these days it’s with an increasing sense of discomfort and disquiet. I find myself already on the lookout for the artificial. I second-guess people as much as I do information. I’m all too aware of the constructed persona and the deliberate framing, of that angling of a light to cast a particular shadow. In a few cases, this isn’t an abstract concern and social media in particular can be a place where I watch people I know are starkly different to the image they project be celebrated for the false façade they maintain, a façade that can be further reinforced by popularity and prominence. I see harmful and unhealthy people championed even in spite of their actions, because they have managed to engineer support and validation, or using the popularity and affirmation they have gained to push opinion over fact. The disingenuous and the distorted tie together like a greasy braid, each one reinforcing the other, and it’s no wonder falsehoods can spread so far, whether false representations or false information. I would say that sometimes I almost feel like I’m back at school, amongst the same gossip and garbage, but this is far worse than any of the toxic social dynamics and popularity contests that school ever created, and now it comes with measurable metrics in the form of likes, follows, retweets or subscriptions.

I’m sure, at this point, this is a common experience and common concern for most of us, and we are each finding our own ways to handle it.

Or not. For me, the experience is deeply unpleasant.

While drafting this I idly wondered if we could somehow develop a new version of Snopes for human beings. A demystifier of people, something that reveals each person’s private Picture of Dorian Gray, which grows ever more warped as they reinforce their persona ever more. But I’m sure even that would be gamed and subverted before too long.

I'm so, so tired of trying to work out who is real.

---

The internet monoliths I move between in my daily life all have one thing in common. Google, Twitch, Twitter, Instagram, YouTube, Tumblr, Facebook, Patreon and so many others are all based in the same place: the United States. They are towering. They overwhelm the rest of the internet. The levers that many of these pull, controlling currents and flow, are being operated in the United States. The politics, existential crises and cultural interests of that country are disproportionately represented and, while I care very much about the United States, I also want to hear about the rest of the world. I want to hear about where I live, and yet even that feels like it comes second. Yes, I am pulling all the levers that are supposed to make this happen. No, it isn’t entirely successful. I am using a paddle against a tsunami.

Once the bias is there, the snowball effect perpetuates. So often, whether I choose to or not, I am in that motel room watching a plethora of American news again, or its modern equivalent. It frustrates me so much. Most of us Westerners essentially live in America some of the time now, if we spend any period online. That’s where our presence and our attention are pointed.

Before publishing this essay, I changed every mention of “torch” to “flashlight” because I felt I had to cater to an internet that sees the first word only as a burning chunk of wood, not as a British battery-powered light source.

The internet doesn’t feel like the world any more. It hasn’t for a long time.

---

I can’t abandon the internet of today. I need it for work. I need it to promote the things I create. I need it to keep in touch with people. I’m not different or special, only someone too bought in as well, my use also going from a habit to a dependency. But it has almost entirely stopped being a place of delight and discovery. It has lost any sense of being egalitarian. So much less is new, so much less is unfamiliar. So much more has an agenda.

Algorithms, metrics and social media have quantified and gamified everything, encouraging competitiveness and narcissism. Public spaces have become arenas and arenas encourage performance. In an attention economy, the outrageous and the overblown mean a cat in a bin can have the same profile and presence as terrorists in a hotel. In spaces that now mix our friends, our parents, Leonardo Di Caprio, the Prime Minister, our favourite newspapers and our favourite sports teams, people we know and love are elevated or relegated according to how interesting an algorithm has decided they are, pushing them to the fore or pulling them from your view. “People on Twitter are the first to know,” says the social network that prides itself on immediacy more than integrity or fact-checking. Misinformation abounds. As the line between person and brand has smudged between all recognition, corporations insert themselves into and between everything else we try to examine. Surrounded by banner ads, the conflicts of polarised culture generate enormous revenue for monolithic American tech companies. As we fight, push our narratives, construct our personas or compete in the race to prove we are the most woke, we all make @Jack richer, or provide Zuck with more of our personal data.

I also find myself reminded of what Octavia Butler called “simple peck-order bullying,” the hierarchical behaviour where people want to, and now can, elevate themselves above others, according to identities they've built for themselves, to push their ideas, push their image, push their sense of superiority or push their opinions so hard that they can reshape them into facts. Anything is possible with enough pulling of enough levers. And now more people have more of those levers. And some of them love to pull and then push, pull and then push.

I don’t like what the internet has turned into, nor what it has turned people into.

So what now?

---

This was an essay inspired by an essay, inspired by an essay, which is always how it goes. Creativity is theft and anyone who says otherwise is only trying to distract you as they secretly shake you down. The eternal question that writers (or anyone creative) is supposed to dread is “Where do you get your ideas?” Because we aren’t supposed to know. But we do know. We get them from everyone else. We thieve them.

Ideas are pickpocketed from the people we pass in twisting evening alleyways, during the briefest moments of darkness and distraction. They’re caught with nets as they flutter with all the freedom of sweet springtime naivete. They’re spied upon from tremendous distances through the jealous lenses of sparkling telescopes. Nothing is truly ours and anyone wringing their words into a desperate defence of some unique capacity for originality ex nihilo is either deceptive or deluded.

(Avoid them. You’re likely their next target.)

This essay was heavily inspired by Lucy Bellwood reflecting on Nicole Brinkley. Both have written nuanced examinations of social media (focusing on Twitter) that I think you should make the time to read, but I’ll try and sum up the main thing I have taken from their writing in one line:

Social media is extremely bad, in a multitude of ways and for many complex reasons, and it is okay to leave it.

This is in so small part my interpretation, coloured by a particular belief I hold, that being that social media is extremely bad, in a multitude of ways and for many complex reasons, and it is okay to leave it. You can probably see why I approve.

There’s more to it than that. Brinkley talks about Twitter essentially breaking the way the Young Adult literature scene works, which to me is one facet of a dangerously seductive diamond that repeats many different stories of damage done by how we’ve used and gamed the internet. Her wonderful conclusion is that “These days it’s okay to not be sure what Twitter is for. We can stop going there until we figure it out.” And I so desperately wish I could stop going on the internet until I could figure out what it is for now, too. I wish it wasn’t essential. But it is, broken as it may be, breaking things as it may be.

While I don’t think leaving it is an option for me, I am using so much of it less. I have to. Social media, a place where I am shown arguments and controversy over the lives of people I care about, has become somewhere for me to hurriedly hurl out a quick update or two before I flee, escaping before I come across something, or even someone, that will make me sad. Any search box is a cause for scepticism, prompting me to analyse the results it gives and try a dozen different ways to find the same thing, just in case. Even Snopes is now a running commentary on the (American) news cycle. The best I can do whenever I think something fundamental to our society is unhealthy is to participate in that thing as little as possible. I know this limits my reach, limits my relevance and limits my success, but I also know that this makes me less unhappy and allows me to continue to feel genuine. Like I am still myself. Like I am still real. It may be apparent that my mental health has taken a few hits over the last couple of years. It doesn’t need to take any more.

I am not only unsure what Twitter is for, I am unsure what the whole internet is for.

---

There is no conclusion to this essay. It is supposed to be six thousand words of open-ended reflection. The past year or so has sometimes been a huge struggle for me and it really is true that some days I can barely make a pancake. Work has been difficult, writing has been difficult and maintaining regular Patreon updates has been difficult, with this piece being a huge challenge to finish. I think I’ve tried to make the best of things, as well as present an honest but still positive face to the world. I have piles of tasks to get through and I tackle what I can, with what feels like so much competing for my attention. At the same time, I can’t opt out of the systems I live and work inside of, much as I can’t stop paying rent or putting food in my mouth, because individuals can't kick a habit society has become dependent upon. I think the best thing I can do right now is be truthful about all that, try to remain as genuine as I can and continue to step away from what makes me uncomfortable, giving myself some distance from the things that make me unhappy.

That doesn’t mean I’m disappearing (I’m still checking in on social media, streaming on Twitch and so on), nor does it mean this change or this philosophy is forever, nor does it mean that things can’t improve. But it does mean I’m changing a few things about myself, my habits and my preferences. And it does mean I have a working, temporary, if unsatisfactory answer to the question “So what now?”

It is: “We’ll see.”

---

A big thanks to my Patreon community for the links I’m adding here, post-publication.

The first is How sex censorship killed the internet we love, on Endgadget, about controlling the internet in all sorts of ways and about what might be considered explicit (apparently a condom might be explicit).

Then there’s The internet Is Rotting, from the Atlantic, about bits of the internet that are disappearing and the loss of information that comes with it, as well as information that is overwritten and altered. We are keeping less than you might think.

Finally, The web began dying in 2014, here’s how, by André Staltz, talks about the growing prominence of big corporations (all American), what their priorities are, and what online things (services) they may bring to you.

#Patreon #America #Erving Goffman #September 11th #persona #social media #the internet #writing

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