#man i used 'culture' a lot in here but it really is a cultural issue

[neonfretra]

does anyone want to discuss hrpf outside of shipping + written fic context . because i think about where what i do sits in relation to it all

for brevity i will be referring to the real person as the player and the fictionalized interpretation of the player as the character

to get things outta the way, i dont think theres very much you can say about real life people before you start crossin into real person fiction (rpf) territory LOL

transformative art is rpf. speculation is rpf. narratives is rpf. the second you start steppin away from a direct relay of the facts as is, we gettin in ficticious waters IMO. its really a neutral thing to me and my ethics begin and end at "dont show people who dont wanna see"

and its real funny to think about how i do art just because it feels like i set up way less barriers compared to people who DO write fic . i see all this talk about making sure you make your stuff login exclusive, about not sharin it to the people involved, disclaimers about how its in fact NOT a reflection of reality that your favorite athlete is mpregnant and YOU are are mfather.

and i just hit post and call it a day LOL

TO BE CLEAR there is definitely layers to it in the sense that i see similar amounts of caution with say ship art or certain degrees of raunch.

shipping in the rpf scene is funny to me in the sense of the tendency to treat shipping as THE exclusive rpf thing. like no i dont think my tomas tatar fanart is 1:1 on the reality front either. for example, nj devils hairline is not that far back and thags the only inaccuracy.

heres the kicker: mmy foot.

most of my doodles tend to evoke a degree of characterization or narrative. yeag maybe its a little less 30k slowburn and a little more fabian zetterlund shot putting a man but. that is fictional, that is a character

im not saying that rpf defines players more than the reality of them does but i do believe it does enforce certain views

in the spaces i hang around ive noticed the narrativization around certain characters being part fueled by the information that is filtered by reporters and part interpretations bounced back and forth by fandom . and when you have eyes on a story, its easy to pick out information solely as it agrees with you

maybe the most prominent narrative ive seen for the sharks has been macklin celebrini having a jock dad -> therefore he got daddy issues, joe thornton houses him -> therefore mentor and father figure joe thornton? where even though i havent seen any direct relay of information from any players (though ivent been looking LOL) a lot of the discussion around it revolves around this common understanding that it just is (the funnier part is arguably that will smith hockey has been doing more for this narrative for patrick marleau BUT NEITHER HERE NOR THERE.)

and its really interesting to note HOW fandom warps or weaves the story by going off common tropes or dynamics to make sense of the public facing parts we do see, which is what i think is magnified through the lens of fanworks but not (necessarily) CREATED by fanworks

which is where i feel my work is part of the. ecosystem??? life cycle??? and then we all return to the dirt and the worms eat us???

how much or how little we define the gap between player and character changes from person to person. i simply do not have that goin on here. devin cooley eats joey daccords hair take it or leave it. annnnd main tag that

other times i feel we wear the divide thin are when there is headcanon that uses facts about the player (ie a lot of ship talk) or when the character becomes the kneejerk understanding of the player (ie liveblogs. very fun way to get a read of a communitys feelings on something because of how immediate the reactions on it are)

the point of this post isnt to shame or interrogate people about participating in rpf, im not looking for those sort of feelings, im fascinated by fandom culture as a twig off the old branch and i would love to hear other perspectives on the same topic (and different communities! i dont have much involvement in fic. which is. a massive hole in my perspective on this probably)

is it possible to cross the line from rpf to plain old original content LOL (the answer is intent i know but. walk with me here its fun to think about)

naturally theres a degree of "original character" to every depiction . you gotta make up some amount of it. theres no clear separation OF rpf and original content because everything is about borrowing. you make characters with inspiration from other things. its near enough universal for someone who deals with characters to have at some point lifted a character directly out of their original context and made them their own.

its not just their face or name or some other physical attribute that makes it rpf id also argue because i have seen people using attributes of real people as "claims" for origubal characters (like a "faceclaim" to say "this is how i imagine my character to look")

on top of that there is fluctuating interest on actually depicting the player, with approaches that i have heard of ranging from "character that shares the quantitative aspects of the player and thats IT" to "character that was made heavily referencing to things the player has said/done"

its interesting when certain players in rpf have a consistent character! which trends to be in teams with a more active rpf oriented fanbase (vs interest mainly in the real life hockey played), comparing the fandom of kraken to the golden knights on tumblr for instance. its also interesting to note that more popular teams just have more rpf centric leans. because there are more people to write rpf. i mean also we are on a fandom centric site and rpf bridges that gap from narrative/character fueled media and sportsball more LOL

(if you like sports from a purely sports oriented angle do you enjoy watching it? genuine question. because at what point is it "i could just be doing this myself" because ive hit that point with other things before LMAO)

i do call the difference being more "fandom" oriented but IDK if thats correctly using the word or just less syllables. and on top of that i cant exactly tell you if its popularity or stand out personality that holds more sway. though then again i guess those two traits arent separate from each other necessarily. or even that those are the only two factors to broad appeal (probably popularity with another player is up there. but im not trying to find a formula for most attractive to make rpf of)

to return to the kraken because that is the most rpf oriented team i follow, i do notice when players portrayed consistently. i can definitely tell you like. one or two character traits about players i do not follow the media of solely from liveblogs and art. complexity of the character varies by a lot, though i do think its interesting to consider the hows and whys.

a trait or interest being highlighted by media (i tend to see this in offical media coverage that gets spread by jokes) -> the character heavily revolves around this feature in jokes or casual reference, with heavy personal interpretation

media pushing a narrative by following a more cohesive timeline or story structure (i usually see this in fanworks. easier to identify the influence of IMO) -> fairly consistent character backstory or , at least in the broad strokes of it

just general agreements about tropes that are appealing with little basis on the player -> this is usually the more relationship focused character interpretation

there isnt usually just one factor (and this isnt an exhaustive list of factors) to one characters history. unless its a super new player on the radar.

its definitely a character that belongs to the fandom! as in the unique character to the unique community! its actually really funny how they evolve. you could probably fingerprint someones influences if you tried hard enough. with how new the kraken is (and the fact the fandom leans more towards being united as one body than any other team ive seen so far) it does get pretty easy to get it down to the post but. do your own treasure search. I wont deprive you!

(also its EMBARASSING... what if the people i mention SEE... im SHY...)

harder with an older fandom like the sharks there are so many dead and defunct sources or jokes so widely spread that it gets hard to locate the origin . because dead and defunct sources. though i think its growing a new ring around the fandom tree because of the newer players! so its a thought. to think about how different events influence the size and activity of a fanbase and to ask how different fans from different. eras? of a fanbase interact (or dont).

again i notice this in the sharks fandoms by comparing fans from the playoff contending sharks era (last playoff season was 18-19? start is a little murky but ill toss out that 2012 was the year tomas hertl was drafted because tomas hertl was an era of the sharks LOL a whole 12 years! i know people younger than his professional career and those people are catching up to me in height. humbling!) and fans from when the sharks were very much not playoff contending (quite an amount of the current active fans LOL). not sure if theres much to say without looking stupid. different jokes, notable players, friend groups, feelings towards other teams. all still feel very strongly about general manager mike grier scattering players like dandellion seeds to the wind.

(AGAIN. HOPING NO SHARKS FANS NOTICE THIS. IM SHY)

how many sharks fans havent seen logan couture on ice

again i am saying all this as someone who ACTIVELY participates in this BTW!!! does anyone notice that players i dont know definitely have a flatter "whatever is the funniest thing to say" angle . or that characters of players i know a few things about have like one punchline . or even that certain characters are consistent and not just bound by direct interpretations of one moment (which i do a lot of when im liveblogging) (dont get your hopes up for anything new here, the character usually is "pathetic and a little bit of a bastard")

i keep writing these disclaimers like. if someone disagreed this strongly they would not be reading this far. hi! is anyone still here. is someone still reading.

i have created life and i dont know to kill it.

i talk about one of my depictions of a player as a separate character (that is to say, a SEPARATE character from the character intended to represent the player) and i have NO idea if this is like. an OC? a defamation case in waiting? my spawn? do i have to pay childcare. does anyone know who or what im talking about or has the character been festering in my mind like an infection.

is it just me???

my advice to you: if you dont want somethin to come back dont give it a name.

consider dissecting your personal and the more widespread fandoms take on players and characters! its fun for me but i also just like taking things apart ^_^ i fear i may not be as analytical as this post demands i do a lot of restating information and thats it

[inqorporeal]

Hi! Sending this as an Ask instead of reblogging the post that prompted it because I’m worried that a) I may come off as antisemitic or just trying to Start Shit, or b) even if I don’t my question might prompt it from someone else. I want to start by making it clear: I am not Jewish, and also I am trying to be respectful while learning, so if I mess up I would greatly appreciate it if you have the capacity to tell me what I need to change.

Anyway.

You posted about Zionism and its definition in Christian vs Jewish contexts. I knew about the end-of-days antisemitism but the Jewish take was new to me. I was hoping you might be able to clarify it a bit? You mentioned that it’s about the “simple right to exist, with their own culture intact”.

I am 100% in favor of this!

But, you also said something about the concept of a nation, as distinct from a state. Their “own claim to the land of their faith’s origin” bit doesn’t make sense to me AS PART OF the right for ongoing existence and culture. Would you be able to elaborate at all?

I might be totally misinterpreting the post. I read the idea of them having a “claim” to the land as inherently meaning that other people don’t and shouldn’t be there, but I think that might be my background (Aussie, so colonial history, and people continue to get real butthurt at the suggestion that Indigenous Australians have any kind of claim to the land we’re on, because I think it’s understood as an “us or them” thing)

Again, I’m not trying to start anything or take your words out of context or anything. Please feel free to ignore this ask and/or block, or to respond either publicly or privately, whatever you feel is most appropriate and will protect your wellbeing! Thanks for your time, sorry this Ask is a bit long!

(Link to the original post in question)

Thanks for asking! I actually had a paragraph on this in my initial post before deciding to keep that one simple and on-topic. I'm not Jewish myself, so my own understanding is very broad and general. I welcome anyone who wishes to fill in the gaps or correct anything I get wrong.

Simply put, Jews have as much claim to land in the historic Levant as Native American and First Nations tribes have to land in the Americas, as Māori have in Aotearoa. It's the land of their cultural origin just as much as it is the Palestinians'.

The concept of Land Back is a difficult one to address in even the most optimal of situations. Human history is a long list of migrations, conflicts, invasions, and resettlements; one people's foundation is often built literally upon the bones of another. State boundaries have shifted over and over again throughout history, often without the consent of the people who actually live there.

Who has the right to the land? Who has the right to govern it? There are no easy answers to these questions without sliding into hypocrisy.

This is why there are many proponents of a single-state solution: in theory, if both Jews and Palestinians have their origins in the same place, they should seek a way to coexist in parity. In practice, this is rather more contentious. As with the differences between Zionism and Evangelical Zionism, the matter of a cultural connection to the land is easily misunderstood because Christian culture and Jewish culture view land rights in entirely different ways.

The difference between, for example, me going to Germany now with 200-year old property records to claim the right to build a house there, and diaspora Jews returning to the land of Israel, is that I have no cultural connection to my ancestors' land, while a key aspect of Jewish culture is an eventual return to Jerusalem. The cultural root of European-colonized nations is one of total assimilation to a culture determined by historical Christian ideals, where land is viewed solely as a financial transaction and source of wealth, and my family's only connection to Germany lingers in a paternal surname that's been mangled beyond recognition. The theoretical property records I mentioned do not exist and if they ever did, I have no legally recognized right to claim them (and if I asked people living there now to leave, I'd get laughed at). The idea of a cultural connection to the land my ancestors once lived on is an alien one, which is why it's difficult for many people from European-heritage cultures to understand its importance.

Jewish culture has a very different relationship with its history than Christian culture does. Judaism views Israel in three parts: the state (government), the nation (people and culture), and the home (the land of cultural origin). Just as indigenous groups have cultural connections to parts of the land, just as Muslims revere Mecca and have a culture of pilgrimage, so Israel is to Jewish culture. If we're going to recognize the importance of one culture's local connections, we need to recognize them all.

The transactional nature of property in Christian culture -- which forms the foundation of capitalism, which is now dominating the global economy -- is why we often view Land Back as an Us Or Them issue. It doesn't have to be that way, but it's very difficult to conceptualize a third way that treats all parties with respect.

Like I said before, there are no easy answers. Human geography is a messy field full of metaphorical land mines; just when you think you've come up with a good general solution, you get hit by variables you didn't account for. We can't even say that it's a matter that should be addressed solely by the parties who have direct concerns and everyone else needs to butt out, because some parties that hold power have no interest in compromise (I'm thinking specifically of the US government's handling of indigenous concerns, but that's far from the only imbalanced conflict ongoing), and because our global economy is so deeply intertwined that a conflict in one part of the world affects other parts.

(This is why the United Nations was founded -- to try to resolve such conflicts before they erupt. A noble ideal, although the UN often fails to live up to it because of international power politics.)

I'm trying to remain as neutral as possible in these posts, but I do think that the US's proprietary attitude towards Israel -- which is in very large part due to the Evangelical concept of Zionism (which, as I explained in the previous post, is creepy and antisemitic) -- is not helping the situation at all.

I am not qualified to opine a solution -- and as an individual with zero personal stakes in the matter, my opinion counts for nothing except with regards to the US's involvement. But I hope this helps you understand what I meant!

[lilyginnyblackv2]

Social Issues that Help with Understanding Buddy Daddies

Here are some political, social, and cultural aspects of Japanese culture that I think is important to keep in mind when watching Buddy Daddies. Please note: this is a super long post, with lots of pictures. 

1. Human Trafficking - Slave Labor

In Episode One, we learn that Miri’s birth father was involved in labor based human trafficking involving Southeast Asian individuals. This is currently a very big issue in Japan, since Southeast Asian immigrants (among others) are viewed as a cheap labor option and usually experience slave labor like conditions.

From The United States Department of State website:

Men, women, and children from Northeast Asia, Southeast Asia, South Asia, Latin America, and Africa travel to Japan for employment or fraudulent marriage and are subjected to sex trafficking. Traffickers use fraudulent marriages between foreign women and Japanese men to facilitate the entry of women into Japan for sex trafficking in bars, clubs, brothels, and massage parlors. Traffickers keep victims in forced labor or commercial sex using debt-based coercion, threats of violence or deportation, blackmail, confiscation of passports and other documents, and other psychologically coercive methods.

2. Drugs in Japan

When I was living and working as an ALT in Japan, two ALTs (in a different district, but within the same company of my own), got caught with drugs. It was a big deal and ended up in the newspapers. The company I worked for had to do a lot of PR work with the elementary and junior high schools that they had contracts with, to ensure that the contracts would remain. As for me and the other ALTs? We had to sit through like five separate meetings within like two months about drugs and drug laws in Japan. 

The barebones takeaway is that, in Japan, weed is viewed as being on the same level as hardcore drugs. Charges can be steep and strict. Even just knowing that someone has drugs, and you don’t say anything to law enforcement about it, can get you in trouble. There is a grey area with drugs, which is stuff like bath salts and the like. Since the selling of things like that cannot be prohibited, so they are easily accessible to the public. 

Japan still has a very “90′s D.A.R.E.” approach to drugs. It’s catchphrase is 「ダメ。ゼッタイ。」or “No! Never.”

(Image from a Web Magazine called Nagasaki Press.)

When celebrities are caught with (what’s usually) weed, it can basically be the end of their careers, since recreational drug use of any kind (excluding alcohol, of course), is still negatively looked down upon in Japanese society. This is why it is still heavily left in the hands of the yakuza and drug kingpins, etc. Though there has been a recent increase in protests and ideology surrounding the idea of legalizing weed. Still, not much acceptance for recreational use is likely to come yet. However...

There may soon be some revision to the laws, which will allow for medical use:

Legislation changes scheduled for 2023

In 2021, the MHLW established an expert committee to review the Cannabis Control Act, and it is expected revisions will be proposed in a bill to be submitted in 2023. This will most likely allow for the use of medical cannabis. 2022/12/02

From: Euromonitor

So, something to keep in mind when Kazuki talks about a drug kingpin here is that this drug kingpin is likely not just dealing with super, hardcore drugs, but also softer ones too, like weed.

3. Child Protection Squad

There is this misconception in Japan that really young kids, like Miri’s age, can just roam free all around Japan and no one will find it odd. In Episode 1, we do see Miri roaming around the city without anyone really taking notice, but she also wasn’t in an area where there would be people that are trained to take notice.

In the above image she is at a park, which is likely close to a school somewhere. The man that approaches her here has a band around his jacket sleeve that says こども見守り隊 (kodomo mimamori-tai), which gets translated to “Child Protection Squad.” Basically, these are like crossing guards, in a way, because they do play a similar role to that, but they also do more than that as well:

(Image from the Japanese website: Nice Senior).

This people basically ensure that kids stay on the right paths on their way to school. Most of the time, when elementary school children head off to school, they will go in groups (with the 5th or 6th graders being the leaders) and there will often be older people outside their houses on their way in, keeping an eye on the children to make sure they get to school okay. 

And that’s talking about elementary school aged kids. For ones that are around Miri’s age, usually the parents (mostly mothers) will bring them by bike:

Or they will get picked up by a bus:

This one looks pretty boring in comparison to some others you might see though, like these:

(Image from the Hiyoshidai School Website)

Sometimes the daycare workers will also take them on little excursions outside using big strollers for the kids to travel around in:

(The image is obviously from a stock photo site called fotostock, but yeah, I’ve seen these before when I lived in Japan).

But a little toddler just sitting on her own at a mostly empty park with just a guy sitting at a park bench nearby watching her? That would raise attention and an eyebrow from someone who is essentially a crossing guard and whose job is to ensure the safety of kids as they travel to and from school. 

The rest is under a Read More.

4. Police in Japan

I saw a comment somewhere (maybe it was over on Youtube) about how the cops are portrayed here in Buddy Daddies. The comment was basically that Japanese cops wouldn’t be that aggressive with a child. But, well, cops in Japan have issues like everywhere. Though, the main issue with cops recently has more so been with racial profiling:

(Excerpt is from a Japan Times article entitled:  60% of people with foreign roots questioned by Japanese police, survey finds).

Of course, this situation is different from the one we see happening with Miri, but the Japanese police have issues with corruption too. So this happening wouldn’t seem too out of the realm of possibilities to me. The anime Tiger & Bunny 2 Part 2 also recently had some moments in the season where there was some anti-cop (ACAB-type) sentiments expressed by a character (though that series is also meant to take place in a city based on NYC).

5. Issues Surrounding Reproductive Rights, Contraception, and Abortion

“Took advantage of me” is fairly vague wording, but considering the type of guy he was, and the fact that Miri’s mother is caught in another abusive relationship, it wouldn’t surprise me if Miri’s conception wasn’t fully consensual one. People like to talk about how safe Japan is, but Japan has a lot of sexual violence that goes unreported: 

(From an article entitled:  Many sexual violence victims in Japan do not report assaults to police, support groups: survey - The article was posted on November 24, 2020 over on The Mainichi news website).

There is a lot of societal pressure in Japan, that can cause a lot of judgement as well. Especially around issues of reproductive rights. From a Japan Times articles entitled:  Pandemic provides an opportunity to improve access to contraception, posted on January 30th, 2022, we can get a little insight into the issues surrounding contraceptives:

The article also talked about the judgement that can come with contraceptives. The last line also talks about abortion, which comes with its own set of issues in Japan:

(From The Japan Times article: Abortion legal and apolitical in Japan, but cost and consent present barriers)

So abortion was likely an option that Miri’s mother didn’t think was really viable, especially in her situation.

7. Being a Single Mother in Japan, Adoption

In Ep.3 we hear Kazuki parroting a lot of the stuff you usually hear when it comes to women in children, like it is meant to be a natural and innate thing. There is a societal pressure for a woman to give birth and care for the child, even when they aren’t in the best situations to do so. Miri’s mother was, for all intents and purposes, a single mother. Since I doubt the abusive man she is currently with had any hand in helping Miri.

Being a single mother anywhere can be a big challenge, but especially so in Japan. Some issues that single mother’s face in Japan, according to the article “Why Most Families with Single Mothers in Japan are Living in Poverty” from a site called The Borgen Project: 

From that same article, we learn that joint-custody and child support doesn’t exist in Japan. So Miri’s mother was likely under a lot of societal and financial stress, along with possible Post-Partum Depression, and (also probable) burnout. This doesn’t mean that her behavior or attitudes are okay, but that they are likely a result of a failed system. 

I’ve seen some people bring up adoption, but adoption doesn’t automatically mean that a child will have a better life either. My grandfather’s mother was force to give her children up to the state, so my grandfather spent a good chunk of his life in an orphanage. It wasn’t a pleasant experience. And the probability that Miri would have been adopted had her mother gone through the actual system is, sadly, extremely low. From an article entitled: “The state of orphans in Japan and how to help” found on the site Zenbird.Media is this bit of information:

And even if Miri had been in an orphanage, Misaki (Miri’s mother) would still be her legal guardian. 

So an option like that would be unappealing for Misaki, because she doesn’t want anything to do with Miri. 

7. LGBT+ Individuals Being Viewed as “Not Productive”

Finally, we have the last thing I briefly want to talk about. The main backbone of Buddy Daddies, which is these two hitmen taking care of a child. Last year, a Japanese politician was in the news because she retracted some previous statements she made in 2016 and 2018. We are going to focus on her 2018 statements, which were:

Her comment received a lot of backlash and was big news. Her retracting her statements also brought a lot of news and talk too. The above information comes from The Japan Times article: “ Japanese lawmaker retracts past remarks on LGBTQ and other minorities.” Her other comments are awful too, but it should be noted that her one about sexual-minority couples stems from the issue of Japan’s declining birthrate. Even though many people in Japan are supportive of LGBT+ rights, there are people that hold a similar viewpoint as this. 

Buddy Daddies is pretty directly challenging this ideology, especially with how they have been handling things. So that’s pretty cool and revolutionary in its own way. It makes me interested in seeing how this continued topic as well as any future social issue topics will be handled or touched upon in Buddy Daddies.

If you read this all until the end: thank you so much! I put a lot of work into this write up and I hope it can help (I learned some things too while researching!).

[artbyblastweave]

i only learned recently from a friend's who much more comic literate than I that magneto's backstory as an Auschwitz survivor wasnt planned from the start, which surprised me since it seemed to me a really integral part of his character. anyway, twofold question: how common is it to see capes with backstories tied to very specific historical events, and, as time inevitably passes and real world survivors of those events pass, how do they justify having their characters still alive and kicking? (stay safe on your mountaintop friend)

Depending on how wide you cast the net, this is a pretty big list! There are a lot of comics who's characters cutting-edge ripped-from-the-headlines origin later became a very specific historical event, or at least Of A Specific Moment, in a way the writers had no reason to anticipate the franchise would run long enough to have happen. But to shed pedantry and hone in on some specific ones;

The big one, of course, is Captain America. Superficially Cap's contemporary origin comes with a baked-in means of him making it to the present day- he gets stuck in the ice and then gets unthawed. The fly in the ointment, though, is when he unthaws. When they first brought him back into rotation in 1964, his stint in the ice was only around 20 years; long enough for there to be a significant culture shock, but not long enough that his entire social circle was dead or even culturally sidelined. Nick Fury is still around and kicking ass as a zeitgeist-appropriate 60s superspy. But the further the sliding timeline hauls forward his implicit date of release, the more it changes the tone and tenor of the resulting story. Losing twenty years is different from losing fifty years (as was the case in The Ultimates, where he very explicitly comes back during the Bush years as part of the book's commentary on The War On Terror) and those will both be way different from when we inevitably hit the point where he's lost 100 years and he's the cultural equivalent of a Civil War Vet or something. There's strength to all of those stories but they're undeniably different.

Iron Man's origin was originally explicitly tied to the Vietnam war; he was captured by a detachment of "Red Guerillas" while consulting for the US military and the South Vietnamese government. Unfortunately U.S. foreign policy to this day has prevented this from ever becoming an unresolvable storytelling issue.

The Fantastic Four are a case where their origin was intimately tied to the space race; their untested, cutcorner spaceflight was expressly an attempt to show up the Russians. The extremely specific political context of their test flight is something that sort of gets brushed off; the Ultimate incarnation (written by Warren Ellis) threaded this needle deftly by having the accident be a dimensional expedition instead, circa the early 2000s. I'm not actually sure how the urgency of their test flight is currently contextualized in 616 continuity. Anyone got their finger on that pulse?

The Punisher was also originally a Vietnam vet- but through the jaded cynical lens of the 1980s rather than the straightforwardly peppy and jingoistic lens that defined Iron Man's debut in the 60s. Current continuities I believe have mostly bitten the bullet and updated his origin to the invasion of Afghanistan. However, an interesting decision in the Garth Ennis-spearheaded Punisher MAX continuity of the early 2000s- where Punisher is literally the only costumed vigilante- is that they bit the bullet and posited a version of Frank Castle who really has been killing criminals nonstop since shortly after his return from Vietnam in the 70s, a man well into his 60s who's survivability and efficacy at killing are edging up against the boundaries of magical realism.

Hulk I feel sort of deserves a mention here- he's in a sort of twilight zone on this issue, as there was, uh, a pretty goddamn specific political context in which the Army was having him make them a new kind of bomb, but you can haul that forward in the timeline without complete destruction of suspension of disbelief. Pretty soon it'll be downright topical again.

To circle back around to The X-Men, Claremont introduced a lot of historical specificity with the ANAD lineup. Off the top of my head, Colossus was explicitly a USSR partisan (updated to a gangster forced into crime to survive in the mismanaged chaos of the USSR's collapse in the Ultimate Universe) and Storm was orphaned by a French bombing during the Suez War. More to the point, the timing was such that Magneto, in his upper-middle age, had a pretty strongly defined timeline vis a vis his ideological development vs Xavier; child during the holocaust, Nazi hunter who eventually rifts with Xavier during the mid-to-late 60s, and then the two of them spend their years marshalling their respective resources before coming to blows during the quote-unquote "Age of Heroes," whatever the timeline looked like for that in the 80s. And it was a timeline that held together pretty damn well in the 80s, but it's gotten increasingly awkward as time's gone on. The Fox films completely gave up on having it make sense, near as I can tell. In the comics they've had all sorts of de-aging chicanery occur that very pointedly ignores what an odd timeline that implies for everyone else in the X-books besides Magneto. The Cullen Bunn Magneto standalone from 2014-15 I remember actually leaned into playing up the idea that he's just old as shit and dependent on so many superscience treatments to remain functional that he's basically pickled, which was a take I liked; the comic ended when he died of exertion trying to stop two planets from crashing into each other, right before a brand-wide universal reset. When the MCU was at it's peak and people were wargaming how to integrate the X-Men (lol) you occasionally saw people float "fixes" for the issue, such as making Magneto a survivor of the Bosnian Genocide, or making him black and a survivor of the Rwandan genocide; I remember that this consistently drew a lot of ire from people who (reasonably) thought that his Judaism and connection to the holocaust were deeply important to his character, continuity be damned. But yeah, he's a character dogged by specificity in a way only Cap even slightly approaches. If this is a tractable problem I'm not going to be the one to tract it.

Interestingly, I'm genuinely having a lot of trouble coming up with stuff that's analogous to this at DC comics- almost universally the core roster updates into any given time period much more smoothly. Furthermore, DC stuff has always been much more willing to eschew Marvel's World-Outside-Your-Window philosophy in favor of deliberately obfuscating the time period via the Dark-Deco aesthetic of BTAS's Gotham or the retrofuturism of STAS's Metropolis.

The closest you get to this kind of friction is The Justice Society, who, pre-crisis, were siloed off in a universe where superheroes had existed since the 40s and there was no comic book time, so they were all in their upper-middle-age to old age now, with their kids and grandkids as legacy capes. Post crisis they were (and are) kind of an awkward fit in DC continuity; in the scant few JSA comics from the 90s and early oughts that I read, surviving members of the WW2-era lineup like Alan Scott and Jay Garrick were absolutely written as dependent on their metahuman physiques to have endured up to the present day. I think they're still doing stuff with those guys. I don't know how. I do understand the impulse, though. I also never throw anything out.

[the-cat-and-the-birdie]

no please bc just once I wanna make hobie nervous flustered.. like why can’t he can’t be intimated by me why I always gotta be intimidated by him 🙄🙄

TRULLLYY The opportunities are endless!! Let's talk about it!!!!!!!!!!!

Hobie Brown Loves Feminists and Defying the Patriarchy aka Hobie Brown and Writing write Non-Conventional Romantic Relationships in 'x-readers'

[this is an analysis where I analyze Hobie Brown, non-conventional relationships, and how feminism factors in to it all. Basically a critique/dive/rant into the narrow 'x-reader culture' in the Hobie Fandom

I touch on issues in Smut, labels, and how we can write 'Y/N's that challenge that status quo and fit Hobie better. I also break down how I personally use feminist themes to write a non-conventional relationship for Hobie.] [Also there's now a PART 2 HERE]

Despite the man from the 1970's - the era of bra-burning second-wave feminism - I don't ever think I've seen anyone talk about it, him, and how it influences him.

We all know Hobie isn't down with labels, but it seems like in X-Fem!Reader, the only two options out there are play-boy guitarist and traditional out-of-the-box boyfriend.

Hobie. The man he follows no social quo. Don't expect flowers from him.

Hobie diverges from the norm in nearly every way, and he does it purposefully and intentionally. And I think that'd extend to his romantic relationships too.

So why do we only see him in heteronormative, traditional gender-role based relationships?

Would Hobie be into this? And does the way we write him and his relationships in x-writers serve Hobie emotionally, allowing him to be a full character? (No, they don't.)

How can begin to acknowledge that, just like Hobie cares about race, and class, and housing and queer rights - he'd care about feminism too.

And how would that influence him in romance? How can we start writing healthier x-reader's?

We have enough insecure, blushing 'Y/N's being woo'd by [insert tumblr sexy man]'. Hobie can have so much more - in the words of Beyonce "Where the ladies up in here who like to talk back?!"

Hobie Brown, Romance, and Gender Roles

Why can I be the one calling him 'love', and 'darling', and 'sweetheart'?

Where's the fic where I'm the one comforting and taking care of him when he's sick/down?

Why can't Hobie be the one asked to be held?

There's something lacking here!!!!!!!

I honestly think Hobie would be into it, and find it very attractive - having a feminine partner who defies gender roles in their relationship purposefully and proudly.

Hobie loves subverting expectations and challenging society. So, and seeing many people unthinkingly assume he'd have a completely normal, routine heterosexual relationship without question -- uhhh I don't like that!!!

Like, Hobie is very clearly attractive. He's like 6'5", a guitarist, and punk. Let's be real, people of any gender are gonna be flirting with him, whether he's into it or not. He without a doubt gets flirted at all the time.

I think he'd love someone who cuts the bullshit and is like "You're really cute. I've got the biggest crush on you."

Not in a pushy way, but a relaxed way.

But I hardly ever see the x-reader advances being initiated by the reader. Why? It can be really nice to take the confidence to ask someone out and they say yes.

In fact, a lot of x-readers are written demure, passive, and down-right unhealthy in their ability to defend themselves and stand alone. So many are based off the x reader needing Hobie for some reason, whether it be confidence, or protection, or for him to teach them something.

Never Hobie needing the reader for something. Never Hobie being the one to express emotion and need comfort.

Which is funny, because Hobie can show emotions like anger, which he does in the comics. That's NEVER brought up in fics. In no fic do we have the reader witness Hobie hitting someone with a guitar or kicking them in the face. Which Hobie does do.

No, that's too violent for the romanticized fandom of Hobie. He has to be the good boyfriend to the shy girlfriend.

And I feel like there's a reason many of these x-readers are written this way - is heteronormativity and a dash of misogyny-flavored sexism involved??? maybe.

Especially with x fem readers, feminine people are always expected to be passive and submissive. Women in the real world are expected to mute their advances and 'be coy' for the sake of sexist 'respectability'.

We're taught that 'giving them the eyes' is (somehow??) an 'advance'. Or that you have to wait to be asked out or else you're 'too forward'.

[Insert Barbie Movie Monologue here]

Personally, I think Hobie would be SO refreshed by a girl who comes up to him and is like "Hey, are you busy on Friday? Do you wanna meet me then? I wanna go on a date with you."

Because, realistically 95% of the people in the Hobie fandom - including me - would probably be too nervous to even speak a sentence to Hobie.

So for someone to approach him directly, state their intentions, and be so open to potential rejection, that's impressive - I think he'd LOVE that shit!!!

I think it's a nice juxtaposition to have him with someone who diverges from the 'demure ideal of a girlfriend'.

A girl who walks around like Jessica Drew. Walks in the room like "My man is SEXY AF and he about to walk in so LOOK. BE JEALOUS."

I imagine so many people around him try to act like they DON'T like Hobie when they clearly do - and he can tell. So to have someone who isn't hiding it is a kind of candidness that differs from it all.

So often are women forced into the passive role of waiting to be 'chosen'. Fuck that, you want him, go get him.

Hobie, Romance, and Labels

I also think Hobie would REALLY like a partner who knows what they want.

I always see people be like 'Hobie doesn't like labels!! He wants to keep it casual!' or 'Nooo he was kidding about the labels thing - he'd love a committe-'

WHO SAYS HE'D BE THE ONE DEFINING THE SITUATION????????? WHO SAID HE GETS THE LAST SAY???!!!!!

I feel like Hobie would go fucking NUTS for a girl who is straight up like "yeah I'm just trying to fuck. Are you okay with that?" or "I like what we've got going on. I'm not looking for anything serious, but let's keep going."

Or a partner that is very clear about their labels. A person who's like "I like you but if you're not trying to be exclusive I'm gonna get a move on." Because he's not gonna have you out here looking DUMB, people better know you're in the mfing picture.

That's some grown ass shit! It shows she knows what she wants and that she's not wavering on it, even for him. He's with it. I don't think Hobie would be down to be like "I'm ur boyfriend now" OR "I'm ONLY down for fucking lol srry'.

She gets a say too. And she should be clear on what she wants.

If she's the one to take the initiative and name the game - that's great for him. He's down for whatever, what is it that YOU wanna do??

Hobie, Romance, and Intimacy (like for the grown folks 18+) __________________________________

🔞

In a LOT of fic and especially SMUT, it's always Hobie making the advances, or at least initiating them. In society, women are taught that's how is, that being sexually 'aggressive' and proactive - not just SUGGESTIVE - is inappropriate.

Wait till Hobie slaps your ass, then the smut could start. Wait till Hobie kisses you, then there's romance.

Nah, I'm the one smacking his ass. I'm the one pulling his belt loop saying Come 'ere. What if I'm the one who wants to pull him down for a first kiss, huh??? I gotta wait??

Even in dialogue-

In a lot of fics Hobie can talk as raunchy as ever, but the woman can't say 'pussy'? Hobie can say three sentences straight about how my coochie feel but the reader only gets to moan submissive requests back??

Can the dirty talk be two-sided? Because women should be allowed to be vocal in their pleasure.

Hobie can tell you he wants you to suck his dick, but when's the reader gonna say "Come eat this pussy like you mean it." HM??????

In fics the reader can only be suggestive - in order to bait him into initiating, like sending him a suggestive picture or throwing a bra on stage. But it's hardly ever the other way around. With the reader being the one to say 'Enough of the teasing, we fucking NEOW.'

Because in our society, a guy slipping a girl's shirt off to get the scene going is hot. But a woman going for a guys belt before he begins to undress her - nooo, that's too forward.

Maybe Hobie wants to feel like the sexy, desired, sought after one.

_______________________________________________

Hobie, Romance and Feminism

Let it be known: Hobie loves people who are socially educated!!!!

If you can look at him and explain what anarchism actually is - like in a politcal theory sense - I think he'd be impressed, because you're seeing through the 'pseudo-rockstar' persona he puts on.

Most if not all of his actions are choice are driven by political action, so having a partner educated in things like anarchy or communism just makes sense with him. Hobie cares about stuff like that, and actually goes out of his way to study and live in line with those ideals.

That includes feminism!!!

I think Hobie would love a girlfriend who is invested in feminism, cares about it, and thinks about it in her decision making.

A woman that is educated about her oppression and how to combat it, and purposefully goes against the strict stereotype labeled on women - especially feminine women - as an act of protest.

A girl who can and will defend herself, go off on, or put a sexist pig in their place. You can't tell me he wouldn't be into that.

Social movements of the oppressed are super important to Hobie, and I think feminism is the same, but I never see it mentioned.

I definitely think that Hobie would have a clear understanding of his privilege as a man and how that effects relationships.

I can see him being like "I'd never propose." Not because he hates labels, but because he acknowledges that for centuries marriage was used as a financial and social transaction to oppress and control women and their bodies, and he doesn't want to be involved in that.

Hit him with that "Same - the gold and diamond rings are trash anyway. Both materials being mined and pillaged in African nations for centuries at the expense of the indigenous populations really puts me off it."

He'd wanna somehow find a way to marry you without marrying you you know what i mean

Hobie loves feminism and feminists. Give him a 70's bra-burning feminism so help me god. He was alive for Roe v. Wade passing (1973), he KNOWS about feminism and probably knows many outspoken feminists.

Hobie, Romance and Individuality

You know what I don't like?

Headcanons or fics that be like "You and Hobie NEVER disagree or argue. Never ever, you always talk it out."

Like...Bullshit. I'm sorry but I don't think it's very realistic.

Hobie is a very opinionated too. He's very outspoken and when it comes to topics, and he usually knows exactly where he stands. I think, without a doubt he'd care what his partner thinks too.

Asking them about a record that's playing, or what they think of a movie they saw in the past, or a new political issue going on. He'd absolutely ask, because he cares. He's interested.

If if ya'll are never disagreeing that means:

Either you agree with his opinion all the time without fail or exception OR

You're biting your tongue around him

I don't think one is very realistic in terms of things. You can't like every song your boyfriend likes. You can't like every movie he shows you, or agree on EVERY political issue. That's not how people are.

And for two - if you're biting your tongue around him, he'll notice.

Yes, Hobie is a very emotionally intelligent person and extremely compassionate. But he's also very strong in his morals, thoughts, and beliefs. He doesn't budge.

If you're biting your tongue, I'd imagine he'd be like "You wanna say something." or "Whatever you're thinking just say it." cause he can see it in your face.

He's not trying to put you on the spot, he just wants to know what you're thinking.

When you explain what you're thinking, he's probably gonna wanna hear why, and respond, etc etc.

Hobie is a very individualistic person, and I think he'd be drawn to someone who is as well. Someone who is solid in their opinions and personhood enough to express them.

It leads to interesting conversation and knowing each other deeper -It's a form of intimacy.

If you watch a film with him and don't like it, he's gonna ask why. Did you not like the theme? Was the dialogue bad? What part did you think sucked the most, he thought x, y, z. What do you think about the part he disliked, did you notice a,b,c?

I feel like Hobie would want to know his partner deeply, and he'd care and love the things that make them different from each other.

Including differing opinions.

Discussions and debates aren't bad. Discussing something and getting heated defending your point can be really fun and stimulating, if it's with someone you care about and the two parties are mature and not assholes.

Tell him why you think he's wrong about something - he wants an excuse to talk more about his opinion. INTELLECTUALLY CHALLENGE HIM DONT JUST AGREE.

Along with being very individualistic, Hobie is very independent. He refused to rely on the Society for their watches - he made his own. So I think the next important thing to him is:

Hobie, Romance and Independence

I like the idea of Hobie having a partner that has their own place and is committed to that, and their space.

Or a partner that emotionally supports him!!

95% of the time, he's the one asking what's wrong, or holding reader, or comforting them.

Can we get hectic bf and organized girlfriend energy?? A gf where he says plans during missions and she's like "What are you thinking? You're gonna get us killed."

A gf that soothes HIM when he gets angry - cause comic Hobie GETS angry, especially after a fight.

Give me ONE, ONE fic where he's drunk coming from a pub and READER has to deal with drunk Hobie and put him to bed.

Hobie is ALWAYS expected to take care of himself, and the people around him. He takes pride in this and he's good at it. But why should he have to do it all the time?

_____________________________________________

In general,

Hobie is a confident person. He knows what he wants, and how to handle himself, and how to approach people and get respect just by being himself. He's assured, and outspoken, and VERY independent. He does what he wants, when he wants and lets you know when it happens

I think pairing him with a confident, assured, outspoked, independent person is only natural. I think him having a relationship with a personality like his would be a ROCK SOLID one.

There's be no fics like 'Groupies were bullying you' because his she would be like "Sis, if I swing on you he isn't gonna hold me back so be careful."

I want a reader that when they do that trope of 'A girl was flirting in front of him making you insecure and uncomfortable' - The reader squashes it right there. Like "Girl, I know you see me standing here. You know we're together. Cut the cute shit!!"

I'm tired of fics taking me for an insecure, submissive, demure, sexually innocent, wimp of a babydoll girlfriend that needs to be babied at every turn. There's nothing wrong with being shy and demure, but when it's all you're offering it's not gonna cut it.

Especially not for Hobie Brown.

Let the tall, dark, actively oppressed black man be the one to vent, or be held, or romanced, and spoken sweetly too. There's so many comfort fics, but not many of them consider Hobie's own trauma - and how a relationship could include that.

Hobie Brown deserves more.

_______________________________________________

If you wanna know how I use this to write a non-conventional relationship for Hobie, that's below this break.

Okay so I'mma leave it here but if you read this far, thank you!!!! I be SO pissed when fics be talking me (Y/N) as a punk (in the wimpy sense not the Hobie sense). Like...nah I wouldve said something in a lot of situations. Irk my last nerve. Like the one where the girl PINCHES you??? Like?? Nah I we would've been fighting, I'm sorry this is unrealistic

Alsooo the section below is about my Spidersona Disco-Spider and how I encorporated all of this into her creation- because I wanted to write a sona who subtly defied gender roles while still being feminine. So if you wanna read there thank you so much, and if not, thanks for reading this far! He's a pic of Hobie in thanks!

[If you wanna check out Part 2 for direct examples, how to write NCRs, and a more in depth look into Disco and Hobie - check it out here]

_______________________________________________

DiscoSpider Diane and The Great Groupie Act [How I use all of this to a write a feminist Spidersona and a non-conventional relationship]

Diane is a HUGE Hobie Groupie - and that's kinda of her main thing.

She runs the Hobie Brown Fanclub on campus, attends all his shows, and wears his guitar pick. She's into him and she's not afraid to show it.

I wanted to write Diane as a purposeful groupie, one who is fine with the title, and even leans into it. Because a lot of the time - and in a lot of fics including guitarists - 'groupie' is seen as a negative thing.

Like K-pop stans, being a 'groupie' - and openly expressing your romantic interest in a hot guy is seen as desperation.

But I wanted to write her as one in spite of this. To swap 'desperation' for unwavering boldness. A girl with the motto 'Closed mouths don't get fed'.

And much like Hobie uses the 'typical punk' label to disarm others, I wanted Diane to mirror that - in the opposite direction.

Diane is a self-proclaimed groupie. And because of that, many (mainly misogynists) assume that she can't think for herself - or at all. And Diane can use that to her advantage.

If Miguel and Jess really believe she only cares about conversations involving Hobie, then they'll talk like she isn't there. And she can listen. If it looks like she's hanging all over him, no one realizes if she's slipping him information.

And it also helps in their relationship.

They both enjoy their privacy.

HQ prohibits relationships between Spidey-people. It's an anomaly waiting to happen - and they make sure to keep a close eye out for it. Plus with Jess breathing down her neck, it's much easier for Diane and Hobie to just keep it underwraps.

In comes the Groupie persona.

No one actually expects the groupie to get the guy. She's desperate, and he's the player guitarist. Plus, if they were dating she couldn't be a 'groupie' right? They wouldn't make sense, would it?

They let people make their own assumptions. By calling herself a groupie, suddenly people think there's no possible way there's something going on, and they don't look closer.

This also allows them the freedom of no labels. Are they boyfriend and girlfriend? Nah she's his groupie. Quit asking questions.

All of this allows me to write Disco in a way that connects back to everything in this post.

By calling herself a 'Groupie' suddenly Diane can subvert expectations of affection, avoid the pressures of labels, and control her image and the amount of information she lets on to people

That in turn helps me write their relationship in a nonconventional way - a way that challenges misogyny around affection and reclaims a sexist fan trope for something more empowering.

Sure, the concept seems silly at first. The ditsy, bubbly, party girl on campus, but I wanted there to be a reason and drive behind it.

Disco-Spider Diane is exactly who she wants to be, an unapologetic, outspoken disco-girl. One that's highly educated and knows her shit.

And also a huge groupie.

-----------------------------------------------

If you've read this far, thank you so much. It genuinely means a lot to me! This is reaaaaaallly long.

[Part 2 here]

Now how about you take this photo of Hobie and we both pretend like me writing this is normal well-adjusted behavior okay? okay

Bye.

[twsted-kinks]

Malleus x Reader: Biology Nerd (Part II?)

Fluff & NSFW things (slight angst?)

>ageless and minors dni<

Not really a part two just the same Yuu hanging out with Mal.

Reader is gender neutral but this is very self indulgent so they be fat, hairy, and may come across as masc. Also reader is Yuu.

Content Warning: cultural and biological differences leading to situations, assuming things are normal for another culture, accidental sexual stimulation and arousal, sexual tension, trying to hide arousal, Yuu being a nerd about Malleus's biology, Yuu touching Malleus innocently and Malleus getting off on the touching, is Yuu oblivious or is Yuu insecure and doesn't believe they're attractive enough for Malleus to want to fuck them?

Cuddling. There is so much cuddling. Just about every night Malleus would be floating outside Yuu's window, holding pajamas and a toothbrush. This occurred again and again, until Malleus's absence at night was finally noticed, and Sebek freaked out. The half fae's screams woke up the entire dorm. After that incident a lot more attention was put on Malleus's whereabouts. At first Sebek and Silver offered to join Malleus at the Ramshackle Dorm, but Malleus preferred his time with Yuu to be private. Lilia, being able to pick up on Malleus's little crush, found a solution. Have the child of man stay over at Diasomnia. As long as there weren't lectures the next day, Malleus and Yuu could stay up late doing whatever they wanted, and Sebek and Silver could check in as needed.

So, a new tradition started where, 1-2 times a week, Yuu would sleep over and spend the night in Malleus's room. Again, most nights were spent cuddling, talking, and enjoying each others company. Yuu was one of the few people where Malleus can have his scales, tail, and wings out and act normally around him. Well, as normal as Yuu can be. Though, Malleus's favorite thing about these visits was how Yuu would take care of him. Brushing his hair, polishing his horns, massaging his ears. His ears. It took Malleus using every bit of self control he has to remain still when Yuu touches his ears. Caressing the shell, rubbing the lobe. Malleus forced himself to take deep breaths and bite his lips to prevent himself from letting out a moan.

Malleus didn't have the heart to tell Yuu just what they were doing, how sensitive his ears are, how his cocks emerge from his slit. This became such a common occurrence that Malleus has become an expert at hiding his bulges, tucking them away, hiding them behind a pillow, excusing himself to the bathroom to take care of himself before returning. Did Yuu notice any of this weird behavior? Not really no.

Anytime Malleus did something a bit off, Yuu just assumed it was something either normal for him or just a fae thing. Malleus's dilated eyes, his awkward shifting with a pillow in his lap, the flush of his cheeks. Each thing Yuu could explain away. The eyes? Well, it is kinda dark in here. The pillow? Probably an erection, but that's just something the body does. The flushed cheeks and ears? Malleus isn't used to affection. Plus, if he's hard of course he'd be embarrassed! Yuu doesn't want to make it worse by pointing it out.

And so now they're here again, in Malleus's room. Malleus sits on his bed, pillow on his lap, and Yuu sits behind him. The human gently pulls away loose dead skin from the dragon fae's scales.

"I must thank you, child of man. Removing my shedding is often an inconvenience I'd rather not deal with. However, you've made my usual ordeal an enjoyable experience." Malleus hums and flexes his wings.

Yuu giggles. "You don't have to lie and make me feel better. I know you can just magic it off you."

Malleus is quiet for a beat before responding. "That is true. Removing my shedding is not an issue for me. It is a simple task. However, I did not lie when I stated you make the process enjoyable."

"Hm, yeah that checks out." Yuu focuses as they pick dead skin from between two scales. "Social grooming is a common behavior in social species. Makes sense humans and fae enjoy it."

Malleus thinks for a moment. "Yet you are the one always attending to me."

Yuu peels away the last bit of dead skin from Malleus's dark scales. "That's because I enjoy it too. It gives me something to focus on, something to do with my hands while I'm with you. Plus, you're really interesting to look at."

"Interesting to look at?" Malleus asks.

"Of course! Like-" Yuu runs their hand up Malleus's back to rest where the far's wings connect to his shoulder blades. "Even just your back is beautiful! There are multiple points that move and contract in a layered network of muscles in a way that is both very similar yet also drastically different to what I know. I can feel the movement every time you move your wings. And the way your scales shift and move over these muscles, an interlocking pattern that moves so perfectly on top of everything. It makes me think about the evolutionary process leading to this, and biological ancestry, clades, and categories of different spaient species here. How can I not enjoy myself?"

By the time Yuu finishes their thought, Malleus, tips of his ears dusted with pinkn has turned to face them. "Such an eye for detail for things I think nothing of. You explain your fascination with such passion. You truly have an admirable mind, child of man."

"I mean, you're the same way." Yuu responds.

"I am?"

"Your love for architecture, especially gargoyles. I admit there are times I don't understand what you're talking about exactly, but I enjoy listening to you. You always light up and it's really cute to see."

"Cute." Malleus let's the word sit in his tongue. "I should be used to the way you speak of me by now. But, I do agree. I enjoy listening to you even when I do not understand your words."

Yuu chuckles. "I'm glad to hear that. I know I tend to ramble. You can stop be to ask questions if you don't get it though."

"It is the same for me. You are free to interupt me with questions." Malleus responds. "And I do have a question for you."

"Oh? Shoot."

"What you said earlier about social grooming. Is it common for it to be... so one sided?" The fae asks.

"Well, it can depend on a lot of things, but no. Usually it goes both ways." Yuu answers. "What? Feel bad about me being your personal masseuse?"

Malleus's gaze travels along the human in front of him. Here he is, in nothing but his sleeping bottoms while Yuu sits in an oversized long sleeve shirt and sleeping shorts that stretch around Yuu's thighs. "That is part of it."

"And the other part is?"

"Our bodies are quiet different." Malleus notes. "Perhaps I wish to study yours as well.

"Oh..." Yuu is silent for a moment, shrugs, and then pulls their shirt over their head. "Yeah, that's fair."

Malleus does his best to keep his face calm, biting his lip slightly to keep him grounded. Yuu's plush torso decorated in a kayer of dark hair. The fat on the human's chest look so perfect, as if the soft flesh could fit into Malleus's hands perfectly. The human's soft stomach that Malleus has laid his head against again and again. He can't help but imagine how it would look, bouncing back and forth as the fae buries his cock at a brutal pace into the human. Malleus holds the pillow closer to his lap.

"I know I'm not that impressive, but, if I get to touch you, it's fair for you to touch me."

"Child of man." Malleus reaches out and cups Yuu's cheek in his hand. "You are beautiful."

Now Yuu's ears are the ones dusted with pink. "You don't have to lie to make me feel better."

"I am not lying." Malleus runs his hand down Yuu's neck and rests at the center of the human's chest. "You find my scales and the inner workings of my muscles to be beautiful. Can I not find your hair and your soft flesh beautiful as well?"

"That's no really-" Yuu looks down and hesitates. "Most people don't. At least where I'm from."

"Then I am glad you are here. I hope I can make you see just how beautiful you are."

[fairuzfan]

I don’t ask this expecting you have THE answer or that there is one, but I follow a non Palestinian white man on insta (in addition to many Palestinian folks in diaspora and in Palestine) who mostly shares things from Palestinian ppl/sources.

He has several times criticized / shared criticism of charity dinners, music festivals etc raising funds for Gaza with the perspective of, it’s not appropriate to have a dance party or dinner while people are undergoing genocide, but also that in this moment, art isn’t resistance because there needs to be physical resistance, blockades of weapons, etc.

I’ve seen this echoed from some others especially critiquing white folks trying to claim “joy is resistance” right now, which makes sense to me, but i also wonder if it’s reductive to say art or music is not resistance because I feel like it can have a lot of power especially alongside social movements… was wondering if you had thoughts on this or perhaps knew where I could look to learn more.

Please ignore if this is too much, and thank you

I think things like writing and illustration and music feeds into the spirit of revolution and is necessary in that way. You have to energize the masses somehow, and to ensure that your message spreads as far as possible. A good way is to make art, or to sing a song, or write a story.

That's why Wisam Rafeedi wrote his book and different resistance factions make posters and videos — to spread their ideas and garner support among the masses.

It's not as important as putting yourself in immediate physical danger to incapacitate the colonial entity — but I think for Palestinians and other colonized peoples, they do need to make art to really process their thoughts. Of course there's a difference when a Palestinian in Palestine, a Palestinian in the diaspora, a nonPalestinian ally of color, and a NonPalestinian white ally do this. I won't deny that there's a nuance when it comes to this.

But writers who write about Palestinian Liberation historically have been assassinated because of how they participate in liberation actions and also spread ideas of liberation themselves. I don't know which white guy you're talking about but I feel like this is mostly a conversation that should be led by Palestinians if we're talking about Palestine because they understand the nuance of saying statements like "the only resistance is physical." I understand what he's saying to an extent but that does erase a lot of Palestinian resistance the past few decades by making sweeping statements like "art is not resistance" and kind of simplifies the issue at hand.

Charity dinners and galas and that stuff... I don't know what I think about them, I think that people are going to do it either way so my opinion doesn't really matter. Hey, if you're going to raise thousands of dollars for Palestine, I'm not going to stop you at all. I personally think you should try to avoid posting pictures and stuff like that from the gala itself if you're going to host one just out of courtesy.

I guess overall what I'm trying to say, art resistance becomes physical a lot of the time. I think its really reductive to say "art isn't resistance" and also personally insulting considering I have family members and friends who were journalists, creative writers, and artists and killed/targeted for their work.

Here's this article by Fargo Tbahkhi about the role of writing during a genocide that might be a good read. They also mention how Israeli propaganda (calling Palestinians "human animals"/"Amalek" as an example) is specifically a use of culture and writing to energize people to commit genocide. An especially poignant part that I completely agree with, and am trying to get at:

Palestine requires that we abandon this catharsis. Nobody should get out of our work feeling purged, clean. Nobody should live happily during the war. Our readers can feel that way when liberation is the precondition for our work, and not the dream. When it is the place we stand, and not the place we shake ourselves towards. In this way, what the long middle of revolution requires, what Palestine requires, is an approach to writing whose primary purpose is to gather others up with us, to generate within them an energy which their bodies cannot translate into anything but revolutionary movement. This is what Boal modeled for us in his theatrical experiments, which were dedicated to empowering audiences to act, to participate in a creative struggle to envision and embody alternatives. For Boal, theater was not revolution, but it was a rehearsal for the revolution, meant to gather communities together in that rehearsal. Creative work readies us for material work, by offering a space to try out strategies, think through contradictions, remind us of our own agency.  

[oldmemoria]

okay heres the fucking thing about this script controversy that some people don't seem to get.

just gonna say it blatently:

strap in babes this is gonna be a long one!

The way Miguel O'Hara is written in the leaked transcripts is blatantly racist, here's why from a Latino himself!

all wrapped up in a sweet little bow for everyone who doesn't know how to comprehend what they're reading, cheers!

er. i mean.

¡Salud!

Miguel fans are not mad that they depicted him in a bad light and that they made it clear that he is in the wrong

WE FUCKING KNOW. WE'RE NOT STUPID.

Miguel has been depicted as a morally grey asshole since the early 1990s, which is when Spider-Man 2099 was initially debuted. And while yes, the movies are.... inaccurate, to say the least, it still stands.

The issue here is how he is depicted. They directly call Miguel O'Hara, a Latino man, an ANIMAL (he is directly called an animal TWICE. FUCKING TWICE.)

[1st image id: Miguel leaps onto Vulture, Clawing his way in past the renaissance armor. he is an ANIMAL. (keep in mind ANIMAL is literally in all caps.) /end id]

[2nd image id: Miguel SLASHES at the walls of light that surround Miles. Clawing the energy field apart, an animal in the throes of bloodlust -- /end id]

I need you to really soak in the fact that he is called "AN ANIMAL" twice. I'm awful at alts and ids but I feel I must so you can read it in plain text. sorry if they suck.

Our issue is not that the writers seem to have a bias against the character. a lot of writers write characters they dont particularly like and in turn tend to write them from a foggy lense of their own perception. An example would be Kate Cary and how she didn't like Crowfeather, a character she had to write about. I'm sure some of her bias seeped through. but this is different.

writing a Latino man as a bloodthirsty animal, implied to be called a predator because they call one of the people he fights (im not sure if its miles or the vulture, im leaning towards believing the former.) his "prey", THOSE ARE ALL RACIAL STEREOTYPES. ALL OF THEM.

[3rd image id: But Miguel can only see his prey: /end id]

There is no context to be needed here, the context is that this is miguel we're talking about and that they call him an animal. it does not matter if he is a villain or not (which he isnt, factually he fucking isnt im tired of having this conversation, fuck you). it matters that he's depicted in a racially insensitive way.

and this person brought this up pretty well actually, I didn't even think of it:

[4th image id: Tumblr user @/404-505 saying:

i want to be so mean to them

they couldn't write miguel crossing the border and stealing a job so they wrote him crossing into another universe and stealing his own identity

they couldnt write miguel as a drug addict so they gave him spider steroids instead /end id.]

They bring up a really good point about these clear stereotypes being seemingly. . . disguised behind points that are narratively relevant? This could literally just be pure coincidence, but noting how the writers wrote him before... it isn't looking too good for them. Sorry. Not sorry.

It is clear that there is some kind of bias against miguel that led to really disgusting, racist retoric. Whether or not it was intentional or if it was a first draft or whatever, the writers, which may i remind you were white, still wrote this at some point.

it makes me question whether or not they hated him because of his "bullshit utopia", their words not mine, or because of their own racial biases.

We cannot know because miguel is the only mexican character on the cast. I know Miles is Puerto Rican, but there are differences between how they were portrayed. also Puerto Ricans and Mexicans come from competely different cultural backgrounds that share simularities but are still different dont even try i will destroy you.

Using another users words again, but:

[5th image id: Tumblr user @/transmiguelohara says:

Don't talk to me about the Miguel parts in the script. I'm so disappointed in how the writers view him.

The difference between the way Miguel is written (antagonist, not the villain) vs Spot (the villain, whats to kill Miles' dad and everyone he knows) is soooo.....I don't know man it just screams racism in sorry. Describing Miguel as a bloodthirsty animal? Repeatedly? Treating him like he's mindless and has no motivation beyond having a hair trigger temper? It sucks man. /end id]

It also strikes me that now that we finally have a brown-skinned miguel, they write him like, well. this.

I don't really know if this is petty or not, but I want to wrap this back to the way the fandom also sees Movie Miguel.

Because TRUST ME it is not good either.

Miguel O'Hara Vs. FANDOM: Spoilers, it's been troubling since the beginning.

From the beginning (and by beginning in this case I mean since he was announced to be a character in this movie) Miguel has been continuously sexualized, beyond belief. He is repeatedly called "papi cholo" which NEED I REMIND YOU "Cholo" is a derogatory term used to call someone, usually a mexican person, a criminal or a delinquent.

FUCK YOU if you are not Latino OR hispanic and use this to describe people. from the bottom of my heart.

I'm pretty sure the majority of the people who called/ still currently call him "papi cholo" are mixing it up with "papi chulo" (white people moment.) which means something completely different but is still troubling as hell.

"papi chulo", which is slightly different in the way, just directly translates to "big daddy". Which again, Latino men being overly sexual "Latin Lovers" is ALSO A RACIAL STEREOTYPE. also its just blatant fetishization. Point blank fucking period.

Not only that but I notice a lot of art and fanfiction depicts him doing a lot of violence, or being very overbearing and demeaning, or in short terms.

a lot of people write him as physically and sexually aggressive.

fuck do you mean he growls during sex i can and will send you to space with no return.

which

for the millionth time

racial stereotype

halleluiah or however you spell it.

Having him say random spanish phrases you don't know the meaning or connotations of in your fanfiction is icing on the cake at this point.

fucking end me.

it isn't even only sexual depictions, since he's been shown in the movie, a lot of people seem to just see him as this guy who goes off and tries to kill children at a hairs trigger. which uh. fun fact no he fucking doesnt.

you clearly didn't watch the movie as well as you thought you did. hes just sarcastic and generally pretty level headed through the majority of his runtime, whether its implied by how characters around him act, or its just what we see on screen.

He doesn't necessarily have anger issues, the moment we see at the climax of the film is quite literally a mental break. he is not acting in a way that he usually would because he was cracking under the stress of holding the multiverse together with some scotch tape and orange glitter glue.

Also side tangent but he also has a mental break in the comics that's a little more... droopy and sad as compared to the movie, but it still happens. he has shitty mental health is what im saying. he only really lashes out angrily when hes at his wits end because that's how he grew up. he was taught to suppress his feelings and seem smaller when he was upset.

he is the result of abuse and neglect. of course he wouldn't be amazing at emotional regulation.

Which before anyone says it no, this is not an excuse for his actions. just an explaination that isn't "hes an angry animal that has it out for miles UwU" that everyone seems to have in their brain. I'm tired of you all. truly.

the sentiment that hes agressive and angry and his only emotion is anger and upsetness unless he's horny which is when he experiences all these emotions tenfold is. racist. idk how clear i have to be for people to get it through their damn skulls that the way the fandom depicts him is harmful. do i need to slap you in the face with a fish until you understand. do i need to burn your fanfiction. will you get it now that a 15 year old latino boy has to scream it in your face.

and dont even get me STARED on how inaccurately he is written

this is a more light hearted section because idk. feels like i should have it because this part is just comical, pun intended. How can you fuck up this hard guys.

I was gonna give them the benefit of the doubt because "Miguel has fresh trauma!" "He only shows up for like 10 minutes!" "insert 3rd reason!" for his drastic change in demeanor and personality, which, without context, are valid reasons for him to be a little different. trauma fucks you up man. we only see 10 minutes of him. but at this point im chalking it up to complete incompetence

it doesnt take that long to read a comic book guys. you could have done a little research, I know you can do it.

first off:

[6th image id: Miguel's SPIDER-SENSE goes off! He races to the edge if the building and peers into an empty alley -- /end id]

LMFAO WHAT THE FUCK DO YOU MEAN "SPIDER-SENSE"

Unless you didn't get the total of TWO jokes that they made in ONE scene (the vulture fight scene), Miguel doesn't have a spider sense. at all. He has elevated senses, but he doesnt have a spider sense.

guys

guys.

you made TWO jokes IN A ROW about it. YOU WHACKED HIM IN THE HEAD TWICE WITH IT. HOW DID YOU FORGET

I cant help but laugh! this is a rookie mistake! these are seasoned writers! They could have done at least a little research, or at least remembered that he doesnt have one, no? is it that hard? or does his lack of a spider sense only matter when you're making fun of your least favorite character? thats what I thought.

this one is less funny. not to sound like a stereotypical comic nerd but this infuriated me a little bit I'm not gonna lie.

[8th image id: tumblr user @/darksidecorner reblogged tumblr user @/spiderxpawz with:

They definitely didn't

a screenshot of the script reads:

AN INDUSTRIAL TANGLE OF HUGE PISTONS -- the literal DARK UNDERBELLY that undergrids Miguel's bullshit Utopia.

Miles doesn't know where to go... but he doesn't need to: SOMEONE YANKS him up into the safety of an alcove.

the user then continues:

This in particular made me PISSED because they quietly canonized that Miguel is CEO of Alchemax while conveniently ignoring that he did everything in his fucking power to BETTER Neuva York. Downtown wasn't built by him. It was built by people WAY before him.

I can excuse and defend some comic deviation, but THIS? Holy FUCK /end id]

I honestly cant tell if I find this part funny or pathetic because seriously. he did not do this. why are you blaming him for something he had nothing to do with. i dont think he decided "hey i should build a city for rich people over poor people because reasons" when he was like... not even alive. Alchemax did this before he was even sentient. it had always been this way since he was born. he also actively hated this decision. because he actively hates alchemax.

but right MIGUELS bullshit Utopia yeah HE did this that EVIL LITTLE BABY i cant believe him

kill me.

In conclusion:

I. . . Don't really know, to be honest. I'm still processing all this. I am genuinely disappointed and upset because this isn't okay. It never will be, and if it takes yet another blunt essay with absolutely no filter for people to understand it then so be it. I don't care if this comes off as mean. This is something I feel qualified to talk about and I will express my disappointment and anger if I want to.

All of the posts I reference I have reblogged within the last 24 hours of making this post, they shouldn't be that hard to find, but if you want the links to them here they are:

https://www.tumblr.com/spiderxpawz/735344322114977792/live-mexican-reaction?source=share

https://www.tumblr.com/404-505/735289664739606528/they-couldnt-write-miguel-as-a-drug-addict-so?source=share

https://www.tumblr.com/transmiguelohara/735289238625648640/cant-believe-the-writers-have-the-same-reading?source=share

if you want your image to be removed or for your link to be removed just ask and I'll do it. but currently im kinda bummed out and tired.

goodbye.

[star-anise]

You just posted like ten different things about potatoes in the span of maybe five minutes, and I gotta know your take on "The Martian".

Like, the (fictional) man alone on a planet literally only survives because of potatoes shrink-wrapped in plastic for a Thanksgiving meal. If they weren't slated to be on Mars for Thanksgiving, he would have died.

And Andy Weir (author of the original novel) did such a good job with the science of every other element to the story, I honest-to-god believe that potatoes could actually manage to grow in Martian soil (even if that's not been proven for certain afaik).

Which means..... could potatoes terraform Mars into sustaining life??? Are potatoes the key to the universe???

Haha sorry for going so hard on them! Those were mostly all posts from 2020 when gardening and fantasy worldbuilding were lockdown fixations for me. One of them blew up recently so I wanted to give The People more of the content it seemed they were looking for. I don't actually know a lot about potatoes. I just think they're neat.

I do not want to take apart the concept of "colonizing Mars" as some kind of woke gotcha. I want to take your question seriously and charitably. However, I just am the kind of person who's like "Hmm, 'colonize', we should really stop and unpack that word," so let's do that, without forgetting the potato element.

(What "I don't know a lot" means: Potatoes were a crop my family grew several acres of for a few years on our farm before we switched our focus to sheep. I am about 50% as reliable as a horticultural brochure on various potato diseases and growing condition issues. I have listened to two University lectures and read perhaps four historical journal articles beginning-to-end on how the Columbian Exchange affected early-modern Europe, that and half as much again on medieval and early modern European farming practices and population changes, and perhaps three science/history articles specifically on the domestication and proliferation of the potato. I am a white Canadian who actively seeks out information and training in Indigenous history and culture in the Americas, but that's probably still only equal to like, two Native Studies classes in university. I know more than the average person on this topic, but I am also not an expert compared to people who have devoted serious time to learning about this.)

But I have some intuitions in a couple of ways:

The Martian is probably being wildly over-optimistic about its potatoes. They would probably have been irradiated into sterility before being vacuum-packed, and I don't think you can split and propagate them that quickly or successfully. However, potatoes can definitely grow in all kinds of conditions (including under my sink).

They might not be the world's healthiest or happiest potatoes, tho. Soil quality definitely affects the end product. Presumably Watney, being a botanist studying Mars' soil composition, knew how much he had to ameliorate his soil with latrine compost (which would definitely have needed a LOT of processing, since human waste is generally not good for plants, but maybe he used chemicals to speed that up?) to get good soil. However, we would probably need to add a LOT of shit to Mars' soil (and air, and water) for it to host plant life.

Mark Watney makes a joke about having "colonized Mars" because "colony" is Latin for "farm" and he farmed on Mars so haha, funny joke! And we talk about colonies on Mars partly because that's what science fiction did, and a lot of science fiction has been into that colonialism aesthetic. But colonialism and empires actually aren't great, not just because they necessitate huge amounts of racism, oppression, and genocide—I know, you asked me a fun question about potatoes and did not sign up for this, I'm not here to drag you, hear me out—but because they're also really sucky models for agriculture and successful societies generally.

My British ancestors tried to be colonial farmers in a place that is sometimes colder than Mars (Canada's Treaty Six), and let me tell you: IT SUCKED. Most of the crops and herbs and vegetables and flowers that settlers here brought from home and are used to? DON'T FUCKEM GROW. For the Canadian prairies to become conventional farmland, farmers and scientists had to scramble to find, or produce, cold-hardy varieties of everything from wheat to roses. A lot of flowers and plants that are unkillable invasive zombie perennials in other climates don't survive our winters no matter hard we try. The trees and flowers that hold cultural or sentimental attachments for us often don't grow here. The climate is so harsh and population is spread so thin that we cannot do the 100 mile diet and eat foods we're familiar with, and can hardly even manage the 1000 mile diet. (Not that I try, but, my family did once look into it)

A huge number of colonial homesteads, where the pioneers go out on their little covered wagon and build little houses on the prairie? Failed miserably and got bought up by land speculators. My own family came out to Alberta in the 1880s and moved around from land assignment to land assignment, like, six times before settling at their current place in the early 1900s.

Meanwhile: POTATOES

Potatoes are less than ten thousand years old! I am not any kind of expert on archaeology, please nobody throw things, but humans showed up in the Andes (think: high, cold mountains) of South America roughly 9,000 years ago. There are hundreds of wild potato varieties, but they generally produce fairly tiny tubers. It took active work of Indigenous Andean people around 8,000 years ago around Lake Titicaca to cultivate specific strains of potato, doing oldschool genetic modification to make them bigger, more delicious, and hardier. From that cultivation effort around a single species of wild potatoes, they produced thousands of cultivated potato varieties.

Ancient Andean farmers and botanists also played a big part in cultivating quinoa from wild amaranth, as well as producing modern food crops you probably haven't heard of, like oca, olluco, mashua, and yacon, and also coca, which may get a bad rap because it's what cocaine and coca-cola are made from but you cannot deny it's got kick.

Basically, Indigenous people of the Americas (South, Central, and North) went all in on botany and plant cultivation. Plants that we take for granted now have mostly been developed by Indigenous people in the past few thousand years: Tobacco, sunflowers, marigolds, tomatoes, pumpkins, rubber, vanilla, cocoa, sweetcorn, maize, and most kinds of pepper except peppercorn. These things were not found; they were made, by careful cultivation of the world as it was.

This gives us a vision of the future. Colonization, and industrial agriculture, both lean us towards the vision of a totally uniform end product, with the same potato varieties grown on each farm because we have made every farm the same. Instead we could embrace biodiversity and focus on privileging local knowledge and considering the interactions of environment, plants, microbiota, and people. We could create potatoes that were happy on Mars. We could create Mars that is happy to have us. We could create a society that can accept what Mars has to offer.

A lot of why we dream about colonizing Mars is the idea that the Earth itself is dying, that we are killing it, and we need to abandon this farmstead and seek out a new frontier. I acknowledge that shit is bad, but I don't agree with that framing. I am increasingly persuaded that there is a third path between ecological destruction and mass exodus, and I think we need to reject European colonial mentality that creates the forced choice. I find far more use in privileging the knowledge of people who live on and with land than their landlords and rulers, and I especially find value in Indigenous knowledge of land management practices and food production.

I am absolutely not saying that Indigenous people were or are wonderful magical ~spiritual beings~ who frolicked in an Edenic paradise that only knew death and disease once white people showed up. This isn't noble savage bullshit, nor am I invoking people who existed once but whom I have never met. I am saying that I have Indigenous neighbours, colleagues, relatives, and elected representatives. I have learned about mental health, leatherworking, botany, and ecology from Metis and First Nations elders and knowledge-keepers. And like. They have good and useful shit to say.

This is about culture, not race. It is not that their biological DNA means that they know more than me about how to get food from this landscape. It's about cultural history and what we learn from our heritages. What have our cultures privileged? Like, Europe has historically been super into things like metallurgy, domesticating livestock, and creating dairy products. If I want to smelt iron or choose animals to make cheese from, European society would have a lot of useful information for me! And what Indigenous cultures in the Americas have historically focused on instead of cows and copper* include 1) getting REAL familiar with your local flora and figuring out how to make sure you have lots of the herbs and grains and roots and berries you need, and 2) how to make a human society where people can live and have good lives, but do not damage the environment enough to impair the ability of future generations to have the same sort of life.

*Several indigenous American cultures did practice various forms of metallurgy. It's just one of those proportional things, about what societies really go for

Conclusion

I think we could use the processes that formed the potato to find and foster forms of life that could survive on Mars. It would involve learning to think that botany is a sexy science, and understanding just how rich and complicated the environment is. To oxygenate the atmosphere, we'd have to get super enthusiastic about algae and lichen and wetlands. We would have to learn to care deeply about the microorganisms living in the soil, and whether the potatoes are happy.

We'd have to create an economy that counts oxygen and carbon dioxide production on its balance sheets. To learn how to wait for forests to grow back after a fire, instead of giving up in despair because the seedlings aren't trees yet. To do the work now and be hopeful even though we might not see the payoffs for decades, or our victories might only be witnessed by future generations.

So yes, I think we could totally plant potatoes on Mars

But I also think that if we ever got there, we'd have turned into the kind of people who could also save Earth in the first place.

Which makes it a good enough goal in my opinion.

[lesbiansforboromir]

Why do you think Aragorn as accepted as a King? They don't have blood tests to confirm his identity and he is not even from Gondor (was probally born here, but not raised)

Oh no Aragorn was not born in Gondor, canonically speaking he was born in the north amongst the northern dunadain and that is his cultural heritage. And not only that, Aragorn's claim to the throne is legally shakey at BEST. His only claim to the line of Meneldil (original King of Gondor after Anarion and Elendil's deaths) is through a female line, which used to be an accepted path to kingship in Numenor, but was since entirely discarded by both Gondor AND Arnor (so not even Aragorn's own direct ancestors agreed with letting women rule kingdoms) And a previous legal ruling on this PRECISE ISSUE decreed that Aragorn's ancestor DID NOT have a right to Gondor's throne. So yes it's a good question isn't it? There are two answers!

#1 Gondor is still a partial if not full theocracy. This is one of those aspects of the book that doesnt really make sense unless you understand all the character's actions through the lense of catholicism and religious faith in general. Aragorn is 'Estel' or 'hope', but when people say 'hope' in Middle-earth what they mean is faith etc.

In lotr meta-logic the divine right to rule is a real thing that actually exists, god (Eru) literally wants Aragorn to be king. The characters within the story are aware of this to varying degrees, Boromir being one of the few characters who properly disregards this and wishes to view Aragorn's claim on it's own merit. Even Denethor knows and understands that Aragorn is chosen by god, and he's very bitter and angry about it! (good for him). But in general, all other characters including all Gondorian lords are 'faithful' or 'elendili', and within this religion the only people who could be called 'priests', who can bridge the divide between man and god, are their Kings. So, religiously, if Aragorn IS sent by god to rule them, then they would be committing a kind of heresy to refuse him. And remember, god literally exists in Arda canonically and so therefore does sin and heresy, not just in a moral way but also in a literal like... fact of nature kind of way.

So when Aragorn arrives in Pelargir with an army of ghosts it gives Lord Angbor FAITH in him. When Gandalf, an angel literally doing god's will, is his friend and expressly supports his claim the other lords of Gondor also are inspired to have faith in him. Aragorn spends a good deal of time after the siege of minas tirith ticking divine checklists for 'guy who should be king', he is not making a legal argument for his right to the Gondorian throne, he is making a religious argument for his right to rule over the entire population of 'the faithful' which includes Gondor AND Arnor, destroyed or not.

There WOULD be discussion though! Not everyone in Gondor is dunadain and not everyone is faithful in the way that the dunadain are faithful. Culturally the northern and southern dunadain have been seperated for 3000 years and a lot of people would have issues with being ruled by someone so other to them, even if he had lived among them for 10 years (though that does help). But in the end the lords of gondor are almost all dunadain and they all have to abide by the tenets of their faith, or '''fall''' and become '''lesser men''' than even the rohirrim (terrible I know 🙄) so they really had no choice but to support Aragorn in the end.

However, reason #2

Minas Tirith's armies were absolutely decimated after a weeks long siege and war before that, and what few soldiers were left were exhausted and barely functioning. Aragorn arrived at their gates and broke the siege with a full army who'd only done ONE fight and told everyone he was king of Gondor. What was Imrahil gonna do, say no?

[raven-at-the-writing-desk]

Cater, Ruggie: The Secret in a Smile

Caycay, bestie… I am so sorry that SSR Crowley stole your spotlight 😭 (Is that why Cater looks so Mean Girls in his groovy... He's seeking petty revenge against Crowley/j)

Some cute stuff from the vignettes that I wasn't able to include in this fic: Cater makes a reference to TsumTsums! He mentions being into this mobile game with cute round creatures. Cater also tells a story about a 5-year old girl giving him a flower after his club's performance at a cultural festival (omg, do they mean the one in book 5?!). Ruggie teases him and says Cater must have been that little girl's first crush 😂

A Tale as Old as Time.

“Ne, ne, Ruggie-kun! Check this one out~ It's all the way from the Queendom of Roses!"

Cater jabbed a thumb at a painting of a young blonde girl dressed in a modest sky blue frock and apron, a small black bow in her hair. She couldn’t have been older than 10 years of age, still petite enough to squish inside a glass bottle with a narrow neck. The bottled child was adrift in a sudsy sea, her face frozen in an expression of slight worry.

Ruggie took one look at the artwork, then wrinkled his nose. “Sure sucks to be in her shoes. What’s this even supposed to show us, anyway? Doesn’t make a whole lotta sense to me.”

"Not a lot from the Queendom does if you aren't already familiar with its topsy-turvy stories~" Cater placed a hand on his hip and leaned forward, grinning. "This one is pretty popular! It's about a girl that wants an audience with the Queen of Hearts. She gets lost on the journey there, meets strange people and experiences even stranger things on the way. This is just one leg of that trip!"

"Wouldn’t the castle be further inland? How'd she end up in the middle of the ocean?"

“It’s about the perspective of the shot.” Cater formed a frame with his hands, catching his underclassman in it. He pulled back, creating the illusion of sizing Ruggie down. “She drank this bottled liquid she found and that shrank her down—so really, the ocean isn’t that big.”

A grimace.

“Man, talk about no sense of self preservation. She just chugged an unlabeled bottle without a second thought. Must’ve been real desperate.” Ruggie paused. “Weeeell, not like I’m one to talk about being desperate. You really can’t afford to be picky sometimes. If it fills your stomach, it fills your stomach.”

“You’d drink it too, huh… I don’t think I could do that. I’d at least want to see how the menu describes it before I order—though I guess it also depends on how ‘cammable the drink is! And hey, think about all the cool pics I could grab from a worm's eye point of view!”

"Heh, you don't seem too pressed about living life as an ant."

"Cay-kun likes to look on the bright side of things!" he declared with a wink and a peace sign. "The lost girl... she worried so much about finding her destination, she forgets to stop and smell the roses. She overlooks a lot of the fun people she could have spent time with."

Hopping from place to place, missed people—familiar elements, resurfacing a childhood of being uprooted and dragged about. Never to fully settle.

A tea party here, a brief convo there. Just enough to keep him placated, but not enough to see beyond the surface of the looking glass.

His curiosity still left wanting.

She got into so much trouble, but didn't have any real friends to come and help her.

Sadness tugged at his heartstrings, but Cater's smile didn’t waver.

"... I can’t help but kinda pity the poor thing," he said quietly. Then, brightening in the next moment, "All her issues could've been avoided if she just looked before she leapt and made some connections."

“Yeah, she definitely should’ve played smarter, not harder. Maybe if she kissed up to the locals, they’d have come to her rescue." Ruggie shrugged. "It works for me and Leona-san."

“Right? A smile goes a long way to getting what you want!” Cater poked the corners of his mouth. “You totes get me.”

“Cuz it takes a trickster to know another one on sight.”

"Wow, it sounds so mean when you put it like that. We're not tricksters, we just know how to use our smiles to problem-solve~"

"Giving a word a fresh coat of paint doesn't make it any less shady. At least be honest with yourself," the hyena smirked.

“Eeeh, I’m always honest!”

They shared a laugh—Ruggie, a snicker. Cater, lighter, more bubbly, like a carbonated mystery drink. When the effervescence died down, he cast another glance at the painting.

Too big for her small world of the sea, too small for the big world that loomed beyond it. Trapped within glass walls. Curled into herself in her delicate chambers.

Her perspective and his, one and the same.

Poor thing, poor thing, poor thing.

Cater summoned his strength and bore the full brunt of his smile.

“I’m sure she’ll find what she’s looking for… one day.”

[lavernius]

Locus as a metaphor for colorism/racism

Some people were interested in this take so I'm going to go over it really quick. I am brown, a lot of the experiences I talk about here are lived (and a lot of them I experienced from this fandom, ironically enough). Warnings for discussion of racism and colorism + abuse.

Don't be weird, keep it civil! I'm not telling you what to think I'm just giving my two cents as a person who has experienced all of this.

Note: I don't think RT intentionally did any of this because they couldn't even treat their real life employees of color well so I don’t trust them with a character of color LMAO. “Colorism” is specified here because being brown affects every part of life in a way that's difficult to explain if you haven't experienced it firsthand.

Locus experiences very true aspects of real-world racial profiling: he's a big, dark-skinned, reserved brown man who is heavily demonized—both by the narrative/show AND in-universe. The fact that the “scary” merc of the duo is the one who was confirmed brown in 14 is likely colorism on RT's part, yes, but it doesn't change that Locus is painted as an aggressive monster canonically (a common stereotype of brown men, and a cause for code-switching in many POC). He's a monster, a dog, a weapon, a machine—all words that are used to describe him in the show, some he even uses on himself. Obviously not words you should be applying to a brown person good lord!

Locus’s apathy isn't inherently part of him. Maybe he wasn't always kind or gentle, but he was forced into a violent situation and TRIED to stay empathetic, wanting to spare his enemies at times, before he was forced out of the mindset—something that still bothers him to this day, even if he's repressed it! Brown people commonly have mental health issues and trauma that doesn't get addressed because of cultural expectations and medical racism, to the point where a lot of our cultures normalize very unhealthy behaviors. More of a stretch, maybe, but it reads like racial trauma if I ever saw it (and I have). Specifically because:

Felix sees him starting to lose his empathy, which is VERY BAD for Locus’s mental health, and takes advantage of it to use Locus as something of a “guard dog”. Erm, white people benefiting from racism and colorism? White people forcing stigma on brown people to gain power over them? What a surprise!

On the note of Felix: while Santa’s reveal that Felix is afraid of Locus can have several meanings, a lot of them can still lead down a road of (abusive) racism. He's scared of Locus because he's a “merciless killer”, isn't the same person he used to be? Who caused that, I wonder? Scared because if Locus found out he was being manipulated he’d immediately abandon Felix? Yeah, because he's being manipulated and abused, of course he’d leave… if I found out I was being manipulated by a white man I'd be uncomfortable too! Victim blaming is EXTREMELY common with racist white people because there is POWER in being white and blaming the brown man.

I like to see Locus’s divorce from his given name and visage as a symbol of cultural isolation. POC are so frequently made victims of identity crises because we’re expected to conform to a white world, whether we try to be white people or try to be what white people expect us to be. The latter in Locus’s case—they want a violent brown man, they have one. It keeps him alive at the cost of taking his sense of self away. He's safer as Locus, the armor, than he is as Ortez, the person.

There's not like, canonical evidence I can point to, but Locus feels like a catch-22 of “I want to be angry that people see me as a monster for being brown, but if I’m angry they’ll see me as a monster because I am brown”. It's a cycle that's hard to escape because when you ARE a righteous brown person who wants to be angry because the world has hurt you, it's so easy to paint you as an animal.

Um the fandom is extremely racist to him in ways I don't think they're even aware of. He's got it all! Fandom whitewashing and stereotyping and sexualizing and demonizing, people shipping him with a white person who hurt him (because a brown person cannot be hurt by a white person without SOMEONE wanting to forgive the white perpetrator for it LMFAO, many such cases where it’s done for the sake of shipping too), performative diversity and a lack of actual depth in his culture bar the fact that he speaks Spanish and has a Hispanic name…I don’t even think the guy who MADE him gives a shit that he’s brown (past it giving him brownie points) and how it affects him. Yeah who’s surprised. (EDIT: did not know Miles was mixed, but POC are still capable of colorism, etc. I still think Miles, as a lighter skinned person, doesn't fully comprehend how Locus being dark plays into the dynamic/Locus's character as a whole. Still, entirely my mistake.)

So basically: brown guy gets dehumanized, white guy takes advantage of it, systemic colorism and stigma helps white guy get away with it, brown guy is alienated from himself as a result and thinks he genuinely is a monster because everyone treats him like one. I see myself in him as a brown person who has experienced colorism for having low empathy and not connecting with society. It's awesome.

He is a textbook traumatized brown guy. He's got internalized racism/colorism. He's going to meet other brown people and unlearn it. He’s going to connect with his culture again. He’s going to realize he never owed the white man power over him just because he was convenient to control. He's going to be okay!

No thanks to RT because they couldn’t write a good brown guy if they tried + it falls on us brown people to give coincidences this kind of personal meaning. LOL

Next week (not really) I get into how Lopez is an incredible accidental portrayal of alienated brown people who have pride in themselves and want justice for being mistreated all the time.

[championashley]

True Love: Why FifteenxRogue Works

WOW. Man, that Rogue episode, huh? Watching that live was probably the greatest experience I’ve had recently regarding Doctor Who. Not just as a queer viewer, but as a queer media analyst. Fifteen and Rogue truly feel like a relationship written for me to analyze, because there is simply so frickin’ much to talk about. So, allow me, gentle reader, to be your Lady Whistledown of queer alien fuckery, and guide you through analyzing the latest dalliance of our Time Lord extraordinaire with the most honest bounty hunter in the galaxy. 

We’ll be covering a LOT of ground in this: the theme of facades/masks, an interrogation of The Doctor’s perception of romantic relationships, and a deep dive into The Fifteenth Doctor’s character overall. So, needless to say, this is going be a LONG LONG piece. Grab a snack, some water, whatever you need, cause we’re going deep on this one. 

You’re still here? Fantastic! Then let us begin! Specifically, with the Fifteenth Doctor himself. Because above all else, this episode works as a dissection of his character overall. 

I’ve already done two metas regarding The Giggle’s ending and The Doctor’s perception of romance pre-Season 1/14, so if you want more elaboration, go read those here: 1, 2. But in case you don’t, I’ll sum up and expand based on what we’ve learned since. 

The Doctor, as a character, has always struggled with commitment and attachment. They never stayed in one place for long and when they did, they had an unhealthy relationship with it (Trenzalore, Darillium, Bill’s University). Romantic connection is a permutation of this larger issue, as every romantic relationship we have seen The Doctor take part in since 2005 either was unbalanced (holding back problems/outright lying) or ended in a really bad way.  However, thanks to the 60th specials and a bi-generation, The Doctor went through a massive change, and with it, came a new perception of openness and love. Fifteen is more expressive, and willing to verbally identify beauty. He openly points out how beautiful people are, and talks about previous exploits with pride. But this supposed openness betrays a deeper dishonesty still inside the Doctor. As much as Fifteen talks the talk of openness, he doesn’t often walk the walk when things get tough.

Fifteen’s character struggle is trying to break out of the Doctor’s previous patterns of unstable attachment and commitment while continuing those patterns. He values emotional honesty and encourages it in others yet simultaneously runs from it when the spotlight is on himself, even when he knows it’s beneficial and necessary for him to do so. So, with all of that in mind, let’s deep dive into Rogue (the episode, not the character, but also the character).

The best word to describe this episode is ‘deception’. Setting the episode in Bridgerton-esque Regency-era England was an appropriate choice, likening to a show that is all about facades and posturing to gain wealth and social standing (yes I am oversimplifying, don’t hurt me). Throughout the episode, we see characters who aren’t who they present themselves to be and use all manner of tools or tactics to disguise themselves to meet their ends. 

We have the Chuldur, creatures who gain pleasure from cosplaying. They thrive on creating fake entertainment for their amusement, honesty is useless if it can’t satisfy them. While this is meant as an obvious commentary on fan culture and how dangerous it can get when taken to the extreme, it also functions as a darker reflection on The Doctor’s habits. Because think about it: what are Fifteen and Ruby doing in this episode? They are having fun, dancing alongside the other partygoers. They’re wearing the outfits but only to blend in. Ruby doesn’t know how to dance, she has to wear psychic earrings to keep up. She watches the fake fight between ‘Emily’ and ‘Lord Stilton’ like she would watch an episode of Bridgerton. Her fight with Emily later in the episode is set to Lady Gaga’s ‘Poker Face’ playing in the background.

What we’re seeing in the villains is The Doctor’s pastimes becoming toxic, taking a companion and bringing them to a culture far removed from their own. But it’s not only a commentary on The Doctor overall, it’s also Fifteen’s philosophy in a darker context. Posing as sincerity and maybe containing it to some extent, but ultimately not completely honest. Through the setting and the villains, the episode is already priming us on a subconscious level to be thinking about disguises and dishonesty, a topic that both The Doctor and the Fifteenth incarnation specifically have a complicated relationship with. And then comes Rogue.

Rogue himself is such a fascinating part of the episode because he is such a deliberate disruption to this cultivated environment of deception. Rogue is the complete antithesis of everyone in the plot. He’s terrible at improvising, he’s socially awkward, he dances without needing psychic earrings, and he never cleans the inside of his ship. Rogue intentionally disrupts the narrative of lies by not being able to play the game. Even when he tries to wear a mask, the mask of an uncaring bounty hunter, He doesn’t wear it well and gets rid of it after the ship scene with The Doctor. Rogue is a character who cannot help but be who he is, he’s a character who not only can’t wear a mask but doesn’t want to. To put it simply, honesty is Rogue’s kink. That’s why the episode is named after him; it’s not just because he’s a central character, but because he provides the counter-argument to the themes of lies and deception. Rogue, the disruptor to The Chuldur’s acts of fake entertainment, and the disruptor to The Doctor’s act of cosplaying with Ruby, and on a deeper level, disrupts Fifteen’s oscillation between sincerity and repression. But we’ll get to that, we have Mount Everest's amount of context to analyze first, starting with their first meeting.

The Doctor and Rogue’s beginning scene sets the stage for the main obstacle in their relationship: their masks. ‘Cause right now we’re operating with two versions of the characters: the facade/mask versions, and the real versions. We get our first look at Rogue when Fifteen looks around for interference on the psychic earrings. He finds him being the most conspicuous while wearing the ‘bounty hunter’ mask: on a balcony (separated from the party physically), not speaking at all. 

He is standing out here but only in the way someone who knows disguises would recognize. The Doctor, remember no. 1 liar, of course he’s gonna recognize that. So much so, that he gives Rogue pointers on how to put on a better “brooding” face, literally teaching him how to wear the mask better. Rogue is an amateur mask wearer, going up against the master of mask-wearing. And that’s why Fifteen smiles when he sees him, he’s intrigued by that contradiction and wants to know more. 

Rogue meanwhile, is being rude and dismissive to scare him off, trying to keep to the mask he’s built. At this point, he knows that Fifteen also stands out from the rest but right now is assuming that he’s still a random partygoer. Notice what he says to him: 

He’s still using language and ideas someone from that era would understand. Where this deviates is this little exchange that felt familiar to me, but I couldn’t figure out from where. Until I remembered this:

(credit to @ngatwa for this set, you're amazing)

This is the first instance in the episode where Fifteen and Rogue’s relationship calls back to previous romantically-coded relationships The Doctor has had between companions. But it’s not just romantic subtext, it’s subtext that explains where the two are in the relationship. Victorian Clara was far more than what she appeared to be (a governess masquerading as a barmaid/echo of a companion scattered in the Doctor’s timeline), and the Doctor was more than he appeared to be (an alien who lived in a blue box). In asking those questions, it’s both recognition of the masks and inquiry for the real person underneath. Same thing here: Rogue and Fifteen at this point are trying to figure each other out, trying to see beyond the masks of the uncaring bounty hunter, and the flirtatious partygoer. Where things start to go wrong is that neither party fesses up to who they are. Rogue instantly assumes Fifteen is The Chuldur he’s looking for, while Fifteen assumes Rogue is a regular partygoer looking to…*ahem* create a scandal in the gardens if you get what I mean. This explains why a violin rendition of Billie Eilish’s ‘Bad Guy’ plays in the background. It’s not just a Bridgerton reference, it’s contributing to both characters’ perception of each other in this scene: both characters think the other is the “bad guy”. The lead into the scene is deception, we leave it the same way. No breakthrough yet. 

Now we’re moving on to the scene in the garden, where both masks of Fifteen and Rogue begin clashing with their real personalities. Fifteen is still being semi-sincere, still complimenting Rogue. And like water, all of it is rolling off of him because he’s still under the assumption he’s talking to a shapeshifting alien. He rudely asks about The Doctor’s info dumping and doesn’t respond to The Doctor’s compliments.

(credit to @klausbens for the gif, you're awesome)

He’s not engaging because he thinks the Doctor is not who he appears to be, and for a character that values honesty, everything Fifteen says is gonna wash over him. The moment this changes is when the two are accusing the other of the murder. Quite literally finishing each other’s sandwiches (C’mon, you know I had to throw a Frozen reference in this somewhere). 

This is a very interesting scene given our current context. Trope-wise, this is meant to communicate to the audience the bond between the two characters, they’re thinking the same thing. But the trope is flipped on its head because both characters take it in opposite directions. Both Fifteen and Rogue are in perfect sync, they are being honest about how much they understand about the situation, but that information is leading them to completely different conclusions (i.e. the other person is the Chuldur). They’re slapping more masks onto each other, this time with information they know is true, which leads to them locking in their heels and simply not being honest altogether until later. This scene is a repeat of the previous one, except this time it’s them showing their hands a bit more, making the backslide all the more difficult. Getting close to sealing the deal, then heel turn at the last minute, a classic Bridgerton move. 

So, what needs to happen to break this backslide? Well, plain and simple honesty. The scene on Rogue’s ship is when both masks start coming off. What Fifteen is doing on the ship during the scene is essentially trying to figure out Rogue. He finds out the ship is meant to be piloted by two, and he discovers the origin of Rogue’s name, the Kylie Minogue music. Which is a moment I want to zoom in on. Right before this happens when Rogue gives a cheeky response to Fifteen finding out about the name, Fifteen makes a joke and starts emphasizing his Scottish accent. This is Fifteen putting on another mask to make a joke, and Rogue doesn’t appreciate that, given his dirty look. 

Then Fifteen finds the music, which he then again uses as an opportunity to joke around and make fun of him (and flirt a little bit with him).  Fifteen is removing Rogue’s mask, while he is staying enigmatic and mysterious, which is why Rogue is still stonewalling him. HOWEVER, two can play that game, and Fifteen makes a big mistake in showing Rogue the psychic paper. This is the first time Fifteen is completely honest about his feelings towards Rogue. No mask, no posturing, complete honesty. And we see Rogue responds positively to this: 

This is the first time the two are both on the same level, communicating honestly. And that’s where we start to see genuine romantic feelings and attraction. 

But it’s not enough, so what does Fifteen do? He pulls out the big guns. He shows Rogue the truth: he’s a Time Lord from Gallifrey and has lived many different lives over hundreds of years. He not only rips off his mask, he quite literally reveals all of the other masks the Doctor has worn throughout the ages. And what is Rogue’s reaction to this? 

Complete besotted awe. If honesty is Rogue’s kink, then The Doctor revealing their faces just supercharged it. This is the moment that Rogue falls in love because he’s finally seeing who this mysterious flirty person really is. 

Now, I’m gonna pull out another previous Doctor romance for two reasons: One, I’ve been seeing this comparison floating around for a while, and if you know me and my old analyses, it’s that I cannot leave an inaccurate take alone, and two, because I think it applies here. I’ve been seeing comparisons online of this episode to Girl in the Fireplace, in which a new character falls in love with The Doctor and gets the rare opportunity to see their true self. But what makes Reinette different from Rogue is that honesty kink. Reinette was attracted to the mystery of the Doctor, her childhood hero who somehow doesn’t age. Note when he comes back the first time, she focuses on how strange he is:

She learns more about them later, but she was already in love with them before that. Rogue doesn’t want the mystery. In reality, The Doctor wearing masks is a turnoff for him. He only wants the real thing, so when Fifteen reveals the truth, that’s when the genuine romance begins. 

(We could also extend this comparison to the discussion of consent: Reinette found out everything without The Doctor's permission, while Fifteen revealed all the info by himself, but whether we can consider this consensual depends on your definition of consent under duress/threat. So I’m not entirely sure what to make of this conversation, feel free to expand in the tags/replies cause I want to hear more about this)

So now we’re moving along to the TARDIS scene. We continue with the theme of disguises with the whole “bigger on the inside” routine, Fifteen riffing as Willy Wonka for a hot moment singing Pure Imagination, and we have Rogue’s momentary slip-up:

(credit to klausbens for the gifs, you're awesome)

This is a great sign of character growth because while he’s maybe not wholly honest about his feelings towards The Doctor, he still is open about his love for the TARDIS, an important part of The Doctor’s life, so big step right there. 

I want to pay attention to the heart-to-heart here because watching what Fifteen says and how he reacts is extremely important to getting his view on the situation. Because right now, I wouldn’t say The Doctor is in love with Rogue back. While there is a lot of attraction and hints at a deeper bond, Fifteen is still operating with most of his mask on. Notice that when he asks Rogue about the person he lost, Ncuti Gatwa’s blocking has him leaning on the railing at an angle to the side of Rogue. He’s purposely staying at a distance, yet is leaning on the railings to appear casual. 

And when Rogue starts opening up, he moves closer and they’re at equal distance from each other.

We get a really sweet (and allegorical to the queer community) moment about The Doctor’s motivation of living out of respect for the dead, to keep living each day that they lost. And then we get Fifteen inviting Rogue onto the TARDIS. I want to focus on this because he doesn’t seem upset or disappointed by Rogue countering this offer by inviting The Doctor to travel with him, meaning he doesn’t see this as a “take it or leave it” offer. In fact, the compromise Fifteen comes up with, “let’s argue across the stars” and Rogue accepting it, is what leads to the almost kiss. So that prompts the question, what is Fifteen trying to say here? 

Well, what Fifteen is asking for is to continue seeing Rogue. It doesn’t matter to him if he’s on the TARDIS or not, all that matters is that he still has him in his life. The choice to see him more. Why does that sound familiar? Because that’s exactly what I wrote about in my dissertation on The Giggle’s Ending: 

“In giving Fourteen their own TARDIS, Fifteen is allowing his younger self to have what they always removed from the equation: free will. The Doctor can still go anywhere they want, which makes them even more motivated to stay and fix themself. Fourteen can feel safe staying with Donna, Wilf, Mel, Rose, Shaun, and Sylvia because the option to travel is still there.”

Fifteen’s love language is giving the people he cares about the freedom to express the love they already have within them. He values freedom above all else, and when Rogue accepts that freedom, that’s when we get the almost-kiss. This is the moment where The Doctor falls in love with Rogue back because it’s Rogue being willing to meet The Doctor where they’re at. He’s allowing Fifteen to set the pace and not force himself on him. 

Additionally, this willingness to be as slow or fast as The Doctor needs means far more to The Doctor overall than to just Fifteen. Many people have already pointed out the similarities between the line “let’s argue across the stars' and previous lines the Doctor has said to villainous characters like The Master and The Toymaker:

"We can take your games back to the stars."

"We can fight across the constellations if that's what you want".

Now, why is that? It’s because again, The Doctor’s perception of Rogue is evolving in this scene. Remember, up to this point, The Doctor doesn’t entirely know Rogue’s morality. All they know is that Rogue is a bounty hunter, and is not afraid to use his gun when he deems appropriate. There’s even a little line in this scene before the heart-to-heart where Fifteen specifically imposes his own brand of morality on the situation: “Whatever the Chuldur has done, I can’t let you kill it.” Now, we know that The Doctor’s morality and romantic life can conflict: River being a known murderer/psychopath, their longtime situationship, and later attempted rehabilitation of The Master/Missy. This is another feature of The Doctor’s character: while they do act like they have the final say on what is right, they also compromise that morality for people they care about. 

Like how The Doctor surprised Rogue by showing all of his faces, Rogue surprised the Doctor right back by not only being honest about his past but by being willing to accept The Doctor’s compromise. This moment is when The Doctor finds out that Rogue is a good person, and that The Doctor doesn’t need to compromise their morality when entering this relationship.

This heart-to-heart is about Rogue not only winning over the Fifteenth Doctor by agreeing with his values of freedom but also winning over The Doctor overall by just genuinely being a good person. But of course, the moral duty of taking care of the Chuldur rears its head in the form of the TARDIS alerting that the trap is ready. The bubble has popped and we still have a long way to go. 

(Plus, Fifteen’s facial expression in this shot perfectly captures that trademark “Oh.” moment, realizing you’re in love with someone but then taping it down to focus back on the immediate problem. Love you Ncuti Gatwa, you do great work)

Alright, now we’re at the dance/fake proposal scene. Oh lord, so much happens here with both dialogue and production regarding character, so let’s take this one at a time. Fifteen, Rogue and now Ruby have figured out the big plot regarding the Chuldur, their obsession with cosplay and dressing up to create drama. In response, Fifteen comes up with the idea to essentially beat them at their own game: create a fake scandal to draw them out. 

Now on paper and in terms of beating the bad guys, this is a plan that could and does work, but in terms of his relationship with Rogue: THIS. WAS. A. BAD. IDEA. Why? The very idea of masks and faking not only was the leading cause of them not connecting in the beginning but specifically doesn’t work with Rogue. You can see it in how Rogue nervously looks at Ruby and Emily when Fifteen asks him to dance, and even questions the validity of the plan: 

(credit goes to @carricfisher for texted gif, you're awesome)

It’s not just that he doesn’t know about homophobia, he just doesn’t like the idea of pretending at all. But the reason why it doesn’t collapse right away is because it’s not entirely pretending. The dance may function on the surface to create a scene, but for Rogue (and Fifteen albeit to a smaller extent) it doubles as an intimate moment between them. This connects to the choice of dimming the lights in an unrealistic way (which btw, as a film student, had me going insane watching it live). We’re seeing a deliberate break in reality, a dishonest showcase of the story being told, that serves the purpose of highlighting an ultimately honest and sincere act of love. Both The Doctor and Rogue are warping the aesthetic of deception in terms of the narrative by fabricating a scandal, and in terms of the production by changing the lighting. 

But of course, things start going to hell right there. Fifteen tries to up the drama and Rogue can’t keep up. Rogue overcorrects and proposes to Fifteen, who freaks out and leaves the room. Now, I don’t want to get into the question of whether or not Rogue was playing along by proposing or being genuine (Personally speaking, I think it was both. 70% true, and 30% fake). Instead, I want to clear up why Fifteen freaked out here. I’m sure a lot of the long-time audience could already guess that it was parallel to River Song, The Doctor’s wife, but I think it’s more layered than that. Why would a reference to River scare the Doctor so much, aside from reminding them of a close person they lost? Because the last time the Doctor got married to someone they truly loved, it involved a 24-year stay on Darillium, which he knew would end in tragedy. Note the word choice here:

“Sorry I…I can’t.”

Not ‘I don’t want this’, it’s a void of agency (which connects to my piece on The Giggle’s ending and freedom). The Doctor can’t have that with Rogue, he was fine with them being casual to avoid the possibility of losing him. 

But on my first watch, I couldn’t help getting a little bit cross with Fifteen here, because the amount of ball fumbling on display is outright ridiculous; The Time Lord brings himself onto the dancefloor, with a guy he nearly made out with two minutes ago, gets all up in his face and starts shouting at him to “tell me what you heart wants!” and then completely freezes when said guy starts proposing to him. What in the fuck did you expect was going to happen, bud?! What made you think this would go off without a hitch?

I want to preface this by saying I had a completely different reading of this scene for a long time. My original thought was that Fifteen was trying to do multiple things simultaneously. He potentially was trying to lure out the Chuldur by creating scandal and at the same time, was trying to have a serious talk with Rogue about where he’s at emotionally. These lines in particular have fascinated me since my first watch: “You would ask me to give up my title, my fortune. But what future can you promise me?”. It did feel like these lines hinted at Fifteen’s thought process at this moment, he chose those specific lines to use for this moment. Was Fifteen trying to have an honest conversation with Rogue about their relationship while being fake to everyone else? But that doesn’t make sense considering the previous conversation in the TARDIS showed Fifteen comfortable with the idea of them being casual and Rogue respecting that, so it doesn’t make sense with where Fifteen is progression-wise. 

But it wasn’t until writing out this piece that I realized I had it all wrong and the truth was far simpler: this is a repeat of their meeting on the balcony, albeit with higher personal stakes. Let’s take a step back here: What is happening in this scene? Fifteen and Rogue are completely missing what the other is trying to say. Fifteen ignored Rogue being visibly uncomfortable over being back to playing with masks, and Rogue is not getting if Fifteen wants him to be genuine or not. Just like on the balcony and the garden, where both sides think they’re saying one thing when it’s the opposite. Before, both parties were wrong about who they were, now both parties are wrong about what they want. 

Fifteen is saying complete bullshit here, not true stuff to their situation but stuff that their audience would react to. He’s being over the top on purpose to elicit reactions. Meanwhile Rogue is thinking he’s being genuine. He thinks Fifteen is, through code speak, trying to genuinely ask him these questions. Which leads him to get down on one knee. And that’s a big problem because Rogue doesn’t know that proposing is wading into a gargantuan trauma pool for The Doctor. This scene is a magnified example of the duo’s problem with masks and not being completely honest with each other. 

However, while this scene may have been a cause for regression from The Doctor on the relationship part, Rogue on the other hand has an epiphany. In the scene following this one, we get the truly iconic callback of “Run.” and Rogue taking the Doctor’s hand. Why is this important? Well, there are three specific examples that this moment is calling back to: 

Nine meeting Rose ("Run!")

Victorian Clara and Eleven fleeing from the Ice Governess ("I do the handgrabbing! That's my job! That's always me!")

Twelve running with River ("Stop holding my hand! People don't do that to me!")

Nine meeting Rose establishes this idea of protection: The Doctor taking care of someone by leading them away from danger. The other two examples are subversions of that idea: Clara and River are now leading The Doctor out of danger. Same principle here, except here it has a bit more context behind it. Clara and River subverting that act of protection made sense given who they were: Clara as an echo across The Doctor’s time stream knew who The Doctor was and what they needed, even if she didn’t know it consciously when the moment happened. River as The Doctor’s wife also knew who they were and what they needed at the time. 

By connecting Rogue’s action of taking Fifteen’s hand and running to Clara and River, it not only again connects Fifteen and Rogue to previous romantic relationships, but it also shows Rogue learning from his mistake. Rogue’s mistake in the proposal scene was him not figuring out what Fifteen needed at that moment, it was a major miscommunication. Now, at this moment, Rogue is starting to figure out what he needs to do. He is, to use relationship lingo, "shelving his agenda" to help the Doctor. 

And that progression continues through the last leg of the episode, including the moment when Fifteen thinks Ruby is dead. I’ve always found this moment in particular so fascinating because of how loud it is metaphorically for both characters. Fifteen is taking off the mask of coolness and revealing that Doctor™ anger. This is a complete switch-up from what he’s been like throughout most of the episode. Yet when he lets out that chilling line, “Good. That’s a long time to suffer.” Rogue doesn’t look all that scared or mad at him. 

The face Rogue makes here looks far closer to a resigned sadness, almost like he knew that he would have that reaction. Keep in mind that Rogue knows nothing about The Doctor at their worst, all that he knows right now is that they lost “everyone”. Compare that with Donna, who was outright terrified of The Doctor when at their worst (for good reason though). 

Rogue isn’t surprised by this at all. He’s not asking “What happened to this person in front of me?”, he’s realizing “This is how much he cares about his best friend.” He’s seeing the depth of this person’s love that is inexorably linked to the depth of his grief, and is realizing he can’t allow that grief to corrupt this person he’s grown to love, even if it means endangering himself. Which is exactly what ends up happening.

This is where the theme of masks finally pays off. At the beginning of the episode, both Rogue and Fifteen are wearing their masks (cold, uncaring bounty hunter, and flirtatious partygoer). Those masks started to come down, but that got messed up thanks to miscommunication. Rogue didn’t understand what The Doctor needed from him, causing their trauma to resurface and The Doctor ran away from having to deal with that grief. This final scene is them being completely honest with each other. Rogue asks him “Can you lose your friend to save the world?”, and Fifteen tells him the truth. He can’t, he can’t let that happen again. And Rogue understands that, he finally knows what needs to be done. And so he kisses him. Why did Rogue kiss him? Again, it’s a repeat of a previous scene, this time the dance. Rogue is comfortable putting on a mask/doing something dishonest when there’s an aspect of truth to it. Even if they danced together to serve a lie, it still was a moment powered by romantic feelings. Same with the kiss. Rogue had wanted to kiss him, so he felt comfortable doing something with an ulterior motive (taking the button from him) because it was also something he would’ve wanted to do regardless of the situation. 

But why did Rogue do it? The one line that I kept thinking of in summing up the intent behind Rogue's sacrifice was, ironically, from Frozen: "Love is...putting someone else's needs before yours”. Essentially, shelving your agenda, like we’ve been saying. Back in the proposal scene, Rogue’s mess up was not figuring out what Fifteen needed out of him at that moment. Fifteen needed him to play along in faking and instead, Rogue heel turned into a lot of trauma for The Doctor. So now, after seeing how important Ruby was to Fifteen, so important that he was willing to torture The Chuldur out of grief, Rogue is putting The Doctor’s needs before his own and stopping him from having to choose between her and the world. It's also why Rogue wiping away his tears before the kiss was so crazy because that's normally the Doctor's job. The Doctor is normally the one who turns sadness into hope. This time, someone else is doing that for him.

(credit to ngatwa again)

The greatest act of love in the episode was not the proposal, it was the sacrifice.

To close our tale, let us circle back to talking about Fifteen’s character arc. I opened this essay by talking about Fifteen’s main character flaw being a contradiction: both valuing emotional intimacy and running from it. That doesn’t seem to change by the end of this episode, so much so that Ruby forces Fifteen to take a moment and mourn Rogue’s loss when he wants to steamroll forward. But there’s one little detail left: Fifteen kept the ring. Not only kept it but is wearing it in the season finale to the point of even playing with it like a nervous tick. 

That bond, that relationship was so important to him that he doesn’t allow himself to ignore it. It’s only after he has that hug with Ruby that he pulls out the ring and chooses to wear it. Rogue is the one thing Fifteen won’t run away from because what they had wasn’t fake. It was real. 

Rogue, the supposed bounty hunter who only cared about wealth, loved The Doctor so much that he was willing to give up his life for his friend. The Doctor, the supposed Time Lord who flees from attachment, loves Rogue enough to remember him every day.  

I ask you, gentle readers, how could one resist a love story like that?

NOTE: some extra bits I wanted to include that I couldn’t fit anywhere else: I’m such a sucker for color symbolism, and having Rogue wear blue in contrast to Fifteen’s normally warm color palette, as well as blue being the color of The TARDIS…it just makes me feel things, ya’ know? 

Also, by not gendering Rogue’s previous partner, only ever using they/them pronouns, it helps add to the relationship in a social commentary way. It subtly shows that Rogue already has experience/is attracted to people who on some level defy gender norms, which helps prime the audience to buy Rogue accepting/liking The Doctor being able to change gender when regenerating.

Essentially, I'm insane over these two, and I need them back on screen as soon as possible.

[sixth-light]

ok ok slightly feral post as promised.

first, some context setting: I think it's really interesting to analyse texts in terms of both what the author was trying to do (and whether they succeeded) and what they ended up doing (intentionally or not) and I think their cultural/historical context is vital if you want to do this. I'm not interested in whether Robert Jordan or the Wheel of Time are, like, morally correct in their politics or whatever. I'm interested in what the art is trying to do.

and the thing about Jordan, see, is that he projected this image during his lifetime of a Genial Older Man (see: beard and pipe) but he...wasn't actually that old! He was 42 when EoTW was published. He died at 58. He was a Baby Boomer publishing books at a time when Baby Boomers were the hip young generation taking over from stodgy WWII veterans (Gen Z: It Will Happen To You Too).

What this means is that he was a child and adolescent during the Civil Rights movement, in a then-majority Black city in the Jim Crow South*. He would have gone to segregated schools. The tertiary institutions he attended had only started to desegregate a year or two before he attended each of them. I think his war trauma in Vietnam gets a lot of attention because he did talk about it and also because that's a narrative we understand for white men, but I think we...skim over the impact on white men of growing up at this time because? Civil Rights only happened to Black Americans I guess? but it's his context too. Similarly, he was an adolescent and young man at the time the (white) feminist movement was really kicking off in the US. he was in his mid-20s when banks were first legally *required* to allow women to open accounts and have credit cards in their own names. he went on to marry a woman a decade older than him, who had left her husband to raise her son as a single mother while continuing a professional career in the early 70s; these were issues that must have been incredibly relevant for her.

and what we see in his writing is attempts to grapple with gender and race that are self-evidently of mixed success, but I think have to be contextualised in light of this period of immense change he grew up in. Think about the predominance of women as merchants and bankers in WoT, in the context of how recent their rights to even control their own money were in the US. The...everything...he was trying to do with the Seanchan, making them extra-canonically Southern American-coded. The Whitecloaks as the KKK (among other things, of course).

As an example, I think there's also something probably unintentional but fascinating in the way he presents the pre-Breaking Aiel: bluntly, they are a distinct ethnic group in hereditary servitude (always thinking about how that ancestor of Rand's in the Rhuidean sequence had to get permission from Mierin Sedai to switch to someone else's service so he could marry his girlfriend, this is...uh...super cognate to issues enslaved Black people faced). They're associated with agriculture through the Song sequence. And they're pretty much the ideal of what slave-owning Southern American culture WANTED enslaved Black people to be: completely happy to serve. Then, as the post-breaking Aiel, they become feared as a source of violence, which resonates with the way that enslaved people were feared by their slavers.

I don't think for a second that the intention here was to depict the AoL as a Secret Slavery Dystopia, I think we're meant to take the Rhuidean flashback sections pretty much as they read on the page. But I also think putting Jordan in his historical and cultural context does pose the comparison. Similarly, I find it really interesting that he positions Seanchan as riven by constant revolts and uprisings (because it's a fascist slaver regime) but he never ever goes so far as to link enslaved people in Seanchan (damane and da'covale) to those revolts and uprisings, even though that is fundamentally the deep fear *for real and obvious reasons* of all slavery-based societies.

Or then there's the changes to the Two Rivers in the books - like, both then and now I think it's actually pretty radical to present an influx of Muslim-coded refugees of colour as a thing that enriches the Two Rivers both socially and economically. Various characters are wistful that it's changed, but they don't think it's bad. The text here is really clear that welcoming the Domani and Almoth Plain refugees is both morally right and beneficial. And this is in a book being written and published shortly after the first Gulf War.

There's so many more things like this where I just have no real idea what he was trying to do on purpose and what was accidental and what was fun for him in fiction but did not necessarily link at all to his real-world political beliefs. but gosh it's interesting to turn over and poke at.

[rainbowsky]

This is not a question, but a reflection. With this BF story, I thought a lot. And I think that as French, I don't have the same point of view. I was especially shocked by these words: “he must be educated”. France has a deep colonial past. and I thought: "we must educate these ignorant Chinese? but who are we to think that we are better and superior? we who today have so much hatred for them?" Each country has its point of view depending on his history. no need to respond if you don't want to. And thank you for your always respectful and thoughtful publications.

This is in reference to a previous post.

Bonjour lyndariell, j'espère que tu vas bien. ☺️

This is a perfect example of what I was saying about this being a very complex issue with a lot of different perspectives and angles.

In order to make sense of and come to terms with this issue we each need to find the right balance between upholding our own values and respecting the values of others. That's bound to be a tricky process because we're each coming from a different region, with different backgrounds, experiences and perspectives on the world.

Each of us will have a different degree of empathy and alignment toward one or more of the various stakeholders in the situation as well, based on our own experiences, interests and values.

In other words, it's complicated.

It is true that for some people, hearing so many white Westerners say that a Chinese man half a world away 'needs to be educated' on any topic might legitimately feel distasteful and wrong. There is this Western conceit that our values and way of life are superior and obviously correct, and that other nations are just 'behind us' in heading toward the same goals*.

*Although the same is also true going East to West.

It would be totally understandable if some people were to reject the Westerners' characterization of this issue and say that the choices that led to blackface being used in this film are not our choices to make. After all, the filmmakers are telling a Chinese story to a Chinese audience, and they know best how to go about that.

Fair enough. But...

Speaking of colonialism

While we're on the topic of colonialism shouldn't we also be talking about China and its role as a neocolonial power in Africa? As I said in my previous post, it's not really fair for us to look at things solely from our own perspective and in the context of the cultural environment we are in rather than considering the cultural environment this film was made in.

Have you heard of the Belt and Road Initiative? Actually you don't need to answer that question, because almost every turtle has definitely heard of it. GG sang a beautiful song in celebration of that initiative not that long ago, complete with a video highlighting some of the major projects involved.

I didn't post that video on my blog, but you can watch it here. All the bridges, trains and other infrastructure you can see in the video are projects from the Belt and Road Initiative; China investing across Asia, Africa and other regions to improve transport and trade (and to build on China's power globally).

I'm no @potteresque-ire, so I'm not going to break it all down in a meticulous, intelligent, well-cited masterpiece, but you can learn a bit more about it here. There are also countless online articles, papers, analyses, critiques, accolades, etc. from every possible angle out there if you want to dig deeper.

Some of the core strategy of the initiative involves proposing massive infrastructure projects in poor regions, loaning them the money to make the projects happen (loans in the billions), and stipulating that the contracts must be completed by Chinese companies. Resulting in countries with shiny new railways and hospitals built and paid for by the Chinese government and Chinese corporations, with these countries massively in debt to China for many decades to come and with deep trade ties to China.

Depending on who you ask, Belt and Road is either an exploitative, environmentally disastrous neocolonialist power/resource grab, or it's an innovative unifying effort to improve the lives and trade of its member nations.

I personally feel its a bit of both.

Whichever it is, it does have a very dark side. There have been many stories coming out of these regions, telling about slave-like working conditions and horrific abuse from the Chinese contractors toward their African workers. I made the mistake of researching this and let me just say that what I've seen cannot be unseen. There is a reason people make snide jokes about the "belt" in Belt and Road.

And that's just the Belt and Road Initiative. There are a lot of other Chinese individuals and companies going into regions across Africa to take advantage of the people and resources for their own monetary gain. I posted about one such example the other day.

So in considering imperialistic attitudes it's only fair to reflect on what it might mean for a Chinese person to wear an African ethnicity like a costume, in a country that is frequently racist toward Africans and which is thought by many to be exploiting African nations with a form of neocolonialist debt slavery.

Particularly when said costume leads to a massive increase in the amount of racist posts on Chinese social media, and with a tone of raucous mockery and disdain.

We should consider the impact of this film on Chinese attitudes toward Africa and Africans. Based on what I've seen on Weibo, in various articles and on international social media it seems like there is a strong colonialist 'white savior' narrative coming out of this film; glorifying China as swooping in and saving these helpless Africans.

Taken alongside the horrible racism of Chinese audience reactions to the blackface, I don't think looking at it through 'the other lens' gives us a prettier picture.

If the primary category of people who are not offended by this tends to be audiences who are reacting with racist mockery, then a deeper reflection needs to happen.

All that aside, DD isn't working in a vacuum. He has been actively cultivating an international audience and working closely with international brands. He doesn't have the luxury of ignoring Western values if he wants to continue down that path.

And let's not forget that the culture he's so enamoured of is black American culture. If he loves Western hip hop culture so much it would behoove him to better understand and support the people at the root of that culture. The people who literally made it possible for him to find and enjoy that culture.

DD is a good person at heart. I feel that participation in cultural harm is beneath his dignity, and not something he'd consciously choose to do if he had a better understanding of the impacts.

When it comes to culture clash and differences in values it's also important to remember that while everyone is free to make their own choices about what they say and do, so too is everyone else free to make their own choices about how to respond to what that person says and does.

DD is a massive star, so his behavior and choices go far beyond his own cultural environment. It's inevitable that some people are going to have different takes on it all.

And I don't feel like people are telling DD what to do, so much as they're talking about what he needs to do in order to maintain their support. They're drawing out the boundaries of what they deem acceptable as fans. From there everyone has their own choices to make, including DD.

My own position

Here's the thing: I've come under loud, vehement fire from black fans for not taking a strong enough stand on this issue, while some other fans feel I'm being too hard on DD. Now you're saying I should consider the colonialist angle and reflect on whether it's even appropriate for me to think DD has anything to learn.

I can only ever be myself, and speak and act from my own values. I will always think for myself and take my own positions, no matter how unpopular they are and no matter how harshly people attack me for it (and they have).

I am capable of holding multiple conflicting perspectives in my heart and feeling compassion for them all.

I empathize with black people who ***for fuck's sake!!*** have been so thoroughly fucked over on every level and in every possible way by people around them who just don't get it about racism. Who just don't get how deep and broad and far-reaching it is and about how soul-destroying it is to live in a world where this shit is normalized.

I can't even begin to imagine how hard it must be to be a black fan who loves DD and then see him in blackface, and then watch all the fans try to gloss over it as though it doesn't matter.

I empathize with Chinese fans who are in most cases probably not at all ill-intended, whose reactions came honestly even if they were jarring to Western fans, and who have mostly found this story and its telling both exciting and moving.

I empathize with diaspora fans who are having to deal with a whole bunch of sanctimonious lectures about who DD should be and what he should think, say and do.

I empathize with the filmmakers, who after all were probably just trying to give an accurate retelling of something that actually happened in real life.

I empathize with DD, who was likely doing what was requested of him and probably didn't realize that it would turn out to be so controversial or negatively impact so many people.

Anyone who can say with a straight face that they think DD would ever intentionally or knowingly do something that would be this controversial or that would be hurtful to so many of his fans can KMA. That's not the kind of person DD is at all.

Blackface is a huge deal here in the West, and even people in this region are constantly getting it wrong. How can we expect people in regions where it's not traditionally been a big deal to do better than people here who are steeped in awareness*?

*And before anyone says that cultural relativism is such that only people in the West really think blackface is wrong, why not try talking to some of the African fans who've been deeply upset by this?

This is what it is to live in the world. Life is complex, and people are messy. Like I said before; nothing is black and white. Everything is a million shades and hues. As much as people will try to oversimplify the issue and try to intimidate us into taking 'their side', or try to punish and attack us for not doing so, we can only ever live by our own conscience.

No matter how much pressure I come under to condemn one of the individuals or groups I listed above, I will refuse to do so. My conscience tells me to be compassionate and understanding to all of them, and that everyone is always doing their best.

I hope and believe that our differing opinions can coexist. We can disagree and still be friends, as long as we remain open to accepting one another, and as long as we respect each other's right to our own conscience and values.

Merci pour cet échange d'idées intéressant. 💛.

[callsign-rogueone]

reunification day - d.a.

Dain Aetos x reader part two of Dain and Love's story words: 2.6k 🏷: no book spoilers really, set pre-Fourth Wing, feminine reader but no pronouns used, this one is pretty tame and fluffy if you don't think too hard about the implications of literally every word, Col. Aetos makes an appearance and is a total jerk, as usual, delving into Dain's ~issues~ a bit, and hopefully showing a little more of Love's personality. I really like this one. a lot. I hope you do too. no other girlfriends mentioned this time, but can anyone guess who a certain someone was looking for before the speeches started?

It’s been over a year since you’ve spent this much time getting ready for anything. You’ve missed this feeling, sitting in front of your mirror humming a soft tune as you go through your routine, doing up your hair -- that part is made much easier with your signet, the strands curling and smoothing and pinning themselves to your liking while you darken your eyelashes and brush through your eyebrows, glossing your lips and making everything soft and shiny.

It’s a nice change of pace from your usual rushed mornings at the school, but it doesn’t feel the same, not how it used to, when you’d do all of this with a smile, genuinely excited for the occasion, for the opportunity to take a break from the training and the preparing-for-war to spend time with your family at their formal gatherings, with singing and dancing and food and all the trappings of Tyrrish culture -- because the occasion you’re preparing for right now is a holiday celebrating the anniversary of Navarre making those things illegal.

Either way, you look damn good, and you’re going to let everybody in attendance see it. 

“Your friends are outside,” Cosa reports — you’d told them not to wait for you, and they know better than that, anyway, especially when you have a reason to take your time getting ready like this.

With one last adjustment to the skirt of your dress, and one more lingering glance at yourself in the mirror, you drape the long silk wrap over your shoulders and slip out your door, heading down the hall out to the courtyard, where the party — if one could call it that — is just getting started, cadets trickling in slowly and settling into their formations.

You spot Dain in his usual place in the block. Of course he’d be one of the first to get here.

“You clean up nicely,” you greet, brushing a piece of fluff from the collar of his uniform. You let your fingertips skim over the broad expanse of his shoulder, lingering perhaps a second too long before you pull your hand back.

He represses a shiver, his cheeks reddening. “You too,” he manages. “You’re… wow.”

You smile at how flustered he is, at the blush spreading across his cheeks and his difficulty forming complete sentences. “Thank you. I may have a shitty relationship with this holiday, but I’ll take the excuse to be pretty for an evening.”

“You’re always pretty,” he says quietly, still looking at you.

It’s a compliment you’ve gotten from dozens of men before, one you usually brush off, but your heart skips hearing it from the one man who hasn’t been falling at your feet all year. 

“He thinks I’m pretty,” you whisper to Cosa, unable to keep the smile off your face.

She sounds amused. “Of course he does. Now, are you going to do something about it?”

That is the question; but she should know by now that you don’t chase after anything or anyone, especially not men.

“Thank you,” you reply warmly.

It’s obvious that he doesn’t know where to go from here, what to say next. 

You’re standing at eye level with him, or close to it, for the first time ever, and he can’t look away; mesmerized by the color of your irises and the flutter of your eyelashes as you blink, the barely-there shimmer coating your eyelids.

“Are you wearing heels?” he asks, finally putting it together. 

You nod, shifting the long skirt of your dress to show him the simple black stilettos underneath, thick silk ribbons wrapped around your ankles to keep them in place, tied with perfect bows.

He’s in over his head. Thankfully the next sentence that comes out of his mouth isn’t about how much he’d like to kneel down and tug at the ribbons until the bows came undone, to slide the shoes off and… 

“Did you really cross the parapet with those in your bag?” he asks, still looking at them.

“I did,” you answer, smiling. “They’re my favorites — they were a gift from my favorite brother. And they’re black, so they’re codex-approved.”

Fair enough.

It stands to reason that you’d have a favorite pair of shoes, and a collection of them back home — in the year that he’s known you, he’s learned that you place a high value on your physical appearance, and you aren’t afraid to modify your uniform within the bounds of regulation, finding subtle ways of making it your own.

You settle into your usual spot between him and Sawyer, who looks to be searching for someone in the crowd, his shoulders sinking when he realizes they aren’t there. You offer him a soft smile that he returns silently, your attention returning to the dais just as the clock strikes seven.

“I should have asked Bodhi what his bet was on the length of the speeches,” you tell Cosa, preparing yourself for a very boring next thirty minutes. She doesn’t respond. 

It's a bit unfair that her and her friends get the evening off while you’re forced to listen to these self-labeled war heroes prattle on about patriotism and the importance of this terrible holiday as if you and your compatriots aren’t even here.

“Twenty-eight minutes,” she relays after a few seconds.

You try not to laugh. “Tell him I say thirty-two, and the winner gets ten Krown.”

Another short pause. “He finds these terms acceptable.”

You subtly shift your weight back and forth between your feet throughout the speeches — which add up to thirty-one minutes, if you count the awkward transitions between them — having grown unused to the heeled shoes in the last year of wearing flat black boots every day.

You’re finally dismissed, the formations breaking as riders move around to find their friends for the rest of the evening. You turn toward third wing, looking for Imogen, who will be the easiest to spot with her unconventional hair color — you’re sure she absolutely despises this whole thing, but especially the required dress.

“Cadet Aetos,” someone calls, and he freezes at the voice for a split second before turning toward it.

The colonel insignia on the man’s collar and the shape of his jaw is enough for you to connect the dots — that’s Dain’s father, and he’s approaching with both General Sorrengail and King Tauri in tow.

You’ve just spotted Imogen and Bodhi, but you can’t leave now, not when three of the aforementioned war heroes are looking directly at you. You plaster a smile onto your face, adjusting your shawl. “Your Majesty, General, Colonel,” you greet in order of rank, extending a perfect curtsy to the king with a polite smile and a nod of the head to the others.

The monarch smiles back, but the officers don’t.

“I don’t believe we’ve been introduced,” the Colonel says, turning his gaze to you. Ice spreads through your veins, and for a moment you wonder if he possesses some physiological signet that he’s using on you, or if he’s just that cold and calculating because he knows exactly who you are. 

But neither of those options explain why the quadrant’s poster boy is looking at this uniformed officer — his own father — like a wolf that’s about to bite.

You give him a slight dip of your chin in deference. “Cadet Callwell, sir. Second squad, flame section, fourth wing — the same as your son. I can see the family resemblance,” you add with a disarming smile.

Dain winces beside you.

Your graceful response doesn’t seem to have thawed things between you and Aetos Senior any further, but luckily, someone changes the subject of conversation; King Tauri himself. “Tell me, cadets, how are you finding your studies?”

“Very well, your Majesty,” you answer with a polite smile. “We are fortunate to have such experienced and knowledgeable professors.” 

You nudge Dain’s foot with yours, silently prodding him to say something.

“Yes,” he agrees after a few seconds, “Fortunate indeed. The last year has been a challenge, but one that I know will prepare us to serve our country well.”

That is exactly what the King wants to hear. “And how fortunate am I, to have such valiant students with such bright futures ahead of them.”

“You flatter us, Your Majesty,” Dain responds, finally having found his voice.

General Sorregail still hasn’t said a word, watching the pair of you silently.

The Colonel gives you both a curt nod. “Thank you, Cadets. That will be all.”

Dain bows, and you drop another curtsy to the king, earning yourselves another fond smile before you turn away, but as you cross the courtyard, your blood is boiling on Dain’s behalf. Colonel Aetos hadn’t even spared him a smile. No loving touch, no real goodbye for his only son whom he may very well never see again, no use of his name, just Cadet?

Dain speaks first once you’re out of their earshot, sounding stunned. “I don’t think Tauri even realized you were marked. How did you…”

“It’s a party trick of mine,” you answer, stopping to sit on a small stone bench by one of the courtyard’s open archways. “One I learned very quickly after I got this.”

You let the silk drape drop from your shoulders, exposing the smoky relic trailing up your arm. Dain’s eyes catch on it immediately, like they do every time you’re not wearing long sleeves, studying the intricate swirls that don’t seem to follow any particular pattern, winding up and down your arm near-randomly.

“It’s the first thing anyone sees about me, or any of my friends. But I figured out that if I was perfect in every other regard, if I was charming enough and followed all the rules and did everything correctly, they wouldn’t notice it,” you say, gazing up at the stars. 

It’s a remarkably clear night, several of the summer constellations visible, but he remains focused entirely on you as you continue.

“The thing people don’t realize is that we’re all from “good families”, or we were, before they killed our parents. The Laurents were one of the most successful families in Tyrrendor before their assets were seized. So were the Durrans. Xaden is technically a Duke, now that he’s of age, but his duchy was burnt to a crisp.

My point is, we all know how to stand on ceremony and lay a proper table and dance a waltz and speak to authority figures, but people see the relics, or the names on our flight jackets, or how we speak or braid our hair or anything that shows our culture, and they forget all that. They just see a pack of rabid dogs.

Navarre used to respect us, to look at us like we were valuable. And then once we asked for not just a seat at their table, but for a table of our own, they decided we weren’t worth the dirt our houses were built on, and that everything we touched was tainted. They torched my mother’s rose garden and shattered every window in the house the day they arrested my father, just because they could.

So I know it sounds pathetic, or bratty, or whatever other adjectives you want to use, but being able to wear high heels and makeup and a pretty dress once a year is important to me, even if it’s for a holiday celebrating the death of so many people I loved, because it’s the only time that I get to feel like the girl I used to be, who didn’t have to fight for her life every day, who had parents that loved her more than anything in the world, and who was looked at like a person, not a fugitive or a liability or a wild animal.”

“It’s not pathetic,” he says softly. “I know I will never truly understand, but I get it. And for whatever it’s worth, you look perfect.”

“Thank you,” you whisper.

He starts another sentence that’s interrupted by the crackle of fireworks exploding into the air, startling both of you. He laughs, a sound you’ve hardly ever heard over the last year, but you like it.

You drape the silk back around your shoulders to fight the chill of the night air and pat the cold stone next to you, inviting him to sit. He accepts, perching on the other end of the bench and looking up at the night sky, keeping a respectful distance between you as the show continues, a few minutes of comfortable quiet.

With one last fizzling red firework, the display ends, and you hear applause from the other side of the courtyard, where most of the quadrant is gathered.

“Dain,” you say quietly, throwing him off balance, “I wanted to apologize earlier, but…”

“What for?” he asks, that cute little confused look on his face, head tilted and brows pinched. It would make you smile if you weren’t about to rip the bandage clean off, to end whatever this is before it can even start. 

You choose your words delicately. “Tauri may not have realized who I am, but your father certainly did, and judging by the way he left things with you, he was clearly upset by it. If that’s going to have consequences for you, that he found you talking to me…”

“Oh, he’s always been like that,” he dismisses. “He’s never been one for any kind of affection. I’ve learned not to take it personally.”

It all makes sense now, why Dain is… like that, why he never touches you, why you’re always just Cadet Callwell to him and never anything else, why he’s so strict and by the book; the apple doesn’t fall far from the tree.

But from the two minutes you’d spent with the Colonel, you can tell that Dain is twice the man he’ll ever be; not cold and uncaring, not prejudiced or cruel… he might even have room for someone like you in his heart.

You shouldn’t get your hopes up about that.

“Still… I’m sorry,” you say softly. “If he gets mad at you about it, say the word and I’ll keep my distance, or ask to be reassigned. I don’t want to make things tense between you.”

“It’s fine,” he reassures. “I’m sorry he made you uncomfortable. He tends to have that effect on people. It’s part of the reason I didn’t have many friends growing up— the other kids were scared of him.” 

He smiles, but you can tell there’s a tender wound underneath. “And I wanted to say it earlier, too, but thank you. For helping me not look like a total idiot in front of the king, and for showing me a new perspective.”

You smile — not the fake one he’d seen you give Tauri, but a real smile, one that makes your eyes sparkle like the stars. “Of course.” 

“Your friends are probably looking for you,” he says quietly, and you startle as you realize he’s right, that you’d completely forgotten about finding them, too focused on impressing the King, and then you hadn’t wanted to abandon Dain after that conversation… It’s not like you wanted to spend time with him or anything. You definitely wouldn’t choose him over your friends, right?

You rise from the bench, smoothing a hand over your skirt. “Goodnight.”

“Goodnight,” he replies, giving you one last look, soaking up the sight of you in that dress before you walk away and things go back to normal between you: regular uniforms tomorrow morning, and your usual rivalry and bickering at formation, with your friends constantly watching the pair of you and scrutinizing his every move.

If you hadn’t each inherited the wars of your fathers, maybe then this could work — but then you would never have met. 

He doesn’t know if that would be better or worse.