#metaphor for internal conflict!!!!!!!!!

[jup1tersparx]

I have the Rick Rounds brain rot. He’s silly, he’s horrid, he’s sad, his actions are inexcusable, he’s a jock, he’s a theatre kid, he’s filled with guilt and has gotten past being too proud to acknowledge it, he wants to get better, he believes himself to belong in hell, he’s learning, he literally died before he sought self-help, he’s dead and also puts the dead back in the ground, he’s got mummy issues, he’s got religious trauma and homoerotic tension with the devil, he has media literally, he’s cringe fail, he at one point summoned a sword despite having no clue how to use one, he somehow mistook Tiff for an angle, his black water effect is a straight up metaphor for character growth and he used it to hurt people, his black water effect is a straight up metaphor for character growth and it’s slowly consuming him, he has flowers that change colours based on his emotions, he’s gay, he’s prone to violence, he has no idea who he is anymore but he’s slowly building his life up again.

AHHHHHHHHHHHH YES SO TRUE I LOVE HIM SM :DDD HES SO UNDERRATED FR

ADDITIONALLY:

- he was so miserable he convinced himself he MUST be suffering for Divine Purposes and was gonna be a saint and the star of a new religious text (he was not)

- hallowing tends to pick up on who the hallow-ee Truly Is/desires to be and emphasises that (eg: lady ethel mallory spiderification, big mikey. yk. big and scary, person from episode 18 intro) and RICK'S hallowing made him bloom flowers and ivy. and it terrified him!!!!! direct quote: 'I'd rather die Rick Rounds than whoever these thorns are going to make me." !!!!!!!!!

- furthermore: he was SO good at self-repression and channeling every emotion into anger and violerce he somehow managed to end up the fucking poster boy for neo-conservative america. girl

[skitskatdacat63]

I wish I didn't get myself so deep into history lately, it makes me want to completely derail the path I'm on rn AAAGHHHHHHHHH

[lilacerull0]

do you ever think about the diagram of the door opening as a love confession because i am trying not to think about it and could really use some help

[c0rpsedemon]

The Tiktokers Are Saying That Romeo And Cinderella Is About Grooming

[tiredgayloser]

ethel cain singing about trans guilt send tweet

[imastoryteller]

20 Ways to Show Anger in Your Writing

Here’s a list of 20 signs of anger that writers can use to show, rather than tell, a character’s emotions through physical, verbal, and internal reactions:

1. Facial Expressions

Clenched jaw or grinding teeth

Narrowed or glaring eyes

Lips pressed into a thin line or curled into a sneer

2. Body Language

Fists clenched tightly at their sides

Tense shoulders that rise or square up

Puffing out the chest or stepping closer to confront

3. Speech Patterns

Voice lowered to a dangerous, icy tone

Shouting or raising their voice suddenly

Speaking in short, clipped sentences

4. Breathing Changes

Heavy, rapid breathing (nostrils flaring)

Sharp inhales and audible exhales

Holding their breath as if trying to stay in control

5. Sudden Physical Movements

Slamming fists onto tables or walls

Pacing back and forth restlessly

Pointing a finger or jabbing the air during speech

6. Uncontrolled Gestures

Shoving objects off a desk or knocking over a glass

Finger tapping or knuckle cracking

Wrapping arms tightly around themselves

7. Temperature and Flushes

Red face, neck, or ears

Visible veins on the neck or forehead

Breaking into a sweat despite the situation

8. Eye Movements

Eyes darting or rolling sharply

Avoiding direct eye contact out of fury

Staring someone down with unblinking intensity

9. Words and Tone

Cursing, insults, or verbal jabs

Sarcasm sharpened to hurt others

Accusations thrown in frustration

10. Breaking Personal Space

Leaning in closer, looming over someone

Pointed steps toward another person to intimidate

Physically turning away to dismiss or avoid conflict

11. Physical Reactions

Throwing objects or breaking things in rage

Punching walls, doors, or inanimate objects

Shaking hands or trembling with pent-up anger

12. Posture Shifts

Back stiffening and chin lifting defiantly

Shoulders jerking or twitching

Rigid stance as though ready for confrontation

13. Inner Thoughts (for internal POV)

“I could feel the blood boiling in my veins.”

“The room seemed to close in on me.”

“My pulse thundered in my ears.”

14. Displacement of Anger

Kicking objects on the ground (chairs, trash bins)

Storming off abruptly or slamming doors

Snapping at someone unrelated to the cause of anger

15. Temperature Descriptions (metaphors/sensations)

Heat rushing to their face or spreading through their chest

A cold sensation washing over them, signaling restrained anger

Feeling fire “lick” at their insides or their temper “ignite”

16. Instinctive Responses

A growl or grunt escaping their lips

Baring their teeth as if instinctively defensive

Ripping or tearing something in their grip

17. Silence as a Weapon

Pausing dramatically before responding

Refusing to speak or meet someone’s eyes

The ominous quiet just before they explode

18. Physical Sensations

Muscles twitching or vibrating under the skin

Heart pounding visibly at their throat or chest

A bitter taste in their mouth or nausea from anger

19. Reactive Behaviors

Interrupting others to correct or attack

Dismissing concerns with a quick wave of the hand

Throwing out ultimatums like “Don’t push me!”

20. Lingering Aftermath

Hands trembling after the initial outburst

A headache, buzzing ears, or lingering tension

Regret or shame slowly replacing the heat of the anger

These signs can be layered together to create realistic and powerful depictions of anger, whether it’s smoldering beneath the surface or erupting violently.

[glossystardust]

maybe you are angry at me, for refusing to give in to you, or maybe you think it’s simply amusing. whether this is the situation or not, you and I both know how cowardly it is to aim for the back. to exploit weakness at the cost of others. so i’m here begging, wishing, hoping, that you’ll do yourself justice.

i’m not ashamed. it is not contradictory. i still have my beliefs, still feel secure in my position. and yet here i am, hoping, looking up, holding onto the last parts of me. does it sound hypocritical? i don’t think it is. because even if i don’t have belief or faith, i have hope, and that’s something ingrained in my soul. it doesn’t matter what is your name or whether you Are. it is all that is left of me, when we are face to face. you cannot take it from me.

i’ll fight and bite and scream and hold onto it with bloody hands and a fire in my chest so strong it makes my eyes tear up. i’ll hold onto it until the moment comes, and you make your move, and my throat seizes up, and my knees hit the ground either in relief, or in despair.

[voidfanatic]

BRO BRRO, ok I'm going to rant in tags becuzzzz (SORRY FOR BAD GRAMMAR I'M TRYING)

the strangeteens as the four horsemen of the apocalypse

(this was started as a joke and it ended up taking three days please have pity)

closer looks under the cut

Johnny is pestilence (the pale horse), Ripp is famine (the black horse)

Tank is war (the red horse), and Ophelia is death (the white horse)

[heritageposts]

Google-translated, posted October 8th

This piece Manoel wrote in 2020 should also be mandatory reading for all Western "leftists," especially now as the Western illusion of military invincibility is being shattered

[...] Another factor that is very common in the western left is to treat suffering and extreme poverty as elements of superiority. It is very common in Western leftist culture to support martyrs and suffering. Everyone today likes Salvador Allende. Why? Salvador Allende is a victim, a martyr. He was assassinated in Pinochet’s coup d’ etat.

And, on Western leftists support of Palestine (pre Al-Aqsa Flood — Manoel, writing in 2020, was clearly underestimating the military capabilities of the Gazan resistance)

Palestinians are a people who are deeply oppressed, in a situation of extreme poverty, that don’t have a national economy because they don’t have a national state. They don’t have an army or military or economic power. Therefore, Palestine is the total incarnation of the metaphor of David vs Goliath, except that this David doesn’t have a chance of beating Goliath in political and military conflict. Therefore, almost everyone in the international left likes Palestine. People become ecstatic looking at those images -- which I don’t think are very fantastic – of a child or teenager using a sling to launch a rock at a tank. Look, this is a clear example of heroism but it is also a symbol of barbarism. This is a people who do not have the capacity to defend themselves facing an imperialist colonial power that is armed to the teeth. They do not have an equal capacity of resistance, but this is romanticized. Western leftists like this situation of oppression, suffering and martyrdom.

If you're a Westerner, I think it's worth investigating to what extent this image Palestinians as 'defenseless' or 'defeated' (I've seen some of you talk about Palestine in the past tense) factors into your support of Palestine as it is now, under occupation.

Because there will be an after.

Everyone supported Viet Nam when it was under attack, being destroyed and bombed for over 30 years. Viet Nam beat Japan in WW2, then had to fight France, and then had to fight the United States. It passed 30 straight years without being able to build a damn school or hospital because a bomb would drop, first from France and then the United States, and destroy it. When the country was finally able to beat all of the colonial and neocolonial powers and have the opportunity to start planning, to build highways, electrical systems, schools and universities without having bombs land on them the next day and destroy everything that was being done, the country was abandoned by the majority of the left. It lost its charm, it lost its enchantment. There is a fetish for defeat in the western left. It is an idea that defeat is something majestic.

[pseudowho]

Nanami Kento was not a father; not strictly speaking. Not technically speaking. Not metaphorically speaking. The absence of paternity, however, did nothing to eschew him of the shackles he wore with pride, wearing them as a mantle; a medal of honour.

For one with such a black hole in his life, Itadori Yuuji would not notice Kento's absence unless something took Kento away from him, so natural was it that the void was filled.

Nanami Kento's priorities altered so dramatically, with such quiet consideration, that he had no real words to explain his situation to you when he first took you out for dinner. Or, when he took you out to the beach. Or, when you took him to that art gallery. Or, when you came over to his, tumbling through the door into stumbling kisses, all hands and groans and desperation.

For Nanami Kento was not a father. He ensured that his relationship with Yuuji did not overlap with his relationship with you, fearful that you would reject the burden of not-parenthood.

Kento was so introspective in his attempts to hide his not-parenthood, that he failed to see how blatantly-fucking-obvious he was. As if you wouldn't notice that dinner was always made for three, with a portion put aside or frozen for a hungry visitor. As if you wouldn't notice that Kento browsed the teenage boy sections in clothes stores, making note of what he would come back for later. As if you had not seen Kento listed as "I.C.E." on Yuuji's phone screen at school one day.

As if you were not a mother. As if you were not fully prepared to be.

+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

Kento was stalking through the belly of the beast when he spotted two missed calls; one from Yuuji, and one from Shoko. His heart leapt into his mouth, his blade hanging dumbly by his side as he cursed internally at his lack of signal. Torn by conflicting responsibilities, he focused on the task at hand, but as a noticeably sloppier Sorcerer when worry gnawed at the bones of him.

An hour later, finally free, he jogged to his car, panting. He slipped into his seat, and called Yuuji-- no answer. He called Shoko-- no answer. He swore again, hurrying to start the car...and his phone buzzed.

He looked at the screen, and opened a message from you. He sat, staring at it, a cold trickle of worry down his spine. A photo; of Yuuji's characteristic shoes, beside your own, with the caption:

Picked up a wounded stray. He looks hungry. We'll be at yours soon!

Kento churned through emotions, trying to read your tone on the screen. Angry? Cheerful? Exasperated? Would you want to talk about his deceit later? Technically he hadn't lied. Or, he had. A lie by omission perhaps? She's angry. She's disappointed at least. Is that worse? That's worse.

Kento stewed, the whole drive home.

+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

Kento continued to stew, when he arrived home to an empty house. He paced, and sat, and paced, and sat. He cursed himself for not maintaining tighter boundaries between Nanami-Kento-the-Boyfriend and Nanami-Kento-the-Not-Father. So deep was he in his self-flagellation, he jolted to hear the door open, and two familiar peals of laughter rolling through.

"--Ieiri-san told me I should have waited for Ino to arrive, but I just had to do something, y'know--"

"--not jump through a damn window, Yuuji, that's excessive--"

"--not stupid if it worked though--"

"--as your Not-Mother, I cannot condone this."

Kento stood, watching the scene unfold in wonder. You and Yuuji, bantering. You reaching for the grocery bags, and Yuuji insisting he carry them instead. You directing Yuuji to the bag with the snacks. Yuuji totally bypassing Kento, jogging past him to the kitchen.

As if this was his home. As if Kento was his home. As if you were his home.

Kento was still stunned into silence when you leaned up and pressed a quick kiss to his lips.

"Hey! Sorry we're late. Yuuji was hurt on a mission, so I picked him up, but I wanted to get ice cream, and I noticed we didn't have enough in for dinner for three, and--"

Your words cut off with a muffled "mmf!" as Kento leaned down, pulling you in by the back of the neck, and small of your back, silencing you with a kiss which tasted of all the gratitude for which he had no words. By the time he'd released your lips, his forehead pressed to yours, you felt the air rush back to the vacuum he'd left behind.

"...Kento, are you oka--"

"I love you."

The air rushed straight back out of you, leaving you light and giddy. Your lips puckered, threatening tears, so long had you been wondering if he'd ever confess the depths of his feelings.

"...you love me?"

"I love you. I love you. I absolutely love you. And I'm sorry I didn't--..."

"...didn't think I'd be happy with you looking after a boy with no parents, who needs some?"

You let your question hang, so Kento could soak in how much of a fool he'd been. He sighed, tense and looking over at Yuuji rustling through grocery bags in the kitchen.

"...I didn't want to assume that you'd accept it."

"Would you choose someone like that, though?" Kento looked unsure, and you clarified. "I mean, would you choose someone who felt jealous of you looking after an orphaned child?"

Kento's gears turned. "...no."

You smiled up at him, cupping his cheek in your palm. "Exactly. So, like I was saying...I put fresh sheets in his room. I'll go and make dinner. Yuuji will pick a movie. And you should have a word with him about jumping through plate glass windows to get to a Curse faster."

At that, Kento's head snapped up, fixing Yuuji with a frown that had Yuuji dropping bags of snacks on the floor.

"Yuuji."

"Shit, I'm sorry Nanamin, I--"

"Language."

"Shit, I'm sorry Nanami-san, I--"

You headed to the kitchen, pulling on an apron and stifling laughter at the Not-Father and Not-Son bickering in your wake.

[estrellogy]

Astro Notes Pt. 2

- IN DEFENSE OF LIBRAS. I often hear people say that Libras are pick-mes, but that’s only the underdeveloped ones. I think Libras do get along with the opposite sex really well. The mature ones genuinely connect with the other side because they’re a good balance of both masculine and feminine energies.

- However, I do see SOME Libra men take advantage of this ability and be quite promiscuous. Libra SUN in particular since it comes so naturally to them. Libra Venus men, on the other side, prefer to be monogamous and just pour all their romantic energy into one person. If they have grounding placements like Venus/Saturn positive aspects or earth placements, they’re definitely the type to look for THE ONE™️

- Scorpio and Capricorn placements humor is so under appreciated. People often see these placements as intense alpha males who never show emotions like they’re just 😐. Mfs have perfected dry humor and comedic timing.

- Aries Sun have an easier time maturing than Aries Moon. Since the Moon is such a primal and sensitive place for Aries to be in, the impulsive side of Aries is amplified. Meanwhile, Aries Suns can channel its aggressive fire energy more consciously.

- Leo Suns with 12th house moons can create a lot of internal conflicts. The natural inclination to shine versus the need to completely hide your nature and be intensely introspective.

- Mars in 6th house people really benefit from incorporating exercise into your routine. Everyone does, but Mars in 6th house people in particular can accumulate a lot of stress and tensions so they need to move their bodies often to avoid burn out (speaking from personal experience 😭)

- Scorpio placements are lusted after, but CANCER placements are often desired both physically and emotionally. People want to have a taste of Scorpio placements but often become overwhelmed by their intense nature. Cancers, on the other hand, seem more gentle even though they’re equally insane intense. That’s why Scorpio is often associated with seductresses/siren archetype while Cancer is the “wife”/divine feminine.

- Again, Cancer placements are underrated because the moon energy seems more familiar compared to the mysterious and ethereal nature of outer planets like Neptune and Pluto. But the moon quite literally controls water and has the most direct impact (night vs day) on the actual functions of Earth. Plus, the moon is also a symbol of mystique, beauty, and literally the ‘dark side of the moon’ as a metaphor for human psyche. I can do a whole post about why Cancer placements are really the beauty indicator/archetype in astrology if you guys want 😭

Thank you for reading! Let me know if you guys enjoy these notes and I’ll do more 🤍

[massacregirl]

Another week, another chapter of Shine. You know the drill by now - half action, half tripped psychosexual horror. Reader discretion advised.

Coming to the end of the Natasha sequence now - there's a 6th part and then it's climax and denouement time. I wanted to show the making of the monster with this, not to excuse her actions but to explore cycles of abuse. "Hurt people hurt people" and so on.

If this is your first time seeing this, hi, I'm writing a long-running Cyberpunk 2077 fanfic that I update weekly, the premise is like "what if V was a member of Maelstrom".

Be advised that I do try to stay faithful to the tone of the source material and that does mean dealing with some extremely heavy topics now and then - please read the tags and feel free to suggest any I should add. Graphic violence and sexually explicit content abound.

[unknown7s]

Can I just say that I really fucking HATE how the majority of the Arcane fandom praising Season 2 is deeply in the mindset of Piltover in reality? Like, it's not even funny, and I don't know where to begin.

I'll just start with Silco because he's this huge metaphorical character who is clearly written as the embodiment of a long list of sociopolitical agendas in the real world. And before I start, pardon my English, since it's not my first language.

I know y'all in the Anglo-American sphere tend to focus more on classism, inequality and police brutality theme. But the way I see it, THAT and every single dialogue plus the specific word choice of Silco & Sevika literally SCREAMS of postcolonial discourse (I guess F. Fanon is most well-known to y'all) and even some part of M. Foucault's philosophy, etc. I'm writing "etc." because the list will go on forever if I describe all these creepy historical parallels between the depiction of Zaun's internal conflict and what real countries that have been (or still are) colonies went through, and what real colonizer propaganda looked like during that time—like how those characters who fight for the nation's independence are the big bad villain and psychotic monsters who need "redemption arc" therapy, while those who cooperate with the oppressors are the good-hearted familial heroes of this story.

So upon reflection, if this fandom were to be a collective intelligence, we should have asked ourselves, "Is this show truly not problematic for portraying such a character as villainous?" and thus, "Is this show thematically implying far-right propaganda?" even before Season 2 presented us with this insane plot that glamorized the militaristic fascist aristocrat proclaiming martial law as a 'romantic revenge arc'.

But what did the majority of the fandom do since 2022? They were so busy shitting on this dead villain, claiming he has done so much wrong that he doesn't even deserve to be praised as a character. So instead of trying to understand where this character's point of view is coming from, they blindly hate him to the point where they are now fabricating a list of crimes that he didn't even commit, editing false information on the fandom wiki profile.

What's more frustrating to me is that I thought the problem was media illiteracy all along, but oh no, I was being way more optimistic than the reality. Now that I’ve read all these interviews from the showrunner and main writer—Linke and Overton—I get the sense of why Season 2 turned out like that. The more they babble on about this show, the clearer it becomes that they don't even acknowledge how messed up their political views are, which are so far-right. Taking the seemingly-centrist line doesn't make you fair, you're just passively siding with the oppressors. And lesbian sex scene doesn't make this show "progressive", in fact, hiding oppressor fantasy behind a rainbow flag makes it even more treacherous.

So yeah, I think critical voices should be much louder than this, but watching the majority of this fandom neglacting problems only to praise the show? I think my hope for humanity kind of get lost more and more as time passes, lol.

[marvelandponder]

one amazing thing about the Owl House finale is that it finally contextualized for me one of the central metaphors of the show. Spoilers for the series finale Watching and Dreaming ahead.

we good? no one spoiling themselves? beauty

for a long time now, I thought we had a pretty standard coming-of-age metaphor dichotomized by the show's central antagonists. you've got your protestant witch hunter Belos who introduces a maturity and ugliness to Luz's narrative; he clearly represents a particular, restricting form of adulthood, and just when Belos becomes his most threatening, boom, enter the Collector, Luz's dangerously naïve inner child to ruin all her development on the Boiling Isles. Seems simple enough

what I didn't anticipate was just how specific and personal their roles in the story actually are to Luz once you have the full context from the series finale

look again

this story - this whole series - is about the grief that a neurodivergent kid experienced at a young age, introducing the cruelty of loss and adulthood before she was ready to handle it. and, how to reclaim a more whole understanding of herself as she rebuilds her life with people who get her

Belos is designed to infect the titan carcass like a disease. a cancer. it's super goddamn significant that the titan is King's dad (King, who became Luz's younger brother). they set up Belos not just to be another fascist kids' cartoon villain (although yeah, he do be doing some of that), but to specifically become a force that oppressed the weirdness from the one place that understood Luz. the Iles. the dad. And by the end of the story, Belos's goopy body-horror isn't just for show, he's just like the cancer or other terminal disease that took Luz's dad from her

he's the thing Luz hasn't processed in season 1 that comes in at the end like a warning. he's the threat that forces Luz to grapple with her own humanity, feeling somehow (often completely unjustifiably) harmful to those around her, through the grief she doesn't want to be a burden or the weirdness (neurodivergence) others don't understand. he's the force that says there is something wrong with you, Luz, give in to your grief, this is what you can't face. this is the lie you've been telling to those closest to you: that you're okay

then you have the Collector. (notable that he's a collector, and we see Luz's mom and dad had quite the collection of nerdy memorabilia)

the Collector is the child too young to understand death. Too young to understand consequences, or why their playmates don't feel like playing anymore with someone so weird and maybe a bit too involved in their own world. The Collector is Luz's inner child, that kid we see right before the "worst week ever" — the one who didn't and couldn't understand what was about to happen even as it was going down. unapologetically weird, a bit destructive and short-sighted, but wholly colourful, wholly themselves. that's why the Collector wants to live out Luz's adventures, but without all the depth. just the fun escapist fantasy

but don't think I forgot the internal conflict! :D

because Camila's role also gets an added depth too: Camila was framed at the outset of the series as someone who loved Luz, but wanted her to fit inside a box that she just didn't. later, Luz completely misconstrued her mom's breakdown when she learned that Luz chose to run away. as many people have pointed out by now, Luz misremembers the actual dialogue that Camila says: Camila only wanted her daughter safe, not to lose her. Luz meanwhile felt like she had to choose to destroy this part of herself, or give up her connection with her mom altogether

but we know now Camila actually deeply relates to Luz. she may not understand Luz's fascination with horrific things like on the boiling isles (very akin to a kid getting more grim hobbies in the wake of a death, like Luz's taxidermy), but she loves Luz for who she is. all of her. she never wanted Luz to change

Luz was the one framing the central conflict of the show as go back to her mom or stay in the boiling isles. Luz was the one who felt like she had to punish herself by rejecting the one place where she felt like herself. once Camila realizes what's been going on, and how deeply connected it is to the loss of Luz's dad, she knows Luz is trying to make a "very bad choice for herself." And she won't let that happen (what a great mom!!)

But Luz does have one real choice ahead of her

because of the inner child who once again has to confront death (this time, Luz's own), Luz is able to connect with a father figure, the titan, the one place she feels understood. in the form of a power-up that makes her into a fantasy witch straight out of the Good Witch Azura, the one place she got joy after that huge loss, the titan gives her the strength to face the cancer—a force draining everything good in her life from her and making her question she deserves it in the first place—but only if she can choose herself

and that means choosing happiness, choosing found family, choosing love and friendship and self-discovery in the place she feels most at home! every bond she's forged, everything she's worked for, it all comes down to choosing to face grief and move on in life with weirdos who stick together.

hoot hoot, that's some good metaphor

[just-some-random-blogger]

Snow Angel

Aemond's Version

I'll angel in the snow until I'm worthy but if it kills me, I tried.

Gwyane's Version ❄ Daemon's Version ❄ Aegon's Version ❄ Aemond's Version ❄ Jacaerys' Version ❄ Cregan's Version ❄ Criston's Version

Aemond Targaryen x Targaryen!Reader | 800< | cw: fem!reader, twin!reader, targcest, canon divergence, angst, violence, blood, war, death, typos, etc.

A/N: renee rapp my beloved. aemond and jacaerys' version go hand in hand

You were the blood in his veins. You were the half of him that shined. You were everything good about the him. He despised you for it.

You were the understanding he never got, the confidence he wished he had. You were the inspiration of laughter and the admiration of all. While in the womb, you robbed him of all the characteristics he wished he had, and he never forgave you for doing so.

So, when tensions were high, and the call of war was nigh, he knew it was his moment to prove himself, to everyone, to himself, to the council... to you.

He'd long forgotten when, was it when he saw you laughing with those bastard Strong boys, or was it when he'd been mockingly gifted a pig by his own brother, but he'd convinced himself that he would have to slay dragons in order to have you. It was no longer a metaphor but something that very well happen, something real and life threatening.

He'd held himself into an impossible standard, along the way, unknowingly done the same to you.

While he was so wrapped up in his self-mandated torment, he gazed upon you only with his missing eye, unable to see how much you wished to free him from his internal conflict. Yet every time you reached a hand out to him, he met you with scorn, taking out his anger on you. You felt the only way you could ever get through to him was to make yourself useful.

You did not care for politics. You did not care to make the Iron Throne your seat at the table. You wanted nothing to do with the burden your festered father left. But you did want to avoid war, as you saw how it hurt your sister, your mother, your people. Aemond saw the way you influenced your brother away from war as a sign of weakness, seven hells, as another slight against him. You were choosing to spare the enemy because of his wretched nephew, Jacaerys, who had always held your affections.

And when you walked in on him and Criston during their late night conspiring, you only further stoked his ire.

Dare you come to his quarters in nothing but a nightgown and a robe?

"Princess," Criston stands to attention.

You cross your arms. It makes Aemond clench his jaw.

"I need to speak with my brother in private."

Aemond stares at you. Cristion turns to him, expecting some sort of response. He gets none, and so he decides to simply nod and leave, "of course."

Once he is gone, the prince finally speaks, "have you come to whore yourself out to me?"

You ignore his insult, "I've come to speak to you. This is the only hour you'll speak to me."

"Wrong," he snaps, "even now, I do not wish to. Leave me."

"Aemond," you mutter, "I only wish to help-"

"And who told you I need help from a woman?"

This is your final straw.

His eye widens at the way you fall apart in your hands. You sob, tears spilling into your palms. It had been long since he saw sorrow cloud your face, the last time being when Jacaerys and his family left King's Landing, Jacaerys, who you chose to speak your woes to instead of him.

He stands and cautiously walks towards you.

"I will never be good enough for you, will I?"

His face falls, "what?"

You shake your head and step back, "no matter what I can think of, it will not be worthy of your attention because I thought of it."

He is unable to speak, unable to move as you flee him.

His mind is heavy with your words as he flies on Vhagar the next day. He was told a dragon was spotted pressing close to King's Landing and took it upon himself to patrol the area.

You can imagine his surprise, no, his delight, when he saw the creature, when he recognized the dragon Vermax, saddled by his rider.

He did not hesitate. He commanded Vhagar to scorch him, gritting his teeth when they escaped.

He pursued them, eager to seek rid himself of his sole competitor.

But then a loud screech was heard from behind and Vhagar's tail was knocked, making her flight unsteady.

Two dragons? An organized attack. Fine, Vhagar is large enough to take two dragonlings at once.

Aemond ascends, looking for his opponents from the height. He spots Vermax' green scales from afar. He hears the second dragon before seeing it come closer. He gives the command and Vhagar breathes fire before Aemond even identified who she attacked.

But then that creature makes a sound, and his mouth parts at the familiar screech. You circle around him, screaming something he cannot make out.

You choose the bastard over him?

He turns to Jacaerys. Vhagar flies over to attack.

He doesn't remember what happened after he gave the order. He was so single minded in his fury that the only thing that snapped him out of his trance was the sound of your scream and the sight of your dragon attempting to escape Vhagar's clamped jaw.

It was too late when he made Vhagar let go. You fell from the height and he could only watch. Not even Vermax coming to your aid could save you.

[kiapet2]

Alright, it’s less than a week since the Owl House finale aired and as expected I’ve already seen two direct comparisons to Steven Universe’s ending and several more vague-blogs, because one of this site’s hobbies is using other queer shows to put down Steven Universe. So let’s do this, then. Let’s compare the endings of Owl House and Steven Universe, and what each is ultimately trying to say.

Steven Universe and the Owl House are both shows that deal heavily with the clash of individualism and self-expression vs. socially-mandated conformity, and both shows’ final villains ultimately embody this conflict. One major difference, however, is that Owl House approaches this from the perspective of legal/societal structures, while Steven Universe approaches it from the perspective of family structures.

Steven Universe has always been about family--and particularly the ways traumas and biases are passed down through a family--and it has always heavily used the language of metaphor to discuss these topics. The Diamonds are the ultimate extension of this theme, something a lot of bad-faith (or just bad) takes on the ending miss; they interpret the diamonds in their literal capacity as dictators, rather than the way Steven Universe always portrays them, which is as matriarchs, i.e. the heads of a family who dictate and control all the family’s other members. This metaphor becomes more and more blatant until it outright becomes text, with the Diamonds turning out to be Steven’s literal family members, with whom his part of the family is estranged because of their previous controlling behavior.

In accordance with this theme, we ultimately find out that the Diamonds’ toxic ideology, with its rigid standards of perfection, are not only something they enforce on the gems below them, but also on themselves. They are suffering from the system in their own ways, unable to live up to the standards they themselves created. And who among us hasn’t known someone like that? A parent or grandparent who grew up under a cruel, oppressive worldview, and instead of rebelling against it internalized it--who turned around and said “I dealt with this, and so can you”? And so the ending of Steven Universe is the Diamonds realizing exactly how toxic the rigid ideology they’ve spent their lives perpetuating really is, and confronting the fact that their adherence to this ideology is what destroyed their relationship with Pink, and that the only way they’re going to have a relationship with Steven is if they’re willing to commit to changing both themselves, and the family structure they’ve enforced for so long.

Emperor Belos, in contrast, is not suffering from the structures he created, because his rules were never meant to apply to him. He sees the witches (and demons, and so-on) as lesser beings, evil beings, who exist to be controlled, and ultimately, exterminated. And every element of the society he built--the schools, the government, the police force, the religion--he intentionally constructed to keep these lesser beings under his control. The real-world allegory isn’t hard to see, here. And because what Belos represents in the story is, in fact, a fascist leader, the story shows that he can’t be reasoned with in any way that matters, and instead he is ultimately ground into paste beneath the boots of the people he sought to destroy. Different themes, different endings.

Now the usual argument that comes up here is as follows: but the Steven Universe ending isn’t as realistic! Not everyone is going to change, not everyone is going to be able to be reasoned with. Not every older, conservative family member is eventually going to accept you for who you are. And while that is true, ultimately SU isn’t meant to be realistic; it’s meant to be a power fantasy. Rebecca Sugar has come out and said before that they wrote a world in which there was good in everyone, because that’s the way she wishes the world could be. That’s the world they want to be able to believe in. And I am never going to begrudge a person, much less a queer person, for finding healing in writing that kind of world.

But you know what else is unrealistic? What else is ultimately just a fantasy? Grinding your government’s fascist leader into paste under your boot, then taking over and remaking society into something that accepts everyone. Sadly, Trump is not likely to get his ass beat any time soon. And more generally, punching fascists, while ideologically sound, is something most people are not going to get to do, due to real-world consequences such as “getting beat up by the fascist’s angry friends” and “being arrested for assault”. And even if you did depose one leader, our very society is set up in a way that perpetuates all manner of injustices, and systemic change is a complex and lengthy process that almost certainly won’t be completed in our lifetimes. But it’s fun to imagine we could, isn’t it?

Both endings are power fantasies. Both show the way they want the world to be, rather than the way it is. They are very different power fantasies, which fill very different--and at times conflicting--needs. And in situations like that, internet culture really likes to pick one to be the right fantasy, the right way to look at the world. 

But the truth is, both fantasies are needed! Some people need stories about your queerphobic relatives finally realizing the error of their ways and taking the necessary steps to accept and reconcile with you. And some people need stories where you get to grind fascist bastards beneath the heel of your boot. It’s okay if you prefer one type of fantasy over the other! But in the end, both are valuable, and both are important. 

And isn’t it wonderful, for us to have such a diversity of great queer stories? That we can explore both of these deep, conflicting needs? Let’s appreciate each of these fantastic works for what it was meant to be, rather than trying to pit them against each other or make them conform to a single, “best” way to tell a story.