#most are also victims of circumstance

[atomicjellyb3an]

Arcane season 2

seeing some of the comments and takes people have about Arcane is crazy, bc why is being a Caitlyn Kirammin stan starting to feel like being a Abby Anderson stan

i’m being so serious the lack of media literacy and empathy in discussions surrounding those characters is CRAZY

“i don’t like Caitlyn bc Vi chose her over Jinx” -for one thing it’s far more complicated than that, secondly be mad at Vi then?? 😭

Arcane has complex characters for a REASON, same with tlou, there is no “good” or “bad guy”. Also (no hate to Jinx bc i love the character) but bending over backwards to excuse EVERYTHING she’s done, but tearing down Caitlyn for literally anything? It’s hypocritical at this point,

[withthewindinherfootsteps]

Wei Wuxian and Narrative Agency – Part Three

For Xiantober Day Five: Past and Present, in which the author gets very unhinged about what parts of the past are shown and how that’s affected by the present!

(Part One | Part Two | Full version on AO3)

The Power of Agency: Shaping the Narrative

When I've discussed Wei Wuxian's agency previously, I’ve talked about how what’s shown and omitted tells us about a character, and we’ve talked about the character himself. Though this is a niche topic, it’s not necessarily something out of the ordinary to analyse, and we can assume everything up to here has been in some way intentional.

This? Linking structure to a character’s in-universe preferences?

This is where we get unhinged.

Before I start, let’s quickly establish something which will be important later: although Wei Wuxian is the central character, MDZS isn’t strictly from his POV. While omitting events a character doesn’t like to dwell on and concealing things the character wishes to hide is common in books with only one narrator, MDZS has multiple narrators which it switches between relatively quickly. This includes Wei Wuxian, but it also includes nearly every major character that appears in the story, and omniscient narrator as well. As a default, this format doesn’t lead to this deliberate shaping and omission because of one character’s preferences, since we have many other sources of information and events – which is what makes Wei Wuxian’s influence over the narrative and structure so interesting. We could have access to a lot more information, and access to it at different times, than we do (and that’s not an insult, quite the opposite!).

To begin: we’ve established that times such as Wei Wuxian’s time on the streets, his three months in the Burial Mounds and his loss in the Siege aren’t shown because Wei Wuxian has little agency there. But that’s not the only special thing about them. They’re also the three most traumatic times in his life, and so moments Wei Wuxian himself either can’t remember, or doesn’t like to dwell on.

This is why discussing Wei Wuxian’s treatment of tragedy in his life was important. Firstly, it shows he doesn’t focus on the tragedy in his life, so the idea that the narrative not focusing on this tragedy relates to his character has merit; secondly, it affirms that this is not a passive trait, but a choice. Therefore, when the narrative omits events due to this aspect of Wei Wuxian, it’s respecting not only a character detail – which would be cool by itself – but also an active decision. One that shapes the story it’s made in.

In other words, its very structure is respecting Wei Wuxian’s agency!

Now, of course there are flashbacks to other moments of his past he probably wouldn’t like to dwell on, too. But within the structure, they’re only shown when Wei Wuxian is thinking about them (or when he has reason to)!

Wei WuXian hadn’t woken up yet. His eyes were still tightly shut, yet his hand didn’t let go either. He seemed to be dreaming, muttering, “… Don’t… Don’t be angry…” Lan WangJi seemed somewhat surprised. His voice was gentle, “I am not angry.” Wei WuXian, “… Oh.” Hearing this, as though he finally felt assured, his fingers loosened. Lan WangJi sat beside Wei WuXian for a while. Seeing that he was motionless again, he was about to stand up when Wei WuXian grabbed him with his other hand, hugging his arm and refusing to let go. He shouted, “I’ll go with you, quick, take me back to your sect!” Chapter 63, EXR translation

Which, of course, is him dwelling on…

Lan WangJi spoke one word at a time, “Go back to Gusu with me.” Hearing this, both Wei WuXian and Jiang Cheng were surprised. Quickly afterward, Wei WuXian laughed, “Go back to Gusu with you? To the Cloud Recesses? Why go there?” He immediately seemed to realize, “Oh. I forgot. Your uncle Lan QiRen hates crooked people like me. You’re his proudest disciple, so of course you’re the same as him, haha. I refuse.” Chapter 62, EXR translation

…the painful flashback immediately preceding this. The third set of flashbacks (which are also painful) are a similar case. Look at the contex:

He lifted the bottom of his robe, revealing a prosthetic leg made of wood, “This leg of mine was destroyed by you, that night in the Nightless City (…)” (…) “Wei WuXian, I won’t ask you if you remember or not. Both of my parents died by your hands. You owe too many people. You definitely won’t remember them either. But, I, Fang MengChen, will never forget! And never forgive you!” (…) “In the fight at Qiongqi Path, my son was strangled to death by your dog Wen Ning!” “My shixiong died by poison, his entire body festering due to your cruel curse!” Chapter 68 (immediately preceding the flashbacks), EXR translation

And Wei Wuxian’s own thoughts and words:

Wei WuXian looked at the cultivators before the Demon-Slaughtering Cave. Their expressions were the absolute same as those of the cultivators from the night of the pledge conference, pouring their wine on the ground as they took the pledge to scatter the ashes of the Wen Sect’s remnants and him.  (…) Wei WuXian, “Now it’s time to ask just whom it is that treasures it so much. It’s like Wen Ning. Back then, some certain sects or so were scared to death of the Ghost General. They said they’d kill him on the surface, but behind their backs they hid him for over ten years. How strange. Who was the one that said his ashes had been scattered back then?” Chapter 79 (immediately succeeding the flashbacks), EXR translation 

Once again, Wei Wuxian’s own thoughts relate to the flashbacks we’ve just been shown. And, as I previously mentioned, though all the events which are shown are tragic, they’re also events which Wei Wuxian’s own choices and actions shaped – which he has this to say about:

“The things I did, not only do you remember them, I remember them too. You won’t forget them, and they’ll stay even longer in my mind!” Chapter 82, EXR

Admittedly, this applies more to the third set of flashbacks than the second (which is still fitting as the third set was the most recent), as in the second, although he still had agency within and influence over his circumstances, the majority of the pain was caused by others’ actions (excluding, of course, the Golden Core transfer… which is something we know stays for a long time in his mind, albeit with a caveat we’ll soon discuss). But it’s still important to note – especially considering that otherwise, focusing on this very painful time in his life wouldn’t seem like something very in-character for Wei Wuxian to do.

Of course, this can all just be explained by good writing. It is best to insert flashbacks when they’re relevant to the characters and events in the present day! But it is interesting to compare these to the start of the (not painful) Gusu flashbacks, which open this way:

At a later time, Wei WuXian pondered upon the reason why his relationship with Lan WangJi wasn’t good. Getting to the root of the matter, everything started when he was fifteen, coming to the GusuLan Sect with Jiang Cheng to study for three months. Chapter 13, EXR

Again, considering the circumstances around which these flashbacks take place – returning to the Cloud Recesses for the first time since the lectures, and meeting Lan Wangji once more – it makes complete sense for Wei Wuxian to be thinking about these events*. So it does fit the pattern of Wei Wuxian dwelling on something, thus leading to the narrative dwelling on it, too (and being shaped by his thoughts)… but there’s another layer to this. Importantly, it is the only flashback where Wei Wuxian’s present thoughts don’t lead to this happening, with his thoughts at an unspecified future time leading to it, instead. I like to interpret this as the text saying that, since these events aren’t something Wei Wuxian wouldn’t focus on in normal circumstances, he can dwell on them at any time. Therefore, they’re free to come up in the narrative at any time as well, even if he’s not dwelling on them in the present moment!

So, to summarise: Wei Wuxian’s decision not to focus on the painful times in his life directly influences the narrative to not focus on these times. When painful times are brought up and shown to us, it’s in the context of him thinking about them in the present day, and even then, his most painful moments still aren’t shown to us. His agency in this regard is still respected by the narrative structure.

This is the main way his agency influences the structure of the narrative, but I’d like to talk about the revealing and concealing of information, too. For example, I said I’d talk about the Golden Core transfer – though Wei Wuxian does think about this many times, as evidenced by his internal narration in Chapter 103. But unlike everything we’re shown through the flashbacks, this is something Wei Wuxian is actively trying to hide from others. And the narrative respects this choice (Wei Wuxian’s agency, again), never reveals it even when it would be relevant in the flashbacks, and we find out not through narration, but through a character’s dialogue!

And to clarify – I know these aspects may not be in the book for this exact reason. Showing flashbacks in relevant moments is good writing, concealing an important plot point you want to do a reveal for is necessary writing, and MXTX has said she didn’t want to write about Wei Wuxian’s time in the Burial Mounds, due to not liking to write transformation sequences (and also because it would not be pleasant at all, which likely also applies to Wei Wuxian’s death). That doesn’t prevent it from also being intentional – MXTX’s intelligence is shown in many aspects of this book, and there’s nothing disproving it – but there’s no proof for either option, so I won’t pretend there is. I bring this up because I know this feels like I’m overanalysing, as I feel that way as well.

But, whether it’s intentional or not, it exists in the text, and I adore it – so, regardless, it’s something I’ll explore. Because taking this into account… We aren't just told about Wei Wuxian having agency, we aren’t just shown it in the text, we aren’t even just shown it through which parts of his past are shown and hidden in the structure of the text (as I talked about in Part One). The parts of the past that are shown and hidden also have an in-universe reason for being shown and hidden, this reason being the choices he makes! Agency is the ability of a character to influence the story they’re in, but Wei Wuxian’s agency, as a property of a character who only exists in-universe, shapes the out-of-universe structure as well! That’s how we’re shown its importance! How cool is that?

At The End Of The Road: Summary and Final Thoughts

In this essay, we’ve covered how important Wei Wuxian’s agency is not only to the events of the plot, but to the structure of the narrative as well. The narrative omits periods in which Wei Wuxian has little or no agency, in favour of showing us periods in which he does, even when important events happened in the former. This indicates that who Wei Wuxian is without agency isn’t important enough to be shown to the audience, and therefore that his agency is an integral aspect of his character in MDZS. We’ve discussed how both in-universe and out-of-universe, tragedy does not define him – out-of-universe, the tragic events in Wei Wuxian’s life are used not to build sympathy but rather to show his strength of character and who he still is despite going through them; and in-universe, he chooses not to focus on the negativity and resentment caused by his circumstances or others’ actions, instead staying true to his moral compass and enjoying his life in the present day. Finally, we’ve also explored how this choice is another reason for the omission of certain events from the narrative, resulting in his agency shaping the story in a very literal way – it affects the out-of-universe structure, as well.

It’s quite fitting, for a story whose essence is about defying a conventional narrative – that of righteous clans rising up and defeating a great evil – and about a character who defies many conventional narratives on his own – that of status defining how skilled you could be, that for a golden core being necessary for cultivation and other paths being unavailable, that of a tragic but complete story of someone killed for staying true to their moral code (instead, that character returns to life and has a happy ending) – to have its own narrative play a role in such an important and interesting way.

(Or, if an image would be preferable:)

Thank you for reading!

(Part One | Part Two | Full version on AO3)

--

*This strong relation to the present day circumstances is another reason I love the flashback placement so much (and why I think it’s such a loss both screen adaptions altered it so strongly)! 

[jasontoddenthusiastt]

“Jason should get over being upset about his death” - he has, he wasn’t angry at Bruce or the world because they failed him and he ended up dying, which he made clear plain as day and that’s about the most reasonable a person who went through what he went through could be

anyway I don’t think these people realize how gory being bludgeoned to near death is, and maybe it's because of the limitations of the medium that scene was presented in

[dementedspeedster]

//I think the insistence to not read any of Thad's appearances past the Impu/se comics or that his appearances post Impu/se are out of character for him has poisoned the well regarding fandom's understanding of his character. Popular fandom interpretations also don't help.

I think with regard to Thad there is an inundation in fandom of the character people want Thad to be and not the character that Thad actually is. And I'm personally frustrated with it.

[gideonisms]

Okay this is my second time watching the black rose arc and I still don't know why mamiya looks just like young akio/dios. or is he supposed to resemble anthy? you would think his name being so similar to himemiya would mean something. the metaphor there is so unparsable to me. like what is he there for

[uncle-fruity]

Friendly reminder to not feed the troll. Don't take the bait. You don't have to fight every fucko who enters your inbox looking for a bad faith argument. Ultimately, it will wear you down and upset you more than it will ever do anything productive.

[deer-motif]

i love delving into the little details of the characters in supernatural and looking at things in different angles, but i just do not understand when people are like. an active anti to a character. it baffles me. like i’ll poke at their choices or behaviors sometimes but i don’t really hate any of them?

[sweetteaanddragons]

I have been thinking lately about a universe where Bruce Wayne killed the Joker.

I want to be clear here, since there are so many longstanding debates on this topic: I do not think Bruce Wayne should kill the Joker. I have just been wondering what would happen if the circumstances aligned in such a way that he did.

And to be clear on a related, yet slightly different topic: when I say I have been wondering about what if Bruce Wayne killed the Joker, I do not mean as the Batman. I mean Bruce "Brucie" Wayne.

Maybe it's kind of an accident? Like, he definitely did intend to hit the Joker, but he's Brucie right now, so he's trying not to look like he knows what he's doing while still doing enough damage to keep the Joker from killing someone, and meanwhile the Joker makes just the wrong move and -

And here we are. Brucie just killed the Joker.

Bruce's reaction here is one thing; he has his one rule for a reason, he's just broken it, he's determined to turn himself in -

His family's reaction is a whole different story. How does Cass feel about this?

How does Jason? Bruce has killed the Joker, just like he wanted, but it wasn't for him, not really, and -

And meanwhile, this happens in front of, say, a gala full of people, so now all of Gotham gets to react to it too.

Average Gothamite, seeing the words BRUCE WAYNE, JOKER, and KILLED in the same headline: OH, NO.

Average Gothamite, once they've processed the order those words are actually in: . . . I did not have that on this year's bingo card.

The city's most famous mass murderer has just been publicly killed by the city's biggest employer/philanthropist/source of tabloid harmless nonsense! Three days before Brucie was making tabloid headlines by tripping into a fountain and somehow losing his shirt in the process! Two weeks before, the newspaper was running a retrospective on the Wayne murders and what donation Brucie was making to help the families of victims this year! The article mentioned how one of his adopted sons had also tragically become a murder victim!

Now this has happened, and Bruce is having a breakdown over breaking his one rule, and the rest of Gotham just assumes that this is because poor Brucie thinks this somehow makes him like the man who killed his parents. They send a huge outpouring of support his way. This in no way helps Bruce's actual breakdown.

Ninety percent of Gotham is sure Brucie didn't actually mean to kill the Joker, and pretty much a hundred percent of them support him whether he meant to do it or not. No one wants to have anything to do with prosecuting this mess. Bruce is trying to make it as clear as possible that he will fully cooperate with the justice system and meanwhile an entire gala full of people is suddenly acting like they could in no way have possibly witnessed events that took place ten feet in front of their faces. Did Bruce kill the Joker? Is the officer sure? That doesn't seem like him. Maybe the Joker just tripped on his own. Marble floors, you know. Very slippery.

[hershelwidget]

working on so many projects

tag yourself i'm "swap auuu"

[star-ocean-peahen]

After watching Cinderella (the original animated movie, which was my favorite as a child), it strikes me how it solves many common problems people have with this fairy tale. Like:

Why did they try to identify the mystery girl using her shoe size? Because the bullheaded king's only clue to her identity was the shoe the Grand Duke picked up off the steps.

Why didn't the prince recognize her by her face? Because his father wouldn't involve him in the process at all, and wasn't the one going around trying to find her.

Why did the prince want to marry a lady he only met that night? Because his father was going to force him to marry someone, and he genuinely liked this woman.

Why did Cinderella want to marry a man she only met that night? Because marriage was her best and most secure way to freedom. Fucked up, but you can't say it's unrealistic for the setting of a fairy tale. She also genuinely liked him.

If they're using the slipper to find her, wouldn't it be more sensible to search for the person with the other slipper? Yes. The King is purposefully nonsensical and the Duke is purposefully terrified enough of him to carry out his orders to the letter. Furthermore, they end up doing that in the end anyway, because the Duke's glass slipper is shattered, and Cinderella brings out the one she has to prove her identity.

Why didn't the stepmother and stepsisters recognize Cinderella at the ball? Because they were dancing too far away, and then left the party to dance in private, which was possible because the King wanted very badly for his son to hit it off with someone and tried to arrange the best conditions for that to happen.

Why didn't Cinderella save herself? Because in real life, abuse victims should not have to shoulder that responsibility, and usually can't. In real life, you need and deserve an external support system. Asking for help, in this kind of situation, is very important. She is saved by others because she is loved. Because she is not alone. Because she has friends who love her, and want her to be happy and safe and free. Because in real life, people who want to help someone who is suffering are like the mice. We can't pull out miracle solutions, but we can provide companionship and if we're in the right place at the right time, we can help the person find a better life.

Why didn't the fairy godmother save Cinderella from her abusive household, or try to help her sooner? Because she's magic, and magic can't solve your problems. Quote: "Like all dreams, well, I'm afraid it can't last forever." This (and Cinderella's dream of going to the ball) is a metaphor for pleasurable things in bad circumstances. An ice cream won't get rid of your depression, but it will provide you with momentary happiness to bolster you, as well as the reminder that happiness in general is still possible for you. Cinderella doesn't want to go to the ball so she can get away from her stepmother and stepsisters, or so she can meet someone to marry and leave with. She wants to go to the ball to remind herself that she can still have things she wants. That her desires matter. This is important because the movie does a very good job of illustrating Lady Tremaine's subtle abuse tactics, all of which invisibly press the message that Cinderella doesn't matter. While going to the ball and fulfilling her dreams may not be a victory in the material sense, it is still a victory against Lady Tremaine's efforts.

Why is Cinderella's choice to be kind and obedient framed as a good thing, when you are not obligated to be kind to your abuser? This one walks a very fine line, but I think the movie still makes it make sense. Lady Tremaine never acknowledges her cruelty. She always frames her punishments of Cinderella as Cinderella's fault. Cinderella is interrupting, Cinderella is shirking her duties, Cinderella is playing vicious practical jokes. Cinderella is still a member of the family, of course she can go to the ball, provided she meet these impossible conditions. Lady Tremaine's tactics are designed to make Cinderella feel like she must always be in the wrong and her stepmother must always be in the right. If Cinderella calls her stepmother out on her cruelty, or attempts to fight back, Lady Tremaine can frame that as Cinderella being ungrateful, cruel, broken, evil, etc. If Cinderella responds to her stepmother's cruelty defiantly (in the way she's justified to), she's not taking control out of Lady Tremaine's hands. Disobedience can be spun back into her stepmother's control. She wants Cinderella to be angry and sad and show how much she's hurting. So since Cinderella is adapting to her situation, she chooses to be kind. Not only because she naturally wants to be and it's part of her personality, but because it is a form of defiance in its own way, and it allows her to keep a reminder of her agency and value. Her choice to be kind is her chance to keep her own narrative alive: she is not obeying because her stepmother wants her to and she has to do what her stepmother does, but because she wants to. It's a small distinction, but one that makes all the difference in terms of keeping her hope and identity. (Fuck, I wrote a whole paragraph about how this doesn't mean you can't be angry at people who hurt you or that you need to be kind to deserve help, and then deleted it by accident. Uh. Try again.) Expressing anger and pain is an important part of regaining autonomy and healing. Although it is commendable to be kind while you are suffering, it is NOT required for you to get help or be worthy of help. If Cinderella's recovery was explored beyond "happily ever after" she would need to let herself be angry and sad to heal. Cinderella is not only kind because it comes naturally to her, but because it's her defense against the abuse she's suffering. Everyone's story and experiences are different, and one does not invalidate the other.

Bonus round for answers that aren't part of the movie:

Why didn't Cinderella run away? Where would she go? Genuinely, in hundreds-of-years-ago France, where would she go if she snuck out of the window with a change of clothes? With her step-family, she's miserable and abused, but she's fed, clothed, and in no danger of dying or being taken advantage of by anyone other than her stepmother and stepsisters. Even if she escapes and manages to find financial security, her stepmother might be able to find her and get her back.

Why didn't Cinderella burn the house down with them inside it/slit their throats in the night/poison their food/etc.? Because that's a revenge fantasy, and this story is a fantasy about being saved. There's nothing wrong with making Cinderella into a revenge fantasy. That's perfectly fine, as long as you acknowledge that the other type of fantasy is also a valid interpretation. (I mean, the original fairy tale features the stepsisters getting their feet mutilated and all three of them getting their eyes pecked out, so go for it.)

Why isn't Cinderella more proactive in general? Because she's a child who has been abused for the back half of her life, who has had to be focused on survival because. you know. she's an abused kid.

How did she dance in glass slippers? Gotta agree with you there man, that's weird.

[literaryvein-reblogs]

Writing Notes: Stages of Decomposition

The decomposition process occurs in several stages following death:

Pallor mortis

Algor mortis

Rigor mortis

Cadaveric spasm

Lividity

Putrefaction

Decomposition

Skeletonization

PALLOR MORTIS

The first stage of death.

Occurs once blood stops circulating in the body.

The cessation of an oxygenated blood flow to the capillaries beneath the skin causes the deceased to pale in appearance.

In non-Caucasians, the pallor may appear to develop an unusual hue; the skin will lose any natural lustre and appears more waxen.

Occurs quite quickly, within about 10 minutes after death.

ALGOR MORTIS

The cooling of the body after death.

The cooling process will be influenced by many factors, including the deceased’s clothing, or whether they are covered with bed linen such as blankets or duvets.

The body will typically cool to the ambient room temperature, but this alters if there is heating in the room or if there is a constant draught cooling the body.

RIGOR MORTIS

Can occur between 2 and 6 hours after death.

Factors including temperature can greatly affect this.

Caused by the muscles partially contracting, and the lack of aerobic respiration means that the muscles cannot relax from the contraction, leaving them tense, subsequently resulting in the stiffening we associate with rigor mortis.

This stage typically begins in the head, starting with the eyes, mouth, jaw and neck, and progresses right through the body.

The process is concluded approximately 12 hours after death (although, again, certain variables may occur) and lasts between 24 and 72 hours depending on circumstances.

Contrary to popular belief, rigor mortis is not a permanent state and is in fact reversed, with the muscles relaxing in the same order in which they initially stiffened.

The reversing process also takes approximately 12 hours, when the body returns to its un-contracted state.

It is possible to ‘break’ rigor mortis by manipulating and flexing the limbs. This is usually done by undertakers, pathologists or crime scene investigators who are attempting to examine or move a body – or by a murderer trying to hide their victim in the closet or the boot of a car.

CADAVERIC SPASM

A phenomenon that can be misinterpreted as rigor mortis.

The instantaneous stiffening of the body (most commonly the hands) following a traumatic death.

Unlike rigor mortis, the stiffening of the affected limb is permanent and is not reversed, causing the deceased to maintain the rigidity until such time as putrefaction causes breakdown of the particular muscle group.

Examples:

The deceased following an air crash were later discovered still clutching their seatbelts or arm rests in a final, desperate act of survival.

In a drowning case, the victim was discovered with grass from the riverbank still grasped in their hand.

Perhaps the most famous case of cadaveric spasm involves the rock band Nirvana’s lead singer, Kurt Cobain. Cobain reportedly committed suicide in April 1994. His body was discovered a few days after his death with a shotgun wound to the head, and tests revealed he had large traces of heroin in his system. He was reportedly discovered still clutching the gun in his left hand, due to cadaveric spasm. However, a great deal of controversy surrounds the veracity of this latter assumption, and indeed the cause of his death, with many people insisting and attempting to prove that he died as the result of foul play rather than suicide.

LIVIDITY

Also known as livor mortis, hypostasis, or suggillation.

Once blood can no longer circulate, it will gravitate towards the lowest point of the body.

Example: A supine body will display pinkish/purple patches of discoloration where the blood has settled in the back and along the thighs.

Occurs about 30 minutes after death, but will not necessarily be noticeable until at least 2 hours afterwards as the pooling process intensifies and becomes visible, finally peaking up to between 8 and 12 hours later.

Once it is complete, the lividity process cannot be reversed.

Therefore a body discovered lying on its side, but with staining evident in the back and shoulders, must have been moved at some point from what would have been a supine position at the time of death.

It is worth noting that if the body has had contact with the floor, a wall or other solid surface, lividity would not occur at the points of contact as the pressure would not allow the blood to seep through the capillaries and pool. The specific area of pressure will be the same colour as the rest of the body and a pattern of contact may well be evident.

PUTREFACTION

Derives from the Latin putrefacere, meaning ‘to make rotten’.

The body becomes rotten through the process known as autolysis, which is the liquefaction of bodily tissue and organs and the breakdown of proteins within the body due to the increased presence of bacteria.

The first visible sign is the discoloration of the skin in the area of the abdomen.

Bacteria released from the intestine cause the body to become bloated with a mixture of gases; over time these will leak out, and the smell will intensify to unbearable proportions.

Typically, this will attract flies that will lay eggs, which develop into maggots.

Bloating is most evident in the stomach area, genitals and face, which can become unrecognizable as the tongue and eyes are forced to protrude due to the pressure of the build-up of gases in the body.

At this stage, the body will also begin to lose hair.

The organs typically decompose in a particular order: starting with the stomach, followed by the intestines, heart, liver, brain, lungs, kidney, bladder and uterus/prostate.

Once all the gases have escaped the skin begins to turn black: this stage is called ‘black putrefaction’.

As with all the other stages of death so far, the rate of putrefaction depends on temperature and location. A body exposed to the air above ground will decompose more quickly than a body left in water or buried below ground.

During putrefaction, blistering of the skin and fermentation can also occur:

Fermentation - a type of mould that will grow on the surface of the body. This mould appears white, and is slimy or furry in texture. It also releases a very strong, unpleasant, cheesy smell.

As the putrefaction process comes to an end, fly and maggot activity will become less, which leads to the next stage.

DECOMPOSITION

The body is an organic substance comprising organisms that can be broken down by chemical decomposition.

If the body is outside, any remains that have not been scavenged or consumed by maggots will liquefy and seep into the surrounding soil.

Thus when the body decomposes it is effectively recycled and returned to nature.

SKELETONIZATION

The final stage of death is known as ‘dry decay’, when the cadaver has all but dried out: the soft tissue has all gone and only the skeleton remains.

If the cadaver is outside, not only is it exposed to the elements but it also becomes food for scavengers such as rats, crows or foxes.

As the remains are scavenged, the body parts become dispersed so it is not unusual to find skeletal remains some distance from where the body lay at the point of death.

The way in which skeletal remains are scattered in such cases is of interest to archaeologists, and is referred to as taphonomy.

Where a body has lain undiscovered at home for a period of time it has also been known for family pets, typically dogs, to feed on the body. The natural instinct of a pet is to attempt to arouse the deceased by licking them, but once it gets hungry, its survival instinct will take over and it will consider the body as little more than carrion: it will act with the same natural instinct as a scavenger in the wild, which will feed on any corpse, be it animal or human, if it is starving.

Obviously the number of pets, the body mass of the deceased and the time lapse before the body is discovered will influence to what extent it has been devoured.

For further research on the stages of decomposition and the factors that affect it, look up body farms. These are medical facilities where bodies are donated for research purposes so scientists can specifically observe the decomposition process. However, be aware that some of the images are quite graphic.

Source ⚜ More: References ⚜ Autopsy ⚜ Pain & Violence ⚜ Injuries Bereavement ⚜ Death & Sacrifice ⚜ Cheating Death ⚜ Death Conceptions

[agoddamnrayofsunshine]

I’m sure someone has talked about this before but one thing I absolutely love about tbosas is how Snow’s descent into villainy is never once presented as something that was inevitable

So many villain origin stories portray this idea of a person who tries incredibly hard to be a good person, who takes every opportunity to be kind and to better themselves, but are ultimately doomed to fail by the narrative. Their environment and their circumstances make it impossible for them to be a good person, and while this is effective from a storytelling point of view it’s not exactly accurate to real life

In real life there is always a point where a bad person makes the decision to do something bad, they make the decision to prioritise themselves, their own power, money or desires over someone else. That’s how real life dictators are made, they are presented with every opportunity to be good, and they purposefully choose to not take it

This makes Snow’s storyline so effective because he is given so many opportunities to do the right thing and yet, at every single turn, he chooses to serve himself instead, exactly like how real dictators are made

Snow, unlike most people we see in the capitol, is in a unique position where he could genuinely have the chance to understand and relate to the people from the districts. He, unlike his classmates, is poor and spends most nights going hungry, he witnessed firsthand the cruelty of the capitol when Clemensia was bitten by the snakes for nothing more than lying about doing her homework, when his sister was forced to sell herself on the streets in order to feed the both of them

Throughout his book, the three people he is closest to are Tigris (who dislikes the hunger games, is a rebel, and a victim of the capitol forced to turn to prostitution), Sejanus (who is originally from district 2, dislikes the capitol and knows he will never be accepted there, and also a rebel) and Lucy Gray (who is a victim of the hunger games, from district 12, and is also treated horribly by the capitol). These are all people who gave him an opportunity to realise the cruelty of the system he was in, a chance to directly confront his prejudices and see that people from the districts are just the same as him, and yet he still refuses to take the chance to change

He is given every opportunity, he’s sent away from the capitol to be a peacekeeper in the districts, he forms personal connections with people from the districts, he helps Sejanus perform funeral rites, and yet at every moral crossroads he comes to he makes the wrong decision. He didn’t have to become a villain, and yet he made the choice to do so anyway, despite every chance he was given

I think it’s a really effective portrayal of Snow as a character, and it’s a very effective villain origin story for the type of villain that Snow is. It never once excuses him from his actions because it highlights just how accountable he was for his actions

[woodohwanedandproud]

@applestorms #yes yes absolutely #idk to some degree generally i try to approach stories on their own basis at least initially #e.g. focusing on DN in terms of characters rather than distinct questions of ethics like whether or not light is actually doing good etc #but. recently i think i’ve been questioning that a bit #it’s just hard to separate it out entirely even if unintentional y’know #also it drives me nuts when people do the ‘uhuhuhuh um acktually. 🤓👆light was right’ schtick #no he was fucking not!! #it is core to DN imo that light very rarely has to actually interact with his victims #to see them for their humanity or personal mindsets or lives #the ways in which they might’ve been pushed to crime one way or another through the circumstances of their lives #idk it just falls into that classic mindset of seeing criminals as ‘doing evil for evil’s sake’ #and refusing to see the very real human motivations that exist behind every crime #ultimately light is completely unwilling to engage with any moral quandaries because of the nature of his mindset surrounding KIRA in the #first place & the selfish motivations he personally holds #ironically he sees himself in the exact way he refuses to see any of the people he passes judgement on #sighh idk. is any of that coherent #again yeah it’s hard to piece this out fully w/o good context of the japanese justice system #but also like… i mean light is killing american criminals too. by proxy he is almost undoubtedly falling for the same racist bias inherent #to the american justice system #and any other biases racial or otherwise present in justice systems worldwide #or even outside of those justice systems i mean yeah he does some ‘research’ or whatever for most kills #and only tries to target the worst of the worst at least initially #but c’mon #they say it in series— the crime rate starts dropping incredibly once KIRA is well known to the world #how low do you think light ends up dropping his standards? esp once mikami gets involved #note that his reaction to mikami’s claims is never ‘that’s wrong’ but always ‘that’s too soon’ #he WAS planning on getting rid of all the so-called lazy and useless parts of society at some point #there are flaws inherent to light’s approach yes but he’s also kind of fucking terrible regardless #he does not respect or connect with the rest of humanity in the slightest #light sees himself as being above the rest of humanity, as the peak ideal that everyone should strive to be. once you start getting rid of the most egregious offenders, how soon does the mindset transform? when you start killing off everyone that isn’t like you? it’s a blessing, frankly, that light only reigned for 6 years. i cannot imagine what the world would’ve looked like if he had a full lifetime of that kind of power @moonlarked (OP) read your tags and you’re absolutely right! tbf death note is super fucking vague about what light “counts” as criminality…I dunno if he researched the American prison system or whatever when killing Americans but death note doesn’t seem to know either! like yeah he absolutely killed war criminals corrupt politicians evil rich people etc etc but i think the sense of dehumanization is really important here

yeah death note is very much not interested in breaking the status quo at all or meaningfully criticizing the police system for obvious reasons (it’s a crime thriller that has no interest in being anything but entertaining) but i think it’s interesting to expand on the implications of the characters with the ideas of totalitarianism and state sanctioned violence in a death of the author kind of way

(obviously i am coming from a western viewpoint, if anyone familiar with the japanese criminal justice system wants to go more in depth with this feel free to, I’ve definitely heard interesting ideas in that regard)

[baeshijima]

being married to duke!blade is a feat inconceivable to many.

overseeing the northern region where monster outbreaks are high and temperatures are low, he is feared by many for not only his undeniable battle prowess, but also his cold and dismissive demeanour. from all the stories and rumours passed down from those who battled alongside the duke, it wouldn’t be an exaggeration to say his mere presence alone is sufficient enough to take on an entire army.

but despite his infamous personality, the young duke had made rounds within high society when he first showed his face. he was handsome, having that rugged appearance expected of a blood-soaked warrior residing on the battlefied, yet beautiful with a haunting allure — those crimson-marigold eyes of his can simultaneously bewitch an unassuming victim and bring the most prideful of monarchs down to their knees.

and, as expected of someone with such descriptors, many of the nobility found themselves drawn to him in spite of the rumours which clung to his very being. noble ladies wished to be the first he ever danced with, while many families seeked to gain even a morsel of his power through arranged marriages. relentless as they were, none succeeded in swaying the stone-cold duke.

and stone-cold he was upon your first meeting, albeit in… less than fortunate circumstances.

having meandered around the foresty northern borders not too far from where your family estate is, you certainly were not expecting to stumble across a rotting corpse smack-dab in the middle of your path! okay, well, rotting may not be the most suitable term, but the slumped body, battered and bruised and bloodied, you accidentally kicked was very much a corpse.

you had contemplated leaving the body there but, upon seeing a bloodied insignia of an all-too familiar ducal household, you decided you wanted to live a little longer. of course, this led to you lugging a slumped, muscle-packed warrior of a man all the way to where your estate was, heaving and huffing with your body trembling under the weight.

(to say you were just about ready to collapse when the family knights spotted your emerging figure was no understatement!)

whisked away into a guest room near your own, your parents called for the family doctor immediately. when the blood was cleaned and his wounds were wrapped, the sight of his injuries mending themselves was sure to be a sight you would never be able to rid your mind of. it was a strange but intriguing phenomenon to see his skin stitched anew, that horrid sight of him collapsed in the forestry almost like that of a dream.

your father immediately sent word to the duke’s estate to notify them of the circumstances. in the meanwhile, the man of the hour was unconscious for three days. seeing as how you were the one to find him, you took it upon yourself to help look after his well-being. changing his bandages, regularly wiping the accumulating sweat with a freshly damp cloth, ensuring the room is well-ventilated — you did the lot!

(sometimes you would stare at his resting face, wondering just how much more handsome he would be with his eyes open; only to retract that sentiment when recalling the tales about how his eyes could burn a man alive. exaggerated or not, he is still a dangerous individual you would rather not further entangle yourself with.)

with his people having retrieved their master from your care, promises of hefty compensation for taking care of their lord ringing in your ears, you were ready to sweep the whole ordeal under the rug and never get yourself involved with a man like him again! after all, he is the fearful duke responsible for your region, while you’re just another noble within his domain.

so, naturally, when you first heard of your soon-to-be marriage, you thought your parents did something to offend him and were sending you as a sacrifice meant to appease his wrath.

because, well, why else would the very same duke infamous for having zero interest in romantic and political marriages be sending a letter for your hand in marriage of his own accord? being unconscious the entirety of the time made him unable to see you, let alone know your family, so of course that meant his staff had filled him in on what happened. but why would he initiate this proposal without even knowing who you are first???

(did you get a say in this? no. would you have refused? yes. did your parents care about you and your well-being? aside from their apologetic gazes at your slack-jawed reaction and somewhat rational reasoning of “his grace may have an infamous reputation, but he is not a cruel ruler nor man,” you would like to deny the parental affection they have given you thus far in favour of objecting the claim.)

well, no matter. there was little time to prepare for his arrival to your estate, as the letter stated he would be arriving to escort you himself.

after much fuss over your clothing and luggage, the day arrived; you were going to see him again, except this time, he would see you as well.

a regal carriage entered the estate’s gates. the door swung open. a black gloved hand was the first to appear, followed by a ducked head of long navy hair, a familiar figure donning a freshly pressed suit and black overcoat, and finally — finally — a pair of burning crimson-marigold met your own gaze.

you weren’t sure if it was the adrenaline of your fight or flight response kicking in or the butterflies which ruptured within you that caused your heart rate to increase, but you found yourself unable to tear your gaze away from him.

he stopped in front of you, the features you once saw up close felt more complete than ever with the addition of his eyes open.

and thus, with your palm settled atop his outstretched gloved one, your fate was sealed.

(man. was this the compensation the staff were saying to you as they left…?)

that was two years ago.

savage. cold-blooded. inhumane. brute. monster. these were some of the ways in which duke blade was described. the man who currently sits on the edge of the bed watching you dress his wounds, however, is much different than the public opinion.

ever since exchanging vows at the altar and slipping sacred rings of matrimony onto each other’s fingers, you have come to know many sides of blade you never thought possible.

and while he rarely spoke in the beginning, his actions spoke louder than any voice could ever hope to measure up to. and, eventually, he became more vocal in regards to his feelings for you, just as you have with yours upon witnessing firsthand his true character.

from his battle-haggard, near manic state when on the verge of succumbing to the curse before falling into your healing embrace, to his tender fleeting touches and ever-adoring affection repressed within his gaze when in the presence of others, you have seen it all.

the process of getting to know and understand the intricacies of his life is almost like unravelling layers upon layers of thin bandage wrapped tightly around a gaping wound, hoping to block out the vulnerabilities which could be exposed. it was rocky at first, you being in an unfamiliar environment while he had his own inner battles to deal with first and foremost, but time carved its path for the two of you to partake in talks lasting late into the night, a subtle fondness growing more pronounced as familiarity grew alongside it.

and, of course, the time he returned from a subjugation battle-worn and mind having been overriden with mania. it was the first you’d seen him in such a loss of control. knights were rushing to subdue him while the servants desperately tried to usher your bewildered form some place safe, as though this had been a common occurrence well before you came into the picture. that hadn’t gone as planned, however, as the moment blade’s heaving figure locked eyes with you, a state of chaos ensued the moment he broke through the wall of knights with ease and appeared in front of you. no time was wasted when he lunged, a panic chorus of cries following suit as you remained rooted in place.

while you would never forget the blown-out, near-animalistic look in his eyes as he drew closer at an impossible speed, the gentle — almost reverent — manner in which he embraced you then, rigid body instantly relaxing against you, would forever be the turning point of your relationship, as well as a long-cherished memory of his first true feelings.

a dull sensation poking the space between your brows snaps you out of your thoughts. “stop frowning. i’ll be fine like always.”

your hands pause in their ministrations, hovering over his bare torso where you finished tying up a bandage. a blink and a sigh, another swab of disinfectant is in your hands working at the wound on his bicep.

“but that doesn’t mean i like seeing you return to me wounded,” you mutter bitterly, blatantly ignoring his stare. “i know you can take care of yourself, what with that regenerative ability of yours, but i still worry over you. you can still feel the pain, after all, and not to mention that curse—”

a swift tug forward abruptly cuts you off, your words fizzling on the tip of your tongue as a familiar warmth encases you in its entirety. instinctively, your hands grip onto his shoulders, the coarse material of bandages not unfamiliar to your touch, while blade’s hands are splayed across the expanse of your back as he holds you against his seated form.

his nose nudges along the slope of your neck, the shape of your jaw, the contours of your face, a trail of soft kisses leaving searing imprints in its wake.

a deep breath, a ticklish sensation, a thrumming heartbeat.

and when he rests his forehead against your own, crimson-marigold eyes dyed with devotion and seeping ardour, you think the world will be okay.

(even if it were to burst into flames and be reduced to ash, if it means you would be by this man’s side for a little longer, you think it will be okay.)

[golden-redhead]

I think there's a lot of signs pointing to Jayce actually doing the right thing ...or at least the right thing based on the information available to him at the time.

We can't know for a fact just how much Viktor was changed and what his healing was doing to the people who came to him in the long run, but considering all the hints dropped by the writers, the situation is much less clear than we think. Obviously, everyone's first instinct is to condemn Jayce and his actions, especially because Viktor is one of fan favourites, but looking at the teaser for the next Act and what little we know about what happened to Jayce, I think it might have been necessary evil.

I think this scene of Viktor temporarily 'possessing' Salo in order to talk with Jayce points to just how fucked this little community that Viktor created actually is. There's a reason why everyone's getting those 'it's a freaking cult' vibes.

This scene made me more uncomfortable than anything else this season and I think it's clear that it was meant to make feel that way. There's something so uncanny about Viktor's voice coming out of Salo's mouth, especially paired with that look on his face and how Viktor seems to be able to see and experience things through him in this moment.

And then there's also the issue of all these people dying a horrible drawn-out death as soon as Viktor himself 'dies'. Yes, they came to him on their own, they asked to be healed, but did they really know what they are getting into? Did they know this is what might happen?

Some of them were already dying, true, but Viktor healed all kinds of people, some of whom most likely had their whole lives ahead of them. He, knowingly or not, inevitably sped up this process. Not all of them were consummed by Shimmer-addiction or permanently disabled like Salo.

And then there's also the fact of all of them basically abandoning their previous lives to serve Viktor and his community. Which, okay, makes sense, there's certainly a parallel with the community that Ekko created for Zaunites to keep them safe from Piltover and Silco's plans. They made an informed choice, though, and I don't think the same can be said about Viktor's cult-like commute.

They seem peaceful, yes, but also devoid of personality and entirely dedicated to Viktor and his cause. Of course, it can be explained by gratitude towards him and desire to be kept safe in a calm and peaceful environment, but it's taken to such an extreme point that it definitely crosses the line into uncanny territory in my eyes. Their hivemind behaviour is very unsettling and even though Viktor seems to frame his recent actions as some kind of greater good, I don't think it's necessarily true.

We have yet to find out what Jayce saw and who's in the right and who's in the wrong. Either way, as usual when it comes to Arcane, it seems to me that more than ever, everyone's a victim of the circumstances and tragedy spares no one.

Considering that Viktor is set up to be 'reborn', I can't help but wonder what it means for his community and if they will also be brought to life by whatever connection they have with him. It would be a fascinating choice given how Viktor's arc has always been about autonomy and making your own choices.

Arcane, it's been a pleasure having my heart torn out of my chest by you. Can't wait for the last Act.

[lilyveselka]

How To Shut Up A Woman In Three Steps: The Transmisogynist's Guide

I - Her Tone

This is, by far, the easiest tool to wield effectively against a trans woman. If she is short in her responses, then you can accuse her of harassment and unwarranted anger; if she outright blocks you then you can simply claim that she only cares about her small-minded internet echo chamber; and if she engages with you at any length then you can quite easily nitpick her language and tone until she is thoroughly discredited.

Even better, she will most certainly become annoyed with you - in this scenario, all you have to do is argue that she is aggressive, hysterical, and quite likely a danger to society, and you will be believed by a great many people. This is, of course, because the trans woman's natural position is as a fundamental danger to society. Therefore, it takes very little convincing for an onlooker to come to that selfsame conclusion with some prompting. They may not even be aware that they are falling victim to their own inherent transmisogynistic bias, which is why this approach is quite beautiful in its simplicity! For those who don't immediately believe you, you can easily dismiss them as brainwashed idiots, syncophants, or both.

To drive your point home, call her a terf, a radfem, or a baeddel. If she has ever, in anger, spoken poorly of cis queers, or even better of transmascs, then this will become trivial to argue. Tell her that she is the problem, that she is contributing to community infighting, and that she should really be trying harder to work on this whole "trans unity" thing. Blame all oppression on her. For bonus points, when you tell her that she is dividing the community, you can also throw in the idea that should be making out with you instead of arguing. (This is, of course, because women primarily belong as sex objects to men, and if she would stop having so many opinions then perhaps she would understand this better.)

II - Her Privilege

This is an expanded version of the former tactic, because it requires a certain level of delicacy in the wording you use. However, people react quite strongly to the language of privilege, irrespective of whether that language reflects a material reality, and therefore this is a fantastic way to make a woman stop whining.

I would advise you to check if the woman is white; if she is, then you can easily accuse her of weaponizing her whiteness. (N.B. If she has not stated her race publicly, or if you can't be bothered to check, then this accusation will still work - if she is actually a woman of color, you may very easily claim that you were making a statement about white trans women in general. Further, it is not necessary for you yourself to be a person of color; as long as you position her as uniquely privileged in her whiteness, your own whiteness will remain irrelevant.)

In a similar bent, it is always quite possible for you to dismiss her theory as being "white." Always posit that she is championing a sort of wealthy white woman's privilege, always claim that transfeminism is at its core non-intersectional, and always claim that transfeminist theory in its entirety was created by the white woman - in this way, you may mark her as a privileged white bitch regardless of her race, national origin, or identity. (Under no circumstances should you mention or acknowledge the existence of trans women of color, as this immediately disarms your rhetorical weapon. In fact, if she brings up trans women of color, it is most necessary for you to claim that she is co-opting their experiences.) If you can imply that she is a racist while doing so, then you will be even more successful.

If this fails, then there are other similar cudgels you can implement to great effect: perhaps claims of intersexism, exorsexism, or sex-based discrimination. Call her a "perisex trans woman," a "binary trans woman," an "amab trans person." Say that she is speaking over the real victims; if you must combine multiple (or all!) of these terms at once in order to make her seem like a uniquely privileged party, then do so without hesitation. If she has ever had a bad opinion, or an opinion that you might frame without context as being a bad opinion, then simply publicize that. However, in the absence of such, see rulebook as follows: if she talks only of trans women in general, then you must bring up transmasculine nonbinary people; if she talks of transfeminine nonbinary people, then you must bring up intersex people; if she talks of trans people as a whole then you ought to circle right back around to claiming that she could never understand what trans men have gone through. Never concede that, say, an intersex trans woman exists, because that will inevitably lose you rhetorical ground.

Insinuate that she is herself the oppressor, that she is regressive and small-minded. In fact, if you really wish to run circles around her, then you can easily accuse her of upholding her own oppression by arguing that she is upholding a gender binary, enforcing sex-based division in the community with her language. If she describes herself as a victim of transmisogyny, then tell her that all people can be victims of transmisogyny; if she tells you that this is inaccurate, then simply argue that she is speaking over the real victim (you).

In fact, if you misgender yourself and claim to be oppressed due to your assigned birth sex, then she will have no recourse to fight back - because we all know that she is really a male, and therefore is silencing you poor natal women, who are the true arbiters of female oppression, and the real experts on misogyny. If you intend to utilize this specific tack, then I would personally suggest you use "they/them" to refer to her, because delegitimizing her womanhood is a key component to this argument.

III - Unpersoning

If both of the above techniques have failed (unlikely!) then you may now proceed to that age-old transmisogynistic technique: weaponizing her fetishes. This can be a bit more difficult to bring up naturally, but it is a last resort that can produce some fantastic results. Ask yourself the following: Has she posted about CNC? Has she talked about siscon roleplay? Has she ever engaged in a little/caretaker dynamic? Has she ever made a forcefem joke? In order, your claim against her should be as follows: she loves rape, she loves incestuous abuse, she loves to fuck children, and she personally wants to nonconsensually detransition every transmasc because of her violent perversion. It should be quite simple to get people to turn on her. If she has ever interacted with a user who has posted any of these things, simply consider her tainted by association and dismiss her in the same manner.

This is, as previously discussed, due to her natural position as a degenerate danger to society; simply reinforce that concept wherever possible, until she is driven away from her online circle entirely. Do not outright use the word "autogynephilia," but you can certainly suggest the actual tenets of the idea to wonderful effect.

This can be implemented via statements such as, "oh, so now the incest lover is going to tell me about the oppression i experience;" however, if you would care to be more subtle, then you can set up a slow-burn whisper network to turn her friends and acquaintances against her, or dedicate years to harassing her in her comments section whenever possible.

If she has pushed you far enough that this technique has become necessary, then it is clear that she must be a hostile force in the community who ought to be removed by any means. Therefore, it falls to you to try to get her to cut herself off from everyone who might support her - this will efficiently shut her up. If you can get her to kill herself, then it will silence her permanently (and cause you to win the argument, by extension)!

Just remember: what you are doing is noble and correct, because any woman who claims that a man has power over her is one who is better off dead.