#my two cents

[brightbluedot]

to succeed in adult friendship you must remember the key tenets of child friendship:

Play Toys

Play Pretend

Snack Time

[symphonyofsilence]

Let the poor man rest.

[anticoquette]

Another thing about ATLA that applies to both the original and live-action is that Fire Lord Ozai doesn't love Azula, he just hates Zuko. Ozai's disdain for his son is the only thing that pushes him to his daughter. If it weren't for the fact that Azula shares the same disdain for her brother, and is incredibly desperate for her father's validation, Ozai wouldn't care for her either. The only reason I can sympathize with her a little is because her dad groomed her to be like him. Azula never stood a chance, really

[ianwaite]

Well said!

My two cents:

In the 70s, girls were taught by their parents to keep an eye on their social status - similar to purebloods, girls were supposed to be careful about who they did what with.

So no matter how much morality is sought, the pressure to look for a good man was always there.

As Lily certainly didn't want to break with her parents and possibly also impress her sister, a rich Romeo was the "better" choice.

Hi I have read many of your James posts and so far I agree with all of them. What gets me wondering however is someone like Lily Evans - potrayed as the saintly morally good character - dating someone like James - an entitled bully who kept his jerkish behavior even after he supposedly changed. Who do you think she was? Did she excused James's behavior because she found him attractive and thought she could change him? Or that he would change for her? Was she downplaying his faults because she fell in love? Or was she simply too naive? I cannot believe a person who would marry a person with so many faults like James wouldn't also be far off from being jerkish themselves. And what about her relationship with Severus? Was she as attached to him as he was? Why was she friends with him for so long if she was excusing his prejudice for years? I'm so conflicted about her. The author implies she is something but the text kind of goes against that. As someone who is pro snape and knows Lily was a big part of his life what do you think about her, her motives, actions or relationships? I love your opinions a lot btw never stop sharing them😄

I looove to talk about Lily because her character sucks. And not because of her, but because HOW Rowling portrays her. Sooo.. Lets go! Lily is emblematic of a significant issue in the series: the tendency to use female characters as tools for male development rather than as complex individuals with their own arcs. In Lily’s case, her character functions primarily as a moral barometer—she exists to reflect the “goodness” or “badness” of the men around her. Her choices and relationships with James and Severus are less about her own desires, values, or growth and more about how they impact these two men. This framing does Lily a disservice, stripping her of agency and interiority while simultaneously burdening her with the narrative role of deciding who is worthy and who is not

Rowling’s portrayal of Lily is heavily idealized. She is the perfect mother who sacrifices herself for her son, the brilliant and talented witch who stands out even among her peers, and the moral compass who chooses “good” (James) over “evil” (Severus). This construction paints her as infallible, a paragon of virtue, and the embodiment of love and selflessness. However, this saintly image is rarely interrogated within the text.

The problem lies in the dissonance between how Lily is presented and the decisions she makes. If she is meant to represent moral perfection, her marriage to James —a character whose flaws remain evident even after his supposed redemption—creates a contradiction. James, even as an adult, retains the arrogance and hostility that defined his youth, particularly in his continued disdain for Snape. If Lily was as discerning and principled as the narrative suggests, why would she align herself with someone whose values and behavior contradict the ideal of Gryffindor bravery and fairness?

This contradiction weakens her role as a moral arbiter, making her decisions feel less like the result of her own judgment and more like a narrative convenience to validate James’s redemption. By choosing James, she implicitly forgives or overlooks his past bullying, signaling that his actions were excusable or irrelevant to his worthiness as a partner. This not only diminishes the impact of James’s flaws but also undermines Lily’s supposed moral clarity.

Lily’s role mirrors a common, harmful trope: the woman as a moral compass or fixer for flawed men. Her purpose becomes external rather than internal—she isn’t there to pursue her own goals, ideals, or struggles but to serve as a benchmark for others’ morality. It’s as if Lily’s worth as a character is determined solely by her relationships with James and Severus rather than her own journey.

By failing to give Lily meaningful contradictions or flaws, Rowling inadvertently creates a character who feels passive and complicit. Her saintly veneer prevents her from being truly human, as real people are defined by their contradictions, growth, and mistakes. Yet Lily is static, existing only to highlight James’s "redemption" or Severus’s "fall."

This lack of depth reflects a broader issue with how women are often written in male-centric narratives: their stories are secondary, their personalities flattened, and their actions only meaningful in the context of the men they influence. It’s a stark reminder of the gender bias present in the series, where women like Lily, Narcissa, and even Hermione are often used to drive or validate male characters’ arcs rather than having their own fully developed trajectories.

Regarding Lily and Severus relationship, their bond begins in a world where both feel alienated. Severus, growing up in the oppressive and neglectful environment of Spinner’s End, finds in Lily not only a companion but a source of light and warmth that he lacks at home. For Lily, Severus is her first glimpse into the magical world, a realm that she belongs to but doesn’t yet understand. Their friendship is symbiotic in its earliest stages: Severus offers Lily knowledge of her magical identity, while she provides him with acceptance and validation. However, this connection, while powerful in childhood, rests on a fragile foundation—one that fails to evolve as their circumstances and priorities shift. When they arrive at Hogwarts, the cracks in their bond begin to surface. While Lily flourishes socially, Severus becomes increasingly marginalized and becomes a frequent target of James Potter and Sirius Black. This social isolation only deepens his reliance on Lily, but for her, this dependency becomes increasingly difficult to sustain.

It’s important to recognize that Lily’s discomfort isn’t only moral; it’s also social. By the time of their falling out, Lily has fully integrated into the Gryffindor social circle, gaining the admiration of her peers and, most notably, James Potter. Her association with Severus, now firmly positioned as an outsider and a future Death Eater, risks undermining her own social standing. While her final break with Severus is framed as a principled decision, it’s difficult to ignore the role that social dynamics might have played in her choice.

It’s worth considering that Lily’s shift toward James wasn’t necessarily a sudden change of heart but rather the culmination of an attraction that may have existed all along, one rooted in what he represented rather than who he was. James Potter, as the embodiment of magical privilege—a pure-blood, wealthy, socially adored Gryffindor golden boy—offered Lily something that Severus never could: validation within the magical world’s elite.

Though Lily was undoubtedly principled, it’s plausible that, beneath her moral convictions, there was a more human, and yes, superficial, desire for recognition and security in a world that was, for her, both wondrous and alien. Coming from a working-class, Muggle-born background, Lily would have been acutely aware of her outsider status, no matter how talented or well-liked she became. James’s relentless pursuit of her, despite his arrogance and bullying tendencies, may have been flattering in ways that bolstered her sense of belonging. James’s attention wasn’t just personal—it was symbolic. His interest in her, as someone who could have easily chosen a pure-blood witch from his own social echelon, signaled to her and to others that she was not only worthy of respect but desirable within the upper echelons of wizarding society.

This dynamic raises uncomfortable questions about Lily’s character. Could it be that she tolerated James’s antics, not because she believed he would change for her, but because she enjoyed the social validation his affection brought her? Interestingly, this interpretation aligns Lily more closely with her sister Petunia than one might initially expect. Petunia’s marriage to Vernon provided her with the stability and status she craved within the Muggle world. Both sisters may have sought partners who could anchor them in environments where they otherwise felt insecure. For Petunia, that meant latching onto the image of suburban perfection through Vernon. For Lily, it may have meant aligning herself with someone like James, whose wealth, status, and pure-blood background offered her a kind of social and cultural security in the magical world.

If we view Lily’s relationship with James through this lens, her character becomes far less idealized and far more human. Rather than being the moral paragon the series portrays, she emerges as a young woman navigating an uncertain world, making choices that are as practical as they are principled. While it’s clear she disapproved of James’s bullying, it’s equally possible that his persistence, confidence, and status were qualities she found increasingly difficult to resist—not because they aligned with her values, but because they appealed to her insecurities.

It’s also worth noting that Lily’s final break with Severus coincided with her growing relationship with James. This timing is telling. Severus, a social outcast from a poor background, represented the antithesis of James. By cutting ties with Severus, Lily not only distanced herself from the moral ambiguities of his choices but also from the social liabilities he represented. Aligning with James, by contrast, placed her firmly within the Gryffindor elite—a position that would have offered her both social protection and personal validation. And this whole perspective is much more interesting than her image as a moral compass for the men around her. Unfortunately, as with many of her characters, Rowling didn’t put any effort into giving us definitive answers; she just insisted on that unhealthy, idealized view of motherhood and the idea that everything is forgiven if you're on the "right" side and rich and popular.

Sorry for the long text, but whenever the topic of Lily comes up, I tend to go on and on, haha.

[coinandcandle]

Thoughts on Offerings

The thing about an offering is that it has to come from you for the being you're offering it to. It is specifically FROM YOU meaning it has to be something within your power to give.

This could be something more easy or more difficult, but gods, spirits, ancestors, etc. aren't stupid--they know what you can and can't do.

They know if you're a minimum wage worker, or a broke college student. They know if you're well off financially but maybe you've burnt out and can offer expensive gifts but not much time or energy.

An offering shouldn't be the easiest thing in the world to give, but it never is, because if it was then you could do it without thinking about it. Even offering a prayer or words of veneration is an offering. If you can do more then do it!

The point behind an offering is intention and the means to give the offering. However that manifests for you is almost always gunna be good enough!!

For example: Hunting may be one way you could give offerings to the god Lugh--who I follow. Or taking part in competitive games, but I am asthmatic and trans and organized sports don't tend to like people like me very much.

And he has never asked this of me cuz he knows that's not my vibe!! Nor would it be much of an offering since it's not much within my wheelhouse, lmao. But did I spend 2+ hours painting my nails as perfectly as I could and offer that creative energy and time to him? YES!

TL;DR - Sometimes offerings are like:

"I'd like a coke." "We don't have coke, is pepsi ok?"

[james-silent-hill]

Fuck it im gonna write James x Reader stuff. I shouldn't care but what is going with all the hate towards himmmmm. Wtfff.

There are SO MANY WORSE and much more awful people that tiktok Editors and Twitter folk simp over SOMETIMES EVEN IRL MURDERER and suddenly everyone decided "Jep James from the Silent Hill 2 iS THE guy to hate and shame people for finding him hot or interesting" ok then everyone who ever simped on ghostface or THE GHOST from call of duty needs to be shamed as well. They killed a lot of people?! Or Joel from The Last of Us... but y'all ain't ready for that fucking convo and it showwws.

(Not shitting on them I had a huge Joel and ghostface phase)

I like James. He's a very conflicted and interesting character who happens to be hot too. So I write some EQUALLY as bad and evil and terrible dirty fucking Reader smut with him :)

Especially the hate on people who edit him on tiktok is fucking crazy.

Let people like what they like why are we always going back in time with this.

I don't tell you pink as a color fucking sucks and you shouldn't like it. So don't tell me blue is terrible and I shouldn't like/write about it.

Thanks.

The most insane thing is that we are talking about a fictional game character bruh.

[marzghost]

Guys guys guys I know we gotta give scar a title or motif thing now that he's a winner and you've all been giving him all these cool ones like Mercury and Pluto but i propose Earth! Like look at him he's a terraformer! Plus if you look at it like this the earth is the only known planet with life. It's the only planet that can "truly see". Scar has won twice. He's won with the Sun by dying and now won by killing the Moon. Two things that WE associate with Earth are , you guessed it, the Sun and Moon. Two things we associate with scar now. The earth who's played each game. The Earth that can see the Sun, the Stars,the Moon, and Mars. It's scared by the humans who call it home. It's where WE know capitalism exists. It's where our own greed hurts us. It's the only known planet with life all alone in an empty galaxy. It's a winner standing alone amongst every other planet in our solar system that has no known life. It's the planet that stands far and yet so close to the Sun so that it may give it life and the planet with only one moon in it's night sky. Scar in the end is earth. Plus if grian is the sun then the fourth planet from the sun is earth and since 3rd life there has been four new games...

I hope this makes sense I'm going to explain it better later for sure

[tea-time221]

why is there even discourse ya'll 😭

fabian and riz, romantic/qpr, does not erase riz's asexual identity, nor does it erase his aromantic identity.

the aromantic identity can be displayed in a numerous amount of ways, and none of those ways undermines the other.

you can interpret fanart and other fabriz content in soo many different ways, providing you with the representation you want, but one thing has to stay true and it's that no one should shit on other people's interpretations of the way they portray riz's queer identity.

if people want to look at fabriz content as platonic/qpr, that's all fine and good

if people want to interpret it as romantic, it's also fine and good!

the only thing is that no one should label fabriz as "only romantic" or "only platonic" and then believe that to be so and then enforce it on others.

riz is like,, one of the only good reps we have of the aro/ace identity, surely the entire community can share him 😭 we can all project on him together

and create the stuff u want to see of him!!! if ur complaint is that all the riz stuff is just "fabriz" (which it definitely, 100% isnt), then create stuff of him! you have that power!!! create art, create headcanons, create theories and fanfics!!!! the more content there is, the more variety there will be, and that means there will be more facets of the aroace identity being represented.

[amebanworld]

So, here we are. Finally I’m dropping by to share something I’ve been pondering. I think it's about time to speak about this openly.

You know, I've been a TF fan since my childhood, since I saw G1 Cartoon till now.

But since I'm not a native English speaker and the TF TV series have been aired irregularly at my country, I just haven't be able to follow all series when they were broadcasted. I just wasn’t able to watch all of them. I'm not interested in every single series though, just in some of them. Same happens with comics and movies: seriously I like to think Bayverse just didn’t happen.

So I’ll will tackle the series/comic sI’ve watched/read only, and not every Screamer incarnation.

Let's start…

In 80's (and earlier) cartoons, it was quite common that one of the main characters was bashed by other characters under the premise that "this chara is problematic b/c he thinks different from the others, so he must be punished". As crazy as it sounds, this was encouraged by parents supervising children cartoons’ morality. That's why Eric (from the D&D cartoon) or Rudy (from Fat Albert) were made fun of, and that is what’s happening with G-1!Starscream. Yes, I mean the regular bashing he suffers by almost every other character in the series, and mostly from his leader, Megatron. Also, this was encouraged by the idea of "Hey! They're just aliens robots! We can be harsher with them since it isn’t an average cartoon for kids." And that's how it begun.

Since the G1 cartoon (and its comics counterpart, although the mood is quite different), Screamer has been portrayed as “selfish, a disloyal second-in-command, a coward yadda-yadda", but he also has been portrayed as somebody who endures punisment from almost every other character regularly, and mostly from Meggs, as I said before. This pattern repeats itsel over and over in all TF series, no matter the plot or the setting.

Despite being so popular, most of the fandom think that "he deserves it b/c he's a traitor", or just like it as a slapstick comedy. However, over time, and since certain series and comics have more serious plots, this issue was interpreted under a different perspective by older audiences.

Starscream, no matter the continuity, suffers from PTSD and is victim of abuse.

And I fully agree with that.

Over the years, I've met many fans (female fans mostly, perhaps b/c they usually have this kind of sensibility) who loved the character and felt bad for him because they identified with him on a personal level. I've met veterans too who indentified with Screamer. Both of them just felt really uneasy about how he’s treated in comics and especially in the series. Of course, there’re many fans that just think this is nonsense and don't agree with it. However, invalidating the opinion of these other fans and brush it aside as "nonsense" means to ignore the victims of abuse and their suffering too.

So, what do I mean with "victim of (domestic) abuse"?

First of all, it doens't mean just abuse from your romantic partner, but also from your parents or relatives, from your boss, your classmates, etc. The thing is, all that applies to Screamer. Unlike other characters that just attack him during battles and such, Screamer is punched many times till almost dying by Megatron. He’s also insulted and invalidated. There’s some examples of different continuities below.

The dynamic of abusive relationships is very complex, but in all continuities we can find the same pattern: "The victim tries to flee and does something careless, then he's caught and punished by his insolence". The problem is that the victim is also a traitor and a liar, and certainly he's not a saint. Plus the abuser keeps him around still.

Why?

Summing up, it's a vicious circle. The victim thinks he "deserves" to be punished, but since he wants to be free, he behaves carelessly and paying no heed to loyalty so as to “deserve” that punishment. Meanwhile, the abuser seeks to blame (and punish) the victim from his own faults. Then, when one makes a move, the other behaves accordingly. Meanwhile there’s also calm moments where things “seems” fine. That's why Meggs and Screamer seems to get along "nicely" when nothing happens.

Eventually, the victim copies the abusive behaviour, becoming also an abuser. This is quite obvious in the TFP continuity, where Screamer does the same things to KnockOut.

Of course, the abuser is guilty, but the victim has his own faults. Usually, these people suffer from PTSD and develop a nasty behaviour towards others. They become selfish, demanding, disloyal, etc. This explains why Screamer behaves as such with almost everyone in all continuities. Usually, the victim isn’t aware (or just doesn't want to ) that he's into an abusive relationship (no matter what kind), so he’s just seen as being disloyal, stupid or something like that. Usually, only people who have suffered abuse, or are close to an abuse victim, are aware of this problem, and of how hard it is to break the vicious circle and break free.

Many fans were aware of this problem, and some years ago a bunch of them decided to let know their feelings about SS to Hasbro, so they send the company a long letter, thanks to @tyrantofthefirmament You can read their letter HERE.

And how did Hasbro answered?

I guess they get a lot of letters from the fandom, and that their marketing team will be well aware about the fandom opinions at least now, b/c it's kind of obvious that the later comics and series portrays ideas that were born in the fandom. Anyway their answer to that letter sounded like "We're glad to heard from you. We'll think about it someday. Thanks!"

And that’s whay they did on the later series, it seems.

Let's check it…

*TFP: SS is written so randomly here. First, he's a serious threat; in the second season, he breaks free and joins the Abots or is just on his own (the best part), and finally, in the third season, he joins Dcons again, and Meggs punches him for any random reason. Finally, he dies.

*Armada Trilogy: he's written as a tragic character. He ends up being a hero and dies saving the day on the first season. Later on, he's resurrected as a zombie with no memories. Finally, in the 3rd season, he becomes… what the heck?? He doesn’t seems to be the same character!

*War for Cybertron Trilogy. Well. Here, he's closer to his G1 Incarnation, despite he wasn't a scientist and he was under Jetfire's command till the white jet joins the Abots. The same tropes are repeated, till Blacharacnnia teams up with him and he meets Unicron in a Lovecraft- like scene. Afterwards, the writers got wild and gave him the arc to be an anti-hero, warning everybody, who actually barely believe in him. At least, the writers tried here to give certain credit.

Starry meets Cthulhu... eeer, Unicron.

*IDW comics. Perhaps the most developed incarnation. Here, the problems of abuse and trauma, along his faults in the GreatWar, become an issue that must be solved. He becomes a Cybertron ruler, makes a friend (Metalhawk) then kills him… and later, he regrets it a lot. Bumblebee appears to him as an hallucination and befriends him (his only friend is imaginary). WheelJack has a soft spot for him, but this isn’t enough. Then, Windblae appears, who is oblivius of the Cybertronian war. And well, things happen and he isn't disloyal anymore and learns about his true self. Perhaps this is the only series where his fate is different.

Bee facing Screamer in his own hallucinations...

*EarthSpark. These series tries to mix up G1 with IDW. War is over, the Earthling TF are born and Screamer is jailed in a corrupted human facility, till he manages to break free. At this point, an Earthligh TF, Haghstag, knows about his trauma and helps him. The whole first season deals with Dcons as people with his own lifestory and traumas, and how important redeption is. Starscream fits this plot…

Haghstag and Screamer... and he's smiling.

Till the following seaons where the writers just ignore everything and they come back to the same old plots again and again in a very creepy way.

The thing is, Starscream nor talks about this with others, neither uses it as an excuse for his behaviour towards his companions. That goes against the Decepticons ideals, but also that would make him to look "weak", or he just doesn't want to admit it despite his pain. Dcon's are usuallly portrayed as horrible people, after all.

Anyway, the fact is Hasbro and their writers just don’t dare to tackle a character arc to give him some reliable background or credit. They show some hints here and there of "perhaps he's victim of abuse/he suffers PTSD", and later, they brush him off. This is kind of obvious for every continuity discussed here.

So why? I just don't get it. And that's why I find this is a problem. I just don't want to see the same old story again and again, with a character that is basically a punching bag on one hand and a baddie on the other. (Skybound comics aren't included here since it's an ongoing series by now). If the writers dared to write a redenmption arc for Megatron. Why not for Starscream?

(Special thanks to @sandalwood03, who edited my broken English into something nicer).

[seventeenlovesthree]

Koushirou Izumi's clothing style - a meta analysis

When it comes to Digimon and fashion, you can tell that certain characters have - mostly consistent - preferences. Most obviously, every character has colours they are usually (but not exclusively) wearing, certain motives and symbols keep returning... And for some characters, their choice of clothes is - more or less - arc-defining.

While looking for references for some art pieces on Pinterest, I stumbled over one of my favourite Digimon Adventure 02 concept artworks:

We never see Taichi, Sora and Yamato wear their Summer uniform in the series and Koushirou literally only wears it in one episode - but looking at the ensemble here, there was something that caught my eye specifically. And this observation took me down a little rabbit hole in terms of what exactly Koushirou's style is, how it changes through the series - and what it may mean for his character as a whole in my humble opinion.

It simply felt like the perfect opportunity to post all these ideas as a contribution to @izumikoushiroweek 2024 and the prompt "Dressing Koushirou".

Adventure (+ Our War Game), age 10-11:

Analyzing Adventure won't take too long, because we don't have a lot of variety at this point - however, it still gives us the baseline for what we will have to expect for the entirety of the series.

Koushirou wears very "boyish" clothes that can be, more or less, considered to be common for a "computer nerd" in the 90s and early 2000s; wide, if not oversized button-down shirt (big emphasis here!), t-shirt, wide shorts, (colourful) sneakers. It's all "comfort over function" at this point, because, as pointed out, he seems to prefer wide clothes. While his signature (crest) colour is purple, his favourite colour appears to be orange, and there are usually lots of earth/nature tones too.

Honorable mention goes to his trademark Japanese school boy undercut hair with a middle parting, barely able to tame the spikyness.

So let's see what elements he will keep and what will change:

02 (+ Diablomon Strikes Back), age 13-14:

As mentioned, the concept art above was what inspired to make this post in the first place - because I couldn't help but notice his pants there. If you compare the way he wears the Summer school uniform to the way Taichi and Yamato wear it, three things come to mind:

The older boys wear the shirt very casually, whereas Koushirou has tugged it in - which is definitely a change to how loosely he wore his button-downs before.

Taichi and Yamato also don't wear ties in comparison to Koushirou. So far so good, these are the most obvious aspects...

And then there are the pants - which are particularly less "form fitting" than it is the case for Taichi and Yamato. Considering how he used to wear wide shorts in Adventure before, one may think that this is related to "comfort over form" again, but it collides a little with how "correctly" he wears the rest of the uniform. So my assumption here is: In one of the dramas he mentions "one of the female 5th graders in computer club who is taller than me" and we can definitely assume that he was referring to Miyako there. He says that he is "working very hard" to catch up... Which leads me to believe that he wears wide pants in anticipation of getting a growth spurt. Which is not only practical in general - but would also spare him/his mom the stress of constantly buying new uniforms.

In sum, we learned that he is the only male character in the entire season who wears his uniform correctly - with the spunky shoes being the only glimpse of "individualism" there. This is an interesting contrast - and will actually turn out to be quite a pattern for him: When it comes to important duties and business, he will make sure to wear his clothes appropriately and neatly (which, at this point, is important if you consider him taking so much responsibility for the 02 kids as their team mom dad). Outside of that, we still see the habit of wearing more comfortable clothes:

Koushirou definitely likes to wear layers (similarly to but not in the same way as Taichi btw), the good old button-downs or hoodies over shirts in particular, it's all very cozy and simple - and while he hasn't completely abandoned his associated colour orange, he seems to have adopted a second favourite colour to his wardrobe as an addition to the earth tones: Green. We later learn that his mother used to buy the clothes for him, so based on her excited expression in the first shot, watching him put on his green school uniform blazer for the first time, they may have realized how well the colour complements his red hair. The wide shorts and pants are also still there and he also seems to prefer basic long-sleeves (and stripes) at this point (which may or may not have been inspired by his own Digimon partner's colour schemes, very sneaky).

Last but not least we have the hairstyle - he's been growing out the undercut to even everything out and starts the season off with a VERY short cut and a side-parting. Very neat and, at first glance, very easy to tame, since the spikes are a lot shorter at this point. The side parting did not last for long though, so the middle-parting returns through the course of the season and he also grows it out a little.

Overall, the dichotomy of "business serious-casual" and "comfy-cozy" is already coming through, but we haven't come to the heavy lifting yet:

Tri (+ the Stageplay), age 16:

As I have briefly pointed out in the intro, for some characters, fashion is an arc-defining factor. For teenage!Koushirou, his interest in fashion is basically a B- or C-plot that - in my opinion - could have been handled in better ways, but I will get to that.

First of all, let's start with the "easy stuff": Hair and uniforms.

His way of wearing his uniform hasn't changed much from 02; he is still wearing blazer, shirt and tie "correctly" - but his pants are not as wide as they used to anymore, as can be seen on the promo art I have used above. (Since he has surpassed Mimi in height and is basically as tall as Sora, he may not expect to grow much further, so he probably chose more fitted pants at this point.)

The hair, especially the spikes and middle parting, are still pretty much the same and thus - probably - still very difficult to tame. It's notable that he has grown it out more in comparison to 02 though.

Now onto his private wardrobe: We see him confiding in Takeru, telling him that now that he goes to high school, he intends to pick clothes for himself, but... Shopping has proven to be quite difficult for... Various reasons. So instead, he created a software to generate outfits for him, with... Varying degrees of success. So through the course of the first few movies, it's heavily implied that he's making use of that software and also Takeru's advice - who appears to be a little bit of a mix between a "k-pop-fanboy / hobby-novelist with a Starbucks order in hand" and "an absolute fashion disaster" himself, but he seems to enjoy being Koushirou's wingman and assumes that his sudden interest in fashion stems from him wanting to impress Mimi.

And this is where things get a little more complicated. I will not go into too much detail about why I think that this was the wrong approach for his arc, because I have already talked about it in full length here. To summarize it very shortly: Koushirou's arc had ALWAYS been about him learning to be himself. That him being the way he is is perfectly fine and that he doesn't have to hide his true self - being adopted, smart, into computers, with all his flaws and quirks, whatever it may be. Him trying to bend over backwards to impress somebody else contradicts his arc and the only reason to include it at this point is for him to come to the same conclusion again. Of course there are underlying insecurities all over the place - especially since he actively seeks Mimi's approval. The school festival should have culminated in a scene in which he and Mimi - dressed up in a costume that was heavily criticized before, thus criticizing Mimi's way of being as well - should have had a talk that went along the lines of: "You know what? It doesn't matter what you wear, as long as you are comfortable." (Which... In itself leaves room for a lot of subtext as well, but I will get to that by the end of the post.)

So long story short, what we see through the course of the first three movies is him being quite experimental: Overalls, wild patterns like koi karps, lots of layers and a peculiar interest in bowties... He also adds several new colours to his arsenal, reds, blues, even his signature colour purple makes a prominent appearance. All for the sake of appearing "less plain", and to have more variation in his style.

While he has abandoned shorts from his wardrobe at this point, he - just like Taichi - likes to wear 3/4 length pants. One style of clothing he hasn't abandoned is his button-down shirts and (open) collared shirts in general. This has been a constant so far and I doubt that we will ever see it change, since they basically feel like "comfort clothes" for him. The interesting part here is, like we discovered before, the consistent contrast between "private" and "important occasions/business settings":

Once he's out with his parents for their anniversary, once he shows up at the school festival in a whole suit, once he wears his school uniform: He WILL wear the (bow-)tie correctly, the collar will be tight, the shirt will be tugged in, no funky shoes either.

Once he's in a private, less "urgent" setting, the collar will be more loose (!), the shirt will (most likely) be pulled out of his pants, the style will be more comfy, the shoes will be more "funky."

We've seen that since 02 already and it's nicely represented in Tri as well - the stageplay even dared to merge two of his outfits from the first Tri movie, a casual and a serious one, to create the perfectly "nerdy" mix for him: (Shortened) Shirt and vest from the anniversary (with an open collar and without the bowtie), 3/4 pants and yellow sneakers from the "let's look for distortions" scene. So we can tell - he DOES have preferences and may not even need a software to tell him what he naturally gravitates towards!

So let's fast forward a few years to see how it'll all develop...

Kizuna (+ The Beginning), age 21-23:

Unfortunately, we don't really get a glimpse of his private wardrobe as a young adult - but we can still be pretty sure that the patterns we spotted before are still going strong:

First of all, it can be assumed that he stopped experimenting for the most part: The hairstyle went back to the roots, for whatever reason he returned to his elementary school undercut, the middle parting and spikes are still there, but less wild. The associated colour orange also returns - and even makes its way into his business wardrobe, as he is back to wearing neckties instead of bowties.

That aside, we mainly see him in his work attire as the boss of his own tech company: White shirt with the orange tie and a closed collar (short-sleeved in Summer, long-sleeved in Autumn), black pants + brown belt, black business shoes.

And once again: Depending on his surroundings, the difference in how he presents himself is still intact to some degree: The outfit is still the same, but once he's just with his friends, shirt and pants appear to be wider again, whereas they seem to be more tailored once he is in "business mode" - this can be seen in particular in The Beginning, where he function as PR Digimon expert and gives interviews to the media.

Long story short: He kept his dichotomy alive for the majority of the series.

The epilogue, age 38:

Even the epilogue shows us that he could never give up the wide, collared shirts (wide collar, no tie, pulled out of the pants!) in nature tones after all. The most notable part here is probably the hair - not only did he grow it out to the point that the spikes vanished almost completely (aside from the long, pointy bangs), but he apparently managed to FINALLY get the side-parting going after all.

Final thoughts (and a few headcanons):

I've once conducted a whole post on how I felt like Koushirou broke a few gender stereotypes in interesting ways for a series that was created in the 1990s and early 2000s (and not only because he was the only male character who basically never had a male voice actor or because 02 basically turned him into "the mom" of the group). I feel like it's no coincidence that his arc and the way it is portrayed actually speaks to a lot of people who consider themselves as neurodivergent, non-binary or trans. It's a story of self-acceptance, about someone who used to question his whereabouts, who didn't know where he came from, who he was. He didn't consider himself to have much "worth" aside from being a human extension of his laptop and also tended to mask his insecurities (at least in front of his parents) with a polite and very correct demeanour.

The way fashion is interwoven into it all may not have been conducted perfectly, but the fact that it is tied to self-discovery still leaves room for interpretations and headcanons. While his personal clothing style has always been rather "boyish" (and not feminine in the slightest), him gravitating towards oversized clothing in private settings while conforming (!) to a very correct and neat dressing style for important occasions still is a curious contrast in this regard. Hiding behind his computer, hiding behind a software to tell him how to dress (and being uncomfortable going shopping physically), hiding his generally slender body behind (mostly) wide clothing because he may - or may not - experience something along the lines of gender-dysphoria is a headcanon that a lot of people can relate to. Especially if you take Tri overall as a metaphor for him figuring out "his preferences" (in both sexuality and gender and thus the scene in which he looks at a kimono - presumably made by Sora - will forever live rent-free in my head, especially because it is a more feminine piece this time).

In the end, it can all be just a matter of perspective - the most likely explanation is that he simply prefers comfort in private settings, but can easily adjust towards a "serious business mode" whenever the situation requires it. Through the course of the series, you may argue that the characters that had the most influence on his casual style were Taichi (layers), Mimi and Takeru (being a little more experimental). On the other hand, you may also take Tri as your average "the nerd cannot talk to women and doesn't know how to dress, so he makes disastrous choices" trope and call it a day. But personally, I feel like, since Koushirou does have obvious preferences that are mostly consistent, it really is more a period of self-exploration. And like I said before: I wish the outspoken conclusion for him had been: "As long as you feel comfortable, you can wear whatever you want."

[armed-with-a-waffle-iron]

Do Dick and Babs really know how to be just normal friends? Seems to me it's always been flirty and intense and intimate. They'll always have this long, complicated, profound history together which is impossibly unique to them. Of course no one really gets them like the other does. They're the original Robin and Batgirl! It's like they've always been partners in crime. And push comes to shove, whatever rift the universe puts between them, they will still be a killer team. They'll always have this profound but complicated love for each other, beautiful and tragic. Like they're always more than just friends but also more than just love interests too. Dunno if there's a single word to describe them.

Something about them makes both the ace and bi part of me go wild.

[drs295]

Breathe in… and out. Imagine all your worries and thoughts just melting away.

[brightbluedot]

goddddd black sails is still so good. the very last line of the first episode: we see max leave eleanor's bed, walk up to jack, and crawl into his lap. anne interprets this as a come-on and gets angry, and then max tells him: "i think i have something you might want to buy."

and like, coming from max, that could still be a come-on. when she's at work, sex is a viable business proposition -- the expected one, from her and her coworkers. jack's perception of the moment very well might not have changed yet.

but we as the viewers instantly know that she's referring to the page. we the viewers are also privileged in our knowledge that she just left eleanor's bed -- which was not strictly for work. she's just "the whore" to those around her, but look, her business proposition is all high-handed crew politics, and the last person she slept with she had personal motives for pursuing. there's a woman on your lap in a brothel offering to sell you something, and everything you think you know about her and sex and business is wrong in this moment. and she is still very much a sex worker, which we will see her suffer for and excel at and leverage to her own ends in a thousand different ways as the story goes on. it's not a simple rug pull, but a single layered, cohesive, portrait.

it's such a cool little microcosm of the way the show plays with expectations to add the depth and color that it does to those the empire flattens and sweeps to the side. nobody is ever just one thing, the reduction of themselves. and nobody is ever seen by those around them the way they are by us, who see all. and so much of the action stems from them being all too aware of the importance of that perception and the assumptions it carries. it's so refreshing to be invited to look so deeply and see more everywhere your eye could possibly land.

[symphonyofsilence]

Dazai's idea of a date (and it's getting repetitive. So in the next update he might add an "only true love kiss will save him" scenario)

[cepheusgalaxy]

look guys i very strongly disagree with the "trans men hold privilege over trans women" point of view and i'm finally able to articulate why:

I think trans men don't hold privilege over trans women, because privilege is kind of a consistent thing.

Like, bear with me: I'm an abled person. I have privilege in relation to disabled people. Because, if me and a disabled person are in a Situation where this distinction is relevant in some way...I'm literally never gonna come out with the worst hand. Never. No matter what the situation is. This is a consistent fact.

Now, when we talk about different transgender identities, I think this gets more shady, because the "who has privilege in relation to who" is a relative statement. One example I saw of people explaining why in their view trans man have privilege over trans women is kind of like this: Imagine there are two passing and stealth trans people, a trans man and a trans woman, in a workplace. Then, it comes a coworker, being blatanly misogynist. Regardless of their views on trans people, in this situation, the trans woman is gonna get the worst of it, in relation to the trans man, because he will be viewed as a man.

It makes sense, and I don't think this hypothetical situation is inaccurate or anything, but I'd also like to point out why it doesn't work as a good point to why transmascs have privilege over transfems. Imagine we change about any variable in this situation. Let's say the trans woman is closeted as a guy, and the trans man is openly transgender. The misogynist coworker then would very much target the trans man in their points, especially if they are particularly transphobic. Now imagine both of them are out and openly trans, with the bonus that now both the man and the woman are gnc. Depending on other specifics, the misoginyst coworker might be bigoted to just one or both of them.

Like, do you see? In different situations, the different trans people have the worst hand. So that doesn't mean that because of the first case, trans men have it generally better. Because there are many kinds of trans men, and simply not all of them have privilege over trans women. In some cases, they might even have it worse precisely because they are trans man. So the privilege the trans man in the first example has is not a consistent thing over trans man! Maybe it's common, I don't know, but when we compare it with someone who has real privilege, like me, an abled person, I ain't ever encounter myself in a situation where I'm having it worse because I am abled in comparison to someone who is disabled.

That's why I think trans woman and trans men simply don't hold privilege over one another, simply because it varies. It depends on who the trans men and women are, it depends in what situation they are in, it depends on the people around them, it depends of so much!!! So saying that trans men have privilege over trans women sounds simply surreal!

I think that, also, the different patterns of the situations in which trans woman have it worse are important to be discussed, and that's why we have the word Transmisoginy, to discuss these issues pertinent to the nuanced oppression trans woman face (and on a similar note, that's why it's also important to have fucking words like Transmisogynoir, because a black trans woman's Situations will be different from a white trans woman's Situations and it's important to to recognize that). THAT's why I also think that we need words like Exorsexism and Transandrophobia, to identify the patterns of situations where trans men have it bad precisely because they are trans men and not something else or because nonbinary people have it bad precisely because they are nonbinary.

SO, in short, my opinion on the "trans man have it generally better than trans woman and that's why they have privilege" debate is that trans man don't generally have it better than trans woman, but some trans man in specific situations have it significantly better than trans woman and that in other situations trans woman have it significantly better than trans man and that is basically a case-to-case scenario and that's also why we need the specific words for different shapes and faces of transphobia to better understand these cases and why x happens with y at z situation. Thank you for coming to my TED Talk.

[words-after-midnight]

While I enjoy watching some booktube reviewers on occasion, I honestly find the implications of (esp. monetized) bookish communities on social media being just as subject to the whims of the algorithm as any other social media community pretty concerning. My thoughts on this are nowhere near fully concrete (I've been thinking about this a lot), but it's like, as someone currently on the sidelines of these communities, I'm seeing a lot of multiple things rn:

- Negative book reviews consistently performing better than positive/neutral ones;

- People online being excessively vitriolic and/or nitpicky about authors and books (typically the "cringe" or "problematic" ones) and just generally lacking nuance and proper media literacy;

- Authors being inauthentic, in a variety of ways, because they think it will improve their image and/or help their books sell better and/or help them avoid anticipated criticism (eg. Cait Corrain, Freydís Moon, to name a couple of "extreme" recent examples);

- Authors, particularly newer authors, writing with excessive defensiveness, or what a lot of us would call "writing for an imaginary bad faith reader."

And basically what I'm getting at is that I do not think these are separate phenomena.