#not what they present to the world but how they really lived

[melody-magic]

the thing about Dropout's transmisogyny problem in particular is that it seems to stem from the people at all decision making levels not having trans women as part of their worldview, literally forgetting we exist until we come into their vision actively.

like, let me put it this way. if i sat down to have lunch with brennan lee mulligan, i don't think he'd misgender me once. i think he'd be nice, and respectful, and listen attentively when i tell him what its like living as a trans woman and the difficulties that come with it. i really do! and then as soon as the conversation was over he wouldn't think about trans women again until the next time he saw one or heard about us. he wouldn't think of us when planning his games, when building his stories, or when casting his shows. so at the end of the day, yeah he'd be nice to me, but when he imagines the world, ANY world he can create, people like me do not feature in it unless we are already there for some other purpose, like to be someone's girlfriend, or to make a dick joke.

same with sam reich. when he goes into a casting phase, he and his team's rolodex (or perhaps i should say contact list to be more modern) is full of diversity! we can see it spanned across all the shows! except its strangely empty of one demographic and one demographic only. and when he does cast trans women, they're always drag queens first and trans women second.

there's something matt colville says when he finishes out some videos and livestreams, and while it may be pithy and chessy i think its relevant in this case: "imagine people complexly".

these people dont even imagine us, or consider us. to them, we don't exist, not because they don't believe in our existence, or they haven't seen it, or even because they actively hate us, but they simply dont consider it in any way until it is already presented to them. we are, quite literally, not a part of their vision of the world. how can we get them to imagine us complexly when they can't even imagine us in the first place?

[gwemmieee]

Yeah. I have a big bone to pick with women who go out of their way to gatekeep someone out of our club. Most of them are cis and straight, but trans fems who do this unfortunately exist. That instance looks like some disgusting hypocrisy to me, because most baby trans fems really emotionally lean on the willingness of this community to emphasize that you are your gender and you are valid no matter how many steps you've already taken and been successful with. That is a crucial, supportive message, and suppressing it in any way is tantamount to pulling up the ladder behind you. Which, yeah, every community has its assholes who pull up ladders.

It is also a tough line to walk sometimes for women, because most of us have learned that there are certain ways we can't entirely just open up to most masculine folks and let them into our entire lives and every space. Not without a lot of pain. So we are incentivized to wait until someone makes it clear that they're safe, before they're let into our inner lives more. This function has caused me SO much strife, because before I was accepted as a woman, it kept me outside in the cold, alone, really close to an early grave, but now that I am fully living as a woman, and even before I was doing that, my efforts to ignore this function entirely and just let any masculine person into my heart, my inner world, and my safest spaces, have not always gone well, and sometimes those efforts have backfired, made me unsafe, and deeply traumatized me.

These days, the only conclusion I've been able to find is that women need to work on what we recognize as red and green flags, for who is safe. It's pretty easy to see that the average set of red and green flags you see most non-queer white women adhere to are... crap. Truly crap. Delusional, not based in reality, etc. And that sucks because it isolates them more and it gives them more excuse to be really shitty to people, or to gossip about them in ways that really aren't fair to them.

Earlier in my transition, I still had it internalized that I had had so much trouble because I wasn't good enough, because I didn't do enough, and that's why women didn't let me in. But I was literally running around freely saying out loud that I was genderfluid, that I had no concept of manhood and little concept of gender, that I thought it would be cool if I was born as a woman, that I wanted other pronouns to be used on me, that I could be pretty gay/queer, acting pretty gay/queer, openly rejecting most masculine behaviors and modes of thought, constantly openly celebrating femininity, experimenting with gender presentation... I was a very queer little dude. And I've only been able to recognize that in retrospect. Because nobody let me in. Trans fems may have let me in, but they weren't around much in the late 00s and early 10s. I never met one. But I did meet and usually deeply connect with countless fellow eggs, before any of us knew. In situations like mine, trans fems generally didn't even get to find themselves until a bisexual cis woman took it upon herself to date them as a perceived man, and then recognize their queerness and allow them to explore gender with her acceptance and assistance. Because being allowed into womanhood was so rare and taboo that it had to happen behind closed doors as part of a romantic relationship. I was aro/ace, and I unconsciously looked to get the same experience out of a platonic friendship, but all I got was led on. Told I was a close friend but still treated like a stray animal compared to their feminine friends. Not let in.

Meanwhile, cis women, and fem-raised queer folks who at the time universally saw themselves as, yknow proudly not quite men at least, universally treated me like a burly cis man deserving of none of their support or curiosity and all of their suspicion and gossip about how "he's creepy." Consistently. Until I finally came out as a woman in 2022. And that's so 100% on them. They went out of their way to not see me for who I was and just keep me out in the cold. So yeah. The state of gatekeeping of womanhood is *bad*. And in my experience, most of it comes from people who had/have easy access to unquestioned claims of womanhood, whether that's because they're AFAB or because their transition into womanhood was really fast and made them really conventionally attractive.

But what about trans fems? Well, we aren't perfect with our red and green flags, either. It's hard to be. Personally, I've noticed there is a small contingent (VERY small) of trans fems my age who operate more like the old world transsexuals in that they really are truscum gatekeepers, often also ableist, and borderline psychopathic in the level of emotional labor they expect from you as a friend vs. what they're willing to put up with in return. And that is very unfortunate. My early transition saw a lot of them genuinely help me as incredible new friends, but then hurt me badly and burn bridges for no good reason. And I feel that there is a bit of a schism in the trans fem community between elders who usually just want to stealth out--who look down on baby transes and cringe and don't help us, or even if they do talk to us and help, there is still a very clear line denominating their actual friends and community that we never get to cross into--and the rest of us who openly embrace being queer and not assimilating all the way. But, frankly? Most trans fems I've met are the most welcoming and least gatekeeping folks on the planet. Most are that latter, queerer camp. And we operate exactly the way that we should: we let anyone safe into our inner world, even if that safe person happens to be a man. And some of us STILL see that backfire. And so even we can't be completely carefree. But we can always learn and grow and get better and better at what we actually identify as red and green flags.

wait where are all the trans guys

Historical-anthropological research, especially the work taking place before the 21st century or outside the West, tends to focus entirely on transfeminized groups. So when reading these works it’s pretty natural to ask — wait, where are all the trans guys? This is a reasonable question with a few clear answers; this post is something quick I can point people to.

The central condition of transfeminized groups' absorption into feminist activism has been to accept a kind of symmetry with select TME groups through the understanding of trans femininity as "gender variance." Under this framework, transfeminized groups' social position can be understood as a consequence of gender variance and some abstract violation of cis norms; this was proposed by people like Susan Stryker and Emi Koyama [1], among others, and continues to structure trans inclusion today. It also fails when considering several basic aspects of these groups:

Transfeminized groups are associated with hyperspecific labor practices, most frequently sex work, but also hair styling, drag, makeup artistry, acting, and other forms of 'gender work.'

Metropolitan transfeminized groups appear in the archive as highly clustered and active groups connected with, but usually intensely split from, the masculine men they fucked.

Transfeminized groups become a kind of 'third gender' on an epistemic level; they are Known to wider society before and after “coming out” in a way that USAmerican transmasculinity has only recently vaguely approached.

Transfeminized groups are heavily clustered in labor practice, social organization, and epistemic position, although this is not universal -- certain strains of USAmerican transfemininity have become a bit more labor-agnostic in the last two decades, not-so-coincidentally alongside more general currents of gender-labor liberation. The messy strains of trans male identity recovered from the archive and from current practice tend to lack labor, social, and epistemic coherence. As Aaron Devor notes in FTM, his 1997 history of FTM men, trans men in the 20th century tended to transition out of cities and into the countryside, finding low-profile places they could exist in. These practices, and the earlier "female husband" practices described by Jen Manion, relied on the labor-agnostic nature of transitioned manhood in order to disappear from public life. Transfeminized groups, on the other hand, are categorically restricted from the main form of economic life historically available to women -- marriage. Their labor practices are heavily constrained and have almost always revolved around some form of 'gender work:' as Susan Stryker put it, you need to get people to pay you for being a trans woman. Transmasculinity pushes away feminized restrictions on labor; trans femininity is labor.

Because transfeminized identities are so often labor-identities, and because their specific brand of 'gender work' and hormonal/silicone/surgical embodiment usually requires both specialized training and community support, nearly every metropolitan center in the world developed highly centralized transfeminized groups over the course of the 20th century [2]. As Ochoa notes, this visibility is partially due to epistemic visibility (everyone knows what a trans is), partially due to group structure (people work and train each other), and partially due to the selectively visible demands of finding clients. Fledglings come in with a way of being that is always already visible to society, but changing the body to match and learning how to fully enact and slowly contest the third-gender labor-identity they've been given takes a lot of community support.

So as labor-identities, transfeminized groups tend to a level of labor/community/epistemic coherence that has no clear counterpart. The news archives we have of trans men (as seen in Manion) position them as singular and easily absorbed back into the female gestalt; the cisgender feminist/gayguy/AIDS researchers that form the bulk of historical-anthropological work saw them as unnecessary to their grand theories of gender; the communities themselves have been materially fractured and, for the groups that rise out of lesbian-feminist activism, only partially committed to their own existence. The result of all this is that there is no clear equivalent to the "transfeminized groups" of Jules-Gill Peterson; there is no symmetry to trannydom, and while additional work to unearth trans manhood in the archive remains extremely valuable, sometimes the necessary level of label-coherence and social existence just isn't there.

[1] Stryker, "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage," Emi Koyama, "The Transfeminist Manifesto" [2] As seen in Namaste, Invisible Lives, Prieur, "Mema's House, Mexico City," Kulick, "Travesti," Newton, "Mother Camp," Ochoa, "Queen for a Day," Hegarty, "The Made-Up State," and plenty more. Most of these works came out in the late 80s and 90s due to a combination of the feminist "third gender" craze, the burgeoning field of masculinity studies, and AIDS.

[ghostlyferrettarot]

♥︎Pick a picture:🖼💐Your Wedding Day💐🖼

•Pile 1 •Pile 2 •Pile 3

❗️This is a collective reading, take what resonates and leave the rest❗️

✨️Paid Services ✨️ (Natal charts and tarot readings) Open!

🖼If you like my work you can support me through Ko-fi. Thank you!🖼

💐Masterlist💐

🦩Pile 1: 10 of Cups, Page of Cups and The Moon.

Hello pile 1! Your wedding day will be "radiant", that's the word that's coming to mind, full of light and joy. Imagine a sunny day, where everything aligns perfectly, from the details to the energy you will share with your future spouse and the guests. There will be an atmosphere of pure happiness, without clouds, all sunny, everything will flow harmoniously and full of love.

There will be a deep and sincere connection between the two of you, as if the world faded away for an instant. It is a moment that will feel like a conscious choice to love each other forever, this is honestly so sweet pile 1.

The celebration will be magical and full of bright moments, as if the stars were illuminating every corner. The party will be vibrant, joyful and full of hope for the future. There will be a feeling of freedom and plenitude in the air, and everyone will feel inspired by the positive energy that you and your partner will bring. It will certainly be an event that will leave a mark on everyone present. I feel like this celebration will be during summer and probably in a vacational place, like Greece or Italy.

🦩Song:

🐇Pile 2: The Empress, 4 of Wands and Ace of Cups.

Hi pile 2! I specially feel for you that during this day you will feel in total connection with your inner self, full and full of love; and I also feel that you will look stunning! Many will compliment you that day pile 2! You will feel elegant, empowered and completely in tune with the magnitude of the step you are taking. The day will be a reflection of everything you have built with your partner, and you will feel deep gratitude for every moment.

Although there will be moments of doubt or nervousness before the ceremony, I feel like some family members could be a little messy ( in a fun way tho), you will both feel a deep emotion on that significant day. There is a very intuitive connection between you, as if you could read each other's thoughts. There will be a sense of mystery and magic, as if everything was destined to happen in the most perfect way possible. This feels so fun and carefree, I see you enjoying each other with friends and family, "dancing through life" from wickedness to mind as I channel, so definitely lots of fun. I feel like this will be a crazy party, in the good way. I honestly want to go so badly, the energy is everything! Send the invitation pile 2, lots of love for you and your amazing partner.

🐇Song:

🐞Pile 3: The Magician, 7 of Swords and Queen of Pentacles.

Hi pile 3! This day feels like pure magic, where everything will feel like a dream come true, I feel like you will have your dream wedding, just like how you imagine it to be. As if everything you have lived until that moment had been the preparation for that instance. There will be a palpable energy, as if the universe were conspiring in your favor so that this moment would be perfect.

There will be a feeling of liberation in you, as if the universe validated your decision to get engaged. It will be an emotional and momentous time, I feel like it will heal you a lot and help you see yourself with gentler eyes, this feels really emotional pile 3.

I also feel like your partner will be your biggest fan this day (and probably forever). There will be a feeling of momentum, as if you are both ready to move forward into your future together, with confidence and strength. After the wedding, you will feel like anything is possible, and you will be prepared to handle any challenge that comes, always together.

🐞Song:

💐🖼Thank you for reading and tell me if it resonated🖼💐

[kittymizuki]

thinking about the kamikou festival event again and how it conveys the tone and atmosphere of the school while showing the constant transmisogyny microaggressions mizuki lives with every day so well, and this phone call with an drives me insane bc even though an is genuinely well-meaning and is trying to ensure that mizuki knows that today is a safe day for her to come to school due to the circumstances of the festival, the way she words this is very discomforting bc she's basically saying "nobody is going to notice that you're dressed as a girl today bc everyone is wearing wacky outfits!" which carries the unfortunate implication that the way mizuki presents herself is equally wacky in a way that reinforces everything ppl say about her, but this isn't easy for her to push back against bc she doesn't have a good enough 'excuse' to do so when this is one of the few ppl who go out of their way to accommodate her even if they don't fully get it? it's thoughtful of an to want to reassure her but also it's another little thing that others fail to understand. she's trying to be kind but even then mizuki feels somewhat pushed into a corner. she's very bad at actively saying No. and an has removed her ability to misdirect here bc an is speaking with ambiguity.

mizuki also being too anxious about the idea of changing her clothes in school bc she's terrified of the possibility of being caught and thus having her body perceived by others... that's also another reason she'd hate being at school. gym and changing for it … i'd wager mizuki skips almost every gym class bc she can't stand the idea of being forced to change amidst boys, but she's also not allowed into the girls' locker room… literally only has the option to go to the roof if she wants to change. she's so hyper cognizant of her body and being seen … and the worst part is, she likes to be seen under her own circumstances and control (which is one of the many reasons she's very passionate abt fashion, and a lot of trans ppl in fiction tend to have an attachment to fashion and styling which makes a lot of sense bc of the element of control over one's appearance and making a self one can love). she really does. it just … happens that she knows she has so little control.

i've read the vbs main story (and a bit of their events but i need to continue whoops) and this makes me appreciate mizuki's brief interaction with kohane and an here more, bc it's obvious in this moment that kohane is just being her usual self—anxious around other ppl she's not familiar with and this is something she wants to improve upon (which as far as i can tell is the conceit of her character arc as an underdog of sorts compared to the others in her group). but mizuki assumes that she has to be uncomfortable with her specifically (presumably due to her transness) bc of her experiences, so she immediately feels bad about 'taking up space' and decides to make up an excuse to get away from the situation to give kohane the chance to comfortably hang out with her friend. and the fact that mizuki goes out of her way to say that she's going to find a place to hide alone is interesting bc the way it's framed it doesn't sound like it means much, but it feels deliberate on her part, like she wants an to know... mizuki's internal world and where we see she has internal bias and how she blames herself or assumes she herself is the problem if she can't make others comfortable, and she takes so much upon herself all the time bc she's used to constant microaggressions and either can't say how she truly feels or has to divest what she feels from its context to make it palatable. but of course kohane is not transphobic, she is someone who has trouble socializing with strangers bc of her own anxiety that has nothing to do with mizuki herself, but mizuki doesn't have access to this perspective like the reader so it's easy for her to assume that she's the problem. it's paranoia but it's understandable considering how she's treated by almost everyone...

[ponderingmoonlight]

And yet, you're here

Pairing: Geto x fem!reader

Word Count: 2,8k

Synopsis: Years after Suguru left, you're still not able to get him off your mind. When he reappears years after his betrayal, the past collides with the present. Unexpected, in a way you didn't even dare to dream about.

Warnings: this isn't proofread 100%, the emotional rollercoaster you deserve, hurt to comfort big time, this is for all my geto girlies who deserve their happy ending

please please please make this go viral thank you

„He’s a threat for the whole population!”

“We need to kill that brat before he kills all non-sorcerers.”

“I can’t believe someone like him was able to do something like…that.”

“So much wasted potential. Why does a special grade sorcerer act this way?”

“I thought he’s a nice boy.”

“So, you’re not one of those nice guys I guess.”

The sun already hung so low in the sky that you were barely able to see his soft features, let alone the surprised look that crept over his face while hearing those words coming from your mouth.

“Are you talking about me or Satoru?”

You let out one of those cute chuckles he adored so much, the kind he heard in his head on repeat even when you were long gone. Gosh, he couldn’t get enough of this. Those lonely nights with only you and a cigarette by his side, the countless hours he spent trying to understand you while it was his mind that slowly but surely fell apart.

“Nope, I’m always talking about you, Suguru.”

“What am I if not a nice guy, then?”

Sure, Satoru Gojo was his one and only best friend, but you were something else entirely: An unspoken bond that lived in the spaces between words, in glances that lingered just a moment too long. You weren’t a lover, not in the conventional sense, but you weren’t just a friend either. You were a mirror to his soul, the keeper of truths he couldn't bear to speak aloud, and the only person who could hold the weight of his silence without it breaking you both.

“You’re... complicated,” you finally replied, the word laced with warmth rather than judgment.

“You’re the kind of person who feels too much but hides it too well. The kind who would burn the world down if it meant saving the people you love. Not everyone understands that, but I do. Or at least I’m convinced I do.”

Suguru’s lips twitched into a faint smile, more melancholic than amused.

“Complicated, huh? That’s one way to put it.”

“And dangerous,” you added lightly, the hint of a smile in your voice.

“But not in the way they think. Not to me.”

His expression softened, the darkness in his eyes easing for just a moment as he stared at you.

“Not to you,” he echoed, as though testing the words on his tongue, letting them sink into the cracks of his fraying soul.

Till this day, that one last conversation both of you had on that lonely bench still haunts him. The way you looked at him back then, as if you’d already knew that you might never see him again, as if you just counted the hours until he goes berserk.

What are you thinking about him now?

Is he still on your mind?

Are you hating him the way Satoru does?

“You’re thinking about her again, don’t you?”

Fuck. He thought about you.

Again.

Suguru lets out a sharp exhale, the sound halfway between a sigh and a laugh, bitter enough to sting his own ears. How pathetic he has to look to the people surrounding him. When he walked down this path, he knew that he’ll have to do it without you, that he won’t be able to see you again. And yet…

Losing you seems to hurt more than anything else.

 “Of course I am,” he admits to his assistant, his voice low and rough like gravel underfoot.

“Not like I can help it. She’s everywhere, even when she’s not. It’s ridiculous.”

There it is again, your face ghosting through his mind. Other than Satoru and Shoko, you never really tried to find him. If you wanted to, you would, right? Maybe you’re too mad at him for all the things he’s done. Or maybe you already forgot about him.

 “But it doesn’t matter, does it? She’s gone. Just like everything else.”

For a moment, he closes his eyes, trying to drown out the memories, the sound of your laugh, the way your voice softened when you said his name, the weight of your eyes on him as if you could see through all the lies he told himself. He’d burn every memory if he could, let them smolder in the same fire that consumed the rest of his life.

“Besides. She’d hate me now, just like everyone else. Maybe she was just waiting for me to turn into the monster she saw coming.”

“Stop stewing in these thoughts, that doesn’t matter anymore. We’re expecting another bunch of monkeys in half an hour.”

But even as she said it, the words tasted wrong. It shouldn’t matter that he can still feel the warmth of your gaze, your unwavering belief in him, and yet it cuts deeper than any accusation ever could. Suguru shakes his head while straightening his shoulders, eyes locked onto Manami in front of him in order to force you off his mind.

“Doesn’t matter,” he repeats, his voice barely above a whisper, as though trying to convince himself.

“It’s too late for that now. So, where’s the monkeys?”

“Why did I know I’d find you here?”

His voice startles you, making you jump slightly. You turn to see none other than Satoru Gojo standing there, hands in his pockets, his white hair catching the fading sunlight. The sunglasses perched on his nose don’t quite hide the sharp edge in his expression he usually wears around you.

“Because I’m always here, I guess,” you reply softly, your tone as tired as the circles under your eyes appear.

“And I told you to stop a long time ago,” Satoru bites back, his voice bitter, cutting.

“The Suguru you knew… he’s gone.”

The weight of his words lands hard, though they’re not new. He’s said them before, with the same venom in his voice, every time you bring up Suguru or the past.

“I know. I’ve always known.”

“Then why do you keep punishing yourself? Dropping out of Jujutsu High when everyone needed you didn’t bring him back. Hiding out here doesn’t change anything, y’know?”

“It wasn’t about bringing him back, Satoru,” you snap, your voice sharper than you intend.

“It was about… letting him go. You wouldn’t understand.”

“Try me,” he challenges, stepping closer.

“I’ve spent years watching people destroy themselves over things they can’t fix. I know the look in your eyes - you miss him. You always have. But you didn’t even try to stop him when he turned his back on us.”

You flinch, his words hitting a nerve.

“Because it wasn’t my place. I wasn’t like you, Gojo. I wasn’t his best friend. I wasn’t strong enough to drag him back kicking and screaming or to stand in his way. All I could do was… let him live the way he decided to. I thought… maybe if I stayed behind, if I didn’t follow him, he’d understand that I believed in him, that I trust him and his actions, the path he chooses. That I’d be here if he ever wanted to come back.”

Satoru’s shoulders tense, his jaw tightening. He never understood. Until this day, he never wrapped his head around the fact that you didn’t try to stop his best friend back then. You, who had more power over Suguru than himself.

God, how much he hates that disgusting truth until now.

“And look where that got you,” he mutters.

You look away, your hands gripping the edge of the bench for support.

“I never expected to see him again, Satoru. I didn’t think I’d matter enough to him for that.”

The silence between you stretches thin, brittle as glass.

“Do you think he hates me?” you ask, your voice barely audible.

“For staying behind? For not going after him?”

Gojo doesn’t answer, which is answer enough. You know he blames you, at least a little, for what happened. For not doing more. For leaving everything to him. For allowing Suguru to turn his back on Jujutsu High.

“Suguru hating you? Never. I bet he still thinks about you every damn day”, Satoru mutters under his breath before turning on his heels and leaving you standing in the rain.

Suguru, still thinking about you? You shake your head vehemently, not allowing that absurd thought into your brain. If he would miss you, he’d visit you, right? In all those years, he never lifted a finger in order to find you.

You were right there. In your small apartment, at jujutsu high.

Maybe he forgot about you after all.

“Me? Forgetting you? I’d never be able to do that, (y/n).”

Maybe some promises are meant to be broken.

-a few evenings later-

You’ve drank too much.

You always do when Shoko isn’t with you, when no one’s around to watch you. But even though you emptied a whole bottle of liqueur on your own, you still aren’t able to forget him. Fuck, his face is glued onto your mind like a second skin, never leaves you even though you drink enough to forget your own name.

Will it always feel like this? Will that ache ever go away?

“What are you thinking about, handsome?”

“Something I’ve lost some while ago”, you mumble, absently swirling your glittery cocktail around.

“That’s a bummer.”

You don’t even gift the random stranger next to you a look, the guy who smells like cheap cigarettes so vehemently that you feel like throwing up.

Maybe it’s time to call it a day.

“Yeah. Whatever.”

You spring back onto your feet, the alcohol vibrating through your veins. You were never much of a drinker back then, only shared a cigarette with Suguru from time to time. But this became your only way to numb the pain. At least for a few hours, at least for some time.

The cold air of the night hits your face like a wall. Even though it’s far past midnight, the city buzzes in street light, laughter and cries. And yet, all you’re able to think about is him again. His laugh, his voice, the way he used to look at you when he thought no one else was watching. Is it wrong to long for him? Is it disgusting that you couldn’t care less about the things he’s done those past years, about what he’d become?

You shake your head, trying to dispel the thoughts, but they cling to you, stubborn and relentless. Why can’t you just stop? Stop longing for something that will never happen, stop running after a person who is long gone? Suguru won’t come back, you won’t just meet him on a random street-

The click of footsteps catches your attention. Heavy, yet elegant footsteps across the still busy street.

At first, you think it’s just another stranger wandering through the city’s darkened streets. But something about the rhythm - steady, purposeful - sets your nerves on edge. Something about this feels familiar.

You glance up, your heart skipping a beat as your gaze meets a pair of familiar dark brown eyes.

Suguru Geto.

The world around you blurs, the sounds of the city fading into silence. It’s him, unmistakably him. His hair is longer than you remember, strands sticking to his face from what looks like rain, or maybe it’s sweat. Blood splatters ruin his clothes and the sharp line of his jaw, painting a stark, gruesome picture paired with those cold orbs. His expression is unreadable, but his eyes… they’re searching, watching your every move.

You should run, or scream, or yell at him – at least something that shows him what he put you through.

Anything.

He’s the same man who left you, who walked away from everything, from you. He, who didn’t even tell you about his true feelings, who didn’t care about the consequences of his actions, who didn’t even ask you to join. All those miserable nights you imagined him sitting next to you on that bench, the bottles of alcohol you’ve drank just to forget his name. He needs to pay for it, needs to know what he did to you by leaving you behind.

But instead, your feet move of their own accord, closing the distance between you in an instant.

Before he can react, you throw your arms around him so, pulling him into a tight embrace.

Suguru freezes, his body stiff against yours. He doesn’t move, doesn’t speak, as if the sheer force of your presence has left him powerless. You bury your face against his chest, not caring about the blood, the grime, or the hurricane of questions swirling in your mind. All you care about is the fact that he’s here, alive, and solid beneath your touch. You can feel him – not only in your dreams, but for real.

Suguru is here.

He’s alive.

He’s right between your arms.

The scent of him - familiar, though tinged with something darker - fills your senses, dragging you back into a world you thought you’d never touch again. Tears sting your eyes, but you bite them back, unwilling to let them fall.

“Suguru,” you whisper, your voice trembling.

Finally, he moves. His arms lift hesitantly, then wrap around you with a force that knocks the air out of your lungs. He holds you like he’s afraid you’ll disappear any given minute, his grip firm and desperate. His head dips slightly, and for a moment, you think you feel him trembling too.

“What are you doing?”

His voice is rough, low, almost broken.

“I don’t know,” you admit, your voice muffled against his chest.

“I just… I missed you.”

He pulls back just enough to look at you, his dark eyes scanning your face as if trying to memorize every detail.

“You shouldn’t be here,” he mutters, his tone a mixture of regret and warning.

“Neither should you,” you counter, your gaze unwavering.

Suguru’s lips twitch, almost forming a smile, but it doesn’t reach his eyes. He lifts a hand, his fingers brushing against your cheek as though testing if you’re real.

“You should hate me.”

“Maybe I should,” you reply, your voice steady despite the storm raging inside you.

God, you’re so furious at him. Mad because he ran away, mad because he left you standing in the rain.

Mad because this is actually the first time Suguru Geto hugged you.

“But I don’t. I guess I could never hate you.”

His expression falters, the mask he’s worn for so long cracking just enough to reveal the man beneath. The one you knew, the one you loved in a way you never fully understood. And for the first time since leaving everything behind, he feels that small ray of sunshine taking in his heart again.

“You don’t know what I’ve done, what I’ve become. I was so sure you’ll hate me like everyone else.”

“I know enough. And I don’t care. You’re still Suguru Geto, aren’t you?”

He exhales sharply, the sound almost like a laugh, though there’s no humor in it. You, not caring about the fact that he ended countless lives out of his own fulfilment? You, a jujutsu sorcerer who always protected those monkeys?

“You’re too good for this,” he bites back, shaking his head.

“Too good for me.”

“Don’t decide that for me,” you snap, surprising even yourself with your suddenly so sharp tone.

“You don’t get to make that choice. You already did when you left without saying goodbye”

The silence between you stretches, heavy with unspoken words. You’re right and he knows it. But… Was it really a possibility to take you with him back then? Was there a tiny chance that you…would have joined him?

Slowly, he leans his forehead against yours, his eyes closing as though seeking comfort in your presence. No, he doesn’t want to think this through. Not right now. Not when he feels your heart pound against his body, not when you’re this close to him for the very first time.

“I thought I’d never see you again,” he admits, his voice barely a whisper.

“I told myself it was better that way.”

“And yet you’re here,” you point out softly.

“And yet I’m here,” he echoes, his lips curving into a faint, bitter smile.

For a moment, it’s just the two of you. No blood, no curses, no jujutsu, no past or future. Just the weight of the present, fragile and fleeting. And for now, that’s enough.

For now, simply holding the man you thought you’ve lost forever on a random street is more than enough to make you feel whole again.

Tags:

@arehzhera @ploylulla @tzubaki @beatrexworld @kenstarsworld

@hellkaiserinphoenix  @lauv4chuuya @sindela @kayleegomez @sunshine7queen

@magalimachete @gatitam @idontknow1123 @creative1writings @sanicsmut 

@mynahx3 @sad-darksoul @chilichopsticks @hellkaiserinphoenix @chuyasthighs0

@ynackerman9499 @keepghostly  @froufrousnowman @tomiokathedepresso @gojosrealwife 

@coffeeluvr96 @mahi-tamashi @weebotaku21 @chaoticwinnercupcake @lees-chaotic-brain 

@risuola  @sugurulefttesticle @wordskeeper @baku2345 @polarbvnny

@ruixrei @bam-bam-bam-bame-blog @lavenderdrxp @localhehecat @alicerhr

@sugu-love @belovedvamp @wifenanami @chilichopsticks @dlwlrmas-world

@oikawarz @darkstarlight82 @satoreo @kentocalls @cheesemachine44

@ryva @kenjakusconcubine @baku2345 @komelrebi-san @deezy12299

@okay-it-is-ivy @paridoliaaa @cupcaketeddybehr

[emilija04acer]

Jayvik fics list (pt 1)

(+ some Jayvikmel)

They are soulmates, Your Honor, whether platonic or romantic is irrelevant.

Firstly, here is an essay by isdisorigionale. Yes, they apparently wanted to write about a brotherly relationship. But it doesn't really read like that, in my opinion.

An Aroace Analysis of Jayvik—Not Necessarily Romance, Absolutely Not “Bros”

Their summary>

An essay I wrote in 90 minutes 2 hours after finishing Season 2 Act 3. Notably, those two hours were spent screaming to my friends on how fucking generational that Jayvik was.

Or: They obviously didn't need to make them make out to show how much they love each other, but I’m also pissed at how apparently this is being called a bromance like ?????

♥––––––––♥♥––––––––♥

Now onto the fanfics >

Green is my thoughts on the fics.

Those are shorter fics that I read...After the finale, fanfiction is helping me cope. I'll make a separate list with older and longer fics.

♥––––––––♥♥––––––––♥

You're Dreaming by Skullsz_Writes

Viktor & Jayce are researching in the library, but Jayce falls asleep...

Short and sweet fic about Viktor crushing on Jayce in season 1

An Epilogue by GwenEani

In the countryside of Demacia two men arrive one day, no one knows anything about them, no one even knows their names for certain. But they know one thing: they are partners and are here to stay.

What if Jayce and Viktor didn't die in each other's arms but were teleported away and were living domestic lives? There are a lot of these here, and rightfully so. They deserve some happiness.

to rot and ruin by ember360

The first words Viktor says to Jayce are immortalised on Jayce's wrist. The first words Jayce says to Viktor... are not what he thinks.

Soulmate AU for these two was a need. I love Soul Mark fanfictions.

Fortune Kooky by setbet

“And you end up with… a beard!” she exclaimed pointing at Jayce’s face.

Viktor rolled his eyes while Jayce looked on, amazed at her prophecy.

“And then…” she turned her gaze to Viktor. “You turn into a robot!” cried out the fortune teller, falling back in fear. “A terrifying robot bent on taking over the world!”

“Eh, sounds fake,” said Viktor.

“Viktor, don't be rude!” said Jayce, but starting to feel a bit doubtful at this point.

A fic about two academy boys visiting a completely accurate fortune teller.

Universal Constants. by Azurita25

“Yes, well… there is also the idea of constants, no? Universal constants. Gravity is always present, the Earth always spins around the sun–”

“And we always end up doing laundry together?”

“I do not think the laundry is the part that’s important,” Viktor stressed.

“So what is?” Jayce replied, making Viktor laugh, shake his head.

“You are.”

--Or, a glimpse into all the universes where Jayce and Viktor find each other.

wrong bedroom by a1sher

“Wait a minute, this isn’t my bedroom.” Viktor and Jayce tries to break into Heimerdinger’s lab only to end up in Viktor’s bedroom;)

What if Mel accepted Vik's excuse?

…And They Were Roommates! by draconabraxas

Mel Medarda never thought she’d go on a date with a taken man; homewrecking was beneath a woman of her standing.

In her defense, nobody in their circle seemed to know if Jayce and Viktor were together, either. So, how was she supposed to know?

Miscomunication and more miscomunication! Mel isn't a sidepeace!

Why Love Songs Exist by Slither

"All these timelines at our fingertips." Viktor pauses. He smirks in such a way that Jayce knows he has a silly idea. "It would be funny if I were a worm in an alternate universe," he says.

"I think you would be a cute worm," says Jayce—his Jayce—without hesitation, and then he shrugs. "I would put you in the best garden I could find and feed you the freshest fruits," he adds casually.

Giopara is silently mouthing the phrase "what the fuck" behind them, as Viktor's mouth falls open. "Oh."

Oh, he says, as if that did not remind him of everything Jayce revealed before they sacrificed their souls to contain the Arcane. Oh, that he was beautiful. Oh, that he was...

Desired?

Or Jayce basically confessed his love, but the specifics remained unclear to Viktor.

Kiss me like one of your Zaun Boys by setbet

“They’re making out in the lab.”

“Yeah, they do that a lot.”

“But they’re not boyfriends?”

“We don’t talk about it.”

The first time Viktor kissed Jayce, it was a quick peck on the cheek, followed by a casual conversation. The next time it's on the lips, but then it's back to talk about formulas. Jayce concludes it must be a cultural thing, and also starts to kiss Viktor back. Everybody else is confused.

A story of two friends kissing each other, who are definitely not boyfriends.

only you by babybirb

Jayce and Viktor don't quite cease to exist. Instead, they are side by side in each breath, in each droplet of blood, in each wave of sound and light. What seems to be the end, is only the beginning for them. And together, they pave their way forth.

An ethereal alternate after-ending to Jayce and Viktor and the love they hold for each other. With it, they exist within all possibilities.

not to me, not if it's you by brewstersbru

They were supposed to die, then, a better ending than Viktor expected. Far sweeter than he deserved. Jayce’s hand warm and broad against his neck, foreheads tipped together, breaths fanning over skin. It was neat. It was nice.

And then he woke up, splayed in a field, draped in the tatters of Jayce’s blanket. A groan rose from his left, then some pitiful shuffling before a final, loud thump, accompanied by a slight warble.

perfect imperfections by bbgghost

In his dying moments, Jayce revisits some important moments he has shared with Viktor. And makes some new memories along the way.

i knew you in another life (you had that same look in your eyes) by coefemi

Jayce shakes his head. “You don’t need to thank me. I’d do it for you. I’d do anything.” He sounds so earnest too, and Viktor believes him. He is safe with this boy, he decides. Jayce’s smile makes him feel like he can eat the world raw, and Viktor wants to hold onto it forever.

 When Viktor and Jayce's foreheads touch, all the infinite what-could-have-beens spill through their minds.

♥––––––––♥♥––––––––♥

2x7 AU\No Hextech AU

I'd love to see more of this AU and will also write fanfiction about it.

Quiet Resonance by Qakk281

Jayce rarely wakes up before Viktor, but on the rare mornings he does, he savors every second.

After the events of Act 3, Jayce and Viktor found themselves in a different timeline, where Hextech doesn't exist.

what could've been, would've been (what should've been you) by ghostlyecho

They got married in this universe.

Jayce grabs Viktor’s left hand, examining it. He looks at his own.

Twin rings adorn their fingers, Viktor’s golden, Jayce’s silver, both holding a fragment of blue crystal in the middle.

They’re married. They vowed their life to the other, they promised themselves to one another, they actually acted upon the deep-rooted emotions that coursed through the garden that was their relationship, that stubborn weed called love, that always came back no matter how many times you plucked it.

What if it was Jayce who got to see his life in an alternate universe

What Could Have Been by TheUnknownGoose

When Jayce woke up he nearly leaped out of bed when he realized bed? Why am I in bed? His heart was pounding against his rib cage as he looked around. He was in a bedroom, not his though.

Or Jayce sees what could have been if one thing had gone differently.

In Every Universe, It's You by AniresNevil

In an Alternate Universe, a young scientist Jayce loses his hopes and dreams when an explosion in his studyroom takes a life of an young girl. Dean's assistant Viktor still seems to find him in every lifetime, and together they accomplish something once again with the power of their partnership. And maybe with something more.

What happened to Jayce and Viktor in the Universe where Ekko traveled to in season 2?

Both arms cradle you now by Alexthestarlover

They're meant to be. In every timeline of any universe, throughout all the endless possibilities of actions and worlds. Their souls are intertwined. But is it possible that they're together in death too? 

there was something about you, but now i cant remember by DipitinPuddinggg

He held out a hand for a shake, "I'm Jayce."

At the edges of his mind, a familiar voice echoed through the walls of his skull. A voice that was the same but also not. A face that was so familiar, but too smooth at this point in time, not yet marred by years of labour and hardship that not even the strongest person in Runeterra could survive on his own.

"I don't even know your name."

Viktor smiled and shook it, "Viktor."

After getting sucked into the rune, Jayce and Viktor get transported to a different timeline without the memories of their previous life. Except, some things start seeping in.

you'll never shine if you don't glow by hexcorehomos

Viktor woke up, his fact was hot, sweat dripping down it. Where was he?

He looked around, it looked like Piltover. He slowly tried to get up, still confused. He should be dead, he exploded with the Arcane. That's when he figured out that his leg was back to normal. He groaned, falling face down into the grass. He wondered if Jayce was here too, oh, Jayce. What would Viktor do without him?

He saw a few people pass, but he got the courage to speak up when he saw familiar blue hair, almost like Jinx's. "Uh, miss.." he got her attention, turning towards him.

"Hello, sir?" she responded. She had gorgeous blue eyes. "I need- I need help. My cane is gone, and I cant walk without it." he lied, desperate for help.

♥––––––––♥♥––––––––♥

The Poly relationship>

Radical Violence Theory by begaydocrimes10001

When Mel Medarda realizes that she's completely ignored Viktor's potential as a scientist, as an academic, she quickly seeks to remedy that. He may not be Jayce Talis, but he has his own brain, and he seems to be far more useful than most think. She's a practical woman, after all- it would be useful to have another genius on her side.

And when she realizes Viktor is also in love with Jayce Talis, and Jayce loves them both? She's still practical, after all-- she sees an opportunity.

(Or, Mel and Viktor are more similar than one might think. That applies to who they love, but it applies to how they love too.)

Mel and Vik are platonic in this one, and I love it. Sadly, the positive interaction between them in Cannon is non-existent.

♥––––––––♥♥––––––––♥

Explicit> (some are 2x8 specific)

Wild Like a March hare by crow_brain

Wild are the glimpses of their life, hot coals burning the soles of their feet. They dance like animals, trying to close the gap between.

(Or the body worship Viktor's always should've gotten)

Cosmic Coitus by Wink_Wonk_Wank_Wenk

Now that there’s nothing but space around them, they can do whatever they want.

Inevitable Change by magisterpavus

Viktor isn’t the same when he comes back.

Jayce is determined to make it work anyway.

convince you by spectacularorange

after being rejected once, viktor must find a way to convince jayce to join him.

2x8

Partners. by lw192

Taking place during the fight scene in the councilor's room, Jayce and Viktor reconcile and realize just how much they need each other.

(Jayce and Viktor fuck on the councilor's table.)

Can I hold you? (Even if its just pretend?) by Issavandra

“My partner died in this room,” he ground out.

“Do I seem dead to you Jayce?” Viktor asked. Jayce could feel him moving closer, he swore he felt something brush his nose. “I have never been more alive.”

A cool, metallic finger passed over his bottom lip in a featherlight touch. It felt almost reverent. “Do you want me to show you just how alive I am?”

[cosmicjoke]

I think you misunderstand my point entirely. It's not about the practical reality of whether Ash could "conceivably" have escaped his life of crime and lived a secure and anonymous life with Eiji, and it's certainly not me saying I think Ash had to somehow "pay" for what he had done during his days as a gang leader. It's about what Ash thinks of himself, and his particular trauma and the damage wrought upon him and his psyche by the severe abuse he suffered and the life he was forced to live as a consequence. It doesn't matter if Ash could have realistically or potentially escaped his life, because he couldn't escape the self-hatred that the abuse he suffered instilled in him. It doesn't matter whether his being in Eiji's life wouldn't have actually endangered Eiji, becaues Ash believed that his presence in Eiji's life did. He couldn't escape his trauma, and that's really the point and the purpose of Ash's death, in the end, is it doesn't allow the reader/audience to undermine or downplay what Ash lived through by acting like everything would have been hunky-dory if only he'd been able to run off to Japan and live happily ever after with Eiji. It forces the audience to contend with just how devastating Ash's trauma is and the true horror of child abuse by showing the tragic end point of it in Ash's death. Ash quite literally dies as a result of that abuse, because it was that abuse that led him to run away from home, which in turn led him into Dino's hands, who's further abuse led him into a life of crime, which, ultimately, is what led to Lao believing he had to kill Ash in order to protect Sing.

Ash had all the ability in the world, all the potential in the world to be whatever he wanted, sure. But it didn't matter, because his life was destroyed by the abuse he suffered and by the people that abused him.

Banana Fish offers no idealistic ending or silver lining to the life that Ash was forced to live, and that's what makes it such a powerful work of art. It presents a naked and raw depiction of the true consequences of child abuse and forces the audience to contend with that reality. It doesn't allow you to console or comfort yourself with notions that anything, no matter how bad, can be gotten over, if only you try hard enough. That's just not reality. There are so many people in real life who never get over their trauma, who never make a full recovery, or even a partial recovery, and it's one of the most insidious and cruel aspects of this insistent claim that everyone can recover from their trauma, because it's essentially telling the people who can't that the failing is their own, sending them the message that they failed because they didn't try hard enough, or simply weren't strong enough. And that's just simply not true. People who are unable to overcome their trauma are no less than anyone else.

Ash believed plenty of things about himself that weren't true, and that's the point. He believed those things because he'd been conditioned through years of horrific abuse to believe them, and him dying in the end forces you to contend with the true weight of that, by denying Ash what he actually deserved, which was a life of happiness and love. It's so absurd to me when people say "Ash didn't deserve to die" or "Ash deserved better". Like, no shit. But Ash didn't deserve any of what happened to him in his life, and again, that's the point. It didn't matter what Ash actually deserved because he was failed so completely by the people that should have protected him in the first place, and it's their failure that resulted in Ash's life being so unfair and cruel. It's because they allowed Ash to fall through the cracks. The same story of so many abused children in this world. None of it is deserved or fair, but it's reality.

Banana Fish is meant to serve as a warning for why we can't allow the things to happen to children that we see happen to Ash, and it drives home just how unacceptable allowing those things is by having the story end in Ash's death, by giving us the worst possible outcome for what Ash suffered, and so impressing upon us why we have to try our hardest to make sure what happened to Ash never happens to anyone else. Ash's death forces us to face the true consequences of allowing children to be abused. We aren't allowed to pretend through Ash's "happily ever after" that what happened to him really wasn't so bad after all.

Further commentary on the ending of Banana Fish (Spoilers):

Look, I understand the controversy and upset surrounding the ending of Banana Fish.  My last post on this topic seems to have pissed some people off, which was never my intention.  But I think maybe I could have worded things a bit better, so I’m going to try again to explain why I feel like the ending of Banana Fish was so perfect.

It’s not a happy ending, and I don’t think anyone, anywhere, will try to tell you that the ending was meant to make anyone happy, or satisfied.  That’s the point.  It’s not MEANT to please the reader.  It’s meant to remain true to its narrative realism.  And in that realism, it’s meant to break the readers heart.  And boy does it do both.

I don’t think anyone would tell you, anyone with any ounce of feeling in their heart, anyway, that Ash didn’t deserve a happy ending, or that he deserved to die after all the awful shit he went through.  I think we can all agree that we would have wanted, if we had a choice, to see Ash have a happy, hopeful ending with Eiji in Japan.  We all agree that Ash DESERVED a happy ending, because he was a good person who was dealt about the shittiest hand in life a person can have.  And despite all that shit, he retained that innate goodness of heart that made him who he was.  He never became a monster, like the people who used him up and abused him over and over again.  That’s what makes him such an extraordinary character that’s deeply loved by so many people. He absolutely deserved to be happy.

But that’s the thing. Banana Fish is a story that deals in reality.  Everything that happens in the story, despite the often extraordinary, larger than life circumstances, is dealt with in a way that is, very often, brutally, painfully honest and realistic.  It doesn’t give us what should be, it gives us what IS.  And that makes perfect sense in accordance with its relation to writers like Hemingway and Salinger.  They wrote stories that dealt in brutal honesty and reality too, and both writers are referenced throughout Banana Fish.  And it’s Banana Fish’s commitment to that brutal honesty and reality that makes it an authentic piece of art.  People want a fairy tale ending, where Ash gets to ride off into the sunset with Eiji and live happily ever after, but at no point in Banana Fish are we given any indication that the story is, at any point, going to delve into the realm of unreality and fantasy, and give us such an ending.  To do so would have been a betrayal of the genuine nature of the narrative. It would have ultimately robbed it of its authenticity as a piece of art, and the story, as a result, would have been left hollow and lacking.  

Banana Fish, throughout its narrative, shows us that terrible things happen to good people, and that good people are often forced into doing terrible things.  It never shy’s away from that cruel, heartbreaking reality, and the ending is no exception.  

It affects us so deeply, and leaves us so upset, because it’s so REAL.  It feels genuine to us, it feels real, because it refuses to betray its honesty for the sake of a happy fantasy.  It remains loyal to the harsh truth of reality, and the harsh truth of Ash’s reality in particular.  Ash is a deeply damaged, broken person, who’s experiences in life are the very definition of cruelty.  Here is a boy who, since the age of seven, has experienced sexual, mental, emotional and physical abuse repeatedly and on a scale truly unfathomable to almost all of us. A boy who was forced into a life of prostitution in order to simply survive on the harsh streets of an unforgiving city.  A boy who, again out of a necessity for survival, has had to kill other human beings. A boy who, out of a desperate situation in which he was forced to choose either to save his soulmate or watch him be murdered by his best friend gone berserk in a mad, drug induced insanity, had to kill his best friend by shooting him straight through the heart.  A boy who, each time in his life that he’s tried to build real and meaningful relationships with other people, Griffin, the girl he liked when he was 14, Skip, Shorter, Eiji, he’s had to watch those people he allowed himself to grow close to either die or almost die, over and over again.  All of that combined creates a level of trauma that’s so far beyond the normal scope or understanding of a regular human being, so far beyond any discernable mechanism for coping with trauma, that to expect Ash to just get over it, for it all to magically be okay just because he moves to Japan with Eiji, is the height of unrealistic, and, again, would be a betrayal of the authenticity the story marries itself to from start to finish.  

Ash’s death is a tragedy, as his life was a tragedy, and the story is a reflection of that.  It stays true to that narrative, and never compromises on it.  That’s the point.  Life doesn’t always have a happy ending.  People that have suffered severe, irreversible trauma don’t always recover, and can’t always heal from it.  People who have suffered in the obscene and brutal ways that Ash has aren’t always going to be alright.  Sometimes it’s just too much.  For Ash, it was just too much.  Too much damage.  Too much heartache.  Too much pain.  Too much loss.  Sometimes we can’t overcome our damage, and that reality presented in this story scares people, I think, because it’s so nakedly honest and unapologetically expressed.

The ending is so god awful painful too because we see, in that moment after Ash reads Eiji’s letter, hope bloom inside him.  For an instant, this belief that maybe he can have a happy ending, when he thinks he’ll catch Eiji at the airport, and maybe go with him.  And in the next instant, he’s mercilessly reminded of that hope’s falsity. Hope springs eternal, but not always true.  Hope and happiness were never meant for Ash.  The chance for that was taken from him before he could even understand what those concepts were.  The thematic arc of the story was telling us from the start that it was going to end in tragedy.

People weren’t meant to LIKE this ending.  It wasn’t meant to make them feel good, or okay with what happened, or fulfilled.  In fact, I’d say, it’s meant to make you feel completely devastated.  As the story reflects reality, so often too does real life end in a way that leaves us feeling lost and confused and heartbroken.  Banana Fish is so good because it stays true to that sense of reality, right until the very end.

The ending doesn’t leave us feeling happy, but it sure does leave us FEELING.  Like any real piece of art would.  The emotions it conjures are immense and, for some I guess, too real. That sense of loss and hopelessness and pain it leaves us with is so effective because, again, it’s so honest. And I guess that because those emotions are so real, and felt so deeply, and with such intensity, it leaves some readers and viewers feeling angry.  Lashing out at a reality which they don’t want to accept.  The irony, of course, is that their hatred and rejection of the ending is testament to just how deeply the ending touched them.  It didn’t leave them feeling nothing, it left them feeling too much, and they then go into a state of denial, which is really just a stage of grief.  A refusal to accept.  You know Banana Fish is a true piece of art for that, in how it conjures sincere feelings of grief and mourning in us for its lead character in Ash.  We CARE about him, deeply.  We want him to be alright, because we love him.

But real art isn’t concerned with placation.  It’s concerned with truth.  So many great pieces of literature have unhappy endings, because that’s the truth of the human condition, and the condition of life in general.  Real art won’t shy away from those painful, awful truths, nor is it afraid to conjure the feelings which go hand in hand with those truths in its audience.  

With all that said, the tragedy of the ending doesn’t demand a feeling of meaninglessness or desolation at all.

Eiji’s love for Ash and Ash’s love for Eiji is still so pivotal and, ultimately, essential in how the story ends.  It’s what allows, maybe not a feeling of hope, but a feeling of peace.

You sense throughout the story that Ash knows he’s going to die.  Like he senses that his life is too fucked up, that he’s been through and had to do too many horrible things for it to last very long.  It’s like the saying of he who burns brightest burns twice as fast.  Ash is burning, and he knows it.  He’s already accepted it as an inevitable conclusion.  He doesn’t actively seek death, but he doesn’t fear, nor fight against it.  At points throughout the story, even, he asks for it, when the horror of what’s happening to him becomes too much.  He knows death is coming for him.  The only thing keeping him from giving in so easily I think is his lack of agency in how he will.  Everything has been taken from Ash, and he doesn’t want to give this last thing away. This choice in how he dies.

Eiji’s love is what finally gives him agency in that decision.

Ash died knowing Eiji loved him, and that knowledge, that certainty that he was loved, genuinely loved by another human being, without any strings or conditions attached, simply loved for himself alone, is what allowed Ash to finally find the peace in death which alluded him in life.  He no longer feels like he has to keep fighting, or struggling on through an endless malaise of misery and pain, because he’s finally found the calm and acceptance which comes with knowing he has this one, pure thing for himself, which nobody, none of his abusers, can ever touch or take away.  With everything else that’s been stolen from Ash, his innocence, his sense of agency, his own body, his own mind, Eiji’s love for him is the one thing nobody could ever steal away.  And that’s, I think, why Ash dies smiling, because it’s that knowledge, that he was worthy of another human being’s true love, that at last shows him that he was a human being himself.  Not an animal.  Not a monster.  He was a human being worthy of love.

Ash’s death is heartbreaking, and brutal, but there’s deep consolation to be had in knowing he spent his final moments with the feeling of Eiji’s love for him alive inside his heart, allowing him at last to feel like a person deserving, worthy of love.

It’s that which allows Ash to finally let go of his struggle, and let’s death’s embrace take hold of him.  It’s his own. Eiji’s love, and his choice to let go of life.

It doesn’t make the ending any less heart wrenching or brutal.  It doesn’t make us any less devastated by Ash’s death.  But it gives us a sense of peace, in knowing, even if we are left feeling lost and heartbroken, Ash himself left life with the fulfillment of knowing he was loved.

[limeade-l3sbian]

Im sure you have noticed many radfems talk of how men will use their spouse/partner as basically a second mother, having her do all the chores, the emotional labour, the organisation, etc. And I agree with this take.

But can we talk about how a lot of women, especially trad adjacent ones, also see their male partner as almost a parental figure. The amount of times i’ve seen women use different versions of “I just want a man that can think for me” is too many to count at this point. And it’s common. It’s seen in so much romance media, where the man takes control of everything, all the big decisions. It’s become a whole trope in heterosexual romance books and stories, of a rich man with control issues who sweeps some woman off her feet and makes it so she basically just disappears in his embrace.

This is gonna sound super harsh, but please know it isn’t meant as a critique of them as much as something i’ve noticed. I really do believe a lot of women who crave old school gender roles are very lazy, “useless”(to themselves) people who don’t want to amount to anything in life. The idea of struggle and hardship, heck, even just working TOWARDS something, it scares them so much they would rather be shapeless blobs controlled by someone else. That’s why they fetishize that traditional life style for women. Obviously WE know the women of that time and current time too in those types of homes aren’t just sitting around all day doing nothing, but I really do think a lot of women use it as an escapism fantasy from life.

The way a lot of them describe their sexual fantasies is similar, it’s always what is done to them, like they aren’t actually active participants, like they don’t actually have to make any choices.

I think the reason a lot of men crave a parental figure partner vs the reason a lot of women crave one is very different but they seem to be extremely common nonetheless. And with women I also know it’s a very complex issue of both society telling us our worth, the fact that women nowadays even as the more educated demographic STILL do more housework and emotional labour in relationships, capitalism being horrifyingly exhausting to live under, I could go on. But the point is, I think certain women crave a life of no consequences so that whole “i’m just a girl” and “he thinks for me, he makes the choices” mentality thats unfortunately had a huge uptick in popularity in recent years, I do think it’s women craving a parental figure as a partner. Not to say it’s anything linked to incest, i’m not trying to make freudian connections here, but I think the role of a parent is to take responsibility for the child and they crave that floating consequence free existence of a child.

I dunno, is what I’m saying completely deranged? Let me know.

Anon, I'm gonna try to be respectful and hold your hand when I say this... YOU'RE RIGHT! Thought I was gonna get condescending on your ass, huh? 😎🤪

Firstly, don't undercut your words with "I dunno." You made a completely logical point and casually explained yourself so eloquently I wouldn't be surprised if English wasn't your first language.

Secondly! I have seen this too! This weird, "take care of me" emphasis from both sides of the camp. Is it laziness? I wouldn't cast that aside for a second. But I think it's also this strange reaction to the present world. At least in the U.S., the economy is shit and people kind of already know that shit is just going to be hard, no matter what. And as humans, we have a weird tendency to swing the pendulum completely to the left or the right. So our reaction to very real, economic hardship that requires frequent "grinding" is to desire a complete release of the wheel, and to have someone else handle the hard stuff.

For some reason, according to social media, you either need to be grindset girl boss or a trad trophy wife which is...yeah. But I don't doubt your point being more of a reason for this. It's bizarre, and you're not crazy.

[filipfatalattractionrblog]

The thing about Episode 7, Jayvik and Timebomb

We like to joke about the whiplash from constantly shifting between Ekko's visit in paradise and Jayce's suffering, but....

I actually have to put the shipping googles back on for this one.

When Ekko and Jayce meet, Timebomb and Jayvik have basically been torpedoed. Ekko almost killed Jinx last season, and only hesitated at the last moment. He spent so much time telling himself Powder is dead and Jinx killed her, but now he is no longer so sure. Jayce meanwhile kept drifting away from Viktor and every time he thought he would bring them back together, he would fumble, last time they meet he was yelling, unable to understand why Viktor given up on him, as if Jayce haven't broken every promise he made to him by not destorying the hexcore and by weaponizing hextech. Ships aren't completely sunk, but they're gaining water fast.

And then the Wild Rune sent Jayce and Ekko to different worlds. Ekko gets the world that could have been, Jayce gets one that may be.

Ekko's life in a near-utopian version of Zaun quickly focuses on him falling in love with Powder that could have been. And why wouldn't he fall in love with her? Shems a genius, she's funny, she's creative...but I think with time he realizes that all these things can still be found in Jinx. He realizes Jinx didn't kill Powder, Jinx is Powder lashing out in pain.

And yet, this Powder is not free of pain either. It's different pain, that he actually stupidly pokes early on. Pain caused by different trauma, which she got to deal with, while having a better support network, but sitll present (I have seen somewhere a good argument she shows signs of depression, but forgot where). It's not that she deals with her pain better than Jinx, it's just different. And I see with time Ekko realizes that and realizes how wrong it would be to give up on Jinx, that the same person he loves is in her world, but she has no one to be for her what this Powder has in her Ekko, Mylo, Claggor, Vander and Silco (that last one is an assumption on my part, it's unclear how close he is with Powder in this world, but considering he apparently co-runs the bar with Vander, he has to be present in her life in some way). When Ekko decides to come back, he isn't doing it only because it would be unfair to Ekko of this timeline and to Powder and everyone who loves that Ekko. He also does it because he realzied what an asshole he'd be to give up on Jinx.

And remember, he has no fucking idea about the seven hells of bullshit that went down in his world when he was absent. He doesn't know about martial law, about Warwick, about Viktor, about Noxus. He's coming back expecting to deal with his tree being sick and Chem-Barons war.

Now let's look what Jayce goes through. He gets sent to hell where his dream goes horribly wrong, yes. But what quickly happens to him? He breaks his leg falling down the chasm. He ends at the very bottom of where Piltover used to be. Correction, where Zaun used to be. The enviroment is slowly poisoning him. He is forced to fight every second to survive. Poisoned by enviroment, limping, forced to use leg splint and a staff as a crutch. Sounds familiar? Moreover, he is then forced to climb his way from the bottom all the way to the highest tower of Piltover. I'm surprised more people aren't talking about this, the metaphor is laid down pretty thick. Jayce gets crash course version of Viktor's life, he is literally forced to walk miles after miles in his shoes. They even made his leg splint look like one League of Legends' Viktor had until 2024.

he never really could understand where Viktor is coming from, even at his lowest he still was a minor noble house, he still lived in good part of the town. And sure, he and Viktor became close, but then Jayce got seduced by the fame, by glamour, by being man of progress, by being savior of the future, by cushy council seat. Power makes it hard to see evil, and privledge makes you blind to human the suffering. This experience was eye-opening to Jayce. I wonder how many times he must have stopped himself and realize this is what Viktor goes through on daily basis. And, as we learned later, after Jayce climbed this way to the top of hell, he saw how much HE means to Viktor, how HE is the only person who can give Viktor hope and save him from his own internalized ableism. He goes back to save the world, but he also goes back to save Viktor.

These stories weren't paired jsut to fuck with us, they're pararells. Jayce and Ekko both were blinded, one by glamour, the other by hardship, they could no longer see real Viktor and Jinx, too wrapped up in the people the world forced them to become. Each one was forcefully stripped from his ideantity, and therefore his biases, and forced to actually SEE the person they love, not the false image they built, but real them. And then each one went back and each one reached to their respective love and save them. And jsut like Ekko went back in time over and over to make Jinx see he's there for her even if she hates herself, Jayce was willing to sacrifice it all to show Viktor he doesn't need to be perfect to be loved, because for Jayce he always was beautiful.

And I could probably write a whole separate essay about how this theme of tearing through your own bullshit and actually SEEING the other person is present in this season. How Jinx and Vi are forced to go through microcosm of each other's experience to rebuild their love. How Caitlyn is saved from her own descent into villainy by being forced to see how much pain she caused Vi, see a human in Warwick, see a wounded child in woman who killed her mother. How Vi stops her self-destruction by trusting Jinx and seeing Vander in Warwick. How Mel literally has to fight Illusionary Sorceres, a.k.a. LeBlac THE DECEIVER and defeats her with words "I see you". How Ambessa is the only person who doesn't go through this identity destruction this season, even i nthe opening proudly wearing red of Noxus, and that's why she fails. How Maddie being a spy is telegraphed from her first appearance, where she's blocking the sun, effectively obscuring Vi's vision and making herself harder to be seen. How Jinx and Sevika are forced to see people in one another now that Silco's gone. How even during sesbian lex Vi doesn't let Cait get bogged down in guilt because she sees the woman she loves and that's all that matters. How Ekko defeats Viktor by showing him he's wrong to think only he can achieve power of Wild Rune, but also by literally tearing off the mask of god from his eyes, so that Viktor can SEE Jayce again.

But it's 4 in the morning as I type this and I'm no longer being coherent. Episode 7 is literally the microcosm of the whole season and Ekko and Jayce go through the same character arc in it.

[hyperions-light]

A home in life, a berth in death, a house of many mansions: the Necropolis fucks

Before the game came out the Necropolis was one of the top five places I was hoping they would let us visit in Thedas and I'm so thrilled it did not disappoint! The architecture, the atmosphere is impeccable, the reactivity everywhere (cleansing the Vault of the Beloved, the secret room that appears, the skeleton workers that begin cleaning different areas as the game progresses), the detail in everything. Did you know that in the room where you get the codex entry about the flesh-eating beetles, you can look down and see them running across the floor? Love it!

But the environment itself is only an aspect of what makes the Necropolis so much fun; the insight we finally get into Nevarran culture is possibly the most important thing that comes out of it. The only Nevarran we've really met before was Cassie (love her, she was not very informative, though), so to actually get to meet people who serve as stewards to one of the most sacred cultural rites is incredible and exactly what I wanted from this game. I loved discovering their unique perspective on magic, and how they handle their Templar Order.

It's also a fascinating lore point to discover that Emmrich can speak to the dead; we've never actually encountered a REAL ghost in DA, I don't think. There have been things which appeared to be pieces of once-living people, but it could always be explained by 1) weird magic causing them to live past their normal lifespan 2) a spirit acting as a dead person. Emmrich makes a distinction between speaking with real dead people and imbuing a once-living body/articulated skeleton with a spirit. This is so cool and interesting! And they've been doing this consistently and regularly, to talk to the late King Markus! All the magic applications in this game make the South seem so boring lol (but that's for another post).

And I love that the Necropolis itself is considered alive by the Watchers! It moves and rearranges its own configuration in accordance with some sort of unknown will; is it partially built inside the Fade? Is it imbued with magical energies, like Arlathan was? How old is it? Is the reason it functions this way because it's so old that it predates the separation of the Fade from the material world, or is it just that the Veil is thin there? Are the Lichlords the ones directing the Necropolis? How? So many interesting implications and questions brought up by just the building itself!

I think my favorite thing about the Necropolis and the Watchers, though, is how they present death. Most of the cultures that we've encountered so far in Thedas view death as a universally negative thing, but the Nevarrans celebrate its place in the cycle of existence. In the gardens, which are such a beautiful, peaceful location, there's a puzzle you can do where you have to turn on a series of meditation bells in a specific order to get into a treasure room; when you put together the poetry accompanying each bell in the correctly, they describe (metaphorically) the movement of a person through life and into death. It's such a gorgeous little detail, and I love the way the Necropolis is designed to encourage the player to think about death (it also folds in so neatly to Emmrich's personal plotline!), especially since it is so integral to the game as a whole (yet another different post).

Visiting Blackthorne Manor and picking up mementos in the Necropolis shows that, this death positivity is, in fact, a pervasive cultural attitude. Nevarrans believe that they have a duty to each other that persists after they die; that the body can keep being useful; that the living should honor the dead. It's such an interesting perspective that was missing from the DA series; people die all the time, and, of course, it's intended to make the player sad, but DA has never seriously discussed death, its implications, what it truly means or how it affects those left behind. They've never really made you sit and look at it as the player. There are some sad lines after Leandra dies in DA2, but it's mostly in the narrative to give Hawke a reason to hate blood magic and stuff. There's no funeral. There's a few lines from Gamlen, Hawke, and your companions, and then the game moves on. It's always like that; the game gives you a moment to be sad, and then it moves on. There's no mourning. But this game is partially about mourning! It's about people being gone, and it being too late; it insists you look at death and deal with it, and the Necropolis is the epitome of this.

The game asks the question over and over what you think the characters should do in response to their own losses, and the Necropolis represents are really interesting, nuanced, answer to that question. They're not gone; they're right there. They're still with you. You can go and visit them and celebrate who they were in a place that honors and cares for them, still. It's so beautiful and interesting and full of love, for the living and the dead.

I didn't even talk about Emmrich's plotline or the class differences in the Necropolis, or how everyone there is a weird goth nerd and I love it so much, but I think that's really the important point: the symbiosis. The living; the dead; the spirits; the corporeal, all finding a way to be together.

[literary-illuminati]

2024 Book Review #63 – Saga, Book 1 by Brian K. Vaughan and Fiona Staples

I first starting reading Saga a literal decade ago (I think literally because Rachel Maddow recommended it on a podcast? Which, god, what a 2010s sort of sentence). I absolutely loved it at the time, and read intermittently until it went on an extended hiatus. So extended, in fact, that I’d kind of assumed the series was dead and only learned it had restarted a couple years ago quite recently. So, seeing as I am now in need of a new comic, I figured I’d restart from scratch and work up to the new stuff. It holds up! (and the letters to the editor are a fascinating cultural time capsule).

The series follows Alana and Marko – star-crossed lovers who eloped together from opposite sides of a brutal and galaxy-spanning race-war – and their newborn daughter Hazel as they evade the numerous forces trying to see them all murdered before than can become an embarrassment. The first arcs of this are most one long blind panic finding transport off-world and only afterwards deciding upon a destination, it’s only in the last volume (with the pointed assistance of Marko’s parents) that there’s any thought of finding stability or a status quo. Along the way, both the family and the series collect a wider and wider circle of colourful hangers-on – and the narrative begins switching focus to give real narrative focus and character arcs to three different groups that find themselves tracking down the family. None of them are particularly happy lives, but they all make for very compelling drama.

The best way to describe this is I suppose a ‘science-fantasy dramedy’. Which sounds viscerally and violently wrong, but the comedy and the drama are both absolutely vital motors keeping it running. And this is the incredibly rare work that actually makes them work together seamlessly. It’s an incredibly vulgar book in a dozen different ways, but the characters are all plausible and compelling, and once you have granted the slightly contrived explanation for why both governments care so immensely about Marko and Alana the plot coheres enough to never take you out of the story. Which is helped by the pacing being fast and tight in a way that always kept me (at least) engaged. I do deduct points for the wise author character basically looking directly at the fourth wall and saying ‘and the profound message of my work is-’ (moreso because said message is truly eye-roll-inducingly vapid and dumb, granted), but that’s easily forgiven.

The comedy was...more hit-or-miss. There is a lot of clever wordplay and funny, high-context character beats. There are also a bunch of just absurd or striking visual gags or background details that really work. And then there is the giant with balls so big and hideous that they almost crush someone to death.

It’s been said (by people with far more knowledge of and investment in the medium than I) that mainstream American comics are these incredible wells of repressed sexuality – full of physically implausible women dressed for a burlesque and with panels framed by a particularly sleazy tabloid photographer, but oddly coy about actually talking about or including sex itself. Which tracks with my limited experiences, but might just be bullshit I don’t know – what I do know is that Saga is basically the exact opposite of that.

Which is to say, this is an intensely sexual comic, but an atypically non-sexualized one. Which is a bit of an odd distinction, but compare how Saga shows an uncensored orgy and how any given artist at a con draws prints of Power Girl and you’ll get the idea. This is on balance a very good thing, occasional junior-high-level visual gags and gross-out humour aside. Sex is a part of life, of varying importance to different people but something present and shaping the world regardless (and Marko and Alana very much do believably seem like a couple that’d have a kid together without a huge excess of planning beforehand).

Aside from Alana, Marko and Hazel (and hangers-on including a phantom babysitter and Marko’s somewhat-approving parents), the various groups hunting them get a really surprising amount of page-count – The Will, Lying Cat and Prince Robot are all basically main characters in their own right, and Gwendolyn, Sophie, Upsher and Doff aren’t fair off. It’s an immense accomplishment that a series of 28-30 page comics manages to bounce between so many characters and always keep them all moving, both physically and emotionally. (The character work and character design of this is worth at least the price of admission on its own, really).

The thing that most makes me love the comic is, I think, how it will introduce characters and tell you explicitly they are murderers and monsters – and then show them struggling and risking their life out of guilt or altruism or love, show them falling for people and being part of rich social worlds, show the trauma and baggage and shitty relationships that made them who they are. Make you care about them and root for them, want them to accomplish what they need to to get a happy ending – and then have them destroy something or kill someone else you’ve grown to care about. Aside from the really obvious stuff about intolerance and war, it’s one of the most consistent themes of the series that monsters have lives and loves too, which is frankly something I wish more stories (and just, people) took to heart.

The setting is glorious, in a ‘mural on the side of a stoner van’ sort of way. Laser guns and spaceships that are giant flying trees, a kingdom of robots with TVs for heads and the planet-sized egg of what’s basically a living black hole – nothing that’s designed to bear scrutiny, but endlessly inventive and evocative and clearly very fun for the artist.

The most striking thing is that – even for now, let alone fucking 2012 – the comic is just incredibly diverse. Even leaving aside the really weird or cartoonishy exaggerated species there’s more diversity in body type and silhouette in one crowd scene of Saga than in most Hollywood movies I’ve seen recently. Same with race and sexuality—the whole setting seeming functionally queernorm except for the one couple whose character arc requires that they come from Planet Homophobia is slightly eyeroll inducing but again, compared to the early 2010s norm it’s soaring so high above the bar you can’t even see the ground.

So yeah, have fallen entirely back in love with it. Can’t wait to start in on Book Two.

[gideonisms]

I love arranging it's like YES YES THE OBJECTS ARE IN LOCATIONS

[cybertron-after-dark]

Being constantly surrounded by the presence of a loving God sounds great until you realize you never know when his freaky fuckin eyes are gonna show up to check on you.

And man. They do it a LOT.

[kittymizuki]

there's so much around lion that's so wildly compelling about sisterhood, family, and identity, etc. but one of the things that make me crazy is the idea of lion as a fictional construct made by readers who want to see sayo with love, but also being unable to wholly decide what would most make sayo happy bc so many parts of herself are rooted in pain. lion is literally someone who exists to show sayo that she deserved better, deserved comfort, love, everything else - that it wasn't her fault, and that even in this "perfect" world, terrible things happen. the parents are still greedy and cruel. kinzo is still a terrible person. ep7 in this context truly feels like it's written by ppl on the outside of the story who actually chose to engage and understand, and a love letter to real life readers who did so.

a big thing i consider with lion is not having to have the 'pressure' of needing to specify and that creating a 'better' dynamic in the family, but they also still have to use the name given to them by kinzo. further considering that there's a major point of the care and love will shows for lion that is blatantly intended to transcend any idea of 'gender' or 'cisheteronormativity' makes it obvious to me! lion is essentially "this is a version of sayo who never had to 'choose' which is both a good and a bad thing, as within that context, this is a 'nuclear family' kind of set-up. by being denied the option/potential of fully exploring gender identity, they take on the role of the 'ideal child', which itself is rather tragic."

i think it's also meaningful to consider that lion is still androgynous and disconnected from the idea of 'masculine gender' without any of their 'tragedy' having happened. when given the option, they choose to live outside of 'maleness', outside of that specific idea, wanting to live without the struggle of having to specify or be assumed bc of how crushing and stressful that could be.

i really feel like it's relevant to consider that they were lying to sayo when they said it was only due to the 'incident' that she experienced that they had to perform the gender reassignment surgery? to me it would make a lot more sense that the reality of this intersex child would be easier to hide! if she was already intersex, then it's genuinely easy to consider. i think, broadly, lion was given to natsuhi as a 'baby boy' before everything happened. since she tried to kill the baby so young, it's so simple to see how these realities could have been ignored, but even then, what if natsuhi did realize this child was 'improper' or had a 'broken body'? what if, for so many things.

the idea of maleness and malehood is strangling to sayo. yes, she wants to 'fit in', but she also always truly wanted to see herself as a girl. she envisioned so many versions of herself that were the 'women' she wanted to be or wanted to grow up to be. she was never a 'proper' girl, even when she was a tiny child. she was always bad at cleaning, bad at cooking, bad at succeeding, too small, too 'stupid' according to all the girls around her. kanon exists as her dysphoria - dysphoria that in ep6 is 'killed' for the sake of saving loved ones. letting go of the mask of kanon bc her self-loathinh isn't who she wishes to be. i think further, it's important to think about how kanon exists bc sayo feels she has no 'right' to her own dysphoria unless she makes herself a 'male' alter ego to shove that into, to have some slight justification for how broken her body makes her feel. lion truly feels like an intersex child negotiating acceptable gender presentation bc being a boy is too painful and they can't assert their identity as a girl, so they opt for this middle ground that feels like a compromise between the two.

sayo has always 'been' a girl and 'seen herself' as a girl! but she is now portrayed as a failure of a girl bc of her 'broken' body and i think the intersex and trans girl readings can be interwoven into one very strong narrative. her being trans is amplified with the idea of her having intersex subtext bc she was raised thinking it could be possible, maybe, for her to live as a girl, before realizing she can only be a girl in this bird cage. now that she's a teenager, it's obvious that she's not a proper girl. if she leaves rokkenjima, the spell of her womanhood is broken and she'll have nothing. what matters is the present in which she exists and that her body 'fails' to meet the ideals of womanhood. this is vital in the context of natsuhi as well - natsuhi isn't a trans woman, but we can also see this sense of how womanhood and being degendered for her failures within that are important to her narrative and also sayo's! and in this context, sayo has always been 'out' and 'accepted', so her issue is less 'i'll never be a girl'. rather, her struggle is about how she's being taught that to be a girl is suffering and that she's doomed to tragedy for wanting. constantly realizing and thinking about all the things about the girls that people want and think of them, and realizing there was something about her body that denied her what she wanted.

i think it's a vital reality that intersex people are inherently connected with trans women, as the issue (at the end of the day) is having a body that 'fails' to meet the expectations of cissexist and bioessentialist dynamics so i love to think about this...

[mayasaura]

I just want to talk about the nursery being painted and the purpose of the Tomb to be without a door. Anastasia had a family - and putting to the side the pact with Alecto there's some implicit symbolism to John asking for the workers of the Ninth to die constructing the Tomb with that image of new life. (Still can't articulate my disbelief that he went and didn't think that asking Anastasia of all people, The one who lost her cavalier to him, would have problems)

Yeah. Especially finding this out about the Ninth, where nurseries becoming tombs is a thing we're sensitive about.

On one level we've always known Anastasia had a family. Like, we know she's Harrow's direct ancestor. You can't be heir to the line of someone who never had children. But the nursery.... Yeah. It really hammers it in. Her friends painted a nursery mint green for her children.

And now it's a tomb.

[uncanny-tranny]

If you truly want to do what's best for mentally ill people, you have to learn that you often won't be able to separate the "salvageable" parts of ourselves with our illnesses, and you can't pretend like we are sane people underneath the façade of insanity, like we can flip a switch and magically erase the differences that make us "disordered"