#not to express profound sadness on main or anything but. a lot of things feel quite difficult for me

[autistic-shaiapouf]

Am I the problem. Do my coworkers hate me

[kohakhearts]

hey taylo my bestie hello please elaborate on the goh cubone jn subtle storytelling thingy

COMING TO THIS SUPER LATE SORRY MAN SCHOOL WAS KICKING MY ASS BUT THANK YOU SO MUCH FOR ASKING. IM SO FUCKING GLAD YOU ASKED.

ok so jn015. our intro to goh's family unit, notably his parents. goh explains his dad is a systems engineer and his mom is a programmer. they work together and run their own company (and appear to be a two-man team, when we actually see them at work). right off the bat, ash is surprised that goh has to call to warn his parents he's coming home. goh essentially says he doesn't want to be a bother to them. he's very casual about the whole thing. it apparently doesn't bug him at all. in fact, he goes out of his way to get them and his grandmother gifts and generally seems to be looking forward to seeing them.

he IS disappointed when they turn out not to be home when he gets there, but in true pokemon anime fashion, this is not dwelled on for long. he says it's fine, he doesn't want to make his parents worry, and also his parents are great and scorbunny's gonna love them. so instead of moping about it, he goes out and gets involved in his little park adventure, where he runs into a cubone being targeted by a bunch of mankey.

this is the only time in the main-line anime that cubone's dex entry is given. it is not the first time a cubone has shown up, though, which is...strange, but i'll roll with it. here's what the dex says (sourced from bulbapedia):

Cubone, the Lonely Pokémon. A Ground type. Cubone wears a skull as a helmet, concealing its face as it sheds tears for its long-lost mother. It cries loudly to express its loneliness. It also always carries a long, thick bone.

REALLY interesting choice for Pokemon Of The Day (literally bc it's also the who's that pokemon feature) for the episode where we're introduced to goh's parents.

it's also like...obviously not the only time where we see goh decide to help a pokemon, but i do think that his captures (especially early on in the series) that are framed in this way (i.e. they span over the course of an episode, wherein he befriends the mon before catching it. he doesn't have many catches like this in the series!!) seem to serve a purpose of like, really emphasizing certain traits he shares. before this, we had scorbunny - who is a bit of a loner, kind of the "odd one out," but is determined and stubborn and doesn't really want charity, either (but latches very quickly on to the first human who shows a genuine interest in it). now, we have cubone. the lonely pokemon.

i feel that the WAY he approaches cubone is...interesting? like he's sad for it. his facial expressions are very telling. and this is the first time we see him choosing to help a pokemon without ash around (something we know he never really would've done before meeting ash; and i've mentioned this before, but i do think a lot of his "well, you can't just help pokemon because you think they need it, they need to learn to be independent and help themselves" attitude stems from the fact that he was forced to be independent and help himself from a young age. so i think it's actually pretty profound that one of his first major overtures to a pokemon without ash pushing him is in a situation where he is acting more the parent to his parents than the other way around. he's literally on the way to delivering them dinner to work. and his gift for them is gloves, because it's cold). that tells me he is really affected by what he's seeing. he's empathetic to it (he also never tells it to stop crying or anything when they're looking for its bone, which honestly doesn't seem all that in-character for him at this point. just look at the way he talks to scorbunny a few episodes later when it's trying to learn ember, right?)

anyway, this being the only time it gets a dex entry is already like, kind of in your face enough imo. but then he also catches it. and at the end of the episode, when his parents are talking in the kitchen (and notably they are, again, separate from the other characters - more so onlookers than active participants in the family), his dad specifically says this

like i don't know how much more obvious than that they can get with saying they were trying to draw a parallel between goh and cubone. but lonely - anyone can feel lonely. that's just one aspect of the comparison. cubone is lonely because it misses its mother. because it's an orphan.

isn't it a little...ironic...that goh's parents would be the ones drawing the comparison in the end? but that's the point, i think. i mean, goh's not an orphan. but his parents chose to continue living a lifestyle that reinforced his loneliness and ensured a degree of separation between them. they share with each other their concerns for him, but never voice those to him. obviously there's love on both sides, but emotionally speaking - there's next to no connection there. goh idolizes and idealizes his parents, and goes out of his way to take care of them; in turn, his parents share in a secret concern for his wellbeing and compensate for their guilt at making him feel isolated by supplying him with whatever they can materially (mr six computer monitor set-up in his bedroom at age 7. what the fuck). so he's not literally an orphan...but emotionally? well. that's a whole other can of wurmples :pensive:

anyway, tl;dr he's not a real orphan. but i'll give him the honour because he does kinda have that orphan complex going for him <3

[verobatto]

Unrequited Destiel...

The Legend of The Sun and The Moon

I just wanted to explain in a few words to those that are asking why Dean didn't reply to Cas or why is Jensen talking about angelical way to feel things.

I know they're a lot of post saying WE TOLD YOU THIS AND THAT, and is true. Because if you read my Destiel Chronicles from the beginning, you will see I ALWAYS CALLED THE UNREQUITED LOVE FROM CAS AND DEAN'S POV.

Some of you disbelieves this idea, but is the only way to intepretate why Destiel is the slowest slow burn ever.

No more intro, let's suffer together...

Season 4 and 5 JUST A FLIRTING GAME

Once Dean was pulled out from Hell, Castiel wanted to talk with him. He didn't wait a second. Things blew and it was messy, and even Bobby was scared that that thing would hurt his idjit. But it was just Cas, trying to speak with Dean, desperately trying to reach him in his true form. Why? Because he wanted to talk with him. He had to explain Dean's mission but also, he felt fascinated. And even more after their first meeting face to face when he was finally able to find a vessel.

And Dean just it took him just a little of his time to feel the same fascination. The almighty angel, that could see right through his soul.

But also the angel that said things like...

And we have the handprint too, such an intimate sign between these two.

Castiel showing him, honestly showing him with words and actions, his special interest on him:

"My superiors begun to question my sympathies. I was getting too close to the humans in my charge. You."

How would Dean take this here? The poor guy just decided to check out the angel, and speechless as he was at that moment, couldn't reply to it. "Is he flirting with me? Does he know how gay this sounds?"

Then Cas rebel against Heaven for Dean. Dean pushed him, the whole he pushed Cas to help him. If you rewatch season 4 Dean is constantly asking Cas to help him. Because he already know Cas was different. Because he felt Cas was his friend, his ally, and something else it was growing up in his chest.

While Cas pushed him against the wall, cut his forearm and drew the sigil, Dean's face is full of awe. He can't believe this soldier powerful angel is doing this for him.

And then... "We're making it up as we go."

Gif credit @cyxnrose

The beginning of season 5 is a very busy Cas searching for God, but also, the flirtation begins. Dean is like a cute boy flirting with his crush. The second meaning jokes, trying to figure out if Cas catch it is hilarious. But he will understand 'Cas doesn't understand that reference.'

From Dean's POV in these two season, we coul under he thinks angels are junk less.

Season 6: The profound Bond and the Longing

The romantic feeling from both sides began to flow even more when Castiel goes into the black side, and the first Destiel break up appears infron of our eyes in the middle of a very romantic scenes.

Gif credit @starlightcastiel

Gif credit @inacatastrophicmind

The last gif is out of discussion, bot men looking at each other with sad eyes, longing and as if their conversation isn't over. Dean being disappointed at Cas and Cas trying to make him see his point. Everything he does, he does it for Dean.

And now we know why it is.

Season 7: Mourning Dean and the Jealousy

Even with Showrunner Sera Gamble trying to focus Dean's morning into a Wincest subtext, we had put king Ben Edlund came to the rescue in episode 7x09.

Putting things in order, we were faced with Dean's source of depression: Castiel's death.

So, after that, when Cas really comes back, the reunion is another romantic movie. The MEMORY LOST trope.

And then... Castiel's pseudo wife...

The trope is getting better with the spicy Jealousy in Dean's eyes.

Gif credit @impalaofgrace

So he can't completely enjoy Cas is back because:

1) He doesn't remember him: so, how can be mad or anything else if Cas doesn't remember any details of their break up?

2)The guy has a wife! Okay, so, he has a wife, he easily got a wife from... Nowhere?

And then Meg comes and he is Jealous all over again!

Dean is a really mess of feelings, but in the end, when Cas recalls everything, and when I say everything, i mean Dean, because the majority of his memories was him, Dean just pulls out from his car Castiel's bloody trenchcoat and gives it him back!

So, if there was any doubts about why was Dean mourning and depressed for, we have the confirmation!

Then, let's turn the page, because now is Cas the mess... Depressed and suffering, because he almost destroy heaven, but, do you know what cares the most to Cas and when he cheers up? Yes...

When Dean says... "I RATHER JAVE YOU, CURSED OR NOT" Castiel immediately changed his face, he smiles, and kept staring at Dean with heart eyes. He was happy because Dean was forgiving him. Because since he recovered his memories, the biggest cause of it was Dean's rejection. Dean not being able to forgive him. That was the main cause of his sadness. That's why he avoided reality, he didn't have a cause, because his cause was Dean and Dean was mad at him. But now? Cas is happy again. That's why he decides to come back to battle. "I'll go with you."

Season 8 Purgatory of love and Pining!Dean

Okay, is in this season, Carver era, when Dean's POV has a turning point about Castiel and his true feelings for him and is in this season, when Dean starts pining strongly for the angel, and feeling his love is unrequited.

The cause of it, is Purgatory. The Purity about Purgatory resided in the capacity of that place to resides in abolish every human necessity to let the mind to focused in what really matters. In this case for Dean was SURVIVE AND CAS.

So we can say that what remained pure in Dean's heart was TO FIND CASTIEL.

That's why he prayed to him every night, and that's why in the moment Cas CONFESS he ran away to protect him, something in Dean changes forever.

Gif credit @agusvedder

If you pay attention to Dean's face reaction here, is the expression of the man that realizes in that precisely moment his feelings for Castiel. Even Cas stares to a side, because there was Benny watching them, and the thing he was about to say it was too intimate. I did it to protect you.

Dean, the Big Protector, is being protected by Castiel. So, in Purgatory, Dean Winchester find out his not platonic love for his best friend.

Then we had the entire season with pining!Dean and deception.

Dean's mind invented one excuse for Castiel running away from him because thinking his best friend abbandoned him, was just too painful. He does this again when Cas pushed him inside the gate and he stays in Purgatory. Dean just rewrote in his mind the whole sequence. Imagining that Cas was defeated. But the reality was, Castiel wanted to stay. And when Cas reveals this truth to the hunter, Dean's face is a mix of deep sadness and deception. He felt really rejected by his friend. He felt his unrequited romantic love for him. But he will feel it more stronger in the crypt scene, with the brainwashing and how Castiel's love for Dean broke th connection. But he left. That was a real rejection the hunter barely could handled.

Season 9: Pinning!Castiel and Human!Cas

When Cas became Human, he has to face all the intensity of human's feelings. In this season, is time for our angel to realize his romantic love for the hunter.

Castiel will mirroring Dean's pining in season 8, and he will also feel rejected by him.

Just like Dean in season 8, Castiel will feel his romantic love is unrequited, after Dean kicked him out from the bunker, being this the parallel to the crypt scene.

But then Cain's mark comes, and everything gets worst.

Season 10: Castiel is Dean's Colette

The whole Cain's mark was the visual sign of the Destiel handprint (profound bond) attempt of break.

With Cain and Dean going through a perfect parallelism in which Crowley was placed in the friend's spot, Sam in the brother's spot and Castiel in Colette's spot. Blatant and canon exposure of what Cas means for Dean.

But now, is time for Dean, after came back for being a demon, to feel unrequited again. And this is a detail that could be not seen, but it caught my attention.

CASTIEL: At least temporarily. It’s a long story. Crowley, stolen grace. There’s a female outside in the car.

This is what Castiel says when he goes into Dean's room and after Dean praises him...

Gif credit @inacatastrophicmind

Dean had been with Crowley when he was a demon this whole time, so Cas was heartbroken. Even this season opens with a very depressed Castiel in the bed just let himself die because Dean was gone. So, that's why Cas says this.

So you went with Crowley, i have a female in my car. See? I don't need you.

He was Jealous, and now Dean gets Jealous, but he also gets the sensation again of his love for Castiel is unrequited.

The episode that followed this one, Dean goes into a blind date with random chick he took from a date app (very ooc, but he did it because he had his heart broken and because he thought CAS had cheated on him while he was gone as a demon.)

Season 11: Dean resist a forced bond with Amara because he's bonded with Castiel

Season 11 is a blatant exposure of Dean's feelings for Castiel. There a lot of hints throughout the season telling us Dean is in love, just like in season 9 there was hints of this with Castiel. (Again, mirroring each other).

Dean resisted Amara because of his love for Castiel. But Cas is oblivious about this.

When Castiel is possesed by Lucifer, Dean switch's into desperate mode. If he was worried about his attraction for Amara, now the only thing he cares was Castiel, exposing again WHO DEAN IS IN LOVE WITH.

But when Dean wanted to rescue Castiel, and Cas didn't want to come back to him, it hurt him worst. Again, just like in season 8, Dean can't handle Cas doesn't want to come back with him (first from Purgatory and now from being possesed). Again Dean feels rejected and unrequited. That's why when Cas is back and the end of the world is close... Dean says these words...

"You're our brother, Cas. I want you to know that."

And Cas' face...

Gif credit @mad-as-a-box-of-frogs

That's a man with the heart broken, mostly because we know now he was in love with Dean CANON FACT! (sobbing louder).

Season 12 and the confusing I LOVE YOU

This season was full of married couple situations, but mostly, we had Castiel's I Love You in the barn, before "dying".

At first Dean thinks the angel was saying this as goodbye, expressing into words his feelings for the Winchesters. Because as and angel, maybe Cas was feeling he has to protect them all. But then he says this singular I Love You to Dean, and the guy doesn't know how to take it. It was a platonic ILY? A non platonic ILY? Does angels feel the same like us? Does he sees me as a brother? Dean was truly a mess, so he decides to respond to that with a Mixtape.

But, when Castiel disappears for days, he sinks again into that sensation of unrequited romantic love.

Then Cas comes back, and then he goes away again, and then he dies.

Season 13: The reunion and the meaning of Castiel coming back

Dean's mourning for Cas can't be interpreted otherwise than LOSING THE LOVE OF HIS LIFE.

And the longing for his angel plus some Nougat powers, brought him back.

The thing is, Dean didn't expr as his feeling for Castiel and when the angel asked him that he needed to believed that he came back for a reason, Dean goes...

Gif credit @inacatastrophicmind

This sound like if he was recruiting Cas for war. And Cas' took it as that. So he came back to soldier angel mode. Because, okay, if Dean and Sam needed him to fight, he will fight.

Unrequited Love again.

Season 14 Healing Dean and the prelude of the break up

Post-possesed Dean is a follow up of self knowledge and self growing. He was healing the whole season.

But in episode 14x04 we heard Dean being Jealous or hurt because Castiel didn't go to rescue him and then because he goes into hunts with Jack. Unrequited love again.

Did Cas miss me as I missed him?

Is the first time Dean will actually name the word LOVE talking with the kid.

And then Mary dies and everything is a mess.

Dean yells YOU ARE DEAD TO ME, and how sad that sounds now that the angel had died again. Saving his life.

Dark clouda over our ship...

Season 15: And Maybe is not too late...

In season 15 we lived the angst of the Destiel break up, but then their reunion in Purgatory was beautiful.

Again, facing the fact that he could lost Cas one more time, Dean went down on his knees and prayed to him, and because he was in Purgatory, his heart and mind were released from any distraction, and he was plenty focused in the love he feels for his angel.

He cried, and begged for him to come back.

And he found him, following his heart, the profound bond he has with Castiel.

But, when he was about to say something that he hadn't said in the prayer, Castiel cut him off. So... Again the hunter had to swallow his words and the unrequited love punch him again.

Then... Castiel's romantic love confession took Dean by surprise, because, now that you read all the clues i gave you and i convinced you that Dean and Cas thought their love were unrequited, you will understand Dean's reaction.

Gif credit @spnsmile

Dean didn't can't believe Cas had loved him the way he does this whole time and now, he will lose him again. Is too much pain he can't handle.

For a lot of reasons we had analyzed so many times (Dean's arc has to have a closure expressing his ILY to the angel, the Empty plot is not ended, Etc) Is logical to think Cas will come back in the last episode, and this slow burn story will end with them being together, finally.

To Conclude:

The legend of the Sun and the Moon talks about two lovers that can't be reunited but they love each other deeply.

Is accurate with Destiel, because these two men had always being pining for each other but never be able to be together as they wish.

Castiel always thinking Dean doesn't reciprocate his romantic feeling for him and Dean thinking because Cas is an angel, he doesn't love him back romantically.

The Sacred Oath always playing in Castiel's POV as an impediment too and Dean's love clocked in shame too.

The deal with the Empty had been settled as we suspected in season 14, as a romantic plot. So, it has to have a closure.

These thoughts are based on the volumes from my assay "The Destiel Chronicles", currently in it's 87th volume.

See you soon! Have faith!

Destiel Is Forever!

Tagging @gneisscastiel @emblue-sparks @magnificent-winged-beast @weird-dorky-little-d @michyribeiro @maleansu @legendary-destiel @a-bit-of-influence @thatwitchydestielfan @misha-moose-dean-burger-lover @lykanyouko @evvvissticante @savannadarkbaby @dea-stiel @mybonsai1976 @anarchiana @angelwithashotgunandtrenchcoat @trashblackrainbow @mishtho @dancingtuesdaymorning @feathered-cas @bre95611 @zoerayne2426 @justmeand-myinsight @that-one-fandom-chick @proccastinate @studio-hatter @pepevons @poorreputation @mrsaquaman187 @dizzypinwheel @jawnlockwinchester @dwstiel @ladygon @shippsblog @la-random-fangirl @lets-try-this-again-please @mychemicalobsession514 @destiel-shipper-11

@asphodelesauvage @2musiclover2

Buenos Aires November 17th 2020 8:33 PM

[marmolady]

Her Reason

Main Pairings: Shamir x Catherine

Summary: In the wake of Lady Rhea's death, a lost and grief-stricken Catherine frets after Shamir.

Word Count: 2542

Warnings: Grief and loss. Also, I haven't written FE3H before, so don't expect a masterpiece.

*throws at @greengroove and runs away, hiding face*

____________________

The rainstorm that had rolled in further shrouded Garreg Mach in gloom. The downpour came as if to wash away what had been, whether those left behind were ready for that change or not. A sombre atmosphere hung within the monastery’s ancient walls, and nowhere was it more potent than in the audience chamber; where weeping prayers in hushed voices were magnified in their number. Save for the distinct air of mourning, it could have been a scene from before the war. And… save for the absence of the church’s most prominent figure. Where Lady Rhea once stood, a wall of flowers and wreaths paid her tribute.

Few felt that absence more than the archbishop’s most loyal knight. It had been a long time since Catherine had found herself so aimless… bereft. More years than she’d worry herself to count. No doubt it had been noted by her partner, for it was a long time as well since Catherine had been so quiet.

Shamir’s sadness was different. It wasn’t for Lady Rhea-- a fact that she’d never hidden-- it was for her, Catherine. Just this morning before heading out on the mission, Shamir had referred to Lady Rhea with the proper and respectful honorifics, clearly not out of any reverence for the late archbishop-- no way!-- it had all been about treading carefully with Catherine’s emotions. From someone so stubborn…. Well, Catherine knew a thing or two about stubbornness herself, and she knew that some small, subtle acts against the unyielding grain held a lot of weight. If it weren’t for that weight, Shamir’s lack of sorrow for the passing of Lady Rhea might not have been bearable. It wasn’t fair, Catherine knew that, but it was what it was. At least Shamir was honest. She’d take that over the falseness of some of the nobles in ‘mourning’ any day. On a practical level, it meant that Shamir had been able to step up; proving to be a vital force amongst the knights during this period of transition, while others had been made undeniably vulnerable in the wake of their profound loss. It was no secret that this situation was not to last; Shamir, like Catherine, was at a cross-roads. All either of them knew was that it was a transition they would ride out together.

To be honest, Catherine wasn’t sure why she’d come up here. Perhaps it was just a habit that refused to die; when she was lost, Lady Rhea had the answers. But all she found here now was a dull sense of finality. Her purpose for so many years simply no longer existed.

The sound of the rain suddenly became a roar upon the high-vaulted roof. Catherine had to stop herself from flinching. As much of a hindrance that she might have been, and however much both Alois and Shamir might have protested, she’d rather be in the thick of a mission than waiting behind; not knowing what battles were being fought in her absence… not knowing how her partner was faring. She and Shamir were a team for good reason. It was a rare foe that could best their potent combination of belligerent force and sharp precision. There was no doubt that Shamir was perfectly capable without Catherine-- hell, no one could argue against that prowess with the bow-- but… some things were too important to be gambled. Shamir was too important. In this storm, visibility would be compromised….

“Oh, Catherine--”

“Flayn! I didn’t see you there.” Catherine startled, but recovered masterfully. One would have thought being partnered with Shamir for years would have made her immune to being snuck up on… apparently not. Or, she was really off her game.

“How wonderful to see you! It has been a few days… I do not believe I have even glimpsed your face in the dining hall. Not that I…. Well, it is hard not to struggle with one’s appetite in the wake of….”

As Flayn trailed off, her warm smile became sorrowful, but no less kind and genuine.

“Nah, appetite? I don’t even know what that is anymore. It’s a strange feeling for me. All the fire’s just… fizzled out. It’s as if I don’t even know which way is up.”

That was certainly true. It was the same shock that had been so staggering when Lady Rhea had disappeared all those years ago, but the glimmer of hope that driven the fight was now extinguished. And after tasting the sweet relief of finding her alive and-- not well, but alive counted for something, didn’t it?-- but they’d saved her, and then…. It wasn’t just a bitter pill to swallow; it was gutting. Catherine was totally lost. The only thing that made sense anymore, the one thing in all this chaos, was Shamir. How strange that, from the right person, some well-placed snark could court a smile-- even though it be a shaky one. And behind it all, the aloof quietness and the deadpanned jibes, Shamir cared for her. Right now, it made all the difference.

Just get your ass back here safe, partner.

Flayn’s expression was full of concern; no doubt picking up on Catherine’s worry. “If you feel yourself at a loose end, you could do worse than to take the time to care for yourself,” she said gently. “I find a good meal is fine place to start.”

If she could hold anything down…. Actually taking the time to eat a proper meal would, however, kill some time. And maybe she was hungry? Probably just the dread she was feeling, but a bite to eat couldn’t hurt.

The dining hall was bustling; apparently the wild weather had made the lure of a steaming bowl of onion gratin soup simply irresistible. Next to the mournful quiet that permeated the rest of the monastery it was jarring. Well, Catherine had wanted to be distracted.

It was all too easy, though, for the layers of voices to become just an unintelligible roar. The smiling faces grated on Catherine. This was just too normal. It was best she didn’t talk to anyone; just eat her fill and get out of there. She was in no mood for mincing words with anyone who had the nerve to gab away over a meal as if everything hadn’t changed, as if everything wasn’t wrong. These people could take a leaf out of Shamir’s book….

There it was. All of five minutes, and guess who’s on your mind again?

In the wake of Lady Rhea’s passing, it probably only made sense that she was fretting over any possibility that she might lose the other shining light in her life. You could never assume you were going to win any battle, but out of action, Catherine could do nothing except to assume everything was fine. That Shamir was safe. And she couldn’t just do that; the uneasy feeling wasn’t shifting.

She’d just have to deal with it. Thinking about Shamir. All through this wretched storm.

And there was a lot to think about. The proposition that Shamir take Catherine’s hand in marriage had not been forgotten-- not remotely. She cared for her partner deeply, she loved her, and the only future she could see out of this wreckage was the two of them together. There was nothing truly left for Catherine here-- her devotion had not belonged to the church, but for its head--; to disappear with her blunt and prickly Shamir into the sunset was a tantalising lure. But it wasn’t fair. How was Catherine to trust her own judgement when the throes of grief had her on the edge of snapping? That grief-- the price of it-- was not Shamir’s to bear. It would be all too easy to give in to comfort and spare the forethought….

But, a little voice in Catherine’s head stubbornly insisted, you know who you are. You know who you are with her. Any ‘doubt’ is an excuse. You’re just afraid to feel too much; afraid of giving everything and being once again left with a jagged empty space in your heart. Like the one left by Lady Rhea… the one left by Christophe.

If she hadn’t gotten so flustered and just said ‘yes’ then and there, would she be sitting here now? Imagining all that could go wrong on the field of battle in her absence? Perhaps Shamir would have stayed behind with her. Perhaps they’d be huddled together in a quiet corner, sharing a pint… Catherine mourning and Shamir commiserating. And they’d tentatively map out a future. A future different to what Catherine had seen for herself, but not in that they’d be together. That was something she could still believe in. She’d been presented with the perfect opportunity to express her feelings. Why hadn’t she just said ‘yes’?

Soup downed as quickly as possible-- no doubt indigestion would follow-- Catherine made a beeline for the front gates. The sun was going down, the rain slowing; the chances of the mission stretching out any longer than nightfall were slim. Even in a tempest, how long did it take to put down a few wolves, monstrous proportions or not?

As if by clockwork, from out the now-drizzling rain trudged a small group returning from the mission, mud-splattered and --in some cases-- bloodied.

Shamir was not among them.

No, no, no, no no….

Dread hit Catherine like an icy fist to the gut… clenching until she was totally winded. Too roughly, she pulled Byleth aside as they stepped through the heavy doors.

“Where’s Shamir?”

“The group became separated in the downpour--”

Of course it did. Damn it! Not waiting to hear more, Catherine strode off. “Fuck, Byleth! Well, it looks like a nice evening for a walk. I’m going for a bit of… fresh air.”

One hand on Thunderbrand’s hilt, ready to smite whatever creature had lain waste to her partner, Catherine powered on in the direction of the mountainside village the beasts had been threatening. Her angry panting breath caught in her throat, unable to move past the cold, hard lump there.

This was her fault. This was her….

--Thnk--

An arrow whizzed in front of Catherine’s face, finding its mark on a tree at the side of the path and making her skid to a halt.

“Is there a reason you’re striding off alone into the forest?”

And Catherine breathed. There she was, sheltering in the trees… perfectly fine. Safe. Thank the goddess. Thank the fucking-- She ran. She ran and took Shamir in her arms.

The force of the embrace swept Shamir clean off her feet and left her winded. Always nice as it was to see Catherine, this was somewhat excessive. Nevertheless, she hugged back firmly. All this upheaval… to be swept up in the arms of the person she loved most in all the world was admittedly a most wonderful comfort.

“...Anyone would think you’d convinced yourself I’d got killed out there….”

Catherine stepped back, and shifted her weight, sheepish.

Sheepish? Catherine? Oh.

Shamir shook her head in disbelief. Jeez, Catherine was really not okay. “Do you think Byleth would have left me-- would have left anyone-- if the beasts had not already been dispatched?”

“What--? Am I the Byleth-whisperer now? Even they don’t know what’s going on in their head!”

Though admittedly, Catherine realised, Shamir had a fair point. There may have been a smidgeon of unnecessary panicking. What was wrong with her head? It was just the thought of her partner fighting off some slobbering beast alone, compromised by a storm…. If anything had happened because Catherine had been too caught up in grief to be there backing her up….

Shamir brought her numb, wet fingers up to Catherine’s cheek, cradling her there.

“If you need me to remain close, then close is where I’ll stay.”

… then kissed her, slow and deep.

When Shamir pulled back at last, she was met with a dumbstruck expression and without a doubt the fiercest blush she’d ever seen across her partner’s face. Oh, the satisfaction. It was not every day the great Thunder Catherine was rendered speechless. Shamir made a note to remember that trick. Not that she’d ever need an excuse to want to…. It had been a long time coming. Too long.

Catherine swallowed hard. She could feel her mind short-circuiting, but she wouldn’t let it happen this time. Not when that had felt…. She leaned forward, touched her forehead to Shamir’s. It did… feel like coming home. Something joyous, impossibly joyous was rearing up inside her, some swell of certainty and desire and love… a feeling so vast she could not cut it down with even the mightiest swing of Thunderbrand. Why would she even try anyway?-- this was glorious.

“I thought I could always read you…,” Shamir said as her partner seemed to return to her senses, “but I was never quite sure if you understood that I meant it. When I suggested we marry.”

“I wasn’t expecting it!” Catherine defended herself, arms raised. Her face still was a glowing red, she could feel it burning. “Trust you to be the one to take me by surprise.”

Shamir held Catherine’s gaze, trying not to get lost in those startling blue eyes, so alight with fire. She had so feared that fire might fizzle and fade. She’d protect that fire, tend it as she would the spark of her own life. She needed Catherine to know that she’d meant it.

“Someday we might lose this,” she said, voice hoarse. “Actually, scratch that ‘might’; we're not naiive. All things end. But for as long as I’m breathing, all I am is yours. We’re in this for the long run…,” A sparkle came to her eye, as she met Catherine’s, an adoring smirk to her lips, “…partner.”

“It’s a relief that you meant it-- it would have been a wickedly cruel trick in light of the fact that I love you.”

“You…?” Shamir’s breath hitched.

“Love you.” Catherine affirmed. “I… love you.” Was it normal for her heart to be beating this hard? It was going wild, as though she was storming recklessly into a battle of impossible odds. She could hear it over the goddamn rain…. But it was nice. Oh, it was nice. “Heh,” she chuckled. “It actually feels pretty good to say it out loud. You should try it sometime.”

The vulnerability behind that dare wasn’t lost. Shamir could almost hear Catherine holding her breath.

“Catherine. I love you.”

Sputtering a breathless laugh, Catherine pulled her partner-- her lover-- into another embrace. Holding her like she’d never let her go. Because there was not a fucking chance in hell she ever would. She had her reason to keep fighting there in her arms.

“We could take a further dive into blatant sentimentality,” she said. “There is a chance I alarmed Byleth enough that they’ll come searching, and see how hard I’m blushing right now. My reputation will be destroyed forever!” She pulled away, painful as it was. It was, though, in aid of something bigger. “Or you could always just… kiss me again.”

The day’s last rays of the sun pushed through the clearing clouds, creating a sparkle on a rain-drenched land.

And Shamir kissed Catherine again.

[agent-cupcake]

So happy you but up the headcanons! All of them are gems and I love them so much. Rereading the Dimitri and Felix rivalry hc made me want to ask for claude and yuri rivalry, but dark of course because both of these boys are sane and logical and would move on if they both caught feelings for you and weren't attached to you by a dark obession lol.

Sorry, I know you asked for love rivalry but I simply could not help myself and got a little carried away with seeing the so-called rivalry to his inevitable conclusion :3c

~Not that it’s probably necessary, but I had to consider the timeline for this. A rivalry between them wouldn’t fit in the events of the game because of Claude’s ambition, but he leaves the country in most endings. My solutions would be to have Claude split his time between Fódlan and Almyra as a politically active prince such as in his solo ending or to propose that Yuri would spend a lot of time in Almyra. Reasons for this could be that he went in aid of his good friend and military commander Balthus (Yuri would make for an awfully good royally sanctioned spy) or that he’s abusing the newfound system of open-market international trade for his criminal enterprise. Either way, Claude is powerful Almyran royalty and Yuri is a shady figure of the underworld. Not too unlike a story I’ve written, but this is separate from that. None of this really matters, ultimately, but whatever I like to think of how this would work out.

~Both men are powerful and ambitious. Both of them are emotionally isolated despite (or because of) their positions. They’re friends, or at least on friendly terms so there’d be a lot of overlap in social circles. And, really, they are quite similar so it’s plausible that they’d go for the same type.  

~I’ve since changed my stance on reasons why Claude might develop a fixation on someone. He is concerned with the intrinsic value of a person. He values the thoughts, feelings, and especially the perception of people he is close with. Claude is also a loner, a fundamentally lonesome person who wishes to be seen and loved on his own merits despite the guard he puts up and the social games he plays. Not to say I entirely retcon my previous opinion, but I focused too hard on the idea that he would need to dehumanize you by zeroing in on utilitarian usefulness rather than be driven to darker feelings by his fear of being alone and need to find a connection.

~This all goes for Yuri too, although it’s easier for me to imagine Yuri getting his authentic feelings twisted up and dark. Yuri’s circumstances were somewhat similar to Claude’s, except that he was shown genuine affection by his mother and the old man. Therefore, he knows what it is to lose that. He learned early on what it is to have people die because of him, to shoulder the burden of guilt that comes with such profound loss. Yuri’s scarred by a brutal, painful upbringing where “love” was a commodity to be traded in for favors (even by his mother) and genuine, honest relationships became nearly impossible to comprehend. If he met you and developed those true, affectionate feelings, if he found a so-called light in the darkness, maybe it’d make sense that he’d do everything he could to keep it from losing it.

~Their similarities in this instance would work out for this scenario. Somebody useful to them, somebody authentic enough to appeal to their deeply ingrained sense of loneliness, somebody clever or interesting or fun… There’s a lot of reasons they could develop unhealthy feelings for you born out of an innocently platonic friendship.

~And it would have to be platonic on both counts. Yuri and Claude are too self-aware for them to make a move if you made a choice early on. Or, I don’t think it’d become as big of a production because they wouldn’t have emotionally invested so much in you. Leading them both on unintentionally just by having a normal human friendship is kinda sad but also kinda funny.

~They’d know that you were close with the other. Of course they would. Maybe it would hurt, but neither would express that feeling to you. Claude would ask pointed (but not direct) questions about your feelings and dazzle you with grand overtures. Yuri would work the seductive and sweet angle, trying to win your heart the old fashioned way. But, you know, with more uncomfortable subtext and innuendo.   

~Something that has not changed is my opinion that Claude would be obsessive about his darker feelings. Not on a consistent, all the time basis, but more like a hobby. A puzzle he couldn’t solve, an itch he couldn’t quite scratch. He’d search for all of the pieces of you in the hopes that the final picture would allow him to understand his increasingly dangerous feelings. Claude’s not stupid, he’s really self aware. Enough to feel guilt, enough to recognize that what he’s doing isn’t right, and enough to justify himself out of the responsibility of doing amoral things for the right reasons.

~Yuri, on the other hand, wouldn’t be so… aggressive about it. He’d want you to come to him, to return to him again and again to prove to himself that what he feels isn’t wrong, to ingratiate himself into your life in a way that validated everything he felt for you and put you on more equal footing. He’d internalize everything a lot more, feel a lot of guilt about the intensity of his feelings, but he’d find ways to keep you close. Or, for you to keep him close.

~Don’t get me wrong, though, you wouldn’t get so much of a glimpse of this weaker, more vulnerable Yuri. He’d go the opposite direction of his guilt or doubt, wearing an impenetrable smiling, sarcastic, playful mask. My main point is that I see him as being more emotionally wrecked by having these dark feelings due to his self hatred. I also think Yuri would be more generally sensitive to unhealthy romance dynamics, especially if it became physical at all. 

~In an interestingly twisted way, Yuri hypocritically recognizing Claude’s behavior as being dangerous would encourage him to be more proactive about his own feelings and feel less guilty about doing so. Being the protective type rather than the obsessive really just fits Yuri so much better, although I see it as one ultimately leading to the other.

~It’s not about winning. They’d be competing, clearly battling against each other for you in a way that would not only be creepily objectifying, but also emotionally strenuous, but they’d keep on insisting that it wouldn’t be about winning. They’d just want you to be happy, to be safe. They both would just want what’s best for you. And what is best for you? Just ask them.

~Claude’s argument: Yuri’s lifestyle is dangerous. He’s a good guy, Claude really does trust him, buuuuut he’s not exactly the type of man you’d be safe with, you know?

~Yuri’s argument: Claude’s not treating you right. He’s obviously manipulating you, how could you possibly miss that? You deserve better, don’t you agree?

~But in the same breath they’d both insist that if you didn’t want to be with them romantically, that would be fine. They both, truly and unselfishly, would just want you to be happy. Just want to stay close with you. Veeeeeery unselfishly. 

~Their interactions with each other would be amazingly fake and aloof. Making small talk and smiling all the while vying for your attention in a nearly juvenile tug-of-war. Still, I don’t think, even through all of this, that they’d dislike each other. It’s not about winning, right? It’s not a game, right?

~Okay, so, I know the whole thing with scenarios like this is an inability to face rejection, but if you were to chose Yuri over Claude or vice versa, that’s where it would end. Committing yourself to one of them still wouldn’t work out super well because that’s the nature of giving into such dark and unhealthy feelings, but it would no longer be a rivalry.

~Let me propose, then, that you would eventually reject both of them. At first, the whole thing would have been so fun and so nice. Getting all of this attention from two powerful and attractive guys would be exciting. You’d feel so lucky, they’re both charming and friendly and kind. But then things would have gotten more intense and there’s this weird love triangle that is incredibly trite and uncomfortable and you wouldn’t have wanted to hurt either of them so it’s better to just leave it, right?

~Yuri would be more likely to use his personal feelings as a tactic of manipulation, I think. Worse, he probably wouldn’t see it that way. He knows, he truly knows, how dangerous and terrible the world could be and he’d do anything to shield you from it and his feelings would reflect that. Granted, if he felt you weren’t getting it, I don’t think Yuri would exactly be above veiled threats or bludgeoning you with fear tactics and even a dash of shame for how you’d played with both their hearts.

~Claude would do his best to convince you that you didn’t actually want to go. You didn’t have to chose either of them, but you couldn’t leave, either. That was way too dramatic. Besides… wasn’t it a little selfish? This was where you were needed, he relied on you. He trusted you. Sure, Claude’s a visionary, but what does that vision matter if the one who he shares his dreams with is gone?

~Maybe that wouldn’t work, though. Long term, it probably wouldn’t. I mentioned before that they wouldn’t hate each other, so if it came down to actually losing you, why not work together?

~Love triangles are for chumps, invest in a horribly unhealthy three person dynamic with possible kidnap and very overt tones of mental and emotional manipulation.

~That would solve all the the problems, wouldn’t it? Why would you try and leave them after they made so many compromises for you? Really, would you be that ungrateful and callous? They would both care about you so much, love you, even. Yuri and Claude would be trying to make it work despite the fact that it came down to essentially a tie in this bizarre game, why couldn’t you do your part? Landing such attractive and powerful guys, having them lay their hearts at your feet, you’d have to be a really terrible and selfish person to reject that. Not that you’d be given a lot of choice, but the devils in the details and if you fought them on this, it probably wouldn’t end up very pretty for you.

~Not saying either of them would hurt you. Physically, I mean. Probably. 

~In some ways, the compromise would make the guilt easier for them to bear. The fact that they were also being forced to deal with something they wouldn’t necessarily want to would be a leveling ground for them to justify any of your unhappiness with the situation. Like, it was all an equal amount of compromise to make things work for all three of you. 

~Claude would know how much Yuri meant to you and feel like the fact that he hadn’t taken that away from you absolved him of a lot of the responsibility of the other things he’d taken from you. Plus, Claude’s a distracted guy who’d lose track of things sometimes, always getting caught up in whatever project he was working on at the time, so he’d know that you wouldn’t be lonely during those times.

~Yuri would see Claude as being, in many ways, a better person than him. More out of a horrible sense of self perception than fact. So Yuri could have his piece of you with the recognition that Claude was there to balance the worst parts of himself and make you happy in ways this dark, twisty version of Yuri might not think he could.

~I don’t think that either Yuri or Claude would ever truly get along because of how similar they are and the fact that they both kinda lost to the other but I also don’t think that would be a huge issue. Their verbal sparring would be entertaining, honestly. 

[kingofthewilderwest]

What's amatonormativity??

I’d encourage you to go to Google or check out tumblr tags and posts on amatonormativity to learn more!

Amatonormativity is the internalized cultural mindset that romance is default and central. It especially conceives of romance as the single most important relationship in someone’s life, to the point it should be focused upon and sought out above any other bond. It treats romance like the universal ultimate solution to any of our emotional bond problems (loneliness, intimacy, trust, support, longevity of relationships, etc.). Amatonormativity is heavily ingrained in many societies, like the mindset I find in people in the United States.

Of course romance isn’t a bad life experience! For many people, it can bring great joy. When people criticize amatonormativity, people aren’t criticizing that romance can be a great thing in someone’s life. The problem with amatonormativity is that it treats romance as the ULTIMATE thing, the ONE solution to our need for emotional fulfillment.

It’s important to understand that amatonormativity has profound negative side effects, whether you’re allo or aro, whether you’re queer or straight, and whatever gender you are. Society takes a lot of things for granted regarding romance and this can stunt our happiness. It stunts our ability to bond with other people around us or find satisfaction within our lives.

Amatonormativity underlies emotionally stunting assumptions like..... (disclaimer... I will often use language defaulting to the Western cishet perspective, because that’s the mindset of my broader society... I myself am an aroace enby and have more nuanced understandings of gender, gender expression, gender roles, sexual attraction and identity, romantic attraction and identity, etc.)

Automatically assuming that just because a man talks to a woman, the interaction MUST be romantic in nature (this of course intertwines with heteronormativity -- many of my points will intertwine with heteronormativity). It assumes there’s no such thing as “just friends” between people of “opposite” genders. This in turn can result in us losing opportunities to bond to, understand, or properly respect... literally half the human population.  

Treating friendships as secondary. Treating friendships as temporary. Treating friendships as more replaceable than romance. Treating friendships as less “deep” and important to our time than romance, even a romance you started two days ago with someone you met last week. By doing this, we lose the chance to grow deeper with someone near us. It limits the potential by which we can bond with another human soul and find happiness.  

The belief we are unlovable and not worth anything because we can’t find a romantic partner. I don’t know how many times I’ve seen people disregard their own worth because of this, and it makes me deeply sad. The truth is that our worth is not at all tied to whether we have a romantic partner. We can be so deeply loved and cherished in all sorts of relationships. Of course it’s still valid if you feel single blues because you want a romantic partner, but tying the concept into “I am worthless OR I’m dating” clearly is an emotionally harmful concept. It can result in everything down to hooking up in a relationship that you aren’t ready for or don’t like as much as you pretend you do.  

The belief that we are utterly alone without a romantic partner. I notice this often ties into the amatonormative belief that we can only get good physical touch, trust, emotional and physical intimacy, etc. through a romantic partner. I feel this mindset is especially pronounced in cishet men, since USA culture treats masculinity as lacking outwardly expressed vulnerability, and ergo you might not be getting your emotional needs met through your platonic and familial relations. The one “accepted” way of getting your emotional needs met comes through The Girlfriend / Wife. This belief prevents us from reaching out and finding support through other people in our lives. We can find love and comfort in friends. We can confide about our emotional struggles and find relational intimacy (great trust!) through familial and platonic bonds. Hugs, snuggling, other acts of physical affection are what humans need, and don’t need to be relegated to One Person Only. Plus... if we assume that our emotional struggles should be fulfilled by One Person Only... that puts enormous pressure on that partner to provide for everything. No one’s that strong. We need support networks, not one designated “save me” individual. It’s pure unhealthiness to mount burdens only on one person, and bottle yourself up otherwise. I often see this fallacy pop up when people start a new romantic relationship. You might barely know the person, and yet you’re trying to rely on them for everything, and you’re trying to be the person they’ll rely on for everything. You dive deep into the expectations before you really know how to handle it, and in the process become psychologically overwhelmed because of the Huge Responsibilities this role seems to entail. Being in a romance doesn’t automatically mean you’ve reached peak intimacy! Note: it’s not to say that romance can’t be a major avenue of security. Of course it’s a great way to fulfill intimacy, trust, physical needs, etc. Of course it can become a bond full of loyalty. But romance is actually like any other relationship... a familial relation can be weak or it can be strong, a platonic relation can be weak or it can be strong, and a romantic bond can be weak or it can be strong. The fallacy is that we are treating romance as *THE* way to fulfill all these diverse emotional problems, socking it onto one individual when it might be beyond their single load to bear, and then not seeking out help from the other sources that are around us.  

The belief that the only person you can live with is a romantic partner. Living with non-romantic roommates (aka living with friends) is seen as an undesirable inconvenience and something you only do temporarily because you financially have to. It’s seen as an immature youthful thing rather than something an established adult might do. Living with friends long-term out of chosen happiness is not something that crosses the mind of many people... it’s assumed you’ll either move out to live on your own, or marry and go and live with your partner.  

The belief that adulthood progresses through a very specific sequence of events. You go to school. You leave on your own. You marry. You get a house. You have kids. There’s a reason it’s common for family to nag you  “When are you going to get married? When are you going to get married?” Because clearly you haven’t made an important step of adulthood, an important step in life, unless you get married. I’ve noticed that for many of my friends, even those who are comfortable with the life choice to not get married... they express they don’t feel “as adult” as their married peers. And many people in society won’t treat them “as adult.”  

Harmful beliefs downplaying spousal abuse, like those people who try to argue “you can’t rape your wife / husband / spouse / girlfriend / boyfriend / significant enby / significant dumbass. That’s not what rape means.” Because a sexual-romance is the GOOD thing, right?  

AND MUCH MUCH MUCH MUCH MORE!!!

Some people of course have a better handle on their relationships than others. Some people are better at ignoring what society considers most important or most default. Some of what I’ve said above is when these beliefs are treated to their utmost, rather than what some people will do (lots of people have close “besties”, for instance). But amatonormativity+heteronormativity creeps in everywhere in society.

It’s the reason why, in most Hollywood movies, the protagonist is a man and the main actress is his romantic partner. It’s the reason why these two characters might start a steamy romance even before they know each other well; who needs to write ACTUAL understanding between the two characters when they obviously are going to fall in love and fuck?

It’s the reason why advertisements are so sex-oriented (reminder note: society usually doesn’t distinguish sexual and romantic bonds). Advertisements try to make their product appealing by associating it to romance, the Ultimate Desirable. Here’s how to make you look hot so you can attract someone in a romantic-sexual relationship, because THAT’S the ultimate goal of life, right?

It’s embedded in linguistic expressions. If someone asks if you’re dating, you respond, “No, she’s only a friend.” Or. “No. We’re just friends.” Friendship is being treated as lesser. Breakups are treated as inevitably bad even if you choose to be friends afterwards -- because clearly being friends is “taking a step back”, right? Even the word “break up” -- oooo that’s bad sounding! (There have been multiple times I’ve ended romantic relationships where I’ve turned the phraseology on the head and told them it’s a step forward to better, happier, healthier, stronger bonds... and they had to think it through, because amatonormative society forgets this can be the case.) “Friendzoning” is seen as a crime in part because you’re not going to be as intimate with someone as you want to be... despite the fact that having a non-romantic and/or non-sexual relationship with someone could be JUST as meaningful and deep!

I’ve FREQUENTLY seen church study groups that offer only these options: young adult small groups, women’s small groups, men’s small groups, and married couple’s small groups. Because clearly the only “mixed” gender situations out there are when you’re too young to be married, or you’re married.

And frankly, I think it’s one of the reasons why fandom likes to play hook-up with all the characters. Shipping is SO much fun! I love shipping! This is not a comment against the act of shipping! But if everyone needs a romantic partner to be happy...... mmmmm.... yeah let’s rethink what the underlying assumption is here. It’s that default assumption that “romance=happiness, romance=ultimate goal, romance=happily ever after, friendship=lesser.” If two characters in a show don’t canonically hook up, fans can get angry... even if the relationship showed on screen is one with a lot of trust, loyalty, happiness, and intimacy.

I am aroace. I don’t know how many other friends in the aro and/or ace community have talked about how lonely and unhappy they feel, because all their friends around them are looking for sex and romance and ergo don’t treat their friendship deep enough for my friends to get their emotional needs met. It’s easy to feel left out in a world where everyone is looking for romance, and ergo you are never the bond they want to pursue.

There are many ways in which we can achieve close bonds with people. This is why I think it’s important to talk about amatonormativity. Again, I’m SO happy when my friends are happy in a good romance. That’s a good thing!!! But it’s so psychologically destructive, whether you’re aro or allo, to live in a world where romance is considered The One And Only Key to relational happiness.  

Talking about amatonormativity has the goal of helping us be aware about how society idolizes romance and/or sex. The goal is to help everyone know we have many options by which to pursue good, deep bonds in a variety of ways. The goal is to make sure we don’t treat romance as the only acceptable way to live. The goal is finding ways for humans to get our needs fulfilled healthily and widespreadly. The goal is to be more comfortable with and more accepting of people who don’t follow The One Righteous Path Of Required Romance, so that we can all be more comfortable with ourselves and the relations around us -- including being comfortable with our romances!

[shinydelirium]

MLQC Season 2 Chapter 12 (Kiro) Part 4 [Confession of the Stars] Translation [CN]

***SPOILERS*** THIS POST CONTAINS HEAVY SPOILERS FOR CONTENT NOT YET RELEASED ON EN SERVER!!! READ AT YOUR OWN RISK!!!***

For previous translations of Season 2 Chapter 12: Part 1/ Part 2/ Part 3

Enjoy~

[Confession of the Stars]

Even so, I still didn’t see Kiro’s face. The hospital still expressed his unwillingness to see anyone.

But nonetheless, it was fine for me to text him. I want him to know that he is not alone.

As long as he wants, I will appear in front of him immediately.

In the past two days, Kiro has asked Savin to bring his belongings to him from time to time and sometimes buy a few books.

After entrusting a lawyer to submit my alibi for me, I no longer need to go to the Task Force for regular reports.

However, the previous hospital hostage incident triggered more and more group skirmishes and discussions on the Internet continued on.

Everyone wants become the one who wins the right to speak. On the other hand, the hostile takeover incident of LFG, which had been raging before, was gradually suppressed.

There hasn’t been much movement on LFG’s side, so the problem probably isn’t that serious. I also successfully sent out the USB flash drive according to Gavin’s instructions.

Many departments of the company are asking whether or not to follow the hot topics to produce a show. I was so busy that I could only text Kiro at night.

Such days lasted for more than a week.

After nine o’clock in the evening, I had just entered the house, dragging my weary body when Kiro called.

Kiro: ….Miss Chips?

His voice was a little cautious, wary, and even quivering.

MC: What’s wrong?

Kiro let out a little laugh from the other end.

I’ve been so out of it lately. It’s been a very long time since I heard him laugh so enthusiastically.

Kiro: MC, say my name.

MC: Kiro, are you okay? Why are you so happy?

He didn’t answer but just laughed happily.

Kiro: What are you up to?

MC: Of course, I just got home from a rough day at work. ***Changed some wording***

Kiro: Thanks for all the hard work, Miss Chips.

I was lying on the sofa and complaining to Kiro about recent events. He listened carefully, and from time to time he also grumbled about his troubles to me.

This moment gave me a certain illusion, as if nothing was wrong.

The next day I heard that Kiro asked Savin to bring his guitar.

At the same time, the Task Force came forward and started to take control of the chaotic situation reasonably and accurately.

I checked Weibo and found that more and more people are no longer emotionally angry, but deeper in discussion about the relationship between Evol and ordinary people.

Along with the nice weather, I think a lot of things are heading in a good direction little by little.

I had a rare chance to get off of work early today. After thinking about it, I went and bought Kiro’s favorite canelé and arrived at the door of his ward.

MC: It would be wonderful if I could see him today…

While I muttered this, I stretched out my hand to knock on the door.

Before I could, an overly harsh and messy guitar chord came to my ears and left me frozen in place.

The crude, sharp sound felt as if it was forced out like a shout being torn from a person’s throat and the chords held some frustration within them.

It was so depressing. It was even hard to breathe.

After a profound silence, a few faint guitar notes came quietly as if crying. The voice was soft and desperate, as if it was not a note.

But a shattered dream.

I leaned on the door and listened to the broken chords, holding my breath without making a sound.

Finally, I left the snack in the nurse’s care. I told her to give it to Kiro after waiting for a bit and then left.

On the way home, a new advertisement shot by Kiro some time ago is being displayed on the large screen on the side of the road.

Passerby A: Kiro clearly announced that he’s an Evolver. Why is he still so popular?

Passerby B: Kiro is Kiro. What does that have anything to do with being an Evolver?

Passerby A: Maybe he used some special Evol to control you and made you like him so much.

Passerby B: Do you actually know him or even understand him?! Of course, there’s a reason why Kiro is so well-liked. Do you think Evol can do everything?

Passerby B: I’ll show you this collection. You’ll understand after reading it. Why hasn’t he released a new song yet….?

The girl and her companions walked away slowly and I watched their backs disappear into the night.

In this turbulent moment, there are still many people talking about him, expecting him, and waiting for him. But at this time, I don’t want to tell him this.

Stars dotted the night sky, watching the whole city tenderly and peacefully.

I took a photo of this night sky with my phone and sent it to Kiro.

I don’t know what Kiro is struggling by himself, but I hope he won’t make all his expectations become his own burdens.

There was no reply from Kiro that night.

Until 7:25 the following evening, my phone rang.

***During this next scene, the 3rd anniversary song is being played. It made the entire scene so much more emotional and touching but also sad. The BGM in this whole chapter was meticulously chosen.***

Kiro: Good evening, Miss Chips.

Kiro: How did you know that I wanted to eat canelé? When I ate it yesterday, tears were about to come out.

MC: Tears from the corners of your mouth? ***T/N: She means drooling***

Kiro: Hehe, hurry up and remove the camera you installed on me!

MC: If there really was a webcam, that would be great….by the way, how are you today? ***Woah, woah, MC!!! So you want to upgrade from sneaky pictures to sneaky videos? MY GIRL!!!***

Kiro: Of course, I’m doing well!

MC: That’s good. It seems that the retreat is working effectively.

Hearing what I said, he laughed. His voice full of energy.

But we both know that these are all tacit masks.

Kiro is too clever. He must know how weak his excuses for shutting himself up are.

So weak that he doesn’t believe them himself.

When 7:30 came around, Kiro stopped talking. Then suddenly he spoke solemnly.

Kiro: Miss Chips, I want to play some songs for you.

MC: Okay! I haven’t heard you play a song in a long time.

Gentle guitar music came slowly from the other end of the phone. I imagined Kiro playing right now and closed my eyes, feeling a little nostalgic.

Soon, one song was finished.

Kiro: Sitting on the bed and closing my eyes just now, it felt like I was in a concert.

MC: That’s not right. The audience hasn’t arrived yet and you can’t have a concert with just you.

Kiro: Then come to the special concert. A concert dedicated by Kiro himself.

Kiro: Miss Chips is the only special guest.

MC: That’s not very monotonous.

Kiro: How could it be?

Kiro: Miss Chips, are you standing by the window right now? Can you see the stars outside?

Listening to what he said, I immediately got up and went to the balcony.

The stars outside the window twinkled and hung in the night sky like little lights.

MC: I can!!!

Kiro: My favorite stage is like this starry sky.

Kiro: That was my first stage. It was not very big and crowded with people.

Kiro: That day was the same as today, a sky full of stars. There was a long passage leading to the main stage.

Kiro: Every time I stepped on a square, a star will light up under my feet.

Kiro: The audience turned on the flash from the back of their phones and the whole world seemed to be connected into a sea of stars.

Kiro: In that moment, I told myself to shine in this sea of stars and become the brightest one.

I slowly listened to him talking about his beloved stage and the brightest star in his heart.

I was on this end of the phone, looking at the starry night outside. I could feel him holding my hand and leading me towards the stage.

I saw him piously touching the places he knew and missed the most, holding the guitar and standing in the most radiant place.

His entire being seems to be shining.

Kiro: Miss Producer, would you say I’ve done it? 

MC: Of course.

MC: You did it long ago.

Kiro laughed lightly. This time the guitar music was accompanied by his singing.

His voice is so soft and sincere, like some kind of long-distance reunion. Like a farewell to something.

After a dozen songs were sung one after another, Kiro’s voice was already a little hoarse.

MC: ….Since it’s a concert, can I still have an encore?

Kiro: (chuckles) Since it’s MC’s request, I would definitely not refuse it.

Kiro: This is the last song called “Confession of the Stars”.

***T/N: Decided to include both the EN and CN versions of the lyrics. I’m not a songwriter so the CN version is what Google Translate gave me. I really love Bian Jiang’s singing in this scene so do give it a listen 😉. Also, I love how there’s no BGM music playing while he sings because I feel like that would just take away some of the emotion.***

Kiro: (EN version) “I got a song that I wanna sing for you~ It may not be perfect, but it will have to do~”

“Dreaming your dreams and going your own way~ Sometimes you feel lonely, sometimes heartbreak…”

(CN version) “There is a song I want to sing for you~ For you who work hardest in the world~”

“On the road towards your dream~ Sometimes you feel a little lonely….”

***Now I can’t hear this song the same way ever again. WHY, KIRO!?! TELL ME WHY!?!? YOU SURE KNOW HOW TO BREAK MY HEART!!! TAT***

When I heard the familiar, leisurely melody, I was overwhelmed. The song seemed to pass through time, embracing me tenderly.

I always feel that something will end after this song. I want to try my best to hold onto it, but I can only grasp at nothingness. ***FORESHADOWING!!! Actually, this entire “concert” is.***

Eventually, I could only wait quietly for it to come to an end.

Kiro: (sighs) The concert is over. Thank you, Miss Chips.

Kiro: (In the sweetest, most tender voice): Good night.

-End of Part 4-

[thenightling]

Does The Frankenstein Monster have a soul?

    I have seen many strange blog posts and articles recently claiming that Mary Shelley’s creature in the Frankenstein novel does not have a soul.  I believe this does a disservice to Mary Shelley and the intention behind her story.       Before we proceed please note that this is written in the literary context of assuming that within the narrative humans definitely do have souls themselves.       First let is begin with the literal and possibly occult aspects of the Frankenstein Story.  Victor studied the works of Agrippa and Parcelsus in the novel.  Agrippa and Parcelsus were a self-proclaimed sorcerer and alchemist.  Victor was not studying hard science as we know it today, despite what you might see in some Frankenstein movies.   Victor was studying metaphysics and he was still a student when he brought his creature to life.  Many consider Frankenstein to be the first science fiction novel but without the actual description of how he brought his creature to life he could easily be the result of alchemy.   

   At no point does any character in the Frankenstein novel ever refer to The Creature as soulless.  Even Victor, who loathed his creation near the end, never described him as being without a soul. The closest thing to it is when he uses the term “mockery of a human soul” which indicates that what soul The Creature has he sees as an inhuman one.      

     An article from “The Conversationalist” argues that because the eyes are the gateway to the soul that this means The Creature is soulless since his eyes are watery and yellow.  But it is not that The Creature lacks eyes at all. It is that his eyes are different from a human’s.  Watery eyes suggests sad, expressive and tragic.   Eyes are usually watery as a result of deep emotion.   I cannot understand why a description of something often used to convey profound emotion would be used to mean “soulless.”   

     A different Google Search result on the subject of “Does the Frankenstein Monster have a soul” is a teacher’s resource site that claims it would be a good exercise for the class to discuss “Ways in which it is portrayed that The Creature in Frankenstein has no soul.”  But this is, again, pure speculation, and not based on anything of the actual novel.   The essay directly under this described “exercise” talks about how The Creature would not have killed Victor’s loved ones if he had a soul and that a creature with a soul would feel remorse for his actions.

     There are two things wrong with this sample essay.  First, many humans have killed other humans and shown no remorse. That does not mean they do not have a soul.  It means there is something wrong with their conscience.   The second thing the matter with this assumption is at the end of the Frankenstein novel The Creature does show remorse.   He laments the pain and suffering he has caused.   His education had consisted of books that glorified revenge as something noble and righteous and justified such as the actions of both God and Lucifer in John Milton’s Paradise Lost.  And he only learned after the fact that revenge only helped to make him feel more isolated from humanity and actually served to bring him no peace or satisfaction and in fact only helped to make him feel worse than what he already felt.      

  Now onto potentially more subjective content.  

     The Creature, who is well-spoken and articulate in the novel, repeatedly talks about his own soul.   He becomes obsessed with the depictions of Adam and Lucifer in John Milton’s Paradise Lost and is actually a surprisingly spiritual figure. He talks about his own soul frequently and does not seem to have any doubt that he has one.  He also seems quite certain of the fact that he will have an afterlife.  The indication here is simple. If humans have immortal souls that can ascend than logically- as he is capable of the full range of human emotion and thought- so does he.  

     Mary Shelley, herself, has been quoted as calling The Creature a “Poor soul” and “wretched soul” or “a romantic soul” and as she is the author I do not think she chose those wordings lightly.   Note:  I cannot precisely source these quotes at this time but most of what I have written here can easily be found in both the 1818 and 1831 editions of the novel Frankenstein.     

      It is also important to consider that if The Creature was indeed “Soulless” this feels like it would diminish Victor’s accountability for abandoning him, and the world’s fault in rejecting him.  It dampens and potentially ruins the entire idea that you ought to pity The Creature and are supposed to sympathize with him despite the horrible things he has done.  To claim he is without a soul overly exonerates those who have wronged him and immediately dehumanizes him, making the portions of the novel where The Creature tells Victor his own sorrows and experiences practically pointless and creates a barrier between the reader and character.  The ability to sympathize with him is dramatically reduced and I feel this would undermine Mary Shelley’s intentions by dehumanizing him further than Victor already did, and almost justifying mistreatment toward him.            

      It’s an odd thing to me, to see so many comments, articles, and blogs talking about him not having a soul.  I think people forget that in 1818 the soul was usually depicted as a person’s spirit, consciousness that could live on after-death, the part of you that thinks and feels.   Your very awareness.  In the nineteenth century if you could feel emotion and think it was considered a given fact that you have a soul because “You are a soul, you have a body.”   

     It seems that the modern “interpretation” of The Frankenstein Monster being soulless mostly comes from not quite understanding what the nineteenth century described the soul as in most literature.  This wasn’t the TV show Buffy The Vampire Slayer where the soul and conscience are easily confused and interchangeable.  

    It’s peculiar to me that a low budget schlock film like “I, Frankenstein” can explore The Frankenstein Creature’s soul and conscience with more respect for the source material and Mary Shelley than some so-called academics.  Kevin Grevioux is a very underrated writer and his film deserved a better budget and care than what it received.  This is why I like that low budget and cheesy little film.  

     In any event, if you are trying to figure out if The Frankenstein Monster has a soul or not I think it is safe to assume that at least the novel’s author and the character, himself, believed that yes, he does have a soul.   And I hope whoever was trying to figure this out heeds this post before the righteous rantings on the Google results from those whom I suspect might not have actually read the novel or may not have wanted to feel compassion toward The Creature.

___________________

Further note:  Lots of people mistakenly think Frankenstein’s main moral is not to play in God’s domain.  

I do not have patience for those with the assumption that the moral of the novel was "Don't play God." That's the 1931 film, not the novel. The themes of the novel included parental responsibility, the need to forgive, the futility of revenge, and judging by appearance.There are literary professors who have assumed the film was accurate in the novel's moral but thankfully most people who read the book know better. The Creature began benign and gentle and only went evil after several instances of mistreatment.  A third of the novel is there just to tell is this.  If simply creating him was Victor's sin then that diminishes Victor's accountability for how he treated him.  It's also why I don't like film versions where The Creature has an "abnormal brain."  It overly justifies the mistreatment of him and exonerates his creator.   If simply creating him was Victor's sin than we would not have been repeatedly told he would have remained Good if he had not been mistreated. Victor's sin wasn't creating him but how he treated him after he was created.  The "I shouldn't have played God thing"  was the 1931 film, not the novel.  Victor, himself, acts as if merely creating him was his sin but The Creature, and (at times) even Victor admitted that The Creature was once benign and gentle, until the cruelties of others got to him. Finally, "Modern Prometheus." PROMETHEUS! Why do so many people think Prometheus was some sinner who was righteously punished? Does no one know Greek mythology anymore? Prometheus was a Titan and the creator of the human race. In short, he was God. Zeus and the new Gods coveted light. The fire Prometheus stole represented knowledge and the power to invent. He gave humans (his own creatures) this and it pissed off Zeus. He severely punished Prometheus but it was unjust and in later myths he was freed. The great centaur who invented medicine even gave up his immortality as payment to keep Zeus from trying to return Prometheus to his punishment.  Mary Shelley's own husband, Percy Shelley, wrote Prometheus Unbound.

[sacred-algae]

In celebration of The Great Gatsby entering public domian, I would like to publish an essay I wrote a few years back. Because I hate The Great Gatsby with the burning passion of a thousand suns.

A Character Analysis of The Great Gatsby:

Gatsby, Nick and Daisy

“The Great Gatsby” by F. Scott Fitzgerald is often revered as one of the greatest American novels of all time. It makes us take off our rose-colored glasses and look at the rich whom we idolize so much. But are our perspectives of this book also tinted by its title of the great American novel? We are often misdirected in this book to forget many important quotes that change the way we look at the main characters completely. Authors make sure that everything in the book has a purpose. If it was included, it’s important and shouldn't be ignored. Readers often place certain expectations on the characters due to its high status, however, this paper will show that the characters in question are not as they are commonly perceived, whether good or bad, and explore the complex writing behind the characters, Nick, Gatsby, and Daisy.

Although Nick Carraway is seen by many for who he is, arrogant and judgemental, they still miss out on the bigger picture. He glorifies violence and he is a cheater. The problem with Nick and the book is that rather than the book being written by Fitzgerald, it is written by Nick. Because of this, we see him in a glorified manner. The first few lines of the book show this. “In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since.” (pg. 3) Using the words “younger”, “vulnerable” and even “father” he immediately ensures that we have his sympathy. He does the same thing again later, and more directly, at the very end of chapter three. “Everyone suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known.” (pg. 65) This is where most people begin to see his true self shine through. However, it should be seen much earlier. In chapter one he mentions something very sinister. “I participated in that delayed Teutonic migration known as the Great War. I enjoyed the counter-raid so thoroughly that I came back restless. Instead of being the warm center of the world the middle-west now seemed like the ragged edge of the universe” (pg. 5) Nick says directly to the reader that he enjoyed WWI. Only second to WWII (85,000,000 or 3% of the entire world’s population), WWI is the bloodiest war in world history with a death toll of 16,000,000. 40,000,000 if you include deaths resulting from the Spanish Flu. (statistics from Wikipedia) For someone to enjoy being at war there has to be something majorly wrong with them. Not only that but it can be said with near certainty that Nick was cheating on a girl out west when he had his fling with Jordan. In chapter one after dinner with the Buchanans this conversation tasks place. “As I started my motor Daisy peremptorily called ‘Wait! ‘I forgot to ask you something, and it’s important. We heard you were engaged to a girl out West.’ ‘That’s right,’ corroborated Tom kindly. ‘We heard that you were engaged.’ ‘It’s libel. I’m too poor.’ ‘But we heard it,’ insisted Daisy, surprising me by opening up again in a flower-like way. ‘We heard it from three people so it must be true.’” (pg. 23) For there to be rumors that someone is engaged with someone else it has to be commonly known that they are in a relationship. Nick is a severely flawed, if not evil, character.

Many people strive to be like Jay Gatsby, with his charm and “extraordinary gift for hope.” Even then, the biggest argument of the book is whether or not he truly loves Daisy. Most clues point to no. Gatsby even remarks that “‘Her voice is full of money,’” (pg. 128). He sees her as a prize to be won. He chases her, she’s the final thing he needs to have his perfect life. And during a flashback to his first kiss with her, right before the iconic passage where “she blossomed for him like a flower,” Fitzgerald describes his desire for her like this: “The quiet lights in the houses were humming out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eye Gatsby saw that the blocks of the sidewalk really formed a ladder and mounted to a secret place above the trees—he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder.” Possibly the most frightening passage in the book. It sounds like some bestial craving. But that is just his relationship with Daisy. Tom accuses him of bootlegging. “‘I found out what your ‘drug stores’ were.’ He turned to us and spoke rapidly. ‘He and this Wolfshiem bought up a lot of side-street drug stores here and in Chicago and sold grain alcohol over the counter. That’s one of his little stunts. I picked him for a bootlegger the first time I saw him and I wasn’t far wrong.’” (pg.143) We never are told explicitly that this is true but it is left to the reader to decide this. And there is plenty of evidence. When Gatsby is giving Daisy a tour of the mansion we hear him on his side of a phone call. “...the phone rang and Gatsby took up the receiver. ‘Yes…. Well, I can’t talk now…. I can’t talk now, old sport…. I said a SMALL town…. He must know what a small town is…. Well, he’s no use to us if Detroit is his idea of a small town….’” (pg. 100-101) This again isn't explicit but why would the person in question be of no use to him if they think that Detroit is a small town? They need a small town. If it is a big one it is easier for the police to track his business. And after Gatsby dies Nick answers another business call. “...said Chicago was calling...‘This is Slagle speaking....’ ‘Yes?’ The name was unfamiliar. ‘Hell of a note, isn’t it? Get my wire?’ ‘There haven’t been any wires.’ ‘Young Parke’s in trouble,’ he said rapidly. ‘They picked him up when he handed the bonds over the counter. They got a circular from New York giving ‘em the numbers just five minutes before. What d’you know about that, hey? You never can tell in these hick towns——‘ ‘Hello!’ I interrupted breathlessly. ‘Look here—this isn’t Mr. Gatsby. Mr. Gatsby’s dead.’” This is a hint towards Gatsby making money selling counterfeit bonds. A business that he tried to recruit Nick too. “‘Why, I thought—why, look here, old sport, you don’t make much money, do you?’ ‘Not very much.’ This seemed to reassure him and he continued more confidently. ‘I thought you didn’t, if you’ll pardon my—you see, I carry on a little business on the side, a sort of sideline, you understand. And I thought that if you don’t make very much—You’re selling bonds, aren’t you, old sport?’ ‘Trying to.’ ‘Well, this would interest you. It wouldn’t take up much of your time and you might pick up a nice bit of money. It happens to be a rather confidential sort of thing.’” (pg. 88-89) Why is it confidential? Because it’s illegal. Not only is Gatsby’s relationship with Daisy toxic, but he is a mobster. This in itself isn’t problematic, but people may have died because of him, and the book shies past this point.

Daisy Buchanan is hated by most people who read the book. It is said that she is shallow and arrogant. This is a look to the surface. First, it is important to understand Daisy and Tom’s ages. When the book takes place Daisy is 23, Tom is 30. Making Daisy 18 and Tom 25 at the time they were married. While she is legal this marriage is incredibly creepy. She is stuck in a marriage with a racist, cheating, borderline abusive husband. And she knows this. Even then she is brave enough to call him out (and mock him) on his racism in chapter one at dinner. “‘Tom’s getting very profound,’ said Daisy with an expression of unthoughtful sadness. ‘He reads deep books with long words in them. What was that word we——‘ ‘Well, these books are all scientific,’ insisted Tom…” (pg. 16) She’s trapped in a situation where she has no control. She tries to reclaim her life through Gatsby but she quickly learns that he isn’t different. “‘Please don’t.’ Her voice was cold, but the rancour was gone from it. She looked at Gatsby. ‘There, Jay,’ she said— but her hand as she tried to light a cigarette was trembling. Suddenly she threw the cigarette and the burning match on the carpet. ‘Oh, you want too much!’ she cried to Gatsby. ‘I love you now—isn’t that enough? I can’t help what’s past.’ She began to sob helplessly. ‘I did love him once—but I loved you too.’” (pg. 141-142). Daisy lives in a society where women are seen and not heard. She knows this but still does what she can to speak for herself. She is incredibly smart. People don’t give her enough credit. Take the iconic line, “Well, she was less than an hour old and Tom was God knows where. I woke up out of the ether with an utterly abandoned feeling and asked the nurse right away if it was a boy or a girl. She told me it was a girl, and so I turned my head away and wept. ‘All right,’ I said, ‘I’m glad it’s a girl. And I hope she’ll be a fool—that’s the best thing a girl can be in this world, a beautiful little fool.’” (pg. 20)

She is smart enough to see what is happening around her and it breaks her, that's why she wants her daughter to be a fool. She’ll never have to question it, she’ll never know it, she’ll always be happy.

“The Great Gatsby” indeed is a great book. One with deeply complex characters. But we need to take a second look at them, not just accept what others tell us. Because of its high status, the characters of “The Great Gatsby” are often subject to preconceived notions, through discussing and analyzing quotes in the book you can begin to see both sides of Nick, Gatsby, and Daisy. When we see someone say something about them, or any person, or anything, question it. As the great Albert Einstein once said-“The important thing is to never stop questioning.”

We need to stop idolizing Nick and Gatsby, and stop victim blaming Daisy. Thank you for coming to my Ted Talk

[tinkerd]

Interview with Anne Both & David Litchfield first published on www.readingzone.com

A SHELTER FOR SADNESS TEMPLAR PUBLISHING JANUARY 2021

A SHELTER FOR SADNESS is a profound and moving picture book about how a young boy manages his feelings of sadness, not by ignoring them but in giving his sadness the space, care and thought that it needs. We asked author ANNE BOOTH to tell us what inspired the picture book, and illustrator DAVID LITCHFIELD about how he approached the illustrations: Q: What for you are the key ingredients for a great picture book? ANNE: For me, the words have to leave room for the pictures, the pictures have to capture the feeling of the words and extend the story, and both the words and the pictures have to be the best they can be for the demands of that book - be it a funny or a sad book or any other type. DAVID: Oof! that is a BIG question. I'm still trying to work that one out if I'm honest. For me what I personally love about picture books is that you can be transported to the furthest part of someone's imagination but still recognise yourself, and the world, in its pages. It's escapism but also empathy. It's crazy looking animals and creatures but they are experiencing some of the most human emotions of all. There are so many different ingredients that go into these books. But for me I think the ultimate goal is to tell a story that connects with children in the most imaginative way possible. Q: Can you tell us what you wanted to achieve in this book, about how we deal with sadness? ANNE: I hoped it would be good for both children and adults, and that it would help them cope with the type of sadness which stays with us and has to be coped with alongside everyday life. I wanted children to be told that they can build their sadness a shelter as early as possible, as I think that telling children to be 'resilient' (which is a good thing in itself) can sometimes be abusive - it can sometimes really be just saying 'don't tell us you are sad, even though as adults we are doing things which make you sad'. I think children have lots of things to be sad about - big and little things - and learning to build a shelter for their sadness can, paradoxically, help them have permission and space to be happy. DAVID: My hope for the book was to get children - and adults - to talk more about their emotions and how they are feeling. Don't just bundle them up inside. It's important to recognise how you are feeling, recognise that it's there and it exists. And talk it through with someone. A parent or a teacher, or just someone that you trust. The worst thing we can do as human beings is pretend that these feelings are not real and that we should just get over it. Q: Was there one thing that helped inspire the text? ANNE: Yes. I went to a talk at my church, and the speaker quoted this passage from Etty Hillesum; 'Give your sorrow all the space and shelter in yourself that is its due, for if everyone bears grief honestly and courageously, the sorrow that now fills the world will abate. But if you do instead reserve most of the space inside you for hatred and thoughts of revenge - from which new sorrows will be born for others - then sorrow will never cease in this world. And if you have given sorrow the space it demands, then you may truly say: life is beautiful and so rich.' (Esther 'Etty' Hillesum (15 Jan 1914 - 30 Nov 1943) I wrote our picture book text in response to Etty Hillesum's words, so I was trying to expand on her idea that we need to give shelter to our sorrow / sadness, as I thought she had such a wise and beautiful vision, which was, amazingly, born out of her immense suffering as a Dutch Jewish woman under the Nazis, and someone who would actually die in the Holocaust. It was written as my creative response to her words, so writing it actually helped me to think and pray about my own sadness, and I felt it would be a good picture book, to help people cope with sadness that just can't be fixed, but which we need not to overwhelm us or turn us to hate or bitterness. I loved the idea that if we give shelter to our sadness we can truly say that 'life is beautiful and so rich'. Q: Was it a difficult text to write, as it is so pared back? ANNE: I think that because it came after the talk, and hearing Etty Hillesum's beautiful words, and after meditating on, and praying in response, to them, I didn't actually want to use many words. I wasn't paring back anything as such, I was just trying to find my best response to her words, and the writing of it came all at once, but I think the writing wouldn't have come that way if I hadn't already experienced and thought a lot about sadness for years, and hadn't deeply connected with Etty Hillesum's words. Q: Why did you decide the main character would be a boy? ANNE: As I was writing from my own point of view, and in response to Etty Hillesum, I suppose I thought the narrator might be a girl, but I was open to any interpretation. I'm not sure if it was the publisher or David who decided the main character would be a boy, but I am very happy with that. I hope it speaks to boys and girls, men and women, and I think that there is actually something good about it being a boy, as from a very young age, little boys are told to 'man up' and are put under particular pressure not to cry or express sadness - all part of toxic masculinity - so hopefully this will play a part in countering that and telling boys and girls that there is nothing to be ashamed about being sad. DAVID: I'm not sure how this was decided. For some reason I just instinctively drew a boy when I was sketching the book out. I think that's a case of me very much seeing myself in the character as I was making the book. Perhaps an argument can be made that some boys need more help in facing their emotions than girls. But to be honest, I think I just instinctively recognised myself in that character and drew him as a boy. Q: David, what drew you to this text, why did you want to illustrate it? DAVID: As soon as I read Anne's manuscript I knew that I 100% wanted to be the illustrator. I received the project over two years ago and I couldn't start straight away due to other project commitments. I was so scared that Templar would not be able to wait for me. But I was so happy and relieved that they decided to wait until I had finished the other books I was working on. The text just really connected with me and it stirred up some very raw emotions in me. I also recognised that it would be unlike any book I had ever drawn before and the challenge of creating it was something that I really wanted to take on. Q: How did you decide how to depict Sadness? DAVID: There have been a few really fantastic books recently that depict sadness and other emotions as an actual character. Some of my favourites are 'When sadness Comes To Call' by Eva Eland, 'Me and My Fear' by Francesca Senna, and 'Ruby's Worry' by Tom Percival. All of these handle these sensitive subjects so beautifully and visualise what an emotion could look like in the real world. I see our book very much as a continuation of these series of books and the themes they follow. They were definitely a big influence on me when I was drawing the book. In terms of the look of our Sadness, I came up with a number of ideas in my sketchbook. One was a very ghostly, scary looking thing. The other was a teardrop and one was a cloud. But then I just thought about what a typical six or seven year old might draw if I asked them to visualise their sadness. All these confusing and conflicting emotions might come together and it felt like a really messy, scruffy scribble would fit the bill perfectly. Also, I remember trying to articulate how I felt when I was young and the words just wouldn't come out. So drawing a confusing, mess of emotions just felt right. It's also a really great character to draw. you really do feel like you are getting some emotions out of your system and onto the paper when you draw Sadness. Q: David, Can you tell us how you create your images and that special luminosity in your pages? DAVID: Everything starts in my sketchbook and I will plan the whole book out with lots of scruffy sketches. But once I start making the final artwork I usually begin by making lots of very messy watercolour washes, letting the different colours naturally mix into each other. I will also take photos of other textures such as the bark of a tree, or concrete or the sky. I will then scan all of this into my computer and experiment with overlaying each of them together until I find a look and feel that I like. These will then generally take the form of a background for a spread. The characters and buildings I will usually draw out in my sketchbook and then scan these into my computer also. Using Photoshop I will position these over the backgrounds and add other textures over them and just see what works. Basically, its a lot of experimenting and seeing what works with all these different types of media and textures. The luminosity is just an extension of what my art teachers have always taught me about shade and light. But I do like to play around with light and the atmosphere that can bring to an image. I think I really appreciated the drama of light from watching too many Steven Spielberg films growing up. Q: Do you have a favourite spread? ANNE: I love them all! I think the last page is so, so beautiful and gives me hope, but that is because of all the pages that came before, so I couldn't choose! I think David has done an amazing job - the book is so beautiful. DAVID: I like a lot of them. I love the penultimate page where the boy and sadness are walking through the blooming garden. I like the spread early on where Sadness is going through all of the different ways it is feeling and all the different actions it is taking. But I think my favourite image is the simple one of Sadness and the boy sitting together on the log. They are not saying or doing anything, they are just together and there for each other. That's one of my favourite illustrations I have ever drawn in fact. I love it. Q: Will you be creating any more picture books about emotions? What are you working on now? ANNE: I would love to write more picture books about emotions. I have an idea I am trying to find words for - it isn't coming as easily as A Shelter for Sadness but I hope it can work. I also have a little picture book story I am working on, and I am revising and rewriting a middle grade novel, and am waiting to be given edits for an adult novel and should be starting a second adult novel, so I have lots to be getting on with! DAVID: I hope so. I think I will always try and convey emotion in my books and hope that the reader can recognise their own emotions in these stories. Q: Where is your favourite place to work? ANNE: I work in bed (where I am typing this) and in a little writing hut my husband built me in our garden. I also write sitting on the sofa or at the table. When the pandemic is over, I am so looking forward to working in a coffee shop again! I do find it very helpful, when I have lots of work to do, to go away for a few days, to somewhere like Gladstone's Library in Wales, or beautiful retreats in England or France or Ireland I have been to. DAVID: My favourite place to work doesn't actually exist yet. I would love to create art in a cabin in the woods, surrounded by nature. Unfortunately I haven't found that place yet, but I have hope that I will one day soon. At the minute, due to lockdown, I'm drawing my books in the corner of my bedroom, which is not ideal as I'm quite messy and it's quite a small space. It can get a bit frustrating. But, every once in a while I can pretend that I'm in that cabin in the woods and everything feels right again. Q: Where are you most likely to be found when you're not at your desk? ANNE: Maybe out with my husband, walking our dog, or reading in bed, or sitting watching something lovely - I really appreciate good TV and films and I love watching them with other people. I love chatting with family and friends and visiting them. For a post-pandemic answer, I want to leave my desk and travel to see friends and family. DAVID: Mainly riding my bike with my two sons, or walking our dog Maggie, or listening to music very loudly on my headphones. Thank you Anne and David for joining us on ReadingZone!

See original post here: https://readingzone.com/index.php?zone=sz&page=interview&authorid=623a7c5192eb0909e0d251c44bae33c1

[zuzuslastbraincell]

Katara!

KATARA KATARA KATARA

why I like them

oh god where do i even start. katara just contains so many multitudes - she's sweet and feminine and caring and attentive but she's never reduced to just that, she's never just 'the girl', she's also allowed to get mad, to be petty, to laugh at her brother, to be headstrong and stubborn, to express vulnerability, to cry and to laugh, to make ridiculous facial expressions and *be* very expressive. she's dealing with a lot of trauma not simply from the loss of her mother but that loss represents also how her tribe have been decimated by the fire nation, how she's the last waterbender, how all this pressure exists on her shoulders (but also pride, but also determination, to bring it back) and that is expressed subtly throughout the series with the same depth and love that male characters are afforded with regard to their respective traumatic experiences. and despite all this she never tries to stop making the world good? She's always pushing for change, she's always wanting to make things better, she's relentless and doesn't give up when it comes to her vision for a better world... she has such a big heart. and that coexists with a deep anger in her, and deep hurt. Not to make an ocean metaphor so early on but she's as deadly and deep as the ocean but she chooses to be kind and warm and that's so powerful.

why i don't

honnestly while katara's instincts to mother people are a sad symptom of how she was forced to grow up to soon and automaically asigns herself a role of emotional responsibility she has mixed feelings about, i know that if katara tried to mother me, i would be annoyed. but that sounds more like a me problem.

favourite episode

oh it's either the episode where she beats the fucking shit out of pakku or it's the southern raiders. the first one because it's so gratifying to see how she's grown and developed as a bender and really come into her own. the second because... god i love how *messy* the southern raiders is, and it really taps into what i love about katara - she's flawed, she runs off on an ill-thought out revenge mission with zuko, she's got a great capability for darkness as she quite seriously considers murdering a man she has every right to loathe and to kill - but she chooses against it, in the end. it would not be right for her, if not him. she chooses what's right for her in the end.

favourite season

I'm gonna be a wee bit controversial and say book 1 had the best conception of katara's arc from student to master and really saw her grow and flourish, from someone yelling at her brother' oafish prejudice to a real master, that really solidified her as an idealist and presented that as the strength that is, that showed her struggling with petty jealousy of aang's progress and had her stumble in ways that made her character comeplling and interesting - like what an introduction to her character! book 2 had some fantastic moments but i can't think of anything particularly remarkable about hee character arc - largely because it tied into aang's romantic arc i think at this point. book 3 had some absolutely fantastic moments (scam queens katara and toph!! painted lady!! southern raiders!! the final agni kai) that really shone but also book 3 lays a lot of groundwork for fanon i hate (e.g. katara as the mom friend - wish that headcanon would die tbh)

favourite line

fuck there's a lot of good ones but my underrated fave is when sokka says he's kissed a girl before but she's never met her and katara says 'Who? Gran-gran? I've met gran-gran' and it's bruuutaaall

but my favourite serious line is 'I will never ever give up on people who need me'. powerful.

favourite outfit

water tribe anything!! and i actually think her book one/book two braids are her best hair. underrated katara hair. personally she looks just adorable in her parka in the flashback to when she was like. eight.

OTP

katara/personal fulfilment

katara/happiness

katara/fulfilling her goals and dreams

katara/loving minor background character who is never named

there's some ships i like in AU situations - yuetara is actually one i lov, especially with waterbender yue, i just love the whole sea/moon thing as well as katara and yue rebelling in loud/quiet ways, being girlfriends who refuse to have their lives defined by the expectations of older men, who have a great sense of duty towards their nations and won’t let gendered expectations stop them.

and most of you know i like the messy drama of katara/azula in a lighter AU situation where they're like, school or academic rivals, and the legacy of imperialism isn’t quite so personal (and azula makes better choices, obviously), but it’s not as much as i “ship” them as i just find the potential dynamic interesting, they’re both driven by a sense of duty for their home, it’s just that means *very* different things depending if you’re SWT or FN.

none of them are OTPs though - they’re more just fun thought experiments

brotp

katara & sokka - absolutely love their sibling dynamic its amazing. both have been impacted negatively by the shit in their lives and are not always dealing with it in functional ways but theyre there for each other, through thick and thin, always have each other's backs, they roast each other and bicker and sometimes make stupid decisions and sometimes lash out but at the end of the day their love pulls through, they’re able to work past those conflicts.

katara & aang - honestly while i feel kataang was just so poorly executed in the show (listen guys I just can’t after ember island players, i know that was a bad episode, but i can’t) & i cant imagine katara wanting to leave the south pole after the war for long spells (it would have to be long distance love, lots of profound and heartfelt letters and occasional visits, if anything, but i dont know if that’s what katara wants or needs? so maybe it wouldn’t pan out?), but regardless, i really do think these two had a life-changing friendship where each really represented hope for each other, that's at the core of it, they both truly believe in each other, and inspired each other. katara & aang good.

a headcanon

chief katara anyone?? chief katara?!?! 

oh oh OH i also think that katara, while primarily a combat bender during the war, actually takes to healing a lot more after the show and gets proper healing training at some point with the help of a trained medical expert and maybe yugoda. tbh i feel like the show was a bit dismissive of healing as an ability - i feel like having that is *extremely* useful in any combat situation, you always have a medic on hand - but i understand why katara, who wanted to be recognised as powerful regardless of her gender, and wanted to hold herself in a fight alongside sokka & aang, pushed for combat waterbending training because that is what 'powerful' looks like to her in the moment. obviously katara is capable of incredible healing feats (see: saving aang) but i think given we see her as a healer in lok (not a decision i necessarily disagree with) would mean a shift in focus. i think katara actually comes to realise she likes healing a great deal, but really she excels in all aspects of waterbending and is the south’s most respected master who helped rejuvenate southern style waterbending  

unpopular opinion

the main reason people think katara is straight is because we see her have very few meaningful interactions with other girls outside of toph. ATLA as a show is a bit romance obsessed, and very heteronormative in that regard, and so interactions with minor characters almost always line up with a potential crush for sokka or katara, and later, zuko (suki, haru, jet, yue, song, jin....). we rarely see katara build friendships with other girls and it’s such a damn shame.

(anyway bi katara for life)

a wish

the version of the puppetmaster we saw was actually fire nation propaganda, i feel like katara would have felt deep compassion for a prisoner of war and after maybe some clashes, would have agreed to help smuggle her out of the fire nation and secure passage home for hama, and tried to assure her that she still has a place there. the treatment of hama in that episode was awful (but also hama was written to be almost cartoonishly evil, very much an evil witch in her cottage in the spooky woods? like the whole horror movie / spooky story opening was such a big tell) and tbh i reject the thesis that we saw ‘katara’s dark potential’ in that episode completely, or that bloodbending as a power is inherently dark, or katara’s use of it to stop hama ‘corrupted’ her. I feel like katara might feel this way as a teenager perhaps but with time (she can be a little black and white at times), and especially with more training as a healer, i think she might realise that’s not the case, she’ll realise that she was right to try and oppose hama, her elder (she was lashing out rather than really trying to oppose the fire nation), and it wasn’t a betrayal of her or her beliefs, but also her use of bloodbending wasn’t wrong or evil inherently at all? and maybe she’d find ways to use it for healing purposes? anyway my wish is that, i like the idea that they meet again, speak about their differences, reconcile a little / come to an understanding, and katara learns more from hama again

an oh-god-please-don't-ever-happen

anything where katara’s character is reduced to a comforter or a healing device for a man and his trauma. particularly zuko. (they don’t have that dynamic in canon thankfully, zuko would never, zuko respects her too much)

5 words to describe them:

idealistic, hard-working, powerful, headstrong, kind

my nickname for them:

chief. or comrade. :^)

[whetstonefires]

Sephiroth, 1, 2, 5, 9, 12, 16, 20. I find your take on him so interesting! (And kind of sad too...)

Oh gosh this is so many! Haha okay, here goes.

1.Their physical weak spots

Huh. He’s programmed to be literally impossible to damage in the one actual fight in the Nibel flashback, the dragon. I theorize this might have been his first-level Limit? But of course you can’t use a Limit unless you’ve been injured first. (Apparently they reversed this in the Remake which is a major thematic change and I don’t like it? Anyway tho.)

So on one level his physical untouchability is part of his trademark and there’s a temptation to say ‘none’ and be done with it.

Normal human weak spots, I imagine, he’s not as alien as all that. The throat is the throat, I mean. His disinclination for wearing shirts may suggest an indifference to thoracic damage, but between his tendency to not get hit at all and the existence of healing magic that doesn’t necessarily mean much.

The vertical pupils which can dilate much further than normal would make him particularly vulnerable to flashbangs used in a dark or even dim environment. I assume Wutaian ninjas exploited the heck out of that. :D

2. Their emotional/moral weak spots

Abandonment issues was a big one, I think, and all the huge gaping vulnerabilities created by being a child with no one to love, or who loved you.

Thinking outside of Shinra’s standard pathways is a matter of some anxiety to him, in Crisis Core–his idea of resistance is ‘find my friend first and then oops fail to kill him they can’t prove it was on purpose’ and then later ‘turn down the assignment to find my friend and kill him.’ There’s just, a lot of emotional dependence on a toxic structure indicated by his behavior patterns.

I’m sure that was deliberately instilled, but it’s not that hard. His superpowers aren’t Superman scale self-sufficient until after he ‘dies’ once, and capitalism does what it does. He’s not much less dependent on the Company for survival than the average worker, and more so for identity.

Morally he was disadvantaged by being a corporate supersoldier with Hojo as his parent–the details of his upbringing have never been clarified but they sure didn’t put him anywhere outside Shinra enough for him to form external attachments, or even powerful internal personal ones prior to the rather shaky ones he managed with two peers sometime in adolescence, which leaves fairly few possibilities really.

Anyway morally he’s nothing but weaknesses, even before he got tangled up with The Thing From The Northern Crater and decided he was God and should consume all life. ^^;

5. Guilty pleasures 

You know, I don’t think even pre-evil Sephiroth did guilt much? Waste of energy, and (see above) he wasn’t socialized for it, it’s counterproductive in a soldier. The ‘guilt’ in guilty pleasure is really a species of shame though, and anyone with that much pride is vulnerable to the opposite, even if they weren’t exposed to someone like Hojo growing up….

You know, it was probably novels? He was a reader, and one of the most personal things we know about him from the OG is the deep impression left by Hojo’s furious rant about how inappropriate it was to use poetic expressions about magic. Even ‘magic’ was too sentimental for this domineering science twit.

So, every so often growing Sephiroth would get his hands on a piece of fiction, and the quality wasn’t necessarily great because it was whatever he could pick up in the break room or wherever, but he’d hole up out of sight and scarf it down. Even once he had his own living space and salary and could buy whatever books he wanted and store them, he’d pick up novels on the sly and get rid of them once he was done, like someone was going to catch him. One of the things he used to pick out of the ruins in Wutai during the looting was books.

He always felt a confusing mess of jealousy and scorn about Genesis’ Loveless thing. That he could just like it like that, constantly, right out in the open, where anyone could laugh at him. That nobody had ever taken it away.

Less tragically, I think sometimes he’d go home and watch bad TV. Whatever Midgar’s stupidest soap opera was. Sephiroth caught enough of the reruns to know most of the main plots. He had an opinion about who the father of Jaqueline’s baby should have turned out to be. He would never admit this.

9. Humiliating memories

Okay, as touched on above repeatedly, he grew up with Hojo, who loves breaking people down and laughing at them, so he’s probably got a lot of these.

The worst one is one time when he had a weak moment or an optimistic one, and asked out loud in words for something he really, really wanted, and Hojo said yes, and gave Sephiroth just enough time to get desperately excited and express gratitude before laughing at him and saying of course he was lying. Don’t be stupid.

That isn’t something important enough to bother with.

12. Grudges and vendettas 

‘Burning inside with violent anger’ isn’t there for no reason. From Nibelheim on these define him, and according to bonus materials of middling canon status he eventually sheds almost all identity elements but his grudges.

I think, based on the shape of his breakdown? That for most of his life he told himself that holding onto anger and pursuing grudges was a waste of time and energy. But that didn’t actually help him let any of it go, he just internalized and ignored things. Because he wasn’t actually not holding grudges, he was just reacting like someone who didn’t have any choices, and marinating in spite.

Spite against Hojo surfaces on the way up to the reactor in a way that says to me it’s a habit, almost a reflex. But it manifests in profound pettiness, and I think that’s the only way he normally felt he was permitted to act out against the people who really bothered him, though I’m also sure he channeled a lot of anger into unrelated killing. Natural thing to do when you’re a frustrated teenager who’s supposed to be killing people anyway.

By the time he did it in Nibelheim, it was an old habit.

The fact that he bothered to personally kill the Shinra President as his big debut says to me he was holding a grudge about his entire life against the person who commissioned him and declared the war and shaped the floating Midgar-world that defined his life. I think there were probably a lot of personal insults in there too, just because of the way Shinra Sr. seems to have conducted himself generally.

He’s a Donald Trump expy wouldn’t you.

Sephiroth is written as a much softer person in Crisis Core, almost absurdly so, but even there you can see him resenting Genesis and Angeal more than a little for abandoning him. It probably brought back his whole mess of feelings about Gast, who really did abandon him quite unforgivably but Sephiroth never knew the full circumstances, just that he was gone and later dead. There are signs he blamed Hojo, who doesn’t seem to have gloated openly about the murder even if he did make sure to inform the boy his favorite person was dead now.

And of course later on there’s Cloud, which doesn’t actually make that much sense until you loop in the retcon about Cloud throwing him into the reactor and cutting short his initial rampage. There’s the grudges he seems to have inherited from Jenova, against the Cetra.

It’s not out of the question that he killed Aerith the way he did in part because she was the thing Gast abandoned him for, as well as all the other less personal reasons. I sort of like to think so.

16. Dark secrets/’skeletons in the closet’

Of his own, as opposed to ‘about him’ that he found out about, I don’t think he really had many? He wasn’t much accustomed to privacy.

I think most of the worst things he did, as a human being rather than a transhuman monstrosity, were pretty unavoidably public; they were war crimes, and happened in front of some fraction of the rest of the army. He was praised for them.

There probably were a lot of dark things he never talked to anyone about, that weren’t really known, but except for outright humiliating childhood incidents like above he wasn’t particularly hiding them. He was just never in a position where it would have made any sense to him to bring them up.

Genesis wasn’t ever someone it was safe to be vulnerable around, and Angeal was uncomfortable with too much emotion, and besides they were fellow soldiers and it wasn’t like the things he didn’t talk about from the war were anything special, and he wasn’t going to complain about his childhood to them. And who else was there?

Dude needed so much therapy.

20. What-ifs/Alternate Timelines 

I go absolutely nuts with alternate timelines for Sephiroth. He’s so much fun to work with that way.

Lucretia and Vincent stole the baby and went on the run: Firo grew up kinda isolated in the woods with his parents but runs away at thirteen to fight Shinra because he’s so mad they had to leave Wutai because of the invasion. Parzival AU.

Ifalna recruited Sephiroth to her escape scheme and he wound up raising Aerith on the run, under the names Rith and Roth. Beloved Dust AU, that one’s actually online as you may very well know lol.

Vincent blew up the Nibelheim reactor with Hojo and Jenova in it when Sephiroth was six, and then later Midgar blew up as well and the Shinra world order collapsed, and the recently married Mrs. Strife adopted the weird lab kid. Later on Cloud pressures his big brother into starting an anti-bandit militia. Time Of General Strife AU.

Cute three-way blood brothers ceremony contaminates Genesis’ body with Sephiroth’s DNA and sets off his degeneration several years early, when they’re all teenagers and not nearly as famous, powerful, or fucked in the head. Brother and Brother AU.

And so on. ;}

[ceasarslegion]

Vent post coming in

I’ve been watching a lot of Family Ties lately, and it makes me cry. I didn’t know why, but every time the intro would come on, and all these pictures rolled through the screen of one truly happy, functional family, I would get this overwhelming feeling of... something. And I don’t do things in moderation, so I don’t just watch one episode of anything. And that overwhelming feeling of something would build up and pile up until I’d burst into tears just to have some relief from that overwhelming something.

I realized today, as I was drafting a long, hard, emotional email coming out to my transphobic mother what that feeling was. I needed a break, and all the media I usually consume is either sad, political, fantastical, or complicated, so I put on Family Ties because it was happy, simple, realistic fiction. The conflicts are always easy, the parents are always supportive, and the family always sticks together. The family is always functional, and even though they disagree on things sometimes, there’s this fundamental respect everyone has for each other’s autonomy. No one tries to change anyone. That’s what’s making me cry: I’m seeing what I never got to have, and grieving for the upbringing I wanted but will never have, experiencing the frustration I’ve repressed and all the pent-up rage towards the people who were supposed to be my caretakers. After all, why are fictional 80s sitcom characters more deserving of that than I am? I was a child; I didn’t deserve that.

I remember this monologue from one of my favourite shows: Bojack Horseman. It was during the Free Churro episode, which is famous for being one massive 22-minute monologue that has caught critics and fans alike as a truly profound work of writing. I’ve used that episode in therapy sessions to talk about my mother, because it’s easier for me to express these things through a third party, and my mother is someone who I find painful to talk about, so having a small degree of disconnect from raw reality helps. Bojack veers onto the topic of Horsing Around: the sitcom that made him famous that he was never able to move on from. He talks about how people think sitcoms are unrealistic, garbage media, but he refutes that. Because in a sitcom, he says, you can’t have a happy ending, because then the show would be over. And a sitcom’s fundamental narrative style depends on there always being more show, so the status quo always needs to be restored by the end of the half hour. And there’s nothing more realistic than that: you can’t have a happy ending, because there’s always more show.

In that way, my life with these people, and what they’ve done to me, and the fact that I can not cut my own family ties to them, feels like a sitcom. There’s little moments of genuine happiness that keep me there, that give me hope for something better, but I never get a happy ending. Because then the show would be over. But at this point in my life, where I’m staring up at this mountainous hurdle that I know I need to clear in order to be happy, it feels like a series finale. But there’s another thing: sitcoms have this weird trope where their true endings are... hard. The teenage main character goes to college, the audience says goodbye as someone dies, the group of friends disbands and grows apart. Remember Arrested Development’s finale before it got bought and rehashed by Netflix? All that work that was put in to keep the Bluth family together over 3 years, and it was all for naught, because you can’t make people care about each other no matter how many hoops you jump through and how much you dance for them. Sitcoms don’t like good finales, and there’s no better metaphor for this very key junction of my life than that.

I just... This is an action I need to do in order to take charge of my life, and I can’t delay it any longer, because you can not hide HRT treatment from people for more than, like, a month. I guess I’m just scared, and don’t know who I’m supposed to go to about something that I, ultimately, have to do alone. I grew up in a very hostile environment in a very hostile country, and even though I tend to be a very fiesty and stubborn little shit who tows the line between courageous and stupid, this is something that makes me feel very small and very helpless and my first instinct is to cower and avoid because I know how it ends, and I know how it’s going to end. It won’t be good, because it never is, it never has been, and at the end of the day, she has shown herself to be transphobic. I have to stand up to a tiger and just hope it won’t hurt too badly when it eats me, and that is one of the most terrifying things I have ever done and most likely will ever do in my life.

[war-and-peace-chapterbychapter]

The chapter starts with many names of people and places, and then introduces to us our speaker. Anna Pavlovna.

Anna Pavlovna seems to be an eccentric woman, to say the least. Although I haven't found anything in the text which rings immediate warning bells, I can't help but have the feeling that there is more then meets the eye with this woman.

The only other character so far is Prince Vasili. He comes off as blasé and a bit of bore. The only reason that he visited Pavlovna is because he wanted information ( I won't judge him to harshly yet, I'm sure everyone has done this at least once.)  His whole manner spoke of a man who pretends not to care at all but in fact looses sleep over things.

What has me in a pickle, is that he calls himself her slave? Is that just a figure of speech or does she have something on him?

Moving on to the topics of discussion. There was a lot of small talk, about a fete and what not. The two main topics which drew my attention where (1) The empress and (2) Vasili's youngest son.

There was a brief excange about Dowager Empress, which at its surface seems very plain, but can be read into much deeper. Vasili wanted to know  what she had decided in regard of a post he wishes his older son to get. All this seems normal enough, but at her name Pavlovna, who had been very vocal before, quickly changes the subject.

Tolstoy had written "Pavlovna's face suddenly assumed an expression of profound and sincere devotion and respect mingled with sadness." This quote can be interpreted a number of ways.

Either she realy does respect the Empress and can't stand to hear her name being sullied (unlikely) or she is acting because she wishes to remain in her good graces. But if it's the latter, surely she is safe at home and can speak freely? Right.

The second subject of significance is Anatole.

The subject is brought up undirectly, the convesation starts on how beutiful Vasili's daughter is and then Pavlovna intruduces the topic of his youngest son. She is extremly blunt when she says "I don't like him." Of course, his father Vasili also doesn't hold himin high esteem, therefore it might be that she [Pavlovna] feels as if she won't offend Vasili. They go on to discuss how Vasili has done all he could, regarding his education but is a fool, he spends ridiculous amounts of money. He would spend 40,000 rubies a year, this is like $300,000 today.

Pavlovna asks if he had considered marrying him off. They go on to discuss Princess Bolkonski, her father is rich and eccentric, this makes it a perfect match for "an active fool" (his dad's words not mine.)

The chapter ends when the 'evening gathering' starts.

[cllynchauthor]

That post you made was a mess, just fyi. 1) I went through the thread you linked, and I found the authors reasonable and respectable. The playwriter's worked with people with disabilities for 10 years, and it's clear he cares about the issue. 2) The fact Lawrence is a puppy isn't automatically pejorative. That's how art works. I haven't seen the play, but it's probably a metaphor for the teen's lack of agency or something like that. Also writing something a certain way doesn't mean you -

“- approve of it. Have you even seen the play? 3) Please stop pretending anyone represents the autistic community and that you guys speak with one voice. It’s seriously dehumanizing to think a large and diverse group of people shares the same views. In that view there is an autistic man who loved the play - I guess his voice doesn’t count because he disagrees with you?”

--

I love this anon message because it contains pretty much every argument that people are using against the autistic folk protesting this play. 

Like, I’ve been watching #puppetgate unfold since day one, read the reviews, read the responses from @allinarowplay. You think I haven’t heard these points before?

I’ve read them so many times now in tweets and reviews that your message just looks like one of those ransom notes that are made from cut and pasted words out of the newspaper.

But since Tumblr is new to #puppetgate, SURE, let’s address them! 

First of all, my #puppetgate summary was a truthful, if flippant, tl;dr of the past two weeks’ worth of Twitter drama. 

I apologize if my brief humorous take on a complex and nuanced debate didn’t meet the standards of a random stranger on the internet. 

Let’s discuss it in more serious detail.

1) You can care about an issue and still handle it really poorly. No one doubts this playwright’s intentions. But, as you say, he was a CARER for 10 years. That doesn’t mean he understands how it feels to be autistic and in fact, ableism is built right into ABA and other therapies used by carers. 

So yeah, he cares. And he still made an ableist play.

Also, the thread you mention was BELOW the video I linked to wherein the puppet designer says, and I quote:

“Laurence is non-verbal, and the power that puppets have is that they explore movement and with a turn of their head or a small movement they give life and character that you wouldn’t achieve with a human actor.”

Which is why I snidely summarized their position as 

“ This puppet is going to be SO MUCH more like an autistic child than a human could ever be!”

https://twitter.com/allinarowplay/status/1092410318960148481

Also, there is a brief shot of their script in that video at 2:19 and if you pause it and look at it you can see that the parents are joking about how their kid is like a puppy.

“Shits wherever he wants” is clearly visible.

This is the stuff the positive reviews consider funny, honest, and brave.

According to reviews, the child is present in the background throughout most of the play. Which means they talk like this IN FRONT OF HIM and this is never brought up as an issue/problem. 

In fact, non-autistic reviewers don’t even seem bothered by it, probably because they share the common misperception that non-verbal high needs autistic people don’t understand what is going on around them. So…. yeah. I don’t care how well meaning the playwright was. 

The playwright consulted the National Autistic Society and they told him they couldn’t support the play “due to its portrayal of autism, particularly the use of a puppet to depict the autistic character alone.”

But he didn’t change his mind about the puppet.

https://www.msn.com/en-gb/news/uknews/critics-say-new-play-that-uses-a-puppet-to-portray-an-autistic-boy-dehumanises-those-with-the-condition/ar-BBTk5kC

So again - sure, maybe he cares. But he also wasn’t willing to change his vision despite the warnings of the Autism organization that he was hoping would endorse his play. 

2) Of course a puppet isn’t inherently pejorative. For one thing, the autistic community is very positive about Julia, the autistic muppet on Sesame Street.

The outrage involves a lot more nuance than that. First of all, it’s the choice to make the puppet grey and ugly. This was obviously an artistic decision. The first version of the puppet has black hair too and no eyes, just dark sockets like a skull. 

Not exactly Julia.  

And even with that, I was on the fence and willing to wait for the reviews to come out before I made a judgement. 

Like you, I thought perhaps it would be made clear in the play that his puppet-ness and greyness represented lack of agency. And maybe the designer was thinking that way. 

But if that is the case, it does not come across. 

In fact, the reviewers who enjoyed the play repeatedly dismiss the controversy by saying that the play “isn’t really about Laurence.” 

https://www.timeout.com/london/theatre/all-in-a-row-review

“The production is also about the situation, rather than about Laurence himself.“

https://www.thereviewshub.com/all-in-a-row-southwark-playhouse-london/

“sadly the grey-faced puppet adds nothing to the production that a living actor – adult or child – could not have provided.”

I’ve read a LOT of reviews of this play by now. 

Reviews from mothers of autistic children who feel a kinship with the stressed, unhappy, dysfunctional parents. 

Reviews from people without a connection to autism who feel like they learned something. 

Reviews from autistic people and disabled allies who cringe at the ableism. 

None of them - NONE of them - allude to any kind of symbolism or thematic point running through the play which justifies or explains the puppet or its weird appearance.

And the reasons for the puppet given by the playwright, director, and playhouse make very little sense. 

In that promotional video I linked to they say that the puppet can communicate better than an actor could. I disagree. So does a non-verbal autistic mime who commented in the thread below. 

They also say that it allows them to avoid being offensive or stereotypical, which makes little sense because they still had a grown man grunting and flapping on stage, just with a puppet sprouting from his waist. 

They repeatedly argued that they couldn’t use an autistic child, as if acting wasn’t even a thing. They repeatedly argued that a human actor couldn’t do the sounds and movements, even though a human puppeteer was doing just that.

My favourite one was the review (linked above) that argued that “Laurence isn’t a character a person could play (neurotypical or not) as his autism is so particular and at times violent.”

...Has this guy never seen Titus Andronicus? 

A person can play ANYTHING.

On Broadway I have seen human actors play cats, lions, baboons, and witches. 

On multiple occasions a fine-boned actress has been used to play Peter Pan. I’m pretty sure you could cast a small actor to play a pre-teen boy. Then the play wouldn’t have attracted so much negative attention.

As for “writing something a certain way doesn’t mean you approve of it.”

True. 

My fans can tell you that my main character spouts a fair amount of ableism. They’ll also tell you that this flaw is addressed openly and resolved as part of her character arc. 

They’ll ALSO also tell you that the “villains” of my story embrace ableist ideals. So yes, I wrote ableist stuff. But you can tell by the waythese things are framed how the writer wants you to feel about them.

No, I haven’t seen the play because I don’t live in the same country as it and it would take 12 hours to fly there. But I read what people write about it and I draw my own conclusions.

And the fact that ableist jokes are punchlines does not endear me to the playwright or the puppet. 

You say you haven’t read the play, and from the sounds of it you haven’t read many reviews either. 

If you think it’s wrong for me to criticize it after watching all of this unfold over days and days, and reading a dozen reviews by people who loved it and people who hated it, then how is it right for you to defend it?

3) Aw, look at that straw man lying on its side! You did a good job there.

Nowhere in my puppetgate summary do I claim that 100% of autistic people feel the same way.

I was summarizing what has been going down on Twitter over the past two weeks. I know because I was there. Don’t believe me? Actually spendsome time on the puppetgate hashtag and the actuallyautistic hashtag and see what people are saying.

And of course less than 100% of #actuallyautistic people feel the same, but I want to point out that at the time of this writing, my #puppetgate summary post has nearly 11K notes, all of them expressing disgust at the idea of this play.

Autistic people are disgusted. Autism allies are disgusted. Even people with no connection to autism can often see why this is effed up.

Yours was the only message I have received trying to defend the idea of a play featuring a messed up family arguing, discussing bukkake, calling their child a “puppy” using language which results in the play being rated as 16 plus... all in front of their eleven year old…

But what really bothers me is that somehow people come out of there identifying with the parents and thinking that it is “brave” and “honest.” 

They blame autism for what it has done to this family.

THE DAD SHAT ON HIS WIFE’S PILLOW AND BLAMED IT ON HIS OWN SON.

And the really sad thing is that your lonely messages in my inbox didn’t contain a single unique thought. I’ve been seeing those tired excuses and straw man arguments all over twitter for weeks.

They don’t stand up.

I’ve performed in theatre. I was willing to withhold judgement until more details about the play emerged. 

I was hoping they would say something brilliant and profound about what life is like for an eleven year old child with autism who is being sent away because his messed up family can’t stand it any more.

But facts are facts… they didn’t.

All they are doing is telling audience after audience that it is funny to insult your autistic child in his very presence and that autism wrecks marriages.

You can understand why a LOT of autistic people would be a bit sensitive about that kind of message.

It doesn’t have to be everyone. 

[theothershreya]

And now, for something completely different:

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I let this article ruminate for weeks before I finally attained the will to complete it.

.

The clock in the living room just struck three. Before today, i didn’t know it would strike even at night. Maybe it had something to do with how I had gotten used to it, that it changed to ambient noise. Like your friends’ voice at a cafe. I’m seriously considering rewriting that e with a grave accent.

.

I’ve been thinking about poetry these days. Notice how I said thinking about, as if I were a thinker, sitting upon the choicest rock, buried deep inside profound oceans of thought.

My relationship with poetry can be understood in three main phases.

*

The DISCOVERY: I have, since an early age, liked expressing my thoughts in verse. The first poem I ever wrote was about a bee being attracted to a flame, because in kindergarten I did not have the ability to differentiate between a moth and a bee. I thought, being insects, they must share one common characteristic. And if that characteristic be the desire to meet their doom by falling in love with a flame, so be it. 

I don’t know if you’ve met any toddlers, but they usually wouldn’t paint an accurate picture of the world. Unless you’ve met a very boring toddler. In which case, hang in there.

Throughout school, I surrounded myself with the comfort of the verse. It was my choice method of expression. Maybe something about the rhythm, influenced strongly by Disney musicals, or maybe just the fact that English textbooks were light and smelled pleasant (Which may have also influenced my preference of people in ninth grade), making me want to learn more about where the excerpts originated from.

Poetry was, when friends couldn’t be; when I finally took off my armour of self deprecating comedy in front of the mirror. Or when I snuck out of uncomfortable conversations about character assassinations with my friends to meet the pedestal-ated, ideal version of my teenage crush in my head. Or when I wanted to scream in languages I was beginning to get the hang of - those of repressed rage, angst, and a whole lot of confusion. 

The ANGST: Given my relationship with poetry, it was only natural that I should write all of my angst away with it. Only the angst was never truly cast away, but grew ever more to destroy what had become of my perspective towards life in the later years of my high school years. (Think of it like Mr. Bean sneezing on Whistlers Mother in that Holiday Movie which I am hoping you weren’t "too cool to sit through".)

I use angst as an umbrella term for all of the anxiety, loathing, envy, yada yada feelings which I felt then were the most important thing in the world, because the intensity with which I felt them made me want to not wake up most days. 

I would write extensively when I was sad, which transformed into me writing EXCLUSIVELY when I was sad. Almost as if being anything but the S word made me inauthentic. Unoriginal. Precedented. Or, dare I say it, boring. Not special. Not worthy of attention. You get the point. (If this is getting too sappy for you, I’d reccommend reading the above sentences to the tune of that ‘Savage’ song that seems to have taken Tik Tok over by a storm. UPDATE: Tik Tok got banned in my country today).

Things verse-end, and before I knew it, I was dreading the worse. When I’d sit against a blank page of paper, all of the conflict in my head would return. The otherwise peaceful thoughts in my head would be tainted with the conflicts poems in the past had left me with. I should’ve learnt how to clean the palette before the paint dried on it, because now I was paying homage to Lady Macbeth in a way befitting a parody.

Soon, I gave up trying to remove the shards, and was left with a glass splinter in my heart. (Okay, yes, I am exaggerating but I love Tony Stark and the shrapnel in his heart thing was really scary and cool and I wanted to relate to his pain, sue me.)

The FREE FALL: Things have changed for the better since I joined college.  Especially in first year. I found comfort in words, when people could only provide company. I did more consumption than creating, in an attempt to get inspired by others. In an attempt to find a muse. Or be a muse. Isn’t that a-mus-ing.

I wrote. I wrote in the mornings, in the most picturesque places in college, reaching before anyone else did solely for these rendezvous. I wrote in class when my lectures got boring. I wrote when my friends made plans without me and I faded away from their inside jokes. I wrote when I felt two dimensional. I wrote myself a character developmental arc (that still needs work). I wrote when I found better friendships with people who valued spending time with me. 

A lot of it is crappy, and although I’d like to say that I don’t feel any of the conflict in my head anymore, life is often not so uniform, but an entanglement of variables. But now I’m invested enough for me to one day see the day when I’ll be able to write myself a poem without it feeling like the end of the world.

.

Homer//Homer Geddit? D’oh Why is one eye not there? I was aiming for a grotesque look. It didn’t happen, quite obviously, but a girl can dream.