#or are they frequently blind to the way things can be…interpreted

[askablindperson]

In what way does alt text serve as an accessibility tool for blind people? Do you use text to speech? I'm having trouble imagining that. I suppose I'm in general not understanding how a blind person might use Tumblr, but I'm particularly interested in the function of alt text.

In short, yes. We use text to speech (among other access technology like braille displays) very frequently to navigate online spaces. Text to speech software specifically designed for blind people are called screen readers, and when use on computers, they enable us to navigate the entire interface using the keyboard instead of the mouse And hear everything on screen, as long as those things are accessible. The same applies for touchscreens on smart phones and tablets, just instead of using keyboard commands, it alters the way touch affect the screen so we hear what we touch before anything actually gets activated. That part is hard to explain via text, but you should be able to find many videos online of blind people demonstrating how they use their phones.

As you may be able to guess, images are not exactly going to be accessible for text to speech software. Blindness screen readers are getting better and better at incorporating OCR (optical character recognition) software to help pick up text in images, and rudimentary AI driven Image descriptions, but they are still nowhere near enough for us to get an accurate understanding of what is in an image the majority of the time without a human made description.

Now I’m not exactly a programmer so the terminology I use might get kind of wonky here, but when you use the alt text feature, the text you write as an image description effectively gets sort of embedded onto the image itself. That way, when a screen reader lands on that image, Instead of having to employ artificial intelligences to make mediocre guesses, it will read out exactly the text you wrote in the alt text section.

Not only that, but the majority of blind people are not completely blind, and usually still have at least some amount of residual vision. So there are many blind people who may not have access to a screen reader, but who may struggle to visually interpret what is in an image without being able to click the alt text button and read a description. Plus, it benefits folks with visual processing disorders as well, where their visual acuity might be fine, but their brain’s ability to interpret what they are seeing is not. Being able to click the alt text icon in the corner of an image and read a text description Can help that person better interpret what they are seeing in the image, too.

Granted, in most cases, typing out an image description in the body of the post instead of in the alt text section often works just as well, so that is also an option. But there are many other posts in my image descriptions tag that go over the pros and cons of that, so I won’t digress into it here.

Utilizing alt text or any kind of image description on all of your social media posts that contain images is single-handedly one of the simplest and most effective things you can do to directly help blind people, even if you don’t know any blind people, and even if you think no blind people would be following you. There are more of us than you might think, and we have just as many varied interests and hobbies and beliefs as everyone else, so where there are people, there will also be blind people. We don’t only hang out in spaces to talk exclusively about blindness, we also hang out in fashion Facebook groups and tech subreddits and political Twitter hashtags and gaming related discord servers and on and on and on. Even if you don’t think a blind person would follow you, You can’t know that for sure, and adding image descriptions is one of the most effective ways to accommodate us even if you don’t know we’re there.

I hope this helps give you a clearer understanding of just how important alt text and image descriptions as a whole are for blind accessibility, and how we make use of those tools when they are available.

[mentally-in-northern-italy]

how did it end? — e.r.

Pairing: Evan Rosier x fem!reader

Summary: Estranged after graduating from Hogwarts, you haven't seen Evan in years when he finally elects to find you again — but his timing isn’t quite right. It never really is.

Word Count: 2.2K

A/N: Do I have 56789 assignments due over the next week? Yes. Did I still choose to finish this year-old drabble up? Also yes. Is it still a drabble? Not really. Not sure if people read for Evan, but here is the drabble that was promised a while ago. Reader and Evan's relationship at Hogwarts is open to interpretation. I really hope I can get my Cedric fic out bc it's rotting in my WIPs.

—

It was tolerable, you suppose, but only just. 

The stench of booze mingled with sweat far too often, and the air carried a perpetual weight to it that was hard to ignore. The warmth was nice, yes, but the heat frequently bordered on oppressive on autumn nights such as this one, when the pub was full of bearded wizards and graying witches, boisterous and loud. 

Working the bar at the Leaky Cauldron, you had long deigned, was a wholly mindless pursuit, though, and for this, you were glad. At this time of night, no one cared enough to engage in small talk, much too drunk for anything civil. Plus, most were regulars, with orders plainly memorized and simple, satiated often with a glass of Firewhiskey or a Butterbeer and at times, an easy—

“One cup of tea, please.”

The sentence carries a lilt much too familiar, playful and teasing, an amused smile concealed somewhere in between and the request just as odd. You don’t have to look up to know who it is, and he can tell. He revels in it, his undeterred smugness radiating off of him and spilling over the counter he’s currently leaning against. 

“This is a pub, Rosier, if you haven’t already noticed.” You don’t look up, unwilling to give him the satisfaction. Though, you can’t do much to hide the slight quiver of your hand as you pour out some Firewhiskey and his small, exhaling laugh tells you he has taken note of it immediately, as subtle as it may have been.  

“I have noticed actually,” you can feel his eyes linger on your hands before darting to your face. “Unfortunately.” He adds, with a furrow in his eyebrows and a slight grimace as he looks around the pub with poorly concealed distaste. 

It’s much too late now – your peripherals have betrayed you – and your self-control has long since run dry. You catch his gaze as it settles back on you.  

The first thing you take note of is how different he looks since you saw him last — the blonde hair has lost a fraction of its luster, though still gorgeous, and his eyes have circles beneath them, telling of his exhaustion he does well to hide otherwise. His shirt is unironed, though tucked into his trousers neatly, and his jacket is thrown haphazardly over his shoulder. It’s oxymoronic in the most infuriating way possible and so Evan.

His grin, you notice with weary eyes though, remains the same, unwavering: blinding, almost to a fault, its shine reflected in his eyes as he takes you in. It’s a feeling long-forgotten, to be looked at this way by him. 

“You’re still as pretentious as ever, I see,” you say with a raise of your eyebrows. “Did you miss high tea this evening with your elitist friends? Or have they finally come to their senses and declared your company entirely dreadful?”

He doesn’t say anything for a moment, as if lost in thought, his eyes drinking you in slowly. “Oh, how I missed that sharp tongue of yours.” 

Your face grows hot at the implication. “You’re still just as insufferable.” 

He only grins as he leans forward, eyes sincere but mouth plainly amused. “And you're still just as beautiful.” 

You ignore the praise with a pointed determination he doesn’t quite like. He opens his mouth to say something again when a loud cheer erupts in the background and the simultaneous turn of heads is almost automatic, identical grimaces on both of your faces. An old wizard has fallen onto his arse in the most untoward manner in his drunken stupor. You blink as if it’s the tamest thing to have happened tonight and Evan shakes his head in what can only be described as disbelief. 

“Charming place you’ve got here,” he notes, tone thick with sarcasm and a hint of condescension that you’ve come to expect from him. You can see his arms resting on the counter now, as he sits, his jacket thrown somewhere behind him. The white fabric is rich but revealing as the warm glow of the overhead light shines on the skin underneath. You divert your gaze.

“Isn’t it?”

“Though it’d be infinitely more so if you could, indeed, fix me a cup of tea, love.”

You don’t spare him another glance as you uselessly dry off a cup. “I’m sure your house elves will do well to put aside their contempt for you for a few minutes and fix you a cup or two, if you were to ask nicely enough, love.”

“I prefer asking pretty barkeeps for my cups of tea, thank you very much.” 

“And I prefer denying such requests.” 

He goes quiet finally, his ring-clad fingers drumming on the counter as he sits. He wears an infuriatingly perfect smile still – you don’t think he has stopped smiling since he’d stepped foot into the pub – and his eyes are holding yours, as if in silent challenge. After a moment, he speaks again.

“Edmund!” He calls to the other barkeep, covering the far end of the counter. He knows his name. You try to act unsurprised, though you’re anything but. “A cup of tea, please?” 

“Coming up, Rosier!” 

He turns back to you, smirk smug and victorious. You grip your washcloth tighter. 

“You’ve been here before,” you remark plainly. 

“Very perceptive.” He rests his face on his hand, propped up on the counter and smiles wryly.

“And yet, you’re back,” you mock, a mirthless hint of a smile on your face. “You must’ve found the establishment thoroughly enriching.” 

He pretends to be deep in thought. “Well, I could never quite find what I’d been looking for all the times previous.” 

“Cups of tea? Yes, I’m sure they’re hard to find in London.” 

“Pretty barkeeps, actually. You don’t work many shifts here.” 

You scoff, though your cheeks burn at the astute observation. “Edmund isn’t pretty enough for you?” 

“Oh, he is,” His gaze only shifts when a cup of tea floats to him and he winks at Edmund in thanks. What an obnoxious gesture, you think. “But he’s not nearly as difficult.” 

“And you prefer them to be difficult?” 

“I prefer them to be you.” His sincerity catches you off guard, unsure eyes snapping to him at once. He hides his amusement in the cup as he sips slowly. “So yes, excruciatingly difficult.” 

You hum, as if in agreement. The poorly lit interior of the pub doesn’t possess the capability to dull the shine of his eyes, or conceal his handsome – albeit tired – face, as much you would’ve liked it to. There’s a new scar, you notice, that he’s acquired just above his lip and you have to bite your tongue to stop yourself from asking useless questions you would regret verbalizing later. 

“You look well,” his eyes follow you as you work, warm and curious. You don’t hate the feeling as much as you should and you try not to bask in the feeling – as short-lived as it may be.

You huff, now blatantly aware of the stains on your work blouse, your unkempt hair that is a stark contrast to his perfect locks. “I wish I could say the same for you.” Even posed as a jest, the statement sounds ridiculous uttered to someone like Evan. 

He decides to indulge you. “No? Less handsome than before?” 

“There wasn’t much to start with, so I must evaluate accordingly.”

A chuckle that feels too much like a reward. “Cruel, as ever.”

“Honest, more like.”

“I’m something of a masochist, I suppose,” he stretches, leisurely and cat-like. “I quite missed your jabs in Paris.” It’s a plain-enough admission. He missed your jabs, not you. You remind yourself of that over and over. He’s clamant in that way, lazes in attention from wherever he can get it. You’re not special. You never were.

Paris, though. You savor the bit of detail he has provided you on his endeavors, something he has otherwise elected to keep quite secret ever since graduation. There isn’t much you know about him anymore – who he spends his time with, what he’s up to. Though, there are rumors. It’s a time of war, after all, and he’s a Rosier.

“I’m sure you didn’t miss them for long. I hear the French are revered for their candor. Did they also call you a bumbling idiot every chance they got?” 

He traces the rim of his teacup slowly, as if he’s coyly willing you to take note of the movement. You oblige involuntarily. He’s satisfied with the quick flicker of your eyes enough to give you a smirk. “Not quite. ‘Devilishly handsome’ were the exact words used, I believe.”

An amused exhale from your lips. “Your mother may be French, Rosier, but she doesn’t count.” 

He laughs and its sound hangs in the air around you in a way that makes it hard to breathe. “You know, I’m not sure you’re very good at the ‘customer service’ bit. Are you this rude to all your customers?”

“Just the unwelcome ones.”

He hums. “You’d quite like Paris, I think.” He changes the subject with all the nonchalance of flipping a page of a book you haven’t quite finished reading but have become bored of nonetheless. You note the redirection with interest. 

“What were you up to in Paris?” You oblige as your curiosity trumps your ego. You’re aware of the staunchness of the question, of the sudden heaviness that now hangs around the two of you in the pub.

“Familial obligations, and the like.” Automatic, much too rehearsed for your liking, but you can tell it’s true, at least in part. He has a tendency to look away when he lies and so far, his eyes have been set stiflingly steady – on you. He rubs his forearm absent-mindedly. “I didn’t want to come back.”

You bite back a bitter laugh. “Why did you?”

He looks down into his cup. “The tea isn’t the same.” 

“I’m sure.”

“And I searched far and wide, believe me.”

“A valiant effort.” You scrub the grimy countertops absent-mindedly. 

“Oh, I’m anything but.” He sips his tea again. Offhandedly, he adds, “If I had been more brave, perhaps I would’ve stopped your engagement sooner.”

Your eyes snap to him at once but he remains indifferent, glancing into his cup and reading the leaves as if he’s in Divination. You try to hide your surprise but you can’t do much to mask the break of your voice. “What– How did you–”

He finally meets your eyes with a smile that borders on bitter. “Congratulations, by the way,” he says slowly as if he’s letting the words mull in his mouth and turn sour. Another cheer erupts in the background, a stark contrast to the absence of a celebratory cadence in his own voice.

You breathe shakily. “Is that why you’re here then? To bend me to your many whims and tell me not to marry him?” The drumming of your heart is steady and disturbing.

“Would you like me to?”

Yes. “No.” 

“Why aren’t you wearing your ring?” He asks, as if the question had been lodged inside his throat the whole night and has finally broken free. You avert your gaze. He’d always had a knack for asking questions you couldn’t quite voice the answers to.

“I think you should go,” you breathe.

“Is this to spite me?”

“To spite you? Who do you —” Anger envelops you. Only he would assume that your marital arrangements were solely to spite him.

“Do you love him?” He presses, abandoning the feigned nonchalance and speaking with an urgency that unsettles you.

“Leave.”

“Do you?”

A pause you’re not sure how to fill. “What does it matter?” 

His eyes search yours and seem to find the very thing you’ve worked so hard to conceal. His gaze softens. “Don’t marry him.”

The soft admonition knocks the air out of your lungs. You only gape at him, hurt and angry at his audacity. “How dare you?”

He stays still, unspeaking and unmoving, as if he, himself, knows he has stepped over a line. He purses his lips to stop himself from saying anything else. Pushing the empty tea cup aside, he stands and dons his coat. “I’m going to go,” he says quietly. 

You grit your teeth further. You should’ve expected this by now. Of course, he was going to leave after completely derailing your life. “What–”

“I’ve said what I needed to say,” he speaks again, shoving his hands into his pockets like a petulant child. “Don’t marry him.” He repeats, expression serious and solemn for the first time tonight.

You open your mouth to reprimand him but he interrupts you.

“Please,” he exhales and his plea is almost too quiet to hear amidst the bar chatter. But you hear it all the same and something twists in your chest at the uncharacteristic ask. He turns to go before you can say anything else. You can only watch him leave, gripping the counter until your knuckles turn white.

Only after he leaves the pub do you see a napkin perched on the counter, where he sat just moments ago. 

9568 Highfield Road, London, W69 1QB

In the case that you change your mind.

Love, E.

The napkin crumples in your hand with unprecedented force.

You deliberate.

With a huff, you shove it in your pocket.

[explodo-smash]

Katsuki as the Light & Izuku as the Dark- Love and Harmonious Totality in The New Era

This meta analysis’ purpose is to make the case for KT/DK existing as Light and Dark in each other’s stories respectively, and explain how this dichotomy challenges black & white thinking in the narrative. 

This meta analysis will also explore how this Light/Dark dichotomy lays the groundwork for why Katsuki/Izuku as a unit represent a “New Era" in the story.

[Can also be found on twitter]

Whether by Save to Win/Win to Save, or the fact they are osananajimi, the story frequently draws our attention back to Katsuki and Izuku’s complicated, influential and powerful bond. Despite all the changes they’ve gone through in MHA up until now, both individually and together, one thing has always remained constant: they are as symbolically connected as they are physically/mentally/emotionally.

We argue that one of the ways MHA’s narrative connects them symbolically as polar, balanced parts of a larger whole is through a sense of DUALITY. 

Furthermore, we argue that the use of contrasting Light/Dark motifs act as both visual and text metaphor to create this duality, with Katsuki representing Light and Izuku representing Dark.

It's important to note that by Light/Dark, we aren’t referring to their moral clarity, goodness or badness. Rather, we will explore Light/Dark as a metaphor that builds on themes in MHA while creating tension (contrast, conflict leading, fear and rejection) and harmony (balance, unity, love and acceptance).

Note: the Light and Dark comparisons/metaphors between Katsuki and Izuku used in MHA sometimes get lost in translation in the anime. Here are some examples….

For Izuku:

Izuku is often encased in shadows in Katsuki’s POV since the beginning.

The word used for quirk (kosei) meaning “personality”, with quirkless meaning “lack of personality”, evoking the absence of something

Character design leaning on “dark” shades (dark/filled in hair, eyes including dark pupils early in the series)

Izuku’s “Dark Hero” arc as it’s officially titled.

Izuku’s prototype/beta name “Yamikumo” meaning Dark Cloud and his personality type tending toward facades/anxiousness

Blackwhip being the OFA quirk that resonates with Izuku’s emotions (particularly his rage)

His recent “power up” moment in the current arc involving blackwhip is denoted by claws, fangs and black tendrils. This form is officially called “overlay” but Hori also calls it “carnage” in his head.

And for Katsuki:

Izuku’s description of Katsuki as someone bright and blinding, often bringing light into his eyes as an artistic consistency.

His quirk “explosion” emitting light, his move “stun grenade” literally a blinding flash of light.

Character design leaning on “light” shades (light hair, eyes aren’t filled in)

Prototype/beta ‘Gogo’ Katsuki’s light clothing and his personality type overall being bubbly and overprotective (toward Yamikumo).

Katsuki’s death chapter titled “Light Fades to Rain”, and his revival evoking that visual of a bright light.

His recent “power up” moment in the current arc is denoted by flashing lights and explosions all around his body - highlighted with laughter, and glee.

Katsuki and Izuku connect with all the various opposites attract concepts that draw on the Light/Dark duality (sun/moon, yang/yin) but the first mistake people make is approaching these concepts with black & white thinking in mind.

The meaning

The Light/Dark imagery/descriptions/metaphors with KT/DK exist as a set piece that subverts expectations by challenging binary/black & white interpretations.

Katsuki’s ‘light’ is confident and inspiring - but it can also be blinding, harsh, and overwhelming.

Izuku’s ‘darkness’ is almost like a blanket. It’s comforting and sympathetic - but it can also be scary, unnerving, and mysterious.

Initially, Katsuki wanted to get away from the ‘darkness’. Izuku was like his shadow, following him relentlessly. He misinterpreted Izuku’s behavior as secrecy or deceit. 

Izuku dragged in as much ‘light’ as he could, by both observing Katsuki closely as well as refusing to part with the nickname ‘Kacchan’. His pursuit was a combination of hope for the future and a fascination for something he didn’t have (envy). 

Both of them have a capacity for unending love and selflessness, but also uncontrolled rage and violence.

The point of this contrast is for us as readers to highlight and dismantle the surface level perceptions of these characters in the same way Katsuki and Izuku progressively do for each other. 

Building on the themes 

In the same way Izuku always saw, and admired, Katsuki’s “light”, Katsuki could see, and feared, Izuku’s “darkness”. This contributed in building tension between the two, both literally and narratively. Where another story may have framed them as opposing forces, however, MHA frames them as dual forces. Where the source of tension for opposing forces may be fundamental differences, the tension between Katsuki and Izuku comes from a REJECTION of their fundamental parts. By extension, this became a rejection of their potential for harmony.

There’s enough evidence to suggest the defining concepts for prototype/beta Katsuki and Izuku(Yamikumo) weren’t entirely discarded, but rather modified and layered upon. One of the major differences was how prototype KT/DK got along, with one of the earliest scenes drafted for MHA being a scene where they fight together.

It’s ultimately a mistake to presume Izuku is purely a positive ray of sunshine just like it was a mistake to assume Katsuki was hiding a bitter and villainous darkness within him. It’s the neglect of their core that causes them to dig their heels in and become their worst selves: 

Katsuki as egotistical, harsh and tightly guarded with a tendency to lash out, against Izuku as obsessive, obstinate and habitually repressing his emotions.

Society shaped their “quirks” (their power, outward appearance) but time and relationships informed their “individuality” (their ideals, hopes, inner drives). 

Izuku's unwavering belief in Katsuki’s light was a tether that enabled Katsuki to embrace and flourish into it. Katsuki grew to understand the darkness in Izuku by confronting that which scared him. This allowed him to empathize with Izuku’s complex thoughts/feelings during a time where Izuku was at his worst (“Dark Hero” arc–onward) and dedicate himself to making sure Izuku didn’t carry the weight of the world and its burdens on his own. 

In other words, the inevitable payoff for KT/DK facing and dismantling the tension within themselves and between each other is the harmonizing of the dual/complementary themes they’ve been written to represent, which ultimately mirrors the main messages and questions posed by MHA.

‘The New Era’

As two major pillars of the story, Katsuki and Izuku are in many ways microcosm(s) of MHA society at large.

Katsuki and Izuku as complementary forces and not opposing ones seems obvious until it is put into practice. Some characters in the story and many readers in the audience alike have struggled with understanding their multifaceted nature and reconciling what they know of KT/DK from the outside with the seemingly contradictory information KT/DK have given us about themselves over time. Rather than a fluke, this contrast is an intentional writing choice evidenced by elements like their Light/Dark symbolism.

The lines at the main center of conflict in MHA - Heroes vs. Villains - has been long since blurred. In much the same way Heroes vs. Villains has complicated good vs. evil and challenges black&white thinking, KT/DK’s relationship as counterparts is representative of a greater duality that paints a clearer picture of MHA’s philosophies on the nature of heroism, societal progress, and the difficult process of inner growth. This picture is coming to a head with the story situating them as the beginning of “A New Era.” 

MHA understands people as collections of thoughts, feelings, experiences, abilities, ideals, hopes, drives, etc., and that contradictions and tension between them are inevitable.Through KT/DK, MHA has developed a beautiful narrative where strengthening oneself involves strengthening each other and broadening our understanding of who we are.

“There is a false saying: “How can someone who can’t save himself save others?” Supposing I have the key to your chains, why should your lock and my lock be the same?”

[anistarrose]

You added an "image description" to my post - now what? (FAQ)

[Plain text: "You added an 'image description' to my post - now what? (FAQ)". End PT.]

While I'm literally always willing to answer (good faith) questions about image descriptions, alt text, and online accessibility writ large, I also know lots of people have social anxiety about sending DMs, doing IDs "wrong," or just not knowing what IDs are for in the first place. Hence, this FAQ.

If I added an ID to your post and/or asked you to do so, and you're confused about any aspect of that, this is where to start. You can absolutely still reach out to me, I just thought I should consolidate as many answers as possible.

"What is an ID and why does it matter?"

IDs are a description of the content of an image, and can range from a transcript of a screenshot of text, to a description of a detailed piece of art. They should be in plain text, and placed on the line immediately following the image (unless it's alt text, more on those pros and cons later).

IDs are primarily for blind and low vision people who use screen readers to navigate the internet — but help others too, including lots of neurodivergent people. Check out this post (link) and the notes for more examples (dyslexics, migraine sufferers, people who can't interpret expressions, people with slow internet...)

IDs are important because without them, the Internet really sucks for people who need them. You probably don't realize how many undescribed images circulate on tumblr every day, with no way for a lot of disabled people to engage with those posts.

A blind person talks in more detail about all of this here (link).

"I reblogged your ID, is that enough?"

It's not that I don't appreciate it, but editing it into the root post and then reblogging that is much more impactful, for a variety of reasons. It means people who need IDs don't have to dig through the notes for them, it means that Tumblr can't glitch by failing to load the notes and make the ID functionally disappear, and it means all people who find the post in the tags or on your blog will be sharing the accessible version.

To explain visually, the best thing to do is something like this:

[ID: two mock-up Tumblr posts to illustrate adding an ID from the notes to the root post. A blog named "your-blog" posts an image of text reading "something cool you posted" with the caption "check out this cool image I made!" In the notes, the blog "image-describer" reblogs with an ID, which is highlighted. This version of the post is labeled: "original post, reblogged via ID writer."

The second version of the post is from "your-blog" again, where they've added the ID directly under the image, with the same caption below the ID. This version is labeled "updated root post, with ID copy-pasted. End ID.]

"My caption/commentary first, or ID first?"

Include the ID right under the image, followed by your caption or commentary. Unless you're putting your commentary before the image itself, a sighted person will see "image, commentary" in that order, so to ensure the post flows the same way, use the order "image, ID, commentary."

Commentary frequently assumes that the reader has seen the image, after all! A person might not even realize the image is described if the ID is buried too deep, because they might lose patience and skip the post. Or, to explain visually:

[ID: two mock-up example posts with an ID, one formatted well and one poorly. They both start with an image, which is just the text "screenshot of a tweet or something." The first post includes the ID immediately under the image. Below, it continues: "commentary blah blah blah get a load of this guy can you believe it." The post is labeled "Like this!" in green with a check mark.

The second post includes the commentary first, then the ID after the commentary. It's labeled: "Reads awkwardly, deprives screen reader users of immediate context" in red with an X. End ID.]

"I want to make a change to the ID, is that okay?"

Yep! If you want me to change it on my blog too (whether it's characters' pronouns, some typo, etc), just message me.

"What if someone else adds an ID to my post? Would they also be okay with me editing it into the original post like you are?"

Almost certainly! I can't speak for everyone, but I've literally never met an ID writer who wouldn't be okay with it — because we all have the shared goal of maximizing accessibility. If you're unsure or nervous, you can always include credit, but most people are even fine with going uncredited.

"I put your ID in the alt text, is that enough?"

I will never tell you not to use alt text when the alternative is an undescribed post, but I really strongly suggest putting it in both the alt text and the post. Some people who use screen readers prefer the flow of alt text, for good reason — but it's also poorly implemented on Tumblr, and it can glitch and disappear on reblogs, in drafts, or just apropos of nothing.

Moreover, when a low-vision person or anyone else wants to read the alt text directly, Tumblr's display options aren't great. (Unless you use XKit Rewritten's AccessKit, which I will always plug, but that's not an option for mobile users.) Long alt text often extends off the page and gets cut off. Tumblr used to use a terrible eye-straining purple background for it, and could always do that again with no warning. It's just not ideal.

Here's a visually impaired person talking more about the pros and cons (link).

It seems we're in need of a compromise, so what can you do? One option is to include the same alt text as image description (placing the ID directly under the image as always, because remember, flow for screen readers is important). I like to lead with "ID from alt," in order to clarify to screen reader users that they can skip the ID, and help differentiate it from the other option I'm about to describe. This should be self-explanatory, but here's an example of a post I did in this style (link).

Option two is to include a short description in the alt text, and a more detailed explanation in-post. This can let screen reader users instantly know that the post is described, and decide whether they're interested enough in it to stick with it, but it maintains an in-post description for others to benefit from too.

Example of me doing this in a post about IDs (link)

Example of my mutual describing art like this (link)

Also, it's the style I follow throughout this exact post! Take a look!

As usual, the ID is directly below the image in all these cases. This means screen readers move immediately from the alt text to the full description, and the post flows the same way it would for a sighted person.

If you're here because I wrote an ID for you, it might be easier for you to put it in the alt text and the post body identically, and that's perfectly fine! But if you're confident writing one short sentence for the alt text and including my ID in the body, you can always go for that too!

"Do I need to keep the brackets or the words 'image description/ID' in the alt text?"

Nope, no need. Brackets are purely for the visual distinction, and most screen readers preface alt text with something like "Image" that fulfills the same purpose as the "ID" label. It's not the end of the world if they're there, but it's redundant, so feel free to remove them.

"Can I put the ID under a read more? Or in small text?"

Please don't. Read mores are glitchy, and oftentimes have to be opened in a new tab. Accessibility that requires jumping through extra hoops isn't accessibility. And worse, if you change your URL or get deactivated, that read more link is usually just gone for good, and the post is undescribed again.

Meanwhile, small text, italics, colored text, and so on aren't good for low vision people or others who read the IDs directly — such as with increased font size — for whatever reason. If you want the ID to stand out visually even more than with brackets, an indent is fine as far as I know. And remember, IDs always go immediately below the image!

"Why do you sometimes copy italics and stuff as plain text? Is that a screen reader thing too?"

Same reason IDs shouldn't be in small text, italics, etc — because of sight readers with low vision. Font in weird styles, or in a fixed size regardless of device settings (to my knowledge, this includes headings) isn't very accessible, so I try to provide an accessible transcript.

Colored text is sometimes even inaccessible to sighted people using certain Tumblr themes! If Tumblr gave individual users the option to disable small text and colors on their dash, then I'd tell you to use them to your heart's content, but as it stands, they're not very accessible.

"Okay, I want to make my blog more accessible, but I don't feel capable of writing IDs on my own. How can I get help?"

Good news, this is my absolute favorite question! I strongly recommend the People's Accessibility Discord (invite link here, please let me know if it breaks).

It was created for this exact purpose of crowdsourcing IDs (and answering questions about them). I talk about it more in this post (link), where I also describe an alternative if you're like me and have massive social anxieties about Discord servers.

TL;DR: ask in the post if someone can add an image description, and edit it in once someone does! If you've read this far in the post, you're clearly an expert on how to do that.

In that post, I also recommend OnlineOCR (link) and Google Lens to extract text from images and save you typing if it's just a twitter thread or something. I would always spot check the text, adjust formatting, and remove superfluous characters, but it usually saves you lots of time when you might not normally have the energy to describe something.

Lastly, a lot of description blogs take requests! I don't unless I specify otherwise, because I easily run out of spoons, but @accessible-art is a great example of a blog that does this for non-fandom art, and there are lots of fandom blogs out there that do similar.

"I want to learn how to write image descriptions for my posts! Do you have any resources?"

This is my image description masterpost (link). I get a little scared about linking it because it's long, and a lot of the linked posts are long, and I don't want to overwhelm people — so please, start with the first few links to get the broad strokes, and then feel free to treat the rest like a index. That is, peruse it if you're looking for answers or advice on a specific topic!

While learning, keep in mind that different ID users want different things out of IDs, and that's okay. Some people, including many blind people, care quite a bit about color, but others don't, and that doesn't mean either is wrong about the types of IDs they prefer versus ones they find unnecessary.

Blind people have a massive range of lived experiences, and all the other people who benefit from IDs broaden that range even more. Generally, no one involved wants huge walls of text, but some people prefer super-minimal IDs, while others prefer a nice handful of (relevant) details. It's stuff like the difference between "Two characters hugging in a cozy-looking house," versus "Two characters hugging with their eyes closed, both smiling. Their house looks cozy and cluttered, with warm lighting."

Neither of those is objectively wrong, and there will be people who prefer either. Nor is it wrong for you, the ID writer, to make a subjective judgement, such as on the "cozy" mood. You don't want to misrepresent things, but subjectivity is usually unavoidable on some level, and therefore fine. Likewise, you don't want to let the ID get so long it's a slog to get through (here's an example of what NOT to do), but if you're describing a complicated image like some art might be, it's okay to add some details. Just start with the important stuff and general idea first.

The purpose of an image also matters. With memes, shorter is almost always better, and excessive detail is annoying (post with examples). You don't need in-depth detail to appreciate most quick jokes. But on the other hand, art is often shared for the purpose of appreciating the details. This post goes into detail about how context matters, and how longer IDs make sense for art sometimes. It puts it better than I could, so I really suggest reading it if this is something you're wondering about! Key word: not length, not brevity, but "relevancy."

In my opinion, IDs are easiest to learn by doing, but also by starting small. If you want to build up your "description muscles" and confidence by just transcribing tweets, that's perfectly fine — and also, the path that myself and a lot of people I know have followed.

Lastly: follow some described blogs! Check out how other people do it! Writing IDs is an art, and though it has a few hard do's and don't's we've gone over, we've also gone over how it's subjective. Everyone brings a slightly different style, with a different level of lengthiness, and it's great to learn from multiple sources. Here's one list of blogs like those (link)!

"Why would this matter if I know I don't have any blind people following me?"

Consider the cycle of inaccessibility (link). If no one ever accommodates blind people, then of course you're not going to see them on Tumblr, in fandom, or in whatever internet circles! And blind people aren't the only people who need image descriptions — again, consider this post, especially this addition (link).

Worst case scenario, even if you have no one who can benefit from IDs either following you, and no people who need IDs would follow you even if you included them, you're still helping people who do maintain accessible blogs to do so — and moreover, normalizing image descriptions in general.

"I don't think blind people would be in this fandom. I mean, there's a huge visual component!"

Described comics and webcomics exist. Audio descriptions for TV shows and movies exist. Disabled people who find creative ways to play video games exist. People who watched a playthrough of a video game by a person who happened to read out the dialogue, and give descriptive commentary on the action, also exist. People who lose their vision over time, or gain other reasons to rely on IDs over time, also exist.

[atticustimestwo]

do you mind sharing a bit more about your analysis of heart,,,

i'd love to!! (i assume this is about the heart critique piece i did a few months ago, but please correct me if im wrong!)

in terms of the "a critique on the treatment of hearts characterization" piece, i wanted to visually explore some frustrations i have had with how the fanbase seems to fall into some unfortunate patterns when it comes to hearts character.

frequently, i see heart infantilized - this either comes across as him being a kicked dog unable to help himself because he is too weak, a baby angel who did nothing wrong, or a feral gremlin child. i think flattening his character down to any/all of these is, for lack of a better word, a bit problematic?

; one reason being it just defeats the idea of emotions being a visceral, intense thing. heart is meant to represent emotion in its purest form; i feel woobifying him takes away from that concept because it shows having emotions as being inherently weaker or less mature. i think a lot of people kinda forget HMS aren't just tv show characters. they represent greater concepts that near everyone feels and feels uniquely - theyre more sensitive than your typical character. thats not saying treating them as characters is bad! everyone relates to them differently because they are so personal, they make them their own and i think thats really awesome!! ; but boiling them down to these really generic tropes and making heart a baby kinda defeats the idea that emotions are a real, visceral, multifaceted concept. ; another reason i think it can be problematic is that it sometimes unintentionally comes across really ableist? a lot of these 'fandom-y' tropes are already rooted in ableism in some way, which is bad on its own, but theres also the important addition that heart is frequently portrayed as blind.

ive seen people time and time again fall into stereotypes with heart that his blindness makes him weak/helpless/childish. truthfully I dont think people do this intentionally, but its still internalized ableism showing up. i recognize that a lot of the people who woobify heart tend to be on the younger side, so they dont really recognize that theyre flattening him down like that- not out of malicious ignorance, but because theyre kids who havent really had the life experience yet to grasp the full concepts of the album or realize they might be implying harmful stereotypes; that doesn't necessarily mean its okay, but i think its just them being uneducated cause theyre kids and they have yet to learn that stuff. ; all that being said, im not trying to police people on how they portray characters. im not any authority on this fandom/album by any means imaginable - im just a fan like everyone else here! like i said before, characterizing HMS is not inherently a bad thing at all ! its fun, and its what this fanbase is built on in the first place! its so great that everyone can interpret and relate to HMS so personally, i think chonny really hit it off with the concept for the album and the execution is stellar! seeing all the fanart and different interpretations of it and the characters is such a beautiful thing, no matter if its joking, lighthearted, or deep! ; at the end of the day, theres no wrong way to interpret this album, and theres no wrong way to characterize heart. more than anything that critique piece was built up frustration turned to a call to action for people to stop and think deeply for a moment about how they portray heart - to open eyes if someone might be unknowingly flattening or adding problematic ideas to their characterizations. and to just be mindful of that going forward! 💜 

[genesisvirus]

whats ur interpretation for Oren?

i was JUST thinking about oren when this showed up omg. yea ofc i'll respond immediately LMAOOO. i love oren one of my favorites fr. anyway yea.

-he's a mix of an alien and ladybug, and actually shows more alien traits than ladybug. the wings on their back aren't actually real, he just wears them to appear more like a bug.

-while him and simon are both pretty likeable, oren tends to be more favorable since, while simon is usually upbeat and loud, oren is pretty chill and goes with the flow most of the time. he's also very aware of other people's limits, and so doesn't try to push others to put up with stuff that they can't.

-he is autistic and doesn't exactly hide it, but he's usually pretty low needs. his headphones double as noise-cancelling headphones, and he stims - actually his kick drum noises do double as a vocal stim too.

-him and simon are the autism adhd brothers LMAO. fr tho they're not related but they have an almost brother-like relationship with each other.

-oren does like bunnies, which is already canon information, however i'll say that that WASN'T the reason he started dating pinki! he genuinely liked how kind and caring she was and fell hard as a result. he definitely fumbled when confessing since he wasn't too used to romantic feelings like that but she found it endearing and they've been dating since.

-he's the kinda boyfriend that only their girlfriend gets them flustered and out of their element. he's usually super chill until pinki displays any sort of affection, at which point they're a blushing mess.

-they're sensitive to electricity interferences like static or those low droning noises some machines make, another reason for the headphones, however their antenna do catch the noises too at times. it's partly why they don't hang out with clukr and garnold and their family.

-they were one of the only ones that not only noticed simon's bizarre behavior initially, but was also very concerned. it may be one of the reasons blackhat and wenda targeted him first.

-wenda kidnapped oren and tied them down on a table, where she promptly cut into his chest and started digging into him, trying to find proof that he was either real or fake, which she made perfectly clear to oren. he ended up dying in the middle of it, but was reanimated by blackhat. once it was "confirmed" that what blackhat was saying was true, wenda went insane and started taking out her anger and desparation on oren's body, performing an autopsy on him and messing with his organs, all while shouting at him for not being real. oren, still freshly reanimated and confused as to what was happening, couldn't really do much but take it.

-wenda's attack on oren not only affected him physically, but mentally as well. the amount of trauma done to his body caused pressure in his skull to the point of making him go blind and popping multiple blood vessels. his ribs have also been pulled out of place from wenda in her frustration. since oren wasn't fully back when he was reanimated, the trauma left him in a confused and delirious state, with most of his memories being. halted. ig is the word. wenda unintentionally drilled into his head that he wasn't real, and so he frequently dissociates in his current state, even spacing out for hours on end to the point that he looks like a lifeless corpse again. the only sign of life being his exposed organs, which do still attempt to function normally - albeit in an haphazard way.

-oren's heartbeat glowing actually is just a normal thing it does, it's just exposed now. this is unique to oren, due to his alien traits.

-he will not respond to the name oren due to losing a good chunk of his memories in his brain fog, you'd have to grab his attention in other ways, if you can even get it to begin with. he'll also not recognize pinki, especially now that her face is gone.

-blackhat loves controlling his body specifically, in part due to his brain fog making it easy to do so, but also he does it to torment pinki specifically. oren is "technically" aware while he's being controlled, however due to his brain fog he may not actually realize persay.

[sorcerersandskillusers]

Why Mafia Dazai covers his right eye.

Ive been curious for a really long time as to why Dazai always keeps his right eye covered before he leaves the mafia, and the answer i keep seeing really doesn't feel right to me

Most people seem to think that Dazai covers his right eye because it is blind/impaired, they also say that light can disorient him even though he can't see out of it.

This is a real thing that can happen with eye conditions and could absolutely have been the reason if not for how its framed thematically.

When Oda pulls off Dazai's bandages it symbolises him opening Dazais eyes to the idea of doing good and giving him a reason to keep living.

Its so weird to think that Oda was saying, "I want you to hide your disability and be uncomfortable and disoriented from now on." and I don't think Dazai would interpreted it like that either.

Its also important that Dazai never puts them back on, after Oda dies he never covers his eye again.

My theory is that Dazai covers his eye for the same reason Chuuya kept his hands in his pockets. self sabotage.

Dazai has frequently said he was bored with life, trying to find excitement and through that, find a reason to live. to do that he tried to find something that surpassed his expectations and truly thrilled him. to do this he handicapped himself in a way that would make him much less effective as a opponent.

he can't see out of right eye which will effect his aim with a gun, his ability to detect ambushes, his ability to observe his environment ect... we even see this affect happen since he's almost always injured on his right side.

H finally stops wearing them when he's giving an actual motivation, (Save the weak, protect the orphaned) and he has a actual reason to put his full effort into something.

Sorry this post was a bit of a mess, I just keep thinking about it, its such good symbolism.

[miirshroom]

Farseer and Tawny Man Trilogies

Thinking about the Magics

Finished re-reading Fool's Fate and appreciating how the chain of cause and effect is handled in this series. FitzChivalry is a mess of a person who swings wildly between making pragmatic decisions and irrational decisions as a consequence of everything that was done to him, and his clashing poorly-trained mental magical abilities. He's self aware enough to be introspective about agonizing over the choices made or not made and the sum of life experience and mistakes that make up the whole of a person. But since the accounting is written from his own perspective it's hard to tell sometimes if his bias is giving himself more or less grace than he deserves.

It's also interesting how the Tawny Man trilogy brings into sharper focus that mind magic is a kind of neuro-divergency. Like, because of these magical senses Fitz literally sees the world in different ways from other people, ways which he is constantly having to mask and which makes him unpredictable and distant even from most of his friends and allies because they can't follow his internal logic. And this is another layer on top of all the other physical and mental trauma.

The Effect of the Skill on the Mind

How could the Skill not be tied to mental reasoning, considering that it allows the user to rummage around inside the minds of other people? The Skill can be used to know a person on an impossible level that is beyond such imprecise things as words. It can be used to walk outside of a person's own body and step into the life of another person with the sensitivity, as a passive rider or active force. However that is only of practical use between Skill users, who are still just as fallible when interpreting the experience into words that non-Skill users can understand. The Skill has many fantastical and horrifying uses, but for practicality the choice of the Skill coterie through Fool's Fate is to generally limit its use to a private and long-distance communication channel - using the skill like a magical phone line in favour of exploring the abstract connectivity of the Skill current, Thick's music, or Nettle's dreamscapes.

The friendship and frustration between Fitz and Thick throughout Golden Fool and Fool's Fate is part of developing this theme - in some ways Thick is a more extreme version of Fitz. Thick has powerful mental abilities, but what non-magical people see first are the differences in his outwards appearance and his power with the Skill is linked to a fundamental difference in how his mind works. He is an inconvenience and would have been more easily disposed of similar to the way that Queen Desire wanted Fitz the Bastard killed as a visible reminder of the abdicated Prince Chivalry. Instead, Thick is won over with patience and gentle encouragement, despite Fitz struggling over his internalized cultural biases against people with physical and mental disabilities, and the way that other less tolerant people disparage him by proxy of his caring for Thick. He's not perfect, but it's a conscious effort to do better than the previous generation.

Chade mentions early in Assassin's Apprentice that Fitz has some strange blind spots, and deep into Fool's Fate Chade is still frequently perplexed by how the boy that he trained can have such disagreeing opinions. Their minds just don't work the same way. On one level it's that Chade doesn't have the same trauma - he learned and used his assassin's trade in a time of relative peace and his own status was as illegitimate brother to a King-in-Waiting close in age to himself, compared to Fitz being brought at a younger age and to a more volatile court. And on the other level, Chade has no experience with the Wit and his desire for the Skill blinds him to the drawbacks. Chade thinks of the Skill as a tool for use of the King and struggles to understand it as a thing that can become an addictive obsession or break a mind in other ways. He tolerates the Wit, but doesn't really understand that it is the supernatural sense of connection between people that keeps Fitz loyal to the Farseers, despite Fitz having different opinions about what specific actions would be best for the collective survival.

Overall the use of the Skill has done MORE damage to Fitz than the Wit, as it was through the Skill that he partially forged away some of his emotions.

Regal, Why are you Like This?

And then there is Regal. In counterpoint to the characters who are born with magical abilities and learn to handle both advantages and drawbacks, Regal was not educated in his weak Skill ability. He was handed a Skill coterie formed of members who had great potential once, but were mentally abused and weakened until they would accept being used by a parasite with no trained ability of his own.

Regal is a product of his environment as much as Fitz - his name means "suitable to be a king" and he was influenced by his mother "Desire" to believe that his claim to being king was better than either of his older brothers. He had the mentorship of his King father "Shrewd" who employed spies and assassins and underhanded techniques in general to achieve political goals. And so Regal learned paranoia when his mother died and also endeavored to be shrewd and use subterfuge to undermine his older brothers. He clung to the idea that his mother was poisoned in a denial of the truth that led to him falling into the same recreational drug habits that had damaged her brain and judgement.

Regal's lack of self control combined with egotistical need to be in control of other people and accumulate power and luxury by any means necessary is stronger than his bonds to family or duty to the people of his country. He is as arrogant as the stone dragons that he covets and the real dragons that are presently absent from the world - all products of the Skill and associated with ideas of immortality. Regal despises users of the Wit magic who are much maligned but essentially just have supernatural awareness of what it is to be a living, reproducing, and dying organism.

Also the irony: last time the Farseer line went seeking the aid of the Elderlings against Raiders was in the time of King Wisdom. Who obviously had the Wit magic, or had someone loyal to him that had it. The stone dragons are awoken by combined use of the Skill and the Wit and Blood. King Shrewd asked Regal once what he would make of Fitz, and Regal made Fitz his enemy. The one living Farseer who has the Wit magic and could have woken the dragons in the service of any King who treated him kindly.

The Piebalds and the Wit Magic

The Old Blood have a fairly codified set of traditions in their sub-society, and both Burrich and Fitz are outsiders to them. The traditions were designed to keep them as invisible as possible for fear of persecution, but no matter how well-intentioned the idea it only takes a few rogue agents to set off fear of the Witted again. Burrich's grandmother was a former slave in Chalced - how likely that the Old Blood comes from her part of the family but her knowledge of how to use it responsibly was lost upon being disconnected from her culture and enslaved? Burrich had no community to teach him and re-created from tales the Witted magic that can heal a body and bring a person back from the dead - the exact kind of thing that the Old Blood's don't practice because it's the part of the magic that drives people to such fear that they hang, quarter, and burn the bodies of the Witted.

The Piebalds are inspired by the Witted Bastard because he does with the Wit the things that they were taught not to do. Through Royal Assassin and Assassin's Quest Nighteyes learns too much of being human, fights alongside his partner for human causes, and does not live as a wild creature should. Fitz bonds far too closely with his wolf - close enough to hold his mind while his body is dead. Fitz breaks the rules of the Old Blood society, and it keeps him alive. The Old Blood folk experienced new rounds of persecution started by Regal and continuing in the years after as a consequence of Fitz breaking those rules. And so in response the Piebalds use the same techniques as Fitz - most notably with Peladine and Laudwine escaping into their Wit beasts when their human bodies die.

The persecution of the Wit Magic seems to combine ethnic discrimination with the traditions of witchcraft and werewolf stories. Fitz points out to hedge witch Jinna that it could just as easily be her craft that is seen as dangerous and evil. To say that just because a man is bonded to a beast means that he must have nefarious purpose is little different from accusing anyone with an extensive knowledge of herbs of being a poisoner. Fitz just happens to be both Witted and poisoner, and even when it is the assassin training that makes him an effective killer his acts are blamed on being Witted just because that's the part of his identity that is more openly known.

The Relationship between Fitz and Beloved

And the last of my hot takes* is that the expression of Fitz's Wit magic puts a wrench in the subtext reading of a sexual relationship between Fitz and the Fool. It is constantly emphasized by Nighteyes that the Fool is the "Scentless One" and no Wit presence - meaning that Fitz gets no pheromones and thus no attraction that way. The women who sleep with Fitz are described by scent to varying degrees depending on his attraction. Even the Pale Woman is described as having a scent (although an artificial one) when she is trying seduction. Instead, Fitz and the Fool have a Skill link and it is through the Skill that their relationship is expressed. This kindof seems to be the deal with all Skill Coteries - close groups of comrades who become dragons together forever. Overall, Fitz and Beloved have an aesthetic and intellectual attachment to each other, which seems like the ideal of philia love friendship - different from erotic love.

Neither Fitz or the Fool are faultless for the way that their relationship deteriorated in Golden Fool. Fitz being uncomfortable with the social stigma of homosexuality does have an impact, but the greater problem is the breakdown of communication.

The Fool struggles with speaking plainly. This has always been the cases since his fondness for riddles in Assassin's Apprentice. Like, the nature of being a prophet is to know that certain things will be true in the future, so he is disconnected from humans who would prefer to have information laid out clearly for them in the present so that they can react and make informed decisions. And Fitz is both slow to pick up on social cues, and then views it as a betrayal of trust that his friend would lead people to make assumptions about the nature of their relationship without his knowledge or consent. He wants to put words to abstract concepts like the exact kind of relationship shared by two people. He did 3 books worth of writing in an attempt to put his thoughts about himself into words. What Fitz struggles with is the idea that words will be misinterpreted no matter how plainly or poetically they are said - people fill in gaps in understanding with their own beliefs and/or prejudices.

Fool's Errand begins with the Fool reading all of Fitz's accounts and thoughts that he put on paper, which I assume to be effectively an in-universe version of the text of the first trilogy. And then in further conversation Fitz opens up about everything that he has done for the past 15 years. But the Fool doesn't similarly discuss being Amber or carving the Liveship Paragon or the whole story of the dragons until forced by circumstance. It was an unbalanced relationship that was going to come to a breaking point sooner or later. But after airing out all the hurt and betrayal and secrets they did manage to mend things by the end of Fool's Fate.

*I haven't read the Fitz and the Fool trilogy other than some summaries. So, this is like 90% my impression as of the end of the Tawny Man Trilogy.

[bluegarners]

sometimes i have a hard time wrapping my head around the complexity of bruce's love versus his devotion versus his guilt/ego. now that all may sound entirely separate, but it works like this in my head...

see, because im always thinking about dick's observation that bruce would probably trade everything to get his parents back/prevent their deaths. granted, dick might have been uncharitable in that lens, but he is also one of the few people who reads bruce accurately and clearly. to that point, i would argue that, subconsciously at least, dick also recognizes that a part of bruce will always believe that he is at the center of everything- that bad things happen because of him. connecting all of that to every death bruce has witnessed to/been the indirect cause of/believes himself to have been able to stop some tragedy but wasn't able to/etc., i think within that seemingly not nice interpretation of bruce, we get the idea that bruce believes that had his parents survived that night, the world likely would have been a better place. batman would have never existed/there would have never been a need for batman to exist. in bruce's mind, i imagine that he can't picture a world where he is not batman, fighting the good fight, and therefore any world where there is no batman is a world that is a) much better off, and b) not fraught with death and tragedy caused by his hand

now, granted, this is an interpretation of my own viewing on how dick's observation and bruce's character throughout the years has evolved. i think bruce is an egotistical person, not in the sense that he thinks he is superior to everyone in the world, but that he believes that so much around him is a result of him. i believe bruce has a hard time separating himself from the lives of those around him, a kind of "everything i touch goes to ruin" idea that constantly floats around him- an idea that, more than once and rather frequently, does get proven to him, and, to an extent, people tell him. obviously, jason's narrative is brought to the forefront. anyone who has ever been connected to bruce wayne or batman has been connected to him via some kind of tragedy. a "what's the common denominator?" situation that can be hard to overlook and is definitely not one bruce overlooks

and going back to the love versus devotion versus guilt thing, bruce loves his people and his city so much. he loves the world and protects it because despite every bad thing in it, there is clear and abundant evidence of good. just as well, bruce is devoted to loving and protecting- it is what he believes he's best at, and without it, he would be little else. there was a time where bruce was more obvious with his love, in both physical and verbal confirmation, but i believe at this point it's generally agreed that bruce shows his love in an unconventional way- despite that, he still loves and loves greatly. however, that is where the guilt comes in. his midas touch for tragedy gets in the way of his love and devotion entirely

bruce feels guilty for loving, guilty for bringing people into his circle, guilty for being batman- a force that does as much good as it does reinforce the narrative that it's all cyclical. his inability to let go of his guilty conscious prevents him from 1) showing his love, 2) letting others love him, and 3) getting better. to me, bruce is always in this insistent circle of helping, loving, realizing, shunning, and disappearing that his devotion just goes to waste and is hardly recognizable outside of his bat insignia. what bruce is devoted to is people but it gets pushed aside in favor of batman so often because of his iron grip on the past, his guilt, and his constant fear of what's going to happen to the people around him because of him

which really discredits those people who choose to stick around and stay by his side. bruce loves so much and yet is so constantly blind to how people love him, and the result is this mess of a character that see-saws between this intense display of hard sacrifice and moral ground, and a simple man who's defining trait is the family he somehow built around himself

idk where i was going with this, but my summary is essentially he is sooooooooo annoying to write for and think about because a lot of what he does doesn't make sense or apply to his character, but at the same time it does which makes it harder to recognize when he is being genuine and when he is using something as a shield or weapon against another

[thoughtportal]

RAPID CITY, SD—Saying that he always strives to set a strong example for his son to follow, local father Gary Dalton told reporters Tuesday that he has been carefully teaching his 9-year-old boy Zachary how to overreact with blind rage to completely irrelevant bullshit.

“Now that Zach’s getting older, it’s important for me to show him how to deal with the minor inconveniences in life by blowing them totally out of proportion,” said Dalton, noting that he frequently tries to demonstrate to his son the proper way to fly off the handle both at home and in public. “Zach should know that small, trivial irritations, like misplaced keys or having to relight the pilot light in the basement, should trigger an unbridled anger inside him. And that’s not something he can fully learn from his friends at school or by watching TV—he needs a father figure right there, blowing up in his face about never, ever messing with the DVR again for him to see exactly how it’s done.”

“It’s up to me as a parent to become unsettlingly irate over something as small as letting the screen door slam shut, so that Zach learns to never let even the most petty, negligible nuisance slide,” Dalton added. “He’s an observant kid and he really looks up to me, so I’m sure he’ll catch on quickly.”

In an effort to help guide his son’s development, Dalton explained that he consistently tries to embody the qualities of irritability, hostility, and bitterness in his daily life, emphasizing to his fourth-grade son the importance of letting his annoyance over an inconsequential matter develop into a lingering, biting resentment that makes others feel uncomfortable to be near him.

In addition, the 42-year-old market researcher said that he has been making a concerted effort of late to show his boy how to obsess over such ultimately trifling things as a driver going too slow in the left lane or a person who is slightly holding up a line, and to interpret these incidents as if they were significant, deliberate personal slights.

Dalton told reporters that he believes he’s made significant headway with his son in recent weeks. In particular, the local father cited several “very constructive” instances in which he demonstrated how to absolutely flip out when someone asks him to pull the car over to use the bathroom; when to pound his fist on a table and mutter the phrases “Goddammit” and “I don’t need this” in increasingly loud and aggressive tones; and the proper way to scowl, roll his eyes, and pantomime hurling his cell phone violently to the floor when his wife calls to tell him that something came up and he’ll have to drive the children to their soccer game.

“I always try to lead by example, but now, when some meaningless little thing doesn’t go Zach’s way, I’ll help guide him through the process of treating it as if it were the end of the world,” said Dalton, noting how his own father instructed him how to fly into a rage over barely anything at all when he was a child. “Just last weekend, when a waitress brought him the wrong item, I laid out the process of having a public meltdown step-by-step, showing him exactly how to get irrationally livid, how to clench his teeth and curse under his breath, and then how to belittle a stranger’s intelligence in a loud, confrontational scene that causes others to look over in shock and disgust. I think it really made a strong impression on him.”

The local father told reporters that he was particularly looking forward to an upcoming family camping trip, claiming that a single explosive outburst in such close quarters would “go a long way” toward helping his son understand how to generalize a small frustration into a broad, unrestrained sense of anger that simmers for days and effectively ruins the whole family’s entire weekend.

Dalton reported, however, that he feels he’s able to get through to his son most clearly when he and Zach spend time alone together.

“When it’s just me and Zach, I can really show him up-close how enraged he should become over the unimportant things in life,” said Dalton, highlighting recent instructive one-on-one interactions in which he lashed out at his son for talking during a TV show and for touching the thermostat. “My hope is that, one day, Zach will be able to show his own son how to completely freak out at the slightest provocation and then snap at his wife and children.”

“These are important life skills I’m passing down to Zach, which he’ll be able to use nearly every day as he gets older,” Dalton continued. “And I really look forward to watching him grow into the arbitrary, quick-to-anger man I know he’s capable of becoming.”

[stardustizuku]

sorry for using your inbox as a confessional im too scared to post in a tag where everyone knows each other. anyway the thing i think is most interesting about wilfried is how sylvester is characterized by his treatment of his failson. bc like the obvious answer after the ivory tower incident and at like eight other points in the story was to demote wilfried to an archnoble or to put him in the temple. bonifatius should have served as sylvester's very obvious example that like. an archducal family member can thrive and be better off if they're not forced into archducal competition beyond doing the training just in case everyone else dies. and ferdinand should have shown him that sometimes being put in the temple or otherwise demoted is better than being a target in noble society. especially once rozemyne shows up and hes repeatedly shown the ways the temple is improving and the importance of it to the duchy's functioning. and yet even in his conversation with bonifatius in i think book 5 hes so against it he would rather disown rozemyne. which you could interpret as him thinking that even if he understands all that that noble society will continue to target wilfried but it also implies that on some level sylvester did and maybe still does think that bonifatius and ferdinand have reached "bad ends", despite caring deeply for them and intellectually understanding that they are better off not being the aub. bc it's not like wilfried is completely incompetent, he's just terrible at politics. he's a skilled warrior and when he's not being coddled he's fully capable of buckling down and getting work done. but even though sylvester has been told exactly that by several people, after sylvester finally gives up on having wilfried be the unambiguous heir he's still very clearly trying to leave the path open for him when wilfried has obviously and repeatedly been shown to not have a talent or even really a desire for the position outside of not wanting to be a target and charlotte has been here the whole time. honestly sylvester's basically only done harm by reinforcing that him losing the seat WOULD be a bad thing instead of trying to improve conditions for non-candidate archducal family members if he's so worried about the fate of failsons. like idk i just think its interesting especially in light of the most recent chapter that sylvester certainly cares for rozemyne and doesn't want her to be forced into a position she doesn't want, but, like, he is still a noble, it's just that rozemyne is frequently sheltered from that fact because his interests and hers so frequently overlap. sylvester being a good guy who is still very much a noble is actually my favorite thing about him, way too often in isekai stories you get a prankster noble whose carelessness is played off as cute or funny even when it would have extremely real consequences, so having sylvester be a dude who clearly means well but is in no way immune from reinforcing systemic injustice even in his own family is very interesting. although i get why myne doesn't really clash with him over it, i do sometimes wish they kept the somewhat adversarial relationship they had in early aob and i hope that charlotte gets to conflict with sylvester more

Hi! Thank you for sharing! I was a bit busy and didn't notice the ask, but you make a great point.

Sylvester is a very well meaning guy, who sometimes (in an effort to avoid his children suffering) can be blindsided and ignore the truth.

In his case, regarding Rozemyne and Wilfred, he ignores them both in regards to what they want/need, in favor to what he believes they need.

Yes, he would rather Wilfred be the next aub and sorta of forces the position on him. But he also forces the idea of Rozemyne as his second hand, then wife, on her. He's genuinely trying to help, but he gets blinded by his own past. For a very, very long time he saw himself in Wilfred, and Ferdinand in Rozemyne.

But, even when Wilfred explicitly said he did not want it - the reason why Sylvester didn't accept him relinquishing the position was actually Rozemyne herself.

I can assume it was a huge blow, since granting Wilfred his wish would mean making Rozemyne (a commoner) into an Aub and he couldn't bring himself to do that, for various reasons. He knows Ferdinand would not allow it, it would cause problems with Florencia, and more importantly: Rozemyne herself would hate it. Sylvester actually does care for Rozemyne, in the few ways he can allow himself to care.

He knows that Rozemyne wants nothing to do with politics. She wants to make books and hang out in the temple and with commoners. At that point, keeping them together was not to give Wilfred "what he wanted", but to KEEP Rozemyne and give her what she wanted (and what he duchy needed).

Sylvester is truly a unique interesting case, because he's well-meaning, but messes up sometimes. No one can be sure if his actions are 100% correct, or if it was the best option. But nevertheless, he does try to clean up after the messes he causes, and protect his people.

[thygoddessouijathicc]

Interpreting all the DSAF characters personalities and motivations because I’m bored

I will only be interpreting Flipside squad characters as well as Henry but if this gets enough attention I might come back and do the DSAF side characters.

Spoilers for everything and if you have different interpretations please do share <:

Jack

I had to of course start with my all time favourite character and the main character of the series. Jack is a character so frequently misinterpreted that I jump for joy whenever I see a fanfic who portrays him with any degree of faithfulness to his personality.

As Doggo himself has said Jack is very childish, and we see this ingame. Yes, while often Dave is far more childish and wacky Jack can be just as chaotic and manic from time to time. He’s shown to be immature but capable of realizing the consequences of his actions and growing from them.

Jack is frequently portrayed as a tsundere which is simply not the case. While Jack is as stated by Doggo himself bad at expressing his feelings leading to him bottling them up, as well as being described as a man who doesn’t take shit from anyone, Jack is at no point mean to people he loves to deny that he loves them, he just isn’t good at saying that he does. Jack doesn’t lie about his feelings, he just doesn’t express them.

He’s also not soft as he’s frequently portrayed as, and is very capable of being able to take care of himself, as immature as he is. He doesn’t take shit, he fights his own battles, and he tells people off when needed.

He rarely has his own autonomy ingame as most routes have him following other characters but we still get a feel for his motives in each one although since he varies so fucking wildly from saving all the souls and putting Freddy’s to rest, to having fun and doing drugs, to running a business to just having a thirst for blood I can’t declare definitively what motivates Jack.

Dave

After the Tangerine himself I had to of course talk about the fan favourite secondary protagonist of the third game in the main routes, Dave Miller aka William Afton.

Dave is a pretty clear cut character shockingly. It’s not difficult to understand him. Dave is a manic, chaotic neutral/evil sociopath who acts the way he does due to being raised by Henry who we know from a thing written by Doggo in which he hits a presumably adult Dave with a wrench to be abusive. The abuse, brain damage, and encouragement of negative behaviours led Dave to become what he is in the games.

Dave is highly codependent and once he forms an attachment to a person it’s unbelievably hard if not impossible to sever this attachment, which is notably true because when Jack won’t help him he always defaults to being an enemy in an attempt to maintain the relationship in a weird way. Flipside Dave is codependent as well as Davetrap, but Flipside Dave is far less so and is very capable of severing attachments to people he no longer wants to associate with. The attachments he forms can be platonic or romantic, platonic with Henry, romantic with Jack although they both fill similar roles for him.

Dave is also incredibly stupid and easily manipulated which is why he’s as redeemable as he is as we know for a fact that unlike the FNAF William Afton and even some other characters in DSAF who kill, Dave genuinely didn’t understand the gravity of the situation. He’s a character who is endlessly loyal to those he bonds with even if they treat him badly or make him do things he doesn’t want to. Flipside Dave is again not quite as bad in this regard but he still is pretty bad and maintains for a lot of the plot that Henry isn’t evil. Dave thought the kids he killed would be happier dead and never questioned it due to his endless loyalty to Henry.

He is still however responsible for what he did because it was to a degree willful blindness. Dave didn’t want Henry to be the bad guy so he ignored any indication that he was. Regardless of how much Henry is the problem Dave still actively refused to question his orders. Something we do in fact know he could have done because he did at one point blow up and question Henry after killing Dee because Henry’s reasoning wasn’t quite as on point as for the previous kills. However it still took Dave two children dying to notice killing children to make them happy and make animatronics more lifelike doesn’t really make sense when honestly killing children bad should just be a given. However Dave does redeem himself for what he did and it can be argued his willful blindness wasn’t entirely willful because Henry removed parts of his brain to make him more loyal. While I don’t think brain damage excuses serial child murder Dave’s crimes can be looked past due to his redemption, Henry’s character, and the fact he was taken in at a young age by an incredibly manipulative character.

To briefly touch upon his stalking and obsessiveness it’s a feature of his character that is very much explained. Henry frequently watched him on cameras, and used him as a tool so Dave would see stalking Jack as a normal expression of love, and would also not see the issue with letting Jack take the fall for his actions because Henry would do the same thing and that must be normal. It’s still not ok, but once again, Flipside Dave isn’t quite as bad and the relationship is clearly not one sided. In addition Flipside Dave redeems himself and if given the opportunity, likely would not continue this. He does these things because he thinks they are normal and would likely stop if given enough context to know they aren’t.

As for motivations, Dave has some pretty depressing ones actually. At his core, Dave just wants someone to care about him and is willing to do anything to make that happen. He doesn’t care if this is positive or negative attention as he’s very much willing to fill an enemy role for the same purpose. Everything he does in the story is for someone else, usually Henry. He tries to keep Henry’s dream alive without even actually knowing what it was, only knowing what Henry acted like it was. Dave spent his childhood alone and once he met Henry he was groomed to be incredibly codependent so when left isolated he struggles. The only ways he seems to manage isolation seem to be through chasing serotonin via his many crimes and vegas, acting for someone else, or telling himself that there is someone who cares about him who will come back for him, for instance Davetrap waiting 30 years for Jack to return for him.

Dee

You may or may not know this but Dee is probably my third favourite character after Dave and Jack, and the most clear cut one left so she’s next.

We objectively do not know as much about Dee as we do the other characters, most of what we know coming from other characters and her appearance in the third game unlike with Dave and Jack who are in every game prominently and the phone guys who each have their own game in which they impact every route.

From what we do know of Dee’s personality is that like her brother, she doesn’t take any shit. Dee says what’s on her mind and doesn’t care how it affects others which you have to respect. She’s shown to definitely have a degree of sass to her, but more than that it comes off more as a frustration. While her jokes and attitude are just that, jokes and attitude, they actually do tend to tell a different story when read the right way. Dee is angry about how things turned out for her, probably the second most angry of all the characters. The most angry being Blackjack.

Dee died incredibly young and then directly after her horrible death she was pushed into a position in which she was responsible for helping others who died. She was still, as I’ve said, just a child with no idea how to handle this. Dee was then forced to mature incredibly quickly, and as we know from Jack, the dead don’t mentally mature, so Dee actually does still have the mind of a child, but takes in the personality and responsibilities of an adult, which is an aspect of her character I wish was more explored but I know couldn’t have been ingame because when exactly would it have been?

Dee was also not raised by adults, she was raised by her older brothers who even if Peter was an adult at the time, he was a young one and definitely not in a place to take care of a baby. It’s likely that even before her death Dee had to mature quickly because they all did, but definitely not to the same degree before her death.

Dee and Dave have a strange dynamic, she most definitely hated him for most of the series but was open to being proven wrong about him when she found out about his past and that he was manipulated by Henry. Their relationship is more of a sibling rivalry by the end.

As for her motivations, Dee is motivated by anger and justice. She’s angry about what happened to her and the other children, fuelled by rage for her killers, she set her goals as stopping the killings and freeing the souls. Although as benevolent as this may seem, I do think there is a point to which it’s more about her own suffering and her own justice than it is about the other children’s. Still, she’s a better protector than Fredbear because she does something about the situation rather than waiting until it’s too late.

Peter

Ok I’ll come out and say it, I don’t remember the DSAF 2 Peter routes as well as I remember the rest of the game series, so this particular section may be subject to change, however I do think I have enough of a grasp on his character to write an essay.

Peter is the oldest of the three Kennedy siblings and yet another contender for “who has it the worst in the games” the answer of course being either everyone or Jack depending on how you see the third games good ending. Peter spends most of his time in his debut game brainwashed into thinking he’s Scott.

He spends that game living in a state of confusion as he’s getting dreams with his own past memories, particularly of his beloved wife Caroline. He deep down knows he is Peter but isn’t quite sure and has been told he isn’t. Depending on the ending you can either save or kill him or simply get close to saving him but not actually manage it and have him be killed by the factory.

Peter is far less of a coward than his predecessor Steven, willing to directly attempt to take down the infamous kiddie strangler and in the true ending succeeding. While he never fully recovers all his memory he recovers enough to return home to his wife. In the bad route we see even more of Peter being a fucking badass with his speech to Jack before firing him. Peter tells Jack to cut the shit, calls him out on everything he’s done, correctly guesses his lack of a soul, and goes on to talk about the true situation with the dead kids being that they are really dead kids with families mourning them. Peter is unable to help these families and it eats away at him, he has to carry the burden of the deaths while watching Dave and Jack get away Scott free. He then proceeds to break his own code for the sole purpose of telling Jack to fuck off.

As for his backstory, we don’t know quite as much about alive Peter as we do phone guy Peter. We can however infer from context that Peter was forced to take on a parental role at an age he was not fit for parenthood causing him to not mature properly, once he met Caroline he left Jack to take care of a still quite young Dee all on his own which is understandable since he was starting his own family and surely thought Jack could handle it, but he didn’t take into consideration that Jack actually couldn’t, which led to Dee’s eventual death because Jack was not an equipped caretaker and left her unattended which isn’t anyones fault truly but Henry’s because if he had left her at a place besides Fredbear’s she wouldn’t have been kidnapped and subsequently killed.

Peter’s motivating force is curiosity for who he is as well as a sense of justice like his sister. He spends most of his time trying to rediscover himself after being brainwashed into being a slave for Freddy’s, however unlike Steven he doesn’t just play by the Freddy’s code and actually makes attempts to stop the killings and refuses to send employees to the factory instead insisting on proper burials as he knows it’s not right. He has a strong sense of morality which motivates his actions to end the killings but his primary motivator is still to find out who he is.

Steven

Steven is a tragic character, in most series other than DSAF he would be one of the most tragic, however in DSAF where everyone is pretty equally fucked he’s around the same level.

Steven is a first generation phone guy, which means he has little to no recollection of who he is, all he knows being how he died and his name. Steven died standing up to Henry which is objectively one of the bravest things he’s done in the series, in fact, one of the braver things you can do in the series, however beyond that, Steven is a coward. And that’s not even against him, I love Steven, it’s simply a very central part of his character.

Steven has shown he’s willing to throw anyone and everyone under the bus for his own survival which is understandable knowing he’ll be killed if his business goes under as he has a psychotic purple himbo trying to make his business go under who he unfortunately can’t accuse of this crime because of fear so he has to settle on the new employee. That’s not to say that trying to pin everything on Jack was a moral decision, but given the corner Steven was backed into it was practically the only one he could have made. We do know he could have gotten Dave arrested because you can get him to get Dave arrested by calling in a favour, but he likely was only willing to do this because in this context if he did he has Jack as an ally and thus is less likely to get murdered by Dave.

Steven also doesn’t seem to care very much about the murders, which is a little less excusable than his throwing Jack under the bus because Steven is very willing to just let the murders go unsolved and seems to care absolutely not at all about it. Steven doesn’t care much about death in general actually unless it’s his own. He’s more than willing to kill Jack for the stupidest reasons, he was the guy who sent Peter to the factory so we know he doesn’t care what happens to people who end up there, and honestly I can’t blame him.

As I’ve said before Steven was put in an incredibly bad situation where he knows he’ll die if he steps out of line, accuses Dave, or let’s his emotions control him in any way. Thus he’s willing to kill or frame Jack as long as it keeps his business going, he’ll frame anyone for the murders as long as he doesn’t think they’re a threat to him (thus why he doesn’t accuse Matt, Matt is a threat to everyone), and he doesn’t care about the deaths because he’s caught up trying to prevent his own.

Steven in the Flipside continues this pattern of survival at all costs despite actually being dead. He has others fight for him and runs from his issues until he can’t anymore at which point he tries to fight. After joining the squad he changes his tune slightly deciding he does care about what he did and wants to be saved.

As for motivation, as said, Steven is motivated by an overwhelming urge to survive. He’s put in a position where one wrong move could have him dead and behaves as such, putting himself first and ignoring all others out of not just selfishness, but desperation. Everything Steven does is because if he didn’t he be killed and thus he’s not just a “bad boss” he’s a bad boss who wouldn’t be quite as bad if he weren’t stuck between an Aubergine and a Factory.

Blackjack

There isn’t much to be said about Blackjack, people say he’s underrated and while I agree he has his strong points, Blackjack is easily the weakest member of the main cast, and not in personality or lore as always he’s an intensely interesting character because Doggo is amazing, rather because Blackjack simply doesn’t get enough screen time to be a full character, he doesn’t get an arch because he can’t. Blackjack is introduced at the very end of the third game right before the conclusion of the final battle after which he doesn’t have a single line of dialogue, so he’s underrated yes, he’s a good character, but I think his being underrated is kind of fair. We didn’t get to know him very well. It’s incredibly hard to introduce a character so late into the story and have them be popular, because everyone is already so attached to the other characters and the new one doesn’t have time to be established.

As for his character he’s kind of full of himself which is interesting in its own way but is again a bit of a weak point because he acts like he should have an arch but he doesn’t. He treats the other characters kind of like tools going as far as to basically call them freaks and want to use their trauma and emotional turmoil as punishment for Henry. You can understand why he’s this way of course, he was murdered and is processing it. However everyone was murdered and so he comes off a little whiney given that absolutely none of them made as big of a deal of it.

His backstory is just Jack’s backstory with the addition of turning into a dog and doing more than Fredbear ever could with locking Henry in the void. However due to his rage and selfishness Blackjack decides not to kill Henry, and instead to torture him while letting him grow in power by accident. He’s eventually convinced to kill Henry but he should have done it a long time ago.

As for motives, Blackjack is motivated like Dee by anger and justice, but it’s far more clearly selfish. I wish we got a moment at the end with Blackjack apologizing for everything, particularly his behaviour towards Jack but we didn’t and that’s fine honestly. He’s a flawed character who takes out his rage on Henry believing himself to be worthy of dispensing justice to all who wrong him.

Henry

The man himself Henry, the one who caused every single bad thing to happen in the entire series, he’s actually a very interesting villain who while he isn’t physically present for most of the series his impact is very felt and from what we see of him he immediately became the most hated character.

Henry is as evil as they come, this is without question. At every opportunity in the series he does whatever hurts the most people. He’s someone you love to hate. Henry is far more than simply evil. He’s cruel, psychopathic, manipulative, abusive, delusional, and far more, and it’s goddamn interesting.

Henry is like the other characters in the sense that his backstory explains exactly why he is how he is. Henry is a man abused as a child, who grew up to become a Machiavellian member of the military, and then lost his wife and child somehow. Henry experienced nothing but death and suffering his whole life and sought to end death entirely out of his own fear and potentially to bring back his wife and child. We do know he cared about them because of how mad he was at Dave for taking his son’s name. Despite all his suffering however Henry has done so much worse than what was done to him.

In his pursuit of his goal of beating death Henry murdered countless innocents, mostly children, as well as manipulating Dave into becoming a serial killer by basically grooming him into codependency, telling him he would be doing something good, and messing with his mind as well as very likely putting Dave in a situation where he felt he couldn’t question Henry’s authority, he then springlocked Jack, Steven, and if I recall Peter, allowing them to die in agony without even putting them out of their misery, and capped it all off with showing absolutely no remorse. These actions tell ten story of a man who doesn’t care who he hurts to get what he wants. Henry sees what he’s doing as for a good cause and thus it doesn’t matter if he does something bad because more good comes out of it in the end. He has a utilitarian view of the world seeing others as a means to an end.

As for motives, Henry is motivated by fear, selfishness, and narcissism. He’s afraid to die, afraid of the unknown, and will do anything to escape fate, in a similar way to Steven he just wants to survive, but Steven only did what he had to, Henry hurt people he didn’t need to at all, and dragged on others suffering in ways he absolutely did not have to do. Henry is a horrible narcissist who sees himself as the protagonist of the story with the cards all stacked up against him, when really, he’s the one who stacked the cards in the first place, and is just suffering the consequences.

[mable-stitchpunk]

Could we get descriptions of the human characters, any original designs, and any differences the animatronics have from canon designs in Home and when any appearances may have changed throughout the story? I wanna draw some events from the books but I'm kinda blind to character descriptions in stories unfortunately.

Sure thing!

Mike stands about average height and is of athletic build. Like, not ripped, but he runs regularly and stays in shape almost getting himself killed all the time. He has sharp, blue eyes and black hair that's usually styled to look a little unkept. He has a mild tanned skin tone.

Jeremy stands slightly shorter than Mike and also has blue eyes, and almost always is seen wearing his glasses. His hair is blond and goes to about his neck. He has a pale skin tone and his features are a bit more softer.

Fritz stands a couple inches taller than Mike and Jeremy. He has brunette hair that's kept short, brown eyes, and usually keeps some stubble on his chin. He has a darker skin tone from Mike- I suppose dark tan is sort of the best way to describe it. Mature but friendly features. Dips from having "worked all night" rings under his eyes to a "slept fine" lack of them, and back and forth.

Natalie looks pretty much exactly like Vanessa. I don't know how that ended up happening, but it did. 👀

Initially, Scott's physical description was kept majorly up to interpretation for the reader, but since then he's sort of turned into a brunette with hazel eyes. He has visible but faded scars on his cheeks and across his body from his accident. He lost his lower right leg and wears a prosthetic, though is usually covered by his pants. He frequently wears cardigans and sweaters, slacks, comfortable and soft clothing. He wears glasses when he works and reads, but doesn't require them elsewise.

When CGHA began, Scott looked especially weary and was taking poor care of himself. Living as a recluse and showing such by usually existing in a bathrobe and staying unkept. By the time of GHIAB, Scott is consistently cleaned up and looks healthier.

Louise stands a little taller than Natalie, usually because she wears heels. She has a soft, heart-shaped face and slender but curvy build. Though initially introduced with brown hair, she dyed it red during Halloween and has kept it that way since. She tends to wear skirts and dresses with matching nails and makeup.

Tabitha is a middle aged woman with short brown hair and is frequently seen with a 'I'm done with this world' look on her face. She has a heart-shaped face that matches Louise's, but not as youthful or full.

Chrissy has wavy or semi-curled blond hair and big blue eyes. If that sounds similar to Susie from Pizzeria Simulator, that was in fact another Natalie-Vanessa situation. XD Though Chrissy's hair is not nearly as curled and is more naturally tussled.

All of Charlie's friends stick pretty close to their graphic novel versions.

Gregory looks the same as in Security Breach and while Cassie hasn't appeared yet (in case you're curious), she will have her cutout design.

Ness is a pale woman with shoulder-length brown hair and blue eyes. She has body proportions very similar to that woman who's been running around in a bunny suit, which is probably a coincidence.

Okay, now with the major humans out of the way, onto the animatronic changes!

Marionette looks a lot like canon Mari. The only difference is that his neck is a little shorter- though later versions of the Puppet shortened the neck anyways. XD

Foxy looks relatively similar to Fnaf 1/Fnaf AR Foxy. The only difference being that as of the middle of CGHA, Foxy was repaired. He no longer has a tear in his chest and now has fabric over his hand, but still has his hook. Foxy has fabric lower legs and feet that he wears during showtime, but he takes them off when he's not on the clock. His shorts have been repaired and during work hours he can be seen wearing a green pirate coat (the pirate coat from Captain Foxy's Dark Ride in Help Wanted).

Security Puppet Charlie looks a little softer than Pizzeria Simulator Security Puppet. Originally she was supposed to just be that same one, but I keep imagining her with a head and face that's a little close to Mari's in shape, though still with the rounder eyes. The cuteification of Charlie.

Baby originally looked like Scrap Baby, but over the course of AFLH she was repaired. Having plates replaced and repainted to look more like a complete version of Scrap Baby. In GHIAB, Baby took down her pigtail wires and changed them into a low ponytail (to regain her own identity) and then began to wear a small hat. The hat is a refurbished Freddy had, covered in red crushed velveteen with an orange band and a feather, and is a gift from Scott.

Ennard originally looked very much like normal Ennard, though a little more put together. His hands resemble the ones from Ennard's Help Wanted cutout picture instead of the knotted wires like in Sister Location. At the end of AFLH, Ennard got shot in his right eye and had to replace it with a yellow one, with his left remaining blue.

As of GHIAB, Ennard was gifted a technician suit styled to look like a clown costume. Because I'm feeling lazy, here's the exact design from the chapter-

"It looked like the coat a ringleader would wear, though green in color and without coattails. Golden colored buttons lined two rows in the front, with a zipper hidden under an edge of fabric between them. The collar was a deeper, emerald color and edged with sequins that matched the buttons. The sleeve's cuffs matches the collar, but with an edge of a white frill lining it.

The pants had one leg green and the other yellow and were made out of a slightly stretchier material, but otherwise looked like normal pants. There were a pair of new work gloves and boots in the bottom. These were relatively simple compared to everything else, just forest green to somewhat match the theme of the rest. There was a velveteen red ribbon in the bottom, likely to be tied in a bow."

Balloon Boy is in the Little Joe body from Sister Location instead of his old BB body due to concept unification.

Springtrap looks a little less deteriorated than he did in Fnaf 3 because of the time difference.

The last notable animatronic change/appearance is Jake.

Jake is the old Sun. So, his body resembles Sunnymoon's except greyed out due to his lack of glow. Jake wears the Stitchwraith's mask, of which a lone blue eye peeks through, and his tattered black coat (which is often equated to a trash bag like material). Underneath his mask, his face is damaged from having parts removed. His pants are tattered and cut short, and his lower leg has been replaced with an endoskeleton one off of the old Stitchwraith body.

...And yes, that does look vaguely similar to Eclipse. XD That was another one of my patented random fnaf predictions, lol.

I hope that covered everyone! If not, drop me a line and I'll add more! ^_^

[theflyingfeeling]

Aaaaaaa OlliAllu crushing on each other aaaaaaa 🥺💖💕

I wanna know everything about the timeline! 😍

Thanks for asking!! My favourite topic!! 🥺

So just as a disclaimer: the following is based on nothing much but my vivid & delusional imagination (except that it's all totally true and real 😌)

Behold,

💖 The Olli/Allu Love Story Timeline* 💖

(*according to theflyingfeeling / this is gospel truth okay don't fight me)

Pre-Aleksi-joining-the-band / Timebomb -> becoming friends 👨🏼‍🤝‍👨🏻

So I imagine that before Aleksi joined the band, he and Olli were friendly but maybe not super close (or as close as Aleksi may have been to Joel/Joonas/Niko). They respected each other as musicians and, as time passed, figured the other is a pretty cool dude to hang out with and fun to play shows with 🤝 By the time Aleksi joined the band, they were already good friends 😌

(I love how from the very beginning it was not unusual to spot them next to each other in pictures (yes yes I know about their team short/team tall arrangement in pictures, humour me a little here though)

Can we also cry about this (irrelevant to Olli/Allu (unless Olli wrote this)):

"our lovely friend" 🥺🥺🥺🥺🥺🥺🥺

*

2021: UMK / Eurovision / post-Eurovision -> developing the crush 💕

They started working on Dark Side pretty much right/around when Aleksi first joined the band, right? By then they all, including Olli, had spent more and more time with Aleksi in the studio as well as on stage before he officially joined the band. During the UMK/Eurovision project, however, they were suddenly working together way more intensely (especially after winning UMK), so I like to think that was when their friendship deepened and they found out just how much they have in common (e.g. all their nerdy mutual interests). They probably started to chat more just the two of them (in the UMK video 15 facts about Blind Channel, Aleksi mentioned calling Olli (and always catching him biking lol)) and sort of just drifted towards each other so that they were frequently seen together (the screencap on the right is taken seconds before they stop to stare each other in the eyes, sorry I don't have a gif of that) 💕

(and no I haven't done extensive research on how much more often they were spotted together in comparison to how often they were spotted with other band members just sshhhhhh it's not like this is a doctoral thesis)

If I recall correctly, they also did some interviews together, at least this one where they look like they had just woken up from a nap with lots of cuddles (and maybe even some shy kisses for fun (because sometimes good friends make out for the lols, right??), I mean come on, they look so soft 🥺💓

They also sat (and partied) next to each other during the finale, and shared that one looooooooong hug I mean COME OOOOOON they don't want to let go of each other 😭

Of course, we cannot forget about the tipsy/drunken cuddles during that interview (and in the hotel room a bit later, source: I just know it in my heart) 💞

(remember also the other, less known drunk interview that showed Olli staring at Aleksi dreamily 🥺)

I think around this time they also got a bit flirty with each other for the first time? At least if one is to interpret the way Olli "mocks" (lovingly <3) how Aleksi says his middle name in the hotel room IG stream they did (and of course we're going to interpret the heck out of that, that's why I'm writing this whole thing for 😌 (I still crack up at Niko's "I thought it was Mattson" every time though lol))

Another highlight from 2021 was obviously the moments they shared in the Posse shower stall we have been discussing lately, which show exactly how comfortable they are with each other 😩

Also, I can't remember for sure and I can't find the ask for reference, but was it the summer of 2021 when Aleksi had to miss a show (because he was sick or something?), and reportedly Olli had been all quiet and gloomy that day, to the point that Niko pointed it out on stage during their show, telling the audience (jokingly) that they're sorta worried about Olli because he has barely said a word all day? I remember talking about this with someone and they had videos/pictures/?? about it too, but until I have some actual evidence of this, you're just gonna have to take my word of it 😌 In any case, it goes to show how much they meant to each other already back then 😭

To conclude, I think the year 2021 was the year they slowly developed their (mutual) crush, but without fully realising what was happening. There were some cheeky cuddles (perhaps even sleepy/drunken kisses) and friendly teasing which was totally NOT flirting although it totally was, they weren't just ready to admit it and butterflies in the stomach that they tried to ignore; they're fairly certain they like each other platonically and nothing more, even though they can't help but smile a little more brightly when they get a text from each other and they miss each other a little too much when they're apart... 💕

*

Spring/summer 2022: the US tour / the EU tour / the summer (tour) -> getting together 💞

Let's start off with this poor-quality gif I just made, for no particular reason except that I want y'all to look at how cute they are 🥰

According to Niko (source: just trust me alright, I think he said it on twitter but naturally I can't find anything rn), as I'm sure many of you know by now, during the US tour Olli and Aleksi were often the last ones awake in the tour bus, drinking Mountain Dew and chatting away about nerdy stuff. I think this is when they really grew closer and I can easily imagine that around this time the first thoughts of "what if..." entered their minds 😳

Maybe they sometimes ended up just staring into each others eyes lovingly, before realising neither has said anything for a while (and it was sort of awkward when they did realise, but they just laughed it off), or maybe there were accidental/absentminded touches; maybe they both just felt so warm and cozy in each other's company, and even though they were both getting a little sleepy, they kept on talking for a few more moments because they weren't ready to let go of the moment and "burst the bubble". Maybe they were joking around and being low-key flirty, and when they finally went to bed, they'd be going out of their minds in their bunkbeds, trying not to think about all that too hard.

I like to think that eventually they got more daring, sat more closer to each other, and suddenly the small touches weren't accidental anymore. They could have an entire conversation with Aleksi's hand on Olli's thigh or vice versa and it would feel so nice and so natural 💞 There may have been a few kisses too, just for fun and because the vibes are right, and maaaaaaybe they don't really talk about it that much, but they definitely can't wait to try that again somewhere a bit more private 👀

Speaking of which, we also know that they roomed together at least once ("Little Man asked first"), and by some inexplicable coincidence, the two of them were the only ones in the band who got ill during the tour? Huh, that's strange 🤔😌 So I have a reason to believe the US tour was when they first got together, even if they thought they were just fooling around back then 🥰

(can't think of anything in particular to say about the EU tour in the spring, but we can look at these pictures nevertheless 💗_💗)

and then 🥺🥺🥺😭😭😭😭😭😭

Getting emotional receiving the gold records in Ruisrock, hugging each other the first thing because who else would they hug, what more prove do you even need to see how much these two love each other 😭

We also know that in the summer 2022 Olli stayed at Aleksi's when he was in Helsinki (not sure if this happened every time he was in the capital but there were a few occasions), I think they were spotted grocery shopping together or something? They also participated in this interview together, providing us moments such as

1) the two of them sitting tightly in Aleksi's (?) car,

2) hearing that they had spent the night together watching old tour videos,

3) Olli commenting on Aleksi's outfit ("I warned you..." = he had been looking at Aleksi's dick through his pants 🥰 (at least I assume it's about the romper that showed the outline of his peepee? he says "last summer" but I don't think his outfit in the 2021 summer tour was as controversial? it was literally just a black t-shirt (with a white long-sleeve underneath sometimes) and black trousers, so I assume he means "the summer that has passed" (the interview took place in August))

4) Olli's surprise when Aleksi says he, too, would like to collaborate with Skrillex and Aleksi teasing Olli about "having thought about Skrillex last night" (don't worry Aleksi, I'm sure he was thinking more about you than Skrillex 🥺)

To sum up, in the first half of the year 2022, they got together for the first time and formed a special kinda bond, slowly falling in deep, soft love 🥺💕

*

Autumn 2022: the EU headline tour, the London & LA song-writing camps -> honeymoon time 💖

...yeah, I wonder what happened during the EU headline tour 😳

(they fucked. a lot. rough. this is the truth.)

...and before they left for the honeymoon song-writing camp, they did the cutest thing that any two humans have ever done in the history of the universe 😭

I mean 😭😭😭😭 are y'all still crying about this?! because I never stopped 😭😭😭😭😭😭😭 you can just imagine them grocery shopping for studio snacks together and they spot this card (I do wonder what the picture on the front is) and have this grand idea and aaaaaaaaaaaaaaaaaa the giggles when they wrote the card and gave it to daddy!Johnny AAAAAAAAAAA I'm going to explode if I think about how unbelieavably cute it all is, is this not something you do with a very special bro of yours?! I cannot handle it 🥺💕

In London they went on a date on Olli's birthday (yes I have decided the others weren't there 😌) and Aleksi took the most boyfriend picture of him because they're boyfriends in love 🥺

In LA we know they shared the bed (source: you can't prove they didn't!!) and looked very very soft and boyfriends; in conclusion, they were on a honeymoon 💖

*

2023: boyfriends boyfriending 💓💞💕💖💗

And yeah, that sort of brings us to this year and the way they are now, so cute and sweet and boyfriend and touching each other for no reason thinking they're being discreet and playfighting and giggling at each other's joke like they're the most hilarious person that ever lived and smiling sweetly when they see the other has replied to their text and being so fucking cute in Aleksi's twitch streams without Olli even physically being there and getting engaged for real and just 🥺🥺🥺🥺🥺

Of course there are soooooooooo many moments over the years that I also want to mention but can't really pinpoint in the timeline, such as all the clothes/accessory-sharing and adopting each other's style (cuffed jeans and tucked-in shirts) and the wine drinking while listening to soft music and cuddling in meet-and-greet pictures and looking so happy about it too and in general always sitting/standing next to each other in pictures ("but they don't always--" YES they do always, don't even fight me about this 😤), the evidence is right there in front of your own two eyeballs if only you choose to see it and live like a king the way we do here in the Olli/Allu Delulu Land ✨

Finally, let me do a random photo dump to further illustrate my point if you're not yet convinced for some reason (and to reach the 30 pictures per post limit) 💖

(sorry for no sources, if this is the reason I go to jail I'm going happily)

[onethousandeyeslooking]

(In honor of Veilguard coming out in just over a month, I figured I should actually start posting about Dragon Age more. And, of course, that comes with speaking about the tragic heroes who dominate my canon world state. So, might as well start with the first.)

Senrian Tabris. Hero and Warden Commander of Ferelden.

Age (during DA:O): 19 (born 9:11 Dragon)

Origin: City Elf

Class: Warrior (Dual wield)

Romance: Alistair

People are often surprised when they see the Warden-Commander for the first time— the lauded Hero of Ferelden, much to their shock, is a short and slight elven man, his long face often pulled into a measured, polite smile. Upon first impressions, he can often come off as fairly unassuming. The only hint of a life of war is the fire that often stirs behind hazel eyes.

But if you stir his temper, though... then you'll see why the nobles in Denerim still regard him with some caution whenever he visits.

When I think about Senrian as a character, the first word that always comes to mind is "duty". He picks his causes, and he fully devotes himself to them. He's a very "lawful good" character, but in the sense that the laws in question are his own internal moral codes (as opposed to the exterior laws, which he often finds... disappointing, to say the least), he's serious, but in a less stern and more polite way. I find I really enjoy the dichotomy that he creates as a character, someone who (on a logical level), believes that he has to do certain things to keep those he loves safe, someone who's incredibly kind and polite, but underneath that also has this incredibly intense and fiery streak that can (for better or worse) sometimes override his rationality.

Despite his mental binds, Senrian is a character that feels. He feels so deeply and intensely. Oftentimes that comes out as anger. He holds his grudges close to his heart, and sometimes his loyalty to his family (both chosen and blood) can leave bodies in its wake if they're hurt. Before Origins, this was only really seen in his tendency to frequently lose servant jobs for arguing with employers over mistreatment of his co-workers. This reached a boiling point, though, in my interpretation of the city elf origin, wherein he doesn't just kill the arl's son, but also ends up burning down a not-insignificant portion of the estate itself.

He takes well to the Wardens. He enjoys the good purpose it gives him, and fighting the darkspawn becomes an easy outlet for less-desirable violent feelings.

He also takes well to the wardens because he almost always places the feelings and lives of others above his own. A lot of this obligation and duty all stems from when his mother died for him when he was younger (a childish mistake led to his mother getting into a fight with some city guards that resulted in her death). His older sister always somewhat blamed him as well, and ended up running away from home, leaving just him to look after his father. He internalized a lot of this guilt and blame.

This personality leads to him making decisions I don't always agree with as a player, but the repercussions of those actions often (in my own opinion) make for a significantly more interesting story.

(pardon my less than stellar art skill)

(fun fact! I went into Origins almost completely blind, and at the time I didn't know elven facial tattoos were mainly a dalish thing. So now Senrian has a face tattoo that I honestly don't have much of an explanation as to why he has. Eh, sometimes it can be something as simple as personal preference.)

Appearance-wise I don't have nearly as much to say about him. He's pretty short at 5'4" (162 cm), and is a pretty powerful warrior, despite his lighter build. I also designed him before I knew his mother had a canon appearance, so he just takes after his father more than anything else.

In my personal opinion, he's quite pretty, if that counts for anything, haha.

(templates from here. Please note that the relationships represented here are how Senrian feels about the characters in question, not myself. Also, the colors closest to Senrian's icon are first impressions/initial dynamics, while the further out the colors are, the further along in the story the dynamic change is.)

Now, getting this out of the way— why did I mod the game for a bi Alistair, instead of just romancing Zevran? (As that would've been the only canon option for him— Senrian is a gay man.) Well, funny story, I originally went into Senrian's run thinking it was just going to be a little side project to romance Zevran while my main save at the time (a different warden) would be my canon run. But I latched onto Senrian very fast, and knew I wanted to romance Alistair as soon as I spoke to the guy for the first time.

It turns out that I actually really ended up enjoying the dynamic the two wardens ended up having with eachother— and their story ended up being very sweet and very tragic. Senrian was the one who encouraged Alistair to take the crown, trusting him more as a possible ruler of his country than the daughter of a man who had just tried to sell his entire family into slavery. It ties back into his views on duty, and doing things you don't want to do for the sake of the greater good. Of course, this ended up biting him in the ass when Alistair being crowned as king ended up leading to their relationship ending. Senrian was mad, but he couldn't bring himself to be mad at anyone but himself. He'd kind of always been expecting something like this to happen anyways, at the back of his mind, ever since the possibility that he'd become king was on the horizon. Doesn't mean it didn't hurt, though.

They both still love eachother. I haven't actually decided if they eventually get back together or not, but I know the king has his regrets. There's a portrait of the Hero of Ferelden somewhere in the castle with a wedding ring that Senrian never had. There's also a rose garden he tends to himself.

(once again, this portrait was commissioned from kittyoperas here on tumblr.)

So, after getting broken up with, he still ended up doing the ritual with Morrigan because he felt that he couldn't just leave Ferelden with one warden standing after the blight, who already had enough to do as king (let alone knowing Alistair well enough to know what his death might do to the man). It was kind of a last bitter twist of the knife, as well, as Senrian had always wanted children. He loved the idea of being a father.

So! In light of Veilguard coming out soon, you might be wondering what he's doing nowadays. Me too! All I know is that he's in the deep roads, trying to fix another thing he thinks is his job to fix (for some reason. He really needs to give himself a break.) Oh! Also might be lightly possessed! But that's a story for another time.

But... yes. That's Senrian Tabris. If you're interested, here is his spotify playlist, and here is his pinterest board.

Oh, and because I didn't have anywhere else to put it, the only image I actually have of him and Alistair together (not counting in-game screenshots, which are travesties because I absolutely cannot get Senrian to look how he's supposed to in-game) is this really stupid modern au meme redraw. Have fun with that.

[pandoramsbox]

Sci-Fi Saturday: The Thing From Another World

Week 28:

Film(s): The Thing From Another World (Dir. Christian Nyby, 1951, USA)

Viewing Format: Blu-Ray

Date Watched: 2022-02-04

Rationale for Inclusion:

As stated before, part of the point of this chronological survey of science fiction cinema was an excuse to revisit favorite films. This week we finally get to one of my partner and my preexisting favorites of the genre: The Thing From Another World (Dir. Christian Nyby, 1951, USA).

In part to differentiate it from the John Carpenter 1982 readaptation, this film is usually referred to as "Howard Hawks' The Thing" because the film is so full of the director's auteur tropes that it struck critics as inconceivable that he only acted as producer on the project. He did apparently contribute to the script, as did his frequent collaborator Ben Hecht, though sole screen credit for the adaptation of "Who Goes There?" by John W. Campbell is given to Charles Lederer, another regular Hawks collaborator. 

Based on the rest of his filmography, credited director Christian Nyby seems to have only operated as director on a technical level, following the example of his mentor Hawks. Despite how the Cahiers du Cinema bros' auteur theory has been interpreted, not all directors are inherently auteurs. Just as some producers exercise authorship of their productions (sometimes to the consternation of directors), but not all. If/then logic and cult of personality can blind critics to how these dynamics vary from filmmaker to filmmaker. 

All that to say, this film is "Howard Hawks' The Thing" in the same way that Destination Moon (Dir. Irving Pichel, 1950, USA) is "George Pal's Destination Moon." Hawks' preferences for content that define him as an auteur director flowed into him taking on the role of producer. I do think he left the mechanical chores of directing The Thing to Nyby, even as he was exerting great creative control.

At any rate, The Thing was the second film released in 1951 to focus on a crash-landed alien spaceship, roughly a month after The Man from Planet X (Dir. Edgar G. Ulmer, 1951, USA). Of the many sci-fi films released in 1951, including the iconic The Day the Earth Stood Still (Dir. Robert Wise, 1951, USA), The Thing proved to be the biggest moneymaker. Contemporary reviews were decidedly mixed, yet it has gone on to be one of the most referenced and lauded examples of the sci-fi genre of its era, eventually being added to the Library of Congress' National Film Registry in 2001.

Reactions: 

As mentioned before, The Thing was a film that my partner and I had both seen before and liked, but watching it in the context of other genre films of its era gave us a deeper appreciation for it.

Due to a combination of auteur sensibilities, special effects limitations, and Production Code considerations, The Thing is only a loose adaptation of "Who Goes There?" No characters overlap between the two; the film swaps the South Pole for its northern counterpart; the spaceship crash has just happened, instead of occurring thousands of years ago; and the extraterrestrial they haul back to camp in a block of ice is not a shapeshifting mimic, but a carnivorous plant monster. Those familiar with John Carpenter's version, The Thing (Dir. John Carpenter, 1981, USA), will note that based on this list of changes alone, the later adaptation is closer to its source material than the 1951 version. Those who have read "Who Goes There?" and seen both films will confirm this fact.

The liberties taken with Hawks' The Thing may seem frustrating to people who want to watch a tighter adaptation of the source novella, but in and out of the context of 1950s sci-fi cinema, the Hawksian touches are what makes it a stand out film. The characters are all world-weary professionals who lived through World War II, and many have the sardonic sense of humor that comes from living through too many unprecedented events. The tough-talking, gorgeous and unapologetically funny Hawksian Woman is present in the form of Nikki Nicholson (Margaret Sheridan), Dr. Carrington's (Robert Cornthwaite) highly competent secretary. Unlike the clunky and stilted cardboard characters that populate The Man from Planet X, the characters have the personality, camaraderie, and senses of humor that are typical of Hawks' filmography and it makes the film a joy to watch.

In keeping with the characters being flashed out as realistic and expert people, to quote my partner, "nobody is a dumbass." Even as Dr. Carrington's attempts to better understand and communicate with The Thing (James Arness) may seem foolish, they are perfectly reasonable for an implicitly ace/aro scientist obsessed with gaining new knowledge whose ego gets the better of him. Dr. Carrigton explains during the dissection of the Thing's arm that the entity seems to be from a planet where plant life became dominant instead of animal life, yet nevertheless seems shocked when his attempts to communicate with the Thing are met with the same violence the alien showed the sled dogs earlier in the film. Either he had not connected that all animal life forms are merely lower order food to the Thing, or thought that his scientific brilliance and attempt at friendship would be well received regardless.

Scientists being treated as impractical, incorrect children in conflict with correct, military men of action has been cited by a recurring theme in sci-fi films of the 1950s by Peter Biskind in his book Seeing Is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties. Given the nature of the Cold War politics, nuclear fears, and the United States pushing for heteronormativity after the gender role upsets necessary to engage in World War II, Biskind viewing sci-fi films like The Thing and Them! (Dir. Gordon Douglas, 1954, USA) as ideologically conservative is not an incorrect read. However, his way is not the only way to interpret these films; especially if you are not trying to make an overarching argument about a decade's worth of cinema.

Part of the appeal of The Thing is the same to me as Star Trek. My partner and I even commented on how the core plot (a militaristic group needing to protect a group of research scientists from a hostile alien) and character dynamics were proto-"Sass" Trek, as we often refer to the franchise, due to all Starfleet officers apparently having to meet a minimum sass requirement to serve. The less obvious narrative aspects The Thing has in common with Star Trek however is its respect for expertise, techno-babble, and practical, humanitarian underpinnings.

The first two are especially apparent amongst the team of scientists. Each one has discrete specializations, and is called upon to use them to interpret phenomena related to a crash landed extraterrestrial spacecraft, including its surviving passenger. In other sci-fi films, and not just during the 1950s, the scientist characters are often depicted as experts in all or multiple unrelated scientific disciplines. When such characters pop up, I am apt to quote Carlos the Scientist from an early episode of the podcast Welcome to Night Vale: "I'm a scientist. I study science."

The nature of expertise and experience translates into how the non-scientist characters are depicted and treat one another too. Captain Hendry (Kenneth Tobey) does not berate or question Tex (Nicholas Byron) the radio operator when the weather interrupts service, as some men of rank might a subordinate. Nikki's assessment of Dr. Carrington's personality and concerns about what the existence of extraterrestrials are taken seriously, not dismissed amid cocky sexism. Everyone clears the way when station nurse Mrs. Chapman (Sally Creighton) steps up to administer first aid to a victim of The Thing. The frustration that Scotty the journalist (Douglas Spencer) endures at not being able to put out his story about what's happening at the station is treated respectfully, and fully enabled when it becomes safe to do so. Despite frequently being positioned as opposing Captain Hendry, Dr. Carrington's knowledge or scientific findings are not questioned, just his lack of regard for the wellbeing of others. Individuals and their unique skill sets are prized, but so is community and general welfare, which is the dynamic that governs Star Trek crews, as well as any functional Dungeons & Dragons party.

The Thing is conservative in its plot, seeking to resolve itself by as close to a status quo as it can, and with the formation of a heterosexual union between Captain Hendry and Nikki. The dynamics in the universe where The Thing takes place are more egalitarian and good humored than the universe that Biskind delivered his criticism from. Although, The Thing is far from progressive: none of the scientists or officers are women, and the only non-white person in the film is Lee the Chinese cook (Lee Tung Foo). Still, its lack of explicit sexism and universal dignity allotted to its characters stands out relative to other films of the 1950s.

As iconic as the shot of the party investigating the downed ship forming a circle and the combat scenes with fire or electricity being used on the Thing are, it's the characters that endears The Thing to me so much as a movie. It's the quippy wingmen, kinky secretary and misanthrope lead scientist that draw me back to it again and again.