#ostensibly i have it better than a lot of others

[lucyvaleheart]

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[giantkillerjack]

Hey anyone else remember the episode of Adventure Time called "Evergreen" where it's revealed that the original bearer of the crown to whom it was "forever linked" was actually a neglected child (and prior reincarnation of Finn) named Gunter trying to be like his wizard father?? Anyone??? Because I had fully forgotten until re-watching the episode last night and I'm losing my mind about the implications.

(This episode is also a devastating look at how a mistreated child unconsciously learns that he must treat himself and those he has power over as cruelly as he has been treated. Adventure Time has so much sadness and madness, y'all.)

[occamstfs]

Roommates’ Trivial Tiff

Pretty standard nerdy asshole to himbo TF, who doesn't love some cosmic justice ! -Occam

“You just don’t understand what it’s like dude. You have no idea how hard all this stuff is for me.” Brock was struggling to get through to his roommate, someone he has time and time again been more than cordial with. In response Harvey scoffs and rolls his eyes refusing to engage and instead doubling down, “I’m sure it’s real difficult with all your paid tutors and your-” 

“You’re not even listening bro! You like to think you’re so elevated, like you have all the answers but you don’t even try to understand what anyone else is going through.” Harvey grimaces and briefly tosses about whether or not this is true but stubbornly neglects to internalize the criticism, “Uhh, I do too?” Brock bites his tongue to prevent just blowing up at his roommate and instead he tries a different angle, “Oh yeah? If that’s the case then, bet you know a lot about me huh? Since we’ve been roommates for a year now,” pausing as he narrows his eyes briefly at Harvey, “and ostensibly we’re friends right?”

Harvey struggles not to display his ever present irritation as he retorts, “Of course we are, uh, dude.” Brock does a better job hiding his intentions as he issues a challenge, “so if we were to say, quiz each other you think you’d come up on top lil dude?” With this gauntlet laid there is little recourse in Harvey’s mind but to accept it, there are few times he enjoys showing off so much as in a trivia contest. So what he might have a less than pristine record of respecting oafs like his roommate, he is certainly not to lose in any battle of the wits regardless of topic or stipulations there may be.

Brock puts out his hand and states the stakes, “You can of course bow out whenever, but uh, how about every question the winner takes something from the loser?” Harvey was resolved to win before hearing the terms and is now spitefully even more eager now as he eyes Brock’s side of the room looking for whatever his prize is sure to be.

Without any further clarification Brock promptly launches into the game, “I guess we’ll start real easy yeah? Only fair.” Harvey feels resentment start to brew as he feels he’s being talked down to as Brock goes on, “For starters then, What’s my major?” Harvey audibly gulps and feels his face blanche as he scrambles to find such an incredibly simple answer. This is such an obvious and pressing piece of information it would be impossible not to have it on deck.

Seeing the hesitation Brock laughs incredulously, “God dude are you kidding? How could you not know this, I-” He shifts his jaw waiting for the second shoe to drop as it is suddenly clear he is about to clean house, this asshole is going to learn respect by hook or by crook. Harvey’s eyes that were just hungrily looking through Brock’s possessions now retread their path, searching for the answer, his eyes linger on some sports bandages and protein powder and he kicks himself for forgetting. “Well duh dude, you’re doing a sports medicine or a trainer degree or whatever. Sorry that I forgot what the proper name is, it’s not exactly high in the list of things I need to know.”

Brock stares down at the clueless nerd before him and slowly shakes his head. “Not even close Harv. It’s-” Before he can finish though Harvey stands and shouts, “Don’t fucking call me that! I bet you don’t know mine either!” This leaves Brock aghast, he crosses his arms and narrows his eyes, “Of course I fucking do! You never shut up about it! I’m lucky if my headphones can block out you whining about homework while also constantly talking yourself up! It’s so, fucking, annoying!”

Hurt by this despite his typical apathy to others Harvey starts up once more, “Okay but you didn’t say-” “Computer Engineering.” Harvey blushes in shame, not over his disrespect but of getting the question wrong. Suddenly there’s a hum in the room and the shadows in the corner grow darker and Brock looks around, “Well I suppose that question really tees me up on what to take huh? I’ll take your major.”

“Wha?” caught on the other foot Harvey blinks and sees that his textbooks and assignments are suddenly piled on Brock’s desk. He feels anxiety rise in his chest unsure of what has happened though confident this must be a prank or something. “No no no that can’t be right? What is happening?” He then returns to look at his roommate once more, a scowl plastered on his face as Brock who, despite his impressive stature always aims to present as kind and gentle, cannot help but smirk as he feels he has gotten one over on this jerk.

He stretches, exposing his midriff and flexing  his arms behind his head, perhaps to try and allure or intimidate Harvey, he’s not sure, but Harvey is not going to just take this sitting down.Though at the present, he is too uncomfortable to even vocalize his discomfort as he stands there trying not to shake. Instead Brock begins once more, “Urgh kinda see what all that complaining was about now Harv, kinda got a lot on my plate now hah!”

Harvey stares daggers at his roommate, “Brock I don’t know what kind of nonsense is going through your dumbass ox brain. But it’s not funny, I’m sure you’re used to bullying little g-”

“Excuse me? I’m a bully!? I know you’re not saying that, I go out of my way to be kind, even to little chip on their shoulder assholes like you. I just,” Brock takes a deep breath and flexes his jaw before he continues. “It doesn’t matter actually. I trust you have a vested interest in trying again though right? Surely you want your major back?”

At the moment Harvey is caught between the idea that this is some kind of Christmas Carol-ass dream where he’s supposed to learn a lesson or once more that this is just a prank by Brock. Amenable as he’s always been, Harvey's convinced that behind this lunkhead is the vitriol of the typical jerk jock. In this impossible chance that this is reality though, he can’t just give up his major. He needs it to be an, uh? God what was, no what is his major anyway? 

Harvey looks around in shock as he suddenly can’t bring his current course schedule to his mind, but he was literally in class this morning right? He feels his coursework draining from his mind as fear and rage begin to rise in his frail body. Images of lecture halls and professors flash through his mind before they just as swiftly dissipate, somewhere within him deeper than memory he feels that he was studying something with numbers. Mathematics, physics, engineering, something he was good at. He is determined to get that back as he speaks up finally, “What is the next question.”

Brock smiles and toys around in his head, confident that he will end up on top. “How about you pick this one, give you a fighting chance.” Harvey purses his lips and struggles to produce a question that he knows the answer to that his roommate will not. Oh duh, he’ll just ask him a math question, easy! Certainly not the aim of the game but Harvey just needed to get his life back. “What’s a derivative.” 

“Kinda not in the spirit of the game dude but whatever. I took calc you know. It’s the rate of change in response to a variable. Now since you’re still being an ass how about I lob one back? How about you derivative 𝑓(𝑥)= 2cos⁡(𝑥)−6sec⁡(𝑥)+3?” Harvey is flat stunned, this is some entry level shit but he cannot for the life of him bring the information to mind. He’s just as sharp as he always has been but anything beyond rudimentary trig is continuing to trickle out of his mind. He meekly chuckles out, “uh easy, it’s f(x) equals, uh tan-”

There’s a blaring in his head as both men are aware of his immediate slip up. Energy once more rises in the air as Brock looks down almost pitifully at his roommate this time. “Now I am sorry for this Harvey but, oof that course load! Like you so relish to say, I am just not that bright hm?” Harvey shakes his head as he realizes the horror about to occur. Brock looks a little uncomfortable as he continues, “After failing to pull your little gotcha, I think I’ll just go ahead and have your intelligence.” 

Both men are instantly struck with headaches the likes of which neither could endure under normal circumstances. As soon as the pain arrives though it is converted into a deep profane pleasure. Pins and needles fill Brock’s mind as it becomes heavy. Ideas and understanding fill his mind as a euphoric warmth flows through him. Harvey had enjoyed learning without truly lifting a finger, he had flourished and gained knowledge through no effort on his part but simple absorption. Brock is overcome with the ease at which he will now flow through life. Equally is he overcome by the ecstasy within his body as it only continues to heighten.

Opposite him Harvey clutches at his head as now not only do his learned experiences at university vanish, but all of his capabilities as a student and academic. Even the pleading within his mind slows down as he feels his ability to swiftly process information breaks down. Harvey turns from the man across from him as Brock’s hands feel up and down his musculature in rapturous delight, just in time to see whatever books and tomes he had collected as trophies begin to fade into the aether along with his memories of reading them. He looks down at his hands in confusion and horror, even with his unaddled mind at full steam he could not make sense of what has befallen him. He knows this is not right.

He is unable to find any answers, though as he searches his brain he begins to find a pleasant warmth in the vacuum where there once was knowledge. While his mind has been emptied, the bulge in his crotch demands his attention, which shall likely be a constant issue now that his mind shall evermore be less than preoccupied. He feels his mouth start to fill with drool as he looks down at his cock as it almost feels larger than it should be. He almost laughs at the idea that from now on he may fully be thinking with his cock. He opens his mouth allowing drool to spill out which shocks him back to sense and he turns around to demand that Brock return this all to sense immediately.

Brock for his part is reclined in a chair just rubbing his cock over his shorts almost forgetting about what they had been doing not seconds earlier. He laughs as he sees the expression on Harvey’s face, “Woah dude sorry about that, got lost in my own mind for a second there! No wonder you had, or have rather, such an attitude problem. It all just came so easy to you didn’t it? I mean we could keep going if you want, what else do you have to lose yeah?” Harvey wipes the drool from his face and takes stock, he can still read, he is pretty confident he still passed high school, he remembers his life before whatever hell is currently happening as well as whatever this new reality is. He nods his head and pushes his erection down as it continues to rise upon seeing his roommate’s cocky repose. He answers, “let’s keep going. Your question right?”

Harvey can’t help but trace Brock’s traps as he shrugs, “If you insist lil bro. What’s my middle name?” He knows this one for sure, he would bring it out to tease his roommate as needed. Brock slams his arm down in excitement and shouts, “fucking Laurel!” then he recalls this is only half the battle, Brock must also get his wrong, “what’s mine?” Brock smirks once more and laughs as he stretches to scratch his back, his roommate hungrily staring, “you don’t have one dude”

The energy rushing between the two men is drastically different this time. Unlike the pleasurable prickles of knowledge or the soothing burn of loss there is a direct, deeper connection between the two. Brock’s grin grows wider as understands, “Oh I getcha, question’s a tie so we share the spoils Harv. Only fair that since you’ve the mind of a what, meathead? May as well have the body of one.”

Harvey watches as his roommate takes off his shirt, he feels a warmth in his chest as he stares directly at Brock’s pecs. His breath catches as he watches his roommate flex them and he feels a nervous energy begin to surge within his own. He’s never had pecs before but he feels his chest pushing, growing, into his shirt. He sees his nipples harden and grow too large to ever hide as his chest expands. His swallows to stop from drooling once more as he sees Brock pose and flex his massive biceps, forcing a burning delight down the whole of Harvey’s arms. He matches the pose of the powerful man he has spoken nothing but ill of and flexes, sweat immediately staining through his shirt as the energy and strain heats his body beyond reason.

At the same time both men drop into a crunch, there is a loud tear as the pants of both men tear as they reach the lowest point in the crunch as Harvey’s ass bursts larger and his thighs swell with strength well enough to carry his increasingly top heavy torso. Not only is Harvey to gain the muscle of a tight jock, but the masculinity expected. The cock he has been til now proud enough of pulses with his heartbeat, with each pump it gorges larger, veins thick as the ones surging down his biceps force his cock thicker and further down his strained shorts. He tears at his pants to free his bulge as his balls bloat to the size of eggs, they pull tight ass they’re exposed to the air and all the soreness, strain, and pain of his still growing body becomes agonizing delight.

Harvey’s eyes water as he struggles to even stay cogent with the pleasure and power coursing through him. He smells his new musk breaking through his senses. Through the burning bedlam across his body he feels a soothing burn as hair begins to sprout and thicken where every man should make clear his masculinity. His pubes thicken and curl beyond his waistline and his pits grow wild and begin to spread to make it clear they, nor his musk, can ever be contained.

He lies, sits, writhes, flexes, exists in nothing but pleasure for some time, no longer concerned for his lost intelligence, beyond the care of his education. His hands, larger and painted with still thickening hair, press tight against his body as he feels the new contours of his body. Each new valley and mountain is a testament to the ecstasy he shall now prioritize above all. Until his roommate’s voice breaks through the haze, “Fuck bro you’re really feeling yourself huh?” Harvey’s eyes open to see Brock’s arrogant sneer has only grown worse as he has contendly watch Harvey lavish his new corpus.

Harvey meets it with a scowl and Brock tilts his head, “Want to do one last question then, bro?” His smile grows tight as he tries not to laugh as the appellation of bro has become the paramount definition of this once genius. Harvey just nods his head, still understandably disoriented as he lies in a pool of his own sweat and pre that remains dripping directly onto the floor. Brock motions for him to ask whatever the presumably final question is but is met with a grunt and a wave of the hand. Brock grimaces slightly, “if you insist bud,” he grimaces slightly as he looks down at the man. Asshole he may have be, may still be even, surely there’s something Brock could do to fix even that. He leans to whisper the question in Harvey’s ear, “what color are my eyes.” 

Between grunts, Harvey strains to look at his roommate only to find them obviously closed. His body contorts with pain and pleasure as he feels the throes of defeat and one final lose begin to seize him. He groans out through clenched teeth as his jaw widens and his brows thicken as changes already begin to work upon his mind, “don’t… know…” Brock nods and sits next to his roommate laying Harvey’s head on his lap. At the point it would be a kindness for the man to forget his life before, and that is exactly what he is to do. 

Brock removes the memories and identity of the sour nerd that made life perpetually unpleasant not only for him, but anyone unlucky enough to grace his presence. His breathing speeds up as his body heat rises beyond imagination, sweat turning to steam in the cold dorm room as he shakes his head and clenches his fists. He writhes only briefly, each flex of his body a final protestation of Harvey as Brock erases even his name from his head. 

After a minute of this his body goes still before he opens his eyes blearily and groans. Still lying in Brock’s lap he stretches his arms, turning to smell his impossibly rank pits before turning it into a flex as he must do anytime he raises them. Brock watches this with trepidation, unsure of who exactly his roommate is to be now before suddenly a name surges into his mind, Bull. Perfect fodder for the jerk he once was and an apt name for the behemoth lying on his lap. Testing the waters Brock pats his chest to wake him up, “Morning Bull.”

He yawns and scratches at the same stubbled face he has always known and he sits up, “urgh got a massive headache bro, must have gone pretty hard to have a hangover this bad huhuh! Wanna go grab brekkie and hit up the gym?” Brock stifles a smirk and helps his roommate up to standing, slightly surprised to see him standing taller than himself before responding, “You got it big guy, how about you get some clothes on first though right?” Bull guffaws, looking down at his hairy sweat-drenched body as he throws an arm around his roommate, cock bobbing around in the open air, still chubbed up. “What would I do without you bro huhuh!” 

Brock looks to see all of Bull’s tops have changed to stringers and tanks. Where Harvey had nothing but pants Bull has piles of unwashed athletic shorts, one of which he promptly throws on, going commando. Seeing Brock watch him, Bull grabs at his crotch and juts at the door, “Come on bro! Faster we get a pump in faster we can get back here and have some fun dude.” 

With that Bull again throws his arm around Brock, once more smelling his b.o. as he almost deliberately spreads it on his roommate’s neck, like an animal marking its territory. The two then off to start their day, in Bull’s mind as they always have. Brock feels his crotch grow weightier as the amble down the hall, unsure if he’s made a horrible mistake in all this. Who is he to say what is too far in acts of cosmic retribution. Brock is certain at the end of the day he and Bull are at least to have quite a bit of fun.

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[bostova]

something I learned about whilst doing sex work, that I probably wouldn't have learned otherwise, is how uniquely awful it is for everyone involved (imo) when you put a person on a pedestal. like, when you raise another person above you, you are lowering yourself, always.

the supposed praise that you give a person when you tell them that "i wish i had your x,y,z" or "i hope one day I can be as etc. as you" or even "you are such transition goals" and so on, is actually just creating a distance between the two of you that you feel is near uncrossable, and so you isolate them in the process.

a couple of times from a couple of people this might be fine, but once this starts happening on a larger scale, the sense of isolation really starts to wear that person down and then they are left with a couple of options.

they either adopt a god complex and start believing they *are* better than other people, and they never dare to look down in case they realise how much further they have to fall than everyone else.

Or they just don't respond at all, and the people call them rude and lose interest in them. they can try and correct those people if they like but people tend toward celebrity worship and love the idea of there being people out there who are better than them in some almost out-of-reach yet tangible way (musicians, actors, porn stars, star athletes, billionaires, royalty, saints). Odds are high that if it's not that one person, the obsession will just shift to someone else.

The thing about this kind of deifying behaviour too is that a lot of people don't realise they are doing it. they don't notice that they are poking holes in their own self-worth and scraping away layers of self-esteem in the process of raising someone (who is ostensibly just another person like them) up to the heavens.

someone told me recently that i "need to be better at taking compliments" and first of all fuck you don't tell me what to do, and secondly, is a compliment worth taking if it makes you feel more alone than you did before you heard it?

[lisafication]

This post is uh, extremely normal I swear

So hello yes I am absolutely On My Bullshit regarding my new favourite game. 

That’s right, it’s the cannibal incest game, The Coffin of Andy and Leyley. And I’m here to shove five thousand words of pretentious analysis down your throat because, and I do not exaggerate, I think it is one of, if not the best written game I have ever played. And I have played a lot of games, including Baldur’s Gate 3, Final Fantasy XIV and Undertale, to name a few narrative luminaries to come to mind.

That wordcount is not an exaggeration. My brainworms are extremely powerful and now you can share them with me as I walk you through my insane skyscraper of inference-driven analysis.

Or you can click away. I really wouldn’t blame you, it’s quite a lot.

Content Warnings: …Yes?

(To drop the bit for a moment, The Coffin of Andy and Leyley covers extremely disturbing material and challenges you to examine aspects of living in this world that many have taken for granted all their life, it is not a comfortable game, this will cover similar topics and will often echo the game’s unremitting scepticism on basic principles of society and humanity and you should look after yourself first. My Content Warning is framed as a joke, but it’s also quite real in that the game is designed to make you uncomfortable and there’s no shame in that not being for you.)

This was originally posted on and formatted for Sufficient Velocity, and you can probably more easily read and discuss it with me here.

With that said, let’s dig in. I have had to split this into multiple posts because tumblr will only allow so many images. There will be spoilers for all endings.

She’s excited, are you?

It’s All About Ashley

It really is, isn’t it? I mean, for approximately eighty percent of the total game as currently released and the entirety of Episode 1, you’re in control of Ashley, just as she’s in control of her and Andrew’s relationship for 80% of the game, up until the various ending sequences where it begins to slip. The only other characters who really matter at all in and of themselves are Andrew and her mother — and the former is under her thumb, and she eats the latter. It’s all about Ashley. Even her obsession with Andrew is, ultimately, about Ashley.

But who is Ashley? What is Ashley? Why is Ashley, even? Let’s take a look.

Ashley as presented to us in Episode 1 is very straightforward, so let’s list off the traits we’re given — she is malicious, she is fearless, she lacks empathy, she doesn’t have anything resembling a conscience, she demands Andrew belong to her and her alone, she has him at her beck and call.

In Episode 2, we’re ostensibly shown how she has him at her beck and call— she leverages the threat of reporting Nina’s death over him and had him swear to be with her forever. We’re shown that even as a child she was “just, like that” — but as a child, she hadn’t learnt to live with it yet, to laugh at the farce of it all.

Yeah, exactly like that!

And she does this throughout Episode 1 — The Coffin of Andy and Leyley is a remarkably silly game much of the time, finding moments of absurdity and levity against a backdrop blacker than pitch — and most of the time, your internal narration is coming from Ashley and the jokes will not-infrequently come at her own expense.

She will later get negged by her human sacrifice for her poor ritual circle drawing

Her reaction to being told that her soul is as dark and viscous as tar is “You guess you already knew that” — it’s confirmation to her, not new information. Ashley knows who she is. But who taught her this? There’s layers to this, nothing in this game is as simple and straightforward as it appears at first sight, which is why I’ve been obsessing over it for days.

While it’s common in fiction, the truth of the matter is, most ‘bad people’ really do think they’re good people. But Ashley has never once thought of herself as a good person — or perhaps better put as a person worthy of love — as we learn across Episodes 1 & 2, with our flashbacks to Andy and Leyley and the VERY VERY QUIET!!!

I really wish I had space in this essay to talk about this, but I’d like to touch on these being traits usually more easily forgiven in young boys than young girls at some point.

If she removes all other options, only then can she expect him to like her.

This is something that is echoed in the modern day — her seeming self-assurance is easily shaken and she reaches out to the world — usually Andrew — to affirm and validate her, soothing her insecurities, using any tool she deems necessary. Even when her life is on the line when Andrew has her by the throat at the climax of Episode 1, the only ‘compelling reason’ she can give Andrew to not kill her is her ability to soothe his nightmares. When he tells her there are sleeping pills for that…

Most people would have a bit more to argue for their existence.

While she, unlike Andrew, acknowledges having had friends before the quarantine… you know she’s got a point that they didn’t even bother to answer her calls, that was clearly not something the state was interfering with given Andrew’s calls with his mother and his girlfriend, and given her general demeanour it’s not hard to imagine that… they weren’t ever very close. When we see her and Nina talk in the infamous ‘box scene’, it’s clear that Nina doesn’t like her very much, despite Andrew’s assessment of Nina as being one of Ashley’s friends.

We see further support for her general lack of companionship in her dream sequence in the Burial route — Leyley and Leyley Alone. No matter what you do, you can’t place the pink plushy at the family table, the flowers won’t bloom if you give the Julia and Nina plushies her own as a companion instead of Andrew’s — and if you’re bold enough to go for the ‘incest route’, in the ‘Love’ room you see that no one ever looks happy to be with her in the childlike depictions of her history, nor is she happy in turn, save for when she’s with Andrew. In a bit of heavy-handed metaphor, the player then overwrites all of these tense, upset, hard moments with Andrew, having him fill in for everyone else in life — and happy with her.

Once Upon A Lousy Life…

THE END

And that’s why she needs him to affirm her, because no one else ever has and no one else ever will. It’s even included in their comic beats — when the siblings are getting along well, they’ll often play a game where Andrew dramatically overpraises Ashley while she demands more; it’s a comedic bit but I mean — it really does matter to her!

For the record, she opened a door. She gets a little heart in a speech bubble after this exchange.

We have a great example of this dynamic, that of insecurity and affirmation, in Episode 1, after Andrew has killed for her, butchered for her, his girlfriend broke up with her, he’s seemingly thrown his entire life away for her… she’s still insecure over her relationship with him, she’s uncertain of her control and she needs him to reaffirm it for her.

This is her victory, surely?

Andrew affirms her once, with his usual dead-eyed look.

But she's still not so sure.

He actively reaches out to affirm her again with cheer.

Look how happy she is!

While it’s most obvious and clear cut here, it’s hardly the only case. Let’s look back to the aftermath of Andy and Leyley and the VERY VERY QUIET!!! (I’m not using the other name). Leyley is, after similarly extreme acts — he murdered a girl and hid her body for her — convinced Andy doesn’t like her and she needs this leverage to keep him around, to meet her basic needs for survival. Because that’s what this is — she receives no care of affection elsewhere, so she forces it out of the only source she sees available through the means she sees as necessary.

I really hope we see some of their earlier childhood in Episode 3

What exactly made her like this? Was it just neglect, or something more specific…

She needs this to be the case because otherwise she doesn’t believe he’d stay.

This pattern repeats throughout — Ashley’s insecurities are hit on and she reaches out to Andy to affirm that she is not alone, and she will use any and every tool to exploit her ostensible control over him and force him to be what she needs him to be — and as long as she has that, as long as she is everything to him and it’s not possible for him to leave, she’s happy. As long as she thinks he loves her in her very particular, very peculiar view of love, she’s content, come what may. As long as Andy and Leyley are together, they can take on the world.

Let’s talk about that view of love, because there’s always more layers to unpack here I’m only scratching the surface with this essay — Ashley consistently refers to anyone else Andrew may have befriended or spent time with as a whore, a slut, a bitch — highly gendered insults that bring to mind the idea that he’s cheating in some way. But it’s not even about sex — when Andrew mentions that their parents had friends, she accuses them of cheating on each other in the same way!

There’s a lot to unpack about Ashley’s view of femininity and the role the patriarchy plays in their relationship.

Any kind of emotional engagement, any kind of commitment, any kind of life outside of your significant other is, to Ashley, cheating. Because that’s what she needs from Andrew, a seeming complete and total commitment, secure in her place as the only thing in his life, because she cannot understand anyone picking her if they have a choice.

This insecurity she has in her relationship is what drives her to empower the trinket — he can’t leave her as long as she can protect him with prophetic dreams, after all. She needs every kind of leverage she can get because until she succeeds in being everything to him, in devouring him so completely she has him in her thrall mind, body and soul she can’t be sure of herself — hell, her dream sequence in Burial has you placing Andrew’s signature green plushy, ‘the best thing in the world’ in a cage far away from anything else.

Ultimately, it really is all about Ashley — even her seeming obsession with Andrew ultimately comes back to her own insecurities. If she is everything to ‘the best thing in the world’, some of that ‘best’ must surely reflect on her! 

But that’s enough about the more normal, straightforward and understandable sibling. 

That was not a joke.

Andrew’s Rank 100 Deception

The greatest trick the Devil ever pulled was convincing the world that he did not exist.

Let me explain.

You might have noticed that in the previous section I often use language such as ‘ostensibly’ or ‘seemingly’ to describe Andy and Leyley’s relationship, and there’s a good reason for that. From the beginning of the game through to its end, Andrew is lying to you, the player, without ever falsely representing or misinforming you about events that occurred.

The common, or obvious ‘initial take’ on Andrew as presented in Episode 1 is fairly straightforward. The game primes you to think this way, it frames things and strings reveals just right so as to make it very easy to overlook the incongruities it introduces in Episode 2. He’s a victim. Plain and simple, Ashley is his abuser and he is her victim and would be fine, a normal albeit kinda depressed guy without her.

It really is not a difficult conclusion to draw

You can go all the way through the game, have him try to accept his mother’s olive branch and enter the Decay route as a method for him to finally actualise his desire to get out from Ashley’s thumb and it makes sense, it’s a reasonable way for the story to go, given his character.

You see him this way because the game primes you in Episode 1 to view their relationship like Andrew does — he’s lying. He’s lying to himself, he’s lying to Ashley and he’s so good at it — Deception Rank 100 — he even lies to you. Without misrepresenting a single event or otherwise misleading you directly, the game gets you to buy into his preferred self-perception. Nina? Ashley. Julia? Ashley. The murders they commit in the course of the game? Ashley, Ashley, Ashley, it’s not his fault he’s not to blame he’s just a doormat at the beck and call of his demonic sister.

But he wants to be there. From the very outset, the very first puzzle, that’s made clear. Does anyone else remember this exchange, from right at the beginning of the game?

Ashley wants to investigate the music!

Andrew disapproves…

…Or does he?! 

Like. Listen. Okay. You do not frown when saying ‘Nope’ and then smile when saying that you’ll instead tag along if they do it if your heart is at all in the no. That’s not an objection, that’s using Ashley as his excuse. Especially if you immediately throw her the balcony key that she could not possibly have gotten from you by force (more on Andrew’s ability to use force later).

This is the very first time you control both characters together with Andrew following Ashley instead of off on his own, the first adventure, the first puzzle! 

But put a pin in that for now, let’s talk about his initial framing in Episode 2 first. Episode 1 has set us up to, generally speaking, believe the superficial framing of the siblings as portrayed in its promotional art:

The question that we then ask, right at the heart of it is… why is he a doormat? We explore this in his dream sequence in Episode 2, which does make it clear that the boy’s not okay but— it’s real easy, given the priming from Episode 1 to make you think that he’s the one with the originally functional moral compass, to think that that him being fucked up is damage done to him by Nina’s death and being bound to Ashley for his entire life. She corrupted him.

But, well, is that the case?

You're primed to ignore this as manipulation (which it is) but the best manipulation has some truth to it.

Precisely two things spur Andrew to action in the entire game, consistently — they are the fear of consequences and Ashley. And the first incident of that fear, the very first time we’re shown his seeming moral compass as a kid — the first time it’s really hammered home that it’s a fear of consequences rather than any true moral qualms is after Nina’s death. And why does he fear consequences here?

……

The ‘natural’ read that many take away from this sequence, particularly those who have only played Decay, is that Ashley browbeat him into doing this against his will, using emotional blackmail to overwhelm his objections, and then used the event itself to bind him to her forever as her personal doormat.

In a strict sense, this is true. But this doesn’t match up with the details, something the game uses shock to encourage you to overlook. That outburst is before any kind of threat has been made, and absolutely nothing either of them say anything about it being morally bad until Ashley weaponises ‘you’re a bad person’ against Andrew — morality didn’t seem to enter his mind or the equation at all until Ashley brought it up. More than that, his greatest fear and driving motivation even prior to that is, as shown above, being taken away from Ashley.

She, of course, recognises this and uses it against him. But she never needed to, it didn’t change anything about Andrew’s attachment to her, it was there to address her own insecurities.

Just like to touch on how a lot of his affirmations are preceded by him confirming her insecurities.

I adore this phrasing

There’s a second prong to this as well, to the question of ‘who really calls the shots here’ because — Andrew can, at any stage, apply an ‘ultimate veto’ of physical violence. The game is very clear to the player that that is on the table — even when they were children, when Andy swears their blood oath, he briefly considers killing her — and take note of how he ultimately got a ‘winning’ condition out of her by not specifying there wouldn’t be others and she is forced to accept that, there. Even outside of their most serious confrontations, Ashley is portrayed as having to convince, manipulate or otherwise coerce Andrew into going along with her schemes — she really can’t make him do anything, she doesn’t have the supremacy in violence and, to a lesser extent, capability that would allow her to. 

Andrew, you are like ten years old.

The truth of the matter is, Ashley can only make Andrew do anything because he lets her. I don’t mean in the sense that I’m saying abuse victims let their abusers emotionally abuse them, I mean in the sense that he is clearly considering his options on the table and choosing to discard those that could stop her, or bring an end to any of this. He needs her.

But it’s true that he hates her, too. He has to hate her, because if he doesn’t hate her, if he isn’t forced to have done this, that means… he’s responsible. And nothing, at the start of the story, is as important to Andrew as avoiding the consequences of his own actions, not even Ashley. By the midpoint, he loves her, he hates her, he can’t live without her, he wants to kill her — by the end… well, that depends if you’re on Decay or Burial, but more on that in a bit.

A great scene to study for this dynamic is the climax of Episode 1, when Andrew grabs Ashley by the throat and considers strangling her to death. She’s pushed him too far with hurtful words and assault, and he’s seemingly had enough.

It’s still framed as a question of risk, of consequences happening to him. 

Like, this is not the usual behaviour of someone who’s been pushed past their breaking point.

He tells Ashley that he wants to kill her, because she’s just going to throw another fit and that’s a risk to him. She is… not framed as being able to fight back (she does have a gun here, and more on that in a later essay, maybe). He’s so calculated in how he approaches his use of violence here, which isn’t at all what you’d expect of someone about to commit a crime of passion… but it’s very easy to overlook because of the abuser/victim narrative that the player fits his behaviour into the narrative that the game primes them to accept, brushing incongruities under the carpet.

At the start of Episode 2, we get to control Andrew for the first time, and the first obvious holes in his cover start to show. Some of this is optional — you only learn that he’s been faking having nightmares in order to share a bed with Ashley if you choose to go back into the motel room and check the bed, for example — but not all of it.

----(See reblogs for the second half)

[illdowhatiwantthanks]

Not really a request, at least not a super detailed one but, anything with Rosa Diaz x autistic reader would be amazing!!

Maybe R drops off some lunch or something for rosa and meets the rest of the squad or smth?

In general i am in love with your autistic!reader fics. Im currently in the process of being diagnosed with autism, and its just really rather comforting to see myself in a reader insert

-Ara

Hey, Ara! 🥰 So glad you enjoy the autistic!reader fics! They are some of my favorites to write. I was just diagnosed about a year ago, so it's still new-ish for me, but I also find a lot of comfort in the autistic reader inserts. Hope this is what you're looking for, and best of luck with your diagnosis process! Feel free to reach out if you need a fellow autistic pal to talk through stuff with! 💕 –illdowhatiwantthanks

A Little Lunch

Rosa Diaz x autistic!fem!reader Warnings: explicit language, overstimulation (the autism kind), established relationship (let me know if I missed anything!) Word count: 1.4k

Summary: People aren't your forte, but you told your girlfriend you'd have lunch with her at the precinct, and so you will. And it goes... surprisingly better than expected.

You took a few deep breaths outside the precinct door, sandwiches from Rosa’s favorite shop in hand. You’d never visited her at work before, never met her coworkers. People weren’t your strong suit. But Rosa had asked you. She didn’t ask you for much. She liked to keep her work life separate from her personal life, for the most part. And the fact that she wanted you to meet her squad? Well, you couldn’t let her down. You wouldn’t.

The overhead lights were bright, and the general office noise was overwhelming when you stepped inside. You lurked in a corner, trying to acclimate yourself, trying to survey the room and find Rosa and calm yourself down so you could have a nice, normal lunch with your girlfriend.

You jumped a bit as a woman in a rolling chair slid in front of you, hands pressed together over her waist.

“Is that my Panera?” she said, staring at the bag in your hands.

“Uh… no.”

The woman stared at you for a moment, and you shuffled uncomfortably under her gaze and felt the need to provide a reason for your presence.

“I’m, uh… I’m here to see Rosa. Diaz. She's a detective. Do you know where she is?”

The woman’s face lit up. “Ohhhh… interesting. Did she order Panera, too? Great minds.” She held out your hand for you to shake, so you did. “Gina Linetti,” she told you. “Dancer, secretary, genius.”

“Gina, stop tormenting my girlfriend!”

You’d know that voice anywhere. You visibly relaxed as Rosa walked into the squad room, placing a strong, protective hand at the small of your back.

Gina held up her hands, as if in defense. “Sorry, Rosa. I thought she was Panera.”

“She’s not Panera,” Rosa growled. “She’s my girlfriend, and we’re eating lunch, and you’re leaving us alone.”

Rosa took your hand and led you through the precinct, into a break room scattered with tables where, alone and away from prying eyes, she planted a gentle kiss on your cheek.

“You okay?” she asked softly.

You nodded and held up the bag of food. Rosa gestured toward the table and went to grab napkins and, for neither the first nor the last time, you were grateful that you often didn’t need words with Rosa. You were comfortable in one another’s silence and, for you, this was life-changing. Your words were one of the first things to go when you got overstimulated, but Rosa never seemed to mind. For this, and for many other reasons, you loved her.

But you’d barely started on your lunch before people started trickling into the break room: Jake, Amy, Charles. All ostensibly eating lunch, too, even if they’d already taken lunch, even if all they had was a bag of chips from the vending machine, as Jake did.

“So, Y/N,” Amy started. “How did you and Rosa meet?”

Rosa jumped in before you forced yourself to say anything. “Hey,” she spat at the group crowding the table next to yours. “When I told Y/N she could meet me for lunch, I meant me. Not me and half the squad. Scram, losers.”

You gave a little half wave as they slunk out of the room, smiling a little as Charles mouthed off to you behind Rosa’s back: “We’ll catch up later!”

“Sorry,” Rosa said a few minutes later. “I know they can be a bit much.”

You shook your head and squeezed her hand, able to find your voice again. “It’s okay. They seem nice.”

“If by nice, you mean fucking crazy, then yes.”

A knock on the doorframe. At first, Rosa seemed annoyed by the interruption, but when she saw that it was Captain Holt she looked almost… proud?

“Captain,” she said, rising from her seat and nodding at him. She gestured toward you. “This is my girlfriend, Y/N. Y/N, Captain Holt.”

You moved to stand and shake his hand, but Holt stopped you. “Oh, no, please.” He sat down next to you, and Rosa seemed comfortable with him, so you decided that Captain Holt was someone you would like. “It’s lovely to meet you,” he said.

“You too,” you replied, trying not to let your voice shake too much. You tried to think of something to say, tried to think of a topic of conversation, but you were floundering. Your voice was hard for you on a regular day, even sometimes with people you loved, like Rosa. You just couldn’t manage to force anything out. You felt your cheeks growing red. You hoped you weren’t embarrassing Rosa.

You couldn’t have said all this to Rosa even if you’d wanted to, but Rosa always seemed to get it anyway.

“Y/N, Captain Holt and his husband are going to the symphony tonight. I told him that was one of your favorites, too.”

You lit up. Thank you, thank you, thank you, Rosa, you thought. You loved the symphony. She was right; it was one of your favorites. Despite Rosa’s general indifference toward classical music, she’d gotten you both season passes for your birthday. She didn’t love the music, but she loved the way your eyes shone when you listened, the way you perched on the edge of your seat like a child. She loved that when she held your hand during the performances, she could tell when you were particularly moved because you’d get goosebumps and the hair on your skin would stand up.

“Oh, it’s John William Weischselbraun tonight, right? Bach’s Oboe Sonata? That should be excellent!”

Holt looked about as excited as Rosa had ever seen him.

“You’re a fan of the oboe, are you?” he asked, eyebrows raised.

“Oh, yes, sir.” You nodded enthusiastically. “I played oboe in my high school orchestra. It’s a severely underrated instrument.”

Rosa beamed at you as Holt reached out to shake your hand. “Diaz....” he said, shaking a finger at her. “She’s a keeper.”

“Yes, sir,” Rosa nodded.

He stared at her reproachfully. “I hope you take this fine lady to the symphony and not just to your rock concerts.”

“She does, sir,” you assured him. “We even have season passes.” And then you had what you thought was maybe one of your more brilliant ideas. “Maybe we could all go together, sometime? Me and Rosa and you and your husband?”

Rosa and Captain Holt stared at each other for a moment, and you were afraid you’d misread the situation terribly. You’d always thought that Rosa liked Captain Holt, at least from the way she talked about him. You thought they were friendly with one another. Maybe you’d been wrong.

You tried to backtrack. “Or maybe not,” you blurted. “Just a thought.”

You couldn’t help but smile at how quickly both Rosa and Captain Holt jumped to reassure you. So quickly that their voices overlapped.

“That’d be great, babe.”

“Now, doesn’t that sound nice?”

Gina rolled in front of the door to the break room. “Captain, you have a phone call,” she yelled out as her chair rolled by.

“Excuse me,” Holt said, standing. He stood, pressed his hand over yours and said, “Truly nice to meet you, Y/N. I look forward to our mutual date.”

When he’d gone, Rosa stared at you. She was smiling. Really smiling.

“What?” you asked, your face reddening.

She leaned forward and kissed you quickly, her hand gently grasping your chin.

“What was that for?”

She tucked your hair behind your ear. “You did really good today,” she whispered. “I know you were nervous. Thanks for lunch.”

You turned an even deeper shade of red. “Anytime. Or, well, sometimes.”

She smirked and kissed you one more time, pulling away quickly as Jake wolf-whistled from the doorway.

“Shut your mouth, Peralta, or I’ll shut it for you,” she growled.

It was always so funny to you to see Rosa with others. So rough, so intimidating. When she turned back to you, she was soft. She was always soft with you.

“I’ll see you tonight?” she asked, squeezing your hand.

You nodded, as you stood to leave, perching on tiptoes to kiss her on the cheek. Your voice had slipped back inside of you for the time being, so you simply squeezed her hand back and let her walk you out of the precinct.

Rosa watched you go, swinging your arms a bit as you walked down the sidewalk, and her heart ached. She loved you so much. Your quiet voice, that was always a gift to hear. Your swinging, fidgety arms. The fact that you loved her so much, so purely. She only hoped she could show you just as much love in return.

[tanadrin]

RE "revolutionary leftists are revolutionary because they know they can't win electorally."

It astounds me a little that there are leftists who think that a communist revolution is more likely to work than, like, fifty years of community-building and electoral politics. Sewer socialism, union activism, and other boring activities have brought much more success in the U.S. than agitation for a revolution.

What I mean is, setting aside the moral concerns (violence is bad, even when it's necessary, and if there are practical alternatives then we should pursue them), I am not a revolutionary leftist because I think we would lose a revolution. For one thing, there is a considerable right-wing element in the country that is much better prepared for this kind of thing, and I think that the majority of the institutions in the U.S. would pick fascism over communism if they had to choose, but also, prolonged violent action is ripe for breeding authoritarianism.

Goatse is concerned that "the party" might "abandon or neglect its primary ends," but what is leftism if it is not, at bottom, an attempt to improve the living conditions of all people, et cetera et cetera? To the extent that social democratic parties successfully pursue this end to some degree, they're better than than an ostensible communist party that talks the talk but commits human rights abuses. And, more than the fact that U.S. leftism has some pretty fierce opposition that would probably fare better if The Revolution happened tomorrow, I think that, even in winning, we would lose, because what came out the other end would look a lot more like Stalinism.

I think one thing the hardcore revolutionaries in OECD countries don't realize is that the reason they can't marshal support for their revolutions is that the socialists won most of the issues that were salient in the early 20th century--workers got more rights, better pay, unions were legalized, etc., etc. But it didn't take restructuring the whole political economy to do it, which is immensely frustrating if you believe that any society without your ideal political economy is inherently immoral and impure, so in order to justify an explicitly communist platform you have to rhetorically isolate it from the filthy libs and feckless demsocs who it turns out have been pretty effective within the arena of electoral politics in which supposedly nothing can ever get done, and treat them as of a piece with the out-and-out fascists and royalist autocrats of the 1920s and 30s.

Which, you know. Is not persuasive to most people! Most people understand intuitively the vast gulf between the SPD and the Nazis; they see that, milquetoast and compromising though they may be, the center-left can deliver substantive policy improvements without the upheaval of a civil war or political purges, and this is attractive to people who are not of a millenarian or left-authoritarian personality.

Which isn't to say that communists don't often make important points! It sucks having to fight a constant rearguard action against the interests of capital rolling back the social improvements of the 20th century, and it sucks that liberal governments in Europe and North America have historically been quite happy to bankroll and logistically support fascists and tyrants in the third world against communist movements (which invariably only exist as communist movements because these same fascists and tyrants have crushed more compromising movements and only the most militant organizations have managed to survive).

But I agree with you: communists also talk a big game about how liberalism is the real fascism (what's that line from Disco Elysium I see quoted everywhere about how everybody is secretly a fascist except the other communists, who are liberals?), while also being awful at democracy. Suppressing dissent because your small clique of political elites is the only legitimate expression of the people's will (which you know, because you have declared it to be so) really is some rank bullshit. A system with competitive elections is still, well, a system with competitive elections, even if those elections are structurally biased in certain ways; all the bloviating that attempts to justify communist authoritarianism cannot really obscure the fact that authoritarian systems are cruel and brittle, regardless of the ideology being served.

[lurkingshan]

I’m sitting here thinking more about the way Great and his relationship with Tyme is being presented in this show and wondering if this is all purposeful. I’ve been discussing with a few friends today how little it feels like we understand Great’s motivations and choices and how little emotional grounding we have for his romance with Tyme. How much is it driven by the rewinds, by the visions, by genuine connection? What does he think of the accusations Tyme has leveled against his family and does he have any qualms about potentially harming his brother by exposing them? Does he have any beliefs about why this is all happening to him? I have no idea and it feels notable to me that we still barely know our ostensible protagonist halfway through the show.

Meanwhile, others have noted that the show is starting to feel like it’s more about Tonkla. He certainly is getting a lot more screen time than expected and his backstory, motivations, and emotions are better sketched out than Great’s. He is also the only other person in the story who has experienced whatever these timeline glitches are, and a lot of what’s happening hinges on him and Dome.

Korn appears to be the only point of connection between Great and Tonkla, and they don’t seem to be aware of each other’s existence, or at least they haven’t met. But when tracking the events in the two timelines at play, there’s always a connection point through Korn that brings them all together.

I don’t really have a concrete theory here, but I am noting these things and wondering whether the feeling that Great, his relationship with Tyme, and the way he’s moving through the story seems off is intentional. Perhaps there’s a reveal coming that will make all of this track, because it seems unlikely to me that the show would accidentally develop a side character better than its main character.

[literalite]

mistki's the land is inhospitable and so are we (2023)!! as edits featuring mine and some of my friends ocs 😁 had a lot of fun with this project... rough explainer of how/why each song corresponds to each character/s under the cut because i love symbolism and talking! sorry it is long

bug like an angel - sapphire

without spoiling too much of her story and arc... sapphire's life is not easy. she's hurt by people she cares for and who care for her, although inadvertently, and in turn hurts people who she cares for and who cared for her, also not by her own volition. it's kind of a terrible truth that you will harm and be harmed by the people you love, even when you and they truly don't want to. it's up to you how much you're willing to take and deal. you can't keep every promise you make and you can't right every wrong. but you have to keep trying anyway. that's sapphire's strength, and the core of her goodness and why i personally consider her one of my favourite ocs. i chose to depict bug like an angel in mitski's more positive interpretation here and in that light i think it works best for saph

buffalo replaced - heiya

well first and foremost the vibes of the song fits heiya perfectly fhgjk but also lyricism and tone... yep. quick breakdown of heiya's background since i doubt i'll ever be able to do it properly she's an interesting character for me because she like a lot of my other characters has lost. everything. she had a wife and a child and they were both killed and she had to leave her home again and again and unlike how some of my others would have taken this she has never flagged in her unwavering dedication to preserving hope. for herself for her people for the future etc etc. which is a very fucking difficult thing to do! the world changes faster than you can keep up with it sometimes but for heiya she will not let herself tire and be swept away in it all. people rely on her. she's a guiding star as much as she is a woman. she's a lover and a fighter and thats what buffalo replaced means to me! so

heaven - vinny and caleb

i feel like of all my oc couples so far they have like. the sweetest most kind of simply mutually trusting dare i say straight forward love. they just love each other so much and thats all. the world could end around them when theyre together and it'd be okay truly. also yeah vinny is ostensibly in heaven now bye angel i feel like this one was pretty self explanatory. me and who WHEN

i don't like my mind - sunny

he just like me fr (said in denji voice) anyways wow ha. unstoppable unending guilt due to past actions that haunt your every waking moment? throwing yourself into any and all distraction just to take your mind off it, filling your time with other shit so that past sin doesnt for once echo in your awful and hollow brain? this song is perfect for sunny honestly just that sentiment also the "please don't take this job from me".... sometimes the coping is worse. you can be proud of something because you can do it better than anyone else even if that thing is terrible

the deal - wolfgang munch by @gunthermunch

Wolfgang Amadeus Munch. umm this will make more sense later on but it still kind of makes sense now i think. he doesn't want to be himself he keeps . leaving and moving and running away from his own memories his own self in reaction to others. if he could pawn it all off he would. if he could be better in an instant without having to feel every agonising second of change he would! but thats not how the world works. or is it. read munch by gunthermunch thats an order

when memories snow - lilian

i feel the older you get the more your past kind of swells up and trails behind you... at least for lilian that is shes very linked to the different versions of the girl/young woman she used to be. for her its a double edged blade, a lot of her own strength is drawn from who she was and what happened to her throughout her life. they haunt her but she's haunting it back in her own way

my love mine all mine - saige, bellona, ari

stares you down okay so usage of this song very much almost verges into spoiler territory but uhm. uhm. starts twitching basically the whole dynamic here is . sometimes when you love you will sacrifice. and while that is usually a good thing sometimes it is not but sometimes it still is. sometimes you pay your dues for love and sometimes someone else has to pay for your love as well. and whether that is worth it to them remains to be seen. but it's all about love still. whether that's a worthy cause is up to you i suppose

the frost - yoshiki and hikaru from hikaru ga shida natsu

fun fact (or not so fun fact since i had it listed as such) this slot was originally meant to be taken up by a gojo/geto edit and while it still works for them frighteningly well i swerved to do another black and white haired doomed gay pairing gfhjkl; i really recommend yall to read hikaru ga shinda natsu/the summer that hikaru died because honestly it speaks for itself! it's SO good i love it so bad

star - ari and luca by @anjitrait

wow these two did not deserve the horrors the narrative (me) slammed down onto their heads. they're kind of the most married of all time to me but like of course under pressure even the strongest most loving of bonds will warp. they've been together for roughly a decade and a half now. they know and love each other as totally as you could possibly imagine. despite it all i am yours, no matter. are we picking up what i'm putting down chat

i'm your man - nayef and sióar by @lucidicer

after the album dropped like at least 3 people swung into my dms with a ?this you?? about this song which. i mean the fucking dogs that start barking halfway through the song. are you kidding me. but anyways sioyef and devotion. sioyef and putting yourself in your lover's hands and looking to them like they are a god. this is super self explanatory. you know

i love me after you - redacted and ophelia

HM.... all i'll say here is that sometimes the homoerotic tension filled high school friendship where both parties have something very wrong with them but in totally different directions can be. scarring. bad. sometimes love just isn't enough when you don't know what you're meant to do with it and when you've lived in survival mode all your life. but that once the dust clears you can scrape yourself off the ground get up keep going and that isn't gonna be the end for you there. or for love, even. sometimes shit just ain't meant to be and thats ok

[polygonal-trees]

Welcome new Transformers fans!

You might have seen this Don't Make Me Tap The Sign meme floating around. Transformers One has been out for a little while now so I want to expand on it as well as some other TF fandom things.

What does "Transformers doesn't have a set canon" actually mean?

Essentially, every new Transformers story is a reboot. They might draw from or expand on concepts from previous iterations but canonically each continuity family is separate. This means all lore is extremely flexible - origin stories, relationships, even personalities can change wildly between iterations and while some may be better or worse than others, they are all equally canon.

For example: Orion Pax was a dock worker in G1, an archivist in Prime, and a miner in TF One. None of these contradict each other.

Continuities also tend to share ideas without being directly connected. For example Transformers One draws from Transformers Prime in multiple ways (e.g. it features Airachnid) but it is not a prequel to Prime and in fact directly contradicts it. Yes I know there's a guy on xitter claiming tfone is a prequel to the Bay movies but he's wrong.

What is a continuity family?

Most storylines include tie-in novels, comics, video games, and other shows that all share the same canon.

The Aligned Continuity is the most well known. It consists of Transformers Prime, Rescue Bots, Rescue Bots Academy, Robots in Disguise 2015, multiple video games, and some tie-in novels and comics. They are all ostensibly set in the same canon... except the Aligned Continuity is inconsistent so even its lore is loose :')

My point is that while every continuity is separate, some shows are connected.

(Sorry if this is confusing. It is confusing. You get used to it)

What about fanon?

The Transformers franchise is old enough that a lot of fanon has become so pervasive it exists in a sort of nebulous space where it feels like it could be canon or at least become canon once enough fans are working for Hasbro but essentially: oh boy is there a lot of fanon

For example: seeker trines, doorwing speak, the Unicron Singularity and all forms of robot sex (sorry) are fanon, but they appear so often in fanworks that it's easy to get confused (I know I do!)

It's safest to assume something isn't canon unless you've seen it in a show (and even then, it may only be canon to that particular show)

Can I mix-and-match in my own fanworks?

Absolutely! It's very common for creators to set a story in one continuity but transplant a character from another, or use a different backstory, or borrow whole plot points from different canons. Chop up that lore and make a delicious continuity soup.

So why is this important?

It is very, very, very, very, very frustrating to be "corrected" about something that isn't relevant, or to see someone critisize a show based on lore that doesn't apply, or to have a character be called OOC when they're not, etc. I think a lot of fandom slapfights could be avoided if more people understood how loose Transformers canon actually is. Do what you want with your own creations but please be mindful when it comes to interacting with other people's.

This is A Lot

You don't have to know everything about Transformers to be in the fandom and have a good time - if you're only interested in TF One that is perfectly alright, you don't need to watch every show and read every comic and play every game to be considered a fan of something.

But if you want to find out more I recommend checking out the TFWiki - it isn't perfect but it gives a good rundown of most general lore as well as details about specific shows.

That's it from me. I hope this is helpful! It's the sort of thing I would have liked to read when I first joined the fandom haha

[feedists4progress]

Food is one of the most universally beloved things on planet Earth. Aligning a presidential campaign with it is smart for all the obvious reasons, but for the Harris-Walz ticket, it’s also a signal. The rhetorical challenge of progressivism is that it is by nature abstract: It imagines a world that does not yet exist, rather than advocating to return to some previous version of the one we know. [...] In foregrounding food, Harris and Walz are making theirs the candidacy of terrestrial pleasure and straightforward abundance.

The governor of Minnesota and possible future vice president’s hotdish recipe is, uh, a lot. It involves, among other things, whole milk, half-and-half, two types of meat, three cups of cheese (specifically Kraft), nearly a stick of butter, and a full package of Tater Tots. It is gluttonous, deeply midwestern, and, I am sure, delicious. Indeed, Walz won the Minnesota Congressional Delegation’s hotdish cook-off in 2013, 2014, and 2016.

Tim Walz loves food. He loves corn dogs, and the all-you-can-drink milk booth at the Minnesota state fair, and—I’m sorry to have to be the one to tell you this—dunking cinnamon rolls in chili. He gets excited about soda. He posts pictures of his sandwiches.  He loves to eat so much that people on X are already writing short-form fan fiction about it. Throughout his political career, but especially recently, he has gone out of his way to talk about food, the fattier and folksier the better. Last week, in a discussion with CNN’s Jake Tapper that was ostensibly about Joe Biden’s mental fitness, Walz recounted receiving a call from the president while eating the Minnesota delicacy Juicy Lucy, a hamburger stuffed with cheese. The next day, he posted on X about a different award-winning hotdish recipe of his, this one involving two separate kinds of canned soup.

We are witnessing what might be the most food-centric presidential campaign in American history. Kamala Harris is, by all accounts, an exceptional and enthusiastic home cook, and has made cooking part of her political brand—surely an intentional calculation, given the negative connotations that might arise when the potential first woman president openly embraces domesticity. In 2019, she offered an off-the-cuff lesson in turkey brining while getting mic’d up to go on television: “Just lather that baby up,” she said, eyes bright. The next year, she started an amateur cooking show; on it, she cracks an egg with one hand and bonds with Mindy Kaling over the fact that their parents both stored spices in old Taster’s Choice jars. She laughs a lot in the kitchen.

Unlike her running mate, Harris seems unlikely to throw four kinds of dairy in the oven for dinner—she’s a Californian, and she cooks like one: swordfish with toasted cardamom for her pescatarian stepdaughter, herb-flecked Mediterranean meatballs on an Instagram Live with the celebrity chef Tom Colicchio. But she’s not immune to the humble charms of ice cream, gumbo, Popeye’s chicken, red-velvet cupcakes, or bacon, which she describes as a “spice” in her household. She comes off as sincere in her love of food but discerning in her tastes. When a 10-year-old recently asked her at an event what her favorite taco filling was, she answered with the kind of absorbed expression that she might otherwise display when explaining foreign policy on the debate stage: carnitas with cilantro and lime, no raw onions.

Invoking food on the campaign trail is a cliché for a reason: Eating is an easy and extremely literal way to prove that you are a human being. But the Democratic Party has not always been great at it. In 2003, John Kerry visited the Philadelphia cheesesteak institution Pat’s and asked for a sandwich not with the traditional Whiz, American, or Provolone, but with Swiss. If voters needed proof that he was something other than the eggheady elitist they thought he was, this wasn’t it: In Philly, Swiss is “an alternative lifestyle,” The Philadelphia Inquirer’s food critic, Craig LaBan, said at the time. One does not get the sense that Walz or Harris would stride into Pat’s and ask for Swiss—not because they’re self-consciously avoiding a gaffe, but because they have deep respect for America’s foodways and are interested in enjoying food however it is meant to be enjoyed.

Their approach makes a marked departure both from the Obama era—what with its well-meaning but not entirely fun focus on childhood obesity, and its notorious seven almonds—and from the current leaders of the Republican Party. Donald Trump doesn’t really talk about liking eating; he does, famously, consume a lot of fast food, but that is reportedly because he’s afraid of being poisoned, not because fast food tastes amazing. His most well-known food tweet—“Happy #CincoDeMayo! The best taco bowls are made in Trump Tower Grill. I love Hispanics!”—reads like an obligatory plug rather than an earnest celebration of the way the taco bowl itself looks, smells, and tastes: all business, no pleasure. Meanwhile, Trump’s running mate, J. D. Vance, says he loves Diet Mountain Dew, but he seems mostly to be mad about it. To the degree that he has gotten specific about why he likes the beverage, the praise is purely functional: “high caffeine, low calorie.” The primary message here is that food is the site not of delight and togetherness but of anxiety and alienation, or utilitarianism at best. It’s all a little, well, weird.

Food is one of the most universally beloved things on planet Earth. Aligning a presidential campaign with it is smart for all the obvious reasons, but for the Harris-Walz ticket, it’s also a signal. The rhetorical challenge of progressivism is that it is by nature abstract: It imagines a world that does not yet exist, rather than advocating to return to some previous version of the one we know. I find it telling that Walz keeps using the word joy when he talks about the campaign and about his running mate. It’s an uncomplicated message, one that’s even more concrete than Barack Obama’s hope: Hope is the future, but joy is the present. It’s cold milk on a hot day; a perfectly cracked egg; a steaming casserole dish full of God knows what, enjoyed at a crowded table. In foregrounding food, Harris and Walz are making theirs the candidacy of terrestrial pleasure and straightforward abundance. It’s simple, really. —Ellen Cushing

[unbidden-yidden-deactivated20240]

There's this dynamic I've seen replicated across numerous different identities, where people from the same identity group who have suffered greatly over that identity end up in conflict with those who have suffered less and also talk freely about the joy that identity has given them.

The people who have suffered a lot tend to find the joy expressed by the latter group extremely grating at best and offensive at worst. This often then leads to identity policing and the creation of artificial barriers that are unsupported by reality. If you have not suffered THIS much, then you aren't really [X]. Or, perhaps, the latter group is told that while they might technically be [X], they need to stop talking and 'prioritize' (aka stop talking, but nicer) the former group. This is also often categorized as 'privilege,' which actually makes 0 sense.

Meanwhile, the latter group frequently has complete failures of empathy or perspective, and often do not make space for the former group to talk about how [X] identity has hurt them, how they have suffered due to it, and how they don't necessarily emphasize it or particularly want to 'find joy' in it. There is often a complete lack of recognition of trauma the former group has experienced, and this lack of recognition can be especially painful coming from people who are ostensibly in the same group.

We have GOT to start acknowledging that both experiences are legitimate and finding ways to talk about our various experiences without hurting each other.

Some suggestions I might make are:

If you're in the former category, please try to access therapy or support groups to address your (completely legitimate) trauma. As someone who has *been* that person, life is so much better when you are happy for people finding joy, even in something that hurt you, rather than, what, exactly? Wishing they experienced the same pain? If it was really that bad, why would you wish that on anyone? Especially someone like you?

Stop categorizing intra-group dynamics as privilege, as if that marginalized identity could be a privilege. Instead, consider using other terms to discuss the spectrum of experience that don't erase other people's trauma.

Stop denying the trauma of others. Try to get some perspective on things, and look at the facts objectively. This is what is intended by the original "prioritize [X] with [Y] experience" framing, even if it has been twisted in shitty ways. Bad discourse doesn't change what happened.

And as someone who has also been in the latter group - look. There's a time and a place. For example, I love being Jewish. My life has gotten way better since becoming Jewish, even in spite of everything else that's going on. But Yom HaShoah isn't the day for me to express that. That would be tactless, tasteless, and insensitive. That's instead a great day for me to be quiet and supportive of Jews who lost family. There are plenty of other days for me celebrate my love of Judaism and for the Jewish people (like Shavuot!)

Anyway, nuance is good, infighting is bad, and valuing and respecting people's varied experiences can only help us. Exclusion and disrespect only hurts us and helps the people who want us silenced, hidden, erased, bullied into conformity and/or killed.

[pekoehoneyncream]

Sergeant Kyle Gaz Garrick Headcanons

Part One

Words: 600~

TW: None (sfw)

Part Two

Y'all are powered by spite alone, istg. Gaz won the poll by one vote, ONE! I had soap's shit lined up and ready to go and y'all really said 'nah, no thank you'

Here's your prize,

Hope You Enjoy!

Gaz is slow to trust. He does not like strangers, and often feels on edge around new people. He isn't outright rude, in fact he's often downright friendly. He knows better than to alienate unknowns and make unneeded enemies for his team by acting hostile.

Ghost often validates Gaz's suspicious nature by asking him for breakdowns of potential weaknesses and if someone's likely to become a problem or a liability. 

Gaz shows a lot of love through acts of service, if there's anything that the 141 needs or needs done he'll make sure it happens, often before they even realise it's going to become a problem.

Gaz has a habit of referring to other people as NPCs. Particularly groups of people that ostensibly have a use, but only ostensibly.

Gaz cusses A Lot. He uses swearing, snark, and sarcasm as coping mechanisms, particularly in stressful situations. He doesn’t like directing his vitriol at his teammates, but situations, enemies, unknowns, strangers, acquaintances, and friends are all free game.

Cannot stand ticking or tapping noises, especially when he can't find where the sound is coming from. Rattling vents and unbalanced ticking ceiling fans are the banes of his existence. | At first he tried to be casual when he brought stuff up to Price, “So, have you noticed that the third light in the breakroom buzzes and flickers a bit when it's on?”, but now he just straight up tells Price what bothers him. (Price tells maintenance, but if they're being too slow Price has been known to just fix it himself.) | Soap, with his pathological need to bounce his legs, is on thin fucking ice. Gaz can usually ignore it if Soap keeps a consistent rhythm, but when Soap's fidgety he starts to drive Gaz up the wall.

Not great at sharing. Leaving the last piece of something, in case someone else might want it, is not something that would ever cross his mind. If someone doesn't directly ask for something, he's assuming they're not interested.

He's cannot do constructive criticism. He's got the criticism part down pat, but rarely cares enough to struggle with making it constructive. He embodies that video: Be Nice. ‘I'm finding it.’ It takes you that long? ‘It does, It does.’

He's an only child. His mom, Gemma, is a Biomedical Equipment Technician, and his dad, Arthur, is a Semi-Retired English Professor. He was mostly raised by his dad, as his mom's job kept her out of the house most days. His dad actually became Semi-Retired to be a Stay-At-Home-Dad and raise Gaz. Arthur Garrick has published a few textbooks and still goes in for the occasional guest lecture.

Gaz's bedtime stories were books like Le Morte de Artur, the Iliad, Lord of the Rings, the Robert Frost Compendium, and Narnia.  

When Gaz was learning to write his dad taught him cursive, leaning towards calligraphy. To this day Gaz's printing looks like a ten year-old's. Meanwhile, his writing is very pretty to look at, but nearly illegible. His signature is completely unreadable, it's just a very elaborate pile of loops and slashes.

Occasionally forgets the words for things. His brain does this thing that he likes to call Playing Wheel of Fortune, where it will let him remember the meaning of the word, and sometimes what the word rhymes with, or its first letter. | These moments all go something like this: “You can’t pin that on me! You've only got… fuck what’s the word, where its a person in a place and they're getting blamed for something. It’s like a lawyery thing.” A court? “No no, it's like they got caught, but they were in the wrong place and it’s only if you put it together a certain way it looks bad. Like a bad impression, but serious. It’s a long word. I think it starts with S… Circumference? No. Situation? Something like that.” Circumstantial? “Yes! Circumstantial! Circumstantial Evidence!” I saw you eating my crisps, that's not circumstantial evidence.

Thank You for Reading!

PekoeHoneynCream's Headcanons

[blindbeta]

idk how much you know about lord of the rings but i was planning a fic where pippin was born blind and gandalf is going blind (from old age ostensibly; i was considering something like severe cataracts or glaucoma for an unofficial diagnosis) and they bond etc. the problem i ran into was that there's a bit where pippin looks into a palantir and sees some of sauron's plans. i wanted to check a) if it was too much of the blind seer trope and b) how much pippin would actually be able to tell what was going on. like if he's never seen a tree would he know that that's a tree?? anyway sorry for the weirdly long and detailed ask; i've been reading a lot of your blog and it's been super useful and interesting!! hope you're having a good day <33

I’m loving the multiple ways of portraying blindness, the spectrum of blindness, different causes of blindness via unofficial diagnosis, and the characters having a blind community. Maybe there are other blind characters around the shire who are mentioned.

As for the blind seer trope, you have the right idea in considering how to avoid it or make it better. You questioned how Pippin would know what a tree looks like if he has never seen one. My response to this is to question why he can see in the vision of the future at all. Also, while a tree might be more easily identifiable due to recognizable features, such as height, the inability to interpret visual stimuli has less to do with visual recognition and more to do with the way our brains process information. His brain would not have the ability to process what he is seeing at all, similar to a CVI. He might be confused, overstimulated, or experience eye or head pain. Instead of being able to discern what is happening in the vision, his brain probably wouldn’t be able to comprehend it at all.

Onto my main concerns with the blind seer trope as they apply here. One is that the character is often totally blind and sees through visions. This can be portrayed either as constant visions of the future allowing them to see or only being to see in visions even if they cannot otherwise. For example, a blind seer not needing a cane because they know where all the curbs, uneven ground, and stairs are.

What you are describing doesn’t sound like as big of a problem and only seems to occur once. This certainly helps. However, instead of being able to see only in the context of the future vision, could he instead use his other senses as he normally would?

If the goal is to have him see Sauron’s plans, you can still have him get a glimpse of the future, getting the same information through sound, or, depending on what you want the palantir afford him, smell or tactile sensations.

Alternatively, if Pippin was born blind, I’m wondering if he can have some remaining vision? After all, most blind people have some residual vision even if they were born blind, as you can read about in this first, second, and third post I made on the topic. Here is a page on the CNIB website which explains examples of blindness, ways it manifests, and information about legal or registered blindness. Here is another page on the RNIB website which states about 93% of blind people can see something. Depending on the source, anywhere from 10% to 15% of people are totally blind. This leaves about 85% to 90% of blind people with residual vision.

If you want examples of different types of residual vision, you can explore this helpful list of YouTube channels created by @accessibleaesthetics

My final concern with blind prophet / blind seer trope is one I mentioned in more detail in this post which is also about the blind prophet trope. In this trope, the blind character usually has this power constantly and is the only one able to use it. That doesn’t sound like the case in your story, as character looks into something that gives him a vision rather than seeing visions of the future as a power. It also helps that he isn’t the only blind character.

[queenlucythevaliant]

Okay, here we go. Rating literary allusions in Taylor Swift songs:

The Outside: "I tried to take the road less traveled by /but nothing seems to work the first few times/am I right?"--Starting off pretty well! She tried to take the road less traveled by, but it didn't make any difference. 8/10

Love Story: Whole song allusion to Romeo and Juliet-- All those 2008 jokes about Taylor not having read R&J weren't funny then and they aren't funny now. It's a fun, satisfying subversion. However, I am going to dock points for the fact that Romeo and Juliet aren't a prince and princess, just rich. 7/10

Love Story: "You were Romeo/I was a scarlet letter"--Is the Juliet character in "Love Story" being publicly shamed? Did she do something scandalous? There are zero other lines in this song to suggest that she did, and a fair amount of evidence that she didn't. This allusion confuses rather than clarifies and tbh this is the one people should've made fun of in 2008. 2/10

New Romantics: "We show off our different scarlet letters/ trust me, mine is better" --Hooray! She figured out what the book is about! This is a beautifully executed allusion, where "scarlet letters" represents a mark of something shameful which, in a fun subversion, is being shown off with pride. Fits the song really well. Most improved award, 11/10

Getaway Car: "It was the best of times, the worst of crimes" (A Tale of Two Cities) -- Goes in the category of "fun wordplay, but doesn't really mean anything deeper" 5/10

This Is Why We Can't Have Nice Things: "Feeling so Gatsby for that whole year" --This is a perfectly serviceable allusion, but not a super interesting one. Sub "Gatsby" out with "nostalgic" and the song wouldn't change at all. She could've done a lot more with the reference, given the subject matter of the song. 6/10

cardigan: "I knew you/tried to change the ending/Peter losing Wendy" -- This works! You get a sense of Betty losing her innocence and choosing to leave James and of it being inevitable somehow. Plus, it imbues the song with a lovely fairy tale quality. 10/10

illicit affairs: "take the road less traveled by/tell yourself you can always stop" -- To take the road less traveled by is to do something risky, unpopular, or unfamiliar, not just to take a route through town where you won't run into people. Not totally egregious, but the regression from Debut is disappointing. 4/10

invisible string: "and isn't it just so pretty to think/ that all along there was some/ invisible string tying you to me."(The Sun Also Rises)--Ugggggh. Okay, so "Isn't it pretty to think so?" is this sad, tired, ironic note in The Sun Also Rises. Brett tells Jake, "We could have had a damned good time together" and Jake says "Isn't it pretty to think so?" because their whole situationship was never going to work. It's not a positive thing; it's pure, bitter Lost Generation irony. Completely out-of-place in a song about how two people we're supposed to believe will actually work as a couple. This one drives me nuts, and I don't even like Hemingway. 0/10

happiness: "I hope she'll be a beautiful fool/ who takes my spot next to you" (Gatsby)--Saying this about an ex's future SO is so... off. Like, the reason why Daisy hopes her daughter will be a beautiful fool is because it's easy. The two situations have nothing to do with one another, and not in an interesting way. 1/10

The Albatross: whole song allusion to "The Rime of the Ancient Mariner," but most notably "She's the albatross/ she is here to destroy you"--The albatross in the Rime is a good omen. The Mariner shoots is for no reason, and the albatross's death is the ostensible source of bad fortune. I wrote a whole separate post on this here. That said, culturally "albatross=bad omen" is common enough, so whatever. 3/10

I Hate It Here: "I will go to secret gardens in my mind/ people need a key to get to/ the only one is mine" -- I like this one a lot. Exactly the right vibe for the song, trying to escape something miserable by going somewhere pleasant. The key is a nice touch. Poor Archibald. 10/10

The Prophecy: "I got cursed like Eve got bitten" --No Taylor, that's not what happened. Famously, Eve was the biter in that situation. 0/10

Cassandra: whole song allusion -- correct me if I'm wrong (I haven't actually read the Illiad), but my understanding is that Cassandra died fairly far into the Trojan war, and not by burning. 4/10