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hareofhrair · 5 months ago

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While I'm yelling about House MD--

I see in the notes of my House posts sometimes people being like "ooh, maybe I should watch that" and I always kind of wince and want to grab them like, yeah, please do, but also watch out. There's a reason we call it hate crimes md, and it's not just because of the queerbaiting.

So the thing about House is... It began airing in 2004. The 2000's were, for those of you who missed them, an... interesting time for what was then still called "political correctness." And these times were heralded by a certain Type of Guy, with a certain type of Edgy Humor. In pushing back against the admittedly very white liberal language policing of the PC movement, his goal was to be as offensive as possible, to every demographic possible. For those that had thought it through enough to justify this behavior, the claim was an intent to shake things up and force people to confront their unspoken biases and have hard conversations. The catch phrase was "I'm not racist, I hate everybody equally." These were your Jeff Dunhams, your Dane Cooks...

(For my part, I think it was, at it's heart, white guys attempting to parrot the marginalized groups demanding radical acceptance? A gay person saying "yeah I'm a faggot, what's it to you?" A disabled person saying "yeah I'm crippled, fight me about it. Call me a person with special needs again and I'll break your kneecaps with my cane." They picked up on the "we'd rather be called a slur than this avoidant, self righteous, language policing bullshit" and came away with "so I should call everyone slurs, got it.")

Enter House MD.

The tagline of the show is "Everybody Lies," and it's a very consistent theme throughout. The thesis of the show is that our society, with its shame and repression and bias, is incapable of real honesty. And approaching problems with soft, non confrontational language that talks around the issue instead of dealing with it only makes this worse.

So naturally, House is one of Those Guys.

I doubt there is a single episode in which he does not at some point, say a slur. When Foreman (the only black character and, until Kutner and Park, the only non white major character) is in the same scene with House, you can be absolutely certain he is going to say something racist, while staring at Foreman with a shit eating grin, daring him to make a fuss about it so he can monologue about how Affirmative Action is actually condescending to black people.

It would be one thing if this were strictly a character choice, something that was specifically wrong with House the person. Unfortunately, even when House is not involved the show itself is still, just, blindingly racist, all the time. Any time the patient isn't white, it's a horror show. Racist caricatures as far as the eye can see. It's also intermittently sexist, intersexist, nauseatingly fatphobic, and while it generally does better with disability than most any other show of the time, it is still shockingly ableist at times given the main character is, himself, physically disabled, and implied to be autistic as well.

What makes it worse is that they set House up as someone who wants to deflate people's egos and make them confront their biases ect, and then almost never puts him in a position where he's punching up. There's even a specific episode where he's treating a conservative campaign manager who released an insanely racist anti-migrant political ad, and his racism just doesn't get brought up. The ugly truth about himself he's forced to confront is that he's gay, and the man he's in love with and the people he surrounds himself with are, well. Conservatives.

All of this is not to say you shouldn't watch House or that House is a bad show. It's just very much a show from a very specific and unfortunate moment in the recent history of the ongoing battle for equality. The worst part is, its heart is in the right place, it is just doing a real bad job. It wants to be progressive. It just thinks being polite and respectful is weak and lame.

On that note! The show also features a canonically bisexual woman who actually says the word bisexual-- fucking wild for the time, where the best you generally got was vague allusions to "swinging both ways."-- And it shows her in relationships with both women and men. Including, very notably, Foreman. And if I need to tell you how revolutionary it was for them to show a romantic relationship between a black man and a white woman in the 2010's, take a minute and think about how many relationships like that you've seen in TV or movies since then. Or ever.

It centers on a nuanced and compassionate portrayal of an addict, and tackles the realities of that in an incredibly honest way I don't think I've seen anywhere else. Just the simple, consistent reminders that both House and the other addicts featured on the show are using for a reason, and it's often because they have medical needs that have been neglected by bigoted doctors. There's a whole arc where they try to restrict House's use of painkillers by reducing his prescribed dose to basically a handful of ibuprofen, claiming he only thinks he needs such a high dose because he's addicted and he'll "adjust" to a lower dose in time-- IE, get used to just living with the extreme pain. Unsurprisingly, the increased pain makes him awful to be around, worse at his job, and eventually drives him further into addiction. The way the show deals with this is honestly fantastic, especially given, again, this was the 2000's and 2010's. For a somewhat contemporary comparison, take a look at how addicts are portrayed in Breaking Bad, which came out four years after House in 2008. The general attitude towards addicts was not great.

This show has a lot going for it. The relationships and the stories it tells are honestly incredible. But it is also very flawed, and people should be aware of that going in.

If you want to start watching House, awesome! But maybe look up trigger warnings first.

(Also, completely aside from All That^ there's also the genre typical medical gore and body horror, so, you know, also be prepared for that!)

#house md #hate crimes md

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harlothane · 3 months ago

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Theon and Fear - And at the end of fear...

George R R Martin’s ASOIAF focuses on the "human heart at war with itself". In doing so, it provides a compelling, complex and deeply touching exploration of human emotions. One of the dominant emotions the characters are faced with is fear.

I especially love how fear is shown in Theon's storyline. His backstory and the events unfolding in his six Clash of Kings chapters and seven Dance with Dragons chapters, taken alone, constitute a raw, emotional and unsettling account on the many faces of fear. What it does to people. How it changes them, motivates them, corrupts them and may regenerates them.

“Can a man still be brave if he’s afraid?”

“That is the only time a man can be brave.”

There is no need for a long look at Theon’s storyline to see in which ways Eddard Stark’s infamous moral lesson applies to his struggles. Here is a character that commits crimes in the beginning of his storyline, goes through hell because of his misguided choices (led by his fear), finds his courage as he faces true terror and accomplishes one of the most selfless and brave acts in the series to save a girl.

I do feel like I’m missing pieces of the puzzle writing that, aren’t I?

The misstep, I think, is to draw too hastily a parallel between Theon and the other Winterfell boys around his age – Robb and Jon (it's a common issue in fandom and actually had a negative impact on the reading of Theon's storyline, I think. Read : x).

Unlike them, at the beginning of the story, Theon already knows fear. Both Jon and Robb had a decent, secure childhood. While Jon surely has grounds to feel dissatisfied with what life has to offer a bastard like him, he did not grow up in fear. At the age of nine, he probably had faced rejection, loneliness and disdain. But not true, traumatizing fear like nine-year old Theon had to.

19 year-old Theon in Winterfell has already been scarred by fear. He is not a knight of summer in that regard, as his entire personality is a product of fear, to the point where it becomes hard to pinpoint what his true self consists of exactly (that becomes evident as we are invited to his internal monologue in Clash, which is full of inconsistencies, rewrites and contradictions related to the way he sees himself).

We know for certain that, as the story begins, Theon is already familiar with the fear of rejection and humiliation (inflicted by his brothers and felt as an outsider in the North), the fear of losing his loved ones and his home (inflicted by war and the soldiers fighting that war) and some repressed kind of fear related to Euron and possibly his magic. He’s been abused and is still suffering from the lingering fear of death, cultural isolation/exclusion and loneliness.

What fascinates me with this storyline especially is that there is never an easy answer. It is a feature of ASOIAF as a whole, to be frank. I suppose that as a horror genre lover, I am especially drawn to the way Theon's story deals with fear. How it corrupts, how it paralyzes, how it regenerates.

Fear as corruption.

Theon, a “shy” child, “in awe” of his brothers, has crafted a personality to guard himself against the threats most frightful to him (humiliation, being unloved and unwanted, abandonment).

A personality that existed to guard himself against the world and more precisely, the men in power who could use him. A personality tailored to please his captors and his father, the ones his life depended on. His clothes, in this regard, are another part of the armor. Their purpose is to please, seduce or appease the ones whose approval Theon needs at the moment (though I truly do believe he likes his velvelt and silks, he still immediately suggests his father that he would change it if it would please him).

Living with those fears of being unloved and unwanted changed him profoundly as harrowing experiences always do. Fear is the one constant in his early life. His personality developed around it.

Theon mimics Dagmer Cleftjaw’s smiles because the warrior was one of the bravest men he knew in his early days and a hostage far from home needs to channel that tough, invulnerable spirit.

Theon was a child who lived in awe of his violent brothers, so as a young man he acts accordingly, as if spilling blood makes you worthy, as if life were a game to win no matter the cost for the weak and innocent (no matter the price children and mothers pay, no matter the price he himself paid for his father’s ambition!).

I know the Theon we meet in Clash isn’t the most agreeable person ever. It’s the point.

In truth, he is a hardly a person. As in, a human entity with consistent memories to ground him (even before Dance, he represses memories, seems to have forgotten a great deal about the Iron Islands and I believe we may learn more about this in Winds), and autonomous desires and hopes (in spite of himself, he is constantly trying to fit the expectations of the men he fears/wants to emulate – Eddard and Balon).

Even the way he expresses his sexual/sensual desires feels at times as a performance meant to impress or prove a point… read : x or x).

He doesn’t even have a future, and he knows that deep down. As Robb is crowned though and devise a plan with him to ally himself with the Islands, Theon’s hopes rose up and that is how suddenly there was in the sky a comet that heralded his bright future.

He seems like a “closed book” to the world around him, but he was more of a blank page, really.

A mess of fears stitched together with a smile. Fear really is the constant.

What would you do, if you were constantly afraid? Cut from the rare people and places that gave you a sense of security?

What would you do, if – that’s the greatest irony – you were surrounded by people who thought of you as a thing to be feared, an animal to be tamed.

Interestingly, Theon is known to be brave in battle, perhaps even reckless. Robb states it plainly: “Theon has fought bravely for us.” Dagmer Cleftjaw knows Theon “is no craven”. In Winterfell, he is ready to die with the few men who stayed with him.

Being shaped by fear did not make him a coward. It made him desperate and unreasonable. For one, Theon knows fear intimately and there is no greater terror than the unknown, after all. He knows war. He knows death. He is still haunted by the battle of Pyke.

Still, he is eager to march with Robb’s army. Still, he wishes he could have faced Jaime Lannister on the battlefield. And still, he would have died for Robb, he would have died for his father.

He shouldn’t be so eager to march with an army led by the people who hurt his own family so deeply. War traumatized him already. It separated him from his family. It obliterated his future, destroyed his prospects. But his fear of humiliation, rejection, loneliness – it overtakes all. Then again, I understand that Theon in Clash can be difficult to empathize with to some, but if you read his reaction with the knowledge that this is a person who is constantly in a state of true, agonizing fear, I think it changes your perspective a little.

The horrible outcome of all this is that by trying so desperately not to be seen as a weak thing people can use for their political gain, Theon becomes it. For Ramsay and Roose. That is not karma. That is the definition of a tragedy.

It has been said before: Ramsay is a secondary-(tertiary) character, he exists to embody Theon’s worst sins and fears. That is his nightmare, breathing and living and flaying every piece of a carefully crafted personality Theon made in the North to stop being afraid, to reclaim power and control over his fate.

Fear didn’t allow him to be brave. It made him desperate, easy to manipulate. He takes Winterfell in a foolish attempt to be the person he thinks he must become. The self-made Prince. The heir who returned in glory. A worthy son of Balon Greyjoy.

That is the story he tells himself and others. In truth, it becomes apparent he took Winterfell in a desperate attempt to make his “almost-home” his at last.

In a desperate attempt to belong somewhere he could have everything – power and recognition and love. It is the type of extreme decision you make when you let fear overtake your reason. Any other choice would have been more reasonable. It wouldn’t have saved him from fear, though.

Most of Theon’s bad choices are a result of fear. It made him crave power with the same intensity as he secretly wanted love and recognition. In Clash, Winterfell itself, the castle, its people, embody his fear of rejection, of being unloved and unwanted. He represses it. Until he can't escape it even in his dreams.

The two desires, to have agency/power and love, clash violently in Winterfell, an arc in which Theon’s starts to completely unravel as he does everything in his power to be a hard man like his father, like Eddard (no matter how contradictory), while spying the tiniest hint of affection or gratefulness in his captives’ eyes.

After all, in his own experience, it is possible for a captive to admire and crave his captor’s love.

To want to help them. To be part of their family. And he seemed to expect the same from the people of Winterfell. Even in Dance (because torture doesn’t erase your past trauma!), he still believes he could have reasonably expected them to help him

His constant fear has twisted his view on loyalty (you cannot be loyal to someone who imprisons you), love and desire (he links lust and violence), power and justice (“hard men rule the world”).

It corrupts his desires, even. Of all the sexual encounters, or thoughts, he has, none seems genuine with the exception of Esgred, who is not a real person but the embodiment of the nonchalant, confidant attitude he wishes he could adopt as easily. She is everything he cannot be. She belongs. She commands respect. She has a family. And as she divulges her real identity to him, Asha becomes someone to fear. She is in his place. She is him, the heir, the son, while he is nothing and nobody.

Fear as a paralyzer

It is not surprising that Theon would smother from early on the parts of his personality that made him sensitive to fear.

His need to belong brings only fear (he will never be part of the Stark family, but he still dreams of it until he buries that dream as well).

His empathy brings only fear (he demonstrates in Dance his ability to connect with broken people used by the ones in power he could have shared experiences with but couldn’t because of his fear of humiliation).

It shows one limit to Eddard’s reasoning. Fear, sometimes, changes you in such a way that it hinders your ability to be brave (as in, to make the most moral choice against your own immediate interest).

Growing up with constant fear drove Theon to stifle his empathy, making it hard for him to protect other people, as you would expect from a prisoner whose life is a bargaining chip that hinges on his father’s and his captor’s will, from a man who cannot even help himself.

Growing up in constant fear jeopardized Theon’s ability to make long-term, realistic plans for his future, as he barely has any stable support to hold onto. His entire existence does not belong to him. NB: In this regard, it is logical that most characters he is paralleled with throughout his story (Jeyne P, Barbrey, the dead lady Hornwood, Holly who has the same cocky smile and arrogance as his old self, Alannys with her white hair and even Dany…) are women, who are more likely to be stripped of agency, must fight to claim autonomy and struggle to regain a semblance of control over their destiny.

He has many faults, though it cannot be said in my opinion that he did have a good choice to make and that he simply chose wrong by trying to please his father. There were only bad roads that led to imprisonment, death or ruin for him. Theon realizes this in Dance: he cannot bring himself to imagine a bright future. No, he regrets not to have died with Robb. He knows his path was filled with fear either way.

Fear is a paralyzer. It does, in a sense, alter Theon’s capacity to grow and evolve.

Fear makes him an apt survivor (he’d survive a horror movie in messy “final girl” fashion), with a great potential for adaptation. But it corrupted him in the process. Led him to embrace a (faux) cynical attitude, to be over-zealous with his own captors to the point of risking his life for them and most of all, to opt for cruelty over mercy contrary to his own (sometimes contradictory) values – in Winterfell, he hurt others, and it haunts him, but he stands by his choices.

His fear of being mocked, used and humiliated drowns every other motivator.

He is so afraid to be seen as he thinks the men of the world want to paint him: a weak creature to be used. Someone who needs to bargain and submit to keep his life. It is rather in line with his way of thinking that he would consider himself a whore after Ramsay subjected him to his power and abuse in Dance.

“Only a fool humbles himself when the world is so full of men eager to do that job for him.”

That’s it, that’s the philosophy. Theon has his moments of incredible self-awareness, and this is one, hidden beneath some moral lesson as a pretext.

It shows that:

He has a bleak, but rather realistic view relating to most men in power. They will abuse it. They will humiliate the weakest. They will do so eagerly.

He hasn’t met Ramsay at that point. He may instead be thinking of his brothers, of the lords who humiliated his defeated father, of his own father maybe, or perhaps (in my opinion) Euron.

His arrogance is a deliberate strategy designed to avoid the fate reserved to the most fragile people.

He doesn’t judge the men who abuse their power but doesn’t seem to view them in a positive light. Still, consciously or not, Theon sometimes acts like those men. Since he is mostly deprived of real political or military power, he does it in the context of his sexual relationships (that deserves an analysis, especially regarding how sexuality in his chapters is so often if not always depicted in a negative, degrading manner.). It’s a “eat or be eaten” kind of mentality he is struggling with during his Clash arc.

Fear instructs him to repress the slightest sign of weakness. There cannot be true loyalty, love or desire in such a state. You survive. You are barely living. You just survive.

The rare sincere relationships he forms are short-lived – Patrek Mallister is the son of an enemy family; Robb Stark cannot ever be his equal; his bond with Asha is poisoned by envy and fear, again, of his place being stolen by her.

Theon’s mind favors denial/dissociation and repression as a defense mechanism. It doesn't exactly help him to form sincere relationships with people. It’s a motif throughout his storyline that echoes the stakes relating to Ironborn culture in the story (they must remember their history or they’re condemned to repeat it – that’s the symbolic role of Rodrik the Reader in Asha’s storyline).

Most times, he tends to rewrite reality - consciously or not. Of course, he will be welcomed by Balon Greyjoy! Of course, his traditionalist father will agree to submit to Robb Stark! Of course, he, the hostage, will be given Asha's place that she (of course!) stole from him! Of course, he is destined to be one of those hard men who rule the world, not an eternal victim! Of course, he is not afraid, and even if he is, even brave men feel agonizing fear about other men seeing their weaknesses!

We soon discover how fragile this mechanism really is. The façade cracks more often than Theon would like. There are many instances of this, especially in his conversation with Dagmer ("I know you are no craven" "Does my father?") and Rodrik Cassel ("The noose I wore was not made of hempen rope but it chafed, it chafed me raw"). Worst of all, he allows Reek/Ramsay to amplify his fear. When I write "allow", I do not mean he did it on purpose naturally. But he is the one who freed Reek/Ramsay. He opened the door to a living nightmare. Reek/Ramsay quite literally haunts him in his Clash chapters.

What he cannot rewrite, Theon represses. It does not seem like it at first glance because he is prone to reckless decisions. It can lead one to categorize him as a vain egomaniac, not as a repressed person. His promiscuity doesn’t help, since we are wired to associate repression and modesty.

It is true terror that he is obligated to repress - and it is what comes flowing unbridled as he loses his armor in Dance. This kind of dread is mostly associated with Ramsay (there are so many instances I won't even go into it) and, well, Euron (the slight unease Theon felt about his uncle during ACOK can - and must - certainly be revisited with our current knowledge about him, the fact that in ASOS it is established that Theon revealed awful details about his uncle to Robb, and the now evident parallels between Aeron and Theon).

Fear as a regenerative force

In Dance, the "dread" Theon feels in the crypt of Winterfell is "familiar". And I think you can see it as his fear of being unwanted. Of belonging nowhere.

It makes sense: Theon fears what he truly is. A prisoner, a scared child and a pawn for men to use in their plans. It is the truth he can never escape, no matter how perfectly he plays the Hard Powerful Masculine Man.

Fear pursues him all his life. It is only when he has no fear left to feel (it was all spent in a cell of the Dreadfort; all his fear is caught by Ramsay, who is the embodiment of Theon’s insecurities) that he shows his more empathetic and gentle nature – although he still feels anger, bitterness and the occasional dread, of course.

Still, it is not a bed of roses. Theon is certainly more sincere. He is not putting on a performance for himself. When he lies, he is terribly conscious of it. He doesn’t manage to repress his traumatic memories anymore. It all comes back, flooding. Even such buried memories as the ones related to Euron.

In a way, Winterfell acts in his story as the theatre scene, the place where you can finally be yourself. I wrote a bit about this here. It serves as a catharsis for Theon. In Winterfell, he is able to find pieces of himself. Pieces he had forgotten. He starts to remember the childhood he had buried ("A son of the Islands" / the Euron related reaction in Winds).

Fear had been eating away at him. Fear had been controlling him, at times. Not that he wasn't responsible, but he certainly let himself be overcome by his crippling fear of humiliation (which, sidenote, I don't believe stems only from his status as a hostage but that is another story).

Fear had been breaking him piece by piece since childhood. Just like the rat he eats at the start of Dance - it had been eating him first! He had to defend himself against the threats even if it meant hurting and killing in the process.

It is in Winterfell that he finally confront his fears - that he meets the one essential fear he had been trying to escape: himself.

The lies become a motif, even. “False is all you were.” Theon never lied as a manipulator would, though. Most times, he does not seem to understand the coherence (or lack thereof) of his own actions – which is also a side effect of fear (or to be precise, the fear caused by childhood mistreatment). It causes confusion, alters your awareness and hinders such abilities as analysis and planning.

However flawed Theon was, he was a prince, he was a warrior and a friend, he was handsome, he took care of his clothes and weapons, he saw a comet and decided it shone for him. He wasn’t much of a real, sincere, coherent person, but it was the most functional version of himself he managed to be in his situation.

The man he pretended to be could never have survived the Dreadfort, though. He had to disappear. Was he even real? The façade barely made it through his Prince of Winterfell era. Chances are, had he escaped Ramsay, Theon would still have been forced to confront his true self one way or another.

He is stripped from all his usual defense mechanisms in a horrific torture labyrinth. He becomes the weak thing he always feared he’d be seen as. He cannot hide. He cannot lie. He cannot even smile.

Every single fear he ever had becomes his new reality.

Humiliation: check.

Being controlled and used as a thing: check.

Mockery and disregard: check.

Friendless and abandoned: check.

To escape from fear, he can only repeat the partition he learnt as a child hostage: apply the rules of the people who can cut off your head at any time, and be the well-behaved prisoner so you can rise again later and impress every the ones in power who can share their power with you (a very Ironborn strategy, actually).

Except, there is no escape this time. The flaying knife has cut through the armor Theon had crafted for himself. He has no way out (another motif throughout his storyline). He has no secrets left and no smile to hide behind. He cannot forget his status as Ramsay’s pet by exerting power onto others. He is the very last creature on the food chain this time.

And so, there is nothing to fear anymore.

The Dance chapters are filled with terror and dread, until Theon pieces himself together. Then he regains some composure, purpose and faith, even. He finds his courage within himself, where it always existed, in truth. And, in Jeyne, he finds a motivation. Saving her, a child prisoner, abused and terrorized, he also saves what little of himself he can.

The only time he can truly be brave is when he doesn’t have to fear becoming fully himself at last. Whatever that means, in the end. At the end of fear, something must remain. Something must be rebuilt. Piece by piece.

#theon greyjoy #asoiaf #a song of ice and fire #it's not really meta #more like scattered thoughts #valyrianscrolls #asoiaf epiphany

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derww · 1 month ago

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have you ever read a fanfic where authors self-insert travels into some story and fixes the life of a sad and pathetic wet cat character? | some thoughts about several new members being lifesteal watchers before joining.

one thing ive been thinking alot lately. before s5 we didn't really have a moment of "oh, this new member has been watching lifesteal before joining". and even in s5, its almost like this is not that important because here we have, to a much greater extent, people whose metagame-luggage is in the fact that they knew lifestealers. as 4c having his friendship and silly feuds with mid, and jumper being really close vi's friend, and pentar being jumper's friend, and squiddo knowing ash for ages, and wemmbu being friends with zam&minute for like an eternity. even jepexx with all his ive literally founded this server, hes an irl friends with mapicc and poafa, I literally remember one time when he came in the middle of the lore and mapicc had to bribe poafa to distract him. and it is a really cool and interesting theme as its own, a great foundation for the different headcanons and aus and using it as a part of the dynamics, but nothing of what we've been searching, yeah?

wrong. minutetech. minutetech who was clowns fan and literally created a team clown would want to be – his actual character's basis has watching lifesteal in it, and his weird attitude towards clown drags on throughout the season, ending with his death. but hey, it's been more than that, not just watching videos, he was watching streams, he was a visitor in the zams chat. and watching streams, even in fragments, is a completely different level in regard to just watching videos. and it is obvious by how he speaks about zam and how he is inspired by past him, and how he remembers some specific parts. minutetech is the fanboy on the server, im sorry, and i love him for it. he wasnt a frequent visitor, but he was able to open the curtain and be impressed, and that's cool.

moving away from the relatively linear rookie roster of the season 5, the season 6 one if a fucking rolecoaster. okay, okay, lets start with something easier. hannah defo didnt get the memo, zero idea about sb but i think he watched atleast clown, e doesnt seem to really care, his thing is the reverse, his connection to bliss and how they showed themselves as both touching and deadly family, threatening pentar with knives in case he did not protect their boy, and chief does it s5-style, being friends with minute. its really hard to consider flame, he defo watched atleast part of the things, and he is friends with pentajumper, and he refers to the past seasons but misses out a lot and doesnt seem to have a consistent understanding of a context.

okay. manepear. his case is kinda close with minute's in a part that he actually was a big lifesteal and esp clown's fan. never saw that one fanart he drew for zam but really would like to. lifesteal was an important thing for him much before he actually joined, and i can see him having good ground knowledge of video-part of the server, albeit easily missing something really important. hes also friends with pentajumper and had his clown rivalry story on bizzare just before lifesteal, giving him an interesting starting point and explaining why he did betray his idol of the past so easily. making him vodwatch s4 eclipse would make him better in lifestealing i promise. he just needs to find a balance.

to the main course. lets speak about kab first. this is a part where shit gets actually interesting since. you know...

("Powerless", 03/29/23)

oh, hi, Derapchu.

(literally the betrayal stream 03/28/23)

wait, lets make a pause. look, its Fl4pp0!

(also the betrayal stream)

the one who made new lifesteal stickers! wow! absolutely nothing interesting about them aside from thi-

okay. let's digress from the topic for a bit – it will make sense later, I promise. you know showtime smp? its fine if you dont.

the important part you should know is that showtime aknowledges stream viewers as an important part of a plot. they are called the audience, and how interested they are in a particular character is directly responsible for their well-being. most of the characters know that they are being watched, and some even hear the voices of the audience, and sometimes they are even asked questions, the answers to which can have a real impact on what is happening. and here is mika flappo. yes, this flappo, from the chat. (fun fact, there was also atleast two other showtime members lol)

firstly he is just a really cool fanarter in the showtime fandom, and she enjoys the streams and the plot as we all do, and then it... then they are just HERE.

just imagine. you live your very fucking hard and terrible life, having to deal with all sorts of shit and somehow not lose your head, and you hide so, so fucking much from everyone, because they can't know, because it's so scary and dangerous. and then you meet someone for the first time, and the first fucking thing they say to you is "oh, its YOU". and they do know what you did.

they were a part of the audience because mika has been literally watching the streams all this time. and yeah, she doesnt know everything, only the parts gods chose to show to the viewers, and they actually watched live, but its still sooo fucking much. and now an absolute stranger is walking around the server, and they know your worst secrets and impute you for your sins. luckily, mika can't spoil things, so its not like he can actually tell anyone, but her existence by itself is still pretty fucking terrifying.

luckily, both kab and derap are not just some strangers, but also they don't have to keep their mouths shut. they know what only the audience knows, and for them it becomes an important part of their understanding of the world and zam, something that they can use to their advantage. and they do.

kab heavily relies on a feeling of understanding and knowing better, and sometimes for me it feels like shes trying to do it even speaking about zam's feelings. at some point shes been heavily relying on pitying him as a way to show that she understands, and she's sorry, and she knows what exactly zam has to change to be better. its like... being the chatter who always backseats, but now you are actually here. absolutely no neg to kab, obviously.

its actually interesting how kab simultaneously sees and knows (or thinks she knows) so many zams weak spots and problems and traumas and calls him broken and harming himself and almost as if unable to make the right decisions for himself, and at the same time she puts him on a pedestal, perceiving him as a hero, as someone who should adhere to the correct perception and reflect her idea of a good person and teammate. and... it makes sense as a way of wanting to help your favorite anime character to become better without actually understanding either them or their beliefs and wishes and just trying to recreate the picture from my head of how things have to be, depriving a character of personality and autonomy in the process. even her expecting him to help her with the karmas law – she thinks that this idea is objectively right, so obviously white knight (lol) princezam has to get it.

people really liked her asking if she reminds him of someone he once was. i really do not. because sure, shes right at the ground lvl, but she doesnt get it. shes not s5, shes s4. she is vi and zam at the same time, and it makes my head hurt. "not everything is about you, zam", but she does make everything about him, really. i wonder if he was her favorite character.

i like that sometimes she acknowledges that she doesnt actually know better than anyone else. that she is just scared because her methods doesnt work anymore. but she speaks the opposite so often that sometimes i just dont know what she really thinks. with her strange division into lore and non-lore, with how much kab lies to people and lies to herself, she remains frustrating. sometimes I have a feeling that she plays a completely different character than the one she ends up being, and hey, that's part of the server.

some of it can be said about derapchu, and its easy to say that hes better than kab, but i dont really think so. hes less pushy about it, surely, but he also thinks he knows how itd be better for zam and intends to make him change in a way he deems correct. sure, he doesnt idolize or pity him, but he still wants to fix zam.

its not that easy as just dividing things on yours and servers because zam has a connection to it, and the server's well-being is directly connected to his. with enough mental gymnastics, even the desire to repair the spawn can be called at least partially selfish since zam does it for himself too, since he loves things being pretty and cool. speaking of the server as a whole, it is difficult to draw a line between where he does something for himself and where he does something only for others with just how conditional the common good is and how important the server itself is to him, just alive, just working, just being played. he wanted to make everyone give a shit and never fully left this modus.

and in a sense, derapchu fails. as gapples being for the fights against mane, or considering that zam perceives the hearts in a similar way as he does (and he really isnt, our guy was giving out the hearts left and right, really, and he knows derap enough to be sure he wouldnt do anything malicious), or seemingly never noticing that zam, despite being mostly truthful during the whole dialogue, never actually opened up to him. maybe his common experience and zam trusting him makes him feel like it is enough, but its barely a half. he said sorry for being too pushy today tho. and helped zam just because. it was good. sadly its not enough to understand that he cant just choose whats better for the other person.

you know, i really like to think about having all this background of being a lifesteal watcher from the point of the full-blown lore, without pulling out the card that the characters are also streamers or youtubers. this is a part that requires an individual approach: for example, i have drafts where boomie and kab, as centrals, contact their lifesteal friends directly through hacked communicators. or, for example, clown is known because the coolness of his conquests spread into legends, caught everyone's eye, and became worldwide news. in general, you can just come up with a connection between the worlds, like fidonet, or even a more modern Internet, and this will make everything much better. or you can follow the showtime trail and give each character an audience – similar to just making them streamers, but that's the twist that makes just enough of a difference. and, in the end, people can just be friends, meet in their free time, and tell stories. both derapchu and kab were zams friends long before joining the server, and this is something that should not be forgotten either. they, unlike the rest of us, have a real context. and, like, wow.

overall: these aussies gotta understand that zam is not their pet project and that he doesnt need to be fixed. some help here and there wouldnt be bad, sure, but they cant just choose whats right for him and whats not. he is, in this context, his own person and not just a book character and he needs a friend, but not saviour nor doctor nor manipulator nor mechanic. just a friend.

#d.thoughts #lifesteal spoilers #do not pretend to be completely reliable lol #on this note. i dont really feel comfortable about them being like that but i do love them being zams teammates and friends.#i hope that things will change because i cant really analyze something that makes me so uncomfortable

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genericpuff · 1 year ago

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On this week's episode of "Webtoon Controversies That Could Have Been Avoided If Only They Had Some Damn Quality Control"-

Oh boy, prepare yourselves, there's some TEA on this one.

Quantum Entanglement, a new Webtoon Originals series from creator Arts Angel (aka Sarah Ellerton) is uh... a teeny weeny painfully obvious that it was made with AI.

AI is getting better, but when it comes to comics, there are still a lot of "tells" you can pick up on once you know where to look. Hands are certainly one of them.

Not knowing how to draw hands efficiently and consistently is definitely an Artist Problem(tm) but it becomes a lot more obvious it was made by AI when you get weird little off-putting mistakes like a fingernail being just a little too long or missing joints (hot dog fingers, eyo) or the distinction between fingers not being clear.

But there's also hair and other detailed parts that are often lost in the translation process between prompt to final piece. Jewelry, text on a screen, phones, that sort of thing. The insinuation of a 'thing' is there, but it's like looking at it through a fishbowl.

And ultimately, a lot of AI art tends to just be a little too 'perfect'. Everything is just a little too smooth for it to look like it was naturally made by a person. Faces end up veering into the uncanny valley territory and there are inconsistencies between the eyes and the rest of the body. Backgrounds become lost in what I like to call "AI goop", becoming nothing more than weird blurred/filtered out insinuations of what's supposed to be behind the character.

Basically, at this point, it's undeniably clear that AI is being used to create this comic. While there are also plenty of signs in the handiwork that show a human was involved in some parts, there are other places that are undeniably filled in with the use of AI. So it's not necessarily a 100% made-by-AI comic, but it's absolutely AI assisted.

But what's REALLY absurd about this whole situation? The creator denies it. To the point of including a disclaimer in the first episode trying to "get ahead" of people who are assuming it's AI by saying, "No, it's not made with AI, here's the proof! Don't look at the blood on my hands or the body in the trunk of my car!"

Now, first off, the absolute absurdity of making yourself look guiltier by trying to prove your innocence before people have even started to suspect you... I'd like to think that this was edited into the first episode after the initial accusations started rolling in but considering it's an Originals series, it's hard to know if it was, as creators typically don't get as much control over just editing their episodes on the fly like Canvas creators do. Typically it's their editors who do that sort of thing for them. And even if it was edited in afterwards, it's still there for people who have no idea going into the comic blind and might not automatically assume it was made with AI, so it just looks like you're bringing up the potential of AI being used completely unprovoked. By planting the idea in your audience's brain that AI is even a question, you're making them suspect everything.

It's kind of like when Dream was suspected of cheating in a way-too-lucky-to-be-real speedrun of Minecraft a couple years back, so he went to all these painstaking efforts of hiring a quantum physicist to "prove" his innocence with a straight up THESIS documenting all of the reasons he couldn't have cheated through math and figures and jargon. Ironically, this just made Dream look guiltier, and sure enough, he eventually admitted he had cheated.

That said, did you notice something in that "art process" pic?

That finished panel isn't even what showed up in the final comic.

So the absurdity of this all, again, just makes Arts Angel look a lot more guilty of actually using AI, especially when it's basically undeniable in so many of those panels above. People don't paint like that.

But that brings us to talking about Sarah Ellerton, aka "Arts Angel", the creator. Many long-time readers of her work are defending this, claiming that she has, in fact, "always drawn like this".

What's insane? She actually is who she says she is. This isn't like some kid who came out of the woodwork with AI and claiming that they had 20 years of experience, Sarah Ellerton's main site, The Seraph-Inn, has been live and crawled by Wayback Machine as far back as 2005.

And you can see the art evolution over the years, starting with Inverloch-

-into Phoenix-

-and all the way to Immaterial-

But here's the thing about that last comic. The main protagonist is, apparently, the same girl from Quantum Entanglement, the newest installment in this series where it becomes abundantly clear the creator has started using AI.

You can see the effects of this being parsed through AI, because she's gone from being a unique character with two-toned hair and darker skin, to being turned into a generic Instagram anime girl. And lemme tell you, AI used in comics has NOT gotten better at depicting darker-skinned characters (I actually tested an AI-coloring tool WT was planning on putting out a year or two ago, it was uh... not great.)

But the most damning thing about Sarah?

She works in IT.

That on its own wouldn't be so telling if it weren't for the 20 years she clearly spent actually honing her craft, only to suddenly switch to using AI as a crutch.

Quantum Entanglement was picked up for Originals in July 2023. It launched two days ago, with four free to read episodes and 6 more under the FastPass paywall. Three months after it got picked up. That turnaround speed is insane for an Originals series. Now, I'm more inclined to believe that maybe she's using the exact same pages she used in the Canvas version (there's unfortunately no way of checking through Wayback, it never crawled the Canvas version, so unless someone has backups of the Canvas pages they're willing to share, we'll never know) but that short turnaround time is insane for a comic that's this insanely detailed. It likely means they didn't need much pre-production time to get a strong buffer going, and that it doesn't take them as long to produce these episodes on a weekly basis so they could be under way less crunch than creators who do this by hand.

By comparison, the winners of the Call to Action contest from last year are STILL working on their pre-production. Many other greenlit Canvas series are known for getting picked up and stuck in pre-production for several months and even a year or more simply due to how the company operates with when it chooses to launch these series and how much pre-production is necessary. Some creators have literally said that their pre-production was done, but WT still kept them waiting to launch. So three months for a freshly greenlit Canvas series to launch is NOT the norm.

All that said, I feel for the people who are trying to defend her. But it's so undeniably AI with the creator herself providing fake proof that it makes it really sad to think that this person was honing their craft for 20 years just to wind up utilizing AI. Being a good artist does not make you immune to the temptation of using cheap methods or developing bad habits. Going through "the struggle" does not make you immune to taking shortcuts that wind up cheapening your work or taking advantage of the work of others.

Now, maybe Sarah trained AI around her art. If this didn't play out the way it did, I'd be willing to give her benefit of the doubt and assume that. Training AI off your own work, while still up for debate as to how ethical that is, at least doesn't hurt other artists, because it's your own work the AI is "stealing". There are definitely ways AI could be used to make life easier for artists without replacing the art process entirely, the same way artists have learned to use 3D assets and digital art filters to make their process more efficient and boost the quality of their art up to the next level.

But the fact that she's being so cagey over it, claiming she's not using AI period when she very clearly is, providing "proof" that actually proves she definitely used AI, while operating under a penname that's strangely similar to a name Grimes - former tech wife of Elon Musk and staunch supporter of AI - used for one of her studio albums-

- that's what makes it a lot more clear she's using it maliciously.

The AI is very likely trained off another artist's work. Maybe someone whose art style is similar enough to hers that she could integrate it into her own and pass it off as legitimate. Someone whose art style is cartoonish but still modern, like if Disney made anime. Someone who's so prolific and consistent in their stylization that training an AI off it would seem like a no brainer to those who want to replicate that style quickly and easily.

Damn. What a disappointment. Do better, Sarah.

And for god's sakes, Webtoons, pay more fucking attention. I've been steadily picking away at moving the entirety of my comics over to other platforms on a weekly schedule, but at this point I kinda just wanna dump the last 30 or so chapters onto ComicFury all at once so I can ditch this platform for good, especially if it turns out AI comics getting greenlit is a feature, not a bug. The ratings for Quantum Entanglement have dropped significantly overnight, now sitting around 5.09 and still dropping, but is Webtoons going to do anything about it? That remains to be seen.

#webtoon critical #anti AI #quantum entanglement #quantum entanglement webtoon #webtoon controversy

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missycolorful · 10 months ago

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I think I'll just say this: I don't agree when people call any of the islanders "bad parents" just because their parenting is flawed.

Like, parents and their parenting is flawed. Inherently. One parent cannot meet all the demands of their child; it is literally impossible. As humans are imperfect, there will always be something missing or lacking in one's parenting. Hell, sometimes even two parents can't meet all their child's needs, depending on their personalities. If that's the case, then I guess all parents are bad parents. But that's not the case, so I don't get why people are so adamant when they see that a parent isn't handling things 100% perfectly and go "wow this person's parenting sucks."

And this is even more so when you take into account... pretty much everything going on in Quesadilla island. These people never really planned to be parents, yet here they are! And this island is out to kill these kids, so it's also a dangerous game of survival now, too! There are horrors around pretty much every corner. Plus, outside or inside forces are making the islanders suffer very often. The islanders are never okay. How they take care of their children is going to be different just by the very basis of their environment. The standards of parenting are different here. Their relationships with people, including their children, were never going to be 100% healthy or positive or okay. It's just not possible.

so, no, I don't think that just cause, say, q!Tubbo or q!Phil aren't great in regards to their emotional intelligence and often isolate themselves, or when any other parents in general don't handle what their children are going through perfectly, that they're bad parents. That kinda statement feels like it diminishes pretty much all the hard work and effort and love they put into taking care of their kids and even kids that aren't their own. Tubbo gives his everything for Sunny, and was/is an active babysitter for a lot of other eggs. Phil works so hard to love and teach survival to and take care of his two eggs equally. (Like, being 'basically' a single parent, of one or WORSE, two, is already hard enough in the real world - imagine being one on this fucking hellscape they're on).

Like, I don't think there's anything wrong with pointing out the parents' flaws. Their flaws make them human, and it'd be foolish to disregard their humanity. And it's interesting to analyze their flaws and what they say about the character, and how they impact their family. There's nuance there, and it should be discussed.

But I think when you're just going "oh, they're bad at parenting in general" because they fumble the bag in other departments lacks nuance. Sure, if you're just saying "they're bad when it comes to certain aspects of parenting," that's a different story, because that's understanding their flaws while recognizing that those flaws don't define all of their parenting. But to just say they're bad at it in general isn't productive analysis of their characters in any way. I haven't watched q!Phil take care of his egg for a whole year (followed by a second egg more consistently shortly after) only for people to shit on his parenting just because his lack emotional intelligence is more noticeable as of recent due to all the trauma and bullshit he's endured. And I haven't seen q!Tubbo put his whole heart into taking care of Sunny as well as multiple other eggs, being Chayanne and Tallulah's reliable godfather, just for people to put down his efforts because he's not always great at more emotionally in depth conversations. They're good parents in a lot of ways, and those strengths shouldn't be discredited just because they aren't good at other things. Their characters deserve way better than that.

tldr these parents are all good in many regards and are just trying their damn best in the worst of circumstances, can we cut them just a bit of slack, please?

#qsmp #fuck it i'm tagging the characters i mentioned #q!philza #q!tubbo #missy rambles #also tldr this discourse is fucking dumb #like jesus calling them bad parents feels like it's shitting on all the time they've spent on this damn island taking care of these kids #all cause they're bad at talking about feelings sometimes? give me a break

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remus-poopin · 6 days ago

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It seems like you somehow manage to have one foot in the marauders fandom and one in the snape fandom and I’m so impressed. How do you do it?

Also, since you get to see both sides of things I’m wondering what you like the most about each fandom?

Ok this is an interesting question! Honestly I think I’m able to do this, and do this enjoyably, because I really try to make an effort to not moralize. This hasn’t always been how I interacted with fiction in the past, so it’s been a tricky process of learning how to do this with consistency. But it is something that I think is very important for me to do, not only because I have a better time in fandom when I'm not moralizing, but also because it inspires a sort of self reflection and allows me to practice empathy in a way that’s feels more analytical than emotional/inherent. And in the case of navigating two fandoms that have a built in tension between them, this becomes especially helpful.

The tension between the snape and marauders fandom almost always comes down to moralizing. The back and forth arguments between fans are usually rooted in the idea that the other character is not only morally flawed, but more morally flawed than theirs. If you look at any anti Snape or anti James post there’s an underlying agenda that’s trying to prove one is worse than the other. This is pretty irritating to me because I find it to be very boring, silly, and just missing the point of the characters and themes. But this is also irritating because I find that it's ineffective in producing any real meaningful analysis on these characters. Because the goal is not to understand that character, but to condemn them.

(This doesn’t mean that I think you shouldn’t examine the behavior of the characters, just that assigning a moral judgment to that behavior outside the world of that character leads to heavily biased analysis (meaning making it personal and about your standard of morality leads to a messy understanding of the character and story))

Going back to the tension between these fandoms, I think when you’re busy trying to prove how shitty a fictional character is you have a hard time separating them from their fans. Because it’s not really about the character anymore it’s about you and your personal feelings and beliefs.

I very frequently run into posts talking about “snape defenders” and “marauders defenders”, like this is some kind of battle where a side needs to be picked, and then picking a side is a reflection of your morality and politics (I’ve seen marauders fans imply that “snape defenders” are fascists or fascist sympathizers and I’ve seen snape fans call marauders fans “class traitors”, all in the last couple days mind you).

I’m going to be honest and say that whenever this pops up it’s gets pretty frustrating, frustrating because it feels like people are just using these characters as avatars for larger discussions they actually want to be having, but because these characters have specific stories, motivations, and complexities it makes this extremely messy (want to vent about the cult of conservatism that's growing all around us? Bring out the Snape Ken doll and talk about how he deserved his bullying (if he even was bullied)! Hate feeling the weight of capitalism on your chest while the class divide grows larger and larger? Call James “bourgeois scum”!)

(Or as @sideprince wisely said, it’s a way to be political without actually engaging in politics)

So yes I find this tiring, but I also really get it. I have done some form of this myself plenty of times. I am not immune to moralizing or having these same type of strong emotional reactions to a fictional character. In fact, I had this very recently when I watched “Girls” for the first time last month. Until maybe this week I felt a strong hatred for the character “Adam”. This hatred came from seeing him do something in a scene that I considered to be morally repugnant. The scene itself was incredibly graphic and triggering to the point where I had to stop watching the show for a couple days. The disgust response firing in my brain made it so I was incapable of viewing his character as anything but a POS, and all the complexities of him were lost because I refused to engage with them. So all his actions after that were viewed with a moral judgement from me. I mean even when he was being funny, sweet, or just interesting I felt incredibly annoyed because I desperately didn’t want to like him. However I was cognizant of the fact that I was having this sort of moral reaction to fiction because this is a show that is defined by its complex, complicated, and realistic characters, who have all done some very questionable things, and yet he was the only character getting this treatment in my head. So feeling frustrated with my own hypocrisy I decided that I needed to start approaching this differently.

So I made a choice to look at his action, the one that I found disgusting, and start breaking it down: Why did he do that? What was it saying about his relation to shame, power, control, violence, sex, gender, etc.? How else has he reacted to those issues in the show? I kept asking those types of questions, on and on, until suddenly I wasn’t just thinking about the disgusting act itself, but the character. The act stopped being about my own feelings and trauma and became about him.

That’s what I do with the marauders and snape, that’s what I strive to do with any fictional character, because to me that’s the most enjoyable way to engage with fiction. And I find that the fun I have in fandom is greatly limited when I’m pissed at a character, because it makes it difficult to interact with others who are their fans. If I see that someone is playing with that character, a little voice would go, “but what about my anger?” followed by a sharp sting. That type of anger, that moral anger, is personal, but this character is public, it lives beyond me and my feelings. My anger is mine, it never belonged to the public.

And I have at some point felt that same type of moral disgust/anger for both the marauders and snape. But I zeroed in on what specific action was making me feel that way, tried to understand why I had that reaction in the first place, and then went back to the action itself and tried to contextualize it within the character and story so it was removed from myself.

That’s how I’ve been helping myself with the moralizing issue. I’ll still have these reactions in the future, I might even have one on here, but I'll keep working on it. Because either way I love all of these characters and I want to continue to be able to exist in both fandoms without having to choose a side, or even lean a certain way. When you're not trying to win the war on which character was the Shittiest™ the pressure turns off and you can just enjoy these multifaceted characters with their many flaws and many strengths.

And as for what I like most about each fandom: I adore the snapedom because I've always felt that the best meta in the entire hp fandom came from there. Honestly the whole reason I love snape so much wasn't because I ever felt particularly identified with him, but because I read a billion incredible metas and analyses about him and truly came to appreciate his complexities.

For the marauders side I think I really enjoy the camaraderie, there are a lot of really sweet and cool people I’ve talked to on here and that's always been a blast!

#this got longer than expected #but honestly I wanted to talk about a lot of this for a while #also another tip to help with moralizing is acknowledge that characters and their actions exist to move the plot forward #this is helpful because it appeals to your rationality but I also realize this issue is strongly motivated by emotion #so it only helps so much #so I just do a combo of that and what I mentioned above #asks #severus snape #the marauders #James potter #Sirius black #Remus lupin #peter pettigrew #marauders

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ssahotchnerr · 2 years ago

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DBF Hotch is my weakness. Especially when it’s combined with jealousy and protectiveness.

Like you’re going out a on a date - hotch is already incredibly jealous about the whole affair.

BUT then you call him, crying, asking if he will come pick you up because the date was absolutely awful. He was such a prick to you and now you’re standing outside the restaurant, alone at night. And his protective instinct and anger at your date kicks in and he’s breaking every traffic law to get to you.

only one

it's been a while since i've written dbf!hotch and i've missed him SO MUCH thank you for requesting <3 wc; 1k cw; fem!reader, age gap, dbf/jealous/protective!aaron, aaron's a bit mean BUT doesn't last long at all, ends fluffy, some suggestiveness

all characters within this are 18+

you've been on your fair share of bad dates, but nothing compared to what you had just endured.

backhanded compliments one after the other, interruptions amidst all your sentences, snide remarks, even rude behavior towards the poor server waiting on the two of you. and to end the night, your date left you with the full responsibility of the check (you made sure to leave a generous tip too, rightfully deserved), and without a ride home.

your only solution was aaron, and you knew it wouldn't come easily; the image of his clenching jaw flashing through your mind when he heard you had a date, his disappointed and irritated 'have fun' as you left. but at this point, you didn't care. he was also the only one you wanted to speak to, the only one you needed.

"yes?" aaron's tone was neutral when he answered, not harsh but not enthusiastic either.

you opened your mouth to speak, but you simply couldn't find any words. shame and embarrassment prickled up and down your spine. your cheeks felt hot. you wanted to disappear.

"i'm getting work done. so if you have something to say, say it. don't waste my time." there it was.

you had been doing a fair job at fighting the sob that was aching within your chest, but his hard toned words finally caused the dam to shatter. your vision blurred from the multitude of tears, a string of whimpers and a sniffle leaving you.

his front dropped immediately. "tell me what happened."

"he-" hiccup. "god, it was awful. he treated me like i was an inconvenience to him. at the end he told me, it-" another hiccup. "and i, were a waste of time and-" you poured out everything, leaving aaron with a sick pit in his stomach.

his eyes squeezed shut, gripping so tightly onto his phone it could snap into two. "where are you?"

once you told him where, he hung up, not allowing you to say anything else. as much as that stung, relief filled you; at least he was coming to your rescue.

if your estimation was right - aaron was currently over thirty minutes away, maybe a bit more as result of saturday night traffic - consisting of people who were having a much more enjoyable evening than yourself.

however, he was pulling up at the restaurant within half the time, the wheels skidding to a stop as he approached. once parked, his door hastily opened, and he all but tore out of the car. his actions were hurried, enraged, and before you could blink he was at your side.

"get in." his hand found the small of your back, guiding you - and not very gently - towards his car, opening the passenger door for you as well. again, his urgency didn't give you the opportunity to utter a single word.

you slid into your seat, a push of air embracing you as aaron slammed your door shut. he moved around the front of the car, getting in himself. saying nothing, he began mindlessly driving the route back to your house.

the silence was tense in the air, thick as humidity on a hot summer's day. but then again, there had always been lingering tension between the two of you. and neither of you were stupid, you both knew what it was.

"well?" you finally said, both quietly and timidly.

"what?"

you exhaled heavily, wiping at your tears but failing miserably. "aren't you happy?"

your voice was defeated and a heavy sigh left him, all his anger vanishing. this wasn't a war. "sweetheart, i'm far from happy."

"and i can tell you're mad-"

"i'm furious." aaron interrupted, and you winced slightly. "but not at you." to accompany his words, his grasp on the steering wheel tightened, his knuckles turning white and his foot pressing a bit harder on the gas. "i'm livid that prick had the audacity to treat you the way he did."

you nodded slowly, the tears on your cheeks glistening from the outside lights - cars' headlights, the street lamps passing by.

"you know you're worth it, don't you." aaron asked, but there was also no question within his words.

another sniffle escaped you, followed by a shrug.

"i mean it. if that dense fool can't see everything you have to offer, he's clearly not in his right mind. and definitely not worth your tears."

he paused. when you failed to answer, he prompted, firmly to ensure you would no other doubts. "okay?"

you nodded again. "yeah. i guess."

"and i didn't mean to snap earlier." aaron took ahold of your hand, his eyes averting from the road to look at you. "i'm was upset, to put it bluntly. i'm not very fond of sharing you, and i wish i didn't need to."

you turned slightly - still clutching onto hand - finally allowing yourself to face him. "then why haven't you asked me out?"

the forbidden question. the circumstances made it difficult, you were his best friend's daughter. he was your father's best friend.

but you were tired. aaron was tired. both of you were in desperate need of each other. when you were around aaron, the constant burn of needing him close, needing to touch him, needing to indulge in him until you forgot your own name and more, was becoming agonizing. you couldn't care less about all the holdbacks anymore. you needed him.

and aaron now, seeing your tear slicked cheeks, knowing no one else could treat you better compared to him - he's never wanted you more. no matter how wrong it was, nothing was more right.

aaron flicked on the turn signal, choosing the route that would drive you away from your home. his voice was confident, casually dominant. "the night's still young, isn't it? give me the chance to turn yours around."

#aaron hotchner x reader #aaron hotchner #aaron hotchner fluff #aaron hotchner x fem!reader #aaron hotchner x you #aaron hotch x reader #aaron hotchner imagine #criminal minds #criminal minds imagine #criminal minds x reader #criminal minds drabble #aaron hotchner drabble #criminal minds x fem!reader #criminal minds fanfiction #hotch imagine #criminal minds x you

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ripplestitchskein · 7 months ago

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I didn’t watch the video and I won’t because I don’t enjoy their takes or the way they present their content so I may be missing some in video context but someone mentioned something that really struck me this morning in the tags. I don’t add on to posts as a general rule unless I really feel the need, and this is in no way meant as a call out for either source but I do want to address the general idea presented.

Stolas was never triggered by Stella yelling at him so he should not have been triggered by Blitz yelling at him.

There are a few very glaring things about this idea.

First the entire premise that a person wouldn’t have different reactions to different people in their life doing similar things is kind of silly on its face. There are a number of reasons why you would have a disproportionate reaction to being yelled at by one person over another.

Being yelled at by a stranger in a public confrontation is much different than being yelled at by someone you know in a space you consider safe, for example. Being yelled at by someone you consider physically intimidating is much different than being yelled at by someone you don’t. Being yelled at in a professional space is much different than being yelled at in a personal one. Etc. etc. etc. They all produce very different emotions and very different responses.

There are a number of contextual circumstances that will change how someone reacts to a similar situation as well. The most obvious to apply here is the relationship dynamic between the individuals.

On the one side we have Stella who Stolas in no way wants to be with, who he has been forced to be with for 17+ years, and who has seemed fairly consistent in her treatment of him over that time period. Where we see Stolas in the narrative is after many years of putting up with her behavior. Not only would Stella’s yelling be something Stolas is probably a bit inured to after dealing with it for so long, but he has also trained himself to change his behavior to keep the peace as it were. On top of that he has spent the past 17 years pushing down his own emotions and reactions to provide a family environment for his daughter. And we do see Stolas react negatively to her abuse, he flinches, he drinks excessively, he takes medication to regulate his mood, he backs away from her, he modulates his behavior to placate her.

Blitz on the other hand is someone Stolas is emotionally invested in. He cares for Blitz and while Blitz is abrasive and crude we don’t have examples of him outright yelling in anger at Stolas. He has also mentioned multiple times that Blitz is the one who broke him out of this repression. Of course he would react differently to Blitz versus Stella, they are literally the two opposites ends of a core character conflict he has.

We must also consider the power dynamic. Up until this point Blitz went out of his way to maintain their relationship, he deliberately avoided confrontation. He states this directly in his part of the duet, we see it in his text messages or the lack there of, we have evidence of it with the sex chest and his little shopping spree. So from Stolas’s point of view this person yelling at him now has only ever accommodated him or avoided him before, which, while also being a huge issue in their relationship, also escalates the moment when Blitz does push back and break down.

Stella has none of this baggage, her yelling does not reveal hard truths Stolas has to also deal with and confront. Stolas can justify his behavior with her because she never cared for him anyway, he did not hurt her with his actions. Stella’s yelling does not come from a place of hurt and betrayal regarding Stolas as she never cared for him or their marriage anyway. He did hurt Blitz however, and that hurt is being presented to him in a very aggressive way, and he had hoped up until this point that Blitz cared for him as well. So not only does he now realize Blitz doesn’t care for him (or that’s how he interprets it) but that he also views him in this really horrible way, as someone who takes advantage of those lesser than him, that he is pompous and unfeeling and cruel. He is the monster he feared being.

Which leads me to the next glaring difference. Stolas spent however long preparing for this moment where he revealed his feelings, he was hopeful and excited and nervous. He is then, in his mind, rejected. He is experiencing a range of emotions during this confrontation that all come to a boiling point.

With Stella her yelling is not a building confrontation of emotional ups and downs, it’s an environmental constant. In just a matter of minutes with Blitz he goes from nervous hope to rejection to realizing the person he cares for thinks really terrible things about him and the manner in which that is revealed is extremely charged. There is a world of difference between something you expect to happen (Stella yelling) and something you didn’t. Stolas has no idea Blitz had these feelings inside him, that’s part of the problem, and they were revealed to him in a very crushing and intense way.

We also have to consider that these are not real people reacting to the situation as real people might. This is a story being told to us and the writers and animators are presenting what is relevant to that narrative and these characters in a very concentrated way. They only have so long to get a point across and they must continue the story by contriving reactions we would not see in reality. In this episode and in the story overall so far we are given all the information we need to see it from both points of view and see why each of them reacted in the ways we did.

With storytelling of this nature you are not in the character’s heads so you much rely on actions, dialogue (which can be reliable or not) and environmental cues to get these points across. They did a phenomenal job in my opinion.

We have both of their mental headspace’s at the beginning presented in song, we get an idea of where they are at when the confrontation begins, and where they end up is a natural conclusion to the high emotions on display. The atmosphere is tense and dark, it’s a building anticipation with the music and the silence and the lightning being used, how the shots are framed. We get a sense of Blitz chasing him down, weaving through hallways and kicking open doors. It’s cinematic, because it’s a visual medium. Stolas HAD to remove Blitz from the situation in order to continue the narrative, he has magic in this story so he sends him away. In the real world there would be a lot of “Get out.” “No.” “I said get out” etc etc but that’s not interesting for the audience and in this world we have magic so whoosh, out he goes, the conflict continues into the next episode.

There are a number of things I could discuss related to domestic violence, or emotional triggers, or trauma responses but I don’t think that’s necessary here. Not only are these not real people and we are not privy to all of the baggage they have, how their individual brains process it and how they respond to it but the storytelling method is not conducive to those kind of real world considerations. What we do know is people react to different things in different circumstances with different people and the narrative absolutely justified Stolas’s response to Blitz and its contrast to his responses to Stella.

That is actually kind of the whole point?

#Stolitz #long post #helluva boss

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141wh0re · 7 months ago

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Red Spider Lily- Dead Dove Do Not Eat

Pairings: Body Guard!Simon Riley x Rich Bitch!Reader (f)

TW: MDNI, DDDNE, depression, suicidal ideation, anxiety, minor character death, angst, substance abuse and addiction, implied narcissism from readers dad, alcohol consumption, vomiting (not detailed, just mentioned), hyperthermia, brief wlw, NSFW thoughts, soft Simon, grumpy x grumpier trope, fun fact: don't mix MDMA with cocaine lads and lasses (can result in hyperthermia), whump, fluff.

Let me know if I missed anything in the tags <3

Word Count: 2626

Summary: Simon retires from the SAS, taking on a job for a well known real estate tycoon's daughter, serving as her sole protector until her father can find a suitable man to sell marry her off to. Yet, instead of protecting her from outside dangers, he's finding the biggest danger is herself. Simon is determined to help you escape this life that was pre-ordained for you, and cure you of your disease. Addiction.

After nearly three decades spent in the military, Simon never expected to find himself here. Stuck in a contractual agreement, protecting and ensuring the safety and well-being of a bratty young woman with a wealthy family. It was almost insulting to him, had it not been for the hefty sum of money the woman's father wired to his bank account every week.

There were a few moments he'd almost made the rash decision to quit his job completely, and allow the someone else to look after this bitchy damsel.

But there was something that kept him here, keeping a protective eye on you and a firm hand at the small of your back in crowded rooms.

Beneath all the glitz and glam, partying and binge drinking, and the drugs... Simon saw you for what you were when you were at your lowest points.

A young girl who was forced into a lonely life of luxury. A girl who lost her mother too young and wasn't sure how to cope. A girl who yearned for her father's attention while he consumed himself in work, social gatherings, and public appearances. A girl who closed herself off from the world and kept everyone at arm's length so the venomous bite of abandonment would be less impactful when those people inevitably left her. A young girl who drowned her liver in alcohol while snorting enough blow to potentially kill her every weekend.

Simon knew you needed consistency in your life with substance. He'd watched his younger brother go through this plenty, repeating a vicious cycle of pain and torment for a fleeting moment with the impostor of joy in powder form.

He also knew you resembled that of a caged bird. Lonely, isolated, and detached from the rest of the world while you awaited either your death or an arranged marriage that would benefit your father's company, and potentially cushion his pockets a tad more.

As you emerged from the master suite of the penthouse, Simon heaved a resigned sigh, seeing you dolled up for the night ahead. Luxurious, private parties and public appearances to keep your name relevant in the tabloids and medias.

He leaned against the kitchen island, large arms crossed in his black button down, rich, honey-colored eyes fixated on you, and his signature black, surgical mask in place.

"Eat. You're not going out on an empty stomach." His deep, thick accented voice demanded. He nodded towards the plate on the counter, filled with chicken risotto with truffle sauce.

You scoffed in response to his authoritative tone before obeying anyways and climbing onto the bar stool, realizing it's probably best not to piss off your body guard.

"Where's it from?" You asked in a bland tone.

"Your kitchen." he answered gruffly as he poured an electrolyte packet into a bottle of water and set it beside your plate.

"Didn't know they taught ya to cook up truffle sauce in the military," you teased in that snarky tone he felt deep hatred for. Your metaphorical mask was going up early tonight.

"It's so cute how hard you work to save me from myself every weekend, big guy. Doesn't it get tiring?" You goaded before working at the small, yet filling dish before you.

Simon ignored your attempts to rile him up, knowing good and well you were fishing for a reason to indulge in your vices tonight. If you went out in a bad mood, it was all the more reason for you to fill your nose with booger sugar, and what better way to elevate yourself than starting it in a piss-poor mood, so your high will be that much better?

"Eat." Is all he replied with, leaving no room for questions or arguments.

As the night progressed, Simon kept a watchful eye on you, taking in your every move, expression, and breath while diligently scanning your surroundings to ensure your safety.

He watched as you finished another glass of champagne that was easily worth three months rent for his studio loft downtown.

You were pleasantly buzzed as you floated about the mansion, like you owned it, being the perfect little socialite you learned to be. Simon's dark, brooding presence loomed behind you, keeping you within at least three arm's lengths at all times.

"Going to the loo," you informed Simon as you spun on the toe of your red bottoms, heels clicking against the marble floor as you sashayed in the direction of the restroom.

You didn't even have to cast a glance over your shoulder to know Simon was already following behind you, keeping his eyes dutifully trained on you and your immediate surroundings.

Once outside the bathroom, Simon knocked on the door before entering and doing a sweep of the room before allowing you to enter.

You rolled your eyes at his precautious measures as he shut the door behind you. After clicking the lock in place, you promptly relieved yourself before standing at the vanity to wash your hands, reapply your red lipstick, then pull a little pick-me-up from your clutch.

Using the compact mirror, you pulled a tampon case from your clutch, producing a small baggie of white powder from within it, and emptied the contents of the baggie onto the mirrored surface as it sat on the vanity. You shook the small tampon case to receive a small straw, then used one of your many credit cards to neatly align the powder in a straight line.

Holding a finger to your left nostril, you plugged it and inserted the end of the straw into the right nostril, hovering over the powder as you inhaled with a strong pull from your nose and lungs.

The powder irritates your nose momentarily, causing it to scrunch and sniffle as the tingles pulse through your nasal passage. Bitterness coated your taste buds as the powder dripped down the back of your throat, earning a cringe from you as you shook your head, coughing slightly to aid the phlegm in easing down your esophagus.

You promptly cleaned up and did a final once over in the mirror, adamant not to stare too long and avoid your flaws. Clammy palms idly smooth over the material of your dress, trying to ensure you look your best, and avoid the nagging feeling at the back of your mind. Your darker-self trying to rear her ugly head and steal your fleeting moments of joy, and stir up the insufferable concoction of anxiety.

Finally, you emerged from the bathroom to be greeted with the sight of Simon stood with his back to the door, his large palm clasped firmly over his wrist.

He wasn't stupid. He knew exactly what you were doing in the bathroom. Had it only been a quick stop, it would've been three minutes tops. But when you did your pick-me-ups, it took seven minutes.

He shouldn't know that, yet considering you're a relatively well-known public figure, he has to time every second you're not in his line of sight.

Simon stepped to the side, allowing you to exit the bathroom. His dark eyes gave a disapproving look as he surveyed your appearance.

"You've got a bit of sugar on your dress." He informed you, glancing down at the skirt of your black cocktail dress.

Your eyes hurriedly followed his, searching for the spot and swiping your hand over the material, earning an amused glint to flash in his normal unreadable eyes.

You groaned in annoyance once it became apparent he was messing with you, your hand quickly came up to slap his arm in defiance.

"Arse," you muttered under your breath. Simon's stoic demeanor momentarily gave way to show off a glimpse of underlying smugness.

Simon couldn't deny that you were a good looking woman, and he always found it hard to tear his gaze away from you, especially when you were a magnet for people. You had the natural ability to draw people in, even with your resting-bitch-face. Somehow, someway, everyone gravitated toward you.

It was very much the opposite of himself, all jagged edges, harsh lines with the repellent of a rabid Rottweiler. He found it fascinating on a personal level, but on a professional level, he loathed it.

He hated how people thought they could touch you, or be within three feet of you, or even the way they looked at you.

All he saw was greed, manipulation, and control. He was certain that you saw it too; he could see the faint flicker of disgust in your eyes when someone tried to cozy up to you for their own gain.

A part of Simon's heart ached to see your life full of so many people, yet none of them truly gave a shit about you. But he also knew you did it strategically, much like he had done for most of his life. Although, Simon's was done more coldly, you had a certain finesse about it. You held a sense of attainability, allowing people in just enough to keep control of, but never in deep enough for them to control you.

Behind the rich, spoiled brat, Simon marveled at the true strength and cunning you showed within this materialistic world. He could see the fox within you, calculating and sly as she was, planning her escape.

But the escape plan is what scared him. He heard every conversation you had with yourself, when you thought no one was listening.

You longed for a life without a name. Where you could fly under the radar, only keeping close to you those who truly cared. And as much as he tried to remain detached. He was concerned that one day, you'd find a remedy for that desire.. and take flight for the heavens.

Simon watched vigilantly over you as you remained perched on the outdoor couch with your group of girlfriends. His eyes never left you as your friend slipped a pill between your soft, red lips and did the tactless act of spitting her drink in your mouth to aid you in ingesting the pill.

Fuckin' hell, love. You need better friends.

He sighed inwardly, but heaved a quiet breath as he kept watch, wanting to shake his head in disappointment. But he knew you could feel his disapproving gaze prickling at your muted senses.

Your head dipped back in pleasure as your friend kissed down your neck, across your collarbones and back up to your lips. Half-lidded eyes remained trained on Simon as he stood within your sight, your eyes appreciatively raked over his form, taking in the way his muscles strained against the black fabric of his black button-down, and the way his slacks fit his tree-trunk legs perfectly.

He was a delicious sight and you were feeling ravenous, silently lusting over the man assigned to guard your life. The only man who gave a single shit about you.

Simon internally groaned, his hand clenching into fists behind his back as he watched the scene unfold before him. If he wasn't on duty right now, he'd be fucking you within an inch of your life, and make you pray to a merciless God. Himself.

You pulled yourself up from the couch on slightly unsteady legs, and sauntered over to him, only stopping in front of him once your hands were on his chest.

Simon gazed into your dilated pupils, already noticing the effects of your meeting with your little friend, Molly.

"Wanna go home," you demanded, pouting up at him.

"So soon? You looked like you were having a bit of fun." He replied in a neutral tone, keeping his aloof and disinterested persona in place.

"It's boring here," you whined, "wanna have fun. At home. With you."

"Mm, you wound me, bird. Here I thought you knew not to associate me in the same sentence as fun." He scoffed lightly, trying to keep the inflection of amusement from his tone.

He reached a large, callused hand to rest on the small of your back, acting as a stabilizer for your current state. Tingles ran up your spine as every nerve-ending desperately sought out the rest of his warm touch, igniting hot flames of desire along your spine, and pulsing directly to your rapidly slickening cunt from your heightened state.

Simon watched you closely once you were back in the safety of your home. He gauged you as you stripped off your dress carelessly, leaving it discarded on the floor, much like you had done with your heels the moment you were off the lift earlier.

He sighed as he watched you prance around the room topless, going about your business in your flimsy g-string.

"It's too bloody hot in this damn house," you whined as you adjusted the thermostat.

Your body swayed on unsteady legs, your skin glistened with intense perspiration. A wave of dizziness struck you, forcing you to lean against the wall momentarily while your heart rate soared, soft, frantic breaths escaped your lips while your vision blurred in a not so fun way.

Simon's eyes narrowed with concern before he immediately recognized your symptoms, having realized what would force this reaction out of you.

"How many lines did you do tonight?" Simon asked in a firm tone, scooping you up in his arms effortlessly, then rushed you into the bathroom.

He helped you kneel before the toilet, gathering your hair in one hand so you wouldn't have to focus on much.

"T-three," you panted out, feeling waves of nausea swell and your stomach to roil.

You retched into the toilet, firmly grasping the edges in a white-knuckle grip.

"And you only took one pill. Molly, right?" he asked with concern, gently rubbing his large palm at the center of your shoulder blades.

"Yeah," you croaked weakly before lowering your head again.

Simon grunted in frustration, yet remained vigilantly at your side, helping you through your sickness.

After a while, the vomiting finally ceased as he gently cleaned you up and propped your back against the bathtub. He quickly grabbed a washcloth and a disposable cup for mouth wash before handing it to you.

"Swish and spit in the cup, bird," he instructed while pressing the cold washcloth to your forehead, then moved it to the nape of your neck, trying to quickly cool your body down from the sudden onslaught of heat exhaustion.

You did as Simon instructed before handing it to him to dispose of. Your eyelids were hardly able to stay open, your body felt weak as if each limb was weighed down by imaginary anchors, and your skin felt like it was on fire.

Simon returned with a thermometer in hand, taking your temperature.

102 degrees.

"Fuckin' hell, bird." he murmured gruffly.

With quick efficiency, Simon collected you in his arms again, carrying you out to the oversized sectional in the living room.

You were already drifting in and out of consciousness, finding new items surrounding you each time you opened your eyes.

Simon worriedly administered an IV, a bin was placed beside the couch, cool washcloths littered across your body.

"What's all this?" you slurred nearly unintelligibly.

"Hyperthermia. Just rest. Let me take care of you," he answered in a softer tone than ever before, and had your body not been fighting for it's life, you might have caught the worry in his eyes and concern and care in his deep voice.

For several hours, Simon remained by your side, using a dropper to dispense electrolytes on your tongue, checking your temperature every hour, and gently running his fingers through your hair while you slept on the couch.

"M' gonna get you fixed up, bird... don't wanna see you like this anymore," he whispered in devotion, and pressed a tender kiss on your forehead.

| Next |

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haerin1 · 1 year ago

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hcs you have for Scara? Love seeing new writers around here 🫶

꒰ఎ ♡ ໒꒱ SCARA HEADCANNONS.

note: omh ty for the req !! i did 2 versions bcause i got carried away UM anw enjoy xoxo kisses hugs :33

[wanderer!scara, modern au!scara x gn!reader] fluff, pinches of angst, mentioned mommy issues and trust issues !!

modern au scara !!

Scara is definitely a band kid and in my opinion, he'd absolutely be an electric bassist. He carries around the band-aids you gave him so he can use one whenever his fingertips get cut from the tough strings of the instrument.

Scara loves judging everybody in his classes and making people uncomfortable because he's a menace like that. His narrowed sapphire gaze following certain people with ill thoughts and a slight grimace; you already know he's judging them real hard.

It's simply impossible for him to go a day, no, even an hour, without his headphones and downloaded music from his favourite artists. Scara's music taste consists mostly of Chase Atlantic, Artic Monkeys, TV Girl, Cigarettes After Sex and he's a closeted Mitski listener.

Mommy issues and miscommunication trope with Ei. Scara aspires to be anything else but the occupation Ei suggested for him. Ei compares Scara to his sister, Raiden, without knowing it hurts Scara's feelings because she's bad at communicating and getting her words right overall.

Shops at Hot Topic and Miniso. Miniso, because he only goes there for the Kuromi stuff that reminds him of you (since you're always telling him how you and him are literally Kuromi and Badtzmaru) and Hot Topic is self-explanatory.

Adding onto the Kuromi and Badtzmaru topic. Ever since you made that comment, Scara ended up loving that specific pair of cute Sanrio characters. He now owns a Badtzmaru hoodie (yours is a Kuromi one: hashtag couple goals), five Kuromi figures and more than thirty things consist of Badtzmaru in his bedroom.

Scara's bedroom is neat but messy at the same time. The room is fairly big and he has his bassist on its stand in the corner of the room with a huge Badtzmaru plushie sitting on the floor by it. His bed is filled with your gifts of plushies from past dates or occasions.

Scara has an area dedicated to his favourite music artists with posters of their albums plastered to the black painted wall. You bought him TV Girl's French Exit vinyl for his birthday, which he always plays on the record player whenever you come over or when he's missing you (by missing you, I mean whenever you're not with him).

Everytime you mention a new song you like, Scara immediately learns it on his bass so he can impress you. You find it so cute how these little gestures of his are all for your compliments and affection when all he could do is breathe and you'd be head over heels for him.

Scara is unfiltered, cunning and a tease. He'll say whatever he wants at any given time and doesn't mind what people think at all (he fights back the urge to rock someone's shit when they disagree with him.) He's your cute little drama queen.

genshin au scara (wanderer) !!

Wanderer's favourite time of day is when the sun starts to set and he gets to have his long awaited tea time with you. You know the perfect way on how to make his tea and it's so natural to the point of when Wanderer tastes any other tea, it just can't compare to the way you make it.

Despite loving you very dearly, and he'd never admit this last bit aloud, he still has some sort of doubt against you. Should something happen to you that marks your permanent disappearance that neither you or him could prevent, what would he do? Wanderer simply does not know. And he certainly wouldn't want to know.

Wanderer enjoys the feeling of your hands in his hair. Whether your hands are soft, rough, cold, or warm, he doesn't mind. He just loves feeling your gentle and affectionate touch against his head as you play with his hair or even braid some strands together.

In general, Wanderer loves physical touch. Holding hands, soft kisses and hugs; It's all so wonderful to him. It makes him feel wanted and loved, like you actually think of him dearly. He loves it especially when you initiate it first. After that, he'll be more than comfortable doing it without waiting for you to do it ahead of him.

Wanderer keeps all of the silly trinkets, gifts and letters you've given him in a box that's kept in a very safe place where no one knows, not even you. Everytime he comes across it, unknowingly to him, a soft smile forms on his lips as he remembers the fact that he's this important to you.

Wanderer absolutely adores it when he makes you smile or laugh. He'll proudly smirk and throw in a teasing remark at this but is hiding the fact that he's just an embarrassed doll with an adorable lover. He loves making you feel good, both verbally and physically, as it feeds his ego and reassures him that he's doing great at being your beloved.

Wanderer's gifts for you are usually handmade, like the cute doll that looks like you which he got to keep so he could give you a doll that looks like him in return. He loves seeing you carry the doll around with you when you want to take it out of your messenger bag, holding it so gently as if it were Wanderer himself.

Whenever you're not paying attention, Wanderer looks at you and observes you. He loves noticing new little things about you, like the way you make little popping noises with your lips when you're bored or the way you subconsciously reach out to hold onto his hand. He adores every, single, little thing.

Wanderer often finds himself trying to impress you. If he sees you walking about, he'll immediately find something heavy to pick up and "coincidentally" run into you so he can make sure you see his amazing skills. You find this habit of his somewhat adorable as you smile and praise him for his strengths. He ends up getting quite flustered, in the end.

Depending on Wanderer's mood, he'll be very flirty one moment or very shy the next. If you manage to outdo him with his charming comments, trust me, he turns into the cutest blushing mess ever. He'll look away as he denies your question about whether he became timid or not.

#✮+ cyvie's web library !#gender neutral reader #scaramouche #scaramouche x reader #scaramouche x you #scaramouche x y/n #scaramouche modern au #genshin modern au #scaramouche fanfic #scaramouche headcanons #scaramouche fanfics #scaramouche fanfiction #scaramouche fluff #genshin impact #genshin x reader #genshin x you #scaramouche imagines #kunikuzushi #wanderer

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bonzos-number-1-fan · 7 months ago

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TMAGP 19 Thoughts: Bad Scientist

Another really strong episode, and one with a lot to get into. Probably the densest episode yet in terms of historical context, lore content, and mystery clues. So a lot to get into and no point in any more preamble.

Spoilers for episode 19 below the cut.

Sam and Celia's chat is somewhat interesting. She's now looking into alchemy. It looks like she's looking into the exact stuff Sam was, because she's also looking into the Magnus Institute now. Darrien 2 did a world hop and the Magnus Institute scooped him up so that lead makes sense to follow. Although it's curious that she hadn't done that yet. She's continuing to push Sam to keep up that research too. Celia is pretty much always trying to pull people's strings like that. It being such a consistent character trait does bring into question how sincere any of her actions really are with the rest of the office.

Before I get into the incident proper, this is going to be a bit of a weird one. There is a lot of historical context and alchemic terminology in this one. As such I'll be quoting the show more than usual to explain and explaining who people are, what they're doing, why it's relevant, etc. Like I said, it's very dense. There are also a couple of points of interesting grammar to mention as well which would be missed without the transcripts.

The incident's format is a letter from Robert Hook to Robert Boyle who are both Fellows of the Royal Society. Which is a lot of context off the bat. So, Robert Hook was a 17th century polymath who's most well know these days for his work in microscopy with a microscope of his own design, and for his work in helping rebuild London after the Great Fire (which we'll get to). He also did a lot of work on gravity and planetary rotations which ended up being quite foundational to Newton's law of universal gravitation. He wasn't, however, an alchemist. Boyle on the other hand very much was. Widely regarded as the first modern chemist and he's most famous for The Sceptical Chymist, a work that would be hard to overstate the importance of for the field. Hook, Boyle, and Newton all overlapped a lot in a lot of ways outside of these things too, especially in fields like optics and colour theory.

They were all also Fellows of the Royal Society at this stage too. Which to give it its full name is The Royal Society of London for Improving Natural Knowledge. It's general goal is to promote science, offer support to scientists, and helping shape policy. It was only founded in 1660 and so hasn't been around for a very long time at the time of this incident. The Royal Society is also what's being referred to with the numerous mentions of "Good Science". In short, it's about using science for the public good and to aid in further the endeavours of other scientists to that end. So the Royal Society is probably not up to anything nefarious here. Despite the fact that Newton ends up becoming its president later in life.

Another big thing mentioned here and repeated throughout is the "Protocol". Capital P in the transcripts. So, yes, they said the thing. It's not the first time it's come up but both times it's come up it has been standalone. I don't know if I mentioned it in last time but I have a feeling that the "Magnus Protocol" isn't really a thing. There is just the Protocol and it was used against the Magnus Institute. For its full title to be the "Magnus Protocol" it'd likely have to be named after Albertus Magnus, who is a noted alchemist himself, but I think it's more likely that the Magnus Institute is named after him than the Protocol itself. The most interesting detail we get about it though is that whatever the Protocol is it was enacted against London to burn out a plague. Which would mean in this setting the Great Fire of London was deliberately set to combat the Great Plague of London.

So now we're at Newton himself. The gravity guy. But also the laws of motion guy, the calculus guy, the optics guy, and a lot of other guys guy. Of note here is that Newton was a very noted alchemist and theologian. Both fields were large parts of his full body of works. I think Newton is well known enough that I don't need to get into that though. Besides it's not the first time I've talked about him. As a quick reminder of that though Newton was Warden and Master of the Royal Mint. At the time he served in those roles the Royal Mint had moved out of the Tower of London to Royal Mint Court. Which is where the OIAR is currently located.

Okay for our first quote we have this:

It was only through the Protocol that we were spared from that Dread emission and I fear that such an act is once again required

The capitalisation there is how it appears in the transcript. Protocol we've talked about but "Dread emission" is very interesting. The capital implies that it's the name of something. Which I would wager is either one of, or the whole of, forces Lena mentioned that need to be kept in check.

Then we get to Newton's work proper with this:

he had finally perfected the work of Wilhelm Homberg to produce what he termed the Arbor Philosophorum Perfecta.

Which is very interesting for a number of reasons. Arbor Philosophorum, the Philosopher's Tree, or Diana's tree is a real thing. It's a dendritic amalgam of silver and mercury. Basically meaning it's a metal who's crystalline structure grows to resemble a tree. Wilhelm Homberg is German natural philosopher that wrote a fairly simple recipe for this process and while it's not known if Newton ever attempted it we do know he had a recipe for this. Although it's actually George Starkey's recipe which is a gold mercury amalgam instead. What's more important is that Diana's tree was thought to be a precursor to the philosopher's stone itself. So Newton has basically perfected something of similar nature to it. With some fairly fucked up results, as we'll see.

Out next quote is Latin:

de ligno autem scientiae boni et mali ne comedas in quocumque enim die comederis ex eo morte morieris

Which is Genesis 2:17, and in English (NET) it reads:

but you must not eat from the tree of the knowledge of good and evil, for when you eat from it you will surely die.

Because, as noted, Newton was a theologian too. People probably think of him as a rational scientist atheist type but back then there wasn't as much conflict between the two. He was a devout, if not exactly orthodox, Christian.

Christian or not he's playing God a little. We get to see what the fruit of his labours are and it's not looking like good science at all.

such a creature must by all natural law lack that essential and ephemeral anima that is required for such awful knowledge I tell you here Robert, it saw me and it knew me.

So this is an interesting thing to say. Anima in this context isn't the Jungian syzygy but something more akin to "spirit". The anima has a lot of overlap with the tria prima. Which I've spoken about a fair bit before but is an alchemical concept that sulfur, mercury, and salt embody three fundamental principals, but also defined human personality. Mercury is spirit and is related to concepts like morality, imagination, but most importantly for us higher reasoning. A lot of emphasis is placed on the dog's knowledge and Diana's tree, the catalyst for this transformation, is a silver mercury amalgam. So it looks like Newton found a way impart spirit onto something.

There is also this:

I propose that we enact the Protocol but limit it only to his laboratory, destroying his research and correspondence

Fun fact: the dog Newton is experimenting on is likely Diamond. Diamond has a lot of stories about him. The most important one is that he burned about 20 years worth of Newton's manuscripts.

And that's that. Quite a lot to break down as I said. But we're not quite done.

Sam talks to Alice about the computers listening to them. Which isn't the first time he's had that thought but it's nice to see him bringing it up. Alice is very Alice about it but Sam is at least trying to figure things out.

Lena and Gwen have a Lena and Gwen conversation about Lena sending Gwen to her probable doom. But Starkwall is mention again. Nothing too interesting to say on it though.

We finally get more of Colin. It's been too long. He obviously know's Freddy is listening in at this stage but what I want to focus on is the last two sentences here:

No, what I need is to not be seen. He sees too much already. Doing mummy and daddy Stasi proud, I’m sure. Not that anyone cares as long as it all balances, right? Not too much mercury or the world ends, not too much sulfur or we all go mad…

So as I was just talking about the tria prima, here it is again. Sulfur is the soul which is emotions and desires. Which lines up fairly well with how Colin describes what too much of it would do. But this whole thing seems to tie into Lena's talk about balancing forces. Which makes a great deal of sense as the alchemical symbols for the tria prima, along with the philosopher's stone, all appear in the OIAR's logo. How Newton ties into that remains to be seen but there is a very large link there. The mention of the Stasi is also sort of interesting here. For those that don't know the Stasi are the East German secret police. Germany has come up a few times before with Freddy having German source code, Klaus being a German, and most relevant to this in the ARG the largest body of text was a usenet group about people leaving East Germany. Which then ties back into Colin as one of its member hacked the OIAR, and also seemed to be helping out jmj.

Okay, all done. Now it's time for more of the same but nerdier and unhinged.

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Incident/CAT#R#DPHW Master Sheet and Terminology Sheet

DPHW Theory: 1137 is very reasonable. Just a Weird thing that was very weird and had a little bit of mental manipulation to it which looks to be Helplessness' purview. It's also more weight on my idea that 1 is the floor with 0 being the ceiling and counting as 10. There was nothing in the supernatural element of this one that had any strong resonance with Death or Pain as concepts or themes. If 0 was the floor I'd expect to see it for this one.

CAT# Theory: CAT13 is a great a CAT#. It's exactly the sort of thing I was talking about in the essay on why it's not Person/Place/Object. The supernatural "person" here is either Newton performing the magic, or the dog that's the subject of the magic. The object is the crystal that induces the transformation. Which is a virtually identical setup to the tattoo incidents but those aren't CAT13. They're CAT3, CAT23, and CAT1. It's continuing that trend of data that you can explain in isolation but becomes incongruous when taken as a whole.

Anyone that's read most of these rambles will have heard me mention the notion of CAT# being related to the tria prima. It's something I talked about when the first couple of eps came out. Colin mentioning sulfur and mercury is a fairly overt reference to it, and Diana's tree is a silver mercury amalgam. In relation to CAT# it's always been something that felt right. What tria prima describes and how CAT# works would go hand in hand for this sort of thing. Now, I'd be a hypocrite if I clung to the idea just because it felt good. So I quickly discarded it because episodes didn't line up will with it pretty early on but it might warrant a fresh look. I might have been right but with too little data to see the pattern.

The way Colin talks about it also ties in with another idea I've floated that CAT# is about the domains of either three entities, a triple deity, three purviews multiple entities share, or that each combination is an entity that's a portion of a whole. Lena's comment about the OIAR balancing forces would obviously tie into that notion too.

R# Theory: Rank BC is about what I expected on this one. It's not something you'd think happened but it's at least backed up by a historical account of someone well known. So more weight behind it than a letter about a mass hysteria event, but still in the realms of "yeah, nah".

Header talk: Transformation (canine) -/- growth (Crystalline) is bonkers. Transformation (Canine) you would think is a Transformation that is somehow canine in nature. Transformation (Eyes) isn't just your eyes. So, if this is correctly filed, dogs have their own subsection that encompasses all of transformations that occur to dogs. Any transformation, regardless of what it does, so long as it transforms a dog would be Transformation (Canine)? Growth is fine. It grew root-like things/Diana's tree is grown. So it makes sense. Although I'm not sure it's the most compelling crosslink when it was doing the whole "know the nature of you" thing. Crystalline on the other hand is madness. Sure, Diana's tree is a crystal but it's formatted like the subsection of a crosslink. Or a sub-crosslink, I suppose. Which hasn't been implied to be possible thus far and if it is possible why don't they all include it? Surely this helps with the problem in specificity that was mentioned in the very first episode? This one feels the most like a misfile so far. No format again either.

#the magnus protocol #tmagp #tmagp theory #tmagp speculation #klaus = kl4-u5

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quasi-normalcy · 11 months ago

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Why Deep Space Nine wasn't as popular as the other 90s Star Treks when it aired

So I keep seeing this one kind of conspiratorial text post circulating around which asserts that Deep Space Nine wasn't as popular as the other Star Trek series from the 90s because Rick Berman hated it and deliberately sabotaged it, and also (somehow) marginalized references to it in canon even decades after he stopped having absolutely anything to do with the franchise and just...no. Like, I have no idea how Rick Berman personally felt about Deep Space Nine, but what I do know is that he co-created it and executive produced it and basically ran the entire Star Trek franchise during the 90s, so if he *really* hated what it was doing, he could have just put his foot down and stopped it. Moreover, he didn't marginalize references to Deep Space Nine in canon; Voyager getting into contact with the Alpha Quadrant and learning that the Maquis had been exterminated by the Dominion (something that happened on Deep Space Nine) was one of the very few plot points on that series to have repercussions for more than an episode; First Contact featured the Defiant; both Insurrection and Nemesis have references to the Dominion War. The post is reacting against a problem that doesn't really exist.

But it does raise the question: why *wasn't* Deep Space Nine popular when it aired? And I think that the answer might be difficult for people who weren't alive and conscious during the 1990s to understand, so I'm going to try to lay out the reasons:

Serialization was only just becoming a thing on adult American television: I know that this might sound a bit difficult to believe now, but there was a time when networks really hated serialization and, with context, it's not too hard to understand why. In the 1990s, there was no streaming; there weren't even any DVD sets. Any given episode aired once at a designated time. If you missed that time, then your options were to wait until it was rerun a few weeks later, or again during the summer (and the networks would often air reruns out of order, so good fucking luck with that), or to hope that one of your friends had recorded it on a VHS tape. Otherwise, you just couldn't see it. Even worse than that, networks could arbitrarily pre-empt their own programming. Like, "Oh, you wanted to watch Star Trek? Well a baseball game just went into overtime and it brings in ten times as many viewers. Hopefully you won't find it too jarring if we just begin half an hour into the episode." So you can understand why this would have a knock-on effect on serialised storytelling; if you've missed one episode, and the subsequent stories depend on plot points from the episode, then you're just going to be confused. But even beyond that, if you're not used to serialization as an audience, then you're not going to be on the look-out for context clues. "Oh, that alien just told Quark about something called 'the Dominion'? Oh that sounds important--oh, wait, no, they got to the end of the episode and nothing happened with it. I guess it wasn't important after all."

The Star Trek name: This one seems a bit counterintuitive, because of course the name should be a draw to fans of the other series, but you have to remember that, at the time in question, the franchise consisted only of the original series and movies and the first six and a half seasons of TNG. Now, these differed in several ways, but what they had in common is that they were all about a bunch of moral paragons who flew around in space in shiny starships, having episodic adventures. That was what Star Trek was. And then you got a new series about a bunch of morally compromised characters who sat still in space on a gungy old space station having serialised adventures. It's not the same thing, and so a lot of people who wanted the first thing tuned out (which was, in fact, why Voyager had to be created), whereas a lot of people who wanted the second thing might not have tuned in because they figured it would be the first thing. And this of course brings us to the third reason:

Babylon 5: So stop me if you've heard this one before: it's a serialized drama from the 1990s all about a bunch of humans and aliens having to coexist on a space station as they navigate diplomatic crises and gradually become enmeshed in an elaborate space opera story arc. It features a race of aliens who can be called "highly spiritual", a race of aliens who have recently overthrown a decades-long brutal occupation of their homeworld by a crumbling and overstretched empire, a race of aliens who are often mistaken for gods (and who cultivate this misconception), and a mysterious new threat emerging onto the galactic scene, eventually culminating in a seasons-long war arc. I am of course describing J. Michael Straczynski's science fiction masterpiece Bablyon 5, which he, and a great many of his fans, regarded (and not without reason) as having been ripped off and pre-empted by Paramount in the form of Deep Space Nine. Now, looking at the evidence, I personally think that most of the similarities between these series are a sort of convergent evolution; but, whatever your opinion on the matter, the fact remains that these two fandoms hated each other during the 1990s. And the net effect of this was that a bunch of SF nerds who would probably have really liked DS9 if they had gotten to see it never watched it at all as a matter of principle because as far as they were concerned, its very existence was a corporate ploy to bully an upstart rival out of business.

Anyways, for all of these reasons, it's not remarkable to me that Deep Space Nine never became as popular as TNG and Voyager; and because it wasn't as popular, it makes sense that Paramount would be more circumspect about greenlighting Picard-style sequels or Lower Decks or Prodigy-style spinoffs to it (and indeed, I'm not convinced that all of the writers have even seen it). But I think that it is a testament to just how good DS9 was that it still managed to get the same seven seasons, even if it never drew in the same audience

#star trek deep space nine #star trek deep space 9 #ds9 #star trek voyager #star trek the next generation #babylon 5

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aspiring-creative-person · 1 year ago

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Ok but I was just thinking

Jooster is kind of the only actual solid relationship in Jeeves and Wooster?? Like platonic or romantic, let me explain

Like obviously it’s the focus, but like. Listen.

Everyone else hops from girl to girl, or guy to guy, and each one is filled with turmoil. This is just talking about Bertie’s friends, right?

But also, as friends, they really suck. They constantly get him to do things for them and do nothing in return.

Even the aunts and uncles don’t usually have spouses that are actually on screen!! Who knows if there were divorces or something?? Like people’s parents are hardly ever present it’s always some rich aunt or uncle, with Bertie yes but even with all his friends 😅😂

Everyone in that show is just so… detached from each other. There’s a particular moment where Bertie is driving Bingo and Tuppy home, and they’re just ranting about their women to each other and not listening to the other, and Bertie is just so done with it. I think that illustrates this point pretty well.

Anyway, Jeeves and Bertie are so not that. There’s another post somewhere on Tumblr talking about how Bertie always replies to Jeeves’ subtext and they pick up on each others moods essentially, which I think is a great point. And generally they just really like each other. Just read any of the books to see how much Bertie admires Jeeves, and read “Mr. Wooster Changes His Mind,” which is from Jeeves’ perspective, and you can see how he cares a lot for Bertie as well.

And like. They have their own language. Bertie is used to Jeeves materializing into rooms (this generally freaks out other people), he is now comfortable with it. Also he knows that whenever Jeeves is cold to him it’s almost always about his fashion choices, and that is a constant theme of how they interact. They have their quips about music sometimes. Jeeves always helps solve Bertie’s (and friends’) problems, and even when Bertie gets the short end of the stick, if it’s Jeeves’ plan he immediately is satisfied with the conclusion.

The biggest thing, though, is probably their brief break-up. Like. They had a disagreement and broke up, and then missed each other. There weren’t even any hard feelings, just longing tbh. And at the end they got back together, and stayed together, and were happy to see each other again. They clearly enjoy each others’ company. And Jeeves seemed to think that the other candidates for his employer did not even compare to Bertie.

Name another couple in this show who is as devoted as they are

Half of the women go for men for their status, the other half at whims

All of the men go for women on whims, and half of them find another girl when they have some sort of disagreement with the previous one

And even if they get back with a previous partner, there’s no guarantee that they will stay together

But Jooster is in for the long haul. The most consistent relationship, the most caring relationship, the most in-tune relationship, the most long-term relationship.

Oh yeah also with familial relations and all that. Aunt Agatha has been quoted to say she thinks Bertie should probably be put in some home. Like, that’s pretty rude and everything. She also tries to get him to marry all the time, she doesn’t care about him in a way that is healthy at least, only so much as he can be out of the way and out of trouble. Even Aunt Dahlia, who says he is her favorite nephew, and who takes advantage of his nature to get him to do things for her, insults him and throws things at him sometimes. His cousin Gussy, when he gets drunk, insults him in front of a crowd, going so far as to say he hates him. Claude and Eustice put him into the soup without a care for how mad Aunt Agatha will be at him.

Jeeves never insults him, or not his character at least. Yes, they have their disagreements about fashion and music. But Jeeves never insults his intelligence. He never calls him clumsy. He never underestimates him. Yes, he is his employee, but I have a feeling that it doesn’t have to do with that. Even when he was split up, like I mentioned, he came back and said the other employers weren’t up to snuff compared to Bertie.

Omg and then there’s all the women who think Bertie loves them/who want to marry Bertie. Of course, they all have delusions about him, because if they knew him at all they would know he is not in love with them. They would know that he’s too much of a pushover to say no to them. But they don’t. Which just shows further the disconnect everyone has in this show.

Ok referencing one more post because I like the point they have. It was something about how the actors keep changing for the side characters, unintentionally showing how Jeeves is really the only constant in Bertie’s life. Again showing the difference in their relationship vs his disconnected everyone else is. While I’m sure it’s not an intentional choice in that regard, it certainly is an interesting connection.

Anyway like I said at the beginning of this, you can interpret their relationship as romantic or platonic or somewhere in between, but it’s definitely the only solid one in the series.

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