#real people can't ever know about this

[hersurvival]

SOS

I need extraction, NOW

I went to bed to get cozy and transfer my poetry into my notebook. My boyfriend burst in and CAUGHT ME

NOW HE WANTS TO READ THEM AND HE'S BEING WEIRD I SAID NO

Someone help, 911, anyone?

SAVE ME, I THINK I'M GOING TO DIE, I HAVE NOWHERE TO HIDE MY NOTEBOOKS NOW THAT HE KNOWS OF THEIR EXISTENCE

I might just have to bury myself in the yard with them tonight. Or do I get rid of him instead?

Either way, here's to staying up later than I'd like until he falls asleep 💀

[chipper-smol]

>:3c

(also munkie made a little drabble on the first post of these two so im linking it here)

[syn4k]

to be, or not to be (romanticization of the inevitable)

[butterflysonnets]

yes i'm rooting for m*leven breakup because byler is neat but mostly? i'm rooting for m*leven breakup for the sake of el and mike.

to me, their romance was always a puppy love born out of a combination of social pressures, naïve curiosity, and a lack of true understanding regarding intimacy and romantic love and what it really is. it was real in that they do truly, deeply care about each other and they are close friends, maybe even shared an attraction, but a maturing romance is so much more than that. they've grown up and out of being boyfriend/girlfriend, and that's okay! i think television/film needs to show more often that most of us don't have definite "soulmates" or first childhood loves that we spend our whole lives with. it doesn't mean these relationships meant nothing and didn't impact us, it just means they've run their course and that something else is in the cards, and this is part of life!

i've always felt el was at her best and most confident self when broken up with mike, discovering who she was and what she liked alongside another girl her age instead of just relying on mike for mentorship on how to live in the real world. she deserves more of an opportunity to find herself, her autonomy, and her independence, and to love who she is, and she's made it clear she's felt insecure in the relationship with mike because she isn't being loved and understood the way she wants, needs, and deserves from someone who is her partner.

also, it's okay if mike doesn't love her in "the way he should". he is not obligated to love her romantically and stay in a relationship with her just because she's a girl, because she "needed someone", or because he cares about her a lot. he shouldn't be pressured into a romance if it's not truly coming from his heart. he deserves freedom to find out and honour who he is, too, instead of just staying in his non-functional first relationship — one he got into as a child, essentially — and defining himself that way because it's what's expected when a boy and a girl are close. he loves her in some way, yes, but it's okay if he doesn't feel comfortable or secure being her boyfriend anymore, for whatever reason that is. he's felt insecure too, and that's valid and it matters.

they are their own people and are steadily growing and changing every day. they need time to figure out who those people are, and it's become clear (at least in my opinion) that those people aren't meant to be a couple at this stage.

they deserve freedom. they deserve to grow up and be authentic to themselves and not feel like they need to lie for the sake of a relationship. they deserve to move on from this version of their relationship that isn't making them happy and rekindle the best part of their bond: their strong, beautiful friendship. they don't have to be a couple if it doesn't make them stronger and better and happier people.

i think it would be healthy and wonderful for a show, especially one consumed frequently by young adults, to show a relationship starting, progressing, and ending on good terms in this way. sometimes things don't work out, and that is okay.

[god-i-hope-so]

The things I read sometimes, that hurt even more during Pride Month.

I know it's a character and it shouldn't be that deep. But... we all know where that shit comes from. They're so obsessed with this queer man and seeing him being deshumanized just because he's in the way of their ship.

I can understand their limitation to see the potential of a character due to his lack of screen time. When you're not that smart, you need to be spoon fed and have all the words written for you. But this particular brand of homophobia is not just "for fun".

[fanvoidkeith]

me when somebody brings up sexuality/romantic attraction in a conversation and i can't relate to their experiences because i'm ace and sex-repulsed (and possibly arospec):

[periwinkla]

Fic writers are a gift to humankind & should be appreciated more.

[skrunksthatwunk]

kinda thinking about how the women who serve as maternal figures/raise kids in yyh are never quite ready for it. genkai's an arguable exception, but like.. atsuko had yusuke at 15, shizuru's basically in charge of kazuma full time in her early 20s/late teens (depending on version) with very very absent parents, and even shiori is given a kid she wasn't expecting, in the form of an old, old demon rather than like. a regular, blank slate ass human baby. and although shiori seems to do quite well with kurama, kurama can never be honest with shiori about who he is, or much of what he's seen. if he was, it'd probably make things far more complicated and overwhelming. atsuko, no matter how much she cares for yusuke, Could Not Have Been and thus wasn't ready to have him at 15. her attempts to make the most of that situation have had middling success at best. shizuru has also been placed into a parental role. we don't really know how long she's been raising kuwabara, but that's.. probably still parentification anyway. she shouldn't have to do that, and she shouldn't have to do that so young. and i think some of her coarseness with kuwa is out of frustration with her own inexperience + inadequacy + uncertainty, his not cooperating, and their parents for putting this on her in the first place. the ones who know the full extent of their situation grow desperate and it squeaks out in unpleasant ways, and the one who seems unbothered by it is the only one who has no idea that she's in way over her head. and i mean. ok. gonna preface this by saying keiko is NOT yusuke's mom in any sense of the word. but she does take care of him in a way atsuko couldn't manage to. she's often looking after him and cleaning up after his messes and stuff. she takes him on as a responsibility, and that is, in a way, a caretaker role. not to say that it SHOULD be her responsibility, but it's how she ends up being.

and when the stress of trying to make someone take care of themselves or be kind or good or Whatever goes awry, again, the violence and arguing and distance and ugliness of caring for someone reveals itself.

and i wonder about that. for a series dedicated to physical fighting as a form of communication, what does it say that this extends to the complicated, quietly desperate situations of so many of the women/girls it depicts, whom our more central characters were shaped and raised by?

hell, even hiei touches on this, because hina loved hiei, but there was no way she was prepared for him, obviously, nor for the pain of losing him. rui (whom i also see as a sort of caretaker figure to hiei, inasmuch as either of them were caretakers) literally throws him off a cliff because she couldn't face down the village elders, and out of some mixture of care for hina and, likely, fear for her own survival. and the guilt and pain of that killed hina and deeply wounded rui.

it's like motherhood, this thing that's so often treated as sacred and beautiful, is a kind of stitched up, painful, eggshell-walking thing that hurts parent and child and it's just. oughh

[profounddefendorcrusade-blog]

I feel bad for Starlo. (pt. 6)

I think the main thing we were supposed to see as Star's character flaw wasn't that he was acting proud/arrogant/reckless/badass (I mentioned that it's fine for him to act that way because he deserved it after everything good he did and obviously I still mean it 110%), but how that proud, charming guy was never the real him. He literally lost himself trying to feel worthy and please everyone in town. For years he's been acting the role (for a noble cause) but the price was him losing touch with the nerd he is.

Yet STILL, if only everyone had been a bit more gentle with him, I bet he'd have toned it down during the WE section, and even before that. But they all decided to let him know the truth at the worst possible time, right when he was supposed to make Clover his deputy. Right after they attacked the kid because they were jealous. It was supposed to be the PEAK of Starlo's day and they randomly threw the "we never liked any of this" bomb at him instead of trying to talk it out BEFORE things escalated. I'd be pissed too.

Oh yeah...

... his brother doesn't take him seriously apparently and doesn't realize that staying positive and strong 24/7 is tougher than it looks, especially with Starlo's insecurities (and yeah being a farmer is hard work, but so is being in Star's position; on the contrary, it's even TOUGHER) ...

Orion should try being an entertainer for a day and see what it's like, let alone doing it for years

...Solomon says how Star thought him and Crestina didn't support his life choices...

... and how he rarely talks to his family...

...and it suddenly came to me: in all these years, they didn't ever bother telling him that they did support him? They didn't bother trying to reach out to him more? Understand his passion (Ceroba doesn't get it either; once again, I don't blame Starlo for caring about Clover so much, that kid understood)? Have an honest talk?

No wonder Star stopped interacting with them for the most part. Maybe him feeling worthless came from his family? Who knows (or he was bullied as a kid for being a nerd). In any case, he clearly had to deal with these feelings by himself.

This man's been through some stuff.

P.S. I know he has flaws like everyone, but you've gotta ask yourself the important question: WHY? where did all this come from? But clearly nobody in his life ever asked themselves this. So it all kept building up till he almost killed his deputy for... status. He was SO desperate to feel valued and get his friends back (who made him feel less alone.. but ultimately just left when he needed someone the most, at least ONE person) that he was ready to go all the way to achieve what he'd been lacking his entire life: *feeling like he MATTERED.*

I wonder If he'll ever go 100% back to being his true self. Slim chances :'( this is him now. Half farmer half sheriff

[deoidesign]

.

[anonymouspuzzler]

in the world of Villain Coded, are there still superhero comics? Leaving aside 'creepy promotional comics about real life people'.

oh there's absolutely still fictional superhero comics. they probably fill a little bit of a different entertainment niche than in Our universe - the vibes are wildly different but I imagine VERY roughly analogous to how, say, something like Columbo exists as a story and character even though he is Not a real human live detective. or maybe as an even more fictionalized version of something like True Psychic Tales (stuff like True Psychic Tales where it's sensationalized versions of Real Hero Exploits also definitely exists, but that's a different question). (god the in universe discourse about Superhero Comics As Propaganda is probably rancid)

this is tangential to the original question but thinking about it also made me realize there's probably a HUGE underground/indie comics scene around both real and fictional superheroes/supervillains. "supervillain as the protagonist" indie comics are probably a particularly big niche and probably just as controversial as a lot of Underground Comix of the real life Back In Da Day, especially if your Evil Guy Of Interest is inspired by/actually Is one of the big heavy hitter evils. anyway all this to say if you go looking I'm almost certain you can find at least One zine about The Invincible Bulkhead that's pretty openly Comic By and For People Who Like Bears

[eddiediazenjoyer]

can i speak. i think that eddie Catholic Guilt is hard to believe and dare i say. not real. for many reasons. one of them being Not All Latinos Have Catholic Guilt especially not in the way that white catholics conceptualize it. and TO ME it’s a bit of a cop out . and i don’t think we should believe eddie when he says that’s the reason for literally anything bc it’s a really convenient excuse for being insane and repressed but i just don’t think it’s true . and i think that something much more nuanced is afoot (aka a complex racial identity and relationship with expectation).

to me he was really like. barely raised catholic tbh. he was raised AROUND folk/cultural catholicism which ofc impacted how he was raised and his perspective. but this kind of catholicism is so different from institutionalized (and white) catholicism it's difficult to even compare the two. and i honestly don’t think that the catholicism is the main problem. like his parents just don’t strike me as being devout in the way that imparts guilt onto their children (they have fun OTHER ways to do this). i think they are traditional and crucially. catholic when it’s convenient and when it allows them an avenue for control (biggest example here is eddie getting pressured into getting married to the girl he impregnated as a teenager.) but to me. this stemmed from complex cultural traditions and beliefs. which catholicism is an easy simple explanation for . but isn’t really the root of the problem. it's a part of it ofc but honestly i think things are often ascribed solely to catholicism bc catholic guilt is a widely applicable perspective when it honestly doesn't make much sense. like i think that eddie being a mixed race mexican-american has more to do with anything than catholicism does. and again. these things are interwoven. but not in a way that it makes sense to blame capital c Catholicism for things where culture (and cultural catholicism) makes way more sense as an explanation

like ik that eddie talks about how he was raised going to mass every sunday etc etc. but even the way he says that he just... stopped... says so much. like the fact that he was even allowed to do that tells me that his parents honestly never really cared that much about that kind of devotion. and the way he talks about it really makes it sound to me like he was one of those kids that never really bought into it at all and so the institutionalized teachings of the church never really got to him. what did get to him however is the folk catholicism/mexican-american teachings of Right and Wrong (aka you get somebody pregnant you commit to them. you feel emotions you tamp them down in order to protect others etc.) and this is not necessarily Catholicism in it's classic conception.

i have no idea if this makes sense and it is really hard to explain how this interplay works if you haven't grown up in it but basically.... hegemonic constructions of catholicism are vastly different from the kind of "catholicism" that i think eddie was raised in. and bc of that i think that "catholic guilt" is a weak explanation for eddie's perspective and best and just. inaccurate at worst. and we should NEVERRRR listen to eddie when he gives too clean of an explanation for his repression. that man is a liar

[schadenfreudich]

Hate that as an aroallo, I can't post about aromanticism in the general aro tags without having to worry that someone is going to make it about asexuality.

And then it's like "wow, I wonder why all posts in the aro tags are from aroaces." but it's because every non-ace aro gets pushed out of our tags, so we go into the more specific ones, because at least there, people are less likely to make our posts about something it's not.

Or if an aroallo dares say to not tag their stuff as aroace, because they aren't aroace, you get people who don't understand why we don't want that and take it as a personal attack.

[hephaestuscrew]

I'm still thinking about that scene in Victoriocity S3E7 where Fleet runs back towards the Beast so as to lure it into the path of the train...

Clara's exclamation of 'Teamwork, Fleet!' after Fleet says he's got a plan reflects her conviction that any plan that Fleet has will be a shared plan, something they do together.

This conviction is a kind of trust, and that trust is part of the reason Clara takes a moment to realise Fleet has headed back towards the Beast. She trusts that he's following behind her. She keeps talking to him, her words full of optimism.

When she realises Fleet isn't there, she immediately realises what that must mean he's done, and her voice sounds more small and scared than I think we've ever heard it before.

Fleet's attempt at self-sacrifice is a kind of betrayal of Clara's trust, but when he echoes her celebration of their teamwork in a more somber tone, I think it suggests that he understands the weight of that betrayal.

If Fleet's plan is that Clara won't realise he's gone until it's already too late, then he thinks "Teamwork, Clara" will be the last words he'll ever speak to her. In what he imagines will be their final conversation, Fleet affirms Clara's understanding of them as a team who work well together, even as he is making a choice that rejects the possibility of their teamwork in this scenario. It's a recognition of what their dynamic has meant. It's a goodbye and an apology, even if Clara doesn't understand it as such at first.

I don't think Fleet sounds scared as he initially faces down the train. When he shouts "Yeah, this way, you stupid machine! Come on then!", he sounds defiant and grimly determined.

In fact, I don't think he sounds afraid until Clara appears, until she might be at risk of being in the path of the Beast or the train as well. It's when he shouts "Clara, stay back for God's sake!" and "Please, get back!" that there's real fear and desperation in his voice. He can confront the idea of giving his own life, but not the idea that doing so might put Clara in danger.

Another thing about these lines is that the move from 'stay back' to 'get back' suggests that Clara didn't obey his first instruction but got closer to him (and therefore to the path of the Beast and the train) between those two lines.

Then Fleet gives what might be another attempt at his last words: "I'm sorry! I'm sorry."  A repeated apology before an attempted self-sacrifice is an implicit acknowledgement of how much losing him would hurt Clara. He regrets causing her pain.

Even so, he's accepted that he is about to die and that it'd be worth it to destroy the Beast. But Clara very much hasn't accepted either those things. She's still trying to yell over the noise of the train; she's pulling off her ring to throw at him.

I think it's a good illustration of how Clara's optimism is a kind of strength. She always believes that they can "make a new plan" and that it'll be one in which no one has to die. I think Archibald Fleet needs someone like that, someone who'll tell him to drop to the ground when his death advances from both sides, someone who - even in a dark tunnel with an murderous metal monster and a speeding train - won't stop shouting that there's hope.

[icewindandboringhorror]

I occasionally wish to reach out to old friends/acquaintances I haven't spoken to since high school/some other even earlier time in my life, but I have SOOO little social energy even for required tasks (like making dr phone calls or etc), I never have any leftover for extra ones, and it would be very odd to message someone I haven't spoken to in like 5 years out of the blue but then take 4 entire months to respond back lol.. My natural curiosity with nostalgia/collecting details of the past/etc. (literally if I were born a little earlier I would definitely do scrapbooking or something lol) is very strong, but, alas, not strong enough to beat out the Social Issues Demons apparently

[dnangelic]

like it's just the way that outside of the BATB/POTO 'love what's ugly and ostracized' narrative itself cocteau was gay and everybody hated his gall about it, howard ashman was gay and had to conceal it and died of aids after finishing his work for disney's batb.... rather than have dark be homophobic and spitting in the face of his inspirational roots (the sole canon detail i can't stand) it's much much much more interesting for me to both read and write not someone who's meant to be a pervert (in humor) and an agape lover (in serious contextualization) only to turn and say 'no homo' to the crowd every single time but rather, instead of all that, someone who, simultaneously taking daisuke into account, is both extremely firm yet simultaneously insecure in the struggle to establish their identity not only in regards to themselves but also around others.

that applies to a lot, but i've been considering it especially in regards to dark's gender and daisuke's attractions. dark in my portrayal (while overall 500% nonbinary) is closer to someone bi-gender rather than agender; the feminine aspect to him isn't just theatrics, it's actively also part of his entirety to him, (compared to daisuke's passivity; the ten thousand canonical princess allusions,) and even if nobody ever recognizes it in a cognizant way, it is always, always there, the same way that erik blurs and obscures gender in leroux's novel (my second enormous inspiration, sugisaki's outright admitted primary) and sakurai occasionally discusses his relationship as both a performer and a person as well (my third enormous inspiration and sugisaki's secondary,) (see 1, 2.) simply put, the tragedy of (my!) dark does not ever derive from his being able to choose and sit comfortably and confidently with this sort of identity (in fact, it's one of the few things he can stubbornly, viciously decide for himself [alongside daisuke] as essentially a non-human, autonomous 'angel',) it's instead the way that his personality is so strong and 'anti-feminine' in the eyes of convention that said aspect of himself often gets disregarded for strictly masculine (and regardless, further self-contradictory and therefore isolating,) expectations.

dark himself alone does not care if others do not understand him; this is meant to be one of his far more admirable and impressive traits. he's staunchly independent: he knows who he is, what he's supposed to be, and he knows that if he actively presented himself more femininely (crossdressing to 'pass' essentially,) then people's behaviors WOULD be very likely to change around him, but he doesn't even do that because it goes against his overwhelming sense of pride. he never contorts, he never twists himself, what matters to him is that he and he alone understands himself and knows what he is, what he isn't. but he is, without proper support or acceptance, still alone. even bearing a strong character, the stifling loneliness and inherent, underlying self-sense of broken/wrongness of the 'other,' (god's luciferean problem child, the black sheep, the black-leather wearing punk,) is still inflicted on him. dark exists solely for himself, he exists solely for daisuke, which is simultaneously wherein the inversion and insecurities lie: if dark is canonically the live metaphor for all the aspects of daisuke's self that he attempts to and yet cannot possibly, conceivably repress, from his loves to his faults to his shames and his criminal sins as a thief, then the likes of daisuke's own personal confusions in regards to himself and his attempts at intimacy/socialization with others is the other, hidden side of dark's absolute self-confidence; it's every fear of perpetual isolation, misunderstanding, and abandonment for things outside of daisuke's own control.

queerness in relation to the self (transgender allegory) queerness in relation to others (non-hetero-romanticism) mental illness (depression, anxiety,) etc, etc, dark's thematic basis may at its most general simply be "a secret that feels wrong and that you feel you can't really tell anyone or else you'll get in trouble/won't be as liked as much" but it feels much better to give due respect to each of these primary roots.