#somehow i can do contemporary

[elvgreen]

i feel like i can decorate but not the for the sim i’m gonna play with. i can make make every aesthetic EXCEPT the one i need at the moment.

[the-herdier]

You think English teachers are bad, try spending a day in the contemporary art community.

Sometimes it really is just a stylized painting of a flower, you guys.

[hyperlexichypatia]

As I keep shouting into the void, pathologizers love shifting discussion about material conditions into discussion about emotional states.

I rant approximately once a week about how the brain maturity myth transmuted “Young adults are too poor to move out of their parents’ homes or have children of their own” into “Young adults are too emotionally and neurologically immature to move out of their parents’ homes or have children of their own.”

I’ve also talked about the misuse of “enabling” and “trauma” and “dopamine” .

And this is a pattern – people coin terms and concepts to describe material problems, and pathologization culture shifts them to be about problems in the brain or psyche of the person experiencing them. Now we’re talking about neurochemicals, frontal lobes, and self-esteem instead of talking about wages, wealth distribution, and civil rights. Now we can say that poor, oppressed, and exploited people are suffering from a neurological/emotional defect that makes them not know what’s best for themselves, so they don’t need or deserve rights or money.

Here are some terms that have been so horribly misused by mental health culture that we’ve almost entirely forgotten that they were originally materialist critiques.

Codependency What it originally referred to: A non-addicted person being overly “helpful” to an addicted partner or relative, often out of financial desperation. For example: Making sure your alcoholic husband gets to work in the morning (even though he’s an adult who should be responsible for himself) because if he loses his job, you’ll lose your home. https://www.nytimes.com/2022/07/08/opinion/codependency-addiction-recovery.html What it’s been distorted into: Being “clingy,” being “too emotionally needy,” wanting things like affection and quality time from a partner. A way of pathologizing people, especially young women, for wanting things like love and commitment in a romantic relationship.

Compulsory Heterosexuality What it originally referred to: In the 1980 in essay "Compulsory Heterosexuality and Lesbian Existence," https://www.journals.uchicago.edu/doi/abs/10.1086/493756 Adrienne Rich described compulsory heterosexuality as a set of social conditions that coerce women into heterosexual relationships and prioritize those relationships over relationships between women (both romantic and platonic). She also defines “lesbian” much more broadly than current discourse does, encompassing a wide variety of romantic and platonic relationships between women. While she does suggest that women who identify as heterosexual might be doing so out of unquestioned social norms, this is not the primary point she’s making. What it’s been distorted into: The patronizing, biphobic idea that lesbians somehow falsely believe themselves to be attracted to men. Part of the overall “Women don’t really know what they want or what’s good for them” theme of contemporary discourse.

Emotional Labor What it originally referred to: The implicit or explicit requirement that workers (especially women workers, especially workers in female-dominated “pink collar” jobs, especially tipped workers) perform emotional intimacy with customers, coworkers, and bosses above and beyond the actual job being done. Having to smile, be “friendly,” flirt, give the impression of genuine caring, politely accept harassment, etc. https://weld.la.psu.edu/what-is-emotional-labor/ What it’s been distorted into: Everything under the sun. Everything from housework (which we already had a term for), to tolerating the existence of disabled people, to just caring about friends the way friends do. The original intent of the concept was “It’s unreasonable to expect your waitress to care about your problems, because she’s not really your friend,” not “It’s unreasonable to expect your actual friends to care about your problems unless you pay them, because that’s emotional labor,” and certainly not “Disabled people shouldn’t be allowed to be visibly disabled in public, because witnessing a disabled person is emotional labor.” Anything that causes a person emotional distress, even if that emotional distress is rooted in the distress-haver’s bigotry (Many nominally progressive people who would rightfully reject the bigoted logic of “Seeing gay or interracial couples upsets me, which is emotional labor, so they shouldn’t be allowed to exist in public” fully accept the bigoted logic of “Seeing disabled or poor people upsets me, which is emotional labor, so they shouldn’t be allowed to exist in public”).

Battered Wife Syndrome What it originally referred to: The all-encompassing trauma and fear of escalating violence experienced by people suffering ongoing domestic abuse, sometimes resulting in the abuse victim using necessary violence in self-defense. Because domestic abuse often escalates, often to murder, this fear is entirely rational and justified. This is the reasonable, justified belief that someone who beats you, stalks you, and threatens to kill you may actually kill you.

What it’s been distorted into: Like so many of these other items, the idea that women (in this case, women who are victims of domestic violence) don’t know what’s best for themselves. I debated including this one, because “syndrome” was a wrongful framing from the beginning – a justified and rational fear of escalating violence in a situation in which escalating violence is occurring is not a “syndrome.” But the original meaning at least partially acknowledged the material conditions of escalating violence.

I’m not saying the original meanings of these terms are ones I necessarily agree with – as a cognitive liberty absolutist, I’m unsurprisingly not that enamored of either second-wave feminism or 1970s addiction discourse. And as much as I dislike what “emotional labor” has become, I accept that “Women are unfairly expected to care about other people’s feelings more than men are” is a true statement.

What I am saying is that all of these terms originally, at least partly, took material conditions into account in their usage. Subsequent usage has entirely stripped the materialist critique and fully replaced it with emotional pathologization, specifically of women. Acknowledgement that women have their choices constrained by poverty, violence, and oppression has been replaced with the idea that women don’t know what’s best for themselves and need to be coercively “helped” for their own good. Acknowledgement that working-class women experience a gender-and-class-specific form of economic exploitation has been rebranded as yet another variation of “Disabled people are burdensome for wanting to exist.”

Over and over, materialist critiques are reframed as emotional or cognitive defects of marginalized people. The next time you hear a superficially sympathetic (but actually pathologizing) argument for “Marginalized people make bad choices because…” consider stopping and asking: “Wait, who are we to assume that this person’s choices are ‘bad’? And if they are, is there something about their material conditions that constrains their options or makes the ‘bad’ choice the best available option?”

[dalamjisung]

A muted shade of green ✧ Spencer Reid

genre: fluff, light angst

word count: 6339

pairing: reader x spencer reid

description: Dr. Spencer Reid is simply adorable. And you actually think he might be perfect. Until, that is, he isn't.

a muted shade of green masterlist // next chapter

His apartment is a muted shade of green and you always wonder why is it that he painted it so dark. The book covered walls never fail to impress you, making you smile into the ether that was this place with its shelves and shelves of worldly stories. His taste, you think, is more towards the classics and refined tales that carry significance and importance in the world of literature. Dostoyevski, Austen, Orwell, Doyle. Though here and there, in some corners of the living room or thrown haphazardly in the kitchen counter, you see peeks of contemporary names, the ones you’re sure you sold him a long, long time ago. Murakami, Zadie Smith, George. 

You met Spencer when you first moved into D.C., about a year or so ago, and sometimes, you really think that it was just yesterday when you first saw him with his purple scarf walking inside your store.

“Excuse me.” 

You have too many books in your arms to even see who is talking to you, but you apologise nonetheless; it’s the least you can do for your first customer. “I’ll be with you in a moment, apologies for the mess, we literally just opened.” In your defence, you had been so busy unpacking all the new orders and organising things into shelves that you absolutely forgot to put the plaque with your opening hours by the door. You can hear his shoes clicking and clacking around the place, and a wave of anxiety washes through you. If he leaves with a book– luckily two– you will have made your first sell and that just might remind you that of the reason why you decided to do this in the first place.

Carefully putting the pile of Maggie Nelson’s on the counter, you finally turn to face him, tired smile from ear to ear when you see him holding two books already. “You found something you like?” You gently ask, voice calm and fingers fidgeting while you wait for an answer. “Many things, actually. I’m quite glad to see a wide variety of books here, it’s been hard finding something new to read lately.” 

His voice is pointed and it echoes in the empty store. The clock on the walls says it’s 7:58AM and you suck in a breath; it’s definitely too early for someone to be looking for books, but maybe he wants entertainment for his commute, maybe he needs a distraction for the way, or maybe he is odd like that. 

It must be cold outside. The man is wearing a purple scarf  inside what looks like a wool coat, and somehow, he fits in there, in your store. He looks like the kind of person who would be buying books as early as 8 in the morning and you’re not sure if that is adorable or unhinged. 

“Just these, thank you,” The loud thump of the pile of books he deposits by the cashier makes you gasp. “You have a great selection here, I was lucky you open early!” The twinkle in his eyes is what keeps you from telling him that that, in fact, was a big mistake. In the middle of rushing to get the keys from the landlord in time, get the deliveries, get everything sorted and organised, you had completely forgotten to put out the hours for the shop. 

“I am glad you found us here! Do you live nearby?” At this point, you’re just trying to make conversation as you bagged his items, smiling at the titles and happy to see your favourite book in the midst. “I live just across the street, actually,” He said, giving you his card. “You’ll see me a lot, I’m afraid.”

“And what should I call my most loyal customer, then?” One look down at his card and you would know, but you wanted him to tell you himself. 

“Spencer Reid.”

There is not really a sound reason as to why you walk so freely into his apartment. The first time he asked you to do this, he was going on a case and needed someone to water his plants. As it turn out, your store is quite literally across the street from his building and you don’t really mind the mindless task, so you tell him to not worry, you’ll take care of it. It had been a few months since you two met, five or so, and despite taking you some time to truly understand, you got used to the fact that Spencer created a routine for both of you, knocking on your shop’s door every Monday at precisely 8 in the morning. With time, you stopped questioning him even when you had many, many questions– was he even reading all these books? If yes, how?! Every visit, he left with three books or more, and unless he pulled all nighters every night, those were simply sitting on his desk. 

Instead, you start putting a few titles aside whenever you spot them. You start it with ‘A Gentleman From Peru’ by André Aciman, short and sweet. Next week it was ‘A Little Paris Bookshop’ by Nina George. Then ‘Cultish’ by Amanda Montell. And just like this, you two form your own little book club, his visits extending beyond their usual thirty minutes into the better part of the hour to talk about the plot, the characters, the arcs. You know there is quite a lot you don’t know about Spencer, of course there is, but you learn more and more with every little debate you two have. You learn about his morals through the character he likes, and his dreams through the plots he enjoy. You learn about his photographic memory that allows him to quote his favourite sections to you, and you learn that he is a very logical man through his hatred for the inaccuracy of investigative books. You learn and you learn and you learn and you find out that you like learning about Spencer. More than you like learning about anyone else, that is, and now, every time he walks in, you can’t help but get excited, smiling as you only imagine what you would learn that day. 

Sometimes, you did notice the absence of your favourite customer. He would disappear for weeks on end and then act like nothing happened, and you get it; he doesn’t owe you anything, you’re just the lady that sells him books, but you feel like there is something that is starting to bloom when, every time he comes back, he brings you a book. “I thought you’d like it,” Is all he says before leaving with his bag of new reads. For a moment, it’s like an exchange, but Spencer never demands anything of you; never asks for anything more than new books and recommendations. 

It’s quite rewarding finding the books you sold him scattered through the apartment. There are a couple in the kitchen, open split on the counter and you smile fondly at the clumsy way he marks his books. There is no folded page, no book marker, no random picture; just his book, cover facing up, open and splitting the spine in half enough to crease. You shake your head, smiling like he’s done this just to rile you up.

“Oh my god, don’t!”

You don’t mean to shout but it’s too late. His eyes widen in shock and he immediately freezes, mouth stuck in a little ‘o’ shape that makes you blush. “What did I do?” 

The wince in your expression is as visible as the light of day when you speak. Your hands hover in the air, unsure of what to do now, but still trying to do something. “The book, Spencer,” The words come out like a whine, and if you start stomping your feet you might as well look like a child. “The spine. The book. The– oh my god, the noise!”

The way he laughs at you is contagious, and you start laughing with him, face hidden behind your hands in embarrassment. Owning a bookshop doesn’t come for free. Your particularities when it comes to your literary treasures are enough to scare any sane person away. “You know, there are worse sounds than a book’s spine breaking,” He mused, closing the book before walking to your counter. His nimble fingers drum a soft rhythm as he waits for you to go around and charge him for the book. It’s a symphony, almost; so loud in your quiet store that, for a second, your heart is tuning in, thumping as his fingers do, beating to the song he creates. 

“You don’t have to buy it,” It’s a little ridiculous how airy your voice sounds then. Aren’t you a little too old to have a crush? “It’s okay if–“ But he doesn’t even let you finish, rattling off some facts about the writer. Most of the time, actually, he is rattling off some fact about something, and some you know, some you don’t, but you never interrupt him. You like hearing him talk. 

You miss hearing him talk. Whenever Spencer leaves, you miss him. You miss the knock on your shop’s door at 8AM. You miss the shy little chuckles. You miss the purple– the constant, always there purple. A wave of sadness hits you then, looking around the apartment with a longing expression. 

The first time he calls you over, it’s not really an invitation. A week before it happens, he doesn’t show up for your Tuesday unboxing and you have to carry all the new orders inside by yourself. It takes double the time and despite the effort it takes you, it’s the absence of his coy chuckles and snarky commentary that leaves you breathless. When you open the boxes, checking inventory to make sure there had been no issues with your order, you find the book Spencer asked you to get him. It’s one of those special books, so old and unique that you could only get your hands on it because you had contacts in the space. “Huh,” You frown at that– it isn’t like Spencer to forget something. Hell, it isn’t like Spencer to forget anything. Before you can cower away from doing it, you send him a text. You have his number saved in the system, and this feels wrong, it really does. Using his personal information that he gave to you as a client felt wrong. But for a second, it makes you stop biting your nails in anxiety. 

Your book is here. 

It’s Y/N, by the way. 

He doesn’t answer right away and you wallow in your regret for as long as you can. Your shoulders hunch forward as you line up the new arrivals in the shelves. Your frown sits on your forehead all day while you help other passing customers. Your hands brush against the book, all ready and wrapped up and sitting on top of the counter. You hate waiting; you hate waiting for someone or for something to happen as if you’re praying for a miracle. Literature has taught you many lessons in life. It has shown you countless of love stories that could’ve been resolved with a simple conversation. It has told you about people that waited and waited and waited until time passed them away. It has taught you that waiting is simply delaying the inevitable. 

But what literature has not taught you is that, sometimes, waiting truly is all you can do. 

That day, you don’t get a message back. 

You get a call instead. 

“Y/N?” The familiar voice on the other side speaks before you can and your shoulders tense up. Something is wrong. He sounds hoarser than usual, airier, too. 

“Spencer,” You say back, clearing your throat of any remnants or indicators of how nervous you are. “Spencer, are you okay? You sound rough.”

Even his laugh sounds weak and a zap of worry rushes through you. “I’m fine,” He mumbles, and you know he’s saying it out of politeness. “I just got sick. I think I have a cold, it’s nothing much, really.”

The relief that washed over you in crashing waves is almost embarrassing. Even though he is not there to witness it, your face still flushes in a dramatic red. “Oh. I see. Sorry, I didn’t mean to bother you–“

“It’s not a bother,” The way his voice interrupts you, so strong and concise, makes you chuckle. “You’re not a bother. I uh, I’m glad to hear my book arrived.”

For a moment, you both stay quiet. You, on your end of the line, are nodding like he can see you. Except he can’t. Except he is waiting, probably, for you to say something. Do something. “I can bring it to you. If you want.”

This time, there is no pause. “Yes. I mean, yes, please. I– I don’t have anything new to read and–” Spencer pauses to cough and you start moving immediately. There is no one in the store and you quickly change the sign to ‘closed’, grabbing his book and your bag before locking the door behind you. There is a pharmacy at the end of the block and you keep your cellphone balanced between your shoulder and ear while your hands make sure you have your wallet with you. “Sorry.”

“No problem at all,” You cross the street in such a hurry that you don’t notice the traffic, getting a symphony of horns calling you out as you run to the other side of the street. “Shit…”

“Are you okay?”

“I’m fine,” You tease, laughing a little and entering the pharmacy with purpose. “So just a cold, right?”

“Y/N, where are you?”

“Out,” There is no need to be vague, but you don’t want to give him a chance to protest. “I should be at yours in fifteen minutes with the book.”

“Just the book?” He asks in such a suspicious tone that you can’t hold back a laugher. 

“What else?” Thank god for automatic cashiers speeding up this entire process. You are in an out in less than five minutes and before he can even answer, you are almost at his door. Admittedly, you are speed walking, almost running, in a futile attempt to get there sooner. “Which apartment do I buzz?”

“Apartment 23.” And that is the end of the call. 

By the time you make it to his floor, panting just as you hike the last step upwards, he is already waiting for you, and you can’t say you’re terribly bothered to have a man like Spencer Reid waiting for you by the door. “Spencer,” You still admonish, a small smile playing on your lips. “You shouldn’t be out and about like this.” 

“Then who would let you in?” The mischief in his expression, much like that of a child making an innocent joke, makes you giggle, nodding in agreement. “Do you want to come inside? I promise everything is clean, I’m not a slob or anything.”

“Yeah, let me come in so I can give you your stuff.” 

“I knew it wasn’t just the book,” The coughing fit that followed has you rushing your hands, pulling things out of your bag in a desperate attempt to get him the medicine you bought. This had always been your curse, the flustering anxiety of wanting to help but being unable to take your time. Shaky hands push the book towards him, with the medication and some old receipts stuck to it. 

“Oh shit, sorry!” You squeak, grabbing the receipts and shoving it back in your bag. One of these days, you’d have to close the store early to clean this thing. “But uh, yeah, I got you some cold medicine and your book. I’m sure you know this with your big brain and all, but you need to take this before bed, cause it makes you drowsy, and this other one in the morning since it has caffeine! And you should be good in no time… hopefully!”

In life, a pause is not always a bad thing. It’s a time to think. A time to appreciate, to enjoy. It’s a time to be. A pause, however, from the man whose brain worked a thousand miles an hour, doesn’t feel like something to be thankful for. “Is… Do you not like that brand? I didn’t want to get the generic thing, I don’t know why, I–“

“Thank you.”

At first, you barely hear it. For someone whose voice is so rough and hoarse, you’re surprised he can still sound so smooth and airy. Your reaction is obvious; he can see the blush in your cheeks and the way you bite back a smile. “Y/N, thank you, I really appreciate it,” He says it again and now you think he just wants to get a rise of you. “You didn’t have to.”

“I know,” You shrug, faking humbleness while you keen at his praise. “I wanted to.”

“I know.” 

There is a dance that happens after that, one that you find yourself enjoying quite a bit. Spencer is more present than ever, and you’re getting used to having him around. It’s like you two broke the glass wall the kept you at a safe distance, and now is when you two discover each other a bit better. Like how you find out that, when Spencer’s hand lays on the cashier counter, just an inch or less away from yours, you feel the heath that it emanates. Like how your fingers curl and your palms itch at the sight of his shaggy curls falling on top of his beautiful eyes. Like how his laughter is deep when it’s true and dry when it’s forced. Like how he can read 20,000 words per minute, but he chooses to read 183 instead just so he can read you passages out loud.

You are not sure what he has learned about you, or if he even cares to learn something about you, but the thought still makes you smile. “What’s gotten you so smiley so early in the morning?” 

Ah, yes; another thing you’ve learned about Spencer Reid– he is as quiet as mouse when he wants, and as loud as an elephant when he doesn’t. “My god!” You jump, hand immediately going to your heart to try and keep it from beating our of your chest from the shock. “Spence! You scared me!”

“I’m so sorry,” He laughs, raising his hands in the air, shaking the two cups of coffee he is holding. “I come in peace.”

“And with bribery, I like your style.” 

His style doesn’t change, still haven’t. For ages, you think he buys you coffee at the nearby cafe. You don’t really know the name of the place, some cliche Cafe something something, but the one time you’ve been in there the coffee was terrible and the music too loud. It’s hard picturing your shy, smiley book-lover in there, trying to order something without raising his voice. It’s only when you see the go-to paper cups on his counter, on the fourth or fifth time you come around, that you realise Spencer has never gone to that cafe to begin with. 

The cups are still there. You make a point in spotting them every time you come over– next to the microwave, close to the paper towels. The reminder that this man has, in fact, been making you coffee most mornings validates the fluttery feeling you have whenever you think of it. It makes it somewhat logical. “I must be spending too much time with him,” You mumble to yourself, pushing your sleeves up and getting to work. You are there for a reason, and if those wilting plants die on you, you fear that you might just never be invited back. “Why does he even have plants?” 

You don’t know much about Spencer’s job. He hasn’t told you anything about it except that he travels a lot for it, but you can imagine it is something of importance– a man like Spencer was someone of importance, after all. In your mind, you can imagine him walking into an office down by the Financial District, working with big corporations as an advisor. Yes, you can absolutely see him as some sort of advisor or consultant, but something about him working in finances doesn’t sit right with you– he is yet to talk to you about crypto investments and how to better implement a payment system into the store. Shaking your head, you switch it up. Financial services, aren’t quite right, but maybe an editor, working in a publishing house. With the way he devours books and how well-rounded his personal library was, you could see him as a Publishing Director instead, reading manuscript after manuscript. 

The thought of him reading brings a smile to your face. In his living room, there is an armchair that sits next to the large window on the west wall of his apartment– he says he likes how the sunset hits and makes the pages look warm and golden, turning words into a burning fire of knowledge– and you can practically see him there, blanket over his legs, books and books pilled next to it. It’s your own little secret, how every time you come over, you grab a book, any book, and you sit there for thirty minutes, forty, fifty, an hour; until the sun has completely set and you have to get up to turn the lights on. 

Today, when you sit down, when you bring your knees up, when you drape the blanket over you, something feels incredibly right and incredibly wrong. On the pile of books next to you, right at the top, lays a copy of Gulliver’s Travels. If you remember correctly, which you usually do, last time you sat down at that spot you managed to read up to chapter five before the sun was gone. When you grab the book and you see the bookmark you gave Spencer the second time he visited the store, and you frown– usually, he’d pick up from where you left off. “How long has it been since you last came home, Spencer?” You muttered out loud, grabbing the book regardless. Because even when it breaks your heart to know something has been keeping him away from his precious nook, it fuels your heart to know he leaves your book where you can easily pick it up. To know he doesn’t mind you sitting on his armchair, to know he doesn’t mind you reading his books, to know he doesn’t mind you settling, somehow, in his house. 

A knock on his door, however, breaks you away from your precious moment of rest and relaxation. For a moment, you can’t move, frozen in place light a kid that has been caught doing something wrong. It’s only when they knock again that you move, shuffling to the door to look through the peephole. “Who is it?” You ask, voice weak and shaky. 

“I have a delivery for Spencer Reid.”

How silly you feel in that moment, hand over your heart as you take a deep breath in relief. Unlocking the door, you smile to the USPS guy. “Sorry, he isn’t home right now. I can take it for him.” All you have to do is sign it and close the door, but once you put the package on the counter and your eyes catch sight of a note scribbled on top of the box, all those butterflies inside of you slow down. And find perch. And for a second, make you miss them just like you miss him. 

The first time you think Spencer might have a girlfriend is when he comes into the store with a certain look in his face. He is practically glowing and his eyes don’t leave his phone for a second. “What has you smiling like that?” You two are close enough to ask these kind of things now, making jokes about each other as if you have been friends for ages. “Or uh, who?” Even though you started the conversation, you want to end it now. There is a sour aftertaste in your mouth when you suggest another person to be cause of his happiness, and you know, right there and then, that that is just your jealousy speaking. At this point, you’ve been harbouring a crush on Spencer for the almost two months and there’s only so much a girl can take before exploding. 

“Oh, it’s just a friend.” Somehow, this answer doesn’t settle you as much as you hoped it would. 

The second time is when he brings a woman around. She is blonde, and loud, and colourful, and you eye her carefully. They are matching costumes, and for a second, without even saying, you already feel left out. It’s stupid, being this green over someone so pink. If Spencer was purple, and if you are green, than that woman was pink– she is happy and light and exciting. Next to her, you… well, you are as muted as his green walls. “Y/N!” He calls for you with such a big smile and you just don’t have it in you to pretend to be busy anymore. 

“Hey Spencer,” It comes out quiet and a bit distant, but he doesn’t seem to notice, not with the way he is going back and forth on the ball of his heels. “And hello, ma’am. Welcome, I’m Y/N Y/L/N, the owner. Please let me know if you need any help.”

That day, you two barely talk, but that’s okay, because Penelope, as she introduced herself to you after you help her find a specific book on coding, speaks for both of you. She says that it’s lovely to finally meet you, and mentions how much she has heard about you, and you think this is a very cruel thing to do to your poor, squeezing heart. But you push through. You pretend you’re tired, you apologise for the distance, and you lie about a cough. It’s better if they stay away, you say, but Spencer doesn’t buy it. Instead, he buys Penelope her book and leaves with promises of coming back the next day with your usual coffee. 

After that, you don’t see Spencer for two weeks.

It’s a bittersweet feeling when you get the text that he is back. After almost a week and a half without seeing him, you miss Spencer. He created a space for himself in your life and in your store, and when he is gone, it’s just not the same. But just like how he did, you created a space for yourself in his apartment. Suddenly, the muted green walls aren’t claustrophobic or smothering, but comforting. They are safe. Familiar. They are Spencer. And just like you said, you miss Spencer.

“Y/N!” 

You should be happier to hear his voice, but it’s not the same. The fluttering in your stomach is still there, like a slow buzz trying to come alive, but it’s not the same. Not when the note on the box, flashing like neon signs behind your close lids, has been tormenting you and your poor heart ever since you made the mistake of opening the door. “Y/N? Are you here? The door says open…” At one point or another, you have to come out of hiding and face him. Delaying the moment, though, is the best defence plan you’re able to come up with– if you look into Spencer’s eyes, if you see that pretty smile he has every time he comes back from a work trip… you’re fucked. 

“Y/N, I need you to tell me if you’re here!” It’s not the same. 

His voice. It’s not the same.

Usually mellow and undulating, Spencer sounds stiff, like he’s holding something back. Something new. Something… heavy. There is an edge to him right now, so sharp and cutting that it has you stepping out from behind the Science shelf in pure curiosity. And just like people say, curiosity killed the cat. In this case, however, it almost kills you. 

When you turn the corner to find him by the door, the first thing you see is a man. He is tall and handsome and oddly serious. The way his brows are pulled together make you falter, steps slowing down and mouth opening to ask if he needs help.

That’s when you see it. 

More like you catch a quick glimpse of it, the shinning spark of metal to your side, and you do a double take. You have to do a double take. It’s like your brain doesn’t believe what you’re seeing, and you move your head so fast you feel your neck tensing up in that way that makes your eyes water. “WHAT THE FU– OH MY GOD!” There is no way to throw yourself against a wall graciously, arms over your head and fear written all over face. You land in an awkward angle and your shoulder takes the brunt of the shock, making you gasp in pain while your legs give our under you. 

Of all the ways you’ve imagined Spencer, him holding a gun up to your head was never one of them. “Y/N!”

“Oh my god!” You think you might pass out– you’re breathing too fast and your chest is squeezing, squeezing, squeezing to the point of physical pain. There is a ringing in your ears, muffling the entire conversation between Spencer and the other man and even though you try, you can’t look up; you’re frozen in a state of distress. For the first time since you met him, you’re scared of Spencer Reid. “I– I– Oh my god, I c-can’t– I can’t b-breathe, I can’t–“

“Y/N, look at me! Look at me, you’re okay, I’m so sorry, I’m sorry,” The moment his hand touches your shoulder, you’re shrinking away. 

“Who are you?!” You manage to gasp enough air into your lungs to scream at him. One shake hand moves to the back of your neck, pressing down on the sore nape as you finally move to look at him, crying and all. “Spencer, who are you? Who is he? What is happening? Why do you have a gun in my bookshop, why–“

“Ma’am, I need you to take deep breaths,” The other man quickly holsters his gun and you actually think you might be going insane when flashes you a badge. “I’m SSA Derek Morgan, I work with Spencer. We are with the FBI.”

Federal Bureau of Investigation. Spencer is a fed. And he never told you. 

“The FBI…?” You whisper, eyes going wide and breath hiccuped in your throat. “S-Spencer, you work for the FBI?” Nothing about this makes sense to you. The gun, forgotten in his left hand and now pointing down and away from you, is all you can look at. The gun that looked heavy and cold. The gun that those hands hold– the same hands you’ve wished and, admittedly, dreamed of holding yours instead. The gun, the gun, the gun.

The gun. You’ve never seen a gun before, not this close. In museums, of course, and in movies and shows, but never in real life. You don’t have interest in it either, having voted, without fail, for anti-gun laws and representatives. Anything and everything about this, about seeing him with that deadly weapon, feels wrong, and you really think you might be sick soon.

“Kid, put it away, you’re freaking her out.” 

Then is when you catch sight of the Spencer you know. It’s the clumsy actions, looking almost freaked out himself– his hands fumble with the holster and it takes him a couple of tries to fit the gun properly. That’s when you know for sure– you are going to be sick. “Trash,” You mumble, trying to get up but falling again and again. “Trash, pass me the–“ But there is no time and you throw up right there and then, between the cashier and the nonfiction section. 

“What just happened?” 

“Morgan, get her some water– there, over the counter,” The rapid successions of words make you feel a bit better, a cadence of tone and rhythm that has your hands finally stabilising. “Y/N, you’re in shock. Adrenaline kicked in and left, and you pressured crashed, which is what made you nauseous. You need water, and to come sit by the counter.”

It’s funny, how in any other circumstance, you’d be ashamed and embarrassed to have gotten ill in front of him. As far as you know, Spencer is a germaphobe and this surely counts as germs. But as he grabs your hands, gentler than you’ve ever seen him grab any book in your store, and brings you to your chair behind the counter, you wonder if he forgot or simply doesn’t care. Both options don’t make sense. “Spence, what is going on?” Your voice comes out winey and rough, and there is no way to hold back the pained wince when you feel the sting spreading through your throat. Sip by sip, you try your best to drink the water and soothe yourself, but nothing seems to help. 

Nothing until you hear him next to you, small and quiet and, dare you say, meek. “I’m sorry.”

As much as you’d like to tell him he has nothing to be sorry for, he does. “I see…”

“It was just… it was new, having someone not know I’m FBI,” His thumbs play with each other and you’ve known him long enough to recognise that Spencer is nervous. “And we started getting closer and I just didn’t find an opportunity to tell you.”

“There were plenty,” You clarify, feeling a bit of a bitch for the bite in your voice making him gulp. “But it’s okay. I’m not… I’m not anything of yours, I guess, so it’s okay. You don’t owe me anything.”

“Don’t say that. You’re my friend.” That hurt.

“Do you point a gun at all your friends or am I just special, Spence?” It is supposed to be a joke, but the memory makes your bottom lip start wobbling again and you feel stupid. You feel so, so incredibly stupid right now that you can’t even begin to explain why. “Sorry, I’m just– I’m not okay.”

“I know, and we’re sorry,” There is such raw honesty in his words and he manages to make you smile a little. Your hand is still shaking, but you stretch it out towards him regardless. It’s a conscious decision to hold onto his wrist, covered by his jacket, than to reach out for his palm, and from the way he looks at you, you know he recognises the effort. “But you need to come with us.”

“Why?” You cry out, a single tear coming out of the corner of your eye. At this point, the shock is going away and you’re more overwhelmed than anything else. You’re scared and confused and overwhelmed and it’s his pulse, beating again and again, that brings you back to Earth. “Why do I need to go with you? What is going on?”

“Y/N, when you were housesitting for me, you received a package, right?”

In the midst of everything, the memory of that day, that box, that note, all fade. Frowning, you shrugged. “The delivery man knocked and said he had a package for you… I’m sorry, I didn’t mean to intrude, I–“

“No, no, no, you didn’t, you didn’t. Please.”

“Ma’am, when you signed for the package, did you use your name?” The man, Morgan, ask, and all you do is nod. Of course you signed with your name. “Kid, we need to take her to the office now.”

“I am not going anywhere until you tell me what’s going on!”

Finally, some energy in you. Some strength. Your voice echoes in the empty shop, and the chair tips back when you stand up on stiff legs. Looking at Spencer is hard, when you feel the burning of your rage inside, but you still do; you still meet those pretty brown eyes, you still stare him down until you practically force the answers off of him. “The package… did you see who it was from?” 

“Spencer, are you insinuating you’ve pointed a gun at me because I read a message your girlfriend wrote on the package she sent you?! Because I didn’t mean to– I didn’t! It just… It was there, right at the top and I–“

“She is not my girlfriend,” He immediately cut you off, hands waving in front of him in a visual demonstration of desperate denial. “Not at all! I don’t have a girlfriend! I was–“

“We can deal with this later,” Morgan is quick to interrupt, sighing as he looked at you. “Y/N, we re really sorry to disrupt you like this, but this is for your own protection. Please lock the store and let’s go.”

It takes time for you to gather everything you need. You are not a disorganised person by any means, but suddenly, you can’t remember where you put what. Your bag is thrown under the cashier, and your keys are, for some reason, in the Fiction shelf. Your glasses are in your head the entire time, and Morgan has to point that out to you. The more you look, the more flustered you get, yet somehow, you make it to the car. Morgan is driving and Spencer is on the passenger seat, and the way they keep talking to each other using words that make no sense to you make you want to scream. “Spencer.”

The heaviness of his name, said with such emotion,, lingered in the air. His eyes meet yours through the rearview mirror, and he nods. “Yeah?"

“Spencer,” You whisper again, eyes wide in shock as reality starts to dawn. “Spencer, if she’s not your girlfriend, then who the fuck is Cat Adams?”

------------------------------------------------------------------------------

AAAAAhhhhh I'm trying something new >.< I've been a massive criminal minds fan for a long, long time and Dr. Spencer Reid has my heart <3

Please let me know what you think, this is my first Spencer fic and I'd love if it got to turn into a series!

[inkskinned]

most writing advice is good as long as you know why it is good, at which point it is also bad. the hardest thing (and most precious thing) about being an artist is that you gotta learn how to take critique. i don't mean "just shut up and accept that people hate your work," i mean you need to learn what the critique is saying and then figure out if it actually helps.

i usually tell people reading my work: "i'm collecting data, so everything is useful." i ask them where they put the book down, even though it's too long for most people to read in 1 sitting. i ask them what they thought of certain characters. i let them tell me it was really good but i like it more when they look a little stunned and say i forgot i was reading your book, which means they forgot i exist, which is very good news.

sometimes people i didn't ask will read my work and tell me i don't like it. and that is okay, you don't have to like it. but i look at the thing that they don't like and try to figure out if i care. i don't like that you don't capitalize. this one is common, and i have already thought about it. i do not care, it's because of chronic pain and frankly i like the little shape of small letters. you use teeth and ribs in all your work. actually that is very true. i don't know what's up with that. next time i will work to figure out a different word, thank you. you're whiny, go outside. someone said that to me recently and it made me laugh. i am on the whine-about-it website as an internet poet. you are in my native habitat, watching me perform a natural enrichment behavior. but i like the dip of whiny, how the word itself does "whine" (up/down, the sound out your nose on the y), but i don't know if i want to feel whiny. maybe next time i will work on it being melancholy, like what you would call a male writer's poetry.

repeated "good" advice clangs in a bell and doesn't hold a real shape, dilutes in the water. like sometimes you will hear "don't use said." you turn that around in your head and it bounces off the edges of your brain like it is a dvd screensaver. it isn't bad advice, but it feels wrong somehow, like saying easy choices are illegal! sometimes i will only use "said." sometimes i will just kick dialogue tags out to the trash. sometimes i make little love poems where the fact that i do not say "said" is very bad, and makes you feel bad in your body, because someone didn't say something. i am a contrary little shitbird, i guess.

but it is also good advice, actually. it is trying to say that "said" sometimes is clutter. it makes new writers think about the very-small words and very-small choices, because actually your work matters and wordchoice matters. "i know," you said. "i know," you sighed. "i know." we both know but neither of us use a dialogue tag, because we are in a contemporary lit piece.

it is too-small to say don't use said. but it is a big command, so it gets your attention. what are you relying on? what easy choices do you make? when you edit, do you choose the same thing? can you make a different choice? sometimes we need the blankness of said, how it slides into the background. sometimes we don't.

i usually say best advice is to read, but i also mean read books you don't like, because that will make you angry enough to write your own book. i also mean read good books, which will break your heart and remind you that you are a very small person and your voice is a seashell. i also mean you need to eat books because reading a book is a writer's version of studying.

my creative writing teacher in the 7th grade had a big red list of no! words and on it was SUNSET. RAZORS. LOVE. GALAXY. DEATH. BLOOD. PAIN. I liked that razor and love were tucked next to each other like birds, and found it funny that he believed we were too young to know the weight of razor in the context of pain. i hated him and his Grateful Dead belt, where the colored teddy bears held up his appraisal of us. i hated his no list. it is very good/bad advice. i wasn't old enough yet to know that when you are writing about death you are also writing about sunsets and when you write about love you are tucking yourself into a napkin that never stops folding.

back then my poetry was all bloody, dripped with agony when you picked it up. i didn't know there is nothing beautiful about a razor, nothing exciting about pain. i just understood sharpness, which he took to mean i understood nothing. i wrote the razor down and it wasn't easy, but it was necessary. that's what i'm saying - sometimes it's good advice, because it's not always necessary. and sometimes it is very bad advice, because writing about it is lifesaving.

hang on my dog was just having a nightmare. i heard that it is a rule not to write about dogs - in my creative writing mfa, my teacher rolled her eyes and said everyone writes a dead dog. the literature streets are littered in canine bodies. i watched the rise and fall of his ribs (there is that word again) and had to reach out and stop the bad dream. when he woke up he didn't recognize me, and he was afraid.

it is good/bad advice to say that poems and writing have to mean something. it is bad/good advice to say they're big feelings in small packages. it is better advice to say that when my dog saw where he was, he relaxed immediately, rubbed his face against me. someone on instagram would make fun of that moment by writing their "internet poetry" as a sentence that tumbles across a white page: outside it is sunset and my dog is still in a gutter, bleeding a galaxy out of his left paw. or maybe it would be: i woke the dog up/the dog forgot i loved him/and i saw the shape of a senseless/and impossible pain.

the dog is alive in this one, and he is happy. when i tell you i love you, i know what i said. write what you need to write, be gentle to yourself about it. the advice is only as good as far as it helps. the rest is just fencing. take stock of the boundaries, and then break them. there's always somewhere else you could be growing.

i love you, keep going.

[easy-there-leftovers]

Doctor

Summary: Spencer's been there when you had been feeling rather inadequate, for lack of a better term. It's about time that you return the favor. (Written with early s2! Spencer in mind)

Pairing: Spencer Reid x fem! (mentored by Hotch!) reader| cw: Spencer being unsure (is that a warning? lol), touchy reader, non canon case, vague timeline, reader and Spence being sapiosexual dumbasses, as per usual (weirdos) | word count: 2.3k

Budget cuts suck, especially if that meant doubling up and sharing a room with one of your colleagues. Or worse— your boss.

It's been a few months since your last GSW, and things haven't been much different. Or maybe it only was because you had been so out of the loop for a while that you hadn't noticed if it was. You hadn't changed up your routine nor your demeanor, so perhaps the others were just following your lead and brushing it off as nothing.

You still feel the occasional stares of literally anyone from your workplace, but you've learned to ignore it since dwelling on it never did you any good.

But you suppose something had changed.

Your relationship with your contemporary.

To be more specific, Dr. Reid had become more accustomed to seeking you out. Engaging in conversation with you more than the previous usual. It wasn't extremely unlike him to do so before, but his persistence has surely increased since your conversation at the hospital. Keeping to his intentions of having more dialogue between you two.

The same couldn't be said about the past week or two, however. While it didn't seem like he was completely avoiding you, you've noticed that you've had more opportunities to talk to Elle, JJ, and Morgan more than you have him. As if the overall frequency of his exchanges with everyone had somehow diminished.

You were going to find out why.

"Looks like we're doubling up." Your unit chief had briefed when you made it the shitty motel.

And your plan starts now.

Spencer feels an arm snake around his waist which makes him look up from his notes, and he's not surprised to see that it's yours. If anyone had to be making decisive contact with him, it would've been you.

"What is it?" He whispers carefully since Hotch is still talking. Used to your touch it at this point.

"Would you like to sleep with me, Dr. Reid?" He clears his throat instinctively.

Your indelicate remarks however, most likely never.

Since your little incident, he's discovered that you're less careful with your diction outside of work and it has certainly thrown him off but he knows that's just how you are. You and your forever unreadable expressions and contrasting sentiments.

Before he can answer however, Morgan's voice cuts through.

"I'm not sleeping with Reid." Everyone looks to him, except Garcia who immediately calls dibs on Derek, and he feels your arm slowly pull away.

Aaron looks from you to Spencer with that usual expression of his before exhaling deeply with crossed arms.

"I assume you're rooming with her?"

Seeing that you're no longer facing him, Spencer can only give your mentor a meek nod. Feeling the same wariness one would feel in the presence of someone's father.

The rest then picked their respective roommates and disband. Reminding one another to meet at the entrance tomorrow bright and early.

———————————————

Lately, Reid has become aware of a lot of things. Things that he never had to worry about before, but ever since Morgan had told him how you felt about the team, he had started questioning his place too.

He has never been ashamed of his intelligence. Far from it, actually. It's the one thing that he's ever been confident in and it's lead him to places that, he thinks, bettered him. Like coaching his high school basketball team, graduating with three PhD's, or getting into the BAU.

But he also fears that part of him alienates him from the others. That his intellect might be the very reason that will, or already, keep him from forming lasting and meaningful relationships. Even more troubling, that he might never live up to the expectations that everyone has of him.

Both as a colleague, and as a friend.

It's worse when the only person on the team that might not feel this way about him is you. Which then comes with its own set of problems.

You had been nothing but well-intentioned since the very start, practically shadowing him throughout everything. Being there to reinforce his confidence with your keen insight, your reflective encouragement, and your comforting presence—all things that made him feel seen.

But with the few times that you weren't there, it unnerved him. As if something was missing. Like it became an unshakeable habit to look over his shoulder and he would find you right there. So when you weren't there, it jus didn't seem right.

And he felt bad about it.

By the time that you had finished showering, you see Spencer with his hair still lightly damp from the one before yours. Head resting on his hand with a lone finger covering his mouth as if thinking deeply while sitting on the bedside's edge.

You take the opportunity to sit on the floor adjacent his tucked legs and he blinks out of his trance when he sees you lay your head on them. He doesn't mind, but he still feels a little bad.

And it's not about the shared single bed.

He felt as if he was taking advantage of your kindness. That by allowing himself to indulge in your brand of 'friendship,' he was effectively isolating you from the others. That for whatever reason, he just got lucky that you seemed to prefer him over them when he was arguably the most difficult to be with

That if you ever caught wind of his feelings towards you, it would ruin the current dynamic you had. He wasn't the type to catastrophize, he of all people should know the dangers of entertaining such thoughts, but lately your presence has had quite the influence on him.

Which is why he's been trying to make himself scarce until he found out how to deal with it.

You wait patiently by his legs. Gauging when he would finish his line of thought before asking, plainly and simply,

"How are you feeling, Spencer?"

In this room where it's just you and him, he's called 'Spencer.' No titles, no niceties, just his name. A luxury that no one else from the team has yet to earn from you.

He breathes out slowly when the pressure in his chest finally feels like too much, but he still can't seem to say what's on his mind. Worried that by telling you any of this, it would only add more weight onto your already abundant plate.

You trace your fingers on the skin that you can reach and he laughs a bit when it tickles. That seems to make you smile, and the sight makes his own grow ever so slightly before you continue,

"I'm not a doctor, nor do I have a doctorate like you—,"

"Three doctorates." He corrects and you roll your eyes playfully at that.

"Three doctorates. Fact of the matter is; I'm not a doctor but— I think I might be able to help."

You motion for him to lend you his hand, the one no longer holding his head, and he gives it to you willingly. Still feeling somewhat guilty when just that amount of contact does actually help him.

You know that you shouldn't profile your friends, but there's a reason why you're in the BAU and not anywhere else.

"So what are your symptoms?" You sense that this is a case that must be handled with a bit of humor, so you make that evident in your delivery.

He clears his throat and furrows his eyes, as if actually treating pretending that he was your patient before ultimately shaking his head with a tight-lipped smile.

"Actually, the symptoms aren't that simple." You hum at that, and get up to stand in front of him.

When he sees you get up though, he feels his hand instinctively tighten over yours. Worried that you were closing the conversation because he was being inarticulate, he goes to apologize but he feels yours squeeze him back before he can.

You notice a few stray strands of hair from your new vantage point. You carefully free both of your hands to tuck them behind his ears, and let one rest gently on the side of his face. Holding it in place, and allowing you to see his expression more clearly.

He feels a bit shy at the attention, but he finds himself leaning onto your hand with a confused expression. You breathe out in mirth and that only seems to confuse him even more.

"You better stop looking at me like that before I do something terrible."

He furrows his brows at that. Hand coming up to rest on top of yours. "Like what?"

"Wouldn't you like to know, pretty boy." You continue to observe him, much to his chagrin. Assessing the situation before sighing out.

His hesitance from earlier told you everything you needed to know.

"Do you want to try telling me again, or would you like a diagnosis now?"

He looks into your eyes and sees that you're serious so he just nods slowly. Not really sure what to expect since there's no way that you could've gotten anything from him.

"My diagnosis says that you have 'intellectual schism syndrome.' Common to manifest in young geniuses like you. Characterized by a dependence on one's intelligence as their source of fulfillment, and yet simultaneously fear it as the root of their social isolation and relational difficulties."

You pause to gauge his expression once more before continuing.

"You may have been born with all the wonderful things that help you with this job, but you need to remember that's not the reason why people care about you. You can ask for help. Your worth as an individual isn't dependent on your perceived use."

You let the words hang in the air a bit before correcting yourself, "I mean, that's only when it comes to personal relationships. This job? Well—maybe we'll think about it before kicking you to the curb."

He lifts his face from your hold, still grasping your hand, before shaking his head. As if still not understanding something but he eventually finds the words the words to express that.

"That—That's not an actual syndrome; it's not recognized nor documented in any psychological or medical literature."

You scoff at that. "Yeah, I sure it hope it's not. I'm not a doctor, remember?"

He searches your face for an answer before breathing out incredulously. "Did you know that you have an incredible knack for saying the most terrible things?"

You smile at that. "Was I wrong?"

He think about the answer to that, before shaking his head 'no.' Because you're partially right, but he'd rather not correct you on what you're missing.

He looks down at your still intertwined hands, god he's been holding onto it for a while now, before quietly asking,

"Uh, how did you—?" He trails off. Not really knowing what he's asking.

You shrug. "You forget who you're working with. I notice these things, I notice you."

He flexes his eyebrows and thinks for a moment. "So what's your prognosis?"

You look to the corner of the small motel room to think before eventually settling on an answer.

"Only you can really find that out, Spencer."

You look back to see him already looking at you. "Your intelligence is an integral part of who you are, and that's why you're here. Your intellect isn't a barrier—it's a strength. So do what you will with that information."

"What if I can't find the answer?"

"Hm,"

Your legs are starting to get tired, so you move to get on the bed with him. Making sure that there's enough space for the both of you as you settle in. "You always have friends that can help you. Miss Jareau, Sir Morgan, Sir Hotchner, Miss—��

"Even you?"

The face he's making makes your chest feel tight, like there's a pressure building there and yet you don't know why. With his unusually shy behavior, and rounder eyes, it makes your usually impassive expression (to everyone else on the team, at least) soften.

"Especially me."

You pat the spot next to you as you recognize that you should've been asleep an hour ago. Telling Reid that you two should probably sleep so that you can make it tomorrow without being tired and he does just that.

"You don't think I rely on you too much?" You furrow your brows at that. Now looking at him from down on the bed.

"Not any more than you do sir Morgan."

He tries to see the point you're making but fails. So he turns to look at you.

"I don't really...rely on him."

"Exactly."

"...So I don't?"

"How about this," you can tell that being roundabout your answer isn't going to cut it, so you're going to have to switch gears.

"I don't think you do. But even if you did, I wouldn't mind. So if you find yourself ever needing, or wanting," you punctuate this with an earnest look into his eyes, "help from me specifically, in any way, at any time, just come to me—and ask for help. Say something like um, I don't know, uh—" you shake your head as you try to think.

'I need your help,' is too vague, you hear it all the time during cases. 'Could you do me a favor,' won't work either since it doesn't really excuse the both of you so—

"Can we look at this?", "I need you?"

You laugh. Actually laugh out loud at what you just heard. The words you just said practically blended into one another to the point where you don't even know who said what anymore, but that didn't really matter.

Spencer feels his face flush, and his volume increases due to his embarrassment. "Hey, I was just trying to—"

A loud knock is heard from the room's wall, followed by Morgan's voice.

"Newsflash, kids. Some of us are actually trying to sleep. Go argue about your theories later."

The boy-genius and you make eye contact before trying to stifle your laughter, you having a much harder time than the former before revisiting the conversation.

"You know what to tell me when you need me, yeah?"

He nods.

"Let's go to sleep."

You say goodnight, before turning your back to him so you can process what's going on. You wonder if the buzzing feeling you have would go away in time for an actual restful sleep.

You could use one on this case because it seems like the more you uncover, the more you're confused. Theories of all kinds swim in your head, ready to occupy your thoughts for a little while longer before hopefully sending you to a peaceful slumber.

Hotch is going to need you two ready and working.

And because of your nerves, you don't even notice Spencer turning his back to you too. Wondering if you had been feeling the same thing he was from the situation, from the contact, from the conversation, from everything.

Unlike you, he's for sure not getting any sleep.

[a/n] Every time I write for Spencer with this reader, he just can't catch a break-- Send in some ideas for the next part of the anthology if you'd like!! Like certain character interactions, dynamics, etc. I'd like to see what you're interested in seeing :DD

taglist: @crazychaoticizzy

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[doberbutts]

It's astonishing to see people say "All fear of men is reasonable and okay, but you shouldn't be afraid of black people obviously" and you having to reply, "Hey, question? Aren't black men people?" Everyone clinging to their fear of men while never examining their actions which could harm men of color, in this case, black men who have historically been killed and lynched in great numbers by white women weaponizing this fear to end their lives. Read the Will to Change! bell hooks talks about this! She talks about how white people, especially white men, have distracted from their own patriarchal masculinity by portraying violent women-haters as aberrant and abnormal (So, clearly Black men are more likely to be dangerous because they're already aberrant and abnormal in our white supremacist society). PLEASE understand your fear isn't fucking value-neutral and can be inherently be trusted!!!

Also, on the topic of patriarchal masculinity, I think that term really encompasses what we're talking about when we say male privilege is highly conditional. It's also what makes this uncritical man-hating so devious. Like, bell hooks says, contemporary feminism has provided a place for some women to construct a sense of self outside of sexist expectations, but the same can't be said about men. So by distrusting trans men, telling them they should accept feeling unwelcome in queer spaces because "your identity as a man means you have to earn other's trust (even if you haven't done anything other than exist), you're conflating transmasculinity with patriarchal masculinity. Which is so fucking damaging? Not to mention how people love to destroy and hurt transmasc's emotional selves, the same rituals that bell hooks talks about which so severely damage cis men (who were the book's main topic), and we're doing this to a marginalized, queer group who face immense systemic oppression.

Just--I hate how we mutilate trans men's emotional selves, demonize them because we assume all men possess patriarchal masculinity. I hate how we can't talk about marginalized men because apparently, that means we believe in misandry, when in reality, we're trying to talk about how men of color are portrayed as the worst of masculinity to deflect from white men's violence.

Disclaimer: Sorry for this big ass ask. Just seeing you have to respond to people with a basic lack of understanding of intersectionality and who weren't subtle about their racism--gosh.

And the biggest issue is that I understand why the kneejerk reflex happens- there's a lot of men who have engaged in the most bad faith of bad faith discussions about men's issues and somehow have turned it all onto "so it's WOMEN'S fault things are like this" rather than "so how do we work together with everyone in society to break free", and so a lot of people have their guard up from the start and don't care to listen to the last bit because they think it's more of the same.

Unfortunately, all this will do is continue to make us spin our wheels. We are always stronger together.

[gatheringbones]

[“As I have outlined earlier in this book, the institution of psychiatry does not work in a vacuum, somehow above the everyday norms and values of wider society; rather, they are a profession with a particular conservative zeal for upholding the current social order through their work. When behaviour becomes unacceptable to the needs of capitalism, the profession seeks to pathologise such deviance. This process does not happen overnight but through a progression of debate, research, and movement towards a collective focus on such areas.

In this case, the research on shyness from Philip Zimbardo (1977)—the former president of the American Psychological Association—is seen as key towards the development of social phobia as a category of mental illness. Significantly, his research did not suggest that shyness was a mental illness, but rather noted a concern that people with such characteristics were likely to be seriously disadvantaged as society began to change. Zimbardo (1977: 5, emphasis added) commented on the “condition,”

Shyness is an insidious personal problem that is reaching such endemic proportions as to be justifiably called a social disease. Trends in our society suggest it will get worse in the coming years as social forces increase our isolation, competition, and loneliness. Unless we begin to do something soon, many of our children and grandchildren will become prisoners of their own shyness.

The traits of shyness—including timidity, mistrust of others, and a lack of self-assertion (Zimbardo 1977: 13)—were conceptualised as increasingly problematic within contemporary society and therefore a justifiable focus for psychiatric activity. This is tacit acceptance that such behaviour has not been found to be a mental disorder as a result of rigorous testing but rather is socially dictated and culturally relative; shyness becomes a “social disease” (i.e., a social deviance) in need of treatment. Thus, “the rise of social phobia,” states Cottle (1999: 25),

offers a glimpse not so much at the anatomy of a specific illness as at the still inherently subjective nature of psychiatric medicine and the cultural forces that help draw the boundary between what we are told to think of as normal and what we are told to consider pathological.

Concerned with the need for workers to conform to the desired norms and values necessary to “succeed” in neoliberal society, the psy-professions have stigmatised and “othered” those once considered only shy, introverted, or reticent co-workers. This process of psychiatrists labelling the shy as mentally ill has also been previously highlighted by Scott (2004: 133) who acknowledges that, in comparison, the non-shy self,

embodies the cultural values of contemporary Western societies: ambition, assertiveness, competitiveness and individualism. This dominant ideal can be used to stigmatize those who fail to live up to such expectations, whose difference is attributed to individual pathologies rather than to an unrealistic cultural ideology.

The success of psychiatric hegemony here is that since the original construction of social phobia in 1980, workers have become more inclined to self-label and entertain the possibility of therapy and drug treatment for their failure to be more sociable and assertive at their place of work. This situation has further legitimated the extension of the psy-professions in the areas of unemployment, job training, and work, reinforcing the neoliberal focus on the self as the site of change, while simultaneously depoliticising the increasingly alienating work environment and constant pressures on employees to upskill and be “more employable” in the jobs market (see Elraz 2013). Through the pathologisation of such “non-sellable” traits, Lane (2007: 208) argues that what counts as acceptable behaviour within the population has been narrowed to such an extent that “we now tend to believe that active membership in community activities, the cultivation of social skills (becoming a ‘people person’), and the development of group consciousness are natural, universal, and obligatory aims.” ]

bruce m.z. cohen, from psychiatric hegemony: a marxist theory of mental illness, 2016

[theodysseyofhomer]

if odysseus wanted have a good time sleeping around (or rather, if that's what the poet(s) wanted), he could simply do that. it's not like a male epic hero needed an excuse. what's unusual in the calypso situation is not that odysseus is sleeping with someone other than his wife; it's that the narrator affirms his unwillingness and misery.

and on the one hand, calypso is a misogynistic fantasy/nightmare in that she is a woman who can own a man in sexual slavery, which men in the world of the odyssey and of its composition do to women as a matter of course. on the other hand, she isn't a very common fantasy, is she? how often do you see a man held captive and raped in ancient literature?

or in contemporary literature, for that matter. i've had the 2013 article "the rape of james bond" saved to read for awhile (like... for a few months. not since 2013), which addresses more than the scope of this tumblr.edu post. but the author jumps off from the claim that constant sexual violence in fiction is needed for realism. she questions whether that is true in the way that it is often meant — e.g., whether the prevalence of rape in game of thrones is "realistic" to the middle ages — but she does argue that "sometimes, failing to acknowledge the risk of rape in circumstances where it would be particularly likely to be present can diminish the authenticity of a text."

[I]n so called Genre fiction, we love to strip away protection from our characters to give them an interesting job of coping on their own; parents are dead or absent or abusive, homesteads are burned down, authority figures are blinkered or oppressive; you can trust no one, for no one can hear you scream… And all these things will, in the real world, heighten a person’s vulnerability to all forms of violence, including sexual violence. So yes, realism does sometimes mean dealing with that vulnerability somehow or other. But that heightened vulnerability to sexual violence applies to men too. So where are they, all the raped male characters? People say, it would be unrealistic if she wasn’t raped, but take it for granted that of course he wasn’t. Why is that?

and yet here's the odyssey, one of the oldest extant pieces of literature, and we can't take it for granted, actually, that the pervasive threat of sexual violence in odysseus' world will never touch him.

the homeric epics include many, many enslaved people (of all genders) subject to implied rape (usually of women), and i won't pretend that's treated with the gravity it deserves. but the way calypso and odysseus are often dismissed makes me wonder if we're still not prepared for a specific kind of discomfort, rooted in the messaging we often get from fiction and society — though it does not reflect the reality of the lived experience of many people — that rape is always and only realistic when women go through it, because rape is what women and women uniquely are for.

[rae-pss]

RANDOM PICKLE HC 'CAUSE HE'S SO BBG

— RAE'S NOTE: if someone asks you, i'm not into the cave man... oh, this are headcanons about him as a partner ( :)) ).

༉‧₊˚. ─ let me emphasize the fact that the poor prehistoric man has awakened in a place and in a time more than unknown to him, where nothing seems to be what it once was; so, it's understandable that he's more than lost half of the time.

༉‧₊˚. ─ now, speaking of physical affection, i feel that it'd be his love language. this is because it's easier for him to try to express himself bodily given his lack of ability to speak.

༉‧₊˚. ─ you've to see him like a big animal –at least, so do i–. with familiar people he's friendly and even affectionate, but with strangers and possible threats he becomes more assertive and territorial.

༉‧₊˚. ─ if by chance you became his partner, mate in his eyes, you'd have to work hard to make him learn and understand your boundaries because, like it or not, PICKLE can't read social cues at all. if you don't like something, you're going to have to explain to him, as much as possible, what shouldn't be done, when, where and how.

༉‧₊˚. ─ again, he's someone i see more physical leaning. his displays of affection are far from contemporary, and it shows.

༉‧₊˚. ─ his hugs are considerably comfortable. when his arms, strong and warm to the touch, wrap around you and pull you close to his chest, it feels like an oversized bear hugging you. the muscles can be uncomfortable for some, but if you hides your face between his pecs, or leans it against them, it's all gone and you can easily sleep like that.

༉‧₊˚. ─ you've to teach him what kissing is and how to do it; i feel like he doesn't know what that's or means. his version of kissing is a lick on the cheek, or another part of the body that's close to him at the moment.

༉‧₊˚. ─ sometimes PICKLE gives you gifts, in his style, that he has found in his adventures –to name his escapes somehow–. gifts ranging from dead animals, or parts of them, to pretty stones he saw on the ground.

༉‧₊˚. ─ on more than one occasion, he has gone into attack mode against one of the other fighters when he sees them "very" close to you. that's to say, he goes into defensive mode, but very rarely would he attack them; before that, he'd rather take you in his arms or grab it and leave the place.

©rae-pss. do not steal, repost, edit, translate, copy or modify any of my work on any social media account, or claim it as your own.

[dimetrodone]

curious to hear your thoughts on Trolls.

Im a Trolls film series apologist. Im aware of how obnoxious it is and understand why a lot of people dislike them, but everytime I go into one ready to hate it I always come out actually kinda liking them. I think they are Dreamworks' most consistantly alright movie series at the moment.

I think in terms of quality and "loudness" these movies are pretty comparable to the Madagascar movies, both very abrasive hyperactive movie series with a wide range of opinions on them. While the Madagascar series is pure distilled 2000s animation warts and all, the Trolls movies are pure distilled 2010s-20s animation.

It perfectly encapsulates a movement in contemporary art and entertainment that me and my friends have dubbed " Mable Pines chic" or "Unicorn Barf". Aggressively girly and juvenile, preoccupation with unicorns and kittens and rainbows and technology and slime and pop music and millenium nostalgia.

I think part of the barrier in enjoying the Trolls movies is how much you are charmed by or can physically withstand the gremlin girl qualities of them. The other big part is how much you can withstand jukebox musicals. If you dont like those things these movies will probably be like eating sand. If you do like those things you will probably like them.

I love how everything in these movies looks like its made of felt or plastic or other craft materials. The third one especially goes wild with it, i would recommend it to people exclusivrly to look at all the weird textures in it.

Somehow think the third one was my favourite. I liked the Sharpay and Ryan betty spaghetty villains. Second one felt a bit messy but it also had Barb in it so its also okay.

[artbyblastweave]

I've never made any connections between Worm and the Captain America mythos before. Spill some ink?

Okay, so from a purely aesthetic perspective, the gimme is Miss Militia. She's the most obvious "Captain Patriotic" in the roster, she has the power of GUN, she's the only one who actively buys into the mythology of America specifically. She's a Kurdish woman occupying an aesthetic niche generally held by a rugged squinty white guy. She's an output of the melting pot narrative. She's sort of a rendering of what a grounded superhero who somehow became very aesthetically into America might look like. Not in the craven marketing-driven way of Homelander or Comedian, not in the jingoistic maniac way of USAgent or Peacemaker. She buys it in the broadly left-liberal (USamerican connotation of that term) safe, friendly, reclamative way. Why, what a great rehabilitation of the archetype!

She's also deeply, deeply afraid of rocking the boat. She's got a deepseated childhood trauma related to the bad things that happen when she puts herself in a leadership role. She goes along to get along. When she's proactive, it's usually to point a gun at Tattletale to stop her from upsetting the status quo. She sits through a lot of situations where Steve Rogers, as commonly modeled, would probably plant himself like a tree by the river of truth and go, "Hey, this is fucked up." She more or less capitulates to Undersider domination of the city, in a way that predisposes us to think of her as a voice of reason after all these total nuts that Skitter's been up against- but would Taylor "to relinquish control is a form of ego death" Hebert really be willing to leave someone in charge of the local Protectorate branch who she thought couldn't be corralled? She looks like a beacon, but doesn't- indeed, probably can't- ever truly behave like one. I mean, you can debate the on-the-spot morality of any given one of her judgement calls, that's actually one of the less exhausting Worm Morality Debates to have- but in aggregate, a person in American flag garb who actually meaningfully criticizes the paramilitary organization they're part of is not gonna survive long in that role!

So again, she's the gimme from an aesthetic standpoint. But what I don't really see a lot of discussion of is how Cauldron plays into the riff.

Captain America is institutional, but in a comically morally uncomplicated way. The serum was originally mana from heaven, granted to a living saint, conveniently divorced from any nitty-gritty sausage-making process and even-more conveniently divorced from the horrible consequences of giving the, uh, the U.S government a replicable super soldier process. And in fairness to Captain America, this is 100 percent something the overall mythos eventually patched to my satisfaction; the sausage-making process eventually revealed as prototypical government fuckery driven by human experimentation on black servicemen, the overall Marvel Setting littered with failed attempts by the U.S. Government to recreate that golden goose so they can have their fun new jackboots. (In Ultimate Marvel, this is how almost all contemporary superhumans were created, and this is a state of affairs with a body count in the millions or billions.)

Cauldron draws you in with the same noble rhetoric about greater goods, the same one-off proprietary irreplicable formula- but you don't get the luxury afterwards of representing nothing but the dream. You aren't partnering up with a plucky crank scientist with a heart of gold. You're selling your soul to an organization with an agenda. The narrative makes no bones about the fact that everything you do is fundamentally tainted by the fact you opted into an end product created through torture, kidnapping and human experimentation. You don't get to pull a Kamen Rider by going rogue or opting out or making good use of the fruit of the poisoned tree; you are owned, and everything you do has this Damocles sword hanging over your head- when are the people who bankrolled this going to come to collect?

So that's the question of "who would willingly dress like that" covered, and the question of who creates a serum like that. What about the question of who takes a serum like that? I'd argue that Eidolon is the examination of that. Pre-Cauldron David reads to me like pre-serum Steve Rogers viewed through a significantly bleaker lens. They're both sickly kids desperate to serve, rocketed to the pinnacle of human capability by an experimental procedure. But for Steve Rogers, the crisis was that he had a specific vision of the world and was frustrated by his inability to carry it out. Before the serum he picked fights over what was right and wrong and got his ass handed to him; afterwards he picked those same fights and just started winning instead. The serum neatly solved a problem he had, and to the extent that his mindset is influenced by his pre-serum experiences, it's generally constructive; a desire to protect the weak, help the helpless, an appreciation for people who stand up for what's right even when they're clearly gonna get pancaked for their trouble. So ultimately there's no dark side, downside, or underlying neurosis ascribed to his initial impulse to take that serum.

But with David, it's not a tragic case of the spirit being willing but the flesh being weak. He isn't a preternaturally-noble soul, out to represent the best elements of the American ideal- he kind of represents the inverse, a guy who's been failed at every level while utterly convinced that he's the problem. He's actively suicidal because he's a wheelchair-bound epileptic in an economically-depressed socially-backwards rural town in the 1980s, and he's spent his 18 years of life internalizing the idea that he's worse than useless unless he can somehow find a way provide value to something larger than himself. Doctor Mother finds him in the aftermath of a suicide attempt spurred by his rejection from the army- and he didn't even want to join the army specifically, necessarily, he just needed his situation to be literally anything else, and he took what he thought he could get. And then he finds himself in a position to become a superhero, so he does that, molds himself into that, subordinates himself to that, builds his entire sense of self and values around the value he can provide in that role. No grand design or sacred principles carried over through the metamorphosis. Just relief at finally, finally having something that looks like an answer to the question of what he's supposed to do.

And you know, you know that if Steve Rogers was facing down the barrel of being depowered, he'd smile and nod, he'd Cincinnatus that shit. It's happened before. But for David, the emotional trauma and self-worth issues that caused him to roll the dice on a Steve-Rogers treatment never really went away. When would it? He's been Providing Value as a ten-ton Hammer Against Evil for thirty years. No family, no social life. Certainly, no incentive on his handler's part to lance his Atlas complex. So he barrels towards atrocity in the name of remaining useful. Admittedly, this is where the comparison breaks down in a significant way; Captain America is much more of a symbol than he is an irreplicable powerhouse, so it's not catastrophic if he's taken off the board. Eidolon is so unbelievably powerful that his myopia and self-centeredness actually do align with a real problem everyone else is gonna have if he loses his powers. But in terms of the starting points- I think that Steve Rogers embodies the myth about why you'd want to join the army that badly. Eidolon is, I think, much more closely modelling why you'd actually want to join the army that badly.

[feychannel]

So you want to play an indie otome or dating sim but don't know where to start...

Like the title says, I wanted to make a rec list for those who are more interested in indie otomes but don’t necessarily know where to start! So for those who saw the latest Nintendo Direct or maybe those who’ve just always wanted to try something new, this list is for y’all. I’ve immensely enjoyed every single title (and hope y’all do too). Without further ado... here's the short list!

Changeling by @steamberrystudio (and their sci-fi spiritual successor, Gilded Shadows): Liked "Buffy," but thought it needed more Faes? Changeling is exactly the type of contemporary otome you want and needed in your life yesterday. With several wonderful young men to romance, and an intriguing plotline that references fae mythology, you'll be set!

The Rose of Segunda: Liked Bridgerton? Thought it needed an even longer gala than canon? Then RoS (and its amazing sequel, "Thorns of War") by @blackcross-taylor is the game to play! I've been impressed with how this studio weaves political intrigue into the very plot, and how it commits to the stories it creates.

Band Camp Boyfriend: Somehow, this game is both a 00's sitcom and a thriller all in one (with all the drama of a gripping telenovela in some routes). If you missed summer camp, marching band, and/or just want to know what that's like, check out this delightful title by @lovebirdgames

3 Seasons: We love a woman with melanin!! But in all seriousness, the concept of a young woman applying for a job, only to find out she's the next Spring Spirit is delightful. Note: this is a free title (but the developer @hamiltonhour accepts payment on their itch).

Magical Warrior Diamond Heart: Precure meets Sailor Moon meets the sweetest otome!! In this house we love Valerie and her zany crew. @magicalwarriordiamondheart has truly outdone themselves with each update; the common route is free, but the developer has a Patreon you can support!

Herotome: I would be amiss if I didn't mention my current favorite superhero-themed otome, where your lovely protagonist will face pivotal choices in their quest to become a hero! While only the demo is out so far (just so y'all aren't expecting the full product), developer @herotome is a delight to follow with all their updates!!

Honorable mentions: Twisted Carnival, Titan Arum (warning: both titles contain more horror than the average otome), and Arcardia Fallen

[anghraine]

I'm not sure why, but I've been thinking lately of how much I loved Poirot and Miss Marple novels and short stories in high school, and specifically loved the "psychology" concept that drives them.

I mean, it's definitely not actual psychology, but I really enjoyed the whole shtick of "this person may well have committed a crime, or even be capable of Crime, but they wouldn't have committed this crime in this way because of their quirks as a human being." Or the reverse, where the crime turns out to be difficult because someone who wouldn't ordinarily commit crime did it for reasons that make sense if you understand them as a person but otherwise it's confusing.

(Of course, you also get murderers who try to exploit this approach but are, in reality, pretty run-of-the-mill murderous assholes. But even in those cases, really understanding who people truly are and what they're capable of in different circumstances proves essential to the broader solution.)

I'm really used to the assumption, or insistence, that a person or character having done any crime means they are somehow likely to commit any other crime, something which is patently untrue. And although the precision and assurance of the Poirot/Marple approach has about as much to do with psychology as a discipline as psychohistory does, I do appreciate it when a story leans on the finer points of who people are—even in the short whodunnit version of "finer points"—more than Bad People Do Bad Things.

(Obviously these books had many flaws, and can be super uneven; Christie was a near contemporary of my actual 20th-century fave, JRR Tolkien, and it's clear that their politics were not always very different, but I have a lot more respect for the reflections and re-considerations in later Tolkien writings than later Christie. But I do like the basic concept underlying so many of her whodunnits.)

[prokopetz]

so I've been considering trying to make a ttrpg instead of just criticising all the ones that exist, but I thought I should ask someone who would know - have there been any successful projects in the "universal" sort of scope in recent memory? every example I can think of is so granular as to become totally inaccessible, even if I appreciate what they aspire to do. somehow it seems that every design which aims to cover every use case somehow circles back to rigidity and prescriptivism, perhaps reflexively in order to retain a distinct identity as a "game" unto itself rather than a set of steps to construct games?

There's no such thing as a "universal" tabletop RPG. Game rules by their very nature encode assumptions about how the game ought to be played. Any time a game claims to be universal, either it's lying to you for marketing, or its designer has mistaken being setting agnostic for being unopinionated about what player characters actually do.

To pose an obvious example, it's fairly easy to stat up the cast of Pride and Prejudice in GURPS, but the actual gameplay loop of GURPS has nothing interesting to say about the things that Pride and Prejudice is about – i.e., it can construct a game-mechanical model of the setting, but that model doesn't have the tools to address the source material's premise, and the latter is where the trouble starts.

About the best you can realistically expect to manage is to bash together a tabletop RPG which supports a grouping of closely related ideas about what player characters do. The trick is that the shape of play isn't particularly tied to the aesthetics of the setting, so material that doesn't seem to be closely related can often fall into the same grouping of gameplay assumptions.

For example, it's feasible to construct a game which can do fantasy dungeon crawls, contemporary heist capers, and cyperbunk netruns, because in gameplay terms those are all fundamentally similar activities, with similar resource-and-reward loops, similar preoccupations with logistical play, and so forth – and it can be awfully tempting to look at a game like that and say "well, it can do fantasy, contemporary, and science fiction settings, therefore it's universal", but what the game assumes player characters are going to do within those settings is the important part, and that's a much narrower remit.

[runwayrunway]

id be interested in seeing you rank plane emojis from different platforms (by their livery, or by whatever else) just for fun, if you want!

You're right. I WILL do this for fun, because this is fun. Not based on livery, since they're mostly white with blue wings - just how much I like them. I'll be adding a rating out of 10 for each one because I think that's the tradition for this sort of thing.

Apple - 4/10

I mean, because I have an iPhone this is my default conception of an airplane emoji - I think it's fine, I just find it a bit offputting how they model the individual flaps and cockpit windows but the rest of it is a white airbrushed tube. It's a weird contrast.

It's fine, I think. Acceptable. I maybe think emojis by default aren't the most aesthetically pleasing.

Google Noto Color Emoji - 4.5/10

I think this is a slight improvement over the Apple version because of the more consistent stylization. It's also a little more contemporary, since most airliners that are flying now have two engines. I like that they added a few windows and highlights to keep the cabin interesting, and I think it's a bit...something that they took off the flaps but added flap track fairings. Cockpit windows look awful though.

Samsung - 2/10

This is a bit more of a realistic shape for an airplane but for some reason I don't like it. Maybe it's the fact that you can barely recognize that there's a tailfin at all, or the cockpit window looking weirdly...shiny? I think what gets me the most, though, is that those engines look like Super Mario pipes.

Microsoft - 1/10

She's a little...phallic somehow. I just think a top-down view of an airplane is almost always going to look worse if you make it super round and blobby. On the bright side, it's still recognizable as a plane.

WhatsApp - 7.5/10

I really like the way this one is red. Way to stand out in a crowd. It's also quite realistic without giving up on being stylized. My one issue is with the cockpit windows, which look a bit out-of-place and weird. This seems to be a common point of failure for this sort of emoji. Also, I'm unsure if this is meant to be a two-engined 747, but if it is points off for those not existing.

Twitter - 6/10

I hate to ever hand it to Twitter but this is just solid. That's an airplane, just a very simplified and round one. Even the cockpit windows on this one look okay.

Facebook - 3.5/10

Maybe airplane emojis with airbrush shading just look bad to me. There's nothing fundamentally wrong with the shape of this but I don't think they differentiated the tailfin from the fuselage enough. It looks like a stub. Also, what is up with that miserably short wing chord?

Telegram - 7/10

I mean, it looks like a 3D version of the Apple one, but it's surprising how much making it 3D improves it. Plus, gotta hand it to them deciding their emoji was being flown by Tex Johnston. I admire that sort of verve.

Microsoft Teams - 0/10

On the flipside, animating this one and making it 3D makes it so much worse! It looks like it was made right when people just figured out that 3D animation was a thing that was possible to do, back in the 50s or something. And boy are those pixels crunchy - I wouldn't mind this if it weren't already heinous. Seriously, how is that tailfin even attached?

Skype - 10/10

Now this I really like. Most of these are impossible to assign a model to but this distinctly looks to me like one of the earlier, stubbier 737s, just really short with a pointy nose, and she's waving at you. Crisp, nice smooth animation, just fantastic.

Twitter Emoji Stickers - 0/10

Looks bad. One of the few of these which are very easy to recognize as a specific model of airplane - this is clearly a 747, based on the inclusion of the hump. There is a reason basically none of the others are trying to be a 747. Adding a weird lump to the front of your emoji doesn't really make it any less weird-looking, and rendering a plane from above tends to be weird-looking already. It looks like she was stung by a bee.

JoyPixels - 6.5/10

As with the WhatsApp red, I appreciate anything setting itself aside in color, so I have to compliment the choice of this sort of toothpastey green. This is one of the better simplified airplanes we've gone over today, and the only thing I really dislike is that it has the same issues with the tailfin Facebook does.

Toss Face - 0/10

I can barely tell this is supposed to be an airplane. It makes me want to, excuse the mental image, toss face.

JoyPixels Animations - 10/10

Now THIS is what I'm talking about! Just a nice little pixel aircraft, doing the same sort of smooth wriggling as the Skype airplane - no criticisms.

Sony PlayStation - small/10

Adequate, but too small to really assess further - but the fact that I don't dislike anything about it is honestly a credit at this point.

Noto Emoji Font - 3.5/10

This just looks like the Samsung emoji but rendered with plain lines. Removing detail from these tends to improve them.

OpenMoji - 0/10

Oh, no, I take it back! Too few details! It's like a torpedo with wings awkwardly stapled on. A really phallic one at that.

emojidex - what the hell/10

I think this more or less looks fine, and the livery it has also looks fine, but I'm so thrown off by the fact that I don't think this is a real airplane. I am obviously not an authority on every model of airplane ever built but I'm reasonably sure this isn't a real one. It most resembles a BAe 146/Avro RJ, the only four-engined t-tail plane intended for passengers rather than heavy cargo. But the 146/RJ has high wings, located above the cabin windows, so...what is this airplane? What does emojidex know that they're not telling us?

Messenger - 7/10

While not ugly per se, it's a bit futuristic for my taste. Still, the choice to model it from a position other than directly from the top avoids a lot of the pitfalls that make many of these so bad to look at.

LG - 4/10

Boring? Yeah, without question. But this is just a good representation of an airplane, and at this point I'll accept that. Does the tail thing, though.

HTC - 3/10

Something about the way this is shaped makes this look more like a rocketship than an airplane. Or a Convair Pogo.

SoftBank - 5/10

A decent pictoral representation of an airplane. See: LG. Fixes the tail thing.

Docomo - 5.5/10

Also a decent pictoral representation of an airplane, but I think rendering it in silhouette gets rid of many of the pitfalls associated with airplane emojis. No details to mess up, just the shape of an airplane. Why do the majority of these have four engines? Seriously, there are only three four-engine airliners in passenger service right now. Have the people designing these not flown since the early aughts?

au by KDDI - 2.5/10

Okay, I know I've been saying being a good representation of an airplane is good enough but this is just simplifying too far. This isn't an emoji, it's a unicode character.

Mozilla - 1/10

Why pointy but only sometimes? Why does the tail pinch in like that? It's ugly, Mozilla, you made an ugly one.