#the dynamic starts out from a very fucked up place INHERENT to the existence of jujutsu

[demonzoro]

i think there's heaps of interesting nuance to be had with gojo's guardianship to megumi and tsumiki (especially with megumi's inevitable path to sorcery and tsumiki's wellbeing being intrinsically tied to her connection with megumi and his love for her) that it's a shame to dilute them into the easily consumable "gojo is megumi/tsumiki's dad" statement but unfortunately i'm also vvvvv weak for any art where gojo's lanky ass stickbug frame goes 90 degrees to hug them or let them put stickers on his face. okay.

[edai-crplpnk]

Torune or Kakashi (character list)

For this character ask game

I'll start with Kakashi cause he will probable be easier 😆

favorite thing about them: ... Gai? More seriously, I like their plotline of self destruction and martyrdom and being forced to overcome that, but I don't think I like it so much each individually as I like them together.

least favorite thing about them: Don't touch children's butt even in a fight, Kakashi.

favorite line: chose between "I need to protect him." in Shippuden 288 or "He's nice, isn't he?" in Konoha Shinden (he's a simp)

brOTP: Idk if that really answers the question, but I like his relationship with Team 7 when they are more grown up and he is less their teacher and superior, and more like an older friend to them. I'm soft about teens becoming adults, and I like their dynamic!

OTP: KakaGai ofc, we all know the truth

nOTP: outside of the obvious Kakashi/any Team 7? not much tbh. But there's also not really any ship I'm enthusiastic for outside of KakaGai

random headcanon: I'm not sure the man can read. He left school at 5. I think 10yo Kakashi thought if he held a book in public at all times no one would realise he's barely litterate, and by the time he realised what the content of the book was, he already had a reputation made and so he's been "the guy who reads porn in public" for the past two decades because there was no coming back. His writting is that of a 6yo kid and someone has to write all the official paper for him once he's Hokage.

unpopular opinion: He works paired with Iruka but only if you acknowledge his inherent patheticness. KakaIru sucks as long as it's "cool and strong and mysterious military man and his soft and nice teacher boyfriend". But I can get behind "overworked and tired middle school teacher has no patience left for whiny boyfriend who has forgotten how to interract decently with other human beings".

song i associate with them: I'm not very good at songs but I'm thinking maybe Veux-tu danser ? by Gris. For the lyrics much more than the song itself. "You cannot touch me because I carry the worst of infections. I spread it to the ones I love at the whim of impulsions. I never wanted to propagate this heineous bacteria. Plese forgive, I should have staid stuck in your lives. Why do I have to bear this terrible curse? And most importantly, why did you have to love me back?"

favorite picture of them: I have to give a shout out to Kishimoto's iconic double pages

The details in the eyelid and lashes? The concept of him only crying from Obito's eyes and never his own? Excellent.

Now Torune!

favorite thing about them: His sacrifice for Shino is obviously touching, but it's also pretty fucked up and sad too. It makes mewonder about his father and their relationship. Presumably Shikuro died when he was little, if he was raised alongside Shino by Shibi? I wonder how much Torune got to know him, if he's grown up at least for a while with someone who had the same type of hive as him, what their place was inside the clan and how he's been raised to come to think of himself that way.

least favorite thing about them: Too little screentime 😔 and also tbh not the greatest fashion sense of all Aburame, but he gets a pass for being naked half of the time

favorite line: He doesn't have much lines in the manga, and while he may have some nice ones in the anime episode with the flashback of his childhood with Shino, I don't have access to it and I don't know it very well.

brOTP: Shino seems like an obvious choice! We need a "Danzou doesn't exist and all is well" AU

OTP: It's gotta be Fuu. I can happily see them as friends to but if he had to be with someone it'd be him.

nOTP: I think the truth is, I never really have any big nOTP

random headcanon: I assume Torune isn't his birth name. Loosing your name when entering the Root is shown as a big thing for Sai and Yamato. I like to make myself sad thinking about Shino only knowing his birth name, and not recognising it when people who have seen him, for example at the Gokage Summit, mention him by his Root name. Maybe Shino calling him his birthname when they meet during the war and Torune hearing it for the first time in over a decade.

unpopular opinion: I don't think there's enough fandom opinion about him for any to be unpopular haha

song i associate with them: I'm not sure it makes any sense but I thought of Isara by Eluveitie

favorite picture of them: Him carrying Fuu in piggy back just makes me soft. More generally they seem to have a love of trust and affection for each other. I like it.

[atopvisenyashill]

So I came upon your blog while looking through the asoiaf tag and explored it a bit. Would you please explain to me how are you against Targaryen incest, but find Jonsa fine? I’m genuinely curious, as I’ve just started reading the books (I’m half-way through a storm of swords) and find nothing fine about any form of incest, whether it is or not considered as such in-universe. I also find little to no Jonsa moments. Could you help me? Thank you!

okay so first of all i got sent an ask forever ago about what the appeal of jonsa is and i’ve been working on explaining basically where i see the plot going and why it’s thematically relevant and is2g i’m still actually putting it together it’s just doing that in a middle of a reread is tough bc my ideas are kinda all over the place lmao (just like this ask is about to be sorry!) (also once again, sorry if my tone comes across very weird, i swear i reread like twelve times to make sure i don’t sound too snarky and wasn't just vomitting up a thousand words of nonsense lmao!!).

BUT. Well there’s three points to this: what the characters may feel, what i feel about jonsa, and what i feel about targ incest. so first the characters:

I think it’s important to point out that first cousin marriage (and auncle/nibling marriage, esp if it’s a “half” relation) are not considered true incest in westeros and in many parts of our world. rickard and lyra, ned’s parents, are cousins. joanna and tywin lannister are first cousins. jonnel and sansa and edric and serena are uncle/nieces, and you’ll note that when alys karstark comes to jon for help, he is disgusted that her uncle is trying to steal her inheritance and not that he’s her uncle attempting to marry her. i point this out because not only is there nothing legally stopping a jonsa marriage, the characters themselves may also see it that way (as not incest). and if your next point is “well they grew up thinking they’re siblings” my answer is - yes and? One of the influences on this series is Mervyn Peake, who wrote gothic medieval stories, and both incest and pseudo-incest is very much a big part of gothic stories! A lot of the storylines in this world are dedicated to exploring incest as a force of socialization and romanticism, from Naerys pleading to live “as brother and sister” and Aegon insisting “we already are” to Alysanne’s “Alyssa is meant for Baelon” to Jaime’s “he heard none of it" in the sept. I don’t think it’s that far of a stretch to posit that two characters we have POVs for will fall in love and grapple with what that love says about them, about society, about their role in the world - and in fact, about half of Jon’s most popular ships are between him and a female relative. Sansa makes more sense to me because she’s closer to his age than Arya, has a more troubled relationship with him, is involved in the political aspects of the story just as much as he is, and isn’t likely to immediately start setting people on fire after they meet.

Now as for me, basically - i think both types of incest are the result of socialization + extreme trauma, and I fully expect that if Jonsa goes canon it will have a tragic ending. I think Jonsa takes some of the inherent misogyny of targ incest and plays around with it - Jon having significantly less societal privilege than basically every other Targaryen and what that means for Sansa as an heiress - but just because I think an exploration of that dynamic will be interesting, doesn’t mean I don’t expect it to be rife with problems.

because the problem with incest is the power dynamic ultimately, and you cannot escape that power dynamic bc people don’t exist in a vacuum. For all the Starks have some fucked up skeletons in their closet, Lyanna doesn’t show up in Ned’s bed naked and ask him to stop her betrothal to Robert, does she? This is the fundamental difference between targ incest and Jonsa or even Lannicest; Lannicest is rampant with toxicity from both of those deranged weirdos but they feel entitled to each other's bodies because of their own trauma surrounding their tumultuous childhoods (and probably some normalization of incest from their parents and proximity to Aerys/Rhaella/Rhaegar), but no one is saying "Jaime you are owed Cersei's body" or "Cersei your womb belongs to your brother and your brother alone." So I don't feel the need to sit here and go "Lannicest is toxic" like yeah? Clearly, lmao, these two feel like they are so damaged, and made so special by that damage, that they can only love one another, that's not what anyone would call healthy. I don't think it's necessary to sit here and explain that dynamic has abuse problems; it's right there in the text!

"well what about the power dynamic between jon and sansa?" YES WHAT ABOUT IT. that's the point! i'm interested in how a dynamic that is inherently abusive will play out between two people who were raised to believe some types of incest are okay but not others, who are victims of abuse and societal alienation themselves. because at the same time that i condemn targ incest, there are obviously real feelings and genuine care in these relationships and in these people, because again, people don't exist in a vacuum. daemon backs rhaenyra into this corner and then crucially does not kill any of her children because he realizes that's a step too far, she'd never forgive it, perhaps even because he grew to love them (i mean, Lucerys and Joffrey likely barely remember any other father but Daemon!). maegor is a monster who very specifically never harms rhaena's daughters! aemon is a useless pos but it seems likely he had a hand in raising naerys' son to be better than aegon because he could see the harm he and his brother were doing to naerys even if aemon was too much of a coward to actually stop that harm in any meaningful way! the difference, to me, is that jon will see that this relationship built on trauma and grief may be the only love he and sansa will ever allow themselves to feel but it is not healthy for them, and jon will leave! and sansa will realize she is not the impassive, frozen, detached symbol that the men around her want her to be, but a living, breathing person with her own wants and desires and agency, and will let him go!

Ultimately, while i think romanticizing and sexualizing the taboo is fine and even healthy, for me, there has to be some acknowledgement that you are in fact romanticizing the taboo. This is why the shitty dudes in asoiaf work for me in a way shitty dudes outside of asoiaf don’t usually - my general bitching about parts of the narrative that don’t click for me aside, there’s firm condemnation of the people engaging in these behaviors, from cersei sexually abusing lancel to sandor creeping on sansa. just because the narrative also shows us and wants us to feel empathy for sandor and cersei and why they’ve become bad people doesn’t mean what they’re doing isn’t bad. that’s what i like! i don’t want a story that holds my hand and drags me to the moral nor do i want a story that presents a god awful person who is supposed to be morally upright and not mean for us to dig deeper into them!

(this is why i like the pt but not the st of star wars, if you want an example - for all the prequels are um. flawed. lucas has an overreaching story about the effects of war, slavery, and interpersonal abuse that he’s dedicated to, and we are meant to be horrified by anakin choking padme just as surely as we’re meant to mourn their relationship and love for each other when palpatine gleefully tells anakin she’s dead and ani destroys the room in grief. vs like. what were the sequels even fucking doing man).

So the thing here is that I actually do in fact find Targaryen incest interesting while being morally repugnant as a practice, and I'm positive Jonsa will play around with both the morality of incest and the romanticism of it in a way that I find just as interesting, varied, romantic, and fulfilling as like, the Jaime/Cersei(/Brienne/Tyrion) mess or the Daemon/Rhaenyra/Laena/Harwin debacle! I like incest and I also hate it! I contain multitudes!

[erissdoesart]

hi, wanted to pop in as a Venom-liker who brainrots on AUs made up in my own mind and share one in my head

woe, platonic omegaverse be upon ye

and Ash boy!

SO because the novel world and modern world are different worlds we can fuck with this concept

such as the omegaverse being non-existant, at best a fictional trope in the novel's world

but Ash's world wasn't as lucky, humans and hybrids alike suffer an additional layer of instincts piled ontop of every other set of instincts they already have, oh boy!

Vibe Check!! Soot lost his wife, his kids, and has been forced into enemy territory, contact and the service of another enemy right before Ash punted his soul out the body

Ash is very fucking aware of this eventually after transmigrating, and he could manage bottling his human and elytrian instincts even with how his instincts mourn his death, old life and (not his) hatchlings that never were

That would be if brother didn't also have omega instincts to deal with which in the worst way recognize Soot's loss of a wife and kids as Ash's loss of a partner and nestlings

Oh, and piled with the fact that the few friendships Wilbur Ash had are long gone, making for the loss of the few friends he was comfortable scenting with, and scenting is a social activity nessecey for health, and you have An Even More Unhealthy Omega

Also with the lack of people with any of the three dynamics thus scents those dynamics produced, Ash is #unnerved as he can't read people like before and major social elements such as scents, pheromones, and noises unique to dynamics and seperate from hybrids and humans is completely lost to everyone but him

So now on top of being on edge 24/7, Ash is bordering shock, health complications of his dynamic and other needs being neglected, and oh yeah don't omegas have heats??

Depends on how we treat heats, like does Ash start not having heats for this period of time due to how bad his health is, or does his heats become worse than a healthy heat should be, nuking his higher thought with a lethal fever as he keens and his scent begs for anyone with a dynamic to bring him into their pack so he can feel safe

and what would be more interesting is how people react to Wilbur's dynamic without any context of Dynamics

"Like what's with the new perfume he's wearing and where did he get it, what message is he trying to convey to the Empire or others?

non-snake noises and reactions are kind of odd too"

Now imagine if depsite the lack of dynamics, the messages pheromones conveyed still reached people?

Theseus can just-- tell that Wilby's a good man and really just wants to cuddle and ruffle his hair (scenting the nestling, baby needs it) ((indignant techno and dadza noises))

Meanwhile Techno, Philza and the staff can't explain the way their shoulders locks, how they subtly still and are suddenly a wee more paranoid around Duke Soot, but Snake are devious things and it must be their gut instinct knowing such deep down

(no bitches, Ash is an omega scared of everyone and you inherently social pack animals are reacting to his scared-pheromones subconciously treating them as a warning from a fellow human/hybrid that there's danger near by)

(Techno reacts the worst to Wilbur's scared pheromones because Wilbur instinctually reacts the worst to his maybe-future-killer's presence making those meetings the times where Wilbur and those around him are the most paranoid)

brain melted lol

idk how to connect these but after the Dark SBI'ing and all that the castle would end up in a whole new schedule where whenever it's Wilbur heat time the entire place is on strict lockdown because biologically mandated fevers demanding cuddles will do that to the Royal Family's instincts

no pressure on asnweing this ask btw, especially if the omegaverse isn't your thing or you know nothing about it

Ngl idk how to respond

My main problem is, this is such a fun idea? I could see myself enjoying it, heck, enjoyed reading this!

But how in the fresh hell one would go about conflict resolution here

I'm baffled and dismayed. Good au anon, good au

And thanks for enjoying my work!

[sparatus]

Ship ask meme, I'm just pulling some stuff out of a hat here:

Miranda/Jack and .... fuck it, Wrex/Shepard.

send me a ship

thank you!! let's see here

jackanda: don't ship

1. Why don’t you ship it?

idk dude, i just really don't think this is one you can enemies to lovers through, their dynamic is pretty aggressively hostile and rooted in very deep aspects of their characters. miranda's ditching cerberus is because of reaching a moral event horizon, and she never really expresses guilt or remorse about being involved with them; on the flip side, jack will probably never be fully "over" what cerberus did to her, and for very good reason. it's a pretty hefty thing to ask jack to set aside miranda not only volunteering to work with cerb, but being tim's right hand, especially when miri doesn't really seem to actually regret anything she did while working with them.

that sounds like i dislike miri. i don't. i love her actually. but boy howdy she has a lot of (very fun and sexy) flaws. i support them gaining each other's respect, but i just don't think she and jack would ever get along well enough for anything to work out long-term.

2. What would have made you like it?

i think it might work out much, much further in the future, after they've both had more time to recover and come to terms with everything. and let them do it separately. let miranda keep growing, keep walking down the path she's already on towards acknowledging she was at the heart of terrible things and addressing them. just admitting to shepard she wanted to chip them is huge for her! great job! but she needs to keep going. and let jack keep growing, too; let her settle, let her find her place in the galaxy and reconcile with her demons.

and then, once they're older and calmer, then they can come back together, and let them talk out the elephant in the room, and maybe then they can start something new.

3. Despite not shipping it, do you have anything positive to say about it?

i do think they have potential, like outlined above. you could also do something interesting with the inherent toxicity of aforementioned elephant, how if they were to end up hatefucking or whatever the tension from that one unaddressed issue could poison everything or potentially force them to turbo-boost their character arcs and finally have the heart-to-heart they need to. there's potential, i'll give it that.

wrex/shepard: ship it

this was harder to decide on lol im not really that invested in it but fuck it, im down to be convinced, if there's a good concept behind it and that's the ship then sure i'll follow you down the rabbit hole

1. What made you ship it?

i mean really just "sure, why not?" lol. they're good friends, they can date a lil, why not?

2. What are your favorite things about the ship?

really strong foundation of an existing friendship, i'm a sucker for fire-forged friends, and with how much wrex has been through i could get behind him and shep bonding in that way only people who've been through absolute hell can.

Is there an unpopular opinion you have on your ship?

im not really into it enough to have unpopular opinions i think

[perpetual-fool]

Fury

(12/16/22, 1k) I had some thoughts, feelings. I needed to get her out of my head. So I tried sending a message, ostensibly. I'm sure it didn't go through and she'll never see it, which is for the best. But I've been feeling different.

I feel hurt, angry. She fucking abandoned me, forced her way in and left me to rot. Didn't cut it off cleanly, ever. That's why I couldn't get over her. Earlier she lingered, and later didn't have the decency at least to tell me to fuck off. She strung me along. I'm done hating myself for not being able to figure out things that people won't explain to me. I'm done feeling guilty for every thought and feeling I have.

Directly: V, if "If you want me to" is what I think it's about then it's a sick fucking joke. I've long since blocked out whatever made me trust you so much, but I know friends don't fucking do that. You left me. I never wanted you to leave. You forced your way in, stayed just long enough to give me hope, and abandoned me. And you didn't just cut things off, you still.. something; I've blocked that out too. Later, you could have just told me at any point, to my face, to fuck off, and that would have been the end of it. But you kept talking without understanding, sharing without explaining. You left me hanging. It's taken sixteen years to get you out of my head. So, from the bottom of my cold black heart, you're a piece of shit.

I know I could have engaged more, I was afraid of hurting your feelings. Same as you apparently. But people find that condescending. I can't even ask basic questions without people taking offense. You want some actual feedback? Firstly, the mix is bad. On the EP it was fucking ass, but on the album it still sounds flat. It gets muddy in places, I think that's due to the frequencies of the various instruments blending together. Like, every instrument has a bunch of overtones, and then with the bass part you need to edit out everything that encroaches into the range of the guitar. That sort of thing. But in a lot of places I just can't make out what you're saying. None of the background vocals are comprehensible, same with that one song with an effect over your voice. Your dynamics have clearly improved but aren't great. You largely seem to just sit in the same range with the same intensity. And your impulses(?) are very short; the phrases don't flow well at all. An aside, on the EP your dynamics were virtually non-existent, lots of just singing the note. And I'm confused, because I'm pretty sure Mrs. K taught us better than that. Did you forget what you know just because it's a different instrument? Anyway. I recall on the older version the rest of the band was not up to par with you. So it seems like on the newer version either they were replaced or they got a lot better. But it sounds like the former. The songs do not sound consistent and in particular there's this one bassline that was clearly written by someone different. You write your melodies intuitively, right? Kinda sings what sounds good? It sounds like it, most of them are pretty same-y and again, you tend to sit in same range. The melody doesn't seem to be saying anything, generally. Like, if you cut out the words or gave the part to a viola or something, would it still be getting the message across? And your lyrics, or moreso your syllables, sound both stilted or way too drawn out in various parts. My impression is that you write the lyrics and melody in parallel and then try to stretch the former over the latter. I know words and rhythm don't get along and that that's an inherent compromise, and there's no one right answer. But the way you've chosen seem to be the worst way of doing it. Like, you could go all in starting with poetry like Poets of the Fall, and that sounds stilted to me but ya' know, some people like that. And you can go full Maynard and start with the music, put the rhythm on top, and only add the words at the end. And that sounds fucking lovely but it's also kinda hard to follow. So, great for a mood but not so great at conveying a message. And of course it seems like most people do something in between. But what you've done seems to have the worst qualities of both extremes while also being inconsistent. And the words themselves, since styles vary there's not much meaningful to say about it. But on Plead, surely you can be more creative than that. It doesn't seem like your heart's actually in it, that doesn't sound like hate.

And more personally, I was shocked at how closely Plead matched my own self-loathing. Really, it was surreal hearing the 'breathe my air' line. Except, you've never seem me raveled in the first place. That was the thing you found so offensive and pathetic and annoying. "Want to be ashamed" is straight up horseshit; one of those thing people just make up about others. And clearly you don't understand that the fairy tale cuts both ways. That's one of the pieces I remember, you just took it as me never understanding you. "I guess you're right" I think you said. I do appreciate the unintentional "they" however. And you have your timeline backwards with "comes back to you".

Although, I don't think I can blame adolescents for failing to communicate. And I know people just aren't capable of actually understanding. I don't see the point in holding a grudge over what someone is. It's not like they can do any better.

[meme-sauce]

I was gonna put this on a post about twitter armchair political science, but then it turned into a GD essay. So, if you want a (relatively short?) read on military strategy, nuclear forces, and a bit on Ukraine, click the read more.

First of all, the idea of nuclear winter is highly debated. In this article, the author talks about how in 1987, nuclear winter was disproven and how it would be much more likely for a "nuclear autumn" to take place. Scientists now are trying to reverse this thought, but found that many U.S. leaders had bought into the disproval of nuclear winter. This raises an important question that Steven Starr (the articles author) brings up: "Do U.S. military and political leaders fully understand the consequences of nuclear war?" The quick answer is... no. These studies can only exist theoretically, up until The Day. The uncertainty might not be a bad thing though - people might be less willing to hit the button if they don't exactly know what it's effects are going to be.

This comes to the point of nuclear weapons being in their inherent taboo. For more reading on this, I recommend "Arms and Influence" by Thomas Schelling and "The Logic of American Nuclear Strategy" by Matthew Kroenig. In the former, Schelling brings up that nuclear weapons can be scaled down to the level of conventional weapons. The only reason we haven't used them in combat since Hiroshima and Nagasaki is because of this shared understanding of taboo, a taboo that hasn't been broken in like 70 years. Nuclear weapons are used in the context of Tacit Bargaining. This is in deterrence ("if you don't I won't") and compellence ("if you don't, we will..."). These are used on smaller scales, but with the advent of nukes there was a whole 'nother level added to this exchange.

This is where we come to Kroenig. He has this article but it might be paywalled if you don't have Jstor, so I'll give it my best explanation. He writes that

"A standoff between nuclear-armed opponents is a nuclear crisis whether or not nuclear weapons are used, are explicitly threatened, or are the subject of dispute, because the very existence of nuclear weapons and the possibility that that could be used have a decisive bearing on bargaining dynamics."

As Schelling observed earlier, "states can not credibly threaten a nuclear attack, but they can make 'a threat that leave something to chance.'" Essentially, nuclear bargaining becomes a competition in risk taking. As such, Kroenig develops the Superiority-Brinkmanship theory. I don't have his book right now (I gave it to my dad as a Christmas gift), but from what I remember and have read, he rejects the idea of mutually assured destruction and instead looks at the strategy of having nuclear weapons.

Brinkmanship is, at it's most simple, the shared assumption of risk. Think of Walter White getting out of being killed by Gus by making sure that he's the only one who can cook the product as well as Gus needs it. Is risk of dying is shared with Gus's risk of losing profit.

With Brinkmanship, there has to be a level of credibility though. Schelling uses the example of two people on a cliff (I'm assuming tied to each other); if one goes down, the other will too. This being said, the risk of falling has to be made clear - by either accident (the conditions are unstable so we might go down with no choice of our own) or by projected "irrationality" ("I'm starting to slip and if you don't pull back right now we're both going down). In this sense, it becomes mutually assured preservation.

This is under the assumption that nobody wants war. They will pull back when the risk is too high. The bitch of the issue though, is finding the line of risk. If the threat isn't proportional to the risk, things can go wrong. The adversary might just say "fuck it, we ball" if the threat is too under or overwhelming.

Now a lot of people think that the solution to nuclear war is just to get rid of nuclear weapons all together. This is cool in theory, but from a realist perspective will never work. States will never give up their power, they don't want to and no one trusts that other states will hold up their end of the bargain. This is where superiority gets important.

The U.S. maintaining a superior nuclear arsenal is beneficial to maintaining peace. States in a war can either win, lose, or suffer disaster. There is a back and forth of escalation, and usually the less-powerful state will backdown first because while losing isn't preferred, it is better than suffering disaster. This is where the first and second strike capabilities come in when you are building your strategy. I'm not going to get into it because this is already so long but basically you need to prove that you have a "stunning" first strike capability (the capability to effectively wipe out the adversaries forces in a single swoop). Most states do not have a second strike capability, so this imbalance "can make nuclear war more costly for some states than others." (Kroenig, 148)

Generally, the United States is superior in terms of our nuclear arsenal (we have more deployed and the help of allies if need be). This means if Putin breaks the nuclear taboo in Russia, the U.S. is going to put him in a world of pain. Of course, this is an issue of showing resolve: if Putin thinks he has more resolve, he might just do it. But the U.S. warned him of "catastrophic consequences" if he were to do that. (This is deterrence, "if you don't we won't.").

Putin now has to think of our resolve: how committed are we to the bit? We're pretty committed, because if we make this claim and don't follow through, we risk losing "face," or international reputation. So is he willing to risk it, knowing that he will likely be sacrificing a good portion of his nuclear arsenal? Would he rather lose Ukraine, or suffer disaster?

With the idea that states don't want war, I'd say he'd rather lose Ukraine. He doesn't want to fall off the cliff any more than we do.

[alittlebirb]

Hhhhhhh thinking about dialtown too long causes me to start bouncing off the walls-

It's about the self-actualization and the player's purpose in the story being to nudge every character along the path to personal fulfillment, from the dateables to Ticket Jerry to Gingi themselves. There is only one universe with Gingi in it, and it's the one where everyone becomes their best selves. It's about the fact that the canon timeline, where Norm takes center stage, purposefully includes the happy endings from each dateable in the same timeline, which doesn't make chronological sense but satisfies the need for each person living in this up and down world to find their joy and keep it.

It's about the fact that, despite Dialtown ostensibly being a dating simulator, Gingi's relationships with each character aren't shoehorned into the simplified box of romance, but occupy the messy and complex and REAL space between where their lives intersect. The character dynamics have CHARACTER, and the overarching purpose of each route isn't to date them, but to make them happy. Your stories don't end with true love's kiss. It ends when Karen says she has to leave to pursue her dream, but you're one thing in this town that she'll miss. It ends when Oliver is able to have a heart to heart with Mr. Dickens, understanding that all the sacrifices he made were so Oliver could fulfill his potential as a person and as a creator, and taking that knowledge to build something new. It ends when Norm lowers his gun and stops chasing revenge, choosing to instead find the kindness which exists in this world and make his own joy, in spite of all the pain it's put him through. It ends, and then it begins again.

It's about the burning dumpster fire of humanity that every person is a part of, and how they each are valued as people in their own right. They all have their own personal histories and stories outside of Gingi; Oliver values Mr. Dickens above everyone else in his life, Jerry has a herd of sick dogs to tend to, Karen knows Bigfoot and has a vault full of his bananas she delivers to him every Sunday, I could go on! I have never played a dating sim where every character is so full of life and interest and value, to the point where the player character themselves, Gingi, has their own distinct personality which could not be substituted with any other person without having the entire story collapse.

It's about the flawed but beautiful nature of their existences, filled with struggle and division but throughout it all they reach out to each other. Gingi helps Karen quit her job and profit as an artist. Oliver doesn't hesitate to shelter Gingi and Norm when they return from exile. Gabby indulges the kids who come into her shop and encourages them to experiment and find themselves. Dialtown itself might be shit, run by a corrupt system that leeches the soul out of its inhabitants, but the people care. The people matter, and they always have.

It's about the inherent queerness which runs through the very fabric of the game, inextricably shaping the story and the world it takes place in. It's about ostracization from a world which cannot understand and thus fears you. It's about finding family in the downtrodden and unwanted, building something pure and good in the midst of all this chaos. It's about not fitting in a box and fighting against the forces which try to force you to.

It's about how this story was made and filled to the fucking brim with love, and it's received with a heartfelt, wild kind of joy from the people it's touched. In a world which aims to commodify every morsel of humanity that's left, Dialtown is the farthest thing from that. It's weird, creepy, absurd and incredibly cursed, but there's something to connect to. And that's all that matters.

It's about Joy. It's about Kindness. It's about Living. And that makes me go fucking wild.

[pumpkinpaix]

Pleeeeeeease get into the class one at some point because I very much want to understand the class dynamics happening in the story but I have yet to find a meta that dives into it

god anon you want me dead don’t you alsjdfljks

referring to this post

okay, so -- my specific salt about class interpretations in mdzs are very targeted. I can’t pretend to have a deep understanding of how class works in mdzs generally because uhhhhh yeah i don’t think i have that. i’m just not familiar enough with the genre and/or the particulars of chinese class systems. but! i can talk in general terms as to why I feel a certain way about the class dynamics that I do think I understand and how I think they relate to the themes of the novel! i’m gonna talk about wei wuxian, the daozhangs, xue yang, and 3zun with, I’m sure, a bunch of digressions along the way.

the usual disclaimers: i do not think you are a bad person if you hold opinions contrary to my own. i may disagree with you very strongly, but like. this isn’t a moral judgment, fandom is transformative and interpretive etc. etc. and i may change my mind. who knows what the future will bring!

OKAY so let’s begin!

here’s the thing about wei wuxian: he’s not poor. I think because characters use “son of a servant” kind of often when they’re trying to insult him, a lot of people latch onto that and think that it’s a much stronger indication of his societal status than it actually is. iirc, most of the insults that fall along the “son of a servant” line come after wei wuxian starts breaking severely from tradition. it’s a convenient thing to attack him for, but doesn’t actually indicate anything about his wealth. (exception: yu ziyuan, but that’s a personal familial issue) this is in direct contrast to jin guangyao who is constantly mocked for his family line, publicly and privately, no matter what he does.

so this, coupled with all the jokes about wwx never having any money (wei wuqian, sizhui’s “i’ve long since known you had no money” etc.), plus his like, rough years on the street as a child ends up producing this interpretation of wei wuxian, especially in modern aus, as someone who is very class conscious and “eat the rich”. but the fact of the matter is, wei wuxian IS rich. aside from the years in his childhood and the last two years of his life in yiling, like -- wei wuxian had money and status. he is gentry. he is respected as gentry. he is treated as a son by the sect leader of yunmeng jiang -- he does not have the jiang name, but it is so very clear that jiang fengmian favors him. wei wuxian is ranked fourth of all the eligible young masters in the cultivation world -- that is not a ranking he could have attained without being accepted into the upper class.

wei wuxian’s poverty does not affect him in the way that it affects jin guangyao or xue yang. he is of low-ish birth (still the son of jiang fengmian’s right hand man though! ok sure, “son of a servant” but like. >_> whatever anyways), but for most of his life he had money. he, jiang cheng, and their sect brothers go into town and steal lotus pods with the understanding that “jiang-shushu will pay for it”. this is a regular thing! that’s fucking rich kid behavior!!! wei wuxian is careless with money because he doesn’t have to worry about it. he still has almost all the benefits of being upper class: education, food security, respect, recognition etc. I think there may also be a misconception that wei wuxian was always on the verge of being kicked out by yu ziyuan, or that he was constantly walking on eggshells around her for fear of being disowned, but that is just textually untrue. i could provide receipts, but I admittedly don’t really feel like digging them up just now ;;

even in his last years in yiling, he was not the one who was dealing with the acute knowledge of poverty: wen qing is the one managing the money, and as far as we know, wei wuxian did little to no management of daily life during the burial mounds days -- mostly, he’s described as hiding in his cave for days on end, working on his inventions, running around like a force of chaos, frivolously making a mess of things -- it’s very very cute that he buries a’yuan in the dirt, but in classic wei wuxian fashion, he did Not think about the practical consequences of it -- that A’Yuan has no other clean clothes, and now he’s gotten this set dirty and has no intention of washing them. is this a personality thing? yeah, but I think it’s also indicative of his lack of concern over the logistics of everyday survival, re: wealth.

furthermore, i think it is important to remember that wei wuxian, when he is protecting the wen remnants, is not protecting common folk: he is still protecting gentry. fallen gentry, yes! but gentry nonetheless. wen qing was favored by wen ruohan, and wen ning himself says that he has a retinue of people under his command (the remnants, essentially). their branch of the family do not have the experience of living and growing in poverty -- they are impoverished and persecuted in their last years, but that’s a very different thing from being impoverished your whole life. (sidenote: I do not believe wei wuxian’s primary motivation for defending the wen remnants was justice -- i believe he did it because he felt he owed wen ning and wen qing a life debt, and once he was there, he wasn’t going to stand around and let the work camps go on. yes, he is concerned about justice and doing the right thing, but that’s not why he went in the first place. anyways, that’s another meta)

after wei wuxian returns, he then marries back into gentry, and very wealthy gentry at that. lwj provides him all the money he could ever want, he is never worried about going homeless, starving, being denied opportunities based on his class and accompanying disadvantages. who would dare? and neither wei wuxian nor lan wangji seem to have much interest in shaking up the order of things, except in little things like the way they teach the juniors. they live in gusu, under the auspices of the lan, and they live a happy, domestic life.

were his years on the street traumatizing? yes, of course they were, there’s so much delicious character exploration to be done re: wei wuxian’s relationship to food, his relationship to his own needs, and his relationship to the people he loves. it’s all important and good! but I feel very strongly that that experience, while it was formative for him, did not impart any true understanding of poverty and the common person’s everyday struggles, nor do I think he ever really gains that understanding. he is observant and canny and aware of class and blood, certainly, but not in a way that makes it his primary hill to die on (badum-tss).

this is in very stark contrast to characters like jin guangyao and xue yang, and to some extent, xiao xingchen and song lan. I’ll start with the daozhangs, because I think they’re the simplest (??).

I think both xiao xingchen and song lan have class consciousness, but in a very simplified, broad-strokes kind of way (at least, given the information we know about them). we know that the two of them share similar values and want to one day form their own sect that gives no weight to the nobility of your lineage and has no concern with your wealth. we also know that they both disdain intersect politics and are more concerned with ideals and principles rather than status. but, I think because of that, this actually somewhat limits their perception and understanding of how status is used to oppress. as far as we know, neither of them participated on any side in sunshot and they demonstrate much more interest in relating to the commoners. honestly, i hc that they were flitting around trying to help decimated towns, protecting defenseless villages etc. I ALSO think this has a lot of interesting potential in terms of xiao xingchen and wei wuxian’s relationship, if xiao xingchen is ever revived. regardless of whether you’re in CQL or novel verse, xiao xingchen really doesn’t know wei wuxian at all, other than knowing that he’s his shijie’s son. he knows that cangse-sanren met with a tragic end, like yanling-daoren before her, and that he wants to be different. but here is cangse-sanren’s son, laying waste to entire cities, desecrating the dead. I would very much like to get into xiao xingchen’s head during that period of time (and i think, if i do it right, i can write some of it into the songxiao fixit), but that’s neither here nor there, because i’ve wandered off from my point again.

i would posit that song lan is used to an ascetic lifestyle, and xiao xingchen probably is too -- but that’s different from poverty because there’s an element of choice to it. I also think that neither of them is particularly worldly, xiao xingchen especially. he lived on an isolated mountain until he was like, seventeen, and he came down full of ideals and naivete about how the world worked. I think that both of them see inequality, that they are angered by it, and that they want to do something about it -- but their solution is neither to topple the sects, nor is it to reform the system. rather, it seems to be more about withdrawing and creating their own removed world. I think that the daozhangs embody a kind of utopianism that isn’t present in the minds of any of the other characters, not even wangxian. honestly, baoshan-sanren’s mountain is a utopian ideal, but one that is not described. it exists outside of and beyond the world. i have a lot of jumbled, vague thoughts about utopianism generally, mostly informed by china miéville and ursula k. le guin, and I don’t think i have the ability to articulate them here, but i wanted to. hm. say something? there is something about the inherent dystopianism contained within every utopia, that utopias are necessary, but also reflections of the existence of terrible things in their conception. idk. there’s something in there, I know it!! but i suppose what I want to say is -- i do not think the daozhangs understand class and social hierarchy very deeply because they don’t see a need to examine it deeply. for their goals, the details aren’t the point. they’re not looking to reform within the system, they’re looking to build something outside of it. I think they spend a lot of time concerned with alleviating the symptoms of social oppression, and their values reflect the injustices they witness there.

regardless, even if their story ends in tragedy and there is a certain amount of critique re: the utopian approach, i think the text still emphasizes that xiao xingchen left a utopia and that he thought that people mattered enough for him to try, and that was an incredibly honorable, kind, and human thing to do.

YEAH SURE THE DAOZHANGS ARE THE SIMPLEST ok ok RETURNING to class and moving forward: xue yang.

i also don’t think xue yang has class consciousness lol, or not in any way that really matters, but I do think poverty impacted him in a much stronger way than it impacted wei wuxian. wei wuxian spent some years on the street as a child. xue yang grew up on the streets. chang ci’an’s horrific treatment of him was directly due to his class and social standing: chang ci’an is a nobleman and xue yang is not even worth the dirt beneath the wheels of his cart. what I think is the seminal point though, is that this does not make xue yang think particularly deeply about systemic injustice, because xue yang is so self-centered, self-driven, and individualistic. he is not even slightly concerned about how poverty and class might affect other people -- they’re other people. what he takes away from his experience is not an anger at being wrongfully cheated by a system, but an anger at being wrongfully cheated by a specific man.

xue yang is not particularly concerned with the politics of the aristocracy -- he has no obvious ambitions other than, “i want to eat sweets whenever i please”, “i want to hurt anyone who wrongs me”, and “i want to be so strong that no one can hurt me”. like, he just doesn’t care -- it’s not the kind of power he wants. he sneers at people for like, personal reasons, not class reasons -- “you think you’re better than me” re: xiao xingchen and song lan. to him, all people -- poor, wealthy, noble, common -- are essentially equal, and they are all beneath him. after all, what does he care what family someone comes from, how much money they have? everyone bleeds when you cut them. some of them might be harder to get to than others, but xue yang does not fear that sort of thing. it’s just another obstacle he needs to vault on his way to getting revenge and/or a pastry.

ANYWAYS onto jin guangyao (wow this is hm. getting rather long ahaha oh dear): I would argue that the two characters with the most acute understanding of class/societal politics and the injustice of them are jin guangyao and lan xichen. i’ll start with jin guangyao for obvious reasons.

where xue yang took the damaging effects of poverty as personal slights, I think jin guangyao is painfully aware that there is nothing personal about them, which is, in some ways, much worse. why are two sons, born on the same day to the same father, treated so differently? just because.

he watched his mother struggle and starve and work herself to the bone in a profession where she was constantly disrespected and abused for almost nothing in return, while his father could have lifted her out of poverty with the wave of a finger. why didn’t he? because he didn’t like her? no -- because he didn’t care, and the structures of the society they live in protect that kind of blase treatment of the lower class.

“so my mother couldn’t choose her own fate, is that her fault?” jin guangyao demands. he knows that he is unbelievably talented, that he has ambition, that he has potential, and that all of it is beyond his grasp just because his father didn’t want to bother with it. his mother’s life was destroyed, and his own opportunities were crippled with that negligence. it isn’t personal. that’s just the way things are. your individual identity is meaningless, your humanity does not exist. when he’s kicked down the steps of jinlin tai, it’s just more confirmation that no matter how talented or hardworking he is, no one will give him the time of day unless he finds a way to take it himself and become someone who “matters”.

jin guangyao’s cultivation is weak because he had a poor foundation, and he had a poor foundation because he was denied access to a good one. he copies others because that’s all he can do at this point, and he copies so well that he can hold his own against some of the strongest cultivators of his generation. he’s disparaged for copying and “stealing” techniques, but -- he never would have had to if only he had been born/accepted into the upper class. the fact is that i really do think jin guangyao was the most promising cultivator of his generation that we meet, including the twin jades and wei wuxian: he had natural talent, ambition, creativity, determination and cunning in spades. in some ways, I think that’s one of the overlooked tragedies of jin guangyao: the loss of not just the good man he could have been, but the powerful one too. imagine what he could have done.

jin guangyao spends his entire time in the world of the aristocracy feeling unsteady and terrified because he knows exactly how precarious his position is. he knows how easy it is to lose power, especially for someone like him. he’s working against so many disadvantages, and every scrap of honor he gets is a vicious battle. jin guangyao fears, and I think that’s something that’s lacking in xue yang, wei wuxian and the daozhangs’ experiences/understandings of poverty. i think it’s precisely that fear that emphasizes jin guangyao’s understanding of class and blood. jin guangyao exhibits an anxiety that neither wei wuxian nor xue yang do, and it’s because he truly knows how little he is worth in the eyes of society and how little there is he can do to change that. to me, it very much feels related to the anxiety of not knowing if tomorrow you’ll have something to eat, if tomorrow you’ll still have a home, if tomorrow someone will destroy you and never have to answer for it. it’s the anxiety of knowing helplessness intimately.

moreover, jin guangyao is the only person shown to use the wealth and power at his disposal to take concrete steps to actually help the common people typically ignored by the powerful -- the watchtowers. they’re described in chapter 42. it’s a system that is designed to cover remote areas that most cultivators are reluctant to go due to their inconvenience and the lack of means of the people who live there. the watchtowers assign cultivators to different posts, give aid to those previously forgotten, and if the people are too poor to pay what the cultivators demand, the lanling jin sect pays for it. jin guangyao worked on this for five years and burned a lot of bridges over it. people were strongly opposed to it, thinking that it was some kind of ploy for lanling jin’s personal benefit. but the thing is -- it worked. they were effective. people were helped.

i believe CQL frames the watchtowers as an allegory for a surveillance state/centralized control (i think?? it’s been a minute -- that’s the hazy impression i remember, something like a parallel to the wen supervisory offices?), but I personally don’t think that was the intent in the novel. the watchtowers are a public good. lanling jin doesn’t staff them with their own sect members -- they get nearby sects to staff them. it’s a warning network that they fund that’s supposed to benefit everyone, even those that everyone had considered expendable.

(did jin guangyao do terrible things to achieve this goal? yeah lol. it’s not confirmed, but his son sure did die... suspiciously...... at the hands of an outspoken critic of the watchtowers........ whom he then executed....... so like, maybe just a convenient coincidence for jin guangyao, two birds one stone, but. it seems. Unlikely.)

lan xichen is the only member of the gentry that ever shows serious compassion for and nuanced understanding of jin guangyao’s circumstances. lan xichen treats him as his equal regardless of jin guangyao’s current status -- even when he was meng yao, lan xichen treated him as a human being worthy of respect, as someone with great merits, as someone he would choose as a friend, but he did so knowing full well the delicate position meng yao occupied. this is in direct contrast to nie mingjue, who also believed that meng yao was worthy of respect as a human being, but was completely unable to comprehend the complexities of his circumstances and unwilling to grant him any grace. you know, the difference between “i acknowledge that your birth and status have had effects upon you, but I don’t think less of you for it” and “i don’t consider your birth and status at all when i interact with you because i think it is irrelevant” (“i don’t see color” anyone?)

to illustrate, from chapter 48:

大抵是觉得娼妓之子身上说不定也带着什么不干净的东西，这几名修士接过他双手奉上来的茶盏后，并不饮下，而是放到一边，还取出雪白的手巾，很难受似的，有意无意反复擦拭刚才碰过茶盏的手指。聂明玦并非细致之人，未曾注意到这种细节，魏无羡却用眼角余光扫到了这些。孟瑶视若未见，笑容不坠半分，继续奉茶。蓝曦臣接过茶盏之时，抬眸看他一眼，微笑道：“多谢。”

旋即低头饮了一口，这才继续与聂明玦交谈。旁的修士见了，有些不自在起来。

rough tl:

Probably because they believed that the son of a prostitute might also carry some unclean things upon his person, after these few cultivators took the teacups offered from [Meng Yao’s] two hands, they did not drink, but instead put them to one side, and furthermore brought out snow white handkerchiefs. Quite uncomfortably, and whether they were aware of it or not, they repeatedly wiped the fingers they had just used to touch the teacups. Nie Mingjue was not a detail-oriented person and never took note of such particulars, but Wei Wuxian caught these in the corner of his eye. Meng Yao appeared as if he had not seen, his smile unwavering in the slightest, and continued to serve tea. When Lan Xichen took the teacup, he glanced up at him and, smiling, said, “Thank you.”

He immediately dipped his head to take a sip, and only then continued to converse with Nie Mingjue. Seeing this, the nearby cultivators began to feel somewhat uneasy.

all right, since we’re in full cyan-rampaging-through-the-weeds mode at this point, i’m going to talk about how this is one of my favorite 3zun moments in the entire novel for characterization purposes because it really highlights how they all relate to one another, and to what degree each of them is aware of their own position in relation to the others and society as a whole.

1. nie mingjue, who is a forthright and blunt person, sets meng yao to serving tea and is done with it. he notices nothing wrong or inappropriate about the reactions of the people in the room because it’s not the sort of thing he considers important.

2. meng yao, knowing that his only avenue is to take it lying down with a smile, masks perfectly.

3. lan xichen, noticing all this, uses his own reputation to achieve two things at once: pointedly shame the other cultivators in attendance, and show meng yao that regardless of others’ opinions, he considers him an equal and does not endorse such behavior--and he does it while taking care that no fallout will come down on meng yao’s head.

is this yet another installment of cyan’s endless lxc defense thesis? why yes it is! no one is surprised! but this is my whole point: both meng yao and lan xichen understand the respective hierarchy and power dynamics within the room, while nie mingjue very much does not. this is not because nie mingjue is a bad person or because nie mingjue is stupid--it’s a combination of personality and upbringing. nie mingjue is straightforward and has no patience for such games. but then again, he can afford not to play because he was born into such a high position: that’s a privilege.

to break it down: meng yao knows that he is the lowest-ranked person in the room, sees the way people are subtly disrespecting him in full view of his general who is doing nothing about it. in some ways, this is good -- nie mingjue’s style of dealing with conflict is very direct and not at all suited to delicate political maneuvering. after all, the way he promoted meng yao was actually quite dangerous to meng yao: he essentially guaranteed that his men would bear meng yao a grudge and that their disrespect for him would only be compounded by their bitterness at being punished on his behalf. (it’s like, why often getting parents or teachers to intervene ineffectively in bullying can just be an incitement to more bullying -- same concept) meng yao’s reaction during that scene shows that he’s pretty painfully aware of this and is trying to defuse the situation to no avail. nie mingjue gives him a bootstrap speech (rip nie mingjue i love u so much but. sir) and then promotes him, which is pretty much the only saving grace of that entire exchange, for meng yao at least.

lan xichen, on the other hand, understands both that meng yao is the lowest-ranked person in the room and that any direct attempt to chastise the other cultivators in the room will only serve to hurt meng yao in the long run. he knows that if this were brought to nie mingjue’s attention, he would be outraged and not shy about it -- also bad for meng yao. so he uses what he has: his immaculate reputation. by acting contrary to the other cultivators’ behavior, he demonstrates that he finds their actions unacceptable but with the plausible deniability that it wasn’t directed at them, that this is just zewu-jun being his usual generous self. this means that the other cultivators have no one to blame but themselves, nothing to do but question their own actions. there is nowhere to cast off their discomfort. meng yao didn’t do anything. lan xichen didn’t do anything -- he just thanked meng yao and drank his tea, isn’t that what it’s there for? he doesn’t disrupt the peace, he doesn’t attack anyone and put them on the defensive, but he does make his position very clear.

i know this is a really small thing and i’m probably beating it to death, but I really think this shows just how cognizant lan xichen is of politics and emotional cause and effect in such situations. certainly, out of context I think the scene reads kind of cliche, but within the greater narrative of the story and within the arc of these characters specifically, I think it was a really smart scene to include. it also showcases lan xichen’s style of action: that he moves around and with a problematic situation as opposed to moving straight through.

not to be salty on main again, but this is why it’s very frustrating to me when I see people call lan xichen passive when he is anything but. his actions just don’t look like traditional “actions”, especially to an american audience. it’s easy to understand lan wangji and wei wuxian’s style of problem-solving: taking a stand, moving through, staying strong. lan xichen is juggling an inconceivable number of factors in any given situation, weighing his responsibilities in one role against those in another, and then trying to find the path through the thicket that will cause the least harm, both to himself and the thicket. lan wangji and wei wuxian are not particularly good at considering the far-reaching consequences of their actions -- again, not because they are bad people, but because of a combination of personality and upbringing. they’d just hack through the thicket, not thinking about the creatures that live in it. that is not a terrible thing! it isn’t. it’s a different way of approaching a problem, and it has different priorities. that’s okay. there are advantages and disadvantages on both sides, and where you come down is going to depend on your personal values.

okay we’ve spiraled far and away from my original point, but let’s circle back: i was talking about class.

I think it’s undeniable that class, birthright, fate etc. are some of the driving forces of thematic conflict in mdzs, and the way each character interacts with those forces reveals a lot about themselves and also about the larger themes of fate, chance, and what it means to be righteous and good and how that is and isn’t rewarded. a lot of the tragedy of mdzs (the tragedy that isn’t caused by direct aggression on the part of one group or another) stems from the injustices and slights that people suffered due to their lot in life. it isn’t fair. none of it is fair! we sympathize with jin guangyao because we recognize that what he suffered was unconscionable, even if we don’t excuse him. i sympathize A Lot with xue yang as well for similar reasons, though I understand that’s a harder sell. this is a story focused on the mistakes of an entrenched, aging gentry and the effects that those mistakes had on their children, and a lot of it has to do with prejudice based in class and birth status. whether the prejudice was the true reason or whether it was just a convenient excuse, the fact remains that the systems in place rewarded and protected the people in power who used it to cling to that power. mdzs is also a story of how the circumstances of one’s life can offer you impossible choices that you cannot abstain from, and it asks us to be compassionate to the people who made terrible choices in terrible times. it’s about the inherent complexity in all things! that sometimes, there are no good choices, and i don’t know, i’d like to think that people would show me compassion if I had to make the choices some of these characters did. not just wei wuxian, mind you, every single one of them. except jin guangshan because I Do Hate Him sorry. and i guess wen ruohan. i think that’s it.

good. GOD this is clocking in at //checks notes -- just over 5k. 8′D *stuffs some weeds into my mouth like the clown i am*

(ko-fi? :’D *lies down*)

[animebw]

So Assassination Classroom is... weird for me. I could tell you I had a blast from start to finish, and I’d be telling you the truth. But I could also tell you it was a constant aggravation, and that would be just as honest. I had such a great time with the first season, but my god did it test my patience at points. Frankly, I feel like my thoughts are too scattered to do a proper review. So instead, I’m just gonna go down a list of bullet points spouting off all my various swirling thoughts, good and bad. Hopefully that’ll make enough sense to get my opinions across.

-Seiji Kishi may well be anime’s most underrated director. Between this show, Tsuki ga Kirei, Yuki Yuna is a Hero (despite my issues with that show, the direction was excellent), and fucking Angel Beats, this man is a master of his craft. I would not have been laughing so hard at these jokes if they weren’t timed so impeccably, and the way he’s able to ground Koro-sensei’s inherent absurdity in a cartoonish world that still feels tangible is genuinely impressive. It may not be the most impressively animated show in the world, but it still pops with cinematic punch.

-This is one of very few anime that I actually watched dubbed! A friend suggested it, and after checking out the first episode in Japanese and English, I decided to stick with English. It’s got a few awkward performances and line deliveries, but it’s overall really strong. Especially Sonny Strait as Koro-sensei himself. Jun Fukuyama is fine doing his usual megalomaniacal grandiosity in the role, but Sonny’s take on the character as every dorky, unabashedly cringe “cool teacher” you’ve ever had was much more entertaining.

-While very few of the characters are that interesting on their own, I feel like the show does a good job making the overall cast feel balanced and interesting. You really get a feel for the class dynamic and how all these kids operate within it, even if you don’t get to know many of them personally.

-In general, I like how this is a shonen series that builds itself around the theme of teaching. Not every series for kids puts so much focus on the adults and their importance to kids’ lives, let alone makes that its entire driving point. In that way, it almost acts as a teacher itself, guiding its audience to unlocking their best selves by following the lessons that Koro-sensei imparts to his students.

-As for negatives... hooooooly shit, did I struggle with Irina. At this point in my anime-watching “career,” I am fully sick and tired of female characters who exist mainly to be stuck-up bitches so the story can humiliate them and “put them in their place.” Not to mention the fact she literally sexually assaulted Nagisa. That is a child, and you are a grown-ass woman, lady.

-It’s also weird, because even though I was watching the dub, I felt like I was subconsciously having a negative reaction to how I imagined her original Japanese performance was like. Martha Harms is having an absolute blast in the role, and her over-the-top deliveries could get a chuckle out of me. But after seeing so many characters like Irina in other anime, I feel like my sense memory of those characters’ performances still affected my overall impression of her as a character. I dunno, it’s bizarre.

-I don’t mind Koro-sensei having a thing for big boobs, that’s a perfectly fine character trait. But there were a few moments where that crossed a line into him outright stalking/harassing women as a “joke,” and fuck that noise ten ways to Shanghai.

-The one big issue I have with the structure of this series, at least in the beginning, is that it only seems to know one way to generate conflict. And that way is: introduce a completely new character, have them threaten to disrupt the status quo, and then dispatch them with the status quo unchanged by the end of the episode, either by shuffling them off screen and then they never show up again, or by adding them to the status quo in a way that doesn’t really change anything and just adds one more character to... exist, I guess. It’s not until the final arc of the season that it actually starts bringing some of those characters back and doing meaningful things with them, and it is pretty cool when it finally happens. Before then, though, it’s basically all one-offs who cease to be relevant once their designated episode is over.

-Nagisa looks damn good in women’s clothes.

I think that covers all my main points. As you can tell, I’m pretty divided on this show overall. I can safely say I had a great time, and it made me laugh my ass off on multiple occasions, so I can’t be too harsh on it. But at the same time, I can’t be too kind to it considering how much it could frustrate me. So let’s say it’s a 6.5/10? Maybe 7 if I’m feeling generous? Yeah, that seems right. I’ve heard the second season is way better, so I’m looking forward to that. Until next time!

[timemachineyeah]

We need educational reform.

And specifically, we need education to trend toward the more individualized and self-driven. Where people pursue things at their own pace and in their own way.

This means getting rid of a lot of the arbitrary ways we segregate education right now. We segregate subjects from each other, teachers and resources from each other, and sort student by age instead of by ability and interest.

Re-organizing our education based on relative individual needs is a must. This is a goal we should be actively working toward, and it will make both education and society better.

I know next to no one who will disagree with this.

So now I’m gonna tell a bunch of those people a thing that will inevitably be a result of such changes, because I feel like from some of their attitudes that they haven’t really thought about it.

When you congregate students by interest and ability instead of age, more kids with age gaps will get into relationships.

And while these relationships, like all relationships, will have the potential to be toxic, they will not inherently be so.

Two classmates or club members who see each other every day and work together and eat together are on a relatively level playing field, and can date in a healthy way even if one is 14 and the other is 17 or even (gasp) 18.

I say this from experience. Because my education was a bit different from the norm. So there was a lot of intermingling between ages. And you’d hang out with someone every day for two months before you found out they were fourteen or eighteen and you’d go “WHAT??” and then immediately get over it. And people dated each other. We all basically took turns dating each other! And there were age gaps and it didn’t even occur to us that it was weird because, here’s the thing, it wasn’t. It wasn’t weird. It was so incredibly normal, and remarkably healthy. I actually ache with fondness thinking about it. We were friends. We were kids. We were all in the same relative place in our lives and we didn’t have institutional power over each other. We didn’t exist in those dynamics. We were just kids having fun and learning about romance and exploring in a safe way. Yes, even the seniors and the freshman together.

I realize this can sound like apologism, but I would never defend a predator. There is no excuse for abuse, for grooming, for targeting kids.

It’s just that high school kids consensually dating other high school kids and maybe making out with them isn’t predation. And I started college at 16! And you know what also wasn’t predation? Flirting with my 19-20yo classmates who also still lived with their parents and had no income and were taking the same classes I was. It also wasn’t predation when they flirted with me, especially because they had no damn way of knowing I was 16 unless it came up in conversation, which? It virtually never did.

Listen. I know adolescence is fraught. And people in that period are very vulnerable. And I also know, firsthand, that there are people out there who want exploit what they see as innocence and naïveté. Exert their power over someone they see as less than, someone who might not know how or when to say no or how to protect themselves. Or that they have a community to rely on. And it’s evil. And it’s inexcusable.

And having those examples of safe, healthy, silly dramatic adolescent drama to look at to see what was normal when you weren’t isolated, when you were all friends, when people weren’t possessive or controlling, was actually protection against that.

(Yeah. You fucking heard me. Not only was being a 16yo who flirted with and kissed and dated a 20yo or two and then a 17yo who flirted with a 15yo and all of that not abusive - that community I was in was protective against attempted abuse. They’d be the first to pull me out of a situation if I was uncomfortable, and I’d do the same for them.)

But if you believe, like I do, that we need to improve education to meet people where they are instead of force them into lock-step with their same-age peers, then you’ve already acknowledged that people can meet the same milestones at different ages, which means that people who have a small age gap can have about the same level of experience and the same goals and the same relative power.

And if you acknowledge that, then you have to admit that preventing grooming, predation, and abuse is more difficult and involved than just making a list of rules about who is or isn’t allowed to fancy each other or it’s “abuse”. You have to actually build community and safety nets and resources and check in with each other and give people a veritable buffet of meaningful relationships and reliable people so they aren’t as susceptible to isolation and disempowerment. But that’s complicated and hard and it’s so much easier to just say “if I just make sure no one with more than a two year age gap ever makes out in the drama club dressing rooms I have Stopped the Pedophiles!” but you haven’t actually. And what’s more, by segregating the kids by age so much, you may actually be contributing to the isolation and inexperience that will make a kid unable to recognize what is or isn’t normal for those interactions, and also more likely to put those older than them on the kinds of pedestals that enable that kind of grooming.

If you hang around a bunch of kids of a bunch of ages, you know an 18yo is just another idiot like you and there’s nothing special there. If you segregate them and call them a whole other species, then wow! Senpai noticed me! And Senpai says I’m so mature for my age! Wow!

What I’m saying is, if you really want to prevent child grooming and weird toxic power imbalanced relationships, you actually need more normalized interactions between people of different ages, not less.

Also it would massively improve our education system. So there’s also that.

[fuckyeahgoodomens]

Was doing Staged a big decision, because it’s so personal and set in your homes? Georgia Tennant: We’d always been a very private couple. Staged was everything we’d never normally say yes to. Suddenly, our entire house is on TV and so is a version of the relationship we’d always kept private. But that’s the way to do it, I guess. Go to the other extreme. Just rip off the Band-Aid.

Anna Lundberg: Michael decided pretty quickly that we weren’t going to move around the house at all. All you see is the fireplace in our kitchen.

GT: We have five children, so it was just about which room was available.

AL: But it’s not the real us. It’s not a documentary.

GT: Although some people think it is.

Which fictional parts of the show do people mistake for reality? GT: People think I’m really a novelist because “Georgia” writes a novel in Staged. They’ve asked where they can buy my book. I should probably just write one now because I’ve done the marketing already.

AL: People worry about our elderly neighbour, who gets hospitalised in the show. She doesn’t actually exist in real life but people have approached Michael in Tesco’s, asking if she’s OK.

Michael and David squabble about who’s billed first in Staged. Does that reflect real life? AL: With Good Omens, Michael’s name was first for the US market and David’s was first for the British market. So those scenes riffed on that.

Should we call you Georgia and Anna, or Anna and Georgia? GT: Either. We’re super-laidback about these things.

AL: Unlike certain people.

How well did you know each other before Staged? GT: We barely knew each other. We’ve now forged a friendship by working on the show together.

AL: We’d met once, for about 20 minutes. We were both pregnant at the time – we had babies a month apart – so that was pretty much all we talked about.

Did you tidy up before filming? AL: We just had to keep one corner relatively tidy.

GT: I’m quite a tidy person, but I didn’t want to be one of those annoying Instagram people with perfect lives. So strangely, I had to add a bit of mess… dot a few toys around in the background. I didn’t want to be one of those insufferable people – even though, inherently, I am one of those people.

Was there much photobombing by children or pets? AL: In the first series, Lyra was still at an age where we could put her in a baby bouncer. Now that’s not working at all. She’s just everywhere. Me and Michael don’t have many scenes together in series two, because one of us is usually Lyra-wrangling.

GT: Our children aren’t remotely interested. They’re so unimpressed by us. There’s one scene where Doris, our five-year-old, comes in to fetch her iPad. She doesn’t even bother to glance at what we’re doing.

How was lockdown for you both? AL: I feel bad saying it, but it was actually good for us. We were lucky enough to be in a big house with a garden. For the first time since we met, we were in one place. We could just focus on Lyra . To see her grow over six months was incredible. She helped us keep a steady routine, too.

GT: Ours was similar. We never spend huge chunks of time together, so it was a once-in-a-lifetime opportunity. At least until David’s career goes to shit and he’s just sat at home. The flipside was the bleakness. Being in London, there were harrowing days when everything was silent but you’d just hear sirens going past, as a reminder that something awful was going on. So I veered between “This is wonderful” and “This is the worst thing that ever happened.”

And then there was home schooling… GT: Which was genuinely the worst thing that ever happened.

You’ve spent a lot of time on video calls, clearly. What are your top Zooming tips? GT: Raise your camera to eye level by balancing your laptop on a stack of books. And invest in a ring light.

AL: That’s why you look so much better. We just have our sad kitchen light overhead, which makes us look like one massive shiny forehead.

GT: Also, always have a good mug on the go [raises her cuppa to the camera and it’s a Michael Sheen mug]. Someone pranked David on the job he’s shooting at the moment by putting a Michael Sheen mug in his trailer. He brought it home and now I use it every morning. I’m magically drawn to drinking out of Michael.

There’s a running gag in series one about the copious empties in Michael’s recycling. Did you lean into lockdown boozing in real life? AL: Not really. We eased off when I was pregnant and after Lyra was born. We’d just have a glass of wine with dinner.

GT: Yes, definitely. I often reach for a glass of red in the show, which was basically just an excuse to continue drinking while we were filming: “I think my character would have wine and cake in this scene.” The time we started drinking would creep slightly earlier. “We’ve finished home schooling, it’s only 4pm, but hey…” We’ve scaled it back to just weekends now.

How did you go about creating your characters with the writer Simon Evans? AL: He based the dynamic between David and Michael on a podcast they did together. Our characters evolved as we went along.

GT: I was really kind and understanding in the first draft. I was like “I don’t want to play this, it’s no fun.” From the first few tweaks I made, Simon caught onto the vibe, took that and ran with it.

Did you struggle to keep a straight face at times? AL: Yes, especially the scenes with all four of us, when David and Michael start improvising.

GT: I was just drunk, so I have no recollection.

AL: Scenes with all four of us were normally filmed in the evening, because that’s when we could be child-free. Usually there was alcohol involved, which is a lot more fun.

GT: There’s a long scene in series two where we’re having a drink. During each take, we had to finish the glass. By the end, we were all properly gone. I was rewatching it yesterday and I was so pissed.

What else can you tell us about series two? GT: Everyone’s in limbo. Just as we think things are getting back to normal, we have to take three steps back again. Everyone’s dealing with that differently, shall we say.

AL: In series one, we were all in the same situation. By series two, we’re at different stages and in different emotional places.

GT: Hollywood comes calling, but things are never as simple as they seem.

There were some surprise big-name cameos in series one, with Samuel L Jackson and Dame Judi Dench suddenly Zooming in. Who can we expect this time around? AL: We can’t name names, but they’re very exciting.

GT: Because series one did so well, and there’s such goodwill towards the show, we’ve managed to get some extraordinary people involved. This show came from playing around just to pass the time in lockdown. It felt like a GCSE end-of-term project. So suddenly, when someone says: “Samuel L Jackson’s in”, it’s like: “What the fuck’s just happened?”

AL: It took things to the next level, which was a bit scary.

GT: It suddenly felt like: “Some people might actually watch this.”

How are David and Michael’s hair and beard situations this time? AL: We were in a toyshop the other day and Lyra walked up to these Harry Potter figurines, pointed at Hagrid and said: “Daddy!” So that explains where we’re at. After eight months of lockdown, it was quite full-on.

GT: David had a bob at one point. Turns out he’s got annoyingly excellent hair. Quite jealous. He’s also grown a slightly unpleasant moustache.

Is David still wearing his stinky hoodie? GT: I bought him that as a gift. It’s actually Paul Smith loungewear. In lockdown, he was living in it. It’s pretty classy, but he does manage to make it look quite shit.

---

Omg the mug’s origins :D

‘GT: Also, always have a good mug on the go [raises her cuppa to the camera and it’s a Michael Sheen mug]. Someone pranked David on the job he’s shooting at the moment by putting a Michael Sheen mug in his trailer. He brought it home and now I use it every morning. I’m magically drawn to drinking out of Michael. ‘

[midorree]

How (I Think) Quirk-based Discrimination Works In BNHA

I've seen a lot of claims about how people interpret the quirk-based discrimination from an ableism allegory (not quite) to actually comparing it to Jim Crow laws, which is completely out of pocket. Quirk based discrimination in BNHA is very unique, especially with quirks not existing for very long in the grand scheme of things. Trying to compare it to existing forms of discrimination (that, mind you, exist in the fucking show) is simply put, not accurate in the slightest. Racism has existed for long enough for it to be embedded into our everyday lives and systems. Ableism has existed long enough that it affects how we view disabled people as people and how doctors view their disabled patients. Quirk-based discrimination has not.

PART 1: Comparing and Contrasting: Ableism

I've had this conversation a couple times with my friends, and typically we find that ableism doesn't match up with qbd. First and foremost, let's define a disability.

[Image ID: disability: a physical or mental condition that limits a person's movements, senses, or activities. A disadvantage or a handicap, especially one imposed or recognized by the law. End Image ID]

Quirkless people do not meet this standard definition unless they are already disabled. Being quirkless does not limit movements, senses, or activities in any way shape or form. Being quirkless is not a hindrance in every day life when it comes to these specific criteria.

But why would people thing that being quirkless is the same as being disabled? Let's take a look at accommodations and accessibility.

In the BNHA universe, quirks have existed for long enough that people with mutation quirks that alter their body significantly can comfortably buy clothes as seen with Shoji in some occasions.

[Image ID: Shoji is wearing baggy, patterned pants tucked into laced boots and is wearing a tank top. End ID]

He is able to buy shirts with bigger sleeve holes rather than having to fix his clothing so that he may be able to wear it himself. This is also seen with UA making a uniform so that he can fit without him having to work excessively for it.

[Image ID: Shoji wearing UA uniform. The uniform has no sleeves. End ID]

Why does this matter? Because Shoji is a perfect example of how small accommodations for people mutation quirks exists idly in the BNHA universe. Everyone has a different quirk and require different accommodations, and with Quirkless people, when it comes to buying clothes, or walking up steps, or going comfortably to a restaurant it's never a problem! Assuming they are able-bodied/neurotypical, they truly won't have a problem with getting by in day to day life.

However, there is one thing I will say is similar to ableism in this aspect: how doctors would treat quirkless people. With the opening episodes/chapters of BNHA we see firsthand how a doctor treats a child who is quirkless. Uncaring, cold, and straight to the point as to let them down as hard as they can saying "you might as well get used to it." The doctor had little to no belief that Izuku would become a hero, saying that he should pursue other careers instead. It's not a perfect match up, but I'd say in my personal experience it's pretty similar.

PART 2: Racism in BNHA

I'm not going to dwell long on this one because it's frankly very tone deaf and not very thought out to be comparing qbd to actual racism.

[Image ID: White text on a black background that states: What was worse, he would now be forces to keep his family from visiting or even living in America. It was never talked about openly, but the way quirkless were treated in the States came very close to how they handled different races with the Jim Crow laws of the past. He would never subject his Izuku to that kind of hatred. End Image ID]

There's a lot to unpack here, but let me preface this by saying this: qbd and centuries upon centuries of racial discrimination are not the same thing, especially considering racism exists in the show/manga itself. Big Yikes.

Let's start by defining what Jim Crow laws were.

[Image ID: Jim Crow laws were a collection of state and local statutes that legalized racial segregation. Named after a Black minstrel show character, the laws—which existed for about 100 years from the post-Civil War era until 1968—were meant to marginalize African Americans by denying them the right to vote, hold jobs, get an education or other opportunities. Those who attempted to defy Jim Crow laws often faces arrest, fines, jail sentences, violence and death. End Image ID]

So lets make a hypothetical and say quirkless people were treated like this. Okay, what would be an identifying factor in discrimination? Would quirkless people have to tell employers their quirk status? Possibly. Would the right to vote be revoked? Due to what? Would they be held back in educational places? Why would they be?

There are too many unanswered questions as to why these things would happen. The Jim Crow laws happened due to white entitlement after the enslavement of an entire race. Qbd happens because of inherent power dynamics (which I will get into later), and while racial discrimination has that factor, it has existed way longer and is more prevalent in society. What if a quirkless person was a quirkless person of color? Think on that.

There are also heroes of color that exist in the show, and racist caricatures of people of color.

[Image ID: Pro Hero: Native with a shocked expression and some sweat dripping down his face. End Image ID]

This fucker right here.

The BNHA universe has existing racism in and out of canon, seeing as the black/brown characters are underrated outside of the show, and microaggressed within the show.

PART 3: Kacchan vs Deku 3: How Did Deku Being Quirkless Affect Their Relationship And Why?

The line "not all men are created equal" really stuck with me while writing and thinking about this meta. Deku has understood and worked through social dynamics and understandings since he was four years old. He's understood that since he's quirkless, people with quirks hold power over him that he can't defend himself against. He understands this, and chooses to roll with the punches.

Bakugou also very much understands how social dynamics work, and chooses to use it to his advantage. He bullies Deku as a boast of power rather than a boast of privileged. It's been drilled into young Katsuki's head that quirkless people are weak, and that he is strong, His teachers are seen encouraging this behavior and the adults around him tend to not view him as a person, but as an existing beam of potential. Propaganda probably exists even in his Sunday cartoons. The strongest people he looks up to all have quirks, and he makes that correlation of quirk = strong at a very young age. He learns that quirkless ≠ strong. A part of me feels like this is intentional.

Izuku being quirkless would put him at the bottom of the food chain, in a sense, and anyone who had a quirk would be listened to more than he ever would. Izuku learned that not all men are equal because of the inherent power dynamics that come with having the ability to fly, or create explosions, or use fucking fire and ice on command, because he realizes he will never be stronger than Kacchan (at least for now). Even Izuku's idols who he considered to be strong and amazing and admirable were people with quirks. People with power over him.

When Izuku got OFA, the playing field shifted, and Katsuki was afraid and confused. Just because Izuku got a quirk, that doesn't mean Katsuki's view on quirkless people changed. We don't know if it did because its never addressed. He has made significant character development and is working to atone with Deku, but would that still happen if Deku had stayed quirkless? We don't know.

PART 4: Conclusion

The BNHA fandom has a lot of views on how qbd might work, but these are just my thoughts. These are all my opinions and if you'd like to add something feel free to! I just hate the fact that qbd is being compared to actual racism when that just doesn't apply and wanted to weigh in my two cents. Qbd, in my opinion, is all about power dynamics and how easily that can be abused.

[rebellionbeach]

The Usami brothers and whole family as a whole are really interesting characters.  Due mostly by the fact of how different Haruhiko and Akihiko are yet similar in many ways as well.  Let’s start with rabbit boy.

Not only is this man extremely sexy but he’s also one of the most popular novelists in Japan believe it or not (not in real life guys)  Akihiko is the presumably biological son of Natsuko and Fuyuhiko and younger brother of Haruhiko Usami.  Growing up, he had always yearned for the attention of his parents, wanting to impress them and make them happy.  Haruhiko had actually been introduced to the Usami household at the age of 12 so Akihiko was 10 at the time and significant development seemed to grow from this change.  As shown from volume 21, everyone had been cheering Akihiko on as the legitimate heir of the Usami family meaning to take over the family business however he had never gotten this support from his parents before.  As a young child he had believed that if he just tried harder and became good at everything, then his parents would finally recognize him.  However, this wasn’t the case unfortunately as shown in the same volume once a young Akihiko came home from school gaining full marks on a test, eager to show his father when he caught him telling Haruhiko that he truly intended to make him the heir of the family business.  This impact was further felt once his mother, who had also witnessed this, declared that she should have never bore Fuyuhiko’s child which in the eyes of a young child must have been completely shattering.  An important seed was planted however and I believe that it was at this moment that Akihiko had started to evolve into the person he is today.  He poured all his emotion, pain, loss, suffering into his notebooks, his stories, proclaiming it to be his entire world.  Overtime we see that Akihiko grows to be very adept at the talent, being one of the top-selling authors from debut which occurred while still in high school and becoming a full-fledged novelist.  Doing this, he completely rejected his family and any connections he might have had to take over the business.  

Looking as Akihiko today it is very clear the type of individual he is, independent and self-serving, he’s his own boss and does only the things he wants to do.  From the first episode of season 2 we see this as there is a key event that takes place between the two Usami brothers in which a confrontation between two escalates into a full-out argument over Akihiko coming back to, as I assume, take over the lead of the Usami company and or serve there.  I will note later on Haruhiko’s tone and content of his language but it’s Akihiko’s response which truly stuck out to me as he stated that he had no inclination of going back to that house and if that Haruhiko truly didn’t like being there then why doesn’t he just leave as well.

This point may seem entirely irrelevant but I actually believe it highlights an essential part of Akihiko’s character that not only serves as his strength but also a blind spot in that of his independence.  Akihiko is the type of person who is able to do the things he’d like to do and encourages the people he cares about, basically Misaki, to do the same such as in episode 2 of season 3 where he is actually the one who encourages Misaki to enter into Marukawa after Misaki dismisses those thoughts as just a fantasy.  This is a thing for his relationship with Misaki as he allows the man a different perspective and in a way allows him, or at least encourages him, to be more selfish.  However this can also be seen as a flaw of his character as it can be interpreted that the only reason he has this lax and independent personality in the first place is because of his more well-off family and the fact that he’d had connections from the start.  In all honestly though, this part of Usagi-san’s personality is one of the main reasons why I actually enjoy his character, along with his thoughtful nature, as I believe that it’s a pretty unique and well-suited trait.

Let’s get into Harry Potter or the eldest brother of the Usami residence, Haruhiko.  Haruhiko isn’t Akihiko’s direct brother as stated before but rather a product of an affair that Fuyuhiko had with his mother.  For the first 12 years of his life, Haruhiko had actually been raised by his single-mother whom he loved very much.  During these times he had been seen to be much more happy despite living in poorer circumstances.  This is a large aspect that is pretty big onto why he is the way he is today.  After his mother tragically passing on, Fuyuhiko took him into to live in the Usami residence.  Now this in itself is absolutely devastating, living with a father-figure that had never truly been there for you with a new mother-in-law that despises your every existence because you’re the proof of the infidelities of her marriage and a new younger brother who seemed lifeless from the rest of this.  Top it all off with the devastation from losing the only person you truly loved and was there for you and damn I’m surprised that Haruhiko didn’t full out lose it.  

Now going back to the scene originally discussed with Akihiko’s backstory, let us switch perspective onto Haruhiko during this situation.  Your new dad just stated that the person he had truly loved in his lifetime was your dead mother and that he intended to make you, a 12 year old child, the heir of their family company that you had just learned about.  Not only this but everyone around you is your enemy as shown through all the people cheering on Akihiko to become the true heir and saying that Haruhiko stole his position.  There is basically no one there to support you, similar to Akihiko, and unlike Akihiko he actually was not used to this new circumstance making the situation even worse. 

I’d like to discuss the scene stated before during episode 1 of season 2.  Here, Haruhiko is visibly angry as Akihiko’s lack of care for his role in the Usami residence.  This is something we’ve never actually gotten to see ever since with Haruhiko barely showing any emotion at all.  However, if you take in the full context of his upbringing and circumstance to that point, you can see a fuller picture of what the man has gone through to become the stoic chosen one we know today.  Akihiko, after being hoisted by Isaka to finally start publishing his works, his entire being, finally achieved success independent from the Usami residence, marking himself finally as an individual allowing him to finally see that he only needs himself.  I think this is what caused Akihiko to cut most connection from his family, despite the occasional visits, and totally puts himself away from the idea of succeeding and become the heir of his family’s company.  This leaves Haruhiko with the burden of shouldering the entire Usami company’s future, something he never truly wanted to today with architecture being his main priority.  What he see’s in Akihiko is this lazy, selfish person who only thinks of himself, abandoning all his familial duties to a brother whom he barely batted an eye to during childhood.  This is what he hates in Akihiko, but also envies.  A very interesting point that season 2 makes with the connection between the Usami brothers is the inherent jealously Haruhiko feels toward Akihiko, with him trying to steal things from him during their upbringing together according to Akihiko.  Even Misaki finally has this revelation during episode 8 I believe when he was distracting him from Kaoruko.  I think his jealously mainly stems from the fact that Akihiko got his independence while Haruhiko is still confined to the Usami gates.  With all of Akihiko’s absent-minded behavior and to quote Haruhiko, “having the eyes of a dead fish”, Akihiko in the end still achieved that sense of independence that Haruhiko could only dream about having.  Add onto the fact that everyone around you hates that you got this position, lobbying for your younger half-brother who barely gives in the effort to succeed you, then baby that’s a recipe for childhood resentment if I’ve ever seen one.  

So what does this all mean, well nothing since this is an over-analysis on a yaoi manga but in a reality I think it comes to show the clear dynamic Haruhiko and Akihiko have on one another.  In recent chapters it is shown that Haruhiko is more and more aspiring in his own pursuits in architecture, even accepting his position as lead of the Usami household and accepting the fact that he’ll never get Misaki, wanting to stay as his ally instead (which is a lot more than I can say for a CERTAIN manga author).

I love Haruhiko AND Akihiko, they both are really great characters and I’d think it would be nice if in the future they could perhaps reconcile their relationship and kind of start to get along.  The Usami household fucked up a lot of kids but they are still going strong and who knows, maybe Haruhiko might get a lover in the future (AKA Todo)

Thank you and now I implore you to go listen to Nelson’s After the Rain album, 10/10 made me cry.

[rpbetter]

I'm a novella roleplayer who writes long-term threads. Since this is very rare on tumblr, I've noticed that many muns are intimidated or put off by how much I write, how much information there is on my muse, and other things inherent to long-term roleplay. People have even told me outright, "I'm intimidated by you". But I do wonder if there's another component besides, well, just the amount of writing I do. Maybe there's a way to negate some of this by using certain techniques, wording, etc in my rules and overall presentation. Do you have any advice on how to reduce how intimidating I seem, even with the amount of writing I do? Any particular things I should avoid? And at what point should I just not worry about it, because it's out of my control?

Hello, Anon! Thank you very much for this question, I think it's a discussion many could benefit from. That should probably be head's up for everyone that this is going to get long, yes.

People have also told me, outright, that they're "intimidated," and I know that's something my writing partners have been told as well. It's also something that seems to be a common statement toward novella roleplayers in particular, and one's chance of having it said increases with factors such as being a long-term RPer, particularly good vocabulary, visible skill with writing, and indeed, having a muse you've dedicated obvious time to developing - made obvious in not only the amount of information available on your muse but also in your confidence about that muse.

I honestly do not think most people who say this any more realize that it's a little offensive than they know precisely what it is they are trying to tell you. Regardless, it makes it a bit hard to know what you're doing, if it's actually something wrong, is it something you can or should change, or is it just another case of being the minority in the RPC, therefore, having more muns out there that you're not suited to writing with? No one knows, because it's vague!

So, I’m additionally going to beg everyone out there to not say this. Please, if you find yourself categorizing another RPer as “intimidating,” do everyone a favor and consider what is making you feel this way, even if you never tell them this. Eventually, you will tell someone, and if you’ve thought on it already, you’ll be better able to express yourself in a way that is neither offensive nor vague. If you do tell someone they are “intimidating,” expand on it and be specific. Tell them whether it is the length, writing style, the mun OOC, it’ll be very helpful. You needn’t be shitty about it, just honest and polite.

Try: “I’m not confident enough to write with you, I don’t feel like I’m capable of writing that much, or that well, but I would love to keep following so I can read it!”

You’ve not been offensive at all, but have told them what your difficulty is. You’ve also kept this a you problem, not a them problem. When we tell people they are “intimidating,” that is a negative connotation that implies they are doing something wrong. We've made it a Them Problem. Maybe there is something they could work on, but your feelings over perceived limitations aren’t their problem. They can’t change the way you feel about yourself and your writing in contrast to theirs. By saying it this way, it’s still clear that you don’t think this will work out, you’ve told them why, and you’ve done it without projecting responsibility.

Alright, sorry, just in case anyone out there who says this and isn’t immediately turned off by the length of this reads it.

As I said, I've been told this as well, when it seemed like a mun that would be alright with me asking for specifics, I have. Unfortunately, they couldn't describe those specifics in any more detailed terms. I'm not saying this to shame anyone's capacity to describe their impressions or wishes, sometimes even the best writers aren't good at expressing themselves more personally. I'm just saying that a clearer description wasn't possible, and that I am taking this from what has been expressed by these people and others in limited ways, directly stated or vented about vaguely.

The length appears to be the predominating issue.

"It's just a lot," "I feel like I'd miss things in it," "intense," and "I like quicker back and forth" are some of the major points that have been made to or around me. They're the first and primary things that are mentioned, and they all deal with the length (though, the intensity thing also deals with the writing itself).

As you already know, as a novella RPer and how unpopular that is, the length is usually an issue, yes. Let me rephrase that - it is an issue that is a part of the vague descriptor of being "intimidating," I do not feel that lengthy RP itself is a problem! Just the problem that some muns are having with seeing you as a viable, approachable RP partner.

Looking at someone's writing is something I always highly advise doing while looking for new partners, but I believe that our writing as novella RPers can obscure it for some when they're not actively a writing partner yet, thus, not involved in it. I enjoy reading threads I am not a part of, and since everyone I write with is also novella, that means I'm essentially reading short stories every time I do - that's not typical. Most people just see Wall of Text in a novella thread they're not involved in.

It's kind of a seeing the individual trees in a forest situation, and might not have anything to do with the mun's potential interest or viability as a partner. I mean, I doubt you're looking to engage interest of short multi-para or one-line muns, since that isn't your preferred writing type and yours is not theirs. So, you're likely looking at the few and far between other novella and any lengthier multi-para muns. So, it's not going to be an issue of simply being novella, thus immensely overwhelming and not their thing. It's more likely to be that your novella is particularly lengthy, and again, they're not yet involved in it. They’re seeing a task, not the fun engagement of it yet.

I know that I've had several mid to lengthier multi-para muns approach me wanting to write, they're usually interested specifically in beginning to move toward doing novella. They also see the fruits of these great storylines, OOC friendships, and in-thread relationships on the dash, not the building that went into them. The expectation is different from the reality, and once they start receiving my replies, that can quickly turn overwhelming. They've now got something on their hands that has been too lengthy for other, established novella writers, and it's all at the beginning still with the muses.

This is when I tend to get that I'm intimidating from people who have begun to write with me, and I think it is telling of the Wall of Text problem with partners you've not gained yet, too. The problem of how they're viewing the writing is that they do not see things within it that are immediately, and easily, engaging to them specifically.

The people I referenced, they're having the same problem. Our muses do not know each other, there is no established connection of animosity or affection, no "dynamic" to fuel their replies. When looking at a lengthy novella reply and trying to judge interest in writing with the mun, they're naturally not going to see that either, since it doesn't exist yet.

And it might not exist at all.

I want to be clear to everyone that I am not saying one needs to write in a way that is not enjoyable to them, I'm just guessing at problems based on the majority of the RPC's interests and what I have been told over the years, a lot of years. Like, no one come at me about forcing anyone to write anything, or being acephobic or something fucking nuts, thanks!

People are really, really into the romantic ships. I do not care what the RPC says because it knows it's the right thing to say lol if it wasn't true, it wouldn't be a huge, and totally observable as true, problem that characters who are hard to ship with or do not ship are passed over. Regardless of beautiful writing, engaging muses, and incredible worldbuilding, they're passed over because they're not a ship partner in the waiting.

So, it's quite possible that if you do not have threads in which there are observable ships, muns are seeing the Wall of Text because there's nothing that grabs at their particular interests. I don't even just mean smut, either. I've found that far more muns than there used to be are willing to not write that, but they still want the ships.

You might be a RPer who does not do shipping at all, has a difficult to ship with muse, or who simply does not place this as a priority in your own interests. There is nothing wrong with either direction of this preference! It’s alright for people to have preferences, even if they can feel annoying to us because they’re leaving us out, or we genuinely just do not get the thrill. It’s totally okay for people to not be interested in shipping, or not place a particularly high value on it, and more muns than the RPC realizes feel this way. It’s as unpopular, and far more limiting, take on RP as being here openly only for them is. There’s nothing wrong with you as a writer or a person if you don’t write ships and smut, but it is the opposite of many people’s interests here. This would be something you can’t control, yeah. It’s still good to know as a part of the puzzle!

They see a lot of things they do not have any instant feelings about and/or what they perceive as interaction points. As, unfortunately, the predominant mode of writing here is reactive, and in brutal honesty, often self-interested. It's not rewarding to many muns in this RPC to build stories cooperatively together for the sake of those stories and love of the muses, they require putting their muse on display, having impassioned interactions through that muse's reactions.

So, you might be writing the most vivid scenes, the most beautiful character study, and letting your muse be a fleshed out, realistic person, but they're seeing "I can't react to this."

Which is, by the way, bullshit. Not just that it's bullshit as a way to try to write together, it's also bullshit in that you can react to anything. You can react to, literally, nothing. If you're muse has said not a word to mine for an entire reply, not physically interacted with them, they're just sitting there in a chair staring off into space (also not a great way to write, but I'm giving an extreme example) the whole time, I can react to that.

To be fair, my primary muse is really uh, busy, let's say lol it does make him both incredibly easy to interact with and very easy to generate natural reactions from. And that might also be a problem people are having...

Your muse is quiet.

They're the opposite of someone who is physically or verbally “busy.” They think more than they move or speak, they remain at emotional, verbal, and physical distances from others. The quiet, and still, type on the outside.

I don't think there's anything wrong with that, I love reading a muse's internal processes because I'm approaching this as a reader as much as I am a writer. It doesn't need to be something my muse can know or react to for me to enjoy it, I want to enjoy your muse, other people's muses are part of the joy of RP for me. And not just in what I might achieve having mine interact with them. There are muses mine very, very much did not work out with that I have continued to enjoy the stories of for years without writing with them!

But that's me. And I'm weird.

A lot of people are going to look at the sort of writing, particularly when not involved with it yet, and see...Words. Maybe they don't find them boring or any such thing, but they can't so easily envision themselves responding to it with the sort of vigor required to reply with length in kind. It's again the same dual issue going on that might just be making your writing difficult to approach.

It might be legitimately daunting, and might be more so if...

You're well-written.

One would think this would be a boon to written roleplay, but I haven't seen it be that in a long time. On tumblr, that has weirdly come to signify "elitism."

It's not just more legitimately intimidating for some out there because they feel they cannot write as well as you, might appear lacking or boring, end up dropped because of it. No, of course not! It's tumblr, where decent behavior as well as logic comes to die! It's because they've gotten the idea that you might be shitty to them because you posses more experience, skill, or innate talent with writing.

That's not helped when every time someone is told on any basis at all, in any manner at all, or one has any existent expectations for RPing that someone else might take issue with as though they're being forced to comply with them instead of not interacting, people freak out and call it elitism. Since most people who choose to be mutuals only and as such, are going to have to decline sometimes, are also those who are lengthier RPers...we're all categorized as Elitists.

People see what works for us as different kinds of RPers as something that is in opposition to them, and judgement of them. We can’t have scores of active partners when we write ten thousand word or more replies to everyone, it doesn’t work for us, and that doesn’t mean we think you’re an awful RPer for doing this differently than we do. We’re just exercising boundaries that are necessary for the way we enjoy it. Like how much length in return, literacy, and dedication we’re going to give and expect in return. It isn’t passing judgement, but when you want to write with a particular portrayal and they’re limited threads, mutuals only, novella and it shuts you out of the interaction, it’s easy to agree with the posts you’ve seen condemning differences of choice as elitist and hateful.

While you'd hope that people would exercise their own judgement, with the way that the RPC is so often on edge, you can't entirely blame people for being willing to believe they can identity a potential source of unpleasantness to avoid. As wild as it is, that includes people within the novella community. Your OOC is too well-spoken, your writing is too well-written? Might be an elitist. Even while they write much the same way as you do without realizing it!

I think when most people say someone here is "intimidating," it's not exactly what they mean, but for others, it's more literal than it is literary.

If you have any reason to believe this might be part of the issue, while I would never advise anyone to alter their writing to be something they personally feel is lesser than what they're capable of, you might want to consider a greater air of the casual in any OOC posts you make. Try to be as approachable there as you can - so long as that doesn't mean lying about it, of course! If we're genuinely not that gregarious or socially open, we shouldn't act like that's the case. That sets up one party with expectations that are neither true nor going to prove anything but frustrating to the other party.

I've had some success with that! And, even at my most casual, I'm not the most approachable of people lol I come off as rather intense, kind of aggressive, way too salty, curses flow from me like water during a monsoon, interspersed with...well, things like "interspersed." So, if I've seen success with that, it's possible that muns who are more genuinely gregarious, chill, and verbally polite people might see it as well!

It seems to be a case of allowing other muns the opportunity to see that you, yourself, are not frightening. You're just a person like they are, and a person who isn't going to be hateful to them if they are not perfect writers or perfectly on your level of writing. When that is apparent, approaching the writing itself is more openly done - yes, this mun has a grasp on description/dialogue/vocabulary/descriptive scenes that I do not, but they don't aggressively think they're the shit for it, so, it's safe for me to try to interact.

The Wall of Words that was once a poster for how badly they might be treated is now a collection of RP replies.

Write for the partners you want to attract.

Again, I do not want anyone to stop writing in the way they enjoy! However, what we put out is also what we attract to a large degree. It could be that your writing is an attractant for only a very small portion of the RPC, and it already is, by virtue of being both novella and the sort of novella it is.

That's very easy to do anyway, but even more so if we have few partners to write with. What we have on display is minimal, it might not have the range we're actually capable of, and therefore, might not be attracting that range of muns.

This is something I have experienced as well, though it was a little different a situation. Upon first writing RP on tumblr, I couldn't find anyone writing novella. I could barely find anyone doing short multi-para. Just as I'd find it inappropriate for someone approaching me to insist that I do one-line RP because it's what they do, I didn't find it appropriate to force novella on these muns. That's what I agreed to by interacting with them, after all! It isn't what I enjoy doing, however, it's harder for me to write short replies, so, I was consistently on the lookout for novella partners.

Those novella partners couldn't exactly see decades of my lengthy RPs, though, since they didn't take place on tumblr. They could only see the current threads, which were all quite short and rather limited in range of action, tone, muse interaction, and so on. Basically, just about whatever someone was willing to give me, and those things were pretty similar. I couldn't exactly blame potential partners for looking at this "resume" and thinking that I just thought I wanted to write novella, but was capable of neither that nor the sort of stories I wished to create.

Since I couldn't find partners to organically give me these different things, I wrote them sans partners. Much of this was in headcanon form, showing that I had spent quite a long time thinking about my canon character as more than was presented in canon only, as well as showing that I could string more than a paragraph together, but it seems like you've got the muse information down, so this might not be the best direction for you.

That might be the other thing I wrote to this end: one shots.

Especially as I do not do open starters as someone who requires some plotting, these served as a way of allowing various situations to be displayed in which other muns could better see what interacting with my muse was actually like. They could see that this truly is the way I'd prefer to write, this is a better display of my muse under various conditions and emotions, and this is how interacting with my muse as this or that type of person might go.

I don't know if you have a canon, OC, or multiples of both, but it also seemed to be helpful that I took canon events people might be familiar with and wrote snippets of them from my muse's perspective - yes, even if they were already in those events, it shows your unique portrayal. People like that for the same reason they like fanfic, a dozen people can write a canon event and give you a dozen different takes on it. It meant that they'd be more likely to read it at all, too, let's be honest.

If you have an OC, you can flesh out a fandom-specific verse they have by writing such a one shot revolving around a fandom event. I'd say not to directly insert your OC into a major canon event, but if you're going to anyway, be sure you are giving realistic changes that might occur with this character's presence in that event. Not going overboard and making them the thing that saves the day, not just having them there in the midst of some great cataclysm miraculously surviving to bear witness only. It's still my advice to place them within that world and have them aware of an event.

Something like...trying to think of a fandom and event the most people would be familiar with here...your OC is in the MCU or has a verse there, they're employed as a police officer with the NYPD - tell me what they did at work the day of the invasion in New York City in the 2012 Avengers. Did they see superheroes in the distance while they and their fellow officers were engaged in a situation they were in no way equipped to handle? And how did your OC feel about that?

That sort of thing.

If it's a canon, try to think of a situation that isn't represented among your current threads, but that is also going to be of interest potential partners. If you have few threads showing your muse in friendship with another, find something in their canon that does. No threads with much action, go for that. Show an aspect of your muse that was present when they were younger, but that is downplayed in them now. Show some things that will be new information from your unique portrayal, and do all of this while displaying your range as a writer - you can be more serious or more fun, can destroy someone with angst or make them hope a ship works out well.

This way, you're showing people what all they might get, not just what you've been given to work with. That can go a long way toward negating feelings of "intimidation" if all they're seeing is you doing one thing extremely well, so well that they feel they cannot compete with it. So, yeah, write the things you feel you're not good at, too! It puts people at ease to see you're not perfect either.

As regards rules...

Oh, boy...lmao with no intent to inflame anyone's righteousness here, so long as your rules are conveying what you feel they should, they're fine. I'm not going to say that rules cannot be a turn off, that you shouldn't find a voice that is clear, polite, and when it needs to be, firm. It's simply that you do not come off as someone who needs to be told that, Anon. If you're worried about how your rules might sound, they're almost certainly fine.

However, rules are the way they are for a reason - if you feel like you're coming off as too strict, harsh, whatever, there might be a reason why that was your first inclination. If you remake them to be softer, are you going to run into the same problems that caused you to harden them before?

I know, you're trying to attract people and downplay a notion of being "intimidating," but it's important to realize that, short of either finding a way to please everyone who comes across them or telling everyone to do whatever they please, you have no opinions, expectations, or needs, you're going to put people off. I've seen people be incredibly offended by the nicest of rules simply because they were rules. They were still clearly stated boundaries that did not align with what was desired.

For example, if I were to have in my RP rules the following:

My rules are basically just have fun and don't be a dick! This is just a hobby, I'm not paying you.

That's going to turn some people off and anger them because that's, firstly, incredibly vague, secondly, the latter part has become seriously negative.

If I were to have in my RP rules this:

I have a lot of detailed rules because I want to only write with people who will be as dedicated to it as I am, I'd rather we know now than later that we're not a good match before anyone is disappointed or offended!

That's going to turn some people off and anger them because it is contrary to the way they view and partake in the hobby. To these people, it'll come off as ridiculous expectations that are aggressive despite the wording not being so.

The point is, because this is a hobby dependent upon interacting with other people, there is a lot that is out of your control.

I probably should have done a better segue to this, but hey - most of this is out of your control.

By its very nature of individuals interacting, what is "intimidating" means different things to everyone. What I find to be that, isn't going to be what you find to be so. You can't know what someone, let alone everyone who says this, means by it in order to make those changes.

Some of those changes are a damned if you do, damned if you don't situation, like the rules.

Other changes are undesirable. You, obviously, cannot RP without partners, but it's no good making changes that will see the partners you won't work with being added, or that will ruin the things you enjoy about RP. If changing your writing style is going to do that, don't do it. If opening up new types of plots is going to do so, don't do it. Anything that is going to excessively give you stress or personal disappointment isn't a change you should make. That’s the sort of shit that was meant by it being “just a hobby” in the beginning - you’re not obliged to make yourself miserable like you are at a job sometimes, and you aren’t beholden to the standards of a professional author unless you wish to be.

It's wonderful that you're addressing this problem from the perspective of what you can do! The idea of changing much of anything is a negative one to many people. They have to be carefully approached to even consider that as a possibility, and once they do, it's more often than not that the reaction is volatile. We never think we're perfect until someone so much as loosely implies we might need work on something. So, your willingness and interest in what you can do to fix something nebulous is both incredible and a credit to how approachable you probably are in all actuality.

It bodes really well, is what I'm saying lol or...it would, if this were not the environment that it is. One in which people do react with volatility to anything that does not go exactly and immediately the way they desire. Including wanting to interact with a particular muse, then seeing that the mun doesn't write in their preferred style, length, or with their desired topics.

Many times, that's really what is meant by "intimidating." It isn't truly that they're afraid of you or your writing, but rather, that they're not getting exactly what they think they want, in the way they want, on the timeline they want. But they don't want to be offensive, they're walking on eggshells like most everyone is when telling someone, "I'm sorry, but I don't think we'll work out" is tantamount to personally attacking them.

So, giving what they feel is a compliment that still shuts down the possibility of someone trying to push for interaction anyway, that becomes the best approach. They're not giving you specifics because no, they may not even know those specifics, it might just be the feeling your writing gives them, but they're also not giving them when they have them because they don't want to be unfairly taken to task for the crime of being honest with you. After all, when we don't know someone OOC yet, we don't know that they're a reasonable person. Telling someone, "I like what you're doing, I love your muse, but the tone of your writing isn't something I can reply to, it's just too different," might have them defensively putting words in your mouth.

As I said, asking someone for details didn't get me very far. I've had to try to piece together what "intimidating" means to many different people over the years by what they tell me in conversations away from the mun they said was thus more than anything. So, don't expect that you'll get much either, but next time someone tells you this, if they seem like someone who won't take as you pressing for interaction and react badly, ask them to give you specifics. Tell them you'd like to know what makes you intimidating to them so that you can work on it, that it would really help you out to know. Make it about them helping you, not declining you.

Just going off of the only writing I have from you, which is definitely not sufficient (if you'd like, you can always submit a portion of your in character writing or tumblr message me some of it so that I might be able to be more effective) since it's both short and OOC, I'd say people might feel that you're not...relaxed? Not entirely the word I am looking for, I apologize! But something in that vein!

It doesn't come off like you're frighteningly or excessively official to me, but knowing tumblr, I can see it. Because you are quite well-spoken, and even in this casual format, you are displaying good grammar and principle. Fifteen years ago, I might have also felt something like “intimidated" by you!

Like everywhere, tumblr is full of educational snobbery. Which is insane, considering it's also full of crimes against writing that make me want to rip my hair out, but anyway...the mark of being authoritative is to display one's intellect the only way we truly can here - by suddenly out writing everyone. If we're already establishing ourselves as well-spoken muns, we've laid the foundation of being capable of utterly destroying someone publicly by shaming them on a core level.

Tumblr is also full of people who are not at a point of life experience, and the writing experience accrued within it, to use what they've learned in the higher education the majority have or are presently obtaining. It's easy for younger people to feel pre-offended by someone who writes with more skill and confidence than they do. They've bought into the notion of such validations of superiority, but they can't quite lay those down upon themselves yet, or see that they’re capable of this and it doesn’t make them an elitist, so, it’s absurd to assume everyone else is on the same pretext.

Please, everyone here under, like, 25, I'm not shaming you. I've obviously long internalized it as well! When I'm angry, I don't become less articulate, I become more so. That probably says something unpleasant about how well I understand this problem. So, don't be offended. It's a societal problem, we're all impacted by it. It just takes a little bit to realize these things is what I'm saying here. Not that you're dumb and malicious because you're young and learning.

With this in mind, it's very possible that some younger muns, or muns who have otherwise been given cause to feel they are lesser than you because of your proper writing, might be intimidated by it. Part of that is also that proper writing, and verbal speech, can come off as lacking warmth. It can be impersonal, give fewer clues as to someone's tone when that's already lacking in writing that isn't descriptive, as in an RP thread itself.

Again, I always have a bit of an issue recommending someone change something vital about themselves, and one's mode of writing is that. However, you might want to consider giving way to some indicators of not being official in your OOC behavior toward others. It's something that I did, something I will admit I still struggle with as well. I'm not naturally inclined to add things like a :) or a xD because I have some problems conveying those things either correctly or organically in person. If I'm not either, literally, acting or feeling something intensely, I'm the grand master of resting bitch face no matter what I'm feeling.

As a quick on-the-safe-side interruption: people, please, I am aware that some forms of neurodivergence can exhibit in struggles with understanding and conveying tone, as can be the side effect of some medications and physical conditions. It’s possible that you have this difficulty, Anon, it’s possible that some of the people you have approached do. Advising how to work on understanding and conveying tone with these difficulties in mind is a huge post of its own, however. (Though, if people might be interested in it, I can add it to the list, of course.) All we can do is try our best, work on it, and if we know we have this issue, politely warn partners in your rules so they know you’re not coming off less emotive and warm intentionally. You’re not thinking yourself in an ivory tower above them. I so do not want to be bitched at about how advising someone in ways to be more approachable in text is ableist, just don’t. I don’t know you, Anon, so I don’t know what difficulties you may or may not have, if you do have some complication that is impacting this in your own opinion, please, just send another ask and I can work with that information more specifically!

It's also...it grates on my nerves when people text speak, I'm not going to lie. So, forcing myself to do anything too close to it feels like someone has separated the halves of my brain. I do it because it can make people more comfortable, I don't sound like a damn robot like I easily can when trying to explain something with a lot of specifics, for example.

What was easier was letting go of the inhibition of writing conversationally. That is always something that is advised against intensely, it isn't proper writing. Don't write like you speak, and all that. It's often been my inclination to write conversationally, even if I struggled to let the hell go and actually do it, and when I allowed myself to do so, people responded to it much better. It's something I get compliments on as a part of what can make my storytelling immersive, humorous, relatable, and frightening. (Just so that the last bit there isn't confounding - in addition to the professional writing that sometimes pays for my internet, I write horror lol...now y'all know! I deal in "freak shit," I'm sure.)

People responded to me much better. I still get that my writing is intimidating, but it tends to be over length and wording more than being wholly unapproachable. Too like trying to respond to a novel that most people would only listen to if it was about a character they were deeply into and read by an actor they were also deeply into. There seems to be a more natural engagement with the material for more people this way.

I'm only using this as an example of something I found that worked to some degree in making me more approachable, meant to say that there might be something that you would enjoy, unique to yourself, that would make your writing more approachable for more muns. I'm in no way recommending that you, or anyone else, try to go with what I did! That isn't going to work out for everyone, of course. It isn't everyone's solution in those specifics, just the idea that following what people have expressed they especially enjoy about your writing could be a good path.

Other things to consider:

When you have obtained a new partner who says this not in declining further interaction, but within a conversation or one of those interaction memes, especially if you are writing them a starter at this time, experiment with what you can do in your writing that makes it more approachable. I say “experiment” because this is another point of individuality, it's naturally going to vary like everything else.

Like I said above a few times, most people approach RP in terms of reaction. And, again too, that's part of RP. I didn't say it earlier because I felt like that was obvious, but after considering...how tumblr is, I probably should say it. It is necessary to have things to react to in order to build the interaction between muses and their world. I believe in the “yes, and” method and having things to react to. My meaning by saying that people approach RP in terms of reactions was that people excessively do so. Their muses have trouble existing fully in their own right sometimes, they literally require multiple points of possible reaction.

So, give it to them while you’re figuring each other’s writing out.

When you're writing your starter or replies, give them what I call Actionable Points in unexpected places. For example, when your muse is doing as I said earlier, sitting in their chair, having Deep Thoughts they're not expecting any action within, give them something in the environment itself to interact with. Perhaps there is a pet, an insect, temperature change, or sound for their muse to notice.

He was still, as though the animating force of his very soul had flown. So entrapping were his thoughts that the ladybug making its way across the floor, technically before his eyes, escaped notice. No notice, even as it briefly took flight like a tiny, skipping stone across water, headed for where his attention would truly prefer to light as well.

Which would be, of course, the other muse in the room. They can't interact with the things in your muse's mind that you're revealing to the mun, but they can have their attention jump to the insect. They can also react to your muse’s facial expressions, most people make micro-expressions even while in thought, but this isn’t as active or available.

Just small, simple possibilities that make no difference to the immediate happenings in the thread. They can become things of great difference, that's half the fun of it! How something like a bug can alter the course of a thread's trajectory is really cool to see happen.

By doing this, feeding multiple Actionable Points into the reply, you're giving someone who feels intimidated by the thread's length and weight more points to feel active within it. If they can see themselves interactively within the text of the story, it's less intimidating I've found.

Eventually, people relax and start creating these points for themselves. They're now part of this story and its direction, so they organically see things within it. While their muse is in the room with the Chair Muse, they notice a ladybug on the floor themselves because they feel comfortable and confident enough to create that sort of realistic moment.

Most of my experiments of this nature have had that objective - make my writing partner feel more confident about their writing, muse, themselves. It either works out wonderfully, or...you can spoon-feed some people actions, ideas, and confidence forever without them ever taking up the spoon themselves (some people will totally miss the spoon every time, even). At the latter point, if they're still feeling unconfident about writing with you, "intimidated," it's never going to change. It might be better that this be addressed as something that simply isn't going to work out for either of you.

Because it can become tiresome to do this. Tiresome and disheartening, and you never want to set yourself up to feel like you've wasted your effort and energy. That's a great way to experience burnout and frustration.

Another thing to make yourself, and by nature of that, your writing, more approachable and available is to put out a decent variety of memes for people to send you and engaging in tagging games. Not only do these not need to be writing memes like starters, it's better that they are not! If someone is intimidated by you/your writing, they're not going to engage with a meme meant to begin a thread.

Reblog memes that are meant to be answered OOC like headcanon asks, writing asks, and asks about the mun. Do tag games with tests in them, bolding aesthetics or other information, and those that give details about the muse...or even yourself, there are Munday versions as well!

The point of doing this is to show people you want to interact with them, neither you nor your writing is scary and removed from the vox populi of the RPC. You're not someone with so much skill that you're above such common pursuits. You're just another RPer with the same things of interest as they do - enjoying yourself whether it's something silly like a quiz that tells you what coffee your muse would be or an in-depth headcanon. Just another mun who loves their muse and wants interactions with them.

This, too, is something I tried, and it might have been the most successful thing I did. It's even easier to do these days, as more muns don't just tag people outright, but rather, offer that anyone can take it, they just want to be tagged back so they can see the results. You don't have to wait for someone who neither knows you nor knows whether you'd be alright with being tagged to tag you in them anymore!

And as an aside, this is why I encourage that. I've seen some muns out there taking issue with it, thinking it lazy and less interactive for people to be forgoing tagging others in it. Yes, it is unfortunate that you might miss such a game from a mutual or friend, but you do realize you can go to their blog anytime? You can search their tag for these kinds of dash games, or scroll what you missed while you were away, and I recommend doing that anyway with close friends because tumblr's notifs are perpetually screwed.

It's not less inclusive, it's more so. I think it could even go a distance toward lessening the illusion that all friendships in the RPC are "cliques." Instead of the same five muns, none of whom are you, being tagged every time because they occur more quickly to the mun who interacts with them often, there is an open invitation for you to do it. It allows muns to be more visible to those they haven't established friendships with yet and allows others to put themselves out there as approachable and interested.

Alright, back on topic!

Send others these sorts of interactions when you see them. Unless someone has it in the tags or their rules that memes are only for established writing partners, send them an applicable meme.

Applicable, in this case, would be those OOC-answered memes. With most muns, it would be poor form to send in memes that are too personal. Such as sending someone you've never really spoken to, plotted with, etc. a particularly raunchy headcanon ask. I was going to give an example, but for the sake of keeping this SFW lol...we all know the sort of ask I speak of.

With some muns, this isn't an issue. Any excuse to talk about their muse is a good excuse, and they'd not have reblogged the meme if they did not intend for people to send it in. I know that I'm such a mun, and unless someone only ever sends me sexually explicit questions like this, I don't mind at all. It's just an aspect of my muse to detail in a HC.

Just exercise reasonable awareness - "read the room." If a mun seems to answer those questions from anyone, then it is alright to send them in. If they have established openness on these discussions, have nothing in their rules that would imply they'd be perturbed, etc. Conversely, if they've established such opposing behavior that you have to wonder why they posted this meme at all? Don't send anything from that one. They may be trying to establish greater comfort with these topics, but whether they realize it or not yet, they may not be ready for this to sent by anyone who isn't a very established writing partner/friend.

You want to be attracting good attention, demonstrating that you're not someone intimidating, not giving muns any reason to be disturbed by you. Even if they openly asked for it!

This brings us back to: no, really, a lot of things are out of your control.

How people view us isn't as up to us as we'd like, on or offline. Everyone has preconceived notions, biases, and developed preferences. And everyone has had experiences that lead them to react differently to all of these things where they do and do not exist.

Unfortunately, the RPC fosters a serious environment of paranoia, hostility, and the inherent defensiveness of both. Even when that is coming across more peaceably, it can lead to things like...the multiple muns I've known in the last two years alone that seem to almost panic and block potential partners for extremely negligible things they're perceiving as a red flag portending of inevitable bad behavior.

I really do mean irrational actions that are often contrary from one move to another. One potential partner is too exuberant in response to plotting, they are designated a red flag for being too inclined to pester OOC. Another is lacking exuberance and does not easily come up with plots, they are designated as being too passive a partner who will drop. One is too nice, they won't possibly be able to tell that mun of problems in the thread, another is too aggressive, they'll do nothing but stress the mun and fight with their friends. And on and on.

It's not an unreasonable situation, as we all continue to be reminded, the RPC is far more hostile than it should be for what it is. We all (that's not entirely true, but let us pretend it is) want to avoid problems and enjoy the hobby, but in the attempt to avoid those problems, we often see them where they are not.

So, you really cannot control whether someone designates you as being too much this, too little that, an inevitable problem. Your presentation is in the eye of the beholder, just as what "intimidating" is, is in the eye of the intimidated.

You can only try to identify the things that might be putting off the most people you want to write with, work on them when and where they will not ruin your time here, and hope for the best.

It's wonderful that you care, but it's also wonderful that you seem willing to accept that there are things you just have to let go of as already being out of your hands. That's honestly the best way to approach RP, period. The only things you are fully in control of are your own creativity and your behavior. That's it, in the end.

Present yourself with honesty as to who you are as a mun, be as approachable as you truly are, and know what you're looking for in writing partners.

Personally, from what little I have seen of you, Anon, there isn't anything that glaringly needs changing. You're not possessed of a shitty attitude or unrealistic expectations. You seem like a pretty reasonable mun to me who is struggling with something any of us who concentrate on the writing do; being vaguely told we're "intimidating," and seeking other partners who are interested in the same variety of RP we are.

That's my final point to touch on, and the one most likely to piss people off: there are different varieties of RP, and the people telling you this might be in the wrong corner for you.

That doesn't make them bad RPers or anything, variety is good, it's an open hobby! We're not all compatible, though, and so many problems arise from muns not accepting this reality, but rather, taking extreme offense over it.

No one I have ever established the sort of RP I enjoy most with has told me that I am "intimidating."

The people who have said this to me have been those who would not have worked out anyway. That's not said in some bizarre bitterness lol I have the best writing partners, I could not ask for anything more! It's just said in honesty of continuing to see them on my dash and/or interacting with friends. They blog and muse hop often, prefer the genres and fandoms I do not, and so on.

Changing to be less intimidating to those RPers would put me back where I started when joining the RPC here years ago, and while it's great that a lot of people enjoy RP the way they do, I don't. I worked rather hard to get away from it.

So, you do have to consider what you want. Do you want any partners, or do you want the right ones for you?

I'm genuinely glad that people are enjoying themselves, especially when they do not have hateful things to say about those who enjoy RP differently than themselves, but it'd be nice if some of the niches in the RPC were a bit wider! It shouldn't be this difficult to find people in a writing hobby who are invested in the writing, but it is. And it is something you should keep in mind when figuring out this whole "intimidating" thing.

So, my ultimate recommendation would be to assess whether there are things you can be doing to make you, as the mun, more approachable so that your writing is less “intimidating" to people within the RP corner you’re trying to attract, but consider whether the people who have said this to you might just be looking for different things and not as viable as partners as you might have liked. There are definitely more RPers on tumblr who do not enjoy RP in this way than there that do, and while the only thing you have control over is yourself, you don’t have control over how you and what you are putting out there is perceived.

I really do think that most of the “intimidation” problem comes from different varieties of RP and what muns have been led to believe about them. You check off a lot of boxes for the false perception of “elitism,” as a literate, long-term, novella RPer. People are going to see many things that you do in a threatening or off-putting light through no fault of your own because of that. Even other, lengthier writers can fall into that because they feel overwhelmed at the volume of content you have, for example. A thing that should be promising of how well-developed your muse is and how committed you are to your interest in them can come off as overwhelming to people who are less well established or interested in being around for the long game. I certainly don’t think it’s a good idea for you to remove that material or stop writing it! I cannot encourage people enough to do what you have!

Maybe, since you expressed concern of this specifically as well, you could consider how it is presented?

Do you have approachable formatting on those posts? Do they appear to be a lot of very plain text, or do you practice adding some graphics like a header and dividers, formatting that also breaks up the text like segmenting it into clear topics with bold, bigger text, and so on? Is it the opposite and potentially difficult to read, like using font that is smaller than the default small size available, or incredibly busy with colors? It’s a difficult balance, and one that will never be 100% appealing or accessible to 100% of the RPC, to make things visually appealing, easy to read, and informative while being engaging. It could be that you have information people would love to know, but the design of how you’re putting it out there is adding to them feeling overwhelmed.

Maybe, consider how it is placed on your blog, as well? Using specific tags for organization and having a detailed navigation might help. Instead of someone pulling up every one of your many HC posts in the HC tag you have, they could choose specific topics to view at their own pace with a little more control over it. Giving people some control in their experience can go a long way to giving them comfort in it!

So, let’s say you have a headcanon that addresses how your muse portrayal diverges from strict canon, and in that HC, it’s important to address their mental health and how it impacts their relationships with others. That’s a great HC, it’s going to be informative, but it has multiple topics within it. You’d want to tag it with the overall HC tag, a tag for your “player canon” topics, muse metal health discussions, and a general tag for your muse’s relationships/interactions with others.

When you do that, in your navigation, if someone clicked your tag-based link for all information pertaining to the muse’s mental health, they’ll just get that. They’ll see this headcanon post, they’ll see all relevant, tagged posts you’ve made or reblogged, but only that pertain to this topic. They won’t also get twenty extra posts that don’t discuss this, but do discuss your muse’s personal opinion on making bread at home and why sourdough is a labor of love. Unless, of course, your muse is partaking in that labor of love as an exercise that benefits their mental health, of course lmao

Delineating topics for people to engage with at their own pace, need, or interest can prevent them from scrolling through what could be hundreds of HC posts. We all desperately want people to read every one of our posts, especially if our portrayal is different from canon or popular fanon or we have an OC whose entire existence has to be learned this way, but we have to resist the temptation to make people read them all, and all at once. Because that is how it comes across when someone pulls up a ton of HCs - they may be super interested, but it’s a lot that they may put pressure on themselves to learn immediately, back to back to back. It begins to feel like a task quickly. Most people who are genuinely interested in your muse and writing are going to end up reading all of them eventually! If they don’t shut themselves down on doing so prematurely, and this could be a way of helping them avoid doing that.

Hell, if you’re really feeling it, you can even link to closely related posts and your navigation on those HC posts! Just mention at the top of the post that this is related to the one linked here, and to find more informative posts on any topic, please visit the navigation page here. You can even remind at the bottom of the post with just the links.

While like anything, it could make people feel you’re too organized and “serious” about RP, but you probably want other “too serious” RPers to interact with, so it might be a passive way of establishing partners that won’t work out. I think, for the right partners, an organized system they can interact with easily would be appealing, and again, a lot of people in the RPC do have problems that disrupt their ability to engage with a great deal of content at once. This might make them feel less overwhelmed and frustrated by themselves, or negative about themselves that they cannot but aspire to your level of content and organization.

Willing to bet that much of “intimidation” comes from negative feelings about oneself projected outward protectively and unconsciously, honestly. So, when you see ways to combat that, take it on. Make it clear that you’re not expecting anyone to be anything other than themselves, you appreciate your partners’ unique approaches and skills. The more of them you have, the more approachable you are proving yourself, too.

Since you are interested in long-term and have so much material on your muse, I have to assume this is a case of having gone on hiatus or had partners who have left. You could be appearing as less approachable because you’ve few interactions, and that’s a problem that will start correcting itself as you have more of them. If that’s the case, it may be adding serious frustration in the slow process of getting your foot back in the door, but I believe you can do it!

I hope people haven’t made you feel too anxious or bad about yourself by telling you you’re “intimidating,” Anon. Try not to internalize it or make into a more serious matter than it is! I really do think it has less to do with the RPer being told that than it does all these other factors, poor ability to express ourselves very much included. You’re interested in what you can do, willing to accept what you can’t do, overall approaching this from a chill and reasonable place, I think you’re going to find the people you need to with this attitude!

Keep at it, keep doing what you love, and my sincerest best of luck to you! Thank you for giving me the excuse to discuss this topic, it’s an important one that I hope made some difference to others out there as well. I apologize that took me a minute to get it out, and that it is still a bit more disjointed than I’d have liked.

[bloededhoine]

I notice a lot of fans don't really bring up how Roche uses Ves for her "feminine qualities (for lack of a better word)." I hate that in Witcher 2 he sends her to Loredo dressed as a prostitute and it is implied she does this sort of thing regularly? I do know that Roche cares for her but sometimes his behavior needs a reprimand. Do you have any thoughts on this?

i absolutely love questions like this because they really make me think. plus, this is one of the rare posts that's a system special! give @claire-verlaine your love. she's simply amazing.

first things first, spoiler warning for chapter 2 of roche's path in w2 and big trigger warning for discussions of sex work, sex trafficking, rape, war, unequal power dynamics, and brief mentions of underage prostitution. also this is really fucking long. sorry.

let's start with the geekiness: prostitution as a cover for espionage has a long and awesome, albeit poorly documented, history. it was really big with the confederacy (read: racists) during american civil war, and while their motives were undoubtedly awful, these spies were simply amazing. rose o'neal greenhow was recognized by the confederate president for her role in their victory at the first battle of bull run. belle boyd seduced a union (read: racists but more covert) general, found out the date and location of the next war council, drilled a hole in the floor in the meeting room, and sat in the crawl space and took notes of the entire thing.

although there were many successful female union spies, most of them didn't use sex. there's no clear consensus on why this was, but it's entirely possible that such enlightened progressives figured sex work to be demeaning. clearly, union men were avid consumers, but also thought women didn't know any better and needed to be protected from men who would exploit them. meanwhile, these awful southern racists had no problem with "exploiting" women, but inadvertently granted them a shit ton of political agency and prestige!

this all brings us to our next point, which is that nothing is inherently wrong with sex work, although it does put workers in incredibly vulnerable positions. for every spy that successfully used prostitution as a cover, there were likely many others that failed. without even considering the consequences of being discovered as an enemy spy, sex trafficking was (and continues to be) a very real risk for anyone in that situation*.

nearly the whole history of sex work legislation shows how little people, especially upper class men, understand it. the spies in the civil war were both lucky and unlucky in that they operated quite independently. they didn't need to take orders from someone who was entirely unqualified to give them, but they also had no safety net in case something went wrong. if belle boyd so much as sneezed while eavesdropping, there would be almost no chance she'd get back home alive.

however dangerous this job was, most lady spies during the civil war began spying before they were even recruited by the army. these women weren't doing it on anyone's orders, they were doing it because they had the skills and believed in the cause (remember that in this case that belief was not an admirable quality).

rose o'neal's (possible) handler, thomas jordan, had a huge network of spies, and all evidence points to him giving her way more independence than usual. thomas jordan wasn't who rose went to for orders, he was who she submitted her reports to. in my opinion, the sex she had to obtain this information was consensual.

ves' scenario is obviously different in regard to her chain of command. she is going into sexual situations under the direct orders of a (male) commanding officer. just writing this has the alarm bells going off in my head. what good is having someone to get you out of a dangerous situation when they were the one to put you in that situation in the first place? but this is where we get to what's special about roche. he is, as they say, not like other girls.

it's no secret how much roche loves his team. when the blue stripes are killed he says that everything he loved died. if ves dies in an eye for an eye he is absolutely devastated. the blue stripes aren't just roche's subordinates, they're his family. when you see the stripes outside of battle the camaraderie is even clearer: they fist fight their commander and each other to blow off steam, they play games, have contests, etc. ves' knowledge of roche's dark and troubled past is more proof that the trust goes both ways.

roche would never put his family in an unnecessarily dangerous situation, nor would he have them do something he personally wouldn't do. even if it's just from a morality perspective (like double crossing radovid for the man that had foltest killed), roche goes it alone.

so, we know roche is a (compratively) good guy. but we also know that intention, often, doesn't mean shit. i mentioned earlier how most of the people making decisions for sex workers have little to no idea of what they are doing. it doesn't help that their intentions are all about controlling (mostly) women and getting rich in the process, but even the best meaning legislator could unknowingly do a lot of damage. roche is way more involved in ves' missions than thomas jordan was in rose o'neal's, but i think that's a good thing.

as i'm sure you lovely witcher connoisseurs know, roche is a literal whoreson. he is very aware of what goes on in brothels, and, depending on how you read into his relationship with foltest, what it's like to not really be able to say no. if anything, roche's involvement here is a good thing, since he has years of first hand experience with exactly what ves is going through, but without the safety net of an elite team that loves him and are frighteningly good soldiers.

plus, ves is far more capable than your average soldier, even in a blue stripes-calibre group. she's an absolute badass. most women who used prostitution as a cover for spying went into it with no combat or espionage training whatsoever. they knew how to be personable, how to be seductive, and how to use men's biases to get them to spill all their secrets. clearly, this knowledge served them well, but what about the occasions when it didn't? they were not fighters. at all. ves has both the "feminine charms" and the terrifying combat skills. of course, these scenarios usually have her acting as a spy, not an assassin, so those skills are more of a failsafe, but it's still very important to her own safety and the morality of the whole situation.

TL;DR

to sum up, anon, i do agree with (what i assume to be) your reasoning, but not the conclusion you came to. if someone told me an older male superior was having a younger female subordinate act as a prostitute to gain intel during a time of war, i'd be ready to start cutting off dicks.

but that's not the whole story. the older male superior has a personal background in (possibly) coerced and underaged sex work. the younger female subordinate is a highly skilled soldier, and second in command of an elite unit. both of them have a very close familial relationship developed over several years. a similar relationship exists between the the other members of the unit in their command. personally, i think those factors make this a completely new situation.

that being said, i'm certain that my beliefs aren't the only ones out there. as long as we can all agree that the base scenario is unequivocally wrong, there should be absolutely no reason to (civilly) not discuss whether or not the special circumstances make it okay.

* i'll take this as an opportunity to say that the enforcement of anti-sex work laws force sex workers to be either a criminal, a victim, or dead. these laws are the problem, not the solution. the solution would be supporting unions for sex workers, giving them the same legal protections given to any other worker, and treating them like humans, not statistics.