#the motives are VERY different!! the way the characters think and feel and act are VERY different!!!

[freakinator]

thinking about kab and the thing about her i think is she knows just enough to keep herself safe Generally but not enough to really predict what would happen should something more... complicated??? unforeseen??? idk whats the right word to use but something not covered by someones reputation and/or vids happen, believe it or not this also affects her view of clownpierce (we'll get to that)

for example, mapicc has a reputation for being an violent, angry, & impulsive guy and nothing else which makes sense but is incredibly surface level and something that only really works if you dont have a lot of experience working with him

another is reddoons, his betrayal after the base incident while shocking is not unforeseen but his reputation as being a guy whos seen as being a reasonable person whos fairly loyal to his team made it seem like something he wouldnt do even tho it absolutely is

regarding how it affects her view of clown, since he isnt perfectly aligned with his reputation she instead pivots in the complete opposite direction and forgiving basically every crime he does even tho hes something much more mild and complicated than either his reputation or her view of him will ever be (think madonna-whore complex which is especially obvious when it comes to kabs vs woogies view of him)

another side effect of this Just Enough amount of knowledge aside from being blinded by her own expectations is that it frustrates ppl who think shes oversimplificating things (like me and seemingly several other tumblr users as well) especially when she claims that shes objectively correct and the smartest in the room at any given moment

how this roughness in her analysis affects her in the server still has yet to be fully seen but we do still have at least a couple months until the end but 'til then shes just gonna keep stumbling as more and more complicated situations pop up as is typical in lifesteal to happen and eventually shes gonna have to learn to adapt or else she'll be suffering the consequences one way or another

[imabiscuitinthousandworlds]

so i googled my current favourite play that i'm absolutely obsessed with and ended up on the english wikipedia site bc my browser is set to english and. it's so bad. the fucking plot overview leaves out basically everything that happens ever except for the end result. several key figures aren't even mentioned. "this guy dies for freedom" well, yes, but actually no, plus you're implying his sacrifice is actually worth it. that's not true. in some other section a dude is mentioned who claims this play is basically star wars. that someone familiar with the play but not star wars could look at a star wars poster and tell you which characters are narratively similar/equal to characters of the play. i am baffled. i have never, not once in my life, ever seen someone be so wrong. dude must have read an entirely different play. i'm tempted to dig up the english version and read it just to see how fucking wrong he is. he is *so* incredibly wrong. jesus fuck. how could you possibly say that

[arachnik]

taking a break from comms for a minute but im gonna restate what i said on twitter and say that some of the jessica d.rew hate is rooted in anti-blackness

[kirammanswifey]

how arcane characters would deal with mental disorders x fem reader

characters: viktor, jinx, vi, caitlyn, jayce, ekko, silco, mel and sevika.

writer's note: writing this felt like giving myself a warm hug, a comfort that i needed. if anyone reading this is going through or has gone through any of these disorders, i want to tell you that you are very brave because it is not an easy thing, so feel proud of yourself. i hope you liked this as much as i did. as i'm a psychology student, i felt very motivated and i hope that it was quite understandable and enjoyable. as you already know request are open ;)

P.S. i know the other option won in the poll on my profile, but i need more time to refine the ideas and make something high quality that everyone will love, which i’ll be posting tomorrow ;)

Viktor Depression

The world around you feels like a constant weight, a heavy blanket that wraps around you, not letting you breathe. You wake up each day with a sense of emptiness in your chest, as if a black hole is absorbing all your energy, your motivation, your ability to feel anything other than sadness and apathy.

It’s not that you don’t want to get out of bed; it’s that the simple act of moving a finger feels like a titanic task. Fatigue is your constant companion, a shadow that never leaves you. Things that once filled you with joy now seem distant, irrelevant, as if they belonged to a life that is no longer yours.

The dark thoughts are your constant whispers, reminding you that you’re not enough, that it’s all pointless, that there’s no way out. Sometimes, you cry without knowing why; other times, you want to cry, but even that you can’t do. You feel trapped in an invisible prison, with no strength to fight your way out.

Viktor watches you from the doorway of your room, his gaze soft and full of concern. He knows the weight of shadows well, although his are different. Silently, he approaches and sits on the edge of the bed, not invading your space, but close enough for you to feel his presence.

“I have a new project I’m working on,” he says in a quiet voice, trying not to break the fragile bubble of your world. “I thought maybe you could join me today. You don’t have to do anything, just be there. Your company always helps me think.”

He doesn’t pressure you. Viktor understands that words can be hard to find when your mind is clouded by depression. He knows that the solution isn’t to force you to feel better, but to be with you, to offer you a hand, a small step forward.

He gently rises and offers his hand, not expecting you to take it, but hoping that you’ll know he’s there, ready to support you when you’re ready. “The world can wait,” he murmurs. “But I’m here, whenever you want to come back.”

His patience is infinite, his understanding deep. Viktor doesn’t try to fix you, because he doesn’t see you as broken. He knows that depression is a battle you fight every day, and he’s willing to walk alongside you, every small step, every shared silence.

You look at his hand, then his face; he’s concerned even though he tries to hide it. You make a huge effort to get out of bed, and even though your body doesn’t cooperate at first, you manage. You take his hand and gently squeeze it; that’s the most affection you can give him right now, you’re exhausted.

“Let’s go,” you murmur, your voice hoarse and broken; it’s the first time you’ve spoken all day.

You’re sitting next to Viktor in his small workshop, surrounded by pieces of metal and unfinished prototypes. He’s explaining his latest invention, a spark of enthusiasm lighting up his eyes. You feel a little better, enough to enjoy his company, and for a moment, a laugh escapes your lips when you hear one of his stories.

“Did you really say that to Heimerdinger?” you laugh, your eyes shining with a spark of life. It’s a small moment, but for Viktor, it’s like seeing the sun rise after a storm.

He smiles, pleased to have made you laugh. “Yes, and his face... It was certainly indescribable,” he replies with a softness that reflects his pleasure at seeing you enjoy yourself, even if just for an instant.

But suddenly, without warning, the laughter turns into a lump in your throat. The spark of joy fades as quickly as it came, and you find yourself trapped in a wave of overwhelming sadness. The tears start rolling down your cheeks, and you can’t stop them. The confusion in your eyes is evident, as if your body has betrayed the fleeting happiness you just felt.

Viktor notices immediately. He leans toward you, his expression turning serious, but his eyes remain warm and full of understanding. He doesn’t ask questions, doesn’t seek explanations that may be impossible to give. Instead, he moves a little closer, offering you his silent presence.

“It’s okay,” he says gently, his voice an anchor amidst your internal storm. “You don’t have to explain it. Just breathe.”

He offers you his hand, this time with more intent. You take it, feeling the warmth and firmness in his grip, a reminder that you’re not alone in this moment. You needed that contact. You needed to know that you could feel something other than sadness right now. Viktor doesn’t pull away, doesn’t feel uncomfortable. He knows that depression doesn’t follow rules, that it can strike at any moment, and he’s willing to stay with you, no matter how long it lasts.

“Do you want us to stay here?” he asks, his tone delicate. “Or we can walk a little, if that helps.”

His willingness to adapt to your needs wraps you in a sense of safety. Even though the tears keep falling, Viktor’s presence is a balm, a reminder that, even in the darkest moments, there’s someone who sees you, who understands you, and who’s willing to stay by your side.

“Just... stay here with me,” you say, letting yourself fall against his body, exhausted.

He caught you and wrapped you with care, it was a hug with the right amount of strength.

“Take your time, darling. I won’t go anywhere,” Viktor promised in a whisper, never stopping the caresses on your back.

And that was enough to make you feel less miserable.

Jinx Post-Traumatic Stress Disorder (PTSD)

The echo of the explosions still resonates in your mind, even though years have passed since that day when your world crumbled. The night everything you loved was consumed by flames in an attack on the Undercity. The night you lost your family and were left alone, with the screams and the smell of smoke forever etched in your memory.

As you walk beside Jinx through the bustling streets of Zaun, everything seems normal, almost calm, until an explosion in the distance makes your heart stop. It’s a dry, loud sound, far too similar to the one you heard that night. Without warning, your breath becomes shallow, your lungs struggle to take in air, and an overwhelming sense of absolute panic takes hold of you.

Your body freezes, and it feels as if the world around you disappears. The crowd, the lights, even Jinx—all fade away, leaving you alone in that dark place where time doesn’t move. The ground beneath your feet seems to give way, and you feel yourself falling again into that abyss of the past.

"Hey, hey!" Jinx’s voice cuts through the fog in your mind. Her hands grip your shoulders, and her gaze searches for yours with desperation. "You’re not there, do you hear me? You’re here, with me."

Her words feel distant, but the warmth of her hands somehow anchors you, reminding you that you’re not alone. "But... the sound..." you murmur, barely audible, as tears start to fall down your cheeks. "It was the same... the same as that night."

Jinx guides you to a quieter corner, away from the noise, holding your hand firmly. "Breathe, hon, like we always do," she says softly, her voice tinged with controlled urgency. "Fill up those lungs, okay? Like we’re balloons."

You try to follow her instructions, but every time you close your eyes to concentrate, the images of that night hit you with renewed force. "It’s not working," you whisper, trembling. "It’s always there. No matter how much I try, it doesn’t go away. It doesn’t go away!" You scream in panic, the fingers of your hands stiffening, making them immobile.

The worry in Jinx’s eyes softens a little, but there’s something else there, something you can only describe as recognition. "That explosion... it reminded me of something too," she says after a moment, her voice quieter, almost a whisper. "I’ve been there, in that fucked-up place, where the ghosts never stop screaming."

Her words are like a key that opens the door to a deeper understanding.

She falls silent for a moment, gazing into the distance before refocusing her attention on you. "When I have my attacks, you’re always there for me, and I remember I’m not alone. That helps me a lot," she admits, a small, almost sad smile curving her lips. "And you’re not alone either, hon. We’re not broken, just a little bent. And here we are, bent together."

The hug she offers you is warm and firm, a tangible reminder that you’re not alone. You feel her strength, her determination, and something else: her own fear, her own struggle. "You don’t have to fight alone," she whispers, her voice a promise. "If you ever feel like you’re going to fall, we’ll fall together. And then, we’ll rise. Always."

You cling to her like a lifeline, letting her warmth and her words anchor you to the present, if only for a moment. "Thank you, sweets," you whisper, allowing yourself, for the first time in a long time, to feel that it’s okay not to be okay.

Vi Anxiety Disorder

The night drags you into the abyss of your mind, but you find no respite. Instead of waking softly to the day, you're trapped in pure panic. Your chest burns, each breath a lost battle. Your heart gallops wildly, as if trying to escape your chest. You are drenched in sweat, the sheets sticking to your skin, becoming yet another prison.

Your eyes snap open, the darkness of the room seems to close in on you, and the silence is deafening. The sensation of suffocation consumes you. You try to gulp down air, but it's as though your lungs have forgotten how to function. Your hands search for something, anything, to anchor you to reality, but all they find is emptiness.

The door swings open abruptly, and Vi stands there, alert, her eyes filled with concern. She doesn't need to ask what’s wrong; she knows instantly. She moves swiftly but carefully, approaching you without frightening you further.

"Breathe with me," she says gently, her hands finding yours, steady yet comforting. "Inhale through your nose... like this... and exhale through your mouth."

You try to follow her, but your body won’t cooperate. Your breath is shallow, frantic, as though every breath disintegrates before it even reaches your lungs. Tears begin to streak down your cheeks, mixing with the sweat.

"Vi... I can’t... I can't... I’m scared," you stammer, your words broken by sobs. Your mind is caught in a loop of terror, every thought spiraling downward, taking you further away from calm.

Vi sits beside you on the bed, her voice low and constant. "Don’t be afraid. Listen to my voice. I’m here with you, and I won’t let anything bad happen to you." Her tone is firm, anchoring you in the present, pulling you out of the tide of your own fear.

"But it hurts... my chest... I can't breathe..." Your body trembles, and your hands clutch desperately at her grasp. The feeling of control slipping away is overwhelming, leaving you feeling helpless.

Vi pulls you into an embrace, holding you close, offering her calm, her strength. "This is temporary. It won’t last forever," she whispers in your ear. "Trust me. Focus on me."

Slowly, very slowly, her voice cuts through the fog of your mind. You begin to breathe more deeply, following her rhythm, feeling how her presence stabilizes you, like a lighthouse in the storm. The pain in your chest begins to lessen, the pressure relents just a little, and your body starts to remember how to breathe without fighting.

Vi continues to speak, her voice a soft murmur, calming you with every word. "You’re strong. You have control, even if it doesn’t feel like it right now."

The tears still flow, but now they are tears of relief, not fear. "Don’t leave... don’t leave. I need you here," you whisper, your voice broken but sincere.

Vi strokes your hair, her other hand gently squeezing yours. "I’m not going anywhere, little doe," she says affectionately, kissing your forehead, tasting the salty remnants of your sweat.

You remain in her arms a moment longer, allowing yourself to rest, letting her strength hold you as you regain your own. Gradually, the panic fades, leaving only exhaustion and the certainty that Vi will always be by your side, no matter how dark the nights may get.

Caitlyn Obsessive-Compulsive Disorder (OCD)

The silence in the apartment is deafening. The only sound that breaks the stillness is the relentless ticking of the wall clock, its rhythm echoing in your ears like a hammer. You’re in the kitchen, eyes fixed on the glasses you’ve meticulously arranged in the cupboard. Each glass must be perfectly spaced, each one aligned to the exact same level. Symmetry isn’t just a preference—it’s a necessity. If something is out of place, you feel as though the whole world could collapse.

Your breathing is uneven, your chest rising and falling in quick succession. "One, two, three..." you murmur to yourself, counting each movement. Your hands tremble, but you can’t stop. You can’t stop. If you do, something terrible will happen. You don’t know what, but the certainty that it will be catastrophic clings to you like a shadow.

Caitlyn enters the apartment after a long day at work. Her expression shifts instantly when she sees you in the kitchen, trapped in your own ritual. She stops in the doorway, watching you with a mix of concern and sadness. It’s not the first time she’s found you like this, but each time, it hurts her as though it were.

"Darling?" Her voice is soft, as if afraid to shatter you. She steps closer, carefully setting her hat down on the table. "What are you doing?"

You don’t answer at first, your eyes still fixed on the glasses. "Almost done... just a few more minutes," you whisper, your voice trembling. You can’t stop. Every glass moved, every small adjustment is a battle between reason and irrational fear.

Caitlyn stops beside you, her eyes scanning the scene, seeing the perfect pattern you’ve created. "You don’t have to do this," she says gently, yet firmly.

Your hands freeze for a moment, but the urge to continue is too strong. "You don’t understand... if I don’t do it right, if they’re not perfectly aligned, something bad is going to happen." Tears begin to well up in your eyes, the pressure in your chest intensifying. "I don’t want you to think I’m crazy, but it’s like my mind... it can’t stop."

Caitlyn takes a deep breath, her hand reaching out to touch your shoulder delicately. "You’re not crazy," she says, locking eyes with you. "I know this is hard, that your mind doesn’t give you peace. But you don’t have to face it alone. Let me help you."

You turn to look at her, your eyes filled with desperation. "I can’t stop, Cait. If I do, I feel like everything will fall apart. I can’t control what’s happening inside my head."

Caitlyn nods slowly, her gaze unwavering from yours. "I know, darling. And I know this won’t be fixed in a day. But I’m here, and I’m going to stay by your side. We’ll face it together."

Her words anchor you, a beacon in the storm that is your mind. Slowly, almost against your will, your hands begin to lower, moving away from the glasses. The fear is still there, a current running just beneath the surface, threatening to overwhelm you, but Caitlyn is beside you, her presence a reminder that you’re not alone.

"Breathe with me," she says, her voice soft and steady. "Inhale... exhale... together."

You follow her instructions, though your lungs seem to resist, full of anxiety. Caitlyn guides you, her hand never leaving your shoulder. "See? We’re doing it! You’re doing it!" She encourages, kissing your neck when she notices you’ve looked away from the glasses for five seconds. It was only five seconds, but Caitlyn knew it was a huge accomplishment, and she celebrated it.

You let out a small sigh, the tension in your muscles easing slightly. Your hands travel to Caitlyn’s waist, moving her so the glasses are no longer in your line of sight. You let your head fall against her chest, breathing in her scent. It’s so much better, especially when you start counting the beats of her heart.

"How brave my wonderful and glorious girlfriend is. I’m so proud of you," she whispered, her fingers weaving through your hair as she praised you.

"Cait, I love you so much. You’re the best thing that’s ever happened to me," you whisper against her warm chest, unwilling to leave that comforting refuge.

Caitlyn chuckles softly, and it feels like music to your ears.

"I feel the same way, darling," Caitlyn replied, gently swaying your bodies from side to side in a small rhythm.

You know that your compulsions won’t disappear, that the need for control will remain, but with Caitlyn, you feel like you can face it one day at a time.

Jayce Narcissistic Personality Disorder

The mirror in your room is your judge, jury, and executioner. Every imperfection is a sentence, every flaw a conviction. You spend hours in front of it, adjusting, retouching, trying to reach a perfection that always seems to slip through your fingers. Your heart beats fast, not from excitement, but from the constant fear that the world will see the cracks beneath your flawless facade.

Jayce enters quietly, his presence comforting and, at the same time, a threat. What will he think? Does he notice the imperfections you see? He steps closer, his gaze soft, but you feel the weight of his eyes as if he's scrutinizing every flaw.

"Love, it's late. Come to bed," he says in a calm voice, trying to distract you from your self-destructive spiral.

"Just one more moment," you reply without looking at him, your focus still on the mirror, searching for symmetry in your features, perfection in the unattainable.

Jayce sits on the edge of the bed, watching you. "You've been here for hours. You don't have to do this. You're beautiful just as you are."

His statement, though well-intentioned, feels like a white lie. "You don’t understand, Jayce," you murmur, your voice trembling with suppressed frustration. "If I’m not perfect, I’m nobody. I can’t let them see my flaws. I can't let… you see them."

Jayce stands, walking toward you carefully, as if approaching a flickering flame. "You don’t have to be perfect to be loved," he says, his words a whisper in the storm raging in your mind. "You don’t have to prove anything to anyone, least of all to me."

Your gaze finally meets his through the reflection. Tears fight their way out, but you can't allow such weakness. "It's not that simple," you whisper. "Every day, every look, every word, it’s all a test. And if I fail…"

Jayce places his hands on your shoulders, his eyes filled with compassion and infinite patience. "If you fail, I’ll be here to lift you up."

"And what if I’m not enough?" The question slips out before you can stop it, the insecurity behind your narcissism showing in all its rawness. "What if one day you realize you deserve something better?"

Jayce leans in, his forehead touching yours, a gesture so intimate it almost breaks you. "I deserve someone who loves me for who I am, not for what I pretend to be. And that’s exactly what you are to me. I don’t have impossible expectations of you. I just want you to be happy, to find peace in who you are."

The internal struggle within you is fierce. The fear of rejection, the desire for perfection, the need to be seen and admired, all mix together in a whirlwind that consumes you. But in Jayce's arms, for a moment, the noise silences. His love is not a chain, but a refuge, one that offers rest if only you can let yourself fall into it.

"How can you be so sure?" you ask, your voice broken but curious.

"Because I love you," he answers without hesitation. "And love isn’t about waiting for perfection. It’s about accepting every part of you, even the ones you think are flaws."

The tears finally make their way out, releasing something within you that has been held back for so long. Jayce holds you as you cry, whispering words of comfort, letting all the pressure, fear, and anguish flow out of you.

"You’re perfect," you whisper, your voice cracked but full of sincerity. In your mind, Jayce is the epitome of everything you don’t believe you are: strong, confident, unshakable.

Jayce smiles softly, his hand caressing your cheek, wiping away the tears still falling. "No, I’m just a man in love. A man who loves you madly." His voice is warm, filled with a tenderness that disarms you. "Why don’t you show me that precious smile of yours? Please, it would make me so happy."

His sweet words touch your heart, and the corners of your lips stretch on their own, forming a sad smile.

"Gorgeous," Jayce murmured, caressing your lips with his strong, calloused fingers.

"Flatterer," you reply with a more elaborate smile, your eyes still wet, but now with a different shine, one that reflects the spark of hope he’s ignited in you.

"I’m just stating facts. I’m a scientist, honey, so I can tell you that, from my perspective, it’s scientifically proven that you’re gorgeous," he commented wryly, a wit that made you laugh.

Jayce smiled and kissed your forehead, holding you firmly in his arms. Finally, you feel like you can breathe, like air is filling your lungs again without that constant weight on your chest.

Ekko Attention Deficit Hyperactivity Disorder (ADHD)

The room is silent except for the soft hum of music playing in the background, but your mind cannot stop racing. Your thoughts scatter like arrows shot in every direction. You try to focus on something, anything, but it feels as though your brain is in a constant battle between the ideas that come and go. The light from the lamp flickers irregularly, and for a moment, you wonder if the bulb is about to explode. This makes no sense, you know that, but the unease lingers.

You quickly get up from the bed, taking a misstep, tripping over a chair you hadn’t seen, barely avoiding it. Your heart races. Everything is a series of chaotic jumps in your head, an endless torrent of thoughts that can’t follow a single path. You look at the desk, with papers scattered about—unfinished projects, ideas you can’t ground. Everything calls to you, but you can’t focus on anything.

Your hands tremble slightly as you grab the pen and begin to write down an idea that came to you, but before you finish the sentence, a new image flashes in your mind. You stop, leaving the pen on the desk and staring out the window. Something about the glow of the stars makes you think of something else. You can’t concentrate. Everything distracts you, even the small noises you used to never notice. It’s so annoying.

Suddenly, you feel the stress begin to accumulate in your shoulders. It’s not just the lack of concentration; it’s the sense of constantly running toward something without ever arriving. You try to finish a task, but more and more thoughts pile up, projects, things that need doing. Everything seems urgent, and nothing seems possible to complete. Anxiety settles in your chest.

You’re about to get up again when you hear the sound of the door opening behind you. Ekko enters the room, his calming presence is the only thing that makes you stop for a moment. He watches you in silence for a few seconds, noticing the frenzy of your movements. You hadn’t realized, but your breathing is irregular, and you’ve gotten up twice without purpose. Something isn’t right.

He watches you quietly, understanding the internal struggle you’re facing. He knows what this means, what it costs you every day.

“What’s going on? Why are you so worked up?” he asks, his voice soft but with enough authority to make you stop and listen.

Your eyes focus on a fixed point, but you can’t find the words to explain what you’re feeling. You don’t know how to put into words what’s happening. It’s like you’re trapped in a cycle of thoughts that never stop.

“My mind... it doesn’t stop moving,” you finally manage to say, almost in a whisper. “Every time I try to do something, it’s like something else distracts me. Nothing stays. Everything slips away.”

Ekko watches you silently for a moment, understanding the fight you’re facing. He knows exactly what this feels like.

“I get it, babe,” he responds, his tone firm but gentle. “I know your mind’s all over the place right now, but I promise we can do this one step at a time. We’ll focus on one thing at a time, no pressure. Sound good?”

The fact that Ekko is offering to be there, without judgment, brings you relief. You know that the impulsiveness you feel, the urge to move without a plan, is something that consumes you. Your mind jumps from one thought to another, and each of those thoughts feels like an urgent need, an immediate necessity. But at the same time, nothing makes sense. Everything is scattered and out of control.

“It’s just that...” your words fade into the air, unable to be completed. You feel trapped in your own body, in your own brain. You can’t stop, but you can’t move forward either.

Ekko gently places a hand on your shoulder, his touch calming. “How can we start?” he asks sincerely, not rushing you. “Tell me what you need.”

For a moment, everything seems to stop. The flood of thoughts quiets down, and for the first time in a long while, you can think clearly, even if it’s just for an instant. It’s not about having everything figured out right away; it’s about feeling that someone is there, willing to stand by you while you navigate through the mental whirlwind.

“I just... I don’t know how to do it without jumping from one thing to another,” you murmur, frustration and shame creeping into your voice. “I feel like everything’s overwhelming, and I can’t focus on anything.”

“We’ll take it slow,” Ekko replies, his tone calm and direct. “First, breathe. The first step is to breathe, and then we can start with just one thing. The rest can wait.”

You close your eyes for a moment and follow his words. You breathe deeply, slowly, trying to find the balance that always seems so hard to reach. Ekko is there, not rushing you, waiting for your mind to settle. With his help, little by little, you manage to focus on one small task, one that’s manageable enough not to overwhelm you. It’s just one step, but it’s a step toward calm.

“You don’t have to do it all right now,” Ekko says softly. “What matters is that you’re not alone in this. We’ll go step by step.”

You feel the knot in your stomach loosening, even though there’s still much to do. But at this moment, with him by your side, you realize that maybe, just maybe, you can find a way toward a little peace.

After hours of work and soft laughter, you’re sitting on the floor, with Ekko beside you, both looking at the pieces left to place in a puzzle. It’s almost complete, the pieces fitting perfectly, and though the hours have flown by, you feel lighter, the atmosphere quieter.

“One more,” Ekko says with a smile, holding up a piece in the air. He passes it to you, and together, you place it in its spot, completing the picture. The puzzle is done, and though it’s a small accomplishment, it feels more meaningful than it seems. Not just because of what you’ve completed, but because you’ve managed to feel centered, accompanied.

When you look at the drawing you had left unfinished, now finally complete, you feel a deep sense of satisfaction. Ekko helped bring to life the image that only existed in your mind, his hands working alongside yours, following every line with care.

“You did it,” Ekko says, his eyes shining with pride. “My girl is incredible.” He pulled you into his lap and kissed your forehead.

You look at him, your heart beating a little faster. The fatigue of the afternoon washes over you, but you don’t care. All that matters is that he’s here, by your side, and that, for once, you feel at peace. The air feels lighter, as if the space between you two has been reduced, softened by the stillness of the moment.

“Thank you,” you murmur, your words barely a whisper, but full of gratitude.

Ekko turns toward you, his expression softening. “Don’t thank me. Thank yourself. You’re the one who made it happen, not me.”

The way he looks at you, the way his presence has become part of your space, makes you smile. And, in a moment of impulse, without thinking too much about it, you move a little closer. He seems to understand it instantly, and before you can second-guess yourself, his lips brush against yours. It’s a soft kiss, no rush, no urgency, just a moment where words aren’t needed.

When you pull away, both of you stay there, looking at each other, the air between you charged with something that doesn’t need to be named. Ekko smiles, his eyes sparkling with that glint that makes you feel as though everything is right, as if the world, for a moment, is in its place.

“Everything’s okay now,” Ekko says softly, filling you with calm.

And in that instant, you believe him.

Silco Borderline Personality Disorder (BPD)

The air in Silco's office is thick with tension, as always. The sound of the bustling city echoes through the glass windows, but inside, everything is still, almost as rigid as the gaze Silco fixes on you. You're sitting across from him, feeling a familiar dizziness, as if everything is out of control and, at the same time, you're trapped in an empty space. A mix of confusion and anxiety courses through every fiber of your being.

Your hands tremble slightly, and although you try to control your breathing, each inhalation seems to sink you further into the internal chaos. The voices in your head blend together, demanding answers, claiming something you can't give. Silco watches you calmly, but it's a cold, calculated calm, as if everything that's going on inside you is a game he knows how to play.

You feel the emptiness consuming you, and yet an unbearable pressure weighs on your chest. Your mind betrays you, throwing destructive thoughts at you, telling you you're worthless, that everything you do is doomed to fail. The contradiction is overwhelming: on one hand, you feel lost, and on the other, you refuse to give in to the feeling of helplessness.

"Are you alright?" Silco asks, his voice low and steady, but there's a slight intensity in his tone. He doesn't break eye contact, as if he's evaluating every micro-expression on your face, every movement. He knows you're not, but still, he asks. Is it a test? A need to know how far you can go? The silence stretches on, and your thoughts only intensify.

The urge to stand up and run from it all is strong. Everything in you screams to follow your impulses, to escape, to flee from the overwhelming weight of it all. But you stay there, because something in you knows that running will only plunge you deeper into the darkness you're feeling inside. You see yourself fighting, trying to maintain control, but every second makes you feel more lost.

"I'm sorry... I don't know what's happening to me," you whisper, your voice broken, struggling against the avalanche of emotions threatening to drown you. You feel the tears pressing behind your eyes, but you force yourself to keep composure. "It's just... it's all so intense. So confusing."

Silco keeps watching you in silence. There's no judgment in his gaze, only a calculated assessment, as if he's reading between the lines of your suffering. After a long moment, he sighs and stands up from his chair, approaching you slowly. It's not a sudden gesture, but calm, as if he's used to dealing with people who struggle with their own minds. He says nothing, but his presence is the only thing anchoring you in this moment.

With one hand, he takes yours. The contact is firm, but not aggressive, as if he's giving you space to breathe, but also space to not escape. In his eyes, something changes. There's an understanding that you can't fully decipher, but it fills you with a strange sensation, like, for the first time in a long time, you're not alone in the storm raging inside you.

"Your mind is betraying you," Silco says calmly, his voice soft but full of an authority that makes you feel that everything happening has a purpose. "It's an enemy that everyone must face at some point. But you don't have to face it alone."

The words fall on you like a stone, but strangely, they allow you to relax, even if only for a moment. The internal chaos you've always felt halts for an instant. And in that silence, you're finally able to breathe.

"All of this... this emptiness, the feeling that nothing matters, it's not your fault," Silco continues, his tone firm, though not without a strange gentleness. "It's just a phase, a moment that will pass. But you need to control it. Not let it take over you."

You feel vulnerable, but at the same time, a part of you relaxes in his closeness. Silco doesn't tell you that it's okay, nor does he promise easy solutions. He speaks to you with reality, with that harshness that you know comes from someone who understands suffering, but who doesn't have time to sugarcoat the truth.

"What you're feeling is real, but it's also transient. Not everything is as final as you think," he adds, his gaze fixed on yours with intensity. "You can be stronger than this."

The words resonate in your mind as you take a deep breath. You don't know if you fully believe them, but for some reason, in this moment, the darkness feels less imposing. You're not completely free of it, but at least you feel you're not entirely alone. Silco is here, firm and without judgment, waiting for you to take control of your own mind, without expecting you to do it immediately, but giving you the possibility to believe that you'll manage.

The pressure in your chest doesn't disappear completely, but a small crack of calm starts to open within you. And though you know your inner struggles won't end immediately, for the first time in a long while, you don't feel as lost. Silco looks at you one last time, without haste, but with a silent certainty.

"When you're ready, you can get out of this. I'll be here."

You're surprised by how firm his voice sounds, as if, by saying it, he's committed to being a constant presence. And although you don't fully understand how he does it, you realize that, in this moment, his steadiness helps you more than any empty words of comfort.

The world continues around you, but somehow, Silco has given you the strength to face it.

The silence between you and Silco lingers for a moment, but it's no longer the same silence as before. There's a strange peace, almost comforting, in the way he holds you, in the closeness you now feel between you both. The contact of his hand, firm and steady, gives you an anchor amidst the storm that still rages inside you.

A sigh escapes your lips without you noticing, and for a moment, it's not one of despair, but of relief. Silco, still keeping his gaze fixed on you, takes one more step closer. It's not a quick or rushed step, but a calculated one, as if he's sure that, in this moment, the only thing you need is that closeness, that calm presence.

Without saying anything, his fingers gently caress your cheek, a soft gesture that cuts through you. There's a tenderness in his movements that you hadn't anticipated, something that seems in complete contradiction with the person you know, but that, in this moment, comforts you more than any words. You feel vulnerable, but you don't fear it, not now.

Your breathing gradually calms, and Silco, silently, moves a little closer, so close that you can feel the warmth of his body. The space between you is almost nonexistent now, and you can feel his breath in rhythm with yours. There's something in his presence that soothes you, that gives you the feeling that everything will be okay, even though it still feels hard to believe.

Finally, his lips come close to yours with an unexpected softness. It's not a hasty or desperate kiss, but something slower, more measured. The brush of his lips against yours is so gentle that it surprises you, as if he's waiting for you to accept it, for you to be ready. And you are. Though your mind is still filled with doubts and fears, something inside you tells you that this is the moment you can allow yourself to be vulnerable, that you can receive something that won't hurt you.

The kiss deepens slowly, and in that instant, the world seems to fade away around you. All that remains is the warmth of his body, the firmness of his arms around you, and the gentle contact of his lips, like a silent promise that, even though the future is uncertain, for a moment, everything is alright.

When you finally pull away, no words are needed. Silco looks at you with an intensity you've never seen before, but in his eyes, there's something more, something you can't describe, something that makes you feel that, despite everything you've been through, you're not alone.

"I told you you were strong," he whispers, his voice deep and soft at the same time.

And for a moment, everything seems enough.

Mel Chronic Stress Disorder

The atmosphere is thick with tension, but it's a different kind of tension. It's a quiet calm, yet at the same time, it is filled with the constant threat of what could happen. You’re there, in one of the rooms of the mansion, sitting on a chair by the window, gazing out at the illuminated city, but unable to really see anything. The world around you seems to blur, as if a layer of fog has settled over your senses, blurring every detail and leaving only the emptiness of your thoughts.

Mel, who has been watching your behavior for the past few minutes, approaches with a palpable gentleness in her movements. Her presence is firm, but not intrusive. From a distance, she’s observed how the symptoms of your chronic stress have taken over you, how anxiety and mental exhaustion have combined to make you feel beyond your limits.

She crouches slightly to be at your level, her eyes fixed on yours, searching for your attention. “I notice you’re not yourself, and I know it’s because the weight of everything has piled up,” she says in a low voice, her tone soft yet firm. “But I want you to listen. You have the right to rest. You don’t have to carry the world, not all the time.”

Despite her words, you feel a pressure in your chest that won’t ease. Everything feels too big, too heavy. Chronic stress consumes you, leaving your thoughts tangled while your body responds with a deep exhaustion that doesn’t seem to go away no matter what you do.

Mel, noticing the internal struggle that consumes you, steps closer and, without warning, places a firm hand on your shoulder. It’s not a gesture of force, but of support. A sign that she’s here, silently, but available to help you find the balance you need.

“Your body is telling you it needs to stop,” she continues, with a softness that’s hard to deny. “Those moments of despair, of exhaustion... they’re real. But you don’t have to go through it alone, no matter how much you think you can.”

The contact of her hand on you, her quiet strength, begins to offer some relief. Even though the weight still lingers, something in you relaxes. It’s as if her words offer you a rope to hold onto, something tangible in the fog that seems to surround your mind.

You lean forward, your fingers briefly touching your forehead as you try to calm the agitation still coursing through you. The stress, that constant pressure in your life, seems unwilling to let go of you, but at least in this moment, with Mel by your side, you can breathe a little more deeply.

“I’ll be here,” Mel whispers, like an unbreakable promise. “If you need to rest, I’ll help you find peace. You don’t have to go on alone.”

For the first time in a long time, you allow yourself to think that, maybe, it��s possible to let go of some of that burden. Mel’s voice, soft yet full of certainty, is a refuge in the midst of the chaos in your mind.

Mel doesn’t expect you to feel guilty for your exhaustion. She doesn’t demand that you change or “overcome” your chronic stress overnight. She only gives you space to feel what you need to feel and to acknowledge that, even though the road may be long, you don’t have to walk it alone.

When your eyes lift and meet hers, there’s something in your gaze that softens. The stress doesn’t vanish immediately, but the simple fact that someone understands you, that someone is staying with you without judging, gives you something you didn’t have before: the possibility of healing.

The silence between you both is comfortable. It’s a silence of acceptance and understanding. And as Mel remains by your side, her presence becomes something that offers comfort, not an immediate solution, but a step toward the calm you so desperately need.

After a long silence, Mel slowly approaches you, and her eyes, filled with softness and understanding, capture you. She takes your hand, with a delicacy that makes you feel lighter, as if the weight of your mind could lessen just with that contact.

“You know, right?” she whispers, her voice gentle but firm. “I’ve seen you fight, and still, you’re here, being so incredible. And to me, that’s what really matters. Not everything you’ve been through, but who you are now.”

The sparkle in her eyes makes you blush slightly, and your heart beats a little faster.

“Mel...” you whisper, barely able to find the words, feeling your nerves breaking. “I don’t know what I’d do without you…”

She smiles, moving closer. “I’m here, for whatever you need, for anything, always.”

Without saying another word, Mel gently caresses your cheek, as if every movement is a silent promise. Then, you see her lean in toward you, her face so close to yours that you can feel the brush of her breath.

“You’re my refuge, you know that, right?” Mel says, with sincerity that runs deep within you.

And without another word, her lips find yours, in a tender, almost urgent kiss, as if she wanted to convey everything she couldn’t with words. When she pulls away, her eyes shine with an unmistakable softness.

“I love you, with all my being. And that won’t change.”

You shiver slightly at her words, but instead of insecurity, you find comfort. Her eyes transmit calm to you, and for the first time, you realize that she’s willing to be the peace you so need.

Sevika Bipolar Disorder

The darkness surrounds you, but it’s not physical darkness; it’s something denser, creeping through every corner of your mind. It’s one of those days. You don’t know for sure, but you feel it deep in your gut: something has changed. There’s a void in your chest that you don’t know how to fill, and a sensation in your stomach that twists you up. You’ve been through this before. The bipolar disorder drags you, takes you as its own without warning, pushing you from one extreme to the other in a matter of hours, minutes.

You wake up feeling the weight of sadness, a sadness that feels physical, sinking you into the mattress as if the sheets were lead. You don’t want to move, think, or do anything. You just feel empty, as if all your strength has evaporated. The room seems smaller, the walls pressing in on you. Your legs don’t respond when you try to get up. A knot forms in your throat, but the tears won’t come. There’s no energy for that, just the weight of despair.

You don’t see her enter. Her presence is silent, but solid. Sevika knows something is wrong, she feels it even before you tell her. When you look at her, her expression doesn’t change, but there’s something in her eyes that makes you feel that the situation is serious. There’s no surprise, no fear, just a cold, calculating understanding. Sevika isn’t one to lose her calm easily. And that makes you even more confused, making you feel like you don’t belong in that moment, like you’re not the person she expects to see.

“What’s going on?” she asks, not softening anything. The question isn’t condescending, nor filled with concern. It’s direct, almost harsh, she doesn’t beat around the bush. She knows that, when you’re like this, empty words don’t help.

You struggle to form a response. You can’t, really. Your thoughts are tangled in an incomprehensible chaos. But she doesn’t expect you to explain anything. Sevika approaches, sits on the edge of the bed. Her gaze never leaves you, as if she’s evaluating your soul, searching for a point of vulnerability, a sign of what to do next. She has the ability to see beyond your emotions, beyond the depression that consumes you and the anxiety that makes you tremble. She knows that right now there’s nothing rational in your mind, but understanding is her only response. Patience mixes with a slight touch of toughness, as she always does with things she can’t control.

“You’re staying here. You’re not going to do anything impulsive. You’re not going to try to run out of here or make this worse,” she says with a calm coldness that leaves no room for objection. You know that, in this moment, she’s the only voice of reason you can hear.

You’re aware that Sevika is used to dealing with extreme situations, but this one is different. She watches you closely, but from a distance, as if she’s weighing the damage, calculating what she can do to keep you safe. You don’t see fear in her, but you see resolve. She doesn’t switch into “rescuer mode,” she doesn’t try to hug you or tell you that everything will be fine. What she says, she says with authority because she knows that if she gives in, chaos will take control, and everything she’s worked to keep stable will fall apart.

In the internal struggle between your broken mind and the anger that begins to build up inside of you, Sevika is the rock that keeps you from diving into the void. But she also knows she can’t ignore your emotions. Her expression hardens slightly when she realizes there’s something more going on. “I’m telling you this because you know it, not because I need to explain it to you,” she whispers, making it clear that there’s no room for games.

When you finally speak, it’s in whispers, as if your words have weight and could break you. “I don’t know what’s happening to me. I’m... I’m so tired of this constant back and forth. I can’t handle it.”

Sevika doesn’t change her posture. She doesn’t tell you that she’s going to “fix” you, nor does she try to cure you. She knows that what you have doesn’t have an easy fix, but she does have tools to deal with the situation. “You don’t need to fix anything right now. You need to rest. Let what’s going to happen, happen, but don’t make decisions you’ll regret later. Do you understand me?” her voice is firm, but underneath there’s something else, a touch of softness she rarely shows.

The air in the room is heavy, laden with the weight of your thoughts, like a fog that prevents you from seeing beyond. Sevika is there, watching you with the same intensity as always, but with an odd calm, a calm that scares you because it makes you feel like she sees it all: the chaos consuming you, the internal battle between despair and rage.

“I don’t want this to control me. I don’t want to be like this,” you murmur, the words coming out broken. You know you’re saying it more to yourself than to her, but still, the guilt pierces your chest like invisible needles. You feel like you’re not being who she expects.

Sevika stays silent for a moment, her gaze fixed on you. There’s something in her face, a line of tension in her jaw, as if she’s weighing every word before speaking. Finally, she gets a little closer, breaking the distance between your bodies.

“It’s not about what you expect from yourself. It’s about what you need right now. And what you need right now is rest, stop fighting against something you can’t control.”

Your eyes search hers, those eyes that always seem to understand more than you can verbalize. And, somehow, you feel that there’s no judgment in them, just a silent acceptance of what you’re going through. It’s strange. In the middle of the storm in your mind, Sevika gives you the feeling of being the only anchor left in your world.

Suddenly, she stretches out a hand toward you, not rushing, not in a hurry, but with the firmness that characterizes her. You take it without thinking, as if it’s the only thing that can stop the flood of erratic thoughts flooding your mind. Her touch is warm, comforting. There’s a strength in that simple gesture, something that allows you to relax, even if just for a second.

“I’m going to take care of you, understand?” she whispers, her voice low, barely a breath. There are no empty promises in her words, just a statement of fact. But in her tone, you find a softness that she rarely shows. It’s like, for a brief moment, her heart opens a little more, even if she doesn’t fully recognize it.

The moment stretches on, and even though the storm in your mind hasn’t ceased, there’s something in you that feels a little lighter. Sevika doesn’t have the solution to your pain, but her presence, her closeness, gives you a peace you never even imagined.

Without thinking, you move a little closer to her, seeking that warmth. Her fingers interlace with yours, and for the first time all day, you don’t feel completely broken. Sevika has never promised you a happy ending, but in this moment, you don’t need one. The simple fact of being here, of having her close, gives you a reason to keep going, even if just for a little while longer.

“I love you,” you say without thinking, and the words come out with a clarity that surprises you. It’s not a grand declaration, it’s not a promise that everything will be okay, but it’s something real, something you never thought you could say to anyone before.

“I love you too, doll,” she responds with a half-smile, though her eyes seem softer than ever. And, for a second, the world seems to stop. The anxiety, the disorder in your head, dissipate, if only for a brief moment.

She leans in a little toward you, and in that instant, all that matters is the touch of her lips on your forehead, a simple gesture but filled with affection. The silence between you both is comfortable, no pressure, just the comfort of being together, knowing that, even if the world around you falls apart, Sevika will be the one to keep you steady.

[runecatwrites]

Let’s talk about Warriors and Wild

This was another “weird” pairing that came out of the latest update.

You’d think that the two with no dungeon experience should each be paired with someone more experienced, right? Well, Warriors isn’t really thinking about that. He has a different motive for choosing Wild to team up with, and no, it’s not because he’s “mad” at him. The reason actually reveals a lot about both of their characters, and displays a great deal of character growth on Warriors' part specifically.

Deep dive under the cut!

Okay first off, let’s get something out of the way. Just because Warriors and Wild have no traditional dungeon experience, that doesn’t make them ill-equipped. Warriors has tons of combat experience and is demonstrably very intelligent. And Wild? Sure he didn’t have traditional dungeons in BotW, but you know what he did have? Puzzles. A TON of puzzles. That guy can do puzzles in his sleep. I highly doubt that he’s gonna have trouble with dungeon puzzles once he figures out how to approach them (which won’t take long).

All right, now that we have that cleared up, moving on!

From the very beginning, Wars holds great respect for Wild:

Because at the start of the adventure, Warriors doesn't realize just how different he is from the others. He gets put with a bunch of guys who share his name and his spirit, so of course he thinks his experience isn’t unique. They’re all just like him, right?

Okay, uh, maybe not? But they still can’t be that different, Warriors thinks. Sky is also a knight, and he acts exactly the way Warriors expects a knight to act.

He catches onto plans immediately:

And follows through flawlessly:

It’s not about authority and Sky’s ability to follow orders. It’s about the fact that Sky is on the same page. He went to military school. He has extensive training. He knows what to do and when, with barely any prompting, because he’s been taught to think the same way Warriors thinks. Warriors and Sky work together perfectly because of this:

But with Wild? Warriors is expecting the exact same thing with Wild, a fellow knight, but what he gets from the Champion is far from what he gets with Sky. This is very unexpected for Warriors. He gives what he thinks is a clear directive:

“Clear out the rest” to Warriors and Sky means “get rid of all the little guys so we can focus on the big guy.” Solid strategy. But Wild does not interpret this the same way, because he does not remember his military training and therefore any of the strategy he was taught. “Clear out the rest” just means get rid of everyone to him. And he decides to eliminate the biggest threat first. It’s important to note here that he’s not “defying orders” because his emotions are getting the better of him, or even because he thinks he shouldn't have been given orders. The way he sees it, he is following orders. Warriors said “clear out the rest.” And that’s what Wild’s helping to do. But then afterwards? Warriors is angry!

The plan? What plan? There was no plan! The goal was just to get rid of everyone! Why does it matter if Wild took out the big guy before the little guys?

It’s at this point that Wild realizes he’s done something wrong, but he doesn’t know what he’s done wrong. (Any other neurodivergent folks here? If so, yeah, you know how this feels. I know I do.)

It’s clear through subsequent interactions that Wild genuinely does not understand what the problem is:

He thought he made the right move, but others don’t seem to think so. He’s already emotional, and this is just adding more fuel to the fire. He snaps, starts a fight with Four, and runs off still feeling confused.

Meanwhile, Warriors is also confused. Why didn’t Wild act the way Warriors thought he would? He’s a knight, right? Why did he do what he did, and how did he not understand that his choice of strategy was incorrect after?

And it’s not just Wild that Warriors failed to read correctly; the others are clashing with him too. Case in point, Twilight’s refusal to hang back after being injured:

In the aftermath of the battle, it’s at this point that Warriors makes a realization: he’s the one who made a mistake. He had preconceived expectations of people, and that ended up majorly backfiring on him.

Warriors knows that he can't be a good teammate - and a good leader - if he doesn't understand where his companions are coming from. Again, it's not about authority, it's about being on the same page. Ever since, he has been trying to seek better understanding. Maybe Wild doesn't feel comfortable taking orders from Warriors, and only listens to those he knows well?

But Twilight said, "No he doesn't." Huh. Okay. Well, maybe Warriors can try to get inside Wild's head? Let's try some bantering! These guys love to banter!

Oops. Fumble. That didn't go well. But hey, at least Wild seems to have figured out what he did wrong!

That's a step in the right direction! Okay, they're getting somewhere, Warriors thinks.

But Wild is really down on himself. He now realizes that he misinterpreted a directive that he should have understood. And thinks that Warriors thinks he's stupid, and hates him. (Again, where my neurodivergent peeps at? Yeah. That feeling.)

Meanwhile, things are becoming clearer to Warriors. Not only does he realize that he shouldn't have viewed his teammates through his own preconceived notions, but for the first time, he also realizes just how different his experience was from everyone else's:

He realizes he's got a LOT of learning to do. His discordance with Wild is proof of that. But Wild has never been in a dungeon either. Maybe this is their chance to connect? Warriors tries once again to get inside Wild's head. Maybe he can try to understand why Wild isn't approaching this dungeon the way Warriors would:

Aaaaand Wild froze up. Dang it. Warriors isn't getting anything. He really needs to figure out what's going wrong here so they can work together. It's for both of their benefit, and the group's benefit as a whole. They need to get on the same page so that they can not only fight together, but be good friends to each other. And when the opportunity arises to team up one-on-one, Warriors jumps at it! This is the perfect opportunity, he thinks!

But right now? Wild doesn't realize that. He thinks that Warriors is mad at him. Warriors is NOT mad at him. Warriors is trying to learn, to better himself, and to forge a connection.

And I believe that even though it's been a bumpy road, we're going to see some amazing growth between Warriors and Wild in the future.

[asha-mage]

🌶️

The MCU's Spiderman is not a poor execution of Peter Parker's character concept. He's not even poor execution of Miles Morales's character concept.

He is a poor execution of Terry McGinnis's character concept.

Peter Parker and Miles Morales both have so many fundamental pieces to their characters that are just missing for the MCU's Spiderman. Familiar names are floating around him- Aunt May, Mary Jane, Ganke Lee- but the fundamental ideas that make up Peter or Miles arcs just are not there. Themes like Miles's family expectations, Peter's constant money struggles, and the balancing act of doing good vs trying to live your own life are all absent. Even the idea of power and responsibility isn't properly introduced until the THIRD MOVIE when that really should been the central theme from the beginning.

Rather the MCU Spiderman has way more parallels with Terry McGinnis. Both are young hot shot teenagers who end up being taken under the wing of established and experienced hero who is on their way out. Both have complex relationships with their mentor which in a lot of ways serves as the driving force of their character arcs. Both gain high tech suits which enable their heroism. Both are viewed (or at least supposed to be viewed in MCU Peter's case) as heirs to the legacy of this hero.

It falls apart when you get into how they are different. While Uncle Ben is implied to have existed and be dead by the time MCU Peter is introduced in Civil War it's never actually confirmed and never properly comes up. Meanwhile the death of Terry's father is essentially the inciting incident of Batman Beyond: it's what motivates and drives Terry and the murder and it's fallout are the main focus of the first two episodes of Batman Beyond.

What's more MCU Peter's relationship to Tony is grounded in the fact that Tony just shows up one day and essentially taps him to join the Avengers. Bruce by contrast initially tosses Terry out on his ear, and when Terry turns up seeking justice for his father Bruce can't offer him anything but 'go ask the cops for help', and when that goes exactly as poorly as Terry said it would, Terry breaks into the manor steals the Batsuit and goes to stop Powers himself. Terry has active agency in his own choice to be a hero, which helps define his relationship with Bruce and to heroism. While MCU Peter was doing his own superheroics prior to Tony showing up in Civil War (not that he ever does much of that in future movies) his relationship to Tony is defined by Peter's dependence on him and his quest for Tony(/the Avengers)'s approval. And because they don't even bother name drop Uncle Ben or flashback to him, we're left with the impression that the main thing driving MCU Peter is that quest for approval. His motivations are never more complexly explored, and we don't even really see him just running around Queens stopping muggings or car crashes or anything that hints he enjoys or feels the need to actually help people.

And I think that gets into the final and most important difference between the two. Gotham not only needs Batman, it visibly and obviously and terribly needs Batman. Batman Beyond leans into this because decades without a Batman have left Gotham a cyperbunk dystopian hellscape. The city needs someone to stand up to the darkness, to be a symbol of hope, to be aspirational. Terry taking up that mantel means fighting supervillains, yes- but mostly it means doing what the original Batman did. Solving murders, stopping muggings, rescuing people from burning buildings or fighting off street gangs like the Jokerz.

But even in the earliest MCU movies, New York only needs superheroes when the current world ending threat shows up. Otherwise the city is all bright shinny clean streets filled with haplessly content citizens. This is the only reason that Vision's position of 'Our very strength invites challenge' in Civil War makes any sense- because the only purpose of these Superheroes is usually to fight a threat they where somehow responsible for creating. And this problem hits 'friendly neighborhood Spiderman' the hardest because he only has a responsibility to use his great power to solve problems, if their are problems in need of solving. Most of Peter Parker's (and Miles Morales's, Gwen Stacy's, or any other Spiderperson's) day is not fighting alien armies or netherworld gods. It's stopping break ins, rescuing people from car crashes, or dealing with other small scale local threats, that none the less benefit from someone with his abilities to make them better. Either New York in the MCU is an ideal utopian city where the police have everything handled apparently (which ha!) or Peter is apparently not interested in stopping bad things from happening. He spends so much of the first movie basically begging Tony to give him superhero things to do, not realizing that he could go outside and find people that need help on his own.

In conclusion MCU Peter Parker isn't 'regular Peter Parker but not an underdog', or even 'Miles Morales but white'. He's 'Terry McGinnis but without any agency in his own heroism'.

[chitra111goddess]

VEDIC ASTROLOGY NOTES ♡

(Can apply to any planet placement)

⚡️Ashwini women always stand out to me with their creativity especially in acting , they rly know to embody the character they're playing to the fullest even irl it may be easier for them to shift thro different identities or alter-egos just for funsies

⚡️There's smtg about purva phalguni women , they're gorgeous but for some reason I noticed they get hate esp from other women like they're called fake or pick-mes or they make up stories hmm

⚡️Purva ashadha women are so inspiring like they're always the ones to be teaching or preaching or saying smtg inspiring/motivational. They're beauties with soul and a mind of their own ! If u know a purva ashadha better take notes 📝

⚡️Magha women love wearing black and something about their looks or style is unconventional/gothy, it suits them

⚡️Uttara-phalguni women are so headstrong bruh and they have this leadership aura about them, they're gonna do what THEY think is right. Like other sun-ruled nakshatras they easily get attention

⚡️Mrigashira women love the push & pull , cat &mouse game, they either attract this dynamic or they create it themselves. There's also smth about Mrigashira and obsession 👀

⚡️Jyestha women embody the wild feminine archetype imo, when evolved theyre truly empowered and have this idgaf energy. people may be threatened by their power or skills. Their voice or the way the speak is commanding and naturally charismatic

⚡️Swati/ardra and their eyes 👁👁 most captivating eyes imo I'm in luv

⚡️Purva bhadrapada women seem to attract or be drawn to men with dark nature or men who carry trauma ? Or they know how to bring that out in a man

⚡️Dhanishta women love dancing and they appear to be friendly or have many acquaintances but very little people they relate to. Popular girlies

⚡️Rohini women feminine energy is undeniable , something about them feels innocent yet erotic. They just give off this juicy fertile vibee lmao💦 unlike jyestha which is more dry (not in a bad way its just different 💀)

⚡️Anuradha women are secretive as hell even if they tell u shit don't think u have them all figured out. there's so much to unpack with them , they're generally intriguing complex characters

⚡️Most bratty nakshatras are mrigashira and chitra lmao

⚡️Revati women are pretty privilege girlies also they're master manipulators 👀 they know how to use their femininity to get what they want

⚡️Pushya women have big MOMMY energy. they seem/look mature. They're either the ones taking care of others or others take care of them

⚡️Uttara bhadrapada women have dualistic nature they're either the sweetest ppl u know or ur worst nightmare depending on who theyre dealing with 💀they're like a mirror projecting and reflecting back ur inner self back at ya (Pisces energy) also don't forget the karmic saturn influence.. u don't wanna mess w them or any other saturn ruled woman

⚡️Viahaka women go through intense ups and downs , starting from their good girl phase then they snap and go wild then they mature/become spiritual

⚡️Chitra women secretly (or not so secretly) enjoy drama , they're either the ones caught up in it or they play the role of the "judge" where they can solve conflicts between others. Somehow they're surrounded by it.

⚡️Don't underestimate krittika women especially when it comes to survival 💀 these women can be dangerous and will stab a bitch if they rly had to (whether its for defending loved ones or them surviving) their symbol is 🔪 after all and taurus/aries gives them that survival instinct

⚡️Ardra women can make great poets/song writers , their creativity and inspiration stems from their own 'tragic' experiences

⚡️Punarvasu women remind me of that quote "home is where the heart is" they always end up coming back to their origins and what they feel in their heart

Lemme know ur thoughts & what I should make next

[picturejasper20]

Steven Universe as a character is someone who has been mischaracterized and flanderized over the years, to the point people who aren't into the fandom or haven't watched the show believe that mischaracterization to be a fact rather that a product that comes from memes and jokes

The truth is that Steven often fights in the series when it is needed, usually by fusing with someone else like Connie or Amethyst since he is still developing his powers in the original series. He doesn't cry when he has to fight back or defend himself, with exception if the person attacking is someone he considers a friend. Because, yes, for a 14-15 old teenager it isn't fun having to do something like that and it can be traumatic.

He also doesn't start to cry the moment someone refuses to change their mind or is being mean. He often isn't afraid to be sarcastic or call that person out. He didn't cry when Aquamarine mocked him in ¨Stuck Together¨ nor when Jasper didn't apologize for poofing Amethyst in ¨Crack the Whip¨

However, what we see is sometimes him blaming himself for not being able to help people that, more often than not, have been hurt by Rose Quartz, his mother, in some way. After Season 3, Steven fears a lot that he is going to become like Rose and he is going to hurt people the way like she did.

In general Steven deals with an Atlas complex in the show. He feels like he has to fix his mother mistakes and deal with ¨what she left behind¨ even when Rose wanted for him to be his own person as seen in the tape she left for him as it was revealed in the episode ¨Lion 4: The Alternate Ending¨.

Steven also defines his identity a lot for being to help other people and fix their problems. He believes that he has to be ¨useful¨ for others. So when he believes that he failed to help someone, that may lead him to think that he isn't living up to his ¨purpose¨ or that he is a failure as a person.

In reality, he isn't that much different from other hero protagonists from other animated shows. Those who are kind and emphatic and willing to listen to other people and give them a second chance if the person changes their ways. You probably like an animated show that has a protagonist like this. (Who was probably taken inspiration from Steven if the series came out after SU).

The main difference, i think, is that Steven goes a bit more than those protagonists do when it comes to listening to other people, understand their motivations and give them another chance if they regret their actions. A lot has to do with how he is aware that his enemies (usually gems) act the way the do because of the system they were born into rather ¨they are evil just because¨. He gets that their motivations come from the system that hurt them or lead them to believe that their actions are justified.

Another common mischaracterization is that Steven becomes super buddies with every person he helps...when this isn't always the case. There are some occasions that Steven shows discomfort around people who he has given a second chance. Just because he gives them a second chance doesn't mean that he immediately considers them close friends, maybe allies at best.

A good example of this is the gif above of Steven's interactions with White Diamond in ¨Homeworld Bound¨. White Diamond touches Steven very close to where his gem is- which makes Steven distressed since in his battle again White, she ripped his gem out to prove that Pink was still ¨alive¨. In most of the episode Steven shows to be very uncomfortable around the Diamonds and Spinel, to some extent. They bring him bad memories, which is the main reason he has been doing everything to avoid going to them to ask for their help until this point in Steven Universe Future. He even almost accidentally hurts White's gem by smashing her head against a pillar when she lets him control her to talk to himself. This being result of a intrusive ¨vengeful¨ thought.

I wouldn't say that Steven hates the Diamonds,but- he doesn't want to be their friend neither and wants to avoid in general because he feels nervous and bad around them. It's something like ¨I'm glad that you are changing but i don't want to be associated with you. Please, i would appreciate if you kept your distance from me.¨ dynamic.

On last point, Steven is someone who usually pushes his feelings down in certain situations and buries them down, which has led him to have strong emotional outbursts in bad moments. He usually prefers to ignore his own problems and take priority on others. Again, this comes a lot from his desire to be useful and be needed, making him trying to ignore how he feels about certain people and pretend that he is doing fine.

This explains why we don't see him lash out that much to others in the original series, and, why he feels so frustrated and angry in Future, since all that anger and negative feelings can't no longer be ignored as they used to and they are having a negative impact in Steven's mental health. This, of course, isn't meant to be seen is a healthy coping mechanism. It is in fact potrayed as something pretty self-destructive for Steven, as a huge flaw of his, that over time he comes to learn that it isn't the best way for him to deal with his problems.

These are some of the most common misconceptions i have seen about Steven's character online. I could go in more depth with some of them but i think the points should be clear enough. This could be considered a general analysis of how Steven is as a character and how he operates, leaving aside more specific things that can be covered in other posts.

[longing-for-rain]

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

[helluvathings]

Satan and the Nature of the Deadly Sins

First note: Viv has confirmed that Satan is lying.

But I do have thoughts on where the lie here is, and what's being said or implied about the Sins. Because even accounting for the falsehood, I actually think this does strongly hint that the Sins aren't angels, and have been part of Hell from the start: presumably created when Eve ate the apple and humans gained free will, leading to sin, implicitly leading to "the Sins."

Note, Satan talks about an endless dark, "long before" Lucifer fell. He's making himself out to be a primordial entity that preexisted Lucifer and Hell's current system by a substantial margin. As if way, way back when, Satan was "in charge." If the Hazbin creation story is accurate, Hell existed without Lucifer for the duration of time it took him to be banished. We don't know how long this was, but presumably it wasn't that much time.

We also have Ozzie saying he knew Mammon "from the start of Hell." I've seen people theorize that this can fit the fallen angel theory, and he's referring to how they all met when Lucifer rebelled, but there's been so little indication that there was a big rebellion in heaven previously—as opposed to Lucifer getting kicked out for the sole act of the apple/trying to institute change as an individual—that there doesn't seem to be much evidence for additional angels having been punished. (In Hazbin, Sera warns Emily she might end up like Lucifer, citing him as an individual). It'd also be an awkward way to phrase it (something like "from before our Fall" would work better in that case). Ozzie's words in 2x07 imply, I'd argue, a common origin point, and that he and Mammon began at the same time in the same place. Which fits the Hazbin story (Eve -> apple -> free will -> sin/Hell -> Sins). It even matches with Bee saying Satan is like a brother. Common origin, but not technically related.

In which case, there possibly was endless darkness like Satan mentioned. But also, likely not much to rule, or much time for Satan to do so before Lucifer fell, when Lilith took over and structured Hell into what it is today. Given there would've been confusion and a lack of order, it likely would've been chaotic and undeveloped (Lilith being the as-of-now-canonical reason things shaped up). Satan, implied as the strongest, maybe would've scrounged up a semblance of power, but a) not for long, and b) not over anything substantial. Hence, this look from Ozzie and Bee:

But what really stands out to me is the way Satan refers to Lucifer, and the way Lucifer is separated out from the other Sins on the whole. Calling him "the golden angel" and referring to "his fall" as a distinct event separate from Satan himself does make it seem like Lucifer was something foreign that came crashing in. Note how Lucifer still looks like his angelic self. Notably, the very distinctive angel's wings none of the other Sins possess. Being a fallen angel is a massive part of his character, his motivations, his actions and beliefs. It dyes every part of who he is. On the door to the courtroom, Lucifer's angelic wings and nature are dominant in his symbol's design, and he's placed above the other Sins, whose designs revolve around their sin, or prominent physical features.

It could be argued that the others got over the Fall better, or were different classes of angels (so look different after being punished). But it's a factor that's so absent from their backstory or characterization that it'd almost undermine Lucifer's struggle to have something that colors his whole existence be totally irrelevant to the other fallen angels. I get the impression more so that Lucifer's angelic nature actually stands out, and might be one reason he feels so isolated, especially after his divorce. If he had six people who'd gone through the same trauma, he'd have something. If he's instead forced to brush elbows with and work alongside six demons that symbolize his ultimate failure, and who resulted directly from his actions with the apple, that's more complicated. Again, Satan calling him "the golden angel" makes it see like he's separating angels as something other. And "the angel's fall" is another separation. Satan lying about that part doesn't serve much purpose; if anything, if he was a fallen angel too, he could assert himself as the one who stepped up while Lucifer crashed and burned.

Instead, Satan attempts to distinguish himself from Lucifer in this entirely different way, by framing himself as something far, far more deeply rooted in Hell, older and better. It's not just an 'I'm the strongest' bluff, but there's an attempt to establish himself as the one who's always been here. And I'm thinking, when Viv says Lucifer has always been "first," she means in terms of hierarchy. Where it leaves room for the Sins to have been created as part of Hell, but Satan's lie comes from asserting the "a long time" and that he'd ever been in charge. It feels more natural to assume that Satan is doubling down and exaggerating his past authority, but not lying about his origin.

Final note: it is canon that Lucifer inadvertently created Hell, and was thrown into the pit he created. Also, confirmed that Ozzie has known Mammon since the "start of Hell." While there's a chance Ozzie is using hyperbole: it's framed like Hell was, in some form, around at least a short time before Lucifer showed up. And that Ozzie and Mammon were present. Unless there are wordplay shenanigans involved, discounting Satan's words to the extent it butts against that established timeline is probably throwing the baby out with the bathwater.

Summing it up: I've seen a few reactions to Viv's post about Satan implying that it doesn't make sense with previous lore or that things aren't adding up, but I think that view overestimates how much of what Satan is saying is actually false. He's bullshitting being a primordial god-like power for sure, which fits Ozzie and Bee rolling their eyes. I think if he was lying about the whole creation story altogether, they'd have been less 'shut up, wtf,' and more visibly confused. Of course future episodes could disprove all of this, but my impression is that the way Satan referred to Lucifer and his presence in Hell actually solidifies that he (and the others) aren't fallen angels, and his "for a long time before" thing being untrue is actually a mark in favor of the Hazbin creation story being at least mostly canonical (since it wasn't a long time; he probably had like two weeks to try flexing), as opposed to proof against it.

Also maybe sets up Satan having a quiet rivalry with Lucifer or at least pushing his authority? I think it might be very relevant that Satan goes the route of I've always been here when he's trying to set himself above and apart, and that he points out Lucifer falling in as an outsider. That might just be speculation, but that framing feels intentional.

[vi-arcanes-left-biceps]

So... I wanted to write about the Caitlyn hate train because it's flooding my twt.

First I'd like to start by saying that you're entitled to dislike a character. Arcane is a work of art, but it's also just cartoons -whatever, just hate the cartoon character. I don't even like Caitlyn that much, mostly I find her arc very compelling.

But. The amount of hate and the shape it takes, for me, is very clearly influenced by a few factors.

With Caitlyn I feel like half of the folks are just regurgitating discourse they read before and try to earn internet morality/politics points while very much forgetting to touch grass. There is no"I don't like her", there is a sense of rightgeousness in disliking her that doesn't make much sense. "She's literally Hitler!" Please think. There are real life fascists and nazis over here. This is a cartoon who's the bad guy for like four and a half episodes.

There are interesting conversations to have about how Caitlyn's actions mirror real life oppression, as many also point out as a reason to hate her. It's fair that you dislike her those actions, to be honest. But 1) stories are not made to be morally perfect but to explore themes and emotions -characters will do bad, even evil things; 2) critical consumption of media exists; 3) using political language to hate on a fictional character with no real political critique/analysis behind makes me think you don't really believe that much what you're saying & you just want to use buzzwords you learned on the internet.

Takes like this are tinted with some sort of attempt to a moral high ground for disliking a fictional character for political reasons, while simultaneously refusing to understand the narrative of the character and think critically about what it is trying to say about real world politics.

To analyse a story you have to engage with it. See what it wants to tell you. See how it does it. See how it fails. You can dislike Caitlyn and tbh disliking her because of her role in the story is more than fair. But that doesn't equal media analysis. And I'm sorry but not liking a character doesn't make you more politically committed than the rest.

There are so many interesting things to say about Arcane's flawed portrayal of politics. How it uses the aesthetics of oppression to tell a story without deeply analysing the oppression itself within the narrative, how the context in which it was created and the beliefs held by its authors afect the portrayal of themes... Among all these, "Caitlyn is evil and irredeemable because we saw a montage of her and Vi doing police violence" is a very superficial take. Please, please, pleeease analyse those montages frame by frame and discuss how they showcase police violence, what bias they have, what purpose it serves. Analyse how it takes from real life events in a way that is insensitive. I'd love it sooo much to see posts like this.

On the other side, I've seen people say both that say Caitlyn is evil because of the acts she commits and then say that Silco is a revolutionaire. What? Silco WAS a revolutionaire, and he still had a motivation to make Zaun free, but his motivations do not match his actions and that's pretty obvious. "Sometimes revolution requires violent resistance" = "Silco is a revolution hero" showcases a very shallow level understanding of the first phrase there. Silco flooded the streets of Zaun with drugs. The Firelights were born out of willingness to defend zaunites from Silco and Jinx. Silco did not do violent resistance against Piltover, not since the rebellion he had led with Vander. He tried to invent shimmer as a weapon to fight again and the only thing he managed is to make many people misserable and dependent on it -and he didn't care. His character and his actions are quite more complicated than "he's doing everything for revolution"; but again, another character reduced to a catchphrase that fails to actually engage with his story. Only difference between these people's opinions on Silco and Caitlyn is that Silco's character has the word "revolution" near in the script and Caitlyn's script includes "cop".

Another thing is, why hate Caitlyn so much and not say a single thing about Ambessa? I can think of a few reasons but I'll summarise like this:

1) Not being aware that Ambessa is always the one calling the shots here even if Caitlyn is given the title of Commander. Even though the show is very much making this clear.

2) Because Caitlyn gets a redemption and Ambessa gets "punished" aka is a villain and dies. As if humans where not more complex than good and evil.

3) Caitlyn's more popular than Ambessa I guess? It's always more fun to hate on the popular character. Also she's a main character so she'd obviously get more more attention.

3) Some people just want women to be perfectly moral all the time, and in wlw relationships even more. I didn't want to bring up fandom misoginy & lesbophobia but I can tell if it was Jayce having her narrative and redemption the discourse would be quite different.

Anyway. Acab and long live critical thinking. I guess I just want to say please send some nuanced Caitlyn takes my way because I'd really love to read those.

[valtsv]

i dont think youve posted much about kabru so i was wondering what your thoughts were on him? i feel like you'd enjoy him a lot. and any opinions on labru (laios x kabru)?

i'm a kabumisu guy sorry to disappoint on that front i'm into a different kind of weirdguy yaoi. but as a character i fucking love kabru so much. he's such an incredibly good and realistic portrayal of someone with complex ptsd from an unresolved and violent traumatic event - his hypervigilance particularly stands out as both an asset and a detriment to his character; it drives him to hone his skills of observation and action, but also blinds him to the possibility that people might be capable of being kind or helpful out of the genuine goodness of their hearts with no ulterior motive. he's such a layered character, too; at first he comes across as an experienced but cocky young adventurer, then you wonder if perhaps he's an antagonistic force to laios' party and their goals, and then you realise that he does, in fact, care a great deal about the future of humanity and the safety and wellbeing of others, as much as any of the other big players in the story, and the way he expresses that has simply been shaped by his unique life experiences. kabru is very much the 'team humanity' character, but in a way that isn't eye-rollingly sanctimonious. he's the straight man (in the trope sense of the word) who has the power to influence a great deal of change and good just by being willing to know when to act to ensure those aims prevail, and when to trust someone else's judgement to see it through, which he comes to learn better as his arc and the story progresses. also, i fucking cheered when i realised that the reason he fares so poorly against the monsters of the dungeon is because he's learned how to disarm and kill other people. i LOVE a character who is fundamentally in favour of protecting human life and safety, but who also sees humanity as its own greatest threat to itself.

[smth-intheway]

I haven't seen anyone talk about it, or maybe someone noticed but didn't said anything...

Neil and Charlie are connected, not only by the bonds of friendship but also by their shared symbolism of “death”, which is shown at the very end of the movie/book when their seats were empty. They are both key characters and as those who, despite their differences, are very similar.

Let's start with Neil. We all know that Neil is the one who started the dead poets society in 1959, he is the speaker and the leader of the group, as if leading the boys. He is the first to find the album with Keating's photo in it, the first to learn what the society is (yeah boys were near him), the first to read the official opening speech and assign roles to everyone. Who will read and who won’t. He acts as a confident person, his actions are based on a new feeling and finding freedom from the grip of his father. Everyone noticed how he looked at Keating when he gave his famous speech that every person in this fandom knows?

Yes, you can't help but notice how his eyes shine with hope, that he like a prisoner, will free himself from the shackles and escape from the clutches of his father. By the way, about his dad.

This man plays a very important role in Neil's life, as he does in his, albeit in the most disgusting way. His father sees himself in him only in his youth, he wants to achieve what he could not in the past. He uses Neil to turn back the time and become an ideal version of himself without caring what Neil thinks. Most likely, Mr. Perry was an unsuccessful person and perhaps he did not succeed in many things, proving this with the following phrases: "I sacrificed so much for you to be here" and "you have opportunities that I don’t had” He kind of puts pressure on Neil shoulders to give him false motivation to do things as he said, setting himself as an example, like... if you don’t do as I say, then the worst will happen to you, because I know better than you and I have lived longer than you. His father makes his son a submissive and obedient boy who is obliged to do and act as he is told, simply because he has no choice, because he is inexperienced and "impressionable" in the opinion of his father and he must definitely listen to the one who knows better in order to avoid the worst outcome. Just lower your head and show obedience like everyone else.

By the way, it is interesting that in the book the first description of Neil, and the first words about his appearance sound like this: "The breast pocket of his Welton blazer was covered with a huge cluster of achievement pins." (page 5, ch.1) Ironic, right? Now try to close your eyes and imagine the same student, without imagining Neil. What impression will you have of him? Right.. smart, successful with a brilliant future. This is what people who don’t know Neil see. He has become someone who is held up as an example. A diligent student and an example of behavior. Even the fact that in the book he wears a pillar with the inscription "excellence" as if hanging a label of idealism and perfection on himself. That is why they gave him this sign, so that he would carry it, introducing himself as the personification of that very perfection that teachers want to have in their students. But is that what he needs? Neil did not know what he wanted, he did not allow himself to go beyond what was permitted, always silently and following the rules. Afraid of getting burned like a moth over a fire. He was suppressed by his father, all the time his desires and dreams were rejected and not accepted, because there is a coordinate system and you cannot move against it. I can even assume that his father pressured him if his academic results did not satisfy him, from which Neil tried to prove that he could do better, because he wants his father to be proud of him and love him for being a good son, perhaps Mr. Perry could punish Neil for disobedience, from which the boy began to fear his father like a nightmare. Remember the scene when his father entered the room at the very beginning of the movie after the ceremony? Neil's behavior changed from before to after. With his friends he was happy, self-confident and the life of the party, but when his father showed up on the doorstep all of these traits were washed away and Neil showed his fear and insecurity.

So he hid himself, his dreams, ambitions and desires including emotions in front of his father. Several times in the book, (the movie didn’t showed it) Neil had the outbursts and slightly hysterical release of his emotions he was holding when his father was around. “Neil held the achievement pin in his hand as he spoke. “The bastard!” he shouted suddenly, jabbing his thumb with the metal point of the pin and drawing blood. Todd winced, but Neil just stared at the blood intently. He pulled the pin out and hurled it against the wall.” (Page 19, Chap3)

“Mr. Perry turned and stalked out. Neil stood still for a long time, then, walking to his desk, he started pounding on it, harder and harder until his fists went numb and tears began rolling down his cheeks.” (Page 119, chap11) Neil isn’t an emotionally stable person because his emotions only show when his father is not around. He is mentally weak because he is afraid to speak his mind around someone who will not listen to him. This is important and worth remembering because Neil has no voice around his father, so he did not tell him what he wanted, so he kept silent because he understood and built a mental reflex that his father's stubborn nature would still make him do what Neil does not want. He already knows what his father will say. Rejection. This is his weak point. He is afraid of rejection and does not want to hear it again, because he has heard it so many times ... over and over again. This Neil is very different from the confident guy he shows himself to be in society.

he did not share his feelings/thoughts with anyone, because he most likely not had close friends except Charlie. Because His entire life was planned and controlled by his authoritarian father, from A to Z. His dad would’ve probably not be happy about his son being friends with the “who the hell knows”.

That's why when he heard Keating's words about enjoying the moment, living here and now while this moment is here because one day it won't be. Carpe diem my friend. You need to look at things in the different way and not be afraid of what others think because what matters is what you think. These words entered Neil's thoughts as a basis for changing his situation, to free himself from the shackles and become who he always wanted. Because if not, this moment will never come. He began to think differently and began to go towards his dream that he wanted to acquire so much. Neil was slowly drowning in his ideal world, living freely and hopelessly, but he misunderstood Keating's words, because he had to change his idea of ​​the world and not himself. Neil did not understand that you cannot change the situation you are in, you can only change your idea and vision of it. He wanted to take control, but he forgot that sucking out the bone marrow, you need to do it so as not to choke on the bone. It is interesting that he was the first to come and recreate the Dead poets society and the first to leave, thus killing this society.

His death has a huge influence on the plot as well as on the symbolism itself, because if you look closely, in the book he dies with his crown of flowers as if killing his personality "Puck" through which he embodied the archetype of the deceiver (his father’s deceiver), challenging the established standards of behaviour. The second one is a reference to Jesus that many talk about. So, if you think about it, the crown of branches that he wore is very similar to the one that Jesus had. At first, he looks up, supposedly into the sky, in search of the meaning of life and pondering his decision. He puts on the crown, proclaiming himself his own liberator, just as Jesus was in Christian culture.

He didn't want to depend on his father or the rotten system anymore, Neil thought he would make his own decision outside of his father's wishes. After all, if there is no freedom in life itself, then why should he live?

Then, he lowers his head as if accepting his fate and knowing that he has chosen the right path for himself.

Neil showed obedience to himself and not to someone else which made him one step freer before he got freedom completely. He, like Jesus, accepted himself as a sacrifice in the face of freedom intending to be free even if not for others then for himself. Therefore, it was his own "crucifixion".

It is interesting that he lowers his head just like the boy from that very wall painting.

Okay, but then how does he relate to Charlie? It's simple, Charlie isn't always himself either, and unlike Neil's hidden symbolism, he directly proclaims himself to be another person, namely "Nuwanda". He abandons his boring, past self by forgetting who he was through self-destruction. "I have an announcement. In keeping with the spirit of passionate experimentation of the Dead Poets, I'm giving up the name Charles Dalton. From now on, call me 'Nuwanda.'" (page 89, chap9) In the same way, he added more nuances to his personality, such as his famous phrase "getting red" and when he painted the Indian symbol of virility on his torso supposedly giving himself confidence through the symbol's underlying meaning, which is anchored in the Indian goddess Shiva-Lingam which signifies masculinity, virility and association with fertility due to its sexual significance.

The same goes for the symbols he drew on his cheek, what's interesting is that in the movie he drew it with lipstick using red again, which usually symbolizes power, passion and life, this colour is used to attract attention. But in the book... he literally scrapes dirt off the wall to draw this symbol on his cheek. (What a cheerful boy fr)

Charlie is a time bomb. He constantly has ideas in his head, at first it may seem empty but there really is a lot of things, plus this “dish” is also seasoned with the guy's self-confidence and huge ego. This is proven by the fact that Charlie literally claimed the cave when he entered it and then used it to bring girls, without worrying about the opinions of others. He kind of stands as an example of the opposite of the Welton school value system, and encourages boys not to be afraid to be more confident. In the film, he was the first to support Neil in the idea of ​​creating a club, standing on his side, and also defending him after Cameron's betrayal at the very end, knowing that he is risking his education in Welton, but he is not afraid to take on such responsibility ... well, because why should he be afraid? He already has a future full of money, knowing that his father will force him to work with his business. By the way, about his father.

Unlike Neil, his relationship with his father is controversial and he can fight back with the confidence that he will be forgiven. In the film, his parents are shown in the background.

And in the book we only know his mother. I can assume that Charlie is a child from a rich family who lives as an accessory in the hands of his parents. He, like Neil, is the "pride" of his parents and should be an example, only Charlie does not want to follow the coordinate system and enter it instead he moves against it. Like Neil at the end of his path.

We know that Rebellion is already embedded in any ideology at the time of its creation, and rebels only personify rebellion and do not bring it to the established system of values. After all, there will always be those who are against the established system, moving in the opposite direction and trying to find other conclusions, other ideas that will definitely suit a certain type.

Charlie could become a rebel for two reasons, the first: the search for attention. Unlike the hyper-care of Neil's father over his son, his father could be so bogged down in work that he forgot about his own son, perhaps not even his beloved, because then the marriage would be of convenience. His parents did not give him enough attention, pushing him away, rejecting him. He wanted to be noticed by them so that they would give him love, so he tried to achieve it in every possible way and it became a habit. Or the second option: He was tired of living a pretense. Straightforwardness is always a way out when it’s difficult to explain. Just be simple and do not bother to be complex, so the fear of making a mistake disappears. So Charlie did, because as far back as he could remember, he hated being told how he should behave, how he should talk to guests, how he should smile, how he should take utensils for food, and so on. Charlie was tired of seeing people from high society smiling at each other with such hypocrisy, as if a second ago they had not been in deep judgmental discussion. The world of big business disgusted Charlie, because those people were too worried about how they looked in front of others and they ran after status. Charlie was a prisoner of this every day and he didn't want to be like the others, he wanted to create something of his own in his personality, something that the others didn't have and something that would distinguish them from him, or him from them. So he chose the easy way - rebellion. So Keating's words meant something to him in the sense that he would enjoy the moment of rebelling against the school's rules and building his own system. Charlie could relate to his own approaching "death" if life at Welton was not symbolic but real. That is, his expulsion is an actual death. It could be similar to the phrase that Carpe diem oppose - Memento Mori. Carpe diem, in simple terms, says that death is inevitable, but it is unknown when it will come, and therefore it should not be feared, but instead enjoy the moment, which is what Keating taught his students, but there is also memento mori, which says that death is inevitable, but the moment of its onset can be delayed by behaving, so to speak, you should live “correctly” and act rationally for the benefit of your own life. In other words, memento mori means that everything is in your hands and when you die is determined by how you live. And Carpe diem is about the opposite, that nothing depends on you. And therefore you can and should take everything from life here and now. These two terms are closely related to the understanding of Keating's lessons, so each DPS boy had his own end. Tragic or partly happy. Knox and Todd understood that you can't change this system, but you can change your attitude towards it by finding beauty in things and avoiding death, but Neil and Charlie didn't understand him, wanting to change system and putting their lives on the line, so both of their seats are empty at the end.

If you think about it... Charlie is Neil's desire for suicide. After all, he too is moving towards self-destruction by excluding himself from the system directly through death, while Charlie does it indirectly by going through exclusion.

[raven-at-the-writing-desk]

revisited your new tier-list and had to ask about your dislike for skully. the rest i either saw you talk about or can deduce, but what did the dead boy do?

[Referencing my personal tier list!]

***Please note: these are just my OWN thoughts and opinions! In sharing them, I do not mean to disparage or to invalidate those who think differently than me; please feel however you wish about Skully!***

Listen, Skully's one of those characters I want to like 😅 but I just can't bring myself to...

I found him charming at first, I really did. I thought his whimsical demeanor and politeness were endearing and a nice way of translating Jack Skellington's character into a twisted version of him. I also thought he was very cute when he fanboyed over meeting his idol. Unfortunately, my opinion of Skully quickly went downhill as soon as we started planning for Halloween with the residents of Halloween Town. That's when he starts to exposit his... own beliefs on how Halloween should be celebrated. His ideas by themselves are fine (I actually prefer his version of Halloween, if I'm being completely honest). However, it's how Skully expresses those ideas that completely turned me off. He's so insistent that he get his way and becomes dismissive or defensive with those who don't see his perspective. I cringed every single time he talked down to others for not agreeing with him or for simply pitching different ideas--and while you could argue that the NRC boys were also turning down Skully's ideas, none of them were as rude about it as he was. Some of the boys (like Vil and Jamil) even entertained his ideas for a little while or went out of their way to attempt to console him. But what did Skully do? Continue to sulk and whine. Whenever he asks Yuu for their opinion too, he tries to MANSPLAIN to them to change their opinion if you ever pick the dialogue option where you disagree with him. I often hear people gushing about how it's so sweet and considerate that Skully involves Yuu by asking for their thoughts on X or Y. But when you gauge his reaction to a dissenting dialogue option, he doesn't actually want to hear your honest opinion, he only wants someone to validate his own views. Again, it's okay if Skully wants to observe his own traditions and what he has grown up with, but he shouldn't be going around forcing others to follow him. It's gatekeepy, it's elitist, it's not cute.

You know what else isn't cute? All the tantrums he threw in the event. Like... to a certain extent, I get being emotional and I understand being upset. But to act in the way Skully does????? To shout and cry like a toddler?????? Multiple times??? Over being "betrayed" by your idol? By someone you projected onto and had no idea what they were actually like? Someone you don't even KNOW??? That reads as really parasocial and emotionally obsessive 💦💦 (and if you know anything about me, I'm deeply disturbed by extreme parasocial behaviors). That, paired with his general emotional immaturity, left such a bad taste in my mouth. Yeah, the other NRC students and especially the OB boys act have emotional outbursts too, but those occur far less frequently (unless you’re talking about an outlier, like Riddle, who is also low on my tier list). I don’t know, maybe it’s because I don’t “get” worshipping someone to that extent??? It just seems so… unserious and unhealthy. Skully’s motivation just feels so much weaker than I’d expect of a Halloweenie. It would have helped to know just how bad the bullying he suffeted was (which would justify his intense emotions) or more about why Skully + his hometown adore Jack so much (so we’d better understand why he feels so betrayed or why he wants to emulate Jack so badly).

A lot of what Skully does completely disregards others' autonomy and boundaries. Even the hand-kissing lost its charm after a while because he continued to do it in excess, even when the NRC boys largely expressed disgust + discomfort and TOLD HIM MULTIPLE TIMES to not do it again. Grim even actively dodges an attempted kiss from Skully. Does Skully listen? Absolutely not. Yeah, you could argue this was done for comedy. The thing is, I don't find it funny. I find it invasive and see it as harassment. He wears the title of "gentleman" but cannot be bothered to actually study up on what it means to be one... yet he gets so irritated whenever other characters question his being a "gentleman" 💀

I also didn't find Skully to be that threatening of an antagonist. He just... poisons Jack, pumpkins Grim (without even getting confirmation if Grim even saw anything suspicious in the first place), kidnaps him and Yuu, and... then what? He didn't plan anything out after that and had no solid way of "taking over" Halloween. He's a first-year student who hardly has mastery of his UM and has basic. How was he going to get the residents of Halloween Town to obey him? How was he planning on beating the remaining NRC students? Maybe the point of this event wasn't to have Skully be a major threat--but it's still a massive letdown after the likes of Rollo or even Fellow and the mysterious boss backing him.

The only things that save Skully from being at the very bottom of my tier list are his strong first impression and the fact that he does repent and learn to change his ways later in life. It seems like his attitude improved and he became more open-minded too; I only wish I could have seen that more mature version of Skully… Maybe I would have liked him more then.

[grims-local-pkmn-irl-hub]

How to Write Engaging Anons

I’ve spoken to a lot of people behind close doors and we have all come to a realization: PKMN IRL as a community isn’t the greatest at sending engaging anons,,,

A lot of anons tend to get off track from what the blog runner is trying to do or will send completely unrelated anons during a plot moment on someones blog which can be incredibly frustrating for the blog runner.

So, I’ve decided to compile a little “guide” to help.

Look over the recent posts of a blog to see if they’re doing anything that could be considered plot relevant before sending an anon. Are they vague posting about something? Did they cut off a tangent too short? Did they mention they have stories to share if anyone wants them? Did they say something off or slightly concerning? ASK ABOUT IT! Ask them to elaborate! Ask for more detail!

Try and keep asks on task if a plot hook/point is currently happening. It is incredibly discouraging for a blog runner to see the notif for an anon only to open it and it have nothing to do with what they are currently trying to reveal/be engaged with. Do not latch onto a bit like your life depends on it because you are most likely just tiring out the blog runner who just wants to share interesting character/story info. Bits have a time and a place.

Don’t have a character that would realistically send that anon? Then don’t send it as that character, send it as yourself. The blog runner and character will not know the difference. This also has an added benefit of baiting a character into talking about something you know your character can then interact with. Anons are great for interaction in more ways than just asks.

Worried someone already sent the ask you’re about to send? SEND IT ANYWAYS! A blog runner would much prefer two of asks of generally the same question than zero asks! And it shows that people care enough to ask that question twice! It gives the blog runner something to think about when writing!

Don’t have any idea of what anon to send without an ask game? SEND THE SUPER “BASIC” ONES! I promise you that very basic questions like “how do feel about this”, “why do you say that”, “you mentioned [this], can you elaborate more” ARE LOVED BY BLOG RUNNERS!!! So much can be understood about a character’s mental state or attitude depending on how they choose to answer these questions. They’re “basic” and “overused” because they are really good questions to ask!

Try and engage critically with a character! Remember! This is an RP community! We are playing these characters as if they are real so you need to treat them like people! For example: Telling a very clearly mentally ill character that their thought process isn’t healthy and that they should just go to therapy isn’t the most helpful anon and it especially isn’t when that seems to be all the blog runner gets when they’re character gets like that. A good way to try and engage critically is to ask similar questions as above such as “why do you think that” along with some others like “can you walk me through your thought process”, “do you know when you started acting/thinking like this”, etc.

IC Hate Anons. These anons are fun and good! They can be very useful for story telling and showing off certain aspects of a character! They can also be super draining especially when that seems to be all that a character gets when trying to do plot hooks/points. It can make a blog runner’s motivation wane and deplete when all it ever seems like is that anons want to use their character as a punching bag. A good way to negate this is if you send an IC hate anon is to quickly follow it up with an anon that’s trying to engage critically and is asking questions and treating the character as a person. This allows for a blog runner to have choices on whether they want their character to be a punching bag right now and get beat down or would rather follow the anons line of questioning.

Ask games. I know I’m beating a dead horse here but SEND AN ASK TO THE PERSON YOU ARE REBLOGGING FROM. The blog runner will see you reblogging it from them and be waiting for an ask to come in and then it never does. Send an ask. They are literally pre-written most of the time. Okay that’s all I have to say here. 👍

Make sure the anon has some sort of substance. Even when sending anons outside of plot periods make sure the anon has something the character and blog runner can actually feasibly answer. One word anons that are just “yeah” or “okay” are incredibly difficult to respond to. So is randomly being sent quotes or things that just generally have nothing to do with the blog or pokemon in general. People have an easier time when being sent asks about their character’s pokemon, family, friends, most recent stupid post, etc. I have about 40 anons rotting in my inbox for @/espers-n-espurrs because they have nothing to respond to. And this isn’t to say silly/dumb anons shouldn’t be a thing. They should be but they should also be something someone could reasonably reply with besides just replying with “why the fuck did you send me this”.

In all, remember you are not only engaging with a character and their story but you are also engaging with a blog runner. You may never know their name or have a one on one conversation with them but the asks you send their characters do have an effect on the blog runner.

Show that you are engaging with their character, show that you care about the story they are trying to tell.

Reblogs are important for interaction but in my mind asks are the backbone of this community. A good ask and a good response allows for a good chance for others to be able to interact with the response IC.

But yeah, remember, the blog runner is still there behind that screen, you are still interacting with them when you interact with their character. Give them something to work with when you send an ask.

[kookygobbledygook]

Some people have been saying this, but I don't think it's been said enough and I'm just going to add my voice to the mix.

Nimona's nomination is being framed as an example of "Look at what Disney missed out on!" and I get it. It's a nice, tasty schadenfreude situation and we all like to see The Mouse get taken down a peg.

But I think we need to be very clear; Disney did not miss out on anything because they were never going to take that sort of risk.

Disney was never going to release anything close to the Nimona we got. It would have been sanded down until anything obviously queer or controversial was as faint and unnoticeable as possible by the casual viewer. And then they would still be too scared of any potential backlash. So they would have given the film a limited release at theatres, with no advertising, or social media or support.

Like what happened with Strange World.

You remember Strange World, right?

No?

That's because no one does.

And I believe that was deliberate, because that way Disney can go "Weeellll... obviously we would LOVEto take more risks and have more inclusive stories but that's clearly not what the public wants!"

Look at the original concepts for Wish. The evil royal couple? The peter-panesque star boy that would have made the gen zers go feral the same way millenials went feral for Jack Frost? These could have been the best things about the movie, and even they were scrapped, and replaced with something more homogenised. And those ideas are nowhere near the level of the concepts and discussions Nimona brought to the table.

Disney can barely have explicit gay people. Nimona has a gay south Asian man in a relationship with an east Asian man. As a protagonist! But more than that, you think Disney could ever come up with a relationship as complicated and difficult as Boldheart and Goldenloin's? They would never have the guts to show one love interest cutting off the other's arm in a straight relationship. Let alone a gay one! And then for them to be on opposite sides of the conflict, shifting between feelings of betrayal, and questioning each other motives? That's some adult dark shit for a kids film.

Asha as a character was forced into the quirky girl role that Disney has already flogged to death with Anna and Rapunzel. You ever think they would allow a Disney princess to be as dark and violent and nuanced as Nimona? You ever picture the titial character of a Disney film AS the third act conflict, rampaging through a city in a self destructive rage? Nimona is anti authoritarian, vengeful, bloodthirsty, a pretty explicit trans allegory, and even, by the climax, openly suicidal. You KNOW that terrified Disney.

I had a thing about the Director here too but I was shocked by how long that got so I'll have to save her for a different post.

My point is the things that make Nimona art, that make Nimona a great story, that make the film important and Oscar worthy, are all things that Disney has become too chicken shit to produce. If Disney had released a film called Nimona it wouldn't have been Nimona. I fully believe that if the film hadn't had been 90% finished it wouldn't have been shelved. It would have been lobotomised and vivisected. Everything special and vital about the movie and its message would have been removed, and no one would have known what could have been. Once again we would have gotten scraps and been thankful for them.

It makes me think about films like Wish (and others we don't know the name of, and never will) and think of what they could have been if studio's like Disney were braver and let their artists make art, instead of content.

tl;dr Disney didn't miss out on Nimona because they are incapable of making Nimona. If they had produced it the real Nimona wouldn't exist. We didn't miss out on Nimona. And that's purely by luck.