#the superpower of common sense

[nyhti]

Awww, that’s so cute <33 Bruce teaching him martial arts.

Action Comics #318

[dpurut]

his water got drinked… slurped.

[bigweldindustries]

going through the hades 2 stuff and im sorry but i just have to ramble a second because look at Hephaestus

he's not just a wheelchair user but also an amputee. an above knee amputee. wheelchair users are already next to nonexistant in video games but amputees exist in this really...disheartening? spot where they're pretty much just reduced to "person with a cybernetic limb" - it's always just somewhere from "just a cool visual design" to flat out "superpower". I can't think of a video game amputee that is actually disabled by their limb differences - I'm all for futuristic worlds where prosthetics and other disability aids are far advanced from what they are now, but that's not really what's implied by these designs. They're just... Cool designs that in no way reflect on the real-world experience of being an amputee.

Look at Hephaestus, though. Look at that prosthetic. Whilst stylised it very much looks like it functions like common mechanical knees - knee bends when thigh is lifted, knee straightens when thigh is lowered. He's a wheelchair user as well as a prosthetic user - every prosthetic user I know is also a wheelchair user as a prosthetic is not usable in every occasion and also cause exhaustion and pain if used constantly.

Whilst we can't see much of his wheelchair the position he's sat in and the wheels very much evoke active wheelchair to me - this carries on to very specifically the thickness of his arms. Whilst a lot of Hades designs are muscular Hephaestus has very noticeably thick arms - which makes sense, as active wheelchairs require a lot of arm strength.

Just overall this design is making me want to cry - he's not just an actual wheelchair user in a video game, he's a realistic depiction of an amputee, a disability usually brushed over in order to give a character a fun design quirk and nothing else. He's fat and he's hot and he's a realistic depiction of an above knee amputee. Oh my god. Oh my god?

[ironinkpen]

The dynamic in Rise between the rest of the team and Leo is. so fucking funny. Because like you've got these three extremely talented individuals who all seem like perfectly reasonable people at first glance, right, but then if you squint hard enough you realize they're actually all batshit insane (affectionate) and the clown boy standing behind them is secretly their common sense.

Clown boy will occasionally put himself and the others in danger to Prove Himself or Prove Someone Wrong (see Minotaur Maze and the movie) but like otherwise... i think people forget Leo's overwhelmingly the voice of reason in most situations?

Raph, Mikey, and Donnie are all incredibly powerful boys with very specific skill sets. They are also, as a direct result of this, the WORST decision-makers on god's green earth lmao. When presented with a problem, Raph will smash, Donnie will blow shit up, and Mikey will razzmatazz. They will all run straight toward death with the same oblivious enthusiasm of a dog about to run straight into a screen door. None of them realize this and all of them think they are Extremely Good At Problem-Solving.

And the guy cursed with the common sense to realize this is literally the LAST person anyone would expect.

When you look closely, the entirety of Rise is actually a chronicle of Leo trying to find new and creative ways to keep this team of superpowered fools alive while simultaneously white-knuckling his Cool Fun Guy persona so the others don't realize he's secretly the Boring Responsible One. Haha, you know what would be Cool and Fun, guys? Not going after the Spine Breaking Bandit lol. Getting home before the sun goes up lol. Evacuating that civilian lol. Not telling the guy dangling me off a roof "you won't, no balls" lol.

The sacred struggle of every iteration of Leonardo is thanklessly wrangling the most trigger-happy siblings in the world, and Rise Leo has not escaped it. He just does an occasional shenanigan to avoid detection and his brothers fall for it every time.

[delicatebarness]

bridges to burn | prologue

Summary: You arrive at the Avengers Compound to manage your uncontrollable Extremis powers. As you navigated the new environment, you clash with your assigned babysitter/bodyguard, Bucky Barnes.

Warning: MCU Spoilers. Iron Man 3. Intense Emotional Conflict. Superpowers and Uncontrollable Abilities. Parental Concern and Pressure. Family Tension. Emotional and Physical Heat.

Word Count: 1103

Spotify Playlist | Support: Ko-FI

Series Masterlist | Next Chapter

A/N: Oh look, another.

BTB Tags: - Let me know if you'd like to be tagged in this serious.

Everything: @hallecarey1 | @pattiemac1 | @uhmellamoanna | @scraftsku35 | @ozwriterchick | @sapphirebarnes | @rach2602 | @thetorturedbuckydepartment | @mrsnikstan | @lanabuckybarnes

Touching down at the Avengers Compound, the Quinjet’s engines hummed softly as they powered down. You stepped off the lowering ramp and took in the sprawling complex. The building was an impressive blend of sleek modern design and cutting-edge technology, lush greenery surrounded the wide-open spaces. The peaceful landscape contrasted against the bustling chaos of the city, where you spent most of your life. 

Your dad, Tony Stark, stood waiting for you near the entrance, concern, and determination etched across his aging features. The familiar scent of motor oil and cologne filled your senses as he enveloped you in a quick hug. His grip around you was firm, silently reassuring you that he was there for you. 

“Welcome home, kid,” he said, a small smile tugging at his lips. However, his eyes revealed the worry he had tried to mask. “Come on, let me show you around.” 

Following him through the compound, you passed training rooms that were filled with state-of-the-art equipment, common areas where you caught glimpses of some familiar faces, and the impressive hangar with various vehicles and aircraft. The building buzzed with activity, yet there was still a sense of order and purpose. 

Finally, you reached Tony’s sanctuary, his lab. The place you knew he felt most at home. You marveled at the array of gadgets and projects scattered around, as you followed his gesture for you to step in. Screens displayed holographic schematics, while robotic arms moved with precision, a new creation being assembled. The faint hum of machinery was a comforting backdrop. 

“And, this is where the magic happens,” Tony said, pride touching his voice. Watching you take it all in, his lips played a small smile. “But, before you get too comfortable, there’s something we need to talk about.” 

Raising your eyebrow suspiciously, you waited for him to continue. Looking uncharacteristically nervous, he ran a hand through his hair. 

“I know things have been… rough since the incident,” he began, trying carefully to choose his words. He leaned against a workbench, fixing his gaze on a point somewhere behind you, crossing his arms over his chest. “And, I know you’re struggling to control the Extremis,” he trailed off, pausing before he continued, “but, we can’t have another accident like that. Not again.” 

The memory of the uncontrollable heat coursing through your veins caused you to flinch. The sight of the flames, the smell of burning wood, the panic in the firefighter’s voice as they tried to contain the damage. Since it saved your life as a child, you lived with the Extremis virus. Your mother, Maya Hansen’s legacy, turned you into a ticking time bomb. 

“I know, Dad,” you sighed, shifting your weight from one foot to the other. “I’ll do better.” 

Shaking his head, Tony pushed off the workbench and stepped closer to you. “It’s not about doing better. It’s about getting help. Which is why I’ve arranged for someone to keep an eye on you.” 

The door to the lab opened, snapping your attention away from your dad before you could protest. And in walked, Bucky Barnes– The Winter Soldier. You had seen him in action and heard the ghost stories, but meeting him in person… that was different. He was imposing, a steely gaze seemingly assessing every detail of the room, and you. As he approached, his movements were fluid, almost predatory.

“Tin-Man, this is my daughter,” Tony spoke as he gestured toward you. “She’s going to be staying here for a while. And… you’re going to be looking out for her.” 

Bucky’s eyes narrowed slightly toward you, and you could see in his piercing gaze that he was as thrilled about this arrangement as you were. “I was expecting a kid,” he said bluntly, a hint of annoyance carrying in his voice. Crossing his arms over his chest, the metal of his arm caught against the light. 

“No, I’m not a kid,” you snap back, matching his posture. “And, I don’t need a glorified babysitter. Unless,” you paused, shoot Bucky a playful smirk. “You’re here to tuck me in and read me a bedtime story?” 

Tony stepped between you, holding up a hand to forestall any pending argument. “Easy, both of you. This isn’t up for debate. Barnes’ here to help, whether you like it or not.” 

You glare at Bucky, who returns the look with an equal intensity. “Fantastic,” you said, your voice dripped with sarcasm. “My very own bodyguard, don’t expect me to make this easy for you.”

Smirking, Bucky’s eyes filled with amusement almost as if he was accepting a challenge. “Wouldn’t dream of it, Princess.” 

“Don’t call me that,” you snap, your iris’ blazed with anger, a burning orange glow. 

His smirk never faltered. “Whatever you say… Princess.” 

Watching the exchange, Tony’s expression changed to one of concern and exasperation. His face, usually composed, now showed signs of strained patience. Rubbing a hand over his face, he tried to stifle a sigh. “Alright, both of you,” he injects, his voice filled with frustration. “This isn’t a battlefield. Can we at least try to keep it professional?” 

You took a glance at Tony, then back at Bucky, who still had a smirk plastered across his face, enjoying the friction. Tony continued, his tone firm but weary. “I get that you two won’t see eye to eye, but let’s keep the drama to a minimum. We’re here to make sure things don’t  go up in flames, literally.” 

Squaring off with Bucky, you took another step closer. The heat between you both was almost tangible. “I mean it, Winter Soldier. I’m not some dame in distress that you get to boss around.” 

Leaning in, his voice was a low, taunting whisper. “And I’m not some nanny here to hold your hand.” 

The tension crackled between you, and you noticed how his eyes were cold and calculating, with a flicker of something else– something that mirrored the heat in your own. You weren’t sure if it was anger or something more, but whatever it was, made your heart race. 

“Good,” you retorted, sarcasm stayed laced within your words. “I wouldn’t want you thinking you could handle me.” 

His eyes locked with yours, his smirking only growing. “Trust me, Princess, I can handle anything you throw at me.” 

Scoffing, you rolled your eyes, yet you couldn’t help but feel the thrill of his challenge rush through you. “We’ll see about that.” 

As you turned to leave, you felt his gaze burning into your back. This wasn’t over– far from it. And somehow, the thought of that excited you as much as it infuriated you.

---

Series Masterlist | Next Chapter

[ewingstan]

One thing I appreciate about parahumans on an aesthetic level is that while there's an insistence on determining what would "really happen" if people had superpowers, and that oftentimes involves determining the exact mechanics and boundaries of someone's powers, is doesn't extend into the powers themselves making "realistic" sense. They're not "I have a powerful but explainable physical attribute" or "I control this one element/physical force/metaphysical force" that you sometimes see in modern "grounded" superhero deconstructions. Powers are wild and specific in a way that's better at capturing the feel of a comic superhero setting, without sacrificing the deconstructive angle.

Like, I'm on arc 12 of Ward right now, and "Red" keeps summoning random industrial equipment out of the ground. Saws, cranes, pistons, what-have-you. It doesn't seem like its a green lantern-style "I can create what I want but like to stylize my constructs" thing, it seems like its more "I can specifically summon industrial equipment." And there's lot of settings where something like that wouldn't make sense or fit in, particularly ones where powers are supposed to be mapped onto universal forces or natural kinds. Is "industrial equipment" a natural kind in the parahumans-verse? No. So why does she specifically control industrial equipment if that's an arbitrarily-defined category? Eh, it feels coherent as a powerset, and that's all the entities really care about.

There's a lot of powers with this quality. Pretty much all tinker abilities run into it: why can Bakuda have the ability to nuclear bombs, black hole bombs, and cold bombs, when all they have in common is triggering an effect in an area surrounding them? Why can Kenzie not make microphones, but can make "sound cameras?" Case 53s fit into this too: whats the relation between "secreting hallucinogens from your skin" and "having a tail?" Or "shooting out a bunch of random chemicals from your hands" and "being really durable?"

To be clear, this isn't a criticism. Works that insist on thinking up what superpowers it makes "sense" to have are cutting of a lot of the potential earned by getting weird with it. And works that focuses on giving characters only "fundamental" or "grounded" powersets oftentimes feel like they're in another, more boring genre entirely.

[greensaplinggrace]

honestly as much as i dont like angel for a whole laundry list of reasons, i do actually find his character hella amusing sometimes. like the guy's a sopping wet paper bag with absolutely zero self-control or basic sense, even after two hundred years of living. he couldn't even kiss a sixteen-year-old girl for a few seconds without vamping out and throwing himself out the window like a common criminal. every other second of the show he's going 'but we can't!' and then he will immediately do the thing he just said he couldn't do. most of his screentime is taken up by him standing in one place looking awkward as hell - and somehow he is even standing badly. he tries so desperately hard to pull the whole romeo and juliet thing with his only two prevailing expressions because it's his only way to hook a superpowered teenager into being his 'redemption'. like alskjfdlksd. is he okay in the head. this man should not be around children. he is the most pathetic boyfailure of all time, and not even in an attractive way. but ragging on him is fun as hell it has to be said. so he's not the worst i suppose.

[livrere-green]

Here, dear @bryverros just make me think too much about this lmao

So... Is Zuko Disney Princess coded? Let's see.

He's canonically part of a royal family, so the title is there, no marriage needed.

He has superpowers (firebending) and a particular ability his really good at (swordfighting), you know like Elsa with ice and Mérida with archery.

Another thing he has in common with Mérida is the fact he doesn't agree with his father about stuff and he doesn't know how to shut up about it (:

He got the evil parent AND the evil sister (at least Cinderella was adopted)

He talks to animals (yk the frog thing), animals trust him too (Appa), and he got a magical pet (Ruk).

He had an incredible glow up.

Let's say that Iroh is his fairy godmother, gives him good advice, helps him prepare for his dates and always reminds him that he is a prince even at his lowest.

He is fighting for his honor (I mean, if you told the guy he would get back his honor going to the matchmaker, he would've been first in line, doing way better than Mulan with the tea thing)

He would cry looking at his reflection while this verse sounds in the background "If I wear a mask, I can fool the world, but I cannot fool my heart".

Being Lee for a month show him that he was meant to fulfil his role as a part of the royal family (customer service/domestic work does that to people)

He got a love interest that fell for him with zero knowledge about who he was: his title or his past or real identity, so if you want to eat up the classic Disney princess romance. There you go.

He goes through the tantrums, emotional rollercoasters and "the world hates me" moments like a pro.

The change of heart moment happens to him as it happens to most disney princess, and it defines his destiny. So point checked.

He went into a life changing adventure with the first cute and friendly guy that stood in front of him (I'm not even explaining more about this).

He gets the throne at the end of the show (in this point we only got Elsa, and I'm sure Zuko also considered moving to the forest after being Fire Lord for a year, but his sister wasn't as reliable as Anna).

His canon love interest is a childhood love that ended up saving his life and that's so princess coded that there's no need to give an example, it just makes sense.

I think there are things I'm not addressing, but for now this is enough to conclude that... yeah, he is sooo princess coded.

[himbeereule]

Орлёнок (Eaglet)

Орлёнок (Eaglet) is an interactive story set in a country similar to 1910s-1920s Russia. You're a member of the overthrown Imperial Family, shaping the future of the Empire by virtue of arms.

It aims to be equal parts role-playing, dress-up and strategy game, with an emphasis on romance.

Although there will be no explicit nsfw scenes, it does include graphic descriptions of the horrors of war as well as personal tragedies, so please refer to the content warnings at the end of this post.

(as the project is still a wip, this overview is somewhat incomplete and will be gradually updated in tandem with the progress of writing)

DEMO: here (v0.0.2a, 21.06.2024)

Forum post: here

Number Spelling Function (IF writer resource): here

Secondary project: @a-dying-wish-if Tertiary (mini-)project: @perceptron-failure-if Quaternary project: [redacted]

The Empire of Nevetskiya - old, proud, and utterly dilapidated. While the Industrial Revolution has enabled other Monarchies - after a few quickly suppressed workers' uprisings - to become modern colonialist superpowers, exerting their influence all over the world, Nevetskiya is still overwhelmingly agrarian, and barely holding onto its outlying territories acquired in golden times long past.

Your Father Emperor, while ruling with an iron fist and unquestionable authority over the common people, is completely dependent on the shaky loyalty of the High Nobility, who frustrate any attempt to modernize the economy or administration, out of fear upstart merchants might, in time, replace the old Aristocracy.

When a sloppily executed coup d'etat eventually leaves your family dead and you a refugee, it becomes time you grab the reins of your destiny and amass an army to liberate and rebuild the country in the way you envision.

(this is meant to be a concise overview - a more exiting and detailed description of features can be found in the offical Interest Check Thread post)

extensive character customization

extensive army customization - both in a strategy and in a dress-up game sense

focus on story over stats - success is determined on the battlefield, not by your character's personality

five distinct regions with a wide cast of characters

complex personality system - for example, how your character actually feels and what they show to the world are separate things

several ways to rule - will you become a traditional Monarch, a Military Dictator, a democratically elected Head-of-State, or maybe proclaim yourself a Living Saint?

choose how much modernization is needed - will you allow women to bear arms, at the cost of offending the traditionalist nobles? Introduce tanks at the cost of foreign powers gaining influence?

how far will you go for victory? A political police, mass executions and the use of special types of weaponry might give you an edge, but is your vision really worth it?

a total of ten romanceable characters

(this naturally might contain slight spoilers)

The ROs

★ Yakov Tymofiyevich Sokolovskiy / Liliya Tymofiyevna Sokolovskaya ★

The Intelligence Director (gender-selectable)

One of your four original companions. As a member of the High Nobility, you've met them before - maybe you've even been childhood friends?

But even if you know them, it's hard to tell what they're truly like, as they seem to switch personalities effortlessly depending on the situation.

Their work is a mystery to seemingly everyone, but they always get results: as long as you let them act freely, no enemy agent has any chance to harm you or your cause.

Age: mid-20s

★ Semyon Ivanovich Orlov / Selena Ivanovna Orlova ★

The Cavalry Officer (gender-selectable)

One of your four original companions. A war hero and renowned expert when it comes to horses, the only reason they were not yet promoted to a lofty position in the War Ministry is their pragmatic approach to new developments, which hasn't mixed well with the typically very traditionalist views of the old Imperial officer corps.

Possessing a subdued but strong charisma and deeply respected by their soldiers as a wise parent figure, they are a solid pillar of support to you, and will reliably get things done - though some people might consider the cost for that too high sometimes.

Age: early 30s

★ Mikhail Pavlovich Voronin / Marina Pavlovna Voronina ★

The Young Visionary (gender-selectable)

One of your four original companions. They shot up through the ranks by impressing the War Ministry with bold new ideas for utilizing modern technologies and are hailed as a genius by many - though the older officers dismiss them as a dreamer at best and incompetent fool at worst.

With you, they hope to have found someone who'll appreciate their visions for the future - plus, their relative eccentrism has left them in dire need of a friend.

Their technical expertise might just prove to be the key to your success - if you can secure the foreign support needed to get the modern equipment needed to utilize it.

Age: early 20s

★ Leon Isayev / Leah Isayeva ★

The Noble Academic (gender-selectable)

One of your four original companions. Born to wealthy nobles, they graduated the Imperial Officer Academy with perfect grades, and feel honour-bound to your family.

They were the one to gather your initial force of loyalists and act as your primary advisor. But their loyalty is to the Imperial system, with you just a symbolic representative - can you convince them that you and your vision deserve their loyalty beyond that?

Age: late 20s

★ 'Little' Semyon/Selena Shvets ★

The Hero (gender-selectable)

A young cavalry officer and leader of your Southern Forces. A protegé of the "other" Semyon/Selena, they lack their cynical pragmatism, but make up for it with a firm belief in the triumph of a better world.

Some may call their optimism naive, and their personality has been mockingly compared to a Golden Retriever, but they have proven time and time again that underestimating them on the battlefield results in a crushing defeat.

Age: early 20s

★ Nikola ★

The Rebel (nb)

Leading an anti-authoritarian peasant uprising in the West, Nikola is more likely to be your enemy than your ally - but they don't seem to care enough about politics to refrain from flirting with you, so... there might be a basis of mutual understanding there?

Their personality is pretty sweet, at least - if you ignore the fact they'll cheerfully gun down prisoners if they feel like it.

Age: mid-20s

★ Rakhmil/Rakhilya Feldman ★

The Logistician (gender-selectable)

A member of the Western Rebel Army and best friend of Nikola's adoptive sibling, they've poured their soul (and countless nights without any sleep) into somehow maintaining the rebels' supply network in the face of their rapidly swelling numbers.

Unhappy with Nikola's carefree attitude, they might end up aligning with you instead in order to save their cause.

Age: late 20s

★ Arseniy Matveyevich Lebedev / Amaliya Matveyevna Lebedeva ★

The Enemy (gender-selectable)

Grand Duke Lebedev, the main leader of the Aristocrat faction, stood by and watched when your family was executed. Arseniy/Amaliya is their younger sibling, and serves as military commander of his personal forces that aid several warlords in their efforts to establish their own petty kingdoms.

But they're already uncomfortable with their brother's methods, and if you can convince them that you're not actually "an incompetent little puppet who's trying to ruin the country out of arrogant delusions", they might become a very valuable ally.

Age: mid-20s

★ Lyudmila Demyanovna Naumova ★ (f)

A minor noble who reluctantly turned into a Warlord in order to protect her territory and her people. All she wants is peace - but she'll not hesitate to fight if she believes it necessary.

Unfortunately, you can't just ignore her - all must choose a side in this war - but you have options how to deal with her. Will you subdue her by force? Or fall back on the age-old option of political marriage to secure an alliance?

Age: late 20s

★ Jan/Jana Novotný ★ (gender-selectable, under certain circumstances)

A member of your Personal Guard who has distinguished themself and eventually rises to become its commander. Others might betray or doubt you, but Novotný only cares about one thing - your continued, unharmed existence.

And they will go to any lengths to guarantee it.

Age: mid-20s

CONTENT WARNINGS

...will be added as they become relevant in the demo.

[successfulgoddess333]

WHO AM I??

Hi baby

I’m going to talk a little bit about myself

I don’t wanna reveal too much

My face and everything else will remain anonymous for safety and privacy💕

Name:

My name is Honey(yes this is my birth name lol)

You can call me by my name or honeybee

Or even honeycomb

Do NOT call me beehive 😡

Unless it’s related to Beyoncè💕

Age: 23

Topics:

I discuss the void state, Law of assumption,Reality Shifting (I haven’t talked about this yet but will if you need more info)

And All kinds of Manifestation methods

How to talk to Honey!!!

Just dm me any questions I don’t take asks anymore so if you have any questions just feel free to dm me

Ethnicity/Nationality

My mom is Afro Peruvian, Indian,and Haitian

My dad is Jamaican

Sooo

I’m black hehe🤟🏾

I don’t do these I’m super private it’s soooo weird omg

What do I like??

Music food animals

Did I say music because

MUSIC!!!!!!

My favorite artists

I love all kinds of music

Even death metal occasionally

I like Harry Styles,Kid Cudi,Lady Gaga The Beatles,Ice Spice and many moreeeee

I also love movies

Literally almost any kind

But anyways

Let’s talk about something more interesting!!

Now that you know me(kind of)

I want you to know about this technique I discovered

It’s not new at all

In fact ppl on here have already talked about it I’m just late

As usual 😔

Anywayyyyyy

There’s a technique I want you all to try

It’s called the

“Wim hof breathing”

Method

No methods are needed But if you really want one

Then here you go pookie

(Found this on a website but it won’t let me copy the link😔)

WIM HOF BREATHING METHOD

Find a comfortable position.

Breathe in deeply through the nose or mouth and through the belly to the chest. Then let the breath go unforced.

Exhale through the mouth, then immediately breathe in again.

Take 30–40 such breaths in short bursts.

Take one final, deep inhalation then let the air out and stop inhaling. Hold the breath until you feel the urge to breathe again.

Inhale very deeply to full capacity and hold for 15 seconds, then let it go. This completes the first round.

Repeat the whole process, steps #2-6, 3-4 times.

After completion take time to meditate and enjoy the state of deep relaxation

After the very last step you should be a deep trance like state you should be really relaxed

I recommend that you let your next subliminal play

Which should be

Either a theta or epilson wave track or pink noise

Make sure your desired subliminal that plays after is Not a guided meditation you wanna still be in a trance

Start affirming in that point

And don’t stop

Just feel how relaxed you are feel that powerless body but powerful mind

Your body is at ease your soul and mind collide in such ways that allows you to breathe freely without any stress no harm

In the void state

Your main goal should be getting peace

Because if you’re entering just affirm

You’ll likely put it on a pedestal you’ll get frustrated and give up

It is not a wish granter bitch

It’s you

Baby you are powerful

Baby you are pretty

Baby you can tap in the void

And make the bring the 4D to your 3D and make it your home

Don’t use the void as a wish granter

Use it for peace

Don’t treat the 3D like the enemy

Treat it like a friend

After all it exists the way it does because of your assumptions

Whether you say this is hard or this is easy

Sugar, you’re right either way

Because if you assume something then that’s how it’ll be

If you think you’re pretty you’re pretty

But if you think you’re broke

Then you’re broke

If you think you’re rich

Then you’re rich baby

You could have wings

Superpowers

Be the biggest singer or rapper in the world

Star in the next Dune Movie

Be best friends with Ariana Grande

Be a Scientist

Be smarter than Albert Einstein(I mean was he actually super intelligent if he lacked common sense)

You could be get a bigger butt!!

I mean didn’t necessarily have a pancake ass

But I definitely didn’t have a Nicki Minaj

BUT I DO NOW!!!!

And bestie you can too!

Plastic surgery who???

Do we look like a Kardashian-Jenner?? I think the f not🙄

The void is our plastic surgeon

You wanna a smaller nose?

Got it

Tig ole biddies?

Got it

Nicki Minaj butt?

Got it

Floor length hair?

Got it?

Whatever you want to change about yourself

Got it!

And for the last time babies

You ALWAYS ENTER THE VOID EVERYTIME YOU SLEEP

Mentally just be

Physically sleep

In that moment baby

Forget the 3D and its fuck ass bob

Because the 3Ds not your enemy but its your puppet

You’re a ventriloquist CONTROL THAT MF

The 4D is you

The void is you

Quit saying what you can’t do babe

You CAN BECAUSE YOU ALREADY DID AND YOU STILL DO

“HoNEy I StiLL didNT gET inTO tHe vOiD”

YES YOU DID!!!!!!

You did it

You just didn’t know

Bro the void is just recognizing you’re asleep

And getting in contact with your mind

Which is where you already go when you go to sleep

So ha

Billie

There’s your answer

When we fall asleep

That’s where we go

The mf Void State

The only thing your cute ass has to do baby

Is just be aware

When Neville Goddard says just “BE”

Bitch just BE

That’s it

Be aware

Like that SpongeBob episode

“Be the crane”

Be the Void

It’s just you love

So why you stressing

Why complicate something YOU created?!

Baby girl make it make sense

Own your power bitch

I love you My darlings

Month is almost over

Bring me my success stories

Or I’ll be your sleep paralysis demon 😈

(Just kidding)

Or am I;)

NOW BITCH LOOK!!!!

YAYYYY

Imma keep pressuring you to listen to this(NOTE YOU DO NOT NEED SUBLIMINALS)

But I like this one🫠

Wrong emoji

I can’t find that cute one at the moment I’m rushing cuz I wanna eat my burger!

SLADE:

https://youtu.be/oKU8YIicYQg?feature=shared

THIS

because it’s soooo peaceful

Slade is the best

BYE BITCH GO GET THAT DREAM LIFE NOW!!!

I love you ⭐️💕

[physalian]

Plot Holes and How to Fill Them (Or, The Hidden Potential in Your Mistakes)

“But why didn’t they just do that earlier!”

“You can time travel – so time travel!”

“Doesn’t X have Y spell? Why aren’t they using it to escape?”

“You. Have. Telekinesis! How are you this stupid?”

Plot holes! The bane of every writer’s existence. You think you’ve polished your beautiful manuscript, you have it all sent out for the masses to consume and praise and shower with compliments and adoration… and then they start tugging at a thread that may or may not begin to unravel your entire story. You’ve read this thing top to bottom, forwards and backwards and upside down, so many times the letters are burned into your brain. You mumble your monologues in your sleep — how did you not see this? How do you fix this?

See this post about beginning the writing process that might help you avoid opening a plot hole entirely with a solid enough script and outline.

Types of Plot Holes

Your magic system’s established rules have just been broken for TeNSioN

Your Deus Ex Machina really did come out of nowhere and is quite out of character

Why doesn't Character just run away from a fight they can't win?

Characters forgetting they have superpowers, extreme intelligence, handy tools or weapons, survival skills, common sense, or crucial information to escape and/or solve a situation

Characters dying for the above mistakes when said death could have been avoided

The entire story could have been avoided had Character A just told Character B the truth

Character X should have known ___ all along given their profession/backstory/friend circle/education/personality

And variations of the above, I’m sure I’m missing a couple. Fixing plot holes generally come in two camps: Those you can fix by rewriting the existing manuscript that contains the hole, or those you have to work around from a previous manuscript that’s already been published.

Why Plot Holes Happen

Plot holes happen in reality. Expecting your first, second, or 15th draft to be completely foolproof is utter nonsense. Real people forget stuff they’re supposed to know all the time, tools that would be useful are left behind, GroupThink makes very bad decisions.

The difference is: You are writing fiction. Your goal is to be entertaining, not necessarily realistic. A character simply *forgetting* Macguffin X at the climax of the story does not make for an entertaining read, no matter how likely it might be to happen in the real world.

You’re making this entire world up as you go and that alone is an impressive feat millions of others can only dream about – cut yourself some slack, okay? Everything is fixable.

Plot holes also happen because we’re so engrossed in our own story that we forget it’s all made up. You’re 22 chapters into a 24 chapter novel and you’ve just realized your psychic hero would never have been caught unawares like this. “But that’s just how he is!”

No. Stop. That’s not just how he is. That’s just how you wrote him – and you can go back and un-write him. Any excuse you can dream up you can un-write, and unfortunately, you’ll likely have to do a fair bit of it if you still have the opportunity.

Plot holes generally open long after the inciting incident that causes them. If you’re going to fix it, duct-taping together a solution in that very same scene isn’t the way to do it. You have to figure out why it’s a hole at all, then go back and fix its foundations.

Finding Your Own Plot Holes

Sometimes you’re lucky enough to stumble upon them before it’s too late. A fair bit of the time, though, your audience has to tell you. Finding your own plot holes requires stepping back from your work and looking at it like you’re just a reader, not the author.

Read your plot out loud to yourself and keep asking questions like:

Does this make sense for the scene?

Does this only exist to look cool at the cost of logic?

Are these rules I wrote too easy to break or contradictory in any way?

Is there any other way for this character to escape this situation?

Is the only solution here too contrived?

That, and having an army of beta readers who should show you flaws you’ve overlooked. Even then, some things just aren’t obvious at all until someone too smart for their own good points out something no one else considered before.

It’s okay. It’s not the end of the world.

Filling Plot Holes

Fix your broken magic system

A “magic system” broadly describes any type of powers/abilities/supernatural entities that function in your world. They can be in high fantasy, urban fantasy, sci-fi, or any genre really. The Force is a magic system, as much as is bending in Last Airbender even if no one calls it “magic”.

For example: Force users are telekinetic… and yet don’t simply repeatedly spam the “chuck my enemies into a wall/off a cliff/anywhere that is away from me” button. It’s what you’d call a “soft” magic system, it doesn’t have explicit rules on how and when it can and should be used. It just *is*.

Fixing holes in your magic system first demands examining why you wrote it the way you did, why you gave it these specific rules, or why you didn’t, and all the ways characters should otherwise be able to use it when your story demands they get creative.

For soft magic systems — never let the magic system win the day. It invites far too much scrutiny. Gandalf from Lord of the Rings is a Wizard. He can do an undefined number of spells and has an unclear number of abilities and limit to his reach. Gandalf’s magic is never the saving grace of the Fellowship. So asking “why didn’t Gandalf just do X” isn’t ever a question people have because success never depends on Gandalf doing X.

Everyone hates on the time turner in Harry Potter, as they should. Time travel is essential to the plot of Prisoner of Azkaban, without it the heroes fail. And yet, because it is time travel, why it never existed earlier and why they never use it again to solve more massive plot problems is a valid question. As goes with many spells and abilities in the series.

For hard magic systems — remember that you wrote the rules, you can go back and change them at any time before it’s published. Bending in Last Airbender is rarely the focus of any conflict. Yes, two benders will fight each other, but it’s not “who’s the stronger bender,” it’s “who’s smarter with their element”. Who better uses their environment? Which one is racing against a clock before reinforcements arrive and overwhelm them? Which one runs the risk of exposing themselves if they start bending? Whose mental state is crippling their bending today?

These are all character-driven explanations for why certain abilities do or don’t manifest in a given scene… until the finale when it really is just a clash of red and blue aura lasers.

There is never a scene where a character is trapped when they shouldn’t be. Never a “why didn’t you just X” moment, because it’s never about the bending, it’s about the bender.

Turn plot-reasons into character-reasons

This means taking a “why don’t they just do X” and making the reason because one of the protagonists is morally against doing it, not because the hand of the author demands it.

In Last Airbender, Aang is vocally against simply killing the Fire Lord. It would be easier, it would risk far less casualties and carnage, it’s fastest. And yet. Aang doesn’t do it simply because he’s not strong enough or he doesn’t have some magical super weapon, or the stars have aligned and now he’s lost a very convenient ability – Aang doesn’t want to take the easy road because that’s who he is as a person.

He’s been raised as a monk to value the preservation of life above all else (ignoring any accidental casualties over the course of the series). Him being desperate to not simply kill Ozai is central to his character and even when he has the chance in the climax of the fight, he still doesn’t take it.

Now “why didn’t you do that earlier” does, still, concern the “energy bending” established out of nowhere just for the finale so Aang doesn’t have to compromise his morals to win… but the show is so damn good and Ozai’s just desserts so damn sweet it doesn’t really matter.

Making these plot decisions character decisions, so long as they are in-character, gives some juicy potential for schisms within Team Protagonist as fan favorites clash over ideals and morals and whether or not the greater good is worth them sacrificing something so central to their being.

This also applies to characters not sharing crucial information with each other. Make them distrustful of the others, or let them attempt it anyway and have some other consequence for the effort. Anything is better than a character sitting on valuable info simply to maintain the mystery.

Avoid Deus Ex Machinas

The “surprise reinforcement cavalry charge” is one of my favorite deus ex machinas in fantasy. Everybody cheers, it looks amazing, the music is swelling, our heroes on the battlefield realize they haven’t been forsaken by their friends, etc. In Lord of the Rings, yes, Theoden could have arrived 30 minutes earlier and saved even more lives, but we already knew he was on his way moving as fast as he could without exhausting his horses. Theoden’s army also took care of the bulk of the battle so when Aragorn arrives with the second surprise reinforcements, it’s less a decisive blow that comes out of nowhere and more the victory lap.

In “Battle of the Bastards,” Game of Thrones has its third surprise cavalry charge of the series, only this one much more explicitly comes to save the day. The difference between this scene and Theoden’s charge is: Audiences had no idea Littlefinger was on his way, and neither did Jon Snow. Had Sansa told him she had a plan, Jon could have waited. He wasn’t backed against a wall and forced to fight right then and there, he could have stalled an extra hour by just not showing up to the battlefield to wait for his cavalry. With Sansa inexplicably not telling him, she risked his life and the lives of his entire army because the hand of the writers wanted to keep it a surprise. Worst of all, when the battle is over, he compliments her decision, despite all the blood on her hands.

Surprise reinforcements, saviors, powers, and abilities always run the risk of “why didn’t they do that earlier” and you should be asking yourself the same question. If you can’t come up with an explanation other than “because it’ll look cool” go back to the drawing board.

Or, have your very own characters pissed that the savior didn’t just do that earlier. Have your characters ask where this special power was, have it mean something to them and the story at large. Had Jon been angry with Sansa, given their incredibly pyrrhic victory and the potentially avoidable death of their youngest brother, it might’ve made for some interesting character drama.

Give your saving graces deadly costs

“Why didn’t they just do X earlier?”

“Because doing X would have killed Character D, dummy.”

Giving your super special magic, mutant, super, or supernatural powers costs, drawbacks, and limitations forces the characters who use them to not resort to them every single chance they get. Their magic drains their physical stamina, or the demon they made a deal with camping in their brain threatens to overtake their psyche, or the sword is cursed and every time the hero raises it in battle, they lose a little piece of themselves. Or, using this creepy power strains their relationship with their friends or community.

Without risk and consequences, you cannot avoid “why didn’t they do that earlier,” because the only answer you have to give is “because I, the author, said so.” The only time a character is allowed to have selective amnesia about their superpowers is if it’s been established beforehand as a potential problem. Then it’s not “this came out of nowhere.” Then your audience is dreading the entire time waiting for that chekhov’s gun to fire.

Don’t compromise your story for sensationalism

I can complain about ~subverting expectations~ in another post, but what I mean here is this: Are you writing this scene purely for shock value, for the sake of a twist, because a story this grim demands at least one character death, or because it’s going to look epic?

In this post about pacing and this post about how to write tone, I talked about making your scenes pull double duty. You can write a scene for shock and awe, but if it’s at the expense of a character’s integrity or intelligence, come up with another way to make it spectacular.

You want the villain to monologue to give the heroes time to save the world? Then write a villain with an ego and personality that would monologue. You want the hero to be a one-man-army? Then write their personality as the lone wolf type and have it be a flaw of theirs that they keep striking out alone, consequences be damned.

You absolutely need the hero to not take the easy road and fight the bad guy without using their most effective weapon? Give them a reason to stall this fight. Maybe they really do need to simply run out a clock, or they don’t actually want to kill/subdue their opponent, or in doing so, the villain’s death is what causes the Bad Thing to happen.

If I write a character that can kill with just a look, every time I put them in a dangerous situation I need to then justify why they don’t do that over and over again, unless it’s by their own stubborn integrity that they choose not to.

If I write a villainous plan so devious and well thought out, the only thing standing in the way is living protagonists? I need a reason the villain doesn’t just murder the heroes every chance they get. Maybe they’re internally struggling over actually going through with it, or their ego demands the hero doesn’t get a quick or honorless death, or they do actually need a living hero for the plan to work.

Fixing Plot Holes in Sequels

All of the above is advice for issues within the same manuscript. What happens if you’ve already published and have the chance to address a known plot hole in the sequel?

About the worst thing you can do is slap in a throwaway line or hasty explanation to cover your ass. Everyone reading and watching will notice. Saying nothing is better than saying that.

See the duct-tape in Rise of Skywalker when the heroes explained that they couldn't just hypersspace-jump another ship into the enemy fleet because it worked so horribly effectively last time. Doesn't matter that they could have put it on autopilot or sacrificed a droid, or that, at any point in the history of Star Wars, someone else could have and should have done this desperate maneuver. For the sake of "looking cool" it opened an entire sinkhole.

Less a “hole” and more an inconsistency — the pegasus Blackjack in Percy Jackson is explicitly a mare, a female horse, in one book, and then inexplicably male in later books. Why? Well the author made a mistake, simple as that. He did *not* attempt to explain this error away or dig the hole deeper. It just is. Though I’m not sure why Blackjack couldn’t just stay a mare and how he didn’t reference the previous book when writing the sequel is a bit baffling.

If your heroes can no longer use the Deus Ex Machina they used before – have them attempt to use it, and then come up with a solid reason why it’s not possible. Maybe it was one-time use, or the savior simply doesn’t want to, or the cost/risk is too high to attempt it again, or it simply can’t be found and it’s very frustrating.

Have the heroes be morally opposed to doing what they did before, or overconfident, or skeptical that it will even work again only for that choice to bite them in the ass later. Have the magic item all used up, the recipe to recreate it lost to history. There’s a hundred better excuses than the hand of the author simply saying so.

—

If you aren’t going to write a sequel and you accept living with the plot hole unfilled… chances are people are going to love the story despite its flaws. Harry Potter is the poster child of “why didn’t they use X spell to solve the problem” or “they have a spell for X, yet they don’t have a spell for Y?” and how many people love that story?

In the end, a plot hole can be tiny or massive and chances are the story you told is entertaining enough to make up for it. It’s just a story, it’s just fiction. Learn from your mistakes so the next piece you create is even better.

[crystalis]

twitter thread by Mouin Rabbani

March 14, 2024

Who was there first? The short answer is that the question is irrelevant. Claims of ancient title (“This land is ours because we were here several thousand years ago”) have no standing or validity under international law.

For good reason, because such claims also defy elementary common sense. Neither I nor anyone reading this post can convincingly substantiate the geographical location of their direct ancestors ten or five or even two thousand years ago.

If we could, the successful completion of the exercise would confer exactly zero property, territorial, or sovereign rights.

As a thought experiment, let’s go back only a few centuries rather than multiple millennia. Do South Africa’s Afrikaners have the right to claim The Netherlands as their homeland, or even qualify for Dutch citizenship, on the basis of their lineage?

Do the descendants of African-Americans who were forcibly removed from West Africa have the right to board a flight in Atlanta, Port-au-Prince, or São Paolo and reclaim their ancestral villages from the current inhabitants, who in all probability arrived only after – perhaps long after – the previous inhabitants were abducted and sold into slavery half a world away?

Do Australians who can trace their roots to convicts who were involuntarily transported Down Under by the British government have a right to return to Britain or Ireland and repossess homes from the present inhabitants even if, with the help of court records, they can identify the exact address inhabited by their forebears? Of course not.

In sharp contrast to, for example, Native Americans or the Maori of New Zealand, none of the above can demonstrate a living connection with the lands to which they would lay claim.

To put it crudely, neither nostalgic attachment nor ancestry, in and of themselves, confer rights of any sort, particularly where such rights have not been asserted over the course of hundreds or thousands of years.

If they did, American English would be the predominant language in large parts of Europe, and Spain would once again be speaking Arabic.

Nevertheless, the claim of ancient title has been and remains central to Zionist assertions of not only Jewish rights in Palestine, but of an exclusive Jewish right to Palestine.

For the sake of argument, let’s examine it. If we put aside religious mythology, the origin of the ancient Israelites is indeed local.

In ancient times it was not unusual for those in conflict with authority or marginalized by it to take to the more secure environment of surrounding hills or mountains, conquer existing settlements or establish new ones, and in the ultimate sign of independence adopt distinct religious practices and generate their own rulers. That the Israelites originated as indigenous Canaanite tribes rather than as fully-fledged monotheistic immigrants or conquerors is more or less the scholarly consensus, buttressed by archeological and other evidence. And buttressed by the absence of evidence for the origin stories more familiar to us.

It is also the scholarly consensus that the Israelites established two kingdoms, Judah and Israel, the former landlocked and covering Jerusalem and regions to the south, the latter (also known as the Northern Kingdom or Samaria) encompassing points north, the Galilee, and parts of contemporary Jordan. Whether these entities were preceded by a United Kingdom that subsequently fractured remains the subject of fierce debate.

What is certain is that the ancient Israelites were never a significant regional power, let alone the superpower of the modern imagination.

There is a reason the great empires of the Middle East emerged in Egypt, Mesopotamia, Persia, and Anatolia – or from outside the region altogether – but never in Palestine.

It simply lacked the population and resource base for power projection. Jerusalem may be the holiest of cities on earth, but for almost the entirety of its existence, including the period in question, it existed as a village, provincial town or small city rather than metropolis.

Judah and Israel, like the neighboring Canaanite and Philistine entities during this period, were for most of their existence vassal states, their fealty and tribute fought over by rival empires – Egyptians, Assyrians, Babylonians, etc. – rather than extracted from others.

Indeed, Israel was destroyed during the eighth century BCE by the Assyrians, who for good measured subordinated Judah to their authority, until it was in the sixth century BCE eliminated by the Babylonians, who had earlier overtaken the Assyrians in a regional power struggle.

The Babylonian Exile was not a wholesale deportation, but rather affected primarily Judah’s elites and their kin. Nor was there a collective return to the homeland when the opportunity arose several decades later after Cyrus the Great defeated Babylon and re-established a smaller Judah as a province of the Persian Achaemenid empire. Indeed, Mesopotamia would remain a key center of Jewish religion and culture for centuries afterwards.

Zionist claims of ancient title conveniently erase the reality that the ancient Israelites were hardly the only inhabitants of ancient Palestine, but rather shared it with Canaanites, Philistines, and others.

The second part of the claim, that the Jewish population was forcibly expelled by the Romans and has for 2,000 years been consumed with the desire to return, is equally problematic.

By the time the Romans conquered Jerusalem during the first century BCE, established Jewish communities were already to be found throughout the Mediterranean world and Middle East – to the extent that a number of scholars have concluded that a majority of Jews already lived in the diaspora by the time the first Roman soldier set foot in Jerusalem.

These communities held a deep attachment to Jerusalem, its Temple, and the lands recounted in the Bible. They identified as diasporic communities, and in many cases may additionally have been able to trace their origins to this or that town or village in the extinguished kingdoms of Israel and Judah. But there is no indication those born and bred in the diaspora across multiple generations considered themselves to be living in temporary exile or considered the territory of the former Israelite kingdoms rather than their lands of birth and residence their natural homeland, any more than Irish-Americans today feel they properly belong in Ireland rather than the United States.

Unlike those taken in captivity to Babylon centuries earlier, there was no impediment to their relocation to or from their ancestral lands, although economic factors appear to have played an important role in the growth of the diaspora.

By contrast, those traveling in the opposite direction appear to have done so, more often than not, for religious reasons, or to be buried in Jerusalem’s sacred soil.

Nations and nationalism did not exist 2,000 years ago.

Nor Zionist propagandists in New York, Paris, and London incessantly proclaiming that for two millennia Jews everywhere have wanted nothing more than to return their homeland, and invariably driving home rather than taking the next flight to Tel Aviv.

Nor insufferably loud Americans declaring, without a hint of irony or self-awareness, the right of the Jewish people to Palestine “because they were there first”.

Back to the Romans, about a century after their arrival a series of Jewish rebellions over the course of several decades, coupled with internecine warfare between various Jewish factions, produced devastating results.

A large proportion of the Jewish population was killed in battle, massacred, sold into slavery, or exiled. Many towns and villages were ransacked, the Temple in Jerusalem destroyed, and Jews barred from entering the city for all but one day a year.

Although a significant Jewish presence remained, primarily in the Galilee, the killings, associated deaths from disease and destitution, and expulsions during the Roman-Jewish wars exacted a calamitous toll.

With the destruction of the Temple Jerusalem became an increasingly spiritual rather than physical center of Jewish life. Jews neither formed a demographic majority in Palestine, nor were the majority of Jews to be found there.

Many of those who remained would in subsequent centuries convert to Christianity or Islam, succumb to massacres during the Crusades, or join the diaspora. On the eve of Zionist colonization locally-born Jews constituted less than five per cent of the total population.

As for the burning desire to return to Zion, there is precious little evidence to substantiate it. There is, for example, no evidence that upon their expulsion from Spain during the late fifteenth century, the Sephardic Jewish community, many of whom were given refuge by the Ottoman Empire that ruled Palestine, made concerted efforts to head for Jerusalem. Rather, most opted for Istanbul and Greece.

Similarly, during the massive migration of Jews fleeing persecution and poverty in Eastern Europe during the nineteenth century, the destinations of choice were the United States and United Kingdom.

Even after the Zionist movement began a concerted campaign to encourage Jewish emigration to Palestine, less than five per cent took up the offer. And while the British are to this day condemned for limiting Jewish immigration to Palestine during the late 1930s, the more pertinent reality is that the vast majority of those fleeing the Nazi menace once again preferred to relocate to the US and UK, but were deprived of these havens because Washington and London firmly slammed their doors shut.

Tellingly, the Jewish Agency for Israel in 2023 reported that of the world’s 15.7 million Jews, 7.2 million – less than half – reside in Israel and the occupied Palestinian territories.

According to the Agency, “The Jewish population numbers refer to persons who define themselves as Jews by religion or otherwise and who do not practice another religion”.

It further notes that if instead of religion one were to apply Israel’s Law of Return, under which any individual with one or more Jewish grandparent is entitled to Israeli citizenship, only 7.2 of 25.5 million eligible individuals (28 per cent) have opted for Zion.

In other words, “Next Year in Jerusalem” was, and largely remains, an aspirational religious incantation rather than political program. For religious Jews, furthermore, it was to result from divine rather than human intervention.

For this reason, many equated Zionism with blasphemy, and until quite recently most Orthodox Jews were either non-Zionist or rejected the ideology altogether.

Returning to the irrelevant issue of ancestry, if there is one population group that can lay a viable claim of direct descent from the ancient Israelites it would be the Samaritans, who have inhabited the area around Mount Gerizim, near the West Bank city of Nablus, without interruption since ancient times.

Palestinian Jews would be next in line, although unlike the Samaritans they interacted more regularly with both other Jewish communities and their gentile neighbors.

Claims of Israelite descent made on behalf of Jewish diaspora communities are much more difficult to sustain. Conversions to and from Judaism, intermarriage with gentiles, absorption in multiple foreign societies, and related phenomena over the course of several thousand years make it a virtual certainty that the vast majority of Jews who arrived in Palestine during the late 19th and first half of the 20th century to reclaim their ancient homeland were in fact the first of their lineage to ever set foot in it.

By way of an admittedly imperfect analogy, most Levantines, Egyptians, Sudanese, and North Africans identify as Arabs, yet the percentage of those who can trace their roots to the tribes of the Arabian Peninsula that conquered their lands during the seventh and eighth centuries is at best rather small.

Ironically, a contemporary Palestinian, particularly in the West Bank and Galilee, is likely to have more Israelite ancestry than a contemporary diaspora Jew.

The Palestinians take their name from the Philistines, one of the so-called Sea Peoples who arrived on the southern coast of Canaan from the Aegean islands, probably Crete, during the late second millennium BCE.

They formed a number of city states, including Gaza, Ashdod, and Ashkelon. Like Judah and Israel they existed primarily as vassals of regional powers, and like them were eventually destroyed by more powerful states as well.

With no record of their extermination or expulsion, the Philistines are presumed to have been absorbed by the Canaanites and thereafter disappear from the historical record.

Sitting at the crossroads between Asia, Africa, and Europe, Palestine was over the centuries repeatedly conquered by empires near and far, absorbing a constant flow of human and cultural influences throughout.

Given its religious significance, pilgrims from around the globe also contributed to making the Palestinian people what they are today.

A common myth is that the Palestinian origin story dates from the Arab-Muslim conquests of the seventh century. In point of fact, the Arabs neither exterminated nor expelled the existing population, and the new rulers never formed a majority of the population.

Rather, and over the course of several centuries, the local population was gradually Arabized, and to a large extent Islamized as well.

So the question as to who was there first can be answered in several ways: “both” and “irrelevant” are equally correct.

Indisputably, the Zionist movement had no right to establish a sovereign state in Palestine on the basis of claims of ancient title, which was and remains its primary justification for doing so.

That it established an exclusivist state that not only rejected any rights for the existing Palestinian population but was from the very outset determined to displace and replace this population was and remains a historical travesty.

That it as a matter of legislation confers automatic citizenship on millions who have no existing connection with the land but denies it to those who were born there and expelled from it, solely on the basis of their identity, would appear to be the very definition of apartheid.

The above notwithstanding, and while the Zionist claim of exclusive Israeli sovereignty in Palestine remains illegitimate, there are today several million Israelis who cannot be simply wished away.

A path to co-existence will need to be found, even as the genocidal nature of the Israeli state, and increasingly of Israeli society as well, makes the endeavor increasingly complicated.

The question, thrown into sharp relief by Israel’s genocidal onslaught on the Palestinian population of the Gaza Strip, is whether co-existence with Israeli society can be achieved without first dismantling the Israeli state and its ruling institutions.

[nobleocaste]

i imagine jc getting a wife in the 13 years of no wei wuxian and her superpower is that she has common sense

“honey, don’t you think it’s a little bit weird that your brother disappeared for three months and completely stopped using his sword?”

“honey, don’t you think it’s a little bit weird that your brother killed thousands of people without even playing the dizi?”

“honey, don’t you think it’s a little bit weird that at qiongqi path there were a ton of jins?”

[stoatallybored]

🗯EUREKA!🗯

Shoutout to the only Ace Attorney character with the superpower of ✨️Common Sense✨️

[frownyalfred]

Ooh the angst of that idea... the insidious "it was for your own good Bruce, everyone's been telling you to retire for years" "we just wanted to keep you safe, you need to understand". Not understanding that Batman and Bruce are the same person. Bruce having to use his "Brucie" tactics to placate the people imprisoning him and communicate with his charges.

I see a lot of stories that center Batman's fighting prowess, and fewer that focus on the soft skills he has; the classic detective abilities like investigation, getting people to spill secrets, finding sneaky ways out of difficult situations. I feel like a situation where he's in this gilded cage, supposedly in the safest place in the world, having people assume he's siding with the enemy when he's actually walking a tightrope every day...it's so much fun as a concept

Right?? I'm frothing at the mouth thinking about what Bruce Wayne, in all his subdued glory, would teach to a budding class of superpowered teenagers. Especially with Kal's teeth hovering over his neck.

I could easily see Kal and Diana justifying it like you did above. Bruce isn't old, but he's vulnerable. And he's good at training Robins -- his proteges go on to be even more incredible than almost any other powered sidekick. So what could he do with a powered one?

I'm really thinking about writing this now, and I'm throwing around the idea of it being from Duke's POV, as a powered recruit who wasn't close with Bruce and the Batfamily before things went south. They have Gotham in common, and maybe that's what snaps Bruce out of it a little.

Or maybe Duke sees, both with powers and with his own mind, what the other recruits haven't this far. That this is a gilded cage, and Bruce is slowly being abused by Kal and Diana, who were supposed to be Earth's protectors. And he lets it happen, because he loves his kids more than anything. And beating commons sense into recruits helps him feel like maybe, somewhere, they could help keep his kids safer too if they ever crossed paths on the field.

Bruce raising a whole generation of highly-skilled field members purely because of the noose around his neck is so compelling to me.

[silvermoon424]

Twisted Tropes: An Examination of How Magical Girl Tropes are Subverted in Puella Magi Madoka Magica

(this is a long one, clocking in at over 1600 words. Enjoy!)

Madoka Magica has often been called a “deconstruction” of the magical girl genre, and while many fans refute that claim, it’s clear that it at least offers a darker twist on many of the tropes beloved and well-known in the genre. These tropes include the transformation trinket, the cuddly mascot, the monster of the week, magical girls having a secret double life, magical girls themselves being child heroines, and even the concept of why magical girls fight in the first place.

One of the biggest examples of these tropes being twisted is the magical girl transformation trinket, which in this series are Soul Gems. In more conventional magical girl series, transformation items are pretty, flashy items that enable the girl to transform from her civilian form to her magical girl form- and to be frank, serve the double purpose of selling toys and merchandise in the real world.

In PMMM, Soul Gems are beautiful Faberge egg-like items that serve the same purpose. It turns out though, that their name is very literal; they are gems that serve as containers for the magical girl’s soul (or may even be her crystallized soul, it’s not really made clear). Soul Gems are formed when magical girls make a contract with Kyubey and are the source of their powers. Moreover, because her soul has been ripped out of a magical girl’s body, her body cannot function unless her Soul Gem is within a few hundred feet of what is now her soulless husk.

In more traditional magical girl shows, transformation trinkets sometimes get stolen, misplaced, etc with no ill effect for their users except for an inability to transform. In PMMM, this is a literal death sentence unless the Soul Gem can be recovered (as displayed in episode 6, when Madoka tosses away Sayaka’s Soul Gem in an attempt to prevent her and Kyoko from fighting). The consequences of this are actually explored in one of the routes of the Madoka Magica PSP game; Sayaka is separated from her Soul Gem in a Witch’s barrier, and it takes Kyoko days to find it. In that amount of time, her body began to literally rot.

The next concept I want to explore is that of the cuddly mascot. Magical girl mascots are a common feature in many shows, from the Moon Cats in Sailor Moon to Cerberus in Cardcaptor Sakura to the many, many mascots in the Precure franchise. In all of these series, the mascots act as friends and often mentors to their magical girl companions; in most series, they are also responsible for empowering/awakening their magical girls.

In PMMM, Kyubey initially seems to be much the same. He is a cute, cuddly creature who is responsible for creating and guiding magical girls. Pretty soon however, it becomes clear that Kyubey is a sinister figure. His contracts don’t seem very benevolent; they seem exploitative, taking advantage of girls when they’re at their lowest point. And unlike the Senshi in Sailor Moon or the Cures in Precure, it quickly becomes apparent that the magical girls in PMMM are dealing with much higher stakes- at least, when it comes to their own wellbeing.

PMMM almost seems to ask the question: what kind of creature would give superpowers to children and send them to fight monsters that could very easily kill them? Even Kyubey’s appearance is highly implied to be a carefully calculated façade meant to lure teenage girls into a false sense of security and make them feel drawn to him. For example, Kyubey uses this to his advantage when he plays up his helplessness to Madoka in episode 1 when he’s being hunted down by Homura. In reality, the Incubator’s true appearance- as seen in Rebellion- are implied to be mechanical structures with giant eyes in the middle; a very alien appearance suiting their alien origins and psychology.

Speaking of child heroines, PMMM also addresses the magical girl tropes of the child heroine and the double life. In most magical girl shows, being a teenaged (or even child/preteen) magical girl is portrayed as an exciting, glamorous, heroic position. The role of magical girl is often contrasted against the mundane, yet still charming and school and civilian life. Magical girls often work hard to maintain the secret of their alter egos from their (non-magical girl) friends and family, although in some series the secret does come to light. However, the girls are usually able to enjoy a healthy balance between their personas.

In PMMM, magical girls seem more like child soldiers than glamorous heroines. Being young girls and not hardened adults, many magical girls face severe psychological trauma from the life they’re thrust into- much life real-life child soldiers. Most magical girls made their contracts without truly getting to think about their wish or the consequences of being a magical girl for the rest of their lives. And because getting enough Grief Seeds is literally life-or-death, they must spend most of their free time patrolling for Witches.

We get a good look at the toll being a magical girl takes on one’s social life through Mami’s character; supplementary materials reveal that she was once a popular girl who had a lot of friends, but after she was forced to contract in the same accident that killed her parents, she slowly lost all her friends because she had no time to do anything else but train, hunt Witches, fight Witches, etc in her free time. In episode 3, when Madoka talks about how she wants to be a magical girl, Mami outright tells her that the life of a magical girl is a lonely one and Madoka will no longer have time for things like boys or hanging out with her friends after school. Even in Magia Record- an alternate timeline that offers a much more positive look at the PMMM-verse- most magical girls are only friends with each other.

Another major example of a trope being twisted is that of the “monster of the week.” Most magical girl series have the girls fight monsters, and in many of those series the monsters are created from human beings. Sailor Moon and the Precure franchise are two standout examples of this. For example, in the fifth season of the 90s anime adaptation of Sailor Moon, people who don’t have “true” Star Seeds will turn into monsters called Phages if their Star Seeds (ie, souls) are ripped out. A similar phenomenon happens in Heartcatch Precure, with the added bonus of the victim’s consciousness eternally reliving the same state of despair that made them vulnerable in the first place. In all of these series, however, the magical girls are able to heal the victims and restore them to their former selves. Sometimes, if the monster/victim is a loved one or someone else known to them, they can even do a “I know you’re in there somewhere” plea to help them to break free.

PMMM takes the true horror of this concept up to eleven. Moreover, the victims aren’t regular people- they’re the magical girls themselves, and this fate is inevitable. Every magical girl, if she doesn’t die in battle against a Witch, will become a Witch herself who spreads despair and kills innocent people until the day she is put out of her misery by another magical girl. And she will be in misery; the Rebellion movie shows that Witches relive the worst moments of their lives over and over again and are psychologically tortured. A lot of Witches also seem to be in ironic hells. For example, Charlotte can create any dessert she wants except for cheese or cheesecakes, which is her favorite food. Roberta is surrounded by lascivious men (her familiars) who annoy her. And of course, every Witch was once a magical girl who once spread hope and saved people and now does the opposite.

It’s also made abundantly clear that once the Witch transformation happens, it’s over. There’s no saving someone. The only person in canon who is able to actually get results is Madoka- aka an actual goddess with huge karmic potential- and it comes with caveats (in one, later timeline she brings Sayaka back from the dead after she became Oktavia, and in Rebellion she is able to reverse Homura’s transformation into Homulilly- although afterwards Homura still needs to be brought into the Law of Cycles like any other magical girl about to become a Witch). In episode 9, when Kyoko and Madoka try to reach out to Sayaka’s inner self when Kyoko fights Oktavia, it ends in Kyoko’s death because nothing of Sayaka remains.

In most magical girl shows, the monsters of the week are just ineffectual mooks who are fodder for the evil organization opposing the magical girls. But in PMMM, they are mirrors of the magical girls themselves, agents of chaos and despair who present a very real threat to the magical girl’s lives- not to mention the lives of any unfortunate people who stumble across them.

Finally, I want to examine the topic of why magical girls fight in the first place. In most series, there is a group of villains who pose a threat to humanity/the Earth/etc and magical girls must oppose them. There is a very real external threat being faced.

In PMMM however, the beings that empower/perpetuate magical girls and are ultimately the threat are one and the same. Because the tragedy of PMMM is that magical girls are fighting against a self-perpetuating cycle; magical girls form contracts, magical girls become Witches, more magical girls form contracts and fight the Witches, and on and on it goes. Magical girls are their own enemy, in a sense.

I’m sure there are lots of tropes I’m forgetting, but this essay is already over 1,600 words long, lol. I might make a part 2 at some point, so give me your ideas!