#there is no way to be objective about something as subjective as human experience

[nyanryan]

the need to have "neurotypical" and "neurodivergent" be two completely different things with no grey area in between is a disservice to both groups. i would say every single person on this earth could qualify as neurodivergent if they bothered to go see a psychiatrist. its just that only certain ppl are going to be put in a situation where they cannot function and need a label to explain it bc society

[froshele]

today in the wild I came across a phrase to the effect "...And this [pair of ethical axioms about what constitutes quality of life for purposes of discussion about disability and coma prognosis, based on the opinion of one person who has not ever been in a coma or disabled thereafter] suggests that maybe, just maybe, [relevantly comatose or recovering or disabled] people may have quality of life sufficient to make them ethically relevant"

that's ... not, um, normally considered to be what makes people "ethically relevant" in the world where all the people are and there's sunshine and grass and things, but, you know what, ok jennifer, A for effort! :) gold star for you, philosopher extraordinaire, moral lodestar for people unsure what to do with granny, paragon of ethical conduct!

[marimoscorner]

Consumerism & Witchcraft

Written by Marimo (he/they)🌿

I’ve seen a turn for the better in some witchy spaces regarding consumerism in the past few years, but overall it still tends to be an issue for us as a community. I’ve decided to try and breakdown the pitfalls I’ve noticed in my own journey, in the hopes that it will inspire and assist others. I’ve also provided alternatives and ideas on how to make small changes in our practice to help us better protect the Earth, stick it to the failing system and still acquire our bits and bobs we love so dearly.

As always, I am no authority on any subject nor am I perfect—but we’re all learning as we go, so let’s dive right in 🌿

A Preface

There are some things that should be made entirely clear before we begin:

You are not a bad person for wanting an aesthetic

You are not a bad person for unknowingly falling into pitfalls. Only if you continue to purposefully do so after knowing better

You are not a bad person for consuming content/objects or for not always making the most sustainable decisions. At the end of the day, we can only control our small part of environmental impact, while the rest is left up to the major corporations that make more pollution than any of us ever will

You are only human. Show yourself some grace and understanding that the internet so lacks.

My Experience in Consumerist Hell

I have fallen victim many times to consumerism in witchcraft. Starting my journey at the ripe age of about ten years old and heavily in the broom closet, I was quickly drawn in by the shiny rocks, the brand new candles and scents, the promise of new tarot decks and pendulums and other fancy, shiny new equipment. I was consuming an online aesthetic along with my ideals, and it distracted me from starting my journey by learning well.

I began to spend my birthday and holiday money on the aesthetic of things. While, granted, I still did buy a few literary resources now and again from my local secondhand bookstore—I was stubbornly ignoring the sage advice to learn and understand first before diving in headfirst.

I purchased statues, crystals, too many tarot decks to use. I purchased osteomancy bones I later returned to the earth, for I had not done enough research to know that that animal was mine to practice with. I had a tankard full of incense sticks, and even a growing pile of books that would not be read. While I liked to consider myself crafty with my homemade Maypole and various hand-bound Grimoires, something was becoming apparent: this was all a distraction.

The aesthetic I was partaking in was providing me with a false sense of progress and practicality.

When I’d go to do a tarot reading, I’d become far too overwhelmed with choosing a deck to read in the first place. When making an offering to a deity, I’d feel pressured to also bolster the altars of all the other deities I’d set up, and with my wide pool, the connections felt muddy. Often times I’d be off-put on a project or spell because I knew I needed to film it and it needed to look nice.

In the long term, I don’t have many of these items today. I’ve sold and donated a vast breadth of them. Feeling overwhelmed costed me a few years retreat from my craft to recuperate. However, what has stuck with me is the knowledge I picked up along the way.

So, What’s the Issue? TL;DR

I’ve noticed a few issues here in making these mistakes myself.

Consumerism absolutely distracts you from learning and your craft

Overconsumption leads to environmental damage. If everyone hoarded supplies, there would not be enough to go around. And with what gets thrown away every year…it paints an ugly wound on the Earth

We damage our learning abilities by not allowing ourselves to be anything less than perfect

The need for aesthetic creates barriers to entry within the community and creates a divide of haves and have-nots

You won’t be able to truly follow your individual path if you are only consuming and not creating for yourself

Consumerist culture promotes appropriation. Metaphysical stores carry items from closed practices (such as white sage and palo santo, or coyote bones) because someone is buying them. Don’t be that person, and find alternatives relating to your own culture instead

Consumerism can influence your spiritual decisions based upon monetary inclinations (where some may sacrifice a quality ingredient over a higher quantity of a lower quality ingredient)

So, what can we do?

Firstly, I want to clarify that I am not against collecting, nor am I against maximalism or the beautiful visual aesthetic we carry as a community.

I am an artist a very visual person and understand the longing for a beautiful home and workspace. However, this aesthetic shouldn’t come at the cost of irresponsibly harming the Earth or another community.

Thus, I’ve compiled a list of small things that I will be incorporating into my practice to make it more mindful and sustainable. I hope that you’ll join me in a few of them.

Minimize Supplies. While I used to have a huge selection of stationary for my Grimoire, I now limit myself to a simple pencil and watercolor set if I’m feeling artistic. This helps me actually use my Grimoire for study, rather than to keep perfect. It’s also friendlier on my wallet!

Thrift Supplies. There are plenty of perfectly good items that get donated daily. You can get high-quality candles and holders, old crystal bowls for altar offerings, spare crafting supplies, fabric for alter cloths and even clothing if you so wish—all for a fraction of the cost new and while saving the planet just a little bit more. Hell, you can sometimes even find good silver!

Share Supplies with your Community. You can create a sort of barter system with other witches in your area. Perhaps you create a sigil for them, and they provide you with a candle spell. Play to your strengths and grow together!

Look for Creative Outlets. Do you really need to go buy an altar statue that’s been mass-produced? Or can you give your deity the personal gift of a drawing, painting or even hand-modeled or hand-carved rendition? This will also deepen your connection to your craft and your magic, and make it more meaningful and stronger. If you really like something, though, go for it!

If you aren’t the artistic sort, consider supporting an artist before going to a large company. While I haven’t purchased from them myself, Blagowood on Etsy has beautiful deity statues carved from wood by their small team in Ukraine for a comparable cost to the standard mass produced metal statues. I consider this extra labor of love going into these pieces and those of similar small companies to be much better energy for my practice. I myself may put out some art prints and other handmade supplies in the future, but I will likely spread them around my community first.

Try Secondhand Books. While not available in every area and further still not as available for witchcraft and occult books, you may strike luck! Not only are secondhand books less expensive, but you’ll be supporting a local business. That’s not to say you can’t buy firsthand books, but some searching around may be beneficial to the earth and to your wallet in the long run.

Be mindful of where you source supplies and decor. If you are a fan of taxidermy decor, make sure that you source cruelty free. Bats can practically never be sourced without cruelty, so if a shop carries them, I’d be mindful of their other specimens. The same goes for if a shop decides to forgo a culture’s wishes and carry supplies sacred to them, such as white sage or dreamcatchers. Supporting folks who turn a profit off of others’ suffering is not something many would wish to include energetically in their craft.

Search the Wild for Tools. Find sticks, flowers and other plants out in the forest. Learn how to rockhound in your area for crystals. Your craft will be more powerful the more connected it is to the land you are surrounded by. Be sure to reference guides for safety and legality!

Get Creative with Purposes. If you are having difficulty finding exactly what you need by thrifting or searching, make another tool multipurpose if it would do the job good enough. Find supplies that are easy to source and work as substitutes for other ingredients (ex. Quartz as a stand in for other stones)

Spend more time Doing. Go out into the woods (safely) and advance your connection to the earth instead of worrying over the perfect item for your collection. Your craft will benefit

At the end of the day, all of this is your decision. Take what you like, and leave what you don’t. Even if we don’t agree, I thank you for your time and open mind. I will continue updating about how I incorporate these steps, and I will also hopefully post more on witchy crafting in the future.

I wish you well, and hope you’ll decide to follow along on our journey!

[neversetyoufree]

Looking back, I wonder how much of Vanitas's choice in this scene is tied to the fact that he was given a choice in the first place.

So much of Vanitas's character is centered around the theme of self-determination (and the lack thereof). He is absolutely deprived of any control over his body and/or destiny at many of the key points in his life, and nowadays he's always desperately grasping at what few shards of self-determination he does have. This is why he freaks out when Roland talks about him being "under the vampires' power" in mémoire 15. It's why he's hung up on the idea of freedom as isolation from others' influence. It's why his main response to being triggered is to do something crazy and cause a scene; it puts him in control of the situation.

All that to say, when Luna destroys Moreau's lab and agrees to take Misha away, Vanitas must be desperate to feel some form of in-control, but I do not think he expects to be given any choice in what happens to him next. He's been conditioned not to expect that despite how much he wants it.

Vanitas certainly doesn't have much agency in how he lives his life as a child, as no kid gets to pick their parents or circumstances, and Vani has it especially rough with the death of his mother hanging over his head. Then his father dies protecting him, and he dies in a situation in which Vanitas is utterly powerless. Horror erupts into his life out of nowhere, and his dad throws himself in front of some fangs, and there's nothing Vanitas can do but watch it happen.

Next there's Vanitas's brief time training as a chasseur, which is one part of his history we know little about, so it's hard for me to say how free his choice was. He may have been pressured into joining, as we know the Chassuers aren't above pushy/manipulative recruitment of children (Astolfo), but I could also see his choice to hunt vampires made as a trauma response to the powerlessness of the vampire attack he survived. "I was powerless, so I'll claim the power to enact violence and make sure they can't hurt me or others again."

Then Vanitas is abducted by Doctor Moreau, which strips him of his agency just about as awfully as anything possibly could.

Vanitas the test subject has no bodily autonomy. He is poked and prodded and experimented on, because his body is an object of science to Moreau, not the vessel of a person with rights or self-determination. His only big active choices during his captivity are the choice to not run away for fear of somebody else suffering and the choice to volunteer in Mikhail's place. The only choices he can make are the choices to stay and throw himself even deeper into his own violation. Even his relationship with Misha is something that just kind of Happens to him. The kid is a force of nature that Moreau dumps on him without his say.

(This isn't Mikhail's fault, as Misha is just a child that wants affection, but having a needy, vulnerable little brother figure suddenly dropped on him in the midst of all that horror couldn't have made Vanitas feel less out of control).

Then Vanitas's torment by Moreau hits its climax, and Vanitas is told that not only has his body been violated by way of pain and torture—even his basic humanity has been and will be stripped from him. He now feels the disgust of having the blood of something he hates inside of him without his consent. And he's about to be killed, turned into a mindless husk of a "living key" instead of a person.

And that's when Luna shows up. This mysterious, incredibly powerful being appears and wreaks havoc on Moreau's lab like an avenging angel, and it agrees to Mikhail's request to take "us" along with it. Everything in Vanitas's life so far has taught him that he is powerless in the face of others' great power. Horrible shit just keeps happening to him forever, and this monstrous person sounds like they've just agreed to carry him off on Mikhail's request without a word of input from him. Of course he doesn't expect to be given a choice.

But he is.

Luna scoops up Mikhail, then they turn to Vanitas and ask if he would like to come along with them as well. After months or years of absolutely all of his autonomy and power being stripped away from him, the most powerful being Vanitas has ever encountered stops and gives him a choice about what he'd like to do next. They give him the option to go off on his own and decide his own fate rather than go along with them. And that's why Vanitas doesn't run away.

These are the images that flash through Vanitas's head right before he gets up and runs to Luna:

These moments are what inform Vanitas's choice. The memories of his father's death and Moreau's final experiment on him—his two most awful moments of abject helplessness.

When Vanitas runs to Luna and accepts their offer, these moments are what he's running from. He's fleeing from his inability to do anything or control his fate. He's running from a life of stolen agency. He's running toward the one adult who actually stopped and gave him a choice about what he'd like to do next.

Vanitas chooses Luna because they, despite having the power to kill or subdue him, give him the freedom to choose to accompany them in the first place. He's drawn to them not for protection, but as an escape to a life where he gets to keep making choices and grasp some agency.

Luna is the savior that gives Vanitas his freedom and autonomy back after it's stolen by Moreau. That's why it's so tragic that Vanitas carries their Mark in the present day. It's undeniable proof that, in their right mind or not, some version of Luna violated the fundamental trust and gift of autonomy that brought Vanitas into their family in the first place.

Luna's bite, both the physical violation and the transformation into inhumanity that it brings, is yet another way that Vanitas is stripped of all control of his body and fate.

[idlerin]

EACH WORD FELL INTO PLACE

celebrity!akaashi keiji x f!reader

part 1 | part 2 | part 3

the ikarus incident (band au)

+ word count: 8.6k

content — best friend's brother/sister's best friend trope, established relationship (in the other fics especially, this one eventually), can be read as a stand-alone ig, very fluffy hihi enjoy! (i certainly enjoyed writing it)

to love and be loved by akaashi keiji, a treasure not many get to behold.

AKAASHI KEIJI never thought he would be the type to experience the kind of love that was heart-racing, mind-clouding, immense, and overflowing. A love that makes you lose all sensibility and makes you ponder on how to function like a proper human being. Such acts included breathing normally, blinking in the usual manner, and even thinking when the person beholding the affection is near. The kind of love that existed and repeated in countless romance novels, movies, and shows. Fictional. Unreal. Untrue. It’s not like he was much of a pessimist to think that he would never find love, more like, it was unbelievable for that kind of love to exist in reality as it frankly didn’t make any sense. How could someone lose all rationality because of one single person?

Keiji could vaguely remember his father talking about the day he met his mother, how, when he first saw her it felt as if he was shot in the heart. Not by an arrow, but by a bullet. How he was hit with a myriad of emotions, love and adoration above all. A burning sensation settled in and what left was the thought of needing to get to know their mother more, absolutely sure she was the one for him.

Keiji simply didn’t get it though, at the ripe age of ten, he didn't understand how a person could fall in love with someone they didn’t know well (which is why he thinks the notion of falling in love at first sight is impossible, you can feel attraction at first sight but surely not love). He soon discovered that love could sprout differently for people. His aunt and uncle for one fell in love after years of being friends, it didn’t hit them immediately that their bond would turn into something more and yet it did. His uncle described it as one day seeing the sun shine high up in the sky and realizing how bright it makes the world.

The blinding kind of love was simply one of the many ways people express their affection for one another. In the end, he concluded that the heart-racing, mind-clouding, immense, and overflowing kind of love wasn’t something he would ever be subjected to. 

He grew curious about the subjectivity in an objective reality, this curiosity turned into an interest in writing. Which then turned into an interest in poetry and eventually, lyricism. He had found a love for literature that young kids usually don’t, this then had been a turning point in his life that wasn't abrupt but impactful, who knew rummaging in the attic looking for his nana’s old books would lead him to discover an abandoned guitar?

Just like his view on love and everything else, music was something that slowly but surely made its way into his heart. A passion begins to thread and twine to the fate directing his life.

And then he was hit by a bullet.

Unlike his father, it didn’t come abruptly and immensely after he laid eyes on you. It was slower, gradual, and not anything he expected at all. He’s known you for years, being his little sister’s closest friend. You were a constant presence in his home and you were even there to listen to his band when they were merely four kids having fun and following a dream. You were always the sweet type, and it blended well with his sister’s fierce attitude. Along the way he started thinking of you as a friend too, he could confide in you and you both shared easy conversations, how could you not be friends? You practically spent every single day in his house, you were more familiar than some of his cousins.

“I just want to graduate, why is this so hard?” you whine, a pout befalling your face, “Keiji, I swear you explained it really well, maybe something’s wrong with my brain!” your eyes were wide, looking at him as if you were truly worried something was wrong with you. It was one of the many days you spent in his home, and he offered to help when he noticed you kept glaring at a piece of paper on the counter. He asked where his sister was and you said that she was taking a nap, but you couldn’t give yourself the same pleasure without finishing your worksheet.

“Maybe you need to take a break for a moment,” he suggests, smiling idly at your expression. The pout didn’t rest and he reached out to pat you gently on the head, something he got used to doing. It’s not like he saw you as a child—he was only a year and a half older—but he could never help patting your head whenever you acted in such a cute manner.

“What will that do?” your shoulders loosen and you look up at him prettily under your lashes. That’s when Keiji becomes speechless for a moment, your gaze pierces through him and he doesn't hear what you said at first. He hadn’t noticed that he’d been staring for too long, you had to get him back to his senses by uttering, “Keiji?”

“Yes? I–uhm right uh, rest will give you the energy you need to process new information easily,” Keiji suddenly felt the need to stand up, so he did. You were pretty, yes, that’s not anything new. You’ve always been pretty in his eyes so why is it that he’s now acting so weirdly about it? He’s long since acknowledged that you’re pleasing to look at. Yes. So what? Right. He didn’t get to ponder much on that afternoon because he was soon bombarded with work when his band got scouted by an agent, he had rehearsals to worry about and people to impress. Plus, you’d always be there, so he doesn’t need to rush and put a name on anything. 

Budding feelings they may be. Keiji didn't know exactly what it was, but he wasn't dumb to not have a hint to what's happening to him. He just didn't let himself be too caught up in it.

Your presence in the Akaashis' lives was so prominent that you were even invited to family gatherings. His aunts, uncles, and cousins became as familiar with you as a regular family member would. He was so used to your presence on trips as well, his mother treated you as her own and his sister was more than happy to have her best friend on their outings.

“Is [name] not joining?” he found himself asking when he was carrying his bags to the car, his family and him were on their way to a beach trip and naturally, he looked for you. He just got back after weeks of juggling his second year of college and his band. His family greeted him with a resort getaway to “ease him up a bit” according to his sister who also just got home from her first year in university.

His father started laughing and Keiji was confused as to what was so hilarious, his father didn’t leave him wondering for too long, “Glad to know you were also used to her being here!” and laughed more as if this was the funniest discovery in the world.

“Dear, what’s so funny? Is it not obvious Keiji thinks of [name] as a sister as well? Of course he’d look for her,” his mom shook her head at his dad, “Now stop laughing and get the other bags, I’m too tired to walk back in.”

A sister? His mom thinks he thought of you as a sister? That was… he has never entertained the idea. You were always just you. No matter how much he thought about it, he could just never see you as a sister.

“Why is [name] not coming?” he could not take not knowing the reason and asked Kaiya who was looking like she was trying to bury herself in her hoodie.

“Because she's busy,” Kaiya shrugged, bringing out her phone and leaning on the car.

Busy? It was summer, you’re supposed to have fun during summer. Even he (someone who is dedicated to upholding responsibilities even during summer break) is taking time for leisure because it’s summer. What could you possibly be busy with that would make you unable to come and enjoy a getaway? Why wasn’t his sister reacting more to this? Usually, Kaiya would be the one most sulky about not being able to bring you along with us despite her grown age. Was Keiji the only one finding your no-show bothering?

“You’re not whining about not seeing her? You’re all grown up,” Keiji smiles, trying to get a reaction out of his sister.

“Of course I’m all grown up! Don’t act like you’re that much older than me,” Kaiya glares, “And I see [name] almost every day, I’ll see her after the trip,” she stuck her tongue out as if taunting. She smirked right after and Keiji had his suspicions that Kaiya must be trying to get something out of him as well. They think too alike, he adores his sister but he'd rather she not pry much right now when he's distraught and trying to compose himself because it shouldn't be too obvious that he's feeling distraught.

Kaiya could see you whenever she wanted, you went to the same university and lived on campus together. Somehow that gave him a bad feeling in his stomach, the reason is not that his sister specifically spends more time with you—that's a given because of your years of friendship—but because he couldn't spend much time with you. There was a clear difference.

He was feeling strange again, it was still a strange and unfamiliar feeling despite him not exactly being single his whole life. After months of being away for college and work, going home included seeing you and now that he doesn’t get to do exactly that is making him feel drowsy. He thought that he could sidetrack himself from further developing these feelings of his but it didn't work (he entertained a few people the past year because he was trying to get you off his mind—which was no use, you were always there and will always be there). Sometimes he'd think of you and he'd have the urge to message you (he gives in to his desire to talk to you most of the time), or sometimes he would look at old photos of you two—which was not much.

There was a time in the middle of band practice where he kept staring off into space because he remembered a time where you asked him to teach you how to play a few chords on a guitar and he remembered the way you laughed and how your skin felt when he was arranging your fingers on the strings properly. They had to start over and over on practicing a song because Keiji kept misremembering lines when the thought of you was making him flustered. Even Atsumu had started asking him if he would be alright performing for the gig they booked the following night. That was only one of the many instances you clouded his thoughts.

This feeling was driving him insane.

He took a deep breath to control himself because the thought of missing you was eating him away. He wanted to see you. You’ve exchanged texts and some calls over the past months but it wasn’t enough, you were one of the reasons he was looking forward to coming back home and he foolishly thought he would get to see you eventually because you’d always be there.

He’d like to take it back, it wasn’t like getting hit by a bullet per se, Keiji would equate it more to poison. The kind that slowly seeped in and made it so that it was difficult to breathe. To function. Keiji sighed and resigned himself to the irony that he was slowly ticking the boxes of the criteria that made him believe he was otherwise susceptible to the kind of blinding affection one could have towards someone.

Keiji didn’t know when exactly he entered the car, the whole journey sure felt enlightening with the way he could finally put a name to his actions towards you. He really couldn’t take it anymore and messaged you, asking why you couldn’t join the trip. It was better to hear it from you, and it also eased him a bit. Perhaps in a while, he could bring up meeting with you over the next weeks, that wouldn’t be too strange.

Fate was on his side and he got his wish of seeing you more frequently during summer break. You agreed to hang out with him and you spent it by usually going to the theaters, a museum, or simply eating out. He didn’t mind what you guys would do, he enjoyed even just passing by stores with you. Whenever Kaiya and you would hang out, you would drop by which would lead to conversations in the living room while waiting for his sister to get ready (Keiji knew his sister was also using him for a free ride but it’s not like he would complain since it means more time with you). The last week of the break was his sister’s birthday and he had enjoyed picking out gifts for her with your guidance, it did make him feel a bit empty knowing he’d have to spend months without being with you again.

Despite all his worries, he remained focused on the present. Him, Kaiya, you, and a few other of his cousins were splayed in a circle in the living room of the villa where Kaiya’s birthday was celebrated, playing a game of truth or dare. Keiji watched as Kaiya spun the bottle and as its momentum slowed, the tip of the bottle pointed at his cousin Hiroki.

A mischievous grin spread on Kaiya’s lips, she glanced once at you then back at Hiroki, “So, who would you say is your type? Answer honestly! It’s my birthday,” she slurred her words, the alcohol kicking in. If she couldn’t have been more obvious, she started clinging to you.

Hiroki looked like a deer in headlights, glancing at his sister Aiki beside him and narrowed his eyes at her, “You told her?”

“I did no such thing, you’re just too obvious,” Aiki stirred her glass of wine and winked at you whose smile was a bit strained, Keiji could tell you were starting to feel awkward. Are they trying to set you and Hiroki up? Keiji could easily put two and two together with how his cousins and sister were acting right now. He was a bit frustrated that he could only be a bystander along with his other cousins and a few of Kaiya’s other close friends, he was trying to suppress the urge to interfere.

“Answer now!” Kaiya pressed, shaking your arm while pointing a finger at Hiroki.

Keiji could only look at you. How would you react? Would you like that Hiroki feels that way about you? Keiji found himself clutching his drink. Would your cheeks warm? Would you feel light and fluttery? Would you feel the same way about Hiroki? Keiji was only giving himself pain with his train of thought.

Hiroki then quickly drank a shot of alcohol for liquid courage, “Fine, my ideal type is [name],” Hiroki then looked everywhere but you after exclaiming that to everyone in the room. The people around cheered and most started teasing you too.

Keiji locked eyes with you, he tilted his head as if asking a question, and of course, the only question coming to mind now was ‘What do you feel about Hiroki?’. It was how you felt that mattered the most rather than his disdain for the situation. Hiroki was nice enough, but surely you didn’t know each other that well for you to harbor any feelings for his cousin. What if you did? You knew of his cousin’s existence and saw him a lot (not enough). What if Keiji never realized you already had long-term feelings for someone else because he never liked to entertain the idea of you liking someone who wasn't him? 

Keiji wanted to bang his head on the wall right now. He was thinking irrationally, but being selfish was natural because he liked you, right? It was okay that he was feeling like he wanted to grab your hand and run away to a place where it could just be you and him. He never tried asking you if you currently liked anyone so he could continue to live in the fantasy of the possibility that you liked him back.

You only blinked at him before you were distracted by his sister hovering over you and saying nonsense Keiji didn’t bother to listen to. It was getting very obvious that you wanted to escape the conversation, Keiji noticed how you fiddled with your shirt and the way your eyes kept wandering to the door. Keiji took it upon himself to pull his sister away from you, “Stop it, you’re making [name] and Hiroki uncomfortable.”

His sister looked up at him with an accusing gaze, “You!”

“Yes?” he successfully pried her away from you which earned him a small smile, the simple action from you felt as if a weight was removed from his shoulders.

“Stop taking my best friend away from me!” Kaiya states as Keiji lets her go, stomping back to her place beside you.

“What do you mean?” Keiji was honestly confused about what Kaiya meant, he would not be sorry if ever that would be the actual case though.

“Don’t you think I don’t know about you two hanging out without me!” Kaiya exclaimed, ah so that’s what she meant and here Keiji thought she had a hint about his feelings towards you, or perhaps she does? But Kaiya was too drunk right now to think coherently. 

“Everyone knows Keiji actually has two sisters,” Aiki laughs, giving Keiji that distraught feeling once again. Does everyone in his family think Keiji treats you like a sister? Or do they think he could never feel that way about you? Why? What can he do to make them stop thinking like that? What if you thought you were like a sister to him? Keiji could feel nothing but panic.

Later that night Keiji found you alone out in the gardens of the villa, it looks like he wasn’t the only one who had a hard time sleeping.

“Can’t sleep?” he calls out, startling you. You turn to him with your shawl wrapped tightly around your shoulders, you visibly relax when you see that it was just him.

A smile spread on your face, “Yeah, you too?”

Keiji nodded and watched as you sat on the bench, he walked towards you and leaned on the tree beside it. He wouldn’t be able to think of the right words to say if he was sitting right next to you, he was still hung up on what happened earlier this evening.

“So… I have to get back to campus the day after tomorrow,” you broke the silence, sighing after you laid out your news.

“Ah,” was the only thing Akaashi could say to the reminder that your time together was limited, “I’m leaving the same day, the weeks sure went by fast.”

That’s not what he really wanted to say though, he wanted to question you about what you felt when Hiroki practically said he liked you. Keiji wanted to know if you would be alright with seeing him again in the near future, you didn’t have to waste money on commuting, he could drive to you. Perhaps you could even attend some of his gigs, it would be exhilarating to see you watch him again. He wanted to say a lot of things to you but the only thing he could say was, “I don’t think of you like a sister.”

“Huh?” you looked up at him under your lashes, the moonlight set its rays upon you and it was similar to that moment in his kitchen a year ago. The moment that made him realize he was feeling for you deeper than he should.

“I wanted to clarify that I don’t think of you as a sister, everyone seems to get the wrong idea,” Keiji took a deep breath, he was so near to telling the truth that he was finding it difficult to breathe again. He was staring right into you and if the truth didn’t spill from his lips, he wondered if you could see it in his eyes, “They were right about one thing though.”

As if hypnotized, you stayed in place as Akaashi couldn’t restrain himself anymore and reached for your hand, catching it firmly in his grasp, “You mean a lot to me.”

“I… you mean a lot to me too, Keiji,” those words that came from your sweet voice was similar to harmony in his ears, it brought out an overwhelming feeling in his chest and he wanted nothing more than to be close to you. He can’t do that yet though, it’s not the right time.

Akaashi Keiji never thought he would experience the kind of love that was heart-racing, mind-clouding, immense, and overflowing, but he was wrong. Every moment spent with you proved it wrong, what else could explain the loss of sense and rationality whenever you were near? But he was still him after all. So he would approach this in the only way he knows, slowly but surely. You were worth it after all.

That’s why it didn’t matter how long it took for him to profess his love for you, he needs to make sure that he’s shown you that his love deserves to be reciprocated. That he deserves someone as precious as you.

It was never easy, he never expected that it would just be easy. Yet the day came when he held your hand tightly in his once again, his nerves barely being suppressed as he told you the reason for his years of pining. How he liked you, he liked you so much he could barely remember how he was before harboring feelings for you. It was blissful, it couldn’t be anything else but. He could finally be with you, after all, he had the right to be with you and it made him extremely happy. He would always be caught grinning to himself, it was to the point that Suna started asking him if he was alright because of his weird behavior. Akaashi wanted nothing more than to show you off to the world. 

Although, a certain request from you made it difficult to do just that. You had asked him if you both could keep your relationship a secret because of his growing fame and you didn’t want to be caught up in that world of his. He respected your decision and was willing to follow whatever you said. Your relationship lasted for many hours, days, and months. Even if he couldn’t spend a lot of time with you in the later years because of his job and there were rough times that occurred, his love for you outweighed. His resolve remained, that it didn’t matter how much time has or will pass, his love for you would never waver.

His heart felt as if it was pumping a hundred and twenty beats per minute, a single text from you got this reaction out of him. Even with years of being together, he could still never function normally around you. He had just gotten a text in the middle of his post-concert celebratory party with his bandmates and some of the other staff. It was a simple text—two words, six letters.

My Love 2:44 AM I’m here :) [insert picture of hotel lobby]

The familiar lobby of the hotel they were staying in for the week was clear in the picture. Akaashi was speechless, how could you be here? Was he dreaming? It was a thousand miles away from home but you’re here? For him? You were here for him?

He couldn’t leave his seat fast enough.

“Where are you going?” Sakusa asks. Akaashi didn’t think anyone would take notice if he suddenly left, but this was Sakusa here, he was simple enough to brush off, Atsumu would be more meddlesome.

“Hotel,” Akaashi started moving before he could be asked to elaborate, he couldn’t wait to see you already. He hurriedly put his cap on and passed by Sakusa once again.

“Hey, you’re still holding your dri–” Akaashi didn’t stay to hear the rest, he was feeling restless at the thought of you patiently waiting for him. He was out of the doors of the private room within minutes.

“Akaashi-san!” a hand was on his shoulder. Why does the world despise him at this very moment? He looked around and spotted Suna’s assistant. He should be glad that at least it wasn’t a fan, he loved his fans dearly but they would be more difficult to bypass. Turns out she was looking for Suna himself and couldn’t find the room. Akaashi quickly led her to the right place before rushing out again, he then realized he was still holding onto a drink and quickly left that on a counter. He should be walking faster so nothing else would stand in the way of him wrapping his arms around you and feeling your warmth after so many months of longing.

He was practically running towards his car, luckily he was still sane enough to drive properly. You would scold him for being reckless while driving, it was good that the hotel was only a few minutes away. Though it was a very agonizing ten minutes, the world was testing out his patience.

Finally, finally, he was in front of the doors which were the only thing separating him from you.

Once he gets inside, he sets his gaze on you immediately. Your shining eyes met his and you stood up from your seat, he hadn’t had a care in the world as he practically ran towards you and pulled you into an embrace. He should be thinking if his actions would earn him a trending article but he couldn’t find himself to care. The world will find out sooner or later how much you mean to him. He buried his face in your hair and hugged you impossibly tighter.

“Love, It’s a bit hard to breathe,” you pat him on his back, he can feel your grin on his shoulder.

“That’s exactly how I felt when you sent me that text message,” Keiji replies, hand clutching the back of your head, soaking in the reality that you’re actually here with him.

You fake a gasp, “So I deserve this?”

Akaashi gave a hum as a ‘yes’, “You deserve to be smothered with much more affection too,” he kissed the side of your head.

“Save that for later, please,” you say, warily looking at your surroundings, only the receptionist turning a blind eye was present.

He wastes no time and hesitantly lets you go in order to gather your suitcase, he intertwines your hand with his free hand. He leads you to the elevator and impatiently pushes the button to his floor. You, on the other hand, were leaning on his biceps as your eyes kept fluttering shut due to drowsiness from your flight. You left for your flight immediately after getting off work and you were tired from the hecticness.

Once you both arrived at Akaashi’s room, he spent no less than a minute putting things like his car keys and your suitcase away before pulling you towards the bedroom. He sat you down on the mattress and you had no time to protest (not like you would) before he placed all of his weight above you. With your back to the softness of the silky cover, you contentedly hummed and closed your eyes for a brief moment, “I need to change.”

“Five minutes,” Keiji then begins to caress your arms and bury his head on your chest, breathing you in once more.

Your hands fled to his hair, massaging the strands of raven and kissing the crown of his head, “I’ll only be staying for three days.”

A sound similar to a groan escaped from his throat, “That’s too soon.”

“I have a job too,” you laugh, “I was lucky enough to exchange with one of my coworkers so I could leave this weekend.”

“I miss you already,” Keiji practically whines, unlike his usual character.

“Don’t miss me while I’m still here,” you tugged at some of the strands on the back of his head, “And we’ll see each other again in three weeks, remember?” pertaining to their band’s final concert being held back in Japan, you would be watching the show alongside his family—who still don’t know about your relationship, the both of you have been having a difficult time bringing it up.

“Three weeks too long,” Keiji finally rose from half-suffocating you with his weight and instead started to look for clothes he could give you to change into, “You must be exhausted.”

“I’m not the one flying from country to country and performing for almost three hours every night,” you sat on the bed, using your elbows as support as you watched him shuffle through his luggage.

“Not every night,” Keiji comments before rising and handing you his clothes which you placed on your lap. He stood between your legs and used a hand to tilt your head up towards him, he was looking at you so intensely.

“Are you drunk?” you ask, squinting your eyes at him as you now only realize the slight haziness in his gaze. You knew he was in a mini celebration an hour before being here, but he said he hadn’t planned on drinking, “And you drove here?”

Keiji shook his head, drunk on you, possibly, “I barely had a glass, just to entertain the staff. I drove here safely, I swear.”

“You better have,” you give one more pointed look at him before falling back on the bed, you close your eyes. You were getting heavy-eyed, soon, sleep will win you over.

“You’re the one who said you had to change, only a few minutes have passed,” Akaashi chides you.

You groaned and opened one of your eyes and raised an arm, “Do it for me.”

Akaashi raised a brow, you were getting into one of your moods he was all too familiar with. Who was he to deny your request? He pulled you up to a sitting position once again, his hands on the hem of your shirt. Before he pulled it off you, he glanced up only to see you smiling languidly at him, “You love me so much,” you begin to tease.

“I do,” Keiji smiles softly at you.

“Hey.”

“Hey!”

“Hello! Attention to [l/n] [name].”

You look at Kaiya who has been trying to get your attention for the past minute, “Sorry?” you give her a sheepish smile, your thoughts were on the mini-vacation you let yourself have with Akaashi a month ago. You spent the past thirty minutes or so letting her family simply drag you around because you were distracted by the crowd at Ikarus’ concert. You were waiting outside because Keiji’s mother wanted to fall in line and buy merch. Kaiya complained that they could just ask Keiji for the items she wanted but her mother shushed her saying that wasn’t as authentic. Keiji’s mom was set on having the “full fan experience”.

“Why are you so dazed?” she tilted her head to the side, which awfully reminded you of Keiji (you started missing him even more). “Because you’re seeing my brother?” Kaiya scrunched up her face and made a gagging sound, “Did you not just see him a few weeks ago?”

You started looking around, sighing in relief when you saw that Akaashi’s father was with his wife, “Watch what you say,” you pouted.

Kaiya glanced at where you were looking, “When are you planning to tell them?”

“Soon,” you shrugged, you admit you were still nervous about telling them about your long-term relationship with their son. It’s been years and you know it’s been long overdue, you were ready to face the backlash that would come with hiding your relationship from them for so long.

Kaiya shook her head at you and then proceeded to take something out of her purse, she laid out the card attached to a lanyard to you, “Before I forget, your backstage pass,” you took it from her gratefully. The glossy surface of the card hits the rays of the sun, and you observe the words ‘All Access’ shown under the band’s logo. It wasn’t the first time you’ve gone to his concerts so you were already familiar with the processes, you were even friendly with some of the staff.

“You girls go on ahead, it’s a bit hot and your mother is going to take a while,” Akaashi’s father jogs to you both and nudges Kaiya to go, “She’s raving on and on about having to get that mini version of Keiji and I admit I kind of want to get that version of their album with lots of little things inside too, I want to test out my luck and see if I could get your brother’s picture on a first try—you know those little cardboards with pictures right?”

“So you would rather see him in pictures rather than going inside and meeting the real deal?” Kaiya comments.

“Yes, now go,” Akaashi’s father smiles at you before running back to Mrs. Akaashi.

“Oh, whatever, let’s go,” Kaiya saunters to the arena as if she owned the place and you trailed behind her looking at the crowds of people waiting outside, the concert wasn’t starting in another three hours yet there were already tons who were in line. You kind of felt a bit bad because you could just go inside without any worries. These were people who adored the man you were lucky enough to call your boyfriend, not as much as you—you like to believe, no one knows and loves him more than you—but that was your more selfish side talking.

“Kaiya, do you even remember where the common room is?” you asked, your memory and sense of direction weren't well. The last time you went here was their opening concert which was over a year ago.

“Uh, no, but we’ll see someone we know soon,” Kaiya was confident, walking in a straight direction as if she knew where she was going. A bunch of the crew arranging lights and holding boxes were walking around but no faces you were familiar with. It wasn’t long before we were blocked by guards on the way to a segregated part of the building.

“Are you looking for the green room?” the guard asked, eyeing your passes and affirming that you were actually allowed to be here but the both of you clearly looked lost. Kaiya kept looking around, you thought she was acting suspicious (and the guard must think so too) so you grabbed her wrist to make her focus.

“I’m looking for my brother,” Kaiya took out her phone. You wanted to just ask the guard nicely to direct you guys to the waiting room.

“And your brother is…?” The guard looked like they wanted to get this over with too.

“Akaashi Keiji,” Kaiya looked up from her phone, “He said we should go to the dressing rooms,” she pointed at her device. You do not recall Keiji saying any of that, he hasn’t opened his phone in a while, he usually doesn’t use it hours before a performance to focus. You looked at Kaiya, wondering what she was planning up her sleeves.

“Kaiya-san? [name]-san?” a soft-spoken voice interrupted, the both of you turned to see Rika, Sakusa’s personal assistant if you remembered correctly. The familiar face came to you both when you needed it, “Are you guys looking for Akaashi-san? You can follow me. I'm on the way there because my cousin needs his coffee to calm his pre-show nerves,” she rolled her eyes.

Rika nodded at the guard who let her and you both through, you smiled at them before following Rika.

“How are you, Rika-san?” you asked, taking one of her bags to carry it for her since she was holding coffee and a folder with her.

“Been better, my cousin’s being a huge headache to me because of… some things,” she shook her head as if she was shouldering the world's heaviest burdens, “How are you and Akaashi-san?”

“I’m fine—wait, what?” that caught you off-guard, it made you halt in your tracks.

“Uhm… was I wrong? Are you both not in a relationship? Kiyoomi thought you were together as well,” Rika started walking again and soon you saw more people in the hallways.

Kaiya began to cackle, “Aha! I told you it was obvious.”

“You’re not wrong, Rika-san but uhm is it really that obvious?” you start to heat up, your cheeks suddenly feeling warm.

“Well, he always has his eyes on you whenever you two are in the same room and after observing your interactions for the past years that’s what I concluded. If it’s a secret, I’m sure a lot of people don’t have a clue, this lot isn’t very observant after all,” Rika shrugged, “Anyways! This is the main sitting area, further back are the dressing rooms. The guys just got ready so they must be just lounging around somewhere alone, they’re all doing their pre-show rituals most likely.”

The both of you thanked Rika and you handed her bag back as she went on ahead mumbling about having to practically play hide and seek with how difficult Sakusa would be to find. Kaiya linked her arm with yours and dragged you once again to find the dressing room with Keiji’s name on it.

Once you both were in front of the door, Kaiya began her incessant knocking that is sure to give Keiji confusion and a headache all at once knowing his staff would never make such a ruckus, “I have a delivery for an Akaashi Keiji,” she was snickering in between her words while you shook your head at her antics.

It wasn’t long before the door opened and you were greeted with the sight of Keiji ladled with accessories he wouldn’t usually put on in day-to-day life, such as stud earrings you were really liking the look of. You looked up at him only to see his eyes which were decorated with a brownish hue on the lids that were already on yours. Perhaps Rika did have a point.

“[name],” he said breathlessly and was already holding your free hand that wasn’t being clutched by the other Akaashi on your side.

“I’m here too! You’re welcome!” Kaiya exclaimed, pulling you back so Keiji wouldn’t successfully get a hold of you.

“Hi Kaiya,” Keiji smiled at his sister, still not letting go of you too. Kaiya eyed that action and then looked up at her older brother who was looking at her blankly. Kaiya and you could both tell that Keiji was trying to tell her sister to leave, you were holding back your full-on grin.

“I accept thanks in the form of cash,” Kaiya patted your forearm before pushing you towards Keiji’s chest, the latter caught you in time and pulled you closer.

“Check your account after the show,” was Keiji’s only reply before bringing you inside and shutting the door.

“I feel as if your relationship has been turning transactional over the years,” you comment, finally letting out your laugh at the siblings’ antics. Kaiya meant well, of course, the monetary things were just a bonus. You looked around the room, spotting a guitar in the middle of the room and the mirrors on the walls which immediately caught your eye. A black settee was against the wall and a small glass table was on the side.

“I think she still holds a grudge against me for ‘taking you away’,” Keiji raises a hand to tuck loose strands of your hair behind your ear, “Because I was never sorry about it.”

His words gave you that fluttery feeling in your stomach that you’ve learned to become used to whenever you were around him, “Poor Kaiya,” you reached out a hand to cup his cheek, he buried his face in your hand and placed a feather-light kiss on your palm.

Keiji talked to you with his eyes, it was a question and a request all at once. You bit your lower lip as you observed his plump, gloss-stained one's part. Suddenly, it was all too suffocating and difficult to breathe if you didn't lean your face against his and capture the oxygen you badly needed. It seems he was thinking the same thing because he started leaning closer to you as if the urge to be nearer couldn’t be subdued.

But before he could relieve both of your longings, you took a step back, blinking and urging your senses to come back to normal, “You just got ready,” the staff’s best interest in mind.

Akaashi tilted his head to the side, that hazy look back in his eyes, “It can be fixed,” he held both of your arms in his grasp, caressing them in a way to ease and comfort you.

“Your stylist will hate me,” you pointed out, yet you were engrossed with the way he pulled you towards the couch. You had a slight feeling you were being tricked in order for Akaashi to get what he wanted at this particular moment, which was the same thing you were depriving yourself of.

Keiji sat down and his hands went down to your upper leg and gently nudged so you followed down, the plush of your thighs settled on his. You internally scold yourself for giving in, he knows all of your weak points, one of them was how you could be easily distracted by him, “I’ll take the scolding, my love.”

Your arms were wrapped around his neck, you tugged on the hair on his nape as you let your breath tangle with his. He was intoxicating, did he know he was intoxicating? Your eyes fluttered to a close because you couldn’t take it anymore and pressed your lips against his, he let out a satisfied groan on the back of his throat. You took in the woody scent of his cologne, the silken texture of his hair, and the pillowy almost velvet feel of his lips on yours. You should really be thinking of the consequences of your actions and the amount of people who will be burdened after this ordeal, yet, right now you could only enjoy the searing heat of his skin igniting with yours.

You felt one of his hands that held a grip on your thighs climb to your waist, he tugged on the material of your shirt before sliding his hand underneath. It elicited a small gasp from you which he took as an opportunity to slip his tongue inside your mouth.

That was when your phone started to ring to an all too familiar tune, in a daze you pulled away from him, much to his opposition, “That’s Kaiya calling,” you say, leaning your forehead on his.

Akaashi took your phone out from your pocket before putting it on the side, “She can manage to wait for a few more seconds,” he said, placing soft kisses on your cheeks and eventually capturing your lips in his.

You laughed at his reasoning before losing yourself in him once again, his hand was splayed on your stomach, caressing your skin. He pulled away and pecked you on the lips once more before leaving a trail of kisses on your jaw. You feel his teeth nip on your skin and a shiver runs over your spine.

The sudden opening of the door and a shriek made you freeze.

“Oh my!”

“Agh, my eyes!”

Akaashi’s reflexes were faster and more alert as he flipped you over so he would be hiding you from the door, he knew how you would be feeling uncomfortable with eyes on you and you were grateful his first thought was to shield you from further embarrassment. You glanced at his state, his messy hair and the stain on his lips smudged. You took it upon yourself to start fixing his appearance by wiping the sides of his mouth since it was your fault.

Keiji started straightening his clothes and patting down his hair as you did the same before he faced his parents and sister. You looked over his shoulder to see his mother frozen and you winced. Your heart started to race and not in the nice way Keiji made you feel, Keiji noticed this change in your demeanor as well and you felt him place his hand on yours in an effort to calm you down.

“This was probably why Kaiya was calling you,” Keiji mumbled under his breath, it was an effort to make the atmosphere lighter for you. He gave you a small smile before urging you to stand up. Keiji faced his parents and his sister who were all standing by the door, Kaiya was exaggeratingly fanning their mother who still wasn’t moving, with your hand still in his, he claimed, “[name] and I are dating, we have been for a few years now.”

A brief silence went over the room and it felt like an eternity for you when it was actually just a few seconds. Keiji’s father broke the smothering quietness.

“I knew it! You owe me, honey,” his father said with a loud cackle, his hand splayed out to Keiji’s mother beside him, “I told you our son’s feelings for dear [name] weren’t one-sided!”

“No!” their mother unfroze and put her hands in her palms.

You and Keiji were confused, even Kaiya stilled from her place.

“You bet on this happening?” Keiji asked, pulling you closer to his side so your nerves would rest.

“No, my son, your mother thought that you and [name] weren’t dating yet and that you were only pining for her while I said you both were already in a relationship. I had faith in you, son, I knew you had a backbone,” his father laughed in delight once more and swung an arm over his mother’s shoulders.

“We saw a picture of [name] in your room when we stayed at your penthouse a few months ago,” his mother tried to explain, hitting his father on the chest.

You recalled that very picture, you were wearing a sundress and were in the middle of looking back when Keiji took the picture. You were laughing and clutching your beach hat over your head in an attempt to not let the wind carry it away with the breeze. When you first saw it displayed in his room, you complained that there were a lot of better pictures of you but Keiji rebutted that this was the first one he took of you looking at him and that’s why he cherished it the most.

“Guess you guys were all worried for nothing!” Kaiya found herself and backed away from her parents, “I’d like to say that I was the original person who knew by the way, and I kept it in for so long. Not that they weren’t obvious,”

Akaashi clearly felt how you were being restless, he bent down to whisper in your ear, “Are you okay, love?”

You rub your wrist as you look up at him, “Well I’m honestly feeling a bit mortified.”

“You guys should've locked the door,” Kaiya said in a sing-song tone, “Imagine how I feel? I did not push you in this room for that. How could I possibly know you’d jump each other the moment you were left alone? I always thought you guys were rated G!”

You feel your face heating up once again and Keiji scolding his sister, “Perhaps you should go and call your stylist,” you suggest, trying to save some of your dignity.

Keiji eyes his sister and she got the hint and shuffled her parents—who were still arguing—out the door. You knew this wasn’t the end of it and a lot of explaining will have to be given to his parents (they wouldn’t leave you guys alone otherwise). With your eyes on the door, Keiji tried taking your attention by softly turning your face towards his.

“How do you feel?” he asks, smiling warmly at you.

“It’s… nice that we don’t have to hide it anymore,” you pressed your forehead on his chest, “I’m still feeling shy though.”

Keiji wrapped his arms around you and placed a soft kiss on your forehead, “How much time do you need to recover?”

“A minute and more of your hugs perhaps?” you ask, burying your face more in his chest. You should be urging him to go to his stylist already, but it wouldn’t be bad to keep him for another minute or so.

“I’m sorry they found out in an… unconventional way,” with your head pressed against his chest you could feel the rumble of his voice, the deep and lulling sound helping you calm down.

“Okay, I think I’m okay now,” you tried stepping away but he held you in your place, “Why?”

“I still need to recharge,” Keiji engulfs you in his warmth once more, “After this, it’s no more alone time. I’d have to wait another eight hours for that, so I need to get my fill now.”

Another round of silence baited and the only thing you could hear was the steady beat of his heart, it made you smile. Quiet moments with him came few and far in-between but when they did come, it felt as if the whole world was on your side and everything would always be okay.

“You’re so good to me, Keiji,” your voice cracks in the way of your emotions.

He responds by embracing you impossibly tighter, “What do you think about living together?” he drops the question, “It’s just something I’ve been thinking over, we don’t have to rush or anything but I just wanted to know what you think.”

It wouldn’t be too odd of a question, you practically spent every waking moment together whenever you both had the chance. That included staying over at each other’s places and spending most of your time together indoors. He’d love to spend more days waking up next to you, whenever you were there he felt nothing but peace and he wouldn’t mind for that feeling to stay with him for the rest of his life. The cheers of the crowd were exhilarating but the silence spent with you was more fulfilling.

“I’d love that,” you say, standing on your tiptoes and placing a kiss on his cheek.

You looked up at him under your lashes and Keiji felt that rush of intensifying feelings coming over him, his hands came to cup both of your cheeks as he placed a quick kiss on the tip of your nose, “I’d like to know of your thoughts in another matter that’s been on my mind,” he said in a hoarse voice.

“What is it?” your tone was light and airy. A few minutes from now you’ll have to give way for his staff to get him ready for the world. Right now you’d like to keep him to yourself, the world can wait.

“What do you think about marriage?”

HEADLINE:

Ikarus’ lead vocalist Akaashi Keiji announces he’s married!

leia @keijisrealgf I WAS SIMPING FOR A MARRIED MAN????? 4:20 PM · Jun 23 20XX

pia @ikarusavedme not even a girlfriend or an engagement.. but MARRIAGE 4:18 PM · Jun 23 20XX

kei @menexceptikarus he always gave family man vibes not surprised ngl 4:27 PM · Jun 23 20XX

a/n — alright so i went a bit overboard with this one JWBDEJXBDN ill say this is for taking so long to conclude akaashi's story lmao

general taglist + @luvrsthrist @cherries4denki @cloud-lyy @misscaller06 @noideawhothatis @wolffmaiden @rivaiken @wooasecret @Eclecticlandmughoagie @nicerthanu @sukunasrealgf @ris-krispie @seiamor @electriclovei @leeknowsarchive @todorokiskitten @rory-cakes @sexyandcringe @rinheartshyunlix @wh0zumy2k @iluv-ace @xiakyo @sanaexus @clyches @noble-17

[amphiaria]

hi. will you write five paragraphs about the vagina button.

okay fine. warning this is going to be me reaching and thinking way deeper about the subject than clamp ever did.

the answer to "chobits why are you like this" is because society is saturated in sex.

I think that the CSA argument is unkind because chii/elda and freya are not children, not really. they also aren't really adults. they're not mammals at all. they don't age. they're machines. they were constructed to fill a role within a nuclear family to which neither of them was especially suited. they were designed to simulate the human experience as closely as any constructed creature in history ever had, which (perhaps inadvertently) included the desire for romantic love. his "daughter" falling desperately in love with him was not something that her creator could have anticipated. these were two brand new beings, the very first of their kind, and they were introduced into a society with power dynamics and taboos that were frankly not suited to the kind of creatures that they are. subsequently the desire for romantic love that freya felt for her creator drove her so insane that she more or less committed suicide over it.

I think the CSA argument is inaccurate because genitalia are not inherently sexual. secondary sexual characteristics are not inherently sexual. sexuality is something that is unavoidably imposed by force upon these characteristics. it is a very common source of trauma for developing children to have gained characteristics that are suddenly perceived by their surrounding society as sexual. do I think that persocoms in general were designed specifically to be fucked safely? it's possible. society is saturated in sex, and people are going to fuck anything that they put their minds to. do I think the chobits, elda and freya, were designed with this purpose in mind? not necessarily. if you were going to design a human woman that is as close to an organic creature as possible, why would you omit these characteristics? why would you assume nefarious intent in their inclusion?

chii/elda enters the story as a complete outsider to the sexual undercurrents of society. she has no conception of the sexually charged nature of undergarments, feels absolutely no shame in nudity or in revealing clothing, is ignorant of what the people in hideki's dirty magazines are doing, doesn't get the innuendo in the natto/batter panels, and is exploited by men manipulating her body over and over again for their own purposes at various points in the story. there is no indication in the text that chii is capable of feeling sexual desire (there is no indication that persocoms do in general). as a general rule, sexuality is something that is outside of her, and imposed upon her.

from a watsonian standpoint, I don't think there is a good argument for why the everloving fuck mihara would ever have put chii/elda's reset button in her vagina. from a doylist standpoint, what I believe clamp is trying to ask is this: in a society that is obsessed with sex, that is unable to stop talking about and thinking about sex, that is unable to stop imposing sexuality upon even objects that are arguably fundamentally incapable of experiencing desire or reciprocating in any way, is a relationship with somebody with whom you cannot consummate this kind of relationship worth it? is romantic love? the story wants to say that it is. it can be read as an asexual narrative - a relationship with chii is worth pursuing even if she is incapable of providing the one thing that society says all relationships must be for. there is nothing broken about her or wrong with her the way that she is. she is not lesser because hideki cannot have sex with her, and that he is written to be a sex-obsessed pervert is intended to make this decision deeper. she does not need to change who she is and he shouldn't try to change her. it fumbles the bag really hard on this. it's not well-written. but I see the bones of it. the message is there even if it's mishandled.

anyway umineko did this better. read umineko as a chaser btw.

[saintsenara]

How do you think memory charms work from a brain science perspective, and what might the implications of such technology be? Given the complexities of memory—how it works, its function (e.g., in identity formation, decision making, psychological well-being, etc.)—the fact that these spells are so routinely used on Muggles who witness magic—especially under traumatic circumstances—is so sinister…

thank you very much for the ask, pal! a very interesting question to think about!

as you say, memory is the central part of human experience. it's integral to who we are, why we understand ourselves to be that way, and how we function daily. without the ability to remember things we've learned or which have happened to us in the past, we don't have the ability to understand the present or plan for the future, or apply context to why we behave in or feel certain ways. memory is so important to our understanding of our own existence that many people would say losing it is the thing they fear most...

and i think there's a very credible case for jkr being one of them.

in its understanding of the body, the harry potter series prioritises cognitive function above all things.

physical illnesses, injuries, or disabilities don't upset or frighten it unduly. this is partially because its genre conventions need to take this approach to physical impairment in order for their plots to advance - harry being able to take a bludger to the head and live to tell the tale is the same as john wick being able to fall from the top of a six-storey building, get up, and keep going: they're action heroes, and the person following their exploits wants that action to continue.

but it's also because the series' central theme is choice - and, specifically, the choice between good and evil. this choice - as the books understand it - is something freely and rationally made, with no cognitive impairment preventing it.

[hence - as i've written about elsewhere - voldemort's horcruxes do not - despite common fanon - make him insane.]

as a result, injuries, disabilities, or experiences which lead to a loss of cognitive capacity - thereby making it impossible for choices to be freely made - are presented by the text as uniquely horrifying.

the revelation that frank and alice longbottom can't recognise neville after they're attacked by the lestranges brings a "bitterness harry had never heard there before" into dumbledore's voice.

lupin is primarily ashamed of the loss of rational thought his transformations bring, and the wolfsbane potion works by preventing this loss of rationality:

"As long as I take it in the week preceding the full moon, I keep my mind when I transform... I am able to curl up in my office, a harmless wolf, and wait for the moon to wane again. "Before the Wolfsbane Potion was discovered, however, I became a fully fledged monster once a month."

harry thinks that "bathilda bagshot" [really nagini in disguise] is starting to forget how to perform magic, and equates this loss of function with the dark, dank, foul-smelling house in which she lives.

ariana dumbledore's trauma-induced cognitive disability gradually ruins her family’s lives.

harry, our hero, is never, ever affected by the imperius curse.

and, of course, the dementor's kiss - which canon understands as the single most frightening thing which could ever befall somebody - brings about a state where bodily functions continue, but cognitive ones are lost:

"You can exist without your soul, you know, as long as your brain and heart are still working. But you'll have no sense of self anymore, no memory, no... anything. There's no chance at all of recovery. You'll just - exist. As an empty shell. And your soul is gone forever... lost."

as a result of this, canon presents memories as things which are straightforward and factual. while they may be interpreted subjectively - harry's horror at snape's worst memory, for example - they are - in and of themselves - objective accounts of events. the memories which harry views in the pensieve, for example, are not "witness statements" - subjective, personal accounts of how an individual experienced an event, which might be contradicted by another person's own subjective recollection - they are fact. what they say happened actually happened. sirius' version of snape's worst memory would be identical to snape's.

and canon understands that memories are - therefore - devoid of things like perception, assumption, imagination, habit, and emotion. indeed, these things are not only irrelevant to the memory... they are detrimental to it.

slughorn's attempt to modify his memory of telling tom riddle about horcruxes is because he wishes to soothe an emotion - shame, at giving riddle the information he needed to commit such evil and then not telling anyone - by presenting an imagined version of events in which he looks better. his attempt to apply these two things to the memory are what curdles it. what dumbledore is asking harry to do, in sending him out to retrieve the unmodified memory from slughorn, is to acquire the objective facts:

"He has tried to rework the memory to show himself in a better light, obliterating those parts which he does not wish me to see. It is, as you will have noticed, very crudely done, and that is all to the good, for it shows that the true memory is still there beneath the alterations."

in saying that slughorn's "true memory" remains accessible, what dumbledore is saying is that slughorn should be judged as having full cognitive capacity. he's compos mentis, he's of sound mind. if the true memory did not remain - if slughorn had managed to corrupt his memory to such an extent that he genuinely believed that his conversation with riddle had never occurred [rather than knowing it did but wishing he'd behaved differently and therefore pretending he had] - then he would, in the eyes of the series, be insane.

now... this - unsurprisingly - is not how human memory actually works. memory is fragile, inconsistent, and subjective. we forget things. we misremember things. we remember things through subjective lenses. we invent false memories.

but we can - nonetheless - use what we know about human memory to uncover a wizarding theory of memory formation which would explain why they think this way.

and why they feel so comfortable tampering with people's memories.

[and why this is horrifying.]

what are memories?

in canon, memories are presented as something tangible - wisps of silvery liquid. and memories actually are physical things - albeit absolutely microscopic ones - which take up physical space in the brain. they're just kept out of the way of our conscious awareness until we need them.

[basically, they're christmas lights in a box in the attic. they physically exist and they're physically present in the house, but they sit - turned off and with no attention being paid to them - until they're needed, when they're brought out of storage and switched on.]

they are made - like almost everything to do with the brain - from neurons, which are a type of cell. neurons work like the wires in a telephone exchange - they transmit chemical and electrical signals across the brain [and, therefore, across the body] in a vast, high-speed, interwoven network:

a digital model of the neural network from a sesame-seed-sized fragment of human brain. there are about 50,000 connections shown. [source]

a neuron receives a signal, which it then interprets. it then sends a response [or action potential] along its stem [axon].

at the end of the axon, there are synapses, which form a bridge to other neurons, linking a chain of communication together.

synapses are generally activated by chemicals called neurotransmitters - such as serotonin, melatonin, adrenaline, dopamine [which are likely to be the ones most people have heard of], and others.

so: neuron x receives a signal, interprets it, and transmits that interpretation as an electrical signal along its axon, causing the release of adrenaline into the synapse linking it to neuron y. this activates the connection between neurons x and y. the signal passes across the synapse into neuron y, which interprets it, and the process continues.

each neuron has thousands of synaptic connections to other neurons. and these connections aren't static - they get stronger or weaker depending on exposure. the more we use the connection, the stronger the connection is.

one way to think of this is to imagine the synaptic connection as a volume dial, which controls how loudly two neurons "talk" to each other. if the connection between neuron x and neuron y is very strong, the synaptic connection allows them to shout at each other, thereby understanding each other clearly. if the connection between neuron x and neuron y is very weak, they're only whispering to each other, are having to strain to hear each other, and will probably only partially hear the communicated information.

the brain will therefore prioritise the information it can "hear" the clearest. this is why, if you learn two pieces of information, and then revise the first piece of information every day for a month and do no revision of the second piece, you will find it much easier to recall the first piece when asked - the brain prioritises the "loudest" voice.

when we learn or experience something we create synaptic connections, linking neurons into circuits in an ever-changing map across the brain.

these circuits are memories.

remembering something is the process of activating a specific neuron cluster, thereby retrieving the information it contains and communicating it as an electrical signal to another part of the brain.

this process of remembering can be unconscious - a smell might prompt us to remember something without us actively intending to; when we write something, we're not consciously thinking about how we learned to write, we just do it - or conscious - we might sniff a particular perfume bottle in order to summon up a specific memory; we might intentionally decide to remember a day we spent writing in a particular place.

what are the different types of memory?

there are two main categories of memory - short-term and long-term.

short-term memory is the brain's capacity to actively hold onto a small amount of information [about four things, on average] for a brief period of time [and by brief we mean around 15 seconds - any memory which can be recalled after that period of time is a long-term one] in order to allow you to do things, like take down a telephone number.

long-term memory, in contrast, is something the brain possesses an infinite capacity for. it can be divided into two subcategories.

the first of these is implicit memory. this refers to recollections which are unconscious, habitual, primed, or conditioned. learned motor skills - things like holding a pen or riding a bike - which you can do without having to think about how [procedural memories] are an example of implicit memories. so are things we are conditioned to do via the association of an action with a stimulus - like pavlov's dogs salivating when they heard the ringing of the bell - and things we are primed to do by general knowledge or contextual experience - like being shown the word "bread" in a word association game and responding "butter" without having to actively think about why that connection exists for us.

the second is explicit memory, which refers to the conscious recollection of a specific thing. explicit memory has two subcategories: episodic memory - the recollection of events or experiences - and semantic memory - the recollection of knowledge or information.

i know that belfast is the capital of northern ireland and paris is the capital of france. these are semantic memories.

i know i went to a restaurant in belfast with my partner last week and that i went to watch the french open in paris with my friend this spring. these are episodic ones.

episodic memory is highly dependent on context and association - you can remember where you parked your car by thinking about the shop you parked next to - some of which is semantic memory in its own right - you can tell that your friend has misremembered a story they're telling about your teenage years because you know you were sixteen when the event took place, your friend is talking about driving, and you possess the semantic knowledge that the legal driving age in the united kingdom is seventeen.

explicit memory is the aspect of memory most clearly affected by conditions like alzheimer's disease, while implicit memories tend to be recalled for much longer.

explicit memory is also the thing most clearly affected in canon by memory charms...

how are explicit memories formed?

at its most basic level, the brain is divided into three parts - the cerebrum, brainstem, and cerebellum. the cerebrum is the thing we’re concerned with today.

its main part - comprising about half of the brain’s weight - is the cortex, which is the wrinkly surface you probably picture when you hear the word “brain”. the cerebral cortex is divided into two hemispheres. each hemisphere has four lobes [so you have eight lobes in total] which relate to specific functions.

[here's a video of a dissection of a real human brain - if you fancy it - which goes into its anatomy in more detail]

nestled in each hemisphere of the cerebrum are several deeper structures.

in the temporal lobe, we find two of these structures - the hippocampus and the amygdala - which are crucial to memory formation. we have one of these in each hemisphere [so two hippocampi and two amygdalae in total] as part of our limbic system - a group of brain structures that regulate things like our sense of smell, emotions, memories, and autonomic behaviours [heart rate, breathing, sweating, etc.].

[here's a dissection of the limbic system, again - fair warning! - using a real human brain]

the hippocampus

when our brain decides it wants to hold onto a piece of information, it's channelled from the prefrontal cortex [in the frontal lobe], which controls short-term memory functions, to the hippocampus, which is then responsible for linking all of the relevant context surrounding the information together - like it's making a patchwork quilt.

let's go back to the example of being asked to take down a phone number. and let's imagine that the person who asks us to take down the phone number is also our fandom-style soulmate. several pieces of information will be created in the brain at once - the memory of being asked to take down the number, the memory of physically doing that, the sensory input of what our soulmate looks, sounds, and smells like, other sensory inputs [what the broader environment looks, sounds, and smells like; the fact we're drinking a coffee; the fact we're wearing a scratchy jumper], the emotion of knowing we've met our soulmate - which are then sewn together by the hippocampus into a coherent, linear account of what occurred.

the hippocampus is selective - it's more likely, even in an episodic memory as emotionally powerful as this one would be, to hold onto information which is comprehensible to it [so, for example, if a song is playing when you meet your soulmate, but its lyrics are in a language you don’t understand, it's less likely to retain that as a key part of its account than if it's a song you understand and, especially, a song you already know and like].

it's also inventive - it will fill in gaps in the recollection of an episode. these inventions are often logical and based on both your semantic knowledge and parts of your implicit memory. for example, in the memory of being a child and going to hospital to meet your new baby brother, he is likely to be wearing a blue hat. it is highly unlikely that you actually remember the colour of the hat he was wearing - especially if you were quite young - but your brain settles on blue to fill that gap in your recollection because it knows you were raised in a culture which associates the colour blue with baby boys.

but they're also subjective. you may, for example, have more than one memory of the same event - with each memory's patchwork quilt having a slightly different pattern. to go back to the memory of meeting your soulmate, you might have one version of the memory which was stored by your brain on the day you first met, in which the thing you primarily remember is how nervous and awkward you were and how you were worried your soulmate didn't actually like you. you might then have a second version of the memory which is altered by contextual information you learned after the first version was created - after your soulmate asks you to marry them, for example, you are less likely to dwell on the parts of the first memory which are about worrying they didn't like you.

while the hippocampus is integral for the formation of long-term explicit and implicit memories, it's not the place where these long-term memories are permanently stored. instead, long-term memories appear to migrate [or awaken] from the hippocampus throughout the cerebral cortex, and to become progressively more independent of it over time. when it comes to explicit memories, the older, stronger, or deeper a memory is the more likely its independence from the hippocampus will be.

we know this because of a man called henry molaison, who had most of his hippocampus surgically removed in the 1950s in an effort to treat his epilepsy. following his operation, molaison was only able to form new episodic memories which lasted for less than a minute before they vanished forever from his consciousness, and essentially lived every single day as brand new, with no context surrounding it. the exception to this rule was that he could recall memories relating to significant experiences in his life which he'd formed years - and often decades - before his surgery. he could also recall certain facts - semantic memories - which he'd already known, but he couldn't form new semantic knowledge.

semantic memory also appears to become progressively independent of the hippocampus over time, much like implicit memories we have acquired through conditioning or priming. for example, the memory of the first time we drank a coffee while tired transforms into the general knowledge that drinking coffee generally helps us with tiredness, bolstered by the semantic knowledge that caffeine is a stimulant.

the amygdala

in the analogy of memory formation as being like creating a patchwork quilt, the amygdala is responsible for one of the most important squares the hippocampus sews together: the emotional significance of the memory.

this is one of the most important bits of context which the hippocampus applies to its account of a memory. the more emotive a memory is, the more likely it is to be remembered.

and this isn’t just the case when it comes to specific episodic memories - such as remembering your wedding day, or the time you were in a car accident. it applies to semantic memory - if i tell you that paris is the capital of france and then punch you in the face, you’ll remember it - and to implicit conditioned and primed memories.

imagine you are three years old, you're in the park, and you meet a dog. the dog is on a lead, calm, quiet, and well trained. you are asked if you'd like to pet it and you say yes. the dog is happy to be petted - it wags its tail and it licks your hand - and you enjoy the experience and start laughing.

the hippocampus takes care of the "bullet points" of this event - the actions and the order in which they occurred, where they took place, and so on. the amygdala assigns an emotional response to the specific episodic memory - that is, when you recall it later, you will feel happy - and to the implicit memory you have accrued from the experience - that is, the next time you see a dog, even if it's not the dog you petted, your brain will be automatically primed to feel calm, safe, and happy.

and now imagine you are three years old, you're in the park, and you meet a dog. the dog is loose, agitated, barking, and much bigger than you. it bounds up to you while you're playing and knocks you to the ground. it growls and you see its teeth. you're afraid and start crying.

the same process occurs, but with a fear response. the hippocampus remembers what happened and in what order, the amygdala remembers how the specific memory made you feel and extrapolates from this to assign that feeling to your implicit memory. the next time you see a dog, even if the dog is on a lead and behaving perfectly calmly, your brain will be automatically primed to feel afraid.

and this reference to fear is important. as i've said, the brain prioritises remembering emotional memories… but it prioritises remembering stressful and/or frightening emotional memories above all other kinds. and it also tends to really cling on to things we have acquired by fear learning - the process by which we unconsciously associate a stimulus with a frightening event.

to return to the scenario above, if you met the nice dog first and then met the frightening dog later, your brain would prioritise the memory of the frightening dog. if you met the frightening dog first and then met the nice dog later, your brain would still prioritise the memory of the frightening dog. and even if you lose the ability to recall the specific episodic memory of meeting the specific frightening dog, your brain would still remember that it was afraid of dogs in general.

the amygdala plays a major role in this fear learning and fear-based recall. and it does this via channels of communication which don't need to involve the hippocampus - it communicates bi-directionally with the cerebral cortex, both with and without the hippocampus also being part of the conversation.

and this has an enormous implication for our wizarding theory of memory.

and so - at last - we come to...

the neuroscience of memory charms

we know from canon that memory charms focus on the removal of explicit memories - and, specifically, the explicit episodic memories which the series understands as objective snapshots of events.

we also know that short-term memory and implicit memory can experience collateral damage when the explicit memory is removed - especially if the charm is performed poorly. we learn in order of the phoenix, for example, that gilderoy lockhart lost the ability to write [an implicit procedural memory] after his charm backfired, and has had to undergo something akin to physical therapy [the way someone who'd received a head injury would] in order to regain this motor skill:

"I'm very well indeed, thank you!" said Lockhart exuberantly, pulling a rather battered peacock-feather quill from his pocket. "Now, how many autographs would you like? I can do joined-up writing now, you know!"

we also know that the recovery of an implicit behaviour - his fondness for signing autographs, a response based in an unconscious assumption he makes whenever he meets anyone [that they're a fan] - is taken by his healers as a sign that his self-perception is stabilising:

"He was rather well known a few years ago; we very much hope that this liking for giving autographs is a sign that his memory might be coming back a little bit... This is our long-term resident ward... For permanent spell damage, you know. Of course, with intensive remedial potions and charms and a bit of luck, we can produce some improvement... Gilderoy does seem to be getting back some sense of himself."

crucially, we see here no expectation that any specific memories - episodic memories, canon's factual accounts which prove someone to be of sound mind - will return. what the healer means by "his memory might be coming back a little bit" is something general. a memory charm - as the text understands it - affects something discrete.

but lockhart also shows us that the specific episodic memory impacted by a charm isn't deleted from the brain. it remains in storage - and, therefore, retains the potential to be reactivated.

and he also shows us that this potential reactivation is very likely to depend on an emotional stimulus, especially a negative one:

The smile faded slowly from Lockhart’s face. For a few moments he gazed intently at Harry, then he said, "Haven't we met?" "Er... yeah, we have," said Harry. "You used to teach us at Hogwarts, remember?" "Teach?" repeated Lockhart, looking faintly unsettled. "Me? Did I?"   And then the smile reappeared upon his face so suddenly it was rather alarming. "Taught you everything you know, I expect, did I? Well, how about those autographs, then? Shall we say a round dozen, you can give them to all your little friends then and nobody will be left out!"

lockhart clearly associates a stimulus - something to do with harry - with a fear response [probably from being frogmarched at wandpoint and forced to jump into a hole]. this emotional context calls out to an episodic memory it has been severed from, but can't get there and falls silent again, drowned out by the louder activity of the implicit memory, telling lockhart to talk about autographs because these are fans.

so lockhart hasn't lost this specific episodic memory - he just can't access it. from this, we can conclude that memory charms block communication across synaptic connections, thereby preventing a memory from being retrieved.

and we can also conclude that - since wizards regard episodic memories as objective, factual accounts of events, which are unaffected by things like perception, assumption, imagination, habit, and emotion - they only understand the formation of these memories as they happen in the hippocampus. and, specifically, that they understand memory formation only as the hippocampus ordering events into a coherent, linear account - which they regard as objectively correct. we can further conclude that they do not understand anything other than this ordering of events as forming part of the episodic memory process, and, therefore, that they do not understand memory charms as needing to affect anything other than these "factual" snapshots.

which means that a memory charm will block the retrieval of the "bullet points" of an episodic memory from the hippocampus - and, therefore, someone whose memory has been modified won't remember the specific order of events surrounding the memory.

but it won't block the other bits of information - other patches of the quilt of the memory - from being retrieved. it will just remove them from their context.

and - right on the canon page - we learn that this failure to remove anything other than the bullet points, even in memory charms which are accurately and skilfully performed, makes the experience of having a modified memory profoundly disorienting to the person affected.

we see this - for example - in the case of morfin gaunt:

"So the Ministry called upon Morfin. They did not need to question him, to use Veritaserum or Legilimency. He admitted to the murder on the spot, giving details only the murderer could know. He was proud, he said, to have killed the Muggles, had been awaiting his chance all these years. He handed over his wand, which was proved at once to have been used to kill the Riddles. And he permitted himself to be led off to Azkaban without a fight. All that disturbed him was the fact that his father's ring had disappeared. 'He'll kill me for losing it,' he told his captors over and over again. 'He'll kill me for losing his ring.' And that, apparently, was all he ever said again. He lived out the remainder of his life in Azkaban, lamenting the loss of Marvolo's last heirloom, and is buried beside the prison, alongside the other poor souls who have expired within its walls."

morfin's verbal tic is a manifestation of a emotional response which now lacks any other context - the fear caused by his nephew visiting him, on the day the riddles were murdered, and incapacitating him [in a way which would allow him to steal his wand] just before the crime took place. in repeating it, what he's saying is "i know i didn't do this, even though i confessed, but i can't explain how i know this, and i am afraid".

and we know that dumbledore is able to use this emotional clue as the end of a line of string, which he can then follow back across deactivated synaptic connections to the suppressed [and, in canon's view, objective] episodic memory of tom riddle meeting his uncle:

"But he had this real memory in him all the time!"   "Yes, but it took a great deal of skilled Legilimency to coax it out of him," said Dumbledore, "and why should anybody delve further into Morfin's mind when he had already confessed to the crime? However, I was able to secure a visit to Morfin in the last weeks of his life, by which time I was attempting to discover as much as I could about Voldemort's past. I extracted this memory with difficulty. When I saw what it contained, I attempted to use it to secure Morfin's release from Azkaban. Before the Ministry reached their decision, however, Morfin had died."

we see something similar in voldemort's treatment of bertha jorkins:

"But Wormtail - displaying a presence of mind I would never have expected from him - convinced Bertha Jorkins to accompany him on a nighttime stroll. He overpowered her... he brought her to me. And Bertha Jorkins, who might have ruined all, proved instead to be a gift beyond my wildest dreams... for - with a little persuasion - she became a veritable mine of information. "She told me that the Triwizard Tournament would be played at Hogwarts this year. She told me that she knew of a faithful Death Eater who would be only too willing to help me, if I could only contact him. She told me many things... but the means I used to break the Memory Charm upon her were powerful, and when I had extracted all useful information from her, her mind and body were both damaged beyond repair. She had now served her purpose. I could not possess her. I disposed of her."

something we are told about bertha jorkins across goblet of fire - including by both sirius and dumbledore, characters the doylist narrative of this book trusts to be telling the truth - is that she loved gossip. and this - feeling intrigued in, scandalised by, and excited by a piece of information - is an emotional response.

voldemort - like dumbledore - seizes on this emotional component as the end of a line of string. bertha provides him with a piece of semantic information - the triwizard tournament is to be played - which makes her think of piece of general information - she knows barty crouch sr., who is organising it - which causes an emotional response which places the string in his hand - barty crouch sr. = scandal. voldemort then follows that string across deactivated synaptic connections to the suppressed [and, in canon's view, objective] episodic memory of bertha discovering that barty crouch jr. [about whom she possessed various contextual information, such as the fact that he was found guilty of being a death eater] was alive.

ergo, memory charms block the point-by-point recollection of specific episodic memories, unless someone is determined either to do a lot of careful forensic work or to commit murder.

but they do nothing to block the additional context - above all, the emotional context - which is so important to memory formation and recollection. and this is what makes the casual use of them - especially the casual use of them on muggles - so terrifying. because their efficacy is dramatically reduced in circumstances where a memory has an emotional context.

and witnessing someone performing actual magic would undoubtedly inspire quite a strong emotional response...

the circumstances in which they work well will be those like tom riddle sr.'s run-in with morfin. the ministry response to the incident is speedy, which means the memory hasn't been consolidated for long-term storage beyond the hippocampus. the incident seems to be the first time riddle ever interacts with morfin - meaning that he doesn't retain a conditioned implicit response that morfin is frightening or dangerous. riddle talks about the gaunts in a way that suggests he thinks they're funny and ridiculous, laughs at bob ogden as he's chased from the shack, and is happy riding along the lane where he was attacked, which shows that he didn't develop a fear response to the incident [nor, indeed, any significant emotional response at all]. preventing him from recalling this memory is simple, and it has no repercussions.

[in terms of his brain health, that is. obviously, it has a major repercussion in that it removes any pre-warning he might have given himself about merope…]

but outside of this context - in which the ministry essentially gets incredibly lucky that riddle sr.'s brain reacts in the only way which actually makes them viable - memory charms are clearly nowhere near as effective as wizards seem to think.

because, when it comes to people's strongest, deepest memories, the only thing being removed is the ability to run through the summary of events - to go down a checklist of what happened, and to contextualise an emotional response [for instance] by situating it within the account of the event which triggered it. the emotions these memories provoke, and the way in which they're bound up into the knowledge which helps us understand our place in the world, remain. all that happens is that these feelings can't be situated in a point-by-point context which explains how they might have occurred.

and so, to come to the memory charm the series thinks is noble and benign... what hermione does to her parents is remove the bullet points surrounding the most important memories of their lives from their heads, leaving profound, lingering emotional responses, which respond to stimuli even though the grangers can't understand why...

when she says that they don't know they have a daughter, what she means is that they don't remember the list of events which proved that fact to be true. mrs granger doesn't remember that she took a pregnancy test which was positive, mr granger doesn't remember that he witnessed hermione being born, neither of them remember taking her to the cinema to see the little mermaid, or buying her first school shoes, or taking her to see her grandparents on her sixth birthday.

but the evidence of canon is that the emotions attached to these events - and the unconscious knowledge which emerges from them - would remain.

and this is why hermione's modification of her parents' memories is an example of the series' black-and-white, protagonist-centred morality which i absolutely loathe. not because the watsonian text isn't horrified by it [why would harry know how memory charms work] but because the doylist text handwaves it away as something easily reversed [via jkr saying that hermione immediately restored her parents' memories the second the war was over] which left no adverse effects.

because - sure - i'm not quibbling with the need to think of hermione's decision to wipe her parents' memories as necessary, but it needs to be understood as one of those horrific choices which only become necessary because the alternative is worse.

and this necessity doesn't erase the fact that what hermione does to her parents is meaningfully no different from what bellatrix and company do to the longbottoms. we see that alice longbottom retains the emotional context to a memory - she knows that she loves neville and wants to give him a present - even if she no longer remembers who he is and what his relationship is to her. the same thing will have happened to the grangers.

and so "monica wilkins" might have found herself driving down a street in suburban melbourne one december afternoon when a christmas song came on the radio… and for reasons she doesn't understand, she burst into tears… and she went home and started making dinner… and she'd adapted the recipe she was using so it didn't have any coriander in it… but she doesn't know why, because she likes coriander just fine, and so does her husband… and then "wendall" came in, and she told him about her strange experience… and he said that he turned on the tv and meet me in st louis was showing and he had to change the channel because he thought he was going to cry… and this made them both intensely uneasy… because they've got no reason to behave so strangely… so irrationally... they don't have any memories associated with that song or that film… right?

but that's because they don't remember the facts of how their only daughter - who's got the coriander-tastes-like-soap gene - only lasted two days of a family skiing trip in december 1995, even though they hadn't spent any significant time with her since august 1994, before she swanned off back into a magical world which seemed to be robbing them of her piece by piece.

they can only remember how sad it made them feel.

[boymanmaletheshequel]

One facet of Hellenistic and Roman, /Greco Roman paganism that I’ve always found extremely interesting to me, is how inherently human and relatable it’s gods, and their correlating counterparts are, especially when compared to deities in other ancient religions. They are divine, of course, this is made clear enough, but they all have aspects and traits to them that are inherently human. Rage, lust, joy, love, conflict. They represent, if nothing else, key elements of humanity and the human condition, which is something that no other ancient religion I’ve studied quite compares to in the same way. And not only that, but their relationship to people and humans as gods is clearly very symbiotic. They rely on their subjects for their fulfillment, interact with them directly on a regular basis, and often times even respect and revere them as not necessarily always equals, but as at the very least, creatures worthy of their consideration and respect, sometimes even falling in love with, and baring children with them. This is something that doesn’t really happen in any other ancient religion I’ve seen, sure, there are aspects of it in them, but not nearly are they portrayed as objectively or centrally as they are in Hellenism and Roman paganism. Each god represents some aspect of humanity in ways that are inherently non-Devine, Aphrodite is a lover, sometimes desperate to a vulnerable degree you wouldn’t expect a god to be. Dionysus is regularly consumed by madness as a result of his addiction and mental illness, and falls into spirals of depravity that are hauntingly ungodly. Artemis hunts even though she doesn’t need to, she respects her body as a goddess woman just as much as any human woman would, and fights back just as violently as well. Apollo finds much of his joy and happiness through the humans he falls in love with, and faces much of his suffering and sadness through them as well. Persephone fucking dies. maybe not literally in the sense of human, medical death, but absolutely metaphorically, and the grief her mother Demeter experiences is so inherently human, and so shockingly, gut wrenchingly tragic, that it is pretty obvious that this is what her story is meant to represent: a divine allegory for death and grief, an element that so many religions completely separate from their deities. Even Zeus, the primary deity, is a father figure who’s connection and relativity to fatherhood as seen in human men is almost identical. and if it weren’t for the pre-established lore and status of him as a an extremely powerful deity, there are moments in his Mythos where you might even forget that he’s a god, an all powerful, all divine, objectively non human god to begin with. I think it’s what makes Hellenism so emotional and so drawing to me, and to many other pagans, it’s a relationship that is mutual, and relatable, which is an element that is lacking in so many religions, even the major ones like Christianity and Islam. Yes, there are still elements of this in those religions, but it always feels like the stories constantly hammer in the fact that they are divine, so divine, so utterly unrelatable, so inherently disconnected from their subjects and their plights as a superior enitity, that there’s a limit to how connected one can feel to them. In hellenismos, this limit doesn’t seem to exist, and that’s something that makes it so much more personal and fascinating to me than any other religion I’ve studied. The gods are us, and we are the gods. At the end of the day, I think that’s what all religions should be about, and ultimately, are about, wether we realize it or not.

[paper-mario-wiki]

"no art is good bc it's a misconfiguration of the natural world to suit man's vanity" Is an extremely misanthropic take on art. Is humanity not part of "the natural world"? Can one not make pigments from flowers or minerals? You say that the universe would never align so that a piece of art is made without human intervention, but the universe did align so that it could be made, you just assume humans aren't part of it. I understand that this is some faux-deep shit I'm on, but I love art and while I think good is kind of useless adjective when talking about art in general, to compare the concept of art to a tumor is a pretty bad faith take. Sorry if that was like, ironic or something and I just sent a rant into your inbox for nothing.

your faux-deep shit could never reach the faux-depths of my even shallower faux-deepness.

i think the main problem when establishing this argument in the first place was saying "all art is bad" because someone asked me if i liked any bad art, and i answered using "bad" as a shorthand for "not good". if i had known i'd be getting into this pedantic of an argument about it i definitely would have changed my wording, because things that are "not good" are not inherently "bad", which seems to be where the majority of the misunderstandings of my stance come from.

i'd ask you this: what could be considered "good" outside of something that affects humanity in some capacity? to be clear, you're absolutely right, humans ARE natural, humans ARE part of the world. but the idea of something being "good" didn't exist until humans came up with it.

100,000,000,000,000,000 light years away, two planets crash into each other, each with their own forms of biological life so different from earth's that we would find it difficult to even classify it as life if we were given the chance to observe it, but that doesn't matter because we would have never been given the opportunity to reach those planets anyway under any circumstances. is this a good thing? is it a bad thing? i don't think it's either, it's just something that happened.

because "good" and "bad" are code words used to reflect the societal values of the person using them, they cannot exist in a vacuum.

so if that's the case, and "good" and "bad" only exist to us, what does it mean to us?

well, something "good" is something with objective benefit or subjective enjoyment-- but subjective enjoyment of something can also contradict the nature of its objectivity. soup can be considered "good" because it sustains us and is therefore beneficial. soup can be considered to "taste good" because someone might enjoy the flavor. but "torture" can only be seen as "enjoyable", but it benefits nobody-- even if the person doing it enjoys it. that's just them subjectively enjoying it.

conversely, something can be objectively good but still subjectively unenjoyable, like having a soup that's healthy in a way you think tastes bad! you'd still benefit from it, even if you didn't enjoy the experience. but regardless of whether or not you enjoyed it, what has the greatest bearing on something being considered "good" is its objectivity, as it's something fewer people can debate.

now, all of that being considered, what can "art" do that is objectively good, without it serving some secondary purpose? something that is objectively good can be artistically created, like a children's hospital designed by a genius architect-- but its goodness in that case would be derived from its benefit, with the subjectivity of it being something that only enhances its good.

a piece of fabric, stretched across a wooden frame and painted using colorful oils, creates no benefit objectively, it exists solely in the world of subjectivity. how can something be "good" if the only thing it does is hold the potential (not the guarantee) for a person to look at it, and enjoy looking at it?

more importantly though, is that bad? it's not.

but it is superfluous.

^ please forgive me for typing all of this. im so sorry. it's just so easy to be pedantic. i promise im not a stick in the mud and i love art, i just also happen to be someone who is personally deeply concerned with rhetorically whittling communication down to the bare knob of its meaning (XRA style).

because it is something i find subjectively enjoyable.

[twoa-plus]

it’s 2:00am and this is more of a character thing than a genuine theory but *claps hands for the drama* same coin theory. what if both of the stans are bill

or like. a parallel to him. like i said this isn’t a super serious theory i’m mostly just back on my character analysis bs lol

so i haven’t gotten to talk abt this much but i am a firm believer in that there is not a superior stan. from a personality perspective this is obviously entirely subjective, but i mean that there isn’t a superior one when it comes to their objective traits and how useful they are

ford is. ford. i don’t really have to say anything here he’s super smart can play the piano or whatever etc etc. however one thing that i will say that i think is important here is that i am like. 99% sure this man has a higher tolerance to The Horrors than other humans do. dude spent 30 years in that portal and came out pretty much the same level of crazy, and we all saw what happened to fiddleford. i know fidds saw bill take off his exoskeleton or whatever but u can’t convince me that ford traveled the multiverse - with all sorts of monsters and non-3d dimensions and god knows what else - for 3 decades and didn’t see some shit that would make anybody else lose it. like at this point u could tell me this guy could have a casual conversation over tea with cthulu and be fine and i’d believe u

as for stan - and i mean this in the absolute best way possible i love this guy - he’s like the world’s most charismatic cockroach. he’s fantastic with people and just straight up refuses to die. for the first point i don’t just mean this in the conman way, when it comes to the people that actually matter stan always manages to win them over in some way or another (soos, wendy, the kids, ford, etc) and one does not simply survive for a decade on the street without needing the occasional favor from someone who actually likes you. “oh but rico-“ man when u’ve been living as a homeless criminal for a decade and the list of people that want to kill u consists of 1 person and the government u’ve done pretty damn well. anyways as for the cockroach point, he’s alive and has his memories. i don’t even have to say much here stan went through all of That, lived through the series itself including The Literal Apocalypse, metaphorically (something something people are just a collage of their life experiences) died at the end of it all and then came back to life. that’s hardcore as hell man. in a less literal interpretation of the “refusing to die” bit, he’s also just. insanely determined. the biggest example is ofc him never graduating highschool and yet teaching himself god knows how much math and science and whatnot over the course of 30 damn years because he just refuses to believe that he can’t save his brother. stan pines is a force of nature i swear

[additional note while im already ranting about this guy, im not a personal believer in the “stan is just as (academically) smart as ford” theory. first of all i feel like this entire theory is kind of rooted in the idea that he has to be/be on the same level as “the smart one” to have value, which is an idea that the stans’ entire backstory is based around criticizing, and i think stan has something just as if not more valuable than freakish intelligence - raw fucking grit. he wasn’t the one to open the portal back up because of some intellectual advantage, he was the one to open the portal back up because he wanted to, god damn it, and best of luck to you if you’re gonna try and stop him.]

anyways as for the same coin thing, everybody knows the stan part. his casual references to the impending apocalypse, “you’ve been buying gold, right?”, him being such a good conman, etc etc. while i’m already ranting about stan’s determination, bill’s got that too - he’s been trying for like thousands of years to take over the world and he just Won’t Stop. point is there’s a lot of character traits they share

(i know in the original same coin post a pretty major point is stan not making a deal with bill, but i think that could probably be pretty easily explained without the need for divine intervention. the only times bill makes a deal with someone without them summoning him first is after he’s kind of left on a loose end with gideon, and everyone knows stan wouldn’t fall for his lies in the first place)

bill also shares a lot of traits with ford, though. both have some kind of physical anomaly (bill’s eye & ford’s hands), both can see/understand things others of their species can’t, they’re both egomaniacs (listen i love ford but the guy has issues), etc. u could even argue that, at least at the time they meet, they have some kind of connection through their loneliness

so. with the theory of “bill was reincarnated to make up for what he did,” what if it wasn’t just stan? what if he was split in two, and his “reincarnation” is both of them? they’re flawed enough to make it a lot harder for either of them to take over the world (ford’s lack of social skills & stan’s lack of freakish academic knowledge), and they have something bill doesn’t - each other.

bill is alone. that’s his whole problem. he killed everyone he loved, treats everyone new he meets like shit, and now he’s Like That. throughout it all, the one thing the stans have always had - even if it was just in their memory - is each other. “oh but ford-“ shhhh. shhshhshshshhsh. shut up. ford has Problems but i genuinely don’t think he ever stopped loving stan. love is weird, first of all, and secondly he clearly never stopped trusting him. no matter what he might say about stan being a liar or a conman or whatever, who’s the one person he goes to when he’s forced to admit he needs help? ford is a weird guy and has an… odd way of showing it but he loves his family just like the rest of the pines and i will die on this hill

i’ve been writing this for over an hour straight and i think my brain is melting but i’m sure at this point u get the idea. both of the stans, together, serve as a parallel to bill, and the one thing they have that he doesn’t is love. that’s what killed him.

something something killing an interdimensional dream demon with the power of friendship and this gun i found

[ekkotimesthree]

RE: Homestuck Discourse, Media Literacy, Fandom Entitlement, & The Puppet Theory

an essay by yours truly

content warning: discussions of child abuse, CSA, & child neglect

so many discourses and debates surrounding homestuck boil down to lacking basic media literacy. so instead of making a petulant rant, i’ll attempt writing a productive essay, but forgive me if my annoyance seeps into parts of this post due to the subject matter. let’s start with dave, since he’s one of the most contentious characters (also because he’s my blorbo, sorry not sorry), and move on from there!

i constantly see people say something along the lines of “davekat happening in the retcon timeline makes no sense why would terezi ignore dave and gamzee yada yada yada”, like there’s not a whole scene that explains this! and it’s one of the most plot relevant scenes in the comic!! if you don’t know what the blood scarf even is, your opinion on this irrelevant, since you didn’t read/remember the text. rule number one of media literacy is properly consuming the media.

“dave being abused and the gay stuff came out of nowhere” this is definitively not true. one of the first things we learn about dave is that he has to hide food in his room so he doesn’t starve, and that this is an intentional choice by his brother. oh, and then his brother actually beats the shit out of him on screen, while not letting him abscond, right after we see john and rose strife their parents in a healthy way no less. (take note of bro using cal, and dave trying to abscond from him. more on that later.)

and re: dave’s sexuality, rose immediately points out that dave is probably gay during their first on screen interaction, and it’s her first line of dialogue to him.

TT: In some cultures the persistent refusal of a lady's invitation to play a game with her would be a sign wanton disrespect.

TT: Either that, or flagrant homosexuality.

moving on, later that same day, dave outright admits he loves john:

in these scenes, rose would be considered a mouthpiece! author’s use mouthpieces to get across information to the audience, that the character(s) themsel(ves) don’t know. in this case, that character is dave.

so now let’s address the elephant in the room, you probably thought these messages were just jokes, and that’s okay! that’s for three reasons:

first, your worldviews and perspectives shift the way you perceive the world, and more specifically art in this instance. that’s a fundamental part of the human experience. having your own personal biases based on your life experiences isn’t inherently a bad thing! for example, if you finish my essay, you can learn more about compulsive heterosexuality, or the effects of child abuse, see all of the signs, all without having to deal with it first hand. which is great! that’s the point of art and storytelling.

secondly, you probably still thought dave was straight while reading this narration. that’s because homestuck is written in deep pov, or as you would probably call it, unreliable narration. these are technically two separate things, but i don’t feel like breaking down all of those pedantics. all you need to know is: deep pov is when a character’s worldviews and perspective shift the narrative, rather than a story being told objectively. think junie b jones, the percy jackson series, or uh, catcher in the rye, if you’re into that sort of thing. that means that all the dialogue and narration within homestuck will always have some level of subtext, aka the non-literal explanation for text. homestuck is made by adults for adults, so it’s created on the basis we can analyze the text, and come to our own conclusions, unlike YA and children’s media.

a lot of people assume homestuck is supposed to be YA series, but that’s not the case. homestuck’s themes are about exploring the effects of child abuse and neglect, which you need to be an adult to fully understand. and unlike cinderella, homestuck shows child abuse on screen, and as we’ll discuss later, tackles subject matter about CSA, or child s*x*al *ss*lt. that inherently makes it a 18+ story, no matter the ages of any characters involved. just because most of us read homestuck as kids doesn’t really have any impact on that.

“well there’s no explicitly 18+ content in homestuck!!! they’re all 13!!!!” please take one look at equius’s room, or translate damara’s dialogue, and tell me if you still feel that way. oh, and read the epilogues too. also do you not remember the sheer amount of bloodshed, sex jokes, and cursing shown without a single censor??? even the official homestuck twitter said this:

finally, it’s also worth mentioning the time homestuck was made, because art can’t be removed from it’s historical context. so in 2009, gay representation was still virtually non-existent, especially in children’s and teen media. in the 2000s there was an extremely prevalent trope, “queer people are funny”, where the whole joke is that a character doing something that could be perceived as gay, or transgender, is funny. this problem was especially rampant in media for men. the most infamous example of this is family guy this was s8e18 of family guy, “quagmire’s dad”, where the whole joke is that brian slept with a trans woman, and everyone single joke comes at the expense of the trans woman, who’s relegated to a background role, while the narrative focuses on quagmire and brian’s emotions, the two cis men. so what homestuck is doing is called a deconstruction of this trope! deconstruction is where you break something down to critically analyze the philosophy behind it. we’ll leave a pin in john for now (just you wait), but it’s made extremely clear that dave is struggling with internalized homophobia, thus deconstructing why he makes these jokes in the first place. by the end of homestuck, dave says:

DAVE: but ive had a fuck ton of time on my hands to think about stuff. about stuff ive said and done in the past why i said and did them. a lot of things i once would have insisted were like part of my brand and helped me come across cool and smartassy, but now im not so sure. we used rip on each other all the time for being gay even though we knew we werent which of course is what made it "funny" remember?

with this quote, and the knowledge that dave goes onto date a man, i don’t think anyone is denying the internalized homophobia now, so let’s move onto reading this:

i’m sure all of us are thinking “there’s no heterosexual explanation for this, he doesn’t even like ben stiller!” OR “maybe dave’s just too embarrassed to admit he likes shitty movies? is it really more than that??” either way, that’s because hussie utilitized the rule of three to make you subconsciously notice dave’s obsession with irony! the rule of three is used to set patterns in a story, either to establish a fact, or to subvert the viewer’s expectations. for example, let’s analyze this joke:

notice how terezi’s third response is the funny one?by setting up the pattern, both you and john are expecting her to keep laughing in response, so when terezi flips the script on him, it’s hilarious. that’s called payoff, or in this instance, comedic payoff. now we can compare that to dave’s irony, where it was mentioned three times on one panel. no subversions of expectations here! that’s because hussie wants to establish dave’s obsession with irony, and they did so by creating a pattern you would notice subconsciously. this is how the rule of three works! psychology is cool, right?

so now that we can all agree that the subtext here is related to the irony, we have a new problem: we’ve only gotten dave and rose’s perspectives. we still need one more to complete the rule of three. fuck. thank god i can skip ahead!

using my whimsical ability to read ahead analyze text, i find out what john said to dave, and leave out the unimportant bullshit for everyone’s sake (mostly mine though):

dear dave, happy birthday!!! (…) i got you these. they're totally authentic! they actually touched ben stiller's weird, sort of gaunt face at some point. i'm sure you'll dig them because i know you lolled so hard at that movie. ok so for real, this is sort of a shitty present, but it is an ironic present because i know you wouldn't have it any other way. maybe you can wear them ironically some time. they MIGHT even be more ironic than you and your bro's dumb pointy anime shades.

now we have three characters’ perspectives on dave’s behavior. you’re probably able to put together the pieces i’m putting down, but for those who aren’t getting it: when you compare john’s letter, with dave’s actions, and rose’s messages, you realize that: dave is keeping these glasses because he loves john, not because he likes ben stiller, but he can’t admit that to himself, hence why his narration overcompensates with the usage of irony! it’s worth noting that all of these examples are from dave’s pov, because switching to rose or john’s pov would no longer make them mouthpieces!

“okay but isn’t dave’s perspective not reliable either??” yes! that’s why we’re using his actions as textual evidence, not his statements. the fact dave kept these glasses, and hung up a picture of an actor he doesn’t even like, is the proof he loves john, not him saying outright that he loves him. like i said earlier, this is a comic intended for adults, so characters aren’t going to outright say themes or how they feel. that’s more for peppa pig, hannah montana, and riverdale, you feel me? just like in real life, talk is fucking cheap here.

so now we’re left with a new question: why does dave feel comfortable admitting his love for john to rose, but not john himself? i’m sure the answer is becoming obvious! putting all this together we can gather the following: hussie wants us to know that dave possibly has a crush on john, but definitely loves him.

wait a minute… possibly?!? that’s because we still need textual evidence dave likes men. luckily, like i mentioned earlier, we can skip ahead to the epilogues, where him and karkat get together in the meat timeline, thus proving dave has liked men this whole time. boom! that’s payoff!!!

now we can OFFICIALLY put together that dave had a crush on john. once again, notice how we’re using dave’s actions to prove this, and not just quotes! either way, now we have officially used media analysis to deduce that dave had a childhood crush on john! huzzah! pat yourself on the back my loyal reader.

and for those who still aren’t convinced of dave’s crush on john, this masterpost has way more evidence than i ever could fit in this post.

(trigger warning: csa)

so now with everything we’ve learned about media analysis, i present you with my own analysis: the puppets are a symbolism for abuse, and the sex puppets specifically are an allegory for CSA, or child s*xual ass*ult. symbolism is where you use a certain object to represent ideas or qualities. the best example of this is the iconic green house logo we see throughout the comic. in comparison, an allegory is when a certain object or plot device is used to get a point across, without directly stating the point itself, aka, a hidden meaning. for instance, hussie has said their game “pyscholonials” is an allegory for how they feel about their gender identity!

so now, let’s start finding textual evidence to back up my claims about the puppet allegory, through looking for textual evidence of dave’s symptoms, aka analyzing character psychology:

dave’s anxiety manifests in the way he types. according to healthline “rambling or excessive talking [is a sign of] social anxiety. you fear saying the wrong thing or being judged by others, but you end up talking more (…) in an effort to help make up for your anxiety, and help quiet the worries revolving around what others think of you”. this is basically dave’s whole personality, but more specifically, you can see him doing this around the puppets in this scene, he rambles to himself non stop when returning to his childhood bedroom, and he’s still doing so on the meteor when he can’t find terezi to do “some stuff”. by the end of the comic, dave even acknowledges this himself by saying: “DAVE: yo im hardly one to talk here since i am a goddamn geyser of hilariously self-pulverizing freudian bloopers”. it’s also worth mentioning that, generally speaking, dave also spams his friends a lot until he gets a response, implying he gets anxious when people don’t respond quick enough to him, which is a normal reaction after being neglected as a child. that’s called a trauma response! all of these bullet points are trauma responses that happen to people who had to deal with CSA. in this case, the trauma response would be dave’s anxiety in general, and not him spamming his friends specifically. moving along…

dave’s hypersexuality manifests in a pretty in a pretty straightforward way, hence him constantly making s*xual jokes, and him drawing dicks on stuff on the meteor, much to the annoyance of everyone else. terezi even points this out herself while dave is failing to grieve bro:

TG: im sorry you are so flustered by the mere mention of glittering mythical cryptodick it honestly makes me think youre not ready for the truth

GC: D4V3 YOUR P3RPL3XING 3UPH3MISMS INVOLVING WHAT I PR3SUM3 TO B3 L3WD 4ND VAGU3LY INTRIGUING PORTIONS OF HUMAN 4N4TOMY 1 THINK 4R3 NOT 4S HILARIOUS 4S YOU PROBABLY B3L13V3

his dissociation is also pretty straightforward. he constantly talks about himself in the third person, and treats himself like he’s a character in a story, rather than a person who has wants and needs. for reference, dave immediately pulls meta shenanigans when you meet him, foreshadowing his dissociation. you can tell it’s built up to an already toxic level when we meet him, because on the same day, he has almost no reaction to seeing his own corpse, and immediately disposes of it “for jade’s sake”, rather than his own. and to make matters worse, he immediately “moves on” as if nothing happened. deep pov, remember? he also couldn’t properly process bro’s death. once again, terezi tries to point this out to dave, and he’s still not getting the message. put a pin in this section for now.

near the end of the comic, davepetasprite outright says that davesprite was depressed, regularly talked about how he wanted to off himself, and implies he might of attempted it. this is a grey area since davesprite is technically a separate character, and grieving the death of everyone from his original timeline, but it feels weird to just ignore it. to each their own on this point, but i would assume davepetasprite was referring to dave’s whole life when they talked about him being depressed based on wording, and his terrible childhood, but the s**cidal stuff could go either way. again, the proof here is dave/davesprite’s actions, not davepetasprite’s quote itself.

he displays regressive behavior 24/7 by wearing his shades to avoid eye contact, refusing to participate in common social cues (i.e.: constant dick jokes), and the few times we see him get upset, he shuts down rather than feeling his emotions. not so fun fact, the only time dave cries in all of homestuck is because of onions being cut in front of him. there’s an allegory in this scene, can you find it? (hint: the dragons forced dave into the soup, but he refuses to get out of it) also, in his most emotional scene, he still tries his damndest to not talk about emotional stuff with dirk, and still doesn’t cry when they hug, despite discussing bro’s death, and his thoughts on his own abuse in detail:

the lack of self esteem is pretty apparent. he constantly over compensates at the beginning of the comic, as seen below. he always talks about himself as if he’s a famous important guy, despite that all of his friends know he’s lying, and regularly say it to his face, but he’s still adamant that they’re wrong, or commits to the bit without actually admitting the truth. i wanna note that dave’s humor is always more of a commit to the bit and keep it going sort of thing, for better… or usually worse. not full on sarcasm. this is opposed to rose and john’s teenaged douchebaggery mixed with flagrant sarcasm. also, in the aforementioned scene above, davepetasprite still refers to davesprite as a piece of garbage, showing this is something dave struggles with even while being combined with nepeta. again, we’re using the action of putting himself down, not the quote itself. (also, sorry for the image quality, i’m on mobile)

in the long term, it’s basically impossible for him to form long lasting, fulfilling, and romantic relationships. first, it’s his crush on john, but that’s just kids being kids stuff. there’s also the fact dave and rose had some sort of failed relationship in davesprite’s timeline, due to them not learning they’re siblings. then we see the serious problems arise with terezi, who he dates pre-retcon mostly just cause she’s there, and his weird definitely not gay rivalry with karkat, which leads to her being unfulfilled in their relationship, and starting a kismesistude with gamzee. obviously the jade stuff is a big wooooof (pun NOT intended), both with davesprite, and the candy timeline. ultimately, both times, dave only dates jade because he feels bad for not liking her back, which leads to the relationship falling apart both times. remember the pin in dissociation? that’s what he’s doing here. karkat would be the opposite of jade. dave doesn’t let himself date karkat because dave hates himself, and more specifically, his attraction to men, which i’ll elaborate on later. this is what we call a character foil, aka two characters who have similarities so you can contrast their differences. think naruto and sasuke, or uh, deku and bakugo i guess? how do you do fellow kids? actually yeah! cause jade is green, and karkat is red blooded, which would symbolize how dave sees karkat as the “wrong” choice, while jade is the “right” one. the colors green and red are opposites, but jade and karkat are both of dave’s love interests in the epilogues. see? character foils! symbolism! personally, i refer to this as “star wars logic”, cause the good guys have green lightsabers, and the bad guys have red ones. this is definitely intentional, seeing as homestuck is littered with star wars references, like how HIC is basically just darth vader. meenah is also definitely a reference to darth maul, just look at her double sided weapon, or how they both die before getting to their respective thrones. i could keep going but it’s not really relevant to the discussion.

so right now you might be thinking “well you still didn’t explain how dave got assaulted tho”, and that’s fair. however, i wanna remind you that showing children porn against their will is 100% a form of CSA, same with sex paraphernalia, and especially forcing sex paraphernalia onto them. to do that to a child non-stop, in an environment they can’t escape, would have horrid effects psychologically, and dave displays almost every one of them, as you saw with the textual evidence above. so when dave can’t admit to himself that he he hates bro’s puppets, and more specifically the sex ones, it’s because doing so would force him to admit: a) what bro did to him was wrong & b) that he enjoyed it in some aspect. john even points out how weird bro’s affinity for puppets is weird and definitively not cool, which causes dave to immediately shut him down hardcore (more allegory).

speaking from experience, one of the worst parts of CSA is that you have no clue what’s going on. victims of assault often blame themselves, or feel guilty of what happened, and children lack the ability to tell what’s fully going on in the first place, due to their brains being underdeveloped, thus amplifying the guilt and blame. people often worry so much about the “man tricking kids with candy” because it’s the most pervasive p****ph*le you see in media (god i hate true crime culture), that people forget that 84% of csa happens in the home, 50% of the time it’s someone the child trusts, and 40% of time it’s family members specifically. even if 99% of your experience is terrible, you’ll still find a way to blame yourself for the 1% until you can properly process that you didn’t do anything wrong. this is what’s referred to as the “the myth of the perfect victim”.

i know this is “personal speculation”, but to me, it seems very apparent that dave is gay, and can’t come to terms with it because of his CSA trauma, hence his inability to just admit to himself he has a crush on john. every girl he dates in the main comic is quite literally the ONLY dateable girl in front of him, or usually the only girl in front of him at all, and all three girls have crushes on him/flirt with him WAY before he starts their relationships. and once again, he only dates jade in the epilogues due to his own guilt and dissociation, combined with her doing everything short of forcing herself onto him. compulsive heterosexuality is a major part of homestuck. for instance, hussie has confirmed via author’s notes that rose had a crush on dave when they were kids, and that something happened between them when they never learned they were siblings on davesprite’s timeline, yet hussie has also said that rose is a full on lesbian. that’s comphet, and it’s very intentional!

i also wanna take a moment to acknowledge that dave and rose are 100% nods to luke skywalker and princess leia, who also kiss before finding out they’re related. notice how dave fights with swords, like a lightsaber, and has the same hair as luke. meanwhile, rose’s seer of light powers are basically the same as leia’s force powers, and she uses most of her weapons as blasters, just like leia. i don’t think hussie was trying to be weird or add this stuff in for any unsavory reasons, like some people imply. there’s a reason all of this extremely vague, and not shown on screen. put a pin in that.

so in the same way the katanas in dave’s fridge symbolize bro prioritizing preparing dave for battle over what he actually needs (food and shelter), that’s how the puppets symbolize dave’s CSA. now, if you read dave and rose’s conversation about the sex puppets with that knowledge, it starts to paint the harrowing picture (again, allegory). it’s important to remember that rose had a canonically had a crush on dave at the time during this conversation, so she was probably just negging him the same way she negs her mom. she was upset because she knew that dave liked john, and probably was just gay in general, so he was never going to like her back. she’s definitely projecting her gayness (and love of puppets) onto dave too. again, all of this is definitely comphet lesbian behavior. all that’s to say, i’m not claiming she’s intentionally victim blaming him or anything during this scene. she’s just as much of a child as he is. put a pin in that too! i got sited sources coming, but i can only put so many goddamn words and images in a single post.

so, i see the sentiment shared a lot that hussie just tacked on the abuse stuff at the end, and that the beginning of homestuck “was just a silly comic at the beginning it’s not that deep”. that is an objectively ill informed take, and now you know why! the entirety of homestuck’s themes are exploring the effects of child abuse and neglect, hence the name, home stuck. there’s a reason the protagonist who is able to save everyone, also has a seemingly perfect home life. notably, the only other character who’s a completely well adjusted nice person is nepeta. she’s also the only character who’s able to free roam as she pleases, has a loving lusus, and ironically, is the only character without a home/hive to begin with. once she makes into the game, her land is quite literally her cup of tea as well. these definitely aren’t coincidences. i hope your allegory alarms are going off right now!

the only reason homestuck is sillier in the beginning is solely because it was a fan lead project for the first few acts. back in the day, there were forums dedicated for audience input to decide what happens next in the story. fun fact: this is how a lot the characters names were decided as well! so there’s a reoccurring bit where (insert beta kid) does (something stupid) and then the plot just moves on (i.e. john’s HILARIOUS antics). those were the silly suggestions sent in by the fan community! that was back when the homestuck community was still pretty small, all things considered. this explains the wonky pacing in the first few acts, and the more comedic tone.

moving on, the reason the puppets and the katana fridge are used as symbols, is because yeah, the tone would be way too dark if they played that straight. however, there’s another reason that’s way more important. remember how homestuck is written with a deep pov, aka unreliable narration? (please don’t kill me pedantics police!!!) hussie uses deep pov to display how homestuck chacters see their parents/lusii, in order to convey the themes of the story. stick around a bit longer and i’ll explain the theme of homestuck! just let me explain something real quick, so you get the big picture.

bro is shown in a positive zany light because that’s how dave sees him. to dave, bro is his whacky older brother, and sure he’s a little out there, but ninja battles and puppets are sick as fuck, right? well we as the audience know that’s NOT the case. again, dave is literally starved on screen, and gets the shit beaten out of him, also on screen. this parallels rose’s relationship with her mom, who gives her everything she could ever want and need, but doesn’t fulfill rose’s emotional needs, so rose sees her as a some sort of spiteful cartoon villain. dave even calls this out the second he sees all the wizard stuff rose got from her mom.

meanwhile, you can see rose admit to liking the puppets here, and she says she’s a fan of bro’s pornbot websites as well.

ultimately, they both want what each other has, but aren’t really able to fully grasp why their own parents did what they did, much less each other’s parents, which leads to them both envying the toxic part of each other’s households. i’m sure you’re starting to see the big picture with the puppets now, so to send the point home, remember that image i showed you during dave and bro’s strife? well, bro is attacking dave with a puppet, and dave wants to abscond, but can’t, perfectly paralleling dave’s abuse to a puppet. furthermore, that’s why he’s surrounded by sex puppets specifically, and they’re all throughout his apartment. it’s all symbolism for how dave is trapped in home dealing with CSA.

this is the purpose of allegory, telling you something without directly showing it. i doubt any of us think homestuck would be better if this stuff was depicted literally, for all the obvious reasons. i’ll close out with this dialogue since it shows what i mean better than i ever could myself:

DAVE: why did i get such a raw cut of the asshole deck? and why did it take me so long to figure that out? and like hes dead now so thats that. so all thats left to do is look back and try to put the pieces together of my first 13 years, and all i can think is what the fuck WAS that?!

DAVE: i dont come away with the impression i used to try convincing myself of, that he was like "mysterious" or "stern" or "aloof". the only feeling left is this insane impression that i was raised by somebody who fuckin HATED me, and the whole act of even "raising a child" was some totally fucked up game to him.

DIRK: What… did he do?

DAVE: i dont want to get out the laundry list, but for reference laundry wasnt one of those things. that was just one of the many little domestic things i just had to sort of FIGURE OUT. sorta like i eventually had to learn what the REAL purpose of a refridgerator was from movies.

DIRK: Wait. What???

DAVE: i dunno theres too much to even get into. just- i dont remember the atmosphere ever not being nerve wracking. all havin to sneak around and... ugh my shitty childhood spider senses are tinglin just thinking about it.

DAVE: it was "training" you know?

DAVE: but you know what it really was, it was some vicious shit that was bad and sucked and i hated it

DAVE: it didnt make me stronger

DAVE: it did the opposite

DAVE: it made me never want to fight

DAVE: it made me never want to see blood or be near danger or hear metal sounds

DAVE: it made me hate the idea of being a hero cause he was a hero and he ruined the idea of heroism

(…)

DAVE: i know how it sounds but i am NOT joking and there is NO shred of doubt in my mind that he loved all those puppets more than me

so uh, this essay is already long enough, and you definitely want me to just say the theme by now, so let’s explain the rest of this allegory in optional bullet points that you should definitely still read.

rose liking the puppets is symbolism for how emotionally neglected children often end up subconsciously “wanting” terrible things to them, like abuse or self harm, so they can justify their own unhappiness with their lives, due to them not understanding that their emotional needs aren’t being fufilled. again, the myth of the perfect victim, starting during childhood specifically. rose does this by convincing herself that her mom hates her, rather than seeing that her mom is trying her best to parent, and failing miserably. rose is also unaware of her mother’s alcoholism, which symbolizes how she doesn’t understand that her mother is emotionally neglecting her. this parallels how dave is seemingly caught off guard by dirk’s sexuality, and thus bro’s sexuality, due to dave not processing that his abuse is sexual in nature.

jade’s love of plushies parallels dave’s love, and eventual hatred, for puppets. (once again, notice the red vs green. character foils!) this is because her neglect causes her to become extremely immature. when she’s a kid, this mostly just manifests as her liking children’s toys, and speaking with a childish affectation. however, this immaturity goes unchecked, leading to the epilogues, where she completely ruins dave and karkat’s relationship for her own sexual desires (paraphrasing). you could say the same for her secretly getting rose pregnant in hs^2, knowing kanaya will be upset when she finds out. basically, she has a huge emotional disregard for everyone around her, which stems from her almost complete isolation for most of her childhood. once again, emotional neglect leading to regression, more specifically maturity regression in her case, which makes sense when you remember she grew up raised by an actual dog. and interestingly, dogs have low emotional intelligence compared to other animals. jade herself becomes part dog while going godtier, right as she has to go into further isolation during the three year journey. dogtier symbolism! jadesprite also throws a tantrum when she’s created, right after being combined with a dog. more symbolism!

dirk loving cal is an allegory how he can’t let go of his own self abuse, which becomes extremely literal when he cuts his head off. something something symbolism. this is also foreshadowing his eventual role as the villain of the story once he achieves his ultimate self, and begins thrusting abuse onto others. after going ult, dirk ends up pushing jane into presidency, thus allowing a troll genocide to happen. it’s also worth mentioning jane r*pes jake in the epilogues, and while knowing this, dirk still supports her because he believes “the ends justify the means” during all of this. now he’s officially just as bad as bro at this point. i also wanna point out that this, once again, this makes dirk a huge foil to dave, with both of them helping their respective presidential picks to win the election. i believe this is hinting that dave will eventually be the one to defeat dirk, thus finally not letting his bro have power over him, or anyone else for that matter. remember how dave is a reference to luke skywalker? well the main villain of homestuck^2 is his father figure from another timeline/universe, so at this point, it seems like dave will have to be the one to do the killing blow on dirk, the same way luke did to vader. only time will tell. pun intended bitch. also, dirk’s shade of orange is right in between dave’s, and the yellow bloods, possibly symbolizing how dirk is doomed by the narrative just like sollux, mituna, and the Ψiioniic, combined with his own self abuse.

roxy has seemingly no affinity or hatred for puppets, dolls, or plushes, foreshadowing her failed assassination attempt on the batterwitch, and her short lived alcoholism. however, she does still have a pile of cat and wizard plushes in her room. roxy is probably the third most well adjusted character in all of homestuck, and had a pretty nice childhood all things considered! obviously it wasn’t perfect though, hence the short bout of alcoholism. all that fits into my puppet theory pretty well, implying that roxy made it to the end of her game due to her lack of alcoholism, unlike her alpha self, but just like rose. her shade of pink being the middle ground of dave and rose’s makes sense as well.

on davesprite’s timeline, his sprite prototypes with cal, and one of the birds who never left his apartment, symbolizing how he was unable to escape the trauma of his abuse and homelife. also another easter egg! crows are the smartest bird, and one of the smartest animals in the animal kingdom. this is symbolizing how dave is actually the smartest member of his session, which makes sense due to the sheer amount of math he does for his sylladex, despite bro not bothering with his homeschooling. this is why davesprite’s wings are clipped, to symbolize how his neglect and abuse ultimately made him worse off, rather than “being the air beneath his wings”. actual dave notably fights with a clipped sword, can you guess what that symbolizes? (hint: bro clipped the sword)

john interestingly fits into this as well, due to him receiving a harlequin doll for his birthday, and it later prototyping his kernelsprite. john hates clowns, and is the main character, which interestingly foils gamzee, who loves all things clown, and is relegated to a joke background character. let’s just put another pin in john and gamzee for now! i promise it will pay off.

but most importantly, lord english is the referred to as “the 8ig 8ad” by vriska (not a coincidence! think about spidermom!!!), and lil cal himself is referred to as the “most important character in homestuck”. notably, lord english is also the mind behind lil cal. this symbolizes how abuse is a central theme of homestuck, and the last trial the characters must overcome. that’s why rose stops drinking after the retcon, and why dave starts… doing something with karkat?

so there’s a huge elephant in the room! if we’re discussing davekat, we have to to mention the contentious reveal scene, don’t we? forgive me, but we have to address all the little nuances of this. so uh, remember dave’s anxious speaking habit we’ve established? well he starts blabbering when karkat immediately brings up his old black feelings for john, most likely implying he’s a little jealous/insecure about that. this is pretty normal, cause he’s still teenager at the end of the day. you can see it specifically in these two lines:

DAVE: so are you SURE you still dont have these unreconciled blackrom feelings about john

DAVE: i say we air this out before it ferments into some rank and hella unexamined feeling sauce

see? remember what i said about dave having trauma responses? this is it. he’s just anxious karkat might still like john, thus ruining their relationship, or uh, situationship at the time. he also might be projecting his romantic attraction to john onto karkat as well. then, he rambles a bunch of incoherent bullshit when john asks what his sexuality is. karkat is extremely embarrassed by this part of the conversation, yet he was able to calmly discuss his old crush on john. so this all comes to a head with the following dialogue:

JOHN: did you... like, date any boys?

DAVE: uh

JOHN: but there weren't even that many boys on the meteor? well, there's the clown guy, but i don't really see you and him... that really only leaves... um, were you and karkat... ARE you and karkat, like. hmm.

this makes karkat officially loses it due to embarrassment, but i’ll spare you from that huge wall of text. next dialogue reads:

JOHN: dave, i'm pretty sure we're making karkat uncomfortable now.

DAVE: yeah maybe we should drop this

JOHN: ok.

so lets think. they aren’t dating, but they definitely did something kinda gay. notably, this parallels the “things” dave did with terezi pre-retcon, while still being tastefully vague. the idea that dave did some gay teenager shenanigans actually does make sense for his character arc, because it implies he’s comfortable enough now to try something like that now. though i do wanna emphasize that i’m not try to explicitly say they had sex, i’m just saying dave explored his sexuality. come to the conclusions you’re comfortable with here! hussie goes out of their way to not display or mention characters doing any sex acts while they are minors, and this is the closest we ever get to anything like that. there’s only one instance of making out even happening in homestuck, and it’s just jake making out with his avatar poster. well, unless you wanna count this i guess? considering everything we’ve gone over in this post, this is most definitely intentional.

through john’s retcons, the butterfly effect forces the dave and rose to address their respective childhood traumas, which leads to them being able to beat the game. same with davepetasprite finally giving jade the closure she needed right before she woke up. same with terezi fixing her relationship with vriska. karkat runs for president later, proving he’s got over his leadership trauma as well. that’s how you win sburb. john saving everyone with that retcon shows the central theme of homestuck: you can change at any point, and get through any hard times, as long as you have people in your life to help and support you. the retcon is great because it shows you how a timeline is doomed, so that way you can understand why they won.

EB: well to be honest, i never really believed any of your guys's doom and gloom nonsense. not because i think you are lying... i just feel like there must still be a way to win! (…) also, there is always hope for someone who has good friends to count on!

so when dave and karkat start getting together, and do “stuff” on the meteor, that’s all the tasteful way of saying: dave was able to process things, and become more comfortable with himself. again, this totally could’ve just been making out, come to the conclusions you want. the vagueness is intentional.

notably, vriska, dirk, jake, gamzee, and jane are the only surviving characters to not address their trauma at all by the ending, which leads into their current arcs in homestuck^2 (or lack thereof in gamzee’s case). there’s also one more character, who we’ve carefully left pins in until now….

it’s time to address june egbert. spare the torches and pitchforks please! i’ve done a ridiculous amount of research, and there still doesn’t seem to be a proper explanation for june egbert from either a homestuck fan or a creator behind homestuck, so i’ll bare the cross of this explanation. from here on out, i’ll still say both names interchangeably for pedantic reasons, but that’s solely because this is still in a weird state of schrödinger’s canon, and hs^2 is pretty much it’s own thing in itself. but i’m a trans woman so w/e. once again, spare the pitchforks! please!

the reason why her being trans works is because john/june spent the whole series so focused on saving everyone else, that she never focused on herself, or thought too deeply about anything. that’s kind of her thing, taking everything at face value, and not thinking too deeply about herself (i wonder why… ♾️). this is even pointed out by dave himself during The Davekat Scene™:

DAVE: ok i guess what im saying is… i dont think its all as simple as you think it is, or maybe not like ACTIVELY think it is but continue to assume it is on account of NOT thinkin about it much, due to a lot of junk about the subject that gets shoved into our brains from movies and stuff while we were just dumb kids

JOHN: i,

JOHN: hm.

so you see the set up here right? the character who i was referring to, who still hadn’t processed their childhood? it’s important to realize that june/john has never actually had a character arc herself, because her story is told via the hero’s journey structure, not a typical three act story structure like almost every other character receives in their arcs. ever notice how homestuck is constantly compared to the odyssey or the iliad? that’s why! this all means, june/john is a plot motivated character, rather than a self motivated one, again, like almost the rest of the entire cast. it makes sense for her to have to start self introspection once the game is over, she never really had the chance to while saving everyone else. interestingly, vriska’s arc is told in the format of the hero’s journey as well. dave/davebot’s arc in the epilogues and hs^2 is also told in the format of the hero’s journey. he seems to be in between “woman as the temptress” (aka jade) and the “atonement” stage, which would most definitely be finally seeing karkat again, something hs^2 is still building up to. this makes sense for all three characters, seeing as being a “hero” plays huge parts of all of their respective storylines.

i also wanna bring up the clown stuff again, and more specifically, gamzee. even more specifically, this amazing analysis by @abcq2:

before murderstuck, gamzee has no idea that he is a clown. sure, he anoints his face with greasepaint, rides a unicycle, and juggles, but these are serious religious sacraments to him. and, sure, sometimes he trips on his giant floppy shoes and lands face first in a pie, but that's just being blessed with a miracle, because he was just thinking about pie. and, sure, sometimes his friends say things like "HEY ASSHOLE. CLOWN ASSHOLE. YOU WORSHIP A CLOWN RELIGXON. FOR CLOWNS." to him, but he's too zonked on sopor slime to extract any meaning from it. when gamzee sees the ICP miracles video, he's too sober to dismiss it as a mere coincidence; for once, he gets the joke, and realises that he was the butt of the joke the whole time. he understands that every time he fell face first in a pie, it was the work of an unsen riddler. he grasps that he is, in a cosmic sense, a clown, and hates it. (…) when the murder spree is over, gamzee's beatific grin returns; no longer a look of blank ignorance, but a knowing smirk. he's successfully ruined his character forever - no one wants to see him and no one thinks he's funny. hussie seems to say: jesus you are such a shitty clown. and gamzee's impassive face seems to say: i know. gamzee refuses to clown out of spite, and hussie refuses to remove gamzee from the story out of spite. it's a committed relationship of reciprocal, mutual antagonism. what i'm saying is that hussie and gamzee ar-

once again, all credit for this gamzee analysis goes to @abcq2, please check them out!!!

so i’ll cut straight to the chase, mostly due to me getting close to tumblr’s character limit. the clowns are an allegory/symbol of being transgender. it’s impossible to ignore. remember that game i told you about? psycholonials? if you’ve ever played it, you’d know that clowns and transgenderism are tied up together in one big scene. i won’t spoil the game, it’s really good! check it out! this parallels homestuck, where june has always been associated clowns. not a coincidence. once you fit gamzee into this equation, it’s clear that gamzee’s “clown” dysphoria is a stand in for gender dysphoria. read the analysis above one last time and tell me i’m wrong. hussie themself has only posted themself in clown makeup since 2020, this started exactly half a year before they unofficially came out as non-binary via a homestuck announcement. they also tweeted that they use any pronouns shortly afterwards, on a private (?) twitter account. it’s also worth mentioning that one of the few of photos of hussie that we have, they were in ICP/juggalo stuff just like gamzee, and this photo was taken in october of 2010, mere months after gamzee’s introduction, and possibly a month or less after act 5 act 1 was finished. if you know anything about this image, or tumblr user @dead12234352356456775, please message me! this blog is the earliest place the picture can be tracked to, and i’d love to ask OP if they know anything about this image. hussie has notably referred to themselves “clown gender” as well. it’s unclear to me whether hussie actually likes icp, or if this is one huge coming out ARG, but either way, clowns = trans, got it?

so when john/june have a clown sprite following her around, it’s an allegory for how the trans stuff is literally in her face, but she can’t understand it!

“but there’s no textual evidence of john wanting to be a girl!!” see, we’ve officially waded deep all the way into the murkey grey waters of nuance. so if you don’t know, june is the embodiment of what us trans women refer to as the “pre-egg crack”, aka, the phase before you realize you’re trans. this phrase applies to all trans people, but trans women use/identify with it the most, just cause we usually come out way later, usually around say, 20-23, like john/june is by the end of homestuck! huh, what a coincidence. in all seriousness, this is because most trans women start their transitions when they first live on their own. john/june’s also a computer scientist by hobby, something a lot of trans women do. this is because trans women are one of the smallest minority groups, so we usually have to go resort to online communities to talk to each other. this is also necessary for a lot of us, due to research on hrt not really being as advanced as it should be, and the fact transitioning is still illegal/hard to access in a lot of areas. trans women are also likely to stay inside on our computers cause yknow… dysphoria. plus computer jobs often have decent pay, low barrier to entry, and require little to no interaction with other people in person, making them perfect to both medically and socially transition. sure, june never outright says “i want to wear a dress” or laments about dysphoria, but again, homestuck is by adults for adults. the story shouldn’t have to explain something like this to you. the only reason you had the impression that there’s no evidence of john being trans is because you weren’t educated on the subject matter, but now you are!

“you’re just projecting onto this character!!!” and you are too! again, that’s how everyone engages with art. to think you don’t do the same yourself is foolish. utter poppycock even! however, i really despise this sentiment. the fact i’m a trans woman makes me the most qualified to speak on this subject, not the other way around. who are you to speak on the experiences of trans women? exactly. i’m tired of us trans women being berated for headcanoning characters as trans women, even when it’s extremely obvious why we do as such. it’s always the boils back down to the same bullshit in response: “well actually YOU’RE the transphobic one for saying all trans women look/act the same!!!” *sigh* that is literally the definition of an identity. you sound dumb, and are speaking over actual trans women, whose opinions are infinitely more important than yours when it comes to this subject. this is literally just the “what is a woman” debate repackaged with the guise of liberalism. it’s annoying.

“all this june stuff came out of nowhere!!!” this headcanon became prevalent during the pandemic, where tons of trans people were able to start their transitions! i did this myself, and so did hussie. doesn’t seem so random now, does it?

“hussie is just doing this for woke/fandom points!!!” uh, and what would they be gaining by making john trans? if this was about making money, wouldn’t the merch link on the official website work? hussie makes visual novels now, and has removed themselves from homestuck as much as feasibly possible, while still maintaining their ownership of the IP. not exactly the most lucrative career path. and if you’re implying hussie is adding any element to homestuck simply to please fans (yes, that includes davekat), you obviously know nothing about hussie. go on reddit, read ANY responses to the epilogues, or the plot of homestuck^2, and tell me when you find the tons of people happy with their contents. oh, and see how homestuck fans feel about kankri and cronus while you’re at it. i’ll wait.

“okay but the toblerone stuff is dumb!!!” at no point before the june wish did hussie say that finding a toblerone would give the finder the power to make a canon-altering wish. as you can see here, all of the wishes weren’t even granted, some of which have no impact on canon at all. if hussie wanted to, they were well within their rights to go “yeah no, this is dumb, sorry” when the wish for june egbert was sent in. this means that june egbert already fit into hussie’s idea of canon, and as i’ve already pointed out, june egbert has properly been foreshadowed, so this all adds up. the idea that hussie “turned john transgender because of a toblerone” is an exaggeration of events perpetuated by losers misguided and ill informed fans. hussie has been sent an insurmountable amount of headcanons over the years, and aysha u farah, who has had major involvement for multiple homestuck projects over the years, has said “the only headcanon i've ever seen andrew get excited about is june egbert” on a now defunct podcast called perfectly generic podcast. (forgive me, but any links to the specific episode i’m finding no longer work due to their official website no longer working. i’m not listening to hundreds of hours of an archived podcast for this minuscule of a clip. be my guest if you want to take that on! once again, message me, and i’ll update this section.)

either way, based on everything we know, june egbert is canon because hussie wanted this prior to the toblerone wish, because if the wish contradicted or retconned canon, it wouldn’t have been granted in the first place. simply put, june egbert is canon because it’s want hussie wanted to begin with, and the wish came after that. once again, the sheer amount of foreshadowing here should be more than enough proof, and if you want more even more proof of june egbert foreshadowing, check out this blog post! it’s great!

“well it’s dumbledore logic!!!!!!!!!” is it though? j.k. rowling is a transphobic bigot, who’s works cost money to access, who confirmed dumbledore was gay only after he died, and then she still straight-washed him in future harry potter media. hussie is an actual trans person, running an indie project, who wrote one of the longest literary works in the entire english language, made it all free to access, supports all fan archives, and hasn’t even ended homestuck^2, where john/june is very much alive. and once again, the wishes were to add something to post canon content specifically, without shifting the canon of the main series. homestuck^2 is still updating, and as far as we know now, more projects are on the way, like the completion of hs^2 and hiveswap. these situations have almost nothing in common aside from deriving from twitter. if you’re mad about this, were you mad when jake was confirmed to be brazilian in a youtube livestream comment? or when gamzee’s red crush on tavros was confirmed via a dubiously canon comic? probably not. eh, maybe you were actually, i don’t know you. either way, feel how you wanna feel about jake being brazilian, i don’t care, but you can’t say there was “nothing building up to june egbert” now that you’ve read this essay. the dumbledore comparison is dumb as hell.

“well i’m trans and i don’t feel represented by june!!!” if you’re “feeling unrepresented” by june, it’s probably just because you’re not a trans woman obsessed with computer science. that’s just you not relating to the character. it’s really not much deeper than that. and on that point…

“well i just don’t like this!!!” with all due respect, you seriously need to put thought into why that is. i can’t think of a single non-transphobic to be upset about a character transitioning in a story. and again, homestuck is one of the longest literary works in the entire language, and is completely free to access. in all of homestuck history, not a single product was sold under the guise that “john will be cisgender forever” or “dave will not end up with karkat” or “jake will never be brazilian”. hussie doesn’t owe anyone any part of their story’s canon. it’s their story, full stop, and if you’re mad about that, you’re entitled to something that was never yours to begin with. not all art is made purely for your consumption, and free art is especially not made for your consumption. can you critique it? absolutely. there’s a big difference between criticism and bashing though. if you don’t like any part of homestuck, write a fan fiction, make some fanart, or write an oddly soapboxy essay about your personal fan theories and headcanons. turn that negative energy to make something positive! i’m being serious! hussie themself encourages this!!!

“okay but it’s still lame the davekat stuff happened off screen” i can agree to a certain extent, but dave and karkat’s relationship plays a major part in the epilogues, as well as homestuck^2, and that’s not even unpacking their weird borderline black rom dynamics pre-retcon. to act as though their romance starts and stops during one intermission really downplays how seriously their relationship is taken throughout the homestuck series.

“okay but isn’t a lot of that stuff dubiously canon?” baby, everything is canon. hussie has said so themself. there are infinite possibilities for what could have happened during homestuck, so maybe we should just focus on the fact it’s taken seriously at all? honestly, the line between dubiously canon and actual canon is paper thin. homestuck^2’s entire plot is currently deconstructing what canon even means. if you wanna only see the main series as canon, be my guest, but the accusations of homophobia and queerbaiting over the davekat reveal are a little ridiculous. their relationship plays a major part in all homestuck content for years now. also, big reminder that, with the reveal of june egbert, there’s now only one canonically straight character from the main series, and she’s a villain now, so…

“well you’re just strawmanning me now!!!” my loyal reader, i understand you are a human being with infinite nuances i will never be able to understand, cause quite frankly, i have no clue who you are to begin with. i don’t think everyone who hates davekat or june egbert is some anti-lgbt bigot. i’m just here to set the record straight, and provide context for people who are willing to listen. a lot of this shit is confusing, and there’s misinformation a plenty out there. most people who are participating in this discussion clearly haven’t bothered reading homestuck for years at this point, possibly even a decade. and that’s fair, most of us read it as kids, and probably stopped by the final update, if not sooner. honestly, i think the main issue here is that people are playing the telephone game via fandom discourse. that’s how we went from “hussie supports june egbert” to “hussie made john being transgender canon cause of a candy bar” in the first place. if you’re participating in this discussion, maybe try rereading homestuck before you let your vague memories of reading the comic years ago define your current day opinions? besides, i’m not delusional enough to think any bigots are going to read this post and be convinced, but i’m sure i can open up the minds and eyes of people who are willing to listen! give homestuck a reread, imagine how much more foreshadowing has gone unnoticed over the years!

i feel the need to be so thorough, bust out so many references, break down every bit of nuance, and speak from my own experiences, because inevitably, a small group of people are gonna read this post and still go “it’s not that deep! they’re just puppets! june egbert is a bunch of sjw malarkey!!!”, and to those people, i hope you stop making fandom spaces miserable because you didn’t wanna pay attention in english class. media analysis is a necessary tool, and i’m sorry our education system here in america failed both you and i. (or maybe your a non-american country has english classes as terrible as ours? idk.)

honestly, i think i read like five or six books in throughout of all high school. i failed english my freshman year, and dropped out by my senior year. there’s always room to grow though! look at how i’m able to write this essay now! all you have to do is just watch some video essays that break down your favorite movies, tv shows, books, and more!!! there’s tons of jackasses like me who will lament about their hyperfixations. plus, now you already know what symbolism, the rule of three, and allegories are! before you know it YOU’LL be the one noticing all of the easter eggs in the media you enjoy, just like us the rest of us pretentious media analysis fuckheads.

i’m sure all of us are old enough to remember how exciting it was when rosemary was first confirmed, or when the dirkjake kiss happened, or all the recent stuff with davekat. and guess what, june egbert is going to be that lots of young trans women! after reading all of this, is hating june egbert the hill you’re gonna die on?

you know, hussie practically uses homestuck as their personal diary. i don’t think anyone’s denying that. it shouldn’t take a rocket scientist to understand why they want their main character to be trans, or why they wanted dave to end up with karkat. maybe you’re just not willing to understand it? if we’re allowed to project on to these characters, then why won’t you let hussie?

if you got to the bottom of this post, thanks for reading! i might turn this into a video essay if i’m being honest, but if you wanna repost this, or make your own response, please just credit me! also check out my homestuck fanworks if you like this post, i’m sure you’ll like them too!!! i don’t really have anything else to promote so uh…. if you’re on the homestuck^2 team and read this…pleasefortheloveofgodiwouldkilltoworkonanofficialhomestuckprojectidontevencarewhowhenwhenwhereorhowbutillsettleforanytjingpLEdareplelaplwlalsplelallaldle

in all seriousness, thanks for reading! i doubt this post will take off simply due to how long it is. i’d love to hear other people’s thoughts and opinions on this, or possibly make mutuals to yap with even! dear lord i miss having friends to talk about homestuck with. also sorry for the censors, normally i wouldn’t bother with something like that, but i’ve been working on this non-stop for the past few days, so i don’t wanna risk it being taken down.

anyways….. THAT’S why i have the bro strider tag muted 😭

(EDIT ON 9/15/24: added a new source i found and fixed some minor grammatical errors)

[mollyjames]

Fascists love art. And that's something that might make you uncomfortable because it's something you probably have in common with fascists, but it's true. Fascists love art the same way they love sports. It is a quantifiable measure of betterment and superiority. They will talk quite knowledgeably about their favorite art; the history, the techniques, the themes... If they're particularly well educated, they might talk about the artist's personal life, and all the ways they exemplify the human experience. It is inspiring to them, much in the same way it might be inspiring to you. For them, art is a world with clear winners and losers. In a word, Objective.

It's also part of why I find the AI art movement fascinating. It operates on much the same parameters as the fascist and caters to their sensibilities, deliberately or not. AI art strives to create a visually pleasing objectively accurate depiction of its subject matter, with as many of the flaws removed as possible. Form and function in one. This is appealing to the fascist (who also loves computers) as it comes with the veneer of Objectivism. This machine has not only demonstrated the correct way to create art, but the art it creates looks a lot like the art they already consider to be objectively superior! How validating. (It does not necessarily occur to them that one hand washes the other.)

Of course in practice, what they are applauding is a laundering machine. And while it benefits the makers of these technologies to tout their potential, that we're only just scratching the surface of what AI is really capable of, it seems we've already hit the limit. After all, we chose the winners in Paris in 1748. If we need to, we can always choose new winners and call it progress. But it's all people.

It's only ever been people.

(I know I will likely get comments along the lines of "fascists don't REALLY love art, all they're really doing is-" etc, etc... And that's understandable and I think you could argue it. However I'm hesitant to say there is a wrong way to look at art. Rather I'd like you to consider that love of something, while wonderful, does not and never will justify evil.)

[autogyne-redacted]

Ok, so let's talk about "misandry."

(Heads up that I use terrible US foreign policy as an example of underlying gender ideology, Death to America of course)

1) if we're working within a social justice, privilege-oppression type framework, there is no systemic oppression of men as men, or trans men as trans men (beyond transphobia). Within these privilege oppression frameworks treating misandry or transandrophobia as a real thing is gonna have disastrous consequences.

2) But we need to be abandoning the identity politics social justice orthodoxy as fast as we can. Occupying a position of privilege within the discourse is dehumanizing and hellish, it has a terrible track record with transmisogyny (not a coincidence), and trying to map gendered power just by looking at identity groups means you miss a ton of what's happening within the groups, and in less straight forward ways.

3) a huge part of the gender binary is between camab ppl as (instrumental) subjects and cafab ppl as (responsive, feeling) objects. And this is fucked all around.

To pick one of the more egregious examples, US military directives make heavy use of the category of "military aged males." People outside this category are (theoretically) assumed to be non combatants while "military aged males" in ~warzones~ are basically valid targets by default. https://tinyurl.com/4skt53tx

This category also faces extra exclusion from refugee and asylum status: https://tinyurl.com/4txsmepy

We could explain this as a symptom of misogyny. That women should also be recognized as being capable of enacting violence and treated equally. This is the most straight forward application of orthodox gender theory and likely the worst.

Or we could say that there's something about the intersection of being Arab/Muslim/young/read as male that leads to a unique oppression.

But it's not like it's just this intersection. If we look at prison populations, or who gets hit by police violence, or weaponized accusations of Sexual Assault the logic is actually fairly consistent here, if a little messy to talk about.

Ppl seen as men are seen as capable of wielding power and this leads to benefits if they're seen as basically good. If they're seen as crazy, dangerous, evil, hostile, or at risk of being any of these, being seen as capable of violence makes shit way worse. Lots of intersections push you further towards being viewed as a threat.

(A pretty good bite sized model of transmisogyny is that it misgenders us as men + we get negative respect since we rejected masculinity + it frames us as crazy/dangerous).

Ppl seen as women are going to be seen as less competent, in need of guidance, control and protection by default. But it comes with certain (conditional) protections. Violence against women certainly happens, but the fact that it's a special protected category says a lot. (There's a lot to say about how much these protections are worth, who they really apply to and when they disappear and what happens then, but it's very clear that they exist and that they mean something).

4) so am I arguing for the existence of misandry? Absolutely not*. Gender is just a fucked up system of division and control all around. Privilege frameworks suggest that women are going to experience the same shit as men they share identities with + misogyny + possible extra intersectional oppression. And while this approach is sometimes helpful, I think a better default framework is that gender is just a way to create more social categories for a more complicated system of control with common threads like the subject-object binary that can play to different ways in different contexts.

The whole thing needs to be dismantled and we need to see ppl across gender categories as whole human beings with a meaningful interiority, the capacity for violence, etc. And if we recognize that gender is a complicated system of control, it follows naturally that our gender discourse shouldn't all ask men to sit down / shut up / listen.

5) the issue with transandrophobia BS is that it really wants to exceptionalize the trans masc experience. "It's fucked up that I'm being seen as suspect and capable of violence like terrible cis men, I'm obviously one of the good ones." And as they fight for the best of both worlds ("I should be respected like a man but still seen as incapable of chauvinism") it pushed naturally for trans fems to get the worst of both worlds.

6) returning to feminist "man-hating" there's a lot i oppose for being essentialist or doubling down on subject-object binary. Beyond that, a lot of it is just mean. And like, ppl can be jaded and mean sometimes. But a lot of social justice feminist dogma was ppl developing a bristly defensiveness from constant harassment and trolling. Ppl defending this as an understandable response, and then that shifting into codifying and valorizing it. And I just think it's a miserable way to live and it's miserable to be on the receiving end of it.

I think some grace and understanding for ppl being jaded and bristly is rly helpful but I'm done with valorizing it.

7) all of this said, basic feminist takes about men having lots of pressure and motivations to be chauvinist still apply. And they certainly apply to trans men. But there's a difference between having social expectations that you be a chauvinist and bowing to that pressure. And lots of men are chill and nice! Yes even cishet men!

It's easy to want to draw a hard line where you're "one of the good ones" and are categorically separated from the possibility of being sexist (ontologically incapable of violence, even?) and that goes really poorly.

(most of my beef with transandrophobia is that it's doing this + exceptionalizing trans masc experience in a way that fucks over trans fems).

But I'm not gonna ask ppl to constantly self flagellate or be hyper vigilant to make sure they don't slip up. Sin frameworks are miserable and it's not like being interpersonally shitty in a way that lines up with oppressive systems actually has consequences that much worse than just being an asshole.

So much of the more aggressive side of social justice just feels like ways to treat enemies, not your friends or ppl you want to be in community with.

I'm glad we've been moving on from it.

*editing a footnote since this has already come up a couples times / this post seems to be leaving my immediate circles: by saying misandry isn't real I mean: there isn't a systemic oppression of men as men that parallels misogyny. Gendered oppression isn't a "both sides" situation. When "egalitarian" or mra types brought "misandry" into the discourse this is what they were pushing for.

While I object to the idea that all men evenly oppress all women, patriarchy absolutely has men at the top. It's a complex and multi-directional system of power but there is an overall gendered slant to it. My framework here is still a feminist framework.

[dukeofankh]

There's gotta be a word for whatever the opposite of objectification is. Like, the obvious option is "Subjectification", but that's apparently the point in development where you realise you have a distinct individual personhood or something like that.

I just feel like there's this constant current within my experience of masculinity where my desires and actions are treated as much more significant and/or dangerous than they actually are. More than that, that in all aspects of my relationship to my community, the only acceptable or even coherent way to describe that relationship is in terms of my effect on others, and never the other way around. And that trickles down into so many weird little pockets of conflict.

One example of that has been biphobia, even from partners who are bi women, or jealousy, even from non-monogamous partners with a lot of dates, because a dude desiring or having sex with someone apparently just feels...more...notable/worth worrying about than a woman doing the exact same thing. Another one has been dealing with mental health struggles, in which female partners' depression is something to be lived with and nursed, while my own is this anxiety-inducing thing that I'm on some level doing *to* them.

It's kind of the converse of the shitty adage, "if he wanted to, he would." That concept being blown out to "if he wants to, he will," and even "This is a walking Agency Machine who happens To You. All actions are premeditated. All effects both material and emotional are intentional."

Like, it's one of the shitty byproducts of our inability to discuss the objectification of women outside of the sexual. Our society splits humans into subjects and objects. Speakers and Topics. Intentional, driven agents and passive, helpless commodities. And it's not that we should all be Subjects at all times or something, or that I want into the passive Object club, it's that we are all both subjects and objects.

We gendered that and split it in half. We associated being a subject with masculinity and being an object with femininity. And it's a pretty massive struggle for people to unlearn that on a foundational level even if they understand intellectually that that's bullshit.

Like, I have thought this way before, aimed this "Subjectification" style of thinking at others. But it was when I was a literal child and I thought this way about my literal parents. It's exhausting to face that framing in egalitarian relationships with fully grown women my own age.

[ghostlychief]

OKIE, HI LOVE, I'm so excited. I would like to request Touch-starved! John. John, who didn't realize how it felt to be loved. John, who didn't know how nice it felt to be wanted for being just him. John, who's never had a hug in his life, stiffing when his partner gave him a hug before realizing how comforting it was. John, who doesn't know how to hug his partner back and is scared he'll hurt them.

Okay i love this idea so much. YOUR MIND CONTINUES TO AMAZE ME. Because John would TOTALLY be like this at first. Love touch-starved!John. For some reason the concept of the song Drops of Jupiter popped into my head when i thought of this John. I hope you enjoy what i threw together, and hope you're doing well <3

---

Drops of Jupiter

John-117/Master Chief x reader

no warnings, just fluff!

---

John’s life can really only be measured by statistics, measured quantitatively. From the moment he was found on Eridanus II by Dr. Halsey, his life started to have meaning in the way of numbers. How fast was he growing? How much did he weigh? How much could he lift? Those numbers became one of the most important thing in his life. Besides that, he didn’t have much else to count for. His sole purpose was to train and become the best Spartan II the UNSC has ever seen.

That was until he decided to remove the hormonal pellet, lodged in the center of his lower back, resting in between his spine. Who knew how much power rested in something smaller than a quarter?

This pellet repressed his moods, making sure he was only ever objective, the thought of subjectivity a sin. It also dimmed hormones a normal person experiences in their every day life. Such as, the longing touch of a loved one. Or, the hope to feel accepted by one’s peers. These suppressors were supposed to make the ultimate, elite solider. It was supposed to help aid the Spartan’s on the battle field by making them mission oriented. Act first, ask questions later. As long as the mission was complete and a success, not much else mattered.

At first, John felt disoriented. He felt unbalanced by the new coming of emotions and hormones that spiraled around in his body. There was a crash of emotions washing over his entire body that he forgot he felt before, in a distant past life he wasn’t even sure really existed. It felt rickety, yet exciting. Everything seemed brand new to him. The clouds looked different, the grass brighter, the sun felt warm against his skin. He appreciated the stars that blanketed the sky on a moonless night.

For once, he felt like he completed the orbit around what his life was really about. He finally understood. Life wasn’t just about missions and killing the Covenant. No, there was so much more to it and he finally felt like he touched back home after a long, grueling journey, pulled down by the gravity of the new world he found himself in.

Shortly after his pellet was removed, he met you. You were a linguistic technician that worked closely with many of the people John worked with. You were an expert in Sangheili, which became a hot commodity skill to have in the impending months leading up to the human/Covenant war. John had actually crossed paths with you before, only in passing, but you have met, though not officially.

The day you sat across from him in the cafeteria was Johns’s first encounter with you since feeling different, feeling new. You were already half way seated when you asked, “Mind if I sit here?” John looked up at you, brows furrowed and nodded, but at this point you were already sat down at the table.

“I’d like to pick your brain about something if you don’t mind?” Your sweet voice traveled across to John in the noisy cafeteria and he found himself staring at you for a second before he mentally shook his head. “Sure?” He was still perplexed why you were here sitting with him. Usually no one approached the Spartans unless they were instructed to do so.

“Okay, so I’m in the linguistics department, specifically Sangheili, and I wanted to ask you about the encounters you’ve had with the Sangheili, specifically the higher ranked Sangheili.”

John felt himself slightly smiling at your rambling, but he made sure to hide it from you. He cleared his through them said, “Yeah, I remember you. We met in passing a couple years ago.”

Your eyes widened, “Oh! I didn’t think you’d remember.” This time John made sure you noticed his smile, “Spartans have eidetic memory.”

“Ah, that’s right. Well, that’s good for all the questions I have for you then.” You then proceeded to talk to John about the Sangheili culture and how it related to their patterns of speech for the next two hours, time slipping away, fast through your fingers.

After that, John always felt a pull towards you, seemingly stuck in your orbit. If neither of you were on duty, you’d usually end up going on long walks. John told you about his past, like what it was like being in the Spartan program, and other adventures, like his mission on the Halos. You never interrupted him, and typically had follow-up questions, always curious to learn more about him.  

The first time you touched him was when he was explaining how he was taken as a child by Dr. Halsey to be entered into the Spartan program. You rested your hand on his bicep, and your fingers slowly rubbed back and forth in a comforting notion. He at first stiffened, but then soon relaxed under your enchanting touch, longing to feel it again after you left his quarters that night.

He started to see more and more of you, and his feelings slowly and quietly developed into something akin to love, though he was never really sure what that word meant. Not until you. He imagined what love might have been, but could never quantify it since love never dealt in numbers or absolutes. It was abstract, confusing, with no concrete answer to it.

Though all of these new emotions felt confusing at times, John never felt confused by you. You simply loved him, not Master Chief or John-117, just John. Slowly but surely, John felt more comfortable with you, emotionally and also physically. Although Spartans are massive in their stature, people still forget how freakishly strong they actually are. Such as, John can easily flip over a Warthog. So, in dealing with you, he was extra cautious.

The first time you wrapped your arms around his middle in a bone crushing hug, he was worried about hugging back, afraid he would crush you, hurt you. He doesn’t remember ever receiving a hug like that, and he wanted to savor it, and feel it over and over again. Once he realized that he wasn’t going to hurt you, he would always pull you into random hugs through out the day, comforted by your beating heart against his.

John’s life, once measured only in numbers, in quantity, now could be measured by so much more. He was lucky, after all.

---

[thecurioustale]

Writing Psychological Horror Is Hard

Writing horror is hard for me.

I think it is perhaps the clearest example, at least when I'm the subject, of the difference between being the author and being the audience. I find it extremely difficult to know what will creep out someone who doesn't know all the behind-the-scenes details of what is happening. This is despite my considerable experience as a consumer of [psychological / environmental] horror media.

When I think about the things that scare me, or maybe "unsettle" is a better word, it usually comes down to two things: 1) narratively plausible violations of the laws of nature; and 2) foreboding, i.e. the slow-building setup that something bad is coming—something that is specific enough to be apprehensible but still ambiguous enough to be cloaked in mystery.

But! Not just any attempt at these things will actually work. There is definitely a secret sauce that makes some efforts fail and others succeed.

In the game Oxenfree, probably my favorite horror game of all time, there is a scene on the "Find Clarissa!" subplot where Alex et al. are in something akin to a classroom in an abandoned military base on an uninhabited island, and a discordantly upbeat and normal-sounding midcentury-style gameshow host is talking to them through a haunted radio asking them questions in a game of Hangman (whose figure is gradually being drawn by invisible means on the chalkboard), while a lamp overhead illuminates the room in a very unnatural light as it swings back and forth for no apparent reason. And this was one of my favorite moments in the entire game, because it was really scary. It benefitted from the existing atmospheric horror build up in the events immediately preceding it, and also benefitted from not being a narrative climax; it actually ratchets up the tension in the story even higher, without resolving anything (other than itself).

But I think that if you went purely by my description, you would be hard-pressed to create a scary implementation of this scene. I certainly would be—and I know that for a fact, because I have more or less tried it!

What is it that makes something profoundly unsettling in that oh-so-delicious manner of a good horror story? Well, the academic answer is that it's appealing to our instincts of danger: dangerous environments (like rocks or cliffs or plants, or, indeed, "the dark"), dangerous predators, dangerous people, dangerous forces (like fire and wind and water), and dangerous sicknesses (e.g. infectious disease). Most horror taps into at least one of these primal apprehensions in the human psyche. And to succeed it has to feel real, the way a roller coaster feels like you're really falling. But I don't think "the academic answer" really sheds all that much light on the mystery of actually composing horrifying situations and events.

A lot of the craftsmateship is a balancing act.

For example: You don't want to hit the audience over the head with obvious bogeymates—jumpscares for the sake of jumpscares, as it were, or having your big scary cryptid jump out in its full costume in broad daylight and look absurd—but I have also found, through experience, that it is very easy to hide horrifying details too well, to be too subtle about it—and it is extremely difficult for me to get a sense, on the audience's behalf, of how subtle is too subtle.

That leads me to an important insight: Part of the secret sauce of horror is contextually embedding horrifying story elements into a broader context. A "haunted stick of furniture" isn't going to get many people a-quailin' in their boots. It has to be more about how that object is embedded in the story. You know, like a haunted couch, or a haunted table: How do you make that scary? I don't think it can be scary on its own. Not consistently and convincingly. Instead you have to set it up ahead of time in some way(s), by providing information to the audience that you are then going to subvert or manipulate later. Yet it is all too easy to do this in a way that comes across like a paint-by-numbers exercise: "Wait a minute! Wasn't this couch pointing the other way earlier?! GASP!!" No one is gonna be scared by that. It's not enough.

Ultimately, I think scaring people successfully, in the psychological horror sense, therefore involves an element of overwhelming their ability to cope with and anticipate environmental changes, which assumes an elaborate environmental structure that you're going to have to set up, in non-obvious ways, earlier in the story. You have to give them expectations about how things will change and then either gradually go beyond that magnitude of change or else go in a different direction of change entirely—usually the former. Psychological horror is all about the fear of the jumpscare that never comes.

But I'm also just spitballing for the purposes of this essay. I don't really know. I struggle with this stuff!

It really is an art form to be able to scare people in this way.

Additional, medium-specific difficulty comes in the fact that the written media that I work in does not have access to a scary soundtrack or sound effects or voices, or to scary visuals and visual effects. Written text does have the corresponding advantage of having unfettered access to the reader's imagination, allowing them to essentially self-select the personally scariest interpretations of some of the details of a scene. But taking full advantage of this power is not easy at all; you have to put the right kinds of details in, and you have to do so in a digestible format, all without cluttering the flow of the story.

I have been doing a lot of Galaxy Federal writing lately, and have been trying to write some of the "scarier" bits and pieces in it, and I almost resent how totally clueless I am in regards to whether I am hitting the mark to my satisfaction! 😮