#these very human themes just don't feel very well handled

[beets-are-not-green]

i just finished watching buffy s1-s7 for the first time and like. s6 is good. not perfect, but still. it deals in the most obvious way with these big issues that are so human, and it's so real that even the season's vilains are kind-of-regular humans. the way it focuses on the characters' relationships, the way they grow, the way they hurt each other, the way they deal with becoming adults, with trying to have some control on life, on themselves, on each other, the way they fail, the way they have to deal with the consequences of their actions in the end... it was so interesting that i was even willing to go along with what i thought were bad writing choices, like: ok, that's awful but you know what, sure, let's see where we're going. and then s7 happens lmfao

[mischievousmoony]

𝚜𝚊𝚗𝚌𝚝𝚞𝚊𝚛𝚢 𝚊𝚝 𝚝𝚑𝚎 𝚙𝚘𝚝𝚝𝚎𝚛𝚜' ⟡ 𝚙𝚊𝚛𝚝 𝟹

⟢ james potter x black!reader (fem)

⟢ summary: after your parents cross the line, you and your older brother sirius find sanctuary at the potters'. your first day goes very poorly . ݁₊ ⊹ . ݁˖ . ݁ 5.1k

⟢ warnings: there is talk about the reader's previous hostile home environment, although it's not pictured. walburga black is implied to be mentally unstable. a theme here is the lasting impact growing up in that environment has on a person: reader fears becoming like her parents, longs for a more loving environment, doesn't handle her emotions very well, and picks fights. both anger and sadness are dealt with unhealthily by different characters. if there is anything i should add here, please please let me know.

⟢ part 1 ⟡ part 2 ⟡ part 3 ⟡ masterlist

note: well! yikes! angst! i'm not sure i like the vision but i’m trying to remind myself this is a hobby and doesn’t have to be perfect <3

“A walk?” You questioned with a raspy voice.

“Mhm,” James nodded, “Just around the yard. Think it’ll help you feel better.”

You let James lead you to the back door, hand and hand. When he opened it, you discovered that “yard” was a bit of an understatement. The Potters’ property was larger than you knew— enormous, really. Lush garden beds thrived nearest to the house, and the grassy green beyond was surely where James practiced quidditch over the summers. The large trees scattered around the outskirts of the property made you picture a younger James climbing them.

James led you into the grassy landscape, taking notice of your awestricken expression as your eyes fall on Euphemia’s garden.

“I knew you’d like it out here.”

“It’s beautiful,” you mused, stopping to admire a bed of flowers. James dipped down and plucked one from the ground.

He fit it behind your ear and winked, “Don’t tell my mum.”

You frowned, reaching up to remove the flower from your hair. You twirled it inbetween your fingers.

“Your mum must think so poorly of me now,” you muttered, staring down at the flower.

“What? Why would you say that?”

“The first thing Sirius and I did after we were invited to stay is have a screaming match in the dining room. We sure know how to make ourselves feel at home,” you laughed bitterly. “And now she knows we’re together. Didn’t even get to properly tell her. I can’t imagine what she thinks of me.”

“Hey, look at me.” James said in a stern but gentle voice. You wonder how all the Potters can sound so kind even when they’re working up to a lecture.

You peered up through your eyelashes. James sported a pretty smile, and that alone made you feel a little better.

“It’s gonna be alright,” he said, “My mum’s not one to jump to any conclusions. She trusts me, alright? And don't worry about your fight with Sirius. No one's expecting this to be easy for you. For either of you."

James continued, “Besides, we all let our emotions get the best of us sometimes, yeah? We’re human. My parents will understand.”

James could tell you over and over again that it’s okay to be angry and it’s okay to slip up, but you didn���t think any amount of it would ever make it feel okay. You wondered how he could even believe it.

It surprised you, actually, how mature and level-headed James could be. We’re human so it’s just okay if our emotions get the best of us sometimes? Who actually thinks like that?

At your house, you had to be nothing short of perfect at all times. Now that you’ve seen Fleamont and Euphemia in parent mode, you can see where James learned it all. You never had anything like that, and it was difficult to wrap your mind around it.

Especially because it wasn’t too long ago that James was one of Hogwarts’ biggest trouble makers—his pranks were the epitome of immature. Evidently, he's grown up a lot recently.

Stupidly, you felt bitter about it. Which was completely absurd, you thought. Because surely you were not jealous of your boyfriend because he learned how to regulate his emotions better than you did. Because he was growing up, maturing? And you… well you don’t know what you’re doing. You felt stuck, like you’d always be a scared little kid who needs her older brothers’ no matter how old you got.

“Maybe you’re right,” you said, not really knowing what else to say. You were compelled to change the subject, “I’m worried about Regulus.”

“I know,” James began leading you around the garden again. You dropped the flower back where it came from, not wanting to be caught red handed with a freshly murdered flower from Effie’s garden.

“We have to get him out of there,” you sighed.

James looked at you through the corner of his eye. Apprehensively, he said, “From what Sirius told me, you guys barely got out of there.”

“Yeah, so we’ll need a really good plan so that we don’t get caught.”

James turned his head to look straight at you. He looked at you like you had two heads.

“What, you want to break him out or something? You want to go back there?”

“We have to. Regulus–“

“Regulus made his choice.” James interrupted warily.

You felt your heart sink into your stomach, “Please, not you too.”

“You heard what Sirius said. Regulus was given the option, and he chose to stay behind,” James tried to reason.

James knew how much your twin meant to you, it wasn't a surprise that you'd be worried about him. But to go back to that house? That was a step too far for his comfort. The moment that Sirius admitted exactly what his mother had done to him, James knew he'd never let either of you near her again. Something must've snapped in Walburga Black— she has been teetering on the edge for years, but she has unmistakably gone from being a cruel mother to an outright unstable woman.

The though of Regulus still being around her made him sick. Even though James didn't know him that well, he still found himself caring about him. It was likely an extension of your love for Regulus manifesting in James, who cared for you so deeply that your concerns became his. But that's just it— you're the one who he really cared for. Above all else, it's you he wanted to protect.

“He did not choose to stay behind,” you raised your voice, offended that James could ever think so.

“Love...”

James didn't mean to, but he looked at you with pity in his eyes, as if he thought you were in denial.

Anger flared up in your chest when you registered his expression, “No, don’t do that. Just because Sirius said so doesn’t mean it’s true. Regulus wouldn’t just choose them over us. Sirius– he doesn't have his facts straight.”

James didn’t say anything. What could he? It sounded like you were implying that Sirius was lying and James knew Sirius wouldn't do that.

For the record, you didn't think Sirius would lie either. But he was absolutely capable of missing something.

“You don’t believe me,” your mouth hung open after your words.

“It’s not that.” James rubbed the back of his neck uncomfortably, “I believe you, but I believe Sirius too. And Sirius said that Regulus refused to come. Whatever the reason, that's the choice he made. I’m not going to let you put yourself in danger for a– a lost cause.”

His words stopped you in your tracks.

“A lost cause?"

You had never been so affronted by James. He might not know Regulus nearly as well as he knows you or Sirius, but the fact that he could easily tag him as a lost cause was unbelievable.

"Don’t be an idiot, James. How could you say that?”

James had kept walking for a couple more paces, so he had to turn to face you. He tried to cover the way the venom in your voice made him flinch.

“You can’t force him to leave,” he said, sounding as understanding as he could muster, but he needed to get through to you.

Phantom alarm bells were ringing in his ears, his desperation for you to hear him growing. You were stubborn and you'd do anything for your brothers, James knows this all to well. But not this. He couldn't let you do this. He wouldn't let you go back there.

“Merlin, you’re siding with Sirius!” you accused, giving in to the anger burning in your chest.

James tried to remain calm as he spoke.

“I’m not siding with anyone.”

“Yes, you are! How could I be so stupid? Of course you’d choose Sirius over me!"

James features twist in anguish, "Love–"

"This is what I get for falling for my brother’s best friend. When there's a choice, it will always be him, won’t it?” You spat, glaring at James in a way that almost knocked him off his feet.

He was completely taken aback; you two had never fought like this. He tried to take some semblance of control over the situation, “Okay, you’re angry right now, and that’s okay–“

“Oh, would you stop that!” you shouted. A small part of you hoped the sound wouldn’t travel back to the house, but a bigger part of you was consumed with a growing rage. That part didn’t seem to care.

“Stop what?” James knitted his brows.

“Being some master of emotions all of a sudden! I’m accusing you of picking Sirius over me! I’m raising my voice at you! I’m calling you names! Why won’t you fight back? Yell at me, do something!”

James took a deep breath, “I’m not going to do that.”

He sounded completely calm and collected. Somehow, that pissed you off.

“Oh, you’re so perfect, aren’t you?”

“What?” James felt like he was going crazy, unable to decipher what he could possibly be doing wrong.

“Perfect James Potter, wouldn’t hurt a fly these days! You could never���! never lose your cool, could you?” you shouted.

James gaped at you. He couldn't be mad even if we wanted to; he was just confused. What the hell was he supposed to say to that? You yourself didn’t even seem to know what you were saying, your words tumbling out awkwardly as you said things even you knew weren’t true.

It’s not like James never lost the reign on his emotions. He throws his quidditch gear around when he loses a match, he can’t control his frustration when he doesn’t do well in class, he isolates himself when he’s sad instead facing it, he does a whole lot of things that he’s not proud of.

And you’ve seen it all before, but for some reason, you’ve chosen not to remember those moments. All you can think about is how you were so angry and scared, and he was so understanding and level-headed. And how you grew up with screaming matches and unfair punishments, and he probably got to grow up with calm discussions and soft spoken apologies. And it all felt so unfair.

“Are you–? Sorry, you're mad at me because I'm not getting mad at you? I’m sorry, I guess?”

“I don’t want you to be sorry I want you to yell at me! Be mad at me, fight with me!” You felt the familiar sensation of tears welling up in your eyes.

James looked shellshocked. Truthfully, he didn’t know how to deal with you like this, he’s never seen this before. Sure, sometimes you bicker— all couples do— but this was reaching an uncharted territory.

"I'm not going to yell at you for wanting to keep your brother safe–"

"Then yell at me because you think I'm naive for thinking I can get him out of there. Fight with me because I think you're an idiot for thinking Regulus is a lost cause!"

You were trying to rile him up, James knew this, and he so badly wanted to not let if affect him. Not because it was making him angry, no, it was making him sad.

But he couldn't fight it.

And James always does the same thing when he's sad.

“I think we need to take a step back from this conversation. Why don’t we go inside?” James offered.

He sounded like he stole that line from some therapist's book on navigating conflict. It made you want to scream.

“You go inside! I’m going to keep walking.” You pushed past him, deliberately letting your shoulder collide with his as you stormed away.

James let the blow knock him back a step, too thrown off to do anything else. He listened to your receding footsteps and he wanted to be the type of boyfriend who runs after you when you’re upset. Who holds you and listens to you until you can work out the problem. Instead—

“Just stay by the house, okay?” he called over his shoulder.

“Yeah, whatever.”

A few hot angry tears slid down your face. You aggressively wiped them away and willed any more tears to dry up. You were tired of crying.

You stomped around the gardens and grass, thinking of Regulus and how he deserved better than siblings who left him behind to find refuge with a boy who wouldn't think twice about rescuing him too.

Leaving that house was something you'd always dreamed of. But you had imagined both of your brothers by your side. No one was ever supposed to be abandoned.

Sirius just didn’t understand how horrible being alone in that house was. You and Regulus had already experienced a taste of it when he went off to Hogwarts a year before you two. Not to mention, Sirius was always the strongest of you, so without him, navigating that house was a whole new terrain.

Maybe that’s what Sirius senses is different about your relationship with Regulus. Those nine months were probably the worst of your life, and Reg is who you went through them with.

And maybe that's why you were so adamant that Regulus can’t be left there alone while everyone else seems ready to abandon all hope. Your parents had never been more furious than when Sirius was sorted into Gryffindor all those years ago. You suspected that they would be worse, angrier than ever after the departure Sirius orchestrated for you and him. You couldn’t let Regulus face that alone.

Somewhere along the line, worry for Regulus took precedence over the anger that held your gentle love for James hostage. By the time you came to a large trees on the outskirts of the lawn, the anger from the previous argument had simmered.

As you plopped down in the dirt and sat against its trunk, you tried not to be annoyed that taking a step away from that conversation really worked.

You took in your surroundings to distract yourself. It was to no avail, as a nearby shed caught your eye. Through its open window, you could see James’ broom and other quidditch gear.

“You idiot,” you chastised yourself aloud. You let your head fall into your hands as a million nasty thoughts about yourself raced through your mind, the most prominent being you’re just like your mother.

It was just like her to pick fights. You couldn’t breathe in that house without her telling you that you were doing it wrong. She always found something to yell at you for.

How could I act like that, you winced as you recalled the fight you just walked away from.

Poor James, who you yelled at for not being mad at you. It really was just like her to get upset over something so irrational. You felt ill over the similarity, and you were overwhelmed with a sense of impending doom.

You couldn't let yourself be doomed to your parents' fate. You wanted to be kind, reasonable, rational. So, what wouldn't they do in this situation?

A safe assumption would be that they wouldn't feel bad, so you're already on the right track it seems.

They also wouldn't apologize.

Okay, yeah. Apologize. You could apologize.

You have to apologize.

Just go apologize.

But you just couldn’t get yourself to move. You were frozen in shame for your behavior, the only movement was the rise and fall of your chest from your labored breath.

James Potter did not like feeling sad. It was unsettling, uncomfortable, so utterly unlike him.

Whenever it happened, he tried to hide from it. He'd lock himself away somewhere before he'd dare face it head on— or admit that it's there at all.

The last time he was sad, he let himself fall asleep in the common room just so he wouldn't have to face his friends back at his dorm. And when his childhood pet died, he didn't mention it for months, only alerting his friends to his cat's passing when Peter asked how old his cat was again.

It's not that James thought there was anything wrong with being sad. He definitely didn't believe in any of that nonsense that real men don't cry. In fact, he was always the first to offer his shoulder if any of his friends were upset, back pats and let-it-all-outs at the ready.

But when it was him, when he was the one with the lump in his throat and a pit in his stomach, he couldn't handle sadness anymore. It made him feel vulnerable, and he wanted to be the strong one, the brave one. The one who lights up a room with the force of the sun and brings humor and fun into everyone's days.

So, when he couldn't be that, he'd rather be alone. He'd rather sit isolated in a dimly lit room where the darkness can't touch anyone but himself.

His bed creaked under his weight as he shifted in place, the only movement he has made in several minutes.

He was trying to be still and let his mind focus on nothing but his breathing. He was especially trying not to think of your argument.

He counted out his inhales and exhales, just as he had learned years ago in divination class.

James took divination for one year only. It wasn't for him, but one thing from that class did stick with him— the lesson on mindfulness. Something about mediation and a clear head opening your mind to frequencies you may not normally be able to comprehend.

James wasn't sure about all that, but he quite liked the calmness of the exercise they did in class that day, even if he felt a bit silly doing it.

He finds himself repeating the meditation from that class when he's down. He much prefers a clear head to one with racing thoughts that give him that choked up feeling in his throat.

He was broken out of his feeble attempt at a meditative state when there was a knock at his door.

Hope swelled in his stomach. Maybe you've come to talk. Maybe he could smooth things over with you. And then he could stop feeling like this.

He tried not to look disappointed when Sirius walked through the door.

Sirius gave James a once over as the door clicked shut behind him, "What's wrong with you?"

"Me?" James forced a chuckle, "Nothing's wrong with me."

"You're sitting at the foot of your bed, starin' at the floor, shoulders slumped," Sirius' hand swept towards James' hunched form, "I know what upset looks like, Prongs."

"I'm not upset," James insisted still, "I'm just thinking. Is being lost in thought a crime these days?"

Sirius shrugged, plopping down on the bed next to James. His legs hung over the edge as he let his back hit the sheets, his arms sprawled at his sides.

James listened as Sirius puffed out a long, exhausted breath.

"You alright?" James asked, not bothering to look back, letting his sad eyes remain fixed on the floor.

"Ah, I see. Worried about me, are you?" Sirius guessed.

James seized the opportunity to excuse his demeanor. Besides, he wanted to talk about what Sirius had said earlier anyway.

"You did have a pretty nasty spat with your sister. And then you nearly collapsed."

There's a lull in the conversation for a moment as Sirius thinks.

"Your parents fixed me right up again. Gave me some nasty potion to help with the dizziness. Tasted like sewage but 'm good as new. They're off now, by the way, picking up some herbs they want to steep and feed me for these spasms I keep having in my hands."

James winced. Spasms, a potential side effect of being under the Cruciatus Curse.

"Sirius... about what you said happened. Your mother–"

"I don't want to talk about that," Sirius spoke quietly, somberly.

After a moment, Sirius added, "I don't want to think about any of them ever again."

James felt a pang in his heart, knowing Regulus was included in 'them'. You wouldn't have stood for it if you'd heard Sirius say that.

James' mind wanders back to your earlier argument, his earlier attempts to avoid these thoughts futile now. You were so adamant that you needed to go back for Regulus, ready to dive into some sort of escape plan, and that still scared the hell out of James.

He considered telling Sirius about what you wanted to do. One on hand, he knew Sirius would be on board with keeping you the hell away from there— keeping you safe. On the other hand, it felt like tattling on you to your brother.

James thought about the betrayal written across your face earlier. How hurt you were when you suspected James was choosing to believe Sirius over you. Confiding in Sirius now would surely, surely make it worse. And James didn't want to hurt you.

And yet—

"Thing is... I have to talk to you about something. About your sister... and about Regulus."

A flinch finally broke you out of your statue-like state when a sudden and distinct fluttering sounded above you. You expected to see any mundane bird when you looked up, but there was nothing there. You leaned around the tree to try to locate the source.

Instead of any random creature of flight, it was a familiar owl. And he was not in the tree, rather next to it, in a designated perch located on the other side of the thick trunk.

"Oh. Hello," you greeted the owl. He stared at you blankly, of course.

You've met this owl before. His name was Glory. You didn't know why, but James had named him, and you supposed that it was a name that James would have thought of.

You've received countless letters from James, all delivered by Glory. There were the long ones, which you mostly received during the times you were apart. Glory was good at discretely delivering them to your window. And if James also had mail for Sirius, he knew to deliver yours first.

James was always checking up on you over the holidays, making sure you were okay and telling you stories of his own time at home that would take your mind off of whatever horrible things were going on at Grimmauld Place.

When you were together, back at Hogwarts, James still sent you little notes whenever you weren't near. He knew how much you loved receiving notes from him, so he made it a habit. He would send notes about things he saw that reminded him of you, expressions of how much he missed you even if he'd seen you mere hours prior, declarations of love that he couldn't keep inside until the next time he'd be alone with you.

Oh, your sweet boy.

"I really messed up, didn't I?" You asked Glory. You chided yourself for continuing to try to talk to an owl. Not that owls weren’t smart. In fact, they were very intelligent, especially the magical sort. Glory could understand you, but it’s not like he had the ability to respond. 

You imagined that Glory would tell you that you messed up big time if he did, though.

You pushed yourself up to your feet, wiping dirt and twigs off your pants when you rose. As you walked back towards the house, you wondered if your mother ever felt sorry like this, if she ever wanted to apologize sometimes. Surely, at some point she did. James' words come back to you about how we're all human, and you want to believe that maybe there was a memory lost in your mind of her apologizing to you.

You'd have been a wide-eyed little kid at the time, snot-nosed and teary-eyed after she yelled at you for spilling milk or leaving a toy in the middle of the floor. She'd wrap her arms around you and apologize for raising her voice. Then she'd shush and coo soothingly until your tears dried up and you could show her all of your baby teeth in a wide grin.

It was unnatural, the image of her in your mind like that, but your heart burned for it to be real. As sick as it was, you still yearned for your mother's love, even if it was a thing of the past.

Maybe your house really was a poison. Because if she had ever been gentle, one way or another, Walburga Black got colder and harsher over the years. She spiraled so deep into darkness that she seemed to want to be cruel. After all, to cast the Cruciatus Curse, you do have to really want it.

Each step you took was invigorated with a new sense of determination. Apologizing to James now, owning up to your mistake, it was only the first step of doing everything in your power to never be anything like that woman.

It felt like no time passed at all by the time you arrived outside of James' door. You didn't feel ready to face him, but you raised your fist anyway. Just when knuckles were about to meet wood, you heard a muffled voice from inside.

"What do you think?" James' voice asked softly. Then, after a beat of silence, "Did you hear me?"

"Yeah, James, I heard you," Sirius said. He had that far away kind of tone in his voice he gets when he's trying to distance himself from his emotions.

"And?"

"And I'm bloody tired of talking about him!" Sirius barked. Even from the safety of the other side of the door, you flinched.

"She doesn't get it. She'll never get it because it's him," your brother continued. "If she had known he wasn't coming she probably wouldn't be here either. If it's a choice, it'll be him over me in a heartbeat. He could've done the bloody spell on me himself and she'd still choose him. Merlin, she could've done the bloody spell if he asked her to."

If felt like the wind was knocked out of you. You bit your tongue until you drew blood, fighting the urge to cry out, as if Sirius' words physically wounded you.

Rationally, you knew that Sirius was just angry, that he didn't mean it. But the rational side of your brain hasn't been winning many battles today.

You vaguely heard James tell Sirius not to say things like that as you backed away from his door until you met the wall behind you with a thump.

There was silence from inside James' room for mere seconds before the door was ripped open. Sirius stood in the doorway, James behind him. You couldn't read your brother's expression, there barely was one. How typical of him to hide behind a blank stare.

You, however, were wide eyed with a hand clamped over your mouth, leaning against the wall behind you, sure you'd collapse without its support.

Sirius began to say your name and suddenly your hand was gone and the words were tumbling from your lips.

"How could you say that?" Your voice was strained, "I wouldn't ever do that– He wouldn't ever do that!"

Sirius' eyes bore into yours but he didn't say anything. You wished you could tell what he was thinking under that stupid mask of his.

"I shouldn't have to tell you over and over again that I love you both. You are both my brothers, you both mean the world to me. It's so irrational and– and foolish to worry about a choice that I'd never–"

You cut yourself off. The irony of being so hurt by Sirius' words were not lost on you. You had only just been accusing James of choosing Sirius over yourself.

"No, that's not true," Sirius bit back, "because that choice is upon you now. So, go ahead. Let's see if you can surprise me."

"What?"

"Choose me, stay here where it's safe. Choose Regulus, go right ahead and try to be his jailbreak. But when you can't convince him to leave, when he refuses, I won't be surprised when you choose to stay there too."

Your eyes flashed to James, who looks way too shameful for you to not put two and two together. You were conflicted; feelings of regret over accusing James of choosing Sirius over you were mixing with feelings of betrayal that James had ran right to Sirius with your words.

You'd let the guilt and betrayal sink in and shred you to pieces later. You had Sirius to deal with first.

"What is wrong with you?" you hissed. "How could you be so dim? Wanting our brother to be safe does not mean I'm choosing him over you."

"Color me unsurprised!" Sirius yelled, looking smug.

Your eyes began to burn, "Fuck you, Sirius!"

James tries to interrupt, "Er, hey, maybe we should–"

"Don't you dare tell me we need to take a step back from this conversation, James!"

James' mouth clamped shut.

"Don't yell at him!" Sirius squawks.

"You want to talk about choosing one person over another? Let's talk about it. Don't pretend you haven't given up on Regulus ever since you met his shiny new replacement!"

You'd feel real shitty about saying that in front of James later; the look on his face at your words was already burned into your memory.

"Don't turn this on me!" Sirius shouted.

"You're such a hypocrite. And an imbecile for thinking I care about you any less than Regulus. Of course I care about you both the same. And you may not believe it, but Regulus cares about you too!"

"That's–"

"I don't want to hear it," you interrupted, "I'm done. Say it James."

James looked like a deer in headlights, "What?"

"Say the thing!" you shouted.

"We need to take a step back from this conversation?"

Your arms flew up, gesturing towards James as you stared Sirius down with an exasperated look on your face. Your brother scoffed and stormed down the hall, disappearing to anywhere else in the Potters' home.

For a moment it was just you and James in the hall. Your eyes met and he looked anguished and far too apologetic. You knew that you were supposed to be the apologetic one, and you felt your heart begging you to let the sorrys loose.

It was too bad that the betrayal started settling in before the guilt.

"Sirius was right before. You are a snitch."

With that, you slipped back into your room and let the door slam shut behind you.

James remained in the hall for a moment longer, not knowing who to follow. He should follow one of you.

Instead, he decided to retreat back to his bedroom.

James wanted to be alone again.

[youremyheaven]

The Ugliness of Venus

every planet is associated with certain key themes but being under that planetary influence means to experience its very opposite. the extremes of anything is a meeting point for its opposite.

venus is the planet associated with love, beauty, harmony etc therefore it is unsurprising that venusian influence also subjects one to cruelty, ugliness, disharmony, violence and malevolence.

TW: this post will contain mentions of sexual harassment, rape, violence, murder, massacre, genocide, death, suicide among other things so please beware!!!

in my observations I have often found that Venusian natives are often cruel, callous, ugly (i mean this to refer to their actions/behaviour and not just unconventional appearance because "beauty" is a sum of appearance and traits- what we call Venusian refinement) hurtful, jealous and utterly lacking the charisma and hospitality for which Venus is known.

it is disturbing to think of how soooo many well known and notorious sex offenders have HEAVY Venusian influence in their charts. think of any celebrity who has had a sex scandal and they usually have Venusian placements. it's intriguing that no other planet shows up as much (in my personal observations).

Why is Venus so brutal, cruel and embracing of the darkness/ugliness of humanity?

All 3 Venus nakshatras, Bharani, Purvaphalguni & Purvashada are Ugra (meaning cruel or brutal, this is a 7 category classification in vedic astrology) nakshatras.

Ugra naks are known to be action-oriented go-getters and people who are very self-motivated and determined. Any quality can manifest in good or bad ways, so the shadow aspect of this determination and motivation is often ruthlessness, callousness, selfishness and arrogance.

This is also the reason why Venusian naks suffer. Venus seeks refinement, so an individual who does not filter out their own darkness but instead indulges in it, is inviting wrath. More than any other planet, Venus punishes its natives quite harshly and publicly. So many people who have been known to be horrible people, have been exposed, shamed and punished publicly have Venus influence.

Venus energy must be handled with care. Since Venus is love, it has a quality where it loves blindly, completely and without judgement but discretion and judgement are necessary in life. It is not good to be absolutely consumed by someone or something without considering the good and evil inherent in it. This makes Venus natives prone to evil simply because they don't see it as such. They think of it as the depths of their understanding of love, beauty and harmony. Beauty in its extreme however is grotesque, its ugliness, its frightening. Think of all those IG models who have the same face, there is a blandness to their cartoonish perfection to their proportions, it fails to evoke feeling, it fails to be memorable because true beauty is distinct and flawed, its intensity, depth and exaggerated proportions because Venus is not mild or lukewarm, it like to go overboard. Think of Angelina Jolie, her big forehead, large cheekbones, strong jaw, big protruding eyes, its a face that calls attention to itself, its not simple or readily accessible, its the opposite of the IG face where beauty is reduced to ordinary everyday blandness. True beauty is individuality.

Venusian natives are often preoccupied with good and evil, the holy and demonic, heaven and hell, this emanates from a deep understanding of contradictions and the need for their existence. Opposites are an illusion, everything is one. Goodness in its extreme is evil and the extremes of evil touches upon goodness.

So now I'll discuss certain specific examples:

Mao Zedong- Purvashada Rising

He was responsible for the deaths of close to 40 million people who died due to starvation, forced labour and others executed by the state due to their opposition of its policies.

Saddam Hussein- Bharani Sun, Venus in Revati (exalted)

Him and his party used violence, killing, torture, execution, arbitrary arrest, unlawful detention, enforced disappearance, and various forms of repression to control the population. Kurdish people were systematically persecuted and massacred using tear gas.

Hussein was publicly executed for committing crimes against humanity.

Hitler- Purvashada stellium (Moon, Jupiter and Ketu), Mercury and Venus in Bharani

I need not elaborate on who Hitler was and what he did bc we're all very familiar with him but yeah he was a Venusian. He died by suicide.

Stalin- Purvashada Mercury Amatyakaraka

I do not wish to elaborate on Soviet war crimes but Stalin had millions of people die, from starvation, torture, indentured labour etc

R Kelly- Purvashada Sun & Mercury

He is a pedophile and convicted sex offender

Marilyn Manson- Purvashada Sun

He's been accused of assault and rape on more than one occasion.

Idi Amin- Purvashada Sun

Idi Amin was popularly known as "The Butcher of Uganda." Amin overthrew an elected government in Uganda with a military coup, using lessons from the British colonial army. He declared himself president and ruled ruthlessly from 1971-1979. Once in power, Amin started mass executions of the Acholi and Lango tribes. In 1972 Amin forced 80,000 Asians to leave the country, which caused the economic collapse of the country since many were business owners. It’s estimated that through his rule, Amin killed at least 300,000 civilians.

Elon Musk- Purvaphalguni Moon

Sexual misconduct charges, labour law violations, treating his employees like trash and being an insufferable asshole on Twitter among other things. Nobody makes $100 billion without exploiting 100s of millions of people.

Jimmy Saville- Purvaphalguni Moon, Mars in Bharani amatyakaraka and Ketu in Purvashada

He was a pedophile who abused numerous children over the span of 50yrs

Peter Townshend- Purvaphalguni Jupiter & Rising, Ketu in Purvashada

He was found trying to access child porn sites

Chris Brown- Bharani Sun & Moon

He's abused several women, most famously, Rihanna

Here's some examples of people who have risen to prominence by playing ruthless people.

Kathy Bates- Mars in Purvaphalguni amatyakaraka

She is best remembered for playing the psychotic nurse in Misery

Anthony Hopkins- Purvashada Sun

He is best known for playing serial killer Hannibal Lecter in Silence of the Lambs

I know this is a very polarising topic and to any Venusians reading this, I sincerely do not wish to spread hate or cause harm, I am only trying to point out some of the things I have noticed. Does this mean every other Venusian you encounter is a serial killer in disguise? No Are all Venusians bad people? Also no. I thought it would be interesting to shed some light on the darker side of Venus which is seldom addressed if at all. Please do not take any of these observations too seriously and do not use astrology as a tool to propagate hatred towards yourself or others.

[silviakundera]

The Double ep 15-16 reaction

I'm glad they added another flashback of her brother and included his escort friend from the novel. Minor character and a small tragedy but it humanizes him for me. He was just a sincerely nice guy who wasn't kind to her as an aim to possess her, but because he was a good person. And so she never forgot him. She thinks he forgot her - only to learn he never cut ties with her; he was killed. Little tragedies, small people that royalty step on like ants.

To me it feels important that as much as the drama gives her husband depth and makes us sympathize with his situation, it shouldn't allow us to forget that her family was destroyed. We didn't see it happen, like the shovel to her head, but her father was his teacher. Xue Zhao was his brother in law. Their names may no longer matter to anyone else, but our protagonist will not allow them to go unavenged. [lil note from the novel I liked - novel!Duke Su being perplexed and unable to figure out how FL is getting this successful escort to assist her, when even he seems to respect how impossible it is to get a handle on the woman - because she has a secure position as a popular escort & enough money & is satisfied being exactly where she is (doesn't want to fight for favor as someone's treasured concubine), independant and unable to be threatened or bribed. so what could possibly move her?]

(Now this is sorta thematically tying in with the backstory drama created for ML with this bandit. ML's general dad was a good person and so he wasn't forgotten by this person whose life he touched, so presumably he'll do ML a favor. FL and ML have turned into schemers and are willing to get their hands dirty; but are aided in their quest by the fact that their dead family had a positive impact on some people who still remember it?? Be interesting to see if this does become a minor theme 🤔)

ANYWAY let's get to the good stuff: Last episode ML started realizing he's catching feelings. This episode FL feels jealousy and isn't shy about it ('can't I?'). We're making real shippy progress here!

He very much still enjoys watching her strut and perform. But the distance between them is slowly closing. That whole drinking game scene was pure gold.

"Are you not upset now? "Huh?" THE LOOKS THEY EXCHANGE AT THIS.

He's entered the play, joining her on stage instead of coldly manipulating from a high vantage point. Her walls are down for a moment and he's not even hiding his bias. Blatant flirting and she has him smiling. Yes, he has 2 agendas here but unlike the last failed 'date' they were playing together, not her in the role of pawn. I love a smart ML. Boy is not gonna fumble this chance to have his schemes AND a woman who's perfect for him.

I found this subplot of FL foiling the Li clan's plans for Ye clan her most clever manuveuring in the translated novel (up to ch 113). Though it's being compressed for time & tweaked, still satisfying to see her outflank the corrupt local government. As well, very glad to see the ML point out that she has a double-motive... to intentionally make the Jiang and Li irreconcilable. (They're not her real family, they're her enemies!) Nooooooo don't have multiple layers to your plans, it's too sexyyyyyy

[fangirleaconmigo]

It's been awhile, Geralt x Jaskier enthusiasts, but here is your newest installment of...

Otherwise known as...

Things that sound like Geraskier fic writers made them up, but that are, in fact, book canon.

This time with commentary on the original Polish wording from @cherrypoison1889! Thanks, Cherry!

Today we're talking about dopplers, otherwise known as shape shifters, also called vexlings in the world of The Witcher. Dopplers are often used to expose the fact that Dandelion is a vulnerability for Geralt, that he loves him.

There are quite a few Geraskier fics that play with this trope. (I will give you a rec or two at the end of the post.)

It makes sense! Plus, the show used a doppler, (more on that later) so the concept is right there!

But does the concept of using a doppler to reveal Geralt's true feelings for Jaskier just exist in the fevered imagination of Geraskier fic writers?? Is this pure fanon? Or canon?

Well, you may have guessed (since I didn't write all this out for my health!)...

It is canon.

In The Witcher book, Sword of Destiny, we meet a doppler called Dudu, who turns into Dandelion (Jaskier) to protect himself from Geralt. He even has a few choice words to say about what he sees in Geralt's thoughts.

Want the details? Of course you do, you've read this far, why not?

When Geralt meets Dudu in this story, the doppler is in the form of a halfling called Dainty Biberveldt. Dudu has bonked Dainty on the head, stolen his shit, taken his form, and is running around Novigrad making business deals with his ill gotten gains.

Dainty wants his shit back from the doppler, but does not want to turn Dudu over to the city guards because Dainty is a decent person who knows that they will murder the doppler in an absolutely horrific way that I will not describe to you. Novigrad is rife with violent bigotry towards non humans, and dopplers in particular have been slaughtered to near extinction. They've been subject to genocide, basically, just because they creep people out. (I could write a thesis just on the way this short story handles themes of racism)

But anywho. That's how we get Geralt's involvement. Geralt is pitching in to get Dudu under control so they don't have to involve bigoted law enforcement. (We stan Dainty ACAB Biberveldt in this house)

This particular scene opens when Geralt has pursued the doppler into a crowded marketplace and has finally cornered him in a tent. Dandelion is elsewhere in the market, being a slut, so he is nowhere to be seen. When Geralt corners Dudu, they are alone, and the doppler panics. He can't get away. So, he decides to be crafty.

First, he turns into Geralt as a way to protect himself. The book describes Dudu changing into Geralt, down to the last detail. Now there are two identical witchers in the tent. Then Dudu speaks.

"Don't come any closer," the second witcher said huskily and smiled. "Don't come any nearer, Geralt. I won't let you lay your hands on me."

So now he looks just like Geralt and has his husky voice. Perhaps he is hoping Geralt will not be able to harm someone who looks like himself. Perhaps he just wants to be equal to him physically.

Either way, Geralt's self esteem is too low for the first one to work. Here is how Geralt responds to an exact copy of himself.

"What a hideous smile I have," thought Geralt, reaching for his sword. "What a hideous face I have. And how hideously I squint? So is that what I look like? Damn."

So, Geralt reaches for his sword immediately, and the only reaction he has for himself is disgust.

Here is where I asked Cherry for her thoughts. Is Geralt as mean to himself in the original Polish? Hideous is pretty strong a word! Here is what she said:

Cherrypoison1889: Geralt is indeed very harsh on himself, when he sees the doppler transform into him. In Polish, he uses the word "paskudne" to describe himself, which is literally hideous. However, he also calls his face "gęba" which is a more vulgar word for face, which in Polish is "Twarz". So he's even harsher on himself, I'd say.

Oh noooo. But just when you think Geralt's low self esteem is going to be a strategic advantage, it betrays him. Why? Because when Dudu says, you can't defeat me, because I am you and I know everything you know...

"I am you," the doppler repeated. "you will not gain an advantage over me. You cannot defeat me, because I am you!"

That is where Geralt starts to lose ground. Why? Because Geralt of Rivia says, no, you can't really copy me! Because you are a good person, and I'm a bad bad bad man. I kill people. I'm a killer. You cannot relate. You cannot even begin to understand the mind of a bad evil killer man like me.

"No," the witcher countered, "you are not. And do you know why? Because you're a poor, little, good-natured doppler. A doppler who, after all, could have killed Biberveldt and buried his body in the undergrowth, by so doing gaining total safety and utter certainty that he would not be unmasked, ever, by anybody....But you didn't kill him...Because you're a poor, little, good-natured doppler, whose close friends call him Dudu...you only know how to copy what is good in us, because you don't understand the bad in us."

Geralt isn't saying this to be strategic. He truly believes it! He knows Dudu has seen his thoughts! Listen to what he says next...

"you aren't capable of defying me, because I am what you are unable of copying (sic). You are absolutely aware of this, Dudu. Because you took over my thoughts for a moment."

So, Geralt is like, you saw what a mess it was in there. You know what a killer I am. You may as well give up now.

I thought 'took over my thoughts' was a little bit of an awkward phrasing, it almost implies thought control, when I feel like the context is thought reading, so I asked Cherry about that. She said:

Cherrypoison1889: As for the "taking thoughts over" bit, it is the same in Polish, I am afraid. the word Sapko uses is "przejąć" which means exactly that, although I assume that the "take over" in English was meant to be understood as "acquiring" although I can't be sure of that. It sure does sound a touch awkward.

But back to the story, Tellico (Dudu) has now been inside Geralt's head. So he knows that's absolute bullshit, even if Geralt doesn't. He has seen what is in Geralt's heart, which prompts him to take another shape.

Tellico straightened up abruptly. His face's features, still those of the Witcher, blurred and spread out, and his white hair curled and began to darken.

"You're right, Geralt," he said indistinctly, because his lips had begun to change shape. "I took over your thoughts. Only briefly, but it was sufficient. Do you know what I'm going to do now?"

Do you? Do you dear reader, know what he's going to do now? I'm going to let you make a guess.

The leather witcher jacket took on a glossy, cornflower blue colour. The doppler smiled, straightened his plum bonnet with its egret's feather, and tightened the strap of the lute slung over his shoulder, the lute which had been a sword a moment ago.

Well, if you've read the books up to this point, we all know who's form he has taken. Cornflower blue, egret's feather, lute....smart doppler.

"I'll tell you what I"m going to do, Witcher," he said, with the rippling laughter characteristic of Dandelion. "I'll go on my way, squeeze my way into the crowd and change quietly into any old body, even a beggar. Because I prefer being a beggar in Novigrad to being a doppler in the wilds."

He then has a powerful monologue about being subject to extermination and genocide. About hunger and fear and freezing to death. He makes a very touching plea to Geralt, asking the Witcher why he is denied the right of survival, granted to everyone else, just because he is a doppler. It is about a page and half long and I HIGHLY recommend people read Sword of Destiny, because this is good shit. He says he will stay in Novigrad.

"As a resident of Novigrad, I'll trade, weave wicker baskets, beg or steal; as one of you I'll do what one of you usually does...."

The Witcher said nothing.

Now, Dudu, in Dandelion's shape, having seen Geralt's thoughts, takes his gamble. And boy does he have guts. He tells Geralt about himself, about his supposed bad bad heart.

"Yes, as I said," Tellico continued calmly. "I'm going. And you, Geralt, will not even try to stop me. Because I, Geralt, knew your thoughts for a moment. Including the ones you don't want to admit to, the ones you even hide from yourself. Because to stop me you'd have to kill me. And the thought of killing me in cold blood fills you with disgust doesn't it?

The Witcher said nothing.

Tellico adjusted the strap of his lute again, turned away and walked towards the exit. He walked confidently, but Geralt saw him hunch his neck and shoulders in expectation of the whistle of a sword blade. He put his sword in his scabbard. The doppler stopped in mid-step and looked around.

"Farewell", Geralt, he said. "Thank you."

"Farewell, Dudu," the Witcher replied. "Good luck."

Dudu wins that one, quite handily.

The doppler turned away and headed towards the crowded bazaar, with Dandelion's sprightly, cheerful, swinging gait. Like Dandelion, he swung his left arm vigorously, and just like Dandelion he grinned at the wenches as he passed them.

As he walks away, Dudu even plays the lute and sings "exactly like Dandelion". Then he shouts back advice for Geralt to pass on to the bard.

"Pass that on to Dandelion, if you remember," he called. "And tell him that Winter is a lousy title. The ballad should be called The Eternal Fire. Farewell, Witcher."

Dudu has seen Geralt's thoughts EVEN THE ONES HE WILL NOT ADMIT TO EVEN THE ONES HE HIDES FROM HIMSELF, and his next choice was to turn into Dandelion.

Now, do I think that the author meant to imply that Geralt is trying to hide his love of Dandelion? No. Slim chance of that. However, it isn't like it's a secret that Geralt hates killing creatures who do no harm or who cannot fight back. So there is still something a bit fuzzy to me about the thoughts that Geralt hides from himself.

It is ripe territory for a Geralt x Dandelion enjoyer to exploit, cultivate, and use for their fics and headcanons.

I asked Cherry for her thoughts about this, about what Geralt's hidden thoughts are having read the original Polish, and she said this:

Cherrypoison1889:

I feel like Dudu used Geralt's self-loathing against him, in a way. As in, if Geralt were to kill Dudu-as-Dandy, he would admit to himself that he is a ruthless, horrible person, who kills "intelligent" beings, despite what he claims, which would also make him a hypocrite. And we know Geralt is a big softie, so he wouldn't do it anyway. I think changing into Dandy was an additional precaution, just an extra measure in case Dudu turned out to be wrong.

I really liked this story, I don't remember reading it back when I read the books (it was ages ago, so I might be wrong anyway). It's really funny, and Geralt is babbie. Darling boy, he just bought himself a new jacket and it got ruined in the frenzy...

Babbie Geralt, that's our darling.

It is sad that Geralt has so much self loathing that it didn't help Dudu to look like him, but it is very sweet that Dandelion is such a point of vulnerability for Geralt, and that Dudu had his number.

Dudu wins this round soundly. The story isn't over. I won't spoil it in case you guys want to read it. But it has a great ending. It is definitely one of my favorites.

I will just never get over how easily he gets the upper hand on Geralt here. Geralt of Rivia, legendary monster hunter, defeated by little Dudu because of his low self worth, his mushy heart, his solidarity with non humans, and his love of a slutty bard.

Now, recommendations.

The Doppler Effect, by @a-kind-of-merry-war This is the first doppler fic I read in the fandom and it has alll the delicious emotional drama, pining, and sexiness that you want from a fic like this. It is excellent.

Images of You, by @pherryt This one is a delightful 'continuation' of what happens in Sword of Destiny. After Dudu learns about Geralt's feelings, he essentially matchmakes Geralt and Dandelion eventually receiving a sexy thank-you of his own.

Them, by @gilligangoodfellow I feel like dopplers and Dudu in particular is so ripe for exploration in fic. So it is wonderful to see a fic like this. It's a short character study of Dudu as gender fluid, with the doppler coming out to Zoltan. Seriously, try it.

Alright, thanks for reading, folks!

For more Geralt and Dandelion "I can't believe it's not fanon..."stay tuned. I am organizing a master post with all of the posts I've done. So keep your eyes out. (in the mean time, most of them seem to show up in the tag, just not all of them)

And lastly, THANK YOU CHERRY! I love having a partner to do these posts with!!

[umeji-writes]

I would like to talk about the Music Festival arc - aka my favorite Mairuma arc until now. I love them all tbh, this is just very close to my heart for several reasons. [cw: non-suggestive discussion of s*x; if you are a s*x-repulsed asexual person you are very much welcome to interact, but this may not be the post for you, take care and proceed with caution ♡ edit: I'm uncensoring the words from here onwards thanks to a kind anon's suggestion] To make it short, I love that the main theme of this arc is pleasure, and the desire for it. Honestly, it's very horny - but not in a slimy or creepy way, which is sadly quite rare in my experience. The appreciation for pleasure coming from love (also platonic love) is there in several layers. First, the plot itself, as Lilith cries out her desire to find "a love that burns like fire". She is not satisfied by most pretenders, and especially this frame spoke to me:

Because... Well... It's so true. I am an adult, and I had my share of sexual partners. The expressions people make irl are not always aesthetically pleasing, but who cares! We are told to strive to be always attractive, but in those moments of intimacy it's really not important, not as much as being fully present and enjoying the moment! Then, can we talk about Kalego please?

I mean, Nishi here went all out and didn't even try to hide her fascination for ...discipline:

(and to be fully clear: I am NOT implying there is sexual tension between Kalego and his students, I am only referring to him!!!) When I saw the whip I couldn't believe my eyes. Of course in that context it's not used that way, but it's very much recognizable as an adult tool... But more on this later. Finally, I really like that the Misfits are growing up and finding out new things about themselves. They are characterized as high school students (even if we don't know how old they actually are), which is when humans tend to have their first experiences and explore their sexualities. They are building together this beautiful show full of emotions and desire, and honestly performing with other people is really an amazing feeling (I am a former musician and theater actor - let me tell you, every performance was fire). Look at their faces: from here...

...to here.

They are shocked, but happy! And definitely feeling ...feelings. And here is my main takeaway: I am really, really sad that sex is a taboo topic in our society, and when there's something about sex, it's mostly treated in a very bad way. This includes sex scenes in generic-audience movies, which I tend to dislike... I hate that sex is handled like a dirty and secret thing. I hate that sex is mostly treated as something that has to do with power imbalance and taking advantage of someone else, usually men that "want to do stuff TO" women (nonbinary individuals like myself not found) - and too often not in a hot and consensual way. I hate that social media are becoming more and more sex-hostile, because investors fear these topics, and use children as a shield to justify limiting contents for adults as well. I hate that sexual education is mainly reserved for talking about pregnancies and, if the students are lucky, prevention of STDs. Solo or reciprocal pleasure? Consent? Treating it as a normal part of life for many people (and not ALL, again, asexual people exist)??? Naaaah, why do that, when you can make people feel shame and embarassment and perpetuate trauma. Again, I am a grown-up now, and while this is legal and everything, I was conditioned to feel some level of shame nonetheless when talking about it irl (which I am working on). The whip I was writing about before (and the kneeling scene afterward)? It was a revolution in my brain. "So... That's a thing we can do...?"

(like that) I plan on doing some adult drawings in the future, but there's a part of me that resists the idea, because adult entertainment usually involves some level of dehumanization... But you know what? I want to take it back and make it about pleasure and enjoyment as it should be. Tbh, I could write a whole essay on the causes for all of the above and how they interact (patriarchy, capitalism, religions as power institutions, etc.), but this is not the place. So I'll just say that I am really, really grateful to Nishi for including this arc in a manga for a young audience, as those are important years to build a healthy relationship with pleasure and one's own body. And as Sullivan said...

I'm very much convinced that Nishi is doing a great job at sending messages for inclusion and social equality in M!IK, taking the role of educator herself. (Other reasons why I love the Music Festival arc are: Soi's story, Clara and Azz becoming closer, Iruma learning the piano, the appreciation of music itself, the immaculate art and more, but that's for another post!!!)

[soft-pine]

spn20rewatch: 1.14 nightmare // cn discussion of domestic violence and suicide

what an aptly named episode. this is one of the most upsetting episodes of the whole show for me. while it touches on themes that i love - what if the monster was family - the way it handles ms miller is deeply uncomfortable. and max's story is just downright awful.

i do find it interesting that this is the second time this season where dean is arguing that they have to stop someone even if they happen to be human. while sam is vehemently insisting that them being "human" means they have to take another approach.

the first is in faith:

DEAN: Sam the guys playing God, he's deciding who lives and who dies. That's a monster in my book. SAM: No. We're not going to kill a human being Dean. We do that we're no better than he is.

and then again here:

SAM: Dean. He's a person. We can talk to him. 

i've said and i'll say again that dean understands that monstrosity is the result of actions and choices not something intrinsic. i think sam sees monstrosity and humanity as more of an intrinsic dichotomy and that's one reason he struggles so much in season 2. anyway.

but really what i want to talk about is ms miller. and how clear it is that she is also a victim of domestic violence. i understand, deeply, why max is so angry with her and why he sees her as an extension and enabler of his abusers. but i simply cannot fathom a world where max is experiencing the torrential abuse he's suffering where those people are not also harming ms miller deeply.

max accuses her, "You didn't do anything. You didn't stop them, not once!" their old neighbor says, "the worst part was the stepmother. She'd just stand there, checked out, not lifting a finger to protect him." the neighbor's claim always strikes me as a remarkably cruel reading of someone who is clearly also suffering and likely dissociating. like idk man of course i think adults have responsibility in situations like this (and i do appreciate the nod to the cops being useless) but like... "the worst part" THE WORST PART was the stepmother. i kinda feel like the worst part was the abuse, no?

but the upshot of it all is that ms miller's implied abuse seems like it has no witnesses. and that's of interest to me because of some interactions we've already dealt with in season 1.

in 1.03, we get this exchange:

DEAN: ... all that anger, you can't keep it burning over the long haul. It's gonna kill you. You gotta have patience, man. SAM: How do you do it? How does Dad do it?

then this in 1.08:

SAM: Remind you of somebody? Dad? DEAN: Dad never treated us like that. SAM: Well, Dad never treated you like that. You were perfect. He was all over my case. You don't remember?

and at the end of 1.14, sam says:

SAM: Well I'll tell you one thing. We're lucky we had Dad. DEAN: Well I never thought I'd hear you say that. SAM: Well, it coulda gone a whole other way after Mom. I little more tequila and a little less demon hunting and we woulda had Max's childhood. All things considered, we turned out ok. Thanks to him.

listen, i would never argue that john winchester didn't abuse sam. but i think it's interesting that though sam is critical of john's parenting and though he has complaints about how john treated him, he doesn't seem to think john treated dean poorly.

which, we just simply know he did. we know it because john does it in 1.09, 1.12, 1.20, 1.21. and because we're told he did in 1.18, 1.22, 2.01, 4.19, 9.07, 14.11, 14.12, 15.20, i mean i could go on.

and not that i have to filter everything through season 14 episode 12 prophet and loss. but i will. because it very clearly lays out how 1. dean was forced into the role of keeping the peace and 2. john would treat dean badly in ways dean wasn't sure sam was witnessing.

DEAN: I know things got dicey… you know, with dad… the way he was. And I just… I didn’t always look out for you the way that I should’ve. I mean, I had my own stuff, you know. In order to keep the peace, it probably looked like I took his side quite a bit. Sometimes when I was… when I was away, you know it wasn’t ‘cause I just ran out, right? Dad would… he would send me away when I really pissed him off. I think you knew that.

the uncertainty behind, "i think you knew that." ough.

but bad boys goes even farther here:

SAM: Hey, Dean ... I mean, why didn't you just tell me you went to a boys' home? DEAN: I don't know. Uh, it was Dad's idea. And then it just – you know, the story became the story. I was 16.

john told dean to lie to sam about what was happening to him.

so what does this all mean in an episode where dean is somewhat mirrored to and protective of the allegedly bystanding stepmother?

that abuse is shitty, cruel, secretive, and protects itself by pitting its victims against each other.

i don't know i wish i had something a bit clearer to say than all this. but it's just sad.

[eilwen]

And they say romance is dead.

Joking aside, Vol. 8 further solidifies my appreciation for Meryl.

Hopefully I can put my long-winded thoughts into concise words when it comes to writing women/female characters and why I loved Meryl in the manga even when she's absent for a chunk it from Vol. 7 onward.

Good 'women/female writing', to me, is not just having more lines, more screen presence or more visibility because you can easily write a character that ticks all of those boxes and still be a shell, still be poorly written, still be misused and still fall into numerous stereotypes. Though we are seeing more female characters onscreen/on paper these days, there are still traps of 'women written by men usually for men or what they think a woman wants' with some variations (and of course some women can also find difficulty in writing women). Then there are times when women characters who are so incredible or powerful, they come off as unbelievable, as if writing a woman character is sometimes treated similarly to handling glass. Some writers are afraid to write women well, believing that it’s 'safer' to have the character be amazing and flawless than forgotten or absent (which can be problematic in a different way).

I love manga-Meryl because I know Meryl's arc, faults, growth, struggles etc.... Nightow really puts her through the ringer. We don't see her much in the later volumes once things get heavy since she's not the series' protagonist, but we learn that she has a full journey post-Colnago. Eventually she, as a person who is not super-powered in the way other characters are, assists Vash in the best way she can.

Vash is a plant, the Humanoid Typhoon, all these other labels, but he calls himself a simple gunman. So, when Meryl is the one to make sure that he has a gun despite everything she had experienced... ah, I had a lot of feelings.

Vol. 8, Ch. 3. ... God damn.

One of the best things Nightow did in Trimax was to write Meryl with doubt and fear and break her away from Vash in Vol. 6, because having a woman follow and care for a man blindly is frankly boring and adds little depth to a friendship or a relationship.

(This praise also extends to how Nightow writes Luida - but those are thoughts for some other time.)

I am also considering Meryl as one representation for humanity in Trigun Maximum's narrative. She is the ordinary person who has been unwillingly forced to witness devastation, destruction, loss etc. and is expected to continue after that. That is a difficult thing to overcome... and then to grapple with the idea of assisting that same force... I imagine that this is a very difficult responsibility. There are war films (good and bad films, from a range of nations) that touch on this theme of responsibility.

I'd like to think that real courage is understanding and overcoming a fear instead of having none.

And then in Vol. 8, Meryl does a small act. She asks someone else to help - something that Marlon later tells Vash to do (let his friends help him, I mean). Without grandeur. Kind of anti-epic. However, this small act is extraordinarily powerful because without that gun, Vash is unable to proceed.

We sometimes view power in such a black and white way when power can be asking someone else for help, trusting someone else, and not have it be about you.

Vol. 8, Ch. 5. A Marlon panel is always a good panel.

I love how Nightow illustrates this. In these panels, Vash is hearing Marlon talk about a 'guest'. Marlon never mentions Meryl's name. We know it's Meryl because we know what the back of Meryl's head looks like (and her legs, haha) but Vash is not seeing what we are seeing.

And yet, Vash knows.

[libraryspectre]

Ugh ok fine I'll talk about my murderbot casting opinions

Awhile back I noticed people getting irritated with Kevin R. Free as the audiobook narrator because he's a man with a Man Voice and it really rankled me. People of any gender can have any voice, and anyway, Kevin R. Free's voice IS fairly androgynous.

This is more or less how I feel about a man being cast as Murderbot. It would have been nice to have a nonbinary actor play Murderbot, because nonbinary actors need more roles, but Murderbot is not nonbinary. Murderbot is nonhuman and human labels are N/A. Gender is N/A. You could argue that is splitting hairs from a representation standpoint, but I think it's core to the theme of the series. (Also, it's great that nonbinary people relate to and claim murderbot as representation, we just need to acknowledge it doesn't experience being genderless in the same way a human does). Because of this, I don't think the studio was ethically obligated to cast a nonbinary person.

I think, from a worldbuiling standpoint, I would have liked someone with a fairly androgynous voice and facial features. This is because we know murderbot is sexless, with no secondary sex characteristics. As far as murderbot's flesh parts, the only relevant features I can think of are voice and lack of facial hair.

So, I'm actually pretty fine with a man being cast as murderbot? I think to follow the logic of secunit biology he should stay clean-shaven for the roll, and maybe avoid the deeper registers of his voice (I haven't heard him speak so I don't actually know what he sounds like.) His features are pretty traditionally masculine but that doesn't really matter, and he has big ol eyes that could help them play into the androgynony if they chose to.

My bigger initial problem was with Murderbot being played by a white actor. I think a lot of the readers' image of Murderbot has been shaped by the Tommy Arnold illustrations where it's dark-skinned. It doesn't actually say anywhere in the books, from what I remember, what Murderbot's skin-tone is like, but we do know it's made from a slurry of donor DNA and the Corporate Rim has people with a wide range of features (I avoided alluding to racial diversity here because we have no idea what concept of race the CR or any of the other settings actually have. Edit: to clarify, the characters are definitely racially diverse from our viewpoint. I just felt the need to caveat because the concept of race is very cultural and we don't actually know what cultural concepts of race the setting has, if any at all. This is my anthropology degree showing lol). It makes little sense for Murderbot to be white if its DNA is built from a pool of people with, most likely, a wide variety of physical features. At least.....I think it is? I realized after thinking about this for awhile that I don't actually know if Murderbot's DNA came from one human donor or a variety of people. So this whole argument could be moot. (If you could direct me to evidence for or against this I'd be grateful).

So, Murderbot being white might be technically fine, from a worldbuilding standpoint, but at that point I think it's just kind of disappointing to see another show with a really diverse supporting cast and a white lead. That being said, there's actually interesting commentary to that, considering Murderbot was created to be a cop. I actually think, if handled well, the image of a bunch of white secunits policing the enslaved masses could be some really effective commentary. And to some extent, it doesn't matter if Murderbot's DNA came from one person or a pool of people, if you take the stance that the Company is intentionally choosing white features for their SecUnits. The commentary stands.

My other concern was that they would whitewash other cast members, but that doesn't seem to be the case.

Finally, the series having Martha Wells' stamp of approval encourages me that they've made these choices with intention and will handle them thoughtfully. I saw another fan point out that there is some power to the idea of seeing an actor on screen that most people would read as male, asserting again and again that it doesn't have gender, and now that I'm feeling more optomistic I agree.

And hey, I'm actually feeling optomistic!

[queenoftheantz]

Top 5 Anime/Manga characters of all time and why?

oh wow hmmm....

Completely subjectively:

Oikawa Tooru (haikyuu!!)

Oikawa... he is just yknow. My Character. But I also often in my daily life have a little Oikawa in my head reminding me that my passion is my passion because it's fun and I love it. That talent and skill are intertwined but also not static or pre-determined, that I might not be as good as I think I should be, and I might never be, but if I don't try I definitely won't. Maybe I will reach my goal today, or tomorrow, or in 30 years. And I can do it at the pace and path that suits me. He speaks of all this AS WELL as the very bitter feelings that preceeds these revelations. I also really love his focus on facilitating others, of reaching potential together, of trust and faith in his team and their in him!

2. Marcille Donato (Dungeon Meshi)

Oh Marcille. (Manga spoilers here) Marcille started out so silly and to be honest? Annoying? Girly and anxious and squemish. But then you realise that these parts are absolutely true, but she is also determined and loyal and scared and unafraid and skilled. The firly and squemish becomes charming in contrast to her being excited to experience death and morally ambigious enough to use ancient magic or become a dungeon lord. And then you learn even more about her and her family, the way she grew up and how she probably is... pretty young, considering everything. The knowledge and life experience of someone being 40 maybe, but with the brain to handle it of a 19 year old... she is so afraid for everyone to die away and yet she cant help but love people! Isn't that lovely!? And as someone very afraid to lose my parents I really really feel for her relationship with her father. I think Marcille was a character who really illustrates the progression of tone in Dungeon meshi, represents the themes of the story so well, and really grew on me. Also gay. hi.

3. Shinji Ikari (Neon Genesis Evangelion)

I know people don't like this guy but he shaped me so much as a teen. I think his journey through lacking self-esteem and depression and self hatred is both fascinating, nuanced and in the end, encouraging! Imagine being offered to join humanity all as one, never feel rejected or alone again and then DESPITE all he has gone through, chosing to be yourself after all! And frankly I love that the show lets him be cowardly and weak and unsympathetic, it makes him more real and make his strong moments stronger. Also gay. hi

4. Mob (Mob psycho 100)

Mobs story is more low key, but I also enjoy a story about a young boy who FIRST has to find the motivation to improve himself, and THEN has to realise that improving yourself and being a good person does not necessarily mean to surpress any negative or strong emotions. Once again, a story about acceoting yourself, even the sides you have a hard time controlling and find off-putting or scary. And I think Mob gets to realise this in a silly and gently way!

5. Abe takaya (ookiku furikabutte)

Oh Abe. It's that one page. When he is explaining to Sakeaguchi his backstory with Haruna, and he is talking about it so casually, it's no big deal, but you can tell. "Everyone is afraid of pain". It makes my heart clench every time. It's his control-issues, his fast felling into caring about Mihashi as a person, but then slowly realising what that actually means. It's him being shocked by the smile, it's him doing anything to win, it's him not realising how mean he is. In a different story Abe would have been a bully. But fortunately for him Momoe and the team and Mihashi himself are not putting up with any of it and he slowly and also gently improves himself. I gotta catch up with oofuri. (also gay. hi)

Shout outs to: Hinata Shoyo (of course), Mihashi Ren (also of course), Edward Elric, Sophie (Howls moving castle movie), Reigen (im not immune), Tamaki (ohshc, sometimes i just think about him and hes so charming and fun and i relate), Kanamori (Keep your hands off Eizouken!, shes just. so cool. It's a fun show but every time shes on screen im blushing a bit shes just! Wow!), and the straight college student from one of my fave BL's who has to go on a personal journey to accept that he actually likes a man who's bigger and taller than him and has a big ass. Shoutouts to him too.

[gynandromorph]

It's okay not to answer, I know it's broad territory, but I really respect you as an artist and writer. How do you handle people misinterpreting or missing elements of your work, especially when they may still enjoy it and get something out of it? As an artist I'm struggling lately with knowing my work will always inherently be read differently from what I intended as a matter of the human experience, as well as me being autistic complicating my ability to communicate.

An addition to that last ask. I don't know if it's clear what I'm asking so I'll give some examples. A 50 year old man and a 21 year old woman will get different things from a movie due to their lived experiences. As a gentile reader I might miss jewish narrative themes in a piece of work. That doesn't mean it's bad for us to have experienced it, but as an author I find it frustrating when something is missed or misinterpreted, and I don't know how not to be a control freak about it.

i feel you, i have ocpd and being misinterpreted when i agonized and stressed about how to present my wording makes me want to light myself on fire and it's something i'm working on. writers are supposed to expect and account for different perspectives ahead of time, so it always sort of shocks me when i hear interpretations i wouldn't have thought about at all. i know logically i can't predict all outcomes, but it's still surprising anyway!!! but i generally feel a lot of distress about being misinterpreted because i'm afraid it'll label me as A Bad Person, so i think that's where the experience diverges. maybe investigating why you need to or want to control the way your work is interpreted would help as a starting point? i think having a larger audience helps, too... it means more people will misinterpret your work, but it also means you're more likely to have at least One Guy who interprets it just right and makes fireworks go off in your brain, but there's no way to control how big your audience is!

anyway, the ways to control how your work is interpreted, to the degree that you can:

you can make it simpler. the more parts a story has added to its complexity, the more it's going to be misinterpreted.

you can make the intended message more blatant. you can have a character say exactly what you want the audience to think or hear, or something very close to it. don't want a detail missed? make it bigger.

you can reprioritize parts of the story. basically think of a group of interpretations you want the audience to have if you can, and then put them in order of importance. then the story has a hierarchy to lean on wrt artistic decisions.

you can give the story multiple meanings. more targets to hit. if they're mutually exclusive, i find this works better... i like making my stories ambiguous with conflicting interpretations a lot. yeah, people are going to interpret the story wrong, because it was made in a way that will guarantee it is interpreted wrong in some way.

you can layer the meaning so that less literate audience members will at least get SOME of what you intended. basically, close to the previous strategy, but like a hybrid of that and "make it simpler" imo because you're constructing multiple interpretations that are all supposed to lead to one conclusion (like a persuasive essay or something), but can act as an adequate conclusion on their own.

all of these options have obvious qualitative losses. if you have anything in particular that is repeatedly misinterpreted or missed, it's a good idea to think about Why you're making those choices. consciously committing to a higher-risk artistic choice will help you feel more in control of what happens to it once it's done. the way your art is interpreted isn't totally out of your control, you are making decisions that add to or mitigate the risk of misinterpretations, and you can bring those choices to a more conscious awareness to see them and appreciate them. sometimes it'll feel like a begrudging compromise, but it'll still be Your choice ultimately.

on an emotional level... hopefully this makes sense. there's always going to be the piss-on-the-poor scenario and sometimes i just remind myself that some people are not as literate as me, but it's great we were still able to connect through a work that was probably difficult for them!!! it was a privilege to get to grow up with a good education, access to art and technology, strangers who want to look at what i made, and there are times where i take this for granted, and my expectations of readers are actually kind of unreasonable!!! some people are younger than me and say stupid things like i did, but they aren't able to understand things like me yet, and it's important for them to learn by figuring it out on their own!!! i was and will always be That Guy to other artists and other writers, and i want to give other people the same grace as i get. some people have wildly different life experiences compared to mine, and these experiences can be much more nuanced than i could ever imagine, but it's a little gift that they made my world larger by sharing theirs through my art!!! it's terrifying and embarrassing knowing that i don't know much of anything, even about something i have total control over, but the consequences of that aren't always negative. and possibly the saddest but most common way i deal with this is nothing more than accepting that no one is ever going to understand me on the level that i want to be understood. sometimes my frustration has come from a place of miserable alienation, where the need to feel Seen can be quite desperate. i've made art explicitly about Me, and i've made art deliberately hostile towards its audience, art that's said they don't get it and they never will, but they still bothered to try. i made a game that said no one will win here and they still played it with me, and i can appreciate that. in many cases, they actually know more about me than i know about them. but more importantly, it isn't my audience's job to take care of that emotional need -- in fact, as much as art is made out to be a mode of pure self-expression, i don't think they can. it's a reality that i don't like, but i accept it. art made to benefit others is a one-way mirror: you make them feel seen, but they should never see you, because if they see you, the mirror isn't working.

[thegamingcatmom]

Guess who? Spoiler: me, its me and I come with a question(s) bc it is 3am and my mind can't shut up (:

So I think this was mentioned previously in another ask or post but I don't remember if it went much into detail. My question is about mates and separation. It is said (dont remember if canon said something about it) that vampires have a hard time being away from their mates and I would like to go deeper into this, know your thoughts on the matter.

Like, how bad it is? How long can they stay away from their mate? Is it minutes, hours, days? Is it painful, like physically? What do they feel, like I think despair, anxiety? Are there vampires who have a better time than others?

And finally how each sister individually is regarding this 'separation' situation? How clingy are they, if they are that is? How do they handle it? Do they call a lot? Text? (They know what phones are right? Ancient creatures they are :p)

Thanks as always for the answers❤️ (this is so long and i probs forgot something but i cant think so im gonna try to sleep xD)

Hiii! <3

Totally relatable! 3am has, unfortunately, become the time my brain works on overdrive as well. Which means I usually have to quit when I feel like I'm making actual progress, because I do need to sleep at some point. 😭

Right so, I think vampires defo have a hard time being away from their mates. I don't think it's actual pain in the sense of being "physical," but I reckon it very much feels like that for them.

I also think that, just like us humans, they have different ways of dealing with that pain. Some seek the company of their other coven members, some prefer to be alone, some (try to) play it cool and don't let anything show, and so on.

With that said, how long they´re able to stay away also varies and depends on multiple factors, I´d say. It´s not just their own personality and their way of dealing with things that plays into it, but also the cause of the separation. I think the latter plays a rather big part, actually. Like, if it´s for a "good" cause then it might be a lot easier for them to endure, I imagine.

...Y´know, this kinda reminds me of Carmen and El and the things I have planned for them in The Sisters, because separation might actually become a recurring theme for them (we see a snippet of that in the upcoming chapter.) I haven´t quite decided yet how far I wanna take it, but your ask kinda makes me wanna explore how Carmen might cope with a possible long-term separation. 💔🥺

As for what they´re feeling when separated from their mate:

JOKES ASIDE THOUGH-

Truly mated/bonded vampires (thinking of James and Victoria here cause I have my doubts about those two) are like fitting puzzle pieces, shaped to align perfectly with the other. If one breaks away, you won´t have a complete picture. Other puzzle pieces might fit with some force, but it will always result in a crooked picture because it´s just not meant to be.

With that said:

I think it´s agony. Like a part of you is missing. A big part. Like, half your body, to be precise.

As for the sisters:

(yes, they do know what phones are, lmao)

(...valid question though)

Tanya would probably cope best. Or, well, she´d be the most convincing at pretending she´s alright. She´s a leader and, in my head, that´s like its "own" personality. If the situation calls for it, a switch is flipped in her head - topdog leader mode activated.

Ofc, the separation from her mate is more of a personal challenge and probably her biggest one yet. Also because it´s one she´s never had to face before meeting MC. But I still think she would handle it a lot better than her sisters...at least on the outside. Like I said, it´s like a switch being flipped, a "mental shield," if you will. She will put on a brave face, act like nothing´s out of the ordinary. She will do her damn best to function, because that´s what she always does in times of hardship. It´s what leaders do.

It might not be the healthiest way to cope with things, but it´s what she knows and feels comfortable with.

…Besides, you can bet your ass there´ll be at least 50 calls, 30 FaceTimes, and 250 messages per day.

A good leader always stays on top of things.

Kate is a lot softer than she lets on, so I think she´d actually struggle the most with being separated from her mate. She would probs try and avoid her family for the most part. As a former warrior, the last thing she wants is to be seen as "weak." Like with Tanya, it´s not the healthiest way to cope with it, but there´s still this thinking that feelings get you killed on the battlefield, y´know? There´s just some things and habits we can´t shake, no matter how hard we try. Kate being reluctant to show any kind of "weakness" in front of others is one such habit. She´s gotten a lot better at allowing and showing those feelings since meeting MC for sure, but when MC´s gone? I imagine she´d be quick to fall back into that spiral.

So yeah, you´ll probs find her in the woods, sparring with the trees or smt to get her mind off things, to distract herself from the immense distress she´s feeling over her mate being gone.

As for contacting her mate:

Hm...I´m actually torn on that one. On one hand, you have the battle-hardened warrior who refuses to show feelings. On the other hand, you have the moonstruck sap who turns into mush the moment her mate is involved in any shape or form.

With that said:

Kate would struggle with exactly that, lol. Like, it´s a constant inner battle between who she was and who she has become since meeting MC. So I can imagine her sitting somewhere, glaring at her phone, doing her best to keep herself from typing in those damn numbers or writing out that stupid message because warriors don´t show "weakness."

...She caves, eventually. And both she and MC are damn glad she did, that lovable dork.

Irina would cope better than Kate, but her struggles would still be more obvious because she doesn´t usually hide her feelings like Kate does. On the contrary, she pretty much wears her heart on her sleeve, which is also why she´s the only one (out of the sisters) who feels 100% comfortable with confiding in others about how she feels. She usually goes to Carmen when she seeks comfort or guidance, like pretty much everyone else in the coven, lol. So, when it comes to dealing with that pain, I´d say Irina defo has the healthiest way of doing it.

She also has the healthiest call/message count btw, lmao. She´s not as overbearing as Tanya (nobody is, lel), and also not as stone-faced as Kate. She gives a quick call or leaves a heartfelt message here and there, just checking in, y´know? Sometimes they´re short and sweet, other times they´re literal novels in which she proclaims her undying love over and over and over and over and over and-

...I mean, there are times where she just...she gets carried away a bit, which usually ends with her dropping everything to go and seek out her mate.

...Her mate, who went to the supermarket for a quick errand.

I mean, listen-

In the end, I think it all comes down to why the sisters have been separated from MC. They´ll probs cope a lot better if they know the separation is short-lived.

...Or maybe not, lol. *points to Irina*

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.

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Thanks a lot for your ask! Always stoked when those pop up in my inbox. 💋

#keepthethirstalive #keepthedenalisalive

[imthepunchlord]

God, I REALLY hope Juleka wins the Butterfly poll when it’s time for it - she’s the only one out of ALL the girls whose main color is actually Violet (as opposed to Pink or Indigo), and I feel like her character development wasn’t handled as well as it could’ve been (NONE of the character arcs were, but she sticks out to me in that she’s one of the more recurring supporting characters due to being Luka’s sister yet is simultaneously forgotten by both the canon show and the fandom in how things would affect HER SPECIFICALLY instead of adjacently through the people around her). I also feel like she would be a good match with whatever you’re going to solidify for Bugettes!Nooroo based on the tiny hints you’ve teased about him, both in itself and compared to Roaar, with whom I feel there were existing avenues for it to work but could’ve been sold to us much better in-show. Plus, I’d really just like to see her in a hero suit that’s actually purple; it still bugs me personally that PURPLE Tigress is far more magenta in actuality, almost red even, and very much like REFLEKTA’S main color at that.

Yeah we will see, as ultimately it'll come down to how the polls go, and I know Marinette and Rose have also gotten mentioned for Butterfly.

Juleka will also appear in the poll for Mantis, as Indigo is that in between blue and violet. So it's all kinda up in the air on how it'll go.

I also do agree. Juleka is one of the classmates that does stand out to me in her potential, and yeah it's butchered. So badly. This is primarily on the writers, but one of the things I dislike about Luka is the factor that, for the Couffaines, he's the priority. You could cut out Juleka and you wouldn't miss much. Like, the worst aspect is learning Jagged is their dad, but it was more Jagged and Luka's story than Jagged with both kids. Like, what was the point of making them both his kids when only kid really got priority in this revelation?

And yeah... Juleka with Tiger isn't really my go to pick either. I get her whole thing is trying to find her voice, to be heard and stand out. And with a kwami named Roaar, that does technically work off that agenda, but the power is One Punch Man vs doing something tied to vocals or sound. Which kinda makes the kwami's name a little random (honestly all Zodiac kwamis have really strange names that don't relate to their powers or themes).

The other odd detail is that, when you think of felines that are about roaring, tigers aren't what immediately come to mind, it's the lion. They roar to establish territory, to be heard and say "I'm here!", unless Roaar is meant to be a sort of mix of a tiger and lion? As she doesn't have a body covered in stripes?

I know that, supposedly, there's a Lion Miraculous coming, but it's not official yet.

Either way, tigers I more associate with hunting, stealthy ambush. Not really speaking out. I'll give it, tigers can be tied to leadership which does involve being heard, but it's more military leadership. They're more tied to war, aggression, and strength.

As for the kwami, to me, Roaar came off a bit of a bully. Which maybe Juleka just needs that tough love/push to speak up, but I personally didn't really care for their interactions. Though I still say Mullo and Mylene were the worst paired characters out of all kwamis and humans.

And yeah, Roaar visually doesn't really match with Juleka.

Technically, she matches with Cat the most.

Her main color is black, with bits of purple and green.

While Plagg is meant to be a black cat, there are times he's purple. And of course he has them big green eyes.

I could also see Juleka visually working with Kaalki. I see a hue of purple in her gray, and there is the green eyes to work off as well.

There's also the intrigue that Juleka wants to be a model and Kaalki expects someone famous or wealthy, getting a holder who isn't but wants to be, Kaalki would have to work with them to get them to where they both want Juleka to be; though I do see them butting heads a bit as it's pairing two of high and low status, but that could be fun. Plus, there's the pun potential of Juleka learning to be a show pony with Kaalki's help (she could've also called herself Knightmare).

And yeah, with Butterfly, Juleka could've done well. You do have to communicate with others, so Juleka would have to work at talking with others, to express her thoughts and to be heard, and there's some pressure to be taken off as it's more long range communication vs close, but the option is there for close range communication whenever Juleka is ready for it. And Nooroo would be a gentle and patient guide.

We'll have to see if it happens though.

[hermitw]

I've been thinking about this reblog of yours for months and I finally figured out how to respond to it.

I went and read No Longer Human by Junji Ito and it was a very upsetting thing to go through. I don't think I can read it again. However, I came out of it thinking that Gege was probably inspired by it.

When Yozo is first introduced, I noticed that Takaba's backstory was very similar. Feeling isolated from others, he decided to become a clown to gain acceptance from others. (Citations in Image Captions)

And later when Yozo was caught "cheating" (it's in quotes because those women are child rapists), I noticed that her face was really similar to the one Higuruma's client made when he felt betrayed by the trial outcome.

There's probably a lot more to say about how themes surrounding CSA and suicide in this work are echoed in JJK, but I'm not able to make the post myself. No Longer Human is too far out of my comfort zone in terms of graphic depiction to delve into it deeper.

But you seem strong enough to handle it, so... Idk maybe run with this some more.

Ohhh this is so interesting! I could definitely read No Longer Human again - tbh I read Junji Ito's version years ago. This year I listened to the audio book and bought a copy - but it's like, a draft in the author's handwriting (bc I thought it would help me study Japanese and if I had an English translation that I'd read it on repeat lmao). But you're real for that - I forget how disturbed people tend to be trying to read through it, I'm sorry that was rough.

I did go back to read the reblog and idk how relevant all that was - I've reread the manga since and felt like, oh I might have been misremembering some things like Uraume - idk if they actually had a freeze response in ch. 219, since they did tell Yorozu to back off though it took a minute - but it's also interesting how their CT deals with ice. Like to have a fight response, they freeze others? It's so interesting but I can't be sure whether it's there at all. (ik that yap II inspired some more coherent posts, like how it influenced Choso's self-image, etc., I linked but didn't tag you back then bc I felt Annoying especially w heavy topics but I can definitely go back and find them if you'd like.)

On a twin peaks note (without spoiling it), I feel like it inspired jjk to some extent - I've been feeling like the last chapter will end the way s2 did. Or at least - with the weird dreamy themes, "we are the dreamer who dreams and who lives inside the dream", etc...

But you're right - Yozo and the others' reactions resemble more jjk characters than I would think to connect. Takaba's jokes are truly a shield... And now I have an excuse to read Junji Ito's version again? Thank u so much (also isn't it funny how September 28 Uzumaki airs and September 30 jjk ends?).

I think gege gets inspired by the most tragic stories, I wonder how much of that is accurate but I can't always be convinced otherwise.... Especially when anime / manga series that he's confirmed as influences often deal with autonomy in ways that I couldn't handle (Evangelion, the night beyond the tricornered window).

By the way - ik we've mentioned elfen lied before, but in the first episode, you know that coffee mug? How it looks like jjk foreshadowing? Even has snail head Mahito - cut off-, the baseball, Panda, the worm (also cut off).... and later the newborn babies that look just like Yuuji...

I swear that elfen lied, Kagewani, and banana fish influenced jjk. It seems so obvious w those, maybe Vampire Princess Miyu as well.

Sorry for getting off topic - I've been looking into why Momotaro keeps coming up in jujutsu kaisen, and in the end it came back full circle to that damn coffee cup. Invest in a baseball team? A zoo? I'm going insane.

All this to say - rereading Junji Ito's version and seeing if I notice similarities between manga panels is so exciting. Gege even made a note that he asked for permission before drawing - I think it was the Uzumaki CT - So we know he's a big fan of Junji Ito. And it seems like there is a rly good chance No Longer Human inspired him as well (though I feel like characters with similar traumas having similar reactions is inevitable to some extent, if they're written in a believable way, it should be clearer when I'm reading both stories in the same format) based on the stories he has officially referenced.

[tyrantisterror]

Who are your top favorite personifications of death in fiction and what is it that endears you to each version specifically?

None will ever surpass Death from Discworld, a character of supreme compassion who toils endlessly to care for people and assure their end is handled with all the grace and kindness they have earned in life. He's in many ways a pitiable figure, full of love for the living that he is never able to get truly close to, horrified at the cruel realities of life that he cannot undo but merely soften, and rarely ever acknowledged for the hard work he puts in at every moment of existence. He is one with his Duty, responsible to a fault. Death wants nothing more than to give life, to preserve it, to make it so we don't suffer anymore, but he knows reality doesn't work like that, and can't work like that, so instead he does his job and does it well, making sure we get some atom of justice and mercy in death when it's earned, even and especially if we didn't get it in life.

It probably seems a bit trendy to list Death from Puss in Boots as my second favorite, but I think he's going to stand the test of time as one of the GOATs of death personified. He's terrifying and relentless, bringing a looming dread that hangs over the story from his entrance on despite him only popping up sporadically, exactly as death should. While he's an antagonist in the story, he, like Discworld's Death, holds life itself in high regard, and only pursues Puss in Boots so maliciously because Puss has failed to do the same, treating his lives as frivolous and expendable rather than the precious and finite gifts they are.

Death in Bill And Ted begins as a riff on Death from The Seventh Seal, but, after being beaten by the titular duo at a shitload of board games, slowly comes out of his shell to reveal he's actually a pretty sweet and fun-loving guy when he's allowed to get out of his gloomy work persona. It all continues this theme of Death cherishing life in its way - that the finite nature of life, its necessary end, makes it all the more valuable to cherish.

The Red Death from Edgar Allen Poe's The Masque of the Red Death is a bit more malicious, tormenting the courtiers of Prince Prospero's titular masquerade by reminding them of the plague they're all ignoring before finally killing all of them when it's dramatically appropriate to do so. But, like, they fucking deserved it, using their wealth and power not to help their countrymen, but to live in lavish luxury while the common folk die hideously to a vile disease. The Red Death, in his indomitable grip on humanity, ensures a certain level of justice is held - that while the rich and selfish may steal some escape from the grim realities of life, Death will come for them just the same as it comes for the poor.

I'm going to end with Death from the Castlevania show on Netflix, who's about as evil as Deaths get in fiction, and deliciously so. He's crass, vulgar, petty, and utterly selfish, which ironically makes him feel more human than anyone else on this list. Which works for how death and violence as a whole are shown a consequences of those very human vices - after four seasons of characters inflicting death wantonly for the sake of their own personal desires and faults, it makes sense that the Death of this world would have all that pettiness cranked up to the extreme - and that he is defeated by a hero deciding once and for all to rise above his own vices and faults to fight against impossible odds for the sake of everyone else.

[antigonick]

just stumbled into one of your snippets and i'm OBSESSED with your writing style. it is so fluid and punchy and such a delight to read. if you ever feel like answering, how does your writing process works? what are your inspirations, style and tone-wise? and what themes do you enjoy exploring the most?

have a lovely day! 💌

Oh, that's... WELL. That's! The best compliment you could have sent me, thank you so much, I don't know what to say.. I'm actually trying to write a... I'm gonna call it a novel when it's just a mess of fragments right now, but—yeah. Fluid and punchy is exactly what I strive to achieve with the character's voice so this is so nice to hear. WHATEVER. THANK YOU.

Anyway! My writing process is really... steeped in rhythm, I guess? It starts with character writing, which leads me to character voice, which leads me to finding the right "mind" tempo, and from it cascades the headspace I need to write. In that, in the idea of perspective and voice influencing the story first, I'm indebted to Faulkner, to Marlon James, to Woolf's The Waves, to Shirley Jackson—to the perspectivism twists of horror and gothic writing as a general rule. Rereading her, I think Emily Brontë has shaped my metaphorical network very early on, and my handling of violence, especially in dialogue—though more recently, Tamsyn Muir made me tick about dialogue too. Malin Rydén is one of my utmost inspirations, not a little because the main character of my story was first created for his story, but also because he was my gateway into harder, grittier speculative fiction and digital literature, which both inspire me now for the story I'm trying to shape—horror out of the gothic castle and into the terrible anticipation of what comes next, with more politics, with ghosts and body horror twisted to technology. In terms of pure form, I'm extremely impacted by poetry—E. E. Cummings, Alice Oswald, Emily Dickinson—those who deconstruct syntax to wrangle it into breath. He didn't influence me because I discovered him too late, but I feel a kinship to some of the early stylistic experimentations of Frank Bidart too. Hanif Abdurraqib, whose first name I gave to one of my main characters too because his voice is incredible: it moves. Charles Olson's Projective Verse gestures at what I feel when I write, you know? "ONE PERCEPTION MUST IMMEDIATELY AND DIRECTLY LEAD TO A FURTHER PERCEPTION (…). Always one perception must must must MOVE, INSTANTER, ON ANOTHER! (…)" and then "Breath allows all the speech-force of language back in." Even silence can be your story-weapon.

I'm interested in... blowing apart labels, dichotomies, I think, making them harder to grapple with—right and wrong, love and hate, personal and universal; transgressions, fluidity; how language fails, how language betrays; the way human connection can both fuck you and raise you up, in its constant failure and constant trying, in the violence of intimacy, in the tension between hardness and vulnerability—more than anything, I'm interested in the way individual desires clash with collective needs or personal ideals, in the lies and justifications you can find for yourself, in what it means for you when you come to dismantle them (or refuse to). I love palimpsest, stories retold again and again, and/or I love difficult, ugly settings, speculative and dystopia topics, I want the story to be political in itself, even when it's not politicking; and I LOVE mindfucks: using our terribly faulty, terribly subjective perception / perspective / memory / dreams / FEARS / intellect to tell a story that is both fascinating because it's unique, and trapped by it. Can't escape yourself. What are you gonna do with yourself (against yourself, for yourself) now?

Formally, I try to use that in writing: trapping the reader in one voice that swallows them really, ideally that jostles them a little, that blurs the boundary between them and the character: extreme immersion. I like to try and convey emotion / impression and even action as it is experienced, rather than explaining it clearly. In that phenomenology has influenced me, I guess? Deleuze, Guattari, Merleau-Ponty, and poetry again, I guess. Archibald McLeish says "a poem should not mean / but be...", and that's what I try to do with the character I choose, and then I let them be, and they drive both the story and the writing that should echo it—form and content cycling each other like mirrors.

Goddamnit, that got so long. Anyway. THANK YOU for being interested, I'm really touched.