#they're what within a decade of age

[sabines-wrens]

can’t stop thinking about what a wildly fascinating dynamic din djarin and sabine wren could have 

yes there’s the whole shared experience of having the darksaber and complicated family/clan history but consider also

sabine, literally vibrating: let me paint your armor please - 

din, looking at her armor: absolutely the fuck not

[tokruta]

Life isn't over until you're dead

Life isn't over until you're dead

Life isn't over until you're dead

Life isn't over until you're dead

Life isn't over until you're dead

LIFE ISN'T OVER UNTIL YOU'RE DEAD!!!!

[fozmeadows]

the older I get, the more the technological changes I've lived through as a millennial feel bizarre to me. we had computers in my primary school classroom; I first learned to type on a typewriter. I had a cellphone as a teenager, but still needed a physical train timetable. my parents listened to LP records when I was growing up; meanwhile, my childhood cassette tape collection became a CD collection, until I started downloading mp3s on kazaa over our 56k modem internet connection to play in winamp on my desktop computer, and now my laptop doesn't even have a disc tray. I used to save my word documents on floppy discs. I grew up using the rotary phone at my grandparents' house and our wall-connected landline; my mother's first cellphone was so big, we called it The Brick. I once took my desktop computer - monitor, tower and all - on the train to attend a LAN party at a friend's house where we had to connect to the internet with physical cables to play together, and where one friend's massive CRT monitor wouldn't fit on any available table. as kids, we used to make concertina caterpillars in class with the punctured and perforated paper strips that were left over whenever anything was printed on the room's dot matrix printer, which was outdated by the time I was in high school. VHS tapes became DVDs, and you could still rent both at the local video store when I was first married, but those shops all died out within the next six years. my facebook account predates the iphone camera - I used to carry around a separate digital camera and manually upload photos to the computer in order to post them; there are rolls of undeveloped film from my childhood still in envelopes from the chemist's in my childhood photo albums. I have a photo album from my wedding, but no physical albums of my child; by then, we were all posting online, and now that's a decade's worth of pictures I'd have to sort through manually in order to create one. there are video games I tell my son about but can't ever show him because the consoles they used to run on are all obsolete and the games were never remastered for the new ones that don't have the requisite backwards compatibility. I used to have a walkman for car trips as a kid; then I had a discman and a plastic hardshell case of CDs to carry around as a teenager; later, a friend gave my husband and I engraved matching ipods as a wedding present, and we used them both until they stopped working; now they're obsolete. today I texted my mother, who was born in 1950, a tiktok upload of an instructional video for girls from 1956 on how to look after their hair and nails and fold their clothes. my father was born four years after the invention of colour televison; he worked in radio and print journalism, and in the years before his health declined, even though he logically understood that newspapers existed online, he would clip out articles from the physical paper, put them in an envelope and mail them to me overseas if he wanted me to read them. and now I hold the world in a glass-faced rectangle, and I have access to everything and ownership of nothing, and everything I write online can potentially be wiped out at the drop of a hat by the ego of an idiot manchild billionaire. as a child, I wore a watch, but like most of my generation, I stopped when cellphones started telling us the time and they became redundant. now, my son wears a smartwatch so we can call him home from playing in the neighbourhood park, and there's a tanline on his wrist ike the one I haven't had since the age of fifteen. and I wonder: what will 2030 look like?

[fishofthewoods]

I see a lot of people clowning on the people of Pelican Town for not repairing the community center themselves or clowning on Lewis for embezzling and. like. Those criticisms aren't entirely unfair. But I think instead of coming at it from a perspective of "why can't the townspeople do this" we should be asking "why and how can the farmer do this?"

Like. Think about it. The farmer arrives in Stardew Valley on the first day of spring. By the first day they're obviously different. By day five the spirits of the forest who haven't been seen by the townsfolk in years or generations are speaking to them. By the second week they've developed a rapport with the wizard that lives outside town.

In the spring they go foraging and find more than even Linus, who's spent so many years learning the ways of the valley. Maybe he knows, when he sees them walking back home. Maybe he looks at them and understands that they're different, chosen somehow.

In the summer they fish in the lakes and the ocean for hours on end, catching fish that even Willy's only ever heard of, fish that he thought were the stuff of legend. They pull up giants from the deep and mutated monstrosities from the sewers.

In the fall, their crops grow incredibly immense; pumpkins twice as tall as a person, big enough that someone could live inside. The farmer cuts it down with an axe without even batting an eye. Does Lewis wonder, when he checks the collection bin that night and finds it full to the brim with pumpkin flesh? What does he think? Does he even leave the money? Does he have the funds to pay the farmer millions of dollars for the massive amounts of wine they sell? Or is it someone--something--else entirely?

In the winter, the farmer delves into the mines. No one in Pelican Town has been down there in decades. No one in living memory has been to the bottom. The farmer gets there within the season. They return to the surface with stories of dwarven ruins and shadow people, stories they only tell to Vincent and Jas, whose retellings will be dismissed by the adults as flights of fancy. People walking by the entrance to the mines sometimes hear the farmer in there, speaking in a language no one can understand. Something speaks back.

The farmer speaks to the the wizard. They speak to the spirit of a bear inside a centuries-old stone. They speak to the shadow people and the dwarves, ancient enemies, and they try to mend the rift. They speak to the Junimos, ancient spirits of the forest and the river and the mountain. They taste the nectar of the stardrops and speak to the valley itself. They change Pelican Town, and they change the valley. Things are waking up.

And what does Evelyn think? She's the oldest person in the valley; she was here when the farmer's grandfather was young. (How old *is* she, anyway? She never seems to age. She doesn't remember the year she was born.) Does she see the farmer and think of their grandfather? Does she try to remember if he was like this too, strange and wild and given the gifts of the forest?

And does their grandfather haunt the valley? He haunts the farm, still there even after his death; his body died somewhere else, but his spirit could never stay away for long. Does Abigail, using her ouija board on a stormy night, almost drop the planchette when she realizes it's moving on its own? Does Shane, walking to work long before anyone else leaves their house, catch glimpses of a wispy figure floating through the town? Does the farmer know their grandfather came back to the place they both love so much?

Mr. Qi takes interest in the farmer. He's different, too; in a different way, maybe, but the principles are the same. They're both exceptional, and no matter what Qi says about it being hard work and dedication, they both know the truth: the world bends around the both of them, changing to fit their needs. Most people aren't visited by fairies or witches. Most people don't have meteorites crash in their yard. Most people couldn't chop down trees all day without a break or speak to bears and mice and frogs.

The farmer is different. The rules of the world don't work for them the way they work for everyone else. The farmer goes fishing and finds the stuff of fairy tales. The farmer goes mining and fights shadow beasts and flying snakes. The farmer looks at paths the townspeople walk every day and finds buried in the dirt relics of lost civilizations.

The farmer is a violent, irrepressible miracle, chosen by the valley and destined to return to it someday. Even if they'd never received the letter, they would've come home.

They always come home eventually.

[star-anise]

Warnings: Doomerism, climate grief, child death

The thing about having studied history and the psychology of trauma so much is that I can't pretend to myself that the world used to be better at sometime in the past.

Don't get me wrong; things are absolutely terrible right now and need to change, quickly.

But also, they're better than they've ever been for us as a species. It is literally mindblowing how much worse life was for us historically.

Have you seen one of those charts of the human population over time? Have you thought about what it actually means?

Because here's what I see: Humans have always loved things like living to old age, like having sex, like raising babies. Those are things we have always wanted to do. It's not like pre-industrial humans were giant pandas like, "Nah, rather not reproduce as a species. No thanks," and suddenly the Victorians discovered horniness.

Instead, for most of human history, we have died. At terrifically young ages. The few who made it to adulthood could make babies as much as they liked, and then overwhelmingly watched pregnancies miscarry, births end in tragedy, or babies die. Their own lives were constantly at the mercy of a world that could kill them without a second thought. To be human meant to live in a world full of a million little tragedies, all the goddamn time.

And then what happened was: The babies stopped dying. The effects of a lot of things from higher agricultural yields to public health efforts to mass communications made us the master over the diseases and maladies that once had us by the throat.

When we look ahead at catastrophe and terrors, yes, they're bad. But they'd have to be extremely bad indeed to measure up to the number of people who wouldn't even be alive in any other century.

And even the obvious bogeyman then, overpopulation—did you notice what's already happened? On that chart, there's the green measure of total population, but the thin purple line is the rate of population growth. Please notice that it peaked in 1968. It is, in fact, projected as entirely possible that within a century it could go lower than it was twelve thousand years ago, at the end of the last big ice age.

The moment babies started to live longer, people went, "That is too many babies. An absolutely unsustainable number of babies. People are crying out for help because taking care of that many children is completely overwhelming. We need to be able to fix this problem," and they invented birth control and fought to get it legalized. It hit the market in the late 1950s and in less than a decade, it had caught on like wildfire.

To me, this is the absolute opposite of an argument for passivity and political inaction. It's not that everything's going to be okay so why even try. It's that as it turns out, the human capacity to grow and thrive and make the world better is absolutely reality-defying. I don't have faith that all of our problems will be solved, but I do have faith that those problems are all the subject of passionate obsession of millions of people.

And apparently we have a really strong track record at that kind of thing already.

[headspace-hotel]

Researching herbicide resistance in weeds.

A decade ago, everyone said rotating applications of different herbicides was key to stopping herbicide resistance.

Then, around 2015, evidence from a large study emerged saying that this actually causes weeds to be MORE resistant, so the best thing to do is to spray a combination of multiple herbicides mixed together at once.

Now that is being called into question too. Whoda thunk it...

Herbicide resistance among weeds is only getting stronger. Recently, scientists found an annual bluegrass (Poa annua) on a golf course that was resistant to seven herbicide modes of action at once. Seven. SEVEN. Amaranth plants been found with resistance to six herbicide modes of action at once. Twenty years ago, the narrative was that resistance to glyphosate (Roundup) was unlikely to become widespread; today it's the second-most common type of resistance.

What's more, plants are developing types of herbicide resistance that are effective against multiple herbicides at once and harder to detect. Instead of changing the chemical processes within them that are affected by the herbicides so the herbicides don't work as well, they're changing the way they absorb chemicals in the first place. Resistant plants are producing enzymes that detoxify the herbicides before they even enter the plants' cells.

It took Monsanto ten years to develop crop varieties resistant to Dicamba (after weeds made 'Roundup Ready' crops pointless). Palmer amaranth evolved Dicamba resistance in five years.

So I asked, "Why are all the proposed solutions dependent on using more herbicides, when we know damn well that this is going to do nothing but make the weeds evolve faster?"

The answer is that chemical companies have the world in a death grip. They can't make money off non-chemical solutions, so chemical solutions get all the funding, research, and outreach to farmers.

But why do chemical companies have so much power?

One of the biggest reasons is the U.S. military.

In the Vietnam war, all of Vietnam was sprayed with toxic herbicides like Agent Orange, which was incredibly toxic to humans and affected the Vietnamese population with horrible illnesses and birth defects. Monsanto, the company that made the herbicides, knew that it did this, but didn't tell anyone. The US government didn't admit that they'd poisoned humans on a mass scale until Vietnam veterans started dying and coming down with horrible illnesses, and even then, it took them 40 years. (My Papaw died at 60 because of that stuff.) And the soldiers weren't there for very long. As for the Vietnamese people, the soil and water where they live is contaminated.

Similarly, during the "war on drugs," the US military sprayed Roundup and other chemicals on fields to destroy coca plants and other plants used in the manufacturing of drugs. This killed a lot of crops that farmers needed to live, and caused major health problems in places such as Columbia. The US government said that people getting sick were lying and that Roundup was just as safe as table salt. (A statement that did not age well.)

So chemical companies make money off arming the USA military. The American lawn care industry, and the agricultural system, therefore originates in more than one way from the United States's war-mongering.

The other major way is described in this article (which I highly recommend), which describes how after WW2, chemical plants used for manufacturing explosives were changed into fertilizer producing plants, but chemical companies couldn't market all that fertilizer to farmers, so they invented the lawn care industry. No exaggeration, that's literally what happened.

This really changes my perspective on all the writings about fixing the agricultural system. The resources are biased towards the use of chemicals in agriculture because the companies are so powerful as to make outreach and research for non-chemical methods of agriculture really hard to fund. All the funding is in finding new ways to spray chemicals or spraying slightly different chemicals, because that's what you can actually get ahold of money to look into. It is like the research has to negotiate a truce with the chemical companies, suggesting only solutions that won't cause lower profits.

Meanwhile my respect for Amaranth is skyrocketing.

Who would win: The USA military-industrial complex or one leafy boi

[empty-movement]

Welcome to Something Eternal: A Website Forum in 2023 wtf lmao

It's 2023, and a single belligerent rich guy destroyed one of the primary focal points of uh...global communication. Tumblr is, shockingly, kinda thriving despite the abuse it gets from its owners, but that I will call the iconic refusal of Tumblr users to let Tumblr get in the way of their using Tumblr. Reddit killed its API, removing the functionality of mobile apps that made it remotely readable (rip rif.) Discord, our current primary hangout, has made countless strange choices lately that indicate it has reached the summit of its usability and functionality, and can only decline from here as changes get made to prepare for shareholders. (NOTE: WROTE THIS POST BEFORE THEIR MOBILE "REDESIGN" LMAO)

The enshittification is intense, and it's coming from every direction. Social media platforms that felt like permanent institutions are instead slowly going to let fall fallow incredible amounts of history, works of art, thought, and fandoms. It kinda sucks!

A couple years ago, I posted about a new plan with a new domain, to focus on the archiving of media content, as I saw that to be the fatal weakness of the current ways the internet and fandoms work. Much has happened since to convince me to alter the direction of those efforts, though not abandon them entirely.

Long story short? We are launching a fucking website forum. In 2023.

If you remember In the Rose Garden, much about Something Eternal will be familiar. But this has been a year in the making, and in many ways it's far more ambitious than IRG was. We have put money on this. The forum is running on the same software major IT and technology businesses use, because I don't want the software to age out of usability within five years. It has an attached gallery system for me to post content to, including the Chiho Saito art collection. It has a profile post system that everyone already on the forum has decided is kinda like mini Twitter? But it is, fundamentally, a website forum, owned and run and moderated by us. We are not web devs. But we have run a website on pure spite and headbutting code for over twenty years, and we have over a decade of experience maintaining social spaces online, both on the OG forum, and on our Discord. Better skilled people with far more time than we have can and will build incredible alternatives to what is collapsing around us. But they're not in the room right now. We are. And you know what? Maybe it's time to return to a clunkier, slower moving, more conversation focused platform.

You're not joining a social media platform with the full polish of dozens of devs and automated moderation. Things might break, and I might need time to fix them. The emojis and such are still a work in progress. Because e-mails no longer route in reasonable normal ways, the sign-up process instead happens within the software, and has to be approved by mods. Design and structure elements may change. Etc. The point being, that the forum isn't finished, but it is at a place where I feel like I can present it to people, and it's people I need to help direct what functions and things will be in this space. You all will shape its norms, its traditions, its options...choices I could try to make now, but really...they're for us to create as a group! But the important stuff? That's there. Now let's drive this baby off the damn lot already!

Come! Join us!!

PS. As always, TERFs and Nazis need not apply.

[absolutely-esme]

DPxDC Prompt Where Everyone is Confused

What if ghosts mature differently then humans so that there's less of a fixed time frame? It's not about the time so much as how they spend it. Some young ghosts will go decades or even centuries without doing any growing up at all while others steadily work their way toward adulthood. Ghosts that start out the same age may not stay that way.

In this case, it would be entirely possible for ghosts to speed run the process of growing up, especially under high stress circumstances.

So, suppose Danny, Sam, and Tucker brute-forced their way to ghostly adulthood within a year of the accident (could be all three are halfas, could be Sam and Tucker are liminal enough to count). However, they aren't just ghosts, and the human portion of them doesn't work like that. Human biology goes at it's own pace and will finish when it finishes.

End result, the trio are adults on the ghostly side of things but still kids on the human side. Much uncanny. Very uncomfy.

Meanwhile Whatever DC hero you like has recently had a brush with death that turned them liminal. On the human side of things they're an adult, but on the ghostly side of things they're a newborn.

Put these characters together and watch the conflicting instincts confuse the heck out of everyone.

[foxx-queen]

the lore inconsistencies with the blight in this game are actually exhausting. 'the rules have changed the blight has changed' okay but make it make sense within the changes please like

the blight is the titans dreams gone mad with rage okay. red lyrium is lyrium infected with the blight. except that section of red lyrium in harding's quest which is... angry... but somehow not infected with the blight... even though we know what red lyrium is from inquisition

the calling eventually kills you but there's a bunch of super blighted wardens who've been alive for ages underground. isseya has been alive since the 4th blight. these wardens aren't even proper darkspawn they're just Really Corrupted

there's that ominous 'theres something in the blight' quest you do in the wetlands that just turns out to be a giant blight growth. darkspawn appear from blight pools now. also apparently in the wetlands there's just a bunch of flowers happily thriving beneath the blight that are fine once the blight is removed. did we forget the western approach. that the land is barren after it's infected with the blight.

it's super easy to become infected with the blight, except if you're rook and co apparently because that blighted status sure doesn't really have any consequences. spEAKING OF which neve/bellara become super duper infected by the blight to the point they can control it and yet afterwards... they're fine?? they're fine!! there's no cure for the blight except apparently you can just shake it off. the hero of fereldan has been searching for a cure for decades but could've just shrugged it off apparently!

[genericpuff]

say sike right now, she's actually going back to The Doctor Pepper Show-

Like, this is just "What if The Doctor Pepper Show and LO had a baby?" Because at this point it's very clear Rachel only knows how to write from inside her own head, which is full of unresolved salt towards her childhood and medical fetish shit. The imagery in the first panel is very LO, and the imagery in the second is literally The Doctor Foxglove Show-

Evidently she's been reskinning the same shit for years-

Listen, I've been, for the most part, keeping my lips sealed on a lot of Rachel's old projects and what I've dug up on her previous works, for a few reasons:

1.) We were all cringe on the Internet at some point in time and a lot of these older works, such as Freak Scene Surgery and The Doctor Pepper Show, would have been from when she was in her late teens / early 20's. I'm not here to judge Rachel's personal preferences or whatever kind of fetishes she's into. It's totally normal, expected even, for a lot of creators to have older works they're trying to bury or disconnect themselves from because it's simply not them anymore.

2.) Ultimately I've been focused on discussion around Lore Olympus and Rachel as she currently operates as a creator, so I don't want to go digging up her old skeletons as any sort of "gotcha" towards LO today. Ultimately a lot of these works don't have anything to really 'do' with LO as it exists today.

That said, the reason I'm bringing it up now is because these new series... are bridging that gap that I've been avoiding for ages now. The gap that's filled with skeletons of Rachel's past that she's trying to both disconnect herself from but now fall back on with LO come and gone. It almost goes to show that her being a one-note pony goes back since far before LO - these are literally the only ideas she's able to come up with at this point, and it's painfully obvious in how both these new "graphic novel pitches" are pretty much the exact same and could apply to the same character, and that character may as well just be Persephone, i.e. Rachel, all over again.

Like, I'm calling it now, Patients in the Dark is just gonna be more "moms are bad" rhetoric, and Eleanor's Deathbed is gonna be Hades and Persephone, but replace Hades with some death god and Persephone with a training mortician, which is basically also still just Foxglove training to be a doctor, and Icy Shaw bragging about fondling corpses.

If anything, now that Webtoons is no longer carrying her around on their shoulders, this is gonna be Rachel's moment of "put up or shut up". She can either actually put in an active effort to write something that's decent, or she can flounder under the weight of her own tired mediocrity that's been knocking at her door for years now. As much as she's using her labels that were bought for her to sell these books which aren't even in real development yet-

-Webtoons isn't gonna be there to buy her Eisners forever. This is entirely on her and the imprint that Webtoons shoved her into. Her process is still the same, she's learned nothing from the experience of making LO, she's just got the money and awards now and is trying to run with it, but all she has are the same tired pitch lines that she's been using for decades now and just so happened to work with LO because LO had both Webtoons and the appeal of it being a Greek myth "retelling" to carry it into fame.

I'm gonna go into a bit of a tangent here, but it's been weighing on my mind since I found out this news and have been discussing it with pals within the ULO circle. Rachel once said in an interview that she wanted to use her platform to raise awareness of issues regarding sexual assault, mental health, and "the patriarchy":

"Who do you know that hasn’t been sexually assaulted? The number is depressingly low, right? Why is that? There is no short answer or an easy fix. I have a platform. I can tell a story that will hopefully educate and help others feel acknowledged and vindicated." - Rachel Smythe, Interview with Gossamer Rainbow

"...obviously I'm very feminist, and that sort of stuff really matters to me, um, the best way to approach this question is… I began, the pilot was written in sort of mid-2017, and I think what I wanted, what I wanted to achieve, and I don't even know… probably in 5 years time I don't know how I'm going to feel about this but I'm taking the risk, I really wanted to write a story where, uh…this female character goes through these things and I think what I wanted to do, what I wanted to achieve, was like a really common, I can't speak for like, men, but I can definitely speak for like, you know, if you're sitting in a group of your female friends and you're like "Hey! Who's been sexually assaulted?" … The response is going to be really depressing… Most female people that you know have probably experienced sexual assault to, on one level or another, and I'm like, for me I'm like "Why is that? Why?" And is it because there is a lack of information, lack of education, like what is it? And I'm lucky enough to have a platform and I'm like, if I could just provide some information in story format, would that help? Is this what I can contribute? So I feel like, especially, when writing sexual assault in media often it's… it's a way for the main male character to be, like, uplifted to hero-ness by, usually like, violence is the way to fix the problem, and that's not the approach that I want to take… um, I think [sighs], oh god, sorry I've lost my train of thought, [sighs], yeah, I think a lot of the time in movies when they, like, show rapists or something it's generally someone who's jumped out from behind the tree at a lady in a park and it's not really how it is like 90% of the time [laughs], so I just wanted to make something realistic where people could at it and be, like, "hey, nagging someone into sex isn't cool" or like removing all of their opportunities to say no isn't cool, or for someone to look at it, and just like feel validation, this is me trying, trying my best to make a difference with the platform that I have, and yeah, this is my roundabout answer for it" - Rachel Smythe, Interview with The Comic Source

And yet not once has Rachel actually used her platform for good outside of herself. She just asks the question, "Sexual assault?" and then writes off the answer "yes, it's bad!" and it especially shows in LO where the resolution to the one plotline she kept around to draw in readers was "assaulters are sent to the timeout corner!" Sure, it works for the readers who are simply seeking validation that their experiences aren't unique to themselves, but is it actually doing any real work to talk about the systems in place that leads to people like Apollo being created? Is it doing anything to address purity culture as it exists and the double standards that exist for women who are navigating sexual relationships? Is it doing anything to take the discussion outside of the narrative and put it into action through support of women's shelters, charities, mental health support for men, etc.? Not really. Like many of Rachel's ideas throughout LO, she simply goes, "Men, amirite?" and the answer is "yeah men suck!" and nothing more. The answer to the entire SA plotline is "rape is bad, don't do it" when anyone who could even relate to that conclusion in the first place already knows that.

Ultimately the activism she claims she's trying to do doesn't actually service the issue at hand - it just services herself and her own insecurities, her own unresolved trauma, her own need for validation through Eisners and merch sales. She asks the question, "Who hasn't been assaulted?" so that when she responds to the women who come forward and relate to Persephone, it's with the intent of getting them to read LO and buy her merchandise. She winds up making herself the center of other people's experiences, even ones that she cannot relate to. At BEST her attempts to "use her platform" as a means of starting discussion around ongoing societal issues like the patriarchy and sexual assault towards women is about as effective as Bell #LetsTalk, it's purely performative, self-profiting, and offers nothing of real tangibility.

If she just wants to write her own self-empowering personal works, that would be fine. Plenty of creators do it. Art is, at its core, self-expression. But it's extremely telling that she's built a platform off her self-expression, and twisted it into what she believes to be "activism" and "feminism", so that she can continue to profit off it in her future works such as this, which, again, are just reskins of her previous projects which were largely centered around the fetishizing of abuse towards women.

I don't want to claim that this is what it is, but... how much of the "feminism" in LO is done purely through the lens of victimizing women? Why is there more effort put into torturing female characters like Hera, and Demeter, and Minthe, and even Persephone to a certain degree, than there is into actually addressing the larger issue that she's claiming she wants to shed light on and resolving her questions with actionable answers?

That is the only question I will leave you all with. I am absolutely 100% not planning on touching these works with a ten foot pole, even if they should come to fruition. With the recent realization that she was into artists like Trevor Brown, alongside the fact that we've known for a long time she's into Lolita and there are very clear parallels to draw between it and LO, I think it's safe to say at this point that Rachel's work is not something I want to continue to support even when it's "hate reading". Again, I'm not going to outright accuse her of anything, but I feel like the writing is clearly on the wall here and I'm taking that writing as my warning to steer clear.

I didn't want to discuss the elephant in the room - her older works as they exist in the distant past of the early 2000's - but she's now riding the elephant.

[hypewinter]

Here's a little double the trauma for the price of one story for you folks.

So basically Danny got captured by the GIW and was experimented on / tortured until he died and was reincarnated as Danyal Al Ghul. He attempts to adapt to his grandfather's teachings but just can't get behind them unlike his older brother. This culminates in Danny getting caught trying to help an injured animal.

When he refuses to kill it, Ra's decides he's had enough and strikes Danny down then and there. Damian, who was watching all of this go down, disobeys his grandfather for the first time and attempts to resurrect Danny using the Lazarus pits. But Danny's body sinks to the bottom and doesn't return. This devastates Damian and Talia when she gets back.

Meanwhile Danny opens his eyes to find himself in the one place he never wanted to be again, the GIW research facility. The Lazarus pits had responded to the traces of ectoplasm within his body and opened up a portal back to his home dimension. All across the spider verse style you could say. Anyways Danny spends the next decade being experimented on while Damian spends it pretty close to canon albeit with a little more resentment towards Ra's and a little more grief towards the batfam (he feels like he's somehow replacing his little brother by hanging out with them).

Eventually a prison break happens within the GIW facility. Whether because they captured a powerful ghost like Pandora or something or because Clockwork did something, it doesn't matter. What matters is that Danny takes advantage of the chaos to go back through the very portal he got spit out of all those years ago.

Imagine the league's surprise when their youngest heir suddenly comes crawling out of the pits without looking even a day older than when he was first thrown in. The reason for this is because the scientists at the facility thought that Danny was growing in order to simulate being human and gain sympathy. He was always severely punished for this until the remaining ghost part of him eventually adapted to stop his human half from growing. He's now pretty much stuck at the age of 5 or so. Don't worry as he eventually heals from his trauma, he'll start growing again.

Anyways the league, especially Talia is trying to keep it on the downlow that Danny is back. She knows that if Damian finds out, he'll immediately come and try to take back his little brother. Unfortunately for them, they were a little too quiet and Damian gets hella suspicious. So he goes on a solo mission to see what they're up to. He sneaks into Nanda Parbat in the middle of the night and finds a sleeping boy in his baby brother's old room. At first Damian thinks that the league cloned his brother. But when Danny wakes up and stares at him with those big blue eyes he just knows.

So Damian takes Danny with him back home where the batfam is absolutely baffled about where he got this kid from. They're also flabbergasted when Damian speaks to the boy in soft Arabic and has the most gentle and loving expression on his face. This can't be the same demon brat right?

[owl-bones]

Hey, I got a question for ya.Who THA HECK ARE EOS AND HELIOS?! I tried to found their story but I didn’t managed to find it…And since you’re their creator…could you explain ??? 👁️👄👁️

Thanks for your time (if you founded the time to read this) and (in any cases) have a good day ✌︎('ω')✌︎

ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʕ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ•̫͡•ʕ•̫͡•ʔ•̫͡•ʔ

backstory/lore/personalities below the cut! it's. longgggg. VERY long. slkdfjlsdk like over 3k words

Backstory (personalities at the bottom)

Nim was a goddess of emotions, tasked with protecting the worlds made by creators throughout the multiverse. Eventually she yearned to create something of her own, but couldn't make something out of nothing-- so she used herself. She made two beings to keep each other company when she was gone, and used what remained of herself to become a tree to give them shelter.

The beings she made were too young and weak to harness her power in its entirety, so she sealed her power away in the fruits of the tree she became so they could grow into her strength slowly.

The beings were Dream and Nightmare, two halves of her whole.

It continues similarly to Dreamtale-- overtime the tree flourishes and the skeletons slowly grow up together. A village is built nearby and, over decades, becomes a busy town. The child guardians are mostly left alone as the people don't understand them and they keep to themselves, but there are many rumors and myths that develop about the tree they guard. One such rumor is that the tree is the reason the town develops so successfully and quickly. Over generations the guardians are a constant, never aging (truthfully just very slowly) and the mythos surrounding them slowly begins to warp.

People get used to their presence and seek them out more often, and as the details about their guardianship and abilities begins to spread more and more rumors develop.

Dream is outgoing and cheery. He's personable and warm and easy to get along with. The townspeople quickly adopt him like a stray cat, and he's given gifts when he visits and treated kindly. He's called things like "little guardian" and "angel" and the like. He soaks up this attention and praise like a plant hungry for the sun's light and, over time, visits more and more often.

Nightmare is more wary and shy, but strikingly intelligent. He's incredibly protective of the tree of emotions, and rarely leaves. It's more than a magic tree; it's their home and history. A hidden library, the sum of all of Nim's knowledge and life experiences, rests within the tree's broad hollow trunk. There's room enough for dozens, if not hundreds of books, and a place for the twins to sleep and hide away. He's dedicated his life to knowing as much as he can about their long-silent mother and their duties as guardians and is very protective of the knowledge. This makes him more enigmatic to the townsfolk, and people are known to be afraid of the unknown. He's quickly dismissed as the ruder sibling, and shunned. Not that he minds.

Dream isn't as concerned with their history-- he's far more interested in the present and future. He's found himself enamored with the town and how it develops; how he's watched children age and have families of their own, how more buildings are built to spread the town further and further. He knows everyone and everyone knows him.

They are young teens at this point. A couple hundred years old but still maturing and growing. As they've aged the tree has lost fruit; the apples drop to the ground and disappear when they're picked up as the twins absorb them to age into their powers.

But prosperity doesn't last forever, and the tree held no real power over the town's success. Soon the town finds itself in trouble-- a drought, an oncoming war, it's not important. What's important is they cling to their superstitions and fears and try to find a scapegoat. Nightmare is that scapegoat, keeping their salvation from them. They haven't been taking proper care of the tree, that's why there's fewer fruit. It's their fault.

If the town can get to the apples the twins protect, maybe they can use them to help themselves. Maybe they can plant more magic trees to increase their prosperity, or their warriors can eat them and gain their strength. They don't know anything about the tree's true nature and don't care to listen to either Dream or Nightmare when they ask for the guardians' boons.

The townspeople aren't dissuaded, and instead turn to manipulation. If Dream and Nightmare won't give them their blessing, they will simply have to take what they need. The guardians are children, anyway. What do they know about the world and politics of adults?

They know they can't get Nightmare away from the tree, but they can at least lure Dream away. He's offered tea and treats by a trusted villager, unaware it contains a sedative. He falls asleep and they go to work-- dozens of villagers go to the tree and start picking the golden apples. They ignore the black apples, not interested in something appearing 'tainted'. Nightmare tries to stop them but things get violent and he's downed with a blow to his skull. He's still young, weak, inexperienced, and hopelessly outnumbered. He's pinned and forced to watch as his mother's body, his home, is defiled.

The townsfolk didn't count on Dream being resistant to the sedative, however. Despite the amount of sleep-inducing herbs he consumed he's awake within a few minutes. He's groggy and aware something is wrong, but he's up.

Concerned and distraught he's been poisoned by someone he trusted, he returns home to find his brother injured and restrained and the tree devoid of golden apples.

The townspeople have decided to cut down the tree without removing the black apples, thinking that will remove the problematic negativity and they can replant the golden ones to only have positive trees. They're already partway through the trunk, and that's what spurs Dream into action.

They haven't noticed him yet and he starts picking up the apples to protect them-- but they disappear as soon as they're in his arms. They're his power by birthright, and absorbing them is what he's meant to do. It's only natural that his power would want to go where it belongs. At first it's warm and he feels stronger and more aware of what's going on, but the more apples he picks up the more his body aches and starts to burn.

His vessel was never meant to contain this much power this quickly, and as he desperately tries to save the apples it starts to break at the seems. His bones crack, the injuries filling with golden light holding him together, but he doesn't stop.

The townsfolk notice him, finally, and stop cutting at the tree to stop him. But it's too late. He's 'consumed' enough now that he's strong enough to keep them back with a magic barrier. He could stop now, talk them down from their frenzy, but... he doesn't want to. Despite the pain of his body breaking and barely keeping itself together, the power he now burns with is... good. His senses feel sharper, he's stronger, and he's brimming with energy. He keeps absorbing the apples.

His power overflows and can't be contained within him anymore, and golden light seeps out of his spine. The people always called him an 'angel', and this moment is where that myth solidifies itself. They aren't wings, not yet, but the amorphous magic light at his back is enough to make the villagers back away. This is the divine salvation they've been waiting for, right? An angel come down to lead them to safety?

But Dream isn't feeling like the happy-go-lucky child they knew him as. He's feeling an all consuming rage like he has never felt before. His emotions are much stronger than they've ever been, burning inside him. And not only that-- the vague impressions of people's emotions he could always feel are clear as day now. He can see exactly what the people are feeling.

Fear. Anxiety. Anger. And... hope.

That hope stands out to him. It doesn't sting like the other feelings steeped around the tree right now. It's warm and comforting and he wants more.

But first he needs to free his brother. Nightmare is falling unconscious and his vision is blurry, but he recognizes Dream. Dream does his best to heal him, a skill he's been practicing as his magic slowly got stronger. Now, though, his magic is much more powerful. It's raw and out of control and the positivity burns Nightmare with its force, scorching his armrs. Dream stops almost immediately, but the damage is done.

Nightmare was already weak, but now he's on the brink of dusting. The faint wisps of Nim left in the tree uses the very last bit of her magic to turn him to stone to help him recover.

Confronted by the loss of his brother, convinced it was his fault and his magic that did it, Dream shuts down. He goes fully into denial. Nightmare is just resting, he's fine, everything's fine. He can fix everything.

He needs to get rid of the townspeople. They're crowding him and his brother and they need to leave immediately. Shockingly, they obey. Dream is left alone with the statue of his brother.

It's not long before he gets a craving for more of that positivity he sensed. When he returns to the town, suspicious and still angry, he finds everything strikingly normal. Everyone is going about their business as if nothing had happened and he's greeted warmly (if a little nervously). There's more hope coming from everyone and it soothes the ache in his chest.

Dream overhears people whispering about him, calling him the angel again, and he starts putting the pieces together. The head of the town meets with him and suddenly he's not treated like a petulant child, but he's given information.

The town's issues are explained to him. The people are putting their hopes and dreams on his shoulders. There's expectations and they want things from him despite what they have done. And Dream finds himself answering the call, drunk on the power and feeling seen for the first time.

The people weren't acting maliciously, he tells himself. They were just misguided. They didn't know what they were doing, just like how they thought he didn't know what he was doing. He's the guardian of positivity. If they want prosperity and joy again, he can help them. He can guide them to what they want. They just have to stay away from the half-felled tree and do as he says.

As it turns out, the people are more than willing to stay far away from the negativity-steeped tree and follow his orders. They very quickly fall into line and worship him. He has no idea how to lead or manage a town, but nobody dares speak a word against him. Not that they need to. Despite the continuing issues they face, no townsperson can say that they're unhappy with Dream in charge. The opposite, in fact.

Since he came to be with them permanently everyone has found themselves filled with nothing but hope and happiness. They work tirelessly without complaint. Under his guidance the town expands even further over the decades until it's a fortified, bustling kingdom.

But Dream grows bored managing the mortals. He still ages slowly, and now an adult and having overseen a kingdom and its silly politics for generations, he wants more. He's grown properly into his powers and the magic at his back is now properly shaped like wings, like the 'angel' he is.

Nightmare used to speak of the other worlds the books within the tree would describe, and Dream for the first time in centuries seeks out his old home. He finds the books, worn but still intact, and learns of the multiverse and the balance.

It's then that he decides, like the expansion of the kingdom and his influence, to bring his light and positivity to other worlds.

It's another century or two after Dream leaves that Nightmare's petrification wears off. The apples have all fallen from the tree over the years, and he's slowly come into his powers himself. And yet he's still so... fatigued. Like something is sapping his strength no matter how much he rests.

The incident feels like it only happened moments ago for him, and yet he's alone. The library of his childhood is decrepit and the books are in poor condition and barely salvageable. His brother is gone, and when he goes looking for him... the town is a massive kingdom. White and gold and successful, flying golden banners and proclaiming Dream as their patron guardian.

But he's not there, either. Nightmare spends time in the kingdom working as a farmhand just trying to understand what exactly has happened and changed in the time he's been away. It's not easy finding information about his brother that's not glorified, and being an 'outsider' makes it even harder. The myth of the guardian of negativity has faded with time, his status as Dream's brother merely a footnote in the story, and for the first time in his life Nightmare is treated rather... normally by those around him.

It's a couple years later that Nightmare finally comes into his own and realizes the extent of Dream's control over both their original home, and the worlds he's visited since. He remembers reading about the careful balance he and Dream were meant to preserve... but he can tell that something isn't right. Somewhere along the way, growing up alone and worshipped and corrupted by the positivity he was meant to guard, Dream has lost himself. He's 'fixing' every AU he can, making them positive and trying to drive the balance as far in his favor as possible.

Nightmare leaves his home, alone and unsure of himself, and quickly finds himself lost in a sea of worlds that hate him. Due to his efforts to right the balance, he is painted a villain. He's used to it, and yet it still hurts. The hope that it was just that village that hated him quickly turns into the realization he is doomed to be hated wherever he goes, no matter how correct his actions.

The first time he runs into Dream, it seems like everything is going to be okay. They're together again, nothing bad can happen to them now that they're both powerful. But Dream's aura is draining to Nightmare, and their goals are too far apart. Dream's joy at the realization his brother isn't dead quickly turns to petulance when Nightmare insists he stops disrupting the balance and returns the AUs he's altered to their proper states.

They argue, and despite how much it hurts they go their separate ways. Nightmare continues to try and fix things, coming into conflict with Dream every so often, but he's outnumbered again. Dream has hundreds of people in his employ, sent out to AUs constantly to help put them on track to be positive. Nightmare is alone and weakened. Despite working tirelessly, there is nothing he can do to fix things. The balance shifts ever further, and Nightmare grows weaker.

It's years into their conflict that Dream hurts his brother again. He's used to them being on relatively even footing. He holds back against his disadvantaged brother, and Nightmare escapes before things get too bad. It's a song and dance they've done countless times at this point. But eventually, the time comes that Nightmare doesn't dodge in time. An arrow pierces his chest.

He's alive, the wound not enough to outright kill him, but he's comatose. Dream takes him back to his home, an opulent palace in an empty AU he's transformed to his liking. Nightmare can't get hurt anymore like this. Dream can protect him, and when he wakes up he'll convince him to see things his way. Everything will be okay. He always fixes things.

(Nightmare does eventually wake up and more things happen, but i'll save the how and why for later ;) )

Dream / Helios

Hundreds of years old, massively powerful, and incredibly influential. Dream has (peacefully) conquered most major AUs and solved their conflicts. Beloved by all and he knows it, he's egotistical and used to getting what he wants. And if he doesn't get what he wants... he finds a way. He's entitled and arrogant but also completely assured in his power. He has no need to gloat, he's quite confident in his status and abilities. But that isn't to say he doesn't like praise; he lives for it.

He's generous and well-intentioned, but also fully capable of justifying the means to get his end. If an AU can't be fixed it's either cordoned off or allowed to be destroyed. He employs many many people from many AUs to do his bidding, including those from AUs that would be considered 'negative'. If there's only one person left in the AU, removing them and giving them a better life is the next best way to fix it.

He doesn't have friends, not really, but his close confidants are Blue and Strike. He collects injured mythological creatures from AUs and rehabilitates them at his palace. He considers himself a patron of the arts, and aside from hiring people to help spread positivity he also hires artisans to live in his palace and fill it with art of all kinds. Tailors, sculptors, painters, writers, singers/musicians, and more.

He has many hobbies he's picked up over the years, but enjoys singing the most. He can fly with his wings, and is strong enough to carry someone along with him. He can change their size and shape depending on need.

He's very self conscious about the golden cracks all over his body, considering it a symbol of his weakness when he was young. He wears full coverings at all times (except his skull), and would only show the cracks to someone he truly trusts and cares for.

He's very skilled with a bow and rapier, but prefers to leave the fighting to his guards. He's very clever with his words and can be a skilled manipulator, but is equally capable of lacing his words with magic and forcing people to follow his will. He's very in-tune with souls and can manipulate even the slightest bit of positivity he senses, and there's a few people around his castle that are effectively his puppets due to their disobedience.

Nightmare / Eos

Cynical and exhausted. He's a workaholic; he doesn't have time to rest, he has to live up to his responsibilities. He rested enough as a statue and he can't afford to stop for even a moment. He wants nothing more than to have everything go back to the way it was and be close with Dream again, but worries the passage of time and what happened when they were young has put an irreparable crack in their relationship. The Dream he fights now is nothing like the Dream he knew when they were young, and he struggles to grasp that disparity.

Dream however can't help but recognize that Nightmare has barely changed. He's still shy and a bookworm. He's vilified and despised by most around him despite his good intentions, and continues to stand up for what he believes in in spite of it. He knows he will never be the hero of the story, but fights anyway.

He's slow to make friends and even slower to fully trust someone. He yearns to be understood and treated like a full person and not as a scapegoat for fears and misunderstandings. He's fighting to right the balance as is his responsibility, but all he really wants is to settle down and rest. He gets easily attached to people that make him feel safe and comforted.

He grew into his magic slowly as a statue, but is still adjusting to the changes even years later. When he's overwhelmed by negativity it can result in him leaking corruption from his sockets and mouth.

He's weakened from the balance being disrupted, but makes up for it with alternative magic he's learned from books. He has a passion for bookbinding and book restoration and has lovingly recreated and repaired what he could from the tree's library. He thinks it's very important to preserve Nim's history and live up to his responsibility as a guardian.

Not as skilled with a bow as his brother, but a decent swordsman with a sickle or scythe. He fights his own battles and eventually gains a team of close friends to support him.

[jack-o-phantom]

What are Cinder's favorite activities to do w his offspring? Like one-on-one time wise. Also, what's his love language w Apple?

(If you don't mind me asking ofc, Ik this can be considered on more of the personal side of character aspects so don't feel pressured at all to respond :] )

Thanks for asking!! I loved answering this one, lets start with Maple. The youngest of the triplets

Recently with the discovery of his abilities (Maple was a late bloomer) in telekinesis, Cinder has been helping his son with practice runs, though, in his fashion of pushing his abilities until they can try again to get further tomorrow. Maple is a timid teen,,, so this one-on-one time builds his confidence within himself

Helios, the second eldest of the triplets, is a spitting attitude of his father when he was young. Reckless, action first and thinking later. Cinder has combat this with sports for him, honing his speed and reactions.

Cinder of course has been through,, his own experiences with combat, so with Helios he's aiming to make sure he can hold his own. Knowing he'd end up in a fight or two with his spit fire personality.

Ebony, the eldest of the triplets takes after his fathers nerdiness. Almost an exact copy in appearance as well, with Cinder being involved with a title similar to Doctor. They talk about studies and philosophies when it comes down to morality, and social.

yeah they're NERDS!!!!

And the Baby of the family, Melody! She's still young in cryptid kit years, as all their kids grow/age slower then the couple had.

Cinder loves taking his daughter out into the In-between (A thin plane between the mortal world and other dimensions, neutral zone) it's grown modern and popular for the unexplained. Though, like her mom, Melody has a dying sweet tooth for any bakery they come across.

And as for their love language? Well Cinder has so many for his wife,, ghost kisses, holding him, and bringing him his favorite takeout spot. Being married for over 60 years means coming up with many many forms of love between the two.

Apple (his wife) has made it clear to Cinder to make sure that restaurant stays open for decades.

[etoilesbienne]

re: boundaries

I've made many posts previously on this subject already, so people are already aware of my stance regarding disliking the way "boundaries" as a concept are used by the mcyt fandom, however I want to have a brief meditation on why this is the case, and a look at common arguments about them.

however i do want to make clear that i don't mind boundaries as a concept, actual boundaries. as in "if you do x, i will respond with y" kinds of boundaries. I think cc are completely fair and understandable in this kind of perspective. if someone makes a kind of content they dislike, they're free to block that fan or express discomfort over it. That's normal.

my critical eye is turned toward the fandom's perception of "boundaries" as a sort of fandom ruleset, either you follow them with the in-group, or you're thrown in the out-group and labelled all sorts of insults, anywhere from a criminal offender to just having people be plain nasty toward you. this in my opinion, really feeds into the fandom habit of having "cliques" as fandoms are social networks that are voluntarily joined. i find it juvenile at best.

at worst, on the other hand, is the concept of mcyt having mixed in kpop stan culture around 2019 with smplive (great server. horrific fandom at the time it was run. all of the smplive fans still left are veterans worthy of respect for surviving that.), which caused a very explosive mixture.

kpop fandom has this outlook and parasociality toward idols because these idols are borderline unreachable. even in smaller groups, companies generally (not always.) discourage idols from talking one-on-one selectively with fans. there deserves to be a more thorough examination of kpop fandom with stan culture, that i believe i am not fully qualified for. my point is that kpop idols are a hell of a lot harder to reach for english fans, whether through language barrier or through professionality done by companies.

the explosive mixture is bringing this same mentality - the mentality that these people you look toward as the main source of the fandom as being untouchable, perfect people. it's dehumanizing in its own right, but aside from that, it creates a dangerous fandom situation. as best shown using smplive with CallMeCarson from before.

CMC is the origin point of boundaries within the MCYT fandom, having held a live in fall of 2019 talking about how a popular danganronpa themed wattpad smplive fanfiction was upsetting for him to read. CMC had an intense fanbase that could and would look up to him no matter what. of course the fanbase would go after and harass this author off of the internet and deleting their work (which remained lost media until this January of 2024. Almost half a decade.) after this situation, only months later it comes out that CMC had in fact been manipulating women aged 17 to early 20s, into sexual dms and sending him explicit photos of themselves for around a year. i am of the opinion CMC would have done this behavior regardless, however, the fact he had access to so many women who put him on a pedestal without considering he could exploit them was exacerbated by the stan culture mentality of mcyt's fandom at the time. this is not a criticism of the women, it is a criticism of the fandom culture of the time for failing to treat carson as a human being who had every capability to treat people like this.

no cc is exempt from that mentality by the fandom. carson knowingly used his position within the fandom to make the choice to do that to those girls. no cc should be exempt from the real possibility of the consideration that they can fuck up, not always in the way that they necessarily need to be cancelled or deplatformed, carson is an extreme example that is absolutely not representative of cc as a whole, but there needs to be a healthy level of doubt and separation between creators and fans.

to reiterate: cc are not your friends. cc do not need you to speak for them. you do not know these people personally. to present your defense of them and their personal opinions like you spoke to them directly and are close friends is dangerous, both for yourself, and for other fans in the community.

everything i have listed is why i always will be critical toward any fan group or clique that presents themselves as being pillars of the community, and why i am critical of any page or resource that tries to list "boundaries" as hard fast rules to be self policed by the fandom. not only is that punitive mentality, it's careless and poor understanding of how communities at large work.

i don't think a "boundaries" list is necessarily a bad idea in the long run either, if these lists were, like, compilations of streamers' twitch chat rules, that'd be cool! but generally these lists lack any nuance of why and where some boundaries may apply. like a ton of streamers hate ships being spammed in chat, but could give less of a fuck about people making ship fanart. or like wouldn't care as long as the ship art isn't put in their main tag.

as well as the general ignoring of regular boundaries, we all remember the horror show of people dono-ing to cc in 2020-22 asking for their boundaries right? like just so we're explicitly clear, walking up to someone and asking what someone's opinion of making adult content of them is very much sexual harassment. that's objectively something fans should not be asking to cc. if they want to say something, they can speak up on their own. they do not need your prompting. if you wouldn't ask it to your boss in an office, don't ask cc it. tangentially related is the ignoring of boundaries based on disliking fans harassing each other or other cc. those boundaries never get to be prioritized for a reason, as those behaviors feed into the stan culture mentality of pitting sources against each other in fan wars.

parasociality and stan culture turn mcyt fandom into a power vacuum where fans who like to self-police to a dangerous extent try to take charge. this makes the fandom worse.

[wordy-little-witch]

Okay but One Piece being in the pirate era and the lack of a frankly inordinate amount of sea shanties hurts me. Like you know DAMN well Roger was a partier, Buggy and Shanks undoubtedly know an incredible amount of shanties, from their first crews, from the new crews, from exploring and seeing and experiencing the world so thoroughly from such a young age.

Shanks would be the type to belt them, top of his lungs, but always adhere to the Codes, though he does think on it for a moment. People think he'd be a pirate head to toe, through and through, and he is! Truly, he is. He just doesn't really live by the Code and die by the Code the way some of the older generation does.

Buggy, despite popular belief, is the one to cling to those Codes with all he has. It's subtle, in the way he hums certain songs to himself but never sings the full lyrics without Meaning. He will sing and dance and party with his crew, they will make merry but they will do so properly. He's avant garde and nouveau expressionism but he's also old fashioned.

When he finds out Shanks taught this scrawny rubber twink everything the kid knows about piracy through sporadic meetings over a year, nearing a decade ago, he is absolutely livid. The swordsman is stupid but has a decent head on his shoulders for behavior. The redhead, from what he sees, knows more than most. He decides to put class in session.

He's surprised to be beaten so thoroughly and then furthermore to be removed succinctly. He's not gonna let it slide, obviously, but he'll play along. Sure. Could be fun. He was getting bored anyway.

Shit just so happens to hit the fan with this decision and all that follow. Shanks, knowing the truth of things, is simply VERY amused and Buggy is debating fratricide.

He's been playing this role for so long, it feels unnatural to drop it. It feels wrong. It makes him panic, makes him Itch.

It only comes to a head years later as he's humming to himself late in the evening on a certain day in September, having spent a good chunk of the day on his own, away from company and to the surprise of very few. Crocodile and Mihawk are among those who do not know why, but they alone are the ones to look for him.

Finding Buggy, singing softly to an animal as he gently brushes out their fur, surrounded by calm animals who seem to nearly build a wall with their bodies between himself and the world, was not anticipated to either men. Nor was hearing Buggy's voice, usually so shrill and rasped, flow gently over a melody with a grief filled expression. Ritchie, among the ones closest, gently head butted the clown with soulful eyes. Mihawk and Crocodile simply watch, seeing Buggy groom and pamper the creatures within the stables this far from town as he sings a specific sequence of songs.

Mihawk realizes first just what they're witnessing, and he grips the logia user's arm, guiding them both back. Crocodile, startled, goes to ask, and Hawkeyes simply shakes his head sharply. It is only once they are far enough that Mihawk breaths a stunned, "He's performing Rites."

"What?"

"Rites," the swordsman reiterates, sending the other a suspicious look. "The Rites of the Code."

The mafioso takes a drag from his cigar, gesturing for the other to go on.

Mihawk sighs, pinching the bridge of his nose. "I forget," he remarks dryly, "how uneducated in ours ways you are."

"Excuse me-?!"

"Rites," the other interrupts, "are a form of mourning. Frequency varies, and the honoring actions can be altered as well. The constant component are the shanties sung in remembrance and the flags flown. For some, a single instance can be sufficient..." Golden eyes drift to the side, unfocused, as he continues. "For others, there is a need to continue doing so. Often, it is a crew mourning a commanding officer. Unlike Marines, Pirates all share an unspoken connection. Though paths may vary and goals may differ, we all care Her in our veins."

Violet eyes love to the expanse of blue, the horizon bleeding across the world. He knew. He may lack some of the nuance of the Code from his priorities laying further inland, but he knew this. How could he not when his own blood sang salted sprays? He knew this much at the very least.

"So the clown is in mourning."

"Yes."

".... why?"

"...... ....... it is September."

"And?"

"The 28th."

"What does that have to do with anything?"

"You were there, too, 25 years ago. Loguetown."

Silence falls.

The wind rustles branches overhead. It carries the faintest wisps of a voice. The two men pointedly ignore it and the choked quality it had.

".... I see."

"..... yes. That is my theory, at any rate."

"............. Hawkeye."

"What?"

"He was on the King's crew."

"Yes, this has been established."

"Why?"

"Whatever do you mean?"

"Why him? Why the clown? He's not even 40 yet, so that day... he'd have been, what, 15, at the most? He'd have been on the crew for years by that point. He was there before the man was crowned, after all."

"Shanks was, as well. I believe the earliest mention was when he mentioned an incident from their childhood. He'd said they were... oh, what was it? Seven? Thereabouts. To be on a crew so young..."

"To be there so long, Hawkeye. The brat would have been with them since childhood. That crew was infamous for the things they did - the clown does not fit the pattern."

"He does not boast anything nearing the decorum expected of a fledgling of a King..."

"He knows the Codes, something never mentioned to us nor taught explicitly to his crew that we know of. He served under the King and kept it hidden from the world government for decades. He escaped the Grandline and settled as an East Blue nuisance for years. He was imprisoned in Impel Down with no sea stone."

Golden eyes widen. "You believe he has been hiding more than simply his heritage."

"What makes more sense? This, or what we have thought so far."

"How would we confirm it?"

"Just ask me, maybe?"

Neither man will admit to being startled when a new voice chimes in, soft and hoarse, drowsy. Buggy leans into Ritchie's side as the lion purrs loudly, the clown rubbing his eye.

He continues. "Tomorrow, though. It's late, I'm not feeling well, and Ritch and I have a date with my blanket nest."

"The lion?" / "Blanket nest?"

Buggy giggles softly. "Weighted blankets are expensive. Weighted Ritchies only cost snacks and chin scritches," he remarks softly. "As for the blankets, nests are the way to go. Good night."

Two dark haired men are left by a drowsy clown and lion in the woods on the edge of town with much to thing on and a list to compile for the next day.

The first question? How Mihawk had not sensed him whatsoever on approach.

[fozmeadows]

As someone who hasn't read the works of radical feminists like Simone de Beauvoir, could you explain what's wrong and what bothers you about biological essentialism? I'm curious about your opinion after reading your post on radfems (and I'd like a perspective that isn't so based on biological gender essentialism, which I honestly have a hard time moving away from because I don't understand other perspectives well). ���

The problem with biological essentialism is that purports to answer the eternally unanswered question of nature vs nurture in a wholly one-dimensional way - ie, with biological sex as The Single Most Important Aspect Of Personhood, regardless of any other considerations - while simultaneously ignoring the fact that biological sex is not, in fact, a binary proposition. We've learned in recent decades, for instance, that intersex conditions are much more common and wide-ranging than previously thought, not because scientists have arbitrarily changed the definitions of what counts as an intersex condition, but because our understanding of hormones, chromosomes, karyotpying and other physical permutations has expanded sufficiently to merit the shift. So right away, the idea that humanity is composed of Biological Men and Biological Women with absolutely no ambiguities, overlap or middle ground simply isn't true. Inevitably, though, if you mention this, people with a vested interest in biological essentialism become immediately defensive. They'll start saying things like, oh, but that's only a tiny minority of the population, they're outliers, they don't count, as though their argument doesn't derive its claim to authority from a presumed universality. To use a well-worn example, redheads are also a tiny minority of the population, but that doesn't mean we exclude them when talking about the range of natural human hair colours. But the fact is, even if humans lacked chromosomal diversity beyond XX/XY; even if there were no cases of cis men with internal ovaries or cis women with internal testes or people with ambiguous genitalia - and let's be clear: all of these things exist - the fact is, our individual hormones are in flux throughout our lives.

There are standard ranges for estrogen and testosterone in men and women (which, again, vary according to age and some other factors), but two cis men of the same age and background could still have completely different T-counts, for instance - meaning, even the supposed universal gender factor isn't universal at all. More, while our hormones certainly play a major role in our moods and cognition, so do a ton of other genetic and bodily factors that have nothing to do with the sex we're assigned at birth - and on top of that, there's nurture: the cultural contexts in which we're raised, plus our more individual experiences of living in the world. One of the most common, everyday (and yet completely bullshit) permutations of biological essentialism comes when parents or would-be parents talk about their reasons for wanting a son or a daughter. Very often, there's a strong play to stereotypical assumptions about shared interests and personalities: I want a son to play football with me, for instance, or: I want a daughter to be my shopping buddy. But even within the most mainstream channels of cishet culture, it's understood that these hopes are not, in fact, grounded in any sort of biological certainty. The dad who wants a sporty son might be just as likely to end up with a bookworm, while the mother who wants a little princess might find herself with a tomboy. We know this, and our stories know this! For the entirety of human history - for as long as we've been writing about ourselves - we have records of parental disappointment in the failure of this child or that to embody what's expected of them, gender-wise. More than that: if biological essentialism was real - if men were only and ever One Type Of Man, and women were only and ever One Type Of Woman, with recent progressive moments the sole anonymous blip in an otherwise uniform historical standard - then why is there so much disparity and disagreement throughout human history as to what those roles are? The general conception of women espoused in medieval France is thoroughly different to that espoused in pre-colonial Malawi, for instance, and yet we're meant to believe that there's some innate Gender Template guiding all human beings to behave in accordance with a set, immutable biological binary? And that's before you factor in the broad and fascinating history of trans and nonbinary people throughout history - because despite what TERFs and conservative alarmists have to say on the matter, our records of trans people, and of societies in which various trans and nonbinary identities were widely understood (if not always accepted), are ancient. We know about trans priestesses from thousands of years before Christ; the Talmud has terms describing eight different genders, and those are just two examples. All over the world, all throughout history, different cultures have developed radically different concepts of femininity and masculinity, to say nothing of designations outside of, overlapping with or in between those categories - socially, legally, behaviourally, sexually - and yet we're meant to believe that biology is at all times nudging us towards a set, ideal gender template? There's a lot more I could say, but ultimately, the point is this: people are different. While some aspects of our personhood are inevitably influenced by genetics, hormones, chromosomes and other biological factors, we're also creatures of culture and change and interpersonal experience. The idea that men and women are fundamentally different, even diametrically opposed, at a biological level - that the major separator in terms of our personalities and interests isn't culture, upbringing and personal taste, but what's between our legs - is just... so reductive, and so inaccurate.

We can absolutely have common experiences on the basis of a shared gender, but gender is not the only possible axis of commonality between two people, let alone the most salient one at all times, and the idea that we're all born on one side of an immutable biological equation that cannot possibly be transcended makes me feel insane. According to modern biological essentialism, intersex, trans and nonbinary people are either monstrous, mistakes or imaginary; all men are fundamentally predisposed to violence, all women are designed for motherhood, and we're meant to just hew to our designated places - which, conveniently, tend to echo a very specific form of Christian ideology, but which in any case manifestly fail to account for how variedly gender has been presented throughout history. It's nuts.