#to get angry and be challenged

[smoreal]

Watching my brother play sonic colors is so funny lmaooo

[inkskinned]

what is with men being mad any time a woman raises her voice where did that even come from. someone posted a video of a small electrical explosion, and the top comment was of course the woman screams. the second comment is women try not to scream challenge, level impossible. i had to go back and watch the video again. there is, somewhat fainty, a little gasp emitted off-camera, more of a yelp than a scream. it is mostly lost in the crack of the explosion. afterwards, you hear her voice, shaken, say, are you okay?

i am helping one of my friends train her voice pitch lower, because she wants to be taken seriously at work. she and i do each other's nails and talk about gender roles; and how - due to our appearance - neither of us have ever been able to be "hysterical" in public. we both appear young and sweet and feminine. she is cisgender, and cannot use her natural voice in her profession because people keep saying she appears to be "vapid". we both try to figure out if our purposeful voice lowering is technically sexist. is it promoting something when you are a victim to it?

a storm almost sends a pole through a car window. in the dashcam, you can hear the woman passenger say her partner's name twice, crying out in alarm. she sounds terrified. in the comments, she is lambasted for her lack of calm. how is that even fucking helping?

in high school, i taught myself to have a lower voice. i had been recorded when i was genuinely (and righteously) upset; and i hated how my voice sounded on the phone speakers when it was played back. i was defending my mom, and my voice cracked with emotion. it meant i was no longer winning the argument: i was just shrieking about it.

girls meet each other after a long summer and let out a little joyful scream. this usually stops around 12-14, because people will not tolerate this display of affection (as it has the effect of being passingly annoying). something about the fact that little girls can't ever even be annoying. we are trained to examine each part of our lives (even joy) for anything that could make us upsetting and disgusting. they act like teenage girls are breaking into houses and shrieking you awake at 3 in the morning. speaking as a public school educator: trust me, it's not that bad, you can just roll your eyes and move on. it does not compare to the ways boys end up being annoying: slurs in graffiti, purposefully mocking your body, following you after you said no. you know, just boy things.

there's another video of a man who is not allowed to yell in the house, so he snaps his fingers when he's excited about soccer. the comments are full of angry men, talking about how their brother is unfairly caged. let him express himself and this is terrible to do to someone. eventually the couple has to address it in a second video: they are married with a newborn baby. he was trying not to wake the infant up. there is no comment on the fact women are not allowed to yell indoors. or the fact that it could have been really alarming or triggering for his wife. sometimes i wonder if straight men even like women, if they even enjoy being in relationships with them.

for the longest time, i hated roller coasters because it always felt inappropriate and uncomfortable for me to scream. one of my friends called me on it, said it was unusual i'm so unwilling. i had to go to my therapist about it. i don't like to scream because i was not raised in a safe situation, and raising my voice would have brought unsafe attention towards me. even when i am supposed to scream, it feels shameful, guilty. i was not treated kindly, so i lack a basic form of self-protection. this is not a natural response. it is not good that in a situation of high adrenaline - i shut up about it.

something very bad is happening, i think. in between all the beauty standards and the stuff i've already discussed - this one feels new and cruel in a way i can't quite express. yes, it's scary and silencing. but there's something about how direct it is - that so many men agree with the sentiment that women should never yell, even in an emergency - it feels different.

is the word shriek gendered automatically? how about shrill or screech? in self defense class, one of the first things they tell you is to yell, as loud and as shrilly as you can. they say it will feel rude. most women will not do this. you need to practice overcoming the social pressure and just scream.

most women do not cry out, even when it's bad. we do not report it. we walk faster. we do not make a scene. what would be the point of doing anything else? no matter what we do, we don't get taken seriously. it is a joke to them. an instagram caption punchline. we have to present ourselves as silent, beautiful, captivating - "valuable."

a woman is outside watching her kids when someone throws a firecracker at them. she screams and runs towards her children. in the comments, grown men flock together in the thousands: god. women are so annoying.

[bred-is-a-dumb-name]

Anyone remember that drawing challenge from a while ago where you would draw your otp or OCs as the go for it nakamura cover??? Yea well I like the second Manga covers pose a lot more so I did that...also it's klapollo <3

[soft-pine]

when i think about this scene from 15.15 it makes me want to chew glass and tear up the walls in rage.

AMARA: I wanted two things for you, Dean. I wanted you to see that your mother was just a person, that the myth you'd held onto for so long of a better life, a life where she lived, was just that, a myth. I wanted you to see that the real, complicated Mary was better than your childhood dream because she was real. That now is always better than then. That you could finally start to accept your life.

for the record i want to say i am a known amara-hater. don't like the non-con shit. don't like that she's doing what so many beings in spn do and narrativizing dean's life back at him while judging him because she drew the wrong conclusions. but i think fandom does have a tendency to take those claims at face value because that is easier than combing back through to check if it's correct or not. (see for example, rachel saying dean only calls cas when he needs him in 6.18. narrativizing, incorrectly. but i digress)

so let's talk about mary. because, through the seething rage, i think two main things about this claim. 1. dean does not have this mythos around mary and 2. mary has arguably more of that mythos around dean.

first off, we'll tackle the claim that it's a myth that if mary hadn't died, dean wouldn't have a better life. because that is absolute, utter, dogshit. OF COURSE HE'D HAVE A BETTER LIFE. while i will always maintain that clearly mary and john were far from stable before she died, her death was what speared john forward into hunting, into turning his kids into soldiers, into neglect and parentifying, and every other god forsaken thing he did. "a better life, a life where she lived, was just that, a myth" - girl, i DON'T CARE IF YOU'RE DIVINE, SHUT THE FUCK UP.

like please don't come here acting like dean grieving the future he could have had that didn't include him taking care of his younger brother alone in motel rooms for days while maybe actually being left as bait for the Kid-Eater is a character flaw on his part that he needs to learn better from.

next, amara claims dean needs to see the "real, complicated Mary."

but hasn't he? dean goes back in time and meets his mom in 4.03 and 5.13. and both times he treats her both as a competent hunter and a colleague. like to be clear, before that, i dont think he was wrong to be relying on a four-year-old's memory of what his mom was like because that's literally all he had access to. but dean actually did meet and interact with the whole, complex woman who was his mother long before amara decided to teach him a lesson with her as the homework. in both 4.03 and 5.13, dean tries to give mary advice to save her life but he doesn't belittle her experience hunting or her desire to leave and life a normal life. i don't know what more you want from him in terms of interacting with his mom as a whole, real, complex person?

this also applies wholly and completely to his interactions with her when she returns in s12. he apologizes for being nervous for her safety (AFTER SHE WAS JUST RESSURECTED) at first. mary says she wants to hunt, dean gets on board. mary says she needs space, dean asks clarifying questions to best support her request. he gets mad at her not for being who she is or needing what she needs but for lying to him for months and working with people who tortured him and sam.

in fact, s12 is what i would point to to indicate how well dean articulates and navigates the nuance of being hurt by someone's actions while still understanding and empathizing with why they did it and forgiving them. for example, he says this in 12.04

DEAN: This whole mom thing, it's... I mean, we get her back, and then she leaves. I hate it, but I get it. I do. I guess I'm just...still working through some of that crap. I'll try to be less of a dick about it.

[you're not a dick, dean, ilu]

in fact, dean's much maligned "how 'bout for once, you just try to be a mom?" isn't even about dean wanting anything particularly maternal from mary. it's about him not wanting her to ditch them to hunt alone and/or with the aforementioned torturers.

so circling back to amara's speech about expectations and myths. cause while her words do not apply to dean. amara's speech does remind me of something that happens upon mary's return in s12. these lines from 12.03:

DEAN: Mom, it's okay. All right? You're home now. MARY: No. I'm not. I miss John. I miss my boys. SAM: We're right here, mom. MARY: I know. In my head. But I'm still mourning them as I knew them. My baby Sam. My little boy Dean. Just feels like yesterday, we were together in heaven, and now...I'm her, and John is gone, and they're gone. And every moment I spend with you reminds me every moment I lost with them.

of course she has every right to grieve the time she lost with her kids. but someone in this room is having trouble really looking at the people in front of them because of their idealized memory of who they were compared to are and It Is Not Dean.

and i just think about dean's speech in 12.22. cause it wasn't dean that needed to see the real mary. it was mary, tucked away in her dream world where sam is a baby and dean is a little elementary schooler who likes pie and has never held a gun, who needed to see the real dean.

[cicobuffs]

preachers daughter! reader bails one time on patrick for this family event her parents insisted she come for, turns out it’s just them trying to set her up with a nice christian boy. when patrick finds out he’s…well pissed



omg literally this...i love this

like you've been bailing on your parents with shitty excuses and white lies just to hang out with patrick and they for sure confront you with, "if you're living under my roof you're going to live with my rules," which leads you to being dragged to this stuffy banquet for the church when you had plans to fuck around with patrick. i imagine you don't even have the time to let him know that you can't see him so he's outside your house for like 45 minutes waiting for you while you're stuck dancing with your neighbor across the street's son, who's way too handsy when your parents aren't looking. and you're pissed because of course the one time that you decide to roll with the punches and do something for your parents sake, it's when they try to matchmake you with a guy that you're also pretty sure bullied the shit out of a friend of your from high school. but "its okay because he goes to church and was an altar server!" yeah right...

patrick definitely finds out from one of his buddies that happens to have family that runs in the same circle as yours who was there to witness the whole shitty-guy-dancing-with-his friends-girl thing. like patrick is so pissed because who the hell are you to essentially stand him up for some church-going asshole?

he's not returning your calls, you're walking home with your family from church rather than getting picked up by patrick, and you're panicking because you don't even know what you did. it all simmers to the point where you bump into him having a smoke on your way back from picking something up at a convenience store. and the two of you just kinda get into it, tearing into eachother, before you're explaining your whole side of the story. and after that it's just silent and you break it with a scoff and a "getting all pissed at me like i'm your girlfriend..." before walking away.

safe to say, he calls you that night asking if you're free...

[stop-breaking-my-heart-telltale]

Y'know, it's unfortunate more people don't compare Louis and Violet in good faith.

Like, when I do see people compare them, it's usually through the lens of one is good, and the other bad. One is more canon than the other, and here's why. One is objectively better for Clementine, and the other is less impactful, worse written, didn't have chemistry with her, insert several insults here, etc.

I don't think it's inherently bad to express why you might not like one of them, or why you prefer one over the other. That's fine, that's a matter of opinion. It only gets to me when it becomes hostile, or passive aggressive... but even then, I've learned to just roll my eyes and move on. Some people make it very clear that they're not worth having a discussion with.

However, I wish I could read more nuanced comparisons of the two that didn't default to the "and that's why this one is better." At least some are kind enough to tack on a "for my Clementine" at the end.

You know how it goes: Louis is cute and he makes Clementine laugh, whereas Violet's boring, her love is shallow, she's still not over Minerva and she's using Clementine as a rebound. Violentine's a bad ship because Violet's actually a traitor, and they're practically the same person and that's bad.

Violet's loyal and reliable, whereas Louis is annoying, he never takes anything serious, he's a traitor for his vote, and he's nothing but a distraction. Clouis is a bad ship because how could any Clementine possibly like him after he voted her and AJ out? That's bad!

That's always the conclusion, right? One good, one bad.

This is incredibly limiting and it drives me nuts.

They're foils. They contrast one another, highlight each other's strengths and flaws, in such an interesting way that it makes Clementine's choice between them all the more meaningful.

One is not good and the other bad, they're different, and I think that's worth exploring.

Let's start with a common argument: Violet is the more impactful option due to her connection to Minerva.

Now, to be fair, I can understand why someone on Team Violet would believe this. Yes, it's true that the confrontation with Minerva is more impactful for a violentine shipper who has more investment in Violet as a character. Louis doesn't have as strong of a connection to her.

However, what they're failing to recognize is that Minerva isn't the only ghost to haunt this narrative. Violet may have Minerva, yes, but Louis has Marlon... and that doesn't just go away once Marlon's dead.

Violet's route has Minerva as her ex-girlfriend, and her bond with Tenn that all comes to a head on the bridge. Louis' route has Marlon's death and how that specifically impacts his relationship with AJ and Clementine, and the slow burn of forgiveness on all sides.

Marlon and Minerva are also reflective of Clementine's worst outcomes.

Clementine and Marlon were tied together through Brody's blood splattered on their hands and faces. They both killed a part of Brody, but only one of them lies about who killed her first.

After Marlon dies, Clementine gradually replaces him throughout the game; Rosie is her dog now, she uses his bow [which Louis gave her], she becomes the leader. Clementine gets them to fight back, and when three of her people are captured, she doesn't cut her losses. She does what Marlon couldn't; "we're getting them back."

When she chooses Louis, he does for her what he never did for Marlon: he steps up.

Clementine proves she won't become Marlon just as she proves she won't become Minerva.

After getting James to agree to help them, Clementine and AJ talk about what to do if she ever gets bit. AJ says he'd want her to bite him, too. He repeats this sentiment after she's actually bitten, telling her he wants to stay and they could turn together, peacefully.

When Minerva confronts them on the bridge, she's dying... and she wants Tenn to die with her. She doesn't care who she has to kill in the process. She's more monster than human at this point, and most times, she succeeds.

They're both bitten. Clementine could've become a monster like Minerva in the end. She could've killed AJ, and they could've become walkers together. But she didn't. Minerva wanted Tenn to die for her, and Clementine wanted AJ to live for her.

Also, I should mention she has Minerva's axe. She carries the key weapons associated with Marlon and Minerva throughout different points in the game, further solidifying these connections. She uses Marlon's bow to save her friends, and she uses Minerva's axe to save AJ, who in turn uses it to save her.

What's also so interesting about this is how Marlon's alive in episode one, and Minerva is thought to be dead. Louis has his best friend, and Violet's lost hers. But, at the end of the episode, Marlon's dead and Minerva's revealed to be alive.

Marlon becomes the ghost, and Minerva becomes the monster. Clementine becomes to Louis and Violet what Marlon and Minerva never could... how does that not drive anyone else insane?

So, no. One is not objectively better, or more impactful, because of a connection to Marlon or Minerva. They're different. It just depends on which storyline you personally find more compelling.

Actually, let's talk about that a little more.

In my opinion, the most intriguing point of comparison between Louis and Violet stems from their perceptions of survival, and how that impacts Clementine.

An argument I see made against violentine is that Violet's boring because she and Clementine are too similar. This usually comes from clouis shippers who prefer the "opposites attract" dynamic Clementine and Louis have.

On the flip side, there's the counter argument that Louis is reckless, that he doesn't take survival as seriously as he should and Clementine wouldn't want him because of that.

These are interesting to me because I get where they're coming from... but they ultimately miss the point.

The other day, I replayed TFS. Except this time, I did something a little bit differently. I played my usual clouis route, but then I had the violentine route pulled up on my laptop so that I could watch these scenes, comparing them side by side… and something occurred to me. 

Louis is about challenging Clementine's perception of survival, and Violet is about validating it.

Louis challenges Clementine from the very moment we meet him—he’s playing music. His initial philosophy on survival butts heads with Clementine’s. The fact that hunting with him and Aasim challenges your perception of “your choices have consequences.” These games have conditioned the player to think along the lines of, “Yeah, Louis is more fun… but if I don’t hunt with Aasim, we won’t have any food.”

Except that’s just it. I hate to say it, Aasim, but in the grand scheme of things… hunting with you doesn’t matter. It's actually less rewarding. You know why? Because in the next section, we get food from the train station. It would’ve been more beneficial to spend time with Louis over hunting, hence how he challenges you.  

This then primes you for the choice between choosing to follow Louis or follow Violet. I know people complain about how this is presented with Violet doing something productive [checking the walls] and Louis playing piano… but that’s the point. If you’re going through with Louis’ full route, you need to meet him at his level, and in turn, he will meet you at yours. You need to accept the challenge, the idea that Clementine isn’t entirely right about the way she’s gone about survival.

Oh, and do I even need to mention the vote? The debate over Louis’ vote is exhausting. Often times, people tell on themselves in how they talk about it. It’s not actually about the fact that he voted against them. If it was, these people would have a bigger bone with pick with Mitch, Willy, Ruby, and Omar… and yet Louis is the one who takes all the blame as if he’s the only one personally kicking them out. 

Louis is reacting to the death of his best friend, and the complicated feelings that come with it being caused by AJ. He wants accountability, even if he knows something's wrong. You can either agree with him that it was murder, and set AJ on the path of atonement… or, you can double down and tell him to fuck off, AJ was justified. 

But here’s the thing… the vote adds to the appeal of Louis’ route. To someone who hates him, or at the very least is critical of his vote, that sounds mad or delusional.

Except it’s really not.

Ever heard of a thing called tension? Because there’s a lot of it in ep2 between clouis + AJ and it’s fantastic.

Yes, Louis voting them out is problematic because we need a problem to solve. We need something to feed the tension between him and Clementine. He stepped in front of a gun held by his best friend in order to protect her, forever changing their relationship… only for that to seemingly be taken away from us the moment AJ shoots Marlon. 

Yes, Louis’ route is about being challenged, but it’s also about challenging him. That he’s able to forgive them, that he’s able to question his own survival philosophy and understand theirs, that he’s able to apologize and actually change for the better… that right there is what makes clouis so damn good. 

He becomes hardened whereas Clementine softens. By the end of the game, they’re on a similar level now without neglecting their differences, and they can move forward together. 

That’s what makes Louis’ route appealing… and it’s also what makes it unappealing to people who prefer Violet. 

By contrast, Violet’s already on Clementine’s level when it comes to this perception of survival. She validates that Clementine’s on the right path.

They have other similarities in the way that they’re both female, queer, they both have a kid they look after, they’re not always great with other people, etc. 

People who prefer Louis might consider this boring, but I think to Team Violet, it’s comforting. It’s comforting to have a partner who takes this as seriously as you do, who wants to get shit done. They’re playing Clementine with a similar attitude, and don’t believe it needs to be challenged. It’s comforting to feel validated on something you already firmly believe in. 

We also see this if we compare the hunting and fishing scenes. You have to make an effort to choose Louis by choosing to neglect hunting, but the game makes you fish with Violet no matter what.

Violet’s prioritizing fishing because they need food. That’s what they’ve set out to do, so let’s do it. The game is letting you know that’s the case, and if you value that, continue pursuing her. 

While fishing, they discuss why things are weird with her and Brody. Violet doesn’t take well to Clementine’s blunt, “Because you make it weird. Brody tries and you just make fun of her."

That’s understandable because I think she already kind of knows why and is looking to have her feelings validated. She prefers it when Clementine suggests that it’s because Brody never said sorry for what happened to the twins. 

There’s also comfort and validation in the way Violet sides with Clementine and AJ after Marlon’s death. She votes for them to stay, vocalizing how much she disapproves of the results. There’s this feeling that I recognize from a lot of the sapphic romance I read; “it’s you and me against the world, I’ll always have your back, even if you’re in the wrong, I’ll fight for you.”

In our case, it’s violentine + AJ against the rest of Ericson, save Tenn and Aasim. Violet validates that AJ was justified because Marlon was a liar and murderer, claiming that AJ and Clementine did nothing wrong. Violet fights to keep them. 

The tension between violentine in ep2 is different because instead of one pushing the other away, they’re being forced apart by the vote and there’s nothing they can do about it. That tension is somewhat released when Clementine comes back and they’re reunited, working out a plan to best defend the school. 

It’s also why Violet’s presented as doing something productive when you follow her instead of Louis, and why she asks if you want to hang out after checking the defenses. 

All that being said, allow me to reiterate that one is not good and the other bad, they're different. These concepts of challenge and change/validation and comfort exist on a neutral road as diverging paths. It’s up to the player to pick what path they prefer, but that doesn’t mean the other path isn’t worth acknowledging or analyzing. 

I should also mention that they’re not exclusive; there is overlap with validation being present in Louis’ route and challenges in Violet’s. They’re just more present in episodes 3 and 4 after we’ve made our decision. 

There are several more examples of how this all fits together, buuuuut–

Ya’ll wanna compare some allegories?

Those familiar with my content might already know where I’m going with this as I’ve made a post about Louis and the piano in the past. 

You see, I believe that there are allegories for Louis and Violet’s hearts present in their routes: Louis’ piano, and Violet’s pin. 

I already have a thorough, in-depth analysis of Louis and the piano that you can read, so all I’ll say about it is that on the night of the raid, he asked Clementine to carve a piece of herself into his heart so that no matter what, their initials will be immortalized together in its wood…

And that makes me fucking feral. 

But I'm also so normal about it.

As for Violet, her heart is the star gazing pin she gives to Clementine. She gives it to her so she’ll always remember that night… but she doesn’t give it to her until after Clementine’s saved her, and that fascinates me in the context of it being allegory. 

Louis asks Clementine to carve herself into his heart right before the raid, cementing that from that moment on, he is utterly devoted to her. I believe this is part of the reason why Louis is still happy to see her if he’s the one who’s captured. Yes, yes, he’s also incredibly traumatized from having his tongue cut out and he’d be happy to see anyone, yada yada… but listen, if you romance Louis and he’s captured, his heart remains with her—that piano with their intitals is on full display. When he sees her, he’s still so devoted to her that he refuses to accept that it’s at all her fault. Even when she says it is, he shakes his head... and he so easily accepts her when they’re together in the end. From the moment Clementine puts knife to wood, he’s hers. 

Now, look… you might think I’m going somewhere not great with this but hear me out. 

I think after Clementine’s gone star gazing with her, Violet is fully ready to give her heart to her. Y’know, give her the pin. But, think about what Violet said about how people have left, but Clementine came back. Plus, with the impending raid to think about, maybe Violet should keep the pin until the right moment. 

I believe a key difference between her and Louis is that Violet needs one last thing to solidify that Clementine’s the one. 

Louis gives her his heart prior to the raid because of everything that’s already gone down between them following Marlon’s death. Violet needs to know that Clementine’s willing to fight for her the way she fought before. When Clementine saves her from the raiders, it’s solidified. Even after she sees Minerva again, it changes nothing.

It’s also worth noting that the pin is something Clementine wears. Like the piano carving, it’s a piece on display for everyone to see, to let them know whose heart Clementine has.

Violet literally handed Clementine her heart as a means of saying, “I’m yours. I’m devoted to you.” 

This is why romanced/captured Violet is devastating, and is why she behaves the way she does in the cells. She was so ready to give her heart away and then nope, sorry, Vi! You get knocked unconscious by raiders instead! 

If anything, you kind of deserve to be told to fuck off if you romanced her and then let her get captured. Just sayin’. 

Look, I have a lot of complicated feelings about the captured violentine route, mostly with Violet being as forgiving as she is after her eyes are burned—yes, yes, I know, her eyes are burned and Minerva messed with her head so of course now she’s not hostile, yada, yada. 

But I think it’s rather telling that you don’t get the pin in this route. Sure, Violet’s willing to forgive and possibly pursue this romance in the future… but she’s not ready to hand over her heart, not truly. Not after everything that’s happened. 

And if you want to get extra angsty about it, imagine that Violet made the pin right after they parted ways, but before the raiders came. Meaning that if she’s captured, it’s possibly still sitting somewhere, abandoned. 

Mmhmmm, very normal about this. I feel normal. My normalness about this continues... normally. I'm not losing my shit thinking about that. Nope. Why would I? I wouldn't! So normal.

Okay just let me talk about their reactions to Tenn's death and then I'll shut up.

This makes me want to gnaw my own foot off, I can barely handle it.

AJ shoots Tenn on the bridge because Clementine trusted him to make the hard calls. This saves Louis or Violet's life.

When Louis jumps across, he's completely silent as he watches Tenn die... and then he's pissed; "What the fuck?! How could you just shoot him like that?!"

AJ explains himself, that he did it for him, and Louis is so upset that he forces AJ to look at what he's done, to watch the walkers eat Tenn; "Tenn's dead. He's dead! Do you realize that?! Look! [...] He's... he's gone, because of you. Just fucking gone."

If Clementine says AJ saved his life, Louis says, "So what, we just cut him loose? Gun him down like he was nothing?"

If Clementine says nothing, Louis says, "Tenn was just a little boy!"

The reason Louis responds this way is because in this moment, he just relived Marlon's death all over again, but worse. So, SO much worse!

When Violet jumps across, she breaks down, begging, "Oh, my God! Oh, my God! No, no! No, no, no..." as she watches Tenn die... and then says to AJ, "No! What the fuck?! How could you do that?!"

AJ explains himself, that he did it for her, and Violet is faaaar from okay; "For me? I can't... Tenn is gone! That soft little boy who liked to draw, he's gone, because of you!"

If Clementine says AJ saved her life, Violet says, "You think that's okay?! Just gunning down one of our own?!"

And there it is.

Louis is hardened in this situation because he already went through this... Violet hasn't, not with AJ. She softened up throughout her route due to her relationships to him and Clementine... but this is the moment where she realizes that maybe AJ wasn't as justified as she believed, and this is the consequence.

This leads us to the ending where AJ asks if they're still mad about him killing Tenn, and I just... I'm biting my foot right now because the script has flipped.

Louis is forgiving and understanding. He's soft, he's sympathetic, he shakes AJ's hand to let him know that all is forgiven and they're okay; "I... AJ, I guess it's like... You saw something I didn't. About the situation, I mean. Minnie and the walkers and Tenn, it's just all this chaos in my head when I think back on it. [...] Clem says you saved my life? Well, then, that's exactly what you did. And how can I stay mad at anyone for doing that?"

Or, alternatively, "He was your friend, AJ. I know you are hurting just as much as I am."

As for Violet? She's understanding, too... but she's not quite ready to forgive yet; "The thing you said on the bridge...that he was messing up all the time. It wasn't something new, you know. Tenn got himself or other people into trouble all the time, long before you guys got here. He was always so lost. He lived in a world that just...isn't there, you know? And that's why I tried to look after him. But when I was pulling him away from the walkers, and Minnie, I could also see...he just wasn't there anymore."

"So you're mad, but sad."

"Can I be that for a while?"

And it's completely understandable that she's hurting and struggling with how she feels about AJ moving forward! She wants to be okay, she wants to forgive him, she just needs time.

Now, because I'm forever bitter, but I'm gonna mention this as well: whenever I see someone point at Violet's scene and say, "See!? This is how LOUIS should've acted in ep2!" like... they're telling on themselves again. Not just that they don't understand Louis as a character or his route, but that they don't fully grasp Violet's part in this either. Or time frames, for that matter.

Let me put it to you in simple terms... they react the same.

After Marlon and Tenn die, they're upset. They're pissed. They blame AJ and yell at him. After they've had time to process what happened [Louis after the two week time skip, Violet after time passes between the bridge and the ending] they share the same, "I'm still upset about Marlon/Tenn. Can I be that for a while and still be your friend?" sentiment.

The difference is that Louis is treated poorly for it because of the vote, and because we feel it first hand for longer... Violet got to grieve off screen and come back after she's sorted herself out.

It's a disservice to both of their characters because it's rooted in that same mentality that I criticized at the beginning: "This is why one is better than the other."

Do I need to say it again? I'm gonna say it again.

One is not good and the other bad. They're different.

There are so many fun discussions that could come from putting Louis and Violet side by side, and examining them. I haven't even covered the different ways they're introduced, or compared their ep3 dates to see what it says about them and the overall narratives! What about the cell scenes!? How they react when Dorian's about the cut off their fingers! The way they approach James upon meeting him!

That last one in particular is especially funny! They're all under stress about blending in with a herd of walkers to infiltrate a boat to save their friends, and yet Louis easily saunters up to the guy wearing walker skins with a smile, and makes him laugh by saying, "Functional and fashionable. I'll take two."

Violet approaches James like he's an injured wild animal that's going to bite her, and bless her heart, she tries with, "I, uh… hey. Hey there, James. Sorry about Willy." Then James gives her this judgmental side-eye, like buddy? She's not the weirdo here.

There is so much potential to dissect here, and I want to see people do it... but I want them to do it fairly, in good faith.

I want to get away from the idea of comparing them to "prove" which is better because there is no objective better. There isn't! That's a waste of time!

I'm so done with The Debate™; it's unhelpful, it's annoying, and it's boring as shit. I've heard it all before, and you probably have, too.

I want to put Louis and Violet under a microscope and study them with the thought process of, "one does this and the other does that... what does it mean!? what does it say about the narrative!? Oh my god, they have the same opinion on this thing, WRITE THAT DOWN!"

So yeah, that's my ramble for the night.

I'm gonna go replay TFS for further research.

[canisalbus]

Currently suffering an ear infection and all I can think is how you said Vasco is prone to them. Does he get miserable and exhausted from the pain or is he more the type to get short tempered and cranky?

.

[echosong971]

more expression studies and notes on p cause i love doin’ these hehe

[ivanttakethis]

I could definitely see Till getting angry at Ivan for what happened during Round 6 and choking him as some sort of payback.

Only for Till to be horrified by the realization that Ivan would just let him do it…

[frownyalfred]

I love writing, but these days I swear to God I wake up every morning to another rude ask, someone rewriting my story in the literal comments of my fic, or shady public bookmarks deriding my update schedule.

Y’all. Being mean to authors doesn’t make you interesting. It makes you an asshole, and it makes the authors sad :(

[teddybeartoji]

films just aren't as beautiful anymore there is hardly any emotion behind anything they lack depth and they lack love

[avionvadion]

If Rook's clubwear doesn't stop coming home I will go feral.

"I see you" YES I KNOW YOU DO, I DO NOT CARE. I KNOW I HAVE A LOT OF VIL CARDS, BUT I WANT TREY. UNTIE HIM AND FREE HIM FROM WHERE YOU HAVE IMPRISONED HIM IN POMEFIORE'S BASEMENT, ROOK HUNT. IF YOU DO NOT, THERE WILL BE CONSEQUENCES.

CONSEQUENCES FOR ME, AND CONSEQUENCES FOR YOU.

UNHAND THE BAKERMAN AND RETURN HIM TO ME. TREY HAS NEVER BEEN LATE IN COMING HOME. HOW DARE YOU ABDUCT HIM. I HAVE ONLY A SINGLE SSR RIDDLE AND HE IS IN DIRE NEED OF A STRAWBERRY TART. RETURN TREY AT ONCE.

[bingqiv]

this is because whenever an afab person in history shows (what we would classify as) a hint of being a trans man, history consistently misgenders them and states that they cosplayed as a man because they existed in a patriarchal society.

also the term transfeminate was coined in the 1656 which was predominantly described people transitioning from women to men. but sure we didn’t exist back then.

[copypastus]

A bit of a rant under cut coz ACOFAS broke into my house, tore my heart from my chest and smashed my feelings with a sledgehammer.

Warning: Strong Feelings about a Fairy Book Xmas Special

Why is this book so fucking mean to Tamlin? Dude messed up at the beggining (with good intentions) but after a certain point he's doing everything right to make up. He drags Beron to help in battle. He save's Feyre from Hybern. He passes on the INCREDIBLE opportunity to be a petty bitch and revives Rhys with a 'Be happy Feyre' and then fucks off to be sad by himself. What more redemption do you want? What more can the dude possibly do?? Clearly nothing. As multiple characters just randomly think to themselves he's just the worst and no matter how much good he does it'll never make up for *checks notes* locking Feyre in a house that one time. Like I'm going crazy here. Dude's not doing anything anymore. Not like he's coming back with a vengance he's just highkey depressed in his sad house. And here's Morrigan thinking how much she'd like to kill him one day. Here's Rhys poping in to berrate him. God forbid he fixes things with Lucien. Stay miserable you sad fuck. Ok maybe he feels a little bad after but everyone assures him it's fine acctually. It's always moraly ok to bully Tamlin. You're the bigger male most times. ugh Then you think ok maybe he'll fix it, maybe there was a point to it all. Sure enough here comes Rhys again. His approach is a little better! 'Eat, Tamlin'. Wow did he get some godamn empathy for Solstice? But no he just can't help himself. 'You can waste and die when it's convenient for me. What you thought I'd actually had sympathy for you??'

I just??? it's so MEAN. so petty. If it was the villain Rhysand arc I'd be cheering. But I'm supposed to be rooting for this dude?? I thought it was a low stakes filler book where they exchange gifts and have a delightful little snowball fight. what is this???

[clowndensation]

alicent haters are wild they'll be like "she's such an ungrateful vindictive hypocritical bitch. why isn't she nicer why didn't she have a spine and stand up for herself when her dad groomed her into being a child bride" like child brides are victims with no autonomy, which often affects how they develop (as they are busy being brides who are children in those crucial developmental years, where they learn things like how to cope with (the) stress (of being a child bride) and feelings of jealousy (over other people not having to suffer through being a child bride) and self hatred (over your body being used without your consent as a child bride)). she isn't capable of being your perfect madonna figure because of the being sold as a child by her father to her best friend's father. as his bride. hope this clears things up!

[ameliafuckinjones]

Interesting tidbit from Magnalia Christi Americana by Cotton Mather, which showcases what the early colonists of New England thought about old England:

They pretty much saw themselves and their settlement as an extension of the old country even as they were thousands of miles from it. And didn't want to separate from it so much as they wanted to become an ideal version of it. I imagine this sentiment stayed with the colonies even as they were in the throes of Revolution and especially during the setup of the US government. Good info to understanding the foundational relationship between America and England pre-revolution and pre-Enlightenment (though this book was published in 1702, around the age of Enlightment, it is in spirit an in depth analysis and recollection of early American religious history from the viewpoint of a late 17th/early 18th century puritan minister). The language, though, is what really interests me, "the little daughter of New England in America," "Mother England," "local secession, yet not a separation." and "Undesired local distance from her dear England". Family, though not separated emotionally, are distant physically against their will, and the child is still loyal to the mother country, at least from the pov of the English settlers. There is no true resentment for the mother country yet. I highlight this because it has become a sort of myth - especially in real life - that there was incredibly bad blood from the start when it's far more nuanced than that. The resentment that was built was gradual, it didn't happen all at once, and when things finally did "explode" emotionally speaking, it wasn't nearly as violent as it could have been. Of course, relations between America and England were strained after the Revolution (and 1812), but not so much that they wouldn't do trade deals immediately after the fact or make efforts to mend old wounds or even form a military alliance. I think the "bad blood" between them is often overstated, which turns England into a spiteful, mean creature, and America into some strange pitiful caricature of himself (or vice versa). The former is far to level-headed for that and the latter to sentimental, and for that reason I always try to approach their relationship with a bit more nuance (and realism?) in lieu of letting my fandom brain, hungry for dramatic angst, take over.

The main point is that yes things were rough between them, especially circa 1812, but not as rough as any of the complicated relationships England has with his other kin or neighbors with whom he shares centuries' worth of animosity. I think it's probably why he was comfortable and confident enough to make such a concerted effort with America (via Rapprochement and Dollar Princessess marrying into his aristocracy among other things) even after the Revolution and War of 1812 (and after it was determined that America would not be collapsing anytime soon and crawling back to him on begging hands and knees), because he knew that things could always be much worse and he was smart enough probably to understand that many of America's motivations and ideologies were inspired by him, even if he was perplexed by such childish rebellion.

I believe l've already made a post about why he didn't respond to the Revolution in the fashion America might have wanted him to and the conclusion was that he obviously did care but was under the assumption that America would fail and so he dedicated his energy to what he saw as the bigger threat in Europe. With the analysis above, I'm simply bringing forth the argument (again) that America as a child and a teen idolized England enough to emulate him and become a better version or at least his definition of a better version, and the seed to do so was there from the very beginning. And that for this reason, the relationship isn't as venomous as most make it seem. Both parties very much wanted to connect with each other for a myriad of reasons and did just that even with minor hiccups. It took centuries for France and England to reach such a point (though I'm sure they're both glad that they eventually did). It took America and England a few decades even after the war of 1812. That two stubborn and prideful nations would quickly let bygones be bygones after war, and separation is a miracle and evidence that even with minor and major contention, there is an innate desire to be closer despite everything.

I can go on and on about this, but I think I'll stop here.