#under a read more because it is A Lot

[dvrast]

a thing about jesper is that he is constantly afraid. angry and frightened— that's what the fjerdan had called him. what had matthias and inej seen in jesper that he didn't understand ? / [ stop treating your pain like it's something you imagined. if you see the wound is real, then you can heal it. ] / you taught me to lie. [ to keep you safe. ] i had a gift. you should have let me use it. [ it's not a gift. it's a curse. it would have killed you the same way it killed your mother. ] i'm dying anyway, da. i'm just doing it slow. it's a genetic disease, father to son. inheritance. power, from his mother. fear, from his father.

it was one thing to be born zowa in his father's house, a weight impossible to tip - toe around with the old farm floorboards creaking under every step, something reaching deep down in his chest to hold his breath from a young age. it was that easy, as breathing, as long as it kept the fear off his father's face ; even easier, whispering truths like pearly whites tucked inside unassuming seashells with his mother. she was brave, braver than the both of them, and she made it easy, until she couldn't. after her death, colm's fear deepened, widened, and it swallowed jesper whole.

the world was always too small for jesper, too big, for grisha of any kind, an open range with traps and snares littered every few feet like landmines. you're born as prey animals native to every continent, or trained into predators in ravka. there isn't a single hill or meadow that's safe, not really. this is a part of why he leaves for ketterdam in the first place, no matter how afraid he is to leave his da, alone in a haunted house. but he can't stay there, not when it feels like the same thing that killed his ma is lurking under the floor, hiding in the rafters, breathing down his neck. but it wasn't the house. it was a part of him, some heavy, extra organ, and he takes it with him wherever he goes. it begins to feel like some kind of birth defect, something somewhere just a millimeter out of line, killing him slowly with every too - fast beat of his rabbit heart. sleeping, waking, this inescapable, primal paranoia. it'll kill him, just for being born.

jesper has what we would call generalized anxiety disorder on top of his attention deficit hyperactivity disorder, and it's at its worst once he realizes this feeling isn't something he can leave back home in his father's house. one could go mad with it, not a single place in which you can feel yourself, safe, whole, and he feels a little mad, at first, digesting this revelation ; this is his life, a blessed death. this is what it means to be zowa, his mother's son, his father's prodigal, home or far from it, everywhere, anywhere in the world. he can't ever catch his breath in ketterdam, since before even that, light and heavy all at once, a freedom you can only feel from falling. he feels like a dead man walking the streets, less to lose than even that, and it's easy, easy as breathing, to lay down what little money fit in his pockets with or without the promise of it earning any of it back. ketterdam is alive, though, and he learns quickly how fear is in the very air, but with it, an immunity in its people. something fearless in the water. it was almost inevitable, then, that the most fearless creature in the barrel is who jesper finds himself drawn to even more than the promise of a light burning brightest before it goes out, like a moth to flame. kaz brekker makes him feel like he could be brave for the first time since his mother. like he could survive.

fear is a lot easier to face if you don't ever look away in the first place. if you never come down from the high, there's never any crash - landing, and life with the dregs is a rollercoaster of ups and downs to simulate a freefall that's in his actions instead of his bones. joining the dregs, joining kaz, it gives a name to the grip in his chest— a false one, but a name all the same. he can't be afraid of living if he's dodging death left and right. this fear he has is for a bullet in his head, a knife in his back, dime lions or black tips or stadwatch or debt collectors instead of slavers or drüskelle or ravka or poisoned little girls in need of saving or his father's scared, scared eyes— ketterdam is where taking a deep breath could get you killed anyway, and it's the first place he feels he can live in. the first place he feels he could survive, because living in ketterdam demands it.

[blackpearlblast]

Brown University students are launching an indefinite hunger strike for Palestine

they are asking for their university to divest from companies profiting from the genocide in gaza and openly call for a ceasefire and will not eat until the university governing bodies hears and considers a divestment resolution. if you are not familiar with the physical toll a hunger strike takes on the body, it might be worth looking up to get a better sense of what a significant action these students are taking. the university's highest governing body is having their first meeting of 2024 on february 8-9th so let's rally around them to muster even more pressure on brown university.

brown university contact page: let's state our support for these students and let brown university know the world will be watching what happens next!

additional reading: coverage of this story in the university's student news paper - get to know some of the hunger strikers

[meamiki]

silly comic based on a time i struggled to read live on stream :thumbsup:

context clip compilation below ASDASDFASA

(cw for brief mention of hospitals/strokes)

[khytal]

and there was only one bed (oh my god there was only one bed)

extra:

[vaguely-concerned]

on the one hand I think inner demons could stand to have a bit more romanced rook specific content, but on the other hand the underlying in-built implication that 'yours is the one true voice of comfort and safety in my inner world' is a sentiment and intimacy so way beyond the romantic or the platonic or any secret third thing you could care to name that it makes me lose my entire poor little mind a bit. it's so big and fundamental — near-existential — that in that exact moment at least the distinctions kind of seem irrelevant.

all the people lucanis' mind conjures up along the way are relationships he has that are unavoidably mixed and fraught in some ways even when they're also full of love (they are fraught BECAUSE they're full of love) — the good in them inseparable from things that hurt him at the same time. (it's about: the basic disorganized attachment patterns this poor guy is dragging around with him. careful with those, they're dellamorte heirlooms. what you love also inevitably hurts you and you won't be allowed to have one without the other, you have to surrender parts of your soul to hold on to what little you have left: this is the story up until now.) and the idea that rook isn't that to him — that beneath the fear of wanting them when romanced (which is more its own separate thing because within this psychology, actively wanting something and not just clinging on for dear life to even a meager status quo lest you lose it is in itself dangerous bordering on catastrophic), this is a relationship where there isn't resentment, or guilt, or shame, or dread, or rage, or self-hate, or any of the other emotions that keep him paralyzed, unable to move this way or that. no debts, nothing owed of yourself and your soul's substance except what you can freely and safely and happily give. love and freedom don't coexist — but, I mean, you're almost starting to make me think........... unless...👀👀👀. the unconditional and undramatic 'you are here and I am here with you, you can be exactly how you are right now with me and it's safe for us both even though you're afraid it won't be, I'm not going anywhere' acceptance rook shows him here that he returns to them in the big romance scene, when it's rook who needs it. the way he's just. standing there in the center of it all, like a child desperately helplessly waiting to be found, hiding in the place he hopes you'll know to look first. (rook does know. it's one of the first things they say in there.)

in short the most important room in his little mind palace for the romance is the very first room — the one where rook isn't. where, in fact, rook cannot be, because they disprove the entire structure of the place with their existence and presence in his life. with everyone else he's putting words in their mouths about what they think of him, and rook is the one who actually gets to come in to speak their own words to him — and have him listen. ('he'll listen to you, he always listens to you', 'your voice is a comfort'.) of course rook isn't present anywhere else in there — at the risk of stating the obvious to a tedious degree, they aren't one of the locks, they're bringing the key. in the very finest 'the messenger and the message' sort of way.

[sunnydayaoe]

hi i'm the anon that asked about npd mind and i am So Excited for the comic :D just wanted to say that

Sorry I lost motivation pretty intensely halfway though... I hope you still like this haha

Erm put a lot in tags if you want more... actual thoughts on mind instead of tiny bite sized 1-2 panels

[stealingyourbones]

Gotta love when folks write Superman incredibly anti-clone even though he had good reason in the beginning to Not Like Superboy (HES A WINDOW INTO WHAT CLARK WOULD HAVE BEEN WITHOUT THE KENTS) and decide that forever on he’ll be spiteful towards clones even though he literally Does Not Care if you’re a clone unless you’re Superboy.

[fisheito]

i told myself that yakuei only had one position then i proved myself (sorta) wrong

my fave face here:

[front-facing-pokemon]

[grenade-maid]

Signalis, Authority, and History

There's a level of nuance to how Signalis presents the violence of the authority of the nation that doesn't call attention to itself but which I really appreciate. Which is basically just, all the officers and cops and spies who make life hell for people like the Gestalt mine workers, Ariane, and the Itou family--we get little glimpses into who they are in Adler and Kolibri's diaries and despite the propaganda and the authoritative tone they take in official communications, for the most part they don't seem to actually be particularly invested in the hard line of national ideology. They uphold it though, viciously, both because things were worse under imperial rule (we don't get hard details on what it was like but it's mentioned in passing enough that I believe it) and because they're scared that if they don't they will be decommissioned and easily replaced. They are literally stamped out of a production line after all. There's a subtext of well, if I don't do it my replacement will anyway and I'm not trying to die so what's the point of rocking the boat?

I think Kolibri stands out to me most clearly on this because in communications from the block warden regarding Ariane there is emphasis put on how it is unacceptable and suspicious that she should be so interested and invested in art and literature that does not serve the purpose of furthering the goals of the nation. But we know that Kolibris themselves are bookworms, Adlers are fiends for stimulating experiences, and both get miserable FAST when deprived of art and puzzles and entertainment and hobbies. Y'know, just like anyone. Far be it from being a paragon of The Nation only interested in productive labor, we are reminded that the block warden, too, hates this shitty town and wants to transfer but is denied. They're hypocrites, but not monsters, nor brainwashed puppets of the state.

The monstrousness at play is not contained within any particular subset of evil individuals, or even an inherent universal force of evil contained in the broad notion of The Nation. There is no cosmic evil force that makes them all do these things to each other. The monstrousness is within the social systems, the mechanisms of how authority perpetuates on a structural procedural level, held in place by fear and tangible threats of violence, each link in the chain restraining the next through those threats out of fear that if they don't, then they'll be next. Regardless how many, if any, of those people in this chain are true dogmatic hardliners, they must act as such because failing to do so opens them up to danger.

Here then I think of the quote that is so prominent, "Great holes secretly are digged where earth’s pores ought to suffice, and things have learnt to walk that ought to crawl", from Lovecraft's The Festival. This is not just a chilling abstract visual that conveniently evokes a mineshaft-- in Lovecraft's story, this line refers to worms which ate the decomposing bodies of wizards whose wretched souls had remained after death, complete with the terrible powers they gained through contracts with demons. Those worms inherited both their power, and also the evil. The Nation, despite having overthrown the Empire, is built on imperial technology, in particular Replikas and bioresonance. So too, then, we can imply that The Nation inherited with those things some of the monstrousness of The Empire as well. There is no end of history, nor clean break with the past, no matter how violently it may seem to be rejected. That which remains from the past--and something inevitably always does--creates the present.

This is a game that is not shy about evoking East Germany. And I think all of this provides a sophisticated picture of repressive authority that we rarely see in fiction of the English speaking world, especially in games. The year the S23 incident takes place is notably 84, but, frankly, I find this to be more compelling and illustrative than 1984 (and I'm a librarian and have taught English classes so I get to say that). Orwell, let's be honest, presents a fairly one dimensional picture of authority, where people seize power and wield it against others out of seeming mustache twirling evil or malice.

Here though we get a more humanistic view. Authority did not come from nowhere and is not wielded arbitrarily out of gleeful cruelty or mindless brainwashed allegiance. People aren't "just following orders". Individuals have rich inner lives. They make decisions, and those decisions are based in the context they're in. Even the decision to carry repressive tools of the past into the present is a decision that was made strategically with the big picture in mind. Nobody woke up and decided to be evil that day. Everyone operates on self interest, and, we must assume, an earnest desire for things to get better. Even the [spoiler] program which served as an inspirational demonstration of The Nation's power, you can imagine the chain of officers and bureaucrats who genuinely wanted the people of the nation to believe in the future, to confidently trust that everyone was working together towards something great and beautiful. And, through a long chain of those people who couldn't say "No" without being decommissioned, we ended up with something unbelievably cruel.

We get to know Adler and Kolibri and the other officers not to say well they're human too, maybe it wasn't so bad that they condemned all those people to agonizing suffering, but to remember that if we keep looking for true monsters we will not find them. There are no monsters and there are no demons. There are only people making decisions. A better world is possible. A better world, where Adler is just a paper pusher who does puzzles after work instead of signing papers to authorize torture, where Kolibris are librarians instead of spies and cops, where EULEs can gossip and play piano and ARARs can do maintenance on facilities that don't contain torture rooms, is one that would not have led to the Ariane and Elster's tragic cycle and ultimate end.

Authority and its attendant cruelty is not contained, radiating forth from The Great Revolutionary and Her Daughter, it is within the social systems of control. When those two women die, that cruelty will continue so long as those social systems continue. Like Lovecraft's worms, no matter how long dead the evil of the past is, so long as it continues to be fed upon, that evil will not only remain, but evolve into something new in the present. A better world can't be achieved through the death of the old world alone, even if violent overthrow is warranted. There is no end of history. There is no clean break from the past.

"Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living."

Karl Marx, The Eighteenth Brumaire of Louis Bonaparte

[electricea]

on being 30.

my birthday is this weekend and i don't really know how much free time i'll have to spend on here, so i did want to poke on here and at least say something - thank you for another year together, whether we've just met or have known each other for ages, i genuinely appreciate being able to spend another year on this website with so many great folks, sincerely - i appreciate every dm, every image, it doesn't go unnoticed or unappreciated.

i've sort of touched on before on how 2024 has been a sort of a slump for a year for me - i've always sort of battled with self doubt and self loathing and just for some reason this year, it seems to just keep coming back and i hate that i actually doubt and question myself - if there's still a place for me here and when i get in my own head like this i really isolate myself and try to just deal with it in private because i don't like being a downer so if you have noticed me not exactly being the most responsive or talkative lately, that’s why - i’m not angry with anyone, i’m not trying to be cold with anyone - going back into my shell is just what I do and how I cope, it always has been, i don't even like writing this. and to make this clear, this is a me problem - not an anyone else problem, period - this isn't a vague or to point fingers, the issue is with me.

i think what sort of prompted this was seeing a lot of people open up about their own feelings and insecurities and I get the sense that 2024 hasn’t exactly been a great year for a lot of people either and my mindset has always been so long as it's not being passive aggressive or directing the blame at others, i honestly think it's good to have an outlet to just say how you're feeling once in a while - how else will people know what you're struggling with? of course what they choose to divulge is up to them and no one has to divulge if they don't want to, we're all just here for rp and for fun but i think sort of seeing others also struggling with having a crappy year and seeming to be in similar slumps was what really prompted me to write this. i hope it's just down to 2024 being a cursed year or something, lol.

like i said, i do genuinely appreciate all of you - i think more than anything else, more than rp or writing, the people are what keeps me coming back to tumblr - getting to write with and meet so many different writers from across the world (and possibly even talk with some of them and hang out with them??) is honestly a privilege and honour and even if i may not respond right away, please just know i appreciate every interaction, every message, every person. thank you all for being a part of my tumblr experience for another year and for already getting this birthday off to a lovely start. take care of yourselves.

[retrogradedreaming]

I just rewatched Full Moon and seeing that last scene Blitzø and Stolas ripped my heart out AGAIN and these are my thoughts after watching it a couple times, please don't throw rocks at me

First, I think this is a pretty realistic progression of miscommunication and I've seen a lot of people be on either of their sides, but I don't think there's even a side to be on. Both of them went into this with their own thoughts and pre-formed ideas of what the other wants and how they'd react, and that colored their responses and clouded their ability to process what the other was saying.

Stolas opened the whole thing with "Blitzø, I need my book back permanently" which was absolutely the wrong tone to set here. It reinforced Blitzø's belief that Stolas was getting tired of him, and as far as Blitzø (who is NOT known for his ability to accurately and objectively read people or situations) is concerned, Stolas has just confirmed that he doesn't want him. Stolas immediately clarifies and pours out his feelings, but honestly, that's a lot for Blitzø to hear immediately after feeling like his literal worst fear has been confirmed, that his business—the ONE thing he's worked so fucking hard to build from scratch—is in jeopardy. So along with wondering whether Stolas even wants him anymore, he's now contending with the panic of losing two things, so he likely barely heard and couldn't comprehend Stolas's feelings.

In ordinary circumstances, less high stakes ones for Blitzø, I think Stolas actually did a pretty decent job of communicating himself and his feelings. But I get why Blitzø didn't take it seriously—he's been in an arrangement with Stolas for so long, thinks Stolas is getting bored, so of course he'd think, "Ah, yes, a new role play, a chance for me to do better and keep him from getting bored." Stolas is understandably upset by this, but man, he really did not give Blitzø a fucking second to process at all.

And this is why I think Blitzø's reaction is understandable (not necessarily reasonable or healthy or even appropriate, but I GET IT). Of course he feels like he's being thrown away. Stolas still has power because he's rich and he's royalty and Blitzø is used to being used and discarded and not good enough. Of course he's angry—he doesn't even feel like he's being given a choice because Stolas has already scripted this in his mind, went in prepared, and imagined how it will go. He mistakes Blitzø's misunderstanding and shock for rejection—also understandably because that's what Stolas is used to, and he doesn't seem to have any friends or support, which we've seen is a pattern since childhood.

What we're seeing is two lifetimes of trauma surfacing in the face of genuine connection and love, and neither Blitzø nor Stolas knows how to deal with that. Neither of them has ever seen what it's like to receive that before. Blitzø was in the circus with a dad who sold him to a prince for "a wadded up $5 and a slim fit condom" and was always placed in the shadow of his best friend, who then hated him for 15 years because he thought Blitzø purposely blew him up. Stolas was essentially raised by a butler with a dad who had zero emotional literacy and was then forced into an arranged marriage with someone who treated him like absolute shit.

They've both lived a life where love and relationships are transactional, and they don't know how to function when someone loves them for who they are. Of course they're going to struggle to communicate, and I don't blame either of them for their reactions, but I really, really want to see them have a calmer conversation where they can process this and understand each other and accept love.

[envolvenuances]

This one gives a general summary of the importance of women in the fight for the idependence of Mozambique

And for a more present context

[vagun1ka]

i have thoughts about asta and bronya redesigns

[redysetdare]

every time i see a post that is like "ughh why cant we have aspec characters who aren't aroace for once" I have to do a double take like "is the aroace rep in the room with us right now?" because genuinely....where is all this aroace rep y'all are complaining about? Why cant i find it yet it's apparently the only aspec rep we get?? You admit that TV never says the word aromantic so where is the aroace rep. So far I've pretty much only seen canonically asexual characters and not much else buddy.

[alagaisia]

Hey if you’re still enjoying and engaging with Harry Potter in any capacity you can unfollow me 😊 please and thank you

Like. I get it. I was super into it as a kid too. I did not have the social context to pick up on the antisemitism or transphobia or sexism or fatphobia or bioessentialism or racism or anything else. I also picked up on surface-level language of Fighting Back Against Evil and ascribed my own values onto what that meant and thought we were all on the same page. I remember when the original kids who grew up with the books started becoming adult fans and picking up on the (blatant!) antisemitism and everybody was still mostly willing to give JKR the benefit of the doubt on it. (“She was writing kids books!” They said. “She didn’t know she was penning a global phenomenon! She picked a common literary trend in European fairy tales (antisemitic caricature) and didn’t examine it closely. It’s a mistake anyone could make,” we said. “She would probably do things differently now. After all, she word-of-god confirmed the vaguest hints she dropped that Dumbledore might be gay,” we said.) There was actually a span of several years where biases inherent in the actual real content of the Harry Potter series were coming to light and even the people pointing them out still seemed mostly to think it was an unfortunate accident.

That time has passed. Years ago! We are long past the first months of “maybe she doesn’t realize this seemingly-feminist tweet she liked was made by a noted TERF” and then “how could she not realize that these many veiled TERF-y things she’s retweeted have implications for the many queer fans of her work” and finally “oh wow okay JKR just dropped an entire transphobic manifesto on twitter. I guess the transphobia was the point.”

Yeah, there were a few months after that where people were still processing and still working through how they felt about Harry Potter and all of its flaws with the context of the now open transphobia of the creator. I was there for that. Remember how I was one of the kids who built it up into something noble and worthwhile based on my own beliefs about what messages it was probably trying to convey? Turns out it wasn’t trying to say any of those things, and when you take the time to examine all of the terrible shit that made its way into the text whether JKR intended it to be there or not, the whole series falls apart. It’s weird to discover that there’s a room in your house that’s rotten to the core, but eventually you figure out you can’t live like that, still going in there and holding your nose and pretending it’s still the same room you thought it was when the termites were only inside of the walls and hadn’t yet started chewing their way through the furniture. Because what’s going to happen is that they are going to infest the rest of your house. If you decide you can ignore transphobia and antisemitism and everything else just because you liked the color of the wallpaper, the rest of your principles are going to crumble too. You get rid of that fucking room. You put those books on a high shelf in the back of your closet behind other outgrown clothes and interests and you move the fuck on.

JKR uses the money made from her transphobic antisemitic children’s books to actively funding hate groups and to lobby for legislation that will and has actually affected the actual lives of trans people in an entire country. We are past the point of grieving something you were wrong about in childhood. Kids are wrong about a lot of stuff. You grow up and you learn new information and you change your behaviors based on it. You have to choose. It is transphobic to pretend there is not transphobia where there is. It is transphobic to support the work of someone who is using those funds to take rights from trans people with every fucking dollar. It is hateful to continue to engage positively with a story that at its very core is rooted in hate and bigotry and prejudice. You can choose to do all of those things but you cannot claim ignorance of them and you cannot choose those things and still pretend that choosing them upholds the values we convinced ourselves that Harry Potter stood for over a decade ago as uninformed children. You cannot choose to do those things and pretend to still support your trans and queer and Jewish neighbors. I do not want you in my neighborhood. Leave.