#we all have different capacities and capabilities | Explore Tumblr posts and blogs

luveline · 1 year ago

Text

𝐚 𝐬𝐭𝐮𝐩𝐢𝐝 𝐡𝐨𝐩𝐞 | 𝐦𝐢𝐠𝐮𝐞𝐥 𝐨’𝐡𝐚𝐫𝐚

miguel does everything he can to make you feel better after a civilian casualty steals your ‘sunshine’. —a fic featuring reluctantly adoring miguel and his sad spider-girl. pre across the spider-verse but contains spoilers. requested here. fem!reader, 4k

cw character death, violence, reactive depression

˚ʚ♡ɞ˚

"Miguel," you say, your voice grained by the communicator in his ear, "this universe is almost the same as mine, right?"

Miguel stares down at a Doc Ock variant you're staking out, lying in wait for the anomalistic antagonist to make his first move. He's trying desperately to maintain his focus but you have a nice voice, and you ask him with a confidence that betrays your total faith in him. You haven't considered that he might not know.

Well, Miguel does know. He's not sure he should start this discussion and distract you, but he has trouble saying no to you in any capacity, so he does.

"I don't know every difference, but yeah, they're the same. Same geography, world leaders, roughly the same fast food chains." He bites his lip. He's at work, more than work —you're attempting to save an entire dimension, here— and he shouldn't feed the conversation anymore. But he knows you'll be interested in this. "Donuts aren't a thing, here."

"What?"

"They have donuts, but they aren't called donuts, and they're nowhere near as popular."

"This is a very strange way to flirt," Lyla says, her flickering hazed by a golden aura as she changes rapidly between laying on her front, legs kicking, and her back, as though she's in a therapist's daybed. She floats across his vision lazily.

"That's because I'm not," Miguel says.

"What?" you ask.

"Nothing. Talking to Lyla."

"How come Lyla doesn't talk to me?" you ask sweetly.

Miguel can see you in the distance, your simple black suit like an ink splodge against the blue grey glass of the skyscraper you're standing on. Anchored with a web and your body tensed, you're perfectly parallel to the ground below, as though you're standing on the windows.

"It's not that I don't want to," Lyla promises. "Miggy won't let me."

"That is not true."

Projections cover Miguel's vision, powered by his favourite lying intelligence. Movements are mapped in a bright marigold yellow, though the net turns red to signify potential danger, chance percentages bouncing up and down. Doc Ock raises an arm and it turns an eye-straining red. He sits down on a park bench and his body turns yellow again. It's a smart program, but it can't account for everything.

"Something isn't right."

You hum appreciatively. "It feels weird, how he's acting. Like he's two separate people."

Doc Ock glitches hard, the air around him fractured by colours in varying depths, like a tangible, physical screen tone. They've been coming faster. He doesn't have much time before he begins to tear apart, and that tearing will prompt panic. Panic will prompt anger.

"What should we do?" you ask.

Miguel doesn't know. He regrets asking you to come with him, not that you aren't capable. When you first joined the Spider Society you'd hadn't been Spider-Girl in your own universe for very long, and you weren't particularly proactive. You were kind-hearted but lackadaisical, and after worming your way into his life, a flower budding between concrete slabs it shouldn't have the power to crack, (he seriously doesn't know how it happened, only that you'd been bringing him things, carefully wrapped foods and trinkets you'd made, your bad conversation, and suddenly you were worrying about him and doting on him in the strange way that you do, suddenly, he was doing the same), you decided you wanted to help. You've trained hard on Spider-led courses at the Society, improving your overall fitness, your stamina, your technique, to become the fighter you are now. You can hold your own well.

Miguel knows what motivated you. You want to look after him. You'd all but admitted to it. And that's why Miguel wishes he asked someone else to come with him, because you'll put yourself in harm's way as he would for you, to protect.

"Why did you want to know if this universe was the same?" he asks, the nano of his suit morphing over his hands, claws growing long and minaciously sharp.

"Oh! Because, I used to have these favourite cookies called Butter Leaves, but they stopped making them in my dimension 'cos of the Whey disease. Even when it was better, loads of companies couldn't come back…"

You give him the entire history. He already knows it. He tries to listen to you with the attention you deserve anyway, only he's weighed the options, and taking down Doc Ock feels much more important than listening to your cravings.

"They were really thin and they had this sweet coating brushed over the top. You'd like them, I think." Miguel drops the last hundred feet to the ground, ignoring the jarring heat in his ankles at such a landing without having rolled into it. "If they were a little softer and had some sugar they'd taste just like polvorones, Miguel."

"You could say that about lots of things," Miguel argues, tone measured as not to alert bystanders nearby of his presence.

"This doesn't feel like a good idea," Lyla says. Standing now, alert.

Miguel toggles the communicator so you can't hear him.

He wonders if you'd even notice him speaking over the intensity of your excitement, "I know it's not professional but maybe we could go and look? After we beat the bad guy. They're more than worth it, I swear," you say hopefully.

"It's fine," he says to Lyla, throwing out a hand, shins braced and ready to burst into a tackle.

"It feels off, you both said it."

"It always feels off. He's in the wrong dimension, his presence caused a shift. The wrongness is unavoidable, like the body–"

"Rejecting an organ transplant," Lyla says. "I know. You say it constantly."

"If you know, why are you asking?" he asks, deadpan.

"Good to know your girlfriend can ask questions and I can't. You're a trailblazer for equality, O'Hara."

Not my girlfriend, he thinks, but he isn't sure how true that is. Miguel realigns his eyesight, the holographic netting that pinpoints anomalistic stress a menacing red where it maps Doc Ock's limbs. The colours are abrasive against the yellow-green leaves fluttering in the breeze to the grass below, trees like arms stretched toward one another standing behind the simple brown bench where Doc Ock murmurs drunken-sounding ravings.

Miguel's fangs slice through gum and lock into place. He tries not to salivate. The paralysing agent produced gives him a numb tongue.

Miguel attempts to work quickly. Approach the target. Lock the target in. Incapacitate. He rears back and takes a deep breath.

"Wait! Behind! Behind you, Miguel, there's something behind you!"

He twists backward without hesitation and swings his arm around a cold neck. He squeezes hard, hears a metallic crunch similar to a mortar and pestle, but the person in his chokehold isn't a person, it's a robot.

"Octobots!" Lyla shouts.

"HELPFUL!" Miguel shouts back, grunting as a robotic arm curves around his back, and then a second, a third.

The hills of his muscles strain against white-lacquered steel, a sweat breaking at the back of his neck as he groans, desperate to stop the octobot from crushing his arms to a powder. He can practically hear the creaking of his humerus.

Around him, civilians scatter, screaming for their lives as a small horde of octobots descends on the park. Doc Ock doesn't react to the chaos. He sits there muttering to himself as people run past him and his octobots play cat and mouse. Miguel finally snaps the arms off the robot holding him with a pissed grunt, punching the carcass of machinery away from him while you tuck and roll from a dive to the ground. In an impressive show of your improvement and coordination, you throw out a web as you roll and hit Doc Ock square in the face, a second binding his chest to the bench. You spring to your feet, shooting at bots one after another. You must take down six by the time he's gathered his bearings.

"On your left," Lyla says. Miguel smashes a bot at the apex of its white body and she laughs. "Nice. Behind."

Miguel falls into the fight as though it's a well-practised dance. With the stress maps locked on, quick-thinking, and Lyla's pointed direction, Miguel can decapitate or incapacitate each bot swiftly as long as they don't get a hold on him like the first one managed.

You're like Lyla in that a good skirmish seems to set you off —you're giggling, cheering, enjoying yourself much more than you should be. "This is just like that video game," you say, leaping onto a moving octobot and shooting webbing at the joints, gumming them up until they can't move. "With the girl and her super powered puppy, you know that one?"

"Of course I don't know that one." Miguel brings his claws down into the aluminium shell of an octobot as it swipes your legs from under you and tears it in two. It cracks like a halved apple, the gore of its inside sparking and smoking as it hits the ground in tandem with you. Your head whacks hard into the concrete pathing beneath. He doesn't have time to help you.

The arm of a bot races forward like a stinger. This one must be the head of the hive, the Queen bee so to speak, far more complicated than the others in the plating of her ivory bodice and chain-mail like shielding on her arms.

Miguel swears under his breath and vaults at it.

He pulls your droid feed up in his display, watches you writhe from one side and the other as your pained moans play in his ear. You clamber onto wobbly footing as Miguel descends, the screeching cry of metal while it's shorn apart beneath his hands not half as loud as your useless gasping —you're winded, likely concussed.

"Civilian entering range," Lyla says.

"What? Where?"

Lyla has your drone's camera spin on the spot to show Miguel the civilian stupid enough to enter an active fight zone. They aren't stupid at all, it figures, but unaware. A man in activewear jogs the beaten path with headphones in, eyes to the ground. He stops for a moment to look at his sports watch, and like the octobot can tell, it shakes Miguel like a bothersome flea and surges for him.

You're closest.

"Y/N!" Miguel shouts, knowing it's too late before he so much as closes his mouth. You turn, your head braced in your hand, breathing hard with pain. Miguel would take it back if he could.

You can't save the civilian, but you can watch him die.

—

People look at him like he's a ghost, sometimes. Wide-eyed, horrified, they move aside in the halls. They treat him how he feels on his worst days, like someone who should've died a long time ago. Today, things are different.

No less than three Peter Parker' have stopped to stare at him unabashedly. Nearly all make the same jokes, Late for a date?

He'd honestly prefer feeling like a ghost. He can't deal with their derision and he doesn't want to, ignoring their looks and their judgement as he treks to the elevator that's gonna drop him outside of the medbay. The only person he wouldn't mind poking fun at him is you.

You aren't in the mood.

Miguel doesn't acknowledge your prone form at first. He walks to your bedside table to deposit the bouquet he'd chosen, peonies for good health and strength, swapping old for new, changing the water in your small shared sink. He may orchestrate the Spider Society, but Miguel's special privileges can't reduce the extreme turnover rate of the medbay. You have curtains to partition the room for privacy, and you got the bed by the window, and that's as much as he could get you. You deserve better.

Miguel opens the window to drown out the smell of antiseptic. He stands in front of it, his shadow stretching over your twisted hip. You're not sleeping, you're resting. Doctor's orders.

Miguel wishes you'd deign to rest in your own bed, or his, but you're a little too catatonic for a safe discharge either way.

He sighs quietly. You likely hear it with your enhanced senses and still you remain an impassive lump under your blue hospital blanket.

"Good morning," he says, instead of the thousand other things he wants to say, that he's too much of a coward to ask. "Let's get up."

He doesn't give you any choice about it. Starting slow, Miguel rounds the bed to meet your eyes through your sluggish blinking. Perhaps you'd been more asleep than he thought.

Gentle, Miguel peels down your blankets enough to push his hands under your armpits. He pulls you up into a sitting position, and it —it breaks his heart. He's a monolith, he's hurting, he has years and years of loss and grief behind him and it doesn't matter, it finds him again. His heart breaks at your limblessness and your willingness to be positioned like a paper doll.

Miguel arranges the sad pillow behind you and puts the remote for the adjustable bed frame in your hand. The last time you'd been here in the medbay after a training exercise fractured your ulna, you'd spent pretty much the entire time messing around with your bed, even as they crafted your cast. It made for messy work. Miguel must've told you to quit it fifty times.

Your fingers curl around the remote.

Miguel perches on the mattress on one knee to fix the protective style your hair is in. Nothing serious, just smoothing the tiniest of stray hairs and making sure it's still comfortable. He strokes your temple absentmindedly, checking you over one feature at a time. Tired eyes, nose tip looking parched, your lips chapped. Frowning, he sits properly, and he pulls your big hospital bag from the bedside table, his hand falling to your wrist to say, Hey, I'm here, and I'm not going far.

He finds your smaller bag of toiletries and necessities and unzips it. He tries not to think about the last time he had to take care of someone like this as he cleans your face with a wet wipe, two fingers wrapped in the wipe and petting at your skin carefully. He notices the life returning to you inchingly, his touch a tether you're pulling on, so he prolongs his actions. He smooths moisturiser over your face extra slowly. If you asked why, he could say it's cold, but you don't ask.

Your face shiny in the sunshine filtering in through the wide windows, you almost look like yourself again.

"Are you hungry?"

You shake your head. An almost imperceptible gesture.

"This is why you don't feel well," he says. "You're not eating enough."

"That's not why," you say.

He aches to hear your voice. I know, he thinks, but doesn't say.

"Eat something," he says.

You shake your head again. He managed to bring you back and squash you back down in less than a minute. He really doesn't like himself, at that moment. Often, but especially now. He's failing you. He failed you with the octobots and he's failing you now.

Miguel refuses to fail someone he cares about again.

He takes the remote for your bed and lifts the top section so you can sit back comfortably. He shakes the blankets out over you, and he puts away your things. Hopeful, Miguel places new pyjamas and underwear with your shower caddy at the end of the bed and pulls a strict pose, hands crossed over his chest.

"I need to go. Shower, eat breakfast when it comes. Please."

You give him a look that might mean Yes but probably doesn't mean anything, laying down as much as the bed allows and turning your face from him toward the flowers. Miguel leaves, stopping a ways away to look back, and watches through the gap of your curtains as you reach out to touch the flowers he'd brought. Your pinky finger is less than an inch from the petals when your movement stutters, your hand falling back to your chest with a soft thud. You close your eyes.

When Miguel returns, he's thankful to find you've done as he told you. Showered, changed, a discarded breakfast tray at your feet. You've attempted the oatmeal and left the toast to go cold, congealed butter white against golden yellow.

Miguel swaps the tray for his bags. He's hoping you might be tempted to look while he's gone. He knows before you would've known the entire contents of the open bag by the time he'd left the room, but he returns having taken your tray to the rack and is sorely disappointed.

That's fine, he decides. You don't have to look. He doesn't mind laying things out for you.

First port of call: extra pillows. He pulls the plastic wrapped 'hotel pillows' up onto your sheet and tears the plastic. They pop out. He didn't think for pillow cases, so he slides them behind your hospital pillow and pushes you down by the shoulders, not cruel but not particularly gentle —you actually laugh at his handling. He bites back a smile.

"What, you got me presents?" you ask as he dumps a blanket onto your lap. It's one of those soft, shiny fleece ones patterned with those characters you love so much, the girl and her super powered puppy.

You rub your hands over it appreciatively and spread it out over your legs. "What's that mean?" he asks, pointing at the Chinese characters, '超級汪汪!'.

"Chāojí wāngwāng!" you cheer, an impression missing the majority of your usual pep. "Super woof. It's his level five power up. He yaps and Joyce gets her HP back."

Miguel pretends to know, like he'd forgotten, and you're reminding him. "Ah."

You're watching now, interested. He puts his back between you and the bag and you whine weakly, "Miguel."

"What? You think these are for you?"

"Please, I want to see."

He gives in like a cheap tent, passing you a packet of pearly beads for your bracelet making, skeins of variegated thread that change colours, a packet of pencils with frogs on the lids, a plushie. You don't know how to react and Miguel doesn't know what to say. He honestly doesn't want to say anything, vulnerability stopped being his thing a while ago, but he clears his throat. "Do you know what I look like in the middle of Miniso? Picture it."

Miniso being a Chinese home goods store lined floor to ceiling with plushies.

You laugh weirdly. Miguel knows it's guilt holding you back.

"One last thing." He sits down on the bed next to you, hands big enough to cover the box in its entirety. "You were wrong, by the way. Extremely wrong, these don't taste a thing like polvorones."

He passes you the box. You take it into steady hands, smiling widely, your thumb brushing up against the black cursive font. A box of butter leaves from one of your sister dimensions.

"I don't know if they'll taste like they did. Are they the same ones?"

You nod, loosing a breath between parted lips. "Same ones."

"If you don't eat them all, I won't get them for you again."

"That's so mean," you murmur. Miguel would apologise if he thought you meant it.

"That's how it is. Eat your cookies. I'll come back later to make sure you actually ate dinner."

He stands. You immediately grab him, cookies dropped in favour of braceleting his wrist in your warm fingers.

You look up at him through your lashes, a frown dampening your pretty features. At least, in his eyes.

"Please don't go," you say. Your eyebrows pinch together. It's even more heartbreaking than your catatonia, this pleading loneliness, like you think he won't stay.

"You have to talk to me," Miguel says. He softens at your chastised wince, sitting back down again. "Did you want a hug?" he asks.

It's an apology to offer it, though he should've asked you this morning, or yesterday, even the day before. You'd been inconsolable when it happened. Miguel's never seen you that way. Your sunshine shattered, your shoulders shaking under his hands as he led you away from the scene, he didn't hug you like he wanted to. It wouldn't have made a difference at the time. You couldn't speak. You could barely walk.

Seeing something like that happen leaves a mark, even if you've seen it before.

You sweep aside your gifts and twist your legs to climb onto your knees. Miguel hadn't realised how much you wanted to be close to him until you're bordering his lap, your arms sliding over his shoulders, your pyjamas soft and smelling of antiseptic under his nose. A switch flicks at your nearness. He pulls you into his lap and sandwiches you there, chest to chest, thankful for his stature because it means he can encapsulate you effortlessly. He can hide you from the world for a short while.

You choke him half to death.

"It's okay," he says, your back curved into the length of his forearm, leaning forward so you can take the weight off. "You're okay."

"I don't– it's not me. I'm not worried about me."

"It's over," he says. "What's done is done." Which isn't to say it isn't tragic, or that it didn't leave a permanent mark on the world. But you're punishing yourself for a crime you didn't commit.

"It's all my fault," you whisper, your cheek pressing to his shoulder, face hidden in the juncture of his neck.

He tilts his head toward you. "It's my fault. I jumped in. I wanted it to be quick."

"I let him…"

"You had a grade ii concussion, you didn't let anyone do anything. I'm lucky you didn't pass out right there. I'm lucky you had the ability to defend yourself, because I left you defenceless."

"No, you didn't, it–" You rub your cheek against his shoulder. "It happened really fast, you were making sure that bot didn't get me because I was stupid enough to leave myself open–"

"Stop it."

It's harsh enough to stop you in your tracks. Miguel sighs hard, hair blowing away from his face.

He lays down backward, skewiff on your bed, and pulls you with him in a secure but gentle hold. You make a quiet 'oof' as you go down. Apologetic yet again, Miguel rubs a line up and down your back, fingertips between your shoulders, palm flattening as he reaches the small of your back, your shirt inching up. He's sure you look foolish to anyone watching, but for once, he's past embarrassment.

"I don't want to hear you blaming yourself. It's not your fault."

You've twisted on your side on the mattress rather than crush his pelvis, though your chest remains pressed to his. You twist a strand of his dark hair around your finger. "Why did you bring me all this stuff?" you ask softly.

"To make you feel better."

"But why… do you… want that? Why does it matter that much, that you'd waste time going to get me things?"

"Why do you think?" he asks.

Your lips ghost the column of his throat. "Mm… 'cos you're nicer than you let on."

"Wrong."

You laugh again. He's more grateful than he'd ever say aloud.

"Because you care about me too much."

Too much is right. He feels like he's at the stern of the universe's most important ship. The universes, plural. That ship is heading square for an iceberg, for the precipice of a gargantuan whirlpool, and there's nothing Miguel can do but hand out buckets and veer sharply to the left, hoping it will be enough, knowing deep down that it won't be if something doesn't give soon. And he's lived a life, two lives, before he even met you. He's tired. He doesn't want to lose anyone else, and he hoped he could do that by never caring again.

What a stupid hope.

"I just want you to feel like yourself again," he admits.

"I really wanted to save him."

"You can't save everyone."

He knows better than most.

"I know," you say, no tears left to cry, voice impossibly small.

Miguel wraps his arms around you and doesn't let go for a long, long time.

˚ʚ♡ɞ˚

thank you so much for reading, I really really hope you enjoyed! please think about reblogging if you liked it, I appreciate it <3

2K notes · View notes

catpriciousmarjara · 1 year ago

Text

Okay so there's this dp x dc tumblr post about the JL finding the Ghost King's family tree or something and lots of misunderstandings happening but I can't find it anymore and would be grateful if someone would send it to me... Anyhow I was inspired by it and this is the result!

Also on ao3 if you wanna check it out there!

The Family Tree

"So you're telling me this is just a family tree?", Green Lantern asked with a frown on his face.

Bruce could see Constantine's eyes twitching at that question. As always, leave it to Hal Jordan to annoy people.

"This isn't just anything", the sorcerer said with narrowed eyes. "It's a Class-X magical artifact. If this thing is used as a focus for a ritual, the magnitude of magical energy would rise by at least 80 factors. For those of you non-magical or unfamiliar with magic, that's fucking huge."

Beside him Zatanna nodded, her gaze still fixed on the ancient manuscript. She hadn't taken her eyes off the scroll for more than a minute since she got to the Watch Tower and first saw it spread out on the containment room table. Constantine was the same. Captain Marvel was not present, working along with Superman, Hawkgirl, and Aquaman on a case, but his reactions have always been dissimilar from his magical colleagues, so his case might be anywhere between staying the hell away from it to trying to inhale it.

It was clear to Bruce that Zatanna coveted it, but was sensible and cautious enough to stay away from it. Constantine had no sense so he was a tossup. From where he was standing between Wonder Woman and Martian Manhunter, the Gotham vigilante resolved to keep an eye on the two magicians. They most likely won't try to steal the artifact, considering the heavy dose of 'not messing with that thing' overshadowing the desire to possess it, but the scroll itself might be enchanted to encourage covetous feelings on those nearby. It wouldn't be the first time. Better safe than sorry.

It was Diana that stepped up towards the two JL Dark members to seek more clarification. As both a Demigod and as someone familiar with magic, she was usually the one taking point on such issues.

She gestured to the scroll innocently sitting inside the runic circle the two mages had constructed around it. "You have told us that the artifact is not destructive, that it is merely a record, and that the information it contains is not a spell, or a runic arrangement, or a magic circle. You have also told us that the strange energy readings coming from it are mostly due to the material it's made out of than any catastrophic sorcery enchanted into it. You have at last decoded it as a record of a family tree. Yet it is dangerous, a Class-X relic as you've said. Given all this information, I suppose the correct question to ask here is this: why is a family tree capable of raising magical energy output by 80 factors?"

The two magicians looked at each other. Zatanna finally pried her eyes away from the scroll and faced the room.

"Magic is a force that simultaneously has laws but at the same time adheres to none. It's confusing to explain but for the time being just keep that in mind."

She walked to the center of the room, followed by Constantine, visibly trying to collect her words. Bruce prepared himself for a complicated explanation and activated another one of the batsuit's recorders. He felt the urge to sigh, for a supposed unchained force, Magic was needlessly complex at times, and practically incomprehensible to non-magicals.

At the front, Zatanna took a deep breath and began.

"As you know there are multiple dimensions. But magical dimensions come under a different category. Depending on the overall magical potential of a particular magical dimension, we call it the World State Stable Thaumaturgical Output Capacity, we can classify these dimensions in grades and levels, as either higher or lower, with relation to each other. These levels are dependent on a multitude of variables like space, time, gravity, Events, Proximity, etc and as such are non-linear, and unfixed. That's the first thing."

Bruce could practically see the capitals on the last two. Looks like they would need to hold another meeting to clarify a lot of these concepts. Seeing the dawning of lost expressions on some of the members however, Bruce mentally amended that to many future meetings.

Zatanna continued. "Magical objects from higher dimensions become stronger in lower ones. The inverse is also true. This is all in relation to the Overture and the same polarity orientation of course but we don't need to get into that now-"

On the contrary Bruce thought they really needed more explanation on all of that.

"-In simple terms, a child's toy from a higher dimension could become the focus for an apocalyptic ritual in a much lower dimension, while an apocalyptic artifact from a lower dimension might as well be paperweight in a sufficiently higher one. There are ways around it, but if those methods are not implemented, then this is how it generally goes. The larger the level difference, the higher the power."

Now that wasn't concerning at all. Bruce really needed to update his contingency plans regarding magic.

Constantine continued from where Zatanna left off, looking like he'd rather be anywhere but here.

"The second thing is that when it comes to magic, things that are indefinable or unquantifiable become definable and quantifiable. Stuff like love, hate, happiness, despair, fate, necessity, authority? All measurable. Not always needed of course, But definitely possible and frequently used in a variety of magical fields."

The sorcerer leaned against a nearby chair. "One such thing is Significance. The magic contained in true names for instance is mostly based on significance. A true name is significant to you, its a doorway to your soul, and therefore it holds power. Significance is also what we call a positive, additive factor in magic. In the absence of interfering variables, significance as a quantity is directly proportional to magical output. In other words-"

"-the more significant an object or an event, the higher the magical energy output, and consequently higher the magical power", J'onn finished. He looked towards the scroll. "The information recorded on it, the family tree as you've said, valuable in significance, most likely in terms of whose family it's a record of. In addition, the artifact is from a higher dimension with relation to ours, and that has a cumulative effect."

"Yeah exactly", said Constantine with a raised eyebrow. "Which means that if that hypothetical toy Zatanna mentioned? If that happened to be important enough, like a first toy, or a cherished gift or something like that, its significance increases, its potential increases, and in the right hands, or in the wrong hands really, that potential could be harnessed at a lower level."

There was a bout of thoughtful silence as they absorbed all of the information.

But Bruce felt as if he had been quiet enough and took the chance to ask a question of his own. "You mentioned something called the Overture, and polarity orientation. What do they mean?"

Constantine just sighed. "For fuck's sake Batsy those things aren't really important to the discussion..."

Bruce just stared.

..."Fine", the mage said in defeat. "There are many names for it, the Overture, Exordium, Legerdomain, Nascence...but the most accepted two are the Beforebirth, and the Womb. It's not a something as much as it's a someplace, but then again it's not really a place either. Simply put it's the birthplace of Magic, where it all began and all that. It can't be accessed without the Key and that's been lost for a long time. It's actually a mission for many magicals to find it you know? A holy quest for a lot of them. Some of them are straight up crazy though."

Bruce field that information safely away. Figure out a plan to combat fanatic magicians trying to find the birthplace of magic for sinister reasons. "And polarity?"

"Well", Zatanna began, "its how magic is classified according to the nature of...magic? Or rather the essence? It's hard to put in mundane terms...Anyhow broadly speaking there are two main polarities, the Obverse, and the Reverse."

For a moment, she struggled with the explanation before brightening, seemingly having found an idea.

"Picture a number line, but like on the y-axis! Zero is the Overture, Obverse dimensions are the positive number side, and Reverse dimensions are the negative numbers! The higher up the obverse dimension, the larger its magical output! Similarly, the lower down the reverse dimension, the higher its magical output."

Bruce had hardly parsed through that when their resident speedster spoke up.

"Guys", the red clad hero said, "I feel like we missed the obvious follow up question after Ollie over here...like I feel like this is important, but where exactly is the scroll from?"

As one everyone turned towards the artifact.

Constantine grimaced and Zatanna winced. They looked at each other as if asking who wanted to bite the bullet. Finally it looked as if Constantine lost. The sorcerer cursed under his breath.

"Well which dimension is the scroll from?", asked Wonder Woman.

Constantine took what looked like a fortifying breath.

"It's from the Infinite Realms."

Silence.

"What?", the Green Lantern asked intelligently.

"It's from the Infinite Realms. As in Infinite. As in end of the figurative fucking line, number line whatever!"

Everyone stared at the magicians as understanding slowly dawned.

There was what was essentially a magical nuke in the Watch Tower.

"Now", began Martian Manhunter, "this is unfortunate".

898 notes · View notes

fanfictionroxs · 4 months ago

Text

Wrote this little something regarding Daniel's line "Armand, Amadeo, Arun.. where does the the bullshit start?" and how his reactions are so often seen without context and get unfairly assessed.

Daniel's reaction to someone doing wrong to him is to utterly destroy them. Whether it's him in s1, during the start of it all, after 50 years spent thinking Louis had sex with him in San Francisco and then tried to murder him.. and so being super defensive and unforgiving towards Louis, completely tearing his story to shreds because how can Daniel actually trust his version of the events when this man basically "wham, bam, die now, maam"ed him 50 years ago? (lol) Or whether it's Armand who tortures him for 6 days and Daniel returns the favour with a ferocity, tossing that script to Louis who throws it at Armand like divorce papers because that's what they are ultimately. A complete and total destruction of Armand's 77 years of manipulations.

And while there's many similarities between Louis and Daniel, both having 2 failed marriages, 2 daughters, bad fathers, falling in love with their makers.. the difference lies in their capacity to forgive.

Not saying Daniel isn't capable of forgiveness, obviously he is otherwise Devil's Minion would never have happened or all the little moments we see of him growing empathetic towards Louis even before s2ep5. But expecting him to forgive wrongs of such level (when folks are even bothering to acknowledge that something wrong was done to him) and play nice with beings with whom he has no equal standing, beings who remind him of it all the time, on top of actively dying from a disease? Daniel's reactions aren't that hard to understand, but sadly many folk have a habit of erasing the fact that he very much is Armand and Louis's victim. His fearless attitude and sharp words are a front a lot of times, but he never forgets the wrongs done to him, even if the audience might, and he gets fucking even.

#daniel molloy #fanfictionroxs writes #interview with the vampire #iwtv #character analysis #meta #the vampire armand #armand molloy #louis de pointe du lac #the vampire chronicles #devils minion #armandaniel #danlou #loudaniel #loumandaniel #dubai trio #devil's minion

338 notes · View notes

ghost-bison · 13 days ago

Text

i became curious and searched up how the name "dalek" came to be:

at first, i thought it must have something to do with the norwegian word "dårlig", which means "bad", because of the doctor's reaction in 2x13 "doomsday" when rose said they were in bad wolf bay ("dårlig ulv stranden" if i'm not mistaken): he thought she'd said "dalek". but if you look up the pronunciation, it sounds more like /dɔːleh/ (approximate english phonetic transcription) than how she said it, /dɑːlɪg/ so i thought, even though the mix-up between "dårlig" and "dalek" was done on purpose and the definition, "bad", would be pretty damn on-the-nose, it's not it. so i did some more research.

apparently, it was terry nation (the guy who invented the daleks and davros in, i guess, 1962) who came up with it. according to him, the name simply "rolled off his typewriter", so it wasn't supposed to mean anything. but like me, he got curious and found out that the word "dalek" is serbo-croatian for "far, distant".

this really pleased me for two separate reasons: first, and this is the most obvious interpretation, the daleks are aliens from a distant world, far from earth. but i mean, to daleks or chelonians or raxacoricofallapatorians or any other alien species, the same can be said for earthlings: we are far, distant from them, and any and all species are far and distant from us.

but! if you think of the other meaning behind "distant", not geographically speaking but culturally/morally speaking, that's when things get interesting: the reason the daleks are the main foe in doctor who is that they are detached, so different from any and every other enemy the doctor and unit and torchwood and the shadow proclamation and such have ever had to fight. they keep surviving and coming back because they are so distant, so alien (in the "bizarre" sense of the word) to all other species.

if you take, for example, us humans, the doctor loves our species because of our capacity for love, forgiveness, change, compassion. you see it in the people he picks: rose, martha, then donna, etc. they represent everything he loves in a human being. everything he needs, everything he misses since his own species, which used to be capable of those feelings too, has gone.

he doesn't pick soldiers and has an aversion toward them, because as much as he pretends to hate it when his companions "wander off", he keeps choosing people whom he knows will wander off, people who will question his orders, people whom he doesn't have to feel or be superior to. whereas soldiers, they are conditioned not to question, and to follow instructions, to do as they are told.

in 1x06 "dalek", when nine realizes that the dalek's gun isn't working, he says "if you can't kill, then what are you good for, dalek? what's the point of you?". then, the dalek tells the doctor, "i am a soldier, i was bred to receive orders".

soldiers, whatever species they are, are too much like daleks: they wouldn't question him. that's why, when he realized he was the last of his species, the dalek turned to the doctor, his greatest enemy ("then what should i do?"), and then rose ("order me to die"), for orders. that's why twelve refused to keep journey blue as his traveling companion in 8x02 "into the dalek": people who don't question orders are dangerous to his lifestyle.

he needs people who go against what he says. not only that, but the doctor is, himself, a soldier of sorts, and sometimes he needs the right orders (1x06 "dalek": "what the hell are you changing into, doctor?" -rose ; "the runaway bride": "doctor, you can stop now"/"sometimes i think you need someone to stop you" -donna ; 4x02 "the fires of pompeii": "not the whole town, just save someone" -donna). else caecilius' family would have died in pompeii. else the doctor would use guns, he would die, he would try to break fixed points in time, he would lose himself.

in that sense, the daleks are as far from the doctor and his children of time as can be. i wrote about it somewhere in a one-shot someday: "the daleks weren’t robots, per se, but they kind of were, for someone like the doctor, or the humans, who both felt everything so deeply when all those monsters knew was hatred".

the daleks are to the doctor what dependence and servitude are to freedom, and in that sense, they are distant.

130 notes · View notes

piratecaptainscaptainpirates · 1 year ago

Text

I've been thinking about how Ed starts directly killing people in s2e8. I've seen a lot of worry that this is tragic, that it's Ed falling back into a life he hates with more vigor, and I don't think it's meant to be understood that way at all.

I think it's a triumph.

One thing we absolutely have to understand: there has never been a time on the show when Ed wasn't killing people. That's true for all characters; this is a show about pirates. Even in s1, Ed was leading successful raids and ordering racists skinned. In a realistic sense, nothing has changed.

The difference is in how Ed does not need to construct intricate ways to distance himself from it anymore.

We know that Ed's first time killing was his abusive dad, an event that deeply traumatized him, and it left him thinking himself an absolute monster. His own capacity for violence disgusts and terrifies him, and even though he's been very successful in a very violent career, he needed to distance himself from killing people ("the fire killed those guys, not me") to avoid confronting this part of himself. He believes that the part of himself that is so capable of violence is irredeemable, a monster, unworthy of love.

Even at the start of the season, when Ed is in a self-destructive spiral, it's debateable if he's directly killing anyone. If Lucius had died, he'd probably have said the sea did it, not him. The guy we see him shoot during the raid sequence already had a knife through his chest - it's a step up, and surely meant to be understood as self-harm more than anything else, but that's still a mercy kill, if anything.

Compare to the finale of season 2. These are direct kills, there is no way to argue that Ed is not responsible. It is not debateable that Ed killed all those British officers.

A lot of the worry I've seen around this concern how Ed is going back to what he's good at (as Pop-Pop told him to), and there's an asusmption that that is killing people/violence. But that's not true, is it? Ed's never been good at killing people, his hangups around directly killing are a known character trait. So...what is Ed good at?

Think about how the scene plays out. Ed sees the Republic burning; he can only assume Stede is either captured, wounded, or dead. He's horrified and dazed, his ears ring - he kills the two British soldiers who happen upon him, he decided to fish up his Blackbeard outfit.

What is Ed actually good at? He's a good pirate, a good captain. He's good at keeping his crew safe, he's good at keeping Stede safe. He has to think he's either going to be embarking on a mission to get revenge or to save his boyfriend.

At first, I was very hesitant about the idea of Ed having to go back to piracy, which he says he hates. But what he was actually trying to do was drown Blackbeard, the part of himself he sees as so unworthy of love. He needed to see that Blackbeard is part of him, that he's not a monster or unloveable, that Blackbeard can help him save his friends and his boyfriend.

It's not a coincidencethat the show goes out of its way to make Ed's killing people in this episode as morally easy to accept as possible. The British officers we see are all racist and mean and unpleasant - like, damn, singing 'we shall never be slaves' while making Black characters serve them? Gross! They got what was coming to them! This is the 'racists deserve to die' show, after all.

And Ed uses this violence as a tool for love, to get him back to his boyfriend, to give them a triumphic reunion. I don't think it's a coincidence that this is when Ed tells Stede he loves him, either - he's come one step closer to accepting he's worthy of love, he's more ready to acknowledge what they have.

Ed doesn't have to feel bad about killing those officers. The show doesn't ask him to. He gets to retire while still wearing his Blackbeard outfit - Blackbeard gets to retire, not be drowned with a canonball in the ocean. And we're left with Ed, still with a lot of growing to do and a lot of self-discovery left, but he's closer to realizing that he's not a monster and that he's so deserving of love.

#ofmd #ofmd s2 spoilers #our flag means death #this show. gddamn. got me feeling shrimp emotions #also like. unrelated to the meta. but it was also really hot.

689 notes · View notes

tabithatwo · 5 months ago

Note

What do you think about the scene in ep1 where Shauna masturbates on her daughters bed while looking at pictures of her boyfriend? Maybe I'm reading too much into it, but I found it disturbingly similar to younger Shauna sleeping with Jackie's boyfriend

Oh hey, so this response is like perhaps over a year late but someone else asked me about this and I remembered I had 3/4 of this response drafted so hi I’m here now lmao

Anon, I do NOT think you’re overthinking this scene. I actually think there is so much room to think about this scene that a thesis could be written on it. It’s so layered and an incredibly bold choice on the show’s part to include it. It is our introduction to adult Shauna, and I think that the creators of the show clearly felt that it was very important.

This scene made me so uncomfortable as a first time casual viewer that I actually tried to rationalize it away. I remember saying aloud to the person I was watching with “No, that has to be her own childhood bedroom, right? She must be, like, visiting her aging parents?” Clearly I was ignoring the very ridiculous set design of Callie’s room entirely lol, but my mind wanted to find a different explanation. And it took me a while to come around to really loving Shauna as a first time viewer of the show, in part due to how much that scene shocked me.

All that to say, it is absolutely reasonable to find yourself very uncomfortable when thinking about that scene, as many people say that they do when they’re proclaiming that they wish it didn’t exist in the show. But I don’t think that means the scene should be ignored by any means. That discomfort is the point of the scene. Shauna is such a fascinating character, because she swings back and forth from shockingly depraved and cruel, to heartbreakingly kind and loving. She draws both the audience AND the other characters into this unpredictable back and forth with her, and it is easy for us AND them to forget what she is truly capable of when she is in one of her sweeter moments. That is what makes her one of the most fascinating characters of all time to me.

Okay, now we can get into my personal interpretation of this scene. I have always felt it was about Jackie. I think that was clear early on, but, after s2 aired, having more information about Shauna’s relationship with Callie did impact my interpretation of the scene and solidify some suspicions I had.

Shauna clearly does not see Callie as her daughter in any traditional sense. She tells Lottie as much, that she never could fully believe Callie was real and hers. And we see, with increasing clarity as the show goes on, that Shauna views Callie as a peer more than anything. Shauna has both stunted development and difficulty expressing affection. We see her tell Callie that it would’ve been easier if she HAD just had sex with the cop. That’s a very strong indicator of their dynamic. Shauna just doesn’t have the capacity to mother Callie.

That is important context because, with the scene in Callie’s bedroom, Shauna is recreating the thing she used to do when she was young and Jackie was alive. I don’t think she is even thinking about the fact that it’s her daughter’s boyfriend or bedroom, because she doesn’t even really think of Callie as her daughter much of the time. It’s so complex and muddled and, you guessed it, uncomfortable!

In my opinion, people are NOT ready for the intricacies of the ways Callie is a Jackie proxy for Shauna to be developed further. Like the show is establishing it pretty heavily, and I think in a very compelling way, but if it goes down that road more explicitly I have a feeling that people are not going to be able to separate the WAYS in which Shauna sees Jackie in her, if that makes sense.

I think s2 did have some compelling threads of this. Shauna caring for the Jackie corpse doll and getting frustrated and “hurting” her with the ear coming off scene. Shauna not being able to protect her, initiating and endorsing the consumption of her, then hinting at having fears that she’d hurt the baby when she was pregnant, losing the baby, worrying that they’d do to the baby what they did to Jackie, twisting it so much that she can’t help but believe they ate the baby too.

She associated the baby with Jackie very heavily. And in doing so, I think she parentified herself to Jackie in a really fascinating way, like Jackie was her first failure.

If she couldn’t care properly for Jackie, who loved her so much (and became an actual martyr and saint to her), and she couldn’t care for her children who were absolute innocents, then she must be the epitome of horrible and she should squash those caring instincts bc clearly they aren’t actually Good, type shit. That’s how I feel like Shauna spirals into her destructive behavior.

So what happens here, imo, is that Shauna doesn’t really see any of her relationships clearly. I don’t think she consciously thinks of Jackie as The Girl She Was In Love With, and I don’t think she consciously thinks of Callie as her daughter most of the time. Shauna just thinks of them both as people she has loved and failed, as well as people who piss her the fuck off and make her feel trapped in a life she doesn’t want.

She sees a lot of Jackie in Callie, and she acts out in really horrifying ways throughout the entire show to try and gain control, and this scene is one of them. Shauna has always used sex as a way to reclaim control, even when it is absolutely insanely inappropriate, and often when it isn’t at all about actual pleasure. We see more of this in s2, when she BRINGS JEFF TO THE ART STUDIO OF THE MAN SHE KILLED AND FUCKS HIM THERE (that was fucking INSANELY risky and destructive). With masturbating on Callie’s bed, looking at a pic of her bf, Shauna is acting from the same place she was when taking Jeff from Jackie in a way, and I get why that’s uncomfortable to watch. It makes me incredibly uncomfortable, it is SUPPOSED to!

But I think that we are viewing it with so much more logic and thought than Shauna is capable of applying. We draw conclusions from it that are based on a sane person, and Shauna is far from that. I think Shauna is briefly recreating multiple feelings and motivations that drove her to sleep with Jeff as a teenager. The sexual side of things is so wholly Jackie driven, she is constantly seeking ways to feel the way she felt when she was creating that proxy sexual connection with Jackie that she verbatim discusses with Jeff (which is so crazy btw not over that scene). But the side that relates to Callie is driven purely by the frustration and anger. Again, I don’t think Shauna has consciously thought about ANY of it, but if I had to interpret the driving emotions, then I think those would be the most likely.

And I think what it says about Shauna is that she is not living in reality in the slightest. You can not overstate the lack of conscious thought that goes into her actions when she does these things. She is acting on pure impulse, and without any certainty that anything is actually real.

She breaks my heart and this convo about the masturbation scene is so interesting to me because YEAH, that was a ROUGH introduction! and it took me rewatches to allow myself to dig into her character and that’s the point tbh.

On instinct, people either see the actions clearly and hate her, or obscure them to the point of forgetting they happened and love her. But it’s much harder to reckon with them and dig in and come out still loving her.

(I truly can’t believe I have to say this, but I was recently introduced to the fact that yj incest shippers exist, so disclaimer: this is NOT meant to be taken as a romantic or sexual interpretation of Shauna and Callie’s relationship at all. In fact, when I say that I don’t think people are ready for detangling the WAYS in which Shauna sees Jackie in Callie this is exactly what I mean. I just assumed people would wrongly assume it was That and be horrified. I didn’t consider the opposite, and I would like to continue not considering the opposite, so I will prob block anyone who engages with this in that way simply bc I do not want to see it and this is my social media lol)

#I can’t believe my return to tumblr is the question I’ve gotten 10+ times and put off answering for over a year feeling BOLD ig hi guys!!#shauna shipman #jackie taylor #callie sadecki #jackie x shauna #yellowjackets #asks answered

207 notes · View notes

alastors-antlers · 10 months ago

Text

Why Alastor is good aroace rep after all, written by an aroace

Hello all! I just want to start off this post by saying that I'm one person who definitely doesn't speak for all aroaces, but I wanted to make a post on this anyway, and maybe some folk would be interested in hearing out another perspective?

I'm not really caught up on everything that's been said over the course of HH's creation - only more recent interviews, since I'm pretty new to the fandom. Apologies if I've missed anything, but also I do not have the time to keep up with all the out-of-canon-material backstory unfortunately. I'm working with what we've got here.

So here's the thing:

Alastor is cruel, he's narcissistic, he doesn't care about anyone except himself, he's a serial killer and a monster.

(That's the argument I've heard - please tell me if that's not really what people are going for lol, in which case I've totally misunderstood?)

The issue with aroace rep when it paints asexual people with those traits is that it aims to dehumanizes them. Sex and love are essential to the human experience, right? So why wouldn't someone be interested? Because they're self-absorbed, and cold, and detached. They don't have the capacity to love others enough to feel romance.

And sure, Alastor is a killer, and a schemer, and prideful, and a monster by hell's standards. But no matter how above it all and stylish and in control and provocative he wants to be, he's a very human character, and his aroace-ness never serves to add to his alienation. You could even say that it makes him seem even more personable.

That's what I think is the key difference.

why he's human

Alastor's whole persona is about control, and he basically straight-up says this. He's controlling what his enemies know, what his public image is like. His goal is to be the Radio Demon -- overlord of Hell, charismatic, Machiavellian, and undefeatable. He's not. Despite that smile plastered over his face (a powerful tool, huh) he's so expressive for someone who's constantly pretending.

You see his exasperation with the Egg Bois and with Charlie's ranting; his nervousness in front of Zestial; his frustration with Lucifer and the petty lengths he goes to to piss off the ruler of Hell.

You see his desperation, making that deal with Charlie. He's surprised by the idea of being vulnerable in front of an enemy like Adam, and so close to danger. He drops the radio filter and the affect out of fear, and runs on broadcast TV to let out panic and anger and bitterness in his hideout, where no one else can see him.

He has a smile that tells us he's genuinely happy to see someone; it's a little wider than his default. You see it with Mimzy's greeting, you see it with Rosie. Rosie, especially, serves to make Alastor more human to the audience. More on this later, but for now, I'm just saying that you can see that he at least seems to respect her greatly. Whatever bond they have, we know that he trusts her to touch him, to share history with him, and with support that he trusts no one else for.

He pretends, but he can't pretend it all away. Loads of these emotions aren't even advantageous for him to show. It isn't necessarily how the typical asexual psychopath acts; he's not emotionless or only capable of anger or brutality.

He's so full of emotion that it leaks through, despite all that he does to avoid it. He's not inhuman and aloof, not really - he's so, so human, even when he tries not to be because he thinks that'll be what keeps him above all the rest. In control, and free from his chains.

(If anyone wants to see images about all this, I'll make a separate post - just let me know.)

(I also have another post, talking about why Alastor is at least a little attached to the hotel's residents too, shown via conversation with Niffty. In what way? different question.)

how the aroace part contributes to that

Now, to be fair, we don't hear much about his aroaceness in canon. It's just not relevant a lot of the time.

In the pilot, Angel's proposition ruffles his feathers so much that Alastor blanks for a moment. It's a joke, sure, but that ace panic face is a pretty popular Alastor moment in the fandom - Alastor, thrown off-balance by a sex joke of all things, after so many years in Hell that he should probably be used to this.

It's a moment that makes him more approachable; his aroaceness shows him unprepared for something someone else does for one of the only real moments in the whole episode.

And the other part: the ace in the hole statement.

Rosie apparently knows Alastor so well that she read that he's aroace. That tells us about their relationship; namely, that it is long-standing and genuine enough that she gleaned a piece of real information from him. It's a casual fact that she knows about him before he even figured it out himself. It lends legitimacy to their bond - this bond that shows us a more comfortable and warm side of Alastor that we don't often see.

If their relationship is purely business, isn't this something pretty frivolous and personal? It's not like he has anything to gain by telling her about his life, but she learned about it somehow. How close are they? That's where it adds a layer of complexity and personality to his character..

thoughts on representation

Overall, Alastor's an interesting character who has a level of depth and care and personality (outside of cruelty) that asexual psychopath tropes lack. Again, the moments where he's being represented as disinterested in sex or romance don't make him seem detached. Again, they don't say "look how hostile toward relationships his behaviour is - how separate he is from our humanity". That's what bad villain ace rep is. That's not what the show's doing.

Also: I'm not saying that we need to lower our standards or anything, but even if you think it's not the best rep, I feel like we should be supporting HH's efforts here. I know that on Tumblr we have a pretty queer-friendly space going, which is honestly an understatement lol but

Aces are incredibly underrepresented in fiction. There's a whole Wikipedia page about asexual characters in media, and it's short as all hell, and even if you consider what's on there you see quite a number of one-off characters who are never mentioned again.

In terms of real life business - before the DSM updated their definition of hypoactive sexual desire disorder (HSDD) in 2013, identifying as asexual wasn't even a recognized thing. If you talked to a clinician about your lack of sexual desire, you could be diagnosed with a disorder. Only in the 5th edition do we now have a little exclusion footnote about it.

The concept of asexuality hasn't been explored nearly as much as other queer identities in our scientific research. We get crumbs in terms of mainstream representation and understanding. House M.D. has an episode where House "disproves" us because he's just so smart.

Alastor isn't going to be perfect representation. There's no such thing as perfect representation, and from the moment he was conceptualized, you could see how people would take him poorly. Still, I think he's a net positive.

He isn't a side character or a token ace - he's a core part of the show, whose personality and character motivations we can reasonably presume are going to be explored much more deeply in upcoming season(s). He's loved by the fandom. Right now, given what we know, I trust Vivziepop to write the aroace representation he deserves, because with the way I've heard the cast/directing/etc. talk about him, they're trying to do the aroace community justice, so I wish people would let up just a little on the whole "Alastor is bad rep".

Let's give him a chance, all right?

#hazbin hotel #aroace alastor #alastor analysis #hazbin alastor #hazbin hotel spoilers #asexual #asexuality #hazbin alastor meta #hazbin hotel alastor #hazbin #alastor #hazbin meta #hazbin analysis

391 notes · View notes

ohwaitimthewriter · 3 months ago

Text

You know what?

I've been thinking about how falling in love would be so different for our apes men and women and for us human.

Don't get me wrong, I'm not talking about being a good heart or a complete jerk, because of course it is in both cases (apes and human) a very important part to fall in love. It's more about the differences between the practical and inner aspect of things.

Like, to fall in love, as human, we need to share who we are through conversations and activities. I do believe we fall in love thanks to our mindset and if the other person is able to intellectually increase our own mind. To fall in love, we care about the way people think and how they use their brain and if it matches the way our own brain works. Which leads to a lot of talks and brings all physical and practical aspects to a secondary focus. Your intellect comes first and your physical/practical aspect comes second.

Meanwhile I believe for our apes men and women it'd be more about practical stuff first and second if you have a good way of thinking it's a bonus. Apes will tend to show what they are capable of which leads to falling in love with them: are you able to bring food? Build a safe nest? Follow a small pray? Craft useful tools? Are you strong enough to keep your family safe? Apes will not talk but will show their skills. They will get impressed by your capacity to hunt, build, repair, heal and take care of others. Your intellect will come secondary.

I don't know if I'm clear in what I'm trying to explain? 😂

But this would lead to funny things I think when you and Caesar or Noa would try to court/flirt with each other.

Caesar would more or less understand this "inner" aspect in falling in love for a human so he'll cleverly let you on purpose have long conversation with him while he's showing off his strength or skills to craft a weapon or build a comfortable nest. It's like... you talk, he shows 😂 and he will subtly trying to make you do stuff so you show him your skills while he'll use conversation to explain you how to craft a weapon so he can show you his intellect as well.

Caesar wants you to fall in love with him through your own way AND through his way and vice versa: he wants to fall in love with you through your way and through his own way.

Caesar is deviously smart 😂

Noa... well, he would NOT get that inner aspect, he just thinks you're a talkative human. It's just another very human thing. But wait wait wait don't get me wrong Noa LOVES when you talk to him because he's a very curious ape and he wants to KNOW stuff and LEARN but he also see courting as a very serious thing and if you talk while he is trying to court you through showing you his skills.... can you please focus a little bit? I'm trying to make an impression on you there!

Little did he know you fall in love with him when you share these conversations about culture and traditions stuff...

And when you're trying to craft something from wood or weaving a blanket? Little did you know this is when he falls in love with you.

Should I make it a full oneshot? SHOULD I??

#planet of the apes #planet of the apes x reader #kingdom of the planet of the apes #caesar x reader #noa x reader #noa x human reader #caesar x human reader #pota #kotpota #caesar pota #noa pota

109 notes · View notes

vendimeyers · 9 months ago

Text

The fairy/walrus thing is actually kind of an incredible testament to the truth behind Brandon Sanderson’s first law of magic.

For those that don’t know, popular fantasy author Brandon Sanderson has become quite renowned for how he implements magic in his stories and he decided to write three different essays on the rules he follows and why they work the way they do in storytelling. He calls them his “laws of magic” and the first one is: An author’s ability to solve conflict with magic is directly proportional to how well the reader understands said magic.

Basically, in general for good fantasy writing, you can do anything you want with magic and it will almost always alway be accepted by the reader as long as you set up beforehand what the magic is capable of. Or if you didn’t do that it has to be something the reader discovers with the characters (I mean this generally of course I’m sure there’s always exceptions).

Both the walrus and the fairy scenario imply to the reader (of the poll) some form of magic was employed. The reason a fairy sounds more plausible at that point is because the general cultural consensus in people’s minds is that fairies are already magic and it’s not far of a stretch to believe that a fairy would employ the thing it’s universally known for in order to show up at people’s houses.

However with the other scenario, a walrus knocking at your door. Implies that a walrus is employing some form of magic. But the problem with that is that we already KNOW what a walrus is capable of. A walrus has RULES. When the only rule a fairy has to follow in order to knock on someone’s door is “be magic” a walrus has to first break all the rules we already have about it before “be magic” is even an allowed concept. Before a walrus can be magic it has to take a journey of some length from its aquatic origins, have a specific destination in mind(outside of their regular behavior patterns), and have the capacity to knock. All forms of magic that walrus’ are not known for employing.

Like if the walrus scenario was a book someone was reading and at the very beginning the author described a world in which there was a secret society of walrus’ who have there own politics and methods of travel and cultural nuances, and then went on to describe one of THOSE walrus’ appearing on the reader’s doorstep then the reader would left with a much smaller sense of disbelief more comparable to that of a fairy showing up on their doorstep.

Anyway this wasn’t to say that there was a wrong or right answer to the poll I just think peoples brains are neat and I love how something like a silly little poll can highlight such a big truth in how people communicate to each other and take in information.

#walrus #fairy #fairy walrus

303 notes · View notes

techramonic · 4 months ago

Text

The Culture in Morality: Dylan Klebold Journal Analysis, 2.

Below is a quote from Dylan's journal that stands out to me. The first part: the evidence of desperation to cleanse impurities. With this, I can garner that Dylan seems to have a deluded sense of morality. Second: It looks like he is trying to blend in with the general population. It’s not only him who thinks this way, so do other individuals. It’s as if he is trying to attain unity or solidarity from the act of “cleansing himself morally”. Moreso, attempting to be "human".

Humanity: Ethics and Morality

According to Emile Durkheim, one of the founding fathers of sociology, morality reflects the organization of society and binds it together. It serves as an agent that bridges the divide between individuals. Morality, in essence, consists of principles distinguishing between good and bad.

Charles Darwin’s "The Descent of Man, and Selection in Relation to Sex," published in 1871, asserts:

“I fully subscribe to the judgment of those writers who maintain that of all the differences between man and the lower animals the moral sense or conscience is by far the most important.”

Since then, an influx of questions has arisen regarding the relative importance of culture and biology in determining morality. Whether the moral sense is derived from either of two aspects:

the moral rules humans accept as behavioral guides (assessing right or wrong); or

the biological basis of ethics (consciousness of actions and consequences)

Ethics has an established difference from morality. It is the notion of doing a rather practical or pragmatic action, while morality is the idea of being driven to do good. An ethical code does not have to be moral to be justified, but must be feasible or convenient. This means that as long as an idea is practical, whether it is considered to be good or bad, it is ethical.

In an essay by Francisco J. Ayala titled "The Difference of Being Human: Morality," he proposes that the capacity for ethics is a necessary attribute of human nature, while moral codes are products of cultural evolution. Ethical behavior is a byproduct of man's intellectual prowess—a nurtured quality fostered by natural selection. Morality did not emerge as an adaptation but as an exaptation, developing into a function different from its original purpose. This is explained by the presence of three biological conditions for ethical behavior that allow humans to have a moral sense: ability to anticipate the consequences of one’s actions, to make value judgments, and to choose between alternative courses of action.

Moral codes, compared to Ethical codes, are outcomes of cultural evolution, accounting for the diversity of cultural norms among populations and their evolution over time. People accept standards according to which their conduct is judged as either right or wrong, good or evil. These norms vary, however, some norms, such as do not kill, are widespread and perhaps universal. This explanation suggests that while it is inherent to be ethical, morality arises from cultural and sociological factors created out of normative behavior. From this, we can assert that humans all inherently have the ethics that guide them throughout their lives. What makes them interconnected however is the presence of morality that acts as a framework to keep them bonded together and functioning.

Moral Exclusion

With that, it is easy to say that humans are human because of biological factors that distinguish them from the animalia kingdom. However, we can also observe that humans also deny others of the capability of being human even if we are from the same species. Time and time again, we can observe that humans are susceptible to dehumanizing others. So really, why is that?

Most cases, we confer personhood upon each other when we criticize others using a sort of check-list: morality. It is technically a learned culture that allows us to be bonded together and function as an entire whole. What I do, you do, and vice-versa. However, not always can it unite us because other times it can also alienate others. Sometimes, distorting morality itself by using it as a tool to exclude those who do not fit into certain categories of moral preference.

Since it is a culture that evolves through time, there are aspects of it that are different from individual to individual and culture to culture. This means that what can be bad can also be good to others and vice-versa. Not everything is in one standard that's applicable to all because not everything is practical for everyone. Ethically speaking, when we acknowledge other people’s complexities outside the standard black-and-white "good or bad " spectrum, we feel more connected. We realize that we are human because we have the ability to rationalize and do what is pragmatic.

Dylan’s Difference and Indifference

Dylan believed he was outside the norm, devoid of humanity, and different from everyone else. He was ethical in the sense that he understood the consequences of his actions and could make determinations about them. He knew the consequences of taking lives and taking his own life. With this, it is already enough to consider him as human. He could rationalize, therefore he is human.

One of the reasons why he does not feel that he is human is because he lacks the connection others have. Morality being a culture has brought people together and as I have previously stated, also excludes others. I believe that he subscribed to the belief that to be human, one must be moral so they could fit in with society. This creates an internal conflict. Humans are no strangers to latching unto vices because to them, it is pragmatic. We smoke, we drink, and we do things others consider immoral because we think it helps us.

With morality, a tangible framework is provided for achieving a purpose. It is an established system that offers a good reason to quit vices in exchange for acceptance. Dylan sees this difference as a weapon hindering him from being included. He acts like others to be accepted and, supposedly, be happy with this acceptance.

#dylan columbine #columbine 1999 #analysis #understandnotcondone

126 notes · View notes

extremely-judgemental · 28 days ago

Text

Cassian is ugly and his arc is messier. The more you look into his past and his chemistry/dynamic with other characters, his behaviour doesn’t corroborate with his words, and it becomes harder to see him as the goofy, sunshine guy SJM wants us to believe.

(response to this by @flat-neines. I agree with everything you pointed out and I didn’t want to hijack your post, so here we are. This has been in my drafts for months and I didn’t have the mental capacity to put them in a coherent order, and it’s a LOT (also because I didn’t want to dedicate another post to this mf, really). So, have an open mind and take it with a grain of salt. If anyone doesn’t want another long rant, you should read that one lol.)

Cassian is devoted to Rhysand.

For a bastard who’s constantly dismissed in his life, Rhysand is the first one to give him the validation he craves. Of all the boys, he was the chosen one and his life turned around when he was basically adopted (I’m not gonna repeat this again, you can read it here). Because of this, he is more loyal to Rhysand than his people, his title, his armies, or even his court.

Cassian doesn’t see Azriel as his equal.

He’s been enjoying this new life for a whole year and only befriends Rhysand after Azriel comes into the picture. They both are bastards. They both are underprivileged. Cassian’s unwarranted aggression towards an already abused boy, who doesn’t know how to fly or fight, outside their training can imply that he saw him as a threat to his status with Rhysand. So, he put him in his place.

There are two other instances where his sense of superiority comes through. First, in the dinner scene in MAF where he boasts about giving Azriel hell and he doesn’t hesitate to share about his captivity. There’s no emotional cue in the conversation that indicates he truly feels bad for either of those. Morrigan has to interrupt the guy who is supposedly emotionally so capable of reading the room that he gets Feyre’s trauma during their training better than anyone and ‘knows’ what Nesta needs to heal.

Second during Eris’s seduction in SF. Cassian is jealous only when Eris is dancing with Nesta. Azriel can keep up with her too, but he isn’t bothered by it. It’s dismissed because they are friends and he trusts his friend. But Cassian’s insecurity is that he’s a brute through and through and it’s why Nesta sees him as less than. And Azriel is well-mannered compared to him in every way. He’s polite, he sings and dances, and also he has a way with people which is noted in his interactions with the Archeron sisters and the priestesses. But his mannerisms don’t bring out these fears in Cassian. (Insecurities don’t understand if you’re their friend or foe.)

If, instead of being a bastard, Azriel had been a true son of a lord, their dynamic would’ve been so different.

Cassian doesn’t love Morrigan.

Both are bastards, but Morrigan, the second woman he encounters in his life, is drawn to Azriel and not him. Cassian knows Azriel longer, he knows how much he’s been deprived of love, and he knows his reservations around people. He still chooses to hurt him and only realises his mistake when he sees the look on his face, but he already knew his brother is in love. The reason that makes sense is Morrigan validates him by sleeping with him, proves that he isn’t at the bottom of the pyramid, there’s someone else beneath him—Azriel. Once he got that, he moved on. It’s why he’s not bothered by her endless partners which clearly affects Azriel. Which is why he still flirts with her because he doesn’t regret it.

And now, he still doesn’t love Morrigan. He’s infatuated with the idea of the 17-year old big-eyed girl who saw him as a saviour. With the sexual element thrown in, she became the standard against which other women in his life are measured.

Cassian doesn’t want a mate.

His dream is to have children—not specifically a mate—so that he can be a better father. He only mentions ‘mate’ because he knows he has one. Mating bonds are rare and the one he witnesses is the worst of the ‘mating bond gone wrong’ cases with Rhysand’s parents. His desire for a mate is not as woven into his identity as it is for Azriel. He wants a woman to bear his children—like the other Illyrians, and for him, it’s convenient that she’s already chosen. Even without a mate, Cassian would have settled with any woman as long as he could parent someone. This also shows in the way he treats Nesta. If he yearned for such a bond, he wouldn’t disrespect it as much as he did and definitely wouldn’t prioritise Rhysand over it.

The second bond he witnesses is between Rhysand and Feyre. Since he doesn’t know what happened UtM, all he sees is Feyre knowing the ‘bad guy’ act and still falling in love with his best friend, Feyre supporting him and going along with his every decision. Given how Cassian idolises him, he wants to replicate their relationship even to the point of breaking Nesta to his will. He wants someone to be his Feyre.

His treatment of Nesta in SF is more than his loyalty to Rhysand. The first and only woman to nurture him is Rhysand’s mother. She took him in, fed him, clothed him, educated him. She cared for him in ways his mother should have and couldn’t. Cassian wants an amalgamation of Rhysand’s mother (the ideal mother for his children) and young Morrigan (his dream standard). But he’s stuck with Nesta who is neither ‘motherly’ to anyone nor does she admire him. When Cassian says ‘he’s shackled to her’, he means it. So, he moulds her into someone who is in awe of him, puts him on a pedestal, and makes him feel like a superior male.

Cassian’s arc is fake and forced.

The beginning of SF is quite strong with Cassian doubting himself. He is a War General and yet he struggles to earn the respect of his people because of his status. He’s thrust into the role of a courtier and he questions himself more and more as he’s not a high-born, nor is he trained to handle such diplomatic situations.

Cassian is no Jon Snow.

His insecurities stem from the fact that he’s a bastard born to an unnamed father. It’s rooted in his core identity. However, Cassian’s situation is not so unique. Of course, he lost his mother because of his birth and that’s an incomparable trauma but it’s also common among his people who breed women. Every boy is thrown into the camps and trained, and only rightful ones are allowed in the Blood Rite. They don’t even live with their families and the only exception is Rhysand. Not to dismiss his trauma, but his insecurity falls flat and undermines the narrative when we factor in Illyrian culture.

All this could have been fixed if Cassian had tried to earn the respect of his people instead of the courtiers who were never going to anyway. Though he’s a War General, he doesn’t share camaraderie with his soldiers, he doesn’t live with them, and he has no respect for them. He does nothing to change his own beliefs or prove to others that he's more than a bastard. Instead, he uses a ‘you have no right to judge me’ attitude while constantly looking for approval everywhere.

Instead of addressing it where it counts, he’s comparing himself with Lucien and Eris, but not Vassa (a human queen) and Jurian (a renowned human War general). Why does an Illyrian who yearns for respect from his people compete with a select few who are only high fae and are of royal blood?

Nesta is his cure-all.

There’s one instance that truly marks Cassian’s supposed growth—where he sees his real ‘worth’—when Nesta admires him for his wits and apologises. In the same conversation, he admits his act was inspired by her. This is meant to be a ‘We make each other better’ moment but it fails miserably as Cassian spends the entire book tearing her down. He shows little to no concern for her wishes or needs. He assaults her in her room, stalks her, dismisses the bargain, and coerces her into an imbalanced relationship. For someone who cares so little about Nesta and her opinion of him, his fears being wiped out in a single conversation is laughable. For someone who doesn't believe he's smart, he sure seemed quite smug about outdoing an evil witch instead of it being pointed out by others and coming to the realisation being a bastard has nothing to do with being a hero.

(This could also be seen as his jealousy which leads him to fuel her self-loathing and fears so that Nesta never realises she deserves better than him. Which is quite similar to what he does with Azriel. The only ones he allows to surpass him are Rhysand, Feyre by extension, and Morrigan since he already got what he wanted from her.)

On the other hand, the one whose validation he truly seeks is Rhysand. Cassian's inner monologues clearly suggest his attempt at embodying him during the different meetings. Despite this imitation, he says the aforementioned to Nesta which can only be seen as a manipulation tactic.

I don’t even think this conflict was even in the OG Cassian character. SJM slapped it on him just for SF because it’s convenient and he needs an arc in his book. But she doesn’t want to fix Illyria or even give it a spotlight, so she stuck with Cassian trying to beat Eris. His insecurities aren’t even resolved. He still hasn’t come to terms with him being a bastard. His healing requires acceptance from himself first and also deep self-reflection. Nesta is only a supply for his ego and an emotional punching bag. Honestly, Cassian disgusts me more than Rhysand.

#cassian didn't grow but his ego did #should have made it a two parter #but can't edit this shit #cassian critical #anti cassian #acotar critical #sjm critical #adding critical tags to keep the stans away #feyre critical #rhysand critical

85 notes · View notes

iwritenarrativesandstuff · 2 years ago

Text

Chapter 105.5 Thoughts: Control, Manipulation and Partnership

Or, how Chuuya is actually the most qualified character to land a victory over Dostoevsky.

I just want to preface this with: I think Chuuya has woken from the brainwashing. We can't see his eyes, he's holding his hat again, and look at the progression of his face and expression from the last few chapters with him (these are in order btw from left to right).

I'm not completely sure how he did this, but I chalk a lot of it up to sheer stubborn determination on Chuuya's part, mostly because it's funny and he was clearly fighting back before Dazai's speech. However, I find it likely the speech did contain some kind of code - others have pointed out how "Goodbye!" might be a reference to the original author's last unfinished book and we know skk's codenames for things generally are based off their real counterparts' works so, maybe he'd already broken out of it, maybe there was something in there that gave him the final push - who knows at this point honestly? Either way, it means Chuuya had the capacity to break out of the vampire curse on his own and that's incredibly funny to me for many reasons but mostly:

Fyodor: "Bold of you to assume Chuuya's ability can't overcome flooding."

Dazai: "Bold of you to assume Chuuya's personality can't overcome brainwashing."

But really, this highlights something interesting here, both in what Chuuya's role is ultimately intended to be in this arc, and in the way Fyodor and Dazai manipulate and value others in very different ways.

I've said it before but it bears repeating: we already know that Fyodor is an excellent long-term planner, while Dazai is effectively able to counter him because Dazai shifts into thinking like his opponent. They're foil characters for a reason; they're both highly intelligent, manipulative, and willing to play the long game for the sake of winning against their opponent.

Thing is, I also stand by the idea that personality-wise, they're not similar at all - and that has serious implications for the people they are connected with. The build-up to the prison escape arc really highlights this. Some examples:

Chapter 46: Fyodor believes that all people are sinful and foolish and that his goal is to remove sin. Dazai believes that all people are sinful and foolish but asks what's so wrong with that.

Chapter 64: They decide to have a "super-happy chit-chat" about their problems. Dazai's solution to Fyodor's issue with his lazy subordinates is to get them to think lazing around is a bad thing so they will put in effort of their own. Fyodor's solution to Dazai being unable to woo the waitress is to isolate her from her job, house and family so that she can only rely on Dazai.

Chapter 77: Fyodor believes god is perfection and harmony, and thus that the people capable of change are the superior ones with most control. Dazai believes god is the accidental and illogical and believes it is the ordinary people who fight and live in that uncertainty who create the greatest change.

So, what's happening here? Fyodor's manipulation is shown to be very exacting and direct. He leaves no room for error and regards people on a hierarchy - God above all, himself as a servant of God's will, and the sinful and foolish humans he has little regard for. Dazai's manipulation involves manipulation of the situation, and is often indirect. It involves people coming to the conclusion he intends for them to on their own. And from his later dialogue with Sigma, we see he doesn't regard the world in that same kind of hierarchy.

Now, look at the way Fyodor picks an item and Dazai picks a person when starting the game. Look at the way Fyodor refers to Chuuya respectfully but brainwashes him entirely and mocks Dazai for not being worthy of "using" his ability. Look at the way Dazai is a complete ass to Chuuya but ultimately lets him make his own choices (begging people to take note of that moment in Stormbringer where Dazai cuts himself off to correct his referring to Corruption as Arahabaki's true power to Chuuya's true power).

So, the actual strength Dazai has over Dostoevsky then, is not really his strength at all, it's the strength of others and their choice and willpower to act in the way they believe is best. It's the only means of getting a leg up on Dostoevsky, otherwise they will continue to go around and around in circles forever.

And Chuuya is the best candidate for finally throwing Fyodor off his game.

Firstly, let's just establish something: no matter how mad he is at Dazai, he's not going to side with Fyodor, not willingly. Fyodor threatened the Mafia in the Cannibalism arc by attacking Mori, first of all. I doubt he's forgiven him for that. Secondly, Fyodor embodies everything Chuuya can't stand about Dazai, at the very least, younger Dazai - the manipulation, the lack of consideration and connection with others, the callousness and lack of regard for life.

Well, perhaps he's not quite as irritating. +1 point for Dostoevsky I guess?

But lastly, it is more advantageous for Chuuya at this point to help fight against Fyodor, especially since most of the Mafia has been vampirized by his organization. Helping the Agency stop the terrorist plot will help the Mafia by extension by undoing that. And we know from Stormbringer that no matter how much Chuuya is personally hurt, he considers taking out the threat to his people a higher priority. Always.

(You could make the argument that he was told whatever Teruko told Atsushi and decided to join, but not only do I find this wildly out of character, but if that was the case then there would've been no reason to brainwash him.)

That said, I don't think this was preemptive "Dazai's master plan #3057", and in fact, I stand by the idea that Dazai had no idea Chuuya was going to be in the prison. It is very, very important to me that for the rest of this arc, no matter what Chuuya does, that his actions are his own. Not Fyodor's, not Dazai's, but his. And not just because I hate that he's being controlled right now and that freedom of choice has always been important for Chuuya.

But because it makes narrative sense.

The vampires are a bit silly, yes, but they represent the way Fyodor and Fukuchi think - humanity will commit atrocities. They cannot be trusted to make their own decisions. They want to make a world that is free by... mind-controlling people so their plans work without a hitch. In short, they choose, on behalf of others, to sacrifice human autonomy for peace. So, if we are going to turn this arc around, we need to have characters breaking out of that control and thinking for themselves, in spite of the uncertainty of the outcome.

We already see this with Atsushi in the last chapter! He finally takes initiative and makes that choice to leave the room when he doesn't exactly know what the right thing to do is. And this is also why I don't think Teruko is wholly convinced by the DoA either - she lets him go. She gives him the freedom to choose what he does with that information.

Another one of the focus characters here is Sigma. Sigma is a guy who has no past, whose humanity is questioned, who keeps being used by organizations for his valuable ability, who has no home but desperately wants one... oh wait. Remind you of anyone's younger self? This could go one of two ways: Chuuya fails to assert his autonomy, leaving Sigma to learn from that failure, or, Chuuya succeeds in asserting his autonomy, leaving Sigma to learn from his success.

I think it, by necessity, has to be the latter. Sigma's at a tipping point right now, and I think seeing someone try to assert their freedom only to fail would damage him greatly. And I think it's a waste of Chuuya's character honestly.

Chuuya needs to assert his autonomy in this arc. Not just for thematic reasons but because I can think of no one else who can effectively break the "super-genius stalemate".

I keep hearing "Dazai knows Chuuya" in response to Fyodor calling their bond shallow, and that is absolutely true! But Chuuya also knows Dazai. Incredibly well. Odasaku knew Dazai's soul, but Chuuya knows Dazai's mind, knows his strategies and ways of thinking without even needing words. What's more, Chuuya has thrown off Dazai before and done what he didn't expect him to.

Which is nifty, because Dazai and Fyodor think a lot alike. Chuuya is in a unique position to thwart Dostoevsky because he may actually be able to predict him to a degree. Chuuya can absolutely land a victory against him, and it's excellent because it would be completely unexpected to Fyodor, who apparently thinks Chuuya's strength lies only in what his ability has to offer and not much else.

But listen. This also can't be skk's plan. I need Chuuya to sideline both of them. Both for the sweet, sweet catharsis of putting those two idiot geniuses in their places and also because I need Dazai to have screwed up. He wasn't wrong about people making their own choices in uncertainty. People need to assert their autonomy to create change. Dazai can't be wrong in this regard.

But with going ahead with the trap to drown Fyodor despite also having to drown Chuuya when he promised not to let him get killed... this needs to have been a mistake, otherwise the value of Dazai's emotional speech to him is diminished.

I want Dazai to try to laugh it off. I want him to say he always knew Chuuya would escape and then for Chuuya to deck him because "no, the fuck you didn't".

I really think Dazai hoped Chuuya would make it. Do remember that Chuuya was one of the first reasons young Dazai decided to try giving life a chance. The fact that he flashbacked to all his key memories with Chuuya says a lot. But his survival was no guarantee and it seemed very unlikely.

So, Chuuya is faced with the fact that Dazai nearly sacrificed him to kill Dostoevsky and save his new Agency friends.

And I hope he finally gets mad. I hope he finally expresses hurt on his own behalf for once. I hope they are forced to break their status quo that they have carefully maintained by not talking about anything ever. I hope they are pushed to uncomfortable places and that it is Chuuya who finally spurs this development.

Let Chuuya break the stalemate between Dazai and Dostoevsky. Let him shatter the status quo that him and Dazai have kept going for year after year.

Autonomous action in the face of uncertainty is necessary for change.

#am i assigning too much narrative importance in the main manga to chuuya? perhaps #will i stop? no #unfortunately this meta doesn't include gogol which is an oversight because he absolutely has to play a role as well #i'm just not quite sure what yet. same as chuuya i suppose #either gogol asserts his autonomy or he... fails. yeah. either he gets dostoevsky killed or... he fails.#i just don't know where he fits in with everyone else is the thing #listen though. it is significant that gogol decided not to play his dying role in the doa's plan though.#gogol is the free spirit of the doa and yet he's closer to sigma and bram in terms of how he is more controlled than controller #anyways sorry this is so long. just my two cents on the matter #bsd #bsd spoilers #bsd chapter 105.5 #bsd chuuya #bsd fyodor #bsd dazai #bsd sigma #bsd meta #i don't even know if this makes sense anymore. here.#storyrambles

2K notes · View notes

mswyrr · 1 month ago

Text

Well written female characters--written to be *people* first and foremost--are so fucking wonderful. Look at Wanda and Agatha: they have similar traumas and yet their personalities and how that shapes their responses is dramatically different and (IMPORTANT) those differences are not depicted as making one simply pure "good" and the other simply pure "evil." They just are who they are.

Their youth/maiden stage of life was violently torn from them and then, in adulthood, the motherhood they came to love* was taken from them and the love of their life too. Major, life changing traumatic losses.

And how do they respond? Wanda is all about withdrawing -- she tries to pull away from the pain and make a little safe space for her and the people she loves. All of her strength and power is aimed toward that subconsciously and, in her behavior, we can see the pattern is consistent. For her part, Agatha is all about rage and aggression. She does it charmingly, because she's a bit of a con artist, but the drive of that charm is pure aggression. People are going to hurt ME? Fine!! I'll hurt them first! I'll hurt them BETTER! I'll take all their power and then nobody can ever touch me. They deserve it, they would have done it to me if they could!

(The exception being someone like Jennifer, whose good intent and decency toward others was so blindingly obvious that Agatha kind of hated the sight of it -- it disturbed her and made her uncomfortable -- but she also respected it and didn't try to fuck with Jen)

They're like the perfect examples of the flight vs fight response. And the fact that trauma shapes responses differently depending on personality doesn't make some people inherently "good," it's just a thing, damage is carried different ways. And it can all cause harm to the people around you, depending on where you're at with it, even if your desire is just to flee and be safe. (And Wanda also seems to have a deep capacity for rage when pushed far enough, in expanding the hex, and a taste for vengeance - what she did to Agatha was nonfatal but by no means not violent). Connected to that: Women aren't a simple binary of bad and good. It's absurd to try to categorize them like that and it makes fictional representations thin and empty to do so. It makes artists who want to express the human condition in all its variety through female characters hobble their own art. And it's really beautiful when artists are brave and capable enough to fight their way out of those restrictions somewhat.

I love it. I just love every bit of it. I intend to rewatch Wandavision and Agatha All Along once AAA is finished to further compare and contrast.

*I don't buy that Agatha traded Nicholas for the Darkhold

#agatha harkness #wanda maximoff #agatha all along #wandavision #agatha all along meta #wandavision meta

57 notes · View notes

cyren-myadd · 10 months ago

Text

Rant about Eywa theories

Eywa is one of the most interesting concepts in the Avatar universe, imo. The concept of an interplanetary consciousness that every native organism can "interface" with is so cool. One thing that really fascinates me about Eywa is how she goes about "protecting only the balance of life" as Neytiri explained to Jake. As of Avatar 1, Eywa did not react to the human threat mining and destroying the forest for several years, nor the genocide/abduction of the Sarentu clan, even though Eywa would've been aware of what was happening when the Na'vi shared their memories with her soul trees. She only reacted to the threat AFTER she was exposed to human memories of the destruction of earth when Jake interfaced with her via his avatar body, and then again when she interfaced with Grace’s human body. The reaction was similar to an immune response within a body attacking a foreign virus, with native fauna mobilizing to attack anything that registered as alien. One interesting thing of note about the immune response is that the animals were not physically connected to Eywa when they attacked, which means Eywa can somehow send commands to organisms “wirelessly.” This phenomena could also explain how the atokirina conveniently show up to stop Neytiri from killing Jake. Anyway, the immune response won the final battle of A1, in A2 we saw the immune response can't protect Pandora in its entirety. The recoms could get past the immune response undetected, and Bridgehead and the whaling ships didn't face an immune response at all.

Another interesting thing about Eywa we learned from the original script for Avatar 2, is that she is confirmed to have caused Grace’s pregnancy. Norm describes Kiri’s birth as “parthenogenesis,” which is a biological process in which an egg produces viable offspring without sperm from a male. (idk if the script needs a spoiler warning, so I'm putting one just to be safe) Based on the fact that Jake describes the pregnancy as “a mystery,” we can assume parthenogenetic birth isn’t something normal to the Na’vi’s alien reproductive cycle. On earth, parthenogenesis is only found in invertebrates and some plants. Assuming that Na’vi reproduction is somewhat similar to earth animal reproduction (which I think we can safely do since the Sully children clearly have inherited different traits from their parents, implying that they get half of their DNA from each parent just like on earth, but they are aliens so I could be completely wrong here), Grace would’ve had gametes inside of her avatar’s reproductive system, which are cells that only contain half of the genetic material to produce a viable offspring. A complex, multicellular organism like a Na’vi couldn’t exist without a full set of genes, so in order to produce a zygote (a new cell with a full set of genes that can grow into an embryo), the other half of the genetic material must’ve come from somewhere else, and the only place it could’ve come from is Eywa herself. This means that Eywa, to some capacity, can create or at least copy and reproduce genetic material. Since Kiri is so similar to Grace, it’s possible the other half of her genes are just a complete copy of Grace.

From all this we can conclude some things about Eywa.

We know she is not:

All powerful

All knowing

A “god” in the traditional sense

We know she is capable of:

Storing memories, including memories of the deceased from the last time they connected with her

Making decisions to react to threats based on those memories

Interfacing with an alien’s nervous system

Commanding fauna

Sending signals to organisms without physical contact

Creating/changing genetic material

What is still unclear is how Eywa’s consciousness works. Is she:

A sentient individual?

A hive mind of the deceased Na’vi?

An amalgamation of consciousness built from memories?

Something akin to a biological artificial intelligence?

Now that we’ve established the things that are confirmed about Eywa, I want to get into some speculation about what else she might be capable of. Note that from this point on I’m being purely SPECULATIVE and I’m not saying any of this is for sure possible in canon, I’m just coming up with hypotheses based on info we already have. After the end of Avatar 2, it looks like Jake and the Na’vi are planning to make their stand against the RDA, but if they want any hope of winning against the RDA’s superior technology, they’re going to need a combination of a Na’vi war force and divine intervention, just like in Avatar 1. The question is, how will Eywa help them? The one form of defense we’ve seen from her is the immune response, but that can only go so far. It can be fooled by avatars and recoms, and it is not strong enough to attack a heavily fortified base like Bridgehead. Eywa is going to have to step up her game, and I’ve created three theories on how she might do that.

📢potential spoiler warning for the last theory!📢

Theory 1: The 880 Virus

Project 880 is a screenplay James Cameron wrote in 1995 that eventually morphed into the Avatar we know and love today. One element in 880 that never made it to Avatar was the counter-viruses. For every earth virus the RDA brought with them to Pandora, Eywa created a counter-virus that would stop it, protecting both native organisms and the humans from getting sick from the viruses ever again. The RDA was even planning to create vaccines using the counter-viruses and sell them back on earth. At the end of Project 880 when the RDA is forced to retreat, Jake tells them that if they ever come back, Eywa will unleash a deadly virus that will wipe out any human that dares set foot on Pandora again. Even though Project 880 is not canon, I could see James Cameron revisiting his old idea to help the protagonists shake off the RDA forever. The problem is they’d need to find a way to protect the friendly humans like Spider and Norm.

Theory 2: Avatar Kiri

Between the parthenogenetic birth and Kiri’s ability to control vines (seen in The High Ground comic) and anemones (seen in Avatar 2), the movies are clearly setting up for there to be something special about her. In both the comic scene where she controlled plants and the movie scene where she controlled the anemones, the characters around her expressed confusion that she could do so, from which we can assume those are not normal abilities of a Na’vi. Since Kiri is also established to have a deep connection to Eywa, it is possible she is meant to act as an “avatar.” In the original context of the word, an avatar is a manifestation of a deity in mortal form, so Kiri would act as an avatar for Eywa. Since Kiri is a person and not a… whatever Eywa is, she can make her own decisions and react quickly to problems without having to absorb memories first. There’s no more information to speculate about what other abilities Kiri may develop in the future, so unfortunately, there’s not much else to discuss here that we can base on any evidence.

Theory 3: If you can’t beat em, join em

📢Here’s where we’re getting into potential spoiler territory.📢 In the BTS footage for Avatar 2, there were some scripts accidentally shown which described some very interesting scenes: Spider, breathing without a mask, and Kiri confessing to Mo’at that she caused it to happen. There was also some concept art shown in Las Vegas that depicted Spider with a neural queue plugged into the underwater spirit tree with Kiri. Full disclaimer, it’s entirely possible these are scrapped ideas and will not be seen in the Avatar franchise, but for the sake of this hypothesis, let’s assume they’re legit. I’ve seen a lot of people asking the question of HOW would this happen, but I haven’t seen anybody asking an equally important question: WHY? I’m very interested in the HOW and maybe I’ll make a discussion post on it later, but for my hypothesis let’s just talk about the WHY. Even though Kiri claimed responsibility for it, I don’t think this is something she could do without the help of Eywa, since Na’vi aren’t established to have the ability to radically alter other organisms. So why would Eywa want to give a human kid the ability to breathe the Pandoran air? Sure, he’s Kiri’s friend, but Eywa has never intervened to save an individual’s life just because people cared about them before (otherwise we’d still have Neteyam RIP). As Neytiri said, “The Great Mother protects the balance of life.” Eywa did not intervene to stop the destructive mining or protect the Sarentu, she only intervened AFTER Grace’s memories showed her that the RDA could potentially cause planet-wide destruction like on earth. So if she gave Spider this life-saving ability, there must be a bigger reason for it other than just Kiri wanting him to survive. My hypothesis is that Eywa has realized what a massive threat the humans pose to Pandora, and that her immune system response is insufficient to protect her biosphere. Her solution is to behave like a virus and weaponize the humans against themselves. When a virus infects a healthy organism, it “hacks” into healthy cells and reprograms them to attack uninfected cells and produce more viruses. Eywa will “hack” Spider’s biology the same way she “hacked” into Grace’s nervous system to interface with her, and will “reprogram” him to breathe the air and have a neural queue. Spider is already loyal to the Na’vi, so she doesn’t need to do anything further to him, but what if she repeated the process with other humans? Any human who gained a neural queue would be able to experience tsaheylu and the connection between all living things. Humans who are already loyal to Eywa would be able to fight back better with their new abilities, and it would give Eywa more access to more memories to gain a better understanding of the enemy. Humans who are loyal to the RDA would be more inclined to switch sides after experiencing Eywa’s consciousness, much like Jake did. I’m aware this final theory is a bit more out there than the others, but it spawned from me trying to answer the question of WHY would Spider get the ability to breathe the air and I felt like there had to be a bigger reason than just Kiri wanting to save him. Unlike Kiri, there’s not some special significance about Spider (other than his connection to Quaritch, but I don’t think Eywa would care about that) that would make him vital to the fight against the RDA, so I thought, what if he’s not special, he just happened to be the first piece of a much larger plan? And the result is this theory.

What do you think of my theories and do you guys have any of your own to share?

TLDR: Eywa is really cool, and in the future I think she could possibly defeat the RDA by unleashing a deadly virus, giving Kiri special powers, or "converting" Spider and other humans.

#avatar #atwow #avatar the way of water #eywa #project 880 #atwow kiri #avatar kiri #kiri sully #spider socorro #avatar spider #cyren myadd theorizes

228 notes · View notes