#we do NOT talk about generation me here and i do Not really like the fact that they were broken up but at the same time. the angst

[maybeelse]

"Pathetic mortals! Hear my demands," Corvina intones, feathers raised is a posture of challenge, "and despair, for the will of the night is unstoppable! Your compatriot has made a mockery of our alliance! You must," her voice shifts, a faint squawk betraying a feather-covered blush, "make her let go of me."

Maria, Halberd of Noon, peers up at Corvina. The villainess, once barely taller than her, has grown beyond all reason in the weeks since the Tremorlord ate the sun and plunged the world into an eternal and moonless night. "Is Anne being a problem?"

"Yes! I mean, uh," she tries to compose herself, "yes. Remove her, lest a worse fate befalls her! I will drop her in the ocean to freeze, see if I don't."

"Why don't you ask her yourself?"

"S-she just talks about wanting me to eat her! It's creepy! You deal with it!"

"… sure," Maria sighs. "Where is she, anyway?"

Corvina gestures vaguely towards her frankly excessive body. "Somewhere? I don't know. You find her."

Maria stares at Corvina, entirely unimpressed, and the former harpy hides her head under one of her wings. Another dozen wings flutter spasmodically along her body; her proprioception still hasn't caught up to the glut of power engorging her body. Perhaps it could be comical if it wasn't a reminder of how badly screwed they all are.

"Anne! Get out here!"

"don't wanna," the distant reply comes.

"Got you," Maria murmurs.

It's not that easy, of course. Getting to her requires navigating more of their former and future foe's body than Maria every wanted to be aware of, and Corvina keeps on reflexively hitting her with her wings (tolerable) or trying to disembowel her with whichever foot is nearest (irritating). The worst part is Maria's allergies. Harpies generate nearly as much dander as pigeons, and Corvina has not been taking proper care of herself.

Her eyes are watering and her nose is running when she finally finds Anne, Sword of the Morning, curled up under one of Corvina's wings. Several of Corvina's clawed feet hold her aloft, cradling her as delicately as a fresh-plucked flower.

"Hey, sis," Anne murmurs, shifting slightly. "Sup?"

"… wait, I thought Corvina didn't want you here?"

"Yeah. She hates me, you know that."

"But—"

"But," Anne smiles, "her body doesn't. S' a good cuddler."

"… that doesn't make any sense, Anne."

"Does. Wanna join?"

"No, Anne. I want you to stop pissing her off. We really can't afford it."

"Mmm," Anne yawns, "Can't afford to stop either, though …"

"Explain?"

"Why should I? You already know all of it, and I'm tired."

The three Guardians of Day—two, now, since the Shield of Dusk defected to the Tremorlord's forces—have never liked talking about the exact details of their powers. They wax strongest during the hours they are bound to (as does Corvina, their villainous reflection), and wane as time's passage draws them away, but …

The fact that they still have some power during eternal night raises questions with indelicate answers. Questions like, well, "where does it come from?" And "how do we get more?"

Dusk's defection came after she asserted one specific answer, and rejected it entirely.

"… you can find someone else to cuddle, Anne."

"Don't wanna. Besides," she moves to flop onto the ground and Corvina's claws close around her—wrapping tight around her waist, her neck, and her thighs, pinning her in place like the delicious morsel that she is. "Don't think 'vina will let me."

"Yeah, okay," Maria grouses, "fuck this. Just stop asking her to eat you."

"S'not my fault that she's such a prude."

The villain decides to do the classic "team up to defeat a common foe" trope but it's been taking a lot longer than they had expected,the heroes are getting emotionally attached and it's starting to get weird.

[chocoqtelle]

inner child pac reading

🦀 pile one,,

I know we're used to being super helpful, but it's good to help yourself too. you should always make sure you're okay first. It's important for us to be okay, even if other people don't think so. we should think so. things are gonna be okay for us. they always are. I want to do the things we like. I don't understand why you care about what people think now. I think we should try doing what we like more, even if it's embarrassing. it doesn't have to take a lot of time. it's just good to have fun sometimes. maybe you can get back into some of our old interests if you want?

it seems like this pile had to mature quickly and was overly generous in childhood. this likely led to some people pleaser habits. when the world said "be nice" and "care about others" you took it to heart, but it felt like you were the only one who did. you felt like you had to be the adult in your childhood and care for other people around you. for some of you, you may have had to care for a parental/older familiar figure or your siblings. you're used to changing your words and your personality to be more digestible and gentle because this strong fear of conflict. you were scared of people being mean to you, so you avoided making anyone mad. it was like you were always tiptoeing over eggshells. now, you don't have to, so there's no point in worrying about people who don't worry about you. you'd be doing yourself and your inner child a favor by doing what you want. it might feel wrong to be yourself, but at least try. I won't delve too much into this part, but I believe some people in this pile also dealt with being oversexualized or being hyper sexual at a young age. I think it's important to know you're more than what you can give others for this pile. please also take a break for the love of god.

🐸 pile two,,

It's hard to feel loved if nobody shows you. at the same time, i don't think I'd want to be loved. it seems weird and uncomfortable. I'm not used to it so it's scary. I still wish that someone would care at least. it feels like nobody else cares. I'm really tired of things being silent and boring all the time. I want to do something fun. I want friends but I want to be by myself. people think I'm weird, but I think they're the weird ones. they can avoid me but I wouldn't wanna be friends with them anyway. it doesn't matter if it's lonely, I don't feel less lonely around people anyway. some people think I'm mean. I don't think I'm mean. i heard I look mean or I act mean sometimes, but what if that's just who I am? I don't try to be mean to people. I just don't want people to hurt me.

holy neglect trauma... there's a lot to unpack here 😓 first off, I hope you're alright. it seems like this pile never really learned how to interact with people and is probably still a bit of a people hater. this pile has had to keep strong boundaries and walls on to protect themselves from unfamiliar experiences (being spoken to positively.) if you've never experienced something, it can be scary but you have to stop thinking every little thing is gonna go wrong in your life. it's fine. separate note but I think someone's ancestors are very present here, might want to connect with them if you don't already. you can try to shut down the feelings of loneliness and pretend connection won't help but it does. you're probably not connected with your inner child or you're ashamed of yourself for some reason. trying to be cold won't undo anything or save you from the feelings you're hiding. you'll have to acknowledge them at some point. escapism and forcing ignorance wont help forever. hopefully it'll be sooner than later, but that's your choice. it's okay to be soft, btw.

🐕 pile three,,

I know what I'm talking about. I'm serious. I wish people would take me more seriously. i get good grades, I study hard, I always prove how smart I am. for some reason, people still act like I'm too young and stupid to have opinions or that what I say is just silly, especially with emotions. they act like having emotions makes you a less rational person. some people look down on me for who I am, too. it's not something I can change. whether it's gender, age, or whatever, people always want an excuse to ignore how I feel or what I have to say. I know I'm right though. I don't want us to stop expressing ourselves. I wanna share how I feel to the world.

this pile is extremely opinionated and knows how to share their emotions. this pile is for the "bossy" kids who "should have been lawyers" or "a CEO" according to every adult around them. you were emotional as a child and it was always ignored or joked off as if your feelings were invalid. this pile is definitely natural-born leaders so if you aren't/never have been aspiration-driven or "extra" this pile probably isn't yours. the most healing thing you can do for yourself at this point is speak up. continue to speak about everything. share your opinion more, it's safe now and people will actually take you seriously. be emotional, be too much, be annoying, be talkative, be over-opinionated, be everything you feel like being and don't let anyone talk you out of it. lead your life how you want to. call everything out, even if it means being weird. I definitely feel like some people in this pile had the gifted kid experience or liked to read a lot when they were younger. there's also some unresolved anger that might need to be taken care of. I think speaking up more instead of bottling feelings up will definitely help that, though. you're not stupid or weak for being emotional. just be yourself unapologetically and that's the best thing you can do for your younger self.

[gem-de-lune]

Daily Vibe Check 11/27

Riize (Collective)

The Fool + King of Chalices

This is a new and positive energy they are all kind of taking on as a collective right now. Rather than taking on a serious or harsh approach to their situation, they are actively choosing to be more mellow and carefree and simply receptive. This comes after a lot of interaction with OT7- I really think this has made a difference in their outlooks as a group. We talked about mending relationships yesterday, and I think this energy speaks about "moving together." I think there is a lot of focus on their interpersonal relationships as of late, and it is a positive development.

Eunseok

King of Swords + 6 of Swords + 7 of Wands

In terms of seriousness, he is the most serious right now, and that's saying a lot bc it's not even that serious. The fact that two of these cards thar have these charts pop up, reiterates to me personally that Eunseok is one of the 2 members whose opinions are listened to the most by upper management because they can communicate effectively. Particularly, he seems to be very analytical, especially at this time. If I had to be specific, I think he is actively monitoring fan reactions and the fandom in general to see how things are shifting. He seemed to be very interested in this even a month ago. He is doing well by the looks of it because he seems to have "lifted a veil" of sorts. Like he is just now being more exposed to lightheartedness and love amongst the fans. I did think this was because of his exposure to OT7 they got recently and continue to get lately.

How he feels about OT7 protests:

8 of Pentacles + 7 of Swords + Judgement

In general, he is really happy that there are actually fans working hard to create a reality where the truth will prevail. He hopes we can be smart here. But I also think he is actively maybe translating things? I get the vibe that he knows very very well that we are hiding certain developments and plans? So either he is translating our posts, or he is watching OT6 talk about how we are hiding our plans. One of those. But generally, yeah, he feels a bit giddy and inspired. You know how Seunghan felt like Briize were the king and he should bow? It's a similar feeling but less severe lmao.

Wonbin Shenanagins:

Queen of Wands + Knight of Pentacles + 8 of Swords

Wonbin is kind of crazyyy lol. I got a lot of asks, wondering if him liking and responding to OT7 posts was intentional or not. It was intentional? Lol. He is being a little bit reckless, leading me to believe he has been scolded or restricted in his actions concerning this before- maybe warned against it. He is playing innocent, though. He wants Briize to keep their motivation, so he enjoys "planting" these little seeds to fuel us (ugh, our OT7 leader 😌💪). When I asked about his intentions behind this further- the 8 of Swords popped up. Perhaps he seeks to harm or to create tears and rifts in the arguments that OT6 love to sow about the members and how they feel. Out of all Members, Wonbin has the most distain for OT6 fans, I believe. The others are still on that line of understanding and acceptance towards them. Wonbin is not crossing it and is teetering well into the dark side lolol.

Award Shows/As the end of the year approaches:

10 of Chalices + 6 of Pentacles + The Devil

There were a few discussion asks in my box about the upcoming award ceremonies, and if anything would occur during these. I think this may be a win? Lmao lowkey? I think some sort of contraint placed on the members will be released (to a DEGREE not fully) and they will be able to express a little bit more in some speeches than we may have expected- and it will reflect their true opinions. I think it will anger some.

How OT7 Briize will view these events:

8 of Wands + 5 of Swords + 10 of Wands

Okay, so YES this will UPSET the other team- which we know because of the 5 of Swords. It will feel like this are MOVING for us, and there will be sore losers all around. With the 10 of wands, there may be more motivation to do more and more for a period of time, to further efforts even more even though it seems overbearing because we will probably start to see more than ever, the real effects of our efforts and the fact that they make a big difference and will continue to do so if we continue to fight. So, there will be some validation for our actions. We will feel- or rather we will WANT to feel good abt our accomplishments later.

Final Notes:

Not doing a full bottom of the deck read, but it was Knight of Chalices! With this in mind, I want you all to remind yourself to relax. Our biggest asset, unlike other fandoms, isn't necessarily our numbers. It is our dedication and resillience- the will to never give up. That doesn't mean we have to be serious all the time. It is a matter of commitment. Have fun with this. Troll. Be a menace. Laugh. Relax. We can still have fun while doing our thing and making our demands known. Riize is doing this too as we speak. Just don't forget that whatever you feel- hopelessness, sadness, desperation, etc... you are not alone in thinking that. Talk to others, bond, lift each other up, and that will only further solidify the strength of this movement. The outcome is looking positive!

[quibbs126]

So I did some more Transformers drawings, and I figured page was full enough

I mean, it isn’t really, I could have fit more in the corner if I wanted, but I can’t think of anything else to draw there, so might as well post it now

So I suppose, let’s talk through all this

First off we have an Optimus I never finished, because I couldn’t get that bending shoulder to look right. It just looks off, and I can’t finish it until it looks right. So I never did

I think he’s supposed to be sad and yearning after the breakup with Megatron, and talking about it with someone

Anyways, then we move on to the Dinobot section, which I made because I started Beast Wars and like Dinobot, and had been attempting to draw him at work the previous day

I think I draw him too skinny, which is why I made that middle one, to be more accurate. But I also kind of like drawing him skinnier? I know it isn’t accurate, but I like making him so. Like he’s got muscles, but has a lean body type. I don’t know

Then today, I wanted to draw a happy, smiling D-16, who’s doing so at something Orion did for him (this isn’t supposed to be a recreation of the race scene)

I was going to do it more like the Dinobot style, but then I ended up going back to 3D boxes anyways

Honestly I think it’s one of the ones I’m most proud of, look at him and his sweet little face

Still can’t get the sticker right though

But anyways, on to the last thing, the Bee and Elita

Honestly I think the two of them need some ships in this universe too. Megatron and Optimus got their whole situation, but what about them? Elita doesn’t really have any options presented right now outside of maybe Arcee and I guess Airachnid (but personally I’m not here for the toxic yuri right now), and I don’t really know about Bee

The sequels should give them new characters to have subplots and shipping with. It can’t all be Megatron and Optimus hogging the spotlight (even if I do like them)

As for the drawings of the two themselves, I mean it’s alright. I think Elita came out better though. But it’s also my first time drawing them, and it takes some practice for me to get them right

I’m realizing as I type this that I have a sketchbook, and I got good at drawing Dinobot after drawing him on sauce paper a few times. So like, I could just do that to try and practice the characters without needing to be at work, and having a handy place to keep those references. Hm, well that’s a solution for later

It also does not help that I don’t have good references for them, especially in their cogged forms. These are about the best I got, and they aren’t the best quality either, I do not know how to draw their heads (well mostly Bee’s)

I also don’t think I’m drawing the Transformers One cast right. Like their bodies and general proportions I mean

Like, I noticed from this random screenshot I saw today that D-16’s noticeably wider than Orion

And I also know that the quartet have their own distinct face shapes from one another

I just don’t know how to convey those things in my drawing of them, it doesn’t want to work

Also I don’t think I have the basic structure of how their bodies work down either. I noticed today that almost all of them have more cylindrical shoulders than the rectangles I sketch, and also they have those middle circle joints

This is an observation I’ve had before, but the Transformers One designs to me really feel like action figures/toys with the way they’re built and designed. I don’t really know how to explain what I mean, but it’s how I see these designs in particular, which I can’t say with Animated or I think Beast Wars either. If this makes sense

But yeah, that’s the drawings. I don’t really know how to end this

[yellowhollyhock]

you know the hardest thing about 07 fanfic is getting around the gaping plot hole of 'your training ended a year ago and Master Splinter says you've stopped writing'

Like? What am I supposed to believe here? That Leo's gone for an extra year (twice as long as he's supposed to be gone), nobody goes looking for him, he stops writing, and nobody's reaction is 'Leo is either in serious danger or dead?' Everybody assumes he just decided not to come home?? And they're right???? Like we don't see much of Leo's personality but from what we do see, a year is a long time to just not write and not let anyone know he was gonna be late

That just doesn't. Make any sense.

So here's me trying to make sense of it

When Leo first left, Raph became the Nightwatcher (as per prequel comics). Mikey starts his Cowabunga Carl thing, with Donnie's help, and enjoys it a lot for a while. It's the only time he's getting out after all. Other than training, which is not going well without Leo. Donnie's not a very firm leader, barely wants to be doing it himself. Raph is checked out and short-fused. Master Splinter tries to intervene but that largely looks like scolding and isn't much help at all.

Mikey knows Raph is the Nightwatcher. In the beginning Donnie thought he must not be, because of an instance here or there where he was too harsh, too reckless, couldn't be their brother, he would never do that. Mikey responded by pointing out the good things and arguing over the debatable things and reminding Donnie of the trouble Raph can get himself into when he's fixed on a goal or acts from a place of anger. Donnie sees the schedules continue to line up and has to concede, but that leads to the question: what is Raph so angry about? And while they haven't come up with an answer, privately Donnie assumes it's at him (for not being the kind of leader Leo was).

Four months after Leo leaves, they're still training every morning and going out occasionally. Six months in, they still train most days. Master Splinter has asked them not to go out together because of how they treat each other during training. Mikey likes his job less and also clings to it more as it becomes the only way he's ever getting out. By the time Leo should be home in a month, while each of them still practice, training together is rare.

That's when they get a letter from Leo that he might be late, and isn't sure how late.

So he's a week late. Donnie is researching every boat and airplane that left from Japan (last known general location) trying to guess what's likely to have caused the delay and extrapolate where Leo might currently be.

Two weeks late. Mikey is planning such a big homecoming party that increases in intensity with every night Leo's not there. It might be tonight, we have to be ready. He's not taking gigs and Donnie's getting stressed about money.

Raph is being the Nightwatcher and only sees his brothers for a brief time in the evenings--and lately those evening have been all about Leo. He's watching them both worry themselves sick. He'd actually allowed himself to be excited for Leo to come home, imagined they could have a good time together if he had a chance to pull him aside and talk to him about the thing he hasn't talked to anyone about: Merryweather's death. It's his big brother he wants to tell and he can't explain the Nightwatcher to his family until he's had that conversation with Leo. They fought about it before Leo left and he needs him to understand.

But now he's getting angry. Where is he? Donnie expresses concern that Something Happened; Master Splinter insists they must stay calm and not give up hope.

Three weeks late. Donnie is now insisting Mikey get focused back on work. At this point Donnie is still being Mikey's driver, in the headset and on standby every time Mikey goes out. Mikey wants him to back off (I can do this myself) so that at least someone will be home to greet Leo since Mikey might not be (your fault for making me go to work). Donnie is really hurt by the implied 'don't need you anymore' and feels guilty (which somebody really should) that Mikey's the breadwinner for the whole family. Even more guilty now that he thinks his help was more for his pride than because Mikey ever needed him.

Then a letter from Leo. Sorry for not contacting you sooner, I'm safe and well, hope I didn't worry you. I'll be at least another month. Much shorter than his letters used to be; they're more worried than ever. And this time the return address is way off course from what they thought was his path home. What's going on?

Mikey wants to write to him. Everyone else points out they don't know where to send the letters. Donnie is back to obsessing over maps, train schedules, weather patterns, anything that might hint at an explanation. Between their jobs and worrying about Leo, Raph doesn't understand how either of his brothers can still stand upright.

He becomes more aggressive out in the streets. He's worried and confused and pretty steamed at Leo for giving them nothing to go by. And even more angry at who or what could have hurt him badly enough that he doesn't want to tell his family what's going on. He's quicker to hit and more hasty to decide who the bad guy is.

Donnie and Mikey see the change. Donnie starts openly criticizing the Nightwatcher every chance he gets (trying to get Raph to fess up or better yet stay home or at the very least see that he's going too far sometimes and needs to take a break). Mikey responds by doubling down on his defense and praise for the Nightwatcher (also wants Raph to confess and knows he won't when Don's talking like that, wildly hoping to be invited along, wanting to keep Raph safe but also eager himself to have a space to let out his own building anger).

And what's Mikey angry at? The fact that Master Splinter hasn't done anything. He's satisfied with Leo's explanation. Doesn't seem concerned, like Raph and Donnie are, that something went wrong. Master Splinter replies that the Ninja Tribunal is wise and at times unpredictable. They may have thought it right to extend Leonardo's training. Donnie points out that the return address for Leo's recent letters are not in Japan; did the Tribunal travel with him? Master Splinter doesn't have an answer and still insists on remaining calm and hopeful.

Now it's been two months, one week past the second time Leo was supposed to be home. Mikey plans a party again, this time with much less support from his frazzled, sleep-deprived brothers who are trying not to get their hopes up. Raph tries to keep Mikey from getting his hopes up either. That doesn't go over well.

After three months, they get another letter, another apology with no explanation, this time saying he has no idea when he'll come home, but don't worry, he's coming.

Raph has been seeing night after night what the world can be like. He's convinced something unspeakable happened or will happen to Leo, but he can't tell anyone that. He wants to go after him, but how is he supposed to find him? The best he can do for Leo is the same he did for Merryweather: be the hero they can't be anymore. Make people who are careless with others' lives Pay. And somehow he has to keep it from his family that he thinks Leo's gone gone, or might be soon; they couldn't take it. They don't know the world like he does. He can protect them from this, for a while.

Donnie thinks Leo must need help, and that's driving him crazy because he doesn't know how to reach him. But he's going to find a way. He starts planning and saving up for parts to build his mutant finding matrix thingy. After their argument he doesn't want to ask for Mikey's help paying, and it wouldn't be right since he's been really trying to let him be more independent. He finds a job. Mikey seems bothered, they talk and work out a better working relationship that allows Mikey more independence and pays each of them separately (Mikey of course making more because he's doing more). Now with the call line job supplementing that he's able to ease the burden on Mikey and April of providing for the family (he knows Casey's been worried about the kind of work April's been taking) and he can buy the parts he needs to find Leo, go after him and bring him home. He's going to fix this for everybody.

Six months after the first time Leo was supposed to come home, Mikey finally gives up hope. He's been secretly sending letters to different places he thinks Leo might be. He stops. He's hidden nightmares about what could happen to Leo for months. He stops asking for Raph or Donnie to go skateboarding with him, stops insisting on family nights every Saturday. He gets closer to Splinter, who he's seen a change in and knows, in spite of continued insistence to stay calm and not give up hope, Master Splinter gave up a while ago. Donnie says he's just getting old (he's been very worried about his health and is becoming more micromanager about it every day), but Mikey knows it's more than that. He sees the depression Splinter is hiding. Splinter doesn't notice the same in him.

Around that time, they finally get one more letter. Leo says that he's not going to be in a place where he can get paper or postage, so they also won't be hearing from him. He doesn't say anything about coming home.

Raph had thought Leo was dead; the letter makes him furious (he's been mourning in secret for nothing? Is Leo even in trouble or just decided not to come back?). Donnie is thrilled by it; not being able to send a letter actually might help him narrow down where Leo is, and they have a more recent return address now. He's about ready to pack up and go get him, something he assumes Raph will be on board with.

Well, Raph can't leave, and he can't tell his family why (they know why). He and Donnie have a screaming match. Raph wants to know how this return address is any different from the letters before, and why they didn't go then. Donnie brings up Raph not seeing Leo off at the airport when he first left. Raph asks if Donnie's even been training. Mikey suspects it got physical, but if it did they both hide the bruises well and they're not saying a thing.

Raph starts going straight to his room when he gets back in the early morning, and staying in his room until he can hear that the rest of them have gone to bed. Once in a while he'll come out to argue if he overhears something that sets him off.

Mikey would go with Donnie to get Leo, but Donnie says Raph's right, he'll have moved on by the time they get there, it's the same as every other return address. He just needs more time to figure out where Leo actually is.

Mikey is starting to think they've run out of time, but just like Raph, he doesn't want to say that.

Batnapping happens like eight months in. Master Splinter is deeply bothered by it, gets stricter, asks his sons not to go out until Leo gets home. Raph has to get sneakier. Mikey had to negotiate to keep his job (Donnie helps). At this point Donnie is the only one who almost never leaves the sewers; April tries to get him to her place as often as possible, usually finding that asking for help is most effective.

And that's how they all live for fourish months before Leo finally (unexpectedly) returns.

[that-wildwolf]

Went out for coffee with a friend today.

She's really into RP and is now in some Andromeda-based RP campaign so we talked about that. I know close to nothing about RP and I have never actually played through Andromeda aside from the multiplayer mode.

"Well," she says, "what's the point of RPing in Mass Effect it you're not gonna be a turian?"

I actually think that this is an extremely based take, provided you're into RP in the first place.

She goes on to explain that she can't draw her character and she refuses to use AI so she just looked up some random turians to find like the most basic generic average joe turian to use as a stand-in for her character.

She then shows me the pic of this generic random turian on her phone.

I look at the picture, and then I just sort of blankly stare at her for a while.

"That's Adrien Victus," I say. What else do I even say here.

"Oh." She's visibly confused because she probably has no idea who that is. It is starting to dawn on me that perhaps she is a more casual fan than I am. "Well he looks like an average turian, doesn't he? Like what you would imagine when you think of a turian. He's got very basic looking colony markings."

I nod, but I take a sip of my coffee to avoid shooting off my mouth and saying something about how this is the Primarch of Palaven and so even based on that rank he is very much not just an average turian.

I explain who that is. I can see it clicks for her when I mention he's from the third game. It's weird talking about Mass Effect with those translated names (she's never played in English) and even weirded to talk to someone who's clearly a casual fan when you're a deeply obsessed person. I have to pretend I'm normal about her not remembering this side character.

She shows me another picture of random turian NPC.

I bite my lip.

"That's Lorik Qui'in," I say.

[quill-of-thoth]

The Saga of Great Uncle Asshole And The Priest From Hell

It's thanksgiving (in the US) so have a family gathering disaster that is old enough to be funny. Almost a decade ago, after a life of stirring up drama everywhere she went, my grandmother died. She was an unhappy woman who tried to be better to her grandkids than she was to her kids, and didn't always succeed, and she's the reason that when I smell cinnamon tic tacs they're accompanied by the reek of an illusory cigarette. This is not a sad post. This is a post about the fact that her funeral was a fucking disaster and it was ultimately about 50% her fault. See, my whole family was at one point or another catholic. Grandma really enjoyed going to church in her last years because it got her out of the nursing home, and priests have to listen when you tell them about the husband you divorced and the children who think they know better than you. Grandma did not consider the fact that the local priest she'd latched onto like a talkative moray eel in a cloud of nicotine smoke was an unmitigated bigot. She left instructions that she wanted her funeral to be at that specific catholic church and for that priest to do the sermon. It didn't occur to her that the person who would be organizing her funeral would be her gay daughter and her daughter's wife.

Shit started getting real about when the doors opened to recieve mourners. Over the course of ten minutes, my aunt summoned:

her elder sister, a paralegal

my father, who has never seen a conflict he would not cheerfully walk away from

Their younger brother, in order to swear at the priest

My mother, who hadn't had a good opportunity to fight a priest since we left our own church and was game to do it again.

This left me, the eldest grandchild, in charge of the receiving line, despite the fact that I knew approximately no one there. My brother and cousins were woodenly shaking hands and then whispering "who's that?" "I don't know." My aunt's husband was escorting the elderly and infirm up the stairs one at a time. My uncle's wife was also around but she knew even fewer people and was mostly listening at the door of the ongoing argument.

So when my brother and Boy cousin went to see if we could pry someone who knew who was related to us out of the argument and I was busy trying to convince an octegenarian that she did NOT need to figure out which of her cousins had married one of grandma's siblings before sitting down, Girl Cousin was alone at the door.

Great Uncle Asshole arrived in a storm of curses and a faux-coonskin cap. He blew past Girl Cousin, thumped his cane up the steps, and seized my hand. It was like shaking hands with an extremely strong mummy. "You look just like your mother! It's the hair, what a bird's nest. Where's your daddy? And the rest of Helen's brood."

I muttered something about them finalizing details with the priest.

"Well, they'll come see me soon enough. Bet you don't know who I am!" I didn't know who anyone was. Everyone older than me was having a verbal cage match with a member of the clergy or escorting some other old fogey to their seats, everyone younger than me had even fewer clues, and my only hope was to wrap this conversation as fast as possible. "Nope!" I said, "I haven't seen most of the people here in years." If I had ever seen them in the first place. He was going to be mad, but I figured if I had to be the bouncer I could probably take an eighty-something year old guy who breathed like the surgeon general's personal warning to smokers. I could at least shut the door on him.

"Of course you wouldn't! Your gran wouldn't have told you. I'm your great uncle Roger, and I'm here to bury the hatchet, by which I mean your grandma! She and I swore over our father's casket we'd never be under the same roof again while we both lived, and by god I kept my oath!" People were starting to stare, and it was at this moment that a thirty-something man in a suit sprinted up the stairs, and my uncle's wife, with a look of dawning horror, called her husband. "Roger's here." The middle aged folks descended immediately. Here is a snapshot of the ensuing conversation: "Roger, why don't we find you a seat?" - my mother in her best teacher voice "Glad to see you're doing well enough to make it" - My father, in his best 'good god I want to be anywhere else' voice. "Take me to the coffin! I want to see her with my own two eyes!" - Great Uncle Asshole, "And hang up my **** hat! Killed it myself!" "I'm so sorry, I didn't know he could walk that fast" - strange suit man "If you are QUITE finished, I am starting the ceremony in ten minutes" - the priest

As my father and his brother towed a grinning and cursing old man to the furthest reaches of the family section, my mother and my oldest aunt caught all the cousins up on the argument with the priest. My youngest aunt was still crying while her wife stared fixedly at the stained glass panes and periodically handed over tissues. The upshot of it all was that my aunt and her wife would be allowed to attend the funeral (on pain of the whole family literally walking out on the priest) but would not be allowed to take communion, because the priest didn't believe in their marriage. My aunt's wife had neglected to point out that, being Jewish, she wasn't going to take communion anyway. "That's fucked" said boy cousin, and the four of us immediately resolved in whispers to refuse communion as well. The priest opened his sermon with pointed remarks about the older generation's devotion and respect for the church. He continued on through psalms and all that until he got to the blessing of the eucharist and asked the family up to receive communion. My father, who hadn't taken communion since I could remember, stayed seated. My mother stayed seated. My aunts and uncles stayed seated. The cousins stayed seated. About a third of the church didn't move. "Well father, I'll have mine! These young folks think hey have all the time in the world to get right with the lord, but you and I know better!" The priest, who had been visibly hoping god would smite us, turned a wincing glare on my great uncle and the series of distant relatives and nursing home neighbors who were now shuffling up. The service dragged on. We were lined up to say goodbye to everyone, while the suit man (who would turn out to be my second cousin) bodily hauled great uncle asshole and his coonskin cap down the stairs. "I should have known my sister wouldn't manage to raise any good Catholics! Horrible woman." he said loudly as he was stuffed into a car driven by suit man's apparent twin. The priest approached as we were finally ready to leave, to ask why we were so stubborn that we deprived ourselves of communion. After all, unlike my youngest aunt, we weren't obvious sinners! "Oh, I'm Lutheran" - My eldest aunt. "I'm an atheist" - My uncle "I don't think you're qualified to bless anything." - My mother, who learned her religion primarily from a horde of socialist-leaning nuns.

With that, we left the wreck of my grandmother's funeral behind. "Helen," said my mother, very deliberately, when we were safely in the car, "would have HATED that." My dad started laughing. "Are you kidding? She would have loved that! It would have been all she complained about for years!"

[mean-scarlet-deceiver]

how about A Gordon and Edward Analysis

Ooh yes… the OG dynamic! The first one, the foundation for everything!

(Unless you count “Edward and railwaymen”... or “Edward and coaches”... which, to be fair, I do…) 

These two are insane (affectionate). Hot take but this may be the saddest relationship on the N.W.R.?* They’re my two bestest boys but, man. Their dynamic is fucked. Edward and James are nothing compared to this. Gordon and Henry are healthy, relatively. 

tl;dr: They need couples counseling. 

Jobey, aren't you being a little dramatic? 

Am I? Take my hand. Let's do a close read… 

* This is going to focus on RWS (not tv series). Right now and for the rest of this post, I’m going to be talking strictly from the Wilbert books (and, thus, analyzing their relationship from the ‘20s to the ‘60s only) unless I specify otherwise 

Part 1 (this post): Gordon, what's your damage? 😭 / The Doylist Reason / Rent. Free. 

Post 2 (upcoming post, link later): Edward's Defences / Gordon's Growth

Post 3 (upcoming post, link later): Collision / Uh… Cleanup Crew?

tagging @weirdowithaquill because you asked for Edward+James and i wound up folding in most of what i have to say about them into this analysis 😅 in RWS they're a good foil for understanding Edward+Gordon

Gordon, what's your damage? 😭

There is a strong drive, right here on ttteblr, to portray how despite some notorious conflicts these two are canonically old friends. Also that maybe Gordon’s bad behavior is not so bad. 

That is a valid mission, indeed I flatter myself that I had some influence steering us down this road a few years back, however sometimes I think we're in danger of forgetting how often Gordon really has just been like… This: 

"You watch me this afternoon, little Edward," he boasted, "as I rush through with the Express; that will be a splendid sight for you." (1923) 

“I’ve done it! I’ve done it! I’ve done it!” he said proudly, and forgot all about Edward pushing behind. He didn’t wait to say “Thank you”... (1923) 

Edward puffed and pulled, and pulled and puffed, but he couldn’t move the heavy coaches. / “I told you so,” said Gordon rudely. (1923) 

So Edward found coaches for the three engines, and that day the trains ran as usual. / But when The Fat Controller came the next morning, Edward looked unhappy. / Gordon came clanking past, hissing rudely. “Bless me!” said The Fat Controller. “What a noise!” (1926-1934) *

When Gordon and Henry heard about the accident, they laughed and boasted. “Fancy allowing cows to break his train! They wouldn’t dare do that to us. We’d show them!” they boasted. (1952) 

“The Fat Controller would never approve,” said Gordon loftily. “Branch Lines are vulgar.” (1965) 

Edward scolded the twins severely, but told Gordon it served him right. Gordon was furious. / A few days later, some Enthusiasts came. On their last afternoon they went to the China Clay Works. / Edward found it hard to start the heavy train… / “Just pathetic,” grunted Gordon. “He should give up and be Preserved before it’s too late.” (1965) ** 

I am sportingly not even saddling Gordon with the blame for the line "Driver won't choose you again. He wants strong engines like us." (In TTRE, this is said by the collective of big engines – although the illustrations do clearly point a finger at Gordon. Still, like I said, I'm going to be sporting. The pictures aren't canon.) Also note that in RWS Gordon doesn't say "No use at all" when he learns Edward has come to push his train; that whole bit of dialogue was something Britt and David cooked up. 

Even being as generous as possible, this still leaves us with… seven. Seven instances of Gordon taking a shot at Edward. 

That’s actually quite a… lot? 

I mean, not necessarily if we were racking up all the complaints, ranging from major to miniscule, that you’d have about someone you’d lived and worked with for over 40 years, lol. 

But we shouldn’t actually be expecting a complete inventory at all. RWS books are minimalist on detail. There's just so much less in 'em than the sprawling TVS with its 24 full series, lol. And let’s focus here on just the Wilbert canon, since that’s where all these examples of Gordon being rude to Edward come from. Seven times, in 26 books. For context, the number of times Thomas teases Gordon in this same corpus is… three. Three times. Thomas cheeking Gordon. Also kind of a fundamental dynamic. THRICE! 

Passengers saying What a Bad Railway It Was… two. Number of times Thomas and Percy squabble… three. Number of accidents that Percy gets into (and this includes the piddling stuff, like crashing into that wagon of flour that was left on the rails)… five. Reflect on that for a moment: Gordon is a dick to Edward in canon more often than Percy's had an accident. That's crazy. Indeed, there are plenty of RWS characters who are canonically friends or who shed together who don't even get to have seven shared moments. It's actually kind of a fun game, to try to think of any two of them who, like Gordon and Edward, have seven of a specific kind of interaction. Have at it! There has to be something I've missed. 

But I hope it's clear, that by the standards of these books this character dynamic is hit A LOT. You know me, I'm going to go on to contextualize a lot of these seven examples, and I'm going to play Gordon defense attorney to a certain degree, and plead mitigation. But I can't possibly explain away the sheer size of this pile of evidence. This specific dynamic is not meant to be overlooked. It's not meant to be minimized.

This is a big inescapable part of what their relationship is. 

The Doylist Reason

Now, in fairness, the meta reason this dynamic is so pervasive and repeated is that it's The Template. 

“Big braggadocious engine needs help from humble plucky little engine” was trite before The Three Railway Engines was published. This is not a slam; I’m not gonna get on another parent’s case about the story they improvised for their kid because “it relies on cliches.” But it’s just a fact: Edward and Gordon, to begin with, are simply THE foundational cliche of “anthropomorphic train” media. 

One of the reasons the RWS (and the whole subsequent TTTE juggernaut) is so successful is because it features so many creative variations on this template. Most of the relationships are just "okay so one of them is the Gordon, and one of them is the Edward, but this time there's a twist!" (This is how you get Thomas as the big breakout character – because the Thomas and Gordon variation is a lot less cliched, and a lot more fun.)

Just an observation. 

Now, Awdry did keep writing the OGs again and again and again, for a couple'a decades, and he developed them both quite a bit. So by the end of his run we do have a very elaborate Jenga tower built on this template. Loads of fun* to be had yet. So let's jump right back into analyzing this shit in-universe. 

* For certain definitions of fun 😈

Rent. Free.

The first thing I wanted you to note about Gordon’s Edward-directed crimes was that there were a lot of them. 

The second thing I want you to note is that… these are, perhaps, not all so very criminal? 

Some of it is – the group harassment about the strikebreaking and the “Just pathetic!” bit (more on both of those later). But a lot of the rest of it strikes me as more the results of being blunt or un-self-aware or even just plain boisterous than actively choosing to bully anyone. In particular, the early stuff, the Three Railway Engines stuff on which the whole foundation of their relationship is laid… 

"You watch me this afternoon, little Edward," he boasted, "as I rush through with the Express; that will be a splendid sight for you." (1923) 

Condescending. Tone-deaf. Belittling (literally). But… not actually spiteful?

“I’ve done it! I’ve done it! I’ve done it!” he said proudly, and forgot all about Edward pushing behind. He didn’t wait to say “Thank you”... (1923) 

That's not cool, but it's also not… that bad. 

At the point where The Three Railway Engines ends with the claim "all three engines are now great friends," it's like, sure. You can see that. Indeed you can see it much more easily for Gordon and Edward than you could with Gordon and Henry – Gordon's behavior toward the latter (though in a similar vein of "kick a fellow when he's down") was much more extreme, and Henry's behavior was so bizarre that you hardly know what to expect from him next. (What you don't expect is that those two will be joined at the hip for the next thirty years.) By contrast the Edward and Gordon relationship should be kinda easy, the former's really nice so the latter just has to remember some basic manners and they should be okay. Right? 

But that's not how it goes. Partly of course because Gordon has much more out-of-pocket shit in him than he ever displayed in TTRE. But I'm going to set aside some of the more severe tests that Gordon makes of these friendships till later – stuff like punishing Edward for breaking his tender engine strike and "Just pathetic!" (not to mention all the needling of Henry around the Flying Kipper accident). Setting that aside, Gordon's original sin is simply being a dumb, self-centered, out-of-touch rich jock. Yes, he’s consistently “rude,” but usually more in an ignorant, superior, “I cannot be bothered to try not/learn how to prevent myself giving offense” sort of way than an aggressive, malicious “hurting you for fun and profit” sort of way. In contrast to, say, James. Whose behavior really is consistently mean. And who is hurtful on purpose, because he’s having a bad day and tearing someone else down is how he copes. James insults; Gordon (except in those couple of asterisked cases that we’re tabling for later discussion) merely boasts. And it’s really quite interesting to me how Edward seems to have much less problem with the former than with the latter! 

Because he does have a problem with it. We know, because for most of this long list of incidents the source must be… him. 

This is a series where canonically the Author is a human “friend of the railway,” collecting and publishing these stories in order to publicize the railway to the world. This is something that really can’t be forgotten when reading these (indeed, thanks to the “Author’s Note” each time, the books will not let you forget it). The narrator is canonically a figure in this universe, and is not omniscient. 

And, when it comes to the Edward/Gordon dynamic, the Author’s point of view is consistently collapsing into Edward’s point of view. 

Certain times when the narrator editorializes about details, we can be pretty sure, are lifted straight from Edward’s take on the moment (and, if not Edward’s, then The Fat Controller’s, which to be frank is also roughly aligned): 

Edward puffed and pulled, and pulled and puffed, but he couldn’t move the heavy coaches. / “I told you so,” said Gordon rudely. (1923) 

That Gordon said that, I don’t doubt. That the adverb is necessary, or even correct? That’s… that’s interpretative. I totally understand why Edward and TFC, respectively, took it that way, but I’m not 100% convinced it was meant that way, nor that everyone else on scene regarded it as much more than Gordon glumly colour-commentating the group effort to recover from his breakdown. Is he being ‘rude’? Or is he merely too blunt for North Western sensibilities?

Anyway, even if ‘rude’ is the correct interpretation, it is again worth noting that it’s certainly not part of the narrative as Gordon would have been telling the story in the 1940s. (The 1940s! It's over twenty years later! And Edward is getting his side of the thing in fuckin' print… Big win, that.)

So, if we agree that Edward is the source the Author primarily relies on for these 2+4 scenes, what does this show us? Well, for one, I'd say it shows us that Edward may ‘forgive’ all this but he is certainly not forgetting one bit of it. Indeed the narrative’s repeated return to this dynamic almost certainly mirrors how much room Gordon’s superior attitude occupies in Edward’s headspace.

Which is kinda wild. There's no evidence Edward is petty by nature, if anything there's a lot that suggests the opposite. Gordon getting this far under his paint is… something of an achievement. 

But we can see how he managed: 

Even discounting the illustration. Even if Gordon isn’t the speaker. He was one of Them. The other big engines who tormented Edward may have been worse, were probably worse, but they are gone and Gorson remains, an eternal reminder of 1922-3. Of the primordial period when Gordon has the power, Edward doesn't. Gordon is on top of their world; Edward is left alone in a shed, cut off from all his former friends and supporters, afraid for his life, roundly denigrated by the engines he lives with, and quite possibly lost his previous job directly in favor of Gordon. Who, at best, is careless and oblivious. Who, at worst, is belittling and rude. 

Ouch. 

Gordon's arrival is still bound up, probably even the direct cause, of one of the most miserable and humiliating year of Edward's life. And – maliciously or not – everything about how Gordon conducts himself only serves to keep tearing again at that wound.  

Ouch. 

If Edward were to write off Gordin as a potential friend till the end of time, well, you know, it would be valid. Not very "wise" or anything, but it’d be understandable.

To be clear, I don't think this is what happens. I'm not going to argue that the famous line from the end of TTRE is a lie, some sort of diplomatic fiction. No, Gordon and Edward quickly make a go at genuine friendship. Indeed, throughout all this mess, even as I analyze it in excruciating detail… there's something kind of touching and weirdly wholesome about the way that they both try so hard to make it work despite the headwinds against them. Edward (and Gordon, for that matter) make sincere efforts to overcome the wounds they have inflicted on each other's egos. Kudos, lads. 

However, I also don't agree with a vast assumption on the part of many fans that Edward solves the issue by simply… rising above. Puts aside his own ego, takes a pacifist approach to all the jockeying for position, acts purely as mentor, just sits on the moral high ground and philosophically accepts everything as it is. 

This is canonically nonsense. Yes, Edward was passive in his first-ever story – he was at the end of the line; he needed someone to give him a damn break before he even had options – he doesn't actually remain passive after that, though. Indirect (he’s allergic to conflict), but not passive. We see very clearly that Edward may be judging status by a bit of a different yardstick than Gordon et. al., he doesn’t think picking up the slack on secondary or support jobs is a source of shame and his relative physical weakness drives him to find different ways to distinguish himself, but, like, when it comes to points-scoring, he’s still very much in the game. Of course his first priority is just to be wanted and useful at all, but that is not the end of it. Edward is competitive, with a proper amount of pride (“Good! Don’t let them beat you”) and he has normal engine-y desires and ambitions (“Look at me!”). ‘Course, in his case they don’t drive him to make a straight-up nuisance of himself. But, still. It matters to him that he gets to be the Smartest Engine in the Shed. It matters to him that he has nice blue wheels. It matters to him that he’s important, it matters to him that he’s respected, and he’s quite as pleased to get important jobs as any other engine (even if he doesn’t begrudge an engine who gets a jammier job than him). When canon kicks off no driver at Vicarstown has laid a claim on Edward, Topham Hatt has just succeeded some previous General Manager and shows no sign of knowing or remembering that Edward exists, and Edward has nothing – no job and no allies. It is not an accident that all three of those things change. It’s not even merely a natural karmic reward for being a nice, humble engine with a winsome smile. Edward set out to earn recognition. His main method (be helpful and reliable to others) is admirable, but it is also a means to a goal (be recognized as important and ensure he's never again stuck in the sheds). And he succeeds wildly. There’s luck there, sure - there always is, with success - but he didn’t have a lot of natural advantage at his tender, either. What I’m saying is that he’s not some innocent unworldly soul who aww-shucks’d his way into it. He meant for this to happen. He played smart and he worked hard for it – but, like, he had to know what it was he wanted. 

Am I belaboring this point? Maybe. But I feel like so many people only see Edward as nothing more than a dutiful, responsible, maybe even stuffy oldster with at most an occasional twinkle of fun in his eye and, hell, often that’s not even a big problem (though I think it sells short later characters who arrive and who are ACTUALLY more unambitious and above-it-all than Edward - for instance, I think Donald and Douglas are actually our first tender engines who show up and legitimately just never once give a shit about their status, at least not beyond the status of ‘alive’ vs. ‘dead’). But I think it IS a problem, that it does lead you wrong, when you bring that assumption to bear on Edward’s relationship with Gordon. Edward never "mentors" Gordon. It’s a fundamentally competitive relationship. Oh, maybe it shouldn’t be! It shouldn’t be, because Edward is not jealous by nature and so if Gordon were halfway chill himself it never would have been. And it shouldn’t be, because Gordon so easily outclasses Edward that there should be no reason for Gordon to ever get jealous, either. But they both manage, somehow. Edward’s not just benignly pulling a quarter out of Gordon’s ear every so often, to gently remind him that Gordon doesn’t know everything yet. He might have settled into this role, if Gordon hadn’t scared the existential shit out of him throughout the ‘20s, but Gordon did and so Edward didn’t. Edward’s in it to win it, babe! He accepts that his express days are over, but he’s not willing to be told he never again gets a cut of the cake, either – and, when Gordon snubs him, Edward is not just rising above the fray and letting it go. They’re always playing tug-of-war. 

To reiterate: I don't think Edward is faking friendship after Gordon's failed express. He's really working on it – and he might have had more success letting go of the previous wounds Gordon inflicted on his ego – if only Gordon had stopped that sort of shit, going forward! 

But that's asking too much. It's still the 1920s, baby; Gordon's gonna Gordon; so what's a little tender engine to do? 

[hyperpotamianarch]

I chose other, because my father's family is French - which I would like to elaborate on a little.

My paternal grandmother was born and raised in Strasbourg, on the border of Germany. It's in the region of Alsace, which throughout history switched hands between France and Germany multiple times. My Grandmother speaks a little German and Alsatian as well as French and Hebrew, though her mother is more fluent in German than her. I never got to meet her father. My great grandparents only married after the Holocaust, and I only know about them that my great grandfather's family escaped by moving around rural Alsace. They had to hide being Jewish.

My paternal grandfather's family is another story. My father is fifth generation Parisian - his father, grandfather and great-grandfather were all born in Paris. My grandfather's great grandfather was probably born in another town in Alsace - Colmar. I make this assumption based on the fact my great grandfather's great grandfather served as a rabbi in this town and was actually the chief rabbi of the Consistoire of Alsace - which is a detail that could doxx me if it wasn't so long ago that he has myriads of descendants and nobody would actually bother looking up the chief rabbi of the Consistoire of Alsace. If for some reason you do have a list of the rabbis there available I'm more likely to want to talk to you than worry that you'll doxx me.

My grandfather's parents also only married after the war. My great-grandfather served in the French army at the Maginot line, and we all know how that ended. He was in a German PoW camp for the duration of the war - specifically one for the Jewish soldiers. They worked in a shoe factory there, I believe? Under inhumane condition, until my great-grandfather and the guy running the factory collected a bunch of bed bugs and threatened to unleash them on the Nazi overseer. That got them slightly better conditions.

My great-grandmother's family was particularly targeted by the Nazis, because my great-great-grandfather has managed to antagonize a member of the Nazi party once. Luckily, through a friendly tip from a phone operator he caught wind of it in time and fled to Switzerland.

My maternal side of the family comes from various Eastern-European countries, each great grandparent from a slightly different background. The only direct Holocaust survivor was my grandmother's father, who came from Hungary. He has a long story that includes serving in the Hungarian army and somehow surviving the death marches even though he had trouble walking, I don't really remember all the details.

Each of my three other great-grandparents fled Europe in time in their own different way. My Polish great-grandmother (married to the Hungarian Holocaust survivor, both passed away by now) barely managed to flee on the last ship before the invasion. My maternal grandfather's parents are both technically Belarusian, but they only met in Israel. My great-grandfather was a Chabad Chosid (before they became what they are now) who was also active in Zionist circles in the USSR and managed eventually to get a certificate and make an Aliyah. In Israel he chose to study in a Litvak/Musar Yeshivah, which if you know anything about the history of Chassidut is an interesting choice. I think he met my great-grandmother through the Yeshivah (no, she wasn't a student, it was an Orthodox Yeshivah. No, I don't really know the details). She has fled by fabricating marriage to a guy and went to live with relatives who already were here.

On that side, many of their relatives were killed in the Holocaust.

Either way, I'm mostly of Alsatian Jewish descent, and we have some different minhagim! As a general rule we are considered Yekkes, meaning German Jews, and our practices are similar. There are a couple of traditional foods that I don't actually like, and a lot of tunes that I do - we have a different tune for Shir HaMa'alot for every holiday and special Shabbats, and that's really fun! We also have a very particular tune for reading the Haggadah, but... Well... Yekke music tends to have a very distinct sound to it, and my mother's family tends to dislike it. For me it's nostalgic, for them it gets on their nerves.

I know I didn't gave to do that, but I sometimes feel like my particular type of Ashkenazi Jews us too rare. For the most part, Ashkenazim in Israel get to choose between picking Polish traditions or Lithuanian traditions, and that perceived dichotomy tends to erase the finer details. So I wanted to share a little from my particular heritage.

Feel free to specify in the notes! Also sorry I was only able to list these.

[alexanderwales]

I finished the rest of Save the Cat almost in a single sitting, not because it was particularly riveting, but because I had time to kill, so this pseudo-liveblog is at an end.

Chapter 6 and 7 are basically the same, collections of small tricks and tips. Neither of them are terribly helpful, and all the tricks have terrible shorthand names like "Pope in a Pool". There's very little in the way of any thematic cohesion to these bits of advice, and no grand theory of the Laws of Storytelling emerges, in spite of the laws being invoked a number of times.

The advice itself is, I think, generally good:

give the reader something to root for early on to kickstart investment

spice up exposition with something entertaining

only one kind of magic per plot

don't tell a story that requires too much setup

don't tell a story with too many moving parts

include a ticking clock

have character arcs

keep the scope limited to the characters we care about

make the hero proactive

show, don't tell

make the bad guy very bad

the plot should go faster the further in it goes

use the whole spectrum of emotion

make sure each character has a distinct voice

make sure desires are "primal"

give characters something that makes them stand out

I don't endorse this whole list, and I especially don't endorse the way that Blake Snyder talks about them or the examples that he gives. And if I endorsed the list, then I would include a lot of caveats, and some general principles of storytelling that should be followed, rather than these specific pieces of advice, which are all conditional. Like ... okay, here's an example:

Exposition is a broccoli that the audience doesn't want to eat. There are very different ways of dealing with this, but we can start with "minimize exposition" as the first "law" of storytelling, and from there, we have different strategies:

Spruce up the exposition, making it into a mini-story, delivered in an entertaining way, so that people aren't bored.

Run something alongside the exposition so that people aren't bored, like sight gags in a comedy or an action scene in a thriller.

Have the exposition delivered through implication and clues, rather than stated outright, like having a character limp rather than explaining to the audience that they were wounded in the war. This is show, don't tell, and it's harder than it seems.

But while Snyder lays out some of this advice, it's all in different sections even though it's dealing with the same fundamental problem, and I'm not sure that he really understands that. If he does understand it, then he's not making that clear for the reader.

My thesis is that to understand storytelling, you want to understand root issues and classes of solutions. I have not written a book on writing, nor do I think there's a market for that, nor do I think I'm qualified, but it's the kind of thing that I would strive to deliver. There are a lot of writing problems that are parallel to each other, and there are a lot of structural elements that are mirrors of each other, so why not try to put it all together that way?

But Snyder makes basically no attempt to put even very related problems together, it's just little bits of advice to gnaw at the most common problems, and ... maybe that's fine, but it felt lazy to me.

Chapter 8 was the final chapter, and was mostly about trying to sell screenplays. This was irrelevant to me, but kind of interesting, and also made me feel like Blake Snyder is a better marketer and salesman than a screenwriter, and also maybe just got lucky to be working at a time when scripts were getting huge bidding wars for no good reason. The efficient market hypothesis gets clowned on again, I guess.

I'll probably write up some overall thoughts, a short review: I think I am unsuited to liveblogging because I go long. But the even shorter version is that I think I picked up a few things that were interesting to think about, and while Blake Snyder is a hack, he's an entertaining writer.

[theartofpixar]

"Joy’s body language is generally pretty broad: her arms always stretching and reaching, and she’s constantly jumping around so as a former 2D animator, drawing her on the movie was quite the delight! Being not *that* extroverted myself, bringing that attitude to life, especially on days when I felt more like Ennui, had some really interesting effects. Have you ever drawn someone yawning and started yawning yourself? That kinda happened to me with drawing Joy. Stepping into her shoes (although she wears none!) was somehow always therapeutic and added a lot of energy and positivity to my days 💛

I am loving the cascade of incredible art pouring out from every department with the release of Inside Out 2! 💙 At one point I was assigned a Sadness action sequence called “Cry Hard” (!) which I’ll share in a future post, so before boarding I spent some time drawing poses and expressions to get a feel for her character. Can we talk about those little slippers. 🥺

Drawing Anger was always somehow satisfying! My Mediterranean roots probably have something to do with it ❤️‍🔥 One thing I loved about boarding sequences with these guys was how the Emotions felt emotions themselves, yet still kept their primary self. When Anger felt joy, it was a fiery happiness; when he felt fear or disgust, his eyebrows would never lie! These sketches are warm-ups from when I was exploring his fiery range of expressions and as I built my library, some of these definitely found their way into my sequences..

When I think of my favorite Emotion to draw, oh man. Disgust 100%. The SASS. Those mouth shapes and the fabulous lashes that just amplify it all. I had so much fun drawing her on Inside Out 2. I don’t wanna spoil the story posting my sequences yet, so these are some warm up sketches from when I was getting familiar with her volumes and expressions. The movie is out TODAY! Go see it in theaters!

And last but not least of the original emotions, Fear! I always thought he was kinda challenging to draw. His design includes a lot of sharp angles and jittery lines to convey his constant tension. His hands are usually close to his body as if to protect himself, and his shoulders always raised. It made me realize it takes a lot of energy to be constantly afraid of something! His eyes are also quite funny; his brows were disconnected, and somehow the back of his head had the shape of eyes too! Here are a few character studies. The poses with him clinging to the rope are taken from one of my sequences." – Alessandra Sorrentino

[chainfen]

I want to preface this with the fact that response came from myself and OP directly discussing this post, and me offering to further elaborate on my own opinions on a universe I too enjoy very much.

As I've delved into the HDG universe over the last few months, I've found myself struggling to understand why I find a lot of the writing I'm really enjoying to in some way still be unfulfilling. Reading this piece helped me realise that for a lot of them, it's because they simply do not cement themselves in fantasy. As a group of widely diverse both creators and readers, whether that be race, gender, sexuality- we are choosing to engage in a collective universe, with established boundaries and context, that is high fantastical. That's the entire point of it, is it not? the concept of being allowed to build a version of yourself that is your 'idealised' form; free from the economic constraints of capitalism, the socio-political constraints of wider society and social perception, for some even the limits unbreakable by species.

I don't, like you said, want to put down the idea that there is a catharsis and a rawness in being able to do that. The things I would do to be able to do that. The sheer escapism that the HDG universe offers me- a chronically ill, disabled, transsexual butch plural system, is something I would struggle to find anywhere else. But it feels like there is trend within the content in the universe to build it's women out of a generic base model, one that I see every day on every billboard all around me. There's an almost sterile nature to it, that makes me feel uncomfortable. A woman is small, submissive, feminine, hairless... perfect.

Tangential talk about noncon here, but it's relevant. I'm willing to roll with the idea that noncon as a concept exists within the HDG universe because the Affini believe that they do things for the best interest of the sophont in question- this is not something I'm trying to bring into question. However, as we know it is very thematic for this override of control to include egg cracking, HRT, removal of body hair and body modification that ranges from minor health related changes, to limb changes and additions, as well as full SRS. And whilst I as a reader can not only enjoy these elements, but understand the necessity of them within the storytelling, it once again removes me from the fact that this is meant to be fantasy.

What does it mean to 'be feminine' or be made 'girly'. How does one define those words? How does one separate them from gender, if you can? I can understand that the responses to those questions might be different for each person- but putting that aside, the only actual prerequisite to being 'girly' is to be a girl. I am not ignoring the social implications of being called 'girly' and it's wider use to often mean effeminate, or weak, but I am calling to attention the idea that there is no one look to what is perceived as 'girly'. In regards to femininity, as a GNC butch who has femininity often imposed on me societally because of my stature, there is a pain in the norm of associating these things with the ideal woman without a much wider commentary on why we feel the need to do this.

The Affini are bound by a collective and paternal duty to, well to put it short, care. To ensure the safety, happiness, and realised potential of all xenosophont races they domesticate, every individual, even those who resist it the most. I don't want to have to suspend my disbelief in my escapist fantasy world to believe that they, as an entire race, believe that the best way to treat the damage done to transgender Terrans is to reinforce and comply with the standard that caused them the very damage and trauma they're trying to undo in the first place? This idea of what a woman should be. This perfect model of ideal sterilised femininity who is gorgeous, ageless, hairless and always youthful. That the path to healing the insurmountable harm humanity has committed against transgender, non-binary, and GNC people is to reinforce their home world stereotype that was constructed around an imposed colonialist view of gender that centred the subjugation of women as a gender and ensuring they would be subordinate

and a note, for those in the comments saying OP is 'holier than thou' for the way they express their trans-femininity, or their thoughts on hair removal. I need you to reflect on the fact that your perception of an ideal woman is racist. I am not, in any way saying that it is wrong for you to feel the way you do or to want the things you want. But there needs to be a reflection on the values you apply to womanhood. Idealised white femininity intentionally devalues non Eurocentric features and labels them as masculine to dehumanise and devalue women of colour. You are not being radical or subversive by continuing to uphold these values in a fantasy universe that is meant to be for all.

Trans Feminism and the Human Domestication Guide

Or

Wishing on a misogynistic star won't make your dreams come true

Thesis: A running theme in some parts of the HDG sphere is the unintentional chase and valorisation of misogynistic standards for women in the pursuit of validation.

“The most radical thing that any of us can do is to stop projecting our beliefs about gender onto other people's behaviours and bodies”

― Julia Serano, Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity

I would like to open by declaring my own identities, both as a shield against a particular kind of bad faith criticism, but also to demonstrate that I’m operating in good faith here. I’m a fat, hairy, physically disabled, transgender, butch dyke who writes within the HDG setting with great joy and greater love for the community. I’m also hot as fuck. That established, I’ll continue:

There is a particularly pernicious lie that revolves around the state of women's bodies; that there is a correct way to have one and that those who do not meet these standards are unfeminine or otherwise worthless. It must have a vagina, of course, but it must also be white, thin, able, hairless, youthful, fit but not strong and, of course, soft. 

Trans feminism, and by that I direct my attention to feminist speech within trans and gender non-conformist spaces, has managed to, if not defeat, then at least combat one of the great evils of cis sexism, the necessity of the vagina. The ongoing and necessary validation of the girl cock as beautiful, as wonderful, as feminine is a wonderful, joyful thing. We (trans feminine people) exist as part of the spectrum of womanhood, and that means that our bodies also exist within and without that spectrum of womanhood as well. 

However, trans feminism of a particular kind has - rather than continue the work done to uplift the gock - has embraced a particular kind of ugly lie we’re taught. In many cases - due to a perceived desire to be as close to flawlessly woman as we can be - the focus will instead fall on a particular kind of trans feminine person who manages to engage with and evoke those standards aside from the obvious. To paraphrase Julia Serano in illustrating this point:

“Whether unconscious or deliberate, the gatekeepers clearly sought to … ensure that most people who did transition would not be “gender-ambiguous” in any way”

― Julia Serano, Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity 

One of the beauties of the class-G is that it allows the character to experience their body in an idealised form. I recognise and applaud this position, it is beautiful to see a writer able to imagine themselves completely idealised, completely transformed into something that doesn’t hurt. However, therein lies the rub; the ideal depicted displays some of that ugliness, some of the roots of misogyny that thread their ways through our brains like poison and make us into useful fools for its goals.

The thought that brought about this essay is a repeated phrasing that appears across several works within the HDG milieu; that to be hairless and soft is to be feminine. A character will have their body hair, all their body hair bar that on their head, removed and thus will be made ‘girly’. They, and other characters, may remark on how much more they feel like a woman, unconsciously or consciously linking womanhood to that hairlessness. 

You may note that this directly plays into another cis-sexist standard of beauty; that to be feminine requires a certain girlishness, a pubescent budding that belies the possibility of cellulite or wrinkles or the consequences of living a life where one is not simply a doll.

What is my objection to that? Surely, every writer has the right to depict their own wish fulfilment fantasies. Certainly yes, but also… one must ask at which point we celebrate their dreams and at what point we ask people to engage with their biases and question what they consider to be true. Women, all kinda of women, are hairy. Women have pubic hair, arm hair, leg hair, chest hair, even facial hair. The seeming desire to be completely hairless is as ‘unnatural’ a goal as any other, as ‘unnatural’ as any expectation set for us by the white supremacist culture most of us are steeped in. To return to whipping girl:

“Rather than question our own value judgments or notice the ways that we treat people differently based on their size, beauty, or gender, most of us reflexively react to these situations in a way that reinforces class boundaries: We focus on the presumed “artificiality” of the transformation the subject has undergone.”

― Julia Serano, Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity 

It must be noted that at least part of this problem is with what the reader brings to the table. When something goes unstated, we resort to the baseline of our biases and, due to the way society is structured, that baseline is generally white, thin and physically able. Beauty and femininity are racialised concepts, and I think we fall into traps headlong that white supremacy establishes for us. I am not the person to write an essay critiquing race in HDG, but I recognise the consequences of race and the expectations of white femininity on the work. Thus, then, we must consider the text, and the text is very often pretty clear about its characters.

How many protagonists of a human domestication guide story are textually fat? How many are stated in the text to be people of colour? How many of them are, if not stated to be, then implied through lack of mention, white, and thin? These questions ignore the many that are actively identified as those things. (I will pause here to note that Dog of War - notable as the most popular piece of work in the setting - features a protagonist who is both brown and fat, and I’m extremely happy to see it).

Collectively, as writers, we have seen a future where everyone is accepted and have created a world where the depictions of acceptance come with conformity to modern misogyny. We create a world without boundaries, where a person can be digitalised or made into a dog, and our characters are still aping their ancestors of five centuries prior in seeking validation of self. We are, I would argue (and borrowing heavily from Butler), ‘uncritically mimicking the strategy of the oppressor instead of offering a different set of terms.’

This is not, I would like to be clear, an attack on any particular story. You may recognise elements of several stories in this essay, and perhaps there are particular things I am drawing on, however, this essay does not charge the product of the writer's work with anything. That body of text can exist and be critiqued, but does not exist as a thoughtful, philosophical actor. Rather, I would charge us writers, all of us, with being more thoughtful as we engage with what femininity means to us and what is and is not feminine in a world where anything is possible.

Finally, a quote from Gender Outlaw that I direct at myself as much as anyone else:

“Let's stop pretending that we have all the answers, because when it comes to gender, none of us is fucking omniscient.”

― Kate Bornstein, Gender Outlaws: The Next Generation

[ir-abelas-vhenan]

Losing My Mind Over Veilguard 6/?? Aka the Dread Wolf Double Bind

These posts are getting up here in number (yes ma'am that is 1 2 3 4 5 instances of me not being able to get my shit together and coming back again for more)

and quite frankly there's nothing I can do about it until the "we've been treated and tormented by this game" demon has been exorcised from my body, so here we go again.

Today I give to you:

(Modeled after Inquisition Solas and his sad, bald-ass basset hound mage bum glory becuase I think it's important that newcomers know exactly who his fans fell in love with/who inspired his enemies to conduct speed-runs to punch him. Yassified Solas ran only because this mangled membranous man crawled first)

Part of what's making me lose my mind here, I've discovered, is a strange sort of survivor's guilt where everything I really like or really hate about Veilguard can be traced back to Solas and I don't know how to deal with it because we've never had such a divide before between one character getting ALL the content and everyone else from their game being left in the absolute dust.

Disclaimer: Yeah, no one from Origins has had more screen time across games than Morrigan at this point, and therefore no one has gotten more robbed of the substance of their character, but even the damage done to her wasn't the kind that warped an entire game. No, the devs saved that all for the Dread Wolf in the Room.

Even putting it down on paper and comparing the two in-game versions of him, it took me a second to work through why I'm so conflicted, but I think I've finally settled on a few key points.

Concern #1: Solas Haters Were Robbed.

Part of the allure of Solas is that if you want to punch that man in the face, you're gonna get the chance to punch him in the face. Is that my personal preference? No. But in a game where your companions are built to make you think instead of letting you turn your brain off, you're bound to have personalities that clash against yours. To have such a non-descript-looking iambic-pentameter-talking apostate be able to inspire strong emotions across the whole spectrum of players was part of his appeal. Now, as far as I understand it, you have four options at the end of Veilguard.

1. Solas lives and he might actually not hate himself some day.

2. Solas lives and he's absolutely going to write a diary entry a night about why he hates himself.

3. Solas lives and he's going to write a diary entry a night about why he hates YOU.

4. Solas lives and you better hope he never again figures out how to live in your general vicinity

Do you see my concern here? I, shamelessly, can admit that I would do unspeakable fictional things to get that man his happy ending (within reason...mostly...), but I feel like the game took the opportunity away from the players who threw that knife in their map at the end of Trespasser and vowed to take a bitch down for stealing their best armor and waxing poetic about the Grey Wardens while seemingly sitting on his ass and having no inclination to stop the blight (help). This, then, leads me into my second issue.

Concern #2: The Game Refuses to Give Solas room outside of its own agenda

In the near-decade it took for Solas to slip back into his trickster god persona, he seems to have forgotten why he began his quest to tear down the veil in the first place. I like that Rook gets to experience the version of our favorite hard boiled egg that near-singlehandedly tore down several empires by being an absolute terror to those with bigger egos. I like that new players are going to hear Solas tell them that they've earned his respect and actually believe it until they inevitably get their first taste of ancient elven betrayal. What I don't like? When a nuanced yearning for a world in which three majorly mistreated groups (spirits, elves, mages) would be free from many of the constraints that enabled their oppression suddenly becomes "I am doing this because if I don't I have betrayed my friend. Which friend you ask? Oh, the one that was on board with my plan until it no longer suited the story."

The combo of few characters from previous games and a sanitized near-blank slate for the setting of this game was deadly to one of its best-written characters. Because of it, Solas is forced to abandon his double-speak, the joy he takes in giving you scraps of an answer that, by the time you get it, you will already have missed the chance to piece it together from separate clues that he ALSO dropped. He's not going to get to show you the loyal followers the epilogue of Inquisition made clear that he has, because the game wants to usher you into the new future of the series. You're not going to get to ask him (or any NPCs for that matter) a bunch of questions so that you can form your own opinion of him, because all that matters is that he isn't Elgar'nan or Ghilan'nain so let's move along, shall we?

Because the game needs exposition and a foil to its two other baddies, and needs it FAST, the mythic Dread Wolf becomes a plot device designed to get you where you need to go when you need to be there. It doesn't work purely for that reason alone, at least in my opinion, but it gets so much worse when a game that promises you that it's going to work for players new and old relies on someone experienced players want a personal reckoning with to guide every Rook through the game only to realize that those questions of morality regarding whether the veil is torturous for a subjugated few or the only thing preserving most of life as we know it are going to have to remain questions.

You don't get a choice of whether Solas is in your party or not, and you can't advance in the game without talking to him. You don't get to choose not to impress him. You don't get to choose whether you're going to work with him in the final battle, and as previously mentioned, your only real choice in how his story ends is one of four options in which he lives every time in varying states of self-loathing. You're still going to love him or hate him, but just how strongly you're able to show those feelings towards him is severely curtailed. And that's an absolute shame for a character that commanded such fierce attention.

And that's where, ultimately, I find myself with a weird amount of survivor's guilt.

When I finished my Veilguard playthrough, I had barely a moment to fully contemplate the amount of whiplash and disappointment I felt going from a Solas that I had spent almost a decade knowing to a One Dimensional Fen'Harel who threw out his core values and goals like they were chilling in a cup of tea before. Why? Because I very quickly felt guilty. And then I got angry for feeling guilty!

The game's failure to adequately represent its other characters and lore has created a world in which I don't like the Solas we've been given, but I can't live without him either. Who am I to complain that his most complex and compelling features are gone when other players are mourning the fact that the last they may ever hear of their favorite character is reduced to a scrap in the codex? How can I be frustrated at how the Lavellan reunion scene goes down when other players would kill for the chance to have their Inquisitor seemingly give any sort of shit about being in the game aside from being told it was mandatory to earn participation points? How can I lament the fact that his storyline seems to share all the wrong lessons to be learned from a toxic friendship rooted in a never-equalized power imbalance when someone else is watching Morrigan pull a complete 180 and wondering why the fuck they spent so much time researching whether or not her accepting her mother's choices as her own was what she truly wanted? At least Solas still loves Lavellan, even though we needed to ask Trick Weekes several follow up questions just to double check. At least Solas gets more in the epilogue than one empty "we remember the heroes that came before" platitude.

And to suddenly fear any appearances of past characters from a studio that used to make me stay up theorizing about how a character might grow and evolve and continue to impact the world I helped shape? It's depressing as hell, and it's why I was too scared to get attached to any of the new companions once I finally got past the writing and lack of complexity.

The people that hate Solas, deserved better.

The people that valued what he brought to their Inquisitor's small but strong group of friends deserved better.

The people that love Solas more than Sera loved pissing him off deserved better.

And new players, who had a chance to engage with one of the most powerful storylines in the game and instead got a heaping dose of Deus Ex Machina Lite, deserved better.

If taking a character that had the potential and power needed to shape an entire continent and banishing him one of four different ways to Fade jail so that the book could quickly be closed on a years-long legacy is what the studio is calling a return to their roots, I'll stick with the efforts of fans to create art and theories that aren't afraid to double down into what actually keeps people coming back for more.

[shhrrroooommmmmyyyyyy]

S1: The Birb's Feelings

(pt 1.5 for episode 7 and 2 for season 2 idk when cause shit's crazy rn)

Stolas is one of the most morally controversial characters in the show. With the show revolving around Blitz's relationships, it's natural that the show gives us the most information about him because he is arguably Blitz's most complicated relationship at the moment (I'm not going to include Barbie bc we've literally only seen her for like 5 minutes in one episode which isn't enough information). I wanted to do a quick overview of how I perceive Stolas's feelings throughout the duration of the show in sort of a timeline format

~Episodes 1, 2, 5~

So, at first, it's obvious Stolas doesn't really think of Blitz too romantically and mostly sexually. Ok, completely sexually. However, there's a reason why that people often overlook sometimes. Stella openly said in the season 2 premiere that the only time him and her had sex was to have Octavia. Man's literally been deprived of anything enjoyably sexual his whole life. So when he finally does have sex that's enjoyable for the first time, he naturally wants more of it

As we all know, Stolas isn't the most self aware king (or should I say prince) out there (which is okay; he's still growing and developing as a character). The way he treats Blitz in these first few episodes sort of gives off sex toy vibes. Obviously, this is where Blitz gets that mindset from, that all he is is just a toy for Stolas

But after seeing what Stolas' true personality is now, I highly doubt Stolas knew exactly how he was treating Blitz during this time. Again, self awareness issues. Natural part of his character that, after watching Viv's writing since the Hazbin pilot first released (yeah og right here), I'm positive will be developed on later in the show. So hold your horses people, we're just now 2 episodes away from only being halfway through with the show. Give it time, it'll happen

Anyways, Stolas isn't a bad person (I'll fight anyone over this take, dont play). But he does the wrong things with the right intentions. He treated Blitz the way he did in these first few episodes because Blitz was the first person he's ever enjoyed having sex with. It's a big deal to him as it sort of "awakened" him. I think he was so happy about the sex after around 35 years of nothing, he didn't fully realize how he was treating Blitz in the process

*Not an excuse, but simply a possible explanation for his actions*

~Episode 6~

My favorite episode. Stolas shows up when I.M.P.'s sort of cornered by the agents and scares them shitless with his scawy big birb form. First he makes sure Blitz is okay, then he scolds him for getting caught. Almost like a mother who's mad but cares for their well-being (crying in ghostfuckers)

This may seem small to you guys, but for me this was when Stolas became my favorite character. Not only did this moment show he's more than just the cringy comedic horny relief, it also showed that he cared. Why would he ask if Blitz is okay if he didn't care about him? That has nothing to do with the book. If it got in possession of humans he could literally just kill them in like a second and take it back. Tbh (dont come after me pls) but before this episode I didn't like my first impression of Stolas. Despite the many takes calling the cringiness of his lines in the first few episodes "iconic", I hated it. It was just too much

And in this scene it's not just that he's asking in general, it's how gentle he's being with Blitz. Holding his face and speaking a bit softer with a caring expression on his face. I love it so much (aggghghhghghgahhaagh). I know his attitude changes after a few seconds, but still it was a nice moment that reshaped my perspective on his character for basically the rest of the show

*Like I said before I'l give episode 7 it's own post cause i'm too tired and there's so much to talk abt in that episode*

[hollowed-theory-hall]

Hello, hello!!!I saw your post here with the answer to the question (If the age restriction was done away with, do you think Harry's name would have been picked for the tournament at 14?). And your thoughts on Cedric and Hufflepuff, and I'd like to know your opinion. I've always disliked the Hufflepuffs and Diggory himself because of their behavior when Harry was chosen champion. Cedric is always called a good guy, but he did nothing when his friends wore badges against Harry and laughed with them about it. Your thoughts?

I'm so glad I found your blog! You are miracle!

Hello again 👋

(Referencing this post)

Well, I don't dislike all the Hufflepuffs in the books (I like Susan Bones a lot because of the 2 lines she has in the whole series), but I do find it interesting that a lot of the students we see in Hufflepuff when Harry's at school, don't really exemplify Hufflepuff traits.

The Potter Stinks badges I'm kinda fine with. Like, I can understand it. See, Hufflepuff usually doesn't get the spotlight, and then they have Cedric Diggory as the school champion. Of course, they're excited. And then, oh, what's that? Harry Potter from Gryffindor is stealing the Apotlight again as the fourth champion! WTF? This isn't right!

For them, supporting Cedric and renouncing Harry is the just and fair option. Becouse Harry isn't supposed to be a champion, and they're supporting the "true champion". It doesn't really matter Harry didn't want to be a champion, it's unfair he was chosen as one at all.

So, I get it. I get the support for Cedric and resentment of Harry. It's other smaller things that make the image of the house fall apart a little for me.

It's Ernie McMillan making grandiose declarations not becouse it's the right thing to do, but for appearance's sake:

“Well said!” barked Ernie Macmillan, whom Harry had been expecting to speak long before this. “Personally I think this is really important, possibly more important than anything else we’ll do this year, even with our O.W.L.s coming up!” He looked around impressively, as though waiting for people to cry, “Surely not!” When nobody spoke, he went on, [...] “Er . . .” said Zacharias slowly, not taking the parchment that George was trying to pass him. “Well . . . I’m sure Ernie will tell me when the meeting is.” But Ernie was looking rather hesitant about signing too. Hermione raised her eyebrows at him. “I — well, we are prefects,” Ernie burst out. “And if this list was found . . . well, I mean to say . . . you said yourself, if Umbridge finds out . . .” “You just said this group was the most important thing you’d do this year,” Harry reminded him

(OotP, Ch16)

Or his general concern with appearance over substance, really:

Ernie Macmillan was one of the few still staring at Professor Umbridge, but he was glassy-eyed and Harry was sure he was only pretending to listen in an attempt to live up to the new prefect’s badge gleaming on his chest.

(OotP, Ch11)

It's Justin and the others snap judgment of Harry in CoS without actually being fair and hearing him out:

the snake slumped to the floor, docile as a thick, black garden hose, its eyes now on Harry. Harry felt the fear drain out of him. He knew the snake wouldn’t attack anyone now, though how he knew it, he couldn’t have explained. He looked up at Justin, grinning, expecting to see Justin looking relieved, or puzzled, or even grateful — but certainly not angry and scared. “What do you think you’re playing at?” he shouted, and before Harry could say anything, Justin had turned and stormed out of the hall.

(CoS, Ch11)

and saw Justin Finch-Fletchley, the Hufflepuff boy from Herbology, coming toward him. Harry had just opened his mouth to say hello when Justin caught sight of him, turned abruptly, and sped off in the opposite direction.

(CoS, Ch9)

It's Amos Diggory having no idea what "fair" is even if it punched him in the face and being the most insufferable character that isn't an outright villain:

“Ced’s talked about you, of course,” said Amos Diggory. “Told us all about playing against you last year. . . . I said to him, I said — Ced, that’ll be something to tell your grandchildren, that will. . . . You beat Harry Potter!” [...] “Harry fell off his broom, Dad,” he muttered. “I told you . . . it was an accident. . . .” “Yes, but you didn’t fall off, did you?” roared Amos genially, slapping his son on his back. “Always modest, our Ced, always the gentleman . . . but the best man won, I’m sure Harry’d say the same, wouldn’t you, eh? One falls off his broom, one stays on, you don’t need to be a genius to tell which one’s the better flier!” “Must be nearly time,” said Mr. Weasley quickly

(GoF, Ch6)

(I hate that man sooo much it's not even funny.)

It's Cedric needing to be nudged to tell Harry about the egg from Moody/Barty as I mentioned in the post you referenced.

Zacharias Smith being a bit of a prat is fine, it's not like he's ever pretending to be anything else, so at least he's honest. But the point is that a lot of the Hufflepuffs we meet aren't exactly just and fair people like their house would suggest.

And I love it.

I mean, we talk about how Gryffindors aren't all brave, like Remus and Pettigrew who are both cowardly lions who'd rather run away in many situations. Or how Slytherins aren't all bad, that "the world isn't split into good people and Death Eaters" and that Slytherin is more than just power-hungry evil people.

Showing Hufflepuffs who aren't noble, just, and hardworking is great. In fact, it's essential worldbuilding. It's another nail in the coffin of houses not being the be-all and end-all of who a person is. Becouse Hagrid is wrong in what he tells Harry:

“Better Hufflepuff than Slytherin,” said Hagrid darkly. “There’s not a single witch or wizard who went bad who wasn’t in Slytherin. You-Know-Who was one.”

(PS, Ch5)

Some Hufflepuffs are assholes, some Slytherins are nice, some Gryffindors are cowards and some Ravenclaws aren't smart. Houses aren't just about what you are, but what you value, what you want to be. I always saw someone's house as a mix of their traits, yes, but also their priorities, approach to problem-solving, or what they value most about themselves.

Remus and Peter may be cowards, but both of them value bravery greatly. They both looked up to James for his courage. There could be a Ravenclaw who isn't the sharpest, but they like to learn and solve riddles, even when they aren't any good at it. Slytherins like Tom Riddle, who value bravery and courage and despise cowardice like a Gryffindor, but they're so set on being great, of leaving a legacy, that the hat places them in Slytherin. Hufflepuffs like Ernie, who want to be noble and looked up to as a beacon of justice, but it doesn't come naturally to them so they act the part ("fake it till you make it"). I love this idea of Hogwarts houses that all these Hufflepuffs exemplify. Houses aren't always what you are, and sorting is more complicated than that.

So Cedric isn't the peach perfect noble and just Hufflepuff and it's great. Becouse people aren't always perfect and just and he's human. I would give him that he is a hell of a lot fairer than some of his housemates. But I don't think Cedric is the poster child of a just Hufflepuff — he isn't, and I prefer him that way. He's nice, don't get me wrong, he's not a bad person, but the idea that he was so perfect just because he died tragically sucks.

[br4inr0tx]

Here we go with another match, this time for 🐻 Anon!

Another note, yes I’ve been gone for like two months.. Halloween season is a busy season for me every year since my dumbass decided to become a scare actor. Even better, I got sick right after! Yay! Now I’m back, I’m going to go on a marathon and get all the matches in my inbox out of the way.

TW - Toxic Replationships, Forced Affection, Torture, Guns, and Knives.

Your Boyfriend to Death matchup is… REN HANA !!

• This may have been an obvious one, but I think Ren is the best for you!

• Ren’s type is generally alt people. Anyone into nerd culture regarding media series definitely catch his attention first. Seeing an artsy, pinky person like you immediately makes him have heart eyes for you. I guess you could say he just wants an anime looking bf/gf/partner. Since you fit in that category, you got him pretty easily!

• Hazzah! You’re taller than him! Don’t think he’ll let you get away with bullying him about it. He’s a little bit self conscious, and will most likely punish you with the shock collar for it.

• As I mentioned before, Ren is a sucker for cute things. Seeing anything cute, especially something from you, can pull on his heartstrings. If you wear any anime related stuff, or even those Japanese lolita dresses, he’s going head of heels.

• He loves putting you and/or helping you pick in certain outfit. As you’d expect he loves seeing you in anime character cosplays, or just anything cute. Seeing you in lingerie is a special treat.

• Now uh.. about the bear thing. He might get mad jealous because as a beastkin fox, he’s nothing close to a bear. He might get a little lowkey offended, but it’s probably him just being bratty. He’ll get over it.. maybe.

• Unfortunately for you, Ren likes bringing up and doing the things you hate and fear, just to provoke you when you’re not feeling your best. Those little reminders showing you he’s in control are his favorite.

• While he’s mostly cheery, Ren seems to have the ability to go from 0 to 100 REALLY quickly. Some people might consider him the nicest out of all the candidates in BTD, but I like to think he’s equally as dangerous as the rest of them.

• Ren is calm when listening to you, which is good, although most of the time when you seek advice he recommends killing. Please don’t listen to him, or else he might invite his friend Lawrence over for a little fun.

• He thinks you’re super creative! All of your art makes him mesmerized. His form of art comes in the form of snuff films mostly, but I think he has a decent hand at art too.

• Ren most likely listens to anime intros, or alt electronic pop music. Think MSI or And One. I can see him vibing with your music though!

• He gives you all the sweets in the world to fulfill your sweet tooth, unless you’re bad for him. In that case he forbids you from sweets.

• He tends to talk about how much he loves you a lot. Uniquely for him, I feel like he’s the most loving out of all the guys. You tend to be high maintenance, and need reassurance, he’s your guy to remind you all the time of his love.

• He forces you to be close to him a lot. He’s always touching you, not always in hugs and kisses. Even having his claws a little ways into your flesh gives him the power boost he needs.

• Oh.. you like being abused? You already know loves fulfilling all of your naughty desires, exactly how you want them. Beg and cry all you want, once you make any sign at him for him to start, there’s no off switch until he’s says done.

• Ren is a little clinging and teasing. Like a fox, he’s sneaky and isn’t always truthful. He’s a king of manipulation, but.. this is what you wanted. I’m sure you’ve told him yourself, and now? He’s NEVER letting you go.