#when you actually think about this this is a terrifying concept

[missroserose]

my fantasy has turned to madness 🪄🩸

I’m not sure I can put into words the experience of making my Lost Boys pole number. Some of you have been kind enough over the past month to listen to my growing anxiety about this piece—the way travel, and then illness, and then work, and then various life emergencies, and then just plain exhaustion ate away at my practice time; the way I couldn’t reliably hit several of the moves I needed for the Big Dramatic Moments; the way the effects were such a struggle to get right; the way I actually had a dozen people in the audience coming to see me specifically and was terrified of disappointing them. At a certain point, it became an exercise in faith as much as anything.

No one was more surprised than I was when that faith proved to be justified.

Honestly, though, I think the biggest takeaway was how much better this number came out for other people’s help. My produce’s input was invaluable, especially with the effects. A friend from the goth/punk scene in the 80s and 90s lent me key costume pieces and gave me additional background. @thisisnotmolchanka provided important feedback and let me use her practice space when mine proved inadequate. Our tech absolutely nailed the sound and lighting, and our photographer worked wonders in capturing key moments. Even the costume shop owner, when she heard my concept, went “I have just the wig for you,” and turned out to be 100% correct.

The whole experience has been such a powerful reminder of what we can accomplish when we work together. In the midst of a week with more highs and lows than the elevator in the Hancock Building, it gives me hope for my queer pole community. We will persist, we will thrive, and we will keep making Art to remind ourselves why we’re fighting—and that the darkness never lasts forever.

[apoloadonisandnarcissus]

@gilgys-ring: thank you, for your contribution, friend. You made some interesting points. I’m replying through here because I’ve already answered to some of the ideas you gave, above, and it will be relevant to what I’m about to write here.

I also agree that some binding probably happened but I don’t think it necessarily HAS to be on purpose because someone wrote that Sauron might have stabbed her with the crown knowing that he wound would suck her into the Unseen world but he didn’t stab her fatally and so giving her time finally yield to him and hand over Nenya which he could have used to heal that wound as a reward for joining him. He wasn’t above trying literally every tactic in the book to get her to “decide” to join him but since she refused every trick he resorted to violence and the fact that he took the 9 but didn’t take nenya looks to me like he desperately needs this picture to hold that when she joins him he “convinced” and not outright controlled her to do anything because he wants her to yield to him “of her own will”.  

If the blood binding happened, it has to be intentional: this has been Sauron’s desire ever since 1x06, when he was still Halbrand (aka “Repentant Mairon”). This was what he proposed to her in 1x08; you bind me to the light, and I bind you to power. He wants this; giving Galadriel his power, and harvesting her light for himself.  

And, yes, Galadriel’s soul would go to the Unseen world, no matter Sauron’s true intention with this (this is a confirmed fact by 2x08):

As for Nenya, we still don’t fully understand how the rings of power work. From what we saw in 2x01, Nenya chose Galadriel as its ring-bearer; this can be a clue that the Three rings of power might have a “will of their own” like the One ring has.

Meaning: Sauron knows that Nenya belongs to Galadriel, and only her can surrender it to him. And this is most likely the reason why he just didn’t take her off her hand (like he did with the Nine).

Galadriel surrendered Nenya to Elrond in 2x04 for safe keeping, and Adar was able to retrieve the ring by force in 2x07, only he was the one who ended up returning it to Galadriel. We see this dynamic with the One ring, and how much it wants to return to its master, Sauron, in “Lord of the Rings” trilogy. What if the Three work in the same way? 

I have a hard time believing that he actually puppermaster-controlled her to do anything because he wants her to yield to him “of her own will”.  Also I don’t remember if we ever saw him puppetmaster-controlling anyone to a point where they changed their thought, just deceiving with multiple people and then puppetmaster-control with the guards stabbing each other for example. But deceiving Celebrimbor was also never about puppetmastering him but showing and telling him stuff that changed his perception and the guards seemed terrified when he puppetmaster-controlled them right? Unlike Galadriel when she was about to give him Nenya.  

You are correct, because Sauron isn’t a “master-puppeteer”; what he does is “planting seeds” on people’s minds. He’s like a demon whispering in your ear, giving you hints on what to do. Celebrimbor explained this to the audience, in 2x05: “It is a game you play, is it not? Sowing seeds in others' minds and then convincing them that the fruit is of their own thought.”  

However (and this is why this reblog is important), the concept of “free will” is a major theme in Tolkien lore. Sauron might “plant these seeds”, but it’s ultimately other beings’ choice to follow what he says, or not. Sauron is a personification of evil in the legendarium, which means others have the choice to either follow him (evil), or turn away (good). That’s why Sauron tells Celebrimbor “you chose this”; because he, indeed, has. He has chosen to follow evil.  

“That’s why I think he just though she finally got it and gave a shot and she played along to idk fuck with him?” 

Like I said in my OG post, this is underestimating Sauron’s power. He’s one of the most powerful Maiar in existence. Galadriel doesn’t have the power to deceive him, even if she wanted to.  

Another thought was that he stabbing with the crown was symbolic for him whether he knows of any binding power of the blood or of the magic. He’s petty and angry in that moment and he doesn’t use the sword but stabs her with the symbol of his earlier proposal to elevate her above everything else in Middle-earth to show her how hard she fucked this up for herself and what she forced him to do to her if we know one thing about that guy it’s that he’s melodramatic as fuck. Also I agree that he obviously didn’t want to kill her because if that was the case he would have just done it. Maybe he learned from his fuck-up with Celebrimbor to try and control the damage even in anger. 

Sauron knows blood magic, indeed; he’s been a master of it for thousands of years (probably for longer than Galadriel herself is alive). This is why blood binding theory is the one I subscribe to. 

Morgoth’s crown was a symbol of Morgoth’s power and his desires. I talked about this on this post. However, Morgoth’s goal wasn’t to rule only Middle-earth, but the entire world (Arda) by corrupting it. Had him stabbed her with any other crown, maybe, but with this specific object, I don’t think so. Because Sauron’s offer wasn’t to make Galadriel queen of Arda, but queen of Middle-earth.

Sauron doesn’t stab Galadriel in anger; in fact, we see him stopping for a bit, while he’s looking at her, and then he goes for it. This means this was something he did on a conscious and intentional way, and not on a fit rage (like with Celebrimbor).  

Blood binding and Sauron’s intentions

My pal @rey-jake-therapist and I were in one of our usual friendly discussions about this topic in one of her posts, but since the theme digresses so much from her original intent and I’m pretty much spamming her OG post by now, we decided to move the debate to here, and invite the fandom to join in.

As customary, Rey always presents good and challenging counter-arguments to mine. Because it's possible to disagree and keep it civil and friendly. This is good fandom etiquette, and this is the point of debates, after all: sharing different ideas and perspectives on the same topic. We usually end up agreeing on disagreeing and it’s all good in the end.

What were Sauron’s intentions and goals in stabbing Galadriel with Morgoth’s crown in 2x08? 

2x01 / 2x08 parallels: “Only blood can bind.” (Adar; 1x05)

1) Binding/Enslaving Galadriel to his Will

Rey made the case for Sauron’s intention of possessing and dominating Galadriel using Morgoth’s crown. And that we should focus on present intentions, and not lose yourselves in “what if” scenarios (with this I totally agree, so, let's focus on the present time).

This theory states that Sauron wanted to enslave Galadriel to his will, by having her handing over Nenya, in submission. This would explain why Galadriel seemed “bewitched” while removing Nenya from her finger, and almost surrendering it to him.  

This means Sauron has “outgrown” his intentions from 1x08, when he wanted to serve Galadriel (due to his Maia nature; he was created to be a servant to a Vala). Now, he wants full power, and he’s not willing to share it with anyone else (Galadriel included):

Sauron only wants to dominate/possess Galadriel now: she humiliated him when she refused him in 1x08, he developed an obsession for her, so he punished her with physical pain (the stabbing), and attempted to possess her so she would follow him.

And so, if blood binding theory is true, this would work like the Nine and the Nazgûl, with Galadriel not only being a servant, but a slave to Sauron. This theory can also imply she would have, indeed, become a Ringwraith herself, as her soul was entering the Unseen world (“Shadow realm”) when Gil-galad and Arondir found her.

This is a very strong theory, and I think many fellow fans share this view, as well. Would it pass Sauron to do something like this? Absolutely not, and it would not be OCC for him to have this intention, at all.

So what’s my problem, you might ask?

This facial expression right here:

Unless Charlie was having a case of fatigue eyes due to extensive use of contact lenses (speaking from personal experience), there’s no explanation for Sauron getting all teared up when he believed Galadriel was about to join him, if his intention was to enslave her to his will, and that’s what he was doing here.

And no, Galadriel can’t deceive him. This is underestimating Sauron’s power: he’s the “great deceiver”, and only he can deceive himself, really. And if they are, indeed, blood bound, Galadriel couldn’t possibly hide anything from him. And I already made the case for how Galadriel was about to join him, freely, in another post.

2) “You bind me to the light, I bind you to power”

Speaking of Sauron’s intentions, we need to remember the creator of this character and what he says about him. Tolkien tells us (in Letters 131, 153 and 183) that “Annatar” still has “fair motives”: he’s a reformer who, truly, wants to rebuild/heal Middle-earth, and he’s genuine in this endeavor (nevermind his methods, that’s why he’s a villain). Rey counter-argumented this does not translate in a desire to serve Galadriel, and she’s correct.

However, what was his intention in 1x08?  

And if Sauron still has a genuine concern in healing Middle-earth, what if his intention with Morgoth’s crown was giving Galadriel his power, while harvesting her light for himself, just like he wanted in 1x08? And if this was his intention, why would he keep her soul “trapped” in the Unseen world? What if he wanted to make her queen of the Seen and Unseen world? Not a mere queen of Middle-earth, but as nearly as possible to a literal Goddess he could serve?

Because Sauron/Mairon can’t escape his nature, he was created to be a servant, a Maia to a Vala. And, right now, he doesn’t want to serve Morgoth. Even though he does it, unconsciously, and perhaps he recognized this after he killed Celebrimbor in a rage fit (something that’s completely OCC for him, because that’s not who he is; Sauron is a control freak, a mastermind).

This scene with Galadriel happened after that; and Sauron cried because, when he looked up at Celebrimbor, all he could see was Morgoth’s bounds on him reaching the surface. And that chaotic destruction is Morgoth, not Sauron. And he doesn't want that at this point on his character arc in Tolkien lore. I think this is when Sauron makes the decision to bind himself to Galadriel, one way or the other.

I absolutely disagree with the idea that Sauron stabbed Galadriel to punish her or kill her: if that was his true intention he would have used Morgoth sword (he was already using it in his duel with Galadriel the entire time), not a powerful dark magic object infused with own blood (because Adar used it to destroy his previous physical form), nor he would have carried that thing around the entire time while mentioning "binding" twice (“I never believed I could be... Until today. Fighting at your side, I... I felt... If I could just hold on to that feeling, keep it with me always, bind it to my very being, then I...” (1x06); “The door is still open”).

“Binding” (usually connected with “blood oaths”) and “enslaving” are two different kinds of blood magic. Because the Nine rings of power are pieces of jewelry meant to be worn by ring-bearers, with a small dosage of Sauron’s blood (along with other specific spells). Morgoth’s crown not only has a lot of Sauron’s blood on it, but we also don’t know what kind of dark magic it actually contains: we only know it was made to hold the Silmarils and it can destroy Sauron’s physical form (implying that, maybe, Sauron doesn’t have much control over this object?).

Sauron accidentally sharing his power with Galadriel is nonsense to me, as well. He's ancient, has been around since before the world existed (he helped create that very world), has been a master in blood magic and every sort of sorcery for thousands of years, and he’s one of the most powerful Maia in existence, but isn’t aware he would be giving Galadriel some of his power by binding himself to her? When he clearly mentions this in 1x08? "I bind you to power". Because Galadriel appears to be seeing the world in a whole new way in 2x08 epilogue (and even her eyes look off):

Besides, Galadriel is suppose to be a powerful sorceress of her own right in Tolkien lore, mastering several powers. In the legendarium Galadriel own power was amplified by Nenya, yes, but this isn’t the case in “Rings of Power”, because we haven’t seen her displaying any magical powers in Season 1. She won’t have any other powers in the show (besides healing and foresight/visions), completely cutting off with Tolkien legendarium? If the show keeps it true to the lore on that bit, where did her powers (look into others’ hearts and minds, and communicate telepathically) come from? Will they “magically” appear out of nowhere? When and how? But, if these powers came from Sauron it’s because he wanted it to happen, and that was his intention. And if that was his intention, what was his purpose with this if not to serve her?

And Sauron does share power: he does share his power with those he wants to enslave; via the rings of power. That’s why Celebrimbor tells him he’s their prisoner, and not their master. However, these are two very different kinds and degrees of magic. Because with the rings ("enslave") he can control how he wants it to go; while sharing his actual power with another living being ("blood oath") is uncontrollable. He can’t possible know the end result of it.

I know there’s a popular theory that Adar was blood bound to Sauron, but I don’t think so. Adar not only doesn't have any magical powers, but he wouldn’t be able to kill Sauron himself, if that was true. Blood binding is a blood oath, and it’s forever, unbreakable, and it prevents beings from harming or acting against one another (physically) in any direct way. That’s why “Rings of Power” introduced the clue that Sauron might be blood bound to Morgoth in 1x03; and that’s the reason he could never leave nor forsake his master even when he came to resent him.

This means, that, in "Rings of Power", Sauron, most likely, only has Morgoth as a reference to blood oaths. And he probably thinks this will go the same way with Galadriel, and he’ll keep her light to himself, allowing him to keep Morgoth at bay. Only her “light” is merely aesthetic, really. The light that shines on her hair and eyes is the light of the Two Trees of Valinor, and it shines on every Elf that was born during the Years of the Trees (and not only her). Because Galadriel is a complex and nuanced character, and ticking bomb that can turn dark at any minute.  

[lo11as]

nothing like an hour long yoga class to still feel like you want to take a lighter to a safety pin to your thigh :)

but hey i'm starting a new job tonight, surely that will cure me

[vaspider]

While I'm writing things that I've been intending to write for a while... one of the things that I think that a lot of people who haven't been involved in like... banking or corporate shenaniganry miss about why our economy is its current flavor of total fuckery is the concept of "fiduciary duty to shareholders."

"Why does every corporation pursue endless growth?" Fiduciary duty to shareholders.

"Why do corporations treat workers the way they do?" Fiduciary duty to shareholders.

"Why do corporations make such bass-ackwards decisions about what's 'good for' the company?" Fiduciary duty to shareholders.

The legal purpose of a corporation with shareholders -- its only true purpose -- is the generation of revenue/returns for shareholders. Period. That's it. Anything else it does is secondary to that. Sustainability of business, treatment of workers, sustainability and quality of product, those things are functionally and legally second to generating revenue for shareholders. Again, period, end of story. There is no other function of a corporation, and all of its extensive legal privileges exist to allow it to do that.

"But Spider," you might say, "that sounds like corporations only exist in current business in order to extract as much money and value as possible from the people actually doing the work and transfer it up to the people who aren't actually doing the work!"

Yes. You are correct. Thank you for coming with me to that realization. You are incredibly smart and also attractive.

You might also say, "but Spider, is this a legal obligation? Could those running a company be held legally responsible for failing their obligations if they prioritize sustainability or quality of product or care of workers above returns for shareholders?"

Yes! They absolutely can! Isn't that terrifying? Also you look great today, you're terribly clever for thinking about these things. The board and officers of a corporation can be held legally responsible to varying degrees for failing to maximize shareholder value.

And that, my friends, is why corporations do things that don't seem to make any fucking sense, and why 'continuous growth' is valued above literally anything else: because it fucking has to be.

If you're thinking that this doesn't sound like a sustainable economic model, you're not alone. People who are much smarter than both of us, and probably nearly as attractive, have written a proposal for how to change corporate law in order to create a more sensible and sustainable economy. This is one of several proposals, and while I don't agree with all of this stuff, I think that reading it will really help people as a springboard to understanding exactly why our economy is as fucked up as it is, and why just saying 'well then don't pursue eternal growth' isn't going to work -- because right now it legally can't. We'd need to change -- and we can change -- the laws around corporate governance.

This concept of 'shareholder primacy' and the fiduciary duty to shareholders is one I had to learn when I was getting my securities licenses, and every time I see people confusedly asking why corporations try to grow grow grow in a way that only makes sense if you're a tumor, I sigh and think, 'yeah, fiduciary duty to shareholders.'

(And this is why Emet and I have refused to seek investors for NK -- we might become beholden to make decisions which maximize investor return, and that would get in the way of being able to fully support our people and our values and say the things we started this company to say.)

Anyway, you should read up on these concepts if you're not familiar. It's pretty eye-opening.

[fingertipsmp3]

Had another sleep paralysis incident last night

[angstandhappiness]

ROFLMAO 🤣 LOVE THEIR FACES and the meme!

Thinking about the potential implications of Sha Wujing's crime

[cherryfennec]

what could you think of for a second and third phase for super dimentio

Ymmm I don't really see him having another phases so no but I've had something for the first 20 seconds of his initial battle in mind.

Tag, he's it.

okay so like spm spoilers and stuff but:

When you first start the battle with Super Dimentio there's a certain period of time where he's invincible. You can't damage him and nothing really happens until Timpani returns with the Pure Hearts.

Now in my personal opinion while I'm still glad they added this moment, it still left me a little unsatisfied. Here's why:

Dimentio turning into Super Dimentio with Luigi is his big moment, his victory. He has become something that is indestructible, something that generations of Ancients have been passing down. He is a god. The time frame where he's indestructible in the game is supposed to show that you are powerless against him, that no Pixl and no item will do anything. This is supposed to make you realize in the moment that: it's truly hopeless.

Unfortunately Dimentios spotlight is VERY quickly taken from him, which makes the idea less effective than it could've been. You see Dimentio working for this the entire game, just for him to win in the end only for 20 seconds and then turn into a joke of a fight. The speech he gives before the fight is longer than the actual boss, making everything slightly anticlimactic (at least to me).

The concept I've been thinking about using in my take of the Super Mario lore (SPM specifically here) is that those 20 seconds of standing and waiting around for the game to decide it's time to move on are instead spent on: A reverse game of magical tag.

The concept of a magical tag itself is used earlier in the game by Dimentio himself who makes Mario and Luigi humour him by traveling through the worlds they have been in before and finding ripples in space he's leaving behind to keep the game going. I thought by turning this moment of 20 second invincibility into a game of magical tag where he's “it” this time would help that feeling of hopelessness and stakes sink in.

In this scenario Mario still cannot fight back as Dimentio,actively chasing him, is invincible, which forces him to run from danger. He runs from world to world, but now in contrast to the previous tag game, the worlds are being wiped out as you go through them for the final time. They're barely holding on, torn from their colors and mixing with the white void peeking through. Maybe some leftover npcs encouraging to keep going or just being terrified instead. Dimentio is chasing after you, peeking his long arms or head through the ripples to strike, and as he makes his way behind you the world progressively disappears and you have to make it out before it's entirely gone, else its game over. In the end of this chase you make it back to Castle Bleck where it picks up on Timpani restoring the Pure Hearts with Blumiere and using them to help Mario by removing Super Dimentios invincibility.

In conclusion I think making this moment akin to what I described above would help set the tone of this enemy more. For one this moment is now LONGER so you can see direct consequences of Dimentios victory outside and think about it more, second it turns you into an actual helpless plaything that you were meant to be. The entire path of the chase leads you back to Castle Bleck, it's a circle. This time you cannot escape and this time the evil doings have been set in motion on a rapid scale. It's a moment of Darkness that's broken by Timpani, someone who has been with you since the beginning and who you saw grow. She's now full of love and determined to win, something that to me comes off as super inspiring. She has been cursed to live a miserable existence yet she found the Light thanks to you. And THAT'S why you shouldn't give up even after all the ruined worlds you've seen. You have to keep fighting for them even in their darkest moment, even when they're gone.

also to clear any confusion yes i know this game is 3+ but i still think it'd be cool ig

[creatingblackcharacters]

“The bulging eyes and the twisted mouth” - Violence, Violent Imagery & Black Horror

TRIGGER WARNING: mentions of death, violence, blood, hate crimes, antiblackness, police violence, rape

Note! I am going to be speaking from a Black American point of view, as my identity informs my experience. That said, antiblackness itself is international. The idea of my Blackness as a threat, as a source of fear and violence to repress and to destroy, is something every Black person in the world that has ever dealt with white supremacy has experienced.

There are two things, I think, that are important to note as we start this conversation.

One: there is a long history of violence towards Black bodies that is due to our dehumanization. People do not care for the killing of a mouse in the way they care about a human. But if you think the people you are dealing with are not people, but animals- more particularly, pests, something distasteful- then you will be able to rationalize treating them as such.

Two: even though we live in a time period where that overt belief of Blackness as inhuman is less likely, we must recognize that there are centuries of belief behind this concept; centuries of arguments and actions that cement in our minds that a certain amount of violence towards Blackness is normal. That subconscious belief you may hold is steeped in centuries of effort to convince you of it without even questioning it. And because of this very real re-enforcement of desensitization, naturally another place this will manifest itself is in how we tell and comprehend stories.

There are also three points I'm about to make first- not the only three that can ever be made, but the ones that stand out the most to me when we talk about violence with Black characters:

One: Your Black readers may experience that scene you wrote differently than you meant anyone to, just because our history may change our perspective on what’s happening.

Two: The idea that Black characters and people deserve the pain they are experiencing.

Three: The disbelief or dismissal of the pain of Black characters and people.

You Better Start Believing In Ghost Stories- You’re In One

I don’t need to tell Black viewers scary fairytales of sadists, body snatchers and noncoincidental disappearances, cannibals, monsters appearing in the night, and dystopian, unjust systems that bury people alive- real life suffices! We recognize the symbolism because we’ve seen real demons.

Some real examples of familiar, terrifying stories that feel like drama, but are real experiences:

12 Years a Slave: “This is no fiction, no exaggeration. If I have failed in anything, it has been in presenting to the reader too prominently the bright side of the picture. I doubt not hundreds have been as unfortunate as myself; that hundreds of free citizens have been kidnapped and sold into slavery, and are at this moment wearing out their lives on plantations in Texas and Louisiana.” – Solomon Northup

When They See Us: I can’t get myself to watch When They See Us, because I learned about the actual trial of the Central Park Five- now the Exonerated Five- in my undergrad program. Five teen Black and brown boys, subjected to racist and cruel policing and vilification in the media- from Donald Trump calling for their deaths in the newspaper, to being imprisoned under what the Clintons deemed a generation of “superpredators” during a “tough on crime” administration. And as audacious as it is to say, as Solomon Northup explained, they were fortunate. The average Black person funneled into the prison system doesn’t get the opportunity to make it back out redeemed or exonerated, because the system is designed to capture and keep them there regardless of their innocence or guilt. Their lives are irreparably changed; they are forever trapped.

Jasper, Texas: Learning about the vicious, gruesome murder of James Byrd Jr, was horrific- and that was just the movie. No matter how “community comes together” everyone tells that story, the reality is that there are people who will beat you, drag you chained down a gravel road for three miles as your body shreds away until you are decapitated, and leave your mangled body in front of a Black church to send a message… Because you’re Black and they hate you. To date I am scared when I’m walking and I see trucks passing me, and don’t let them have the American or the Confederate flag on them. Even Ahmaud Arbery, all he was doing was jogging in his hometown, and white men from out of town decided he should be murdered for that.

Do you want to know what all of these men and boys, from 1841 to 2020, had in common? What they did to warrant what happened to them? Being outside while Black. Some might call it “wrong place wrong time”, but the reality is that there is no “right place”. Sonya Massey, Breonna Taylor- murdered inside their home. Where else can you be, if the danger has every right to barge inside? There is no “safe”.

It is already Frightening to live while Black- not because being Black is inherently frightening, but because our society has made it horrific to do so. But that leads into my next point:

“They Shouldn’t Have Resisted”

Think of all the videos of assaulted and murdered Black people from police violence. If you can stomach going into the comments- which I don’t, anymore- you’ll see this classic comment of hate in the thousands, twisting your stomach into knots:

“if they obeyed the officer, if they didn’t resist, this wouldn’t have happened”

Another way our punitive society normalizes itself is via the idea of respectability politics; the idea that “if you are Good, if you do what you are Supposed to do, you will not be hurt- I will not have to hurt you”. Therefore, if my people are always suffering violence, it must be because we are Bad. And in a society that is already less gracious to Black people, that is more likely to think we are less human, that we are innately bad and must earn the right to be exceptional… the use of excessive violence towards me must be the natural outcome. “If your people weren’t more likely to be criminals, there wouldn’t be the need to be suspicious of you”- that is the way our society has taught us to frame these interactions, placing the blame for our own victimization on us.

Sidebar: I would highly suggest reading The New Jim Crow, written in 2010 by Michelle Alexander, to see how this mentality helps tie into large scale criminalization and mass incarceration, and how the cycle is purposely perpetuated.

You have to constantly be aware of how you look, walk and talk- and even then, that won’t be enough to save you if the time comes. The turning point for me, personally, was the murder of Sandra Bland. If she could be educated, beautiful, a beacon of her community, be everything a “Good” Black person is supposed to be… and still be murdered via police violence, they can kill any of us. And that’s a very terrifying thought- that anything at any point can be the reason for your death, and it will be validated because someone thinks you shouldn’t have “been that way”. And that way has far less to do with what you did, than it does who you are. Being “that way” is Black.

My point is, if this belief is so normalized in real life about violence on Black bodies- that somehow, we must have done something to deserve this- what makes you think that this belief does not affect how you comprehend Black people suffering in stories?

Hippocratic Oath

Human experimentation? Vivisection? Organ stealing? Begging for medicine? Dramatically bleeding out? Not trusting just anyone to see that you are hurt, because they might take advantage? All very real fears. The idea that pain is normal for Black people is especially rampant in the healthcare field, where ideas like our melanin making our skin thick enough to feel less pain (no), an overblown fear of ‘drug misuse’, and believing we are overexaggerating our pain makes many Black people being unwilling to trust the healthcare system. And it comes down to this thought:

If you think that I feel less pain, you will allow me to suffer long before you believe that I am in pain.

I was psychologically spiraling I was in so much pain after my wisdom teeth removal, and my surgeon was more concerned about “addiction to the medication”. Only because Hot Chocolate’s mom is a nurse, did I get an effective medicine schedule. My mother ended up with jaw rot because her surgeon outright claimed that she didn’t believe that she was in more than the ‘healing’ pain after her wisdom teeth were removed. She also has a gigantic, macabre (and awesome fr) scar on her stomach from a c-section she received after four days of labor attempting to have me… all because she was too poor and too Black to afford better doctors who wouldn’t have dismissed her struggles to push.

As a major example of dismissed Black pain: let’s discuss the mortality rate of Black women during childbirth, as well as the likelihood of our children to die. When we say “they will let you bleed to death”, we mean it.

“Black women have the highest maternal mortality rate in the United States — 69.9 per 100,000 live births for 2021, almost three times the rate for white women, according to the Centers for Disease Control and Prevention. Black babies are more likely to die, and also far more likely to be born prematurely, setting the stage for health issues that could follow them through their lives.”

Even gynecology roots in dismissal (and taking brutal advantage of) Black women's pain:

“The history of this particular medical branch … it begins on a slave farm in Alabama,” Owens said. “The advancement of obstetrics and gynecology had such an intimate relationship with slavery, and was literally built on the wounds of Black women.” Reproductive surgeries that were experimental at the time, like cesarean sections, were commonly performed on enslaved Black women. Physicians like the once-heralded J. Marion Sims, an Alabama doctor many call the “father of gynecology,” performed torturous surgical experiments on enslaved Black women in the 1840s without anesthesia. And well after the abolition of slavery, hospitals performed unnecessary hysterectomies on Black women, and eugenics programs sterilized them.”

If you think Black characters are not in pain, or that they’re overexaggerating, you’re more likely to be okay with them suffering more in comparison to those whose pain you take more seriously- to those you believe.

What’s My Point?

My point is that whatever terrifying scene you think you’re writing, whatever violent whump scenario you think you’re about to put your Black characters through, there’s a chance it has probably happened and was treated as nonimportant (damn shame, right?) And when those terrifying scenes are both written and read, the way their suffering will be felt depends on how much you as a reader care, how much you believe they are suffering.

There’s a joke amongst readers of color that many dystopian tales are tales of “what happened if white people experienced things that the rest of us have already been put through?” Think concepts like alien invasion and mass eradication of the existing population- you may think of that as an action flick, meanwhile peoples globally have suffered colonization for centuries. The Handmaid’s Tale- forced birthing and raising of “someone else’s” children, always subject to sexual harassment by the Master while subject to hate from the Mistress- that’s just being a Mammy.

There’s nothing wrong with having Black characters be violent or deal with violence, especially in a story where every character is going through shit. That is not the problem! What I am trying to tell you, though, is to be aware that certain violent imagery is going to evoke familiarity in Black viewers. And if I as a Black viewer see my very real traumas treated as entertainment fodder- or worse, dismissed- by the narrative and other viewers, I will probably not want to consume that piece of media anymore. I will also question the intentions and the beliefs of the people who treat said traumas so callously. Now, if that’s not something you care about, that’s on you! But for people who do care, it is something we need to make sure we are catching before we do it.

“So I just can’t write anything?!”

Stop that. There are plenty of examples of stories containing horror and violence with Black characters. There’s an entire genre of us telling our own stories, using the same violence as symbolism. I’m not telling you “no” (least not always). I’m telling you to take some consideration when you write the things that you do. There’s nothing wrong about writing your Black characters being violent or experiencing violence. But there is a difference between making it narratively relevant, and thoughtlessly using them as a “spook”, a stereotypical scary Black person, or a punching bag, especially in a way that may invoke certain trauma.

The Black Guy Dies First

The joke is that we never survive these horror movies because we either wouldn’t be there to begin with, or because we would make better decisions and the narrative can’t have that. But the reality is just that a lot of writers find Black characters- Black people- expendable in comparison to their white counterparts, and it shows. More of a “here, damn” sort of character, not worth investment and easy to shrug off. The book itself I haven’t read, just because it’s pretty new, but I’m looking forward to doing so. But from the summaries, it goes into horror media history and how Black characters have fared in these stories, as well as how that connects to the society those characters were written in. I.e., a thorough version of this lesson.

Instead, I wrote an entire list of questions you could possibly ask yourself involving violence or villainy involving a Black character. Feel free to print it and put it on your wall where you write if you have to! I cannot stress enough that asking yourself questions like these are good both for your creation and just… being less antiblack in general when you consume media.

Black Horror/Black Thriller

We, too, have turned our violent experiences into stories. I continue to highly suggest watching our films and reading our stories to see how we convey our fear, our terror, our violence and our pain. There are plenty of stories that work- Get Out, The Angry Black Girl and her Monster, Candyman, Lovecraft Country, and Nanny are some examples. There’s even a blog by the co-writer of The Black Guy Dies First who runs BlackHorrorMovies where he reviews horror movies from throughout the decades.

Desiree Evans has a great essay, We Need Black Horror More Than Ever, that gets into why this genre is so creative and effective, that I think says what I have to say better than I could.

“Even before Peele, Black horror had a rich literary lineage going back to the folklore of Africa and its Diaspora. Stories of haints, witches, curses, and magic of all kinds can be found in the folktales collected by author and anthropologist Zora Neale Hurston and in the folktales retold by acclaimed children’s book author Virginia Hamilton. One of my earliest childhood literary memories is being entranced by Hamilton’s The House of Dies Drear and Patricia McKissack’s children’s book classic The Dark-Thirty: Southern Tales of the Supernatural, both examples of the ways Black authors have tapped into Black history along with our rich ghostlore.” “Black horror can be clever and subversive, allowing Black writers to move against racist tropes, to reconfigure who stands at the center of a story, and to shift the focus from the dominant narrative to that which is hidden, submerged. To ask: what happens when the group that was Othered, gets to tell their side of the story?”

For on the nose simplicity, I’m going to use hood classic Tales From The Hood (1994) as an example of how violence can be integrated into Black horror tales. Tales From The Hood is like… The Twilight Zone by Black people. Messages discussing issues in our community, done through a mystical twist. Free on Tubi! If you want to stop here before some spoilers, it’s an hour and a half. A great time!

In the first story, a Black political activist is murdered by the cops. The scene is reflective of the real-world efforts to discredit and even murder activists speaking out against police violence, as well as the types of things done to criminalize Black citizens for capture. The song Strange Fruit plays in the background, to drive the point home that this is a lynching.

The second story deals with a Black little boy experiencing abuse in the home, drawing a green monster to show his teacher why he’s covered in wounds and is lashing out at school.

The fourth story is about a gangbanger who undergoes “behavioral modification” to be released from prison early. Think of the classic scene from A Clockwork Orange. He must watch as imagery of the Klan and of happy whites lynching Black bodies (real-life pictures and video, mind you!) play into his mind alongside gang violence.

Isn’t Violence Stereotypical or antiblack?

That last story from Tales From The Hood leads into a good point. It can be! But it does not have to be! Violence is a human experience. By suggesting we don’t experience it or commit it, you would be denying everything I’ve just spoken about. We don’t have to be racist to write our Black characters in violent situations. We also don’t have to comprehend those situations through a racist lens.

Even experiences that seem “stereotypical” do not have to be comprehended that way. I get a LOT of questions about if something is stereotypical, and my response is always that it depends on the writing!!! You could give me a harmless prompt and it becomes the most racist story ever once you leave my inbox. But you could give me a “stereotypical” prompt and it be genuine writing.

Let’s take the movie Juice for example. Juice in my honest to God opinion becomes a thriller about halfway in. On its surface, Juice looks like bad Black boys shooting and cursing and doing things they aren’t supposed to be doing! Incredibly stereotypical- violent young thugs. You might think, “you shouldn’t write something like this- you’re telling everyone this is what your community is like”. First- there’s that respectability politics again! Just because something is not a “respectable” story does not mean it doesn’t need to be told!

But if we’re actually paying attention, what we’re looking at is four young boys dealing with their environment in different ways. All four of them originally stick together to feel power amongst their brotherhood as they all act tough and discover their own identities. They are not perfect, but they are still kids. In this environment, to be tough, to be strong, you do the things that they are doing. You run from cops, you steal from stores, you mess with all the girls and talk shit and wave weapons. That’s what makes you “big”. That’s what gives you the “juice”- and the “juice” can make you untouchable.

I want to focus particularly on Bishop, yes, played by Tupac. Bishop, the antagonist of Juice, is particularly powerless, angry, and scared of the world around him. He puts on a big front of bravado, yelling, cursing, and talking big because he’s tired of being afraid, and he doesn’t know how to deal with it otherwise. So when he gets access to a gun- to power- he quickly spirals out of control. His response to his fear is to wave around a tool that makes him feel stronger, that stops the things that scare him from scaring him.

Now, that is not a unique tale! That is a tale that any race could write about, particularly young white men with gun violence! If you ever cared for Fairuza Balk’s character in The Craft, it is a similar fall from grace. But because it is on a young, Black man in the hood, audiences are less likely to empathize with Bishop. And granted, Bishop is unhinged! But many a white character has been, and is not shoved into a stereotype that white people cannot escape from!

Now would I be comfortable if a nonblack person attempted to write a narrative like Juice? Yes, because I’d worry about the tendency to lose the messaging and just fall into stereotype outright. But it can be done! The story can be told!

“But if Black violence bad, why rap?”

The short answer:

“In order for me to write poetry that isn’t political, I must listen to the birds, and in order to hear the birds, the warplanes must be silent.”

Marwhan Makhoul, Palestinian Poet

First, rap is not “only violence and misogyny”. Step your understanding of the genre up; there are plenty of options outside of the mainstream that don’t discuss those things. Second, every genre of music has mainstream popular songs about vice and sin. The idea that Black rappers have to be held to a higher standard is yet another example of how we are seen as inherently bad and must prove ourselves good. We could speak about nothing but drugs and alcohol and 1) there would still be white artists who do the very same and 2) we would still deserve to be treated like humans.

That said, many- not all- rappers rap about violence for the same reason Billy Joel wrote We Didn’t Start the Fire, the same reason Homer first spoke The Iliad- because they have something to say about it! They stand in a long tradition of people using poetry and rhythm to tell stories. Rap is an art of storytelling!

Rap is often used as an expression of frustration and righteous anger against a system built to keep us trapped within it. I’m not allowed to be angry? Why wouldn’t I be angry? Anger is a protective emotion, often when one feels helpless. Young Black people also began to reclaim and glorify the violence they lived in within their music, to take pride in their survival and in their success in a world that otherwise wanted them to fail. If I think the world fights against me no matter what I do, I’d rather live in pride than in shame with a bent head. Is it right? Maybe, maybe not. But if you don’t want them to rap about violence, why not alleviate the things leading to the violence in their environment?

Whether you choose to listen to their words, because the delivery scares you- and trust, angry Black men scared the music industry and society- doesn’t make the story any less valid!

Conclusion

I am going to drop a classic by Slick Rick called Children’s Story. I think listening to it- and I mean genuinely listening- summarizes what I’ve said here about how Black creators can tell stories, even violent ones, and how even the delivery through Blackness can change how you perceive them. Please take the time to listen before continuing.

I’ve been alive for 28 years and have known this song my whole life, and it just hit me tonight: not once is the kid in this story identified as Black! My perception of this story was completely altered by my own experiences, who told the story, and how it was told.

That’s what I’m trying to tell you. You can tell stories of violence that involve Black characters. I love and adore a good hurt/comfort myself! But you need to be cognizant of your audience and how they’ll perceive the story you’re telling, and that includes the types of imagery you include. It’s not effective catharsis via hurt/comfort for the audience if your Black readers are being completely left out of the comfort. “I wrote this for myself” that’s cool, but… if you wrote racism for yourself, and you’re willing to admit that to yourself, that’s on you. I’d like to think that’s not your intention! You can write these stories of woe and pain without mistreating your Black characters- but that requires knowing and acknowledging when and how you’re doing that!

@afropiscesism makes a solid point in this post: our horror stories are not just fairytales full of amorphous boogiemen meant to teach lessons. Racial violence is very real, very alive, and we cannot act like the things we write can be dismissed outright as “oh well it’s not real”. Sure, those characters aren’t real. But the way you feel about Black bodies and violence is, and often it can slip into your writing as a pattern without you even realizing it. Be willing to get uncomfortable and check yourself on this as you write, as well as noticing it in other works!

If you’re constantly thinking “I would never do this”, you’ll never stop yourself when you inevitably do! If you know what violent imagery can be evoked, you can utilize it or avoid it altogether- but only if you’re willing to get honest about it. You might not intend to do any of this, but it doesn’t matter if you don’t change the pattern, because as always, it’s the thought that counts, but the action that delivers!

[merakiui]

is stepbrother skully worth anything..... ( ՞ ܸ. .ܸ՞ )

weird, misunderstood stepbrother who has been so fixated on horror and his appreciation for the nightmare before christmas that he completely neglects his (nonexistent) love life, instead choosing to fantasize about the gothic romances from the literature he's read. but now he's living under the same roof as you, his stepsister, and it's entirely new territory.

he doesn't have many friends (none at all, for that matter), so now he finally has someone he can ramble to about his interests in jack skellington and everything terrifying!!! he's so excited. you genuinely listen to him, sharing the same love for these things, and skully's so happy because for the first time someone actually understands him. :O

he has no concept of personal space, so be prepared when he looms over you with curiosity. what's this? the perfume bottle you always carry with you? aaah!!!! so that's why you smell so good! and what's this? lip gloss? is that why your lips always look so soft and shiny and kissable? >w< he's just so fascinated with you and all of the little things you carry in your bag. and when he finds lingerie mixed in with the laundry and he picks it out and admires it, picturing these soft frills adorning your body... omg what a pretty vision!!!! and maybe you'd look up at him with that cute face of yours when you lay in his bed,,, what if you let him peel these dainty ribbons off of you?!?! omg omg omg that's way too erotic!!!! he thinks, covering his face and blushing fiercely. isn't he supposed to court you properly and have a chaste romance before any of the naughty stuff!?!?!? uuuwaaa how embarrassing........

sometimes you'll catch him poking around in your room. he's a horrible liar, always stumbling over his words, avoiding eye contact, fiddling with his hands... no, he wasn't peeking in your closet and he wasn't looking through your drawers!!! >_< he's just,,, admiring the interior design???? OTL the ruby-red blush on his face says otherwise, as does his sweaty appearance. ;;; he's just so flustered. maybe he found a sex toy and it baffles him that you can fit all of that inside you. >_< waaaa does that mean you might be able to fit him??? (hopeful question) AAAAA OTL what is he thinking!!!!!

not once does it occur to him that his interest in you is wrong. you're his first crush. he thinks this is all par for the course.

[trappedinafantasy37]

I was just thinking how when you tell Minthara you love her, she responds with "I know". I used to think that she just has an unshakable confidence that you love her and she doesn't really need you to tell her cause, well, she knows. But, why does she never say it back?

She will show you she loves you by doing things for you like one shotting your enemies and soloing all the bosses for you. She also will very quickly give you affection when you ask (and she's hella aggressive about it). She will support you in every decision you make (even if she thinks you're making a stupid ass decision). But, why won't she just tell you she loves you?

Cause if she says it out loud, you become a target. That's how it is for Menzoberranzan drow, especially nobles. A drow who admits they love another will quickly find their lover killed as a means to hurt them. That's why they have to use roundabout ways to admitting love to each other without actually saying it. Plus, the word "love" just doesn't really exist in Menzoberranzan and most drow who live there don't know the concept. She refuses to say she loves you cause she's afraid that someone will kill you just to hurt her. And a lot of people (and gods) want to hurt her.

The only time in the game that I can think of where you tell her you love her is the reunion party. A party full of people she feels do not like or trust her. A party that she feels is an excellent opportunity for a poisoning. Minthara is definitely a product of her environment. Now, I don't think she actually thinks your friends would hurt you. But, she kinda just kicks into Noble Party Mode. And Noble Party Mode says: don't eat the foot, don't trust the guests, and don't tell your lover you love them because someone will hear you and do something about it. It's not a surprise that she's very anxious the entire time and wants to leave. (Another example is mentioned in a previous post of mine here where in a Karlach origin, a non romanced Minthara will use very roundabout language to admit she's in love with Karlach but never uses the word love. You can see that here)

And then there's 'alurlssrin', which basically means an unshaken, deep, passionate love. This is a word that belongs to Eilistraee and should be foreign to her, a word that she would be punished socially (or killed) for even knowing if she was still in Menzoberranzan. That is what she feels for you. She also says that she hopes the bond you share with her will last as long as you two live.

She says this before facing Orin, someone she deeply fears. She is going down into the temple terrified that she will never leave. She literally pulls you aside to tell you she loves you in the best way that she can, cause she's afraid that Orin will kill her and she'll never be able to tell you otherwise.

To sum it up, Minthara does love you. She loves you a lot. She loves you deeper and harder than any of the other companions will and with a burning passion. She wants to go where you go, do what you do, see what you see. It never crosses her mind that she'll be doing something in which you're not right fucking there with her. She won't say she loves you, she will never say she loves you, and it's because she does love you. When she follows up with "I know", she's not being arrogant or downplaying what you feel. She's trying to keep you safe.

[bitchimasnake-sss]

"my girlfriend's a nerd" ft. the monster trio!

self explanatory self-indulgent drabbles to soothe my book!loving ass

ft. luffy, zoro and sanji x fem! reader set-up: you like books, he likes you that's it warnings: none lmao this is very sfw. one might call it wholesome even. m.list

luffy:

thats my baby ^^

— im not even sure if this mf can read 😭😭

— honestly 9/10 chance he can't but when has that ever stopped him from being our most supportive himbo king

— go king give us everything!!

— he doesn't get why you read books when instead you can be like sleeping or eating or looking at the sea but well, he doesn't question it

— he just thinks it's a weird hobby you have (i don't think he's aware of how freakishly illiterate he is)

— but just cause he thinks it's weird that doesn't mean he wouldn't hug you half-asleep when he hears you sobbing into the dead of the night or he wouldn't listen with keen interest when you explain the plot of your favourite book as he wraps his arms around you and hums into your hair

— will 100% offer to fight the author/ tear up the book everytime he sees you having a breakdown over a particular scene/character

"who should I kill?!" the deadpan seriousness in his voice is what terrifies you

"nobody! I'm okay–"

— after you explain to him that hurting somebody is not necessary and you're fine, he will try to coddle you with extended hugs and food (lots and lots and lots of food).

"yn you should eat something! should I get you something to eat??" you can hear the panic in this poor boys voice 😭😭

"no luffy, its okay. im fine!" you say through sniffs and snorts, eyes bloodshot from crying over ink on paper

"brb" and he gets you dinner enough for 5 people because that's how he knows to comfort you (willingly took sanjis kicks and namis punches to accomplish this mission)

— since he's a clingy little child, he will hold onto you some way or the other when you're reading

— you're reading in your room while he's fast asleep? his arm is draped across your waist lazily. you're on the other side of the deck, sunbathing and reading? his hand is stretched out from where he's sitting and on your thigh (ussop tripped thrice over his hand, rip god ussop 🙏) . you're reading during breakfast cause the book just got so good? his toe is rubbing your calf up and down periodically (he won't stop no matter how many weird looks you give him)

— conclusion: he doesn't at all get it what it is, but if it makes you happy he will spend all the berries in the world to buy you those books (plz know if you actually ask him to jokingly off an author for killing your favourite character, he will do it. please don't ask him that.)

— he's just so supportive and nice 😭😭

"my girlfriends a nerd, I love her" (ussop explained to him what a nerd was and now he's introducing you like this to everybody)

zoro:

the shades tho 😎

— I'm convinced this mf can't read either

— even he can there's like literally no evidence to prove it and the entire crew has come to the conclusion that he gets lost even with clear directions because he just can't read please 😌👌

— at the start, he actually thinks it's dead stupid to invest so much time reading books when you can do other stuff like getting stronger, sleeping, literally doing anything else (luffy backs up his opinion with full enthusiasm)

— i mean like he's seen you sob at 7 in the morning over breakfast cause your fav character died and now he's confused as to why are you spending money and buying books if they make you cry so hard (he doesn't understand the concept of angst im afraid)

— but over time he just accepts it as something you enjoy and well, if it makes you happy then who is he to question it?

— acts like he doesn't care/isn't listening when you're rambling about the plot and how thE MAIN CHARACTER IS IN LOVE WITH HIS ENEMY AND VICE VERSA SKEJFHSJKSN but is actually fully listening

— he's actually invested at one point

"but they are enemies? why does he wanna be with him?"

"you don't get it! thats the appeal!!"

"the appeal is forcing a knife on somebody's throat?" he's laughing, "as if you'd enjoy it if i threatened you with my swords"

"... i would actually enjoy that"

he is now asking nami for loan to send you to a therapist (nami has seen you nosebleed over fictional characters and is considering giving money away to zoro for free. you really do need help.)

— as I said, he's invested now (although he does question your taste every now and then) but he'd force you to either summarize the plot to him as he trains or read out loud so he can hear the story as it goes.

— so naturally you're now sitting on his back, reading out loud as he does push-ups

— this beloved himbo has now formed strong opinions about characters and will battle you with headcanons because "there's no fucking way the hero would ever go back to the villain after that! that's ridiculous! if he does I'll sell my swords off."

— will remember the stuff you told him, no matter how trivial, so if you get off an island and he spots a keychain from your fav book series he's spending whatever money he has left to buy you it

"oh excellent choice! who are you buying it for?" the shopkeeper lady questions aloud

"oh, my girlfriend." he's smiling, "my girlfriends a nerd."

— actually looks forward to you telling him all the plot details and jokes at this point (one might call him a part of the fandom now)

— when you're a crying, sobbing mess because a character died, he's genuinely comforting you (no matter how bad he is at it)

"yn it's okay, you want some sake?" he is hugging you, patting your head like you're a child

"no 😭😭" you sob harder into his chest

"well... that's the best i can offer"

he tried. it's not his fault you don't wanna drink your feelings away.

— conclusion: he started off thinking its stupid and now he's an honorary nerd. would never admit it though. stubborn asshole.

sanji:

he's actually so pretty tho ^^

— he actually liked reading books before you even joined the crew although his tbr consists of cookbooks and auto-biographies about the people he has some interest in

— he started reading so that he could impress zeff with his knowledge on cooking and other miscellaneous stuff (imagine kid!sanji reading a book till late night under a lamp cause he wants to impress his old man that's so cute 😭😭)

— respects your hobbies when he finds out you like reading

— and then he sees your book collection. whY ARE THERE LIKE 5000 BOOKS HERE?! NOW HES SCARED FOR YOUR SANITY CAUSE GIRL WTF

— he hears you recommend a book to robin/nami once and now he's running to the nearest bookstore on the next island you guys land on to buy it

— he obviously did it to impress you and win you over but goddamn that book was actually pretty nice. so, the next time he asks you for recommendations he's actually a bit sincere

— now you're both in a book club of your own (which makes luffy mad cause why are you leaving him out of conversations :/)

— like zoro, he often asks for updates on the book you're currently reading while he cooks everyone food. he loves hearing you talk about the things you like.

— when he sees you crying over books, he is making you sweet stuff to soothe you, holding you and rubbing your back supportingly, peppering kisses to make you feel better

— he's so fine 😫😫

— anyways, also def the kind of person to ask you to roleplay things in real life

"yn-saaaan" his voice is bubbly, "can i ask you something?"

"mhm?"

"the last book you read–" his face is going a little bit red, "you think we can maybe... do that irl?"

now it's your turn to go red

— but no fr, he's so so supportive of your little hobby like yes baby! read those books and have fun imagining people in your head

— 100% matches your vibe when you crush on fictional characters cause "you're right. he is actually very attractive" (a bi king we love)

— once zoro made fun of you for reading and this was his response: "you can't even read, mosshead. the next time you speak shit I'll kick your ass."

"who said I CANT READ? AND AS IF ILL LET YOU KICK MY ASS!"

"I TOTALLY WILL KICK YOUR ASS"

now they are fighting while ussop, luffy and chopper laugh in the background

— but yes he loves staying up late, reading with you before you both cuddle and fall asleep

— you once read about a specific sort of dish in a book and mentioned that it sounds delicious so now obviously he has to go make that dish. it doesn't matter if it's 1 am at night.

— when nami asks him what he's cooking, he just smiles and shrugs, "i dunno either, im just trying to make yn happy. she's such a nerd"

— conclusion: an enabler, an enthusiast. this man is ready to buy you books and then read them if it makes you happy. only the finest for his favourite lady <3

a/n: enjoy my wayward thoughts about these fine men! m.list

[alastors-antlers]

a brief take on the whole "Alastor's smile is permanent" discussion

hello all!

I've seen a lot of people theorizing lately that Alastor actually smiles all the time because his smile is magically, physically fixed onto his face. All of this seems to come from the fact that he's practically grimacing rather than smiling during the scene where he breaks down in ep8:

As well as this frame of his deal with Charlie: (lower res sorry)

I will say, I do like some of the implications of this theory. The sheer spite of his creditor forcing him to smile as an addition to their deal, almost like a sort of forced silence, is a neat concept. It's fun and dramatic. Plus, of all things, of course Alastor would claim the "smile at all times" policy and make it his own to pretend that it was his decision all along lol.

To be fair, though, I don't think we even need any magical compulsion to explain why he's smiling while he's having a mental breakdown. Actually, if we assume magical compulsion, I think we lose a bit of dimension from Alastor's character. (No judgement to anyone's take though, of course -- I just think this works in the direction of his established characterization, but obviously all personal takes <3)

Hear me out:

Alastor's persona is not just for others to see.

"A smile is a valuable tool, my dear. It inspires your friends; keeps your enemies guessing; and ensures that whatever comes your way, you're the one in control."

That makes sense given what we know about him. If he's always smiling, he seems like he has it together. You can't read him very well, especially not when he's actively trying to keep up appearances.

Now consider that when you think about ep8's fight with Heaven, we see that he's already been through so much in this one day.

He fights an army of angels, presumably not even at his own whim (if we go by his blurb about freedom in the Finale song); he loses to Adam, who he considers sloppy and mediocre; his staff, which we can assume holds some part of his power, is snapped; he comes close to being Angelic-power-killed; and to top it all off, he knows that others watched him get injured and then apparently die or flee, all of which would ruin the public image that he's trying to maintain. It wouldn't even be unreasonable for us to assume that he knows Vox was watching, given that Vox kind of has eyes everywhere.

In a moment like this, in the finale, you could say that Alastor has lost (at least on some level) everything that we know matters to him. He doesn't have access to all of his magic, and it's limiting him. He's reminded that he doesn't have freedom or control over his own destiny. He certainly has taken massive hits to his powerful, composed persona. But he's desperate, and furious, and terrified, and clinging on.

That's why he's smiling.

It's not that he can't stop because he physically can't. It's that he can't stop because to him, the smile is the last thing that is still within his power. When there are so many moving parts that he can't predict what happens to him next, he can control how he responds to it. In these last fragments of autonomy, there is solace.

He needs to keep telling himself that he has it together and that he'll eventually scheme his way free, that there's a solution, that he won't be in chains forever; because letting his pretense slip would be admitting that it's all starting to actually get to him. That maybe this time, he doesn't have an escape plan.

In addition, if you read his interactions throughout the series, we also see something else: Alastor's reputation is of paramount importance to him. At multiple points throughout the series, when others disrespect him by discounting his power or presence, he gets visibly annoyed. And in the battle, we see a glimpse of the part of his personality he seems to be trying to leave behind - a normal Alastor, who's just some guy from Louisiana. No transatlantic accent; no unflappable malice; no sharp wit waiting at the ready. Maybe even unremarkable.

Dropping his smile - arguably the most prominent part of his brand - would be admitting that in reality, he's not the Radio Demon of legend that he aspires to project. And if he doesn't have that... where would he be?

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.3)

go check out part 1 and part 2 if you'd like! this is a long one, sorry guys.

if you haven't already i'd recommend you check out pt. 1 & pt. 2 (linked above), but if you haven't checked them out i've been going over some of the main things people have been criticizing ba's characterization for: 1. the typical boiling down of jason's character to "the angry one" 2. his lack of strategy going into the fight with the demon is out-of-character 3. the neighbor's kid interaction

alright, so this last point is purely based off of one page of the entire comic: the one where the child of one of jason's neighbors is dragged inside his home when his mother see's jason coming.

first off, i love this page. it might be my favorite page in the entire issue. everything about it is great. just thought i needed to say that.

anyway, there's some people who are seeing this page and reading it as "jason protects kids! that's one of his big things! why are they scared of him?"

here's the thing, though: the kid isn't scared of jason, the mom is. the kid is literally playing dress up as the red hood-- he's not scared of jason, if anything he's trying to replicate him. little kids dress up as their heroes all the time; why is this kid any different? it doesn't really make sense for the kid to dress up of something he's scared of (not everyone is as weird bruce wayne), especially a real person that could be a real threat rather than a concept. i doubt you see many kids in gotham dressing up as the joker or something, because that's just asking for trouble.

the dress-up honestly seems like a ploy for attention to me. the kid clearly knows that red hood lives in his building (which is honestly so funny. take off the mask jason you're giving you're position away (actually this is a really good instance for analysis but i'm determined to not go on a tangent)). if the kid knows red hood lives in his building, what better way to get his attention that dressing up as him and playing pretend? if the kid was scared of him, he wouldn't want to draw that sort of attention to himself. if he had a sort of hero-worshippy thing going on like i suspect, then he would want to get jason's attention. to sum it up,

it's the mom who pulls him away when jason nears, because she either a) perceives him as a threat, b) doesn't want her kid to try and replicate him even more, or, the most likely option, both! the kid isn't scared of him, but the mother believes they should be.

once again, we come back to the whole perception vs. reality theme i talked about in part one! we've come full circle, everyone!

when looking at the neighborhood's perspective of the red hood, ba gives us a few contradictory examples. there's the kid and the mother, obviously, but there's also a slew of other citizens who interact with him at the beginning of the issue, both in fear and camaraderie.

the unhoused man and the people outside of his building clearly have a familiarity and are comfortable with him, while the shopkeeper is terrified and literally has a banned poster on his wall featuring jason (i am so curious what he did to deserve that, if he even did anything at all). from this, it appears that jason's reputation teeters between fearful and familiar-- a sentiment that also colors jason's relationship with his family.

furthermore, this concept underscores just how lonely jason is-- one of the only good relationships he had in his current life was his fucking landlord, for gods sake, and he's dead.

i think it's important to note that jason doesn't respond to the friendly greetings from the men-- he could attempt to build camaraderie, the roots are there, but he chooses not to. he could work to try and show the mother that her son is safe with him, but he chooses not to. why? jason is obviously lonely (as ba states in the panel below) and he caves pretty easily when damian asks him for help (both of them are so desperate for human interaction its tragic). so why does he distant himself from the community?

obviously it is in part due to the vigilante lifestyle, but it is also jason's perception of himself and how he believes others perceive him, especially in regards to his family (ba is literally hitting readers in the head with that theme baseball bat).

he doesn't see that the kid with the mask looks up to him, all he sees is the mother pulling him away. he sees the banned poster in the store. and, as ba narrates, "he was sure he'd been forgotten about" by his family. utrh is jason's twisted way of attempting to reach out and connect with bruce, and obviously that doesn't work-- so he chooses loneliness over rejection.

like in part one, though, damian refutes this idea by describing bruce's perspective, showing how what jason believes differs from actuality. bruce hasn't forgotten about him and doesn't hate him, as he suspected, but instead harbors guilt over the situation and desires to make it better, which jason must come to understand to be able to open the locked door and begin to move past his trauma.

so, that's what the little kid in the red hood outfit looks like to me. i actually have a lot more i'd like to say about the boy wonder, especially in regards to the whole "door to my past life" thing and what ba does with lighting and blocking in his artwork, so i may do a little post on that as well! i was gonna try and shove it into this one, but i've run out of room! i hope you guys liked my analysis, if you'd like to chat about the boy wonder or any other comics, my dms, asks, and reblogs are happily open! thanks for reading! :)) <3

pt. 1 / pt. 2

[mistercesare]

soooo we and my friend (@arrrrimo on twitter) were brainstorming a prohibitedwish roleswap au!!! and i made some concepts for it!!

more au info unfer the cut

God-Auditor!Prismo here kinda has his canon personality?? he is chill and fun and loved by everyone!!! but he is. terrifying actually. like he can get through any little crack, he doesn't get tired of running, and there's no predicting if he decides to let you off the hook or not

and if he lets someone go everyone will go "he's such a chill guy! how cool of him" and if he doesn't well he just does his job right?? so his reputation is kinda invincible but everyone are a little uncomfortable around him because well. he's still a god-auditor you don't wanna let him see your fuckups

AND WISHMASTER!SCARAB i love him so much actually

he's still you know a perfectionist jerk but there's no eons of pent-up rage and urge for revenge so he's much more calm

also he has no problem with everyone disliking him he likes his job he worked hard to get it and he does it as he should so everyone else can fuck off🥰

he hates when people wish without thinking tho he sees it as DISRESPECTFUL (and also he loves watching drama play out and missed opportunity pisses him off) we actually thought of a version of him and jake meeting like in canon with prismo and scarab being so mad at jake not wishing something important that he hands him a bunch of records and says to sit there until he comes up with something FITTING

scarab is interesting for prismo bc hes the only one who is not afraid if him. like he KNOWS he's doing everything by the book and there's nothing prismo can do. also scarab keeps sending complaints to orbo about prismo's work which is hilarious

scarab on his side starts off disliking prismo for not doing his job properly then starts disliking him even more bc now he constantly hangs around the cube and annoys him (scarab is convinced prismo is just trying to make him mess up so he can catch him red-handed) to you know. liking having someone around who listens to you infodumping ab multiverse

(pleeeaseeee check out these drawings by arrrimo!!! https://twitter.com/Arrrrimo/status/1711749762121077130?t=g4KX0wPydGkg0f1dO5vdrA&s=19)

[percyjackson-post]

The concept of Nico as a villain is so insane when you really think about it. Can you imagine how terrifying it would be for a child of Hades to actually turn against the heroes? Someone who’s able to control the dead and drain a person’s soul from their body as baseline powers? Not to mention one with the resilience to survive not only a death trance but the depths of Tartarus itself. Imagine how terrifying it would be if he had decided he had enough of being a pawn of the gods and chose to turn against them. At 15 Nico was able to travel across half of the Earth with both a statue as well as extra passengers. He’s a force to be reckoned with and the gods should count their luck he decided to be on their side.

[spacedace]

So I've seen a lot of "Jazz works as a therapist at Arkam" in the dp x dc fandom, and while I like the concept, I also feel like Jazz would take one look at the place and immediately be like "what the absolute fuck" at just the everything of the place.

Like, she either nopes out after the tour during the interview or quits not too long afterward starting there, not because she can't take it but because she's so appalled by what's going on there and can smell the corruption rolling off the place and knows no one sent to there is ever actually going to get the help they need.

So Jazz decides to open a private practice instead while still being absolutely determined to work with the various rogues in the city, she is here to help and nothing is going to stop her.

So she just starts showing up at known hangouts of rogues and during their heists/schemes/sprees, and even fights between them and the batfam, just like

"Hi! It’s so nice to meet you! My name is Dr. Jasmine Fenton/Nightingale/whatever last name she’s using and I was hoping we could talk!"

Casually kicks a baterang away without looking because she's being polite and professional!

"I understand that your experience with therapy through Arkam has been nothing but atrocious and that you are rightfully -"

Kicks Batman away without breaking eye contact or a sweat.

"Suspicious of attempting therapy again, and Idon't want to force anything on you, therapy should be on your terms after the experiences you've had but -"

Grabs Robin out of the air as he leaps at the rogue she's talking to and tucks him under her arm, ignoring his feral hissing and all attempts to break her hold.

"-I really think that you'd find it beneficial, even if I'm not the right therapist for you."

The rogue in question is having the time of their life and takes Jazz's business card - and a few extra to pass around - not really intending to actually ever book a therapy appointment with her but way too entertained and excited to share this madness with everyone else.

But then one of the rogues actually looks up Jazz's website and sees all the various safe guards she’s put in place to ensure that any villians that come to her will be protected while seeing her - soundproof therapy room, regular sweeps for listening and tracking devices, the most insane firewalls and protections anyone has ever seen on her network, and ooh she provides snacks and drinks!

So someone finally books an appointment with her, half convinced she's either going to turn them in or is a villain herself intent to experiment on them, but then it’s actually really nice??? And they feel a lot better afterwards?? She doesn't even say anything to indicate that she wants them to stop being villains, she just wants them to be okay??

So more and more rogues start going to her, and Batman was already losing his mind about this woman before - Oracle can't hack her system?!? And her background check shows a totally normal Psychiatrist?? - but now half of Gotham's heavy hitters and a dozen or so other minor league villains are seeing her regularly and every time he tries to get info on any plans the rogues might be scheme via her office it fails utterly. Nightwing got knocked out with something called a creep stick and when he tried to break in himself to get answers she just appeared out of no where and gave him the most scathing lecture about doctor-patient confidentiality before bullying him off her property and threatening to sick her brother on him if he tried again?

And because she's become such a figure in the Gotham underworld, she gets the attention of Joker.

And everyone, rogues and Bats alike, are terrified that she’s going to try and take him on as a patient like she has so many other villains in the city and that's just a recipe for tragedy.

But then the Joker is on his way to the hospital with two broken legs and the fear of god beat into him babbling about eldritch nightmares and whenever anyone asks Jazz what happened she just shrugs and just says things like "I refused him as a patient, he's not my problem." Or "My brother doesn't like clowns." And just, does not elaborate.

Batman is losing his mind over it all. Jazz is just happy to be able to actually help the rogues. Arkam is less happy about how she absolutely destroys their reputation.