#where are the fan analysis and theories

[nayrring]

Vinland Saga is criminally underrated in here and it's making me mad

[fumifooms]

Rin, smiling, and nagging

Rinsha Fana’s character is summarized in a couple facts thrown here and there. Because she worries for him, she follows Kabru to help his cause and protect him, and to nag him. She’s a grumpy angry tsundere, but it seems not only rooted in her attitude but on a deep rooted physical level, to the point where any intense emotion she feels will make her frown and scowl even if it’s genuine joy. Her childhood was half spent ostracized in the tallman community her family lived in and half with the elves, where she’s said to have been treated like an animal.

We don’t know how she was raised exactly or who it even was, but knowing she was "treated like an animal" by the elves taking care of her…

Elves are shown to have a highly hierarchical society, not only with their concern with status such as nobility and the purity of bloodlines but also reflected by its social culture imo. They have high society and etiquette, upmost devotion to the queen, very role-oriented, like cogs in a machine, and as such, it’s a bit skewed since most of what we see of the elves is in a military context with military people but they seem to value having emotions under lock and key to be efficient and not bring dishonor, Flamela is an interesting character on this. Don’t be a bother and do your job until you’re called on, fulfill your role, everything else is extra at best inconvenient at worst.

Personally I do think the canaries kept Rin, it’d make sense that whichever canaries got stuck with the job at the headquarters would be barebones with her and treat her like an ‘impounded article’, they couldn’t find another place for her and this way they can get her report on the events whenever she can speak again in however many years, and this way it makes sense that she could keep in touch with Kabru too. They’re used to prisoners, not kids. Being raised in a military context rather than at some orphanage would shape her further.

All of this to say…

She’d already seen the world’s harshness to those who don’t conform in her hometown, but with the elves? Her disdain for those who had formal education at a magic school?

Wouldn’t she become very concerned with proving she is not an animal, proving that she’s smart and skilled in her own right on her own merit, even without schooling. And to do this she nitpicks and nitpicks, because even being pristine isn’t enough to be respected, but at least it’s not giving others reasons to disrespect and dehumanize her. Learning to school her emotions, to scowl as a defense mechanism because anything else makes her vulnerable, because they don’t care about her as a person with feelings, because showing other expressions was dangerous or punished in some way: because it was fit in or don’t fit in and that’s the difference between having your house burnt down and being tolerated, between getting her food or having her questions answered and being yelled at to shut up… Because all her life she’s been surviving in hostile social environments and at the mercy of others, but unlike Kabru she doesn’t become a people pleaser but becomes very self-reliant and wary of socializing.

So she nitpicks and nitpicks and nags, because she’s worried. Because flaws are dangerous. So she has a hard time smiling and laughing, because it’s dangerous to allow yourself to feel safe in being authentic.

It would be nice…

Is my red, red enough? I'm waiting for your teeth at my throat. It’s only good manners. -Stephanie Valente 

[greenleaf4stuff]

What if Adar had been 'created' not just to help make the uruk, but to keep the uruk alive?

He’s very protective of them, to the point of killing Sauron, but his involvement also meant the uruk were organised and a lethal force even without a master to guide them. They might have been defeated - wiped out, even - by the time Sauron came back, if not for him guiding them and making them all work together as a united force.

What if Morgoth and Sauron chose him - and molded him - so he would feel compelled to keep the uruk alive at any cost, so that Sauron and/or Morgoth always would have an army they could fall back on, even after a temporary defeat?

(Obviously, this is just speculation and unlikely that this was their ultimate goal, considering they likely didn’t think they’d ever get defeated. But Adar works surprisingly well as a ‚plan b‘, an additional safety measure – with them weaponizing his desire for children and his love for the uruk to their own ends, only to dispose of him when he was no longer useful or began to pose a threat to them.)

(...Choo choo to all aboard the Pain Train)

[dangerous-advantage]

if you’re in the rise fandom and see this:

go read “all the ashes in my wake” by @crows-murder right now.

(yes, that is an order, and yes, pun intended.)

this post serves as a fic rec, but mainly to let me gush about how much i love this fic without filling up the author’s inbox with a small dissertation (/joking).

for the fic rec part:

leo. cursed. ella enchanted type cursed.

if you have any interest at all in absolutely phenomenal angst, clever writing with a style that’s easy to follow and smooth as butter, on-point characterization and dynamics, and basically anything you could ever ask for of a rise fic,

go. read. this. fic. right. now.

(that said, i am now going to ramble about my specific thoughts concerning the fic and it’s plot, so. possible spoilers beyond this point?)

there have been a growing number of fics in this “sub-genre” of the rise fandom involving a character (generally leo) getting cursed, and then facing off against angsty odds that make you go, “oh. oh, shit.” (/positive)

these curses also tend to involve the phases of the moon in some way, which i think is a very fun and interesting trend

i’ve enjoyed all of the fics that i’ve read which fit into this, but this particular fic may be my favorite yet

it follows a simple formula, neatly tying the a plot (the curse stuff) and the b plot (leo’s conflict with leadership and the strain it’s putting on his relationships) into a neat little bow.

while the idea of leo getting “ella enchanted” is fun on its own, it’s doubly important to the plot and the characterization, as it forces him to have to fix one problem to address the other.

in the first chapter, the author constructs the roots to this, by contrasting leo’s wily, independent nature against the inevitable conflict that will stifle his attempts to act on it.

watching him brush his brothers off, make his own choices and go off on his own, builds this wonderful sense of tension. it hooks you — what’s going to happen when that string is cut?

it plays perfectly into the underlying conflict. leo needs to find a way to overcome his fears of leading the team, or else the rift between him and his team will only continue to widen.

so what does the narrative do? it forces him into a position where he is no longer gets to choose.

this incapacitation is a powerful tool, not only because of the external force of the curse, but also that it plays off of the weaknesses of his character.

this isn’t something that he can just handwave, or take care of on his own. it’s a situation where he needs to ask for help.

but this is leo we’re talking about. of course he isn’t going to go to his brothers about this, or even tell them! but by hiding it and trying to fix it himself, he ends up caught in a deadlock of his own making.

and since it doesn’t look like he’s going to get over himself very soon, it seems more likely that he’ll end up cornered in a very sticky situation indeed (something which i am very much looking forward to seeing, if that is the plan).

it’s genius! to fix his problems with the curse, he has to address his issues with his family first.

my attempts to sound smarter than i actually am aside (/lighthearted), i am so glad this fic is addressing the conflict between raph and leo. not only that, but in a way that feels true to their characters.

unlike other iterations of the tmnt, the roles here are reversed. it’s not the stolid abs responsible leader pitted against the broody loner who wants to be leader, but isn’t the right fit.

it’s rise!raph, who cares about his little brother and wants to support him, and rise!leo who, on some level, doubts his own ability in this new role on the team — to be anything more than “the face man.”

it’s not often where you come across a fic where the a plot and the b plot are equally engaging, but this is one of those rare cases where everything just works. it’s like i’m witnessing the first steps of some great machine, meticulously crafted, a hundred disparate parts working in tandem.

in the third chapter, the angst just works. the pay-off there feels so real, because you get it. you relate to this character. when raph is there, waiting up for him, you know shit’s about to go down. you can feel it.

if the necklace (and therefore the curse) acted as both a narrative device and catalyst, leo’s swords represent the other side of that: the last bit of freedom he has left in this godawful situation.

they’re the last bit of freedom, his only hope of escape. raph taking them (or, rather, leo being compelled to surrender them) has just glorious undertones in the narrative as a whole.

if you were to consider the katanas a representation of leo’s autonomy, it makes sense why him being forced to give them up hits that much harder.

not only is it a tense situation, where leo is fighting back but ultimately unable to overcome the curse, it cements this underlying feeling of helplessness the author has been seeding since the chapter previous.

now that we’re here, with both the a plot and b plot coming into direct confrontation with what leo wants, we recognize that leo cannot continue how he is.

sure, he’ll keep on fighting it (abs i am very much looking forward to seeing how that goes), but this is the point where we know, there is no escaping.

leo is now truly stuck. without his katanas, fubdibg the necklace to break the curse on his own is basically impossible.

and he recognizes this.

leo’s characterization throughout this fic has been some of the best in the business. he’s smart, witty, independent, calculating — probably one of, if not the best true-to-character representations of rise!leo thats i’ve seen so far.

(absolutely phenomenal job there, i cannot stress this point enough.)

in fact, all of the characters in this fic are so well-written? i’m already seeing roots for character development within casey sr. (which i am so here for, oh my gods you don’t even know), and you can’t help but be invested in all of these relationships

we’re constantly being reminded of the emotional conflict, how much of a strain it’s putting on the relationships, not just between raph and leo, but between all of them.

leo sees this, understands something has to change, but feels paralyzed by what that could mean. for him, and his family.

not to beat the metaphorical dead horse, but that scene after leo surrenders his katanas abs flees back to his room? damn. i felt that on a visceral level.

being so tired, so miserable, so helpless, when a part of you knows you’re being irrational, but having your own pride and fear get in the way of that?

not to project all over these characters or whatever, but fuck. it feels like this was written to call out me, specifically (/j /lh)

and urgh! the detail work in this is incredible!

maybe i’m just a slut for somewhat contrived narratives, and definitely contrived foreshadowing, but the way it’s done in this fic comes off as so clean and organized.

it’s like... weaving threads in a tapestry. you can see where the connect, though you’re not quite sure where they’re going, until you can step back abs look at the picture as a whole.

it genuinely feels masterful in some places, like, mother of god, leave some talent for the rest of us!! (/lighthearted)

i could probably keep talking about this forever, but i do have other responsibilities i should be taking care of, and i kind of want to reread the three chapters that are out (as of writing this) again.

who knows, maybe i’ll revisit this in the future, when i have a better basis and understanding of the underlying themes here.

for now, dear author (if you are, for some reason, reading this),i hope you don’t mind my pretentious and meandering thoughts and/or assumptions. you’ll probably see me again, gushing in your comment sections. yours is just the kind of fic that deserves to be gushed about.

[likecastle]

Is it a hidden clue in the text, or are the writers just not that deep?

[daz4i]

sometimes i see fan theories or like general fandom stuff that make me go "idk i'm lacking information abt some plot twist that contradicts what i already know bc i'm a new player and haven't finished all missions yet, or if you're simply gone full on fanon brain and forgot plain text things the game freely gives you bc it's been awhile since you played/watched these parts"

[incognit0slut]

Much Ado About Nothing (Act I, Scene II: The Crude Suggestion)

A provocative joke leads Spencer to contemplate, yet ultimately avoid, a crucial conversation with you.

Part warning: a little suggestive comment and two idiots being stubborn Words: 2.1k A/n: I want to remind you that each part doesn’t necessarily follow one another, the story focuses on their relationship and not on the cases being told. This is just a collection of shenanigans and nothing too serious!

SERIES MASTERLIST | MAIN MASTERLIST

There was something about being in the middle of nowhere for a case. Maybe not exactly nowhere—you knew where you were, you could pinpoint this city on a map, but there wasn’t the same bustle and constant noise you were used to in Quantico. The relative quiet was unsettling, yet oddly comforting.

Although nothing was comforting about checking the crime scene deep in a forest in broad daylight. It was a small, unnaturally circular clearing where the grass was trampled down in places, and in the center was the remains of what you were there to investigate.

“So,” you started, your eyes scanning the place. “Do you think the Unsub uses these remote areas to avoid detection, or is he just a fan of the great—albeit bland—outdoors?”

Spencer glanced at you from the other side of the clearing.

“Statistically speaking, the isolation could serve to minimize the risk of witnesses. However, it’s also plausible that the Unsub finds comfort in solitude. Or maybe he just dislikes traffic.”

“Dislikes traffic,” you repeated, deadpan. “Yes, because serial killers are really just misunderstood commuters.”

Just as Spencer was about to retort with what you assumed would be a wildly thrilling statistic about traffic patterns and criminal behavior, Emily’s voice cut through the tension. “Can’t you two ever not bicker for more than five minutes?”

You turned to her. “I’m just trying to get a straightforward answer. But apparently, that’s too much to ask for.”

“I’m giving you a range of possibilities, which is what profiling is about. Sorry if that’s too complicated for you to understand.”

“Oh, I understand completely,” you replied, matching his tone. “I just find that half of your theories are unnecessary.”

Spencer’s eyes narrowed. “The depth of analysis ensures we don’t overlook anything. It’s thorough, not unnecessary.”

“You call it thorough. I call it overthinking.”

Emily stepped between you, raising a hand. “Alright, enough. Can we focus on the case now?”

“He started it,” you couldn’t resist muttering under your breath as you moved to another part of the clearing.

“Me? You were the one who—”

Emily cut him off with a loud, exasperated sigh, tilting her head back as if seeking divine intervention, before turning her gaze sharply back to both of you.

“Most people go to therapy to deal with this much-unresolved tension,” she remarked dryly. Then, fixing you with a pointed look, she added, “You know what else might help?”

You frowned, glancing towards her. “What?”

Emily paused dramatically, her gaze shifting from you to Spencer and back again at you, lingering a little too long. She didn’t say anything, but the way she raised her brows and the smirk playing on her lips, you knew what she was implying. It was as if there was an unspoken code that only years of friendship between women could understand.

You looked away, a slight burn along our cheeks.

Spencer, still oblivious, looked from Emily to you, confusion written all over his face. "What? What are you talking about?”

“Well—”

“No!” You stopped her. “Don’t listen to her.”

Spencer’s confusion deepened, his gaze shifting from you to Emily, trying to decipher the underlying message. Emily’s smirk only widened, clearly enjoying the discomfort she’d stirred up.

“You should ask Y/N,” she said, her tone teasing. “I’m sure she knows some great ideas for... tension relief.”

You felt your face heat up even more, and you shot Emily a warning look, partly annoyed and partly embarrassed by her insinuation. But she simply just laughed, and when a sudden car pulled up near them, Emily found a way to escape.

“Oh, look, the sheriff is here,” she said, swiftly changing the subject. “You guys check the area while I talk to him.”

Emily walked off to meet the sheriff, leaving you and Spencer alone in awkward silence. You turned away, eager to divert your attention back to work when you felt him hang back slightly to walk with you.

He seemed to hesitate before speaking. “What was she referring to?”

You glanced at him, trying to gauge his reaction, wondering if he was genuinely confused or just looking for a way to keep the conversation light.

"Nothing," you replied with a dismissive shrug, keeping your eyes on the ground ahead. “She was joking.”

“I could tell, but what about?”

You paused, realizing that the vague explanations weren't going to satisfy him this time. His analytical mind was both a blessing and a curse in moments like these.

"She was suggesting—jokingly—that we might relieve our constant bickering... through more unconventional methods."

"Unconventional methods?"

“Sex, Reid. She was implying sex.”

His face instantly turned a shade of red, perhaps deeper than you had ever seen before. He blinked a few times, clearly taken aback by the bluntness of your clarification.

"Oh," he managed to stutter out, the usual fluency of his speech faltering under the weight of the topic. He bit his bottom lip, a nervous habit that you had come to recognize as his attempt to buy time while he gathered his thoughts. 

“That’s…”

“Crazy, right?” You pressed on. “I mean, nothing good will come out if we start blurring pleasure and professional lines like that.”

There, you said it, an underlining of your words that carried more weight than the immediate conversation. You wondered if he understood your double meaning, and maybe he did, because his gaze met yours sharply.

He exhaled, his demeanor shifting as he processed not just Emily's joke but also the deeper reference to that night—the one neither of you spoke about but still lingered between you.

“Right,” he finally responded, his voice firm, yet there was a hint of something else you couldn’t quite decipher. “Nothing good at all.”

“It would only complicate things.”

“Exactly.”

“It’s a bad idea.”

“The worst.”

For a moment, you both stood there, the forest around you fading into the background. You broke the silence first, turning away from him. "We should finish up here. There's still a lot of ground to cover."

With those words, you moved ahead, feeling his gaze on your back. The crunch of leaves under his steps echoed as he followed in silence.

It would only complicate things… as if it wasn’t already complicated in the first place.

Spencer looked over to where you stood; it was clear you were trying to avoid him for the past hour. He watched as you meticulously examined every leaf and twig, your focus seeming more like an escape than an investigation.

He knew he should say something, perhaps bridge the gap with an apology or an olive branch of some sort, but every potential word seemed to catch in his throat. It seemed like a constant cycle of hesitation and missed opportunities. Every time he thought to speak, doubt would claw its way back, holding him silent. 

He wondered if perhaps it was the same for you.

“Hey,” Emily’s voice filled the silence as she joined back. “Did you find anything?”

Spencer’s train of thought was abruptly interrupted by Emily’s arrival. He straightened up, quickly shifting his focus back to the present. He gestured towards the markings on the ground that you both had been examining.

“We might have found something.” 

Emily crouched beside you, eyes scanning the evidence with practiced ease. “You think this is from our Unsub?”

You nodded, offering the specifics, “The pattern and depth suggest it’s not natural. And the spacing might give us an idea about the size and weight of the Unsub.”

“I’ll get the forensics team to take a closer look.” She stood up, looking between you and Spencer. “You two okay here?”

“Yes, we’re fine,” Spencer answered quickly, a bit too eagerly. You simply nodded without saying a word.

“Alright, maybe I like it better when you both bicker.”

He saw you shrug nonchalantly. “I’m gonna check the other side,” you announced before walking away.

"She's avoiding me," he stated, a note of helplessness threading through his voice.

“Can you blame her?”

“What?” He asked, his voice tinged with defensiveness. “So it's my fault?”

“Well… did you do anything wrong?”

There was a pause before he glanced away, his mind racing through that night. “Maybe,” he admitted, his voice low, almost reluctant. 

"There you go, you have your answer.” 

He shifted from one foot to the other, visibly uncomfortable, as his fingers twitched at his sides. “Do you think we’re overreacting?”

She sighed. “Look, I don't know the details of what happened, and as much as I want to help, it’s between you two. The way I see it, you have two options: either resolve the problem or continue bickering.”

He frowned, mulling over her words. He glanced toward you and faltered for a moment, noticing the glare you were throwing him even from the other side of the clearing. It was clear you didn’t want to engage in any type of conversation with him.

“Yeah, I think I’m going to stick with bickering.”

Emily laughed. “Really? You don’t want to consider my suggestion earlier?” When she caught the blush creeping on his cheeks, her grin widened. “Finally caught on what I meant?”

His blush deepened, and he cleared his throat uncomfortably.

"Oh, yeah, well, that's definitely not an appropriate solution," he stammered, trying to regain his composure. Collecting himself, he latched onto a more comfortable territory—facts. 

"Actually, according to a study, about 20% of workplace relationships lead to marriage, but they can also significantly complicate professional dynamics, increasing the potential for conflicts of interest.”

Emily simply smiled, clearly amused at how flustered he was. Her silence only urged him to continue.

"And, well, that doesn't even begin to cover the fallout if things don't work out. The workplace can become, um, a challenging environment for both parties involved. It's just... it's tricky."

Spencer winced to himself, because ironically, the fallout was already happening. The situation he was theorizing about in vague terms was unfolding right in front of him.

"It sounds like you're speaking from experience.”

“I’m not!” He responded almost too fast. “I’m not.”

She studied him, her eyes narrowing slightly as she assessed his reaction. He shifted uncomfortably, his gaze dropping to the ground. The quick denial had been too sharp, too reflexive, and now he felt cornered by his own reactions.

“I’m not,” he insisted again. “I just... I mean, I've read a lot about it. You know, studies, research papers, it's nothing personal."

Emily nodded slowly, not entirely convinced but choosing not to push further. "If you say so.”

Her eyes lingered on him for a while, and when she realized the conversation wasn’t going anywhere, she turned around and left him.

“Where are you going?”

“Comforting her,” she called out, walking backward. “Something you should’ve done.”

He watched Emily walk away, her words stinging more than he wanted to admit. Then his eyes traveled to you, and it was as if you could sense his lingering stare, you looked up and met his gaze.

Anger. Annoyance. It was what he caught in your eyes before you quickly masked it with a neutral expression. The intensity of that brief exchange was enough to make him realize just how deep the rift between you had gone.

Spencer knew talking about it was the mature thing to do, but he also feared that bringing up that conversation might only open another can of worms. He felt stuck, unsure if addressing the issue would heal or harm. So he went back to being a coward and turned in the opposite direction.

It was for the better. You didn’t want to talk to him anyway.

[comicaurora]

hi red!! i'm doing an analysis of sun wukong's (and journey to the west in general's) impact on modern culture for my world mythology final, and for some reason i'm having a hard time finding sources. is there anything you can recommend?

The fact that Journey to the West has contributed an enormous number of tropes to modern media is very clear when the media in question is examined, but I don't know of a specific secondary source that's already done that analysis for you. However, this IS a very good excuse for you to plow through a metric buttload of shonen manga, since the lineage is basically Sun Wukong -> Son Goku -> like a solid third of all shonen action heroes written in the last forty years.

Dragon Ball kicks things off:

Started in 1984 and almost unquestionably the most influential manga ever made. Its first arc features the weird super-strong monkey-kid Son Goku - which is just the japanese pronunciation of the characters of Sun Wukong's name - meeting up with a wacky crew of thinly-veiled expys of the Journey to the West crew, with teen inventor Bulma filling the role of Tripitaka, Oolong the pig-man filling Zhu Bajie's role and Yamcha the desert-based bandit as Sha Wujing.

Hijinks ensue, and while the story drifts pretty far from Journey to the West's original plot, it actually stays pretty solidly referential in weirdly unexpected ways. Several the villains of the week are JttW references, and even the later appearance of three more Saiyans lines up with the surprise reveal of three more Wukong-like mystical apes in the original story.

The connection between Dragon Ball and JttW is very unsubtle and a frequent reference in the chapter covers and supplemental art.

Not every subsequent JttW reference is the result of Dragon Ball popularizing it or anything, since it was already enormously popular, but I think it's pretty hard to extricate Dragon Ball's influence on anime and manga from the original influence of Journey to the West itself.

One way that a distinction can be drawn is in the differences in characterization between Goku and Sun Wukong himself. A lot of the next generation of shonen protagonists were kind of Goku-alikes - pure-hearted dumbasses who only care for the three Fs: Food, Fighting and Friendship.

But the original characterization of Sun Wukong is not really all that similar. He's a trickster, sure, but he's far from a young, friendship-motivated goober. He's profoundly intelligent, pretty much the most well-educated entity on the planet, and routinely brings up that he's centuries older than most of his peers. The Goku-alikes from the later decades of shonen anime are tellingly far-removed from that original characterization. So you get characters based on Goku's cheerful idiocy, but it's just a small subset of the broader influence of Journey to the West on the space of literature.

In general, Journey to the West frequently shows up in very small, bite-sized tropes in other stories. It's less "this is wholly based on Journey to the West" and more "oh, I know where they maybe got this idea/aesthetic/power/weapon/villain of the week from." There are way too many to list, but some of the ones that tend to jump out at me are-

Sneaky characters with monkey motifs:

Tricksy, highly mobile characters who fight with a staff:

Characters afflicted with a magical restraint artifact that allows a much weaker character to stop them from misbehaving:

Specific esoteric weapons, eg. magical fans, rakes, gourds, namedropping The Sword of Seven Stars, etc.

Villains with prominent ox or pig design motifs:

Characters whose primary combat strat is just making Shitloads Of Disposable Copies Of Themselves:

Honestly it just keeps going like this. It's kinda everywhere. Finding the JttW in things is my favorite conspiracy theory rabbit hole because it's 100% harmless and more often than not completely correct.

[wisteria-lodge]

Manipulative/Morally Grey Dumbledore? An In-Depth Canon Analysis

So when I look at Harry Potter, my goal is to separate what I think the books are intending to say, from what they actually say, from what the movies say… and what the common fan interpretation is. So today I’m interested in Dumbledore, and specifically in the common headcanon of  Manipulative/Morally Gray Dumbledore. Is that (intentionally or unintentionally) supported by the text?

PART I:  Omniscient Dumbledore

“I think he knows more or less everything that goes on here”

In Book 1, yes Dumbledore honestly does seem to know everything. He 100% arranged for Harry to find the Mirror of Erised, publicly left Hogwarts in order to nudge Quirrell into going after the Stone, and knew what Quirrell was doing the whole time. It is absolutely not a stretch, and kind of heavily implied, that the reason the Stone’s protections feel like a little-end-of-the-year exam designed to put Harry through his paces… is because they are. As the series goes on this interpretation only gets more plausible, when we see the kind of protections people can put up when they don’t want anyone getting through. 

Book 1 Dumbledore knows everything… but what he’s actually going to do about it is anyone’s guess. One of the first things we learn is that some of Dumbledore’s calls can be… questionable. McGonagall questions his choice to leave Harry with the Dursleys, Hermione questions his choice to give Harry the Cloak and let him go after the Stone, Percy and Ron both matter-of-factly call him “mad.” The “nitwit, blubber, oddment, tweak” speech is a joke where Dumbledore says he’s going to say a few words, then literally does say a few (weird) words. I know there are theories that those particular words are supposed to be insulting the four houses, or referencing the Hogwarts house stereotypes, or that they’re some kind of warning. But within the text, this is pure Lewis Carroll British Nonsense Verse stuff (and people came up with answers to the impossible Alice in Wonderland “why is a raven like a writing desk” riddle too.) 

This characterization also explains a lot of Dumbledore’s decisions about how to run a school, locked in during Book 1. Presumably Binns, Peeves, Filch, Snape are all there because Dumbledore finds them funny, atmospheric, and/or character building. He's just kind of a weird guy.  He absolutely knew that Lockhart was a fraud in Book 2 (with that whole “Impaled upon your own sword, Gilderoy?” thing after Lockhart oblivates himself. ) So maybe he is also there to be funny/atmospheric/character building, or to teach Harry a lesson about fame, or because Dumbledore is using the cursed position to bump off people he doesn’t like. Who knows.

(I actually don’t think JKR had locked in “the DADA position is literally cursed by Voldemort” until Book 6. )

Dumbledore absolutely knows that Harry is listening in when Lucius Malfoy comes to take Hagrid to Azkaban, and it’s fun to speculate that maybe he let himself get fired in Book 2 as part of a larger plan to boot Lucius off the Board of Governors. So far, that’s the sort of thing he’d do.  But in Books 3 and 4, we are confronted with a number of important things that Dumbledore just missed. He doesn’t know any of the Marauders were animagi, he doesn’t know what really happened with the Potter’s Secret Keeper, doesn’t know Moody is Crouch, and doesn’t know the Marauders Map even exists. But in Books 5 and 6, his omniscience does seem to come back online. (In a flashback, Voldemort even comments that he is "omniscient as ever” when Dumbledore lists the specific Death Eaters he has in Hogsmeade as backup.) Dumbledore knows exactly what Draco and Voldemort are planning, and his word is taken as objective truth by the entire Order of the Phoenix - who apparently only tolerate Snape because Dumbledore vouches for him:

“Snape,” repeated McGonagall faintly, falling into the chair. “We all wondered . . . but he trusted . . . always . . . Snape . . . I can’t believe it. . . .”  “Snape was a highly accomplished Occlumens,” said Lupin, his voice uncharacteristically harsh. “We always knew that.”  “But Dumbledore swore he was on our side!” whispered Tonks. “I always thought Dumbledore must know something about Snape that we didn’t. . . .”  “He always hinted that he had an ironclad reason for trusting Snape,” muttered Professor McGonagall (...) “Wouldn’t hear a word against him!”

McGonagall questions Dumbledore about the Dursleys, but not about Snape. I see this as part of the larger trend of basically Dumbledore’s deification. In the beginning of the series, he’s treated as a clever, weird dude. By the end, he’s treated like a god. 

PART II: Chessmaster Dumbledore

“I prefer not to keep all my secrets in one basket.”

When Dumbledore solves problems, he likes to go very hands-off. He didn’t directly teach Harry about the Mirror of Erised - he gave him the Cloak, knew he would wander, and moved the Mirror so it would be in his path. He sends Snape to deal with Quirrell and Draco, rather than do it himself. He (or his portrait) tells Snape to confund Mundungus Fletcher and get him to suggest the Seven Potters strategy. He puts Mrs. Figg in place to watch Harry, then ups the protection in Book 5 - all without informing Harry. The situation with Slughorn is kind of a Dumbledore-manipulation master class - even the way he deliberately disappears into the bathroom so Harry will have enough solo time to charm Slughorn. Of course he only wants Slughorn under his roof in the first place to pick his brain about Voldemort… but again, instead of doing that himself, he gets Harry to do it for him. 

Dumbledore has a moment during Harry’s hearing during Book 5 (which he fakes evidence for) where he informs Fudge that Harry is not under the Ministry’s jurisdiction while at Hogwarts. Which has insane implications. It’s never explicitly stated, but as the story goes on, it at least makes sense that Dumbledore is deliberately obscuring how powerful he is, and how much influence he really has, by getting other people to do things for him. But the problem with that is because he is so powerful, it become really easy for a reader to look back after they get more information and say… well if Dumbledore was controlling the situation… why couldn’t he have done XYZ. Here are two easy examples from Harry’s time spent with the Dursleys:

1. Mrs. Figg is watching over Harry from day one, but she can’t tell him she’s a squib and also she has to keep him miserable on purpose:

“Dumbledore’s orders. I was to keep an eye on you but not say anything, you were too young. I’m sorry I gave you such a miserable time, but the Dursleys would never have let you come if they’d thought you enjoyed it. It wasn’t easy, you know…”

It’s pretty intense to think of Dumbledore saying “oh yes, invite this little child over and keep him unhappy on purpose.” But okay. It’s important to keep Harry ignorant of the magical world and vice versa. fine. But once he goes to Hogwarts… that doesn’t apply anymore?  I’m sure when Harry thinks he’s going to be imprisoned permanently in his bedroom during Book 2, it would’ve been comforting to know that Dumbledore was sending around someone to check on him. And when he literally runs away from home in Book 3… having the address of a trusted adult that he could easily get to would have been great for everybody. 

2. When Vernon is about to actually kick Harry out during Book 5, Dumbledore sends a howler which intimidates Petunia into insisting that Harry has to stay. Vernon folds and does exactly what she says. If Dumbledore could intimidate Petunia into doing this, then why couldn’t he intimidate her into, say - giving Harry the second bedroom instead of a cupboard. Or fixing Harry’s glasses. In Book 1, the Dursleys don’t bother Harry during the entire month of August because Hagrid gives Dudley a pig’s tail. In the summer between third and fourth year, the Dursleys back off because Harry is in correspondence with Sirius (a person they fear.) But the Dursleys are afraid of all wizards. Like at this point it doesn’t seem that hard to intimidate them into acting decently to Harry. 

PART III: Dumbledore and the Dursleys 

“Not a pampered little prince”

JKR wanted two contradictory things. She wanted Dumbledore to be a fundamentally good guy: a wise, if eccentric mentor figure. But she also wanted Harry to have a comedically horrible childhood being locked in a cupboard, denied food, given broken glasses and ill fitting/embarrassing clothes, and generally made into a little Cinderella. Then, it’s a bigger contrast when he goes to Hogwarts and expulsion can be used as an easy threat. (Although the only person we ever see expelled is Hagrid, and that was for murder.)

So, there are a couple of tricks she uses to make it okay that Dumbledore left Harry at the Dursleys.’ The first is that once Harry leaves…  nothing that happens there is given emotional weight. When he’s in the Wizarding World, he barely talks about Dursleys, barely thinks about them. They almost never come up in the narration (unless Harry’s worried about being expelled, or they’re sending him comedically awful presents.) They are completely cut from the last three Harry Potter movies, and you do not notice. 

The second trick… is that Dumbledore himself clearly doesn’t think that the Dursleys are that bad. During the King’s Cross vision-quest, he describes 11-year-old Harry as “alive and healthy (...) as normal a boy as I could have hoped under the circumstances. Thus far, my plan was working well.”  

Now, this could have been really interesting. Like in a psychological way, I get it. Dumbledore had a rocky home life. Dad in prison, mom spending all her time taking care of his volatile and dangerous sister. Aberforth seems to have reacted to the situation by running completely wild, it’s implied that he never even had formal schooling… and Albus doubled down on being the Golden Child, making the family look good from the outside, and finding every means possible to escape. I would have believed it if Molly or Kingsley had a beat of being horrified by the way the Dursleys are treating Harry… but Dumbledore treats it as like, whatever. Business as usual. 

But that isn’t the framing that the books use. Dumbledore is correct that the Dursleys aren’t that bad, and I think it’s because JKR fundamentally does not take the Dursleys seriously as threats. I also think she has a fairly deeply held belief that suffering creates goodness, so possibly Harry suffering at the hands of the Dursleys… was necessary? To make him good? Dumbledore himself has an arc of ‘long period of suffering = increased goodness.’ So does Severus Snape, Dudley‘s experience with the Dementor kickstarts his character growth, etc. It’s a trope she likes.

It’s only in The Cursed Child that the Dursleys are given any kind of weight when it comes to Harry’s psyche. This is one of the things that makes me say Jack Thorne wrote that play, because it’s just not consistent with how JKR likes to write the Dursleys. It’s consistent with the way fanfiction likes to write the Dursleys. And look, The Cursed Child is fascinatingly bad, I have so many problems with it, but it does seem to be doing like … a dark reinterpretation of Harry Potter? And it’s interested in saying something about cycles of abuse. I can absolutely see how the way the play handles things is flattering to JKR. It retroactively frames the Dursleys’ abuse in a more negative way, and maybe that’s something she wanted after criticism that the Harry Potter books treat physical abuse kind of lightly. (i.e.  Harry at the hands of the Dursleys, and house-elves at the hands of everybody. Even Molly Weasley “wallops” Fred with a broomstick.) 

PART IV: Dumbledore and Harry

“The whole Potter–Dumbledore relationship. It’s been called unhealthy, even sinister”

So whenever Harry feels betrayed by Dumbledore in the books - and he absolutely does, it’s some of JKR’s best writing  - it’s not because he left him with the Dursleys. It’s because Dumbledore kept secrets from him, or lied to him, or didn’t confide in him on a personal level. 

“Look what he asked from me, Hermione! Risk your life, Harry! And again! And again! And don’t expect me to explain everything, just trust me blindly, trust that I know what I’m doing, trust me even though I don’t trust you! Never the whole truth! Never!” (...) I don’t know who he loved, Hermione, but it was never me. This isn’t love, the mess he’s left me in. He shared a damn sight more of what he was really thinking with Gellert Grindelwald than he ever shared with me.”

Eventually though, Harry falls in line with the rest of the Order, and treats Dumbledore as an all-knowing God. And this decision comes so close to being critiqued…  but the series never quite commits. Rufus Scrimgeour comments that, “Well, it is clear to me that [Dumbledore] has done a very good job on you” - implying that Harry is a product of a deliberate manipulation,  and that the way Harry feels about Dumbledore is a direct result of how he's been controlling the situation (and Harry.)  But Harry responds to “[You are] Dumbledore’s man through and through, aren’t you, Potter?” with “Yeah. I am. Glad we cleared that up,” and it’s treated as a badass, mic drop line. 

Ron goes on to say that Harry maybe shouldn’t be trusting Dumbledore and maybe his plan isn’t that great… but then he abandons his friends, regrets what he did, and is only able to come back because Dumbledore knew he would react this way? So that whole thing only makes Dumbledore seem more powerful? Aberforth  tells Harry (correctly) that Dumbledore is expecting too much of him and he’s not interested in making sure that he survives:

“How can you be sure, Potter, that my brother wasn’t more interested in the greater good than in you? How can you be sure you aren’t dispensable (...) Why didn’t he say… ‘Take care of yourself, here’s how to survive’? (...) You’re seventeen, boy!”

But, Aberforth is treated as this Hamish Abernathy type who has given up, and needs Harry to ignite his spark again. There’s a pretty dark line in the script of Deathly Hallows Part 2:

Which at least shows this was a possible  interpretation the creative team had in their heads… but then of course it isn’t actually in the movie. 

So in the end, insane trust in Dumbledore is only ever treated as proper and good. Then in Cursed Child they start using “Dumbledore” as an oath instead of “Merlin” and it’s weird and I don’t like it.

PART V: Dumbledore and his Strays

“I have known, for some time now, that you are the better man.”

So Dumbledore has this weird relationship pattern. He has a handful of people he pulled out of the fire at some point and (as a result) these people are insanely loyal to him.  They do his dirty work, and he completely controls them. This is an interesting pattern, because I think it helps explain why so many fans read Dumbledore’s relationship with Snape (and with Harry) as sinister. 

Let’s start with the first of Dumbledore’s “strays.” Dumbledore saves Hagrid's livelihood and probably life after he is accused of opening the Chamber of Secrets - and then he uses Hagrid to disappear Harry after the Potters' death, gets him to transport the Philosopher’s Stone, and he’s the one who he trusts to be Harry’s first point of contact with the Wizarding World.  Also, Hagrid's situation doesn’t change? Even after he is cleared of opening the Chamber of Secrets, he keeps using that pink flowered umbrella with his broken wand inside, a secret that he and Dumbledore seem to share. He could get a legal wand, he could continue his education. But he doesn’t seem to, and I don’t know why. 

So, Harry Potter and the Methods of Rationality is a well known fix-it fic that basically asks “What if Harry Potter was a machiavellian little super genius who solves the plot in a year?” I enjoyed it when it was coming out, but the only thing I would call a cheat is the way McGonagall brings Harry to Diagon Alley instead of Hagrid. Because a Harry Potter who has spent a couple of days with McGonagall is going to be much better informed, better equipped and therefore more powerful than a Harry spending the same amount of time with Hagrid. McGonagall is both a lot more knowledgeable and a lot less loyal to Dumbledore. She is loyal, obviously, but she also questions his choices in a way that Hagrid never does. And as a result, Dumbledore does not trust her with the same kind of delicate jobs he trusts to Hagrid.

Mrs. Figg is another one of Dumbledore’s strays. She’s a squib, so we can imagine that she doesn’t really have a lot of other options, and he sets her up to keep tabs on (and be unpleasant to) little Harry. He also has her lie to the entire Wizangamot, which has got to present some risk. Within this framework, Snape is another very clear stray. Dumbledore kept him out of Azkaban, and is the only reason that the Order trusts him. He gets sent on on dangerous double-agent missions… but before that he’s sort of kept on hand, even though he’s clearly miserable at Hogwarts. Firenze is definitely a stray - he can't go back to the centaurs, and who other than Dumbledore is going to hire him? And I do wonder about Trelawney. We don’t know much about her relationship with Dumbledore, but I wouldn’t be at all surprised if she was a stray as well.

I think there was an attempt to turn Lupin into a stray that didn’t… quite work. He is clearly grateful to Dumbledore for letting him attend Hogwarts and then for hiring him, but Lupin doesn’t really hit that necessary level of trustworthy that the others do. Most of what Dumbledore doesn’t know in Book 3 are things that Lupin could have told him, and didn’t. If had to think of a Watsonsian reason why Remus is given all these solo missions away from the other Order members (that never end up mattering…) it’s because I don’t think Dumbledore trusts him that much. Lupin doubts him too much. 

“Dumbledore believed that?” said Lupin incredulously. “Dumbledore believed Snape was sorry James was dead? Snape hated James. . . .”

 We also see Dumbledore start the process of making Draco into a stray by promising to protect him and his parents. And with all of that… it’s kind of easy to see how Harry fits the profile. He has a very bleak existence (which Dumbledore knows about.) He is pulled out of it by Dumbledore’s proxies. It’s not surprising that Harry develops a Hagrid-level loyalty, especially after Dumbledore saves him from Barty, from his Ministry hearing, and then from Voldemort. Harry walks to his death because Dumbledore told him too. 

Just to be clear, I don’t think this pattern is deliberate. I think this is a side effect of JKR wanting to write Dumbledore as a nice guy, and specifically as a protector of the little guy. But Dumbledore doing that while also being so powerful creates a weird power dynamic, gives him a weird edit. It’s part of the reason people are happy to go one step farther and say that the Dursleys were mean to Harry… because Dumbledore actively wanted it that way.  I don’t think that’s true. I think Dumbledore loves his strays and if anything, the text supports the idea that he is collecting good people, because protecting them and observing them serves some psychological function for him. Dumbledore does not believe himself to be an intrinsically good person, or trustworthy when it comes to power. So, of course someone like that would be fascinated by how powerless people operate in the world, and by people like Hagrid and Lupin and Harry, who seems so intrinsically good. 

PART VI - Dumbledore and Grindelwald

“I was in love with you.” 

I honestly see “17-year-old Dumbledore was enamored with Grindelwald” as a smokescreen distracting from the actual moral grayness of the guy. He wrote some edgy letters when he was a teenager, at least partly because he thought his neighbor was hot. He thought he could move Ariana, but couldn’t - which led to the chaotic three-way duel that killed her. 

One thing I think J. K. Rowling does understand pretty well, and introduces into her books on purpose, is the concept of re-traumatization. Sirius in Book 5 is very obviously being re-traumatized by being in his childhood home and hearing the portrait of his mother screaming. It’s why he acts out, regresses, and does a number of unadvisable things. I think it’s also deliberate that Petunia’s unpleasant childhood is basically being re-created: her normal son next to her sister’s magical son. It's making her worse, or at the very least preventing her from getting better. We learn that Petunia has this sublimated interest in the magical world, and can even pull out vocab like “Azkaban” and “Dementor” when she needs to.   She wrote Dumbledore asking to go to Hogwarts, and I could see that in a universe where Petunia didn’t have to literally raise Harry, she wouldn’t be as psychotically into normalness, cleanliness, and order as she is when we meet her in the books. After all, JKR doesn’t like to write evil mothers. She will be bend over backwards so her mothers are never really framed as bad.

And I honestly think it’s possible that J. K. Rowling was playing with the concept of re-traumatiziation when she was fleshing out Dumbledore in Book 7. We learn all this backstory, that… honestly isn’t super necessary? All I’m saying is that the three-way duel at the top of the Astronomy Tower lines up really well with the three-way duel that killed Ariana. Harry is Ariana, helpless in the middle. Draco is Aberforth, well intentioned and protective of his family - but kind of useless, and kind of a liability. Severus is Grindelwald, dark and brilliant, and one of the closest relationships Dumbledore has. If this was intentional, it was probably only for reasons of narrative symmetry… but I think it's cool in a Gus Fring of Breaking Bad sort of way, that Dumbledore (either consciously or unconsciously) has been trying to re-create this one horrible moment in his life where he felt entirely out of control. But the second time it plays out… he can give it what he sees as the correct outcome. Grindelwald kills him and everyone else lives. That is how you solve the puzzle.

If you read between the lines, Dumbledore/Grindelwald is a fascinating love story. I like the detail that after Ariana’s death, Dumbledore returns to Hogwarts because it’s a place to hide and because he doesn’t feel like he can be trusted with power. I like that he sits there, refusing promotions, refusing requests to be the new Minister of Magic, refusing to go deal with the growing Grindelwald threat until he absolutely can’t hide anymore, at which point he defeats him (somehow.) I like reading his elaborate plan to break Elder Wand’s power as both a screw-you Grindelwald, the wand’s previous master, but also as a weirdly romantic gesture. In Albus Dumbledore’s mind, there is only Grindelwald. Voldemort can’t even begin to compare. I like the detail that Grindelwald won’t give up Dumbledore, even under torture. And, Dumbledore doesn’t put him in Azkaban. He put him in this other separate prison, which always makes it seem like he’s there under Dumbledore authority specifically.  Maybe Dumbledore thinks that if he had died that day instead of Ariana…he wouldn’t have had to spend the rest of his life fighting and imprisoning the man he loves.

And then of course, Crimes of Grindelwald decided to take away Dumbledore's greatest weakness and say that no, actually he was a really good guy who never did anything wrong ever.  He went all that time without fighting Grindelwald because they made a magical friendship no-fight bracelet. Dumbledore is randomly grabbing Lupin’s iconography (his fashion sense, his lesson plans, his job) in order to feel more soft and gentle than the person the books have created. Now Dumbledore knows about the Room Requirement, even though in the books it’s a plot point that he's too much of a goody-two-shoes to have ever found it himself. He loved Grindelwald (past tense.) And Secrets of Dumbledore is mostly about him being an omniscient mastermind so that a magical deer can tell him that he was a super good and worthy guy, and any doubt that he’s ever felt about himself is just objectively wrong and incorrect. Also now Aberforth has a neglected son, so he’s reframed as a bit of a hypocrite for getting on his brother’s case for not protecting Harry. 

So to summarize, I think Dumbledore began the series as this very eccentric, unpredictable mentor, whose abilities took a hit in Books 3 and 4 in order to make the plot happen. He teetered on the edge of a ‘dark’ framing for like a second… but at the the end of the series he's written as basically infallible and godlike. I’ve heard people say that JKR’s  increased fame was the reason she added the Rita Skeeter plot line, and I don’t think that’s true. But I do think her fame may have affected the way she wrote Dumbledore. Because Dumbledore is JKR’s comment on power, and by Book 5 she had so much power. In her head, I don’t think that Dumbledore is handing off jobs in a manipulative way. She sees him as empowering other less powerful people. That is his job as someone in power (because remember - people who desire power shouldn't wield it.)

Dumbledore’s power makes him emotionally disconnected from the people in his life, it makes him disliked and distrusted by the Ministry, but it doesn’t make him wrong. That’s important. Dumbledore is never wrong. Dumbledore is always good. That’s why we get the Blood Pact that means he was never weak or procrastinating. That’s why we get the qilin saying he was a good person. It’s why we get the tragic backstory (because giving Snape a tragic backstory worked wonders when it came to rehabilitating him.) And that is why Harry names his son Albus Severus in the epilogue, to make us readers absolutely crystal clear that these two are good men. 

[atticsandwich]

i am too tired and stuck at work to make a proper post regarding my feelings for the recent announcement, but to keep it simple: though i am thankful for the work the storywriters, artists, voice actors, composers, and devs have done for the game, i remain extremely disappointed at solmare.

obey me is a one of a kind game. though it marketed itself as an otome, it welcomed players of all backgrounds and created a world where the players can fully immerse themselves into. It remains one of the very few mainline otome-style gacha games to be inclusive of sexuality and gender, which is usually unheard of in the genre.

they had such a good thing going on for them— massive potential, content value, world and lore exploration, and to throw it all out in the guise of "a new era" is frankly, a spit on the face for fans.

again, i respect and admire the work and effort of the people who worked on the game, it couldn't have been easy considering the turnaround of events and nightmares and constant changes to the app. however, that gratefulness will not cloud me from feeling devastated.

i won't push any conspiracies or theories as to why this happened, or echoings of people who felt like the devs abandoned the game for money. i will, however, say that i am bitter, and will continue to be.

despite that, i still love obey me. i love the cast, the story, the community— i've always firmly believed that the community was what made the series feel alive; there was always something new to read, an artwork to appreciate, a theory or analysis to dive into. and that won't change! it's people like you guys that keep the game alive.

as for me, i'll keep writing mephisto. if solmare won't make him a canon dateable, i'll do it with my own hands, idc.

[eroguron0nsense]

The Mysterious Mysteries of Mr Sir Crocodile (Character Analysis)

(Apologies in advance for discrepancies from my usual tone and for holding off on everyone who voted for this on my last poll. Honest to God I hope y'all enjoy this in some capacity because I've been procrastinating on this meta so long it's derailed ALL my other One Piece writing and I only accomplished it through addy-fuelled mania)

This was such a fucking pain to write. I really wanted to say something about Crocodile and what makes him so fascinating that wasn't like, another fan theory or just a set of headcanons, but that's easier said than done?? We could boil it down to immaculate design, screen presence, attitude, or just the fact that he got brought back as an unlikely ally who shocked everyone by saving the protagonist, but I don't know that those factors in and of themselves make for a villain who's become such an object of fandom obsession.

Whatever it is, it's certainly not backstory or depth, because 24 years and hundreds and hundreds of chapters after his introduction, we still know nothing about Sir Crocowani's past beyond a vague confrontation with the Late Great Edward Newgate (that apparently like, ruined his dreams or something?), and some totally-not-just-a-threat-to-out-him-if-he-betrayed-the-alliance blackmail material the Queen of the Queers is holding over his sandy reptilian ass. I was born and grew into adulthood in the time it took Oda to tell the world fuck all about where he's from or his inner thoughts, or his actual honest motivations and traumas.

All we have about this character are questions. Why did he save Luffy and Ace –very conspicuously after both of their lineages were revealed to the world– against all logic and reason? Does he have ties to the revolutionaries? Is he the long-lost son of Rocks D. Xebec? Did he bounce on Comrade Dragon's Monkey D and squirt out the fucking Warrior of Liberation? I assume Oda's going to tell us more about him, but at this point, he's managed to keep a tighter lid on Sir Crocs, Inc.'s past than the fucking Secret History

You may be wondering, dear reader: what the fuck is my point? What is there, at this final stage of Long Running Pirate Manga, for me–Frankie EroGuroNonsense, OP Tumblr Community Z-lister with like, 7 mildly popular meta posts under my belt–to write about the legendary Sir Krokorok that hasn't already been said or theorized? What eagle-eyed observations did I make while rereading Alabasta and writing toxic Crobin fanfic? Am I going anywhere with this? Sorta. Yeah.

Let's start with listing things we actually know about Crockpot, in roughly chronological (??) order: –attended Gol D.'s execution way back when he was my age, along with anyone else who's anyone from his generation.

–At some point, met and was known well enough by Iva that she could effectively blackmail him

–Made it far enough on the Grand Line, somehow getting to the New World, and managed to pick up an 81,000,000 bounty (low end for a warlord, presumably scouted fairly early in his career)

–Wanted to be Pirate King until he gave up on it, not 100% explicitly confirmed but most likely due to getting his ass beat so badly by Whitebeard that he settled for picking off small fry and racketeering behind a government desk job. This makes him profoundly relatable to the rest of us depressed fucking losers who acquiesce to our own mediocrity.

–At 30, after presumably licking his wounds for a hot minute, sets up shop in Alabasta, comes up with a clever evil plan to quietly build up enough arms to conquer the world with a WMD, and then gets his years-long bioterrorist coup attempt foiled by a 17-year-old.

The rest we know: after a brief moment of glory as the unsung MVP of Impel Down/Marineford, he immediately reverts to Failguy Mode, gives all his money to a literal clown, and consequently gets roped into the neverending uncontrollable PR nightmare that is Cross Guild. It's still super vague and we know little to nothing about his past before the Alabasta Saga (for all we know he had a fling with King Cobra)

...Onto his personality and mannerisms. This shit's a lot more revealing. Superficially, he's everything: immaculate Bond villain levels of charismatic villainy, unbelievably ostentatious, dripped out like a Pimp, constantly smoking cigars, absolutely dripping with smugness and grease and disdain. Owns exotic pets and a giant casino, and spends every waking moment either grinning like a maniac when he's got the upper hand or storming around in a fucking mood when anything goes mildly wrong.

He's also pretty hardened underneath all that, obviously couldn't have lived a day on the grand line or survived Impel Down Torture otherwise. But even in Alabasta, Crockery gives off an air of being distinctly more grounded and willing to get his hands dirty than other flashy, established villains who flaunt their wealth and status. A big part of it is just his really hyper-masculine indomitable tough guy persona, but even early on he's very much micromanaging his operation, fighting people hand to hand in (as opposed to, say, Doffy, who literally puppeteers people while lounging around) and makes a point to keep almost all of his followers at a distance and rely on them as little as possible. He rants a bit about how dreams and whatnot are pointless follies, as One Piece antagonists tend to do, and repeatedly taunts Vivi about how her idealism can't save her, but with the context that he wanted to find Laughtale himself, it feels a lot like projection.

The character trait that's harped on a LOT in canon, and probably the most pertinent one to whatever demons he has, is Croconaw's profound pathological distrust for everyone around him. It's a huge part of what makes him a good early foil to the Nefertari family and the Straw Hats, whose collective strength is derived from organic human connection; Crocalor, by contrast, makes sure that up until the very last moment, he keeps most of his people so distant from him that they genuinely have no idea he's even their boss. His relationship with Robin is interesting, but he turns on her immediately when he realizes she either can't or won't give him the location of Pluton and has his dramatic stabbing/"I forgive you" lines about how he never trusted her or anyone from the start. He says the same shit to Mihawk when he suggests they join forces, even citing their mutual distrust as a kind of paradoxical justification for why they'd actually work well together.

Arguably the only exception is Daz Bones, but even that relationship is still a pretty reserved one; one of the few traits Daz exhibits is a similar avoidance of human connections to his boss and even though they've ironically formed a bond despite it, I can't imagine that they're emotionally close. I find these more explicit declarations of paranoia a lot less indicative of what's actually going on in Croconut's head than subtext, but I feel inclined to mention them just because it more or less tells us that his background/trauma has something to do either with betrayal or alternatively just being jaded and deprived to the point of self-isolation.

Krookodile's character gets a little bit more interesting when we get to see him again in Impel Down being a smug little manipulative rascal right up until he gets blackmailed by his endocrinologist, which is definitely medical malpractice but also funny as hell. I also appreciate that literally the first thing he does after getting out of his cell is change into a big coat and cravat to keep up appearances, but it's not until Marineford proper that things get really complicated. Saving Luffy and Ace is the first selfless thing we see Crobat do–while yelling at Luffy that he needs to protect what matters to him properly, no less– and he just keeps fighting for them after that, teaming up with his most hated rival crew to cover Luffy's retreat and telling the entire WG to go fuck itself multiple times over. He fights everyone on sight with no regard for his own safety, talks mad shit to Doffy, and demonstrates a genuinely compelling amount of honest to god chivalry.

For a short time, we see Crocomotive less as a really entertaining cartoon villain and more as a person with hidden, profound emotions and a confusing moral code that's seemingly incompatible with the vicious little creature we met in Alabasta. We come to understand, in a few very brief lines that give us way more questions than answers, that Cromagnon has deep-seated, emotional convictions he actively suppresses, and that whatever baggage he has is probably tied to wanting to or failing to save something of his own. His resentment of Newgate, who he really really wants to have a go at (despite theoretically no longer caring about the ambitions of his youth) is indicative of a desire to revisit the fight that probably ruined his dream and ego, but it's also tinged with a deep-seated grudging respect for a living legend.

Crock–Afire Explosion's obvious seething hatred of Doffy also gives us a few more insights into what's wrong with him. On a surface level, it makes sense that he dislikes a profoundly obnoxious, even flashier fellow warlord who achieved more or less the same goal he set out to in a shorter time, fucks with his business, and then mocks him/tries to recruit him right after his very public defeat and imprisonment. He postures a lot, especially with his lines insisting he's on a higher level and that Doffy could only ever join him as a subordinate, but he's visibly steamed in their initial encounter and clearly hasn't liked him for quite some time. I bring this up because if we stretch our interpretation a little (for the sake of my argument), Croc Holliday's distaste for someone who's (outwardly) so much like himself and embodies all of his villainous characteristics from back in Alabasta might also suggest that deep down, he doesn't actually like the things they have in common; he sees right through Doffy because he's done the same shit and he hates what he sees.

Having gone over all that, I've come up with some key characteristics of Crocomelon that I'll use going forward:

–Extremely performative: puts an ungodly amount of energy into maintaining a carefully curated persona, and projecting a certain amount of power, masculinity, and prestige. Not necessarily an unnatural or inauthentic one, but a constructed and purposeful one nonetheless

–Deep-seated paranoia, hidden secrets; probably intertwined. Keeps personal details on tight, tight lockdown, probably afraid of being known.

–Constant projection of his own insecurities and failures onto other people, making a point to be uniquely cruel in Alabasta to an idealist who loves her people and a dreamer who wants to be the Pirate King.

Ironically, he demonstrably respects and defends two people–Luffy and Whitebeard–who theoretically embody everything he hates or scorns (ambition, goodness, love, connection, romanticism, greatness in the traditional sense) and he intensely dislikes the villain most like himself, or at least the one who shares a lot of his worst characteristics (ostentatious manipulative scheming rat bastard backed by people stronger than himself) –The Grinch's heart grew three sizes at Marineford because of like, the compelling power of brotherly love and reminders of his youth or something

SPECULATION, CONCLUSIONS??

The difficulty with writing anything definitive about Crocko's Basilisk is that he's such a mystery, which functionally lets the fanbase project literally whatever weird personality traits, potential backstories, or anything else they could possibly come up with onto him. So I want to be clear that I have absolutely no interest in theorizing about the specifics of his past or secret identity or potential baby daddy or anything along those lines; I'm only interested in what we can infer about his personality by extrapolating from canon. And the conclusion I keep coming back to, the one that I'm convinced is true on some level, is that Crocodile is living a lie and he fucking hates himself. Everything he does, from how he acts to what he claims to believe, is a desperate effort to cope with his own insecurity and failure and cover up a past version of himself he's deeply ashamed of.

Now, unfortunately, Oda did not conceive of Crocodile as a trans man but stories belong to the people and we can do what we want let's forget about that and play it straight because he's constantly performing gender as a means of compensating for a deep-seated shame and self-loathing from whatever traumas and secrets he keeps hidden. Even assuming he's a cis man, he deliberately chooses a hypermasculine persona with a Capital V Villain moniker and pimp outfit and speech pattern he's carefully curated to project masculine power–physical, political, and financial–and we know it's performance because we see him break kayfabe and get legitimately fucking angry whenever he's confronted by a person like Luffy, who's crazy and brave enough to try and do what he couldn't and risk everything for love and hope that he cannot bring himself to feel for another person, or reminders of the past he tries so desperately to bury.

The lessons he's wrongfully obtained from his past are as follows: Idealism is a weakness. Dreaming is a weakness. Connections to other people and being known are crippling liabilities (If he is, in fact, trans and closeted, that's all the more reason to be existentially disgusted by what he used to be). All the hope he brought to the Grand Line, all the excitement of trying to carry on where Roger left off, needs to be purged and buried because all he got to show for it was loss and humiliation. But he can't stop wanting more, and ironically, after he gives up on conquering the Grand Line, he ends up chasing the same fucking poneglyphs and weapons because his ambition's still there; it's just compromised and much more jaded.

Everything he does that's seemingly contradictory makes sense when you realize that Crocodile resents his failure and wants to avenge himself. He makes a big show of talking down to Luffy and Vivi's petty ideals and shit-talking Newgate and his family, but he still wants to fight Whitebeard like he did way back when and help Luffy protect what matters to him. He hates Doffy, who's honestly just a more successful schemer than he is because it's a constant reminder of what he settled for when he took that warlord post and fucking gave up. He claims to trust no one, but he keeps Daz by his side and rewards his loyalty because he can't help but trust someone who respects him so deeply and follows him to the ends of the fucking earth long after losing the material incentive to do so. He claims to look down on people who aim for the stars and fight for love and joy and freedom and yet, in his most vulnerable moments–not in the face of violence or imprisonment, but when he's emotionally compelled to defend a child and help save his brother–we see how badly he wants that for himself.

TLDR: Crockman Holic is deeply insecure in his masculinity, desperately needs psychological help, and his character/potential redemption arc in One Piece is just dealing with his midlife crisis.

[antheshewro]

Levi Ackerman headcanon — (My) analysis on his intimacy

Each time I wander around Tumblr and I read about how AOT fans picture Levi in a sexual context, I see a lot of fanfictions of him being a dom and a master of sex—very dominant, rough, knows every single position in bed. Given that I respect people's personal headcanons when it comes to characters since those aren't absolutely hurtful to anyone, I felt like sharing my own headcanons on his sexuality.

If we read the manga and analyze Levi's background, there's nothing that tells us that he's a virgin or not. Unless Isayama would say he is (I don't think he specified it, correct me if I'm wrong), there's a big question mark on that matter. What I do believe is that Levi knows about sex. He is, to me, like Sheldon Cooper from The Big bang theory: he knows the basics. The media shows him as a bookworm, which leads me to think that some of his knowledge on that subject came from books that he read during his life. I do picture him as one that he began to read to fight against the picture he had about himself, as an Underground resident; later in life, he began to read because he enjoyed it and it relaxed him.

That being said, just like Sheldon Cooper approached the topic of sex, flirting and dating, Levi knows how men and women would flirt and the purpose behind it for example. He mostly sees it from his comrades and the people in the Underground, but even though he recognizes a certain flirty comment or attitude, it's just that. It's like he would talk about it like he's reading from a manual. That doesn't mean he lacks affection, he's one that always showed that he cares in his own way.

Here it comes the topic of sex. I previously stated that we don't know if Levi is a virgin or not unless Isayama makes it canon. In my honest opinion, he is. During all his life and since he was a kid living and growing up in the Underground, he mostly focused on surviving, filling his stomach and not getting physically abused (just like in the Bad Boy chapter). An important detail, however, is that his mother Kuchel was a prostitute. Now, houses in the Underground were surely cramped and small; think about when Kenny found little Levi, that house was surely small. Or even the scene in Bad Boy where he makes tea; that house most likely had a bedroom, kitchen and living room altogether. If it had other rooms, those were as small as ever. A kitchen that if two people fit inside would get stuck, or a bathroom that was a stall.

When Kuchel had her clients inside her house, I firmly believe she tried to protect her son by letting him hide somewhere. Little Levi learned to recognize the moments where his mother had to work, hiding in a spot where the men she "welcomed" there wouldn't see him or else, they'd leave and that meant no money. No lunch nor dinner. Or worse, some sick men would try to have his way with him (remember in Bad Boy when those men talked about him having the same "skills" as his mother and wanted to sell him? Also, he didn't seem to be unaware about what they were talking about. That means Levi knew about what his mom's job was).

Kuchel would teach little Levi to hide, cover his ears and wait until she was done. But sometimes, as we know, men are brutal with prostitutes. She got some violent ones, and as much as she tried to keep quiet, Levi would hear her. And when he would see how those men were doing to poor Kuchel, he got traumatized. He heard their lewd words, their slurs and curses, and that got Levi permanently traumatized. From that moment on, he would see sex as violence, pain, something hurtful. No matter if he would educate himself on the matter, the wounds would always be fresh. He got so sick of that scenery, that it was like something switched in him. With him joining the Scouts and everything he went through while being a soldier, he – of course – focused on his job and the people he unfortunately lost up until the final battle.

In terms of approach to his own sexual desires, I see him being conflicted. He's a man, a human being; he got aroused at least once, to me. But that would be it. He knows what his body is trying to tell him, but indulging in self pleasure would be just because he feels too overwhelmed by it. As if he feels itchy and needs to scratch.

He surely had women flirting and throwing themselves at him. Just like he said to Zeke, he had a few successes with ladies. But that didn't mean he slept with them; again, he could recognize he was popular and some shamelessly drooled after him. He knows what dates are (he said, somewhere in the manga, "hot titan date" which if we want to be obnoxiously meticulous, that means he knows what a date is. Oh well).

This is just a little rant and random headcanon I wanted to share after quite a long time of pondering if it was a good idea or not. Once more: that's just my personal headcanon on Levi. Feel free to agree, disagree or share your own if you want 🩵

[azure-arsonist]

This is such a great analysis if my laptop wasn't broken I'd be able to screenshot your tags too everyone definitely check them out!

I'm super sick right now but I want to put this out there maybe somebody with more energy can take a crack at it

I love Fmab and I've been subconsciously comparing mha to it as the story goes on (afo and father, how well they execute their overalls themes,comparing Roy and Endeavor's atonement arcs, etc) and something that struck me is the similar aspects of the final battle (ie everyone coming to help defeat the big bad, the final punch, the protagonist giving up a power that meant so much to them) and something that struck me is how greed's death compares to Tomura's obviously they're different characters and have different roles in the narrative but both have their bodies possessed by the big bad, both actively help weaken the big bad to aid the protagonist and both die. But greed's death is so much more satisfying as an end to his character than Tomura's, it's so much more impactful.

Idk there's definitely something to expand upon there something to sink your teeth into but I'm too sick right now you guys get what I'm saying though right? Pls I really wanna talk about this with somebody 🥺

[pastorfutureletthembe]

I actually started this blog for one post only. The theory is that the story we are following is currently the 5th timeline.

I would need to watch the donghua again to find hints in the show itself but for now this post is exclusively about the content we keep getting served as fanservice. Now, people nowadays see this word as negative but in this particular case, we are evidently caught in an ARG (Alternative Reality Game), which is AWESOME.

For those who aren't familiar with the concept, it is basically a treasure hunt outside of the original media. For example, if you gather enough clues during your playthroughs of OXENFREE, you'll find the coordinates of an actual place where a real object, a gift FOR FANS was hidden. In the context of Link Click, I believe the rules and answers regarding the worldbuilding are hidden in plainsight for us to discover!

I will make different posts on the clues in lyrics, but for now we're gonna have a talk about VISUALS only. And boy, do we have THINGS to talk about

First things first, let's start with

>>>>> Promotional posters.

I'm opening this analysis with this particular one because it is the most relevant to current events. Black circles are V and white ones are IV. The huge clock is the background isn't supposed to be oriented this way for starters. One V is where XII should be, which could mean our journey starts here. The other V is between Cheng Xiaoshi and Li Tianxi, on the light side, while both VI are on the dark side. Every other VI on this artwork is a broken piece taken out of a quadrant except for the one on the right near Qiao Ling which is still part of the biggest piece.

It is interesting that we don't see any clockhands here, only the quadrant, and the only whole number is 5, ONLY on CXS's introduction.

Not so subtil, the mirror or "painting" is labeled 'V'. Lu Guang is also looking directly at US, viewers.

Probably five lines of five x but we only see 3, of which only the first one got 5x. Four diformed shapes can be seen at LG's left, under V/VI, which could be the four previous failed timelines. You might notice that LINK CLICK is written 5times. The clock says 00:05. Oh, familiar, isnt it?

As you can see, the V is a light in the darkess at Lu Guang's feet. it is a broken piece, though. The fact it is the enlighted one could mean two things. 1) It marks the spot, where we're currently at. 2) Hope. I would argue that until then Cheng Xiaoshi always died and now, at the end of season 2, Lu Guang is in the dark because he never went that far.

VI is there too, in complete darkness, blocked from view by a ring. There is something to say about VII being completely obliterated but I honeslty don't know how meaningful that could be.

>>> It is my understanding that if a character change the past, it breaks the timeline. Past changed, present and future cannot be the same ever again. It doesn't create a new timeline like in MARVEL, there is actually no going back from a changing node, it unravels this world. Either it already happened, allegedly because of Lu Guang, or will happen in the next season, we can suppose that Timeline VI is the actual doomed one. The fact Cheng Xiaoshi is trapped is relevant too. Destroying Present and Future would trapped him in the Past, hence Come back from the dive back in time.

>>>>> Dive Back in Time

There are many things to say about this one, but I'll keep it simple since it's already a long post. Let's start with something a bit out of topic: colors. Why? It actually indicates that LG isn't from the same timeline than CXS and QL. And I swear it would be useful at the end of this post.

Blue and Red are on the same plan, no matter if we're talking about RGB or CMYK, but Green and Magenta are not. It's like CXS and QL are anchoring LG in this reality, but Magenta is not supposed to be part of the mix. Primary colors in photography are Red, Blue and Green; not Magenta. Since we're talking about photography and this is not the original timeline, I think it is intended.

I'll leave the count of squares to you (spoiler: either 5 or 3 (I'll explain this one in another post) :D).

>>>>> Overthink

I recommend you read this glorious meta about this ending. I'll just "correct" mimicha on one point:

The way the hands are "cutting a piece" of the clock; just like in the promotional poster for Train Trail. It indicates 5. I'll also add this one:

If you look carefully, you'll see two words: TIME PARADOX. As said above, a paradox should NOT be possible with the rules LC gave us so far, but it could be related to the possible 6th doomed timeline. The "dark side" could try and make it happen. Just food for thoughts.

If you want more meta on OPs/ENDs, I recommend you also watch this glorious analysis. That's all I have to say for this one regarding the number 5.

>>>>> VORTEX

Not much to say, except for this "blink and you'll miss it" screenshot. If I missed anything, feel free to share with the class!

THE TIDES has, sadly, nothing to offer on this current topic!

>>>>> 3rd Anniversary: Surprising Click

Oh boy, do I have THINGS to say. Don't be surprised when I'll make another post about this Link Click monument haha. Note: 5 PVs were prepared for this anniversary. Coincidence? (I think not).

N O W A N D F O R E V E R

The only 5 clue I found is what looks like a clock with one hand going backwards, from X to IV, it appears while the chorus is playing. That might be a bit farfetched but I'd mention it for archives purpose anyway.

B R E A K

I won't be a smartass by pointing out BREAK is a five letters word but- okay that's infuriating of them if it is on purpose.

Most of it is obvious, the same logic applies, except for the cogs and hourglasses, we see four of each falling. Since LG's shadow/light goes from IV to V, it's safe to assume that those symbolize the four failed/achieved timelines. The ones left behind. I'll probably post something about cogs and hourglasses one day.

A last one, for the road:

S U R P R I S I N G C L I C K

You should take a look at this fan's brain! They did a wonderful work. I already had this part prepared so I'm still gonna share the obvious. Five mics ("time is like music"), and five letters (with photographs inside I'm guessing). Magenta and Green are very flashy in this one.

Oh, here are LG's five magenta squares from Dive Back in Time ;D

Four failed timelines/tasks, and... loading the first out of three chances. (Again, I can't address everything in one post, this one will have a long meta on his own, don't worry :D)

T R A I N T R I A L

Two occurances worth mentionning. Once again, V is the only timeline enlighted.

B U R N I N G P A L A C E

Many things are happening in this one but only one regarding our current meta. If you pay attention, you'll see it several times, while the chorus is playing:

x x x x x

Now, if you remember correctly, green is the exact chromatic opposite, the complementary color of magenta. They aren't on the same plan (primary vs secondary)/from the same timeline. Usually, they color Lu Guang but here, there is no magenta and no Lu Guang. With this in mind, could it be the paradox OVERTHINK warned us about? We can only assume Vein is from the same original timeline as LG. Red and Green are primary colors so yeah, we'll see.

That's all for today folks!

I had this brainworm eating at my life for weeks so I'm very happy that it is finally out there.

| Part 2 |

[cantheykillmacbeth]

Bowser Jr

The most "canon" answer to who his second parent is is a joke by Shigeru Miyamoto where he claimed he himself was Junior's 'mother'. There's also a theory that koopas reproduce asexually. In either of those scenarios, Junior qualifies for the birth parent clause.

Additionally, it's suggested koopas hatch from eggs so that's unconventional birth clause, too.

Bowser Jr. is very difficult for us to quantify. He clearly doesn't apply for Gender Clause under our rules, but the other categories are hard to nail down.

For Birth Parent Clause, while either method you mentioned would work, neither is canon to the Mario Bros. series (Miyamoto's comment is a joke and asexual reproduction is a fan theory), so neither of them count for our analysis. In Super Mario Sunshine, Bowser Jr. goes through the game believing that Peach is his mother, though it's later revealed that this isn't the case and Bowser lied to him about this, so that doesn't really give us any info. Developers of the series have stated that "we don't know who the mother is," which could imply that there IS a mother that we just don't know about. Since this could go either way, we can't definitively answer BPC here, unfortunately.

As for Unconventional Birth Clause, I looked into what you said about Koopas hatching from eggs, and the research was... very confusing. The main problem here for us is what exactly we mean by "Koopa." According to the fanmade Mario Wiki, there are Koopas (Bowser, Bowser Jr., etc.), Koopas (a shorthand term for Koopa Troopas), and Koopas (an umbrella term encompassing both the previous groups and several others, with some more as potential but unproven relatives to the species).

While Koopas and Koopas are both notably reptilian in appearance, there doesn't seem to be much to go off of for either of them when it comes to how they reproduce. From what I've found, I don't think we've ever seen a Koopa or Koopa egg in any canonical material.

When it comes to Koopas, what does and does not count as a Koopa is at least somewhat established, but there are still a few outliers where it is unclear whether or not they count, most notably Yoshi. If there was definite proof that 1.) Koopas, including Koopas, are all members of the same species and reproduce in the same way, and 2.) Yoshi is a Koopa, then we could say for sure that Koopas, Koopas, Koopas, and by extension Bowser Jr. are born from eggs, just as Yoshi is. But neither of these points are provable.

There is, however, one enemy in the Mario franchise that seems to canonically be considered a Koopa, and that we have definitively seen are born from eggs: Spinies. The Lakitu enemy is known throughout the series to throw what have been referred to as "Spiny Eggs," which will become another enemy called a Spiny upon hitting the ground. So, at least one member of the Koopa family is born from eggs, so it's plausible that other members of the Koopa family, such as Koopas, would as well.

While it is still possible that not all members of the Koopa family reproduce via eggs in the same way as Spinies do, I'm more willing to count this than I am anything for BPC. So:

TL;DR:

Tentatively, yes, Bowser Jr. from the Super Mario series could kill Macbeth under the Unconventional Birth Clause.

Thank you for your submission! sorry this one got so off the rails.

-Mod Anthem

[antimony-medusa]

One of the things that I think sometimes gets lost when we talk about what's appropriate in fandom spaces is the notion that things can be appropriate in one space, but not for another. And that doesn't mean that the thing that's inappropriate in that setting is wrong, it just means that it's rude in that space. I think people want a single set of rules that's appropriate everywhere, but the thing is, you have to be able to assess the situation, and adjust your behaviour accordingly.

So an example. I have a fairly popular text post that was me asking about c!phil and religion in all innocence, and someone said "the only thing I have to say about c!phil is that he worships on his knees, thank you and goodnight". And I reblogged it like "I can't believe I forgot about how this fandom does phil analysis", cause it was at the height of the dilfza memes.

Anyways that's obviously a phil-is-happily-married/oral sex joke, in an oblique innuendo way, and on this site, where Phil is not here, and his friends are not here, with it being clear I was talking about the block man character, and we make jokes about sex and profanity (a very popular url scheme for a long time was "[name]shugecock" (or smalldick, depending on the joke)— that's a fine joke to make. I'm an adult, I can make sex jokes about fictional characters on the sex joke fictional character social media site.

If I was to make that joke in Philza's twitch chat, a) in his face, b) with his wife modding, c) in an enviroment where people aren't prepped for sex jokes, d) with it being not clear if I was talking about the cubito or about the real guy, that would be wildly inappopriate. I would be banned in every chat Philza mods in and I would deserve it.

That doesn't mean that it's inappropriate to make the joke in the first place though, just because I wouldn't do it at a Phil meet and greet. It means you gotta learn to read the room. (And like, sometimes it's hard to learn to read the room, but you can do it by pure brute-force memorization. I did.)

This is the same theory that underlies the fact that you can call your friends a bitch in a friendly way, because you are friends and you know each other's boundaries, but if you call your boss a bitch, you will be fired. There are rules about workplace appropriateness, and there are rules about what's appropriate in front of kids (I teach teens, I do not swear in front of them, I swear a LOT in front of my roommate), and there are rules about what's appropriate in different fandom spaces. Participating in an exchange about pregnancy and babies with your favourite blorbo of the moment? Great. Showing the actor gift art you got of him pregnant? No. Bad. Go directly to jail, do not pass go, do not collect two hundred dollars.

The thing that concerns me is that I think there are slight signs that as we get more comfortable with sexy jokes and offcolour remarks as a MCYT fandom (QSMP is the big banner example but it happens with other smps), we're taking what's appropriate in one space (tumblr, home of the brain worms, where I have seen the blog "philzaswetpussy" on my dash), and we're bringing it into places that it's not appropriate (sure, slimeariana is clearly canon, but maybe don't put the actual dicks-out fan art in the art tag on twitter that slime checks). Cause we can obviously tell that the rules twitter is going with are silly for here, so it's full speed ahead for roier/spreen etc, but the trick here is that it's full speed ahead HERE, or in fandom servers, and not necessarily in the streamer's faces.

We have a bunch of situations where creators have said that it's not their place to weigh in on shipping or nsfw etc, and people have taken that as a go ahead and that's fine, but thats still something where I'd like, caution people that just because they said "not gonna look at it not my deal", that doesn't mean that like, you should make it difficult for them to avoid looking at it. Talking about scitties is an honourable tradition, but telling scar that he makes you question your sexuality in his TTS— I made a horrified noise in real life and the cats came to look at me.

And I'm talking about the shipping, but this is also a thing with like— sometimes I see a streamer and I go "my friend you just vividly described neurodivergent symptoms" but it is ABSOLUTELY not my place to say that in their chat. It might not even be appropriate to make comments about it on my blog, with the amount of followers I have. I have to keep the "streamer just described the ADHD experience again :pensive:" comments for the group chat. And we all nod and go "yeah sounds like streamer", and we do not put it in his face, cause that's inappropriate.

We get to have fun with the fictional characters, including off-colour fun, but we still have to remember that there are real people who don't know us who are steering those fictional characters around, and it can be profoundly weird to see some of the (stuff that is appropriate in fandom spaces!) just up in your face in the regular fan art tag.

Just think about the space you're in, and who you're in front of, and if a CC notice is actually likely, and if a CC notice would be Very Bad actually with what you're doing, and keep the "world's sluttiest absent father" bracket (with associated slutty fan art) for here, not with the streamer tagged on twitter.