#without profound changes of character

[back-of-the-dodo]

started watching mha again and I’ve realized that I prefer fan content where you can tell the creator likes bkdk?? like bkdk isn’t my main so I like them platonic but I don’t know if it’s the inherent trust I have w/ them or if bkdk shippers just understand mha way better than everyone else

[chowadoe]

my Metamy kid!! his name is Dusty Rose :D ft. single mom Amy Rose and Absentee baby daddy metal sonic LOL

his name's Dusty Rose after Dusty Miller, a plant that looks like metal/silver. Dusty Rose is also a pink color ! it also rhymes with Rusty Rose. im so smart (/j)

born from Metal Sonic's core and infused with Amy's biosignature, Amy and Metal Sonic had a very brief 'thing'... eventually Metal Sonic was soft rebooted and sent away yet again, but he left a piece of himself (part of his 'core'? infused with chaos energy..?) to Amy, which then became Dusty. leaving Dusty as the last true remaining testament of their love

(I just love the idea of Amy with a Waitress style character arc... finding love again in raising her child and not the way she used to think, being spent with another person)

Dusty would be very fixated on the idea of love, after all his mother raised him on the notion of that. Amy's standards for true love and fairytale romance have definitely changed being with Metal Sonic, but the root message being that love is all encompassing and transformative.

He was 'created' to look like Mobian, and Amy treats him no differently than any other Mobian/human. Still, he believes that he should hide all the parts that 'other' him from society, which means his robot parts. (legwarmers!)

He's got a bit of a bad boy edge to him LOLLL i kind of created him that he'd be an emo kid. (fall out boy.. my chemical romance.. a bit of IDKHow) really good at electric guitar and part of a band. eventually he finds his passion is in lyric-writing (all those love stories and inheriting his mother's gift for writing love letters)

he often wonders what a beating heart is like, as someone without one. he's interested in the heartbeats and the pulses of others, but he is a total sweetheart himself.. still, even to other mobians unaware that he is an android (a weapon at that), it's still a little off-putting..

more abt him belolow

Dusty's core is already made/designed after Amy's biosignature, and in meeting other people, he's able to read their biodata and stash it into an archive, but he doesn't reproduce it onto himself. (though unsure if he could? either his code has a blockade or he chooses not to)

Dusty, additional to his stash of weapons, has the ability to shift too like his papa... become something similar to Metal Overlord but not entirely... like a half robot dragon boy or smth.. IF he's under the right conditions to have it pulled out of him. or something

Dusty DOES "grow" up. basically, he's an inorganic being whose core is trying to emulate/copy the growth progression of other organic beings.

As it would grow in size (and Dusty's cognition "matures"), his mother and her friends would modify as needed to adjust his frame, etc, but rarely were things ever replaced. Like a mollusk, its shell growing in size- but one needing accommodations. A heart bigger than its own body that threatens to spill- a chick that has outgrown its shell, well before its expected date- needing modifications to keep it inside and protected

Metal Sonic and Amy would have something profound-- one of those tragic, star-crossed enemies-to-lovers dark fantasy romance stories Amy's always loved to read about- but then having it play in real time and having to come to terms with the real world implications of actually having one. It's just that- a fantasy. and metal sonic would grapple with the ideas of love, which i think would be inherently dark and a little possessive given his upbringing-- but what him and Amy have would be sweet at the very core of it. so him giving a piece of his core that reads and adapts to Amy's biosignature and oops... accidental baby....

Dusty finds himself drawn to music. his mom and dad couldn't quite communicate love language physically (with Metal Sonic's claws and his lack of mouth) so I hc that Amy taught Metal Sonic how to hum and sing and communicate their love through music and vocalizations (which carried onto Dusty)

4th pic is Dusty doing breathing exercises with his mama... Dusty gets embarrassed super easily so him and Amy would regularly do breathing exercises so he doesn't overheat like a PC

[literaryvein-reblogs]

Writing Notes: The Arcana Interpretations

symbolism for your next poem/story (pt. 1)

1. The Magician

The beginning, the first cause, Mercurial influence

Good: Dexterity, ability, diplomacy, eloquence, convincing ways, an alert mind, a quick mind, business acumen

Bad: A persuasive boaster, an illusionist, intrigue, careerist, politician, charlatan, imposter, liar, a crook, an exploiter; an agitator, a lack of scruples

2. The Priestess

Mystery, intuition, devotion, passive Saturnian influence

Good: reserved, discreet, quiet, meditation, faith, patient, religious feelings, resignation, modesty; necessary inaction

Bad: hidden intentions, dissimulation, hypocrisy, inaction, laziness, sanctimonious, holds a grudge, an indifferent disposition, interest in the mystical

3. The Empress

Prudence, discretion, idealism and intellectual solar influence

Good: Understanding, intelligence, instruction, charm, courteous, sociable, elegance, distinction, politeness; domination by the mind, abundance, riches; servility

Bad: Affectation, poseur, stylish, vanity, pretentious, disdain, frivolity, idleness, luxury, extravagant; sensitivity to flattery, lack of refinement, ways of nouveaux riche

4. The Emperor

Firm, positivism, executive power, Saturnian-Martial influence

Good: Right, rigid, certitude, fixed ideas, realization, perseverance, strong willpower, acts on decisions; powerful protector

Bad: Tenuous opposition, stubborn, hostile prejudice, opinionated, bad government, big risks of failure; tyranny, absolutism

5. The Pope

Duty, morality, conscience, Jupiterian influence

Good: Moral authority, respectability, teaching, good advice, goodwill, indulgent, generosity, forgiveness; meekness

Bad: Papal sentence, strict moralist, strict teacher, small-minded theorist, bombastic preacher; an adviser with a lank of practical sense

6. The Lovers

Feelings, freewilled, testing, double influence of Venus or more exactly Ishtar the war like star of the morning, then amorous as the stars go down

Good: Voluntary determinism, choice, wished, aspirations, desires; examinations, deliberations, responsibility; affections

Bad: To go through doubts and indecision; dangerous temptation, the risk of being seduced, misconduct, liberty, weakness, lack of heroism

7. The Chariot

Triumph, command, superiority, Martian-solar influence

Good: Legitimate success, deserved advancement, talent, health, aptitudes put to good effect; governmental tact, diplomacy, efficient direction, appeasement; progress, mobility, journeys on land

Bad: Unjustified ambition, lack of talent, usurped situation, illegitimate government, dictatorship, harmful concessions, dangerous opportunism, worrying about which way to go, preoccupations, overworked, feverish activity without rest

8. Justice

Order, regularity, method, equilibrium, placid lunar influences

Good: Stability, conservatism, organization, normal functioning; law, discipline, logic, coordination, adapting to necessities, moderate opinions, practical sense, reason, administration, economy, obedience

Bad: Bourgeoisism, submission to users, lack of initiative, slaving over books, functionalism, papers; police station; legal dispute, law suit, quarrel, exploitation of the legal system

9. The Hermit

Prudence, reserve, restriction, Saturnian influence

Good: Isolation, concentration, silence, profoundness, meditation, study; austerity, continence, sobriety, discretion; doctor, discreet occultist

Bad: Timid, misanthrope, mute, exaggerated circumspection, lack of sociability, sullen character; avarice, poverty, celibacy, chaste; conspirator

10. The Wheel of Fortune

Destiny, instability, lunar-Mercurial influence

Good: Sagacity, an opportunist, luck in all undertakings, luck, fortuitous success; spontaneity, an inventive disposition, liveliness, good humour

Bad: Carelessness, speculation, game, insecurity, unserious, the unexpected, gypsy character; unstable situation, sudden change, winnings and losses; adventures, risks, minor fortune

11. Strength

Virtue, courage, Jupiter-Mars influence

Good: Moral energy, calm, intrepid; mind over matter; intelligence conquering brutality; subjugation of passions; success in industry

Bad: Anger, impatience, immoderate enthusiasm, insensibility, cruelty, fighting, war, conquering with violence, a surgical operation, vehemence, discord, fire

Source ⚜ More: Writing Notes & References ⚜ On Tarot

[evertomorrowart]

Best of YouTube 2023

Yes, I did spend the first week and change of January on this. I wish I could have had it done for New Years, but too many people came out with incredible work in December, so waiting turned out for the best.

What these creators do are a huge influence on my life, I would honestly have difficulty doing what I do without them. That isn't to say that my favorites of the year are *only* on this image--It was almost impossible to narrow down my favorites. Many creators I wanted to include couldn't fit on a single page, and too many of them made more than one video I wished I could draw too!

But, to all of you, thank you for what you do. You're an inspiration.

For those who don't know, further is an explanation.

At the bottom center is an artistic masterpiece by Defunctland: "Journey to EPCOT Center: A Symphonic History." Over the last several years, Defunctland has risen from delightfully-entertaining commentary on decommissioned theme park attractions to occasionally dropping profound statements on the creation of art itself. "Journey to EPCOT Center: A Symphonic History" is worth treating like the cinematic experience it is: No second screen, you sit your ass down in front of a TV, set down the phone, and then you *watch it.* Any Disney, theme park, or independent film fan needs to pay attention to this one.

Bottom left is Caelan Conrad with their piece "Drop the T - The Deadly Consequences of Gay Respectability Politics." While I do think they've done more visually or artistically-daring pieces before, "Drop the T" is one of the most important videos released on YouTube in today's current climate of hate. We as queer folk (and our allies) need to understand how integral every identity of the queer experience has been since the start of the Civil Rights movement (and before!). While we are not identical, we *are* inseparable, and we deserve having our real history easily accessible.

TERFs and other conservative mouthpieces need not reply. Your opinions are trash. 😘

I cannot stop watching and rewatching this video by @patricia-taxxon, "On the Ethics of Boinking Animal People." It's not just a defense of furry fandom and its eccentricities, it's a thoughtful and passionate analysis of what the artform achieves that purely human representation can't. Patricia goes outside of her usual essay format to directly speak to the viewer about the elements that define furry media (the most succinct definition I've ever heard) and just how *human* an act loving animal cartoons really is.

As an artist who can draw furry characters, but never really got into erotic furry art, this video is a treasure. Why did I choose to have her drawn as a Ghibli character, hanging out with one of the tanukis from "Pom Poko?" Guess you'll have to watch, bruh.

Philosophy Tube continuously puts out videos that I would put on this list--I'm not even sure that "A Man Plagiarised my Work: Women, Money, and the Nation" is the best work she released in 2023. However, this video got many conversations going between myself and my partner, and the twist on the tail end of the video shocked us both to such a degree that I had no choice.

At the very tail end of the year, Big Joel released "Fear of Death." On his Little Joel channel, he described it as the singularly best video he's ever done, and I'm inclined to agree. However, for this illustration, I ended up repeatedly going back to a mini-series he did earlier in the year: "Three Stories at the End of the World." All three videos are deeply moving and haunting, and I was brought to tears by "We Must Destroy What the Bomb Cannot." While it may be relatively-common knowledge that the original Gojira (Godzilla) film is horror grappling with the devastation America's rush to atomic dominance inflicted on Japan, Big Joel still manages to bring new words to the discussion. Please watch all three of the videos, but if, for some reason, you must have only one, let it be "We Must Destroy What the Bomb Cannot."

Y'all. Let me confess something. I hate football. I hate watching it, I associate seeing it from the stadiums with some of my worst childhood experiences, I despise collegiate and professional football (as institutions that destroy bodies and offer up children at the feet of its alter as a pillar of American culture)--

I. L o a t h e. Football.

But.

F.D. Signifier could get me to watch an entire hour-plus essay on why I should at least give a passing care. AND HE DID IT. I might think "F*ck the Police," the two-parter on Black conservatism, or his essay on Black men's connection to anime might be "better" videos, but this writer did the impossible and held my limited attention span towards football long enough to make a sincere case for NFL players--and reminds us that millionaires can *in fact* be workers. That alone is testament to his skill.

Sit down and watch "The REAL Reason NFL Running Backs Aren't Getting Paid." Any good anti-capitalist owes it to themselves.

CJ the X continuously puts out stunning, emotional videos, and can do it with the most seemingly-inconsequential starting points. A 30 second song? An incestuous commercial? Five minutes of Tangled? Sure, why not. Go destroy yourself emotionally by watching them. I'm serious. Do it.

Their video Stranger Things and the Meaning of Life manages to to remind us all why the way we react to media does, in fact, matter. Yes, even nostalgia-driven, mass-media schlock. Yes, how we interact with media matters, what it says about us matters, and we all deserve to seek out the whys.

Folding Ideas has spent the last few years articulating exactly why so much of our modern world feels broken, and because of that his voice continuously lives rent-free in my brain. While the tricks that scam artists and grifters use to try to swindle us are never new, the advancement of technology changes the aesthetics of their performances. Portions of Folding Ideas' explanations might seem dry when going into detail of how stocks work in This is Financial Advice, but every bit of it is necessary to peel back the layers of techno-babble and jargon and make sense of the results of "Meme Stocks."

Jessie Gender puts out nothing but bangers, her absolute unit of a video about Star Wars might be my new favorite thing ever, but none of her work hit so profoundly in 2023 than the two-parter "The Myth of 'Male Socialization'" and "The Trauma of Masculinity." There's so much about modern life that isolates and traumatizes us, and so much of it is just shrugged off as "normal." We owe it to ourselves to see the world in more vivid a color palette than we're initially given.

Panels drawn after Kate Beaton and "Ducks: Two Years in the Oil Sands."

"This is Not a Video Essay" is one of the most intense and beautiful pieces of art I've ever put into my eyeballs. Why do we create? What drives us to connect?

I don't even know what else to say about the Leftist Cooks' work, it repeatedly transcends the medium and platform. Watch every single one of their videos, but especially this one.

The likelihood you are terminally online and yet haven't heard of Hbomberguy's yearly forrays into destroying the careers of awful people is pretty slim. Just because it has millions of views doesn't mean that Hbomberguy's "Plagiarism and You(Tube)" isn't worth the hype. Too long? Shut up, it has chapters and YouTube holds your place, anyway. You think a deep dive into a handful of creators is only meaningless drama? Well, you're wrong, you wrong-opinion-haver. Plagiarism is an *everyone* problem because of the actual harm it creates--the history it erases, the labor it devalues, the art it marginalizes--which you would know if you watched "Plagiarism and You(Tube)".

Watch. The damn. Video.

In fact, watch all of them!

Thanks for reading this if you did.

[whumpinggrounds]

Writing Deaf Characters

I am making this a series now so pls drop requests if there is something you’re curious about!

Disclaimer: This is all based on personal experience and research, all of which relate to the American Deaf experience. It’s not perfect, nor is it representative of a global experience of d/Deafness. If you plan to write a d/Deaf or hard of hearing character, please do your own research! This is intended to give people a few ideas about where to start.

Vocab

Deaf = Refers to the cultural experience of being deaf and immersed in Deaf communities.

deaf = Inability to hear some or all sound.

Profoundly deaf = Inability to hear almost all or all sound.

d/Deafblind = Inability to hear some or all sound and as well as having some level (usually high) of visual impairment. 

Hard of hearing or HOH = A person whose inability to hear may not rise to the level of deafness or profound deafness, or simply may not identify with the term.

Deaf of deaf = A Deaf child born to Deaf parents.

CODA = Child Of Deaf Adults. This refers to hearing children, not d/Deaf children.

Manualism = Refers to the belief that d/Deaf children should be taught only sign language and should not be taught or expected to learn to speak.

Oralism = Refers to the belief that d/Deaf children should be taught only to speak and should be discouraged from learning or using sign language.

Bilingual-bicultural or bi-bi education = A school of thought that combines oral and manual education for d/Deaf children.

Mainstreaming = The belief that d/Deaf children should be educated in the same schools and classrooms as hearing students. (More widely refers to the belief that disabled students in general should be educated in the same schools and classrooms as nondisabled students.)

Deaf gain = The Deaf community’s answer to the term “hearing loss.” Rather than losing hearing, a person is said to be gaining Deafness.

Cochlear implant/CI = A medical device implanted into the inner ear which (debatably) produces sensation that is (somewhat) analogous to hearing.

American Sign Language or ASL = An American system of communication consisting of hand shapes, hand movements, body language, facial expressions, and occasionally, vocalizations.

Signed Exact English or SEE = A manner of communicating that directly translates English words into signed equivalents.

Home sign(s) = Signed communication that is specific to the signer’s home or community, which may not exist or be recognized in the wider world.

Identity First Language or IFL = A system in which someone is described first by an identifier that they choose and feel strongly connected to. Examples include describing someone as an Autistic woman, a disabled individual, or a Deaf man.

Key Elements of Deaf History

Can’t emphasize this enough - this is a VERY abbreviated list! It is also not in order. Sorry. That being said:

For a long time in America, Deaf children were not educated, nor was it considered possible to educate them. When this did change, American deaf children were educated in institutions, where they lived full-time. These children were often taken from their families young, and some never regained contact with their families. Some died and were buried at these institutions, all without their families’ knowledge.

In the early 20th century, oralism became popular among American deaf schools. This mode of teaching required lip reading and speech, no matter how difficult this was for students, and punished those who used or attempted to use sign language. Pure oralism is now widely considered inappropriate, outdated, and offensive.

Hopefully you’ve gleaned this from the above points, but d/Deaf schooling, education, and the hearing world’s involvement are a very sensitive subject. Proceed with caution. It’s unlikely your d/Deaf character would have a neutral relationship with schooling.

Helen Keller is probably the most famous deafblind person in America. In her time, she was also known for being a socio-political activist, a socialist, and a vaudeville actress. There are dozens of other famous d/Deaf people who are a quick Google search away. Give your Deaf character Deaf heroes, please.

The Americans with Disabilities Act, or ADA, was passed in 1991, and represented a landmark victory for disabled activists in America. Among its provisions were closed captioning for Deaf individuals, ASL interpreters for public services, and the right for d/Deaf children to attend accessible, accommodating public schools. The ADA is a HUGE deal. It’s also not perfect.

In 1961, cochlear implants were invented. I was going to write more about cochlear implants here, but it’s too long. New section.

Cochlear Implants

Massively massively massively controversial in the Deaf community. Always have been, potentially always will be. For people who strongly identify with Deafness and the Deaf community, CIs are an attack on their identity, their personhood, and their community’s right to exist. 

Do not allow people to “hear.” The input that a person receives from CI can, with physical therapy, training, and time, be understood and processed in a similar way to sound. This does not mean it would be recognizable to a hearing person as sound. It is often described by people who have them as being metallic, buzzy, or robotic. YouTube is a great resource for sound references.

In order for a cochlear implant to be effective, a personal will have to participate in years of training and therapy to correct process, understand, and interpret the feedback given by the CI. This is not negotiable. Even if your character just lost their hearing in an accident last week, a CI will not allow them to instantaneously regain that hearing. Nothing that currently exists in the real world will do that.

CIs, to be most effective, are almost always implanted when the recipient is very young. This decision is often made by hearing parents. This, again, is massively controversial, as Deaf activists argue that it violates the child’s bodily autonomy and is inherently anti-Deaf.

A cochlear implant, once placed, irreparably destroys any residual hearing that the recipient may have had. This is because it penetrates the inner ear in order to function. This residual hearing cannot be regained, even if the cochlear implant is not used.

Deaf people do choose to get cochlear implants of their own accord. Many d/Deaf people are very happy with their cochlear implants! It is still a highly charged choice in light of the political history surrounding d/Deafness and hearing.

Notes About American Sign Language

ASL is not a signed version of English. It is a distinct language, with its own vocabulary, slang, and grammar. Just a sentence would not be constructed the same way in Russian, Spanish, or Tagalog, a sentence in ASL would not be a direct translation of its English equivalent.

Deaf people have historically lower rates of literacy. This is not due to a lack of intelligence; it is because ASL and English are two different languages. ASL has no written equivalent. In order to be able to read or write, d/Deaf children must learn an entirely different language. This means that it is not realistic to always be able to communicate with d/Deaf people through writing.

As ASL is a visual language, many signs started out as very literal gestures. This means that many older signs are continuously being phased out as they or their roots are recognized as stereotypical or offensive. Please be careful in researching signs. I recommend Handspeak or Signing Savvy for accurate, relatively up-to-date information.

Many online “teachers” do not have credentials to teach ASL, and especially due to the prevalence of “baby sign,” home signs, invented signs, or false information spreads unchecked. If you see multiple different signs advertised for the same English word, please be diligent in checking your sources.

Not every English word has a distinct signed equivalent, and not every sign has an English equivalent.

SEE is almost never used by Deaf people. It’s rarely used and is generally thought of as a “lesser” version of both English and ASL.

ASL is a complete, complex, nuanced language. A character would not switch into SEE for a technical conversation or really any reason. Complex ideas, technical terms, and even poetry can all be expressed in American Sign Language.

Just like in English, there are some signs that are only considered appropriate for certain people to use. For example, the sign for “Black” when referring to a Black person has a modified version that is only used by Black signers. This does not mean it is a slur or the equivalent of a slur. It is a sign reserved for Black signers referring to other Black people.

Things to Consider/Avoid/Be Aware Of

I hesitate to tell anyone to avoid anything, because I don’t think I have that authority. That being said:

The Deaf community has a complicated history and relationship with cochlear implants and the concept of being “cured.” What message are you sending when you write a story in which a d/Deaf character is “cured” of their d/Deafness?

Generally speaking, d/Deaf people do not identify with the “disabled” label. Each person has their own preferences, and those preferences should always be respected. Your character(s) may choose differently than their real life community, but you should put thought into why that is.

Generally speaking, d/Deaf people use IFL. This means that a majority of d/Deaf people in America would describe themselves as d/Deaf people, rather than people with deafness, people with hearing loss, people that are hard of hearing, etc.

Okay I lied I’m going to tell you what to do here: Do not use words like mute, deaf-mute, or dumb when describing d/Deaf people. Hearing impaired is also not ideal but is considered outdated, rather than outright offensive.

The best lip readers are judged to be able to catch 30% of the words people say. How realistic is it to have a character that relies 100% on lipreading? What do you gain when you write a character that lipreads, and what do you lose?

Yes, Deaf people can drive. I don’t know why so many people wonder about this. It’s okay if you didn’t know, but please don’t come into my ask box about it.

Assistive Devices/Aids

Cochlear implants ^ see above

Interpreters. Will have gone to school for years, might have specific training for certain environments or technical terms, etc. For instance, an interpreter that works with Deaf people that have mental illnesses would be fully fluent in ASL as well as having requisite mental health training in order to interpret for them. Interpreters could be a whole other post actually, but I won’t tackle that now.

Closed captions. Self-explanatory.

Alarm clocks, fire alarms, and doorbells that use light instead of sound. This is sometimes a typical flashing light, but particularly fire alarms in predominantly d/Deaf spaces can be overwhelmingly bright. Bright like you’ve never seen before. Bright enough to wake someone from a dead sleep.

Some assistive devices also use sensation - alarms that actually shake bedframes exist and are the best choice for some people!

Service dogs - can alert people to sounds like the above - fire alarms, doorbells, knocking, etc.

Hearing aids. Generally not controversial in the way that CIs are. Only effective if people have residual hearing. Do not really expand the range of sounds people can hear, just amplify sounds in that range. Very, very expensive.

Microphones. If a d/Deaf or HOH person is in a crowd/lecture setting, the speaker will want to use a microphone. If this is a frequent occurrence, the microphone may be linked to a small personal speaker or earbud used by the d/Deaf or HOH person.

TTY: Much less frequent now that everyone can text and email, but stands for Text Telephone Device and was/is a way to send written communication over a telephone line. The message is sent, the phone rings, and a robot voice reads the message. Obviously, this is not effective for d/Deaf people communicating with other d/Deaf people, but it was often used to communicate with hearing people/hearing establishments, as when setting up appointments.

Media About/Including Deafness

No media is perfect and unproblematic, but here are somethings I have seen that I can verify do at least a pretty good job -

CODA is a movie that features Deaf actors, ASL, and a story about growing up, family, and independence vs. interdependence. 

The Sound of Metal is a movie that features ASL and a story about identity, recovery, and hearing loss/Deaf gain.

A Quiet Place is a movie features ASL and Deaf actors, although Deafness itself is not necessarily integral to the story.

BUG: Deaf Identity and Internal Revolution by Christopher Heuer is a collection of essays by a Deaf man that discuss a wide range of topics. This book is not always up to modern standards of political correctness.

Train Go Sorry by Leah Hager Cohen is a memoir by the granddaughter of a Deaf man, which discusses the intersections of the hearing and Deaf worlds.

Far From the Tree by Andrew Solomon is a research book about the effect of horizontal identity on parent/child relationships and features a chapter on d/Deafness. This is a good look at how d/Deafness can impact familial relationships. Some aspects of the book are outdated, and it was written by a hearing author, albeit one who extensively interviewed Deaf and hearing parents of Deaf children.

If you made it this far, congratulations! Thank you so much for taking the time to read through my lil/not so lil primer :) If you have any questions, comments, concerns, or feedback, please feel free to hit me up! If you have any requests for a diagnosis or a disability you’d like me to write about next, I’d love to hear it. Happy writing!

[chiisana-sukima]

nine people i want to get to know better

Thank you for the tag, @slutsons-blog! Starting a new post because I'm autistic and therefore mostly only care about the "Current Obsession" question, and want to ramble excessively as usual in that one.

Last song: Pokemon Mystery Dungeon Red Rescue Team: Pokemon Square because I'm currently playing Pokemon Mystery Dungeon with my daughter. Otherwise I honestly couldn't tell you. Whatever was on in my car.

Fave color: Purple

Currently watching: Star Trek Discovery

Last movie: Knives Out

Sweet/spicy/savory: Sweet, tart, salty

Relationship: married x 27 years

Last thing I googled: the word "dependent", for spelling assistance. which is a good thing because I spelled it "dependant".

Current Obsession: it's been spn since 2016. Truly we are the Hotel California of media franchises. I did recently play Disco Elysium twice in a row in quick succession, and I follow the DE tag. I can't recommend the game highly enough.... but I can feel my Special Interest-level obsession with it fading already. Spn has never faded even a tiny bit and I wonder if it ever will.

@slutsons-blog I feel after reading that you're watching spn for the first time, that I did you a bit of a disservice with my Sam takes to you before in that I mostly talked about Sam's evolution as a character as the show goes on and very little about him from the first five seasons.

Gotta be honest and tell you that although I liked both brothers all along, I was a Dean girl until the end of s6/beginning of s7, when the balance of who gets whumped the most started shifting and my subconscious suddenly decided to switch allegiances. It's not that I liked Dean any less; my id just loves a sopping wet pathetic kitten of a man who has been sexually abused, and Sam got suddenly way more kitteny and pathetic after the Cage. So I don't actually have a ton of takes on "what to love about Sam in the early seasons". I do love early seasons Sam too--she is my beautiful baby princess--but my early seasons takes are a lot more inchoate.

I count myself lucky about my id's sudden defection though, because I think we have limited control of who our blorbos are, and having Dean as a blorbo is a tough row to hoe as the later seasons go along. You know how you noticed that in s6, Dean suddenly gets a lot more assholey without apparent reason? Unfortunately he never gets better again, and in fact keeps getting worse and worse as the years go by, until by the last seasons he is openly far more abusive to their joint child(-in-an-adult body) than John was to him and Sam. It's a realistic picture of what can happen when trauma keeps piling up on people, but it's also honestly pretty distressing, especially if he's your blorbo.

If one is in it for the ship, there's some good destiel content in the later seasons, but if you're in it for Dean, you're left either 1) dealing with the fact he's got extremely significant interpersonal problems that he never gets much of anywhere on solving and that negatively impact his chosen family in profound ways, or 2) pretending he's the same character he was in s1 and Sam is the same Sam from s1, only more boring, and Dean is just trying to put up with him because he was brainwashed by John (or ig 3- something in the middle between those two. But that seldom seems to happen in practice for whatever reason). These two versions of the show are poorly compatible, and that's how the Sam girls and the Dean girls end up in isolated silos. A few people manage to live in both, but not many.

Anyway, I feel like without the context of how Sam and Dean change in the mid to late seasons, the two fics I recc'd as Sam character studies are going to seem insanely Dean-critical, so if you haven't read them yet, you might want to wait until s10. In the meantime, the general recs are fun reads and hopefully do a good job of showcasing both characters earlier on.

Tagging (but I would be a huge hypocrite if I didn't specify there's no pressure to respond, since I almost always fail at responding to tag games myself): @adihildilid @aliusfrater @quietwingsinthesky @sammygender @ardentpoop

@peanutbutterandbananasandwichs @schizosamwincester @normalbrothershow @jellybracelet.

[lyneira]

♡ attempting to flirt ♡

-> how the genshin men try to flirt with you

lyneira's 1.2k milestone event

Flirts through their words

Heizou, Cyno, Kazuha, Kaeya

I see these guys flirting primarily through their words, yet in a couple different ways.

I feel like Heizou and Kaeya would flirt by being smooth when giving you compliments or verbally teasing you, usually imbued with a seductive undertone. Even when talking to you in general, specifically about you, listen to his words carefully and you'll find a hidden meaning in there, containing his admiration and desire for you. They know which specific words to use and how to use them, dragging out certain syllables, speaking in a lower tone, changing their intonation in a way he knows makes you blush, and all that other good stuff.

Just as he's notorious for jokes, I'd think Cyno would also be notorious for making cheesy pick-up lines when trying to flirt with you. They might be cringe, but the sentiment behind them will be endearing enough to make you smile.

As for Kazuha, he knows how to use his words to describe how he feels for you and how he views you in a profound way, using the many poetic techniques to make it personal and specific to you, and only you.

Bottom line, these guys have have a way with words lol

Flirts through physical contact

Ayato, Baizhu, Childe, Venti, Kaveh

They flirt through their touch and they will never be abrupt or imposing with them. Their touches would be gentle and seemingly innocent. Maybe they might place a gentle hand on your shoulder or maybe softly graze his hand against yours when reaching for something. If you've got a stray hair blocking your face, he'll pull it away and hide the strand behind your ear so that he can clearly look upon the face that he so adores. Or if you have a crumb on your lip, he'll softly place his thumb on the corner of your mouth and wipe across to not only get rid of the crumb, but most of all, take the opportunity to feel the softness of your lips.

You know, his touches are gentle and light for a reason. They're like that to make you crave their touch even more and to instill you with a desire for them to touch you with more fervor and passion. At the same time, I see guys like Venti and Childe also touching you more forwardly. And to be clear, I'm not talking about in an indecent manner. Rather, they would be the type to cling onto your arm, pull you closer by your waist, or easily take you by the hand, all in a playful manner.

Also, you know that typical romantic scenario where the main character is learning how to do something using their hands and the love interest helps them out by coming in from behind, putting their hands on theirs and guides them? Yeah, the main character is you and the love interest is them, hehe

Flirts through eye-contact

Albedo, Diluc, Tighnari

These guys wouldn't have to say a word nor lift a finger to make it known that they admired you.

They would flirt using eye-contact and would do so subtly, and at times, purely unintentional. The sudden haze of longing and desire clouding their gaze and their half-lidded eyes would tend to occur subconsciously when they're simply interacting with you or even just staring at you from afar. One might even equate this look to "bedroom eyes", and it might as well be with how intense it was. It would be an intense look that let you know that their mind and their focus was solely on you at the moment.

Like, he can be totally silent or be talking to you about the weather, but was he really thinking about the weather? Nah, not at all. With that look on his face, bro was clearly thinking of you.

They CAN'T flirt

Xiao, Scaramouche, Itto, Gorou

They get embarrassed with any attempt to show attraction. It's not that they're unsure of their feelings for you, they're just unsure of how to make them known without ending up being too direct and scaring you off. They'll be very unsure of themselves and won't know if they're doing it right.

They'd be too proud to ask for advice, so they'll try to flirt their own way, but I think they'd end up putting themselves in awkward sitautions and would eventually become so frustrated with their poor attempts that they just ask you out or confess to you directly lol

They don't flirt

Zhongli, Alhaitham, Dainsleif, Thoma

They'd rather be direct with their intentions. If they're interested in you, they'll let you know clearly. After all, they'd prefer to show their interest in a genuine manner, being straightforward in all of your conversations and really taking the time to get to know and understand you in order to make fruitful attempts to earn your trust and your love.

Bonus:

Flirts through their words + physical touch + eye contact

AYATO, Kaveh, Heizou, Kaeya

These dudes are the very definition of a smooth casanova. They'll use all of their assets to make their desire for you known and attempt to woo you.

They'll not only tease you by touch through fingers, but through the feathery touch of his lips on your skin as well. Maybe as he whispers into your ear, his lips will slightly graze it, or when he takes your hand to kiss atop of it, he'll try to make you swoon.

As for eye-contact, he'd gaze at you with a sultry look in his eyes intentionally rather than unintentionally, and tends to use it when he's up-close in front of you, where you're able to look deep into his eyes.

They'll also charm you with compliments and witty remarks, but what will truly captivate you are the promises that he makes. Anyone can easily make false promises in order to woo someone over, but what makes them different is that they truly follow through with what they say and promise to you. He may be a casanova, but he's also a gentleman!

Overall, I see them being more direct with their flirting, showing that they're unafraid of revealing their affections and desire for you. Really, they want everyone to know that they want you. Their confidence and natural rizz will ward off anyone else seeking to do the same.

© 2023 lyneira. PLEASE DO NOT COPY, PLAGIARIZE, OR REPOST MY WRITING ONTO OTHER PLATFORMS

[saudrag]

my take on the ending, especially aziraphale’s behaviour.

all this fandom talk “this couldn’t be our aziraphale”, “metatron put something in the coffee”, “everything in the end seems odd” really weirded me out. for me it’s equal to “i dont want all that complicated writing, for me the simple one is easier to process” like. i get it, really. but from writer’s point of view it sounds kinda… debasing. neil just gave us an amazing social problem analogy with organised religion slash abusive family and how it brainwashes & manipulates people who are so desperate to make any difference that they reach out to religion, their last instance. people abandon their loved ones for it, because they’re “unholy” and “sinful” and don’t want to join them.

there is that aziraphale/heaven parallel with nina and her ex. nina just realised that her ex was abusive and now she needs time to heal, but maggie would not abandon her, she would be right there.

it’s exactly what is happening and what will happen with azi in season 3.

aziraphale never truly left heaven, not in his mind, at least, and now, when he was the most vulnerable, heaven waved in front of his face with “you can come back, change everything and be with the person you love the most, so you can be all happy together” and azi just couldn’t say no to THAT. to his memory of angel!crowley, being so joyful and cheerful and happy with just bring able to create, to make beauty. what he didn’t realise is, that he was being manipulated. as a victim of brainwashing by my own parent for DECADES, I can tell you that azi couldn’t just “open his eyes” randomly and realise without something really PROFOUND happening to him. (that is remains for neil to tell us, what it will be).

for me it was separation, my parent’s fast decreasing mental health, and a LOT of outer influence (talks with my other parent, friends, discussions about the abuse of my other parent). the last straw was one of my visits.

we are yet to see it in s3.

aziraphale being an analogy for a victim of brainwashing by organised religion (“parents”) is a genius writing, something that you don’t see often in tv shows. but explaining his behaviour by “metatron just drugged him that’s why our angel is acting weird” is SO DEBASING and for aziraphale’s whole character, and for neil gaiman, and for me, as a victim

[mareastrorum]

I hope that having the Mighty Nein around helps the cast help each other with the stagnant parts of Bell’s Hells character arcs.

The Hells are not good at communicating with each other about their faults. Enter Jester, Veth, and Caduceus, who absolutely will call people out on shit without shame or malice.

The Hells have a narrow view of religion. Here’s Yasha, whose god helped her break away from an apocalyptic cult; Caduceus, who was raised in a religious household and likes helping people even when they don’t share his faith; Fjord, who found peace and self-acceptance with guidance from a goddess who asks so little of him; Jester, who somehow has cleric powers from her fey best friend whom she also carries around as her weasel sometimes; and Beau, who doesn’t worship Ioun outright, but still thinks she’s not bad and seeks out a connection at times.

The Hells don’t much care about other people when they talk about what the world should be like. Here’s Caleb, who wanted to turn back time, then got Wish and could do it literally any day he pleased, but has accepted that in order to change from the boy who was willing to kill his parents, he has to be the man that won’t break the world to bring them back. Beau accepted that people can be flawed in how they love, but she couldn’t let that decide whether she or anyone else is worth love or protection; her whole job is about trying to help the people of the Empire when systems don’t care about them. Fjord handed over an eye of Uk’otoa to save Jester’s life, and then immediately got the Nein back together to defeat Uk’otoa rather than let other people suffer the consequences for his choice.

The Hells were sympathetic to the All-Minds-Burn and only really balked at the Weave Mind because there was a controlling group at the top instead of a regular hive mind. Here’s the team that destroyed Cognouza because it turns out hive minds are a great way for despots to directly control a lot of people and use them like resources. Yasha and Caleb also have profound experience with mind control, conditioning, and memory wiping.

The Hells have some serious identity issues that haven’t been addressed because there’s just no time. (Ashton was an aasimar turned into a genasi; Laudna was treated like a Vex voodoo doll by a wizard who hates Vex; Fearne was conceived and sought specifically to be an exaltant vessel for Predathos; Imogen was hidden to avoid that.) Veth was turned into a goblin by a hag, was racist against goblins for years, eventually realized that her racism came from self-hatred for traits she shared with a specific goblin tribe, and got turned back into a halfling thanks to the dedication of her friends. Fjord wrestled with determining who he was before realizing he had to choose, and that didn’t mean there was a right or wrong choice; just that he couldn’t be someone else.

Like, the Nein would be great for some targeted discussion of these points if the Hells let their judgmental bullshit shine through at any point. It’s just a question of whether (a) the cast want to and put in the effort to do that, and (b) how much time they have to spare for those conversations.

[nasa]

For the Benefit of All: Assistive Tech Developed from NASA Tech

What do modern cochlear implants and robotic gloves have in common? They were derived from NASA technology. We’ve made it easier to find and use our patented inventions that could help create products that enhance life for people with disabilities.

October is National Disability Employment Awareness Month, which highlights the contributions of American workers with disabilities – many of whom use assistive technology on the job. Take a look at these assistive technologies that are NASA spinoffs.

Low-Vision Headsets

The Joint Optical Reflective Display (JORDY) device is a headset that uses NASA image processing and head-mounted display technology to enable people with low vision to read and write. JORDY enhances individuals’ remaining sight by magnifying objects up to 50 times and allowing them to change contrast, brightness, and display modes. JORDY's name was inspired by Geordi La Forge, a blind character from “Star Trek: The Next Generation” whose futuristic visor enabled him to see.

Cochlear Implants

Work that led to the modern cochlear implant was patented by a NASA engineer in the 1970s. Following three failed corrective surgeries, Adam Kissiah combined his NASA electronics know-how with research in the Kennedy Space Center technical library to build his own solution for people with severe-to-profound hearing loss who receive little or no benefit from hearing aids. Several companies now make the devices, which have been implanted in hundreds of thousands of people around the world.

Robotic Gloves

Ironhand, from Swedish company Bioservo Technologies, is the world’s first industrial-strength robotic glove for factory workers and others who perform repetitive manual tasks. It helps prevent stress injuries but has been especially warmly received by workers with preexisting hand injuries and conditions. The glove is based on a suite of patents for the technology developed by NASA and General Motors to build the hands of the Robonaut 2 humanoid robotic astronaut.

Smart Glasses

Neurofeedback technology NASA originally developed to improve pilots’ attention has been the basis for products aimed at helping people manage attention disorders without medication. The devices measure brainwave output to gauge attention levels according to the “engagement index” a NASA engineer created. Then, they show the results to users, helping them learn to voluntarily control their degree of concentration. One such device is a pair of smart glasses from Narbis, whose lenses darken as attention wanes.

Anti-Gravity Treadmills

A NASA scientist who developed ways to use air pressure to simulate gravity for astronauts exercising in space had the idea to apply the concept for the opposite effect on Earth. After licensing his technology, Alter-G Inc. developed its anti-gravity G-Trainer treadmill, which lets users offload some or all of their weight while exercising. The treadmills can help people recover from athletic or brain injuries, and they allow a safe exercise regimen for others with long-term conditions such as arthritis.

Wireless Muscle Sensors

Some of the most exciting assistive technologies to spin off may be yet to come. Delsys Inc. developed electromyographic technology to help NASA understand the effects of long-term weightlessness on astronauts’ muscles and movements. Electromyography detects and analyzes electrical signals emitted when motor nerves trigger movement. Among the company’s customers are physical therapists developing exercise routines to help patients recover from injuries. But some researchers are using the technology to attempt recoveries that once seemed impossible, such as helping paralyzed patients regain movement, letting laryngectomy patients speak, and outfitting amputees with artificial limbs that work like the real thing.  

To further enhance the lives of people with disabilities, NASA has identified a selection of patented technologies created for space missions that could spur the next generation of assistive technology here on Earth.

Want to learn more about assistive technologies already in action? Check out NASA Spinoff to find products and services that wouldn’t exist without space exploration.   

Make sure to follow us on Tumblr for your regular dose of space!

[comicaurora]

A work had a controversial installment or arc, and it is widely regarded as bad for the story/franchise at large. Is it better for any future installment to retcon (hard or soft) and revert the status quo to pre-slump or to try to pick up the pieces without throwing the baby out with the bathwater, if one even exists?

Oogh. That's a tough one, considering how many questionable writing choices I'd personally scrub from existence if I had my way, but in general I think it's better to commit to the bit rather than constantly rewriting. Bad writing can be salvaged in hindsight - wasted characters can be strengthened in flashbacks, consequences of glossed-over tragedies can be explored later, dubious dialogue can be rendered profound through callbacks. Look at how Hayden Christensen's been playing Anakin lately and how much people like what he's doing - it doesn't make the prequels not lousy, but it does make them hold together a bit better in the grand scale. Half the fun of twists and reveals is how they reframe past plot points, and if a writer is careful they can add to a story in ways that reach back to the weak parts and strengthen them.

In contrast, the "never mind all that" school of writing makes it very, very obvious to the audience that the writers don't know what they're doing, or at least don't agree with each other, and spotting the hand of the author like that disengages the audience like nothing else.

Tbh I think Star Wars is a really interesting case study for this, since they've been playing both sides sidious-style for ages. Lucas kept digitally remastering the original trilogy and burying the version people saw in theaters, and nobody liked that - hence all the arguments about Han shooting first, because Lucas changed that after the fact to make him more uncomplicatedly heroic. Then the prequels were a mess, but accepting them as What Happened led to shows like Clone Wars (which overall slapped) and Kenobi, which wasn't perfect but did strengthen the characters, including Owen and Beru, who in the original were entirely flat spacefillers designed to die at Refusal Of The Call O'Clock. And bridging the gap between the prequels and OT gave us Rogue One, and then Andor, which are collectively the best star wars has ever been. But the sequel trilogy had AGGRESSIVE retcon-fights between Last Jedi and Rise of Skywalker, the most overt Never Mind All That I've ever seen - and NOBODY liked it.

Overall I think committing to the bit wins out, even if it's rough for the creators to look their past fuckups in the eye and find a way to make them feel intentional.

[wutheringcaterpillar]

I was wondering if you could write something for Peaky Blinders where the reader is a mix of Tommy and Arthur, who grew up with the Shelby’s and ended up being their business partners and Tommy’s fiancé, only for him to ship you away for your safety after a business meeting gone wrong and you come back to find him married to Grace as he believed the reader had died while away due to no correspondence. Thank you so much if you can 💖

Warnings: Altered storyline, orphan!reader, sad ending

thank you for the request, apologies it took a moment to come out. Thank you for being patient, hope you enjoy lovie🥰

Growing up with the Shelby’s wasn’t for the weak, but since a young age they had taken you in as their own.

Ada taught you how to fight for your rights and never allow a man to take control of you, whilst Arthur was the one who always reminded you to keep fighting when things get tough, to not supress any anger or rage as he did.

Then there was Tommy, the voice of reason, the one that promised protection over you and put the most interest in your life.

Through the years you’d grown immensely close, a shy attraction forming but never having the courage to approach the matter until a small kiss was shared on a drunken snowy night at the pub. 

From there things began to escalate, Tommy going as far as proposing and the family being overjoyed. The profound bound you shared with one another was unbreakable. That was until a villainous person of character brought trouble and you were his main target.

Tommy wasn’t quite sure how but the man had figured out where you were 24/7. A car reappearing constantly was never found, a familiar face never near. When they’d attempt to break in while you were at the betting shop alone Tommy realized he couldn’t risk it anymore, couldn’t risk losing you. Eventually sending you off to stay in Boston and promising to return when the situation was handled.

As days turned into weeks, weeks turning into months there had been no contact made on your part, leaving Tommy to presume you were dead and they had found a way to you.

Wanting the reassurance, he sent Charlie out there to investigate. But when Charlie arrived at your secluded flat, the place was a mess. Clothes and papers scattered, half bowls of food on the counters and what looked like to be blood covering your sheets, so he assumed the worst, eventually confirming Tommy’s fear that you had passed and your body was nowhere to be found.

Now here you were entering through the corridors of the Arrow House after tracking breadcrumbs to figure out where your long lost love was living.

Heads turned to stare in disbelief and side conversations unfolding from your powerful presence.

What you weren’t ready for was to see Tommy standing there with a blonde woman with an expensive necklace wrapped around her neck, his hands firmly placed caringly on her arms.

“I need you. I need you alive Grace.” The scene unfolding before your very own eyes churned your stomach in disgust while your heart thumped rapidly from the anger and heartbreak in your chest.

“And what about me then Tommy?” You shouted loudly causing everyone’s heads to turn in curiosity.

Whipping his head around from the sound of that voice he once cherished that he never thought he’d hear again. Grace followed his eyes, brows furruowing in confusion.

“Tommy who is this?” 

“Who are you?” You quipped back without missing a beat, resentment and anger laced in your voice.  Tommy felt everyone’s eyes glued on him, but that didn’t change the murmur in his heart.

He felt like the universe had come to a stand still. How could this be? It couldn’t, no. He had confirmation you were dead but yet here you were standing right before his very own eyes.

When Grace tried to approach, Tommy released his arm causing her to come to a hault.

“Why don’t we go to my office. Somewhere more private without lingering eyes and ears, eh?” Arthur and Ada stayed near their corner, watching the scandalous scene of events, nearly choking on their drinks when your heels clicked forward, hand striking the middle Shelby across his face vigorously before storming off in anger.

Ada set her glass down knowing she’d need to intervene with Grace, surely Tommy would want to talk to you alone.

Waving his hand, the music restarted, fellow bussiness partners and coneseuirs going back to their socializing as if nothing has happened.

Closing the office doors behind him, Tommy placed his hands in the pockets of his pants to hide his trembling hands, watching you rummage around his desk drawer for a cigarette as his crystal eyes remained calm and collected.

“Y/N. I thought you were dead. I didn’t-“ You slammed the door shut, lighting the cigarette allowing the nicotine to burn your lungs euphorically while flipping you hair, unphased by your ex fiance.

“I’m going to stop you right there. Tell me, did you even look for me? Or were you already far past me when you sent me away. Was that it? Was it all for her?” The crackling in your strained voice and the water building at the brink of your heartbroken eye lids shattered Tommy inside, lips parting agape while he couldn’t seem to find the right words.

There was a knock at the door but neither you or Tommy answered, gazes still locked in a windwhirl of scattered emotions, stuck laying in the bed of deceit and heartache that he caused.

When the knocking insisted on, he hadn’t known it was Grace on the other side when he shouted, “For christ’s sake we are busy! Fuck off!” She was taken aback by his tone, scoffing and twisting at the door handle trying to jiggle open the locked knob.

Scoffing at the tone of her high pitched, annoying voice yelling to be allowed in caused your blood to boil.

Picking up the glass bottle of liqour, you threw it with strong velocity and a hateful intent, just barely missing Tommy’s head as the object shattered against the door behind him.

“Jesus christ! Fucking calm down eh? I didn’t fucking know Y/N-I-“ She still didn’t stop.

“Fuck off you fiance stealing tramp!” Her efforts diminished, face turning pale when she heard what you said. So that’s who you were.

“Now with the whore gone, give me a fucking answer that I am damn well entitled to! Did. You. Look. For. Me.” He knew you were right, he should have looked, should have seen for himself but he didn’t want to bare seeing your lifeless body.

His fingers rubbed together at his side, head dropping down in guilt as his eyes wandered, mind pondering why the fuck he just assumed. There were plenty of moments where his men gave him false information, wrong information. 

“You never wrote back Y/N. I tried for months and sent Charlie to look for you. He told me there was blood in your bed and looked like no one had been there in weeks. I fucking thought you were dead. A day didn’t go by where I didn’t blame myself, I should have held you closer, should’ve never sent you away.” You scoffed in disbelief, crossing the room and pointed a finger accusing at him, pushing his chest in the process and he was more than willing to take the hits.

“If you cared enough you would have shown up for yourself you fucking bastard! Yes they fucking found me but I got out, the blood was from me killing those sick bastards. I disposed of their bodies, by myself might I add while you sat here just fucking the whore from Ireland not giving a shit about me! Do you know how much I struggled? I had no fucking money, none of you sent help for me or even tried but I’m more disappointed and angered with you! My fucking supposedly dearly beloved soon to be husband, I can’t believe I-“ His lips smashed against yours, silencing your words as his hands cupped your cheeks.

The taste of his whiskey, partially chapped, alluring lips caused your mind to flood with memories playing out like a movie scene in your head but you were stronger than this.

Pushing him away you slapped him once more, eyes entranced in one anothers in a moment of silence. Clasping his jaw, he shook it off like it was nothing. This wasn’t going to work this time, he couldn’t just seduce you and everything would be one happy fucking rainbow.

“Don’t fucking touch me. You have no right! I’m not some pawn in this twisted story Thomas.” 

He hated how his mind worked, he knew it was fucked up but was hoping his lips on yours would draw you back in, make you realize he was never once over you. It was his way of saying sorry.

“Y/N I will leave her, anything you’d like. I just want you. I need you Y/N.” You laughed in disbelief of the irony and disbelief of his choice of words and began to pace the room, your heart no longer aching but void of any feeling.

“Really? Isn’t that what you just said to her when I walked in the room? I won’t be the next chapter of another great Thomas Shelby redemption arc. I can’t. I refuse.” Tommy didn’t cry often but this time he couldn’t stop the singular tear from streaming down his cheek.

The air was heavy, the silence heavier, nothing but the clock ticking in the background filling your eardrums while your aching hearts split in half. 

You couldn’t be here anymore, didn’t want to be. How were you to love a man that threw you away so effortlessly. You knew him well enough to know he was just telling you what he believed you wanted to hear. Rule number one, don’t give your heart away to someone undeserving. He had taught you at a young age that true love was a fragile, difficult thing to come across, you just didn’t think he’d be the one to throw your away.

Making your exit, you wiped away the tears, refusing to give the public the satisfaction of knowing that Thomas Shelby had broken your heart as everyone said he would long ago.

He watched as you left him alone in the room with nothing but his thoughts, cursing himself for the man that he was as he watched the love of his life exit through the door for the final time.

[saintsenara]

What parts of canon do you find the most frustrating/that you are dissatisfied with/wished that was handled better/explored more? Mine is the inconsistency of Voldemort as a character. How he is described as being perhaps the most talented student that Hogwarts has ever seen and so powerful and intelligent but regularly made such dumb decisions e.g. in the final battle where he still uses Avada Kedavra despite seeing it not work before. I like the explanation that Horcruxes rotted his brain

thank you very much for the ask, @sarafina-sincerity!

the parts of canon which i find the least satisfying all have the same thing in common: their morality is individualist.

the harry potter series has - at its core - a really profound and very black-and-white belief that good and evil not only exist but are rooted in the individual. and while i understand why this is the case - the later books in the series are governed by the genre conventions of folkloric epic and, especially, of christian folkloric epic, which means that the whole seven-book narrative arc ending in a battle between christ and satan after which all is well is only to be expected - i don't like it.

so here we are... ten things i hate about canon, for fanfic writers to win my heart by interrogating in their work...

i hate the series' insistence that everything is fine once voldemort is dead

the middle books in the series - especially goblet of fire - do a really interesting job at hinting at the endemic rot in the ministry of magic, and the ways that the state and its enforcers perpetuated harm during the first war that was indistinct from that perpetuated by the death eaters - above all the use of internment without trial for suspected death eaters [which is a reference to something the british state actually did in the 1970s!].

they show how widespread blood-supremacy and magic-supremacy is, even among people who don't openly support voldemort; how the wizarding population is kept deliberately ignorant by what appears to be state-controlled media; and how no serious efforts have been made to eradicate the conditions which enabled voldemort to attain such power.

this is then forgotten completely in deathly hallows, where the fact that almost the entire civil service keeps working for a government which is committing genocide is hand-waved away with "oh, people are scared", and both the epilogue and jkr's post-series writing take the view that kingsley manages, as minister, to preside over a government which easily sheds all its old prejudices and starts working properly.

i don't like this! i think it's just much more interesting for corruption to be impossible to fully eradicate from the government, for blood-supremacy to have long-standing causes which actually take a lot of very hard work to untangled [especially the fact that the wizarding world not appearing to have a welfare state means that those whose lives are poor or unstable are prime targets for radicalisation], and for kingsley to have the same capacity for leaning on the prophet and worrying about his polling numbers as any other politician...

i hate that the series changes how the death eaters are written between half-blood prince and deathly hallows

connected to this shift from the series hinting at the broader issues in the wizarding world to a flat battle between good and evil is that the death eaters, their aims, and their modus operandi are written very different between half-blood prince and deathly hallows. in the former, the death eaters can be situated very easily as anti-state sectarian terrorists who have all sorts of complex analogies within british history and politics. in the latter, they're just caricatures of pure evil - which is why the death eaters introduced from the latter stages of half-blood prince onwards, especially the carrows, are considerably less interesting as characters than those, such as lucius malfoy, barty crouch jr. and bellatrix lestrange, who are introduced earlier.

it's also why the voldemort of deathly hallows feels so uninteresting. i don't like the fanon that the horcruxes render him insane at all - when he's shown outside of the epic battle between good and evil in that book, he's shown to be as lucid and cunning as always - but he ends up having to flop because his only purpose in the overarching narrative is to be killed. in the earlier books, in which he's a paramilitary kingpin poisoning and corrupting a society which was designed to exclude him because of the fact of his birth in revenge for its treatment of him, rather than satan and hitler's lovechild, he is so much more interesting.

i hate the series' belief that slavery is fine

obviously, one of the biggest examples of state malevolence in the series is that wizards own slaves. like many readers, i loathe that the house elf plotline ends up being reduced from its potential for radicalism in chamber of secrets - in which dobby mentions whisper-networks of elves who decry their treatment at wizards' hands - to what we see from goblet of fire onwards - in which elves love being enslaved and think that any attempts to free them from their subjugation is cruel.

i also hate that elves' freedom is then hand-waved away as part of the general race towards "all was well" with the implication that hermione found it easy to undo what appears to be centuries of state-sanctioned oppression without any pushback at all.

the house elf plotline is one of the clearest distillations of the series' individualistic morality. harry abhors the treatment of dobby at the malfoys' hands entirely and only because he doesn't like the malfoys. he abhors voldemort's treatment of kreacher, but sees absolutely no issue with sirius' because he likes sirius - and he clearly sees no issue at all with his own legal mastery of kreacher, seeing as, literally minutes after the end of a war in which the good guys fought for the rights of muggles and muggleborns to be seen as fully human... he is considering ordering his slave to make him a sandwich.

i hate that the series doesn't show the realities of resistance

the reason i think the whole "why does voldemort keep using avada kedavra, isn't he supposed to be clever?" question arises is because the series is incredibly resistant to the idea that the good guys must have to kill as well, which makes it look like it's only the death eaters using it while the order use lots of clever magic that the stupid terrorists are too thick to think of.

this is idiotic - not only because the killing curse is canonically flawless unless the thing you're blasting is your own horcrux and so the order would use it for efficiency's sake alone, but because the reality of being a resistance fighter is that, even if you're on the "right" side, you are going to have kill people or they will kill you.

lupin is completely right in deathly hallows that harry is breathtakingly naive to avoid shooting to kill and that - without the protection of genre conventions allowing him to be preternaturally merciful - his resistance to killing is going to result in him being destroyed by the enemy. it is inconceivable that the rest of the order don't using the killing curse - and the question of what this does to their souls [is it murder if you believe yourself to be justified in your actions?] and their senses of self post-war is so interesting to think about - and i wish we were shown this in the text.

especially because molly absolutely blasted bellatrix with it.

but i also hate that the series thinks that violence is fine when the good guys do it

this is primarily another example of the black-and-white "this is fine because harry's good" theme which runs through the series, which we see in things like harry using sectumsempra on draco malfoy in half-blood prince or the cruciatus curse on amycus carrow in deathly hallows. harry's overarching response to committing attempted murder is to sulk that the incredibly minor punishment he receives is reducing the time he could spend hitting on ginny, and his response to torturing amycus is "lol. lmao."

the series thinks - again and again - that cruelty and violence are completely fine when the person they are perpetuated against "deserves" it, and it does not bang.

and that the series allows the good guys more complexity in characterisation

the role played by the house system in the story - and, above all, the fact that our heroes are all connected to one particular house with straightforwardly admirable associated characteristics - means that the villains receive less opportunity to also have positive traits intermingled with their negative ones - and, therefore, complex and interesting personalities.

i also dislike that when non-gryffindor characters - especially slytherins - do reveal themselves to be brave and loyal etc., instead of recognising that this is because bravery can be multi-faceted the series suggests that they should be recategorised as "belonging" to a "good" house.

or, in other words, me and dumbledore's "i think we sort too soon" line in deathly hallows are enemies for life.

i hate that the series blames merope gaunt for dying

and - of course - the main way a villain isn't allowed as much complexity as a hero is that the series never examines the impact of voldemort's childhood on his adult self. while we see hints throughout canon of just how profoundly affected he is by his institutionalised childhood and the weight of his grief over his parents [his mother especially] - such as him learning as a baby never to cry for attention because it's futile - this is hand-waved away throughout the series by dumbledore-as-the-voice-of-god as irrelevant. the eleven-year-old tom riddle is straightforwardly evil, that he grows up in an orphanage is used as nothing more than narrative colour to underline how creepy he is, and dumbledore's spectacular mishandling of their relationship is viewed by the series as undeniably correct right up to the very last moment [when harry imitates dumbledore by - and we should call it what it is - deadnaming voldemort in their final confrontation].

but the most egregious thing that dumbledore does when discussing the course voldemort's life takes is blame merope gaunt for her own death in childbirth, by implying that witches are immune to one of the most common causes of death throughout human history if they just try hard enough and then saying that a nineteen-year-old girl whose life appears to have been nothing more than unrelenting abuse and misery [perpetuated both against her and by her] lacked the moral fibre to try hard enough.

and this infuriates me.

i hate how the series treats female characters who don't fit its narrow spectrum of "correct" womanhood

merope is but one victim of the series' general issues with treating women who aren't its heroes - all of whom are exactly feminine and beautiful and clever and talented enough that we know they're good people, but not any of these things in an extreme which could make them vapid or arrogant or defiant of social norms or so on.

the series takes a very low view of women who exist outside of narrow boxes - whether they are interested in a hyper-feminine aesthetic [lavender brown, rita skeeter] or a more masculine one [marge dursley]; conform to stereotypes about being bitchy, flighty, or vapid [pansy parkinson, romilda vane] or refuse to adhere to social expectations to be polite, meek, and demure [fleur delacour]; are unmarried, are not inherently maternal, and/or are cruel to children [bellatrix lestrange; petunia dursley; dolores umbridge]; are unrestrained emotionally [cho chang; moaning myrtle] and so on. and i don't like it.

and i also hate that - connected to this - the series uses physical appearance - especially weight - as a shorthand for [female] characters we're supposed to dislike.

what it says on the tin, really - if the series doesn't like a character, especially if the character is a woman, you can almost guarantee that they will either be fat or be unusually thin.

and finally...

i hate that the series prioritises one form of love - love as suffering and as sacrifice - over all others

part of the series' march towards the epic two-person showdown between good and evil is that harry is made to endure trial after trial - including his death for the salvation of mankind - in the name of love. obviously this is because he becomes, by the end of deathly hallows an allegory for christ, but it also fits into the series' view - articulated most frequently by dumbledore - that love, suffering, and sacrifice are all synonyms.

the acts of love the series foregrounds - snape's willingness to endure anything because of his love for lily; sirius' willingness to rot in azkaban and caves and grimmauld place because of his love for james and harry; harry giving up a love that's like "someone else's life" with ginny so he can go die - are all sacrificial, and the series generally takes a dull view of love that is fluffy, silly, carnal, selfish, soothing, transformational and so on. lavender and bellatrix's open adoration of their lovers is mocked; dumbledore's sexual desire for grindelwald is punished by his sister's death; tonks and lupin's uncomplicated happiness in the birth of their son is not to last.

but happy endings and silly jokes and forehead kisses are love too. and the hill i will die on is that they have even more potential to bring about the salvation of the world than constant suffering and abiding.

[a-s-fischer]

One of the things I hear a lot from Gentile witches and neo-pagans who want to work with Lilith or claim to work with Lilith, is that she is actually a Mesopotamian goddess, usually either Ishtar/Inanna or Erishkigal, and that it was the Jews, with their horrible patriarchy juice, who slandered her and cast her down, and so the Jews do not deserve to say what happens to her and it isn't antisemitism to work with her, or to completely ignore what the Jews say about what she is in a Jewish context.

Lilith is not Ishtar or Erishkigal. However, there is a Mesopotamian figure that is pretty stinking analogous to Lilith, and is probably her folkloric ancestor, by which I mean the idea of Lilith probably comes from this Mesopotamian figure. In fact, Lilith almost certainly is either a Jewish version of this figure, or, they are both descended from the same Near Eastern and Mediterranean basin folkloric figure. That figure is Lamashtu.

Lamashtu is, much like Lilith, the supernatural embodiment of maternal and infant mortality, a figure of power and terror, who functions as a way to embody and cope with the profound dangers that are pregnancy, childbirth, and infancy without effective medical care. the Mesopotamians never worshiped Lamashtu, but they did seek to appease her, including making symbolic gifts to her, to keep her from visiting them, and killing them or their children.

An interesting side note is that there is also a Mesopotamian figure who specifically opposes Lamashtu and functions as the protector of pregnant women and infants, and that figure is Pazuzu, a wind spirit, who ruled over other wind spirits, including ones called the Iilu in the Akkadian language. Akkadian is a Semitic language, related to Hebrew, and this word is probably a cognate of Lilith, but the Iilu probably have no relationship to the figure of Lilith except her name. You might know Pazuzu as the demon featured in the movie, The Exorcist, and ironic fate for a mythological protector of women and children.

Anyway, if you'll remember, I implied above that the Lamashtu/Lilith figure, was present in various guises throughout the Mediterranean basin and the Near East, so there are of course figures analogous to both of them throughout the region, such as Lamia of Greece, and the Strix of Rome.

So if you really really want to work with a figure who functions as the supernatural embodiment of maternal and infant mortality, Lamashtu, Lamia, or the strix would all be excellent options that don't come from an extant closed religious practice. All the baby killing, none of the antisemitism and cultural appropriation.

While all three figures are almost certainly descended from the same folkloric root, they're all subtly different, because as stories and characters travel, they change. as such, they all have particular good points about them as figures of veneration.

Lanashtu is the OG bad bitch, who commanded fear, respect, and offerings, like a mythological mafiosa, collecting protection money.

Lamia has attached to her the story that she was one of Zeus's dubiously willing lovers, who was screwed over first by Zeus, the embodiment of patriarchical rule, then by a jealous Hera, the embodiment of patriarchal marriage, so if what attracted you to Lilith was the story from the Alphabet of Ben Sira, about a victim of the patriarchy getting her own back through violent vengeance, Lamia might be the girl for you. With her however, the emphasis is less on her murder of children, then on her seducing and eating men, though she does also get strongly associated with killing children, especially boys.

And the strix is particularly interesting, because the word comes down to us in the modern Italian word for witch, striga. Indeed, one of the theories as to where the witch figure came from in Early Medieval, and then Early Modern Christianity, was as the strix demon made human. This might explain the close association between Early Modern Witchcraft and infant mortality, including Italian stories of witches causing infants to die seemingly natural deaths, so that they could dig them up and eat them after their funerals, something that ties these human supposed witches very closely to demonic folkloric antecedents. If you are looking for a figure of unfairly maligned female power, the strix and her close association with later human witches, might be the one for you.

All three of these figures, much like Lilith herself, are reflections, both of the power women wielded even within patriarchal societies, over the process of pregnancy, birth, and childrearing, and also the powers of death and loss that everyone was subject to. There is something powerful, transgressive, and even healthy in acknowledging the fears and dangers presented by this death and loss,and for some people, that might take the form in venerating the underlying powers. If this is something that would be spiritually meaning for you, and you wish to work with such a figure, and you are not Jewish, please respect the fact that Lilith is part of a closed religious practice, and remember that Lilith has sisters, in other parts of the Mediterranean basin and the Near East, who are not from extant closed cultures, and who might serve your needs better anyway.

[skywerse]

I think I’ve finally stopped cringing enough to share some of the stuff I worked on for my short film, “Heirloom” and this is the colour script!! :D

The colours carry a lot of the emotional weight in the film, pulling you through each stage of the story and making you feel every shift the characters experience!! This was especially crucial since there's no dialogue or narration to lean on... So let me yapp a bit about that—

The first act features vibrant yellows, greens, and oranges—warm, lively tones that signify peace and stability. This palette establishes a sense of calm and familiarity, but as the act progresses, darker hues begin to infiltrate the scene.

In the latter part of the first act, the colour scheme shifts dramatically to dark, gritty reds and oranges. This transition introduces this tangible intensity, this foreboding feeling, highlighting a surge of anger and tension. The dominance of these reds signals a significant change in the narrative.

The second act dives into violets and purples, evoking a sense of novelty and uncertainty. These colours effectively illustrate the protagonist’s struggle to find his footing in a world that has moved on without him.

The third act is divided into two parts! Initially, deep blues dominate as the protagonist returns to a home that's long gone. These dark, sombre tones represent profound sadness and loss.

The final part of the film transitions back to these bright, saturated yellows, concluding on a very hopeful note. This return to vibrant colours signifies a resolution and a full-circle moment, reflecting the protagonist's journey and his redemption :)

if you have 7 mins to spare to watch my short film, look under the cut!!

(BEWARE!!! I was on a tight deadline for this, the audio is SHIT)

[trashmancer]

Okay, I have to get it out of my system. The thoughts I had on what The Dragon Prince did and why, deep down, it repulses me on a profound level. (I’ve shared these thoughts elsewhere but here’s my analysis on Viren’s arc and ending in season 6.)

The season begins with Viren waking from what was teased to be death (and viewers were left thinking he died for a year). He feels free and unburdened and has hope. Maybe things can be better, maybe he can change, maybe he can fix what he has broken.

Spoiler alert: He doesn’t even get off the starting block. From there it is a descent towards despair and his self-inflicted death.

After he wakes, he encounters his bloodied daughter Claudia. This shock smacks back to reality and he sees what he has caused. He realizes the cold truth: his daughter is better off without him so he leaves her despite her cries for him to stay. It is worth noting as he leaves, he openly acknowledges it may kill him—and he doesn’t much care if it does.

He goes back home to Katolis searching for anyone to talk to. He begs to speak to King Ezran and is denied and told he deserves “no mercy.” He reaches out to his son Soren in an attempt to reconcile, to apologize, and Soren accuses Viren of trying to manipulate him. Viren realizes he will receive no help or solace here as he’d hoped, and despairs.

His feeling of hopelessness is symbolized by the show panning to a fly trapped in a spider’s web about to be consumed. The abject image of being trapped with nowhere to go except death.

Next we see him, he is alone in his cell, penning a letter of his regrets, which is not that dissimilar to one's final thoughts in a suicide note. But he reconsiders. After all, this is self-indulgent pain to burden the living, so he burns it. His last thoughts and words gone.

It isn’t much after this moment Soren tells Viren the only thing he has of value to offer is his ability to do Dark Magic—the thing Viren has been running from, the thing he now hates, the thing that ruined his life. Throughout the show, dark magic can be allegorically read as a form of self-harm, done out of fear and trauma while causing lasting scars to the user. And Viren succumbs to it. He agrees. With the biggest expression of it: offering his own body to feed the spell. He stabs a knife into his own chest (reminiscent of Shakespearean suicide). And he dies.

What happened here wasn’t just a blaring example of a heel-face door slam where a character vying to change their life around and be better is coldly denied. It was also a suicide—a glorified one at that.

For a show supposedly about hope and forgiveness and breaking cycles, having a character who for three seasons is striving to walk a different path take his own life in an act of despair when he has nowhere else to go is... well. Sure is something. Nothing good in my world.