#and in turn dehumanizing themselves

[lemonwrap]

I love dog metaphors and motifs, and I want a brainwashed Soap AU where, after a while, Soap genuinely sees himself as a dog.

When Makarov first gets his hands on Soap, Soap has his dignity, pride, and mind fully intact, and he fights. Soap fights hard, and he fights well, but months of harsh conditioning that stretch into years will break anybody. 

After a while, Soap no longer believes that he’s a real human, let alone a person. He’s an animal, a creature, a dog that must obey, because what else is there to do?

He was a bad dog at first, growling and biting until he was muzzled and beaten into submission, but he eventually learned that it was easier to just obey his master. Makarov was his master. He was cruel and choked Soap with the leash he had wrapped around his throat, but he was a master nonetheless, and dogs obey their masters. 

And then the 141 recovers Soap, years after they thought he was dead and gone. They held a funeral for him, and although they never quite stopped grieving, life must go on. 

Ghost is the most affected when they get Soap back. He frantically fumbles at the straps keeping the muzzle attached to Soap’s face, yanks the muzzle off, and throws it to the side, cupping Soap’s cheeks and repeating Johnny, Johnny, Johnny. But Soap doesn’t remember Ghost, and he doesn’t know what he did to make this man start crying as he crushes Soap in his arms or how to make it stop. He grovels and tries to put the muzzle back on as a show of obedience and good will, but the man gets increasingly upset. Soap just doesn’t understand. 

When Soap realizes Makarov is dead, he sees it as a transfer of ownership.

Days, weeks, months pass. Ghost reintroduces himself to Soap and keeps trying to talk to him like they’re equals, like Soap is a human too, but Soap doesn’t remember, and he doesn’t get it. He tries his hardest to please Ghost by obeying how his former master trained him, but he’s bewildered when Ghost doesn’t react favorably like he’d hoped. It simply doesn’t click in Soap’s head when Ghost repeatedly tells him that he’s still a person.

Soap thinks the world of Ghost, though, despite the man’s confusing orders. He refuses to muzzle or restrain Soap in any way, and he gives Soap things he’s never had before, like a soft place to sleep, food that isn’t bland, and physical contact that doesn’t hurt. Soap has to learn his new master’s preferences—but that’s okay, because Ghost is a good master. Ghost is kind and loves Soap, and all Soap wants to do is be good for him, no matter what.

Every dog needs a master, after all, and Ghost is all Soap could ever hope for. 

[prettyboysdontlookatexplosions]

It is immensely difficult to understand just how completely white Southerners wrote off slaves in their political calculations. How, we ask, could they contemplate war without worrying about the possibilities it opened up to four million enslaved people? But so irrelevant were slaves to their thinking that William Yancey, the influential Alabama fire-eater, could recommend secession as a resolution of all the old struggles. It would augur, he said, a future with "no irrepressible conflict and no domestic enemy to incite our vigilance." Black Republicans--that is to say, white Northern men and not slaves--were the domestic enemy Yancey had in mind.

Southerners of all political persuasions worried publicly and to good effect about the way abolitionists incited slaves to violence. One can readily discern the heavy weight of racial thinking about people of African descent. It was hard for white Southerners to think of slaves as "the enemy within." More than thirty years of proslavery training had mostly dissuaded them from that view. But the fear lurked just below the surface, and a benevolent paternalism always confronted a deeper antagonistic view. One can hear their conflicting emotions when white Southerners learned of John Brown's attempt to raise slave support in his raid on Harper's Ferry. One contributor to the Charleston Mercury opened with a brave denial that planters had anything to worry about at all--"they would as soon suspect their children of conspiring against their lives"--but descended quickly into a tortured consideration of circumstances in which slaves might indeed pose a threat. When "constantly tampered with," the writer fretted, faith in the Africans' good nature could prove a flimsy defense. "Our negroes are constantly tempted to cut our throats or pink us" with rifles. It was well to be prepared for the worst. Those "foot peddlers" from New York trolling the neighborhoods could "put the devil in the negros' heads," and could have been down there already "for all we know, arming the troops." The conflicted view of slaves' nature was palpable but controlled. Slaves were said to be, by nature, good, childlike, and loyal servants to their masters; they posed a danger only when white outsiders attempted to "rouse an ignorant people [by appealing] to their superstition and lust." Thus when secession dispensed with the Black Republicans, as Yancey promised, slaves would no longer represent a force of any sort.

[...]

African slaves in New World societies underwent a process of instrumentalization rather than simple suppression or exclusion. White Southerners were so deeply implicated in that process that they had great difficulty shaking an instrumentalist view of African American people even when confronted with evidence to the contrary. Rare, indeed, was the commonsense observation like that of Waltman Willey, a western Virginia Unionist, who, disparaging the secessionists' argument that slavery would be safer out of the Union, asked bluntly what the consequences of destroying the Union would be: "What then. The common national obligation [to return fugitive slaves] is destroyed. Will not the negro find out? The motives to flee across the line would be increased, because he would know that whenever he crosses that line he will be free." What Willey predicted was precisely what most white Southerners denied: that slaves had motives and interests entirely their own, channels of communication that kept them apprised of relevant developments, and allies whose help they knew to seek. It would take Confederates a long time to learn those lessons.

stephanie mccurry, confederate reckoning: power and politics in the civil war south

[basofy]

i think you can be as critical about the venezuelan opposition and maría corina and edmundo as you want but arent venezuelans allowed to choose for themselves even if the options arent perfect? are you willing to justify electoral fraud and police brutality, class inequality, bad management of resources, lack of maintenance of the country, breach of the law, lack of investment in health services and education etc etc just because the person doing it is someone you like or because you don't like the other option? are people at fault for wanting something different?

[moe-broey]

Like for real how hard is it to just. Accept that sometimes somebody wants to be called something else. Why do you even fucking care. I'm so fucking tired.

[idiosyncraticrednebula]

Just because a woman has the ability to give birth, it doesn't automatically mean that she is gonna be a good mother, and the way I've seen a LOT of mothers act and what they say """""jOkiNgLy""""" online proves that point.

[brightyearning]

this is gonna sound so weird but i HATE when I go to the comments of some tiktok and it's just people asking where everything within sight is from. it just feels so bottom feeder basic I can't even fully articulate the disdain I have for it.

[drchucktingle]

this was a comment on one of my post from a recent live event. it was photos of joyful queer buckaroos celebrating together and proving love is real through creation, community, and a trot of love. most important I AM LITERALLY IN PHOTO AS A REAL FLESH AND BLOOD HUMAN

it got me thinking about how DEEP AND VICIOUS the irony poisoning of these early internet communities goes. the way buds like this cannot fathom someone just being a sincere person unrelated to their OWN old days of cynical posting. it is fascinating, and i will admit, sad too

despite a DECADE of work, countless live events, 350 tinglers written well before large language models were a thing, there are still people who cannot imagine someone like me could exist. it is a strange place to be. not just part of me, but my entire EXISTENCE is often gatekept

it is easy to say ‘well chuck your art IS strange’ but honestly i think it is more than that. magical realism is common. there are stories about dinosaurs and bigfeet and unicorns. this scoundrel reaction is about two unspoken things: my art is neurodivergent, and my art is queer

heres the thing: I WILL BE FINE. what concerns me is not an issue of MYSELF, it is a concern for the other young outsider buckaroos who see comments like this one and think ‘is that what they will say if i express MY unique way? will i be dehumanized like this at every turn?'

i will be honest, i cannot say that WONT happen, but i CAN say this: for as deep as this irony poisoning goes, it is slowly dying. the way i was treated at the start of my career is LIGHTYEARS DIFFERENT from the way i am treated now. there is a massive shift towards sincerity

BUT MORE IMPORTANTLY. to young artists trotting up, the things that i am harassed over and doubted for and made fun of for are NOT tangental to what has made me successful, THEY ARE LITERALLY THE SAME THINGS THAT HAVE MADE ME SUCCESSFUL. YES I AM STRANGE, WHAT OF IT?

the things that you tuck away for fear of a review that says ‘there is a PROBLEM with this art because it has always been done another way’ THOSE ARE YOUR SUPERPOWERS. the gatekeepers want you to tuck those parts of yourself away because THEY TUCKED AWAY THOSE PART OF THEMSELVES

never forget that your unique way is PURE UNFILTERED 100 PERCENT ROCKET FUEL. it will stick out (maybe, if you are lucky, scoundrels will even say that someone like you could never actually be real), but sticking out isnt so bad when you are waving the flag of love.

in fact, when youre waving the flag of love, sticking out is pretty dang cool. what are flags for, after all? LOVE IS REAL BUCKAROOS. thank you for reading, and if you enjoyed this long post then please consider preordering BURY YOUR GAYS.

LETS TROT

[kestrel-of-herran]

there's sooooo much meaning in mark turning and walking back towards helly and so many layers to the scene in terms of both emotions and narrative implications.

up to this point they both thought they were about to die. mark would get gemma out of lumon for his outie, turn into him and wait on his mercy to be sucked into his consciousness in a capacity that might render him into nothing more than an echo or a ghost, and helena would never turn back into helly because mark scout and gemma would expose lumon and terminate the innies' existance. mark s. is staring at this oblivion when he's staring at the door and the woman he doesn't recognize calling out for a version of him that needs him only for the labor he can provide for him in dulling his pain and earning his money and rescuing his wife.

when the red lights turn on over helly she thinks it's already over, that mark got gemma out and she'll never get to see him again. britt said the alarm reminds her of her escape attempt at the staircase, so this is where she runs to on impulse, for the slightest chance she might be able to see him again.

when she calls out his name it's just a single word to all of gemma's cries and pleas, but it's the only time in this scene when "mark" denotes him, the innie. her voice and the sight of her at the end of the corridor ground him back to himself, remind him he is a person, he has people who care about him and love him and want him because of who he is, not who he could be, and that he has things he wants and people he doesn't want to lose. he might have nothing in this world built just to control him but he has this choice and he has her and their love.

when he starts walking to helly he's made that choice with every atom of his body, but she still doesn't understand, she's thinking maybe he wants to tell her something, maybe he's coming just to say goodbye. it only hits her fully when she sees his expression, all the love and desire and rapture there, all the feeling in his heart, that this is real, that he's making this choice, which means she's not about to die and she's not about to lose him. the girl who didn't want to live half a life has become the only thing he wants to live for. it's this sublime moment of disbelief and relief at the enormity of salvation that can be achieved through your actions when you didn't ever hope you could be saved.

and then he takes her hand, and nothing exists in the world but them anymore. the world was built for lovers all along. he looks at her like he wants to drink her in and she finally lets herself have it, lets herself feel joy and pride and this conviction, my love mine all mine, nothing in the world belongs to me but my love does. and triumph, too, she chose well, she gave her heart to him and he's more than worthy of having it, and love as a source of power and lust for life, if it's the two of them against the world nothing can stand in their way.

the music is enormously important here, it coocoons them in their emotional journey, shelters them from the incomprehensible anguish of the outsider. this moment is only for them, their connection something they built and earned and will continue to fight for, independently and in spite of every controlling entity in their lives.

it's an action that is also a statement, a discovery and definition and actualization of self, i'm this kind of person, i'm the kind of person who wouldn't lose you. it's a rubicon moment, a point of no return which is the start of time, a line whose crossing will remap their world.

what he did is life-defining for both of them, the choice to put themselves and their love first, the choice to say i am a person worthy of life and joy and agency. the triumph of the human spirit over the dehumanization of the dystopian narrative.

[gryficowa]

You know what's fucked up? The law assumes that only Jews were the victims of fascism, which is why we now have the absurdity that if you are a fascist but also a Jew (Zionism in short), you go unpunished because you are a Jew, and those who are against you are anti-Semites

So yes, the anti-fascist law turns out to be a perfect loophole for fascists as long as they are Jews (And in Germany it's so absurd that Jews were beaten and attacked by the police for anti-Semitism, so yes, such a loophole in the law was used for this shit)

The law assumed that other victims of fascism do not exist, so they do not have to be as protected as Jews (And before anyone gets outraged, the point is that every discriminated group should be treated under the law in the same way as Jews, i.e. Queerphobia, racism , Islamophobia etc… were treated as seriously as anti-Semitism, and not treated as a "Joke") and this shows how defective our law is, unfortunately, the status quo will probably also be preserved, i.e. they will add another group and ignore the rest, and then the same loop will occur (It is a gloomy thought, but since they erase other victims of the Nazis such as Poles, LGBT+ people, Roma and people with disabilities, because they consider them less important than Jews in the fight against discrimination, then I'm sorry, but it sucks and this anti-fascist policy works shit)

So yes, the anti-fascist law has so many loopholes that it hurts, it just hurts on many levels, and the absurdity that Jews are beaten for anti-Semitism is proof of this, simply assuming that fascism is only swastikas and hating Jews is harmful on many levels, no, fascism is behavior, it is discrimination, dehumanization etc… The victims are not only Jews, and even then they were not the only ones

Zionism has exploited loopholes in the law to silence its opponents, and it's so disgusting it's nauseating

If the fight against fascism doesn't work because the fascist is a Jew, then you know that this anti-fascist policy is so full of loopholes that it doesn't care about fighting fascism, and it can just be exploited by fascists and people shoot themselves in the foot in this law, yes, we should fight fascism, but we should fucking teach what fascism is and how it works, not teach that only Jews are its victims, damn it

Because we have made Jews victims of anti-fascist law because they are anti-Zionists

If this is how the fight against fascism works, you know something has gone fucking wrong

Today, fascists choose easier targets (Because Jews are better protected by law, because attention, anti-Semitism is taken seriously, not as a "Joke" and that's the fucking difference) like LGBT+ people, immigrants, Muslims, black people, etc… because the law is full of loopholes and society continues to ignore the fact that this discrimination is a serious problem

It just sucks, you can be from a group that was a victim of the Nazis (I'm from Poland, specifically Kashubian, I'm aroace and I'm a person with ASD), and you will still be fascist in the eyes of the law because you are anti-Zionist, the law doesn't care about you because you are not a Jew who wants the genocide of the Palestinians and it is sick, it is simply sick

It's simply such a huge loophole in the law against fascism that now it is showing before our eyes how badly it was made and how people concluded that the victims of the Nazis were only Jews, so now that there is anti-fascist law, it only cares about Jews and so , about those who are Zionists, because they treat anti-Zionist Jews like shit (Germany, I remind you)

It's just sick, the whole law is so flawed and against the victims of fascism, even if they are not Zionist Jews, that it's insane

We would have to destroy the law and build it anew, but the question is whether this would not cause problems for future generations, because we would have to do it damn well and analyze everything, and there would probably be a fucking risk that fascism will find another loophole to its own advantage anyway

The very fact that this loophole was ignored for so many years is also terrifying, because what the Zionists did to the Palestinians from the very beginning is an indication that the law even then closed its loopholes and we are only seeing them now because we have greater access to information

The law also showed that this applies to white Jews, because Arab Jews are not taken as seriously, so don't expect anyone to care about anti-Semitism when you are not a European Jew, because you are an Arab and your being a Jew means nothing, and the law doesn't care about Arabs, so you're fucked

So yes, the loopholes in the law are most visible today and well, the very fact that they were ignored for many years is a long-term problem, and the Zionists have been taking advantage of this loophole for years to their own advantage

[antimony-medusa]

But what do you MEAN this fic where blorbo gets mind controlled might be kinky?

So I am kind of famous for saying that this fandom has a lot of untagged kinks and I get people in my notes pretty regularly going YES I"M BEGGING YOU TAG IT or YOU"RE DERANGED THIS IS PLATONIC, etc. Lots of strong emotions. But I also get people who are going uh, I knew something was going on, but I couldn't really identify it— what do you mean exactly? What kinks are you seeing?

So, this post is breaking down things I've seen and how in some cases, they start to cross the line into kink territory. These are all things that were being done platonically— no dicks were out, everybody's clothes were on (in most cases, not always with the dehumanization tropes)— but the focus of the narrative started to place special weight on specific features, experiences, or concepts— there were extended paragraphs that served no narrative purpose except to dwell on something— in a way that I started to go "the point of this fic is the squiggly feeling the author or reader gets on reading about this specific setup— this is getting kinky". And that is fine, I am not placing any moral weight on engaging in kinks— people just get wired sometimes to really like the concept of bondage— but a) sometimes it would be nice to get a heads up as a reader, b) if you like these things— there are tags out there that are FULL of this concept, you might like to do it or search it out on purpose.

So I asked some friends what things have they found in platonic fics that they went "ah. yeah. something is happening here", and this post is the result. A lot of these things don't exist in the real world or people don't necessarily want them to happen in the real world/to them, so it's understandable that a person can miss how they'd started to morph and become something new. But when we talk about kink in fiction we're often talking about things that either can't or we don't want to happen in real life, it's just that reading about them/writing them scratches our brain.

And also, to be clear, in no way do I mean that if you've written these concepts then you definitely have been writing kink. There are vanilla ways to do all of these concepts, and sometimes the idea of dehumanization is interesting to you from a narrative standpoint, for example. You can also engage with them in a non-sexual way— many ace people are very kinky— so I'm not saying that you've secretly been writing porn OR writing something you have a real desire to happen to you. Just to make that clear. However, if you keep coming back to a specific setup for writing or reading, it might be worth investigating if certain things scratch your brain in a specific way.

So.

Blorbo gets mind controlled and there's a detailed breakdown of their descent into this altered state and then they're just so biddable and out of it and vulnerable and the narrative places weight either on someone taking advantage of them in this state, taking care of them, or their own subjective experience having lost control: this is hypnokink. Hypnokink or mind control— lots of ways to do it, but there is a thriving hypnosis or hypnokink scene that you might want to look into. Sometimes this is played for horror, but even the horror stuff can be kinky if played in a certain way. This falls under a larger umbrella of "altered states" that is very popular.

Blorbo gets drugged/intoxicated, often against their will, and heavy narrative weight is placed on their experience while drunk/drugged and unable to control themselves or conceptualize what is happening: this is intox kink. Another altered state— and again this is sometimes used for horror, but even the horror can give you the special tinglies if the dread is mixed with something.

Blorbo is turned into a vampire or taken by a vampire, gets drunk from or drinks blood, and there's specific narrative focus on how good the blood tastes, blood from a wound trickling down over someone's body and maybe being licked up, a hunger being sated— so vampires are a longstanding trope that can be done in a strictly horror way, but a LOT of vampire tropes are deeply kinky along the ideas of possession, loss of bodily autonomy, fear/desire, and consumption. This, for example, I have definitely read dipping into bloodplay or consumption kink. Sometimes blood drinking scenes are directly metaphorical for sex, including narrative tension building to a release where someone feels so good, but also there are other elements, such as a focus on blood that gets kinky.

Blorbo has wings that get preened, and it feels so good they can't hold back instinctive movements and sounds (maybe bird sounds) and they're so grateful and bond so much with the person doing it with them— This is wing kink. This is actually the first trope in this fandom that I identified that some things were happening with, because I was reading these fics that had been recommended to me as family fluff going— am I crazy or is something else happening here? Wingfic has been broadly used as a platonic/familial trope in this fandom, however, the structure of the scenes in which it is written about sometimes has heavy crossover with wingfic in other fandoms, where they are using it as a smut trope— the fic just didn't have anyone literally orgasm at the end. But if there's involuntary sounds or movement from the person with the wings, a focus on how pleasurable it feels, a feeling of release or rightness that someone gives the person with wings, and then they cuddle afterwards— yeah.

Blorbo is terrified and chased by a monster of some kind, with a heavy focus on how frightened they are, how inexorable the monster is, and something bad going to happen, and/or the monster chasing them enjoying their terror— this can just be horror. OR it can be fear play or predator/prey. Sometimes it's both.

Blorbo is confronted by monsters (perhaps giants or aliens) who are much bigger than them and the threat of being eaten by them is narratively focused on, either bitten or swallowed whole. Sometimes in the narrative the eating happens, either safely or to their death— this is vore. Being eaten alive is also a horror trope so it isn't always vore, but it is sometimes most certainly vore.

Aliens or monsters/hybrids much bigger than blorbo have them as family/friends/romantic partners/captives: this is giant/tiny. Sometimes just a science fiction au but if there's a lot of weight being placed on how big they are and how small blorbo is, this could be g/t. Borrower aus can frequently start to fall into this category. If they're not THAT big but there's focus on things like "oh they can span my waist with one hand", this can be size kink, instead. (Note that to my knowledge the platonic version is giant/tiny and sexual is micro/macro— there's a thriving platonic scene I sometimes see when I'm cruising tags, so if you like this you might want to check that out.)

Blorbo is non-consensually touched, cuddled, or modified, and narrative focus is placed on this as a violation/outrage/loss of bodily autonomy: again, this is something that can just be a horror trope, but there is often a larger or smaller strain of consent issues in it. If blorbo doesn't want it at first but eventually feels at home in the nest and feels good, that's dubcon (dubious consent), and if they are fighting it and raging against it and will never be part of your family, that starts to overlap with noncon (non-consent). Blorbo's bodily autonomy is being non-consentually violated, which would put it under the consent issues umbrella. I think many people writing these tropes are simply focusing on captivity and bad things happening to blorbo— when one is a prisoner they automatically lose bodily autonomy, and I don't think that every fic set in a dungeon requires a consent issues tag— and additionally many people are writing from family settings that include bodily autonomy being violated (being forced to hug your aunt you don't want to hug, for example, is an example that many of us have experienced). Not every example of non-consensual touching is always consent issues. However, when the narrative focus is on the outrage and betrayal of it all, the loss of control, and/or the helplessness, this can start to serve a different narrative function in a story than simply illustrating that a family is touchy. I have read scenes that structurally function as a thinly-veiled metaphor for sexual assault, including things like blorbo being held down while they fight against what is being done to their body. Some of these could have used additional tagging. Note: because this is such a hot button topic I should mention that if you like writing or reading this I do not think that means you are a fan of violence happening in the real world— a) reading a bad thing happening on the page makes it containable and controllable in a way that the real world does not, people also like to read about murder and dismemberment— b) simply the presence of a happy ending tag on a fic contextualizes that the bad thing is something to be passed through in a way that again, the real world does not offer. This is a similar thing to torture, suicide, or slavery, where sometimes you want to see blorbo have a bad fictional time specifically in things that would be terrible in real life, and in your real life you do not condone police brutality or want these things to happen. Again, sometimes people like to read about people being eaten alive, and it does not mean they condone wolves on the streets.

Blorbo is captured by alien/fae and kept as a pet, sometimes kept in a cage or collared, unable to communicate with the people holding them: this is often tagged as dehumanization and it is that, but it also starts to contain elements of pet play. If there is an emphasis on having to eat pet food, be "trained" by their owner, leashing/collaring/crating— this may be pet play.

Adult or near-adult blorbo is adopted and take care of by a new dad who knows everything to keep them safe and loves them and can take care of them and they can just let go and be their new sonboy because Dad's got them: Right. So this is sometimes just someone writing a "wouldn't it be nice to be taken care of" fantasy. Sometimes this is Daddy kink. This is almost never tagged and in some cases that I have read it certainly deserves an additional tag. An adult Daddy or Mommy figure taking care of their adult Little who can just be taken care of and not worry is a d/s trope. In some cases, where you have an established adult with a job who gets taken by magical means who then finds their true home as a powerful being's new child where they don't have to worry about their former life and they mentally find comfort in their new role as sonboy, this may also be Caregiver/Little. Direct age regression (often written by people who experience it) is usually tagged appropriately, but narrative elements that nod to that while not actually being age regression, such as an adult being now treated as a child and the narrative presenting that as good, are remarkably common and often entirely untagged in certain tags/circles. If someone could look at your fic and expect adult peers and then this happens, you should consider tagging or phrasing your summary differently.

Blorbo has hybrid instincts that overcome their cognitive functioning and make them revert to an instinctive form such that they can only be calmed/soothed by another hybrid of a different type: now this at this point is basically its own trope and I am fascinated to see if this trope expands out of MCYT as people move to new fandoms. However, it shares a startling amount of overlap with omegaverse. One of the primary draws of omegaverse for many people is the biologically determined altered states and the fated-mates aspect, and hybrids reverting to instincts and needing particular care from a perfect family is often beat for beat things I've read in omegaverse, just platonic. When you have a biologically determined "protector" figure and a biologically determined "runt" whose job is to be taken care of and to submit to the protector, and this is required to calm the protector, it also has strong overlap with BDSM aus.

Blorbo is captured or contained and tied up, and narrative emphasis is placed on their experience of being bound and struggling against restraints or just how impossible to escape from the restraints are: this is bondage. I have had friends who are into this mention that they used to tie up their barbies as children, so again, as with all of these, this can be perfectly platonic— but something about that concept just seems particularly satisfying to the writer, perhaps it is more than just set dressing.

Blorbo is captured and there is strong emphasis on them being hurt or the waves of pain rolling over them as they are tortured: this is just an honourable whump trope, but a lot of whump tropes if handled in a specific way have strong crossover with BDSM. Lack of ability to move or restriction of senses, loss of control— or, as with this, an emphasis on pain or inflicting pain, which can cover sadism or masochism depending on our POV.

Blorbo is overwhelmed and only finds comfort in submitting to the authority of someone who they completely trust, whether because of past trauma or because of hybrid instincts: this is d/s, or domination/submission. If there's specific emphasis on allowing someone to take control finally makes blorbo's head go quiet, that's subspace.

Blorbo is marked or indicated as belonging to someone, either through something like an earring or a brand/tattoo or a magical mark, so that anyone who looks at them will know that they belong to someone: again, this can just be horror, but especially if it's framed as a good/satisfying thing, it also can contain strong crossover with BDSM, especially master/slave elements.

Blorbo is transformed and corrupted, often being bodily changed into a new form by aliens or fae or mobs: this is obviously body horror, but this can also be transformation kink. This is a narrative trope in SF and horror so someone can approach this completely innocently, but when handled in less of a horror way, it can take on other undertones. If there is a strong emphasis on the innocence and unprepared nature of blorbo before being changed into what someone wants them to be, this can be corruption kink as well.

Blorbo dresses up for a fancy event and there's emphasis on how specifically they look, or maybe blorbo is looking at someone else and thinking about how THEY look in their formalwear: sometimes this is just description and/or the author likes textiles. I have also read things where I think the author would get a lot of joy out of pursuing the formalwear kink tag.

Blorbo finally gets told that they did a good job and everyone is complimentary or a specific trusted figure is complimentary, they're appreciated and loved and good: sometimes this is just someone writing a fantasy of blorbo being appreciated. Sometimes this is praise kink. If blorbo is being held by their parent or mentor or trusted elder sibling who is telling them that they're good, everyone is wrong about them, they know that they're good, this could be praise kink.

Touch-starved blorbo finally is given good touch and they are overwhelmed and don't know how to handle it and it feels so good: I did even know this was a thing until I asked for examples, but a friend let me know that this falls under the "touch sensitive" or "sensation play" umbrella. If you have spent time in a touch-starved tag, you have almost definitely seen this.

Blorbo is overwhelmed and bursts into tears and either cries a lot or heavy narrative weight is placed on them crying at important moments when it all becomes too much: this is not always, but can certainly be, dacryphilia.

Blorbo fucks up and is made fun of by all their peers, placed on centre stage and just mercilessly mocked: sometimes you are just whumping the character, and sometimes this can be humiliation kink.

Blorbo is tickled. That's the whole scene/fic. Okay so you actually may know this if you cruise character tags, but tickling is a kink and there are several blogs devoted to it on this website. If the whole point of this scene is the tickling, the character losing control and being overwhelmed, the person doing it to them having them at their control— this may be the kink.

Blorbo just keeps sneezing at inopportune times, they keep losing control and can't keep themselves from being overwhelmed by this: this can be sneeze kink.

Blorbo has finally made it to safety, maybe after a time of privation and starvation, and then there's whole scenes with an emphasis on how much they eat, how full and round they're getting, maybe them eating to the point of getting sick, maybe burping, maybe them having difficulty moving because of how much they've eaten. Food as part of recovery or safety can just be a healing trope, and food as a metaphor for love and community is a favoured tag of many of us in the fandom, but if the emphasis is especially on the eating and the getting full, how full the person feels, how much they can eat— this could be feederism.

Blorbo is injured or killed and there's a huge emphasis on the wounds, dismemberment, focus on gore and how bad it is and how much they're coming to pieces: this can be guro. If the person dies at the end of it and there's emphasis on that, this can also be snuff. Or maybe it's just gore/MCD, but some fics and some scenes dwell on it in such a way that you start to ask if this is intended to be horror or if something else is happening.

Blorbo is dressed up beautifully and looks so good in their new outfit, maybe to the point that the person who dressed them doesn't want them to move, just sit and be admired: this can be dollification, or kinking specifically on being dressed.

Blorbo is going through a medical examination and specific focus is placed on the impersonal aspect, being manhandled or examined by tools or gloved hands, they are the somewhat-dehumanized medical subject of professionals: this is sometimes horror or dehumanization, but it can also be medical kink.

Blorbo and blorbo's friend are ride or die beyond reason, they're a crew, they're found family (not biological), there is Two Of Them (or Five Of Them), they have each other's backs to the end. So loyalty is just a great character beat to hit that people have visited since time immemorial. You can also loyalty kink, when a person refusing to abandon their person(s) just hits just right. I'm not saying that everything under the found family umbrella falls under this, cause it doesn't, but if you have a particular attachment to works tagged [blorbo] & [blorbo] are best friends, or Loyalty, or crew as family, or [blorbo group] is a family but exploring nuclear-family aspects of this is not what makes a fic light up neon in your mind, it might might be worth considering if this is something you'd want to add to your list of likes.

Blorbo is really good at their job, and either respected for it and save the day with their skills or underestimated and show everybody by having the perfect skill at the right moment. More people are tangentially aware of this because of the TV show Leverage, which popularized the concept of "competence porn", or "non-sexual examples of scenes of people being very very good at their job but just makes you oooooo nice job", but if part of what draws you to a character is their niche skillset, or you enjoy stories that turn on characters being masters of their skills, competence kink might be something that resonates with you. Note, this sometimes just overlaps with power fantasies, because not everything in the BAMF [blorbo], tag is focused on competence per say, but if you really love your fave character being skillful, (or alternately, fics in which they are rendered powerless or pathetic tend to grate on you), you might want to explore the competence kink tag.

Blorbo is captured or pinned and rendered unable to breathe, and there is focus on pressure building in their chest, only being able to gasp for sips of air, or the person choking them having power over them, and this is presented as a narrative climax of a scene. This is choking kink, or breathplay. Also can be noted when there is particular narrative fascination with a character's hand at or on another's neck, even if pressure is not being applied.

Blorbo enters the narrative as a dude and is turned into a woman or treated as a woman, whether willingly or unwillingly, and finds this to be either a positive or negative experience. So this is sometimes a gender exploration that is deeply personal to the creator. Sometimes this is forcefem, or forced feminization. Sometimes it's both—exploring that tension between different gender paths can be both emotionally fulfilling and kinky for someone, and that's fine. And again, this can be played for horror or euphoria, but both aspects, if treated a certain way, can be kinky. This is related to a whole family of gender play concepts— for example if dude!blorbo is just dressed in traditionally feminine clothing but is not treated as a woman either by characters or the narrative, it could be crossdressing. If blorbo is a woman being turned into a man, it could be forcemasc. I want to emphasize again that breaking down gender lines is often something someone embarks on for their own gender reasons— AND it's a popular trope across many forms of media— so it's not always a kink. But it's useful to point this one out both because if you bring it up outside of circles where it's normalized, it may not be viewed as appropriate, because these are not the bog-standard ways that everyone approaches gender, presentation, identity, societal expectations, etc, and also because if someone out of the blue asks you for this trope, it's good to be aware that they might be, (whether knowingly or unknowingly), asking for fetish content.

__

So. As you can see. There are a lot of possible kinks that can be handled in a platonic way, but this doesn't mean they aren't kinky. This isn't even everything possible, this is just what came up when I asked the group chat what they personally have seen where they feel that a platonic fic could have used additional tagging.

I am not saying that any of this is wrong to be interested in these kinks, either. People get wired a lot of different ways and sometimes you just feel a certain way about formalwear. Or bondage. Or vore. Or tickling. My point is just that if any of this resonates with you, you might want to consider adding extra tags to your work (you don't even have to tag "humiliation kink," "humiliation" works just fine), and you also might want to consider checking out some tags, because there is probably a vibrant community of people who also like that and who would both love your work and would love to share their work with you.

That's it. Go with god. Now if people are going to be in my notes going HOW CAN SOMETHING PLATONIC BE KINKY I have something to link them.

[grison-in-space]

On American soldiers serving during WWII:

“Sensitive” men often found one another while working on the extraordinarily popular “soldier shows” for which the USO provided the know-how and the materials. These shows were written, directed, and performed by men in the armed forces. Since there were no women in outlying camps, enlisted men would perform female roles in drag. Performances ranged from comic portrayals of burly men in dresses to realistic female impersonation. For actors and audiences, these performances were a needed relief from the stress of war. For men who identified as homosexual, these shows were a place where they could, in coded terms, express their sexual desires, be visible, and build a community. These lyrics for a “female” trio in a soldier show demonstrate how homosexual enlistees introduced their own humor into skits: Here you see three lovely "girls" With their plastic shapes and curls. Isn't it campy? Isn't it campy? We've got glamor and that's no lie; Can't you tell when we swish by? Isn't it campy? Isn't it campy?16 Later in the war, when WACs were available to perform with men, their involvement was limited; usually they worked backstage to help the men be made up as women. An indication of the popularity of female impersonation in soldier shows is evident in Irving Berlin’s This Is the Army. Written for an all-soldier cast, it premiered on Broadway in 1942 and a year later became a hit Hollywood film with Ronald Reagan. Both the Broadway and film versions featured soldiers dressed as women.

--A Queer History of the United States (2011), Michael Bronski; Chapter Eight: Sex in the Trenches

Fascists rely on a sanitized homogenized understanding of a hazily golden national history to hawk their wares to their recruits and dehumanize their enemies. Moral panics, too, rely on inaccurate popular understandings of history to promote attacks on their victims. Like every other human endeavor, these things spread themselves through stories.

WWII looms large in the American memory; we remember it as the last "innocent" conflict on our world stage, inaccurate as that is. (There is no such thing as an innocent player in a world war.) The military preoccupation with fascism and gender looms large, and WWII offers that for far-right ideologues searching for conformity, too: the masculinity of combat, the catharsis of the foxhole, the rigid conformity of the decades that follow. In the memory of such stand-up paragons of masculinity, the fascists will bellow, how can you permit the degenerate decadence of the modern drag queen, the obscenity of a trans woman being so much as permitted to exist? Surely the rejection of that masculinity would have disgusted and upset these fine soldiers, and how could you insult such icons?

But it isn't true. Drag, genderbending, and queerness were entertainments our grandfathers and great-grandfathers sought out, participated in, and shared with one another. Some of the queer ones fucked about it, and so did some of the straight ones, but not everyone. Some of the soldiers were playing, and some weren't. Either way, "female impersonation" was a staple of entertainment, both in the form of soldier-entertainers and for audiences back home. It continues to be a form of popular mainstream entertainment today, of course: only consider Mrs Doubtfire and Monty Python and RuPaul's Drag Race and Blackadder and MASH and Tyler Perry's Madea and Hairspray, to name only a few of many.

There's more than one way to knock down an image and an idol cherished by bigots, my friends. Don't forget that the stories the lazy fascists tell about how it was long ago and far away aren't the only stories left to tell. It turns out that the past wasn't any less full of degenerates and queers than the present is--or than the future will be.

[whathorselegs]

Something something, Mori's immortal army plan and all the trauma it created, being a way for him to prove ability users are useful and worth keeping around.

The hunting dog's being turned into killing machines and routinely undergoing surgeries just to survive it. They are heroes but it's at the cost of their freedom and peace.

The only creations made by ability users that history deems worthy being weapons like Amenogozen and the One Order.

Child ability users like Chuuya, Kyouka and Teruko being stolen away from their family and treated as less than human because they would make a better weapon.

Children like Atsushi and Yumeno being abused and made to hate themselves all because they have an ability.

Ability users bodies being turned into weapons even after death, like the Holy Sword, the Old Boss, Shibusawa and Fukuchi.

Ability users like Sigma, Bram and Mushitaro being used like tools by organizations because of their abilities.

Combative abilities like Demon Snow being passed down the bloodline forcing children to grow into weapons.

Something about ability users being dehumanized and used by non-ability users for years and years, yet they are the ones villainized for being what they were forced to be, every time.

Something about Fyodor having lived to witness all of this and all that came before. Internalizing that resentment towards ability users, perhaps having been the victim of it at least once, and deciding that the only way the evil will stop is if ability users didn't exist.

[olderthannetfic]

As a Gen Z kid: no, someone saying "gooning" is not the same as someone saying "jacking off". Jacking off =/= being an awful person. Gooning carries the connotation of being a shit person who's terminally online at best and dehumanizes others regularly in order to turn them from people into sex objects most of the time. When people make videos on YouTube about how someone killing and raping another person was caused by "gooning addiction" or people say Lily Orchard raping her sister repeatedly as a child was caused by her gooning to Pokemon Rule 34, it should be self-evident that the connotation isn't the same as jacking off.

Also people in Gen Z who aren't onboard the "porn and masturbation will make you kill, dehumanize, rape and pedophilically lust over kids" train can and do, in fact, say jacking off, or getting off, or other phrases. That's not Ancient Forgotten Elvish Lore Words. We have those. And we use them, again, unless we're the kind of person who maintains that masturbation will lead to SA'ing, raping, and killing others.

Even the least judgmental person I've met who says gooning still thinks "gooners" aka people who masturbate are losers who need to have their clearly unaddressed mental health issues fixed so they don't need to "lower themselves" to masturbating. "I bet he's a gooner" is said of a dude you don't like to infer that he's a freak who watches anime, thinks masturbating is okay and probably thinks raping a real person is worse than an anime character getting raped in a fanfic. It's an insult. It's never an endorsement.

"B-but other generations also mentioned jacking off!" Unless you regularly discuss people being unsafe to be around children and have had people agree that jacking off means you should be kicked out of a dorm, followed by a shitfit being thrown when the gooner wasn't thrown out, it's not the same.

I'm so fucking tired of people pretending my generation is fine, actually. Do you have any idea what it's like to try to date and be Gen Z? I promise you, it's not okay or normal or fine. My last date cheerfully told me all about how she was trying to get her former best friend registered as a sex offender for looking at Rule 34 of Gardevoir. My friends had a serious debate about if that's sex offender behavior or "gooner brainrot"/"porn addiction" requiring therapy and intervention. No one ever suggested masturbation might be okay for a grown man to do, ever. Not even as a joke.

But if I say maybe this isn't healthy, people fall over themselves to say no, no, Gen Z is totally fine. You're the crazy one for suggesting "should gooners be registered as sex offenders, or have to do mandatory therapy?" isn't a totally a-okay approach to sex.

--

[thewritingfairy]

God I love how you writen things.

Reader scratching themselves to get rid of the pain remind me of when id harshly pinch myself.

I don't have chronic pain but when I was younger I had a bad ears infection in both. It was so bad and painful it will hurt greatly even if I do nothing and the pain will get worse if I move my head in any way whether turning or walking, the faster the wors it gets. The pain will also get too bad when I hear something or make a voice (using my trout) or even move my jaw.

I remember I'd pinch my tights and twist just to forget about the pain in my head and ears using the pain of my legs. But I didn't do that a lot.

I also love the way you write Jason reaction to reader in chap 7. It's feel like his just realizing that the reader is a human. A person and not just a two dimensional character or NPC.

I actually feel like the whole family (not Tim and Duke) sees the reader as just that. An NPC of a story who is just around. They didn't take any time to try to know the reader and flatten their character and existence to the most dehumanizing way (?)

But what of Alfred. I mean he does interact with them more than anyone. Did he also never take any time to know them and just flatten and simplified their character to this 'easy child'?

Thank you for reading and please take care of yourself

Have a good day/night

-😶‍🌫️

Phone format, chapter mentioned: 07. An explosion of emotions

The scratching is actually based on an old coping mechanism of mine. I used to scratch until I bled to feel pain differently because my chronic pain drove me crazy. Like I was just settling in to being a teen and I finally wasn't being bothered by my birth condition and then it decided to act up? And then COVID??? I scratched until I got scars lmfao.

And omg, ear infections were the worse especially as a toddler/kid, especially if they made your ears bleed. I never thought of pinching tho?

Yeah, Jason is a piece of shit in my fic. But he's an evolving piece of shit that still isn't redeemable but hey at least he's learning.

But definitely (Name) is the NPC of the family, and Alfred kind of kept it that way for a long time. He barely talked about achievements with Bruce and the others, wanting your joy all to himself.

Alfred's selfish in my fic and he's about to get a whole lot worse.

[lullabyes22-blog]

Arcane Fandom drinking game.

tw: racism, misogyny, classism, ableism.

tw: fandoms in general, ig?

Take a shot if:

Sevika is reduced to this exoticised, hypersexualized, sub human caricature with no exploration into her motivations, her family, her issues as a disabled woman or her experiences as a working class person who grew up in a literal slum - and instead serves as a sex toy with body heat, who exists solely to get the reader off.

Take two shots of she is neutered instead of oversexualized, and reduced to the Mammy stereotype wherein her only purpose is to roll her eyes and provide commentary on the (white) characters/readers' antics, the latter of which drive the plot.

Take a shot if:

Mel Medarda is reduced to a living example of the Jezebel stereotype: oversexualized in the most dehumanizing and demeaning language possible, made a literal receptacle for other characters' desires with no attempt to engage with her motivations as a politician or her feelings as a woman, or else blamed for every single problem in the show, because apparently an ambitious woman is synonymous with 'The face of pure evil,' a woman who has sex and uses it to express agency is an insatiable slut, and a black woman is literally the devil incarnate.

Take two shots if she's taken the other extreme, and her ambitions, flaws, and sexuality have been wiped away completely, leaving only a hyperperfect husk of a character behind, for us to rally around with empty cries of 'Yaas Queen!' and no attempt to critically examine a) the problematic nature of the praise and b) the essence of what makes her human, and what drives her forward, in the first place.

Take a shot if:

Ekko is reduced to his crush on Powder/Jinx, with no attempt to engage with the complexity of the fact that his best friend warped into a monster, nor the ways in which he himself is a product of Zaun's poverty and his relationship with his community, the impact of trauma on children, his complex relationship with violence and his own moral compass, nor the fact that he is an activist, a freedom fighter, an artist, and an engineer, all at age eighteen.

Take a double shot if the characterization veers the other way, and he is portrayed as 'Forever Alone' because black men cannot have healthy relationships, do not deserve to have a full range of complex emotions, and should be punished by having their most deeply held wishes, friendships, and loves crushed to dust before their eyes, for daring to dream of a better life and a world that loves them.

Take a shot if:

Jayce Talis is not even acknowledged in fanworks as a mixed race man, nor as a person of color, with no attempt to engage with the complexity inherent in his experience of privilege, and the ways in which he is a product of his upbringing, and where these factors intersect with class commentary. Take a half shot if the character is whitewashed, and turned into the kind of bland, boring, vanilla caricature that we're used to seeing in media in perpetuity, who exists as a foil to the villains, a symbol of virtue, and a blank slate on which the viewer is meant to project themselves and their own beliefs.

Take a full shot if the character is the epitome of the white savior trope: a smug, paternalistic, know-it-all white man, whose self-assurance in his own superiority allows him to walk in and take over a conflict, then tell people what to do.

Take two shots if characterization veers the other extreme and he's just a sweet, dumb, himbo puppyboy with no personality, no goals, no desires, and no motivations of his own, save for making Viktor happy and doing his best to be a good boy.

Take three shots if Mel is the one leading him by the nose, because nothing says 'nuance' like making a black woman the villain for the sin of having agency and not existing solely for vilification.

Drink the whole bottle if:

Caitlyn, an Enforcer and a Councilor's daughter, is portrayed as a sympathetic sweetheart angelcake, without being forced to confront the actions of the state and the institution of which she is a part, without being forced to face the consequences of her complicity in the system that oppresses others, nor without being forced to recognize the fact that her actions and her words are not, in and of themselves, inherently just, and the fact that her privilege does not automatically grant her moral authority.

Drink another if she is portrayed as a damsel, an innocent, a child who needs to be protected and cared for, rather than a full person with agency and a complex emotional landscape of her own.

Drink again if the characterization leans the other way and she is turned into a classist caricature, an entitled bitch who doesn't even realize she's the bad guy, or gets turned into a literal Nazi because, once again, folks cannot engage with complex topics such as classism, racism, ableism, etc. and instead resort to infantilizing, simplistic, and reductive portrayals.

Stop drinking and switch to cyanide if her characterization hinges on her relationship with Vi, within which Caitlyn is the dominant top here to 'tame' this feral subhuman, with no understanding of the uncomfortable and undeniably harmful implications of such a power dynamic.

Drink the rest of the alcohol stash if:

Vi, an adult, a former convict and a street savvy survivor, is reduced to an angsty, moody, petulant puppydog off her leash, unable to take responsibility for her own actions, and her trauma is treated as an excuse for her behavior.

Drink another bottle if she is portrayed as a hypermasculine, toxic, violent, and Cait is the one forced to tame her, make her behave, and bring her into line, and her relationship with Vi is portrayed as inherently parent-child, or worse, caretaker-charge, without any regard for Vi's autonomy and right to be flawed as a human being.

Drink a fifth if Vi is portrayed as a hypersexualized aggressor for the audience's titillation, with no attempt to engage with the fact that butch lesbian women have more complex emotions than 'sex starved nymphomaniac', nor the ways in which Vi's abuse, abandonment, and trauma have impacted her relationship with intimacy and sexuality. Drink another if the characterization shifts the other way and Vi becomes a sexless robot who has no personality or wants, nor is given room to grieve for her family, her home, or her own trauma, and is instead expected to bounce back, get over it, and move on as nothing more than Caitlyn' Brave Buff Gf (tm).

Drink the entire bar if:

Viktor, a disabled man, is depicted as a neurotic, fragile, jittery wreck. Take two bottles if his disability is treated as a punchline, or the defining characteristic of his existence, and the only time we're meant to consider his body or his physical pain is when he's having an episode and collapsing, or having a coughing fit, and it's treated as a joke, rather than something which affects him and his ability to function.

Take three bottles if he's taken the other extreme and he is twinkified and babygirlified, and his sexuality and his love life are the only thing we're meant to care about, and his romantic relationship with Jayce is the only thing he's allowed to have, lest the audience think too hard about the ways in which he and his work might benefit Zaun, or how the Council might respond to a disabled person from an underprivileged background.

Take a fourth if the characterization shifts and he's reduced to a hypersexualized toy: a broken doll to be pitied and fetishized and cared for, and Jayce is his Daddy, his owner, his caregiver, his knight in shining armor, all in one.

Take a fifth if, in the midst of all this, his relationship with his disability, and the ways in which it has impacted his life and his choices, is completely glossed over.

Take six if his relationship with his disability is not even acknowledged.

Switch to cocaine if:

Jinx, one of the most complex characters in the show, and the only one with any sort of internal consistency, is reduced to a whiny helpless brat who just wants a hug and an explanation for her widdle feewings from a big strong grownup.

Take an eightball if her relationship with her sister, her trauma, and her mental health is reduced to the 'Hot Psycho' trope: an excuse to play up the 'cool' aspect of her personality while completely ignoring the trauma at the heart of her actions/behavior. Take another if the characterization swings the other way, and she's reduced to a one-dimensional villainess, a demon, an amoral monster, and the only motivation for her actions is the fact that she is a crazy bitch, and the only reason for her existence is to serve as a foil for Vi's goodness and the audience's own hangups re: mental illness and critically engaging with the more unpalatable aspects of human behavior.

Switch to crack if her relationship with Silco or Vi is not even mentioned.

Pour a glass of absinthe if:

Silco, a single parent, a survivor of violence at the hands of a loved one, a victim of systemic abuse, and a revolutionary, is portrayed as the ultimate villain, and his desire to fight for a better life for his community is somehow worse than the Council's decision to literally silence everyone in the undercity via chemical runoff, political neglect and police brutality.

Pour two if he is a cartoonish, hamfisted boogeyman, with no sense of his humanity, nor the ways in which he is a product of the same systems that hurt every undercity character, and the ways his actions replicate the cycle of abuse and hurt the ones he seeks to save in turn.

Pour a third if he becomes an unrepentant sadist, a child abuser and a sexual predator, and there is nothing loving or fatherly about his relationship with Jinx.

Pour four if the character is taken to the other extreme and he's sanctified as a literal martyr and hero, and all his wrongdoing is glossed over because he's just a ~victim~, and everything he does is justified, no matter how terrible, because he had a traumatic childhood or his abusive ex didn't die soon enough. Eat the sugarcube if his bond with Jinx is suddenly a wholesome Disneyfied gag-fest wherein he calls her "Pumpkin" and babies her like a toddler, and their relationship has zero codependent overtones, and she's suddenly a sweet innocent who doesn't have blood on her hands, same way he's not the one who sanctioned it.

Eat the bottle of absinthe if Silco is given the tumblr sexyman treatment, and suddenly he's just a walking Daddy Kink, with no regard for the ways in which he is a complex person, nor the ways in which he and other characters might actually interact, or his history or his trauma or the way it impacts his life.

Drink the whole liquor cabinet if:

Zaun is portrayed as a dystopian hellscape rather than a robust, vibrant, diverse community, with a wide range of experiences and a deep and nuanced relationship with authority, power, and violence. Break into the cellar if, instead, it's just a shitty stereotypical ghetto, full of criminals, addicts, and victims.

Light a cigarette if Piltover, a technological juggernaut that also has a diverse immigrant population, and a vibrant and rich cultural identity, is reduced to a bland, generic, vanilla utopia, and is full of pompous blowhards who have never engaged with the undercity outside the scope of the narrative.

Light a molotov cocktail if it swings the opposite direction and Piltover is turned into an neoliberal nightmare, a soulless, shiny, hollow, plastic, faceless wasteland, populated only by vapid, shallow, self absorbed stooges and shills who have no depth or personality of their own.

Throw the molotov and light the house on fire if:

'Piltover and Zaun' is not even mentioned, and there is no acknowledgement of the way these two cities shape the cast of characters who reside within these systems, much less a mention of the ways in which the characters might not be fully representative of the communities they are a part of, and the fact that they are still very much human beings with individual experiences.

If you didn't get alcohol poisoning, a whopping hangover, or a charge of arson: congratulations.

You win.

[justwhumptypethings]

tw: isolation, dehumanization, captivity, panic attack mention, self harm (not in vivid detail)

isolation punishment in whump.

say whumpee tried to escape, and almost succeeded. Or hurt whumper, or killed someone working for whumper. something whumper would consider serious.

whumpee who gets trapped in basically a functional apartment- self restocking food and a working bathroom but no tv, or books, or board games, or anything made to entertain or keep them busy. there are no windows, and the lights turn on and off by themselves, and the door is heavy, dark, and grey- not to mention, locked. the only reason why their prison resembles a home is so that they would take care of themselves and wouldn’t be allowed to see the people who are giving them food or taking their dishes.

whumpee who starts hurting themselves just for something to do.

they get kept in there for sometime above a month, and when whumper finally comes in to check on them, they are so, so desperate for any kind of human touch.

whumpee who gets down on their knees in front of whumper, begging and pleading for forgiveness while sobbing violently. whumpee who’s just begging for whumper to not leave them alone. they’ll be good, they’ll be exactly whatever whumper wants them to be, just please don’t leave them. maybe whumper sees how desperate whumpee is to not be left alone, and decides based on that to leave them in there for a little while longer.

Or a whumper who likes to portray themselves as kind, holding whumpee in their lap while they cry and talking about how much they missed whumpee and how they hate doing things like this, but if whumpee would just be good, they wouldn’t have to.

whumper who found their breaking point, and every time they’re disobeying from then on, whumper just asks them if they want to go go back in their room, and whumper is instantly going completely silent. whumper smiles and ruffles their hair, saying something demeaning like ‘good pet’.

whumpee who never really gets over it. after recovery, they can’t be left alone at all so that they don’t have debilitating panic attacks. caretaker at a loss, because they love whumpee, but they have other obligations in their life and whumpee can’t come with them to all of them.

maybe caretaker doesn’t notice at first and whumpee doesn’t say anything, so whumpee stays home for a couple days just pulling at their hair or scratching at their skin to stay calm. whumpee who’s confused and so lost, because they don’t know why they’re being punished.